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THE MAKING OF A MAD MAX MOVIE Noni Hazlehurst: caring about Fran Robbery remade: Starlight rides again Classy kids’ stuff: the Winners series
A prestigious $3.82 million anthology series comprising eight selfcontained hour-long dramas made for total family entertainment and for prime time viewing â&#x20AC;&#x201D; w ritten, produced and directed by the top names in the Australian Film Industry.
The Series Room to Move Writer: John Duigan Producer: Richard Mason/ Julia Overton Director: John Duigan
The Other Facts of Life Writer: Morris Gleitzman Producer: Sandra Levy/ Julia Overton Director: Esben Storm
On Loan Writer: Anne Brooksbank Producer: Jane Scott Director: Geoffrey Bennett Tarflowers Writer: Terry Larsen Producer: Tom Jeffrey Director: Bill Fitzwater
Quest Beyond Time Writer: Tony Morphett Producer: Richard Mason/ Julia Overton Director: Stephen Wallace
Just Friends Writer: Jan Sardi Producer: Jane Ballantyne Director: Michael Pattinson
Paper Boy Writer: Bob Ellis Producer: Jane Ballantyne Director: Paul Cox
Top Kid Writer: Bob Ellis Producer: Jane Scott Director: Carl Schultz
W orldw ide Distribution: I.T.C. Entertainm ent Ltd. (A m em ber o f the Bell G roup Ltd.) ITC PERTH
ITC LONDON
First Floor, 168 Adelaide Terrace, PERTH, W.A., 6000 Ph. (09) 325 7555
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The Producers gratefully acknowledge financial assistance from: The Australian Film Commission, Film Victoria, N.S.W. Film Corporation and I.T.C. Entertainment
HEWS PLUS
. . . Australia’s labs campaign for a slice of the release print action, the Digger swallows Fox, plus a look at the First National Screenwriters’ Conference, the background to nine films from the Women’s Film Unit, and festival and market reports from Berlin, Budapest, Delhi and Los Angeles ................................... 5
CANNES INFORMATION The films, the people and the screenings that will be representing Australia at the 38th Cannes International Film Festival. Plus: a special section on New Zealand ................................................. 12 SAGA OF THE SUBURBS
Nick Roddick talks to Joy Smithers and Martin Sacks, young stars of the new Australian comedy, Emoh Ruo (which spells 'Our Home’ backwards).........................................................................20
EIGHT OF THE BEST
The eight films in the Winners series represent a determined effort to produce G-rated programming that is really in tune with children’s needs and interests. "Debi Enker previews the series, and talks to its executive producer, Patricia Edgar ...................... 22
AN OPEN LETTER
Filipino director Lino Brocka, recently jailed for subversion by the Marcos government, appeals to the world’s filmmakers ..................................28
FORD BEARS WITNESS
Pat H. Broeske talks to Harrison Ford, one of the past decade’s more improbable megastars, about his latest role in Peter Weir’s film, Witness, and about his various superhero outings for Steven Spielberg and George L u c a s .......... 31
THE BEAT GOES ON
1985 sees the third of the ‘Road Warrior’ films, Mad Max: Beyond Thunderdome, which will, of course, be the biggest and the most expensive. Paul Kalina talks to production designer Grace Walker — real name, Graham — about his sets for the film and how it all came to the screen ..........................................38
SELLING OUT
Jeanine Seawell, celebrating her tenth year as an independent film sales representative at Cannes, talks to Nick Roddick about the movies, the market, and her involvement with Australian films ...... 42
EAST MEETS WEST
Mike Downey charts the history of the Yugoslav cinema, one of the least prominent but most active in the Eastern bloc, which successfully combines indigenous films with foreign co-productions .................................................................. 44
NORTHERN SAFARI Bringing Morris West’s The Naked Country to the screen involved a lot of restructuring and some daunting logistics, as producer Ross Dimsey and director Tim Burstall explained to Ewan Burnett .................................................................... 48
COMMUNICATIONS BREAKDOWN?
Actress Noni Hazlehurst talks to Dorre Koeser about her new film, Fran, and about the need for some real commitment in Australian filmmaking ...................................................... 50
STARLIGHT EXPRESSED
With a $71/2-million budget, the remaking of Robbery Under Arms was bound to be an epic undertaking. Producer Jock Blair and joint directors Ken Hannam and Don Crombie tell Nick Roddick and Sheila Johnston how it all came about ....54
MYSTERIES OF THE ORGANIZATION
Dusan Makavejev talks about The Coca-Cola Kid, his Australianmade fable of the corporate intruder and the independent Aussie capitalist..........................................60
FACTS AND FIGURES Reports on all the recent Australian production starts, with special coverage on Playing Beatie Bow and Wills and Burke. Plus Fred Harden on how to make a computer do your production accounting and scheduling, the usual complete Production Survey, and a look at the box-office results of the recent Australian releases ........................................ 64 FILM REVIEWS
Full-length reviews of Amadeus, Cal, Country, The Killing Fields, A Passage to India, Places in the Heart, The River, Robbery Under Arms, A Soldier’s Story and Witness. Plus shorter reviews of all the recent releases........................................................... 81
BOOK REVIEWS Passion and Defiance: Film in Italy from 1942 to the Present, by Mira Liehm; Italian Cinema from Neo-realism to the Present, by Peter Bondanella; and Fassbinder Film Maker by Ronald H aym an......... 91 Camels, cops and Cannes: Bottom left, The Coca-Cola Kid; below, Harrison Ford as Detective John Book in Witness; top right, all the fun o f the Festival: the Vieux Palais and the Croisette at Cannes.
CINEMA No 51
Editor: Nick Roddick. Assistant editor: Debi Enker Office and advertising manager: Patricia Amad. Art director: Ernie Aithoff. Secre tary: Beth Sjogren. Proof-reading: Arthur Salton. Typesetting by B-P Typesetting Pty. Ltd. Nega tives by ABB-Typesetting Pty. Ltd. Colour separa tions by Colourscan Pte Ltd. Printed by York Press Ltd. Distribution by Network Distribution Company, 54 Park Street, Sydney 2000 (Aus tralia) and T.B. Clarke Overseas Pty. Ltd. ISSN 0311-3639
Cinema Papers is produced with financial assist
ance 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 to the magazine, neither the editor nor the publishers can accept liability for any loss or damage which may arise. This maga zine may not be reproduced in whole or in part without the express permission of the copyright owner. Cinema Papers is published every two months by MTV Publishing Limited, 644 Victoria Street, North Melbourne. Victoria, Australia 3051. Telephone: (03) 329 5983. Telex: AA 30625 Reference ME 230. © Copyright MTV Publishing Limited, No. 51, May 1985. ’ Recommended price only.
Front cover: Tina Turner in Mad Max: Beyond Thunderdome. Inset, Harrison Ford in Witness.
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Australian labs face major cutbacks Cinema release prints should not be imported, they claim “ It seems pointless for the Government to be pouring money into film production when the grassroots is going down the drain,’’ says John Donovan, the new General Manager of Atlab Australia, the processing facility which shares the Mobbs Lane site with Sydney’s Channel 7 in Epping. Donovan’s dramatic words are an indicator of the increasing seriousness with which Australia’s labs view the fact that almost all 35 mm theatrical release prints are imported into the country. And, claimed an Atlab submission to the Minister for Industry and Commerce, Senator John Button, last month, “ as far as can be estab lished, Australia is the only country in the world which does not require foreign dis tributors to have films either partly or wholly processed locally.” So serious are Atlab about going after the release print work, that they are sending their marketing director, Jim Parsons, to Cannes to proposition the majors. It is not, of course, a new crisis: the advent of colour in the fifties seems to have taken the local labs largely by surprise, and for 30 years they have handled none of the 45-50 million metres of feature film which have been imported annually, mainly from the U.S. and the U.K. For a while, television took up the slack, making extensive use of 16 mm film; but, with the switch to videotape, the labs’ TV work has dropped away to nothing in the past couple of years. “ Changing tech nology has compacted the use of 16 mm film for television,” says Murray Forrest of Colorfilm. “ And, if we are to maintain our position in the industry, we need a sub stitute throughput.” With Colorfilm wholly owned by Greater Union, Forrest is, not surprisingly, at pains to stress the need for an “ amicable solution” . Atlab, on the other hand, is a part of the Fairfax Group — which has substan tial press and television holdings, but is not directly involved in film distribution — and is less reticent about making a fuss.
According to Donovan, Atlab has been forced to make a 28°/o reduction in its staff, so far by means of normal wastage: the optical effects department, for instance, has been cut from ten to three. It was this hint of job losses which pre sumably led the ALP to include a commit ment to the processing industry in its 1983 election manifesto. “ Distributors of foreign films,” declared Senator Susan Ryan’s document, “ will be required to manufacture exhibition copies in Australia, instead of importing foreign prints. This will assist local laboratories and create employment.” The outcome of this was an agreement, running for one year from September 1983, that at least 600,000 metres would be processed locally in the first year. Although this was less than 2%, it was, all parties felt, a reasonable start. “ I know that both the distributors and lab oratories want the transfer to local printing to take place in an orderly manner,” declared Button at the time, “ and I am con fident that this work will soon increase to levels more consistent with the govern ment's election manifesto.” For a while, it looked good: the actual figure for locally processed film was 1,145,000 metres in the first year, nearly twice the agreed figure. And Paul O’Neill of U.I.P., current Chairman of the Motion Picture Distributors’ Association, is under standably miffed at Atlab's current campaign. “ We have kept our side of the original agreement, and Atlab are now saying they want more.” In the end, of course, it comes down to money, and O’Neill feels Atlab are now busily trying to mask the bad decisions and investments they made during the sixties. “ Quite honestly, what I think they are trying to do is prop up a section of the industry which has been overtaken by technology.” Distributors, he claims, can bring in prints cheaper than they can get them struck here, thanks to the volume of business handled by offshore — predominantly American — labs (most of which, it should
A tlab’s stereophonic sound-mixing facility. be added, have direct links with the U.S. majors). But Donovan disputes the fact that imported prints are cheaper, especially given the current state of the Australian dollar. To attract the release print business, Atlab have offered a special price of 13 cents a foot — “ almost cost” , claims Dono van, and 41/2 cents cheaper than their usual price (something which has, of course, caused problems with local producers). This 13 cents price is, he claims, equivalent to a U.S. price of 9 cents a foot. Given the current impasse, it seems certain that, without legislation — as opposed to an election commitment — nothing will happen. “ I don’t honestly know,” says Donovan, “ why they’re not giving us the work, because it’s not price, and it’s certainly not quality. It’s the American majors making the decisions, I’m nearly sure of that.” The fact remains, he says, that since the expiry of the first year’s agreement — and negotiations are currently dragging in the search for a new one — the volume of release-print work has slipped away to around 300,000 metres. At that level, Aus tralian labs are going to be virtually forced to run down their processing work. And, given the investments required, and the need for specialist equipment and oper ators, it is the indigenous Australian film industry which is going to be the long-term loser.
Nick Roddick
Murdoch marches on Another piece falls into place as he takes over Twentieth Century-Fox The effective acquisition by Rupert Murdoch, on 21 March, of control of Twentieth Century-Fox is a marriage, if not made in heaven, at any rate that had to take place. Fox, the last remaining Hollywood studio to be controlled by a single man — Denver oil tycoon Marvin Davis, model for the Blake Carrington of Dynasty — has a long history of moguldom. The first Hollywood major to be estab lished — in 1916, by former East Coast film exchange owner, William Fox — it later became the personal fiefdom of Darryl F. Zanuck, who saved the company from collapse (and kicked out its founder) when he amalgamated it with his Twentieth Century Pictures in 1935.
4 — May CINEMA PAPERS
Unlike the other majors, Fox was never the first woman ever to run a Hollywood engulfed by a conglomerate. And Davis studio, who soon went back to being inde became the latest in a long line of inde pendent; Alan J. Hirschfield, the major pendent owners when he bought it, for victim of the extraordinary David Begelman affair, who had been ignominiously booted around $725 million, in June 1981. The oil industry was booming and so, in the after out of Columbia; and Barry Diller, whom Davis lured away from Paramount with a glow of Star Wars, was Fox. deal that was reported to include a stake in As in all the best soap operas, however, TCF Holdings, the company Davis set up to things didn't stay rosy for long. The oil industry ceased to be a licence to print • control the studio. Diller has only been at Fox since the end money, and Fox started to slip badly in the of September 1984, and has had little time Hollywood league. Ushering in the age of corporate musical to implement the grandiosely bland pro chairs which has characterized the movie gramme Davis announced for him at the capital in the eighties, Fox has, under its time. “ His appointment at Fox,” carolled new owner, had a succession of chief exec the oil tycoon, “ represents our commitment to develop quality entertainment product in utives: Dennis Stanfill, who was in place when Fox was Davisized; Sherry Lansing, motion pictures and television.”
And, Davis might have added, to make the studio some money. With only Romancing the Stone as a box office earner, Fox’s market share had slipped from 16.9% at the start of 1984, to 10.1% by the year’s end, putting it in fourth place for the year as a whole, but in a disastrous seventh place for the potentially lucrative month of December. With only Disney and Tri-Star trailing it, Fox was even pipped by the crisis-ridden Orion. Enter Murdoch, who has always had an eye for ailing prey — to wit the New York Daily News, the London Times and, most re ce n tly, W arne r C o m m u n ica tio n s. Murdoch’s bid to grab Warners failed, however. Though the company was in bad financial shape after the fiasco-of its Atari computer games adventure, Murdoch came up against a series of Federal Com munications Commission rulings which left him, at the end of the exercise, with no studio but a $40-million profit on the deal. At time of writing, Murdoch’s acquisition of Fox is still subject to FCC approval. But it seems unlikely that he will hit the same problems this time round. Not having the corporate ramifications of Warners, Fox has no direct stake in the various television stations which, since they represented a conflict of interest with Murdoch’s cable companies, were the downfall of the pre vious effort. More generally, Murdoch does not usually make the same mistake twice. And the deal whereby he acquired Fox was an advantageous one. His company, News Corporation, paid $62 million for a 50% share, further agreeing to advance TCF Holdings $88 million. By comparison with the amount Davis paid in 1981, it was a bargain. What is more, there have been rumours of a Fox recovery: the company is still without a hit, but confidence in Diller has been running high. It seems, however, to have come just too late. Fox’s 1984 slide forced the studio to extend its credit from $396 to $400 million, and to get an extra three years before starting to repay the loan. To get even that far, TCF had had to raise a further $170 million, including a reported injection of $50 million by Davis himself. All this was announced the week before the Murdoch putsch, and it seems likely that the manoeuvres were an attempt to stave off the takeover. Evidently they failed. Though it was not announced at the time, Murdoch was presumably still being advised by Herbert Allen, the man who ousted Hirschfield from Columbia, and one of Wall Street’s most noted bargaingrabbers. The implications of the whole deal have yet to be seen — whether, for example, Murdoch will channel Fox into the split-level identity he has forged for his publishing empire, in which the established, up-market papers are supported by the tabloids. And what of Diller? What does seem certain is that Murdoch will not leave well alone. That has never been his style. Closer to home, Murdoch’s investments in the Ten Network, his control of Fox and his experience with Sky Channel — the only commercial satellite system to have estab lished itself in Europe — add up to the promise of a power struggle. The Fox takeover makes Murdoch probably the most powerful media baron in
© The Canberra Times
News Plus
Filming from the soul TV sales secured for the first crop of Women’s Film Unit films
Making points: British director Mike Leigh at the National Screenwriters’ Conference.
the world. Certainly, it will strengthen the ties between Aussie TV and the American entertainment business. And it may well lead to some knock-on effects in the Aus tralian domestic entertainment world. Already there are related rumblings, in the
form of a rumour — around for a while, but gaining strength again — that an HBO takeover of Crawfords might be in the offing. When the Digger moves, others have always scrambled for safety.
Nick Roddick
Speaking Out for the Written Word 270 screenwriters gather in Melbourne for the first National Conference “ Writers are a peculiar cattle,” broadcaster and columnist Dennis Pryor told delegates to the First National Screenwriters’ Conference. “ You are caught up in an act of private creation and public acceptance. And, as screenwriters, you operate in an area where the mode of production inter venes constantly between the writer and the thing on the screen.” Some 270 ‘peculiar cattle' gathered in Melbourne in early February for five fullyscheduled days of talk, covering the specifics of screenwriting and the inevitable tangents that result from such talk. And, though the week was planned around the subject of writing, it often took the shape of a more general industry conference, covering all aspects of the filmmaking process. The writer’s need to be aware of the business of writing as well as the creative process was em phasized. But the occasional speaker did direct the discussion back to the germ of a film: a story to be told. And several felt that there was room for improvement, as much on the creative as on the business side. Comedy writer Ian McFadyen, for example, felt that Australian drama produced little to move an audience emotionally. “ The drama we write in Aus tralia,” he said, “ is to drama what journalese is to novel writing. It’s difficult to be good at comedy when it’s difficult to be good.” Flaste was another problem. According to John Dingwall (Sunday Too Far Away, Buddies), “ we go on too many first drafts. Our films are very primitive compared to the U.S., where it is common to do 20 or 25
drafts. In Australia, funding is raised on one or two.” Passion and collaboration were to become the week’s catchphrases, though, with calls for better writer-producer communication, and more stories that writers were obsessed with and passionate about. Producers and writers alike encouraged fellow filmmakers to share a common vision, and to work together to make the same film. The don’t-change-a-line, handsoff-my-script attitude was dangerous, felt Tony Morphett, a writer with five Awgies, two Penguins, a Logie and a Sammy to his credit. Writers, he said, should stop fighting for things that didn’t matter, or they would have no energy left for things that did. Michael Carson and Robert Caswell, with a successful collaboration on Scales of Justice behind them, emphatically re affirmed the importance of the team, noting that teams worked best when dealing with problems in their work, not in their person alities. “ There is too much gossip and back stabbing, and not enough creative energy,” concluded producer David Elfick. Indeed, although the sessions had titles like The role of the writer’, The market place' and The writer and the director’, an apt collective title would have been The writer as victim’. An image began to emerge of the writer as a misrepresented, unloved and unappreciated creator, who is rarely given credit where credit is due, and who is often blamed unjustly. Faulty relationships with producers were held responsible for the passionless productions that were sometimes made. Robert Caswell placed some of this respon
sibility back onto the writers’ shoulders, though. “ Writers,” he said, “ are guilty of a child-parent attitude towards producers: they don’t see them as human beings. The writer has a responsibility to the work and the team, not to being a spoiled child.” One solution to the problem is for writers to hyphenate themselves, and the intention of about a third of those present was to direct (though only a handful admitted any desire to produce). The advantages of hyphenization were best exemplified by American writer John Sayles, who has given up writing scripts for other people as a means of self-expression. Now, he says, he writes scripts for a living, and as a way of financing his own films, such as Lianna and The Brother From Another Planet There, he hyphenates himself liberally, as writer-director-editor. He sees each process as a draft of the completed film: writing as the first (“ a blueprint for something you do later, not a literary work” ), the shoot as the second, editing as the third — as well as, for him, the most enjoyable (“ I’m always able to make things better” ). At a screenwriters’ conference, the auteur label was not a particularly popular one, but British filmmaker Mike Leigh was not embarrassed by it. “ I’m not a director who took to writing or a writer who took to directing,” he told the conference. “ I’ve always regarded the two things as natural functions of each other.” Lynda La Plante, the third of a group of exceptionally well-chosen overseas guests, is a former actress who had great success with her first script — for the mini-series. Widows. Her advice to Australian screen writers: know your market. She emphasized knowing one’s worth as a writer, and recommended writing on commission rather than spending months on scripts that wouldn’t be sold or produced. Although she had a few humbling anecdotes about her uneasy beginnings, La Plante did not play the role of writer as victim. Instead, she used her early mishaps in a competitive industry as a way of educating herself, rather than as something to feed her feelings of bitterness and victimization. Summing up, conference director Margaret McClusky was surprised by some of the responses she had encountered, which seemed to indicate that much of the information was new to a lot of the dele gates. For some, then, the conference served to teach, not just to rehash. Perhaps its ultimate value, though, was not in answering questions, but in raising them publicly. The title of First National Screen writers’ Conference implies a second, and present plans are for the next one to be in two years’ time. But Eleanor Witcombe, whose credits include The Getting of Wisdom and My Brilliant Career, sounded a final note of caution. Writers, she said, needed to spend more time writing and less time talking about it. “ This is still the lucky country,” she declared. “ We have the opportunity to do something exceptional and positive for the rest of the world. You ain’t heard nothing yet — that’s what we should be thinking. The highest form of entertainment is art. Let’s be artists.” Dorre
Koeser
; j j I
The Women’s Film Unit has achieved two major successes since ft was set up just over a year ago, in January 1984. The first is that what was initially con ceived as a one-off production unit has been permanently established as an independent unit within Film Australia, the government-funded production house. The second is that eight of the nine short films produced by the WFU have been bought by the ABC. The WFU was set up as a result of Austra lian Film Commission interest in the funding made available by the federal govern ment’s Community Employment Project (CEP). The then chief executive of the AFC, Joe Skrzynski, suggested that this type of funding would be suitable for encouraging women in the film industry by making employment and experience available to them. Vicki Molloy, now Director of the AFC’s Creative Developm ent Branch- (then manager of the Women’s Film Fund), was the prime mover in obtaining a $400,000 grant from the CEP scheme to run the Unit for twelve months. Film Australia agreed to house it and make their facilities available. The production unit v/as set up by a steering committee made up of some of the members of the WFF’s advisory panel, using the Canadian Film Board’s ‘Studio D’ as their model. Janet Bell, a producer at the ABC, was seconded for a year to act as executive producer. Bell was confronted with several formid able tasks. The first was selecting, out of 288 applicants, the 41 women who finally participated in the project. Then, after $290,000 had been paid out in wages, she had to get each of the films made on an average budget of $11,000. Finally, she was confronted by an acute absence of women directors of photography, sound recordists; mixers and technicians in general. Some of these problems were solved when Bell convinced the ABC to pay her salary on the basis of the training she would receive as an executive producer. She also managed to persuade the ABC to allow one of their dubbing mixers, Annie Cocksedge, to have time off with pay to work on the films and train the other women. Other problems were less effectively solved, however, and the names of Sally Bongers and Laurie Mclnnes, Averil Nicholls and Livia Ruzic crop up continually in the credits as directors of photography and sound recordists respectively. The films were originally intended to fall into two categories: drama and documen taries. There is, however, a blurring of the division, since two of the dramas are more in the style of docu-dramas. Bell attributes this to a lack of experience in full-length drama by most women filmmakers, and a consequent ill-ease with the form. She also stresses that, while a film made by a woman will inevitably bear certain signs of the fact, rt does not mean that women should only make films about women. The directors were given the freedom to develop their ideas and styles. Each film was, however, developed with a view to its audience and its marketability: in all cases, television release was hoped for and aimed at. Beil describes it as “ filming from the soul, with the market in mind” . She admits, however, that there were, because of the nature of the project, unstated expectations of the types of themes which would be treated. The films range in style from a satire on adolescent dating and mating with serious undertones, in the form of a Perfect Match
CINEMA PAPERS May — 5
News Plus
B riefly. . . ■ The 34th Melbourne Film Festival, which will run from 20-30 June 1985, will be screening this year in Greater Union's rococo Forum Twins in Flinders Street. Highlights include Heimat (Homeland), the fifteen-hour, twenty-four minute and ten seconds German television epic that was the hit of last year’s European festival circuit; Lino Brocka’s Bayan Ko (My Country), seen at Cannes last year but still banned in the Philippines; Ah Ying, Allen Fong’s brave stab at giving Hong Kong a new wave; and Broken Mirrors (Gebroken Spiegels), the long-awaited new feminist film by Marlene Gorris, whose last,
A Question of Silence (De Stilte rond Christine M), caused uproar wherever it was shown. Over 40 features will be pre sented, and new this year is an award for the best cinema advertisement — an area of filmmaking which, says Festival director Paul Coulter, should not go ignored.
Margot Nash’s Fighting fo r Peace, one o f the longer Women’s Film Unit films. parody — Cynthia Connop's Girls and Guys — to a compelling drama about Aus tralian racist attitudes towards Asians (Julie Marcy’s Lily); and in theme from Margot Nash’s Teno, an understated but explicit revelation of the effects of tenosynivitis — a strain injury — on women in the workforce (migrant women in particular), to Deborah Kingsland’s Bronco, a comic look at the power-play in marriage between men and
women. Most of the films run between eleven and fifteen minutes, with two of them, Margot Nash’s Fighting for Peace and Jane Campion’s After Hours, extend ing to 30 and 26 minutes respectively. Bell hopes that the permanent establish ment of the WFU will influence Film Aus tralia to bring in more women and train them in all aspects of filmmaking, including areas such as sound recording and mixing, camera work and lighting, and electrics and construction.
Helen Greenwood
Melbourne company takes over World Film Alliance Plan is to produce and market world-wide Following the announcement at the American Film Market that the Melbournebased company, MPR Productions, was to take over World Film Alliance of London, the new WFA will be heading for Cannes with a package of four movies, and plans to announce at least two new projects at the Festival. A tie-up between Filmways, one of the owners of MPR, and George Miller's WFA dates back to January’s Pacific Inter national Media Market in Melbourne, when Filmways announced its involvement in a local WFA office to handle Japan, South East Asia and Australasia. Peter Collins, the other owner of MPR — a company formed in 1983 — had spent two years building up contacts in the Pacific basin, with particular emphasis on Japan, whose importance as a film and video market grows almost daily. The new company, being on the market’s doorstep, it was argued, would be better equipped to handle Japan than a London-based or Los Angeles-based operation. Since the AFM announcement, George Miller has left the company — amicably according to Collins. In its new format, the WFA, says Collins, "is a logical extension of our activities: if you're going to be in the sales agency business, you’ve got to be in production.” “ It’s not miracles,” echoes Mark Josem, Filmways and WFA President. “ It’s a simple idea.” Through the years, he says, he has built up a huge network of contacts in the industry, and this makes expansion natural. “ The person that doesn’t know me is not in the film business.” MPR has bought out the original WFA in conjunction with an unnamed U.K. investor, and will split its activities between London, the United States, Australia and Japan. Guy Collins will remain as Chief Executive, and
6 — May CINEMA PAPERS
Jean Overum will head the Los Angeles office. Peter Collins will divide his time between Australia and the United States, where screenings of the current four-picture package were held prior to Cannes. Collins is anxious to stress the inter national profile of the new company — something which is borne out by the first four features: Roger Christian’s Australianmade but internationally financed science fiction epic, 2084, now retitled Lorca and the Outlaws; the Ross Dimsey-Tim Burstall adaptation of the Morris West best-seller,
The Naked Country; Restless — The Adventure of a Lifetime, one of the hits of the AFM and a winner at the Australian box office; and King of the City, a Los Angeles-shot movie which crosses Urban Cowboy with Saturday Night Fever. The cornerstone of the WFA strategy, says Collins, will be a careful choice of screenplays on the basis of quality and commercial prospects, and a tight control of screenplay and budget. “ We do not have to make big-budget films: we’re not in that ballgame.” The range, therefore, will be budgets of $1-4 million, with the majority at the bottom of the scale. The other crucial element will be that WFA will begin marketing from day one of production. Despite the international focus, though, it seems likely that WFA’s activities will retain a strong Australian base. They are already involved in Marie-Claire, the first feature to be directed by ex-Cinema Papers editor Scott Murray. And Collins also promises another, unnamed Australian feature in the near future (which seems likely to be the second Burstall-Dimsey collaboration, a screen version of D.H. Lawrence’s Kang aroo). “ We should,” he says, “ have a healthy rub-off on the Australian film industry in general.”
Nick Roddick
3 At the start of February, Channel 9 magnanimously announced that, to save viewers from having to choose between two serials, they were moving Possession to a new time slot on Thursdays and Fridays. Coming in the wake of reports that 9’s new soap had bombed badly in the ratings, the announcement was generally read as meaning that Possession had lost out to the competition: viewers having to choose between two programmes is, after all, what ratings battles are all about. What they didn’t mention, however, was that, without Possession, Channel 9 would be a little short on its required proportion of Australian content. Business as usual, in other words: you pays your money and you takes their choice. H Proceeds from this year's Australian Children’s International Film Festival — the second — will go to Ethiopia, announced Festival director Yoram Gross. Admission will be by donation — a minimum of $1 — and the programme will include Gross’s latest animated feature, Epic, as well as
Tail of a Tiger, A Study in Scarlet, Pickwick Papers and Platypus Cove Dates are 14-18 May, and the location is the Green Room Cinema, Centrepoint, Sydney. ■ Though the vogue for filming film makers making films seems to have waned a little, the trend for televising them talking at their festivals shows no such reticence. The U.S.-based Main Event Broadcasting System which, since 1981, has kept Cannes supplied with instant replays of who said what as long ago as yesterday, is branching out this year with early-morning and late-night programmes on Tele Monte Carlo.
Ewan Burnett is a production supervisor at Crawford Productions. Rolando Caputo lectures in film at Deakin University and is a writer on film. Joan L. Cohen works in the film depart ment of the Los Angeles County Museum. Mike Downey is writer and presenter of an E n g lis h -la n g u a g e pro g ra m fo r TV Belgrade. Helen Greenwood is a freelance book editor and writer on film. Jimmy Hafesjee is a freelance writer on film. Fred Harden is a Melbourne freelance film and television producer, and has a regular column on technical information in The Video Age. Sheila Johnston is a London-based writer and film critic for LAM Magazine. Paul Kalina is a freelance writer on film. Dorre Koeser is a Sydney-based freelance writer. Robert Phillip Kolker teaches at the Uni versity of Maryland, comments on film on
These will go out between 8.00 and 10.30 a.m., and between 11.30 p.m. and 1.30 a.m. This, they claim, is prime time for festlvallers (industrious Monegasques, pre sumably, having either gone to work or gone to bed by then). Main Event has been joined this year by an Australian-owned company, A Gross National Production, which promises to cover — “ literally” — all of Europe, India, New Zealand, Australia and Asia. ■ In the wake of New York’s ‘I Love Aus tralian Films Festival', reports vary as to the appropriateness of the title. Confident press releases from the Satori Entertainment Cor poration (who ran it) quoted reviews which, even after judicious editing, still looked little more than polite, while a report in the Mel bourne Age (16 March 1985) called the whole Festival an unequivocal flop, noting that the best week’s take was only $5,000. That, incidentally, was for Barry McKenzie Holds His Own, the especially loveable (not to mention up-to-the-minute) Australian film with which Satori opened. Satori were bang up to date in one respect, however: as the AFC junks its cuddly, sunlight-shy koala for a new mascot, a punchy looking kangaroo, Satori likewise consigned the koala to the subway ads, and had a kangaroo — well, a man in a kangaroo costume — handing out leaflets on the street prior to the Festival’s opening. Since that was in January, New York’s coldest month, the kangaroo probably didn't feel too punchy-looking by the end of the day.
CORRECTION: In Fred Harden’s interview with Bill Gooley (Cinema Papers, No. 50), Mr Gooley states that They’re a Weird Mob and Adam’s Woman were not nega tive matched in Australia. He has asked us to point out that this was not the case: both films were negative matched by Maggie Cardin at Automatic Film Laboratory in Sydney.
AWARDS: Jo Kennedy won Best Actress at the Berlin Film Festival, for her role in Ian Pringle’s Wrong World. Judy Davis, favourite for this year’s Best Actress Oscar for her Adela Quested in A Passage to India, was pipped at the post by Sally (“ Now I know you love me . . .” ) Field. In the Australian Cinematographer’s Society 16th Annual Awards, top honour — the Milli Award, for Cinematographer of the Year — went to John Seale for his work on Witness. It is the second time that Seale has taken home the Milli (the first was in 1982 for Goodbye Paradise), and he also won the feature production award, the aptly named Golden Tripod, for Witness. Merit awards in that category went to Yuri Sokol for My First Wife, Russell Boyd for Mrs Soffel and Peter James for The Wild
Duck.
National Public Radio and is the author of several books on the cinema. Brian McFarlane is a lecturer in English at Chisholm Institute. Leonie Naughton is a tutor in Cinema Studies at Latrobe University. Chris Peachment is Film Editor of. Time Out magazine, London. John Pruzanski is a freelance writer on film, television and video, and a feature film producer.
William and Diane Routt are a couple of Melbourne academics.
Tom Ryan is a lecturer in Media Studies at Swinburne, a contributor to The Video Age, and a film reviewer for the 3LO Sunday show. Jim Schembri is a journalist at The Age.
Margaret Smith is a freelance writer on film.
Mark Spratt is a freelance writer on film. David Stratton is the host of Movie of the Week on SBS TV and reviews films for Variety.
★
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The Australian Film Commission at Cannes!
Chairman
Chief Executive
Phillip Adams
Kim Williams
General Manager Film Development Malcolm Smith
UK-Europe Manager
Director of Marketing
Cary Hamilton
North American Manager
Clive Turner
Richard Guardian
AUSTRALIAN FILM COMMISSION The Penthouse Residence du Festival 52 La cro ise tte Cannes Tel. 39 83 21 & 39 83 34 Australian Movies FlyQantas
L o A iir r a s
Âż W Y N D H A M ESTATE Showing the world how good Australian w ine is
Who Knows What's Going On
Keeping tabs on Australia's explosive film industry can sometimes be a bit of a headache. Since the new wave of filmmaking began in the 1970's the Australian Film Commission has provided a convenient window through which film buyers can look in on and participate in this vibrant segment of the world's film industry which has had more than a fair share of box office hits. Australia's film industry is not a major studio structured system. In the main its output is in the hands of a talented and creative group of individual producers and directors. International buyers looking for pre-sale or other distribution deals who want to find out who's making this picture or that mini足 series, or what agents got that TV special need information that is readily accessible. This is where the AFC comes in as
a speedy information bank to find out what hot properties are in the pipeline and who are the key contacts involved. But to the Australian industry itself the AFC is much more. Through its various branches it is involved in film development and production. The Creative Development Branch supports independent filmmaking and film cultural activities. It encourages new talent and promotes innovation and experimentation in film 足 making. The Project Development Branch provides filmmakers with script and project development funding and initiates programs to assist comedy and documentary production. The Marketing Branch with its offices in Los Angeles and London provides a comprehensive sales promotional marketing and distribution advisory service to the Australian Film lndustry.lt assists the launching of new
product through its represen足 tation in the world's major film markets and festivals. The Special Production Fund provides entrepreneurial financial assistance to quality projects while the Policy Unit is involved in research, dissemina足 tion of information and policy initiatives. The AFC's production division, Film Australia, is a fully operational and long established studio producing a wide variety of programs on Australia, Asia and the Pacific, from education to training films to documentary specials, mini-series and features for world-wide distribution, in addition, the AFC offers a comprehensive counselling service on legal,financial and creative matters. For further information on the Australian Film Commission or the Australian Film industry contact:
AUSTRALIAN FILM COMMISSION .
8 West Street North Sydney NSW 2060, telephone (02) 9226855, telex, AA25157 FICOM. 2nd Floor Victory House 99-101 Regent Street London wi, telephone 7349383 telex, 28711. Suite 615 City National Bank Building 9229 Sunset Boulevard Los Angeles CA 90069 telephone, 2757074, telex, 691344
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Shortfall on Sunset More buyers, less business at 1985’s American Film Market “ Buyers Aplenty, but Sales Stand Still” , screamed the headlines of Variety toward the end of the American Film Market. And indeed, the annual film-buying spree, based in Los Angeles and now in its fifth year, was judged less than a smashing suc cess by most participants. In attendance at the Market, which ran from 7-15 March, were distributors from more than 50 countries, with 1,079 buyers representing 690 companies. This is an in crease from the previous year, but numbers alone do not mean success. Much of the buying and selling was conducted before the Market even started, and participation from European countries was down 17%, indicating that Cannes is still the market that European nations consider the most important for them. Both Latin America and the Far East were present in greater numbers than ever before and, to add a note of novelty to the proceedings, the People’s Republic of China and the U.S.S.R. sent representa tives to the Market for the first time. (One of the more embarrassing moments was the discovery that the Taiwanese flag was flying in front of the AFM headquarters at the Hyatt on Sunset. It was quickly removed.) What do these figures mean in terms of sales and activity? Michael Goldman, Presi dent of the American Film Market Associa tion, says: “ We’re at a crossroads. All of the important buyers from the major territories were here. The no-shows were mostly the small buyers from overseas who are not in good shape anyway, because the foreign theatrical market is so poor.” The decline of the foreign markets for American films is one reason why this year’s AFM seemed tame. The other is the strong U.S. dollar, which was the big story this year. Not only has the hard dollar made the price of films exceedingly high, but the cost of a trip to Los Angeles even to talk about buying was prohibitive to many potential operators this year. One European seller, Dieter Menz of Atlas International, stated that, by mid-market, commissions earned on sales had not yet covered the expenses of $20,000 which he had needed to set up and screen in Los Angeles. And, if that weren’t enough, the world video
cassette market, still responsible for a major portion of pick-up for independent sales, finally crested in 1984. Now the good news: for the large independents with plenty of product and the ability to deliver, the Market was busi ness as usual, and trading was brisk. Terry Press, Publicity Co-ordinator for Crown International, said that Crown fared well at the Market, with one of their new films, Tomboy, selling video rights to Vestron for $900,000. Vestron was generally extremely active. Its largest single acquisition was the purchase of the home video rights to Cannon’s Life Force, a $22-mllllon science fiction movie about alien vampires who descend upon the earth. Orion Pictures International sold almost two dozen titles before the Market even opened, and set up shop at the Hyatt merely to talk and work out the fine points. Premiere, one of Britain’s two pay-TV channels, closed deals with six major Independents. And the usual large, highvisibility companies such as Manson, Cannon, PSO and Embassy came away from this year’s Market satisfied. The smaller and middle-sized firms had to be content for the most part with cable and video deals. Australian participation at the Market was down from previous years. Last year, the Australian Film Commission, a founding member of the American Film Market Association, screened eight new films. This year, little new was shown, due partly to problems caused by the all-powerful dollar, but also because of Australia's film produc tion schedule: many movies made in Aus tralia do not get under way until OctoberNovember of the year, so are not yet ready to be shown in Los Angeles. Also, the AFM is predominantly a showcase for exploita tion films — lots of splash and splatter. Aussie films seem better suited to Cannes. Representing the AFC were Richard Guardian, the North American representa tive, and Gary Hamilton of the London office, who tried to interest buyers in fifteen films in various stages of development. Other Australian companies included the New South Wales Film Corporation, pitch ing Careful, He Might Hear You and
Wetherby warms a chilly Berlin February event kicks off the annual Festival circuit Berlin in February. Outside, frozen snow; Inside, over-heated cinemas and hotels. This is the setting for the year’s first major Festival, and — together with Cannes and Venice — one of the so-called ‘big three’. Attendance is huge, with 300 features shown over the twelve days. But, despite its importance as a market for the off-beat and the unconventional, Berlin has always had difficulty in attracting major new features for its competition. Many producers prefer to hold back their films in the hope they can be accepted into the more prestigious com petition in Cannes three months later, and the Cannes selection committee has been known to take advantage of its position by withholding final decisions until after the Berlin entry date has passed. Given this tension between the two Festivals, it is odd that the French participa tion In Berlin each year should be so out standing. This year, there were two-and-ahalf films from France, the half being JeanLuc Godard’s Je vous salue, Marie (Hail Mary), which was officially flying the Swiss flag. It arrived trailing controversy, since its updating of the story of the virgin birth had so scandalized some local authorities in France that they have tried to ban it.
10 — May CINEMA PAPERS
Maybe you have to be raised a Catholic to appreciate the nuances of this slight, mildly amusing tale of the virginal Mary (Myrlem Roussel), who refuses to allow her boyfriend, Joseph (Thierry Rode), to sleep with her but who, after a chaste encounter with Gabriel (Philippe Lacoste), finds herself mysteriously pregnant, later giving birth to a son who grows into an alarmingly knowing and cheeky kid. Nothing very censorable about that, surely, unless it Is the way Godard has his camera continually caress the naked body of his young heroine as if It were an unseen lover. Michel Deville’s Peril en la demeure (Danger in Delay) had its fair share of eroticism, too, but on the whole integrated It more successfully into the plot, which con cerns David (Christophe Malavoy), a young music teacher living In a provincial town, who is hired to tutor a pretty teenage girl (Anais Jeanneret). He is soon enjoying a passionate clandestine affair with his pupil’s mother (Nicola Garcia), only to discover that their love-making is being recorded on videotape. The plot is resolved in murder and mayhem, but not before Deville has contrived a deliciously sleek and amusing entertainment, often genuinely erotic.
Far out: A lby Mangels, the lovely Judy Green and friends in World Safari II (now retitled as Restless — The Adventure o f a Lifetime). Anthony Buckley’s Bliss among others. Hoyt’s Managing Director Terry Jackman and General Manager Jonathan Chesslck were there, as well as Fllmways Austra lasian Distributors’ Robert Ward and Mark Josem, who came with World Safari II, which ranked as one of the Market’s most crowded screenings. The films at the Market were, as always, a mixed bag, ranging from the absurd Pia Isadora starrer, When the Rain Begins to Fall (formerly known as Invasion of the Rock Aliens), to the sombre Cal, a romantic thriller set in Northern Ireland. The corridors of the multi-screened Beverly Cineplex, where the screenings were held, looked less crowded than in previous years, but the elevators at the Hyatt on Sunset were still jammed. There were the usual social events — an opening-night party called ‘A Space Walk’, . with plenty of food and plenty of fulsome actress Edie Williams, and a closing-night fifth birthday celebration at the Beverly Hilton. . All of this provided some lighter moments at the Market. But make no mistake: the AFM is not a social function nor a film festival. It is about buying and selling English-language films for overseas markets, and this year, it fell short. On to Cannes and MIFED.
that there is an addition to the group — a rather Intense young man called John (Tim Mclnnerny). Jean assumes he came with one of the other couples; they assume she Invited him. Next day, John returns to Jean’s house and, while she Is making tea for him, calmly shoots himself. Hare teases the viewer by returning again and again to the dinner party, but including a little more information each time, so that what we assumed at the beginning was a perfectly normal evening becomes gradually charged with tension and mystery. But this plot device is only the starting point for a pointedly critical study of some aspects of British society in the eighties — a place where no one, from politicians on downwards, seems capable of telling the truth, and where true feelings are never easily revealed. It’s a deeply pessimistic and painful film, but clearly a work of integrity and insight, and a remark able debut for a new director. The jury awarded its Silver Bear to the beautifully made, if rather lugubrious, Hun garian film, Skirmok, viragok, kosoruk (Flowers of Reverie), directed by Laszlo Lugossy, with Robert Benton getting Best Director for Places in the Heart. This was really no surprise, nor was the award for Best Actor to Fernando Fernan Gomez, star of the engaging Spanish comedy, Stico, directed by Jaime de Arminan. Fernan Gomez plays a respected academic who has fallen on hard times, and offers himself as a slave to a wealthy businessman, insist ing the relationship follow the customs of Roman times. It seems an unpromising subject, yet Arminan infuses it with cheerful humour and manages to make a significant statement about the value of liberty. More unexpected, although very wel come to the Australians in Berlin, was the award for Best Actress to Jo Kennedy for her performance In Ian Pringle’s Wrong World. When considering the significance of this decision, it should be remembered
Joan L. Cohen
The jury, headed by the veteran French actor, Jean Marais, by-passed both these films, however, and gave only the most token of mentions to the third French feature, Les enfants (The Children), directed by Marguerite Duras, with assist ance from some disputed contributors (Jean-Marc Turine and Jean Mascolo). In the end, the Golden Bear was shared between two films: Die Frau und der
Fremde (The Woman and the Stranger), an old-fashioned East German romance directed by Rainer Simon, and Wetherby, a new British film which marks the cinema debut of playwright David Hare. The German film is set during World War I and concerns two friends who are prisoners-of-war. One is married, and passes the time by telling his mate intimate details about his wife. When the friend manages to escape, he heads for the town where the wife is living, and almost immedi ately the two become lovers. News comes of the husband’s death but, in the great tradition of this kind of movie, he survives to return at the worst possible moment. It’s s very conventional movie, though Kathrir Waligura is radiant as the wife. Wetherby, set in the small Yorkshire town of the title, concerns a lonely middleaged scho olte ach er, Jean Travers (Vanessa Redgrave), who hosts a dinner party one evening for two couples who are friends. Everything seems normal, except
Vanessa R edgrave’s daughter, Joely Richardson, who plays the young Jean Travers (played as an adult by Ms Red grave) in Wetherby. that, in addition to Marais, the jury included two distinguished actors (Sweden’s Max von Sydow and Italy’s Alberto Sordi), and that Kennedy was competing with Sally Field (Places in the Heart), Diane Keaton (Mrs S o ffe l), V a n e s s a R e d g ra v e (Wetherby) and others. As a spaced-out drug addict who joins a disenchanted ex doctor (Richard Molr) — also an addict — on a drive across Victoria, Kennedy does, Indeed, give a luminously good per formance.
David Stratton
News Plus
Foreign money to the fore in Budapest Indian Panorama Makes the Delhi Festival Worthwhile Co-production finance dilutes the tone of this year’s Hungarian Festival Hungarian cinema has acquired an envi able reputation over the past few years for being able to look very closely at its own society and be severely critical of what it sees. Films like Marta Meszaros’s Diary (Naplo, 1983) and Pal Gabor’s Angi Vera (1978) gave a chilling analysis of the com promises necessary to stay alive under Stalinism, and Karoly Makk’s Another Way (Egymasra nezve, 1982) used lesbianism as a metaphor for ‘deviancy’ from the social norms of the fifties. Films like these were savagely accusatory of a recent past in a way which hardly ever seems possible in the West, let alone in a country run as a single-party state. By general consensus among the critics assembled at the Hungarian Film Festival in Budapest — a chilly place in February — such trenchancy was largely missing from this year’s crop of films. The opening night film was Andras Kovacs’s The Red Countess (A Voros Grosno), a flaccid costume piece about the liberal politician, Count Karolyi, who was Hungary’s care taker President in 1918. The film, however, was more interested in veteran cars and large ballroom set-pieces than in political analysis, and it set the tone for much of what followed. Of the many reasons for this apparent marking-time, the most plausible seems to be the current mania for co-pro ductions with other European countries — something which leads to an inevitable watering-down of local commitment, and to the bland presence of international stars such as Christopher Plummer, who appeared in Makk’s Lily in Love (Jatszani
Kell) Only one film could be said to have demonstrated true excellence of an inter national standard, and that was Istvan Szabo’s Colonel Redl (Redl Ezredes). Loosely based on John Osborne’s play, A Patriot for Me, it casts Mephisto's star, Klaus Maria Brandauer, as the officer who rises fast through the ranks of the army in the pre-1914 Austro-Hungarian empire. Like Mephisto, it is a study of com promised honour and betrayal on the part of a man with an overreaching ambition; and, like Mephisto, the meteoric rise is suddenly cut short when Brandauer fetches up against an even bigger bastard than himself, in this case the Archduke Ferdi nand rather than Hermann Goering. It may well lack the international appeal of Szabo’s earlier film, because the setting is less wellknown than Weimar Germany. But Brandauer’s performance is magnificent, and the film’s portrayal of a society rotting at the seams is highly convincing. There are several sidelong glances at anti-semitism in Colonel Redl, and this proved to be an emergent theme in many of the films on view. The best of these was a documentary by Gyula Gazdag, The Package Tour (Tarsasutazas), which fol lowed a Hungarian coach trip to Auschwitz by some of its wartime survivors. As a subject, it has a certain built-in success factor: the uncontained grief of these people seems inevitable, though none the less moving. But, while the camera’s presence often proved unbearably intrusive upon its subjects’ emotions, there was a far more telling interview, intercut with the journey, from a woman forced to stay at home, thanks to a recurrent illness brought on by the attentions of the camp doctor. She spoke in tranquil recollection about the arbitrary nature of the death queues, and who might or might not Survive the ovens. Because of her coolness and her distance, it is her I shall remember when the agony of the visitors is long forgotten. Peter Bacso’s aberrantly titled What’s
the Time, Mister Clock? (Hany az ora, Vekker ur?) was the film with the most evidently
Jewish
subject.
Set
in
the
Hungary of the last war, its hero is an in offensive Jewish watchmaker who is thrown into the town’s gymnasium along with other ‘undesirables’. Since he has an innate ability to tell the exact time without recourse to a clock, he becomes the group’s most valued member, rising to become an embodiment of the civilization that has been left behind. Like Bacso’s previous The Witness (A Tanu), the film chooses to deal with largescale social horror by means of black farce; and, like that film, it raises problems of response. One takes it on trust from a Hun garian that farce may well be the best way to portray the Stalinist show trials, as Bacso did in The Witness; but the deployment of humour over the Nazis’ final solution seems far less comfortable: when hell rises up from beneath the earth, laughter hardly seems appropriate. Nevertheless, the film does tread the narrow line of taste with a perfect sense of balance. Jews are also the two protagonists of Peter Gardos’s The Philadelphia Attrac tion (Uramisten), a small, attractive yarn about a budding circus escapologist who prefers to enter people’s apartments by the window rather than the door. He spends the film trying to persuade a crusty old man to pass on his secret of how to survive in suspended animation inside a block of ice and then break free. Quirky character izations help an off-beat theme. Quirky also is Andras Jeles’s The An nunciation (Angyali udvozlet), a film of a locally famous nineteenth-century epic verse drama in which the Devil scoops up Adam and Eve for a guided tour of history. Performed by a chorus of blank-faced
Updated rituals: Annunciation.
Andras
Jeles’s
The
twelve-year-old children, the film exerts a powerful sway in much the same way as early Jancso or Straub: the witnessing of arcane ritual whose significance is a mystery can often be strangely comforting. Laszlo Szabo’s Volley for a Black
Buffalo (Sortuz egy fekete bivalyert) uses the infallible trick of seeing its subject through the eyes of children, laying bare the devices and desires of village life in Hungary immediately after World War II. Jean-Louis Trintignant and Jean Rochefort, as two lugubrious luminaries of the village who are forever playing chess, prove to be a happier result of co-production money than any other example of this year’s unfor tunate habit. Karoly Makk’s Lily in Love, for example, proved especially disastrous, with Christopher Plummer and Maggie Smith looking like they had stepped in from a particularly wan Melvin Frank comedy that couldn’t afford Glenda Jackson and George Segal. /
Chris Peachment
Some surprising prizes in the competition, hut the side-bars offer more of a feast
The tenth International Film Festival of India, held in Delhi in January, was the biggest to date. During its two week run, some 150 recent overseas features were screened, 23 of them in competition. The usual Information and Market sections were supplemented by a section of documen taries, a collection of 16 mm black American films, a package of Latin Ameri can films, and a series of Indian and foreign retrospectives. In fact, in its enthusiasm to pack in such a wide-ranging programme, Delhi clearly over-extended itself in admin istrative terms — a problem compounded by the distances between the various screening venues. Interestingly enough, the opening-night film was an old foreign one, Jules et Jim; but here, the Festival was honouring Francois Truffaut. Jeanne Moreau paid a moving tribute, and ended up stealing the show for the night, despite a large turn-out of stars from Bombay. It is the Indian Panorama which is the Festival’s main attraction, however, since it brings together the year’s best films from around the country. Twenty-one of them were screened this year, most of them (including India’s competition entry, Govind Nihalani’s Party) in Hindi. In Party, Nihalani turns his attention from themes of social oppression and political corruption to the hypocrisy and intellectual posturings of the urban upper class. Sadly, the result is a series of wordy discussions on art, politics and social commitment, with the film ’s drawing-room intellectuals exposed for what they are when the news arrives that the only one among them who has dared become politically active has been murdered. Nihalani’s treatment is too claustrophobic, and the ending too melo dramatic. There are, moreover, more vital issues for a socially-committed filmmaker to address than the cocktail chatter of a minority. One of these is the continuing exploit ation of the “ Harijans” (Untouchables). Goutam Ghose's moving film Paar (Crossing), depicts the plight of one such couple, who are driven from their village by the tyranny of the landlords, but are unable to earn a living in the equally heartless city. To raise the train fare home, they must ferry a herd of swine across the Ganges. This sequence is the film's high point; but, although the pace slackens in the second half, the interest never wanes, being kept alive by excellent performances from Shabana Azmi and Naseeruddin Shah (who won an award for this role in Venice). The persecution of farm labourers is examined in greater depth and detail by Prakash Jha in Damul (Death by Hanging). Jha provides a vivid account of how human bondage is perpetuated by a feudal system of trumped-up charges, protection and manipulation. For a director whose first effort was a fun film, Hip Hip Hurray, Jha has shown that he can be taken seriously. The blue-eyed boy of India’s new wave cinema, Kumar Shahani, however, came up with a highly over-rated film on the clash between the working class and the industrial establishment. Tarang (Wages and Profits) tells the story of an unscrup ulous businessman who uses the widow of one of his employees to gobble up his father-in-law’s empire, while giving the impression of being an enlightened employer. Other than a superficial gloss
and K.K. Mahajan’s impressive camera work, it has little to distinguish it; and the dream sequence tagged on at the end is an irrelevant and contrived piece of amateur ism. By contrast, the Malayalam film, Mukhamukham (Face to Face), by Adoor Gopalakrishnan, the most consistently creative among India’s modern filmmakers, is an unforgettable portrait of a political hasbeen — a trade union firebrand turned alcoholic, following a split in the Communist Party of India. The curious change in his character is never explained, and the film's sophisticated structure is concerned more with exploring the disenchantment of the individual and the failed expectations of his family and community. When the man is killed in mysterious circumstances, only the memory of his leadership survives. Among the other Panorama films, Ketan Mehta’s Holi — a workshop film made with Film Institute students — is a vigorous dramatization of a student revolt ending in tragedy, it has some interesting innovative touches, especially its use of music and the long, uninterrupted shots, but it paints an unconvincing picture of the students as a bunch of rowdies who have never heard of a college union. And in Saeed Mirza’s
Mohan Joshi haazir ho (Summons for Mohan Joshi) — an angry diatribe against the legal system, about a common man’s attempt to have his crumbling tenement repaired — the measured pace of the satire turns out to be an endurance test in itself, it is often relieved, however, by amusing glances at human quirks and the legal profession. On the competitive side, the Jury, chaired by Jeanne Moreau, gave the Golden Peacock to two films, The Bostonians (UK) and Ruthless Romance (U.S.S.R.), both visually appealing, authen tically mounted period pieces. The Bos tonians also took the Best Actress Award, shared by Vanessa Redgrave and Madeline Potter. The prize for Best Direction went to Sadao Nakajima for Jo No Mai (Appas sionata, Japan), a beautifully photo graphed but overlong and melodramatic narrative about a woman struggling against tradition, prejudice and sexual exploitation. Equally puzzling was the winner of the Special Jury Prize, Gyula Maar’s Hungarian film, Felhojatek (Passing Fancy), a confusing comedy about an eccentric who becomes temporarily involved in the extra marital affairs of a long-lost friend. The F.I.P.R.E.S.C.I. Prize, given by the international film critics, went to two more deserving films: Brazil’s Memorias do Carcere (Memories of Prison), a powerful indictment of authoritarianism and political repression by Nelson Pereira dos Santos (for which Carlos Vereza also won the Best Actor award); and Dan Pita’s Concurs (Contest) from Rumania, an essay in group therapy, in which the participants in an orientation race through a forest are shocked into a realization of their true selves. Besides these two, however, and Tomas Gutierrez Alea’s Hasta Cierto Punto (Up to a Certain Point) from Cuba, the only other notable entry in competition was Francesco Rosi’s Carmen. Coming on the eve of Berlin, Delhi fails to attract important competitive entries, especially since India does not offer a lucrative market for non English-language films. Australia participated with Silver City (in competition), Man of Flowers and Phar Lap. The general reaction to Sophia Turkiewicz’s film, however, was probably best summed up by a local journalist: “ We expected to see an Australian film, and all we got was just another love story.’’
Jimmy Hafesjee
CINEMA PAPERS May — 11
Australia a t Cannes 1985 The films Bliss Window III Productions. Produced by Anthony Buckley. Directed by Ray Lawrence. Written by Ray Lawrence and Peter Carey. With Barry Otto, Lynette Curran, Helen Jones, Tim Robertson.
Throughout history, many great artists have tried to imagine the tortures of -hell. Rarely, however, have these crea tive exercises produced an image of the abyss as a place where an elephant has the audacity to sit on one’s car. Represented by Anthony Buckley, Ray Law rence and the New South Wales Film Corpora tion.
BMX Bandits BMX Bandits Productions. Produced by Tom Broadbridge and Paul Davies. Directed by Brian Trenchard-Smith. Written by Patrick Edgeworth. With David Argue, John Ley, Bryan Marshall, Angelo d'Angelo, James Lugton, Nicole Kidman.
An action-packed and high-spirited chase film that pits a trio of daredevil adolescents against a group of menacing but hapless thugs. Represented by Tom Broadbridge.
The Boy Who Had Everything
Careful, He Might Hear You
Alfred Road Films. Produced by Richard Mason and Julia Overton. Directed and written by Stephen Wallace. With Jason Connery, Diane ¿¡lento, Caz Lederman, Laura Williams, Lewis Fitz-Gerald. Ian Gilmour.
A Syme International/New South Wales Film Corporation Production. Produced by Jill Robb. Directed by Carl Schultz. Written by Michael Jenkins. With Wendy Hughes, Robyn Nevin, John Hargreaves, Nicholas Gledhill, Peter Whitford, Geraldine Turner.
Set in 1965, the film traces the college experiences of an affluent and glamorous student who strives for self expression and the assertion of his identity. Elis inner conflict is placed within the context of the far-reaching social changes of that turbulent decade.
This lavish period melodrama scooped eight prizes at the 1983 Australian Film Institute Awards, including Best Film. In the United States it has already grossed over half a million dollars, and it is available for sale to European territories, excluding the United Kingdom.
Represented by the New South Wales Film Corporation.
Represented by the New South Wales Film Corporation.
12 — May CINEMA PAPERS
Above, Honey (Helen Jones) talks Karma to Harry (Barry Otto); and, top left, Sarah de Teliga as the Vision Splendid: two scenes from Ray Lawrence’s Bliss. Below, left to right, Marc Wignall, Michael Gow and Jason Connery in The Boy Who Had Everything; the ubiquitous Nicole Kidman in BMX Bandits; and Nicholas Gledhill as PS in Careful, He Might Hear You.
The Coca-Cola Kid Grand Bay Films Inc. Produced by David Roe. Directed by Dusan Makavejev. Written by Frank Moorhouse. With Eric Roberts, Greta Scacchi, Bill Kerr, Tim Finn, Chris Haywood, Max Gillies.
The colourful saga of a brash young troubleshooter sent down under by the parent company to clean up its opera tions in the outlying territory. In the process, he encounters a variety of puzzled executives, a feisty secretary, several lively examples of outback hospitality and a crusty capitalist who steadfastly refuses to surrender his empire to the avaricious multi national. Represented by David Roe and the Australian Film Commission.
Emoh Ruo Palm Beach Pictures. Produced by David Elfick. Directed by Denny Lawrence. Written by Denny Lawrence and Paul Leadon. With Joy Smithers, Martin Sacks, Max Phipps, Philip Quast, Louise Le Nay, Genevieve Mooy.
The story of a young couple who trade their caravan park existence for the dubious pleasures of a jerry-built bijou residence in outer suburbia. Emoh Ruo (Our Home spelt back wards) is a comedy of errors and life styles. Represented by David Elfick, Joy Smithers, and the Australian Film Commission.
The Empty Beach Jethro Films. Produced by John Edwards and Timothy Read. Directed by Chris Thomson. Written by Peter Corris and Keith Dewhurst. With Bryan Brown, Anna Maria Monticelli, Belinda Giblin, Kerry Mack, Ray Barrett.
Supersleuth Cliff Hardy is set on the trail of a man who went missing. The case lets the detective loose on the high life of Sydney and some of its seedier elements . . . dubious politicians, veterans of the mean streets and the crime lords who govern them. Represented by Rea Francis.
Fran Barron Films. Produced by David Rapsey. Directed and written by Glenda Hambly. With Noni Hazlehurst, Alan Fletcher, Danny Adcock, Annie Byron, Colin McEwan.
A young mother living on the limited resources of a welfare cheque battles to create a fulfilling existence for herself and her family. Represented by Tom Broadbridge.
Above, Greta Scacchi and Eric Roberts at play in The Coca-Cola Kid; top left, Max Gillies as the head o f Coca-Cola Australia; left, Joy Smithers and Martin Sacks in Emoh Ruo. Below left, Bryan Brown drags Nick Tate’s body from the sea in The Empty Beach; and, below, Noni Hazlehurst in the title role o f Fran.
CINEMA PAPERS May — 13
Morris W est’s The Naked Country Naked Country Productions. Produced by Ross Dimsey. Directed by Tim Burstali. Written by Ross Dimsey and Tim Burstali. With John Stanton, Rebecca Gilling, Ivar Kants, Tommy Lewis.
A determined farmer in the north of Queensland finds himself locked into a bitter battle with a local Aboriginal tribe over rights to his land. In the ensuing and often violent struggle, he finds that he is pursuing his dream of a prize-winning herd grazing on acres of his own hard-won land at the expense of his family. Represented by World Film Alliance.
My First Wife Dofine Productions. Produced by Jane Ballantyne and Paul Cox. Directed by Paul Cox. Written by Paul Cox and Bob Ellis. With Wendy Hughes, John Hargreaves, Lucy Angwin, David Cameron, Anna Jemison.
A dramatic depiction of the collapse of a marriage and its effect on both partners, their young daughter, their parents and their friends. Represented by Jeanine Seawell.
Niei Lynne Niel Lynne Productions. Produced by Tom Burstali. Directed by David Baker. Written by David Baker and Paul Davies. With Sigrid Thornton, Paul Williams, Judy Morris, Brandon Burke, David Argue.
An exploration of the lives of two boy hood friends from the heady days of the late sixties to the early eighties. The film follows them through troubled romances, activist days at university, conscription to the Vietnam war and bohemian communal living in Mel bourne’s inner suburbs.
Top row, left to right, Sigrid Thornton and Paul Williams in Niel Lynne; Ivar Kants as the policeman in Morris W est’s The Naked Country; above, King o f the City and, right, the family gathered (Bill Kerr in the foreground) in Relatives; below, Wendy
King of the City VTC Productions in association with MPR Pro ductions. Produced and directed by Norman Thaddeus Vane. Written by Blue McKenzie and Norman Thaddeus Vane. With Tony Curtis, Tom Parsekian, Michael Parks, Dee Wallace, Kristine Debell.
Represented by David Baker, Gilda Baracchi, Rea Francis and the Australian Film Commis sion.
Relatives Archer Films. Produced by Henri Safran and Basil Appleby. Directed and written by Anthony Bowman. With Ray Barrett, Bill Kerr, Carol Raye, Rowena Wallace, Norman Kaye, Jeanie Drynan.
The City is the hottest nightclub in Hollywood. A young ex-rodeo star attracted by the bright lights arrives in town with aspirations to make his mark on the film industry. In the process of working his way up from valet at the glamorous nightspot, he falls in love with a budding starlet with equally burning ambitions. Musical score by Frank Musker, Michael Sembello and Dominic Bugatti.
The S o u th erly fam ily , whose chequered history stretches back four gen eratio n s to the A u stralian squattocracy era, reunite to celebrate the 80th birthday of Grandfather Southerly. The momentous occasion becomes an arena for squabbles, alliances and revelations.
Represented by World Film Alliance.
Represented by Tom Broadbridge.
38eFESTIVAL INTERNATIONAL DU FILM
Restless — The Adventure of a Lifetime
2084
A World Safari Production. Produced and directed by Alby Mangels. Commentary written by Ken Ross. With Alby Mangels, Judy Green, Viktor Breglec.
Lorca Productions. Produced by Michael Guest. Directed by Roger Christian. Written by Michael Guest. With John Tarrant, Donogh Rees, Cassandra Webb, Deep Roy.
A sequel to the 1975 documentary, World Safari, Restless featured in the American Film Market in March. In this particular adventure, the Dutchborn producer/director covers out back Australia, Papua New Guinea, Thursday Island and Central and South America.
Shot on location in Australia, with post production at Pinewood Studios in London, this science fiction adven ture charts the heroic exploits of Lorca, a young rebel who challenges the tyrannical ruler of the desert planet, Ordessa. As Lorca attempts to gain access to the starship Redwing, in order to escape from the planet with a group of fellow dissidents, the music of Genesis supplies a suitably evocative accompaniment.
Represented by World Film Alliance, Alby Mangels and Andrew Ward.
Robbery Under Arms South Australian Film Corporation Films. Pro duced by Jock Blair. Directed by Ken Plannam and Donald Crombie. Written by Tony Morphett and Graeme Koetsveld. With Sam Neill, Steven Vidler, Christopher Cummins, Ed Devereaux, Liz Newman.
A rollicking tale of two brothers who tire of eking out an uncertain life on the land and join forces with the legendary bushranger, C aptain Starlight. Represented by Andy Plybala and Bernard Kingham.
Silver City Limelight Productions. Produced by Joan Long. Directed by Sophia Turkiewicz. Written by Sophia Turkiewicz and Thomas Keneally. With Gosia Dobrowolska, Ivar Kants, Anna Jemison, Steve Bisley, Debra Lawrence.
Illustrated, anti-clockwise from top right: Lorca and the Outlaws (formerly 2084); Restless (formerly World Safari II); Sam Neill in Robbery Under Arms; the women get their first glimpse o f Australia in Silver City; Gordon Poole (left) and Grant Navin in Tail o f a Tiger; and (below) Berlin award-winner Jo Kennedy in Wrong World.
An unexpected meeting between two travellers on an interstate train leads to a reminiscence of the past. Both were European refugees who arrived in Australia carrying only dreams and passports at the end of World War II. Together, they retrace their lives, from arrival in the migrant camps to the incidents that shaped their lives in their new homeland. Represented by Jeanine Seawell.
(Lorca and the Outlaws)
Represented by World Film Alliance, Roger Christian and Michael Guest.
Wrong World Seon Film Productions. Produced by Bryce Menzies. Directed by Ian Pringle. Written by Ian Pringle and Doug Ling. With Richard Moir, Jo Kennedy, Nic Lathouris, Robbie McGregor, Esben Storm.
A disillusioned doctor and a young drug addict meet in a mental hospital. Together, the two scrounge some money and hit the road. For her per formance as the rough and impulsive Mary, Jo Kennedy won the Best Actress award at the Berlin Film Festival. Represented by Jeanine Seawell and Ian Pringle.
The people Phillip ADAMS:
Chairman, Australian Film Commission. Contact through the Australian Film Commission office.
David BAKER
Director and executive producer, Niel Lynne. Contact through the Australian Film Commission office or Hotel Rue, 13-15 bd. de Strasbourg. 38.30.61. "
Gilda BARACCHI:
Tail of a Tiger The Producers’ Circle. Produced by James M. Vernon. Directed and written by Rolf De Fleer. With Grant Navin, Caz Lederman, Gordon Poole, Gayle Kennedy, Peter Feeley.
An amiable children’s film about tenyear-old Orville, a bespectacled outcast with the local gang, who discovers an old Tiger Moth aeroplane and con vinces its surly ex-pilot to restore the aircraft to its former glory. In the pro cess, a close friendship is born and the dreams of both characters are realized. Represented by Tom Broadbridge.
16 — May CINEMA PAPERS
Executive pro ducer, Niel Lynne. Contact through the Australian Film Commission office or Hotel Rue, 13-15 bd. de Strasbourg. 38.30.61.
Ray BEATTIE:
Chief executive, Filmât. Contact through the Australian Film Commission office..
Wilf BEAVER:
Representative, New South W ales G overnm ent office (London). Contact through the New South Wales Film Corporation office.
Christina BECCI: World
Film Alliance.
Sales executive, Representative,
2084, Restless — The Adventure of
a Lifetime, Morris West’s The Naked Country, King of the City Contact through the World Film Alliance office.
Tom BROADBRIDGE:
Representa
tive, Fran, Relatives, BMX Bandits, Tail of a Tiger. Contact through the Australian Film Commission office or 5th Floor, Paris Lumiere, 1 rue Henri Ruhl.
Anthony BUCKLEY
Producer,
Bliss. Contact through the New South Wales Film Corporation office.
Stewart CHILTERN:
M anaging director, J.C. Williamson Film Distri butors Pty. Ltd. Representative, The
Boy Who Had Everything, Niel Lynne. Contact through the Australian Film Commission office or Hotel de Paris, 34, bd. d ’Alsace. 38.30.89.
Australian Film Commission Penthouse, Residence Festival, 52 La Croisette. 39.83.21, 39.83 34.
Danny COLLINS:
Marketing execu tive, New South Wales Film Corpora tion. Contact through the New South Wales Film Corporation office.
Guy COLLINS Film Alliance.
Chief executive, World Representative, 2084,
Morris West’s The Naked Country, King of the City, Restless — The Adventure of a Lifetime Contact through the World Film Alliance office.
P eter COLLINS:
S e n io r v ic e p re s id e n t, sa le s an d fin a n c ia l administration, World Film Alliance. Chief executive, MPR Productions. Representative, 2084, Morris West’s
The Naked Country, King of the City, Restless — The Adventure of a Lifetime. Contact through the World Film Alliance office.
Kiki DIMSEY:
Representative, Naked Country Productions. Contact through the World Film Alliance office or Hotel Splendid, 4-6, rue Félix Faure. 99.53.11.
Ross DIMSEY:
Producer,
Morris
West’s The Naked Country Contact through the World Film Alliance office or Hotel Splendid, 4-6 rue Félix Faure. 99.53.11.
David ELFICK
Producer, Emoh Ruo. Contact through the Australian Film Commission office.
Rea FRANCIS:
Representative, Niel Lynne, The Empty Beach Contact through Hotel Majestic. 68.91.00.
Richard GUARDIAN:
North Ameri can representative, Australian Film Commission. Contact through the Aus tralian Film Commission office.
Michael GUEST:
Producer, 2084. Contact through the World Film Alliance office.
Gary HAMILTON:
European/U.K. representative, Australian Film Commis sion. Contact through Australian Film Commission office.
John HANRAHAN:
Representative, The Sydney Sun, Hollywood Reporter. Contact through the Australian Film Commission office.
Jim HENRY:
Australian World Market ing, for the South Australian Film Cor poration. Contact through the Australian Film Commission office.
Ivan HUTCHINSON:
Representative, Sun News Pictorial. Contact through the Hotel Regina, 31 rue Pasteur. 94.05.43. '
Andy HYBALA:
Representative, ITC Entertainment (London). Representa tive, Robbery Under Arms, Winners Contact through Sofitel Méditerranée, 2 bd. Jean-Hibert. 99.22.75.
Terry JACKMAN:
Representative, Hoyts International. Contact through Gordon Steel, Carlton. 68.91.68.
M a rk J O S E M
President, World Film
The screening times for the following films were confirmed at the time of going to press:
Fran
N ew South Wales Film Corporation Apartment 108, Residence Festival, 52 La Croisette. 39.82.38, 39.83.06.
World Film Alliance Apt. 3E, Le Jardin de la Croisette and Carlton. 68.91.68.
IT C Entertainment Sofitel Méditerranée, 2 bd. Jean-Hibert. 99.22.75.
Roger CHRISTIAN
Director, 2084. Contact through the World Film Alliance office.
The screenings
J.C, Williamson Film D istributors Pty. Ltd. Hotel de Paris, 34 bd. d’Alsace, 38.30.89. Alliance. Joint managing director, Filmways. Representative, 2084, Morris
West’s The Naked Country, King of the City, Restless — The Adventure of a Lifetime. Contact through the World Film Alliance office or Carlton. 68.91.68.
Bernard KINGHAM:
Deputy chief executive, ITC Entertainment (London). Representative, Robbery Under Arms, Winners. Contact through Sofitel Méditerranée, 2 bd. Jean Hibert. 99.22.75.
Ray LAWRENCE
Director, Bliss. Contact through the New South Wales Film Corporation office.
Sylvie Le CLEZIO
Co-producer, The Coca-Cola Kid. Contact through the
Australian Film Commission office.
Bob LEWIS:
President, Australian Film Office (Los Angeles). Contact through the New South Wales Film Corporation office.
Les LITHGOW:
Executive producer,
The Coca-Cola Kid. Contact through the H otel M o n tfle u ry , Beauséjour. 68.91.50.
25
ave.
Joy SMITHERS:
Actress, Emoh Ruo Contact through Australian Film Com mission office.
David STRATTON:
Representative, Variety and commissioner of the Austra lian Film Commission. Contact through Le Josefa Apts. 7 rue du 14 Juillet.
Clive TURNER:
Marketing director, Australian Film Commission. Contact through Australian Film Commission office.
Friday 10 May, 3.30 pm, Palais Croisette, Salle Jean Cocteau Monday 13 May, 9.30 am, Palais Croisette, Salle Jean Cocteau Saturday, 18 May, 5.30 pm, Palais Croisette, Salle Jean Cocteau
King of the City Monday 13 May, 10.00 am, Les Am bassades Tuesday 14 May, 2.00 pm, Olympia Friday 17 May, 10.00 am, Olympia
Lorca and the Outlaws (formerly 2084) Sunday 12 May, 8.00 pm, Olympia Friday 10 May, 4.00 pm, Les Ambassades Wednesday 15 May, 8.00 pm, Olympia Morris West’s The Naked Country Sunday 12 May, 8.00 pm, Olympia Monday 13 May, 6.00 pm, Les Am bassades Wednesday 15 May, 2.00 pm, Olympia
Restless — The Adventure of a Lifetime Tuesday 14 May, 10.00 am, Les Am bassades Saturday 11 May, 4.00 pm, Les Am bassades Thursday 16 May, 2.00 pm, Olympia
Robbery Under Arms Wednesday 15 May, 9.30 am, Olympia 7
Andrew WARD:
Co-producer, Rest less — The Adventure of a Lifetime
Contact through the World Film Alliance office or Villa Saint Vianney, 16 bd. SadiCarnot, Le Cannet, 45.41.29.
Robert WARD:
Senior vice president, Marketing and Production, World Film Alliance. Joint Managing Director, Filmways. Representative, 2084, Morris
West’s The Naked Country, King of the City, Restless — The Adventure of a Lifetime
Kim WILLIAMS:
Chief executive, Aus tralian Film Commission. Contact through the Australian Film Commission office.
The following films will screen at Salle 7, Les Ambassades from 9-19 May. Screening times to be announced:
The Boy Who Had Everything Emoh Ruo The Empty Beach My First Wife Niel Lynne Silver City Wrong World
Alby MANGELS:
Director, Restless — The Adventure of a Lifetime Con
tact through Villa Saint Vianney, 16 bd. Sadi-Carnot, Le Cannet. 45.41.29.
Natalie MILLER:
Distributor, exhibitor, producer, representative Sharmill Films. Contact through Gray D’Albion Hotel, 38 rue des Serbes. 48.54.54.
Matthew ODY:
General manager, J.C. Williamson Film Distributors Pty. Ltd. Representative, The Boy Who Had Everything, Niel Lynne Contact through the Australian Film Commission office or Hotel de Paris, 34 bd. d ’Alsace. 38.30.89.
James PARSONS:
Sales manager, Atlab Australia. Contact through Hotel Vendôme, 37 bd. d ’Alsace. 38.34.33.
Ian PRINGLE:
Director, Wrong World. Contact through Jeanine Seawell.
John REID:
Representative, Reid and Puskar. Contact through Belle Plage, 6 rue Dolfus. 38.08.12.
Nick RODDICK:
Editor, Cinema P apers. C o n ta ct th ro u g h Hotel Acapulco, 16 bd. d ’Alsace. 99.16.16.
David ROE
Producer, The Coca-Cola Kid. Contact through the Australian Film
Commission office.
Jeanine SEAWELL:
Seawell Films. Contact through Residence du Grand Hotel, 3rd floor, 47 La Croisette. 38.00.03, 38.00.16.
Malcolm SMITH:
General manager, Australian Film Commission. Contact through Australian Film Commission office.
New Zealand at Cannes 1985 After last year’s record of nine films, the New Zealand film industry has gone four better at Cannes this year, with a total of thirteen films on offer in the market (though two were in the 1984 package, and a third is also making a comeback in a re-edited version). What the New Zealand Film Commission doesn’t have this year is a film in competi tion — something which undoubtedly helped give the 1984 campaign a focus. The general feeling, though, is that Vigil, last year’s competition film, has served its purpose — to prove the New Zealand film industry has come of age. Ironically, the past twelve months have been among the most crisis-ridden since feature filmmaking really got under way in New Zealand in the late seventies. As a kind of parting shot, the Muldoon Govern ment dropped the tax concessions which had made filmmaking financially attractive. And, though the government has since changed — doing wonders for the country’s international profile: not since the Hawkes Bay earthquake has the world’s press given so much coverage to New Zealand as it has to Prime Minister Lange’s tussle with the Reagan administration — the future still looks problematic for the country’s film industry. What this has meant is that New Zealand producers have, on the whole, been obliged to be less cautious than Lange about letting in foreigners; and a fair
number of this year’s films have offshore names in their credits: Cliff Robertson and Leif Garrett in Shaker Run; Eleanor David and Nigel Terry in Sylvia; John Gielgud and Jane Birkin — now there’s a pairing — in Leave All Fair Opinions, of course, vary on whether international co-productions will help or hamper the New Zealand film industry. But it is heartening to see that, after the dire warnings of last year, the Commission is back on the Croisette in force in 1985.
The films Came a Hot Friday Mirage Films. Produced by Larry Parr. Directed by Ian Mune. Written by Ian Mune and Dean Parker (based on the novel by Ronald Hugh Morrieson). With Peter Bland, Philip Gordan. Michael Lawrence, Billy T. James, Marshall Napier.
Already sold to Orion Classics in the U.S., Ian Mune’s Came a Hot Friday promises to be the jewel in this year’s Kiwi crown. The story of a couple of small-time crooks caught up in the ten sions and peculiarities of a rural-New Zealand community in the late forties, it will be — if a visit to the location is anything to go by — a zany, over-thetop comedy with a number of memorable performances. CINEMA PAPERS May — 17
Constance Mirage Films. Produced by Larry Parr. Directed by Bruce Morrison. Written by Jonathan Hardy and Bruce Morrison. With Donogh Rees, Shane Briant, Judie Douglass, Martin Vaughan.
One of the highlights of last year’s market and a Taormina prizewinner in July 1984, Constance has already opened to good reviews in the U.K., and has been sold to Spain (theatrical) and Australia (theatrical and video). Set in Auckland in the post-war years, it tells of a young woman’s disastrous love affair with Hollywood, herself and the impossible dreams of high fashion. With Donough Rees’s electri fying performance in the title role, Constance is a melodrama of style and distinction.
Death Warmed Up Tucker Films. Produced by Murray Newey. Directed by David Blyth. Written by Michael Heath and David Blyth. With David Hurst, Margaret Umbers, Morelle Scott, David Letch.
Well received at the London Film Festival and winner of the Grand Prix at the International Science Fiction and Fantasy Film Festival in Paris, David Blyth’s Death Warmed Up has so far delighted and disgusted viewers in about equal numbers. A stylish horror movie about brain transplants and other surgical goings-on, it sports a top-quality Dolby soundtrack and some very striking production design. It has already sold to the U.K., France, Australia, Spain, the Netherlands, South, East and West Africa, Mexico, Central America, Venezuela, Singa pore and Malaysia.
Kingpin Morrow Productions. Produced by Mike Walker and Gary Hannam. Directed by Mike Walker. Written by Mike Walker and Mitchell Manuel. With Junior Amiga. Mitchell Manuel, Niu Satele, Terence Cooper.
As the credits suggest, Kingpin is very much a labour of love by its producer/director/writer, Mike Walker, which has taken seven years to reach the screen. Set in the Kohitere Training School in Levin, an institution for young offenders, it comes in the wake of an earlier, 50-minute TV docu mentary, Kingi’s Story, although the project was actually planned before. It has a predominantly Maori cast, including Niu Satele, a member of the New Zealand team at the World Breakdancing Championship in New York (they won second prize).
A period drama from the prolific Grahame McLean — he also has Should I Be Good? in the market — The Lie of the Land is about a young widow whose small farm falls prey to the territorial ambitions of a neigh bouring land baron.
M r Wrong Produced by Gaylene Preston and Robin Laing. Directed by Gaylene Preston. Written by Gaylene Preston, Geoff Murphy and Graeme Tetley, based on a short story by Elizabeth Jane Howard. With Heather Bolton, David Letch, Margaret Umbers, Suzanne Lee, Gary Stalker, Philip Gordan. t *
Producer/director/w riter Gaylene Preston describes Mr Wrong, a strange tale of a woman who buys a haunted second-hand Jaguar, as a “ whimsical thriller and a ripping yarn — no sex, no violence: it’s basically about fear and the victim/predator relationship” . Preston, who spent six years in the U.K. studying art therapy, teaching drama and making Super-8 movies, has since worked as art director on Middle-Age Spread, produced and directed the documentary, Making Utu, and been ‘middle New Zealand co-ordinator’ for Patu!, the Springbok tour documentary. Mr Wrong is her first feature.
since Utu — with Pillsbury as writer and co-producer. It is a science fiction story about a scientist (Lawrence) who finds himself alone in the world after ‘The Effect’ — a tilt into the fourth dimension. Bored with living out his fantasies, he teams up with two other survivors in a quest to prevent The Effect recurring and annihilating them all.
Shaker Run Mirage Films. Produced by Larry Parr and Igo Kantor. Directed by Bruce Morrison. Written by James Kouf Jr., Henry Fownes and Bruce Morrison. With Cliff Robertson, Leif Garrett, Lisa Harrow, Shane Briant.
A distinct contrast to the previous films of both its director, Bruce Morrison (Constance), and its pro ducer, Larry Parr (Constance, Came a Hot Friday), Shaker Run is a high speed chase movie which involves a couple of down-on-their-luck Ameri can stunt drivers (Robertson and Garrett) who end up helping a young scientist (Harrow), when she stumbles on a plan to develop a deadly bio logical weapon. Real stars of the film, though, are the stunts and the epony mous Shaker, a pink and black Trans Am.
Sylvia Southern Light Pictures and Cinepro. Pro duced by Don Reynolds and Michael Firth. Directed by Michael Firth. Screenplay by Michael Quill, Ferdinand Fairfax and Michael Firth. With Eleanor David, Nigel Terry, Tom Wilkinson, Mary Regan.
Along with Came a Hot Friday and The Quiet Earth, Sylvia is one of the more eagerly-awaited of the new New Zealand features. Based on the life of writer and educator, Sylvia AshtonWarner — her novel, Spinster, was made into Two Loves by M-G-M (she called it “ a minor movie but a major disgrace” ) — the film stars Eleanor David, whose role in Bill Forsyth’s Comfort and Joy was one of the high lights of last year’s British film crop.
Should I Be Good?
Pallet on the Floor Mirage Films. Produced by Larry Parr. Directed by Lynton Butler. Written by Martyn Sanderson, Robert Rising and Lynton Butler (based on the novel by Ronald Hugh Morrieson). With Bruce Spence, Peter McCauley, Jlllian O’Brien, Marshall Napier, Terence Cooper.
The second Morrieson novel to be filmed — The Scarecrow was the first, Came a Hot Friday the third — Pallet on the Floor is back in re-edited form after screenings in the market at Cannes last year.
The Quiet Earth Capricorn Films International Limited. Pro duced by Sam Pillsbury and Don Reynolds. Directed by Geoff Murphy. Written by Sam Pillsbury and Bill Baer (based on the novel by Craig Harrison). With Bruno Lawrence, Alison Routledge, Peter Smith.
The Quiet Earth was to have been director Sam Pillsbury’s follow-up to his underrated thriller, The Scarecrow. After a two-year wait, it has turned into a Geoff Murphy film — his first
Fllmcraft Productions. Produced, written and directed by Grahame J. McLean. With Harry Lyon, Joanne Mildenhall, Hammond Gamble, Beaver, Spring Rees.
The second McLean feature is a thriller starring New Zealand rock singer, Hammond Gamble, as a musician who gets out of jail and ends up in a world of drugs, murder and intrigue.
The Silent One Gibson Films. Produced by Dave Gibson. Directed by Yvonne Mackay. Written by Ian Mune (from the novel by Joy Cowley). With Telo Malase, Pat Evison, Rongo Tupatea Kahu, Anzac Wallace, George Henare.
Last year’s South Pacific adventure story, about a deaf mute Polynesian boy and his friendship with a magical giant turtle. Well received wherever it was shown, The Silent One is memor able above all for its wonderful under water sequences. Back home, it had an interesting release pattern — a series of special screenings through the small towns of the North Island, instead of the usual major city openings.
Eleanor David as Sylvia Ashton-Warner.
The people At the New Zealand Film Commission office, Residence Festival, 52 La Croisette (Ph: 99.12.97):
David COMPTON
Director of Market
ing, Gibson Group.
Jonathan DOWLING:
Film writer,
New Zealand Herald.
Michael FIRTH:
Producer/director,
Sylvia
Chris HAMPSON:
Script consultant,
NZFC.
Gary HANNAM:
Film Investment Corporation of New Zealand Ltd.
Robin LAING: Producer, Mr Wrong. Grahame McLEAN: Producer/direc-
The screenings
tor, The Lie of the Land and Should I
Be Good?
Leave All Fair
Leave All Fair is about New Zealand author Katherine Mansfield (Jane Birkin). Birkin also plays a young woman who meets Mansfield’s hus band, John Middleton Murry — played by Gielgud — thirty years after Mansfield’s death. Reversing the tradi tion of foreign filmmakers coming to New Zealand to make their films, John O’Shea and John Reid shot Leave All Fair in France.
The Lie of the Land Fllmcraft Productions. Produced, directed and written by Grahame J. McLean, from a story by Kevin Smith. With Roberta Wallach, Marshall Napier, Dean Moriarty, Jonathan Hardy, Terence Cooper, Tom Poata.
Fri 10 May Sat 11 May Sun 12 May Mon 13 May
Tue 14 May
Wed 15 May
Thu 16 May
Kingpin Pallet on the Floor 10 00 Mr Wrong 16.00 Leave Ail Fair 10 00 16 00
Sylvia The Lie of the Land 10 00 Pallet on the Floor 14 00 Kingpin 16.00 Should 1 Be Good? 10 00 Leave All Fair 14 00 Constance 16 00 Mr Wrong 10.00 16.00
The Lie of the Land Leave All Fair Sylvia 10.00 Should I Be Good? 16 00 Kingpin 10.00 14 00 16.00
Fri 17 May
10.00 16.00
Sat 18 May
10.00 16.00
Sylvia Constance The Lie of the Land Should 1 Be Good?
Olym pia One 10.00 14.00
oo o o oA
Pacific Films. Produced by John O'Shea. Directed by John Reid. Written by Stanley Harper, Maurice Pons, Jean Betts and John Reid. With Jane Birkin, Sir John Gielgud and Simon Ward.
Olym pia T w o
Shaker Run Death Warmed Up The Quiet Earth Came a Hot Friday
New
Zealand
correspondent, Variety.
John O’SHEA:
Producer, Leave All
Fair
Dorothee PINFOLD:
Sales manager,
Gibson Group. 14.00 14.00
Shaker Run
Don REYNOLDS:
Co-producer, The
Quiet Earth and Sylvia
The Quiet Earth
Judy RUSSELL
Distribution mana
ger, NZFC. 14.00
Came a Hot Friday
Lindsay SHELTON tor, NZFC. At Room 68.91.00):
14.00
The Silent One
14.00 16.00
Shaker Run Came a Hot Friday
14.00 16.00
Death Warmed Up The Quiet Earth Mr Wrong
14.00
. •' • * '
18 — May CINEMA PAPERS -
Mike NICOLAIDI:
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■“
’ ' T" '•G*' ■-|
243,
Paul DAVIS:
Marketing direc "
Majestic
Hotel
(Ph:
Marketing manager, Chal
lenge Films.
Bill GAVIN:
Sales consultant, Challenge Film Corporation. '
William GRIEVE: Mirage Films. Larry PARR: Producer, Came a
Hot Friday, Shaker Run, Constance and Pallet on the Floor
LEAVEALL
NEW ZEALAND FILM COMMISSION Lindsay Shelton, Marketing Director. Judy Russell, Distribution Manager. AT CANNES: 1st Floor, Residence Festival, 52 La Croisette. Tel 99 12 97. IN NEW ZEALAND: P.O. Box 11-546, Wellington. Tel (64-4) 859-754. Telex NZ30386
Outside a thousand suburban Australian homes hangs a little, mock-rustic plaque with the words ‘Emoh Ruo’ on it. A bit of thought, and the puzzle is solved: ‘Emoh Ruo’ spells ‘Our Home9 backwards. It is also the title of a new Australian comedy about the perils of home ownership. Terri and Des buy a home — or emoh a yub — in picturesque suburbia, only to have the roof fall in on them. That, however, is unlikely to be the fate of Joy Smithers and M artin Sacks, who have their first starring roles in the film and seem certain to have a good few more. Nick Roddick talked to them in Sydney as the final touches were put to the film .
Showbusiness is not without its little ironies. Or, to put it another way, life can be a bitch. A year or so ago, Joy Smithers was bouncing regularly into our living rooms, courtesy of a certain building society, extolling the virtues of an ordered life: a nice little savings account, a nice little home, and a nice little mortgage to match. Now, in Emoh Ruo, her first starring role, Joy plays Terri, victim of just such a string of nice little ambitions. Lulled by the dulcet tones of a million TV commer cials, Terri ends up in the outer suburbia of Sydney’s Baulkham Hills, owning a home instead of the caravan with which she and her husband had been quite happy, but watching their marriage — and, eventually, their new dream house — fall to pieces around them. Joy, now 21, has been in show busi ness since she was twelve. In that nine years, she has had a bewildering variety of careers: modelling, commer cials, singing with a band (she has an album, ‘Joy’, out soon), acting on stage, appearing in films. It all started on the sibling front. “ My sister,” she explains, “ is a very famous model, and she dragged me into it: fashion parades, head shots, the whole Brooke Shields number. I was happy doing it, but I realised you can only model while you’re young. I wasn’t that great a model, anyway.” And so, phase two. The first place that modelling took her was, almost inevitably, into television com mercials. “ I was doing them by the time I was thirteen: all through the 20 — May CINEMA PAPERS
school holidays, I’d just do tons — you know, chocolate bars and acne and things like that.” She finally quit last year. “ I had a whole spate: four commercials on television, all at the same time. It was terrible! I mean, there I was, furiously trying to act, and people kept seeing these commercials
— Mitsubishi cars, Coon cheese, the building society . . . I would be on the set of an acting job, and people would come up to me and say, ‘Aren’t you from the State Building Society?’ ” The irony of her role in Emoh Ruo is not entirely lost on her. “ There’s this whole thing about commercials going
right through the film. There’s Terri’s brother-in-law on television going ‘Buy! Buy! Buy!’; then there’s the building society, the builder . . . And we eat it, we just eat all that adver tising stuff.” At the start of the movie, Terri and her husband, Des (Martin Sacks), live
Emoh Ruo
in a caravan park near the beach. Their original idea had been to move on every so often, but somehow they have stayed put, under the same tree, for six years. By now, they’re not just a couple: they’re the optimum unit of the consumer society — a family with a child. Des drives a bus. “ They’re happy, you know,” explains Joy, “ catching their food by the sea. Then, all of a sudden, Terri thinks to herself, ‘This is crazy! I want a house, I want the furniture from David Jones, I want exactly what the advertising shows me.’ So, they buy this terrible, shonky house — ‘Only $12,000 and no deposit, folks! Here is your dream home!’. The view from the back is bushland, and from the front all you can see is a lot of cul de sacs going off into the distance — just empty blocks of land, waiting for more dream houses to be built on them. “ Their marriage begins to break down, because everything is on hire purchase, and they’re working day and night to make the repayments. The kid
gets neglected — just kind of a quick Maggi dinner in the oven, where before it was fresh fish and salad. Now, its ‘Daddy will be home in five minutes, so sit down: there’s the TV’. In the end, the watering system goes, the plumbing goes, the windows break, and the house just falls down round their ears.” For Joy, it has not been straight from selling mortgages to getting stuck with one on screen. She had two lines in Heatwave as a waitress, and a nice little part in Maurice Murphy’s Horror Movie, which was never completed. More recently, she was in Rebel — “ playing banjo, and just being one of the girls in the band” — and her favourite secondary role to date has been as one of the resistance leaders in 2084 (now retitled Lorca and the Outlaws). “ I loved that, because I had no make up: just a big scar across my forehead, and lots of dirt and red leather boots and jacket . . . very heavy! I can look quite mean some times: I play good baddies.” As well as being her first lead, Emoh Ruo is also her first real comedy role, and it turns out to be a style to which
she is well suited. But the whole quest for security and respectability which motivates Terri strikes a deeper note of recognition in her, too. “ My parents went through a rather bad financial situation about six months before I was born,” she explains, “ and, for the early part of my life — till I started modelling, really — we didn’t have much money and kind of lived in half a house. My parents didn’t like me to invite people home, because they were embarrassed about it. I used to spend my weekends painting the house and trying to make it really gorgeous, because it was horrible and falling down around our ears. I drew a lot on those feelings.” Joy’s screen partner, 25-year-old Martin Sacks, who plays Des, her like able but feckless dreamer of a husband, is from a rather more solid environment — so much so, in fact, that he almost didn’t go into show business at all. “ I come from a Jewish background,” he says. “ My father’s in the rag trade, and he wanted me to get a secure and responsible job.” Success has helped, though. “ The moment L get a job, he says, ‘I told you, Martin: you stay in the business, you’re going to get a jcb ’. He’ll come out with, ‘That’s my boy: he’s in the movies, you know!’ He’s very proud. But, when I’m not working, he’s still a little unsure.” Martin studied acting in Sydney and San Francisco. And, though he has reservations about American actor training — “ It’s just a rehearsal pro cess: it allows you to get into the part” — he has adopted at least one of its vocabulary tics. “ Des’s through-line,”
“Can this be the dream? So close together and so fa r away?” Joy Smithers and Martin Sacks, before (left) and after (facing page) taking possession o f their dream home in Emoh Ruo.
he says, “ is that he’s a doer: he builds things. He builds the boat; then, at the house, he builds this huge barbecue that is as big as a three-storey house. He collects all these things that the commercial world uses — a sink, a television, and so on — and says, ‘That’s what I feel about it!’ ” Like Joy, Martin gets his first star ring film role in Emoh Ruo. He’s done theatre, including Geoff in The Club and Torvald in A Doll’s House, three Country Practices, a Cop Shop . . . and played Patrick Duffy’s stand-in during a Love Boat cruise to New Zealand, Noumea and Fiji. “ I re hearsed the scene, did what Patrick Duffy would do, but without dialogue. And, if there were any stunts, like fall ing in the water, I’d do that.” Other wise, he seems to have got stuck with playing nasties. “ I’ve played a lot of crazy people and disturbed people: it’s probably something to do with myself!” And he has done his fair share of the sort of things actors do when they’re not acting. “ When Emoh Ruo came up, I was working in a restaurant, so I had to rush down and meet Denny Lawrence, the director, then go back and serve the food.” Doubtless, his father would be pleased to know that, with all the excitement, Martin didn’t lose sight of the import ance of food.
“ I’ve played a lot of crazy people in my time: it’s probably something to do with myself” Like a well-trained acting student, Martin carefully researched the role of Des. With Joy, he drove out to the fringes of suburbia to get the feel of the life into which the characters were rushing. They even wondered about posing as a couple of wide-eyed poten tial young buyers. “ We looked every where: we’d drive round and round, but we couldn’t find anybody who was selling a house! But we did actually go and look, and we thought, ‘Is this it? Is this the dream? So close together and so far away?’ “ It wasn’t difficult for me to play Des hating being out there, because I couldn’t see what the attraction was. I also went down to the depot and learned how to drive a bus. I met a couple of bussies who were very much like Des, in that they did the job, they were quite happy with it, but there was that element of getting a little boat and sailing away — you know, just holding on to the dream.” With Emoh Ruo behind them, and a few rungs up the career ladder from peddling mortgages or falling in the water for the future Bobby Ewing, both Joy and Martin speak of their careers with a refreshing degree of pro fessional directness. Joy, for instance, is quite candid about what attracted her to the part of Terri: “ It was the lead!” And Martin’s long-term goals? “ To work, I think. For me, the only way I can develop my craft and develop as a person is just to work and stay in the industry. I think that’s the thing that saves you — the work and the process of working. I don’t really feel that, because you do a film, that’s it. You’ve got to look way beyond that if you want to stay in the industry. Because there are a lot of people out there!” ★ CINEMA PAPERS May — 21
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These comments are from a group of nine- to eleven-year-old children who previewed the On Loan episode of the Winners series, which deals with the adoption of a Vietnamese refugee. The general consensus of opinion was ‘very good’, but perhaps the most telling reaction came from a teacher who assessed the effect of the programme on her class: “ The children were com22 — May CINEMA PAPERS
— ez^CljbcjriCllJk^JLy-----------------------------------
pletely absorbed in the film and very willing to discuss the story. They were anxious to express their feelings about the outcome. As a teacher of this age group for the last 20 years, I was sur prised at their response and under standing of such a delicate situation.” The teacher’s comments provide an encouraging affirmation for the people involved in the production of Winners
and an indication that at least one of their goals has been achieved: to fill a major gap in current television pro gramming. A cursory glance at the offerings in children’s viewing time reveals a diet based on repetition and an implicit assumption that kids cannot cope with ‘difficult’ material. In refusing to compromise production values, simplify complex social issues or acquiesce to generic forms which adults have traditionally regarded as suitable staples for children, the Winners series has, claim its makers, forged a new standard for children’s television in Australia. The concept of Winners originated from the Australian Children’s Tele vision Foundation (ACTF). Operating on the conviction that network pro gramming repeatedly relegated child ren’s viewing time to the back burner, the Foundation set out to prove that programmes for children could be sty lish, provocative and, for that matter, profitable (though the last part of the equation has yet to fall into place). Crucial to the project was the ACTF’s insistence on a standard of quality pre viously denied to that audience. They set out to illustrate that, while children would sit in front of the twentieth repeat of an old American situation comedy when no alternative existed, they could just as easily — and more rewardingly — be absorbed by con temporary dramas, ironic comedies, science fiction, fantasy, period tales and action narratives about issues directly relevant to their lives. To judge by the results of test
screenings, the assumption is correct: Winners confidently raises a number of complex issues, and the reactions of children who have seen episodes of the series indicate that the ACTF’s faith in its audience is well-founded. It seems clear that children are interested in watching television when it deals with pertinent issues: a search for identity, establishing a place within the peer group and autonomy within the family, making career decisions and learning to be financially and emotion ally independent. It is also evident that
they appreciate such issues being raised in a context structured around a pro tagonist with whom they can identify: a child who is at the centre of the narrative, not on the periphery. In that sense, the series is a definite departure from such supposedly kid-orientated ‘problem’ movies as Irreconcilable Differences. It is the kids who do things, instead of getting things done to them. Winners stems from the very first meeting of the ACTF in May 1982. The federal government had allocated three years’ funding to the Foundation and it was necessary to plan, produce and complete one major project in that time. The strategy was to undertake something large-scale, using the form of a series of self-contained pro grammes that covered a variety of styles, themes and genres, but with a budget big enough to get a decent level of quality. Essentially, the idea was a Masterpiece Theatre for children, with the aim of encouraging major talents from the film industry to work in the field of children’s television. The next stage came in February 1983, when the Foundation invited 20 writers to a seminar in Sydney. Dr Patricia Edgar, the ACTF’s director, who was to be executive producer of the series, outlined the criteria that a programme had to meet to earn a ‘C’ classification: it had to be designed for the six to thirteen age group; it had to be entertaining and relevant to child ren according to the terms outlined by the Australian Broadcasting Tribunal; and it had to contribute something to their emotional and social develop ment (though the manner in which such standards can be judged is some thing of a mystery). As a guideline, the writers were given a copy of The Developing Child, a booklet published by the Children’s Programme Committee of the Broad casting Tribunal. The booklet provides a profile of the nine-to-twelve' age group that seems to have been a major
Essentially, the idea was a Masterpiece Theatre for children
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source of inspiration, since many of the characteristics identified as common to that age end up being examined in the series. These include an increasing curiosity about sex, a growing sense of independence, a need for a close friendship group and an in creased interest in adult conversation. An excerpt from a report conducted by the American network, WNET/13, was also included, and this stressed that it was “ important for these child ren to see young people in their adoles cent years who are becoming self sufficient and solving real problems, earning money, beginning to make career decisions and venturing into a wider world.” With all this for inspiration, the writers went away and, eventually, each offered two concepts for con sideration. Twelve were selected and fully developed, and eight ultimately went into production. In describing the process for selecting the final episodes, Dr Edgar emphasizes the need for diversity within the series and the prag matic considerations of network pro gramming requirements. Variety was a priority and, if two scripts were similar, regardless of their, merits, one was eliminated. The concepts submitted revealed some interesting results. While con temporary dramas poured in, fantasy
and science fiction were scarce. Only one science fiction script was presented and it became Quest Beyond Time, by Tony Morphett. The ideas similarly favoured male protagonists, either because of the preponderance of male scriptwriters, or because of the notion that stories about boys are more ‘dramatic’. The original plan was for Winners to be a twelve-part series. Twelve parts,
“ Filmmakers felt that it was a special project and they wanted to contribute to the area of children’s television” however, would have cost too much, and it was decided to go for eight, at a cost of close to $4 million. The second consideration was the children’s drama quota, introduced by the Broadcasting Tribunal in March 1984. The quota required eight hours of children’s drama per network, and by making Winners into eight hour-long episodes, one station’s requirements for one year could be met.
Facing, the ACTF’s Patricia Edgar. This page, Just Friends (top left); Rebecca Rigg and Daniel Cordeaux in Quest Beyond Time (top right). Below, l. to r., Christo pher Schlusser (The Paper Boy), Nicole Kidman (Room to Move) and Emil Minty (Top Kid).
Having selected the final eight, the ACTF approached a number of pro ducers to gauge their interest and set about overcoming the major hurdle of transforming plans into programmes. Initially, the Australian Film Commis sion’s position was that the ACTF needed a presale in order to secure its support. At that stage, the drama quota had not been implemented, and the networks were adopting a ‘wait and see’ attitude to the project. With out the quota, a substantial investment in a potentially risky undertaking was not financially viable. The first organization to come to the Winners party was the New South Wales Film Corporation. It offered $120,000 — $20,000 against non deductibles for each of the six episodes to be shot in Sydney. The ACTF then approached Robert Holmes a Court, who provided the financial corner stone, with a $1-million worldwide distribution guarantee and a 10% investment in the project. With this in place, the AFC and Film Victoria fol-
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lowed suit, the AFC contributing $320,000 and Film Victoria agreeing to match the ACTF’s investment of $20,000 for each of the episodes shot in Melbourne. The final budget was $3,820,000. Having secured this backing, the ACTF gave producers the green light, and the selection of crews began. Although the Foundation originally wanted different writers and directors for each episode, a sound financial argument existed for some producers handling more than one episode, thereby cutting costs. According to Dr Edgar, the choice of directors was fre quently obvious: a number of the pro ducers and directors had formed successful partnerships in the past, and reuniting them seemed a logical strategy. She described the response from members of the film industry approached to participate in Winners as extremely enthusiastic: “ They felt that it was a special project and they wanted to contribute to the area of children’s television.” According to Dr Edgar, the directors received minimal instruction, although the ACTF retained casting approval, primarily to ensure that an eighteenyear-old who looked right was not passed off as a twelve-year-old — something which television is prone to do. Their briefs came with one proviso: that the child remain the
Just Friends
Quest Beyond Time
Writer: Jan Sardi Producer: Jane Bailantyne Director: Michael Pattinson
Writer: Tony Morphett Producers: Richard Mason and Julia Overton Director: Stephen Wallace
Tarf lowers
The Paper Boy
Writer: Terry Larsen Producer: Tom Jeffrey Director: Bill Fitzwater
Writer: Bob Ellis Producer: Jane Bailantyne Director: Paul Cox
focus for the episode, apparently causing some trepidation about the demands that would be placed on a young, novice actor required to deliver a convincing, consistent performance over the long hours of a twelve-tofifteen-day shoot. By all accounts, the production pro cess was smoother than anyone had a right to expect, especially given the necessity of shooting feature—film quality at a television pace. With the exception of the classic Act of God, which sent unseasonal Sydney showers cascading over the production of Quest Beyond Time, all eight came in on schedule and, in some cases, under budget. Quest, however, proved true ■to its title. Stephen Wallace and his cast and crew, shooting an episode that required an abundance of exteriors, travelled to their suburban locations in four-wheel drives and gumboots, and attempted to shoot through the torren tial downpours that sent cars floating down flooded streets like wayward lilos. Even in this extreme case, how ever, the shoot only exceeded its schedule by five days. Four episodes of the series were available for viewing at time of going to press: Top Kid, On Loan, The Other Facts of Life and Room To Move. Though they are different in style and subject, they are united by having protagonists who are compelled
to make critical decisions independ ently. Whether they are isolated from family and friends by intellect, culture or personal preoccupations and ambi tions, all four come to an understand ing of a complex situation and resolve it in a way that suits their individual needs. They are capable characters who make intelligent choices; quietly assertive, they consistently refuse to become pawns in adult power plays. In keeping with the original aims, each episode provides a child’s perspective on a problematic world, which is neither simple nor simplified.
Stephen Wallace and his cast and crew attempted to shoot through the torrential downpours that sent cars floating down flooded streets like wayward lilos Indeed, if the first four episodes are a representative sample of the quality and diversity of Winners, it is a project that has achieved the ACTF’s goals.
The style and pace of each episode vary to suit the narrative, and it is clear that care has been taken to bring out the central elements of the script with imagination and vitality. Top Kid is a jaunty, witty and wickedly ironic tale of a bespectacled bookworm who triumphs over macho bullies and working-class prejudices. Set in the thirties, it traces the rise of Gary Doyle (Emil Minty, looking far more civilized than he did in Mad Max 2) from outcast in a Catholic school classroom to celebrated child prodigy on a popular radio quiz show. It has a liberal sprinkling of visual and verbal humour, and offers the familiar pleasure of seeing a puny underdog maintain his integrity while over coming seemingly insurmountable obstacles. Sparkling images of Sydney create a warm nostalgia about Aero plane Jelly jingles, families gathered around radios during the Depression and bags of lollies from the kindly chap at the corner store. This romantic edge is, however, undercut as Gary learns about parental inadequacies, religious rationalizations, the benefits of stoicism and the perks of celebrity. Both Top Kid and The Other Facts of Life are about winning on one’s own terms — about learning to com promise while maintaining integrity, striking a balance between socially acceptable behaviour and the assertion CINEMA PAPERS May — 25
T h e Australian Film and Television School is now seek ing applications for the 1986 3-year Fulltime Program which offers courses specialising in directing, camera, editing, screenwriting, production management and sound, with all students being trained for both film and television. The closing date for applications is 26 July 1985.
However, any supporting material which the applicant considers as a suitable demonstration of potential ability in their chosen craft area and gives an indication of the credibility, imagination and originality the prospective student wishes to express, is acceptable. There are no specific educational prerequisites although most successful applicants have reached matriculation standard.
This date is final and no extensions are available.
The Fulltime Program has consistently sought mature, creative, socially and politically aware young men and women with visual imagination. ® People who will make an impact on the different areas of Australian film and television.
There is a future for Australian film and television: If you feel you can contribute to this future either complete the coupon below or contact: Lynn Brown, Students Officer, Australian Film and Television School, PO Box 126, North Ryde NSW 2113. Telephone (02) 887 1666.
® People who are responsible and committed to the pursuit of excellence in the industry. ® People who are passionate about learning their craft or skill and through this control develop their artistic abilities. •
People who are interested in making films that are relevant to the issues, concerns and culture of all Australians, and who understand the need for practical craft skills as well as creative ability.
Australian Film and Television School r
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A F T S S t u d e n t s O f f i c e r , P O B o x 126 N o rth Ryde N S W
Students are paid an allowance during their course, which currently stands at $7,000 per annum plus dependants allowances where applicable. Interstate and New South Wales country students receive assistance with removal and settling in expenses to allow them to take up the course in Sydney. It should be noted that intending applicants are required to submit a portfolio of supporting work with their application, the preferred form of which is a short film, video or sound tape.
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of individual priorities. The Other Facts of Life shares Top Kid’s engaging combination of tongue-in cheek comedy and drama. It focuses on the dilemma of Ben Guthrie (Ken Talbot), a twelve-year-old less con cerned with sex than with Third World famines, political oppression, nuclear weaponry, apartheid and animal liberation. Set amid the familiar car washing, lawn-mowing, tennis-playing rituals of affluent middle-class life, it stresses the sincerity and validity of Ben’s concerns and the often mis guided responses of the adults, who clearly cannot supply the answers and thus do their best to beg the questions. The episode does, however, support Dr Edgar’s assertion that the series “ is not trying to teach kids how to be good boys and girls: it is trying to show the pros and cons of the pressures that occur in life and the necessity of making a decision that is the right one for each individual.’’ While Ben holds the strongest moral position in the narrative and demonstrates a level of concern and compassion that mystifies his family, they, in turn, are depicted with an intelligence that refuses to resort to easy condemnation. A charitable depiction of adults is also evident in Room to Move; but, in this case, the pressures that they impose are largely unreasonable. Writer/director John Duigan laces a
On Loan
The Other Facts Of Life
Writer: Anne Brooksbank Producer: Jane Scott Director: Geoff Bennett
Writer: Morris Gieitzman Producers: Sandra Levy and Julia Overton Director: Esben Storm
Room To Move
Top Kid
Writer: John Duigan Producers: Richard Mason and Julia Overton Director: John Duigan
Writer: Bob Ellis Producer: Jane Scott Director: Carl Schultz
network of accumulating demands around his central characters, Carol (Nicole Kidman) and Angie (Alyssa Cook). Carol is a star athlete who spends most of her leisure time in a tracksuit, darting between rigorous training sessions at the insistence of her ambitious father. Although she is seen as a member of a tightly-knit and ultimately supportive family, she becomes dissatisfied with the expecta tions that they impose upon her. Angie’s life is presented as a vivid con trast. She is virtually abandoned to her own devices by her unemployed father. The friendship between this odd couple forms the basis of the episode and is developed into a solid founda tion from which both girls derive the strength to pursue their goals. Room to Move also touches on a number of the problems that complicate decision making and the pursuit of independ ence: pressures applied by peer groups, parents and teachers, the way in which class determines opportunities in life and the difficulty of defying authority figures, even when their authority cries out to be challenged. If there is a moral to this story (and indeed to the other three episodes), it is that fulfilment can only be attained when one can muster the strength to be assertive. While these three episodes seek to balance comedy and drama, On Loan is rather different. Its pace is slower,
its tone is contemplative and its subject allows no space for humorous inter ludes. It presents the dilemma of Lindy (Marillac Johnston), a Vietnamese refugee adopted by an Australian family, who is abruptly confronted by her native culture when her natural father arrives with the intention of taking her to rejoin her family in Thai land. The complexity of the decision that Lindy faces is outlined with sensi tivity and considerable attention to the trauma experienced by her and her respective parents. To an adult viewer, On Loan sometimes lacks the strength and fluidity of performance evident in the other episodes and, as a result, the dramatic momentum is occasionally muted. However, girls in the classes of students that previewed On Loan and Top Kid responded more favourably to the former, and specifically to its depiction of Vietnamese culture, the problems produced by adoption, and the perspective on parents facing upheavals in their lives. Reflecting on the production of Winners, Dr Edgar notes, with evident pride, that “ it does everything that we set out to do” . In fact, the first series has proved such a winner that plans for Winners 2 are currently underway. The ACTF has invited writers, including Ken Cameron, Sophia Turkiewicz, Mac Gudgeon, Ken Kelso and Moya Wood, to submit concepts.
Although financial and geographical considerations limited the first series to east coast capitals, writers in Western Australia (Joan Ambrose, Murray Oliver and Bill Warnock) and South Australia (John Emery and Rob George) have been asked to contribute to the second series. The four unmade scripts that were developed for the first series and the scripts that were elimin ated will also be placed into the pool for consideration. Dr Edgar believes that the series has the potential to break the barrier that has isolated children’s viewing time from prime-time television. She main tains that the influence of the child on family viewing habits has been under estimated and that a programme that appeals to children and their parents has the potential to attract a large and highly profitable audience. Where that audience will be has yet to be determined, however. Though outsiders have tended to assume Winners is an ABC series, no network sale has yet been concluded (though with ITC behind it, overseas sales should be strong). Back home, how ever, an Australian network has yet to recognize the smorgasbord of delights that the series offers. If the children in the classes that previewed some of the episodes are anything to go by, many other children, large and small, have a feast to look forward to. ★ CINEMA PAPERS May — 27
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Forty-two years old and battered rather than rugged, m. Harrison Ford is one of Hollywood’s more improbable superstars. But, as Han Solo and Indiana Jones, he has headlined five of the most successful films of all tim e. Pat H. Broeske talked to him about his career, and about his latest role in Peter W eir’s film Witness, which he wryly describes as his first ‘adult’ part.
He has been called many things: a reluctant star, a throwback to yester day’s ruggedly masculine screen heroes and a ‘somewhat battered hulk’. In fact, Harrison Ford does rather look as if he’s been through one adventure too many. As rumpled off screen as he is on, the laconic Ford evokes a mood that, while not quite world-weary, suggests a strong wariness of Holly wood glitz. Indeed, Ford does not do talk shows, parties, premières or, for that matter, a great deal of publicity. “ I think people only have so much interest in anybody; and, if you barrage them in between the times you have something to offer them, you become a personality rather than an actor — fashionable but much more short-lived. Besides, I don’t like to go to parties.” Given his unassuming ways, it is difficult to imagine that Ford would ever be the life of the party anyway. His observations, delivered in a gravel voiced monotone, are sometimes dry and witty. But the real-life Ford seems light years away from the larger-thanlife theatrics of space cowboy Han Solo and the intrepid adventurer CINEMA PAPERS May — 31
Harrison Ford
Indiana Jones, the characters he has portrayed in five of the top-grossing films of all time (Star Wars, The Empire Strikes Back, Return of the Jedi, Raiders of the Lost Ark and Indiana Jones and the Temple of Doom). Though everyone from media analysts to sociologists has scrutinized the characters and the trend they embody, the taciturn Ford sums up the distinction between Jones and Solo with the words, “ Different clothes, different guy . Ford’s screen status can be summed up with similar brevity: superstar. Fame and wealth aside — and Ford’s wealth is the kind that comes with per centages of world-record profits — he is unafraid to tamper with a winning formula and a winning screen persona. He is, he says, only now beginning to reap the rewards of his sterling industry record, in terms of being offered challenging roles and projects. The first of these was released in the United States in February to near unanimous critical raves and excep tional box-office. Witness, the first American movie to be directed by Peter Weir, works as both a love story and a thriller, exploring the relation ship between Ford’s cynical cop and a Pennsylvania Amish woman (Kelly McGillis), whose young son (Lukas Haas) has witnessed a murder. Marked by a particularly strong sense of time and place, Witness also contains some sensuous romance. Though not as steamy as the Sigourney Weaver-Mel Gibson couplings in Weir’s The Year of Living Dangerously, the hungry looks exchanged between Ford and McGillis have not gone unnoticed by reviewers — or by audiences. Nor has the new ‘adult’ image for Ford, which suits the 42-year-old actor just fine. “ I don’t want to bemoan any films of the past, but I think this is the most complicated role I’ve played in quite a while. And this time, it’s one with adult appeal,’’ he says. Remarking on the film’s spiritual quality, underlined when the cop’s violent world collides with the pacifist beliefs of the Amish, he adds: “ That moral context is one of the important things about this film. 32 — May CINEMA PAPERS
That’s what makes it work. Without the Amish serving as a kind of para meter to the violence, this would have been the usual indulgence. This is what attracted me to the project: I think the film has something to say.” During the interview at a Los Angeles hotel, Ford does not immedi ately come across as an actor with something to say. “ I don’t do a lot of these: I’m not a self-starter,” he says. And the man who once declared that “ I don’t see myself as being unique: I just work in the movie business” , is especially protective of his private life, which includes marriage to screen writer Melissa Mathison (E.T., The Black Stallion). Casually dressed in jeans, Ford is a study in diplomacy as he politely answers (and sometimes ducks) ques tions about films and filmmakers he has known. And so, despite obvious pleasure over a role set in the here and now (as opposed to outer space), in which he plays opposite people rather
Though media analysts and sociologists have scrutinized the characters of Han Solo and Indiana Jones, Ford sums up the distinction between them with the words: “ Different clothes, different guy. . . ” than robots, he stresses: “ I’ve never been bothered by proximity to special effects . . . I’ve never felt dis advantaged by them. They’re all part of a movie and, when the movie’s under control, I don’t feel upstaged by them.” Denying that he has ever felt con strained by the Star W ars experience, Ford notes that “ the basic feeling is that it was a long time ago and far, far away” . Still, if he had had his way,
Han Solo would have died at the end The hero, the cop and the Amish: top left, of Return of the Jedi. “ I thought it Ford in trouble as Indiana Jones; right, was a good idea, to give the films some Ford in action in Witness; above, Amish Alexander Godunov (centre) and bottom, some depth. I thought Han farmer ■ , was dispensable: he had no momma, family. no poppa, no story. It would have been a good thing. George didn’t While the critics admired the agree.” Nor did George Lucas agree, visually arresting style of Ford’s first during the maiden Star Wars outing, star outing as something other than a when Ford told him: “ You can’t say superhero — Ridley Scott’s B lad e that stuff: you can only type it.” But Runner, in which he starred as the Ford is happy to concede defeat: “ I bounty hunter, Deckard — the futur was wrong: it worked.” istic film noir did not work at the box office. And it is apparently a sore spot with Ford, who will only say of the project: “ I don’t want to cast stones “ I don’t see myself as but . . . I think audiences were turned off because they didn’t have any being unique: I just work emotional context for the whole film, including my character. But we really in the movie business’’ shouldn’t get into this. It’s a very deep well. And it’s over.”
Ford once confessed that, “ unlike some actors, I cannot be good in a bad picture” . He also fizzled in post-Star Wars efforts such as Force Ten from Navarone (1978), Hanover Street and The Frisco Kid (both 1979). Raiders of the Lost Ark, which was originally offered to Tom (Magnum) Selleck, proved his salvation — and, in turn, gave moviegoers the archaeologistadventurer-explorer they love to love.
If he had had his way, Han Solo would have died at the end of Return of the Jedi. “ I thought it was a good idea, to give the films some bottom, some depth” On the subject of the hero worship engendered by the Lucas-Spielberg films, Ford says: “ It concerns me a little, though not for my sake. All it means to me is that I have a responsi bility not to get caught doing anything terrible, and thereby jeopardize my credentials. Not that I do terrible things, like running over dogs or any thing like that. It just makes you think twice before you say or do things in public.” A native of Chicago and the son of an advertising executive (the man who conceived the idea of the see-through washing machine used in TV commer cials for detergent powders), Ford attended Ripon College in Wisconsin, where he studied English literature and philosophy. He also spent a good deal of time loafing — enough to send his grades plummeting. Kicked out of school just three days before gradua tion, Ford decided to try and make his work in school plays and summer stock pay off professionally. “ I knew I had to go to either L.A. or New York, and damned quick, ’cause
Children’s friend: above, with Kate Cap shaw and, right, with Capshaw and Ke Huy Quan in Indiana Jones and the Temple of Doom. Bottom, with Lukas Haas in Witness.
it was starting to snow in Wisconsin. So I flipped a coin. It came up New York, and I flipped it again so I could go to L.A. I wasn’t going to starve and freeze.” Once in the Golden State, he acted at the Laguna Beach Playhouse. A production of John Brown’s Body snared him an interview with Columbia Pictures, where he was signed to a seven-year contract, with the name of Harrison J. Ford, to avoid his being confused with a long dead silent screen actor. As he was later to recall, “ I did a year and a half and got kicked out on my ass for being too difficult. I was very unhappy with the process they were engaged in, which was to recreate stars the way it had been done in the fifties. They sent me to get my hair pompadoured, like Elvis Presley — all that shit — for $150 a week.” P rior to parting ways with Columbia, Ford appeared in his first film, Dead Heat on a Merry-GoRound, in 1966. He played a bellhop and, from one studio executive, gained the accolade: “ You ain’t got it, kid” . Ensuing roles in such films as Luv (1967) and Getting Straight (1970) did little to prove otherwise. Later, under contract to Universal, Ford rode the trails of episodic TV, appearing in series like Gunsmoke, Ironside, The F.B.I. and The Virginian. “ I finally decided to become a car penter, as an alternative to taking roles
‘‘I flipped a coin. It came up New York, and I flipped it again so I could go to L.A. I wasn’t going to starve and freeze”
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I didn’t want to take” (and also to support his wife — a former college sweetheart — and two young sons). As a freelance carpenter, his credits include a $100,000 recording studio for Brazilian musician, Sergio Mendes. In between the ham m ering, Ford squeezed in occasional film roles, playing the drag racer in American Graffiti (1973), the hatchet man in Francis Coppola’s The Conversation (1974) and the chief government witness in TV’s The Trial of Lt. William Calley (1977), directed by Stanley Kramer. He was 35 and in the midst of refurbishing Sally Kellerman’s kitchen when he got called in for Star Wars. Mindful of the turkeys that preceded his triumph, Ford says: “ Failures are inevitable. Unfortunately, in film, they live forever, and they’re 40 feet wide and 20 feet high. But that’s the price you pay.” These days, he says, he will not even read scripts that are of the action-adventure genre (“ I still have one more Indiana Jones picture to do” ) and, though he would like a shot at comedy, the current crop of youth-oriented pictures does not interest him: “ I’m waiting to do one with more ambition — one that has more to say than ‘Ha-ha’. “ I choose a part because I hope the film itself will be a communication. I’m only comfortable in that context. Film is, after all, an effort in com munication. You have something you want to say, and you want to say it enough to endure the process of making a film. If you’ve got nothing to say, then you shouldn’t be there.” Ford was in the midst of filming Indiana Jones and the Temple of Doom when the script for Witness — by TV writers Earl W. Wallace and William Kelley — came his way. “ It was the kind of film which I thought was about 90% there, which is a much higher grade than I give most film scripts when I first get them. But I felt that, if we didn’t have a really good director, it wouldn’t gain anything — in fact, it would most likely lose some thing in the translation.” So he com piled a list of directors he wanted to work with. Weir was among them. Like every project, the script for Witness went through some changes — including the decision to make Ford’s character a better carpenter than the Amish farmer (dancer Alexander Godunov, in his screen debut) who is
“ Failures are inevitable. Unfortunately, in film, they live forever, and they’re 40 feet wide and 20 feet high” vying for the attention of the young widow. “ We took advantage of my past experience,” he notes wryly, explaining that acting and carpentry are not as far removed as one might think. “ There’s a real simple-minded analogy: you have to have a logical plan. You have to perceive it from the ground up. You have to lay a firm foundation. Then every step becomes part of a logical process.” Ford is seemingly unruffled that his success as an actor did not come over night. “ I suppose there’s a dis advantage to being identified as a star too early on. I’m pleased that I was
Strong foundations: above, Ford rebuilds the birdhouse while Kelly McGillis watches; and, right, Ford watches McGillis — two scenes from Witness.
allowed to develop slowly. I was in the business twelve years before I did Star Wars, and I think that was appro priate. I’m the kind of person that learns from experience, not from other sources. So I had a lot to learn.” Among other things, Ford has learned that blockbusters bring pro ducers to the door. “ Without a certain commercial viability, you’re looking for work, it’s not looking for you.” He is now sifting through scripts in search of his next project. “ I don’t feel I can do anything; but I don’t think there’s anything particular that I couldn’t do with the support of a good script and director. At any rate, there’s nothing that I wouldn’t like to try.” Except, that is, developing and/or producing his own projects. “ That’s too hard! One of the things that attracted me to being an actor was that you work for two or three months on a project, and then you’re off to do something else.” Nor is he keen on having projects developed expressly for him, even by his wife. “ She pursues her career on one track, and I on another. We have good communi cation about the things that we’re doing, we’re helpful to each other, but we don’t have any intention of working together. And, if something’s developed for you, the temptation to play to supposed strengths can be a disadvantage. I like to see something have a life of its own, or have its own reason for being. Then I’ll come along and try to add something to that.” Long-term goals? “ What I’m inter ested in is a lengthy career — con tinuity.” But he is in deadly earnest when he adds: “ I’ve had a good run for my money . . . so far.” Evidently, those first twelve years in the business and all that freelance carpentry are a useful guard against complacency. ★
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One of Australia’s most memorable exports, the Mad Max movies have created a world of their own — bleak, brutal and compelling. The ‘look’ of the films is planned right from the very start, even before there is a script. And Grace W alker has been production designer on two of them Mad Max 2 and the forthcoming Mad Max: Beyond Thunderdome. Paul Kalina talked to him about his work, and especially about the newest, biggest and allegedly most breathtaking of the road warrior’s outings.
“ It all came together during pre-pro duction. For sixteen weeks, it was like, ‘Well, what’s the film going to be, George?’ At first, he drew the journey out on his kitchen table for me. But I only knew the plot: I still couldn’t go away and think, ‘That should look like that’, and so on. That evolved during pre-production. That’s how George likes to do it, and it’s a good way.” Graham (a.k.a. Grace) Walker, pro duction designer of Mad Max: Beyond Thunderdome, is reluctant to discuss the actual story of the new film, which has become one of the Australian film industry’s most closely guarded secrets. But, like its two predecessors, it centres on a journey. And, while each film is an individual chapter, it is the journey of the protagonist, Max (Mel Gibson), that links the three — a journey that is a parable of survival in a post-holocaust world. An idealist turned avenger, Max’s drive for sur vival makes him a barbarian. He helps people, though his reasons remain ambiguous. And, despite the carnage, the possibility of moral redemption was offered in the final frames of Mad Max 2, when the Feral Child recalled Max as a hero. A complete antithesis to the accuracy needed in designing period films, it is the sense of exaggeration implicit in the Mad Max films that appeals to Walker. “ What you have to create for movies is the fantasy, not realism. What will realism be, 40 years after a holocaust? This is for movies: it’s fantasy, it couldn’t be quite real.” By the beginning of the sixteen-week pre-production period, Beyond Thunderdome had been completely story-boarded, although there was as yet no script. Ed Verreaux, whose credits as story-board artist include
E.T., Poltergeist and both the Indiana Jones movies, drew the sketches from the point of view of various lenses, so that exact perspective was maintained. The story-boards also allowed George Miller and co-director Terry Hayes to pre-edit as they wrote (though the boards weren’t necessarily the exact shot, as changes were often made on the day). Miller originally saw the character of Max as the hero figure of classic mythologies, like the Samurai in certain Japanese movies (fittingly, the Mad Max films have done particularly well in Japan). A classic warrior, Max’s heroism has been viewed mainly through battles won. What makes Beyond Thunderdome different is its story of how Max discovers a tribe of fifty wild, lost children, and the journey that they undertake. Implicit
Facing page, a fight in progress at Thunder dome. Above, the m ovie’s fauna: the Mack truck on rails, the Bar ter town set, a bikeback Marauder, ScrooLoose (Ron Zuanic) on his truck, Gekko (Mark Kounas) with his stick and (left), the man himself (Mel Gibson) with his chainsaw.
VISUAL EFFECTS
M irage Effects provides m odels, m iniatures, m echanical effects, m atte painting, opticals, m otion control, front and rear screen p h o to g ra p h y etc; and we'd like to th a n k the people w e've w orked for over th e last tw o years. It's a list th a t includes th e best of A ustralia's Film P roduction industry. A stra Film P roductions, A ustralian B roadcasting C orporation, D avid D ouglas Productions, D esm ond & R obinson, E ureka Productions, Festival M usic, Film G raphics, Fink & H art, Flying C olours, Gorilla Productions, G ru n d y O rganisation, H otspots, H oyts Edgley, H ertz, W alpole, C am pbell-Ew ald, Ian M acD onald Productions, Ibbetson & C herry Film C o ,, Jem im a Films, J. W alter T hom pson. K ennedy Miller, Feo B urnett A dvertising, Fim elight Productions, M arm alade Films, M cElroy & M cElroy, M idnight M ovies, P addington Films, Palm Beach Pictures, Peter M cIntosh Photography, Q.T.Q. 9 Brisbane, Ron W indon Productions, Ross N ichols Productions, Ross W ood Productions, Shooting Gallery, Silver Fining, South A ustralian Film C orporation, Sprowles, R obertson, The Film Business, T.V.O. Brisbane, Z an ack Productions.
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1. John Pope. 2. Linda Farley. 3. Jaga Jarvis. 4. Warwick Davis, 5. Belinda Villani, 6. Robert Agganis. 7. Pat Rubie. 8. Andrew Coates. 9. Nick Stratholopous, 10. Marea Fowler, 11. Alan McGuinness. 12. Lewis Moreley. 13. Adam Grace, 14. Petra Henniger, 15. Marilyn Pride, 16. David Tremont, 17. Anna Howard, 18. Kate Clements, 19. Tad Pride. 20. Andrew Mason, 21. David Pride. 22. Paul Nichola, 23. Simon Butler. And many more who couldn't make it on the night including Peter Wyborn, Ken Arledge, John Murch, Orange Cat. Derek Neil. Caroline Jones and Mike Bolles.
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in it is the development of the human aspects of Max. As Gibson himself puts it, B ey o n d T h u n d erd om e “ lifts the lid off the closet human being of M ad M ax 2 ” . This is partly made poss ible by the character of Aunt Entity (Tina Turner), who recognizes in Max a person capable of breaking the power of MasterBlaster, the strong hold of Bartertown. The setting of the Mad Max films has never been specified, but the suggestion of a land ravaged by nuclear war is evoked through images of the world as a vast, barren waste land. According to Grace Walker, the general look of B ey o n d T h u n d erd o m e “ is absolutely low-tech — gritty, lots of rust, with people just scratching and surviving on what they can.” An essential aspect of the films’ design to date has been the way in which they utilize relics of our past to create a believable future. The budget of the new one has allowed for incred ible scope in this respect (though Walker will simply note that he had “ enough money” to do what he needed). But the emphasis on authen ticity remains: that is, on using sets, props and costumes in a way that realistically reflects the culture and characters in the film. In this sense, the design is an integral and organic aspect of the production as a whole. And it is Bartertown that best characterizes the ravaged world of B ey o n d T h u n d er d o m e . Anything from food to weapons can be bartered for survival; and the Bartertown ethic — almost nothing is used for its original purpose — is the basis for the design of the sur vivors’ world. The basic set dressing
“ The more you couldn’t see, the better! The whole film Is just dust, with George saying all the time: ‘Smoke, more smoke . . ” was junk (though Walker reflects that “ it’s hard to find nice junk” ). Costume designer Norma Moriceau’s approach was to take everyday items and use them out of context; hence, objects such as chicken wire, dog muzzles, firemen’s hats and the insides of photocopying machines provided a wealth of material for her designs. Tina Turner, crossbow on her wrist and wearing a chainmail outfit, looks like a cross between Snow White and the Wicked Witch. Angry Anderson, lead singer of Rose Tattoo, plays an Imperial Guard in a costume modelled on a gridiron football uniform. To this has been added leg-padding made of car parts, with rear-view mirrors on the shoulders. Walker and Moriceau worked closely with Miller on deciding the costumes; and, recalls Walker, Miller was initially a bit wary of Mori ceau’s S & M outfits for M ad M ax 2. “ But she kept working on it, and George started to see there was some thing in it.” The look is crucial for a Mad Max movie. “ One of the things I really tried for,” says Walker, “ was a sepia look for the picture: it’s just rusts, the desert colour, black and little bits of red. I didn’t see it as a world in which there’d be much colour.” Indeed, he even tried to talk Miller into shooting the film in black and white. “ Surpris
ingly, he said that he’d love to. But, of course, we couldn’t, what with the stigma of black and white.” The Bartertown set was built in an old brick pit, and the buildings were painted so that they melted into the ground. “ When there are people in there, it’s just this conglomeration of shapes and smokey chimneys. Like the cars in the desert, the more you couldn’t see, the better! The whole film is just dust, with George saying all the time: ‘Smoke, more smoke . . !’ The idea was that the cars, like animals, would blend into the desert, so you’d look to see if they were really there.” The cars that Walker has designed are extremely basic — made of rusted tubular metal, they are skeletal, bone like structures. “ Desert creatures, sort of: bugs, armadillos, lizards. One car is totally covered in Friesian cowhide. And there’s also a train . . . actually, it’s a Mack truck, that we’ve fitted railway wheels to. It used to rocket along, so we used the actual train line to Alice Springs.” As well as the desert, several other environments have been created for B ey o n d T h u n d erd om e. Sand dunes — in which the tail section of a 747
airliner mysteriously appears — Above, the mythic leather boy (Mel suddenly give way to a lush gorge, the Gibson) and (left) the heavy metal queen o f ‘Crack in the Earth’. There is also junk (Tina Turner). -Below, the wild children o f Mad Max: Beyond Thunder U nderw orld, and the m assive dome. Thunderdome itself. “ Thunderdome is amazing,” says Walker. “ It’s just this huge steel dome that 400 people Kennedy/Miller are very careful in clamber into to watch a fight. The thinking what an audience wants and fighters are suspended on bungey” — how it should look, who should be in it, elasticized rubber — “ and they spring who’s going to write it. George gives so around inside the dome, trying to much detail to absolutely everything: he gives his utmost to minute detail. clobber each other.” “ At one stage,” says Walker, “ with They know what’s possible on a model-makers, mechanics, set builders budget, and are very positive about and welders, there were 120 people who they employ: they wouldn’t let me working in the art department. As a put anyone on who wasn’t experi designer, you rely on and are thankful enced.” Though the exact figure is kept a for the people who get the things done that you want done. My design is done mystery, it’s no secret that B eyon d with other people — mechanics, T h u n d erd om e will be, if not the welders, etc., who know their trade. largest, certainly among the biggestAnd they are always right. People budgeted films ever produced in Aus came in from everywhere, and the tralia. But did this factor, plus an things they were doing . . ! Guys just working with steel, who might have come off a building site. True artists!” But all this, Walker insists, wasn’t “ People came in from really a gamble on the part of the pro ducers. “ A problem with so many everywhere, and the films is that they try and do things things they were doing I th e y ’re ju s t not cap ab le o f.
Guys just working with steel, who might have come off a building site. True artists!”
awareness of the inevitably high audi ence expectations, place pressure on those working on the production? “ It made you work pretty hard to make it look right. And there were nights when I sat down to rushes and thought it was just fantastic, as good as anything I’ve ever seen, with everything — costumes, lighting, sets, special effects — everything working absolutely per fectly. I really do believe that if it’s not big, it’ll be huge. It will be one or the ' other: I don’t think it can be mediocre.” ★ CINEMA PAPERS May — 41
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from France, Greece, Spain, Portugal, Holland, the U.K., the U.S.A., Mexico and Pakistan. The majority though — well over 50% — are from Australia and New Zealand. Since she first handled T h e C ars T h a t A te P aris for producer Jim McElroy in 1975, she has — as the pictures show — become a kind of one-person history of Aus tralasian cinema. Not that this was ever part of the original game plan, as Seawell explains. “ I met Jim quite by chance when I was in London, working for Hemdale. He had the cans of T h e C ars T h at A te P aris under his arm, and he was showing it to everybody, including Hemdale. Everybody turned it down, but I happened to like the picture. And, when I went independent, I called him and said, ‘I don’t know what I can do with it, but I’d like to handle it’. He said, ‘Fine’. It was the first picture I ever did, and I took it to Cannes the first year, 1975, along with Orson Welles’s F fo r F a k e .” In the wake of C ars came a lot more Australian films: two more Peter Weir pictures, P icn ic at H a n g in g R o ck and T he L ast W a v e, and a string of movies by other directors who have since become stalwarts of the Australian c in e m a : C a d d i e , N e w s f r o n t , B ack road s, T h e G ettin g o f W isd o m , D o n ’s P arty, T he D e v il’s P la y g ro u n d , M on k ey G rip, M an o f F lo w ers, Silver C ity, and even a few without quite the
Like any business (and probably more than most), the film industry has its hierarchy of saints and sinners. The director, for instance, is traditionally the good guy — the artist, struggling to express a vision. The producer, on the other hand, is the bad guy, who sells out that vision to make a quick buck. And, way beyond even the producer, in the outer moral darkness of the movie world, comes the sales agent, a middleman who rips off everybody — a pedlar of product who can be expected to be in movies today, and in real estate tomorrow. 42 — May CINEMA PAPERS
Like most mythologies, this moral hierarchy is more convenient than true. And, in the case of Jeanine Seawell, it is positively outrageous: the only point of contact is that she was once in real estate. Mind you, since that was in Paris — a city second only to Los Angeles as the Black Lagoon of the real estate world — it was an apprenticeship that has given her the stamina and the selling power to survive in the world of film marketing. Now in her tenth year at Cannes, Seawell has a catalogue which comprises getting on for sixty films,
same aura of artistic responsibility. “ I don’t mind horror films,” admits Seawell, who was effective in selling Colin Eggleston’s L o n g W eek en d (1978), “ and -I don’t even mind sex films. I took the one and only sexy Australian film, F elicity . It was like a m in i-E m m an u elle, but it was well done, and it sold everywhere! I must say, though, that I never saw the film in its entirety: I only saw fifteen or twenty minutes. That was enough for me to know what it was about and to convince myself it was a good film, not a piece of junk.” Avoiding junk has probably been the key to the success of Seawell Films in a world where junk dealers come and go almost hourly. For Seawell, quality is the key to the selling strategy. “ I don’t stress any more that a film is from Australia or any other part of the world. I think it was important to do so at the beginning, and I think it worked well to have the films noticed: it actually led to an interest in Aus tralia as a country. But now, it has to be the quality of the film that sells it.” Seawell has been in the film selling business since the early seventies, when
she was inveigled in by Albert Caraco of Cinexport, the Paris company that pioneered independent film selling. Marketing had previously been the domain of the majors but, in the fast changing world film market of the seventies, it was ready for a new approach. So was Seawell, but it took Caraco a year to persuade her to head his London sales office. “ I said, “ I know nothing about films!’And he said, ‘Well, selling is selling; and, anyway, you’ll learn’. Which I did, from the ground up.” She stayed in the office for a couple of years, before moving over to Hemdale as sales manager. Two years of that, however, and she resolved to set up shop on her own. “ I decided that this was the kind of job you would do better for yourself, when you could pick the films you wanted to sell. Anyway, it was a time for changes. I had been in London for five years, and it was getting a bit unpleasant, with the IRA setting off bombs in the street. I decided if I was going to make a break, it might as well be a clean one. So I went back to Paris.” She opened the Seawell Films office in early 1975, with a capital of $4,000 — ‘‘enough to pay the rent for six months” — and has scarcely looked back. Of the first two films, F fo r F ak e was the one which sold best, with the Orson Welles name behind it. C ars was more difficult. Nevertheless, she sold it — to England, America, South, West and East Africa, the Middle East . . . and France. “ It got absolutely abom inable reviews in France,” she remembers. “ They just hated it. But you still meet people who remember seeing it. It didn’t get much of a go, though: the distributor went bankrupt while handling the film, and obviously it didn’t play after that!” For the uninitiated, what a sales agent does is try to interest distributors in a film (as distinct from a film publicist, who tries to interest the media). For the purposes of the kind of film she handles, Seawell believes that film festivals are the best way of doing this. “ I’ve used festivals since the start — at Cannes, in Germany, in Italy, anywhere. At festivals, the press is theje to see the films, and you can take it from there. At a market, you’re just one of a hundred films. It’s not just Cannes: Berlin, Taorm ina, London, Filmex, and the smaller European festivals. For horror and science fiction films, you have to go to the festivals in Spain. Almost every city wants a festival these days, and some of them are quite useful as launching pads: you get the press, you get the reviews, you get distributors interested; and the films are shown with audiences, which is better than just a screening room or films on'cas settes.
“ I think I now know by experience which film is right for which festival. I’ve always thought Paul Cox’s films, for example, were ideally suited to Berlin, but for some reason they’ve never been selected: I can’t understand why. They’ve been offered the Information Section, which I’ve refused every time. But Ian Pringle’s W ro n g W o rld , this year, was perfect for Berlin: a brand new film which no critic had seen, which I’d not even mentioned to distributors, and which was in competition — perfect!” Seawell makes her money from com mission on sales — “ You don’t sell, you don’t get paid: it’s as simple as that” — but collecting can sometimes be a headache. “ You make a dis tribution contract and you hope that, one, the film will work, and, two, the distributor will send you proper accounting and overages. That is the exception rather than the rule — not just in waiting, but in getting overages. So, basically, what you count on is the up-front guarantee that comes with signing a deal. I never collect anything from the producer: it’s always from the distributor. It takes a bit of time, but I think overall the money gets paid. Sometimes they don’t follow the terms of the contract, and it may take three months more than it should. But one thing I try to do is work with reputable distributors. I try, in each territory, to develop some sort of a network of reputable people to handle the product I have, and it’s worked out fairly well.” Since those first years of selling Aus tralian product, Seawell has become increasingly involved with the Aus tralian film industry. She now advises on scripts, and she pre-sells the films before they go into production. In fact, she is coming close to exercising the function of a producer. “ I will be doing pre-sales on Paul Cox’s new film, C actu s. I’ve handled all Paul’s films since K o sta s, which was difficult because of the language: you know, about 30970 of the film is Greek, which
“ You don’t sell, you don’t get paid: it’s as simple as that.” didn’t make it easy to sell. But then L o n e ly H earts was a breakthrough, and the exposure M an o f F low ers had in ‘Un Certain Regard’ at Cannes made him an Australian director with a difference — one that Europeans as well as Americans wanted to see. So, doing the pre-sales was a natural pro gression. I suppose I’ll have to start calling myself something else soon, and getting credits on the film. I think I would like that, after ten years!” Another director with whom Seawell is working on putting together a pre sales package is Paul Verhoeven (who, like Cox, is Dutch, but who has stayed in Holland). Having handled Spetters and T h e F o u rth M a n (D e Y ierde M an) for Verhoeven — the latter, a full blown sex melodrama with surrealist trappings, was enormously successful, recouping both its American advance and it costs on theatrical release alone, with overages, syndication and video still to come — Seawell was approached by the director who, after his H o lly w o o d epic, F lesh and B lo o d (w h ich has still to be released), was lo o k in g to do a couple o f independent p ictu res.
“Selling is selling’’: Jeanine Seawell with some of her clients. Top to bottom, Phil Noyce; Peter Weir and Richard Chamber lain on the set of The Last Wave; with Sam Neill at the time of Sleeping Dogs; with Ken Hannam (she sold his Break of Day); and with Jack Thompson. Seawell’s involvement with films from other countries — Spain and Holland in particular — is partly a result of the Australian cinema no longer guaranteeing quite the business it used to. To start with, her first batch of clients have gone to Hollywood. “ I was disappointed that I couldn’t keep working with them,” she admits, “ but at the same time very pleased that all the directors whose films I handled at the very beginning have gone and made the big successful films they’re now making.” But the other reason is less of a success story. “ A lot of the Australian films made in the last five years should have been made for television,” she says. “ They would have cost less and would have returned more to the pro ducers. It happened when the tax incentive was such that money was too readily available: everybody was making big fees, and scripts that had been hanging around for years all of a sudden turned into films that were totally unshowable. And, when these films came to Cannes and distributors turned up to see the new Australian product, they were so disappointed. I think we lost a lot of distributors there: now, we’ve got to get them back again. One film that should really have done better than it did was M o n k ey Grip: it’s a good film, with a fantastic performance, but it came after those horrible two years.” Indeed, of late, New Zealand has begun to take up almost as much of Seawell’s time as Australia. She started with G o o d b y e P o r k P ie in 1981, which sold very well, and Roger Donaldson’s first feature, S leep in g D o g s, which didn’t (“ and, to this day, I don’t understand it,” says Seawell). Last year, New Zealand gave her her first film in competition at Cannes, Vincent Ward’s V ig il. “ I was in New Zealand last year and saw it. I knew Pierre Henri Deleau had seen it, and wanted it for the Directors’ Fortnight. I thought it could have a chance in the main competition. So I got Gilíes Jacob to have a look at it, and he chose it.” In the end, V igil was not particularly well received, though it sold well enough. “ It’s slow, but I’m convinced it will eventually be sold everywhere. It’s released in Germany theatrically now, and is doing very well — above the expectation of the distributor. It opened theatrically in Italy in April. People absolutely adored the film, and I think it will eventually do a good job. Some films are a bit ahead of their time. That was true of Karen Arthur’s T he M a fu C age, which I handled, and it’s true of V igil: it will do as well if not better in five years’ time. That’s the kind of film I like to have.” It is this belief in the product which, finally, sets Jeanine Seawell apart from the shifty, polyester-clad brigade of film buyers and sellers. She only handles films she likes — and, of course, ones she thinks will sell: in any case, she believes, the two are related. “ It’s very subjective: I have to like the film myself and hope I can make distributors take an interest. If I am pleased with something, I should be able to convince people that it is a film they should buy. I can’t say it always succeeds, but mainly it has.” ^
Directors like Dusan Makavejev and EViatjaz Klopcic have had bursts of cult recognition, and both have films at Cannes this year (though Makavejev’s was made in Australia). But there is, says Mike Downey, a lot more to this very untypical example of a socialist film industry.
For a socialist country, Yugoslavia has a film industry very different from the sort of state-run monolith Westerners seem to expect. In fact, the film set-up reflects the diversity of the country itself — a nation of six Republics, two autonomous Provinces, five major languages, three religions, two alpha bets and seven international frontiers. Since 1956, each of the six Republics has, by law, had its own film centre, and they are now represented by such companies as Avala Film and Centar Film in Serbia, Sutjeska Film in Bosnia, Viba Film in Slovenia, Jadran Film in Croatia, Makedonia Film in Macedonia and Zeta Film in Monte negro. Each of these companies works under government self-management p ro v isio n s and is com pletely autonomous, not ‘state-run’ in any sense. Yugoslavs are also avid cinemagoers (thanks in part to some of the world’s lowest admission prices: around US<t50 a ticket), which means that most filmmakers can count on healthy box-office returns. Australian films remarkable documentaries on the fall are particularly popular, given the of the Ottoman Empire. 1910 saw the number of Yugoslavs with emigrant setting up of a few production relatives down under: films like Mad companies, but the first Balkan Wars Max, Gallipoli and The Year of Living in 1912, World War I and, finally, the Dangerously have done near record second Balkan Wars closed things breaking business. But this doesn’t down until the twenties, when mean that Yugoslav audiences follow Hamilker Boskovic founded the other European nations in allowing Croatian Film Company and produced themselves to be overrun by English a dozen features in three years. speaking imports. Figures for the first Animation, always a Yugoslav forte, half of the eighties reveal that domestic got going in 1922, when Ernest features took 80% of the market. Bosnjak’s W atch O ut or Y o u ’ll F ind a The history of Yugoslav cinema is M illion (D aved zn ak ili k ak o napraviti long but, until after World War II, m ilion ) was the first in a long line of only intermittently distinguished. films leading up to Yugoslavia’s only Moving pictures were first shown in a Oscar, for Dusan Vukotic’s T he Belgrade restaurant in 1896 — the Sub stitu te (Su rogat) in 1961. Yugoslav film proper had its real inevitable programme of Lumière shorts — and inspired a few origins at the end of World War II, amateurish local experiments. By however. And, at that stage, the 1905, however, Milton Manaki had, in biggest problem was, almost inevit his native Macedonia, shot some truly ably, . the lack of trained personnel. 44 — May CINEMA PAPERS
There was no shortage of money or Nothing But Words o f Praise fo r the support from the new communist D eceased' (Pavle Vujisic and Bora regime; and the centralized film Todorovic). Inset, left: filming Bridge over bureau even went so far as to build a the Neretva, in which Richard Burton massive ‘film city’ at Kosutnjak, just played Marshal Tito. outside Belgrade. The aim was to pro duce 50 films a year; but, with no one realism: Tito’s split with the Kremlin capable of using all the facilities, it in 1948 seems to have protected Yugo took two years before the production slav cinema from the ‘boy meets of Slavica (1947), the first feature to be tractor’ syndrome. made in socialist Yugoslavia, which The fifties saw Yugoslavian films was directed by Vjekoslav Afric. Pre displaying a sound grasp of the funda dictably, the young industry’s efforts mentals — good, solid, textbook films centred on war themes and were pretty like Rados Novakovic’s B r o th e r rough and over-simplified (though not B a k o n ja B rne (B a k o n ja F ra B rne, without a certain raw charm). For 1952) and Zorz Skrigin’s T w o P ea sa n ts tunately, Soviet influence seems to (N jih d v o jic a , 1954). It was the sixties, have been kept to a minimum, and however, that brought the first real there was little trace of socialist innovations in style — a landslide of
Yugoslavia
change, with the work of Bostjan Hladnik, Aleksandar Petrovic, Dusan Makavejev, Purisa Djordjevic, Vatroslav Mimica, Matjaz Klopcic and Zivojin Pavlovic. These exponents of the Yugoslav ‘New Cinema’ produced work that was of a highly satirical and critical nature, with the state, the system and society as its main targets. The sixties were, in many ways, the golden years of Yugoslav cinema: in 1984, a poll of the top 54 film critics came up with a top ten in which the first four films were all from this period. Petrovic’s I E ven M et H a p p y G yp sies (S k u p ljaci P erja , 1967) and T hree (T ri, 1965) took first and second places, with Djordjevic’s M orn in g (Ju tro, 1967) third, and Pavlovic’s W h en I A m D e a d and W h ite (Kad B u d em M rtav i B e o , 1967) fourth. Makavejev’s T raged y o f a S w itch board O perator (L ju b avn i slucaj ili tragedija slu zb en ice P .T .T ., 1967)
took seventh place, so that the ‘new cinema’ of the sixties accounted for half of the post-war top ten. Periods of great artistic output are always difficult to follow, and things weren’t helped by a policy of deliberal ization during the seventies — some thing which, in a way, still continues today, albeit in the form of self censorship. Towards the end of the seventies, however, a small group of directors (who, coincidentally, had all trained at the FAMU school in Prague), began to make their mark, first on television, then on the big screen. The films of Rajko Grlic, Srdjan Karanovic, Goran Markovic and Goran Paskaljevic are very different, yet the pervasive theme is that of the individual — the little man — trying to understand a world that defies comprehension. The films of the ‘Czech School’ are wide-ranging in their social criticisms, but carefully and delicately rooted in the specifics of everyday life. As we enter the mid-eighties and the Czech School directors enter middle age, however, it seems to be becoming increasingly difficult for young writers and directors to break the monopoly of the older generation. As a result, many have been forced to make do with little money and second-rate equipment, sometimes producing
There is little trace of socialist realism: Tito’s split with the Kremlin in 1948 seems to have protected Yugoslav cinema from the ‘boy meets tractor’ syndrome exceptional results in the process. In this respect, Yugoslav film has come full circle: the filmmakers of the eighties have much in common with the wartime pioneers. Indeed, many of the problems facing today’s filmmakers stem from structures and legislation established soon after the war — that, and the decentralization of the fifties. For, with each of the autonomous film centres following individual policies of selection, production and distribution, methods of financing are as varied as and diverse as the Republics and their film companies. Some Republics give more than others, and the number of
production houses likewise varies from Republic to Republic. There is only one company working in Slovenia, for example; thus, it receives all the avail able state money, but produces an average of only four features and fifteen documentaries a year. In Croatia, 80-100% of budgets can be covered by cultural activity funding, whereas in Serbia (which boasts the highest concentration of film com panies), many projects receive no state aid at all. How, then, do producers raise the money? Some companies have their own facilities, though more often than not they choose to hire studios and equipment for short shooting periods. Recently, there has been a trend towards 'setting up film workers’ co operatives for individual projects, then disbanding them again immediately afterwards. A common method of financing, therefore, is for film workers to invest their fees in the pro ject on which they are working — an Eastern European version of deferral financing. For the most part, returns are minimal, but there is the occasional freak project like Goran Markovic’s S p e c ia l E d u c a tio n (S p e c ija ln o V asp itan je, 1977) which broke every
box-office record, and returned a handsome profit to its ‘shareholders’.
The state can also contribute money after completion: an annual list of top films is compiled by a Cultural Com mittee on the basis of ‘critical’ and ‘popular’ appeal (a system used in the thirties by the U.S. National Board of Review). Films are then rewarded on a descending scale, with a winner’s prize of 3.5 million dinars (Aus$15,500). More recently, television has also started to play an important role in film financing. “ More than half of this year’s production was done in co operation with television,’’ says Milomir Marinovic of Yugoslavia Film, the industry’s own import/export agency. Co-production is, of course, also a big earner for the Yugoslavian film industry, bringing in an annual revenue of between ten and fifteen m illion U.S. d o llars. Though Kosutnjak Studios near Belgrade is rapidly becoming popular as a supplier of services, especially after the remake of Q uo V adis? was shot there recently, Jadran Film of Croatia is the front runner in this highly lucrative form of hard-currency earning. The main sell ing point for Yugoslavia is the wide variety of natural locations: the country has everything from snow capped mountains, primeval forests and rolling plains, to a Mediterranean
Import-export: bottom right, Meryl Streep in Sophie's Choice, which used Yugoslav locations; top left, Milena Zupancic in Matjaz Klopcic’s Heritage, representing Yugoslavia at Cannes this year; above, Tasko Nacic cleans up in The Strangler; bottom left, Emir Kusturica’s Father on a Business Trip.
coast and a bewildering variety of oriental, Byzantine and western archi tecture, courtesy of many centuries of foreign invaders. In 1980, there were seventeen foreign co-productions; by 1982, the number had risen to twenty; and, in 1985, it is nearer 25. In fact, things are going so well that Jadran Film has opened an office in Century City. Recent Yugoslavia-based productions include S o p h ie ’s C h o ic e , which couldn’t be filmed in Poland because of martial law, and Peter Ustinov’s M em ed M y H a w k , which couldn’t be shot in Turkey because of its political content. Other classics of the twentieth century that have used Yugoslav facilities include T h e T in D ru m , F iddler on the R o o f, Abel Gance’s A u sterlitz and Orson Welles’ T he T rial. Another factor contributing to the proliferation of co-productions is that prices are around 60°7o lower than in the United States. Moreover, fewer
Yugoslavia sets need to be built because of the ready-made locations — and, even when they are built, they come cheaper, as do extras and madcap Yugoslav stuntmen. . From the Yugoslav point of view, co-productions go a long way towards subsidizing domestic films, especially as hard currency is vital for the pur chase of equipment and film stock. It should be remembered, though, that Yugoslavia imports about 200 foreign films a year, 70% of which come from Hollywood, so a lot of those hardearned dollars find their way back home. But what of domestic production? 1984 was a near record year in terms of the quantity of films; yet, sadly, the quality was a far cry from the fearless satires of the sixties. According to Maja Volk, screenwriter and resident dramaturge at Centar Film, Belgrade, “ the weak link in the Yugoslav film industry is the lack of good screen plays. Directors prefer to write their own, and we are left in the bizarre situation of having world-class editors, cameramen and directors, but no writers. However, there are some young writers emerging now, who trained at the Belgrade University Film School, and I sincerely believe that they are the future of Yugoslav film.” As it is, a fair number of last year’s 34 efforts — with such notable excep tions as Fadil Hadzic’s T he A m b a ssa dor (A m b a ssa d o r) — seemed deter mined to cash in on the present boom in the domestic market. Directors, writers and producers are doing their best to adapt to current audience trends, which for the moment are for situation comedy and psychological drama. Yugoslavia Film’s Milomir Marinovic feels quite strongly about this drop in standards. “ Producers,” he says “ are usually aware that, with such films, they can only hope for commer cial success, which might explain the unusual situation of three films which were produced and distributed, but not entered in the Pula Festival.” Pula, the annual screening of the year’s output in the spectacular setting of the Vespasian amphitheatre over looking the Adriatic, which attracts 10,000 cinemagoers a night during its ten-night run, is a crucial point in the Yugoslav film year. It is a harsh test for films, but success there is important, since audience opinion plays a part in the giving of some of the awards. Serbian films swept the board at the 1984 Festival, winning ten out of the fourteen official prizes — surely the best tribute that jury and audience could pay to the inventiveness and per severance of film workers from a Republic which faces harsh financial constraints. Of the 29 films shown at Pula, sixteen were Serbian, six were from Croatia, four from Slovenia, and one each fro m M o n te n e g ro , Macedonia and Bosnia. Croatia, usually a major force, was
rather
poorly represented,
though
Early S n o w fa ll in M unich (R ani Snijeg U M u n ch en u ), directed by Bogdan
Zizic, was a sensitive drama dealing with Yugoslav emigré workers in West Germany. Zizic focuses on the cultural divide separating Ivica (Drago Grgecic-Gabor) from his father (Pavle Vujisic), who has spent his whole working life in exile and longs to return home. In the end, Ivica marries his German girlfriend, and his father commits suicide during the wedding celebrations. The film is a powerful semi-documentary, though somehow rendered ‘safer’ by the fact that it is dealing with an external subject. Lordan Zafranovic’s T he A n g e l’s Bite (U jed A n d je la ), on the other hand, is a great disappointment from the man who was responsible for such classics as Islan d C h ron icle (P ad Italije, 1981) and T he O ccu p ation in 26 Scenes (O k u p acija u 26 S lika, 1979). His heavy-handed determinism exploits the wilderness of a deserted island as an excuse for the animalistic, almost pornographic portrayal of a lighthouse keeper’s wife. Definitely not recom mended. The most outstanding of Slovenia’s contributions was the work of debutant director, Bostjan Urhovec. T h e Y ears O dluke) is a
of
D e c isio n
(G o d in a
moral drama taking as its theme the disintegration of a family as a result of ideological differences. Branko Gradisnik’s very tight screen play takes on the difficult subject of the split with Cominform in 1948, viewing it through the relationship between a politician/war hero and his young son. Continuing with themes already established in his previous films, Zivko Nikolic looks once again to country life in Montenegro for his inspiration. U n seen W on d er (C u d o N ev id jen o ) is a subtly developed satire telling of a waitress (Savina Gersak) who arrives in a small fishing village, where life has remained the same for centuries. Her youth and beauty have a catastrophic effect on the local male population. Finally, she teams up with Scepan (Danilo Stojkovic), the local big-shot with big ideas. He is a man blinded by
Danilo Stojkovic should not go un noticed. An actor who seems to be in almost everything these days, he was in no small degree responsible for the film’s festival successes at Montreal and Valencia. Slowly but surely, genre films are in filtrating the production houses, too. Centar Film made two last year, Milomir Stamenkovic’s D a n g ero u s Trail (O pasni T rag), a police thriller, and Slobodan Sijan’s T he Strangler (D avitelj P r o tiv D a v ite lja ), which calls itself a ‘horror comedy’. It tells the story of Petar (Tasko Nacic), a flower seller who just happens to be a psycho pathic strangler terrorizing Belgrade. But his murderous perversion is that he only strangles girls who don’t like carnations. The unqualified pick of the crop, however, was Rajko Grlic’s T h e Jaw s o f L ife (U R aljam a Z iv o ta ), a bitter sweet, sentimental comedy about the kitschy lives of two women (Gorica Popovic and Vitomira Loncar). Dunja is a film director working on a TV series, and Stefica is the heroine of her soap opera. Their stories develop in parallel and, despite their different backgrounds, finally coincide at the climax when promising young men appear in both their lives. Beyond being a simple love story, the film is a diatribe against false seriousness, pleading for a more ironic attitude Mira Furlan assaults a sandwich in Rajo towards the world. “ A film can’t do Grlic’s The Jaws o f Life. Below, the anything,” Claims Grlic. “ It cannot spectacular festival amphitheatre at Pula. make anything a reality: it plays with reality. The only thing it can do is a passion for making the world a more contribute to a slight shift in con beautiful place — a mission that turns sciousness.” Such shifts are a welcome out to have disastrous results. thing in Yugoslav film. The Belgrade school of filmmaking Of the two films that will represent continues to dominate the Yugoslav Yugoslavia at Cannes in 1985, the film industry, however, with the selection of Matjaz Klopcic’s In h eri ventures of independent film collec tan ce (D ed iscin a) comes as no real tives producing box-office hits faster and cheaper than the larger, more bureaucratic operations. To some degree, 1984 has been a year of change and innovation. F o g g y L an d scap es “A film can’t do anything. (P ejzazi U M a g li), directed by Jovan Jovanovic, is one of the first features It cannot make anything a to deal with the growing problem of reality. The only thing it heroin addiction in the cities, while the bastions of Balkan male chauvinism can do is contribute to a come under fire with the first film by a slight shift in women’s filmmaking co-op. W h a t’s consciousness” U p , N ina? (Sta Je S T o b o m , N in a) is a love story about a liberated woman Rajko Grlic caught in a ‘Jules and Jim’ situation. Centar Film gave 25-year-old Predrag Antonijevic the chance to make his first film, as part of their surprise, since this veteran director policy of encouraging debutant direc (and one-tim e co llab o rato r of tors. N o th in g B ut W ord s o f P raise for Godard’s) is no stranger to the inter the D ecea sed (O P o k o jn ik u Sve n a tio n a l c o m p e titio n c irc u it. N ajlep se) is one of those films that you Inheritance is an ambitious film that feel you’ve seen before — not all at attempts to tell the story of a Slovenian once, but a bit here and a bit there. It is family from the fall of the Austroset in Jankovac, a small mountain Hungarian Empire to the victory of village, at the time of the birth of Tito’s partisans. Both this and the socialist Yugoslavia. Old habits die other Cannes film, Emir Kusturica’s slowly, and a series of supposedly F ather on a B u sin ess Trip (O tac N a comic situations ensue. Winner of the S lu zb en om P u tu ), are set in Sarajevo U.N.E.S.C.O. prize at Venice last in 1948, the year of the crucial split year, it is a film that lacks depth and with Moscow. Seen entirely through originality, if only because events the eyes of the young son of a local within living memory are being por politician, sensitively portrayed by trayed by someone with no direct Miki Manojlvic, it tells the story of the experience of them. father’s betrayal and imprisonment on This year’s Golden Arena prize, for the notorious island labour camp of best film of the year, went to camera Goli Otok, and the revenge he wreaks man Bozidar Nikolic and writer Dusan on his release. The point of view of the Kovacevic, who co-directed the film child creates an atmosphere of version of Kovacevic’s theatre success, nostalgia and innocence reminiscent of The B alk an Spy (B alk an sk i S p iju n ). neo-realism. But the emotional edge Though too verbosely theatrical in gives what might have been an overtly parts, this manic study of political political film a universality rarely seen paranoia is highly compelling and in Yugoslav cinema, for all its com petently directed. And the languages, alphabets, frontiers and volcanic performance of leading actor general diversity. ★
Edited by Peter Beilby and Ross Lansell
A U STRA LIA N
MOTION PICTURE YEARBOOK j l 19 8 3
fS
WORDS AND IMAGES W ords an d Im ages is t h e fir s t A u s t r a lia n b o o k t o e x a m in e th e r e la t io n s h ip b e t w e e n lite r a t u r e a n d f i lm . T a k in g n in e m a j o r e x a m p le s o f r e c e n t f i lm s a d a p t e d f r o m A u s t r a lia n n o v e ls — in c lu d in g T h e G e t t in g o f W is d o m , M y B r illia n t C a r e e r a n d T h e Y e a r o f L iv in g D a n g e r o u s ly — it lo o k s a t s o m e o f t h e is s u e s in t r a n s p o s in g a n a r r a tiv e f r o m o n e m e d iu m t o th e o th e r . T h is liv e ly b o o k p r o v id e s v a lu a b l e a n d e n t e r t a in in g in s ig h t fo r a ll t h o s e in t e r e s te d in A u s t r a l ia n f ilm s a n d n o v e ls . P ublished by H einem ann Publishers A ustralia in association with Cinem a P a pers .
210 pp
Australian Movies to the World A t th e e n d o f t h e 1 9 6 0 s A u s t r a lia h a d v ir t u a lly n o f ilm in d u s tr y . B y 1 9 8 3 its m o v i e s w e r e b e in g s h o w n t h r o u g h o u t th e c in e m a - g o in g w o r ld , f r o m m a in s t r e a m t h e a t r e s in A m e r ic a t o a rt h o u s e s in E urope. I n a r a p id t r a n s f o r m a t i o n , a c o u n t r y w h ic h h a d p r e v io u s ly b e e n b e s t k n o w n f o r it s k a n g a r o o s a n d k o a la s p r o d u c e d s o m e t h in g n e w a n d s u r p r is in g : t o q u o t e Tim e m a g a z i n e , “ t h e w o r l d ’s m o s t v it a l c in e m a , e x t r a v a g a n t ly c r e a t iv e , f ie r c e ly i n d i g e n o u s ” . A ustralian M o vies to the W orld lo o k s a t h o w th is t r a n s f o r m a t i o n c a m e a b o u t a n d h o w t h o s e m o v i e s b r o k e in t o th e in t e r n a t io n a l m a r k e t . A n d , t h r o u g h in t e r v ie w s w ith A u s t r a lia n a n d o v e r s e a s d ir e c t o r s , p r o d u c e r s , a c t o r s , d is t r ib u t io n e x e c u t iv e s a n d c r it ic s , it t e lls t h e s t o r y o f t h e p e o p le w h o m a d e it a ll p o s s ib le .
P u blish ed b y F ontana A u stralia an d Cinem a Papers.
144 pp
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Kevin Dobson. Blow Out. W om en in D ra m a . M ichael Rubbo. Mad Max 2. Puberty Blues.
S te p h e n M a c L e a n on Starstruck, Jacki Weaver, Peter Ustinov, W om en in Drama. Reds. Heatwave
G e o ff B u rr o w e s a n d George Miller on The Man F ro m S n o w y R iv e r , James Ivory, Phil Noyce, Joan Fontaine.
Helen Morse on Far East, Norwegian Cinema, Two Law s, M elb o u rn e and S y d n e y F ilm F e s tiv a l reports, Monkey Grip.
Henri Safran, Moving Out, Michael Ritchie, Pauline Kael, W endy Hughes, Ray B a rr e tt, R u n n in g on Empty.
ig o r A u z in s , L o n e ly Hearts, Paul Schrader, P eter Tam m er, Lilia n a Cavani, We of the Never Never, Film Awards, E.T..
Mel Gibson, Moving Out, John W aters, Financing Films, Living Dangerous ly, The Plains of Heaven.
Number 43 May-June 1983
Number 44-45 April 1984
Number 46 July 1984
Number 47 August 1984
Number 48 October-November 1984
Number 49 December 1984
Number 50 February-March 1985
Sydney Pollack, The Dis m is s a l, M o v in g O u t, Graeme Clifford, Dusty, Gandhi, 3-D Supplement.
Special Tenth Anniversary Issue, History of Cinema Papers, David Stevens, Phar Lap, Mini-series,
Paul Cox, Street Hero, Razorback, Jeremy Irons, A n n ie ’s C om ing Out,
Richard Lowenstein, Rob bery Under Arms, Wim
Ken Cameron, My First Wife, ABC tele-features, Strikebound, Motor-cycle Boys, Silver City, Body line.
A lain R esnais, 1984, Horror Films, Icem an, Film Student’s Guide to Clichè, Once Upon a
Man of Flowers.
Alan J. Pakula, the NFA.
Wenders, David Bradbury, T h e B o u n ty , S ophia Turkiewicz, Hugh Hudson.
Tim e in America.
Stephen Wallace, The Club, Walerian Borowczyk, The films of Ian Pringle, Le bai, Bill Gooley. Cotton
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^¡¡0 ^ Three telemovies. ^ An Australian Trilogy. Three separate films offer a umque and moving portrait of Australia in the first haif of this century. The trilogy is based on the true stories of a Yugoslav migrant gold-miner, and Italian artist/critic and an aboriginal film actor. Enters production in O ctober 1986.
Feature film. A female lawyer inadvertently discovers the brutal background to an attack on a young girl in an Australian outback town. Spectacular stunts punctuate this powerful, dramatic contemporary story. Enters production in February 1986. |r
Feature film. W indrider is:- • A fast-moving contemporary comedy./romance about tw o people whose lifestyles and patterns are as different as night and day. • A celebration of wind, waves and love. • A movie of music and action including all the colour and excitement of windsurfing's most spectacular activity: wave-jumping. Enters production in August I 985 .
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Set in the sun-burned Australian out back, The Naked Country was Morris West’s fifth novel, and it was written while West was ensconced in the freezing Austrian Alps, where he had moved in 1957, on the theory that it was a cheap place to live. The book tells of a grazier, Lance Dillon (played in the film by John Stanton), whose dedication to building up his herd — and his fortune — via a magnificent stud bull lead him to neglect his beauti ful, sophisticated and ultimately very bored wife, Mary (Rebecca Gilling). Inspecting his herd one day, he dis covers a group of renegade aborigines, led by Mundaru (Tommy Lewis), who are in the process of slaughtering the prize bull because it is grazing on sacred land. He attempts to stop them, is duly wounded and loses his horse. The aborigines pursue him to finish him off, the tribal lawmen pursue Mundaru to do likewise, and Mary and the local policeman, Neil Adams (Ivar Kants), pursue the lot of them to find out what is going on. In doing so, they have an affair. But, when the spears come to rest and Dillon survives, old style morality wins through: Mary and Dillon are reconciled, albeit on her more suburban terms. 48 — May CINEMA PAPERS
Weil to the fore in this year’s crop of action adventure films is Morris W est’s The Naked Country. Set in the Queensland outback, the film updates W est’s 1957 novel to focus on the conflict between Tommy Lewis’s renegade aborigine and John Stanton’s stiff-necked landowner — a conflict which is fought out rather than talked out. Ewan Burnett talked to Boss Dimsey and Tim Burstail, producer and director of the film , about the changes, and about the problems they encountered In bringing It all to the screen. The sale of the novel and the enor mous success of The Devil’s Advocate several years later ensured that Morris West moved into the bestseller bracket with all subsequent and, to some extent, previous efforts. Although his commercial popularity has not guaran teed extensive recognition from literary circles, least of all in Australia, The Naked Country has remained in print since 1957 and the film rights to his novels are scarce commodities. Indeed, in September 1984, West him self set up his own company, Melaluka Productions, to develop and produce a number of his properties not yet taken up by other producers. The Naked Country was not one of them: it had been acquired by Ross Dimsey and Robert Ward in 1982. “ The pursuit of the rights,” says Dimsey, “ was a long and protracted business, which it usually is when
you’re dealing with an author as well known as Morris is. The rights had changed hands several times since 1957, but the project had never reached production.” In 1982, Dimsey was completing a three-year contract as head of the Vic torian Film Corporation. He had been in the film industry since 1965 as assista n t d ire c to r, p ro d u c tio n manager, writer and director. Robert Ward of Filmways, who was also on the board of the VFC, introduced Dimsey to the novel. And, together with Mark Josem of Filmways and solicitor Bill Marshall, they formed a company called Introndie to produce N ak ed C ou n try and other optioned projects. Dimsey prepared the first treatment of the novel. “ I was anxious to be faithful not only to the content but also to the style of the book. It is essen
tially about a manhunt, with a love story in the background,” he says. But D im sey’s trea tm e n t placed its emphasis on the aspect of the woman coming to terms with her environment, and the N a k ed C ou n try investment prospectus described the film as “ a love story of a woman and her fight for independence and love in the beautiful but brutal country of Aus tralia’s vast north.” Dimsey approached Tim Burstail to direct the film immediately prior to the release of the prospectus. Burstail agreed, on the condition of his involve ment in the further development of the script. Dimsey had worked with Burstail as first assistant director on the C hild episode of L ib id o (1973), on A lvin R id es A g a in (1974) and on E nd P la y (1975), on which he was also pro duction manager. “ I felt N a k ed C ou n try was a job for Tim. His best films are those where he’s dealt with a small number of characters and intense personal relationships. He also has an accurate feel for the outback, as in T h e L ast o f th e K n u ck lem en , and he worked successfully with aboriginal artists on E liza F r a se r .” Burstail sought to draw the conflict and drama from the Morris West novel
The Naked Country
to create a stronger film. “ A novelist who is really close to the commercial pulse is dealing in massive cliches or myths. By using this as a springboard, you can either develop something coarse and awful, or use it for an examination of broader issues. I saw my job as trying to make credible a lot of the things that didn’t work in the novel because they were out of date or excessive.” To do this, Burstall chose to develop the premise of the individual — Dillon, not Mary — as he came to terms with his environment and so reached a broader view of the aborigines. “ As Dillon is gradually divested of the horse, his clothes and his knife to fight with,” says Burstall, “ he has to become more and more like an abori gine. Morris even has him losing his underpants! The concept was a guy who starts off as a cattleman, is attacked by the aborigines, is slowly pursued by them and, in the process, becomes ‘darker’.” The novel touches on the subject of aboriginal land rights only to a degree. In order to get greater conflict and action, the Burstall/Dimsey script polarizes the issues, strengthening the white and black characters, and pro ducing a strong representation of the aboriginal land rights question. The real conflict is between Dillon, the landowner, and Mundaru — ‘the Marlon Brando of aborigines’, as Burstall calls him. It also identifies the complex and frequently corrupt cultural systems behind them. This didn’t always make for an easy shoot. “ There is a lot of violence,” explains Burstall — “ people staggering around the landscape with wounds and spears; and it has a conflict between blacks
“ A novelist who is really close to the commercial pulse is dealing in massive cliches or myths. By using this as a springboard, you can either develop something coarse and awful, or use it for an examination of broader issues” Tim Burstall
and whites. It would have been curious if these conflicts hadn’t surfaced during the shoot. “ Dillon’s view at the start of the film,” he says, “ is that the aborigines haven’t used the land — they haven’t dug it up, haven’t made it support any body, and this is why they should be dispossessed. But Dillon is an innerdirected character of strength, and his condescension progresses to under standing.” Adams, the white lawman, is almost the antithesis. “ I wanted Adams to represent the soft-centred, lefty, ‘God, we’re guilty’ syndrome. I wanted to show how that is connected to some body who is personally indulgent. The average el cheapo enlightened person has all sorts of sweet views, but is actually a long way from caring.” So, Burstall has changed Adams into an amoral ex-mercenary — a drunken lech who has been put on probation because of his ineffectiveness.
Mundaru and the aborigines, on the other hand, are ennobled and made worthy opponents for Dillon. “ We had to give them balls,” comments Burstall. “ We had to give them some thing worth fighting for. We had to give them special ways of knowing, and we had to accentuate the threat by killing the bull and Dillon’s manager, Conrad. It had to be a collision between the western and aboriginal cultures, not based on the occult, like T he L ast W ave, but on real differ ences.” The love story between Adams and Mary has, through the process of adaptation and editing, been reduced in the final film to a brief interlude between the couple before the man hunt begins. Mary discovers the un attractive, weak side of Adams, and in the final cut, their second physical engagement does not even survive, due to a negative reaction from a preview audience. Burstall admits to being unhappy with the Adams character in the final script, but he feels that his function is well enough served in counterposing the film’s other outcast, Mundaru, whose illicit love affair with one of the tribal chief’s wives is given an element of nobility not found in the Adams/Mary fling. Thus the final script, as adapted from the novel by Burstall and Dimsey, takes on broader issues, making the film an Australian western with the outback as its canvas. Since the Queensland Film Corporation had an investment of about 10% in the final budget, part of the deal was that the film be made in Queensland. Dimsey, in the early stages of pre-pro duction, had looked for locations in the Northern Territory and in Western Australia, but had finally decided on Charters Towers in Queensland as the ideal base for filming. “ The surround ing country provided the right kind of tropical locations, and the town itself was large enough to sustain the invasion of cast and crew. It was also close enough to the east coast to ease somewhat the potentially horrendous logistics.” The other part of the arrangement with the QFC was that they use, as far as possible, Queensland technicians in the crew. This resulted in a degree of inexperience which at times com pounded the already difficult condi tions of filming in the outback. With temperatures in the mid- to highthirties every day, high tropical humidity and a rapidly approaching wet season, some cast and crew members did become sensitive to the daily one-and-a-half-hour drives to locations. “ Going troppo,” says Dimsey, “ isn’t really a direct result of the climate alone. It’s an interesting condition: it has to do with boredom, with the heat and with having no enter tainment other than two restaurants, video cassettes and drink. I think we were all a bit troppo by the end of it.”
Facing pages, Ross Dimsey (short hair) and Tim Burstall (glasses). This page, above left, Ivar Kants and Rebecca Gilling; above right, Tommy Lewis; and below, John Stanton in trouble as Lance.
But Dimsey and Burstall feel that the difficulties were worth it for the pro d u ctio n value gained from locations such as Ochre Bluffs, Red Falls and Blue Knob which, in Burstall’s words, allowed for “ heroic angles and a direct, aggressive visual style” . Director of photography David Eggby, veteran of M ad M a x , and The S lim D u sty M o v ie , has given the film a sweaty, steamy look, with fully saturated colours from clean, un filte re d len ses. T here is no romanticizing an unforgiving, harsh environment — a task made more difficult as the wet season approached, and locations began to transform from outback reds into Irish greens. One of the major logistical chal lenges was the relocation of 40 aborigines — men, women and child ren — from their home on Mornington Island to Charters Towers for the duration of the shoot. Burstall had worked with these people on Eliza Fraser in 1976 and was well respected by them. But, to regulate difficulties arising out of homesickness and social problems, Tommy Lewis stayed in the camp outside Charters Towers to act as dialogue coach, adviser and occa sional director. There were also several other advisers from Mornington Island on hand, to protect their interests, and to advise on the accuracy and sensi tivity of the sacred rituals. Of all the sequences, probably the most difficult to achieve was the killing
of the Brahmin bull. This required weeks of preparation, training a prize Brahmin on tranquillizers, so that it would stagger around convincingly with a harness carrying spears and clubs. The sequence took four days to film, and footage from it was intercut with shots of a dead Brahmin bought from the local abattoir. The resulting scene contains moments of gory violence that are a dramatic precursor to what follows, but the producers want it known that at no time was any animal injured or killed. Burstall and Dimsey feel that the aboriginal element indentifies the film very much as a western and — together with West’s name (the film will be released as M orris W e st’s T he N aked Country') — they expect this to be a major selling point. With a $2.75 million budget (oversubscribed by more than $1 million at the end of the 1983/4 financial year), the film had a 38% combined foreign and Australian pre-sale when production started.
“ Going troppo has to do with boredom, the heat, and having no entertainment other than two restaurants, video cassettes and drink. I think we were all a bit troppo by the end of it” Ross Dimsey
“ What interested the buyers,” says Dimsey, “ was the aborigines, Aus tralia, and the mix of landscape and man. There’s a lot of aboriginal mystique in the film, and that’s the dis tinguishing feature that really grabbed them.” But Dimsey felt that it was most important that the film should also be good entertainment, since even being the ‘flavour of the month’ on the overseas market would only get a foot in the door. Ultimately, it must sell on its merits. “ And the story is good and action-filled,” says Dimsey: “ big men against big country.” ★
50 â&#x20AC;&#x201D; May CINEMA PAPERS
Noni Hazlehurst
“ The thing that appealed to me about was the possibility that someone watching it would agree with my idea that everybody has a story to tell, and that every person is deserving of respect and sympathy and understand ing,” says Noni Hazlehurst about her title role in the recent feature film. Fran, a young welfare mother, is not a ty p ically sy m p ath etic heroine: although witty and charming, she is also irritating and irresponsible, a woman embittered and handicapped by a childhood spent as a ward of the state. “ I could see that this person would give people a lot of problems. On paper, all sorts of people would find her offensive, and couldn’t imagine why anyone would be interested in sit ting for 90 minutes watching the un folding of a story about a person like that. So that’s my challenge. “ Fran is just a person with human foibles whose life has been beset by being a victim of many circumstances, and it’s a story about how difficult it is for people caught in those situations to break free of them. It’s easy to label them from the outside, but not so easy to get in and imagine what it’s like to lead the life they’ve led, which is one of constant and gross maltreatment by society at large. She’s not equipped to make the right decisions about her family and herself: she hasn’t had the opportunity to learn many things that would be a help to her in life. I hope that, ultimately, there’s a thread there — a sparkle in the eye, or a nudge — that holds the audience. It was there in the script: I could see it.” Fran is Noni’s first feature film since her award winning role in M o n k ey Grip in 1982. Since then, she has kept up her connection to the film world by doing projects with film school students, working as a script editor, and acting in two teleseries, W ater fron t and W e e k ly ’s W ar. But there were no feature roles that met her very selective criteria. “ I was so glad and so lucky with M on k ey G rip, because it was such a good role and it came at a good time in my life, when I was ready to use about eight years of accumulated bits of film experience. And I wanted what came next to be something that I hadn’t done before, something that told a truth and had a reason to exist other than, ‘This is my film for the year’. After M o n k e y G rip , I thought there’d be one a year, and I was very dis appointed to find there wasn’t any thing that I thought would be a logical step to take, that would stretch me.” Noni doesn’t think the lack of good roles is exclusive to women: there have simply been few good films and few good scripts in recent years. “ I’m not knocking the people who are writing now, because there are many worthy people writing — just not enough good ones. I know how difficult it is, because I’ve tried myself. But I do think we should know better what kinds of things represent us best. A few years ago, there seemed to be a great willingness to believe that people overseas were thrilled to death that Australia was producing films, and that all we had to do was keep pro ducing and they’d keep being thrilled to death. I think that was a very naive Fran
appraisal of the situation, and one that did a lot of damage; because there were a couple of years when exactly that did happen: anything came out, and people’s interest accordingly dropped. But I think there is a market and interest for films along the lines of what I look for in work — films that have a deeply-felt reason to happen. “ Jeanne Moreau said something
that’s always stuck in my mind when she got an Oscar. She said, ‘I want to thank the director for being father, mother, sister and brother of everyone on this film and for going on loving the film long after everyone else had finished hating it!’ If that kind of commitment is there, how can any actor or anyone working on that film fail to give their best? And that energy
won’t fail to be recognized by the audi ence. That’s what makes me speak strongly about films that fall short of this, because it seems so obvious to me that that will work, whereas nothing else is obvious.” Noni’s commitment goes back a long way. Her parents were in show business and provided her with strong encouragement right from the start.
“I think there is a market fo r film s that have a deeply felt reason to happen. ” Noni Hazlehurst (left) with Rosie Logie and Travis Ward, and (top) with Narelle Simpson in Fran. Right, Noni with Alice Garner in Monkey Grip.
CINEMA PAPERS May — 51
Noni Hazlehurst
hour. Most people believe TV is a passive medium, but children will just wander away if their attention isn’t held. It’s a great acting exercise, because there’s no one to hide behind when you have to get down on your hands and knees and be a pig. “ I’m not a great fan of the study of acting: I think that, once you’ve studied it all, you have to throw it away. I don’t like seeing that study on the screen: it has no place there. I’m confused by talk about the ‘method’ of acting because, ultim ately, i t ’s intuition and understanding.” Glenda Hambly, writer and director of F ran , thought Noni had exactly the right kind of spirit for Fran. “ The character has to be lovable when she does outrageous, unattractive things,” says Hambly. “ I thought Noni would be able to keep an audience on her side while she’s being a poor mother.” Hambly sent the script to her in Eng land, where she was working at the time in Robyn Archer’s Cut and Thrust Cabaret. Noni read the script on the plane returning to Australia several months later, and Hambly received a response saying, ‘What can I do to help?’ The answer was, a lot: the AFC had rejected Hambly’s original treatment, and Noni’s written support of the project was instru mental in seeing it through. “ The script read beautifully, and was very carefully researched,” says Noni. “ Glenda convinced me that she knew what she was doing, and that the care taken with the script would be just as impressive in the directing. I’d had the precedent of working with Jackie McKimmie on S ta tio n s, which was her first major directing project as well.
“ A few years ago, there seemed to be a great willingness to believe that people overseas were thrilled to death that Australia was producing films, and that all we had to do was keep producing and they’d keep being thrilled to death” “ I had piano lessons, music lessons and dancing lessons, and singing lessons from my father,” she says. “ Fortunately, they didn’t push me into anything professional, but I was very lucky to have such a solid grounding. When I turned professional at 21, I was better equipped to handle almost any challenge than most people my age, because not only had I completed
“ We’re in the business o f communication, and very few people are interested in com municating. ” Top, Noni Hazlehurst with Rosie Logie and Narelle Simpson in Fran; left, with Alan Fletcher (Jeff) at Kalbarri in Fran; and, below, with Colin Friels as Javo, in 1982’s Monkey Grip.
a course like a NIDA course at Flinders University in Adelaide, but I’d also had all these extra bits of tuition and no opposition.” Her education in all these areas has served her well in establishing her talents and ambitions beyond just acting. “ I want to direct theatre and films: I don’t want to do one thing and that’s all. I want to keep trying what ever avenues are presented to me or that I initiate, whether that is as a script editor or a singer or an actress.” Her next major goal is to write and direct a feature rather than be in it, although she is not rushing the pro cess. “ After dwelling on it and forcing myself to try, I’m not in such a hurry any more,” she says. She is currently on the board of creative directors for the new Belvoir Street Theatre in Sydney — the ‘inner city happening centre’, as she refers to it — works periodically, as she has for eight years, on her favourite television role in P la y S c h o o l, which has pro vided her with one of the hardest acting jobs there is. “ You have 30 pages of script to memorize and try to make appear spontaneous. You have to treat the camera as if it were a one-, two-, three-year-old child, and you have to hold their attention for half an
“ Play School is a great acting exercise, because there’s no one to hide behind when you have to get down on your hands and knees and be a pig” The same qualities drew me to that project: care, the intention of making a film deeply felt from the heart, and demanding that of the other people in volved. That’s really the only reason for me to work.” Although she would not reject a good overseas offer, Noni has decided the best work for her is to be done in Australia, and notes a sense of calm and purpose re-emerging in the Aus tralian film industry. “ I didn’t want to spend another five years getting to the point of acceptance that I have in this country: I think you should only pay your dues once, and then you should build on that and not just keep clawing your way up somewhere else. Frankly, I’m not tough enough to take that again. And the same problems apply everywhere, only in Hollywood it’s a bigger rat race, and in London a more depressed one. “ But people have to come from behind their office partition doors and talk to each other about what they’re doing and why they’re doing it. It’s the ultimate irony that we’re in the busi ness of communication, and very few people are all that interested in com municating. I think we have to take more responsibility en masse for what we do. My motto is — communicate or die.” ★
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With a budget of over $7 million, the South Australian Film Corporation’s remake of Robbery Under Arms was a major, three-year undertaking, with two directors and an end product that consists of a 143-m inute feature and a six-hour mini series. Nick Roddick talked to Robbery’s producer, Jock Blair, and to one of the directors, Donald Crombie. And (see inset) Sheila Johnston tracked down the other director, Ken Hannam, to a basement fla t near the BBC in London.
was the third film ever to be made in Australia, coming in the wake of such trusty sagas of colonial life as T he Story o f the K elly G ang (1906) and E ureka Stock ad e (1907). Made in the same year as the latter, R ob b ery had a lot going for it: it was exciting, it was Aus tralian and, by comparison with The Sentimental Bloke, it was a major work of literature. Produced by a theatrical entrepreneur, Charles McMahon, it cost a staggering £1,000, was 5,000 feet long and ended up as a box-office smash (literally: according to one report, the audience wrecked the ticket office in its enthusiasm). In the silent cinema days, they be lieved in the instant remake (in Italy, there were no less than three versions of The L ast D ays o f P o m p eii in 1913 alone). But, because of the war and a sporadic ban on bushranger films in New South Wales, it was more than a decade before Starlight rode again — in 1920, at three times the cost, but with three times the success. The attraction of the story is not hard to see: like a kind of prototype D irty H arry, Robbery Under Arms plays both ends against the middle. It is a moral tale which spends most of its time lovingly describing the behaviour it claims to be condemning. In the eighteen-eighties, when Rolf Boldrewood wrote the novel, the legend of the bushranger was at its height. Pri vately idolized and publicly con demned, bushrangers were the nearest Victorian Australia had to a counter culture. “ Boldrewood was a magistrate,” explains Jock Blair, producer of the latest R obbery remake, “ and he wrote it to try and persuade colonial youth not to be carried away by these bush ranging figures. His Starlight was a composite of Ben Hall, a gentleman bushranger whose name I’ve for gotten, and a man called Harry Rad ford, who actually did steal a mob of cattle and drive them all the way down to Adelaide. Boldrewood was appar ently alarmed at the number of young colonial tearaways who were coming before his bench, so it’s a rather sombre warning of what will happen.” Not too sombre, though: behind the doomy moralizing — “ The morning sun comes shining through the bars; and ever since he was up I have been cursing the daylight, cursing myself, and them that brought me into the world” , muses young Dick Marston from his death cell — there lay a rattling good yarn about robbery and R obbery U n d er A rm s
Warrigal, Starlight and the Marston family. Tommy Lewis, Sam N eill and Ed Devereaux (as Ben Marston); squatting, Steven Vidler and Christopher Cummins.
romance, with a solid chunk of freshly-minted colonial identity thrown in. “ It has a number of very racist atti tudes towards aboriginals,” says Blair, ‘‘and it has a strong anti-Irish Catholic vein through it. But somehow the story has endured. Everyone you talk to has read the book, or thinks they’ve read it: everyone has been through it as a young kid and loved it. So, we sat back from the book and said, ‘OK, why is it we all remember the story?’ And what comes through is young men and strong women doing exciting things. Despite all the Victorianisms, that somehow captures the spirit of what Australia likes to think of itself.” The origins of the present remake go back to 1981. “ It has been around for a long time as a good property,” explains Blair, “ and one of the attrac tive things about it is that it’s out of copyright!” The original plan was to
“ The morning sun comes shining through the bars; and ever since he was up I have been cursing the daylight, cursing myself, and them that brought me into the world’’ Rolf Boldrewood,
Robbery Under Arms
make a TV mini-series, produced by the South Australian Film Corpora tion, where Blair is head of drama. “ But, when it was budgeted, it was found it was going to be too expensive: it was going to cost just over a million dollars an hour. And, with the current market, that would mean a loss for investors. So, to split the investors’ risk, we decided to cut a feature out of it.” From the very start, the mini-series — which will run to three two-hour parts, with 95 minutes of drama per episode — and the film (at 143 minutes) had separate scripts. The same key scenes obviously appear in both, but the feature had separate link ing scenes, to avoid those moments of muddle and inanity that generally come when a mini-series is cut down for theatrical release. “ Clearly,” says Blair, “ if you take a mini-series and put it through the moviola to get a feature of 100 minutes, you’ve got problems. What we did was do an adaptation, in the same way one does an adaptation from a novel — took it as a separate entity, CINEMA PAPERS May — 55
m i
Robbery Under Arms Left, at home on the range: the Marston women — Jane Menelaus as Aileen and (background) Elaine Cusick as Mary. Below, Starlight at sunset: Sam Neill.
and created new scenes when the tele vision series simply couldn’t cover a jump that we needed. In the end, we could have tossed away the television series and shot our feature film script, and nobody would have been any the wiser.” With two target audiences, the R ob b ery scripts also had two writers, Tony Morphett and Graeme Koetsveld — though they worked as a team — and it took two years to complete. There are also, to complete the pattern, two directors, Ken Hannam and Donald Crombie — a situation which might have been expected to create real problems. Not so, if one is to believe Hannam (see insert) and Crombie. Certainly, there are no dis cernible differences of style within the film, though each director apparently had his favourite scenes. “ There were certainly scenes I was very pleased to get,” says Crombie. “ For example, I did the scene where Warrigal and Star light talk about going to America, and Warrigal stands and shouts at the hills. I love that scene and, when I read the script, I wanted to do it. And I always wanted to do the Starlight-Aileen love business. I’m sort of a romantic senti mentalist: those sort of scenes I really enjoy. But I wouldn’t have minded doing other scenes that Ken ultimately did. Anyway, I’ve stopped thinking now, Oh, I did that bit and Ken did that.” For Crombie, R ob b ery was some thing of a departure. “ I hadn’t done action adventure: I’d done fairly serious films, set in the past and some times the present.” Initially, he was wary about the film. “ I must admit that, when Jock first phoned me and said, Robbery Under Arms\ , I thought, Oh-oh, another period show . . . you know, coaches, horses, frocks . . . But, as soon as I read the script and realised it was being done with some humour, I thought, that’s it!” The humour and the sheer scope of the project — the final budget was $7.3 million, and Blair reckons they are only $1,000 out either way — obvi ously appealed to the investors, too. “ We put the prospectus out, and almost immediately there was a bush fire: it just took off. About five days into our fundraising, the money was rolling in. And then Robert Holmes a Court rang up out of the blue and said, ‘I like it, I want it’. He put up half the budget.”
At the time the money was being raised, Crombie had a commitment to another project, Naked Under Capri corn, whose producer was struggling to get the money together by the 30 June deadline. Blair, on the other hand, had most of his in place by May, and offered Crombie the job (though he now admits that the project was not, at that stage, entirely financed — something which evidently comes as a revelation to Crombie). Studio work was done at the SAFC’s Hendon Studios in Adelaide — a high-quality facility which also enabled them to keep the cost down — with location work in the Flinders Ranges. That, by a coincidence, turned out to have been the location for the 1957 version of the film, directed by Jack Lee — one of Rank’s brief flurry of Australian flicks, which had Peter Finch as Star light in a drastically rewritten version of the novel. One thing that did impress Blair about the 1957 version, though, was the cattle drive. “ They had a lot of cattle — well, it looked like they had a lot of cattle, so I analysed the shots to try and work out how they managed it.” “ That,” says Crombie knowledgably, “ was in pre-brucellosis days.” Crombie turns out to know quite a bit about cattle — something which, Alfred Hitchcock’s comment about actors notwithstanding, is compara tively rare among film directors. And it proved useful in the branding and cattle-drive scenes. The brucellosis regulations, explains Crombie, effec tively prevent cattle from different stations being put together; so, in the end, the 650 head that were used in the film all came from the same station. “ The drive,” explains Crombie, “ was done in one day! We set out at dawn and drove them about twelve miles up into the ranges, had lunch, shot all the dialogue scenes that we had to do, then turned round and drove them home. And, as you can see in the film, they arrived home after dark. We did find a couple of stray calves the next day that had dropped out en route and were standing around looking a bit miserable. But there was not one death on that entire drive, which says some thing about the quality of the wranglers who were working with us.” Ultimately, however, R obbery is more about people than cattle, and the casting was crucial. “ We were in
absolute agreement that we could not get 25-year-olds for the Marston boys,” says Blair. “ I think that was one of the real problems with the 1957 version: Ronald Lewis played Dick. Now, Ronald Lewis would have been a man in his early thirties, if not his mid thirties. Commit a crime in your mid thirties and you’re a criminal. Commit it when you’re nineteen and you’re a tearaway.” Thus Blair, Crombie and Hannam set out to find some new faces. “ We were stuck in a dubious little hotel in Sydney,” remembers Crombie, “ with all our gear set up. And in walked Steven Vidler — just swaggered in, stuck his thumbs in his belt and said, ‘G’day!’ And there was Dick: he liter ally didn’t have to do anything else.” Vidler was fresh out of NIDA. And the rest of the young cast — Chris Cummins as Jim Marston, Liz New man as Gracey, Susie Lindeman as Jeannie, Jane Menelaus as Aileen — were likewise new to lead roles in features, and most of them not more than a year out of acting school. “ With young leads like that,” admits Blair, “ you never go to bed easy. It’s much easier to cast people who’ve got a solid track record. But the script demands kids who are the same age as the characters, and who can capture the youthful exuberance that is absolutely vital.” For the key role of Captain Star light, Sam Neill was always the choice. The problem was that, initially, he was not available. “ So, another great bloke wasn’t available: so what?” asks Blair, who can afford to be philo sophical about it since, after a long search for an alternative Starlight, Neill suddenly became available again. “ We sent him the scripts, express. He read them immediately and, 24 hours later, we had him booked: it was the fastest negotiation and lock-up I’ve ever had.” There can be little doubt that Neill’s presence in the film brings that charis matic quality to Starlight which is as
much a part of the character as it is a requirement for the film. But Blair goes to some length to stress the star’s commitment to the film. “ Sam is a very generous actor, especially in pro viding a lead to the young ones. But, one day, when we were up in the Flinders, he came up to me and said, ‘It’s going to be'a disaster!’ My face fell and, eventually, I said, ‘Why?’ ‘Because I can’t ride the horse,’ he said. So I went out to talk to the horse man, Gerald Egan” — the one who rode the pony over the edge in The M an from S n o w y R iver — “ and told him what Sam had said. ‘Oh, Sam can ride the horse OK,’ he said. ‘He just can’t ride it like I can!’ ” Shooting in the Flinders Ranges was otherwise remarkably trouble-free, though occasionally a touch expensive. “ We worked out the cost on an hourly basis as $400,” explains Crombie. “ So, if you had to wait for a cloud, you’d say to the cameraman, ‘How long is it?’ And he’d say, ‘Oh, I think it’s about $100!’ Everybody was very cost-conscious. But it was fun to make — a thoroughly enjoyable film to work on. That’s not just totting it up: it’s a genuine thing. Of course there were moments of standing around in the
“We sent Sam the scripts express. He read them immediately and, 24 hours later, we had him booked: it was the fastest negotiation and lock-up I’ve ever had” Jock Blair
freezing rain at two in the morning, but that’s just filmmaking: nobody enjoys that. No, there was a feeling of, This is going to be good, or it’s going to be fun, anyway . . . it’s going to be entertaining.” Post-production was dominated by the dual-purpose nature of the project.
Robbery Under Arms
Young, gifted and brash: Steven Vidler as Dick and Liz Newman as Gracey. Inset, the production team: left to right, Ken Hannam, Ernest Clark, Don Crombie and Jock Blair.
“ It’s a very intimate story, although it takes place in wide open spaces. That’s its importance, and that was what we concentrated on” Ken Hannam Ken Hannam’s reputation as an Aus tralian filmmaker (which is actually something of a misnomer, since he now lives in Britain and works mainly for BBC Television) rests on a handful of movies. The first of these, Sunday T o o Far A w a y (1975), was one of the Australian cinema’s earliest major successes. It was also, unfortunately, the subject of a bitter dispute between Hannam and the South Australian Film Corporation, when co-producer Gil Brealey dramatically pruned back the direc tor’s final cut in his absence and without his consent. Subsequent productions were more harmonious, but B reak o f D ay (1976) met with a mixed critical response; and Sum m erfield (1977) and D aw n! (1979) fared no better. Hannam, who has always worked intermittently in the U.K., came back to make his per manent base in Britain where he now lives in a small, elegantly furnished basement flat a stone’s throw from the BBC studios in Shepherd’s Bush, West London. A friendly, un assuming man in his late fifties, he is disarmingly forthright about his reasons for leaving Australia and how he was lured back to make his latest film. “ After Dawn! I didn’t ever want to go back to Australia again. I fled the country, quite frankly, and was only too glad to be 13,000 miles away. Of course, when I was asked to do R ob b ery, I was afraid of going back, but I was quite touched by the fact that the South Australian Film Commission had approached me. It was the first time I’d worked for them since Sun d ay. I’d harboured a lot of bitterness about that; it hurt me a lot. But it wore off, like any pain. When I was offered R ob b ery, I wanted very much to go back and bury the hatchet.”
58 — May CINEMA PAPERS
Hannam is sanguine about their re conciliation, despite the fact that, at the time of our interview, he had not yet seen the final cut of R ob b ery. “ Before I came back to London, I had enormous numbers of confer ences with the editors and sound crew. I left copious notes and I had great trust in the people there. On Sunday I had trust too, and it wasn’t really returned, but the SAFC was under another management and they seemed very anxious that the same thing should not happen again. And it was good to have Don back there because he really represented my interests. “ It’s not the first time I’ve worked as a co-director in television, but it’s very rare to do a feature film in this way. We were both selected inde pendently, although of course I’ve known Don for many years. I can imagine some people it wouldn’t be very pleasant to work with, but in this case there was never any rivalry or jealousy. Anyway, as a six-hour mini-series, it was obviously very, very heavy and I don’t think one director would, or could have done it.” They didn’t parcel out the chores on the basis of location or type of scene, with one director handling the action sequences and the other the ‘intimate’ bits. “ We just took it in turns to direct hour and hour about,” says Hannam. “ Don has a strong background in documentaries and feature films, but I don’t think he had ever done a television series before. Whereas I’d made a lot, and in my mind I was going back to do a mini-series from which a feature could be extracted. “ One thing we often did was to film certain establishing shots — which would be far too wide for the small screen — in two takes using dif
ferent lenses. You have to cover yourself as much as possible, even if for me the series was what I was really working on and the feature was a by-product. It’s a very intimate story, although it takes place in wide open spaces. That’s its importance and that was what we concentrated on.” Did the, by all accounts, happy experience of R obbery inspire in Hannam a longing to return to feature film production? “ I was working at a time in Australia when we were all blundering around a little. Out of those blunders came a couple of good films, but the writing in particular left a fair bit to be desired. It was a time when people were rushing into films and I was caught up in that, whereas I should really have said no to some of those offers. “ You know, when the New Wave took off, I was a lot older than many of the other filmmakers” — a faint note of regret creeps into Hannam’s voice — “ and, while I respect enor mously people like Phil Noyce and Gil Armstrong, who were very ambitious and choosy about what they did, it somehow seemed more important to me to keep in work. “ I occasionally feel guilty that I haven’t been trying to get my own projects off the ground. There must be something awfully lazy about me because I enjoy so much working for the BBC. I suppose I’ve been waylaid in a sense; I’m not very proud of it. “ Strangely enough, for someone who lives out of the country, I still get scripts and offers to direct things. But now I find it easier to say no. I don’t have the urge any more to make a feature for a feature’s sake. It’s in me to do a good feature. I haven’t done so yet, but perhaps I’ll see the light one of these days!”
“ We cut the TV series first,” explains Crombie, “ starting from Day One of the shoot. The moment we had a fine cut of the TV series, we then went in and cut the feature. Interestingly enough, we started out putting in the least amount of the story — I think our first cut came to 110 minutes — then we edged material back in until we were absolutely sure that was the best we could come up with in the shortest time. Normally, you go the other way. And, when you do that, you can bet your life that, two years later, you’ll look at the same film and say, ‘Ten minutes can come out’. I’ll be inter ested to see whether that will happen with R o b b e r y .”
“ When Jock first phoned me, I thought, Oh-oh, another period show . . . you know, coaches, horses, frocks . . . ” Donald Crombie
The 1957 version of R ob b ery U n d er was conceived, shot and edited as an Australian western, right down to the classic face-out at the end. The ending of this version — a stunningly choreographed battle across a broad beach — is much less easy to classify. And both Blair and Crombie are wary of the ‘western’ tag. “ We thought a lot about filming the landscape,” explains Crombie, “ and hopefully it’s Australian. It’s interest ing that you should comment on an American influence — John Ford and everything — because that’s been said before, certainly when I did T h e Irish m a n . Obviously, Australia and America share certain characteristics in the landscape. The difference is in the way the violence is treated: you don’t get any gunplay in Australian films . . . well, not so much. And not sidearms. The difference is also, I think, that Australians try to avoid conflict, both as filmmakers and in real life.” “ But,” adds Blair, “ having gone through the R ob b ery experience, you look at all westerns in a totally differ ent way: at the riders, at what saddles they’re using, at who’s actually doing it. But I don’t think we took a lead out of the American western: we took the lead out of all our group memories and the enjoyment that we’ve all had, as kids and as adults, mucking about in the bush.” ★ ' A rm s
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Dusan Makavejev
Since he made WR: Mysteries of the Organism in 1971 — in whose title , it is generally believed, the letters ‘ni’ in organism were inserted by a nervous distributor — Yugoslav director Dusan M akavejev has steered well to the wrong side of safe in the movies he has made. Both Sweet Movie (1973) and Montenegro (1981) are a distinctive blend of sex, philosophy, surrealism and M akavejev’s own style of revolutionary politics. In 1984, he made his first film in Australia. Based on short stories by Frank Moorhouse, The Coca-Cola Kid is about a brash young troubleshooter despatched by the parent company to Australia, where the local office is unaware that there is any trouble to be shot. Becker — played by Eric Roberts — soon finds it, however, in the form of a crusty old backwoods bottler of fizzy drinks, T. George McDowell (Bill Kerr), who has kept Coke off his patch for fifty years. Becker’s attem pts to woo, engulf or otherwise incapacitate McDowell are com plicated by the fact that McDowell’s daughter, Terri (Greta Scacchi), is also Becker’s secretary. From there on, the plot thickens and occasionally curdles. But, as M akavejev explains, The Coca-Cola Kid is not quite the mixture as before.
On Australia When I came here in 1975, the country was so political: it was hot, it was beautiful, it was exciting. It was a country of numerous liberations — women’s liberation, gay liberation, aborigines, immigrants . . . every thing! But when I came back in 1983, the country was quite conservative and calm and tamed, and not very much aware of the world around it. In Aus tralia now, all politics is so local, and there’s nothing I can catch . . . Australia is also one of the most difficult countries to enter: it’s like the Soviet Union or Argentina. They ask you a million questions and they’re terribly suspicious: they don’t believe you have a natural right to be wherever you wish to be. When you speak to Australian Embassy officials, you feel you are being deprived of one of your basic human rights: to travel wherever you want, especially if you come from Yugoslavia, which has this policy of absolutely open frontiers. Australia is an immigrant country that is basically anti-foreign. You get it first when you’re sprayed in the plane: it’s assumed you’re going to con taminate the country when you arrive. And, whenever you speak, they always tell you you’re a foreigner. It’s totally the opposite in America: there, they ask you if you’d like to stay. In Aus tralia, they ask you when you’re going back.
On Am erica For me, America was always the common denominator: I never thought of it as part of either East or West. America is always forcing herself to be beyond herself. Nothing is ever defined: it’s absolute progress, an absolute proletarian dream. Everyone can improve their own life . . . every one’s life has to be improved by 500%! S o m e o f m y frien d s w h o ad m ired w riters lik e E rich F ro m m saw A m erica as th e u ltim a te triviality — a new car
every year, with automatic windows and stereo and a refrigerator: a victory for triviality. But if you don’t have things, it isn’t triviality: it’s a dream. All these people who are anti American humanitarians, I think they’re just jerks. It’s because of America that we have a calculator the size of a credit card that adds up, remembers your friends’ birthdays and sings to you, all for $10. A few years ago, something like that was as big as a table and cost thousands. I think all this Americana is like the dream of every child and every poor man: you push the button and things happen. For me, America is not really the classic capitalist country: it’s a
Armenia or Kazakhstan yogurt — they all have their own drinks. America has provided the only drink that’s uni versal! And Coca-Cola is nothing, absolutely nothing: cold, dark and bubbly — nothing else. And everyone drinks it! It was a really mysterious drink for me until I tried it. I hated it at first: it’s a drink without taste. Then I realized that it’s a drink that charismatically
carries the miracles of the American way of life: jeans, chewing gum and Coca-Cola — that’s America! Coke started in the south, after the Confederate defeat. It started for Slav driver: Makavejev (above) on the set o f The Coca-Cola Kid. Below, Greta Scacchi as Terri. Facing page: Bill Kerr in excelsis as T. George McDowell.
“ All these people who are anti-American humanists, I think they’re just jerks. It’s because of America that we have a calculator the size of a credit card that adds up, remembers your friends’ birthdays and sings to you, all for $ 10” country that doesn’t recognize fron tiers. And America is not a rational country: insanity is legal and irration ality is built in as part of the whole social machinery. All the crazy inventors and the exceptional criminals and the lunatics are legal until they get caught or get dangerous.
On Coca-Cola C o ca -C o la is a c o m m o n d en o m in a to r for the m od ern w orld . In F ran ce, y o u thin k o f w in e, in G erm an y b eer, in
CINEMA PAPERS May — 61
Dusan Makavejev deeply moral reasons — a refreshing, invigorating, non-alcoholic drink for the whole family — and developed its own ideology. They still keep it. And it’s very big in Moslem countries, for instance, being non-alcoholic. Coke has all kinds of social connota tions, so I like the idea of a ‘Coca-Cola Kid’. I can’t imagine a ‘General Electric Kid’ or a ‘Ford Kid’. But the Coca-Cola Kid is the best possible international executive.
On the politics o f
The Coca-Cola Kid I’m naturally on the side of Becker. My political beliefs or commitments are closer to Becker’s world — a world without frontiers, a world of absolute freedom. The American concept of freedom is basically that anything goes: you can be crazy, you can be critical, you can publish a book, you can be a pervert if you leave other people alone. Other cultures are more stifling. Kim, the Marxist ex-boy friend of Terri, was the script’s most overtly political figure. He was a very funny character, but too dry — he was always provoking Becker about being from an international corporation, and Becker would say, “ Please don’t tell me the story about the children’s teeth . . . ” Classic situations, but too naive. What happened in the process of scripting was that Kim lost his political qualities. I think for Australia and England — Canada too, perhaps — someone who declares himself a com munist is all right. But, for an English speaking film that has to be marketed world-wide, you cannot have a charac ter who is a communist: in America, it’s an absolute no-no. What I liked in Moorhouse’s stories was the dialogue between Becker, the international corporate capitalist who doesn’t care about specifics, and this kind of national capitalist, T. George McDowell, who is really a local guy — ultra-conservative, decent, a little
despotic, but he cares about his sub jects. And, in many ways, this con servative capitalist is so much more humane. This man became very sympathetic to me — a stubborn guy, who is really not very sympathetic: who is very greedy, very whimsical, very special and very egotistical. But I found some thing good in him being so independent, which made me very curious about him. What Becker repre sents is big business that doesn’t care about frontiers, and that’s closer to my internationalist concept of life. And I liked the situation that we have in the film — that, whatever Becker tries, he cannot penetrate this guy. He offers him 200 or 500 times more, and he says, “ No, 1 have what I need” . He wants to remain connected to his com munity. He’s like Olivetti or Bata Shoes — a paternalistic capitalist. There are a few examples around of these family businesses, in which the family cares as much about the image of the company as it does about profits.
On Eric Roberts Eric was fantastic in making his part more deep and meaningful. He came to Australia with his whole part off by heart; and, for practically every scene, he had ideas about his behaviour, his tone of voice, little props . . . un believable! He had ideas about what kind of socks he should wear in one scene, what kind of look he might have, what kind of energy he has to expend . . . It was fantastic how well he was prepared, but it also worked against the improvisational style: he had difficulties with that. And there was this classic American thing about fighting for his space: he would always create more space for himself. Every morning, before the camera man arrived, he would be first on the set, completely dressed and made up. “He always fo ught fo r his space”: Eric Roberts and friend in The Coca-Cola Kid.
And he would really contribute, give ideas, find the best place to stand. Many other actors would just wait for me to tell them what to do, and not understand that they could really get much more for themselves. Eric was the one who was getting more shots, more close-ups, more attention and better treatment, just by being absolutely professional. I think that is one little difference between Ameri cans and Australians: Australians are much more casual.
On style I really hate films that aren’t interest ing: I can’t stand boredom. I knew there were a lot of ordinary things in T he C o ca -C o la K id, but I decided, “ Let’s care about little details!” . So, you’ll notice that, approximately every five minutes, a new character appears. And, every minute, there’s some odd little line or detail: for a hundred minute film, I had to have a hundred little inventions. Nothing has that earthquake quality of some of my other films, but all my films have had these surprises — jump ing from one century to another or one country to another, from fantasy to documentary. With T h e C o ca -C o la K id , I decided to do without documen tary inserts and lectures — to stay within a style. And I was very happy with some of the small parts, which became much bigger than written — the bushman, the hotel clerk, the boy who becomes Marjorie, the terrorist waiter. If something works in the film, it’s this gallery of small characters — a gallery of Australiana. They’re all independent, hostile, funny, interest ing and very whimsical.
On politics and orgasms What was interesting about T he C o ca C ola Kid was that, without having any Marxist thinking or class analysis, I still got a lot of political issues into the film, but almost all on a subliminal level — or on the level that is not dealing with burning issues. There is also another thing. It’s not only that I’m getting older and more resigned, but this belief that you can change the world is something I am really beginning to doubt. Still, being a romantic and a Utopian, I’m always excited when somebody tries to do something like that. But we have to figure out why Reagan won, why people are happy with simple leaders in politics, and why, in any critical situa tion, people always vote conservative: in 1968, Nixon was elected; now, it’s Thatcher in Britain. At the end of W R : M ysteries o f the O r g a n is m , Milena Dravic says, “ Politics is for those whose orgasm is incomplete” . People ask me, “ Is this why there is nothing obviously political in T h e C o ca -C o la Kid? Is Australia’s orgasm complete?” I think the fact that I don’t deal so much with politics in this film says something good about myself rather than about Australia. If you say that politics is for those whose orgasm is incomplete . . . Well, I’m not saying anything, but the fact that I’m not dealing with politics any more says something good about me!
On audiences Critics like David Thompson and Roger Ebert and David Robinson are 62 — May CINEMA PAPERS
more important to me than any audi ence: I want guys like that to love the film. If they don’t, I’ll be hurt, or be quiet. But I get more from these people, whose attitude towards my work I know, than I do from real audi ences. Audiences are all different. In Eng land, people would laugh at a film that others would watch in dead silence, so I will be successful for different reasons in different countries. Take Sw eet M ovie: I found that all sorts of people — like Polish diplomats at Cannes — were sneaking in to see the
“ If you say that politics is for those whose orgasm is incomplete . . . Well, I’m not saying anything, but the fact that I’m not dealing with politics any more says something good about me!” movie but trying not to be visible, because of the reference to the Katyn Forest massacre. You know, someone interviewed a man who was a film projectionist for the Politburo in Moscow. He said there were several foreign films which the Politburo has prints of, and watches often. One of them is Sw eet M o v ie! It’s unbelievable that the Soviet Politburo watches my film! And I find there are people who like my films for all sorts of special reasons. Like W R : M ysteries o f the O rganism : it’s a Reichian film — the only film that expresses loyalty to Reich. And I met a lot of invisible Reichians through it: I learned that Jack Nicholson is a Reichian, and Sean Connery, and a lot of other people who either knew Reich or have Orgone Accumulators in their homes. And, after S w eet M o v ie , I met some people who were children of the old leftists — people who would see the film and come to me, having recognized this world as the world of broken revolu tion. Not the October Revolution, but more like the Soviet twenties . . .
On film m aking A film starts out as a fantasy; but, the more it becomes reality, the more it imposes its own rules. Our main agony is that you start independently: you believe it’s your film. But, as you start to get the finance, some parameters are already decided; then a schedule is established, a cast and crew . . . and more and more things are influencing the film: less and less am I the author. I’m more of a conductor, navigator, captain: I have to keep the boat float ing, make it all move. I have to fight all these Scyllas and Charybdises, but I’m less and less important. I have spent a lot of time thinking about how anyone can be a poet and not be political. Any really good poetry can be read politically, even poetry that’s not obviously political. Poetry is about freedom and emotion and all the issues that politics is inter ested in. But it has this kind of eternal quality, this beauty for itself. The poetry never serves the politics: the poetry stays independent. A film is the same. ★
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The Australian film industry got off to a slow start in 1985, as much with its new releases as with its new production starts. By the beginning of May, only two new Aussie films had been unveiled to the public — Ian Pringle’s Wrong World at the Berlin Film Festival, where, despite Jo Kennedy’s Best Actress prize, the film itself was coolly received; and the SAFC epic, Robbery Under Arms, which opened to merciless reviews and a very poor box office. The gap in releases of local pictures is partly caused by the promised highlight of the first six months, Mad Max: Beyond Thunderdome, having its opening post poned from May to August. Production delays meant that the first 70 mm prints could not have been delivered more than 24 hours before the 2 May premiere date. On the production front, January and February were pretty quiet. Philippe Mora's
Leonski:
The
Brown-Out
Murders,
based on the historical incident of a World War II G.l. who went on a killing spree in Melbourne, got off to a much publicized start in the city in February. It also came, briefly, to an even more publicized stop, after a row between the director and the completion guarantee company over an extra ten minutes of running time. The guarantee company, needless to say, won. Whatever the rights and wrongs of that par ticular incident, it serves to confirm a trend, not just in Australia, but world-wide. As completion guarantors become an inextric able part of the movie business, they are taking on the role of producers, but pro ducers concerned only with balance sheets. Budgets are important things and Australia can’t afford any Heaven’s Gates, but inflexible accounting isn’t going to help either. In South Australia, the State's first independent feature, Fair Game — a woman-in-jeopardy movie set on a lonely farm — was made in early 1985. Emma’s War, which was produced, written and directed by Clytie Jessop, set during World War II, and starred Lee Remick, wrapped in the Blue Mountains in mid-February. In March, Barron Films’ I Own the Race course got under way in Sydney; shooting was completed on Mermaid Beach’s A Street to Die. a true story about the first Agent Orange victim in the world success fully to take on a government; and Stephen Wallace’s For Love Alone went in front of the cameras in Sydney: Things generally, in fact, began to hot up in March. Nilsen Premiere went into pro duction in Melbourne with Jenny Kissed Me, directed by Brian Trenchard-Smith and starring Ivar Kants, as a man who lives with a woman (Deborra-Lee Furness), forms a close attachment with her child, Jenny (Tamsin West), and becomes desperate when the woman moves out for the bright lights (and massage parlours) of Mel bourne, taking Jenny with her. The out come is both emotional and violent. Shoot ing started on 11 March. The same day saw Marie-Claire start shooting on location in Central Victoria. Based on Le diable au corps, previously filmed in 1947 by Claude Autant-Lara from Raymond Radiguet’s novel, the story has been updated to World War II and moved to Australia. Script and direction are by Scott Murray, former editor of Cinema Papers, who is making his feature debut. Shooting will take a little over seven weeks — principal photography is scheduled for completion on 1 May — and a release print
64 — May CINEMA PAPERS
is due for delivery by the end of October. One of the first films to be made under the new World Film Alliance banner (see 'News Plus’ in this issue), Marie-Claire (working title) is produced by John B. Murray, with WFA’s Peter Collins as Executive Producer and Tom Burstall as line producer/first assistant director. The cinematographer is Andrew De Groot, whose last feature credit was Strikebound, and the lead roles of Marie-Claire and the sixteen-year-old Paul are taken by newcomers Katia Caballero and Keith Smith. If Murray has relocated his story from France to Australia — where, hopefully, the film is less likely to be attacked, as was its French predecessor, for ‘ridiculing the family, the Army and the Red Cross’ — two other interesting productions of early 1985 play equally fast and loose with geography. Bob Weis’s Wills and Burke manages to find most of Australia, from Cooper’s Creek to the Gulf of Carpentaria, within an hour and a half’s drive of Melbourne; and the South Australian Film C o rpo ra tion’s Playing Beatie Bow, faced with a Sydney
location, has set about rebuilding the Rocks area on the backlot of the Hendon Studios. Money is, of course, the key to both decisions. Producer of Beatie Bow Jock Blair reckons they’ll save $350,000 by building the Rocks set on the Hendon lot. With a budget of $4.4 million, the film went into production on 15 April with a team similar to the Robbery one: Blair as pro ducer, Don Crombie as director, Bruce Moir and Pamela Vanneck as associate producers, and George Liddle as produc tion designer. The story is a fantasy about a young girl from a modern-day middle-class Sydney home who finds herself transported back to the Rocks 110 years ago. "The film’s prime target,” says Blair, "is in the thirteen-to-fifteen age group; but we hope it will fall out past that to all those kids who still enjoy romance rather than sex.”
Below: left, Chris H aywood and Jennifer C lu ff in A Street to Die; right, Ivar Kants and Deborra-Lee Furness in Jenny Kissed Me; bottom, Katia Caballero and Keith Smith in Marie-Claire.
Out beyond the sound stages and cutting rooms of Hendon Studios — "a lot better,” says Liddle, "than those rabbit hutches they call studios in Sydney” — is the twoand-a-half acre lot where, by late March, most of the Rocks set had been built: timber frames, covered in artificial stone and brick cladding. At its centre is the sweet shop owned by the Bow family, which has to be burned out at the film’s climax. Though a glass shot will be necessary for establishing the Sydney Harbour background — behind the set at present, all there is to see is Adelaide’s seemingly endless coastal plain — the sight-lines are such, says Liddle, that "even on the highest spot where the shop is, looking back down the street, we’re pretty well in the clear.” The site, however, has not been custom-designed for filming. “ You can be sure as hell,” says Blair, "that if we laid in a flat area to use as a camera position, that would be the one spot the director would never choose.” ‘Charming’ is a word that comes up a lot when people talk about Beatie Bow. The word that comes to mind most readily when talking about Wills and Burke is ‘out rageous’. Whereas it has taken Hoyts Edgley some $9 million and a good few months to get Burke, Wills, King and Grey to the Gulf of Carpentaria (and, in some cases, back), Bob Weis and co. have done it in six weeks, for under $2 million, without really having to leave Melbourne: judicious location searches and a few deftly placed camels have enabled them to find con vincing geographical stand-ins for the various Burke and Wills sites in Southern Central Victoria. Weis started his .project back in 1979, when he first came across Philip Dalkin’s play, and generally does not encourage comparisons between his version and -Hoyts.’ " I ’ve got no stake in competing with them,” he says. "I don’t see it in relation to theirs: it’s another film. How many films are there about Billy the Kid and Wyatt Earp or whatever?” Indeed, rumour has it that Weis only got wind of the Hoyts Edgley produc tion when he was talking to someone in Los Angeles about his idea. "O h,” he was told, "Hoyts Edgley are doing Burke and Wills. What are you doing?” "Wills and Burke,” he replied. In Dalkin’s script — which started life as a play, then was destined to become a mini series with Weis as consultant — an extremely incompetent but vainglorious Burke, having got lost in the suburbs of Melbourne and almost come to grief in the dunny of an outback township pub, makes it to the Gulf, but is chiefly interested in the effect his exploits will have on the love of his life, toast of Melbourne, Julia Matthews. Dalkin and Weis then take to fruition something which was merely discussed back in the eighteen-sixties: a musical extravaganza celebrating the expedition. The climax of this extravaganza was being filmed in mid-March in the decaying splendour of St Kilda’s Palais Theatre, with four hundred extras uncomfortably clad in solid Victorian tweeds in the 35-degree heat of a summer which had finally arrived in Melbourne. It was cooler inside the theatre and, as the earlier shots were being lined up, extras would creep into the back stalls. Every time you turned round, there were a few more rows of them, sitting silently in their pale white make-up, like some ghostly, time-slip audience from the heyday of the Palais.
“ The thing that attracted me to the story,’’ says Weis, who is also directing (as well as hammering in nails for the Gulf of Carpentaria’s waves), “ was the chance to look at the other side of the last ten years’ resurgence of nationhood. It was neces sary, I think — that historical phase of not being ashamed of being Australian. But we’ve taken it so far and so seriously. Someone the other day suggested it was offensive for us to be 'destroying Australian myths’. Well, one of the myths that I hope to destroy is that Australians can’t laugh at themselves: that’s part of the process of growing up.” Certainly, the finale of Julia’s show — Nicole Kidman as Julia, dressed up in sequined tights and supposed to be ‘Burke’, atop an idealized (indeed, a posi tively idyllic) palm-tree-lined cardboard representation of the Gulf of Carpentaria, planting a Union Jack on a sand dune, sur rounded by pantomime camels and a man in a boxing kangaroo suit — tilts at a few myths. So, too, do the words of the finale’s song, sung by Julia in the gruff voice of Burke: While everybody contemplated failure, And said I had no guts or genitalia, I went ahead and crossed Australia. At which point Wills, Landells, Patton and the horse join in the chorus: Whojs laughing now? . . . A sign descends from above: ‘Faith, Perse verance, Victory’, and the audience goes wild.
Recreating the past, Mark I: below, the Rocks set fo r Playing Beatie Bow on the drawing board and, inset, on the backlot (with production designer George Liddle).
Recreating the past, Mark II: above, Nicole Kidman as ‘Burke’ (with ‘Wills’ and ‘horse’) in the stage show finale o f Wills and Burke; right, producer/director Bob Weis and director o f photography Gaetano Martinetti.
The only sour note in the whole affair has been the sub-standard Panavision equip ment which the company claims to have had foisted on them. “ We’re making a movie for $2 million,” says Weis, “ which in anybody's terms is a lot of money. And you expect to get first-class working equipment, without any questions. We didn't get that. If we had been working in the U.S., or some where where the companies that supplied this sort of equipment had got more pride in what they do, we'd be better off.” Director of photography Gaetano Martin etti is particularly resentful about the Pana vision camera and lenses: in the fifth week of the shoot, he is still having to run tests. “ We’ve had to shoot thousands of feet of film which is no good, and we’ve had to pay an extra camera crew for two weeks. We’ve spent money and time testing, when that should have been done at the other end.'“ *
F E A TU R E S PRE-PRODUCTION AUSTRALIAN DREAM Prod, company................... ....... Filmside Ltd Producers.......................... ........Susan Wild, Jacki McKimmie Director.............................. .Jacki McKimmie Scriptwriter......................... .Jacki McKimmie Based on the original idea by......................... .Jacki McKimmie Photography....................... ...Andrew Lesnie Editor.................................. ..... Sara Bennett Mixed a t.............................. ...................Atlab Laboratory.......................... ...................Atlab
Budget.............................................$600,000 Length.......................................... 90 minutes Gauge...................................... Super 16 mm Shooting stock..........................Eastmancolor Progress................................. Pre-production Cast: Noni Hazlehurst. Synopsis: A contemporary comedy. A witty, uncompromising expose of the sexual and social mores of life in a typical, middle-class Brisbane suburb, where all is not what it seems.
Length................................................94 mins Gauge............................ 35 mm anamorphic Synopsis:A contemporary action-adventure story set on the South China Sea.
BLOWING HOT AND COLD
Prod, company........................Celsius Prods Producer.................................Basil Appleby Director..................... Brian Trenchard Smith Scriptwriters.........................Rosa Colosimo, Reg McLean THE BIG HURT Script editor.......................Everett De Roche Prod, company..................................Big Hurt Exec, producers..................... Reg McLean, Producer....................................... Chris Kiely Rosa Colosimb Director..................................................BarryPeakScheduled release..................... Easter 1965 Scriptwriters..........................................BarryPeak, Cast: Giancarlo Giannini (Nino), Arkie Sylvia Bradshaw Whiteley (Sally). Based on the original idea Synopsis: The story of a friendship between AVENGERS OF THE CHINA SEAS b y .......................................................BarryPeak, two men who struggle to conquer differences Prod, company................... Nilsen Premiere . Sylvia Bradshaw of culture, temperament and values in order Producer..................................................TomBroadbridge Photography.....................Malcolm Richards to survive the dangers of their adventures Director........... ......... Brian Trenchard-Smith Exec, producer......................................... PhilDwyer and achieve their goal. The action moves Scriptwriter..........................................PatrickEdgeworth Prod, supervisor.............................Ray Pond from the vast expanses of the Australian Based on the original idea Gauge .............. ..................... Super 16 mm desert to the peaks of treacherous, snow b y .....................................................PatrickEdgeworth Synopsis: Action-adventure set in Mel capped mountain ranges. Editor..............................................Alan Lake bourne. Producer's assistant..........Virginia Bernard CACTUS Laboratory....................................... Colorfilm Prod, company........................... Dophine Ltd Budget......................................... $4.6 million
PRODUCERS H e lp us m a k e th is P ro d u c tio n S u rv e y as c o m p le te as p o s s ib le . If y o u h a v e s o m e th in g w h ic h is a b o u t to g o in to p re p ro d u c tio n , le t us k n o w a n d w e w ill m a k e s u re it is in c lu d e d . C a ll D ebi E n ke r on (0 3 ) 3 2 9 5 9 8 3 , o r w rite to h e r at C in e m a P a p e rs , 6 4 4 V ic to r ia S tr e e t, N o rth M e lb o u r n e , V ic to ria 3 0 5 1 .
CINEMA PAPERS May — 65
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Director....................................................ArchNicholson Prod, manager..............................Trish Foley Director..................................... Yoram Gross Scriptwriter.........................Everett De Roche Unit manager................... Leigh Ammitzboll Scriptwriter................................... Greg Flynn Based on the novel b y ........... Gabrielle Lord Prod, accountant................................BelindaWilliams Based on the original idea Photography.......................... David Connell Prod, assistant.......................................... KimTyshing MALCOLM b y ......................................................YoramGross Sound recordist.................. Andrew Ramage 1st asst director.................Adrian Pickersgill Director of photography...... Graham Sharpe Prod, company.................Cascade Films Ltd Editor..................................... Ralph Strasser 2nd asst director.............Hamish McSporran Photography........................ Jan Carruthers, Producers............................................. NadiaTass, Prod, designer............................ Phil Warner 3rd asst director................... Simon Rosethal Ricky Vergara David Parker Exec, producers..................................HectorCrawford, Continuity.................................Jo McLennan Director..................................................NadiaTassDirector of animation................Gairden Cook Ian Crawford, Producer’s assistant.............................JudithHughes Assoc, producer................................. SandraGross Scriptwriter............................................ DavidParker Terry Stapleton Lighting cameraman................................DanBurstall Prod, co-ordinator....................................MegRowed Photography.......................................... DavidParker Assoc, producer..................... Michael Lake Focus puller........................... Barry Helleren Prod, manager.................................... Narelle Hopley Prod, designer......................................... RobPerkins Prod, co-ordinator........................... Elizabeth Symes Key grip................................Paul Ammitzboll Administration.........................................KylieWhipp Exec, producer.......................Bryce Menzies Prod, manager...................................... HelenWatts Gaffer.........................................Brian Adams Prod, accountant................ Libay de la Cruz, Key g rip.................................................... RayBrown Location unit manager....................Grant Hill Best b oy...,................................... Jon Leaver Peat Marwick, Mitchell & Co. Gaffer..................................................... BrianBansgrove Prod, accountant...................................Vince Smits Genny operator....................... Guy Hancock Animators...........................................GairdenCook, Budget............................................. $998,000 Continuity..................................... Jenni Tosi Boom operator.......................................... RayPhillips DEAD-END DRIVE-IN Jacques Muller, Length......................................................... 90minutes Make-up/hair.................................. Joan Hills Wal Louge, Casting...........................Maizels and Assoc. Prod, company...Springvale Productions P I L Gauge................................................. 35 mm Lighting cameraman............................. DavidConnell Wardrobe.........................................Anje Bos Nick Harding, Producer..............................Andrew Williams Shooting stock..........................Eastmancolor Camera operator...................................DavidConnell Ward, assistant.................... Anne McAllister John Berge, Director.....................Brian Trenchard-Smith Progress................................. Pre-production Focus puller..................................Greg Ryan Props buyer................................ Warren Hoy Stan Walker, Scriptwriter..............................Peter Smalley Cast: ColinFriels, Lindy Davies, Beverley Clapper/loader.......................................BrucePhillips Standby props............................ John Stabb Joanna Fryer, Based on the short story b y ........Peter Carey Phillips. Gaffer.................................. Robert J. Young Set decorator..................Steve Jones Evans Andrew Szemenyei, Budget......................................................$2.3million Synopsis: The apparently simple Malcolm 3rd electrics...........................................BruceTowers Set construction....................................David Franks, Paul McAdam Gauge.................................................. 35 mm Hughes loses his job at the Tram Depot after Boom operator..........................................JoeSpinelli James Gannon In-betweeners............................. Paul Baker, Progress................................Pre-production building himself a one-man tram and taking Art director................................................Phil Warner Runners............................ Bruce Thompson, Steve Becker, Synopsis: Set in a quirky, futuristic world, a to the streets. His enforced poverty leads to Ian Neyland Props buyer........................................ PaulineWalker Karen Boubouttis, young man becomes trapped in a drive-in. his mechanical ability being used in a series Art department runner.............Alistair Reilly Bela Szeman, Asst art director/ of eccentric crimes. Catering..................................................JohnFaithful props buyer......................Nick McCallum Julie Peters, D O T AND TH E BUNYIP Laboratory..............................Atlab Australia Lu Rou, Costume designer................................. ClareGriffin THE SHIRALEE Prod, company.................................... YoramGross Lab. liaison.............................. Peter Willard Vicky Robinson, Make-up.................................................. JosePerez Prod, company.... _................ 1..SAFC Prods Film Studio Gauge............................ 35 mm, anamorphic Maria Haren, Make-up assistant.............................. Lynette Harding Director............................................... DonaldCrombie Producer.............................................. YoramGross Shooting stock.................. Kodak 5247/5294 Domingo Rivera, Standby wardrobe..........Margot McCartney, Scriptwriter............................................. TonyMorphett Director............................................... .YoramGross Progress.................................Pre-production Wayne Kelly, Phil Eagles Story editor.......................Graeme Koetsveld Scriptwriters........................................... GregFlynn, Shoot scheduled...................April/May 1985 Denise Kirkan, Standby props................ Shane Rushbrook Based on the novel b y ............. D'Arcy Niland Yoram Gross Cast: Judy Morris, Barry Otto, Victoria Jan Stephen, Special effects........................................BrianPearce Exec, producer...............................Jock Blair Length................................................ 80 mins Longley, Owen Johnson, Lewis Frtz-Gerald, Rodney Brunsdon, Scenic artists.......................................... JohnHedges, Studios...............................................HendonStudios Gauge.................................................. 35 mm Peter Carroll. Judy Howieson, David Francis, Gauge.................................................. 35 mm Synopsis: A circus owner attempts to cap Synopsis: Contemporary story about role Murray Griffin, Martin Kelloch Synopsis: To Macauley, the child was his ture a mysterious Bunyip, but Dot and her reversals and relationships. Joanna Fryer, Carpenters................................................Rod Hayw'ard, “ shiralee” : a burden and a handicap, and bushland friends try to foil his plans. Dot Hugh Bateup Greg Farrugia PLAYING BEATIE BOW also a constant reminder of bitterness a,nd soon discovers that the circus is merely a Best boy.......................................Laurie Fish Painting & tracing................. Robyn Drayton, failure. It was in his nature to do things the front for an international wildlife smuggling Runner..................................Margaret Eabry Prod, company..................................... SAFCProds ~ Mimi Intal, hard way: the way he saw it, there was no operation. Corallee Munro, Cave construction............................ Will Flint Dist. company..........................................CEL other choice. What he hadn’t taken into Producer............... Jock Blair Joseph Cabatuan Teachers/chaperones............... Jan Harfield, account was the child’s overwhelming need Jo Buchanan, Director................................Donald Crombie D O T AND TH E WHALE Backgrounds...............................Amber Ellis for love. Steven Hartley Scriptwriters........................................... IrwinLane, Graphics......................................Eric David Prod, company.........................Yoram Gross Peter Gawler SOMETHING GREAT Special fx painting........................ Christiane Publicity......................Chris Day Enterprises Film Studio Van der Casseyen, Catering..............................Christina Frolich Based on the novel by.............................RuthPark Prod, company............. Boulevard Films P/L, Producer.................................. Yoram Gross Prod, designer..................... George Liddle Jeanette Toms Laboratory.............................................. Atlab HSV7 Director.....................................Yoram Gross Assoc, producer.................................... BruceMoir Asst editor.................................Stella Savvas Lab. liaison................................Peter Willard Director................................Jonathan Hardy Scriptwriters............................. John Palmer, Prod, supervisor............Pamela H. Vanneck Publicity................... Helena P. Wakefield — Gauge.................................................. 35 mm Scriptwriters..........................Frank Howson, Yoram Gross International Media Marketing Prod, co-ordinator................... Barbara Ring Shooting stock......................................Kodak Jonathan Hardy Length................................................ 80 mins Laboratory....................................... Colorfilm Producer’s secretary.............. Chris Howard Cast: Rachel Ward (Sally Jones), Dennis Exec, producers................... Frank Howson, Gauge.................................................. 35 mm Length..........................................80 minutes Prod, accountant.................................... JohnBurke Miller (“ Father Christmas” ), David Brad Peter Boyle Synopsis: In a desperate bid to rescue a 1st asst director................ Philip Hearnshaw Gauge..................................................35 mm shaw (“ Pussycat” ), Vernon Wills (“ Dabby Budget.............................................$5 million whale stranded on a beach, Dot and Continuity.................................... Ann Walton Progress...................................... Production Duck” ), Roger Stephen (“ Mac the Mouse” ), Progress................................Pre-production Neptune the dolphin hunt the ocean depths Casting................................................AudineLeith Synopsis: Dot and her pal, Bruce the Koala, Sean Garlick (Sid O’Brien), Rebecca Rigg Synopsis: The true story of Australia’s searching for a wise, old octopus called the try to stop a group of domestic animals from Studios................................ Hendon Studios (Narelle), Anna Crawford (Sarah), Beth golden boy of boxing who fell from grace and Oracle who knows how to save whales. a tiny town from building a dam across a Buchanan (Leanne). Budget......................................................$4.4million was resurrected as a hero, when he died in local river. The “ townspeople” — a strange Gauge................................................. 35 mm Synopsis: A group of school children and Memphis, lonely, bewildered and reviled at FIRESTORM mixture of haughty cows, ruthless pigs and Synopsis: The game is called Beatie Bow their teacher are kidnapped by four men. the age of 21. dopey dogs — need the dam and its power to The story tells of their fight to escape. and the children play it for the thrill of scaring Prod, company........................................... DeRochecatapult their town into the 21st century. Phelan Film Prods themselves. But when Abigail is drawn in, the game is quickly transformed into an Producer..................................................TomBurstall I OWN THE RACECOURSE extraordinary, sometimes horrifying, adven Director............................. Everett De Roche FOR LOVE ALONE Prod, company.................... Barron Films Ltd ture, as she finds herself transported to a Scriptwriter........................Everett De Roche Dist. company...................................... Nilsen Premiere Prod, company.................. Waranta Pty Ltd place that is foreign yet strangely familiar. Based on the original idea Producer.......................................... MargaretFinkProducers............................................... JohnEdwards, b y ..........................................................MaxPhelan Timothy Read SHORT CHANGED Director.............................. Stephen Wallace Photography......................................... DavidConnell Director............................................. StephenRamsey Scriptwriter.........................Stephen Wallace Sound recordist...................................... GaryWilkins DOT AND KEETO Prod, company................... Magpie Films P/L Scriptwriter............................................. JohnEdwards Script editor.........................................SandraLevy Editor.......................................... Adrian Carr Producer................................ Ross Matthews Based on the novel b y..... Patricia Wrightson Prod, company.........................Yoram Gross Based on the novel by........... Christina Stead Prod, designer........................... Leslie Binns Director...............................................GeorgeOgilvie Photography..........................................GeoffBurton Film Studio Photography........................................... AlunBollinger Composer.............................Bruce Rowland Scriptwriter...........................................RobertMerritt Sound recordist..................................... Kevin Kearney Producer.................................. Yoram Gross Sound recordist..................Syd. Butterworth Exec, producer........................................ MaxPhelan Based on the original idea Editor...................................................DeniseHaslem Director.....................................Yoram Gross Editor...................................... Henry Dangar Assoc, producer................ Brian D. Burgess b y .........................................Robert Merritt Exec, producer........................................Paul Barron Scriptwriter................................John Palmer Prod, designer....................... John Stoddart Prod, manager....................................... JohnChase Photography.................................Peter Levy Prod, manager.................................AdrienneRead Photography....................... Graham Sharpe Composer................................ Nathan Waks Prod, co-ordinators..............Meredyth Judd, Sound recordist......................................PeterBarker Director of animation............... RayNowland Unit management/ Exec, producer....................................U.A.A. Jenny Tosi Editor.........................Richard Francis-Bruce Photographers....................Jan Carruthers, Assoc, producer...................................SusanWild Location manager..............Fllminc Pty Ltd/ Casting...................................................... LeeLarner Prod, designer..............Kristian Frederikson Jake Atkinson Ricky Vergara Prod, supervisor...................................SusanWild Extras casting............................................ JoLarner Assoc, producer................................BarbaraGibbs Assoc, producer..................... Sandra Gross Prod, co-ordinator.......... Suzanne Donnolley Prod, secretary....................................... Julie Plummer Art director................................. Leslie Binns Prod, manager.................................. BarbaraGibbs Prod, accountant......................................Lea Collins Prod, co-ordinator...................... Meg Rowed Unit manager..........................................ChrisJones Make-up............................... Fiona Campbell Unit manager....................... Phillip Patterson 1st asst director.....................................CorrieSoeterbeck Prod, manager...........................Vicki Joyce Prod, secretary...................................MichaelDavis Special effects....................................... ChrisMurray 2nd asst director.............................. AdrienneParrProd, secretary............................. Dixie Betts Administration............................Kylie Whipp Prod, accountant............... Elaine Crowther Wardrobe................................................Jane Hyland Prod, accountant.................... Jenny Verdon 3rd asst director......................................... KitQuarry Prod, accountant................Libay de la Cruz, 1st asst director......................................Mark Turnbull Scenic a rtist.........................................RobertMancini 1st asst director.................................... SteveAndrews Continuity.......................................StephanieRichards Peat Marwick, Mitchell & Co. 2nd asst director..... Carolynne Cunningham Musical director.....................................BruceRowland 2nd asst director.................................... ChrisWebb Extras casting....................................... JenniKubler Animators............................... Ray Nowland, 3rd asst director........................Peter Voeten Sound editor.......................................... TerryRodman 3rd asst director.................................... HenryOsborne Focus puller..............................................KimBatterham Andrew Szemenyei, Continuity................................ Daphne Paris Still photography.........................Sterio Stills Continuity...................................... Jo Weeks Clapper/loader.................................... DarrenKeogh Ariel Ferrari, Casting.................................................. HilaryLinstead (David and Lorelei Simmonds) Producer's assistant.............. Francis Grant Key g rip ............................................ BrendanShanley Nicholas Harding, Casting consultants...............................M & L Publicity............................ Burson-Marsteller Casting................................... M & L Casting Gaffer...................................................... RickMcMullen Rowen Avon, Lighting cameraman............................... AlunBollinger Budget.............................................$5 million Extras casting............................... Sue Parker Boom operator.............................Eric Biggs Paul McAdam, Camera operator..................................DannyBatterham Length.............................................. 120 mins Lighting cameraman.................... Peter Levy Art director..........................................RichardRoberts Stan Walker, Focus puller....................................... AndrewMcLean Gauge.............................35 mm anamorphic Camera operator..........................Peter Levy Costume designer............................ MirandaSkinner John Berge, Clapper/loader....................................... ChrisCole Cast: Gus Mercurio (Ugo Mariotti). Focus puller............................Ben Hammond Make-up............................................ AmandaHunt Wal Louge Key grip.....................................Ross Erikson Synopsis: The story of a man’s rise to Clapper/loader........................ Mark Sullivan Ward, assistant.......................................SuzyCarter In-betweeners............................. Paul Baker, Asst g rip ................................... Geoffrey Full leadership in an emergency, when a Key grip................................ Paul Thompson Props buyer..........................................LouiseCarrigan Jenny Barber, G affer....................................... Reg Garside Dunkirk-style evacuation is used to rescue Asst grip................................George Tzoutas Standby props..................................... LouiseCarrigan Mark Benvenuti, Electrician.................................Matt Slattery thousands of holiday-makers from a bushfire Gaffer..................................... Sam Bienstock Asst edito r............................................ Cathy Chase Rodney Brunsdon, 2nd electrics............................Alan Dunstan on the Mornington Peninsula. Electrician...............................Brett Keeping Dubbing editor......................................CathyChase Hanka Bilyk, Boom operator........................ .7.....Sue Kerr Boom operator.............................. David Lee Still photography......................... Vivian Zink Barbara Coy, Art director............................................. John Wingrove FRENCHMAN’S FARM Art department co-ordinator ....Kate Highfield Greg Farrugia, Costume designer....................... Jennie Tate Tutor......................................................ClaireCarmichael Make-up......................................................LizFardon Best boy............................................... Shaun Conway Murray Griffin, Prod, company..................J.J. Nominees Ltd Make-up........................... Lesley Vanderwalt Hairdresser....................................Liz Fardon Runner............................................... MichaelLavigne Max Gunner, Dist. company................. Frenchman’s Farm Hairdresser.......................................... CherylWilliams Wardrobe...............................................Anna French Catering.................... Out To Lunch Catering Debbie Horne, Productions Pty Ltd Wardrobe supervisor......... Lesley McLennan Ward, assistant..................... Chris Mawdsley Laboratory.............................................. Atlab Joseph Cabatuan, Producers........................... James Fishburn, Standby wardrobe..................................Julie Middleton Props buyer....................................... Alathea Deane Lab. liaison............................................BruceWilliams Domingo Rivera, Matt White Standby Props........................................TonyHunt Asst props buyer.................................MurrayPope Budget.............................................$700,000 Wayne Kelly, Director............................................ Ron Way Props buyer....................... Jock McLachlan Standby props................. Karen Monkhouse Length.........................................................73minutes Sarah Lawson, Scriptwriter............................William Russell Set decorator......................Sandy Wingrove Asst editor............................................ LouiseInnes Gauge........................................Super 16 mm Julie Peters, Based on the original idea Scenic artist.................................Ray Pedler Sound editor..............................................TimJordan Shooting stock............. Kodak Eastmancolor John Robertson, by........................................William Russell Construction manager............................AlanFleming Still photography................................ CarolynJohns Vicky Robinson, Progress........................................Production Photography........................... Ron Johanson Asst editor...........................................PamelaPametta Best b o y ....................................... Chris Fleet Jan Stephen, Cast: Gully Coote (Andy Hoddel), Safier Composer............................... Tommy Tycho Musical director....................... Nathan Waks Runner.................................Jonathan Cohen Bela Szeman Redseposki (Terry), Rodney Burke (Joe), Exec, producer....................................ColsonWorner Still photography......................... Vivian Zink Publicity......................................................LizJohnson Anthony Mangan (Mike), Brett Adlard (Matt), Painting & tracing................. Robyn Drayton, Art director............................... Phillip Warner Best boy.................................... Matt Slattery Unit publicist.............................................. LizJohnson Tony Barry (Bert Hammond), Bob Noble Mimi intal, Budget......................................... $2.3 million Runner.................................................. AdamSpencer Catering............................................ JanettesKitchen (Sgt. Willis), Brett Climo (Const. Eadie), Tim Corallee Munro, Length..........................................95 minutes Publicity............... Marita Blood & Associates Mixed a t..................................................Atlab Elston (Const. Keogh), Rob Steele Joseph Cabatuan Gauge............................. 35 mm Panavision Unit publicist.................................. MadeleineRead Laboratory...............................................Atlab (Evangelist), Paul Bertram (Connelly), Gillian Backgrounds............................... Amber Ellis Progress.................................Pre-production Catering................................................. Kaos Lab. liaison............................................ BruceWilliams Jones (Mrs Hoddel). Graphics...................................... Eric David Synopsis: Barry knew he'd witnessed a Studios............................. Pyramid, Mort Bay Budget.......................................... $1.2 million Synopsis: A touching story of a very likeable Special fx............................... Jeanette Toms murder down on the farm, the others were Laboratory........................................Colorfilm Length......................................................... 95minutes but somewhat slow teenage boy who is led to Asst editor.............................. Stella Savvas not so sure. But when they opened that Lab. liaison......................................... RichardPiorkowski Gauge........................................Super 16 mm believe that he has bought the Harold Park Publicity................... Helena P. Wakefield — Pandora's box the consequences were Budget......................................... $3.8 million Shooting stock..........................Eastmancolor Racecourse for $20. His warm, ingenuous International Media Marketing horrific for everyone. Shooting stock......................................Kodak Progress........................................ Production nature wins over the personnel at the race Laboratory........................................Colorfilm Progress........................................Production Cast: David Kennedy, Jamie Agius, Susan course and they accept him as the owner. Length.........................................................80minutes KANGAROO Cast: Helen Buday (Teresa), Hugo Weaving Leith, Ray Meagher, Lucky Wikramanayake, Gauge.................................................. 35 mm (Jonathan), Hugh Keays-Byrne (Andrew), Prod, company.................... Introndie Pty Ltd Mark Little, Jim Holt. THE MORE THINGS CHANGE Progress........................................Production Judl Farr (Aunt Bea), Regina Gaigalas Dist. company................................. Filmways Synopsis: A young aboriginal shearer fights Synopsis: After shrinking to insect size, Dot (Jean), Nicholas Opolski (Lance), John Prod, company................ Syme International Producer................................... Ross Dimsey to be reunited with his part-aboriginal son. finds herself in a terrifying world of huge Poison (Leo), Odile le Clezio (Kitty), Sam Productions Director......................................Tim Burstall spiders and massive ants. Desperately, she Neill (James Quick), Linden Wilkinson (Miss Producer...................................... Jill C. Robb Scriptwriter.................................. Evan Jones and her friend, Keeto the Mosquito, hunt for Haviland). Director.................................... Robyn Nevin Based on the novel b y ..........D.H. Lawrence the magic bark that will return her to her Synopsis: The story of a young girl’s Scriptwriter................................Moya Wood Editor..................................... Tony Patterson normal size. passionate search for love and sexual fulfil Photography............................. Dan Burstall Exec, producers.......................Robert Ward, ment, and the men who help her find it. Sound recordist........................ John Phillips Bill Marshall, DO T AND TH E KOALA Editor.............................................Jill Bilcock Peter Sherman, FORTRESS Prod, designer...................................Jo Ford Prod, company.................................... YoramGross Mark Josem AUSSIFIED Assoc, producer....................Greg Ricketson Prod, company................................CrawfordProds Film Studio Publicity.......................................Wendy Day Producer................................................... Ray Menmuir Prod, co-ordinator.....................Lynda House Prod, company.............. Screencrafts Prods Producer.............................................. Yoram Gross Budget............................................. $3 million
Producers.......................................Paul Cox, Jane Ballantyne Director............................................Paul Cox Screen Adaptation........................ Paul Cox, Bob Ellis, Norman Kaye Based on the scenario b y ...............Paul Cox Photography..................................Yuri Sokol Art director..................................... Asher Bilu Progress................................ Pre-production Cast: Isabelle Huppert (Colo), Norman Kaye (Tom). Synopsis: A love story between two blind people who teach one another to see.
Gauge..................................................35 mm Progress................................. Pre-p rod uct io n
PRODUCTION
POST-PRODUCTION
CINEMA PAPERS May — 67
o s
Producer.............. Ralph Lawrence Marsden Wardrobe.................................... Anna Wade of a modem family, of the terrible impact of a Sound recordist........................ Uoyd Carrick Camera assistant Director................ Ralph Lawrence Marsden Standby wardrobe................Julie Middleton broken home on a child's psyche and on a Editor....................................... .-. Phil Reid (2nd unit)....................... David Wolfe-Barry Scriptwriter...........Ralph Lawrence Marsden Asst standby wardrobe.........Annie Peacock Prod, designer...................................... LeslieBinns “ parent” who finds that he has no rights of 2nd unit assistant................ Graeme Shelton Photography........Ralph Lawrence Marsden, Wardrobe assistants............... Andrea Hood, Composer............................................. BruceRowlands access. His struggle becomes a magnificent Gaffer........................................T revor Toune Stewart Neale Jean Turnbull, Exec, producer......................................GeoffBurrowes obsession. Boom operator..............................Mike Piper Sound recordist..........Peter Mandel (Britain) Linda Mapledoram, Prod, co-ordinator.....................................JanStott Art director.................................... Kim Hilder Composer (in part).................................. SeanOre Jeanette McCullogh, Prod, manager..............................Bill Regan Make-up...................................................JaneSurrichLEONSKI — THE BROWN OUT Casting adviser....................... Marcel Cugola Rita Crouch Location/unrt manager.............Ray Pattison Hairdresser...............................Bev Freeman MURDERS Casting consultants.......The Actor's Agency, Props.................................................Ian Allan Prod, accountant......................Stan Seserko Wardrobe supervisor..................Peter Bevan Prod, company..................Rying Tiger Rims Frog Promotions, Procs buyers.............................Peta Lawson, 1st asst director...................................... John Powditch Art dept assistants................... Ian McGrath, Dist. com pany......Peregrine Entertainments Sascha Management Brian Edmonds, 2nd asst director.................................. DannyCorcoran David Adams 2nd unit photography..................Wilt Watters Sally Campbell, 3rd asst director......................................DornVilella Props buyer/set dresser............ Jenny Smith Producer..........................................Bill Nagle Director...............................................Philippe Mora (Britain) Peter Forbes Continuity...............................................ChrisO’Connell Standby props...................................... DallasWilson Scriptwriter..................................... Bill Nagle Music performed by (In p a rt).......... Sean Ore Standby props...........................................IgorLazareff Producers secretary............................HelenListon Special effects........................................BrianPearce Based on an historical event in 1942 & Nuefrunt Asst standby props....................... Aran Major Casting.....................................Suzie Maizells Special effects assistant............Peter Collias Laboratory................................................VFL Special effects.................................... Mirage Photography...........................................LouisIrving Trainee camera.......................David Stanford Scenic artist...................................GuyAllain Sound recordist..................................... GeoffWhite Length..........................................................90mins (Andrew Mason, Camera operator.................................... John Haddy Carpenter/set construction.... Chris Budryse Editor....................................................... JohnScott Shooting stock...................................... Kodak Tad Pride) Focus puller................................................IanThorburn Asst editor............................................DeniseHaratzis Exec, producer...................................RichardTanner Cast: Chris Waters (David), Amanda Mc Set dressers.............................................PetaLawson, Clapper/loader..............................Susie Stitt Sound editor.......................................... FrankLipson Assoc, producers....................Honnon Page, Namara (Wendy), Bronwyn Gibbs (Chrissie), Brian Edmonds, Key g rip .....................................Ian Benallack Editing assistant....................Steve Lambeth Richard Jabara Christine Andrew (Claire), Peter Tabor Sally Campbell, G rip ........................................Stuart Crombie Stunts co-ordinator...............................GlennBoswell (George), Susan Mantell (Stephanie), Martin Prod, supervisor..................Geoffrey Pollock Peter Forbes Gaffer.......................................................JackWight Still photography................................... CorrieAncono Trainer (Barry), Esme Gray (Bea), Con Prod, co-ordinator............... Vicki Popplewell Scenic artist................................................IanRichter Boom operator.......................... Steve James Wranglers..............................Bill Willoughby, Babanoitis (taxi driver), Margaret Younger Prod, manager.......................................DavidClarke Asst scenic artists.................................. PeterCollias, Art dept asst............................................BarryKennedy LukeHura (disco lady). Unit manager......................................... LeighAmmitzboll Chris Read Make-up................................................. FionaCampbell Best boy..............................................WemerGeriach Synopsis: Contemporary drama set in Prod, secretary..........................................SueEvans Art dept runner....................................... PeterForbes Standby make-up............................... FelicitySchoeffel Runner................................................... DavidReid London and Melbourne. Prod, accountant....................................GeoffPollock Standby carpenter................................ DerekWyness Wardrobe...........................................Jeannie Cameron Publicity..............................Erica Kwiecinski, Carpenters....................................... BrendanShortall, Ward, assistant................. Michelle Leonard Judith Ditter Asst accountant................................AnthonyShepherd Prod, Geoff Howe, BO OTLEG Props buyers..................Graham Blackmore, Catering.................................................FrankManley associate.................................JeanetteLeigh 1st asst director......................................BrianGiddens Kevin Kilday, Brian Oliver Mixed a t.............................................. HendonStudios Prod, com pany....................... Bootleg Films 2nd asst director..............Hamish McSporran Simon Miller, Asst editor...............................................GaryWoodyard Laboratory..................................... Colorfilm Producers.............................Trevor Hawkins, 3rd asst director......................................PeterCulpan Gordon McIntyre, Sound editor............................Terry Rodman Lab. liaison......................Richard Piorkowski John Prescott, Continuity........................................... JoanneMcLennan Rory Forrest, Stunts co-ordinator.................................... BillStacey Budget....................................................$1.26million Jeanne Taylor Producers assistant.................................SueRobinson Peter Longley, Horse master........................................GeraldEgan Length..........................................................90mins Director....................................John Prescott Casting consultants..................... Lee Lamer Allan Brown, Still photography............... Tom Psomotazas Gauge................................................. 35 mm Scriptwriter.............................. John Prescott Focus puller..................................Demy Reid Boris Kosanovic Best b o y ....................................................JimHunt Shooting stock......... Eastmancolor negative Photography........................... Stephen Frost Clapper/loader......................................LaurieKirkwood Construction managers.......... Denis Donelly, Unit runner............................................. LydiaCover Cast: Cassandra Delaney (Jessica), Peter Sound recordist.................................... KieranKnox Key g rip ........................................... Ian Park Danny Rollston Rushes runner..............................Rick Lewis Ford (Sunny), David Sandford (Ringo), Garry Editor....................................................TrevorHawkins Grips......................................................JamieLeckie, Construction runner............. Daniel Morphett Production runner......................... Nicola Fox Who (Sparks). Prod, co-ordinator.................Jeanne Taylor Barry Brown Asst editor.......................................... JeanineChialvo Catering................................ Richard Roques Synopsis: Jessica, a beautiful young woman Prod, assistants............................. RosemaryHawker, Gaffer......................................................TonyHoltham 2nd asst editor............................................LizGoldfinch Asst caterer......................Doc Cummingham alone on an isolated outback farm, becomes Sue Ward Asst electrix................................................LesFrazier Sound e ditor.................................. Lee Smith Progress............................... Post-production the unwilling participant in a series of 1st asst director................................... TrevorHawkins Generator operator............................... AdamWilliams Still photography...................... David Parker dangerous games with three shooters. Continuity................................Pat Laughren Boom operator....................................... Chris Goldsmith Livestock co-ordinator.... Kayleen Donnellan EMMA’S WAR Lighting cameraman.............................JamieEgan Art director..............................................GeoffRichardson Horsemasters...... Heath and Evanna Harris, GEESE M ATE FOR LIFE! Camera assistant....................Amanda King Prod, company....................................Belinon Asst art director...............................Jill Eden Alan Fitzsimmons Boom operator..................................... JamesKesteren Prod, com pany.................................. Goosey Dist. company............................ Curzon Film Costume designer.............................. SandraTynan Horsemasters’ assistant..........Ann Stevens Additional photography..........Chris Strewe, Distributors (U.K.) Producer.....................Tony Uewellyn-Jones Make-up............................... Deryk De Neise, Coachmaster......................... Graham Ware Peter Nearhos Director...............................................Virginia Rouse Michelle Lowe Producer....................................Clytie Jessop Wranglers.................................Hugh Barnet, Art assistants......................... Ross Pulbrook, Director......................................Clytie Jessop Scriptwriters....................................... VirginiaRouse, Asst make-up........................................... NickSeymour Derek Fisher, Stephen Nothling Sarah Jaffe Scriptwriters.......................................... Clytie Jessop, Hairdresser........................................ StephenMahoney Bruce Emery, Wardrobe...............................Lesa Hepburn, Photography.............................. Jaems Grant Wardrobe supervisor.............................GerryNixon Peter Smalley Max Mitchell, Luba Bogomiagkoff Sound recordist.........................Sean Meltzer Photography............................... Tom Cowan Standby wardrobe............................ AmandaSmith, Don Fitzsimmons, Set construction.................................. LeannePetersen Sound recordist..........................Ross McKay Editor..............................................Mark Atkin Gail Mayes Robert Watchirs, Still photography...................................... JayYounger Editor......................................Sonia Hoffman Composer.......................................Kate Reid Props.......................................................KeithHanscombe Stephen Moxham, Runner/transport....................David Pollock Composer................................ John Williams Prod, accountant................................. HellenGalbraith Props buyer.............................................. PhilChambers Daphne Phillips, Catering............................ Loaves and Fishes Asst director.'............................ Juliet Darling Exec, producer.........................Robin Dalton Standby props......................................... JohnStabb Emma Erback, Laboratory.............................................. Atlab Continuity.....................................................DiGiuleri Co-producer......................................AndrenaFinlay Special effects........................................ BrianPerace Gale Coutts, Lab. liaison............................................ BruceWilliamson Lighting cameraman.................Jaems Grant Set decorator.............................................. JillEden Assoc, producer.................................... DavidHannay Mandy Beaumont Length........................................................110mins Camera operator....................... Jaems Grant Prod, manager.......................................David Hannay Construction manager.......Geoff Richardson Camel dresser.......................John Wittacker Gauge...................................................16 mm Focus puller.................................ChristopherCainStunts co-ordinator.................................... BillStacey Unit manager..........................................JakeAtkinson Best boys................................ Colin Chase, Shooting sto ck.................. Kodak 7291,7294 Clapper/loader............................ Christopher Cain Prod, secretary..................... Angela Zivkovic Still photography...........Martin Glassborrow Paul Gantner Cast: John Flaus (Joe Hart), Ian Nimmo Runners.................................................LionelCurtin, Grips....................................................... PeterKershaw, Prod, accountants....................... Lea Collins, Military adviser/ (Lucan), Ray Meagher (Lawker), Carmen David Cassar Candice Dubois safety officer......................................... KenMcLeod Robin Newell Duncan (Rita), Shelley Friend (Netha), Max Voice coach.................................. Gina Pioro Prod, assistant.......................Sarah Coventry Gaffer.................................Antony Shepherd Armourer...................... Robert Hempenstall Meldrum (Walter Stone), John Gregg (T. C. 1st asst director.......................Mick Coleman Boom operator..................................... LouiseHubbard Period vehicle co-ordinator.......Rob McLeod Music teacher..................................... ColleenLeonard Brown), lain Gardiner (Miko), Penny Jones 2nd asst director...................... Jake Atkinson Music performed b y ................................ KateReidBest boy..................................... Dick Tummel Doctor..................................... Gillian Deakin (Deslene), Tracey Tainsh (Linda), Chris Betts Researcher...................................... ChristinaNorman Sound edito r...........................................MarkAtkin Continuity...................................... Linda Ray Runners..................................................ChrisGilmartin, (John), Jennifer Blocksldge (Marie), Ros V et..................................................Dick Jane Mixer.......................................Roger Savage Producers assistant............................. RebelRussell Melinda Foster Vidgeon (Christina), Errol O’Neill (Barber). Still Focus puller.......................................Michelle Mahrerphotography................................... MariaStratford Publicity.....................Les Jabara and Assoc. Unit publicist....................Santina Musumeci Synopsis: Joe Hart, a private investigator on C atering..................................................John Faithfull Runner........................................Vic Mavridis Clapper/loader..................................... JamesRickard Unit publicist.............................................. LesJabara assignment in Queensland, becomes Catering assistant................................... GaryFrame Catering.............................................. Tartine Grip......................................................... ColinTulloch Catering................................................. BeebFleetwood involved with a bootleg music racket, a Budget......................................................$8.9million Mixed a t........................................ SoundRrm Gaffer......................................................... VitMartinec Laboratory.............................................. Atlab prostitute, the anti-nuclear movement and Cast: Jack Thompson (Burke), Matthew Boom operator.........................Jerry Nucifora Laboratory......................................... Cinevex Lab. liaison................................................ JimParsons various nefarious thugs. Lab. liaison................................. Bruce Braun Art director.............................................. JaneNorris Budget..........................................$3,000,000 Fargher (King), Ralph Cotterill (Gray), Chris Length......................................................... 60minsLength........................................................105mins Asst art director...................................... JaneJohnston Haywood (McDonagh), Drew Forsythe S U R K E A N D W IL L S Gauge..........................................................16mm Gauge...................................................35 mm Maxe-up............................................. RobernPickering (Brahe), Monroe Reimers (Dost Mahomet), Prod, company.............. Hoyts Edgley Prods Hairdresser............................................ Ziggy Shooting sto ck.................Kodak 7291,7294 Shooting stock......................................Kodak Greta Scacchi (Julia), Nigel Havers (Wills), in association with Barry Hill (Landells), Ron Blanchard Cast: Kate Reid (Elizabeth),Tony LlewellynWardrobe supervisor................................MivBrewer Scheduled release................................... Late1985 Graeme Clifford (Patton). Jones (Christopher), Chloe Cunningham Ward, assistant.......................................... PiaKryger Cast: Bill Hunter (Adams), Maurie Fields Producers...........................Graeme Clifford, Ward, attachments......... Dawn Vandervloed, (Vanessa), Lucy Henry(Georgina), Merle (Martin), James Coburn (Dannenberg), Reb Synopsis: The story of the first two explorers John Sexton to cross the continent from south to north Paula Ryan Dalmaine (Joan). Brown (Leonski), Don Gordon (Fricks). Director............................... Graeme Clifford S y n o p s is : C hristopher believes the Standby props......................................RobertMoxham Synopsis: The violent crimes of Private and back. Scriptwriter..........................Michael Thomas marriage will work only if Elizabeth retrieves Choreography........................................ AnitaArdell Edward J. Leonski of the American Army in Photography........................................RussellBoyd the goir clubs from the pool. Art dept attachments..........................AngelaKnight, Melbourne during May of 1942, his CHANNEL CHAOS Sound recordist...................Syd Butterworth Anita Hadley subsequent apprehension and the political JENNY KISSED ME Prod, company.......................... Hatful Prods Editor........................................Tim Wellburn Asst editor.......................................... AndrewCunningham and military ramifications of his trial and Producer....................................... Chris Kiely Prod, designer.........................................RossMajor Prod, company.............. Nilsen Premiere Ltd Sound editor........................................ AshleyGrenville execution. Director........................................Barry Peak Assoc, producer....................Greg Ricketson Dist. company........................................ Hoyts Editing assistant.......... Andrew Cunningham MARIE CLAIRE Scriptwriters.................................Chris Kiely, Prod, co-ordinators..................Lynda House, Still photography................... Candy Le Guay Producer.................................................. TomBroadbridge Barry Peak (working title) Julie Forster. Director.....................Brian Trenchard-Smith Location attachment............................. PeterSimon Jane Griffin Photography.....................Malcolm Richards Scriptwriter....................... Judith Colquhoun Best boy.............................................DouglasWood Prod, company............ Collins Murray Prods Sound recordist..........................John Rowiey Prod, manager....... Carolynne Cunningham Photography............................................. BobKohler Runners.................................................DavidWales, Producer................................ John B. Murray Editor..................................................... DavidHipkins Location unit manager............ Ron Stigwcod Michael Lavigne, Sound recordist............................. Paul Clark Director....................................................ScottMurray Prod, designer............................. Ian McWha Asst location unit manager.......Mason Curtis Ian Rockford Editor....................................................... AlanLakeScriptwriter............................................. ScottMurray Music............................................John Rees, Sydney location manager..........Elaine Black Composers...........................................TrevorLucas, Catering....................................... David Vale, Script consultant................... John B. Murray Bernadette Holloway, Sydney location assistants.... Peter Lawless, David Marshall Ian Mason Photography....................... Andrew de Groot Greg Macainsh Henk Prins Mixed a t..................................................... FPI Prod, manager................... Andrew W. Morse Sound recordist.................................... LaurieRobinson Exec, producer............................. Phil Dwyer Transport manager............................... RalphClark Laboratory.............................................. Atlab Prod, co-ordinator................................... Julie Migues Editor......................................................... TimLewis Prod, supervisor...................................... RayPondLab. liaison........................Bruce Williamson Prod, accountant...............Spyros Sideratos Unit manager............................................TimHiggins Exec, producer......................Peter C. Collins Accounts assistants............ Catherine Ryan, Prod, accountant................................... MarieMayall Prod, accountant................. Santhana Naidu Gauge.................................................. 35 mm Line producer...........................................TomBurstali Lorraine McDermott Continuity.......................Joanne McLennan Shooting stock......................................Kodak Prod, assistant.................... Virginia Bernard Prod, manager........................................JohnHipwell Lighting cameraman.........Malcolm Richards 1st asst director...................... Mark Turnbull Cast: Lee Remick (Anne Grange), Miranda 1st asst director...................................... RossHamilton Location/unit manager..............Stuart Beatty Camera operator.............. Malcolm Richards 2nd asst directors....................Tony Mahood, Otto (Emma Grange), Bridey Lee (Laurel 2nd asst director...................................... PaulGrinder Prod, secretary.............................. Ann Mudie Craig Bolles Focus puller............................................ John Ogden Grange), Terence Donovan (Frank Grange), 3rd asst director........................Brian Gilmore Prod, accountant.................................PaulineMontagna Key grip......................................... Orv Mudie (Aboriginal sequences) Mark Lee (John Davidson), Donal Gibson Continuity........................................... KarindaParkinson 1st asst director..........................Tom Burstali Gaffer........................................Gary Scholes 3rd asst director..................................... CraigSinclair (Hank), Pat Evison (Miss Amott), Grigor Casting....................................................... ValMills2nd asst director................... Marcus Skipper Boom operator......................John Wilkinson Asst director Taylor (Dr Friedlander), Rebel Penfold- Focus puller........................Peter Van Santen 3rd asst director............................... NicholasReynolds Make-up................................................ PietraRobins (Aboriginal sequences)...... Annette Boyes Russell (Miss Gunz), Noeline Brown (Mrs Clapper/loader.....................Greg Harrington Continuity............................................ShirleyBallard Wardrobe............................................... AnnaJakab Continuity...................................Moya Iceton Key g rip ................................. Noel McDonald Mortimor), Kay Eklund (Miss Clewes). Casting asst/unit runner...........Nimity James Props......................................Paddy Reardon Director’s assistant................... Michele Day Synopsis: A film about a woman and her Asst g rip ...............................Wayne Marshall Casting consultant........................Lee Lamer Props buyer...........................Paddy Reardon C asting.................................................. M & L Casting daughters coping with war separation and Gaffer....................................................... TedNordsvan Camera operator................................... DavidWilliamson Neg. matching.......................................... MegKoemig Extras’ casting.......................................... SueParker Boom operator.................................. StephenHaggerty death during World War 2 in Australia. Focus puller........................................ JeremyRobins Sound editor.......................................... DavidHipkins Camera operator................................... NixonBinney Art director.................................................JonDowding Clapper/loader......................................MandyWalker FAIR GAME Mixer.......................................David Harrison Focus puller......................Peter Menzies Jnr Make-up/hairdresser.......................... PatriciaPayne Key g rip ..................................................DavidCassar Dolby stereo consultant........................... DonConolly Clapper/loader.......................................GarryPhillips Wardrobe...........................Aphrodite Kondos Prod, company................................ SouthernFilms Asst g rip ..............................................MarcusMcLeod Still photography............ Oggy Photography Camera assistant..................................... RobAgganis International Props buyer.............................................JohnLowndes Gaffer...................................................... JohnEngeler Runner.................................... Bruce Nicholls Key g rip .........................................Ray Brown Dist. company.......................................... CEL Standby props........................................MartyKellock Boom operator.......................................GrantStuart Catering..................................Emerald Diner Grip............................................ Stuart Green Special effects........................................BrianPearce Producers............................................ HarleyManners, Art director............................................ PaddyReardon Studios..................................................... Pan Pacific Asst grips.................... „...Brendan Shanley, Ron Saunders Asst editor..............................................PaulaLourie Asst art director..................................... KerithHolmes Laboratory.........................................Cinevex 2nd asst edito r.............Noelleen Westcombe Greg Mossop Director........................... Mario Andreacchio Costume design , Lab. liaison............................................ BruceBraun 2nd unit photography............................ LouisIrving Sound editor...........................................PennRobinson Scriptwriter...............................................RobGeorge consultant........................Rosemary Ryan Length..........................................................82minsPhotography.......................................AndrewLesnie 2nd unit camera assistant............ Terry Field Stunts co-ordinator..............Glenn Ruehland Make-up....................... Amanda Rowbottom Still photography.................................... SuzyWood Gaffers............................... Brian Bansgrove, . Gauge..................................... Super 16 mm Sound recordist....................... Toivo Lember Hairdresser..................Amanda Rowbottom Shooting stock..................................... Kodak7291Editor....................................Andrew Prowse Best boy.................................................. JohnBrennan Peter O'Brien Costumes and wardrobe Scheduled release..................................Early1985Prod, coordinator................................ MargoTamblyn Runner................................................... CraigGriffinstandby........................................... FrankieHogan Electrics.......................John Bryden-Brown, Cast: Jay Hacked (Mike), Tim Scally Colin Chase Prod, manager............................. Gay Dennis Publicity.............................................. MarshaPrysuska Ward, assistants............ Bernice Devereaux, (Kookie), Lyn Semmler (Helen), Clive Heame Boom operators........................................ PhilTipene, Location manager..................... Mason Curtis Catering...........................................WolfgangGraf Michelle Leonard (George), Peter Thompson (Sir Ninian Laboratory........................................ VictorianRimStandby props...........................................RobMcLeod Gerry Nucifora Prod, accountant.................................... John Lawley Richards). Art director............................... Brian Hocking 1st asst director..................... Chris Williams Laboratories Asst e d ito r..............................................PeterLitton Synopsis: Comedy set in a television Asst art director........................................ KimDary 2nd asst director..........................Steve Otton Lab. liaison............................. Steve Mitchell Sound editor............................... Craig Carter Art dept co-ordinator............................ PennyLangstation. Length...........................................94 minutes 3rd asst director....................................JudithDitter Sound transfers..................................EugeneWilson Gauge...................................................35 mm Costume designer.............................. GeorgeLiddle 2nd unit director....................................... RonSaunders Asst sound editor..................................... RexWatts COOL CHANGE Progress........................................Production Design assistant..................................WarrenField Continuity................................................. AnnWalton Still photography..........Giorgio Mangiamele Prod, company............. Delatite Productions Cast: Ivar Kants (Lindsay), Deborra-Lee Make-up................................. Bob McCarron, Focus puller............................................ ColinDeane Best boy..................................................PeterMaizey Furness (Carol), Tamsin West (Jenny), Paula Pty Ltd Wendy Sainsbury, Clapper/loader.......................Peter Terakes Runners.............................................StephenShelley, Duncan (Gaynor), Steven Grives (Mai), Mary Producer................................. Dennis Wright Ivonne Pollock, Key g rip ................................................... NoelMcDonald Dylan Hyde Ward (Grace). Director....................................George Miller SonjaSmuk Asst g rip .............................................. WayneMarshall Production asst/ Photography............................John Haddy Synopsis: The story about the deterioration Hairdresser.......................... Shayne Radford 2nd unit photography..............................PaulDallwitz unit runner...................... Annemarie Kiely
68 — May CINEMA PAPERS
Denis Robinson Production office asst............... Kim Jonsson Laboratory....................................... Colorfilm sport. The film will feature experienced Underwater photography Cast: Gary McDonald (Robert O’Hara Asst editor................................Jan Louthean Catering..................... Bande Aide Catering, Lab. liaison.................................Kerry Jenkin Burke), Kim Gyngell (William Wills), Roy women climbers. Sound editors............. Kerstine Hil-Harrison, Food For Film Gauge.................................................. 16 mm Baldwin (Charlie Gray), Mark Little (John Jan Louthean Edge numberer..................... Oliver Streeton Shooting sto ck......................... 7291, Plus-X, THE MAN YOU KNOW King), Rod Williams (George Landells), Peter Animation......................... Michelle French Laboratory........................................Colorfilm Hi-Con Collingwood (Sir William Stawell), Jonathan Prod, company.................. McRae Saunders Runner.............................. Josephine Wilson Lab. liaison.................................. Bill Gooley, Progress............................ Awaiting release Hardy (John Macadame), Alex Menglet Productions Pty Ltd Catering................................. Dy Hil-Harrison Richard Piorkowski Cast: Pat Fleming (Marie Byles), Heather (William Brahe), Henry Maas (Charles), Producer................................................. Beth McRae Mixed a t ................................... Rim Australia Length..........................................................95minutes Bishop, Frances Macken, Trish Waddington Nicole Kidman (Julia Matthews) Director.................................................. SteveJacobs Laboratory......................................... Cinevex Gauge...................................................35 mm (university friends), Liz Brown (hairdresser), Synopsis: “ Wills and Burke” — The Untold Scriptwriter............................................SteveJacobs Shooting stock......................... Eastmancolor Budget................................................... $8400 Paul Brennan (Mr. Barrie), Rona Pettigrew, Story. When the writer Philip Dalkin Based on the original idea Progress.............................. Post-production Wade Butler (Warrumbungle climbers), Length................................................ 10 m'ns researched the history of Burke and Wills by........................................................SteveJacobs Synopsis: A love story. Gauge...................................................16 mm Stephen Ramsey (attacker), Gully Coote expedition he found a story that could only Photography...........................Andrew Lesnie Shooting stock............................ Kodak 7291 (greedy boy). be told as a comedy: truth being funnier than Sound recordist........................................ BobClayton Progress............................... Post-production A S TR EET T O DIE Synopsis: This is a film biography of a Editor..................................................... GeoffBennett fiction. Dalkin traced the epic journey across Cast: Alice Cummins (a woman), Michael remarkable woman. Marie Byles was born in the continent that ended in tragedy that Prod, com pany......... Mermaid Beach Prods Prod, manager.............................. Philip Bull Templeton (a man), Tristan Hil-Harrison (a 1900 of unorthodox English parents. When should have been victory but for the incom Producer..................................................... BillBennett Prod, assistant......................Cameron Webb she was 11 she arrived in Australia, where child). petence and blundering of Burke and his Director...................................................... BillBennett 1st asst director............. Stephanie Richards Synopsis: Tu is a short experimental film she became the first woman to practise as a back-up team. A comedy of errors, Scriptwriter.................................................BillBennett Continuity.......................Stephanie Richards solicitor in N.S.W., and set up her own legal Casting............................................. Forecast revealing the symbiotic relationship between ridiculously improbable and strange; and a Based on the original idea mother and child from conception to birth. practice. She was also a mountain-climber tale of extraordinary heroism. by.............................................................BillBennett Lighting cameraman............. Andrew Lesnie Expressionistic in form, it explores the who set up an expedition to Western China Camera operator.................... Andrew Lesnie Photography.......................................... GeoffBurton symbolic correspondences between colors, in 1938 to climb a 20,000 ft mountain: she Clapper/loader........................Kate Richards Sound recordist........................................LeoSullivan musical notes and the four elements. It incor was a conservationist who was responsible Editor....................................... Denise Hunter Camera assistant................................... MarkSarfaty porates an animation segment. for establishing Bouddi National Park, just Gaffer.....................................................AlaynMearns Composer..........Michael Atkinson (Redgum) north of Sydney. Exec, producer............................. Multi Films Art director....................... Jenny Carseldine Assoc, producer.......................... Jenny Day WHEN I KISSED YOUR LIPS THIS Asst art director........................Kristin Reuter THE SPIRIT OF UNCLE EDWARD Prod, supervisor.................................PaulineSavage MORNING Set construction...................................... AlanDocker Location manager.............................. PaulineSavage Prod, company................................ ABC Asst editor..............................................Alicia Gauvin Prod, company....................... Somnambulist FREIGHT TRAIN Financial supervisor................................. PhilGerlach Producer............................................... RobinJames Neg. matching..................... Colorfilm Pty Ltd Productions Prod, accountant......................................PhilGerlach Director................................................. RobinJames Prod, company....................................... ABC Music performed b y .........Django Reinhardt, Director.................................... Greg Masuak Prod, assistant..................................... DebbieSamuels Producer............................................... RobinJames Scriptwriter............................................ RobinJames Stephane Grappelli Camera operator.............. Bronwyn Nicholas 1st asst director................................Phil Rich Director.................................... Robin James, Photography.......................Michael Fanning M ixer..............................Alisdair Macfarlane Length...........................................20 minutes Continuity................................................. RozBerrystone Peter Cooke Sound recordist........................................MelRadford Still photography............. Gregory Haremza Gauge.................................................. 16 mm Lighting cameraman.............................GeoffBurton Editor...................................... David Halliday Scriptwriter............................................ RobinJames Trtle designer............................... Stopmotion Progress........................................Production Focus puller...........................Darren Keough Sound recordist................................. MichaelCharman Producer's assistant.................. Dianne Parr Catering................................................. MarieJacobs Cast: Kris Wyld Clapper/loader..................... Miriana Marusic Editor.................................... David Halliday Camera assistant........................... Rod Jong Mixed a t.................................................. PalmStudios Synopsis: A black comedy about a woman Gaffer......................................................... IanPlummer Producer’s assistant.............Joanne Harvey Neg. matching....................Barry McKnight Laboratory............................Colorfilm Pty Ltd who suddenly decides to clear her life of all Boom operator......................................... SueKerrLighting cameraman............................. PeterCooke Sound editor........................... David Halliday Lab. liaison............................. Kerry Jenkins, memories, including those of herself. Art director................................................IgorNayNeg. matching......................Barry McKnight M ixer.......................................Quentin Black Glen Ely Asst art director.................... Stephen Harrop Narrator.................................. Belzah Lowah Sound editors....................... David Halliday, Budget............................................... $46,000 Make-up................................ Marjorie Hamlin Opticals.............................. John Tollemache Steve Rhodes Length.......................................... 35 minutes Wardrobe............................................ MaggieWoodcock Trtle designer.............................................JimSkinner Mixers....................................................... MelRadford, Gauge.................................................. 16 mm Ward, supervisor.................................... MagiBeswick Mike Charman Mixed a t.................................. ABC Brisbane Shooting stock..........................Eastmancolor Ward, assistant......................................LindaThompson Narrator................................Max Carmichael Laboratory........................................Colorfilm Negative 7291 Props buyer.......................................... AlisonGoodwin Opticals.......................................Ken Phelan Lab. liaison................ .................. Tom Angel Progress...........................................Awaitingrelease Asst editor.............................................RobertWerner Budget............................................... $10,247 Cast: Lance Curtis (The Man). Mixed a t................................................... ABCBrisbane Music performed b y ..........................Redgum Gauge.................................................. 16 mm Laboratory........................................Colorfilm Synopsis: “ Vote Bob Proudfoot — The Man Sound editor............................................. LeoSullivan Shooting stock........................ Eastmancolor You Know” . So runs the political slogan that Lab. liaison................................. Tom Angel Mixer....................................................... BrettRobinson 7247/7249 sparks the memory of the film ’s isolated Budget............................................... $10,610 Still photography..........................Joyce Agee First released..........................January 1984 protagonist. Assuming the role of son he Length......................................... 20 minutes Runner.........................................Kylie Burke Synopsis: In October 1982, an elder of recollects the career of his father Bob Proud Gauge.................................................. 16 mm Publicity........................Robin Campbell-Huff Shooting stock..........................Eastmancolor Vorke Island died, and his death had a foot — chiropodist, churchgoer and Unit publicist.......................................... RobinCampbell-Huff profound impact upon the people. The film politician. Out of this maze of information we 7247/7293 Mixed a t .................................. Sound on Film crew had arrived on Yorke Island in the are finally left with a satirical identikit of a First released.................................April 1985 Laboratory...............................................Atlab Torres Strait to film a sequence for a docu contemporary political candidate — Bob Synopsis: A story about the railwayman and Lab. liaison............................. Bruce Williams TRIPE mentary on Trochus Shell divers, when the Proudfoot, The Man You Know. their two-day journey from Forsayth and Length..........................................92 minutes news came that the island's chief had died. Cairns, and the people of the communities Prod, company.............. Lawless Enterprises Gauge..........................................................35mm whose existence depends solely on the NO DANCE Days of negotiations followed, and even Producer.................................................PeterLawless Shooting stock.................................. EastmanKodak tually permission was given by the islanders Prod, company............................ Dunb Rims ancient line staying open. Director................................Greg Woodland Progress............................... Post-production to film the funeral ceremonies; the first time Producer.................................................. RodBishop Scriptwriter.......................... Greg Woodland Cast: Chris Haywood (Col Turner), Jennifer such a burial has been filmed. NO T JU S T A NUMBER Photography....................................... StevenDobson Director.................................................. Philip Brophy C luff (Lorraine Turner), Peter Hehir Length......................................................... 24minutes Scriptwriter............................................PhilipBrophy Prod, company.................................. AMFSU (Solicitor), Susannah Fowle (Julie), Pat Progress..............................Post-production Photography............................... Ray Argali Dist. company................................... AMFSU Evison, Peter Kowitz. Cast: John Meillon Editor......................................................PhilipBrophy Director..............................................ShalaghMcCarthy Synopsis: The true story of an Agent Synopsis: An authoritative father forces his Composer.............................................. PhilipBrophy Scriptwriter....................................... Shalagh McCarthy Orange victim's fight for survival. children to eat tripe every night. Prod, assistant............................Maria Kozic Photography...............................Alan Healey Laboratory.........................................Cinevex Sound recordist................... Peter Hammond WILLS AND BURKE Length..........................................23 minutes Editors....................................... Alan Healey, Prod, company..............Stony Desert Limited Shalagh McCarthy Gauge.................................................. 16 mm ANYONE CAN BE A GENIUS! Dist. company...............GUO (Australia only) Shooting sto ck...................Fuji 8521 & 8522 Exec, producer...........................Alan Healey Prod, company.....................Bush Christmas Producers...................................... Bob Weis, Budget............................................... $40,000 Productions Progress........................................Production . Margot McDonald Casrt: Kim Beissel (The Body Dance), Jillian J,pngth..................................... 3 x 90 minutes Producers...............................Julian Russell, Director.................................................... BobWeis Gauge........................................................ % ” videotape Tony Gailey Burt (The Record Buyer), Lino Caputo (The Scriptwriter.............................................PhilipDalkin Linn Drum Computer), Merryn Gates (The Cast: Voice over: Bob Connolly COMPETITIVE EDGE Directors.................................Julian Russell, Script editor.............................................John WildSynopsis: This is the first documentary from Tony Gailey Twist), Peter Lawrance (The Listener), Bruce (formerly Beyond 2000) Based on the original idea a Union point of view, on the difficulties and Scriptwriters............................Julian Russell, Milne (The Radio D.J.), Robert Pearce (The b y ....................................................... PhilipDalkin No Dance), Julie Purvis (The Modem benefits of introducing Industrial Demo Prod, company........................................VTC Tony Gailey, Director of photography.......... Gaetano Nino cracy. In three parts, it covers ‘Job Producer............................... Janet Coleman Mitou Pajaczkowska Dance). Martinetti Synopsis: A film not about dancing (made Redesign’ : workers need decision making Director.......................................Mai Bryning Final narration script...... Michael le Moignan Sound recordist............................. Ian Ryan by Tch! Tch! Tchl). power over individual jobs; ‘ Better Scriptwriter................................ Alex Dumas Photography........................................... TonyGailey Editor....................Edward McQueen-Mason Managers' — explores different forms of par Sound recordist................................Ian Ryan SoundTrecordist....................... Max Hensser RED MATILDAS Prod, designer...................................... TracyWatt ticipation; 'Is It A Con?’ — looks at what can Editor...................................................... JohnBarber Editor........................................Suresh Ayyar Composer...................................Red Symons happen when workers own shares in a Composer.............................. Chris Copping Composers............................Andrew Garton, Prod, company.................. Yarra Bank Films Prod, co-ordinator................................ LeonieJansen company. Exec, producer....................Vince O’Donnell Nick Jeanes Producers..........................Sharon Connolly, Prod, manager..................................... RoslynTatarka Prod, assistant.............. Samantha Toffoletti Trevor Graham Exec, producer........................................ PaulBarron Location manager...............................MurrayBoyd R.M.I. VIDEO Art director.............................................ChrisWorrall Directors............................Sharon Connolly, Prod, manager..............Mitou Pajaczkowska Prod, accountants...................Margot Brock, Mixed a t ................... VTC Trevor Graham Additional photography..... David Sanderson Pat Crazier Fred, company.................................. AMFSU Laboratory................................................VTC Scriptwriters.......................Sharon Connolly, Post-production sound.....................Rob Bell "Dist. company................................... AMFSU Prod, assistant....................................Maggie Dunn Lab. liaison.........................................Michael Conkey Trevor Graham Education Unit Art director.....................Julie Pajaczkowska 1st asst director...................................... JohnWild Budget............................................... $80,000 Based on the original idea Make-up................................................LeoneSmith Ex. producer..............................Alan Healey 2nd asst director................ Michael McIntyre Length..........................................................20 mins by................................... Sharon Connolly, Neg. matching........................................ChrisRowell Director..............................................ShalaghMcCarthy Continuity...............................................HelenGaynor Trevor Graham Gauge............................................................ 1inch Music performed b y ..........See music credits Scriptwriter........... x .........Shalagh McCarthy Casting........................................ LizMullinar Shooting stock............................... Videotape Photography........................Laurie Mclnnes Sound editors...................................... SureshAyyar, Photography........................................ Simon Smith Casting consultants.................M & L Casting Progress........................................... Awaitingrelease Sound recordist.........................................Pat Fiske Gai Steele Sou no recordist........................................RodSewell Lighting Synopsis: Victorian promotional film for use Editor...................................Leslie Mannison M ixer............................. Alasdair Macfarlane Editor................................. Nancy Davenport cameraman............... v ........ Gaetano Nino with senior m anagem ent personnel, Exec, producer.........................................Ned Lander Narrator............................... Noni Hazlehurst Prod, manager.........................................RodSewell Martinetti especially corporate investors and in Assoc, producer....................Bryce Menzies Animation.....................................................BSharp, Camera operator..............................GaetanoNinoLaboratory.......................................Videopak European and the northern Pacific ring Prod, manager......................................Daniel Scharf Pig-Dog, Budget...............................................$21,000 Martinetti countries. Stopmotion Script assistant.................................DeborahCass Length......................................................... 27minutes Focus pulle r..........................................PhillipCross Camera assistants................ Mandy Walker, Title designer................ Julie Pajaczkowska Gauge.............................................% ” Video THE FRENCH COLLECTION Clapper/loader.....................Leigh McKenzie Steve Peddie Mixed a t..................................................PalmStudios Shooting stock........................% ” Videotape Key g rip ................................Paul Ammitzboll Sound editor........................Leslie Mannison Prod, company...............................MT Prods Laboratory......................................Colorfilm Scheduled release................................. 1985 Asst grip....................................... Ken Connor Still photography.................Trevor Graham, Producer..............................................StevenCozens Lab. liaison....................Richard Piorkowski, Synopsis: A documentary which outlines Gaffer......................................................BrianAdams Sandra Irvine Director................................................StevenCozens Kerry Jenkins action which workers and management can Electrician.................................................JonLeaver Laboratory....................................... Colorfilm Liaison....................................................JulietGrimm Budget............................................$248,000 both take to prevent Repetitive Movement Boom operator..........................................RayPhillips Lab. liaison............................................. KerryJenkin (Film Victoria) Length.........................................................48minutes Art director............................................. Tracy WattInjuries. Filmed at Repco Pty Ltd, Tasmania, Length......................................................... 50mins Exec, producer................ Vincent O'Donnell Gauge.................................................. 16 mm where they have a successful prevention Asst art director...............................GeorginaGreenhill Gauge.................................................. 16 mm Length..........................................................23mins Progress...........................................Awaitingrelease programme. Costume designer.................................. RoseChong Gauge............................................Videotape Cast: Ian Nimmo (Archemedes), Marek Shooting stock..........................................Fuji8521 Make-up................................. Kirsten Veysey Progress...............................Post-production Progress..............................Post-production Olech (King), Peter Scott (Jeweller), John A SINGULAR WOMAN Hairdresser.......................................RochelleFord Wilkinson (Metal Worker), Nick Chance Synopsis: Three women tell their story of Synopsis: A film about Madame Toussaint’s Prod, company............. Tony & Gillian Coote Wardrobe...............................................KarenMerkel Australia in the turbulent 1930s; a story of visit to Australia to study the Neville Scott (Water-board Worker), Zak Brodie (Kite Pty Ltd Ward, assistant.................................... RobynAdams Flyer), Alison Strahan (Nurse), Robert working with the unemployed, of opposing Collection. Producer............................................... GillianCoote Props buyers............................................. JanHing, war, of joining the International Brigades Thompson (Runner). Director................................................ GillianCoote Carl Habal NATIONAL HERBARIUM Synopsis: This is a film about the meaning fighting fascism in Spain. Interviews and Scriptwriter...........................................GillianCoote Standby props....................................... HarryZettel of life. It is about why the human brain is the archival film combine to show the courage Scriptwriters................................ Jill Morris, Based on the original idea Choreography.....................................JoanneRobinson Mary Lancaster most extraordinary thing ever created. If that and continuity of women’s part in political by.......................................................GillianCoote Scenic a rtist.......................................GraemeGalloway Length.......................................... 20 minutes sounds terribly pretentious, then sit back and struggle. Photography.................................... Paul T ait Set construction....................Nick Hepworth, Gauge.................................................. 16 mm watch the exploding rockets, eccentric Ken Hazelwood, Sound recordist..................................... GrantRoberts TU Progress................................ Pre-production animation, parenthood, Archemedes or Editor................................................... DeniseHaslem James Gannon, Scheduled release.............. December 1985 listen to the 21 original compositions. Or find Prod, company............................... Tu Prods Prod, designer......................................... EdieKurzer Martin Kellog, Synopsis: A film to delve behind the bland out what really happens in the Andes. This is Producer...................................................JanLouthean Composer.............................................TrevorPearce Matthew Scott not an orthodox film. Director....................... Kerstine Hil-Harrison scientific walls of an herbarium, to reveal the Prod, manager................. Rosalind Gillespie Asst editor.............................................. ErwinHusch rich matrix of history, scholarship and Scriptwriter.................. Kerstine Hil-Harrison Prod, accountant........................Bently & Co. Neg. m atching.................................Cinevex common utility found there. FREE CLIMBING Based on the original idea Casting................................................. GillianCoote Musical director.........................Red Symons Producer..............................................StevenSalgob y .............................Kerstine Hil-Harrison Camera assistant.................................SimonSmith Editing assistant....................Colin Tudhope Photography..............................................JanKenny Director................................................NatalieGreen Art director.............................................. EdieKurzer Stunts co-ordinator...............Glen Ruehland Sound recordist........................................JenHortin Scriptwriter........................... Louise Shepard Make-up............................................ Amanda Hunt Still photography................................... RosieCass Editor...........................Kerstine Hil-Harrison Hairdresser.......................................AmandaHuntPhotography........................................ NatalieGreen Wrangler................................. Evanne Harris Prod, designer.......................................... JanLouthean Exec, producer................ Vincent O’Donnell Neg. matching........................................ChrisRowell Runner.................................................... MarkDavis Composer.............................................. HelenLawrence Exec, assistant.................Mary Gustavsson Publicity................................................. ChrisRyanMusic performed by.................Trevor Pearce Exec, Length.........................................................20minutes producer........... Kerstine Hil-Harrison Editing assistants...................................DanyCooper Unit publicist..................................... Di White Prod, manager..........................................JanLouthean Gauge........................................Super 16 mm M ixer......................................... Palm Studios Laboratory....................................... Cinevex Prod, accountant................................ NoelineHarrison Shooting stock................................. Eastman Narrator.................................. Dorothy Alison Lab. liaison................................ Bruce Braun PASSPORTS — AN 1st asst director..................................BeverlyPoynton Progress................................. Pre-production Still photography.......................................PatFleming Length....................................... 100 minutes INTRODUCTION Synopsis: A film that promotes rock Continuity.................................. Francine OnTitle designer...........................................FranBourke Gauge...................................................35 mm Prod, company ...South Land Rims Australia Camera assistant..............................Michelle Glaser climbing and encourages others to try the Mixed a t.................................................. PalmStudios Shooting stock.......................Kodak 5247/94
DOCUMENTARIES
G O V E R N M E N T FILM P R O D U C TIO N AUSTRALIAN FILM COMMISSION
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FILM VICTORIA
NEW SOUTH WALES FILM CORPORATION
CINEMA PAPERS May — 69
There are more reasons to come to Australia than its locations We are now in a position to offer you highquality motion picture printing at a price that makes us highly competitive on the world market. You can contact James Parsons, Sales Manager, at the Hotel Vendome, 37 boulevard dâ&#x20AC;&#x2122;Alsace, Cannes, during the Festival. Ph: 38. 34. 33. or John Donovan, Manager, AtLab Australia, Television Centre, Mobbâ&#x20AC;&#x2122;s Lane, Epping, NSW 2121, Australia. Ph: (02) 858 7500. Telex: AA 70917
d J u o lr e J lA Giving quality and service to the motion picture industry.
Producer..................................... Mike Midlam Prod, accountant........Rosenfeld, Kant & Co. Producer................................................BruceHogan Sound recordist...................................... RossLinton YOUR TURN NEXT?? Director....................................... Rob Stewart Prod, designer....................... David Copping Casting............................Sideshow Alley Ltd Director.................................................. BruceHogan Scriptwriter...................................Sonia Borg Assoc, producer.......................David Hannay Musical director.......................... Andrew Bell Scriptwriter.............................. Brian Hannant Prod, company.....................Tasmanian Rim Budget........................................$280,022.40 Based on the novels Corporation Pty Ltd Photography...........................................PeterMorley Prod, supervisor......................................IreneKorol C o lo u r in th e C r e e k and Progress................................ Pre-production Prod, co-ordinator................................... SallyAyre-Smith Editor................................................. VladimirRutchev Dist. company........... Focal Communications S h a d o w o f W in g s b y ...........Margaret Paice Scheduled release............. ABC TV, Nov. 85 Pty Ltd Prod, accountant............................... HowardWheatley Title designer.............................................Jim Davies Synopsis: The programme is based on the Photography..........................................FrankHammond 1st asst director.................................. MichaelBourchier Producer................................................ DavidFurley Length.......................................................... 12mins Sound recordist........................................KenHammond successful cabaret produced in London and Continuity............................................... Judy Whitehead Gauge.............................................................1inchDirector.................................................. DavidFurley Editors................................... Gabe Reynaud, across Australia. Consists of songs, prose Casting...................................................... LeeLarner Scriptwriter..............................................JohnEllsmore Shooting stock............................... Videotape Zsolt Kollanyi Art director....................................Ken James and poetry fitted together to make up a Photography........................Russell Galloway Progress.......................................... In release Prod, designer......................... Michael Ralph mosaic of new ways of looking at women. Asst art director..................................Juliana Mills Synopsis: A training video to give an over Sound recordist.................................... JulianScott ( Exec, producer............................ Ian Bradley, Costume designer............... Bruce Finlayson Old images are juxtaposed with new lyrics, view of the role and functions of the passport Sound assistant.................. Mark Tomlinson Penny Spence layers of irony and humour bring out startling Make-up.................................................. Jose Perez office to newly-inducted personnel. Editor...................................Ross Thompson W ardrobe............................. Bruce Finlayson meanings in familiar songs and new songs Assoc, producer........................................ Jim Badge Prod, manager.....................................WayneCowen Prod, co-ordinator................................... Julie Forster celebrate new women. Standby props........................;...John Danial Prod, accountant....................................... IanShadbolt PASSPORTS — TH E NEXT STEPS Prod, manager................................ Rod Allan Set decorator..................... Kelvin Sexton Prod, assistants..................................... Peter Cass, Prod, company ...South Land Films Australia SWORD OF HONOUR Prod, secretary.................. Amanda Bennett Construction m anager............Danny Burnett Karen Weldrick Producer................................................BruceHogan Prod, accountant........................ Jim Crowley Editor.................................................. RichardHindlay Continuity............................................Wendy Rimon Prod, company............Simpson Le Mesurier Director.................................................. BruceHogan 1st asst director....................................... DuelDroogan Musical director.....................Frank Strangio Camera assistant.................................. Adam Kropinski Films Pty Ltd Scriptwriter..............................................BrianHannant 2nd asst director.................................... CraigSinclair Sound editor......................................... RogerSavage Key g rip................................................... Gary Clements Producer.......................... Roger Le Mesurier Photography...........................................PeterMorley 3rd asst director........................................-LizLovell Catering.................................,.....' Mai Kai Directors..................................Pino Amenta, Make-up..............................Margaret Pierce Editor................................................. Vladimir Rutchev Continuity................................................ NickiMoors Laboratory......................................... Cinevex Mixer......................................................JulianScott Catherine Millar Title designer................................Jim Davies Focus puller............................................ RossEmery Budget....................................$4,725 million Mixed a t...............................Tasmanian Film Scriptwriters........................ Roger Simpson, Length.......................................................... 16mins Grip........................................ Peter Ledgway Length.................................... 5 x 6 0 minutes Corporation Pty Ltd Kathy Mueller, Gauge.............................................................1inch G affer.................................................... DerekJones Shooting stock.....................................16mm Laboratory......................................... Cinevex Peter Kinloch, Shooting stock............................... Videotape Boom operator...................................GrahamMcKinney Progress................................. Pre-production Length......................................................... 25minutes Tom Hegarty Progress........................................In release Art director.................................................. IanGracie Scheduled release................................March1986 Gauge.................................................. 16 mm Based on the original idea Synopsis: Designed to familiarize passport Make-up/hairdresser.......................... CassieHanlon through the 9 Network Shooting stock............................... 7291/7294 by...................................... Roger Simpson officers with the various security measures Wardrobe............................................... DavidRowe Synopsis: A sweeping true life story, Photography...........................David Connell Eastmancolor and checking procedures which need to be Standby wardrobe................................. KerryThompson scandal and breathtaking adventure, set Sound recordist...................................... AndyRamidge Cast: Colin Grubb (John), Karena Menzie established in all passport offices. Ward, assistant..................................HeatherLaurie against the epic days of pioneering long Editor............................................... Phil Reid (Julia), Jessica Faircloth (Baby Louise), Props buyer........................................RichardHobbs distance aviation. Brendon Bourke (Bob McDonald), Jane Prod, designer....................... Bernard Hides RAINFORESTS OF Standby props.........................................JohnOsmond Rundle (Chrissie Morgan), Philip Green (Mr. Composer.............................. Greg Sneddon NEW SO UTH WALES Asst LAND OF HOPE Morgan), Joan Green (Mrs. Morgan), Barrie Exec, producer.... I................................ RogerSimpsonprops buyer.................................MurrayGosson Carpenters....................................John Wait, Muir (Mr. McDonald), Noreen Le Mottee Prod, company....................... Tandem Prods Prod, company.......................... Film Rep Ltd Assoc, producer................. Brian D. Burgess Craig Smart (Mrs. McDonald), Jan Edwards (Pauline), Producer................................................ MartaSengers Prod, co-ordinator........... Rosslyn Abernethy Dist. company.......................................... JNPRims Set construction.................................GraemeGiliigan Philip Sabine (Pauline’s husband), Jack Director...............................................MichaelMangold Unit location manager............... Paul Healey Producer...........................................SuzanneBaker Asst editors.......................... Matthew Tucker, Rheinberger (Manager, Carr’s Carpets), Scriptwriter......................................... MichaelMangold Prod, assistants........................ Jenny Gray, Directors................................ Gary Conway, Simon Smithers Chris Thomas (Surgeon). Sound recordist................... Maurice Wilmott Debra Cole Chris Adshead Safety adviser........................................Frank Kennon Synopsis: The lives of two young men and Exec, producer.............. :........ Peter Dimond Scriptwriters.......................... Tony Morphett, Prod, accountant................. Candice Dubois T u to r..................................................... JudithCruden their families are radically altered as a result Narrator....................................Geoff Hiscock Anne Brooksbank, 1st asst directors................. John Powditch, Child minders...................................... Cleone Clairmont, of drink driving. A drama showing the Tech, adviser........................ Peter Hitchcock Bob Donaldson John Patterson Rosalie MacKay operation of random breath test units in Tas Mixed at...................................Dubbs and Co. Photography..............................Geoff Burton 2nd asst director..................................... BrettPoppowell Labourers............................................... Craig Jordan, Laboratory.....................................VideoLab mania. 3rd asst director........................... Ian Kenny Sound recordist..................... Don Connolly Lucas Hobbs, Length.................................................19 mins Continuity..................................... Jenni Tosi Editor.................................................... StuartArmstrong Colin Moyes Gauge....................................................1 inch Prod, designer.......................Owen Williams Casting.................................... M & L Casting Best bo y ....................................... Paul Booth Shooting stock.............................. Videotape Casting consultants.....................Lee Lamer, Exec, producer......................James Davern Runner..........................................Brian Rose Jo Larner Progress........................................ In release Prod, manager...... Rosanne Andrews-Baker Publicity........................................ Lyn Quayle Synopsis: A videotape prepared for the 1st asst directors......................John Warren, Camera operator...................................DavidConnell C atering..................................................JohnFaithfull Department of Environment and Planning to Keith Heygate Focus puller..................................Greg Ryan Length.................................................. 10x30 mins supplement scientific and other documenta Costume designer........................ Terry Ryan Clapper/loader.......................................BrucePhillips Gauge...................................................16 mm tion proving that the rainforests of New Laboratories..........................................Atlab, Key g rip ......................................................IanBenallack IBRAHIM Cast: Dennis Miller (Dad), Judy Morris South Wales are of national and inter Custom Video Asst grip................................................ StuartCrombie (Mum), Ken Talbot (Alee), Pascale Moray national significance. The Department of Budget..........................................$4,595,000 Gaffer.................................................... StuartSorbey Prod, company............................... Film Unit, (Biddy), Hugh Clairmont-Simpson (Jonno), National Parks and Wildlife made available a Length...................................10x50 minutes Asst art director................................. VirginiaBieneman Materials Prod. Alfred Bell (Ekman), Anthony Martin Art dept secretary.................................. Maria Pannozzo considerable amount of material for this sub Gauge.................................................. 16 mm Dist. company......................Materials Prod., (Farmer), Kate Reid (Ivy Wilson), John Ewart mission to UNESCO. Progress................................. Pre-production Costume designer....................Jane Hyland Curriculum Branch, (Fred), Alexander Archdale (Archie). Wardrobe supervisor.......... Margot Lindsay Synopsis: The saga of an Irish-Catholic Education Department of Victoria Synopsis: Set in Northern Queensland working class family, set against the bitter Standby ward. Producer......................................... Ivan Gaal assistant..........................Jeanie Cameron during the depression years of the early ness, successes and disappointments of the Director........................................... Ivan Gaal 1930s, Colour in the Creek is the story of Australian labour movement through the Props buyer........................ Colin Robertson Scriptwriter............................................. TonyLintermans Set construction manager......... Ray Pattison the Fletcher family’s struggle to survive the years 1890-1972. Based on the original idea Asst construction manager..Danny Corcoran hard times. Following news of a gold strike, b y ........................................................ Jane Watson LONG TAN the family moves to a remote location called Asst editor............................. Peter Burgess Sound recordist...................................NevilleStanley Military dresser..................... Phil Chambers Coorumbong Creek. The central figure is Editor.............................................. Ivan Gaal Prod, company..........The Long Tan Film Co. 12-year-old Alec. Composer............................................ AdrianPertout (proposed) Costumiers.........................Sandra Cichello Storyboard artist.......................................Sue Maybury Exec, producer................Warren O. Thomas Scriptwriters...........................................DavidHorsfield, OPENING DOORS Assoc, producer....................................... RobMcCubbin Lex McAuiay, Still photography.....................................SuzyWoods DOUBLE SCULLS Production office runner......Cameron Mellor Prod, manager......................................... RobMcCubbin Bruce Horsfield, Prod, company....................Tasmanian Film Catering..............................Beeb Fleetwood Prod, company..............................PBL Prods Prod, assistant..............................Tony Paice Corporation Pty Ltd Julianne Horsfield Mobile bus driver................................... Kevin Bryant Producer............................................ RichardBrennan Continuity............................................ DianneO’Connor Based on the original idea Dist. company........... Focal Communications Archival research....................................... JillBuckler Director...................................................... IanGilmour Script assistant................................... DianneO’Connor by...................................................... BruceHorsfield ‘ Pty Ltd Mixed a t..................................................Atlab Scriptwriter............................................. ChrisPeacock Lighting cameraman..............................KevinAnderson Producer.................................................. DonAnderson Exec, producer..................................... BruceHorsfield Laboratory.............................................. Atlab Exec, producer.............................Ian Bradley Focus puller......................................... Louise Jonas Prod, accountant..... Manfred and McCallum Director.......................................John Honey Lab. liaison.............................................PeterWillard Clapper/loader.....................................LouiseJonas Gauge.................................................. 16 mm Length..............................................110 mins Scriptwriter.............................................CarolPatterson Length................................. 4 x 120 minutes Camera assistant................................. Louise Jonas Synopsis: Sam Larkin allocates a year of his Gauge.................................................. 35 mm Photography........................................ RussellGalloway Gauge.................................................. 16 mm life to rehabilitate an alcoholic friend. The Synopsis: A recreation of the Battle of Long Sound recordist.................................... JulianScottNeg. matching..................................VictorianNegative Shooting stock......................................Kodak Cutting Service Tan, when an Australian patrol of 108 men means he uses is an attempt at the Austra Editor.................................. Ross Thompson Progress................................. Pre-production Music performed b y .......... Nureldin Husseini fought off more than 1000 experienced Viet lian National Rowing Championships in Videotape editor.................Alvin de Quincey Cast: Tracy Mann (Esse Rogers), Andrew double sculls. What first appears as a human Sound editor..........................................DavidHughes Cong. Based on survivors’ own gripping Prod, manager....................... Wayne Cowen Clarke (Tony Lawrence). Mixer......................................................DavidHarrison and kindly gesture soon blurs in intensity accounts, the story illustrates the thesis that Prod, secretary.................... Carmel Johnson Synopsis: A love story and family saga set and in the entanglements of the lives of the Narrator..................................................... BillCleland the war in Vietnam was won militarily, but Prod, accountant........................................IanShadbolt against the turbulence and optimism of two men, and the others who surround them. Still photography...................................... Rob McCubbin lost politically. Producer’s assistant..............Wendy Rimon fifteen of the most significant years in Aus Opticals............................Victorian Film Labs Camera assistant.................................. AdamKropinski tralia’s history — 1965-1980. Dialogue coach..............Rudolph Abou Kater THE LONG WAY HOME Key g rip................................................... GaryClements FIVE MILE CREEK Mixed a t................................................... FilmSoundtrack Boom operator....................Mark Tomlinson Prod, company........................................ABC THRILLER (Series 3) Mixer......................................................JulianScottLaboratory................................................VFL Dist. company.........................................ABC Length................................................ 30 mins Prod, company..........SAFC Productions Ltd Prod, company................................... Valstar Studios................................Tasmanian Film Producer................................................ ErinaRayner Gauge.................................................. 16 mm Corporation Pty Ltd Producer................................................... SueMilliken Producers.......................... Henry Crawford, Director........................................... CatherineMillar Shooting stock..........................Eastmancolor Scriptwriter........................................StephenSewell Doug Netter Scriptwriters........................David Bftu&nd, Mixed a t...............................Tasmanian Film Progress....................................................... Inrelease Corporation Pty Ltd Directors................................................ KevinDobson, Richard C S tt£ y, Photography......................................... JulianPenney Cast: Sherif Abada (Ibrahim), Said Shabani Garry Conway, Soft fitlis, Length........................................ 18 minutes Sound recordist............................. Ben Osmo (father), M ichelle Shabani (m other), John Emery, Brendan Maher, Gauge......................................................VTR Editor..........................................................BillRusso Vjekoslav Brdjaniv (Mason), Peter Millard Graeme Koetsveld, Brian T renchard-Smith Shooting stock.......................... 1” Videotape Prod, designer....................Neave Catchpool (teacher). Terry Larsen, Script editor............................ Tom Hegarty Progress....................................................... Inrelease Length......................................................... 70minutes Synopsis: A dramatized documentary based Tony Morphett Photography................................ Kevan Lind Cast: Noreen Le Mottee (Sue), Emily Brigg Progress................................. Pre-production on a true story of a 12-year-old Lebanese Sound recordist........................... Phil Stirling (Sharon), Jane Green (Mandy), Benjamin Cast: Richard Moir (Bob), Peter Kowitz Story editor...............................Peter Gawler boy’s experiences in the first six months Exec, producer.............................. Jock Blair Editor..................................Stuart Armstrong Green (Jason), Maria Honey (Marny), Joan (Graham), Genevieve Picot (Robyn), Joanne while attending classes in one of Victoria’s Samuel (Julie), Alan David Lee. Composer.............................................. BruceSmeaton Length.................................. 10 x 90 minutes Green (Cynthia), Susan Williams (Jo), lain suburban high schools. The film explores his Synopsis: Two Vietnam veterans and long Progress................................. Pre-production Lang (Dave), Karena Menzie (Beth), Fiona Prod, supervisors......................... David Lee, struggle with memories of war, the pressure Jan Bladier Bales (Jan). standing friends have a score to settle. One of learning a new language and the hostile, TU SITA LA Synopsis: “ Opening Doors” looks at the Prod, co-ordinator............................... JennieCrowley weekend, the two men organize a picnic with racist behavior of other children. concept of family day care within Tasmania. Location m anager........... Steve Maccagnan their wives and children. The day of Prod, company........................ ABC/Portman It is designed to promote the understanding Prod, secretary................... Elizabeth Hagan reckoning has come, and as the group drives Dist. company.........................................ABC of family day care as a form of child care Prod, accountant.....................Mandy Carter out into the country, the wives and children Producer...................................... Ray Alehin (Moneypenny Services) suited to the needs of many children and become involuntary witnesses to the action. Director........................................ Don Sharp Asst prod, accountant............ Nancy Bekhor parents. Scriptwriter............................ Peter Yeldham (Moneypenny Services) NOT SUITABLE FOR ADULTS Photography............................Peter Hendry 1st asst directors............. Adrian Pickersgill, SO U TH -W EST TASMANIA Sound recordist...........................Ron Moore Prod, company................ It’s About Time Ltd Stuart Wood Editor................................... Tony Kavanagh Prod, company............................. TasmanianFilm Producers..................................................PatHunder, 2nd asst director..........................G. J. Carroll Corporation Pty Ltd Geoff Pollock Prod, designer..................... Laurie Johnson 3rd asst director.......................Stephen Saks Exec, producers...........................Chris Muir, Dist. company........... Focal Communications Performance director..............................LeonDevine Continuity............................Salli Engelander Ian Warren Pty Ltd Visual director....................................... GarryDunstan Casting............................................Jo Larner Prod, manager......................... Dennis Kiely Producer.................................................. DonAnderson Art director..............................Gilbert Moase Focus puller........................................... BrucePhillips Prod, accountant...................... Judy Murphy Director.....................................................DonAnderson Costume designers......... Chong and Merkel Clapper/loader..................................... MartynFleming Costume designer................................JamesMurray Scriptwriter................................................RobMcKenzie CALL ME MR. BROWN Musical director..................... Greg Thomas Key grip...................................Brett McDowell Still photography......................Sally Samins Photography...................... Russell Galloway Budget............................................. $695,000 Prod, company..................The Kino Film Co. G rip .................................................. “ Nobby” Szafranek Unit publicist......................................... LeslieJackson Sound recordist......................... Julian Scott Producer.............................. Terry Jennings Length..............................13 x 30 minutess Gaffer.........................................Craig Bryant Length....................................................6 x 5 0 minutes Editor................................... Ross Thompson Progress................................ Pre-production Director...................................................ScottHicks Boom operator........................................ScottRawlings Progress................................. Pre-production Prod, manager..................................... WayneCowen Synopsis: A series for children/adolescents Scriptwriters.........................Terry Jennings, Art director....................................... Lisa Elvy Prod, secretary....................Carmel Johnson using comedy and music to explore the Synopsis: A series tracing the last four years Scott Hicks Art dept co-ordinator.............................. PeitaHurcum in the life of novelist Robert Louis Steven growing up process as experienced by a Prod, accountant....................... Ian Shadbolt Photography............................................. RonJohanson Costume designer................................ JennyArnott son, which were spent in the South Pacific, Mixer........................................... Julian Scott diverse group of 16 year old Australians. The Editor..................................................AndrewProwse Make-up..................................................TerryWorth Mixed a t........................................ TasmanianFilmLength..........................................................90mins world is explored through the eyes of the Sydney and Western Samoa. The title is Hairdresser...................................................Di Biggs Corporation Pty Ltd adolescent and, as the title suggests, no taken from the name that the Samoans gave Cast: Chris Haywood (Peter Macari). Asst make up/hairdresser.... Anna Karpinski Laboratory.........................................Cinevex adults are seen. The format is “ zany” and to their beloved friend. It means "teller of Synopsis: A drama based on the extra Standby wardrobe......................... Sue Miles tales” . Length........................................... 24 minutes different and explores controversial issues. ordinary events surrounding the 1971 Ward, assistants.......... Judy-Ann Fitzgerald, Gauge...................................................16 mm Qantas bomb hoax. James Watson, Shooting stock.:....................... EastmancolorNeg. THE PACK OF WOMEN Eilis O’Beirne Progress.............................. Post-production THE LANCASTER MILLER AFFAIR Props buyers...................... Harvey Mawson, Prod, company................Sideshow Alley Ltd Cast: John Newcombe (Presenter). Viv Wilson Dist. company.................. Sideshow Alley Ltd Prod, company............................... Lancaster Miller Synopsis: The south western corner of Tas Standby props......................................... NickReynolds Producer................................Diana Manson Productions Pty Ltd mania is one of the last remaining temperate Art dept assistant............................... Victoria Graham Scriptwriter.............................. Robyn Archer Dist. company................................ LancasterMiller wilderness areas in the world. Rafting down Set dresser.............................................. JohnWood Based on the play b y...............Robyn Archer Productions Pty Ltd wild rivers, climbing mountain ranges, Scenic artist............................................ CliveJones Prod, designer...............................Roger Kirk Producer....................................Paul Davies exploring in off road vehicles, and flying over COLOUR IN THE CREEK Art dept runner................................... MichaelRumpf Composer...........................................Various Director......................................Henri Safran the areaIn light aircraft are some of the ways Prod, company..............................PBL Prods Construction manager.................... Ian Doig Assoc, producer................................. SandraAlexander Scriptwriter.............................................PeterYeldham this wilderness can be seen and understood.
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AVRB FILM UNIT
TASMANIAN FILM CORPORATION
TE L E V IS IO N
PRE-PRODUCTION
PRODUCTION
CINEMA PAPERS May — 71
Asst editor............................ Melissa Blanche Catering................................................. FrankManley Progress....................................... Production Based on the original idea Music editor........................................... GarryHardman Laboratory................................................VFL b y .....................................................SandraLevyCast: Martin Sacks (Ric Santana), Gerard (Australian Screen Music) Budget................................................. $8,196million Kennedy (Ken Ritchie), Kris McQuade (Caro Script editor..........................................DennyLawrence Sound editor.......................... Hugh Waddel Length......................................... 5 x 120 mins line Marshall), Richard Meikle (McCabe), Jay Editors........................................................BillRusso, Asst sound editor.....................................MikeJones Gauge...................................................16 mm . TerryMorrisey Hackett (Andy Marshall), Michael O’Neill Stunts co-ordinator.................................. GuyNorris Shooting stock............. Kodak Eastmancolor (McIntyre). Prod, designer.................................. GeoffreyWedlock Head wrangler....................... Danny Baldwin Scheduled release.......................... Mid-1985 Synopsis: Rural crimes have become con Composer.....................................Chris Neal AFTER MARCUSE Wranglers.............................Jim Willoughby, Cast: Paul Hogan (Pat Cleary), Tony Bonner sistent and organized. The Stock Squad Assoc, producer................................... MartinWilliams John Baird, (Harold Armstrong), Andrew Clarke (Martin division of the police is called in to solve Prod, company....................................... ABC Exec, technical producer....................... BarryQuick Laurie Narris, Barrington), Patrick Ward (Tom McArthur), these local mysterious events — but not Dist. company........................................ ABC Prod, manager......................... Carol Chirlian Producer...................................... Alan Burke Shane Briant (Kaiser Schmidt), Megan Paul Murtagh, without threats to life and other invitations. Prod, secretary................. Regina Lauricella Director .............................Ted Robinson Tony Jablonski, W illiams (Sister Mabel Baker), Noel Videotape editors................... Trevor Miller, Scriptwriter............................ Alma de Groen A THOUSAND SKIES Bill Willoughby Trevarthen (Field Marshal Haig), Rhys McJohn Patrick, Based on the original idea Armourer..........................................John Fox Connochie (Lloyd George), Christopher Nola O’Malley Prod, company................. A Thousand Skies b y ....................................... Alma de Groen Coach builder......................................... BrianRourke Cummins (Roly Collins), Bill Kerr (Lt Gen. Sir Casting.....................................Jennifer Allen Dist. company...................................NetworkSeven Sound recordists................... David Dundas, Best b o y ....................................................KenMoffat John Monash), Ilona Rodgers (Lady Barring Costume designers............. Janet Patterson, Producers................................................RossDimsey, Michael Roberts ton), Jim Holt (Dingo Gordon), Jonathan Runner.............................................. StephenCrockett Marcus North Robert Ginn Videotape editor................... Ley Braithwaite Tutor..........................................................RodZiems Sweet (Bill “ the Pom” Harris), Jon Blake Studios.................................. ABC Channel 2 Director................................... David Stevens Prod, designer................................... GraemeGould Location nurse.........................................Julie Rourke (Flanagan), Peter Finlay (“ Bluey” ), Alec Length........................................ 10 x 50 mins Scriptwriter.............................. David Stevens Exec, producer........................................AlanBurke Catering................................................... RodMurphy Wilson (“ Pudden” Parsons), Mark Hembrow Shooting stock............................. Videotape Based on the novel b y .......... Tasman Beattie Prod, manager....................... John Moroney Asst caterer....................................... AmandaAmos (Dick Baker), David Lynch (Max Earnshaw). Cast: Henri Szeps (Mick), Deidre Rubenstein Photography..............................David Eggby Prod, secretary.............................Padma Iyer Publicity................................. Tony Johnston Synopsis: A dramatization of Australia’s (Chana), Linda Cropper (Miriam), Susie Sound recordist......................... Gary Wilkins 1st asst director..................... .. David Young Mixed a t..................................................Atlab participation in World War 1. Lindeman (Ruth), Severyn Pejsachowicz Editors.................................................... TonyPaterson, 2nd asst director...................................LanceMellor Laboratory.............................................. Atlab (Grandfather), Durand Sinclair (Joseph), Pippa Anderson Producer’s assistant..........Rhonda McAvoy Post-production..................................CustomVideo B U TTER FLY ISLAND Michael O'Neill (Tom). Prod, designer...........................................TelStolfo Casting................................... Jennifer Allen Length.........................................13 x 46 mins Synopsis: An inner-city hotel, during the Composer..............................................BruceSmeaton Prod, company.......................... IndependentProds Camera operators................. Richard Bond, Gauge.................................................. 16 mm early years of the Depression, is run by a Prod, co-ordinator.......................... RosemaryProbyn Dist. company................... Independent Dists TonyConolly, Shooting stock........................................ 7247 family of Russian Jewish emigres. A young Producer............................................BrendonLunney Prod, manager...................................... PaulaGibbs Murray Tonkin, Cast: Liz Burch (Kate Wallace), Louise Clark man from a country town comes to live in the Director..................................................FrankArnold Unit manager..................................... EdwardWaring Denis Forkin (Maggie Scott), Rod Mullinar (Jack Taylor), hotel and share their life. Scriptwriter............................................ DavidPhillips Prod, secretary........................................ SueHayes Lighting director....................................DavidArthur Jay Kerr (Con Madigan), Gus Mercurio (Ben Prod, accountant...................... Jim Hajicosta Based on the original idea b y ..... Rick Searle Technical producer...............Brian Mahoney Jones), Michael Caton (Paddy Malone), Photography........................................... RossBerryman 1st asst director..................... Bob Donaldson THE PERFECTIONIST Make-up.............................Britta Kingsbury, Martin Lewis (Sam), Peter Carroll (Mr 2nd asst director.....................................Brett Popplewell Sound recordist......................................DavidGlasser Prod, company...... Roadshow Coote Carroll Robert Wasson Withers), Nicole Kidman (Annie), Shannon Editor.........................................................BobCogger 3rd asst director........................................ Ian Kenny Producer................................. Patricia Lovell Wardrobe.............................. Patricia Forster Presby (Matt Bucklan). Continuity............................. Jackie Sullivan Prod, designer....................................HerbertPinter Director..................................Chris Thomson Publicity................................ Lesley Jackson Synopsis: The story of two women, one Aus Exec, producer................................... RichardDavis Casting.................................... Susie Maizels Scriptwriter........................ David Williamson Length...............................................-75 mins tralian, one American, who run a stage stop Lighting cameraman................. David Eggby Prod, co-ordinator................................ MargoTamblyn Based on the play by..........David Williamson Gauge........................................... Videotape station at Five Mile Creek for the Australian Camera operator.......................David Eggby Prod, manager.............................. Jenny Day Photography............................. Russell Boyd Cast: Diane Craig (Liz), Penne Hackforthexpress. Focus puller............................Warwick Field Location/unit manager...........................PeterAbbott Exec, producers....................... Greg Coote, Jones (Gillian), Grigor Taylor (Warren), GONE DANCING Clapper/loader....................... David Lindsey Prod, accountant....................................PeterLayard Matt Carroll David W hitney (Paul), Paul Mason Key g rip .............................................GregoryWallace (working title) Prod, assistant.......................................VickyWright Prod, supervisor........................... Lyn Gailey (Laurence), Jim Kemp (Ron), Muriel Hopkins Asst grip...........................................Grahame Dewsbury 1st asst director...................... Colin Fletcher Prod, company........................................ ABC (Helen), Carmen Warrington (Kate), Anna Asst directors..............................Gerry Letts, Gaffer.........................................................Ian Dewhurst Peter Fitzgerald Gauge.................................................. 16 mm Dist. company......................................... ABC Phillips (Sally Tate), Margaret Maddock Electrician....................................... Nick Pain 2nd asst director................................StephanElliott Cast: Jacki Weaver (Barbara), Noel Ferrier Producer..................................Jan Chapman (Elly). Boom operator........................................Mark Wasiutak 3rd asst director..................................... HugoLanger (Jack Gunn). Scriptwriters........................... Michael Cove, Synopsis: A woman artist’s affair with a Art director................................................. TelStolfo younger man jeopardizes her marriage, her Continuity..................................................JanNewland John Misto, Synopsis: The Perfectionist takes an Asst art director........................................ SydGuglielmino Casting............................ Maizels and Assoc. career and her child's future. He personifies Debra Oswald, incisive and very humorous look at the Costume designer.................................RobinHall the nihilistic philosophy of Herbert Marcuse Focus puller......................... Brian Breheney Mark Stiles pressures inherent in a two-career marriage. Make-up.................................................CarlaO’Keefe Based on David Williamson’s successful and tries to manipulate her. Her dependence Clapper/loader.....................Felicity Surtees Based on the original idea Wardrobe.......................................... GrahamPurcell play of the same name. on him forces her to reassess all the values Key grip.........................................Geoff Full b y ........................................ Michael Cove, Ward, assistant.................................... LouiseWakefield Asst grip................................................. DavidNichols of her art and her life. Chrissie Koltai Props buyer................................. Mary Harris Underwater photography....... Kevin Deacon Music...................................... Martin Armiger QUEST FOR HEALING Standby props....................................... ChrisJames G affer....................................... Derek Jones Choreography........................ Chrissie Koltai Prod, company..... Independent Productions Set decorator........................................Bernie Wynack Boom operator.......................... Eric Briggs Length..........................................6 x 50 mins ANZACS Pty Ltd Set construction.................................... DerekMills Asst art director......................... Stewart Way Synopsis: The Green sisters leave the pig Dist. company........Independent Distributors Musical director....................................Bruce Smeaton Prod, company........................The Burrowes Costume designer.................................FionaSpence farm in Wagga determined to follow in their Pty Ltd Still photography....................... Jim Townley Dixon Company Make-up........................................... BronwynFitzgerald mother’s footsteps and go dancing in the Producer................................ Richard Davis Best boy.................................................... Lex Martin Producer.............................. Geoff Burrowes Standby wardrobe................................. KerryThompson city. They meet up with Joe Wyatt and form Director..................................Bill Leimbach Runners.................................... Ray Boseley, Directors.................................... John Dixon, Props buyer......................... Jock McLachlan their own troupe. Scriptwriter............................Richard Davis Don Keyte George Miller, Standby props..................... Robert Moxham Based on the original idea Publicity...............................................WendyDay Pino Amenta Special effects.................... Steve Courtney, KEIRON — THE FIRST VOYAGER b y .......................................... Danae Brook Laboratory..............................................Atlab Scriptwriters...............................John Dixon, Mai Ward Prod, company.... Network Film Corporation Photography.......................... Hans Heidrich Lab. liaison............................................ PeterWillard John Clarke, Scenic artist........................Michael Chorney Producer................................. Michael Milne Sound recordist........................... Noel Quinn Budget..................................................... $4.4million James Mitchell Construction manager............Danny Burnett Director......................................... Bert Deling Exec, producer............................ Gene Scott Cast: John Walton (Smithy). Based on the original idea . Asst editor...................................Erin Sinclair Scriptwriter....................................Bert Deling Prod, manager...................Cheryl Buckman Synopsis: The story of Australia’s most b y........................................................ JohnDixon Still photography........................Mark Burgin Photography................................ Guy Furner Still photography............... Cheryl Buckman famous aviator, Sir Charles Kingsford-Smith. Assoc, producer..................... Dennis Wright Tutor/chaperone...................... Jo Buchanan Sound recordist........................................ BobClayton Mixed a t ........................................... Colorfilm Photography.......................... Keith Wagstaff Boat master/water Editor.......................................Chris Benaud ZO O FAMILY Laboratory........................................Colorfilm Sound supervisor................... Terry Rodman safety o ffice r.........................................BobPritchard Prod, designer........................................DeanMortensen Lab. liaison......................Richard Piorkowski Sound recordists................... Lloyd Carrick, Prod, company................................CrawfordProds Best boy....................................... Paul Booth Assoc, producer......................... Geoff Talbot Budget......................................... $1.1 million John Schiefelbein Producer........................................... GwendaMarsh Unit publicist...................................Chris Day Prod, supervisor....................Catriona Brown Length.................................... 8 x 50 minutes Editor......................................................PhilipReidCatering............................. The Katering Co. Directors.................................................ChrisShiel, Prod, co-ordinator...................................KateJarman Gauge.................................................. 16 mm Prod, designer..................................... LesleyBinns Howard Neil, Laboratory.............................................. Atlab Prod, secretary...........Roseanne Donaldson Shooting stock..........................Eastmancolor Composer...........................Bruce Rowland Chris Langman Post-production.......................Custom Video Prod, accountant............................Lyn Jones Progress........................................Production Prod, supervisor.........................................BillRegan Scriptwriters..........................................VinceMoran, Lab. liaison..........................................WarrenDelbridge 1st asst director....................... John Warran Scheduled release.................February 1986 Prod, manager....................................AndrewMorse Sandra Carter, Length........................................... 8 x 30 mins 2nd asst director..................... Mark Clayton Synopsis: A worldwide investigation of tradi Prod, co-ordinator.................................... JanStottGauge...................................................16 mm Peter Hepworth, 3rd asst director...................... Kerry Jackson tions and methods of alternative healers. Location manager..................Phil McCarthy David Phillips, Cast: Grigor Taylor (Charlie Wilson), Penne Continuity................................ Jenni Quigley The series shows there are methods of Unit manager........................................... RayPattison Terry Stapleton, Hackforth-Jones (Mary Travers), David Camera operator....................... David Petley healing, used for thousands of years, Asst unit managers........................... DominicVillella, Mary Dagmar Davies, Chiem (Vo Diem), Mark Kounnas (Greg Focus pulle r............................... David Petley developed through constantly changing Danny Corcoran Roger Dunn, Wilson), Kerri Sackville (Sally Wilson), Clapper/loader........................ Anna Howard societies but remaining essentially the same. Asst co-ordinator.......................................JanIrvine Andrew Kennedy, Steven Grives (Carl Madden), Bruno Baldoni Key g rip................................... Simon Quaife They work on the root cause of Illness and Prod, accountant..................................... StanSeserko Leon Saunders (Sergio Gallio), Vincent Ball (Sgt Pat Asst grip.................................... Wayne Stead take the whole being into account, mind, Account assistant............... Natalie Rothman Series developed b y ............. Allison Nisselle Connolly), Duncan Wass (Andrew Wilson), Gaffer...................................... Ric McMullen body and spirit. 1st asst directors................. Bob Donaldson, Photography..........................Brett Anderson Mouche Phillips (Jackie Wilson). Electrician................................Bede Ireland Phillip Hearnshaw, Sound recordist...................... Sean Meltzer Synopsis: A resort island on the Great Boom operator........................Mark Keating STO CK SQUAD John Powditch Editors....................................................RoseEvans, Barrier Reef, owned and run by the Wilson Art dept administrator.............David Bowden 2nd asst directors................................ StuartWood, Ralph Strasser, Prod, company..... Independent Productions family, finds itself the unwilling home of Viet Art dept assistant................................ LeanneCornish Ken Sallows Paul Healey Pty Ltd namese refugee teenager and the desired Make-up/hairdresser........ Margaret Lingham 3rd asst directors...................................PeterCulpan, Exec, producers................ Hector Crawford, Dist. company....... Independent Distributors prize of an avaricious businessman who has Wardrobe.............................................BarbraZussino Unsay Smith Ian Crawford, Pty Ltd oil on his mind. Special effects supervisor..... Michael Bolles Continuity....................................Jenni Tosi, Terry Stapleton Producer.....................................Tom Jeffrey Asst editor........................................... AntonyGrayDirector.................................Howard Rubie THE DUNERA BOYS Chris O’Connell Prod, co-ordinator................... Simone North Still photography.................................... HughHamilton Casting.......................... Maizels and Assoc. Prod, manager...................... Stewart Wright Scriptwriter........................... Hugh Stuckey Prod, company..........................Jethro Films Computer systems engineer .Steven Roberts Camera operators.................................DavidConnell, Prod, secretary..................... Jane Hamilton Based on the original idea Producer..........................................Bob Weis Elicon motion control Mark Hayward (Unit A) Prod, accountant............................... HeatherWoods b y ............................................ John Shaw, Director......................................... Ben Lewin operator........................Robert Sandeman John Haddy, Brian Chirlian 1 st asst directors......................... Don Linke, Scriptwriter....................................Ben Lewin Special fx model supervisor...... Peter Evans Ron Hagen (Unit B) Tony Forster Photography......................... Ross Berryman Based on the original idea Special fx prosthetics....... Margaret Lingham Camera assistants.......................Greg Ryan, Continuity...........................Kristin Voumard Sound recordist....................Lloyd Coleman b y ...............................................Ben Lewin Matte painting supervisor..................... GlennFordEditor........................................................ BobCogger Asst to the producer................... Debbie Cox David Stevens (Unit A) Synopsis:1939: German Jews in exile in Special fx artist/ ^ Ian Thorburn, Exec, producer............................ Gene Scott Focus puller...................................Paul Tilley England, suspected to be Nazi sym glass paintings....................... Mitch Lovett Peter Van Santen (Unit B) Assoc, producer..................................... BrianChirlian Clapper/loader........................ Terry Howells pathizers, are sent by Churchill’s govern Stunts co-ordinator..............Dee Arlen Jones AFTS trainee........................Rosemary Cass Prod, manager........................................TonyWinley Grip............................................Greg Tuohy ment to an unknown destination on the ship Best boy................................................ShaunConway Key g rip .................................Ian Bennallack Gaffer........................................Ken Kelliher Prod, co-ordinator................................MargoTamblyn “ Dunera” . , Runner.......................................Bevan Childs Grip (Unit B).................................Jack Lester Boom operator......................... Greg Nelson Location manager.................................BevanChilds Unit publicist............................................. LynPhillips EMERGING Gaffers.................................. Stewart Sorby, Prod, accountant................................... PeterLayard Art director............................ Andrew Reese Catering..................................................KaosCatering Jack Wight (Unit B) Make-up............................... Carol Matthews Asst accountant........................ Donna Willis Prod, company.................................. .....ABC Studios...............................................PyramidStudios Electrician.............................................. PeterMoloney Wardrobe supervisor........... Donald Lindsay Prod, assistant......................... Vicky Wright Producer.................................... Keith Wilkes Laboratory.............................................. Atlab Boom operators........................................JoeSpinelli, 1st asst director...............................Phil Rich Standby wardrobe............................... MarianBoyce Director.................................... Kathy Mueller Lab. liaison............................................BruceWilliamson Steve James 2nd asst director........................Mark Clayton Props buyer.............................. Annie Beach Scriptwriter...............................Max Richards Length......................................................... 62mins3rd asst director................................ StephanElliott Asst art directors.................... Peter Kendall, Standby props...........................Roland Pike Script editor..................................Bill Garner Gauge.................................................. 35 mm David O’Grady, Based on the original idea Continuity........................................MarianneGraySpecial effects Shooting stock.................... Kodak 5294 ECN co-ordinator................... Vivien Rushbrook Robert Leo Producer’s assistant.......... Christine Gordon b y ..........................................................MaxRichards Cast: Phillippa Scott (Sam), Vince Martin Costume designer................................. Jane Hyland Set dressers............................. Bryce Perrin, Sound recordist.......................................... BillDoyle Camera operator.................................... RossBerryman (Keiron), Marko Mustok (Raab), Tony Barry Darren Jones Make-up............................... Fiona Campbell Editor......................................... Rui de Sousa Focus puller...........................Brian Breheny (Moulen), Terry Miller (Karbath), Rob Construction manager............ Gordon White Hairdresser.............................................DarylPorter Prod designers.....................Gunars Jurjans, Clapper/loader....................................... PhilipMurphy Fuwster (Karbath), Steve Richard (Karbath), Wardrobe mistress..............................MargotLindsay Best b o y ....................................................PhilLasky Key g rip ....................................Bruce Barber Alwyn Harbott Steve Grimmer (Karbath). Military dresser......................Phil Chambers Runner.........................................Ian Phillips Asst grip................................... Guy Williams Exec, producer...........................Keith Wilkes Synopsis: A special effects, science fiction Props buyer................... Keith Handscombe G affer..................................................... John Morton Mixed at........................................... CrawfordProds Prod, manager....................................... GeoffCooke adventure about three people in a machine Props construction..................Peter O'Brien Laboratory...............................................VFL Boom operator....................................... MarkKeating Prod, secretary.................. Tracey Robinson m anip u la te d enviro n m en t and th e ir Standby props...................... Barry Kennedy, Lab. liaison................................ John Hartley Art director...................................... Ian Allen 1st asst director.....................John Markham adventures through space. Length....................................... 26 x 30 mins John Whitfield-Moore, 2nd asst director..................................... JohnSlattery Art dept assistant...................................PeterForbes Brian Lange Gauge.................................................. 16 mm 3rd asst director.................................DorothyFaine Costume designer................. Anthony Jones PALACE OF DREAMS Special effects.... * ........... Conrad Rothman Shooting stock............................ Kodak 7291 Continuity............................................... KerryBevan Make-up..................................... Viv Mepham Cast: Peter Curtin (Mitch), Kate Gorman Armorer................................... Mike Warwick Producer’s assistant..............................KerryBevan Wardrobe........................................... ShaunaFlenady Prod, company....................................... ABC Producer.................................... Sandra Levy (Susie), Steven Jacobson (Nick), Robert Set construction......................Bruce Michell Props buyer....................................... MichaelTolerton Casting..........................................Greg Apps Summers (Tim), Jon Finlayson (Spencer), Asst editor............................. Peter Burgess Extras’ casting.................................... MarianPearce Standby props...................................... AlisonGoodwin Directors............................ Denny Lawrence, Lighting cameraman.............................. ChrisDavis John Orcsik (Bennett), Rebecca Gibney Editing assistant....................Annette Binger Geoffrey Nottage, Asst editor................................................. ErinSinclair Graham Thorburn, Sound editor............................................. BobCogger Mixer......................................David Harrison Camera assistants................................. JohnHawley, (Julie), Maciek Staniewicz (Harry), Gennie Stunts co-ordinator....................................BillStacey Stunts co-ordinator...............................BernieLedger Trevor Moore David Goldie, Nevinson (Peta). Still photography....................................GregNoakes Riccardo Pellizzeri Still photography........... Robert McFarlane G rips..............................................Tony Hall, Synopsis: The zoo from the inside, as seen Tony Woolveridge, Runner................................................... PeterBrewer by the people who live and work there — Title designer....................David Lancashire Scriptwriters......................Denny Lawrence, Phil Oysten John Misto, Quartermaster..................Lt Col. Mike Clark Unit publicist................................ChristopherDaypeople such as Dr David Mitchell, the zoo Army liaison.................. Major Tony Webster John Upton, Catering..........................Mareeka Janavicus Electrician............................................... MickSandy vet, and his children Nick and Susie. There Horse master........................................GeraldEgan Laboratory.......................................Colorfilm Genni operator..................................... D’arcyEvans Ian David, is also Tim, the head groundsman’s son, the Unit nurse..... ...... Patsy Buchan-Hearnshaw Debra Oswald, Make-up............................................... DeniseGakor Length......................................................... 96minutes administrators, the keepers and their Publicity......................Suzie Howie Publicity Marc Rosenberg Wardrobe........................ Rhonda Shallcross Gauge.................................................. 16 mm families. And, of course, the animals. They Story consultant............... Patsy Adam Smith Research................................Dana Christina Shooting stock................................ Eastman Props buyer................................... Norm Ellis are all members of the wider Zoo Family.
POST-PRODUCTION
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72 — M ay CINEMA PAPERS
Staging................................. John McCulloch Script edito r............................... Susan Smith Gaffer..................................... Sam Bienstock Laboratory............................................... Atlab LOSING Special effects.............................. Rod Clack, Boom operator............................... Phil Keros Based on the original idea Budget..............................................S1 million Prod, company........................................ ABC Terry Barrow Art director................................................ KenJamesb y ...................................... Crawford Prods Length................................................. 93 mins Producer................................................. ErinaRayner Asst sound recordist...............................GaryLund Asst art directors.................Julie-Anne Mills, Photography......................... James Doolan Gauge................................................... 16 mm Director............................................CatherineMillar Publicity................................ Georgina Howe Phil Peters Sound recordist.......................................JohnWilkinson Shooting stock.......................................Kodak Scriptwriter........................................ StephenSeweil Mixed a t................................................... ABC Art dept assistants.................Toby Copping, Editors.......................................Ken Sallows, Cast: Wendy Hughes(Jenny),Richard Moir Photography.......................................... JulianPenney Length.......................................................... 90mins Peter Armstrong Grant Fenn (Howard), Robert Grubb (Jeff), Peter Sound recordist........................................ BenOsmo Gauge................................................... 16 mm Costume designer................................. BruceFinlayson Music editor.......................... David Cheshire Gwynne (Jenny’s father), Carol Raye Editor.......................................................... BillRusso Shooting stock...................................... Kodak7291Make-up......................................Jane Surrich (Jenny’s mother), KrisMcQuade (Sue), Composers.......................... Gary McDonald, Prod, designer..................Neave Catchpoole Hairdresser............................................SuzieClements Cast: Shane Connor (McNair), Sue Jones Sandy Gore (Adele). Laurie Stone Prod, manager........................ John Moroney (Hayley Birchfield), Robyn Gibbes (Cathy), Wardrobe master................................... SteveRiches Synopsis: A modern thriller. Exec, producers.................................. HectorCrawford, Unit manager......................Beverley Powers Standby wardrobe.......................Julie Barton Tibor Gyapjas (Mike), Alan Hopgood (Tom Ian Crawford, Prod, secretary............................ Padma Iyer ROOTED Birchfield). Model m aker.............................................. BillDennis Terry Stapleton 1st asst director.................................. GrahamMiller Props construction..................David Duncan Synopsis: A tele-feature set in and around Assoc, producer....................... Michael Lake Prod, company.........................................ABC 2nd asst director....................................DavidMcClelland Assistant model m aker.............................KimSexton the Austin Hospital Spinal Unit, depicting the Prod, co-ordinator ....Bernadette O’Mahoney Dist. com pany..........................................ABC Continuity...................................Anthea Dean Props buyer......................... Derrick Chetwyn emergence into society of Steve McNair, a Prod, manager...........................................RayHennessy Producer.................................................. AlanBurke Casting.............................................. JenniferAllen Standby props.........................................John Daniel paraplegic. Catalyst is Halley Birchfield, an Location m anager................... James Legge Director............................................ Ron Way Lighting cameraman.............................Julian Penny Asst standby prop s............................... KelvinSexton actress who captures attention, then involve Prod, accountant.............Robert Threadgold Scriptwriter............................ Alexander Buzo Focus puller.........................................RussellBacon Set decorator/finisher.............................John Gibson ment when she appears in C r ip p le P la y at the 1st asst director.....................................JamieLeslie Based on the play by.............Alexander Buzo Clapper/loader........................................ BrettJoyce Carpenters............. , .......... David Boardman, hospital. 2nd asst director........... ........ Jacquie Radok Boom operator.................................. GeoffreyKrixPhotography............................. Peter Hendry Alex Dixon, Continuity........................ Margot Snellgrove Sound Make-up................................................. Britta Kingsbury, recordist........................................ RonMoore Marcus Erasmus FLIGHT INTO HELL Casting................................................BunneyBrooke Editor............................................... Lyn Solly Sandy Bushell Construction manager................ Phil Worth Focus puller....................................Louis Puli Prod, designer........................Graham Gould Prod, company.... ABC TV-Revcom (France) Asst editors.......................................... DebbieRegan, Clapper/loader.......................Gary Bottomley Wardrobe............................................ CarolynMatthews Prod, manager...........................Judy Murphy Producer....................................................RayAlehin Special effects designer..........Brian McClure Amanda Holmes Key grip...................................Joel Witherden Unit manager............................... Val Windon Director.............................. Gordon Flemying Asst special e ffects................................PeterLeggett, Neg. matching..... Negative Cutting Services Asst grip................................Robert Hansford 1st asst director..................................... DavidEvans Scriptwriter............................. Peter Yeldham Pauline Grebert, Mixer.................................. Julian Ellingworth Gaffer......................................................David Parkinson 2nd asst director............ Dorian Z. Newstead Photography...........................................PeterHendry Richard Strezelezki Still photography............. Lawrence Marshall Boom operator........................................ JohnMcKerrow Continuity............................................ AntheaDean Sound recordist............................Ron Moore Publicity................................................ LesleyJackson Animation...............................................FlicksAnimation Art director......................................Philip Ellis Camera operator.......................Roger Lanser Editors.................................. Tony Kavanagh, Mixed a t...................................................ABC W ranglers.................................................RayWinslade, Asst art director........................ Murray Kelly Focus puller............................Paul Pandoulis Lyn Solly Laboratory....................................... Colorfilm Wayne Murray Costume designer.................... Claire Griffin Clapper/loader.......................................... BobFoster Prod, designer...................... Laurie Johnson Length................................................ 75 mins Asst wrangler...................... Jennl Winslade Make-up..................................................FionaSmith Key g rip ........................... John Huntingford Assoc, producer........................................RayBrown Gauge...................................................16 mm Best b o y........................ Guy Bessell-Browne Hairdresser...................................... ChristineMiller Special fx .................................................PeterLegett Prod, manager.........................................Judy Murphy Shooting stock............................ Kodak 7247 Runner......................................Glen Williams Ward, assistants....................................Cathy Herren, Electricians................................................TimJones, Unit manager............................................. ValWindon Cast: Richard Moir (Bob), Genevieve Picot Unit publicist............................................. LynQuayle John Shea Ken Pettigrew, Prod, secretary................. Maureen Charlton (Robin), Peter Kowitz (Graham), Joanne C atering......................... Take One Catering, Props buyer........................................... ElenaPerotta Bob Wickham 1st asst director.........................................RayBrown Samuel (Julie). ‘ Anne Harris Standby props......................................... TaraFerrier Make-up..................................................Suzie Stewart 2nd asst director..................................... ScottFeeney Synopsis: The story of two Vietnam Studios..................PBL Prods/Kewdale W.A. Set dressers............................................ ColinRobertson, Wardrobe..........................Carolyn Matthews C ontinuity..........................Larraine Quinnell veterans trying to come to terms with their Mixed a t.................................................. Atlab Richard Clendinnen Ward, assistant........................Wendy Chuck Casting...............................................JenniferBruty guilt and anger as a result of the war. They Laboratories.......................................... Atlab, Sound editors...........................................GlenNewnham, Props buyer.......................................... AdrianCannon Casting assistant.............. Jennifer Couston go on a supposedly spontaneous journey Omnicon Ross Chambers, Standby props..........................Roy Eagleton, Camera operator................................... RogerLanser into the back-blocks of New South Wales, Lab. liaison.............................................PeterWillard, Steve Lambeth, Peter Moroney Clapper/loader...................... Sally Eccleston taking with them their families and their Jan Holloway Rob Grant, Asst e d ito r....................... James Tsatsaronls Camera assistant................................ RussellBacon rifles. Budget..........................................$6.3 million Rob Scott, Sound assistant......................................DavidPearson Key g rip ............................. John Huntingford Length......................................... 4 x 95 mins Anne Bresslin Still photography.....................................GaryJohnson G rip ...........................................................PaulMcCarthy NATURAL CAUSES Gauge...................................................16 mm Asst sound editors.................................BruceClimas, Publicity.................................................LesleyJackson Gaffer.........................................................TimJones Shooting stock...................................... Kodak Prod, company....................................... ABC Llvia Ruzic, Length.......................................................... 75minutes Electrician..................................................KenPettigrew Cast: Bill Kerr (Old Albert), Dominic Virginia Murray Dist. com pany........................................ ABC Gauge................................................... 16 mm Genni operator....................................... DougCameron Sweeney (adult Bert), Benedict Sweeney Producer............................................ MichaelCarson Asst editor..............................Aileen Soloway Progress............................... Post-production Designer.............................. Andrew Blaxland (adolescent Bert), Valerie Lehman (Bert’s Director...............................................MichaelCarson Stunts....................... New Generation Stunts Cast: James Laurie (Bentley), Genevieve Asst designers......................Gregor McLean, mother), Dorothy Alison (Bert's grand Scriptwriter...................................John Misto Dialogue coach............................Chris Sheil Mooy (Sandy), Terry Serio (Gary), Peter Col Rudder mother), Martin Vaughan (Frank Phillips), Photography..........................................JulianPenney Wrangler.......................................John Baird Mochrie (Richard), Kathleen Allen (Diane). Costume designer........................Jim Murray Bill Hunter (Mr Bibby), Leslie Wright (Jack Sound recordist............................ Ben Osmo Best b o y ........................ Richard Rees Jones Synopsis: Set in Sydney in the mid-1960s Make-up............................... Christine Ehlert, Lander), John Ewart (Bentley), Frank Editor............................................. Bill Russo Runner........................................... Mark Farr when the Stomp, Little Patti, beach ‘safaris’ Suzie Clemo Gallagher (Bill Oliver). Prod, designer................. Neave Catchpool Catering..........................................BandeAid and Mini-minors were riding high. Bentley, a Ward, co-ordinator............................ CarolineSuffield Synopsis: Based on the best-selling auto Prod, manager................ Stephen O’Rourke Laboratory...............................................Atlab golden-haired, golden-tanned young man, Ward, assistant................................... WendyChuck biography of A.B. Facey. A story of survival Unit manager..................... Beverley Powers Lab. liaison................................ Peter Willard seems to have it all — but does he? Props.........................................................DonPage, and triumph in a vast, inhospitable wilder Prod, secretary.............................Padma Iyer Length........................................12x48 mins Richard Walsh ness. A pioneering saga about a man who 1st asst director...................................... ScottFenney Gauge...................................................16 mm SPECIAL SQUAD Props buyer.................................Bill Booth, battles incredible odds and near impossible 2nd asst director........................David Sandy Shooting stock.......................... Eastmancolor Adrian Cannon Prod, company.......... Crawford Productions circumstances, and wins. Continuity........................... Rhonda McAvoy Cast: Nicholas Eadie (Mike), Paul Smit Special effects.......................Chris Sheehan, Producer............................... Ross Jennings Design assistant.................... Catherine Silm (Steve), Nadine Garner (Tamara), Peter Peter Gronow Story editors...............................David Wilks, GLASS BABIES Focus puller...........................Russell Bacon Whitford (Wheeler). Estimator...................................................JeffAustin Graham Hartley Clapper/loader.............................Brett Joyce Prod, company........'.....................PBL Prods Synopsis: The story of two teenagers from Senior set finisher................................AshleyMoran Based on the original idea Grips.........................................................AlanTrevena, Producer................................................. PeterHerbert the inner city suburbs who go to live with Senior set m aker.............................Gary Bye b y ............................Crawford Productions Paul Lawrence their uncle, the local policeman, in a small Set makers............................. MaxHealey, D irector............................................. BrendanMaher Sound recordist......................... Paul Clarke Electrics...................................Martin Perrott, Scriptwriters........................................... GregMillin, country town. Glen Nielsen, Editors...................................Ralph Strasser, Pierre Drion Graeme Farmer Alex Edwards, Lindsay Parker Make-up...................................Sandy Bushell Script editor.......................... Barbara Bishop I C AN’T G ET STAR TED Michael Carroll, Composer................................Graeme Lyall Wardrobe.....................................Chris Saad Photography..........................................ElleryRyan (Formerly Act Two) John MacDiarmid Exec, producers.................Hector Crawford, Props.......................................................... IanHayward, Sound recordist.......................................... IanRyan Scenic artist........-...............Paul Brocklebank Ian Crawford, Prod, company............................. PBL Prods Gerard Collins Editor.........................................................CliffHayes Set finisher.............................................SteveBurns Terry Stapleton Dist. company.............................. PBL Prods Props buyer.............................. Max Bartlett Composer................................................DaveSkinner Construction m anager............... Laurie Dorn Prod, supervisors....................Michael Lake, Producer............................................ RichardBrennan Standby props.............................. Dave White Exec, producer........................................... Ian Bradley Asst editors........................... Roslyn Pitsonis, Ewan Burnett Director.................................... Rodney Fisher Special effects........................................PeterGronow Assoc, producer......................................MikeMidlam Greg Kolts Prod, co-ordinator................................... GinaBlack Scriptwriter..................................Ray Harding Generator................................................ JockBarclay Prod, supervisor......................................MikeMidlam Negative cutter.........................................PamToose Prod, manager........................................ ChrisPage Based on the original Idea Asst editor..........................................PhilippaByers Prod co-ordinator................Vicki Popplewell Asst neg. cutter....................................LarissaFiliplc Location managers.................... Neil McCart, Sound assistant............................. Geoff Krix Prod, manager........................................ John Jacobb y .............................................Ray Harding Sound editors..................... Peter Townsend, Jack Zalkalns Still photography.................................. MartinWebby Unit manager.........................................PhilipCorrPhotography.............................. Geoff Burton Lawrie Silverstrin Prod, accountant......................................RonSinni Sound recordist........................................KenHammond Publicity................................................ LesleyJackson Prod, secretary..........................................SueEvans Editing assistant...................................WaynePashley Prod, assistant................................... LucindaMollison Editor...............................Mark van Buuren Length.................................................... .»...75minutes Prod, accountant....................................Peter Kadar Dubbing mixer.........................................PeterBarber 1st asst directors....................................... PhilJones, Prod, designer....................... Bernard Hides Gauge...................................................16 mm 1st asst director.......................................EuanKeddie Sound assistant.......................................MarkWalker Barry Hall Composer............................... Cameron Allan Progress...............................Post-production 2nd asst director............................ Bill Baxter Still photography.....................................GaryJohnston 2nd asst director.................Strachan Wilson Exec, producer........................................... Ian Bradley Cast: Geraldine Turner (Danni), Gary Day 3rd asst director..................................... CraigGriffin Publicity................................................ LesleyJackson Assoc, producer......................... Mike Midlam (Warren), Robyn Gurney (Cass), Bill Young 3rd asst director......................................Chris Odgers Continuity................................................. Ann McLeod Studios......................... ABC French's Forest Continuity..................................................AnnBeresford, Prod, manager........................Barbara Gibbs (Jerry). Casting...................................................... JoySargant Length...........................................4 x 75 mins Karinda Parkinson Location manager.............................CarolineStanton Synopsis: A comic look at the 1960s through Additional casting.............. Vicki Popplewell Gauge................................................... 16 mm Unit m anager.........................................Philip Patterson the bleak, world-weary eyes of the 1980s, Script editor....................... Tony Cavanaugh Lighting cameraman..............................ElleryRyan Cast: Helmut Zierl (Hans Bertram), Werner Producer’s assistant...............Judith Coward Prod, secretary.... Perry Stapleton-Flanagan when four ex-hippies are forced into a Focus puller.........................Leigh McKenzie Stocker (Adolph Kausman), Anne Tenney Casting..................................Kimlarn Frecker Prod, accountant..................... Jenny Verdon reunion. Clapper/loader.....................................KattinaBowell (Kate Webber), Gerard Kennedy (Sgt Steve Lighting cameraman/ Accounts assistant.............................. Robina Osborne Key grip...................................................BarryHansen Lucas), Dennis Grosvenor (Constable Max camera operator................................... DanBurstall 1st asst director........................ Mark Egerton REMEMBER ME Asst grip................................................DarrenHansen well), Tim McKenzie (Constable Anderson), Focus puller............................................. BrettAnderson 2nd asst director.............. Corrie Soeterboek (formerly Old Acquaintances) Gaffer.......................................................MarkGllfedder Philip Quast (Chris Gordon), Robin Cuming Clapper/loader....................................... CraigBarden 3rd asst director.................... Elizabeth Lovell Boom operator........................................Craig Beggs (Captain Mitchell). Prod, com pany............... McElroy & McElroy Key g rip ...................................................TonyHall Continuity.................................................... JoWeeks Art director.................................... Peter Tyers Producer....................................Patric Juillet Asst grip s............................................... CraigDusting, Extras' casting...........................................SueParker Asst art director..................................KrystinePorter A FO R TU N ATE LIFE Director...................................... Lex Marinos Quentin Schepsi Lighting cameraman............................. Geoff Burton Make-up.............................................. PatriciaPayne Scriptwriter...................... Anne Brooksbank Gaffer................................................. MalcolmMcLean Prod, company......................................... PBLProds Camera operator................................... GeoffBurton Hairdresser.........................................PatriciaPayne Based on the original idea Boom operator....................................... SteveHaggarty Dist. com pany.......................................... PBLProds Focus puller........................... Kim Batterham Wardrobe................................................AnnaJakab by...................................................Bob Ellis Art director...............................................SallyShepherd Producer....................................... Bill Hughes Clapper/loader...................... Darrin Keough Standby wardrobe...............Kim Donaldson Photography.............................................Yuri Sokol Asst art director.......................................BrianDusting Directors............................................. MarcusCole,Props buyer.............................................. JodiBorland Key grip................................. Paul Thompson Henri Safran Make-up............................... Jennifer Hughes Asst grip.................................George Tsoutas Sound recordist........................................MaxHensser Standby props........................................LeoreRose Hairdresser.................................Sue Lehman Scriptwriter............................................... KenKelso Gaffer..........................................Ian Plummer Editor .......................................... Philip Howe Special effects........................................ BrianPearce Prod, designer...................... Larry Eastwood Wardrobe............................................... KeelyEllis Based on the autobiography Electrician........................................Jonathan Hughes Set dresser......................................... StanleyDalliston Composer.............................. Sharon Calcraft Props buyer....................................... GregoryEllis b y ........................................................AlbertFacey Boom operator................ Graham McKinney Scenic artist............................................PeterDickie Exec, producer..........................................Jim McElroy Standby props.......................................... RobSteele Photography...........................................PeterLevyBest b o y ............................................... AngusDenton Art department runner.............Peter Warman Prod, supervisor......................................IreneKorol Special effects........................................ BrianHolmes Sound recordist...................................... RossLinton Costume designer..................................Terry Ryan Electrics assistant................................... DaleMann Prod, co-ordinator............... Sally Ayre-Smith Set decorator......................................... SimonCarter Editors.................................................RichardHindley, Make-up................................................ PeggyCarter Runners....................................................KrisGrintowt, Unit manager............................... ChristopherJones Kerry Regan Set construction................................. GordonWhite Hairdresser........................................... CherylWilliams Brian Gilmore Prod, secretary................................JulieanneWhite Asst editor................................. Jaki Horvath Costume co-ordinator........Christian Shearer Prod, designer.......................................DavidCopping Stunt co-ordinator................................. ...GuyNorris Prod, accountant....................................KevinWright Neg. matching.......................... June Wilson Standby wardrobe.................................HelenDykes Composer...............................................Mario MilloIVF technical adviser.............................JillianWood Musical directors................................... DavidHolmes, Asst production Exec, producer........................................... IanBradley Still photography...................................SterloStillsProps buyer/set dresser ...Virginia Bieneman Warren Pearson Props buyer...................................... Caroline Polin accountant......................................... Jason Tuhoro Assoc, producers....................................MikeMidlam, Publicity..................................................... LynQuayle Sound editors.................... Ross Chambers, Standby props.......................George Zammit 1 st asst director....................................Robert Kewley Ken Kelso Catering..............................................KristinaFrolich, Glenn Newnham Asst editor.............................. Vicky Ambrose 2nd asst director.......................................PaulHealey Prod, co-ordinators............................ Antonia Legge, Helen Wright Editing assistant....................................SimonWilmot Still photography..............Andrew Southam 3rd asst director..................................... HenryOsborne Sue Pemberton Specialist food and Mixers......................................................Mark Howell, Best boy............................................... Patrick O’Farrell Continuity.................................................... JoWeekes Prod, manager...................................... Terrie Vincent flower dressing.................................LouiseLechte, David Harrison, Runner.....................................................JohnFriedman Camera operator....................Dave Foreman Unit managers............................................ LizKirkham, Gregory Ladner Richard Brobyn, Unit publicist..............................................LynQuayle Focus puller...........................................MartinTurner Hugh Cann Post-production supervisor......David Jaeger Peter Palanky Catering............................................Janette’sKitchen Clapper/loader........................................ MarkSarfaty Prod, accountant........................ Craig Scott Length.......................................... 2 x 96 mins Stunts co-ordinator................ Chris Anderson Laboratory.............................................. Atlab (Moneypenny Services) Key grip................................................. Lestor Bishop Gauge...................................................16 mm S tunts.................................... Glen Ruehland, Lab. liaison....................... Warren Delbridge Asst g rip ..................................................Terry Cook Asst accountant.........................Jane Corden Shooting stock......................... Eastmancolor Reg Roordink, Budget...................................... $1.275 million Gaffer......................................................PeterO’Brien Prod, assistant........................ Carmen Galan Cast: Gary Day, Debra-Lee Furness, Belinda Szumai Chong Length..........................................................96 mins Boom operator....................... Jack Friedman 1st asst directors........... Charles Rotherham, Davey, Andrew Sharp, George Mikell, Best boy.....................................................TimMorrison Gauge...................................................16 mm Michael Bourchier, Costume designer..................Vicki Feitscher Rowena Wallace. Catering...................................Food For Film, Shooting stock......................................Kodak7291Make-up/hairdresser...Lesley Lamont-Fisher Eddie Prylinski Synopsis: Love, lust and greed weave Cast: John Waters (Robert), Wendy Hughes Wardrobe................................Vicki Feitscher Tun Stop 2nd asst directors.............. Michael Faranda, tangled webs when a dynasty turns for its Mixed at...........................................Crawfords (Margaret), Heather Mitchell (Jill), Ben Ward, assistant...................................... AnniePeacock Tom Blackett survival to test tube babies. Laboratory..........................................Cinevex Gabriel (Lazarus), Sandy Gore (Jenny), Props buyer........................................... Marta Statescu 3rd asst director........................................NickAlimede Lab. liaison................................ Bruce Braun Donald M acdonald (A lbert), Andrew Standby props.................Karen Monkhouse Continuity................................................. PamWillis, TH E HENDERSON KIDS Length.................................... 43 x 60 minutes McFarlane (Freddy), Deborah Kennedy Art dept runner.........................................JackRitchie Judy Whitehead, Shooting sto ck.....................................16 mm (Rose), Margo Lee (Avril Williams). Prod, company..................... Crawford Prods Roz Berrystone Asst editor................................................ LaraEsam Progress................................Post-production Producer.......................................Alan Hardy Synopsis: Talented, witty and more than a C asting.........................................Maura Fay, Dubbing editor........................Tony Vaccher First series released................8 August 1984 little self-centred Robert Marks is the author Directors.............................. Chris Langman, Joy Sargant, Editing assistant.................... Rosemary Lee Paul Moloney of a successful first novel. Success, and the Cast: Anthony Hawkins (Smith), Alan Connie Mercurio Still photography.................... Carolyn Johns Cassell (Anderson), John Diedrlch (Davis). lifestyle that followed it, have since dried up Scriptwriters...........................Roger Moulton, Focus puller............................. Bill Hammond Best b o y ........................ Brian Bryden-Brown Peter Hepworth, Synopsis: An action adventure police series his talents. The film tells the effects of failure Clapper/loader.......................................... NeilCervin Runner............................................ Julieanne White John Reeves, on one man’s marriage and the unexpected focusing on the work of three policemen Key g rip ................................ Karel Akkerman Catering..................................................KevinVarnes working in a special unit of the force. Galia Hardy results of the introduction of another woman. Asst g rip .................................................. John Otago Mixed a t..................................................Atlab
CINEMA PAPERS May — 73
Wanted & Positions Vacant For quality 35 mm sci-fi/adventure/war/car action/feature films — to be shot in Australia and other countries (replies from USA, Europe, Asia, etc. welcome, include your phone number). We are perfectionists and award winners, prepared to go to great lengths to search out (hence this ad) and where necessary develop products and people that are “just right”. We value character (we like quiet, knowledgeable, patient, etc., people) more than experience. Write to us if you see yourself as: assistant, acting talent, line producer, artist, designer, machinist, technician, etc. or consultant/supplier of props, wardrobe, weapons, Techniscope, Kodachrome, warfare, cars and heavy vehicles, computer graphics, electronics, servo motors, locations, etc. If you think you have anything to contribute, or if you know of anyone who has, please send fullest information, in your own longhand, to Executive Producer, P.O. Box 333, Bondi Beach, N.S.W. 2026, Australia. We would prefer not to have to return anything; enclose s.a.s.e. if you want anything returned. Angol Holdings Pty Ltd. Tel. (02) 309 2221
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Hours to Ten Second Without Changing Gear When Soundfirm’s not mixing movies like Mad Max 111, they’re sweetening someone’s commercial. Jumping from Street Hero to Street’s Ice-Cream. Sky Pirates to TAA. And Frog Dreaming to Butter Menthols is not unusual. Then comes the television series like Cowra Breakout, Bodyline, Dunera Boys, Flying Doctors, Anzacs and Glass Babies. Not to mention the features and documentaries like The Wrong World, Wills & Burke, Fortress, Emoh Ruo, Mr B. Says No, Geese Mate For Life and The Red Pimpernel!. It’s called changing gear, without changing ears. At Soundfirm, they’re all ears. Just call Roger Savage, and bend his for a bit. He’s got the largest lobes in the business.
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The Australian film and television industries have not been immune to the lure of the computer. Indeed, as we have tried to come up with product comparable to that made with bigger overseas budgets and have searched for ways to increase our productivity and reduce our labour costs, we have probably been more susceptible to its attractions than overseas filmmakers.
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Computers have been part of Australian business life for over a decade’ but applications in the film industry have been
The computer industry promises a lot but has so far delivered very little real assistance. Industry people are generally split into those who believe that computers are ultimately going to be the solution, and those who are either disappointed, or else think the computer has a very limited applica tion for filmmaking. What I am con cerned with here are the possibilities offered by computerization, so I have talked mainly to the enthusiasts. In the second part of this article, I will be looking at hardware-dependent uses such as the control of sound and video editing equipment, and the pri marily software-dependent applica tions of the word-processor for script ing. This part examines software use in scheduling, production management and budgeting. The ability to do repetitive tasks, calculate fast and eliminate errors has made computers indispensable in accounting, and a number of film companies have used computer
“I wish that an accountant had actually written the programm e,” says Margot Brock (seated), production accountant on The Dunera Boys and Wills and Burke, who is otherwise well satisfied with the j package (standing behind is fellow produc tio n accountant, Pat Crozier).
accounting bureaus for years. What is now making the idea of processing the accounts in-house more attractive is the falling cost of microcomputers. When production companies try to apply the under-utilized machine to other areas, however, they find them selves very much on their own. The peculiar demands of accounting and budgeting on a feature film mean that companies are forced to commission software programmers or try to write the applications software themselves. Both of these are costly and time-con suming. Trying to write templates for exist ing spreadsheet or data-base packages is somewhat easier, but the limitations of programme speed or computer memory become more obvious. The certainty is, however, that we are all going to have to computerize our film accounting sooner or later: a number of recent 10B(a) projects have had to modify their budgets because the investors’ representatives and brokers are now stipulating greater involve ment in the production accounting, specifying a particular bureau or even supplying their own accountant with a computer hardware and software package. Penny Carl’s Sydney-based film accounting firm, Moneypenny Services (343 Pacific Highway, Crow’s Nest, NSW 2065. Ph. [02] 920 1361), is an example of the bureau approach. With a team of on-site accountants report ing twice weekly, the processing of the cost sheets is actually done at an out side computer-accounting bureau. This has the advantage of a larger machine (whose cost is shared with a number of non-film clients), secure storage and more methodical back-up files than most micro-users employ. There is also a second computer avail able in case of system failure — some thing that is too costly for the indivi dual microcomputer owner. Moneypenny runs a general ledger pro gramme, heavily modified to fit AFC and FTRAA cost categories.
76 — May CINEMA PAPERS
But an in-house micro is also, in creasingly, a possibility. In September 1984, at a seminar at the Film and Television School, a large group of industry people saw the demonstration of a number of unique pieces of soft ware dedicated to film and TV produc tion. It was, perhaps, too broad a spectrum of specialized equipment: the screenwriters in the audience sat patiently through the demonstrations of accounting packages, while the accountants calculated during the demonstration of script formatters. The main thrust of the night, however, was the use of microcomputers for production accounting. Scorpio Computers (88 Darling Street, Glebe, NSW 2037. Ph. [02] 660 6005) distribute two American packages that are being re-written for Australia. Show Auditor is a produc tion-accounting programme with a lot of flexibility. It requires an IBM PC with 258k of memory and a hard disk to operate, and it runs from a series of menus in four categories: Pre-produc tion; Budgeting and Estimating; Costing; and Reporting and Control. Within these categories are general ledger, accounts payable and payroll sections specially written for the local industry. The Reporting and Control section has an extensive studio report ing section (accounts payable, payroll, petty cash and journal voucher reports). A vendor-history analysis is available by vendor number, and there are open commitments by account, budget variance reports and an inven tory control. From the examples pro vided, the Show Auditor software seems to be aimed at large-scale pro duction but, according to Peter Sjoquist of Scorpio, it can be scaled to any size. The Show Auditor is a stand-alone package, as are dataMOGUL Budget and dataMOGUL Breakdown, the budget and script breakdown and scheduling programmes also sold by Scorpio. Although the dataMOGUL programmes share the same name,
they do not transfer data between each other. DataMOGUL Budget is used by a number of U.S. companies, includ ing MGM/UA, for film and television estimating. The Breakdown system is designed to include the stripboard in the database. From the script break down, it generates the stripboard, the requirements for locations, exterior and interior sets, and even stock footage. Talent is listed as Cast, Extras, Stunts and Bits (parts), and it is all ordered by page count and printed with strip numbers or scene numbers. A listing of props, vehicles, equipment, set construction, animals
“ I personally don’t think that the scheduling system will ever replace a stripboard: there will always be conventional stripboards” Greg Ricketson
and others as required can consist of a total of fifteen user-definable elements, sorted and listed. The final section of the Breakdown is a schedule that can be printed as a one-liner or full schedule, based on the specified strip numbers in each day of shooting. This will automatically format for a five- or six-day shoot (or a mixture of the two), with dates, holidays and location moves or changes per day. The Australian Filmmakers Package from Powercorp (contact through Barry Barnes, Electronic Business Systems, Suite 5, 77 Albert Avenue, Chatswood, NSW 2067. Ph. [02] 419 5500) is another accounting package that includes costing schedule, list of investors’ funds, creditors and a payroll package, and it is specifically
Australian designed. Powercorp has a basic module that it revises for different industries and applications, and its version for the film industry deserves to be examined if all you need is an accounting package. The star performer of the Film and Television School evening, however, was undoubtedly the New Zealanddeveloped Film Management System. The directors of the Remarkable Films Company in Dunedin, lawyer/actor Peter McKenzie and production accountant Noel Ferguson, with some software development assistance, have produced an integrated system of script breakdown, stripboard schedu ling, budgeting and production accounting. Sold in Australia by Peter Klieber of the Swiss Film Finance and Services Company P/L (Suite 22, 62 Alfred Street, Milson’s Point, NSW 2061. Ph. [02] 923 2216), the FMS system runs on IBM PCs that are sold with the software, or is available on a bureau basis for smaller productions through Swiss Film Finance. The breakdown and stripboarding is thorough, with scene-by-scene listing of the script, and scenes sorted into studio and location. It can provide an instant prop and wardrobe report, as well as notes on each character and a daily printout for the wardrobe depart ment. The scheduling takes about a day for an average 150-scene feature, with entry being led by on-screen prompts, and it can be revised at any time. The budget provides a checklist of every item that appears in the script, sorted into the correct categories. This information comes from the break down, as does the time each script item is required, and the accommodation nights for each location. A detailed cash flow is available for investors and it can allow for interest charges if bank loans are used. Samples o f the work produced by the New Zealand-developed Film M anagem ent System.
The production accounting section features integrated ledgers for General Ledger, Accounts Payable, Orders and Payroll. There are a lot of individual tracking and checking functions written in, and the specifications for the payroll, when completed, sound promising. Marketed in the U.S., FMS has already been sold to Warner Bros and to Sunrise Film in Canada. First Australian sales have been to McElroy and McElroy in Sydney, and to Syme International in Melbourne. “ One of the reasons we have gone with the FMS system,” says Greg Ricketson of Syme International, “ is that it appears to be very strong on the accounting function, and that makes it attractive in terms of cost control. Because it has a partially integrated script and scheduling system, the opportunities of ironing out all the bugs and getting a true fully-integrated system seems possible.” Most of Syme’s research was, says Ricketson, done on a word-of-mouth basis. But he doesn’t think computers will ever take over completely. “ I personally don’t think that the schedu ling system will ever replace a strip board: there will always be conven tional stripboards. The scheduling aspect and the storage of information is more for quick retrieval rather than for the sort of schedules that it spits out. The basic problem is that, at this stage, the system doesn’t integrate the schedule aspect and the cost aspect. “ What you should be able to do is to say to the computer, ‘What if we shift this day to that day, and this day to then, etc., etc.? What if . .?’ It should be able to scramble the schedule around, maybe come up with a few things like: that actor is not available that day. But it should also be able to tell you that, if you do that, you’ve just lost $22,000! “ There is still a lot of work to do on it. Peter and Noel Ferguson are aware of that and are ready and waiting for our suggestions and feedback. That’s the positive aspect: they know that it has shortcomings and are ready to change it.” Margot Brock, production accountant on T h e D u n era B o y s and W ills an d B u rk e, has also been using an in-house micro, though a different one. “ We are using a Sirius computer and an ACT hard disk with a tape cart ridge for back-up. But don’t ask me about memory or hardware: I just use
“ As soon as something is ordered, I get a purchase order. On Thursdays, I enter the orders for the wee!, and they become part of the costing schedule. So, even without a cheque being sent, the amount is seen on the report to management” Margot Brock
it for accounting! The hard disk is in valuable and uses these back-up tapes which ACT call ‘magnums’: they store all the contents of the hard disk. As we are doing two projects at the moment, I keep one magnum for D u n era and one for Wills and Burke. They hold all
the transaction files for each film. It takes me about twelve minutes to back up each, and I back up at the end of every day if there has been a lot of input. “ The software was written by Power Software in Sydney, designed to our previous production accountant (then production manager) Caroline Fife’s requirements. We have had it for about a year-and-a-half now. It handles debtors, creditors, film payroll and costing schedules, all of which are simply called up by menus and sub menus. In the beginning, when I was first using it, there were lots of bugs in the software. The suppliers are sorting these out as part of the purchase price, but if there are things that we request that were not part of the initial format ting, then we have to pay for that.” Brock is not without her criticisms of the system, however. “ I wish that an accountant had actually written the programme, which may sound unusual because we gave them all the specifica tions. But they weren’t followed through very well. For example, take the creditor printout, which gives me a list of all the vendors, and how much, etc.: it is presented in sentence form, not in columns. From an accountant’s point of view, that is just ridiculous. It’s fine for management, and all the management reports are excellent. We have requested the changes but, since they’re very busy blokes, it hasn’t come back yet. “ What is excellent is that it is an accrual system. As soon as something is ordered, I get a purchase order from one of the different departments — art, construction or whatever. On Thursdays, I enter the orders for the week and they become part of the costing schedule. So, even without a cheque being sent, the amount is seen on the report to management. On D u n era, we had lots of different sets because it was a three-month shoot. What we were able to do was open accounts for each of the sets. There was the Camp, the Camp Interior and so on. At the end of every week, the construction manager knew exactly what he had spent on each set, including all the petty cash envelopes that had come in. It prints all our cheques, and that’s great when you have to pay 300 extras! We use window envelopes, and it prints the addresses on all the remittance advices, so a lot of the time-consuming manual jobs are out of the way.” While computerization of the pro duction accounting process is an
Mark Egerton, who computerized the I Can 7 Get Started schedule.
obvious step, a computerized produc tion schedule is more of a risk, particu larly when — as first assistant director Mark Egerton did with I C a n ’t G et Started — it is done at the last minute. “ I’d actually just done a commercial with a computer in it,” says Egerton, “ and it was a little bit of a game to try and make being a first more interest ing. And there was the thought that someone was going to do it, probably some second or third assistant, so I decided to jump in. I had a week’s stand-down while we rewrote the script. I had been to a number of shops prior to that and the sales people had not been interested other than saying, ‘Well, if you buy a ten grand machine, you should be able to do it’. “ Frank Mclnnes at the Computer Factory, where I did buy it, said at one stage, ‘If you go and buy a car, you don’t expect the salesman to teach you how to drive it’. The deal I had with him was that I was only going to buy the machine when I could see that it worked.” The hardware Egerton ended up with was a Sharp MZ 5600, with dual 640k disks. The Sharp runs at 8mHz under MS DOS. The software package is called Film Plan, and is available as a package, with hardware, from Frank Mclnnes at the Computer Factory (403 Pacific Highway, Artarmon, NSW 2064. Ph. [02] 43 3966). “ The fundamental thing about moving to computers is that the strip board, the one-liner, the call-sheet and the cross-plot are all the same bits of information displayed four different ways. What I did was take these bits of paper to a programmer and say, ‘This system works well; I need it to be better’. The computer people would have preferred to take short cuts or to have displayed the one-liner differ ently. The one-liner is a very uncon ventional piece of paper, not because someone is being arty about it, but because it has all the information and is easy to read. It took about four or five days for the computer people to come to terms with that, and the pro gramme for the one-liner was the key to the rest of the things. But we were able to deliver the one-liner exactly the same as before. “ But you still have to schedule on given facts. The computer isn’t big enough to pull those facts in from other stuff, although it will handle Sundays and days that you don’t want
to work automatically. To get it to tell you that a location is not available on a certain day when you have re scheduled is beyond its capacity. That’s something that is limited by the fact that it has to be a portable thing from production office to production office. “ When we had to re-schedule I C a n ’t G et S tarted after we came back from the Christmas break, some scenes had been deleted. But, with the production manager, Barbara Gibbs, on the phone and me at home with the programme, it took us about two hours to talk through the schedule and five minutes for the computer4o spit it out. The whole basis of production is communication — knowing what you’ve got to do; and, because it takes a secretary a day to type a schedule, you end up getting people to wait or giving pseudo schedules that you know are going to change. With this system, from the very first day of production, you can dump out a schedule that probably only has all the scenes in chronological order, but people can start to see things quickly. The safety
“ The one-liner is a very unconventional piece of paper, not because someone is being arty, but because it has all the information and is easy to read. It took about four or five days for the computer people to come to terms with that, and the programme for the oneliner was the key to the rest of the things” Mark Egerton
factor in terms of accuracy of informa tion and the speed that it gets the information out makes it a must for any production office. “ The other developments that we are going to do will be more farreaching. The budget at the moment is based on the AFC format, but I’ve got a different idea on that because, when we did the programme for the oneliner and the schedule, it had to come into a certain format on the screen. It occurred to me that you could actually price each scene in the same way. If you’ve got five dogs and five extras, you put down five dogs at $10 each and so on. It can then price each scene (not including the crew and all your standings, which are your first pages of the budget). When people say that they are on schedule and therefore on budget, the two aren’t really related. You may be on schedule, but you might have had to work 250 hours of overtime to get there. By knowing the cost of each scene, you know where you are. With this system, you can look at the scene and know that to drop it will save you so much, or that you can use two dogs instead of four. But you can be accurate, which is what it’s all about. With the smaller pictures we are doing, saving money is one thing; but spending it in the right areas is more important. The computer system should help us be more accurate.” ★ CINEMA PAPERS May — 77
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THE LAST THING THEY WANTED TO WORRY ABOUT WAS PROCESSING QUALITY That’s why they left itto us Alby Mangels shot World Safari II on 16mm ECN 11, then he left the rest to us. We blew it up on 35mm CRI and both 16mm and 35mm prints were released Australia wide. You can depend on Cinevex for service , quality and technical expertise
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J a n u a ry -F e b ru a ry 1985 January and February total: $520,828
1. World Safari II Total: $111,010
Total: $221,395
I Total: $188,423
January and February total: $284,966
2. The Coolangatta Gold Total: $11,181
¡Total: $46,342
(Total: $66,737
¡Total: $58,393
Total: $102,313
40,000
40.000
30,000
30.000
20,000
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ADL.
BRI.
MLB.
January and February total: $217,972
3. Melvin, Son of Alvin Total: $39,996
SYD.
PTH.
Total:, $80,240
Total: $14,712
Total: $72,646
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30 December-5 January 6-12 January 13-19 January 20-26 January 27 January-2 February 3-9 February 10-16 February 17-23 February 24 February-2 March
PTH
SYD
January-February
20.000
Overall Total for January and February
BRI.
MLB.
With this issue, we kick off our new box office page, full of pictures and diagrams, and designed to make it easier to see how the films did. The information, though, is much the same as before, with figures indicating how the various Australian films performed at the city-centre cinemas in five State capitals. Ideally, the box-office page should include the top five Australian films over the latest two-month period — January and February for this issue — for which com plete figures are available. But January-February 1985 was not an ideal period: there were only three Austra lian films in release. Of these, World Safari II took double the combined total of the other two, even though it wasn’t screening in either Adelaide or Brisbane. In Perth, on the other hand, they lapped it up: in the first week in January, it raked in almost as much as The Coolangatta Gold took in its whole
PTH.
SYD.
six-week 1985 release in Brisbane. Indeed, that particularly determined grab for the teen market generally failed to live up to expectations, dropping off sharply at all cinemas during its second month’s outing, and dying off everywhere before the end of the third. Melvin, Son of Alvin, the third piece of purple to hit the nation’s screens, which opened slightly later, did even worse: Alvin Purple may have been the right film for Australian audiences back in 1973; but. twelve years later, things seem to have changed. The film performed spottily — as Variety would say — almost everywhere, and particularly badly in Perth and Brisbane. It did, however, hold its own for three good weeks in Melbourne. But World Safari II, which drummed up a great deal of interest at the American Film Market in Los Angeles (see Joan Cohen’s report in the News Plus section) and seems
Australian films foreign films
$13,299.111 $ 1.023.766 ( 7,7%) $12,275,345 (92.3%)
1984 figures. January and February Australian films foreign films
$13,099,763 $ 748.244 ( 5.7%) $12,351,519 (94.3%)
1983 figures January and February Australian films foreign films
$15,301,539 $ 1.908.104(12.5%) $13,393,435 (87.5%)
all set for an equally profitable trek across North America, was the clear market leader in January and February. Using the same independent release pattern as its predecessor, Safari benefited from its intensive TV advertising campaign, which seems to have paid off handsomely. Indeed, the film’s very distinctive box-office pattern in Sydney and Melbourne — up. down, up, rather than the usual down, down, down — can be explained by the TV campaign, which incorporated a list of the various suburban locations rolling up the screen like one of those commercials for furniture superstores. This seems to have been a definite improvement on the usual, vague 'at a cinema near you’. And, since the figures in the above tables reflect citycentre performance, the Safari’s takings would be looking even better if all those suburban outings were taken fully into account.
In overall terms, given that the summer of 1984-5 had both Ghostbusters and Gremlins to scare up the attendance figures, it is a little surprising that there should have been a dip in the foreign film totals for January-February 1985. The Australian figures are up on last year’s however — 2% and about $250,000 — largely because, in January and February 1984. there was really only BMX Bandits and Bush Christmas plus the tail end of Careful, He Might Hear You Two years ago. by contrast, there were five Aussie titles on the capitals' screens, with The Year of Living Dangerously to the fore, which accounts for the total nudging $2 million and passing the 10% marker. Looking to the future, March and April do not promise to be exactly brimming with local product, with only Robbery Under Arms hitting the screens, and the rest of the local flicks held back for mid-year.
CINEMA PAPERS May — 79
“Sean Penn and Timothy Hutton are inspired... It’s very early in 1985, but it’s going to be hard to keep this off the ten best list...
THISIS AGREATH U T Roger Ebert and Gene Siskel, AT THE MOVIES
They were best friends from the best of families. Then they committed a crime against their country, and became the two most wanted men in America.
A true story mmih i i minimini hi iwhii ■isam m aaam am m GABRIEL KATZKA«» HEMDALE wm JOHN SCHLESINGER n« TIMOTHYHUTTON SEAN PENN “THE FALCON ANDTHESNOWMAN” SStvPAT METHENYuo LYLE MAYS "oesT s.esJAMES D. BISSELL PM O TO €81?M TALLEN DAVIAUptooucEaJOHN DALYÄ J ROBERT LINDSEY ™ STEVEN ZAILLIAN™ [<?EDWARD TEETS ” GABRIEL KATZKA« JOHN SCHLESINGER mt"ZJOHN SCHLESINGER Release.
| * U D IK E P O C U T BOORS M P E M i C l !
OORIGINAL R I c il l l SOUMOTRACN S O U H D I M » AL8UM U8W AVAILABLE ON EMI AMERICA
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AUSTRALIAN PREMIERE SEASON COMMENCES JUNE 6th
The road to Marabar
I don’t really like the film’s ending, though — it is too soft and picturesque — and I would have valued a more toughly indivi dual line with the novel as a whole. As it is. A Passage to India on film is an honour able addition to tales of the Raj, almost always intelligent and decent — and almost never actually engrossing. Brian McFarlane
A PASSAGE TO INDIA In a career as a director spanning 43 years, David Lean has made only fifteen films, of which A Passage to India is the fifth in the last 30 years. These figures reveal the fate of a careful, decorous, craftsman-like talent which produced some very pleasing enter tainments in the forties and early fifties, before succumbing to the lure of the wide screen epic with The Bridge on the River Kwai in 1957. Since then, each new Lean film has been preceded by a dauntingly long period of gestation and pre-publicity, followed by the birth of a coldly handsome blockbuster. One’s fears for A Passage to India, his first since the achingly long and trivial Ryan’s Daughter (1970), ran high. Would he stay interested in the essentially inner drama of E. M. Forster’s celebrated novel of personal relations caught in the tensions of cross-cultural misunderstanding, or would he again fall prey to the temptations of an exotic background? The answer to both questions is: Not quite. In spite of its length (163 minutes), the film is his tightest work in several decades. The personal story of Adela Quested (Judy Davis), who goes to India to decide whether or not she will marry her priggishly correct fiance, Chandrapore City Magistrate Ronny Heaslop (Nigel Havers), and who makes the mistake of trying to see the ‘real India’, remains in the foreground. Unlike Ronny’s mother, Mrs Moore (Peggy Ashcroft), Adela lacks either the intuitive sympathy or clarity of perception that would make for easy rapport with others, of whatever race. She is dogged, earnest, honest and awkward; and,in Judy Davis’s conscientious perform ance, she is convincingly at odds with Ronny’s paternalism, shy with the young Indian doctor, Aziz (Victor Banerjee), and out of her depth with the liberal English schoolmaster, Fielding (James Fox). All the performances, in fact, in this central network of relationships are detailed and persuasive; and, if the characters are not always exactly as envisaged by Forster (Mrs Moore lacks the querulous edge she has in the novel), they find their own con sistency here, and that is what matters. The three men are variously excellent, elaborated through their attitudes to the British in India and through their response to Adela and the social or emotional frissons to which she gives rise. The minor roles, whether the resident British, huddling together in their superiority (Michael Culver’s police officer is especially fine) or the Indians who watch them (Art Malik, Saeed Jaffrey),are all meticulously played. If there is an element of caricature in, say, Antonia Pemberton’s memsahib, it is justifi able in view of the absurd position such a woman is able to maintain in the India of the twenties. In fact, the acting strength of the film recalls Lean’s adaptations of Dickens and Noel Coward in the forties — with the exception of Alec Guinness in his sixth role in a Lean film. His Professor Godbole is an impermissible caricature of an Indian wise man, darting looks of empathetic under standing at Mrs Moore and eliciting cuddly laughter from the audience. If there is an element of offence in the casting of
A Passage to India. Directed, written a n d edited by D avid Lean. P rod uced by Joh n Brabourne a n d R ichard Goodw in. B ased on the novel b y E. M. Forsier a n d the p la y b y Santha Rama Rau. D irector o f p h o to g ra p h y: E rn e st Day. P roduction design: John Box. Costum e design: Ju d y M oorcroft. M usic: M aurice Jarre, p laye d by the R oyal P hilharm onic Orchestra. Cast: Dam e P eggy A shcroft (Mrs Moore), Ju d y Davis (Adela Quested), Victor Banerjee (Dr Aziz), Jam es Fox (R ichard Fielding), Sir A lec Guinness (Professor G odbole), N igel Havers (Ronny Heaslop), R ichard Wilson (Turton), M ichael C ulver (McBryde), A ntonia P em berton (Mrs Turton), A rt M alik (M ahm o ud AH), A nne Firbank (Mrs Callendar), Saeed Jaffrey (Hamidullah), Clive Swift (M ajor Callendar). P roduc tion com pany: Thorn EMI Screen Entertain ment. Distributor: Greater Union. 35 mm. 163 minutes. U.K. 1984.
Riders of the Ranges ROBBERY UNDER ARMS
Guinness in this role, it is exacerbated by the way Lean has encouraged him to play. I have concentrated on the acting because, Guinness apart, it is sufficiently attractive to enable the personal story mostly to hold its own against the com peting interest of India, which Lean uses in a much more compelling way than he has used place in his last few films. There are, of course, pictorialiy impressive shots — of a train on the horizon against an orange sky, of the Ganges’s turbid flow by moonlight — but, if India sometimes assumes the status of backdrop, there is dramatic justification for this. First, that is what it is for the AngloIndians who do their best not to see it at all, and are happiest when re-creating Surrey at their Club. Second, it is m e a n t to be looked at by Adela, who responds to what is exotically beautiful about it, as well as to the noise, crowds and colour of streets and markets. In her venturesome acceptance of Aziz’s invitation to a picnic at the Marabar Caves, however, she comes face to face with another view of India. Whatever has happened to her in the Caves, she has found something terrifying and incompre hensible. The smooth rock surfaces of the Caves and their empty, echoing interiors offer something more than exotica. India ceases to be a backdrop for a curious traveller and becomes a sexually threaten ing protagonist in Adela’s drama. As an adaptation, the film hews closely to
Showing o ff fo r the memsahibs: Victor Banerjee as A ziz in A Passage to India. the contours of Forster’s events, making intelligent play of its key oppositions: youth and age; English restraint and/or haughti ness and Indian exuberance; the replica tions of English life in the Club (with its musical comedy performance) and the immediacy of Indian life in streets and shabby houses. But, because the film narrative must show rather than tell, it has no equivalent for that quiet, wry, ironic commentary on events or for Forster’s slightly too ready acquiescence in the failure of inter-cultural rapprochement. Significantly, the film ends on a note of subdued reconciliation between Aziz and Fielding, whose friend ship has foundered on the trial, rather than on the novel's note of metaphorically con veyed division. This altered ending is Lean’s chief depar ture from his source. He is not at all the sort of director to play excitingly fast and loose with a prestige novel — indeed, one wishes often that he would be more daring — and it is interesting to reflect on why he has settled for a Jess open-ended conclusion than Forster’s. Perhaps, like James Ivory’s final scene in The Bostonians (in which he subverts without warning the Jamesean anti-feminist line he has pursued to that point), Lean’s ending is a product of his times, as Forster's was of his.
Robbery Under Arms is a film that sits firmly astride the Great Divide of the Aus tralian film industry, the one that separates a film culture from the film industry. On one side, the delicate blooms of cultural identity: on the other, the supposedly barren desert of commercialism, home of the dreaded mid-Pacific movie. What Robbery sets out to do. of course, is cross the desert with enough camels: to be a family movie, “ a film as big as the legend", as the publicity slogan would have it (though what legend is not entirely clear). With its financial bets hedged between a movie and a mini-series, it aims at a kind of up-market cross between The Man from Snowy River and The Thorn Birds (though with a better script than the former and a lot more humour than the latter). But it has its cultural aspirations, too, aiming at an accurate, spirit-if-not-the-letter depiction of the problems of late nineteenthcentury economic survival: "at least he doesn’t have to wait until the drought breaks to see if there’s work next season.” retorts Dick Marston (Steven Vidler) to Morringer (Robert Grubb), the aristocratic cop who has just dismissed Starlight (Sam Neill) as “ vermin” . What is more, it has a sense of place and character rare in all but the best action films; and it is the work of a duet of directors who have planted two of the more memor able flags on the cultural side of the Divide: Ken Hannam, with Sunday Too Far Away (1975) ; and Donald Crombie. with Caddie (1976) . What Robbery does not have is a scre e n p la y th a t m akes the action secondary to the dialogue (on the grounds
CINEMA PAPERS May — 81
performance, the ability to hold a pause to the split second and to deliver lines with pinpoint accuracy of tone give Robbery what it really needs: a centre that can hold.
Nick Roddick
Robbery Under Arms. Directed by Ken Hannam and Donald Crombie. Producer: Jock Blair. Associate producers: Pamela H. Vanneck and Bruce Moir. Screenplay: Graeme Koetsveld and Tony Morphett, based on the novel by Rolf Boldrewood. Director of photo graphy: Ernest Clark. Production designer: George Liddle. Costume designer: Anna Senior. Sound recordist: Lloyd Carrick. Cast: Sam Neill (Captain Starlight), Steven Vidler (Dick Marston), Christopher Cummins (Jim Marston), Liz Newman (Gracey), Deborah Coulls (Kate), Susie Lindeman (Jeannie), Tommy Lewis (Warrigal), Ed Devereaux (Ben Marston), Jane Menelaus (Aileen Marston), Robert Grubb (Morringer), Elaine Cusack (Mary Marston), Andy Anderson (George), David Bradshaw (Goring). Production company: South Australian Film Corporation, for ITC Entertainment. Distributor: Roadshow. 35 mm. 143 minutes. Australia. 1985.
Gun lore WITNESS
— probably quite justified — that, if you spell out the issues, the critics will take note and praise you). Not that the Robbery screenplay is entirely free of the obvious, ringingly stated: surely, for instance, M orringer’s answer to Aileen (Jane Menelaus), when she asks him why he hates Starlight, didn’t have to be spelled out quite so thumpingly as, “ He’s a man of my class, and he’s let the side down” . in general, though, Robbery’s strength as a film, and one which so much of Aus tralia’s word-based film culture has ignored to its cost, is that It tells its story primarily with the camera and through action. Like The Man from Snowy River — an ambiguous compliment, admittedly — the film is at its best when it is doing things, and at its wo.rst when It stops to talk about them. Take the opening. A deftly handled hold up of a train — galloping horses, tongue-in cheek action and Starlight playing the drongo pom — sets the tone for the rest of the film. Then there Is a masterly cut to young Dick Marston standing up to Falk land (Michael Duffield) when he insults his father. So far, so good. Next, however, come some embarrassing high jinks between Dick and Jim (Christopher Cummins), and an excruciating dialogue scene between Dick and Gracey (Liz New man) that hang like millstones round the film’s neck for the next ten minutes. But the introduction of Starlight at Terrible Hollow — long lenses that draw us Into the midst of the men and the cattle — the crane-shot celebration of the Dusty Creek set and the final battle on the beach are (barring one mis-match in the latter) the stuff that movies are made of. M ore sig n ific a n tly , perhaps, key moments of characterization are handled visually, too. Take the moment when Dick returns home, dressed like a gent and flush from the Adelaide cattle sale, to ‘claim’ Gracey. Gracey, in the meantime, has become engaged to another. Dick’s discovery of this, the resulting confusion and the couple’s reconciliation are handled with a minimum of dialogue, plus a mobile camera, split-second cutaways and a series of brief, deftly framed shots.
82 — May CINEMA PAPERS
The pom and the bushranger: Sam Neill and Ed Devereaux in Robbery Under Arms. The moment, of course, is not a deep one, and the issues being handled are neither sophisticated nor, to be honest, very palatable: like much of the film’s story, they embrace stereotypes a little too readily for the wryness of the embrace always to be convincing. But the whole scene is handled with such a degree of cinematic elan that it becomes positively invigorating — a little gem of cinema, even if the material of Boldrewood’s novel Is no more than lateVictorian paste. Certainly, Robbery is too long, and the third quarter of the film — that crucial, audience-holding half hour either side of the Intermission — flags. And some of the key performances leave one more aware of the youth and enthusiasm of the actors than of the youth and exuberance of the char acters. But, at the final count, Robbery Under Arms is a fine piece of entertainment — a movie that combines its action with a welcome degree of wit, treating Australia’s past with humour and irreverence: Tony Morphett and Graeme Koetsveld’s screen play has a nicely held balance between wry modernity and straightforward Boys’ Own stuff. Ernest Clark’s capturing of the Flinders Ranges is as fine a job of cinema tography as anything Joe Biroc ever did for Robert Aldrich’s westerns; the sound recording is first class (listen to the eerie combination of stillness and hoof-echo as the riders approach the New South Wales Queensland border bridge); and some of the secondary roles — Robert Grubb’s m arvellously understated Morringer; Tommy Lewis’s Warrigal, alternately morose and jovial; Susie Lindeman’s Jeannie, winsome but never wimpish; and Paul Chubb’s ail-too-brief cameo as Mungo, the beefy cook with a repertoire of gourmet delights — are beautifully played. At the centre, though, is Sam Neill’s Star light — the first thing he has done that really lives up to the star aura that has surrounded him since the turn of the decade. The com bination of arrogance and humour in his
For an American viewer, quite a few doubts about the Australian 'new wave’ were con firmed when a number of its most success ful directors began working in America or making films for American distribution. For me, what was most disturbing was the apparent chameleon nature of the film makers — the way in which many of them so quickly adapted to the American style and subject. Watching Tender Mercies, for example, one can observe Bruce Beresford attempt, during the first half of the film, to apply a stranger’s eye to the American south west, photographing the desert as if it were the outback, avoiding close-ups, avoiding melodrama — then collapsing into those very patterns as the film progresses. No Australian filmmaker better exempli fies these problems than Peter Weir. Picnic at Hanging Rock and The Last Wave were the first of the new Australian films to be seen in America, and they did indeed Impress with their precision and imagina tion. Despite some derivative qualities — the links of Picnic at Hanging Rock to Losey’s The Go-Between, the Herzogian romanticism of The Last Wave — they were films that, to a foreign eye at least, ex pressed a lyrical, detailed vision of a
country too often thought of as either banal or mysterious. But then it seemed as if Weir began to falter badly. The internationally financed Gallipoli turned out an elephantine and somewhat adolescent version of Kubrick’s Paths of Glory. The American-backed The Year of Living Dangerously was one of those romances that cynically use politics as a backdrop, and finally seemed more intent on turning Mel Gibson into a kind of gutless Clark Gable than interested in examining the struggle of an individual caught up in a revolutionary culture he could neither affect nor understand. Indeed, Peter Weir was becoming a sign of the final adulteration of the Australian ‘movement’ and its co-opting by the American film industry. Then Witness ap pe ared , and som ething unusual happened — unusual at least in the context of modern cinema. The auteur submerges himself in a thoroughly commercial property, com plete with a popular American star. The film that emerges, how ever, demonstrates the control, insight and care manifested in Weir’s earliest efforts. On the face of its narrative, Witness is only an interesting variation on the standard cop-thriller genre. A child (Lukas Haas) wit nesses a murder, which turns out to involve police corruption. Child and mother turn to a tough but honest cop, and all are in their turn pursued by the villainous police who must efface the evidence of their wrong doing. The ‘difference’ in this genre piece is that the child and his mother are Amish, belong ing to that religious sect in the state of Penn sylvania that abjures the modern world and its trappings, living in a close and closed community basically unchanged since its first founding. The entry of the modern world into their community — through Harrison Ford’s policeman, John Book — allows Weir to do what he is best at: examine a clash of cultures. Witness is The Last Wave in an Ameri can context, set within the bounds of a standard American film genre, minus the earlier film’s apocalyptic connotations and occasional strident lunges at signification. What it retains is a careful, somewhat distanced, though thoroughly sympathetic observation of this strange ‘tribe’, their reactions to an intrusion from a world they continually, calmly try to ignore, and the hero’s discovery of how absolutely imposs ible it would be for him to become part of their community. The film is not without its banalities, in particular the romantic involvement of Book and Rachel Lapp (Kelly McGillis), the
A farewell to Amish: Harrison Ford as Book, Lukas Haas as Samuel in Witness.
Film Reviews Amish woman who looks after him, nurses him to health from a gunshot wound, and lusts after him as a desirable stranger from a strange world. The banality is mitigated, however, by the fact that the sexual desire originates with the woman, and that Book for a while resists, knowing that an attach ment to her would be ruinous to both their ways of life. And, by keeping that tension always present and always under control, Weir succeeds in overcoming cliche. He overcomes it generically by encasing the conventions of the police thriller within his ethnographic observation of the Amish, playing with and refusing completely to fulfil audience expectations. Book’s gun — to take a major example — is an item of revul sion to the Amish while remaining a con ventional sign of protection and security to the viewer. By keeping the gun consistently within the viewer’s awareness (it is hidden in Rachel’s kitchen, where the corrupt police corner her in their search for Book), yet refusing to allow it to be used by the characters in their moment of greatest need, the film suspends us between our own cultural imperatives and cliches and those of a group alien to us. Elsewhere in the film when, with his pro tectors, Book confronts a group of tourists and bullies, he reacts violently, the Amish passively. His reaction is both a release for us and a mark of his separation from his protectors. His/our world is encased in theirs. When he tries to break out, he only proves his difference and the impossibility of co-exist ence. Again, there is nothing terribly novel in these insights, nor would the romanticization of a world of pastoral innocence, com munal grace and protection be particularly extraordinary without the care Weir lavishes on his images and the conviction he brings to his narrative. The attractiveness of such a narrative, though, is undeniable. The fantasy of an idyllic country world of mutual help and pro tection is as old as the invention of cities which made such fantasies necessary. That they are still necessary is perhaps evidenced by the fact that, in March, W it ness was the highest-grossing film in the U.S.
Robert Phillip Kolker
Witness: Directed by Peter Weir. Producer: Edward S. Feldman. Co-producer: David Bombyk. Associate Producer: Wendy Weir. Screenplay: Earl W. Wallace and William Kelley, from a story by William Kelley, Pamela Wallace and Earl Wallace. Director of photo graphy: John Seale. Editor: Thom Noble. Pro duction designer: Stan Jolley. Music: Maurice Jarre. Sound mixer: Barry D. Thomas. Cast: Harrison Ford (John Book), Kelly McGillis (Rachel), Josef Sommer (Schaeffer), Lukas Haas (Samuel), Jan Rubes (Eli Lapp), Alex ander Godunov (Daniel Hochleitner), Danny Glover (McFee), Brent Jennings (Carter), Patti LuPone (Elaine), Angus Mclnnes (Fergie). Pro duction company: Paramount Pictures Corporation. Distributor: LHP. 35 mm. 112 minutes. U.S. 1985.
Away matches THE KILLING FIELDS and CAL At the end of the recent British Academy Awards ceremony, a beneficent David Puttnam called Dith Pran and his wife, Ser Moeun, on to the podium. The breathless voice of the British television presenter urged viewers not to be confused: this was “ the real Dith Pran” . After generous applause, the couple were left standing there uncertainly, victims of one of those painfully embarrassing moments in which television seems to trade (as it happened, nothing was expected of them: they were simply there to be looked at). There was certainly no malicious intent,
but the incident might well stand as a metaphor for the difficulty which the West has in treating the traumas of the Third World (and beyond) as anything more than exhibits for perusal, targets for the easy sympathy born of a safe distance. The incident, along with Puttnam’s two recent films as producer, The K illing Fields and Cal, raises a central question: is it possible for filmmakers to make popular films about social and political upheavals without compromising those events and the individuals directly affected by them? The narrative arrangement of such films as Under Fire and The Honorary Consul, not to mention the current ’India’ cycle, have reduced local events to sites for Western anguish and self-criticism, inter changeable backgrounds for the 'real story’. The K illing Fields, directed by Roland Joffe, is not guilty of this; and (like The Year of Living Dangerously) it does not simply rely on Westerners for its dramatic focal point. Against the background of American bombing and the Khmer Rouge uprising in Cambodia in the seventies, it offers the adventures of two journalists, New York Times correspondent Sydney Schanberg (Sam Waterston) and his guide and inter preter, Cambodian reporter Dith Pran (Dr Haing S. Ngor). And, despite the fact that little attempt is made to search out an his torical framework for the war in Cambodia, there is a conscientious effort to do more with its local hero than the unfortunate event during the British Academy Awards might lead one to expect. Schanberg is at the centre of the first half of the film, though it is made clear that his successes and his survival are a conse quence of Pran’s innovative intercessions and courageous efforts on his behalf. In fact, as the film progresses, the irrelevance of his (and the West’s) place In the course of local events becomes a recurrent motif. Pran, on the other hand, comes to carry the emotional weight of his divided country. In this context, the film ’s closing sequence might have become something of a problem, but it is one of which the film makers seem to have been aware, and their solution is an Intelligent one. The film’s major narrative thrust has been towards the reunion of the two men, and their embrace upon meeting produces a cathartic effect: the male couple is together again, and Schanberg’s guilt at having allowed Pran to fall into the hands of the Khmer Rouge is expurgated. However, the film surrounds their emotional meeting with a sea of un-
interested refugee faces — an image of an ongoing suffering that is not so easily removed. Cal (directed by Pat O’Connor), with its Northern Ireland setting, is considerably less alien to Western audiences, so there is no assumed need for a familiar face to serve as a guide to its troubles (though the casting of English actress Helen Mirren does indicate some concern in this direc tion). Its two central characters, Cal (John Lynch) and Marcella (Mirren), are Irish Catholics, both swept along by the conflict around them. The film is attentive to some of the social and political tensions afflicting the individual In Northern Ireland, and these work to pro vide a strong framework for the personal drama. But the central strategy is a safe one: both Cal and Marcella are victims, the youthful Cal represented as a reluctant participant in the activities of the I.R.A., and Marcella as the widow of a policeman murdered (in the film’s opening sequence) by a companion of Cal’s. There is no attempt to provide any substantial perspec tive on the turmoil. It is simply there and, with some minor adjustments, it could be anywhere. The film's ‘real story, then, is to be found in its reworking of the older womanyounger man tale. In this context, it is rela tively successful, fusing Cal’s fascination with Marcella with the sense of danger that it implies. But, like Dorothy (Jennifer O’Neill) in Summer of ’42 — and despite Helen Mirren’s strong performance — Marcella is allowed to exist as little more than an adolescent male fantasy. This is at its clearest when, having rebuffed Cal’s initial, tentative sexual advances, she succumbs to his silent moodiness and comes to him with a sincere apology for her previous recalcitrance. The film ends with the intrusion of the oppressive environment into the lovers’ idyll and a return to reality, the camera tracking back with Cal’s enforced move ment away from Marcella, after he has been arrested by the police as an acces sory to her husband’s murder. But, whereas the complexities of The K illing Fields were such that a sense of continuing waste persisted, regardless of what happened to the individual journalists, Cal’s narrower focus leaves us with only the bittersweet feeling of the romantic possibili ties its doomed couple might have pursued . . . if only things had been different. •
From Northern Ireland to South-East Asia. Below, left, John Lynch in the title role o f Cal; right, Sam Waterston as Schanberg and Haing S. Ngor as Dith Pran in The Killing Fields.
The Killing Fields: Directed by Roland Joffé. Produced by David Puttnam. Associate pro ducer: lain Smith. Screenplay: Bruce Robin son. Director of photography: Chris Menges. Editor: Jim Clark. Production designer: Roy
Tom Ryan
Walker. Music: Mike Oldfield. Orchestral/choral arrangements: David Bedford. Sound recordist: Clive Winter. Cast: Sam Waterston (Sydney Schanberg), Dr Haing S. Ngor (Dith Pran), John Malkovich (Al Rockoff), Julian Sands (John Swain), Craig T. Nelson (Military Attaché), Spalding Gray (U.S. Consul), Bill Paterson (Dr MacEntire), Athol Fugard (Dr Sundesval). Production company: Goldcrest Films and Television/Enigma (First Casualty). Distributor: Greater Union. 35 mm. 142 minutes. Great Britain. 1984. Cal: Directed by Pat O’Connor. Produced by Stuart Craig and David Puttnam. Executive producer: Terence A. Clegg. Screenplay: Ber nard Mac Laverty, based on his own novel. Director of photography: Jerzy Zielinski. Editor: Michael Bradsell. Production designer: Stuart Craig. Music: Mark Knopfler. Sound recordist: Pat Heyes. Cast: Helen Mirren (Marcella Morton), John Lynch (Cal McCluskie), Donat McCann (Shamie), John Kavanagh (Skeffington), Ray McAnally (Cyril Dunlop), Stevan Rimkus (Crilly), Catherine Gibson (Mrs Morton). Production company: Enigma, for Warner Bros and Goldcrest Films and Tele vision. Distributor: Roadshow. 35 mm. 102 minutes. Great Britain. 1984.
Black skin, white masks A SOLDIER’S STORY If, after Chariots o f Fire, any doubt remained that the ‘Australian film’ was a genre rather than the outpouring of some ineffable national essence, it should be removed by A S o ld ie r’s Story. For this is not a ‘Hollywood film’, nor an ‘American film’, nor a ‘black film’, nor even a ‘liberal film’: it is an ‘Australian’ film that happens to deal with black American soldiers in the mid-forties, much as Breaker Morant happened to deal with Australian soldiers at the turn of the century. A S oldier’s Story deals with a past that the world has ignored, in this case the past of black Americans. Its story is one that sim ultaneously and self-consciously demythologizes and remythologizes that past, which we are urged to see as an era of innocence and high hopes, in tacit contrast to the times in which we now find ourselves entangled. A S o ld ie r’s Story gently asks us to come to terms with that past — to accept it, revere it, make use of it. The film instructs, wants to help us in the sad search for identity, wants to win Academy Awards and (even more) to win prizes at Cannes, Berlin, Venice . . .
Film Reviews
It is actually much more localized than most ‘Australian films', dealing as it does with the internalization of self-hatred in the minds of a subject population. Indeed, the way in which American white folks (Columbia Pictures, producer/director Norman Jewison) have presumed to speak for American black folks — the screenplay, by Charles Fuller, is from his own play, originally presented by the Negro Ensemble Co. — and speak to all American folks, black and white, is one of the more disturbing things about it. It is hard to figure out what is intended (and it is very clear that something is intended), because it is hard to figure out who one is supposed to be while watching it: white watching black, or black watching black, or white watching black being watched by white, or black watching white watching black . . , ? The possibilities are disorienting — and, I suppose, one of the more praiseworthy aspects of what is, all in all, a pretty reprehensible motion picture. Reprehen sible because it proclaims its good intentions with such bad faith, telling us insistently that it is for all the right things while refusing to acknowledge the rasping edge of a rightness that might redeem it. The date is 1944. A black army base in the deep, racist south; the army still segregated; black men drafted, but not to fight. In this case, they are from the Negro League — hot-shot athletes, playing baseball for the army. Around them, a hostile white population; occasional Klan killings of black soldiers, all unsolved. Then, a drunken black sergeant (Adolph Caesar) is murdered (actually, his skin is hardly black at all — a circumstance which the film, by its silence, insists upon). Washington sends a legal officer (Howard E. Rollins, Jr.) to investigate — a black man. Consternation: this man is very black; his skin glistens in The Heat of the Night. Slowly, Oedipally, and with many a colourful incident and insightful glimpse of character, the Truth emerges: the white folks didn’t do it! This sergeant cat was so Evil, some brother cat just naturally had to waste him. Coda. Freeze on black troops, finally marching off to whup Hitler’s ass, just topping the rise with the stars and bars flut tering above. The film is another one about black masks, and there are some nicely observed touches. In church on Sunday, the black troops sway as they sing behind the white officers, who never notice what they do. The black captain is constantly tugging at the tail of his supersmart jacket, or putting on his shades. The high yella sergeant's evil is a pathological denial of his black ethnic roots: he persecutes and destroys an
84 — May CINEMA PAPERS
Passion and defiance: above, Denzel Wash ington and Larry Riley in A Soldier ’s Story; right, F. Murray Abraham in Amadeus. archetypal country boy, C.J. (played with sharp intelligence by Larry Riley) — a goodhearted, blues-singing, baseball-playing fool. And we hate him for it. The sergeant’s death is deserved; but the one who does the deed is flawed, too: he shoots the sergeant partly to silence the truth he is speaking. Then, abruptly, the preaching stops. Once the murder is solved, the masks seem to come off, too. The investigating captain asks for a lift from his'white counterpart (Dennis Lipscomb) and is — a reversal of The Defiant Ones — given a helping hand into the jeep. The mood is exhilarating as he tells the white officer that he had better get used to seeing black faces above those officer’s stripes. The ‘St. Louis Blues March’ blares out from the screen, and the film ends. B u t. . . after all, this black officer has just shown himself a better white man than the white men; and those black troops are moving out to fight a white man’s war from which, the black sergeant has prophesied, blacks will benefit. Dispassionately — or do I mean passionately? — read, everything is there for us to understand that the sergeant was, in fact, right: survival can only be bought at the cost of the past. And what of his last words, the ones he was killed for saying: “ they still hate you"? Does A Soldier’s Story, with its patina of Australianness, its earnest didacticism, its upbeat ending — does this film really say that? No.
William and Diane Routt
A Soldier’s Story: Directed by Norman Jewi son. Producers: Norman Jewison, Ronald L. Schwary and Patrick Palmer. Executive pro ducer: Charles Schultz. Associate producer: Charles Milhaupt. Screenplay: Charles Fuller, based on his own play. Director of photo graphy: Russell Boyd. Editors: Mark Warner, Caroline Bigglestaff. Music by Herbie Han cock. Production designer: Walter Scott Herndon. Sound: Charles Wilborn. Cast: Howard E. Rollins, Jr. {Capt. Davenport), Adolph Caesar (Master Sgt. Waters), Dennis Lipscomb (Capt. Taylor), Art Evans (Pfc. Wilkie), Denzel Washington (Pfc. Peterson), Larry Riley (Pfc. C. J. Memphis), David Alan Grier (CpI. Cobb), "Wings" Hauser (Lt. Bird), Patti LaBelle (Big Mary). Production company: Caldix Films Ltd., for Columbia Pictures. Distri butor: Fox-Columbia. 35 mm. 101 minutes. U.S.A. 1984.
The music men AMADEUS Like C o pp ola’s The Cotton Club, Amadeus is a fascinating concoction of themes and narrative structures, set within a framework of music and performance. And, like The Cotton Club, it explores con flicts and rivalries in an unreal, almost imaginary world of people with talent and those who seek to exploit them. In the end, however, Amadeus leaves its audience dissatisfied. For, unlike The Cotton Club — and unlike the play by Peter Shaffer (who is also author of the screenplay) — Amadeus dazzles the audi ence without offering them a satisfactory dramatic conclusion. The film’s allegorical elements are not difficult to decipher. In the guise of relating the conflict between the God-fearing, chaste, politically astute but largely for gotten court composer, Antonio Salieri (F. Murray Abraham), and the feckless, dis obedient, vulgar and naive Wolfgang Amadeus Mozart (Tom Hulce), Amadeus touches on some less personalized conflicts — the links between genius and madness, inspiration and God, justice and the estab lished order of things; the extent to which an artist can or should remain politically naive or detached; and the conflict between father and son, mentor and prodigy, pro tector and protected. But, unlike the play, the screenplay of Amadeus broadens the rivalry into the realm of history. The role of the Hapsburg Emperor, Joseph II — a fine performance by Jeffrey Jones — is expanded, and the character used to indicate the growing political foment of the time. In his encounters with the Emperor, Mozart becomes a symbol of youth, challenging the old order ideologically as well as music ally — something which removes the film from the fantastical world in which supposi tion and conjecture can reign unfettered by an external reality. In the second part of the film, the narra tive veers away from “ its allegory and becomes bogged down in the painstaking details of Mozart’s decline. As winter sets in, the interiors become less grand, the camera moves in more often, the lighting level drops and Mozart’s world becomes claustrophobic. Salieri is no longer the detached narrator, and becomes instead an integral part of the events. Thus one’s perception of his turmoil dulls as one watches the fatal struggle of Mozart. In effect, the audience is consumed by the
burden of poverty, ill-health and loss of family which Mozart must bear. There are no feelings to spare for Salieri. Despite this shift in narrative, however, Amadeus maintains a knowing tone of black irony, which is its sustaining dramatic force. From the opening scenes in which Salieri attempts suicide while his servants tempt him with sweets — a scene cut against the whirling, bright backdrop of dancers at a ball — to the climax when Salieri sees the Requiem Mass (and his chance for glory) whisked efficiently away by Mozart’s unimpressive little wife, Constanze (Elizabeth Berridge), the irony of the events is excruciating. Throughout, the music is both a narrative and a thematic device. The soundtrack is used to extraordinary effect, linking Mozart’s operas and the events in his life, illustrating the musical rivalry between Mozart and Salieri, and conveying the passion of the feelings represented. One of the best examples is a scene in which Mozart returns to writing a composition on the billiard table. He carefully shuts the door behind him, muffling the sound of his wife and father (Roy Dotrice) arguing, and signalling the crescendo of music on the soundtrack as it swells in his head and he escapes from reality into his perfect world. Unfortunately, however, the mise-enscène is neither as subtle nor as effective as the use of the music. The contrasts, in par ticular, are overwhelming — between the scenes of Salieri as an old man and the flashbacks; between the constant spring of the first part and the constant winter of the second; and between the austerity of Salieri’s world and the frivolity of Mozart’s. The film is also heavy-handed in its use of symbols — the masks that conceal and reveal reality; the opposing father figures; and the doors that open and close, inviting and excluding entry into .different worlds. Similarly, the operas (staged by Twyla Tharp) provide diversions for the eye, but become tiresome once the dramatic parallels have been established. Equally taxing is the monotonous regularity with which we are forced to return to the ageing Salieri and his confessor. In the end, the viewer is weighed down by the theatricality and the sheer inevit ability of the conclusion to which director Milos Forman is determined to draw the movie. Of course Mozart must die. But the film's final confrontation is a disappointing climax to the conflicts and confrontations which have preceded it. Mozart slips gently into death, once again evading the painful ness of reality, as he unsuccessfully sought to do throughout his life. And the confronta tion, which should have been between him
Film Reviews and Salieri, takes place instead between Constanze and Salieri. One feels cheated: the tragedy has devolved into a tale. Just as Salieri's denunciation of his faith carried little impact, his self-proclamation as the champion of mediocrity leaves no one shuddering. It is only as Mozart’s music rises above his maddened shouts that one glimpses once again the vision and the tur moil of Amadeus.
battle they win with determination, innova tion, and a sense of their place in the order of things. The storms, the tornadoes, the floods and the often bleak landscapes of The River, Country and Places in the Heart create hardship, but they exist primarily as challenges that have to be accepted as a legacy of the past, and as part of the ongoing deal with Nature. What the farmers cannot win against is the intimidation of the money-lenders, with Helen Greenwood their warnings of foreclosure. Economic realities erupt into the wilderness that has Amadeus: Directed by Milos Forman. Pro become a garden, shattering the farming ducer: Saul Zaentz. Executive producers:. communities’ belief in the control they have Michael Hausman and Bertil Ohlsson. Screen over their lives. The harmony of Man and play: Peter Shaffer, based on his own play. Nature is destroyed, families are divided, Director of photography: Miroslav Ondricek. and their world threatens to collapse in Editors: Nena Danevic and Michael Chandler. chaos. Production design: Patrizia von Brandenstein. In a sense, the eighties pastoral is a Costume design: Theodor Pistek. Opera sets parable for our time, dramatizing the designed by Josef Svoboda. Choreography problem of the small business, and the and opera staging by Twyla Tharp. Music experience of being wrenched from a life supervised and conducted by Neville that had once been guaranteed — of being Marriner, performed by the Academy of St. rendered powerless by forces that are face Martin in the Fields, the Academy Chorus of less, even if their agents are not. St. Martin in the Fields (Director: Laszlo Bankers, bureaucrats, merchants and Heltay), the Ambrosian Opera Chorus auctioneers serve the interests of this (Director: John McCarthy) and the Choristers unseen enemy, urging the people of the of Westminster Abbey (Director: Simon Preston). Cast: F. Murray Abraham (Antonio land to see ‘the truth’: that “ this kind of life is Salieri), Tom Hulce (Wolfgang Amadeus over” , that, "sooner or later, there’s gonna Mozart), Elizabeth Berridge (Constanze be too much rain, or too much drought, or Mozart), Simon Sallow (Emanuel Schikaneder), too much corn” . Roy Dotrice (Leopold Mozart), Christine Eber Yet, because the nature of the enemy sole (Katerina Cavalieri), Jeffrey Jones remains ill-defined — a stock market report (Emperor Joseph II), Charles Kay (Count on the radio at the beginning of Country, a Orsini-Rosenberg), Kenny Baker (Parody Commendatore), Lisabeth Bartlett (Papagena), Barbara Byrne (Frau Weber), Martin Cavani (Young Salieri), Roderick Cook (Count von Strack), Milan Demianenko (Karl Mozart), Peter DIGesu (Francesco Salieri), Richard Frank (Father Vogler), Patrick Hines (Kappel meister Bonno), Nicholas Kepros (Archbishop Colloredo). Production company: The Saul Zaentz Company, for Orion Pictures. Distri butor: Hoyts. 70 and 35 mm. 161 minutes. U.S. 1984.
Spaces in the heartland COUNTRY, PLACES IN THE HEART and THE RIVER For a generation or more, the mainstream western proposed a white, pastoral utopia — an uncluttered frontier which provided the wellspring for a dream of history. Its conflicts were simple, opposing those who dreamed of a garden with those whose sanctuary was the wilderness. What westerns eventually came to realise, though, albeit with reluctance, was that the real threat to the West didn’t come from the outlaws who rode the high country: it came from the encroachment of the East onto the virgin land of the West. The invasion by politicians, banks and big business complicated the conflicts and effectively took charge of the future. The arrival of folks from the East — school teachers and other moral intransigents — may have created earlier points of tension, but never like this. Eastern values now meant a corruption of the West and a subversion of the dream. It was no longer a matter of an emergent civilization: the issue had become capitalist economics. Short of a confrontation with the hand that fed it, the western had nowhere to go. The pastoral films of the eighties repre sent a re-emergence of those tensions. The heroes now are the farmers, who embody the principles of the past, but who are threatened by the collapse of their communities under the pressures of the present. Their struggle for survival against the vagaries of Nature is represented as a
photo of Reagan on the wall in the Farmers’ Flome Administration office later in the same film; the local businessman serving rival interests and the manipulation of labour in The River; the thirties depression in Places in the Heart — the drama of the eighties pastoral remains a personal one, eschew ing politics, pursuing conse quences rather than causes. In Country, Jewell (Jessica Lange) tries to explain to her children the disruption that has overtaken their idyllic life. “ Your dad ’n me are caught in the middle of somethin' we didn’t even see cornin', it caught us head-on.” What she is talking about is the threat of foreclosure, but the film clearly suggests a connection between that and the tornado which struck in the opening sequences. This linking of Nature and the politics of the economy is central to the three films, creating a framework in which the farmer can remain a romantic figure, outside the world of politics, innocent of its implications. A knowledge of the machinery of politics would represent a loss of innocence; and, as in the western, that is simply not on. As a result, the films point to a world beyond the local community, but fail to develop its relevance to the open world of the heart land. This does not make them bad films, but it
Bottom, Gibson and Spacek in The River; below left, Sally Field in Places in the Heart; below, Jessica Lange in Country.
does underline their limitations. At the same time, it allows them to focus on families and communities under stress, and both The River and Country move towards affecting climaxes which celebrate the power of people who work together for a common cause. Their victories may only be temporary — though a caption at the end of Country tells us of the government order to stop all foreclosures — and the corruption of the simple life may have destroyed for ever that place where horses could run free. But, in their sharing of an ideal and a spirit of survival, these people have regained their sense of dignity and have discovered, in their defiance and in their commitment to community, a feeling of power and hope. Places in the Heart, however, is more cautious in its recognition of the possibilities of community. Alongside its drama of the widowed Edna Spalding (Sally Field) in her fight for the future, it creates a portrait of a society which is also divided from within by racial and sexual anxieties. Whereas The River and Country identify social and domestic rifts as the product of outside pressures, Robert Benton’s film, to its credit, refuses such an easy option. Racial hostilities simmer throughout (blacks are denied entry into even the most well-meaning of white house holds) and intermittently boil over (the lynching at the start and the later violence of the Ku Klux Klan). Similarly, the extra marital affair shared by Wayne (Ed Harris) and Viola (Amy Madigan) undercuts any simple perspective on domestic harmony in the South. Only in the film’s touching final scene is there a reference to any real sense of com munity — and there, it is clearly marked as fantasy, an ideal to be wished for, but one totally at odds with the reality of life in and around the small Texas town. Though Places in the Heart does exhibit a certain toughness in the character of its thirties milieu, it is, however, less successful dramatically than either The River or Country. The rich imagery and the personal dramas of both those films recall the strengths of the late western at its most assured.
Tom Ryan
Country: Directed by Richard Pearce. Pro ducers: William D. Witliff and Jessica Lange. Screenplay: William D. Witliff. Director of photography: David M. Walsh. Editor: Bill Yahraus. Production design: Ron Hobbs. Music: Charles Gross. Sound recording: Jim Webb, Scott Senechal. Cast: Jessica Lange (Jewell Ivy), Sam Shepard (Gill Ivy), Wilford Brimley (Otis), Matt Clark (Tom McMullen), Therese Graham (Marlene Ivy), Levi L. Knebel (Carlisle Ivy). Production company: Touch stone Films. Distributor: Roadshow. 35 mm. 109 minutes. U.S.A. 1984. Places in the Heart: Directed and written by Robert Benton. Producer: Arlene Donovan. Executive producer: Michael Hausman. Director of photography: Nestor Almendros. Editor: Carl Littleton. Production designer: Gene Callahan. Cast: Sally Field (Edna Spalding), Lindsay Crouse (Margaret Lomax), Ed Harris (Wayne Lomax), Amy Madigan (Viola Kelsey), John Malkovich (Mr Will), Danny Glover (Moze), Yankton Hatten (Frank), Gennie James (Possum), Lane Smith (Albert Denby), Terry O'Quinn (Buddy Kelsey), Bert Remsen (Tee Tot Hightower). Production company: Tri Star Pictures. Distributor: Fox-Columbia. 35 mm. 111 minutes. U.S.A. 1984. The River: Directed by Mark Rydell. Pro duced by Edward Lewis and Robert Cortes. Screenplay by Robert Dillon and Julian Barry, from a story by Robert Dillon. Director of photography: Vilmos Zsigmond. Editor: Sidney Levin. Production designer: Charles Rosen. Music: John Williams. Cast: Mel Gibson (Tom Garvey), Sissy Spacek (Mae Garvey), Shane Bailey (Lewis Garvey), Becky Jo Lynch (Beth Garvey), Scott Glenn (Joe Wade), Don Hood (Senator Neiswinder), Billy Green Bush (Harve Stanley). Production company: Universal. Distributor: UIP. 35 mm. 126 minutes. U.S.A. 1984.
CINEMA PAPERS May — 85
OM/OFC 1039
Film Reviews From-the very start, all Fellini’s films have had moments of narrative ellipsis, when pure spectacle replaced story. The elderly magician with the tame goose in Luci del Varieta (Variety Lights, 1950), the singer in the deserted night-time square in Lo Sceicco Bianco (The White Sheik, 1951) were the forerunners of the increasingly elaborate carnivals of La Strada (1954), Otto e Mezzo (8 V2 , 1963), Amarcord (1974) and Casanova (1976). But, beneath it all, there were still people and there was always a theme, usually the loss of innocence or the loss of youth. In
And the Ship Sails On (E la Nave Va), there are no people, only masks; and the theme would seem to be the loss of every thing: the motley passengers assembled aboard the ‘Gloria N’ are the final remnants of a dead society, caught in that society’s eternal twilight of July 1914. Always before there has been a pro tagonist, too. Flere, there is only a narrator, Orlando (Freddie Jones), and the subject of his narration are the grotesques of the earlier films — the cadaverous faces, the giants and the dwarfs — who are now centre-screen. Inevitably, they have no story to tell: like the figures on the great clock at Strasbourg, they go through their motions but signify only the passage of time. The film, accordingly, is a long, gorge ously mounted voyage to nowhere — a tired old conjuror’s showpiece, whose ideal metaphor seems to be the only non-artificial thing in it, the rhinoceros rumoured to be lovesick but which proves merely to be con stipated. Nick Roddick
The chief — though not the only — drawcard of Beverly Hills Cop is the comic per formance of Eddie Murphy, as a street-wise Detroit policeman in search of a friend’s murderer in Beverly Hills. Murphy’s humour preys on the high society setting, offering the audience both comfort and a sense of defiant superiority. He uses his ‘street charm’, foul language and various comic personas to humiliate and manipulate the well-heeled inhabitants of Beverly Hills. His visual contrast — wearing jeans and a sweatshirt amid the trendy fashion, and driving a beat-up car among the Rolls Royces — is also played upon as a defiance of the locale. There is some good action, strategically placed at the start and finish, an unambigu ously despicable villain (Steven Berkoff) and an emotional motive underpinning detective Axel Foley’s investigations. And the film does itself and Murphy a favour by developing the friendship between Foley and two Beverly Hills policemen (Judge Reinhold and John Ashton). Their growing alliance with Foley, his un orthodox methods, and their conflicts over whether to bend the rules of their by-thebook operating procedure, help dissipate the audience focus from Murphy — and simply prevent one growing weary of him. One of the most enjoyable things about the film, though, is its unashamed confidence in itself as a highly commercial product. Its zesty fusion of a star perform ance, humour, structure and soundtrack are a copper-plate example of how to win an audience.
gangster saga, assuming the manner of a Grand Guignol opera, outrageous and delirious. Its detachment, its refusal to allow a moral perspective on its world, is both despairing and disquieting. Body Double goes a step further. A vicious black comedy, it plunges into a world in which filmmaking (and film criticism) is the oppressor, constructing a teasing web of illusions and allusions, stretching narrative verisimilitude to break ing point, constantly turning in on itself. It is shaped around patterns of repetition and variation, creating a veritable prison of puns. Its target is Hollywood — and, by implica tion, filmmaking — and it weaves together a community of the manipulators and the manipulated, the creators of lies and the witnesses who willingly surrender to them. It is a frustrating, infuriating, angry, absurd, unreasonable, subversive film, mocking itself and the audience. It makes one wonder what kind of film DePalma could possibly make next. Tom Ryan
In spite of its title, suggesting tough times on steamy urban streets, the rain never stops in City Heat. This enables the characters to go round in big trenchcoats with the weaponry well concealed, and to dash down damp, darkened alleys. The setting — Kansas City in 1933 — allows director Richard Benjamin lovingly to create another romantic period piece, replete with vintage cars, art deco trappings and smoky speakeasies. The film’s tongue-in-cheek approach to gangland antics produces ironic plays on cliched characters from a lively cast: Clint Eastwood as the hardnosed cop, Burt Rey nolds as the hapless gumshoe, Jane Alex ander as the loyal secretary, Madeline Kahn as the dizzy socialite, and Rip Torn and Tony Lo Bianco as the menacing, cigar-chomping crime bosses. Much of the film relies on the chemistry between the two leads — a classic, malebuddy, love-hate relationship. But, while Eastwood and Reynolds manage to enliven the film with some spirited repartee — East wood, in particular, shines in a send-up of Harry Callahan — a lot of the humour falls from other cast members’ lips with a resounding thud. But the uncomfortable comic moments are, to a degree, offset by the sheer excess of the action: Benjamin has opted for shootouts orchestrated with such operatic licence that they occasionally manage to enliven a film that otherwise sags under the weight of a patchy script.
preacher who is deeply disturbed by his own longings and who is seeking salvation at her hand. The third side of the triangle, Grady (John Laughlin), is a young man forced to face the truth that his marriage is a void. His almost accidental discovery of Joanna’s double life leads them both to transcend the self-imposed limitations and deceptions they have built around their emotions and the neuroses to which they cling. The elements, in fact, are all there for a trite — if steamy — telemovie: “ Why does this beautiful woman choose . . . ? ’’ etc. But, after jagged introductions to the characters and a few narrative hops, Russell draws together the threads from this psycho logical web with a remarkable degree of feeling for his leads and a welcome avoid ance of moralistic cliches. The dialogue consists largely of double entendre, especially in the verbal sparring between China Blue and her visitors — the defence she uses against genuine com munication. Visually, the film glows with overheated neon and other motifs: China Blue and Grady’s first Kama Sutra-like encounter is shot in silhouette against a reflective wall, while Grady’s long bedroom discussion with his wife has the shadows of lace curtains playing across their faces. Behind the stylistic flourishes, though, Crimes of Passion is an open and optimistic film; and its tone works better than the reconciliatory ending of Altered States.
Hans W. Geissendorfer’s Edith’s Diary (Ediths Tagebuch) is apparently the film Ms Highsmith herself prefers. Jt is hard to see why. With Angela Winkler's perman ently edgy central performance, it is an honest enough piece of work. But it is with out mood, and without that bizarre, twisted point of view — apparently endorsed by the writer — that characterizes Highsmith’s finest work. It characterized Strangers on a Train, too. For a while, one found oneself inside a psychopath’s head, and the view was strangely familiar. The only thing familiar about Geissendorfer's film is a sort of seamless, telemovie structure. Otherwise, its tone is disjointed, its style disparate, and its point of view — crucial to Highsmith’s world — muddled. It has some nice moments — the escalating violence of the jolly visit to the marital home that Edith’s husband, Paul (Vadim Glowna), makes with his new girl friend; the pull-back dollies that link Edith to her environment. But the sociology is so insistent, the psychology so ordinary that, in place of H ighsm ith’s icy study of m ounting paranoia, what we get is a portrait of a bour geois German housewife driven nuts by trivia. Nick Roddick
Mark Spratt
Patricia Highsmith is a novelist whose thrillers cry out to be filmed. With their strong, obsessive sense of place and a mood that, in the reader’s mind, summons up images of film noirsh lighting and framing, they should be the stuff of cinema. Unfortunately, with the exception of the first movie ever made from a Highsmith novel, they haven’t been. That exception, of course, was Hitchcock’s Strangers on a Train (1951).
DebiEnker
In Ken Russell’s Crimes of Passion, Joanna (Kathleen Turner) is a wealthy, isolated career woman who, by night, indulges her sexual frustrations and those of strangers by becoming the exotic prostitute, China Blue. Observing her is Anthony Perkins, as an itinerant street
Above, body lines: top, Melanie Griffith on display in Body Double; above left, Kathleen Turner on the threshold o f desire (with A nthony Perkins) in Crimes o f Passion; and above right, Burt Reynolds and Clint Eastwood with a s tiff in City Heat. Below, the insane, the ingenuous and the ingenious: left to right, Angela Winkler in Edith's Diary, Sarah Jane Varley in A n d the Ship Sails On, and Eddie Murphy in Beverly Hills Cop.
Jim Schembri
Even as it sustains the preoccupations of Brian DePalma’s previous films, Body Double also underlines a radical break with them. There is the familiar play with the kinds of illusions that constitute classical narrative cinema,"but the creative potential for DePalma’s manipulation of these within the constraints of a narrative form seem to have been exhausted with Dressed to Kill and Blow Out. Scarface looks like a revealing transition. A film of explosive excess, it strategically shatters the mythical framework o f the'
CINEMA PAPERS May — 87
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Above, looking forward with hope and back with anger: left to right, John Savage and Robert Mitchum as father and son in Maria's Lovers; Shelley Long autographing the anatomy o f her marriage in Irreconcilable Differences, and Irene Papas being grand motherly in Erendira. Below right, meeting cute: Meryl Streep and Robert de Niro in Falling in Love. A n d the two faces o f Tim Roth: as Myron in The Hit (top) and as Colin in Meantime.
Set very much in the present, Erendira seems nevertheless like the product of a by gone era: old and new images rub shoulders, and the unspeakable happens on screen. When, for instance, Erendira and her young lover decide to kill the old woman, the film slides into a marvellously imaginative depiction of our worst fears and desires. Here, the deed of murder isn’t just con templated: it is actually carried out, over and over, until the tough old matriarch dies. But the blood on the youth’s clothes is green, to ritualize the death. Guerra uses similar ploys in some of the sexual scenes, though at other times the film drifts rather too close to soft-core porn. The acting of Irene Papas and Claudia Ohana, however, is exquisite. Margaret Smith
Fables are not really part of our vocabulary, and Erendira breaks a lot of the rules of realistic cinema: its story is at times irritatingly simple, the characters stereo types and the events repetitious. Directed in Mexico by the Brazilian film maker, Ruy Guerra, Erendira’s screenplay is by Gabriel Garcia Marquez, who used the story as an episode in his novel, One Hundred Years of Solitude. It tells of an arrogant, aristocratic grandmother (Irene Papas) and her young, waif-life grand daughter (Claudia Ohana). The older woman uses the younger as her personal slave, first as a servant, then as a whore, never considering the girl’s own rights.
^88 — May CINEMA PAPERS
Falling in Love is as dull as its title is un inspired. Robert DeNiro and Meryl Streep play two married suburbanites who meet in a Manhattan book store and discover later that they are travellers on the same com muter train. Fate’s timing provides the charmed introduction, but these two fools can’t make up their minds what to do when the gift comes their way, and the rest of the movie is a tedious examination of their in decision. Streep is given to thoughtful gazes of the ‘should I, shouldn’t I?’ genre, while DeNiro looks over his shoulder with too many second thoughts. The most this pair have to feel guilty about, however, is dallying over lunch. They are a rare couple who destroy their marriages by not sleeping together: their
lovesickness is what drives their partners away. But there isn’t a conversation or a moment that gives a due as to why they are such a winning combination: they have little in common besides being happily married and having the unlikely ability to locate one another in any crowd in New York City. After parting ways, the two are reunited by yet another chance meeting — the one that makes it one too many — and still they don’t know what they want, even when un encumbered by marriage. By then, how ever, the film has abused the plausible nature of coincidence by its overuse, and been robbed of any potential charm by what is, at best, a very lean story coloured in with some famous faces.
— or a combination of approaches — to its story, and the result is a muddled, badly paced, over-long film which says far too little. There are some notable exceptions, though: two good dramatic scenes, for which Long takes the credit (complaining that Albert has ignored her contribution to a successful screenplay, and walking out on him), and a reasonably funny send-up of the director-as-auteur, as Albert attempts to complete a shot on his multi-million dollar musical remake of Gone With the Wind. But these scenes work in isolation from the rest of the film. And Casey herself is kept too much in the background, though it is supposedly her story that is being told. Events contributing to her neglect are out lined, but her reactions to them are not. In the final analysis, the film neglects Casey as much as her parents do.
Jim Schembri
Andrei Mikhalkov-Konchalovsky’s Maria’s Lovers, though dismissed by one local reviewer with the silly and totally inappro priate term of ‘soap’, is arguably the most touching and beautiful human drama to be released in Australia in the last five years. The story of a psychologically impaired young American soldier, Ivan Bibic (John Savage), who returns home after World War II to try and re-establish his relationship with his former girlfriend, Maria (Natassja Kinski, in easily her best role yet), it is told with lyricism, sensitivity and great emotional Dorre Koeser power. During his horrific internment in a Japan ese POW camp, Ivan has coped by dream The Hit divides people. To some, mainly ing of a life with Maria, his love growing to other filmmakers, it is a self-indulgent exer the point of worship. When they are finally cise in bad story-telling, with unmotivated together, his overwhelming love proves to camera movements, its style little more than be a physical inhibition. The tension a veneer. To others, including me, it is a between them builds and, through a series spare, attractive, off-beat thriller, in the tradi of misunderstandings, the relationship tion of The Long Good Friday, the only deteriorates. other British genre piece of the eighties. The film's main performances concen True, there is an element of camp about trate, noton ’giving’ a character to the audi the whole thing. At its centre is Terence ence, but on developing in the audience an S tam p’s laid-back gangster, going internal' understanding: Savage, in par shrugging to his death, but cracking up at ticular, is outstanding. the last moment because it doesn’t happen The cinematography is superb, with evo as he wanted. On either side are John cative compositions and rich natural sym Hurt’s hit man, a constipated professional bolism, and a splendid combination of light strangely adrift in the barren wastes of ing and editing complements the drama. central Spain, and Tim Roth’s transplanted ■Doors, windows and walls are used as British football hooligan, with his fondness wedges between characters, symbolizing for smashing up Spanish bars. Like division and conflict, and acting as designer punk, the whole surface of the film c h a n n e l s of a w a r e n e s s a n d has an element of artificiality about it. misunderstanding. But that, surely, is the point. Opening with Jim Schembri a realistic, Minderish trip to the court, as §tamp testifies against his former cronies, the film suddenly sidesteps, and has the Although originally made for television, men in the dock burst into tuneless song: Mike Leigh’s Meantime works just as well “ We’ll meet again/Don’t know where, don’t on the big screen. The attempts of a family know when/ But I know we’ll meet again, of four to eke out a ‘meaningful’ existence some sunny day!” Cut to a sun-drenched in an East End council flat against a back Spain, ten years later, as Stamp, in white ground of long-term unemployment are fol peon gear and espadrilles, goes out lowed in a straightforward style. shopping. It is attitudes that figure strongly. And, With so much verve, humour and visual when Auntie Barbara (Marion Bailey) offers' intelligence, it seems ungracious to Colin (Tim Roth) a job helping her re quibble. A classic thriller it is not. But it was decorate a room, each character interprets never meant to be: it is a film for the the offer differently. Colin’s parents see the eighties, a decade in which even mean job as a chance to get money, while Colin’s streets no longer have much meaning. brother, Mark (Phil Daniels), sees the offer Nick Roddick as patronizing the working class, since Auntie Barbara has joined the suburban middle classes. It must have seemed like a great idea: a film Barbara, it is later revealed, is using the about a young girl, Casey Brodsky (Drew activity to repress marital problems. And Barrymore), filing for divorce against her Colin simply wants to buy a pair of ‘bovver parents, Lucy and Albert (Shelley Long and boots’ and join a peer group. But it is the Ryan O’Neal), who have become too difference between Barbara’s attitude of absorbed in themselves to pay her enough personal endeavour to rise above the attention. problems of working-class existence, and But what kind of film? A drama would Mark’s belief that the problems should be have been the obvious approach. But a eradicated from within, that provides the comedy . . .? Admittedly; the issues do not film’s focus. easily lend themselves to comedy; but there To its credit, Meantime ends with no real is some satirical potential in a sardonic view resolutions — an ironic truthfulness to its of Mr and Mrs Beautiful America, which working-class setting that is unlikely to Irreconcilable Differences partially affect Australian patrons, given the film’s realizes. art-movie status here. It fails, however, to establish an approach Ernie Althoff
Film Reviews After three very disappointing flops, Dudley Moore’s career is in desparate need of a major success. Micki & Maude succeeds only in extending the losing streak. It was reasonable to assume that, by teaming up again with Blake Edwards, he could have repeated the magic of '10'. But Edwards is one of the enigmas of American film — capable of creating some of the best and most insightful comic (and dramatic) slices of American life, but able to come up with some of the most misguided and ego centric views as well. The basic premise of Micki & Maude — a dissatisfied journalist, eager to begin a family but constantly rebuffed by his ambitious and successful attorney wife, Micki (Ann Reinking), then falling in lust and love with a pretty cellist, Maude (Amy Irving), and finally entering into a relation ship with both when they both become pregnant — is set up quite well. But Edwards and writer Jonathan Reynolds then proceed to throw in every possible predictable set-piece, stretching and strain ing any hope of extended credibility. Moore plays the familiar, bumbling, pro fessional artist — well restrained in this instance, but still a character that grows tire some. In her first straight role, minus the singing and dancing, Ann Reinking acquits .herself well, but Amy Irving is more of a back-seat passenger in this menage-a-trois: her ability is not stretched. John Pruzanski
Though it reverberates with the distinct echo of Mr Smith Goes to Washington, the ambiguities that gave substance to Capra’s comedy are entirely absent from Protocol. The basic structure is virtually identical: Sunny Davis (Goldie Hawn), like Jefferson Smith (James Stewart), stumbles away from the common people and into the alien world of Washington politics. Like him, she carries with her the kindheartedness and the commonsense of the old folks at home, her spontaneity creating an immediate contrast with the cold, self interested pragmatism of the politicians and their cohorts. Much of the comedy of both films stems from this contrast — indeed, the first half hour or so of Protocol, charting Sunny’s conscription into political service, offers some incisive political satire and is very, very funny. Before too long, however, the comic edge is blunted as Sunny is reminded of her power by a tour of the Washington monuments. She discovers from the Declaration of Independence that she is 'we the people’, and, in a speech recalling Smith’s filibuster in Capra’s film, warns the assembled might of the nation’s capital that “ you’re gonna have to watch out for me, ’cause I’ll be watching you . . . like a hawk” . Just as the film’s State Department officials recognize the easy appeal of the spirit of hokum embodied in Sunny and set out to use it, so does the film. And, whereas the victory achieved by Smith in the Senate was presented as a hollow one, leaving most of a corrupt political machine un touched, Sunny’s discovery is offered as a reminder of the true American way. The film, as a result, asserts a facile populism, offering lots of reassurance and no challenge. Tom Ryan
Rock ’n roll will never die, only get em balmed. And, given the cloying reverence now accorded to cracked 78s and dreadful, grainy videos of the unspeakable TV pop shows of the sixties, how can one fail to love a film that takes the piss with such gusto? This is S pinal Tap is a fake documen tary about a heavy metal rock band dis integrating on a tour of America. Its aim at the music world and the chroniclers of rock is so unerringly accurate that the film is, at times, indistinguishable from its targets.
And the music played by the band is authentic headbanger stuff: “ Sex farm woman,” they shriek, "c a n ’t you hear my tractor rumbling by-by-y-y-y?” Spinal Tap, the band, have survived flower power, stadium concerts and a suc cession of drummers, all of whom, with the monotonous, macabre regularity of rock superstars, have come to grief (one thanks to 'a bizarre gardening accident’). But they can’t survive middle age. Their bookings are dwindling, and their chief ambition is to get home to the kiddies. The moustachioed bassist, for instance — an archetypal head banger to the last straining trouser seam — turns out to be a gentle, pipe-smoking lover of free jazz; and the lead singer longs to compose his concerto (which, however, he is calling ‘Lick my Love Pump’ to be on the safe side). As rock gathers the moss of its own legends, This is Spinal Tap is a healthy blast of herbicide, and quite possibly the funniest musical piss-take since The Band Wagon. Nick Roddick
The most recent addition to the new genre of anti-nuclear epics, 2010 masquerades as computer-tech sci fi, and as the sequel to Stanley Kubrick’s 2001: A Space Odyssey (1968). A humane and simplistic plea for peace, it delivers its message in a painstakingly clear fashion, fairly antagon izing its audience with its good intentions. In only a few ways does 2010 resemble its precursor. It borrows the music, the monolith, the spaceship, the computer and the astronaut; from there on, any resemblance is intermittent. 2010 is not a celebration of the mystery of life and space, but a celebration of the sanctity of life and a plea for the preservation of the world. The success of the film is that it transmits an integrity and a strength of concept of its own, which one cannot fail to admire. How ever, it propagates the myth of the un involved scie ntist-te chn icia n, whose morality and reason always rise above the prejudices and stupidity of the people — i.e. the politicians — who are really to blame for the threat or advent of nuclear war. 2010 does not compel one to feel disgust for war in the way that The War Game (1966) or Apocalypse Now (1979) or even The Day After (1983) did. Instead, its skilful execution, arresting visual effects and humanity of spirit entertain, but move one only to feel sorry for Hal, the computer.
and the guy who ran the mirror joint in Paris, Texas. The score, in fact, is fine: it's the rest of the film that’s a problem. In its determina tion to merge the newness of its subject matter with the experimental thrust of its treatment, Variety excites for its ambitions and intentions, and disappoints bitterly for its achievement. Dealing with notions like the film viewer — female as well as male — as voyeur, and women as subjects as well as objects in the pornographic discourse, it raises expecta tions that Bette Gordon as a director is, quite simply, unable to fulfil. Thus the film — unlike, say, the Canadian documentary Not a Love Story (1981) and Michael Oblowitz’s obnoxious but compulsive King Blank (1982) — remains very much less than the sum of its fascinating parts. Nick Roddick
above the ‘i’ in the word ‘shit’ ” ). Valerie. Perrine is an able foil as a wealthy American heiress who left her husband when he abandoned the good causes he once fought for (“ We were defending migrant grape-pickers, then his values changed and he got into cable” ), Billy Connolly makes more of his singing mulatto revolu tionary than anyone had any right to expect, and Maureen Lipman does a mean Margaret Thatcher (“ One anorexic little lunatic in a loin-cloth,” she grumbles about Gandhi, “ and we lost a whole sub continent” ). Best of all, though, are the running gags of Cascaran life: the national anthem accompanied by swimming gestures, to commemorate the fact that the first settlers were all shipwreck victims; and the island’s only crop, which is used for making both soup and rope. Would that all British films were as multi-purpose. Nick Roddick
Since the days of the Pythons, British comedy has been mainly zany and clever clever. Water puts a stop to all that: a collection of old jokes and funny situations, it marks the return of traditional comedy — updated, but still traditional. Subtle it ain’t. But, in the capable hands of TV writers Dick Clement and Ian Le Fresnais (The Likely Lads, Porridge), with Clement also directing, it has a pace and amiability that make one ponder on what was lost with all the university, revue-sketch humour. The story of Water is basic. A Caribbean island, Cascara, is about to be dropped by Britain as unprofitable — a sort of colonial lame duck — when a source of mineral water is discovered. But the performances are timed in a way one has come to expect only from American comedies. Caine is superb as Governor Baxter Thwaites (“ Cascara,” he tells a visitor, “ is the dot
Helen Greenwood
Variety’s credentials are compelling — a film about a woman’s ambiguous involve ment with pornography, whose central character, Christine (Sandy McLeod), works as cashier in a porno theatre, with a screenplay by Kathy Acker (whose Blood and Guts in High School tackled the same subject head-on), and a narrative that, by involving Christine in the fringes of some obscure underworld scam, happily seizes the nettle of cinema too. The score, finally, is by John Lurie, the protagonist/composer of the magnificent Stranger Than Paradise,
Above, the future, the furtive and the foul-m outhed: top, Bob Balaban in 2010; above left, Sandy M cLeod in the porno pay-box in Variety; above right, the group in This is Spinal Tap. Below, less strenuous pursuits: left, Goldie Hawn in Protocol, Michael Caine in Water and A nn Reinking in Micki & Maude.
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WITH SPECIAL AUSTRALIAN SECTION Combines fun, intelligence, affection and erudition” THE TIMES Opinionated and enjoyable" THE SUNDAY TIMES “ THE FILM YEARBOOK should become a standard reference series” PUBLISHERS WEEKLY The indispensible guide to a complete year of cinema. Detailed, lively and authoritative. Packed with provocative articles and assessments. Fat with facts and photos. Stills, credits and reviews of all films released between July 1983 and June 1984. In-depth features by the world’s leading film critics on the movies they hated the most, liked the best and the newcomers they think most likely to succeed. Reports from around the world. Articles about the film industry. i Quotes of the year. Award lists, box-office charts, reference section and much, much more. Special Australian section by leading film-authority Tom Ryan studies the 1983-84 releases, independent cinema and mini-series, feature films / i and the big names in the Australian film industry. / £ INDISPUTABLY THE BEST AND MOST COMPLETE FILM GUIDE AROUND!
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Art beat PASSION AND DEFIANCE: FILM IN ITALY FROM 1942 TO THE PRESENT by Mira Liehm (University of California Press, Berkeley/Los Angeles, 1984. $62.95. ISBN 0 520 05020 7).
ITALIAN CINEMA: FROM NEO-REALISM TO THE PRESENT by Peter Bondanella (Frederick Ungar Publishing Co., New York, 1983. Hbk $33.50, Pbk $20.50. ISBN 0 8044 6061 2). In histories of national cinemas, there is a kind of monotonous predictability in the shift from the broader historical perspective to a focus on the recognized classics and the established auteurs. Such an approach is evident in both Mira Liehm’s Passion and Defiance: Film in Italy from 1942 to the Present and Peter Bondanella’s Italian Cinema: From Neo-Realism to the Present. Neo-realism seems to be an almost mandatory starting point for historians of the Italian cinema, though that is not to say that such a move necessarily results in preneo-realist cinema being discarded. In fact, both books contain very informative intro ductory chapters on the state of the industry, and the different genres, styles and major directors at work in the silent cinema and the cinema under fascism. Condensed into a single chapter are dis cussions of the early mythological films, the silent comedies, Italian futurism, and the avant garde, the regional importance of the Neapolitan school of filmmaking, the socalled ‘white telephone’ films, the ‘calli graphers’, and the major directors of the fascist period, Goffredo Alessandrini, Mario Camerini and Alessandro Blasetti. Unfortunately, however, too brief a dis cussion is offered of the relationship between the fascist state and film culture, though mention is made of the setting up of the Venice Film Festival (in 1934), the Centro Sperimentale Cinematografico (in 1935), Cinecittà (1937) and the emergence of journals such as Bianco e Nero (1937). It is unfortunate that so many historical events need to be compressed into a single chapter which, strictly speaking, deals with a period outside the scope of both books.
The stable values o f the Italian art film: Olmi’s Tree o f Wooden Clogs.
For, whereas the neo-realist period and the post-neo-realist cinem a have been accorded a great deal of attention by film scholars and critics, the cinema of the fascist period remains a relatively obscure corner of film history. From the evidence that does exist, it is apparent that the cinema under fascism cannot simply be written off as an era of 'white telephone’ films. And, where both Liehm and Bondanella stress an ideological and aesthetic break between the cinema under fascism and neo-realism, others — like Sam Rohdie — have interestingly attempted to locate connections and con tinuities. “ What seems more correct,” wrote Rohdie in Arena, 57 (1981), is that neo-realism could not only be accommodated by the fascist state (the appellation ‘neo’ seems more to do with an historical-political division between the fascist and post-fascist period rather than any structural-aesthetic aspect of Italian films before and after 1943), but that it represented certain tendencies within fascism, or, more accurately, of contra dictions and struggles within the state. Liehm, on the other hand, is so blinded by an anti-fascist liberal humanism that she can only cloud neo-realism in romantic rhetoric: Date: Easter 1940, a few months before Mussolini’s declaration of war upon Britain and France. Place: A ship bound for Capri. Two men meet for the first time . . . Their names, Luchino Visconti and Giuseppe De Santis. Result of this encounter: a film, a milestone —
Ossessione What disappears from the historical emergence of neo-realism in such narrativized formulations is the whole set of rela tions between politics and culture, for film history should not be as interested in the encounter of individuals, artists or other wise, as in the encounter of discourses. There is a kind of critical complacency in Liehm’s acceptance of neo-realism as the “ struggle for artistic truth” which makes of the movement an aesthetic practice cut away from cultural history. Such an approach, however, is obviously what Liehm wants, and Passion and Defiance is, finally, not so much a history of the Italian cinema as it is a history of the Italian ‘art’ film, from Ossessione (1942) to
L’Albero degli zoccoli (The Tree of Wooden Clogs, 1978). It is a tradition that is well known: it deals with classics — Roma, citta aperta (Rome, Open City, 1945), Riso amaro (Bitter Rice, 1949), L’Avventura (1960), Otto e mezzo (8 V2 , 1963), II Gattopardo (The Leopard, 1963) and so on — or, more generally, with the films of the great auteurs: Rossellini, Visconti, Fellini, Berto lucci, etc. The bulk of Passion and Defiance is devoted to such films and auteurs, whereas the work of directors such as Dino Risi and Luigi Commencini, who work within the mainstream or popular genres, receives little or no discussion. And, where the popular genres are discussed, Liehm is always quick to stress their supposed inferiority to neo-realist films. As in the thirties, production in the fifties — over which Antonioni, Fellini, Rossellini and Visconti towered like four mal adjusted giants — evolved under the sign of sentimental melodramas, prettified
comedies and all kinds of pink neo realism. The neo-realist interlude had never really interrupted this kind of pro duction. It had, however, changed some of its characteristics. Concentrating on the art film at the almost total expense of the popular genres results in an impoverished kind of film history. But, even if film history is, for the moment, put aside, the even greater disappointment with Passion and Defiance is that it is not even very engaging in its discussion of the art film, adding little or nothing new to standard interpretations of the films of Fellini, Antonioni, Pasolini and others, while directors such as Marco Ferreri, Francesco Rosi and the Taviani Brothers are given simplified interpretations which scarcely measure up to the formal and thematic complexity of their work. Bondanella’s Italian Cinema is identical to Liehm’s book, not only in the period of history covered, but in its attitude towards the art film. But, whereas Liehm fails to engage the reader, Bondanella often does so, through lucid and insightful analysis. As far as film history goes, both books have their limitations, but Bondanella’s has several advantages over Liehm’s. Above all, he writes intelligently about genres, styles, modes of expression and narrative forms which are not connected to a neo realist aesthetic, while Liehm seems to see anything that strays too far from it as a kind of betrayal.
Rolando Caputo
The filmmaker as super-brat FASSBINDER FILM MAKER by Ronald Hayman (Weidenfeld & Nicolson, London, 1984. Hbk $34.95, Pbk $12.95. ISBN 297 78447 1 and 297 78448 X). Ronald Hayman’s lurid biography, Fass binder Film Maker, is primarily concerned with the flamboyantly marketable aspects of the director’s personality. Presented as the prodigy of German cinema, Fassbinder’s genius is compared to that of Heinrich Boll, Antonin Artaud, Gunter Grass and August S trin d b e rg . E rratic, re b e llio u s and manipulative, his drug abuse and his pre dilection for sadism — in personal and pro fessional relationships — are vicariously reviewed. The book succumbs to and embellishes the Fassbinder legend, adhering to a par ticularly reactionary variant of auteurism, and providing a trite psychological explana tion of the filmmaker’s personality and artistic motivation. For Hayman, Fass binder’s neurotic conflicts activated his aesthetic sensibility; his tormented psyche compelled artistic self-expression. Four of the book’s chapters examine the parallel between Fassbinder’s neuroses and those of the fictional characters in his films. Despite all the biographical detail, however, the analogies Hayman develops between the formative experiences of the director’s life and the dilemmas and crises of his protagonists are laboured and tenuous, so that it comes as a great relief to read that, for once, In a Year of Thirteen
Moons (In einem Jahr mit dreizehn Monden, 1978) “ contains no story which parallels the developments of Fassbinder’s relationship with his lover” . Apart from offering tediously descriptive plot synopses, Fassbinder Film Maker also informs the reader about its subject’s direc torial strategies, in which actors become victims of their fictional roles and are punished by Fassbinder, the irrepressible sadist. Naturally, Hayman discerns psycho logical grounds for all this: Fassbinder’s complex about his appear ance made him jealous of other people’s good looks, even when they were some thing he could exploit in plays and films. He liked having power over the appear ance of his actors, and he was some times malicious in the transformations he demanded. Otherwise, readers may be thankful that Hayman’s speculations about mise-enscene and dramaturgy are less adventur ous: he does not dwell, for instance, on the director’s striking visual style, beyond commenting on his “ clever use of mirrors” and the shadows regularly cast from Venetian blinds for dramatic effect. Forging links between the identity of the filmmaker and his work, however, Hayman underrates Fassbinder’s exceptional entre preneurial skills. He was, after all, one of the shrew dest and most accom plished manipulators of private and public funds in the entire New German Cinema. Having made 29 features and a five-part television series over a period of seven years, Fass binder used to boast that he could shoot a film in the time that it took any other director to read the application form for a govern ment grant. Working within a moribund industry, where indigenous films rarely returned their distribution costs, Fassbinder’s success was astonishing. In contrast to other directors of the New German Cinema, his films regularly drew large audiences and handsome profits. And returns from com mercial projects like The Marriage of
Maria Braun (Die Ehe der Maria Braun, 1979) made possible the independent pro duction of harrowing and abrasive features like In a Year of Thirteen Moons and The
Third Generation (Die dritte Generation, 1979). Published long after Tony Rayns' critical anthology, Fassbinder (BFI, London, 2nd edition, 1979) — which provides a more rigorous analysis of Fassbinder’s thematic, aesthetic and political concerns — Hay man’s book is likewise an impoverished version of Wolfgang Limmer’s fascinating and thoroughly docum ented Rainer Werner Fassbinder, Filmemacher (Spiegel, Hamburg, 1981). Largely anecdotal, Hayman’s biography draws heavily on interviews with Fass binder’s colleagues, lovers and associates. Preponderance is given to the testimony of Kurt Raab, whose comments about his ex lover and fellow artist oscillate between pettiness and malevolence. Even more dis turbing is Hayman’s compulsion to view Fassbinder’s films as autobiographical statements entirely outside the political and economic context of film culture in the Federal Republic. As a result, Fassbinder Film Maker is an inconsequential contribu tion to our knowledge of the director and of New German Cinema in general.
Leonie Naughton
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- Dwight V. Swaine Covering both docum entary/, factual and feature film s,, provides a guide to the tools or. procedures to follow in de-_ veloping ideas and concepts..
*- David Samuelson ~ d e s c rib e s ninety different! .m akes and models of camera_ -The Professional !and gives the most pertinent. Cameraman's _operating instructions. This, -Handbook 3rd Ed. .book is intended as a tool, .w hich should find a place in. - - Verne & Sylvia Carlson .the accessory case of every, !An operating manual covercameraman.________________ !ing film, loading-room pro.cedures, camera reports and .working practices. Plus .assembly, threading &trouble.shooting of 33 widely used _16mm and 35mm production cameras & their accessories.
R XTL PRESS
H tC H A D WH M
Icourse! !The Independent -Filmmaker’s Guide
-
Order from your local bookseller or in case of difficulty from: BUTTERW ORTHS PTY LTD 271-273 Lane Cove Road, North Ryde NSW 2113 (02) 887 3444 Sydney (02) 233 2777 M elbourne (03) 67 6973 Brisbane (07) 221 9627 Hobart (002) 236979 Adelaide (08) 211 8302 Perth (09) 325 8521 Canberra (062) 47 2679 Name
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Card No: (Recommended Domestic Retail Prices include postage and are subject to change without notice. This order subject to acceptance by the Head Office of Butterworths.) 75947 Motion Picture Camera & Lighting Equip. 128385Motion Picture Camera Techniques 76349 Film Scriptw riting - Limp 108047Film Scriptw riting - Hard 76312Com puters for Anim ation
$21 NYP $25 $45 NYP
O pen Program
Michael Wiese .Experienced advice on the. .financing, production and. .distribution of docum entaries. and shorts.________________
117368lnd. Film makers' Guide $27 119222Prof. C am eram an’s Handbook $45 75956 Motion Picture Camera Data $21 117377Hollywood Guide to Film $36 Budgetting and Script Breakdown *NYP - Not yet published
Everyone needs professional advice sometimes. You can’t go past the Australian Film and Television School’s O pen Program fo r courses and train in g material prepared and delivered by top professionals actively w o rk in g in film and television p ro du ction . Think a b o u t it and do y o u rs e lf a fa vou r. C o n ta c t us immediately fo r details on o u r resources and upco m in g activities all around Australia: Carm en Coutts Sydney (02) 887 1666
OR
Jenny Sabine M elbourne (03) 328 2683
Australian Film and Television School O pen Program
rUJICOLOR
The com plete range of Motion Picture Film for all occasions
O ffic ia l Film o f th e Los A ng eles 1984 O lym pics
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Natural color reproduction is yours with Fujicolor. Tones come alive. Luxuriate in the rich skin tones and exquisite subleties of the grays. In situations which call for very fine grain pictures, Fujicolor A allows you to shoot at a lower exposure index (e.g. El. 50) and then fine-grain process to obtain outstanding results. Fujicolor AX has an exposure index rating of 320 in tungsten light and 200 in daylight When shooting under adverse lighting conditions the El. rating of Fujicolor AX can be doubled by force processing which virtually results in no change in color balance.
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