Cinema Papers September 1986 by UOW Library

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T heA FI Septerr

1986 Issue 5

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EDITORIAL

COVER STORY

NEWS IN BRIEF: A round-up of events, issues and information on the Australian film and television scene.......................................................... 5 PROFILES: French d ire c to r Agnes Varda, Hoyts honcho Jona than Chissick and feminist film writer Annette Kuhn ..................................7 ON LOCATION:

Making Bruce Petty’s The Movers................................. 38

FILM AND TV COMMENT: Reviews of Alice to Nowhere, Cactus, Dreamchlld, Fair Game, Fool for Love, Fortress, Frog Dreaming, Flighlander, The Lan caster Miller Affair, Land of Fiope, Malcolm, Playing Beatie Bow, Ran, Salvador, Stammheim, Tusitala and all the latest releases................................ 41

FEATURES

CINEMA BOOKSHELF: An Aus tralian Film Reader, a book about Val Lewton, Tarkovsky’s testament and a couple of Mel Gibson bios............. 58 OVERSEAS REPORTS:

The latest film and TV news from our regular foreign correspondents............... 62

People power: Lino Brocka talks about Filipino filmmaking in the months since Mrs Aquino’s revolution......................................................................................................... 13

FESTIVALS AND MARKETS: a look at Australia’s two main film festivals, and reports from Munich and Pula.................................................... 67

TECHNICALITIES:

Fred Harden ogles the new toys on show at this year’s SMPTE exhibition.......................... 71

PRODUCTION: A quick run -down on what’s currently in front of the cameras, plus our usual exhaustive Production Survey listings.......................75

Copyright or copywrong: Why we see so few film clips on Australian T V .......................28 CINEMA PAPERS September — 1

Cox & Ballantyne on Hendon: “Hendon Studios is ideal! y y “Hendon Studios is set apart from the hustle o f East Coast film making, and is therefore the ideal place to concentrate on a sound mix. H endon’s James Currie is one o f the best. ” Says Paul Cox

Award-winning director “Kostas” “Lonely Hearts’’ “Man o f Flowers’’ “My First Wife’’ “Cactus”

I like the personalised service at Hendon Studios which is an integral part o f the high quality job they do. The facilities are complete, including a producer’s room directly con nected to the mixing suite with closed circuit TV enabling the producer to conduct the usual hectic flow o f business while remaining in touch with the mix. ” Says Jane Ballantyne

Co-producer o f “Man o f Flowers” “Moving Out” “My First Wife” “Cactus ” Producer o f “Paper B oy” “Just Friends”

Australia’s complete film production facility.

call Michael Rowan for a quote on your next production

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‘You start from scratch in Australia’ Editor: Nick Roddick. Publisher: Patricia Amad. Assistant editor: Kathy Bail. Art director: Debra Symons. Secretary/ Subscription manager: Luke Nestorowicz. Proofreading: Arthur Salton. Consulting editors: Fred Harden, Brian McFarlane. Typesetting by B-P Typesetting Pty. Ltd. Printed by York Press Ltd. Distribution by Network Distribution Company, 54 Park Street, Sydney, NSW 2000. Founding publishers: Scott Murray.

Peter

Beilby,

Signed articles represent the views of their author, 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 pub lishers can accept liability for any loss or damage which may arise. This magazine 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: AA30625 Reference ME 230. © Copyright MTV Publishing Limited, No 59, September 1986. ’ Recommended price only. Cover: Colin Friels in Malcolm (photo: Greg Noakes).

Cinema Papers is published with financial assistance from the AUSTRALIAN FILM COMMISSION and FILM VICTORIA

That phrase — ‘You start from scratch in A ustralia’ — is a part o f the history of Australian cinema. A very small part, it is true: H arry W att used it in an article he wrote for the last issue o f the Penguin Film Review in May 1949. But the Review’s editor, Roger Manvell, gave it a certain imm ortality by pulling it out and using it as the title. It was a good piece of editing, because it summed up what W att was on about. Sent to Australia at the end of W orld W ar II “ to see if it was possible to make films there” , W att discovered a vast continent, a wealth of themes, but studio facilities so poor that “ indoor films” couldn’t be made. So he made The Overlanders. As Australian films of the forties and fifties went, The Overlanders was pretty ‘A ustralian’: it had cattle and cabbage-tree hats and Chips Rafferty. But the context in which it was made was classic cringe. W att, being a foreigner, was assumed to be able to do what Chauvel, Hall, Robinson and McCreadie couldn’t: get the message through to a world audience. The Australian government was worried that British propaganda was ignoring the Australian war effort. So it brought in a British filmmaker to set m atters to right. Nowadays, we tend to rely on foreigners, particularly foreign actors, and most particularly American stars, not for propaganda, but for profit. As the A ustralian film industry moves into its m onetarist phase, its appetite for overseas actors is increasing dramatically. Ayers Rock and the Sydney H arbour Bridge are all very well for boosting tourism, but they d o n ’t sell million-dollar movies. Like all m onetarist arguments, this one is impeccable in the short term . From small beginnings, a mighty industry has grown, with considerable ambitions and sizeable overheads. W ith a big workforce and large (tax-aided) investment, the industry’s supply side is trundling along nicely. Not so the demand: sad to tell, the world no longer wants our films just because they’re ours. For Australian and overseas audiences alike, a film is a film. A nd, in the m arket-dom inated world of international cinema, the Australianness of Australian movies supposedly needs a little leavening. In the rather ingenuous words of a recent open letter to the Minister for Imm igration and Ethnic Affairs by 48 Australian filmmakers, we need foreigners in and on our films because they “ enhance our ability to communicate our stories to the w orld” . The letter uses phrases like “ creative freedom of expression” and “ artistic m aturity” , but its arguments are, in reality, economic. The foreigners o f “ distinction and m erit” it wants to see admitted to work without let or hindrance w on’t really help Australian filmmakers “ com m unicate” : they’ll make it possible for them to sell their films. Put rather more crudely, if American presales predicate Linda Evans (or L aura Branigan or Jason Robards), who are we to argue? I ’m sure no one — least of all the McElroys, who co-ordinated the open letter — wants to see Australia become a Hollywood backlot, attractive more for its emptiness and its cut-price dollar than for its stories, its culture, its filmmakers and its identity. But the m arket is an unreliable master, particularly in the film world. Plus ‘the m arket’ is, as currently defined, centred anywhere but in Australia. A nd, if we are not to go back to scratch in Australia, we have to recognize something which, from an Australian perspective, is inescapable. If overseas actors become the economic bedrock of our new-style film industry, then Australian stories, Australian concerns and even the sound of Australian voices in anything other than supporting roles will become the almost exclusive prerogative of A Country Practice and Sons and Daughters. A nd who knows? W ith escalating production costs, even W andin Valley may turn out to need an emigre American vet. This is not to argue a closed door and a cold shoulder to foreign talent, merely to point out that there is a renewed risk of something that will not be unfam iliar to any Australian moviegoer over the age of 40: that Australian films with Australian actors will begin to be perceived as cut-price and second-rate. A nd so they will be: if they weren’t, they’d have Americans in them. Australian audiences w on’t be the ones to insist on Australian content. If the urge for a national culture em anated strongly from that source, we wouldn’t have 90*% foreign content on our TV screens. It is up to the government and the film industry itself to build such longer-term considerations into its legitimate economic concerns. Once you get back to scratch, it’s hard to get started again.

Nick Roddick CINEMA PAPERS September — 3

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T h e real ‘fx* m en Blue-screen cinematography, model and miniature work, and a host of other ‘fx* techniques and applica tions were the basis of a series of free seminars recently given in Aus tralia by representatives of the Cali fornian special effects company, Apogee. John Dykstra, Robert Shepherd and Roger Dorney, who began their association about 1970, came together as a team in 1975 for George Lucas’s Star Wars, and formed Apogee in 1977. Dykstra is renow ned for developing the Dykstraflex camera — a custom-built prototype made specially for Star Wars miniature photography. It enables the camera mount to (among other things) roll, pitch and yaw on its multiple axes. The seminars were sponsored by the Australian Film Commission as part of a reciprocal study tour organized by Sydney-based producer/cinem atographer Michael Jacobs, after he and his colleague, Tim Segulin, spent time in the States working under the auspices of Apogee’s special effects crews. Speaking at two capacity-filled sessions at Melbourne’s Longford Cinema (seminars were also held in Sydney), the Americans provided a highly informative and entertaining breakdown of the US ‘fx’ business from a rational, utilitarian position. They seemed light years away from the technofetishists often associated with the phantom side of ’fx’ cinema, and appeared instead to be hardnosed industry pragmatists with a portfolio of proven commercial products: Star Trek: The Motion Picture, Firefox, Never Say Never Again and Lifeforce. A central axiom of the film world — that you are only as good as your last picture — seems to apply just as much to the ‘fx’ industry. However, Dykstra made no apologies for any shortcomings people might find in his effects work. “ There is no pan acea,” he said, “ no cigar box that you look into and find some magic crystal. We explore every avenue available to us within the time and budget parameters that we have, and that is something that you are always going to face in special effects. Every ‘fx’ movie that comes out needs more money and more time and you never get ’em. The only measure of the worth of your work is whether you did it any better than the next guy, with the same amount of money and the same time.” Tour-organizer Michael Jacobs stressed that the tour did not repre sent any threat to the development of our own neophyte ’fx’ industry. “ Dykstra and Shepherd are not

going to set up an ‘fx’ com pany1 in Australia,” he said. “ They simply want to find out whether there are ways in which they can collaborate with the Australian film Industry and supply some services which are presently unavailable. “ One of the reasons we don’t have any blue-screen is because producers don’t believe that effects can be done here. They aren’t yet ready to believe the locals,” said Jacobs. What the Australian film industry needed was personnel with the necessary technical expertise and an established track record on Australian projects, he said. Mick Broderick

Briefly . . . ■ Photography is now complete on Ken Russell’s new horror film Gothic (see Sheila Johnston’s UK column on page 65). Russell will be in Mel bourne for the Spoleto Festival, where he is directing Madame Butterfly, and his visit will be marked by a retrospective, including French Dressing, Billion Dollar Brain, Women In Love, The Music Lovers, The Devils, The Boyfriend, Savage Messiah, Mahler, Tommy, Lisztomania, Valentino, Altered States, Crimes of Passion and the television films, Elgar, Isadora and Clouds of Glory. The films will be screened at the State Film Centre. ■ The Victorian Minister for the Arts, Race Mathews, announced on 30 July that current levels of state government financial support for the film and television industry through Film Victoria will be maintained. B u d g e ts of 1986 p ro je c ts supported by Film Victoria total $39,427,010, while the combined budget for productions across the state Is $58,806,007. Mathews said that Victoria is currently responsible for 40% of Australia's film production. “ We’re roughly neck-and-neck with NSW and I’m confident we’ll be able to improve on that,” he added. Both Mathews and Film Victoria's newly-appointed director, Greg Smith, pointed to the new field opening up in non-10BA projects. Film Victoria presently has five such productions on the board. Worth $6,170,475, they represent a noticeable increase from the one $2.3-million production in the pre vious year. “ There is a market for non-10BA, but we've got to make sure the industry realises the rules of the game are changing,” Smith said. “ It has been an insular environment, and now we’ve got to demonstrate what the alternative mechanisms are.” AWARDS: Two Australian films have made their mark in the USSR at the biannual international festival in Tashkent. In the documentary division, Red Matildas met with acclaim, winning the prestigious Union of Soviet Filmmakers’ Award. The Intourist prize for features went to Burke & Wills for “ its wonderful cinematography and portrayal of the landscape” . More significantly, A Street to Die, directed by Bill Bennett, was awarded the Crystal Globe (Best

Feature Film) and the Critics’ Prize at the 1986 Karlovy Vary Film Festival in Czechoslovakia. The major 1986 AWGIE award for best script of the year went to Western Australian writer Glenda Hambly, for Fran. John Misto won awards for the best original tele movie, Natural Causes, and best television series, Palace of Dreams (Episode Ten). Other screen awards went to Karin Altmann for the docu mentary, Raoul Wallenberg — Between the Lines: to Geoffrey Atherden for the television comedy, Mother and Son; to Ray Harding for the television serial,_ A Country Practice ('Lest We Forget’); to Peter Yeldham for The Far Country (adapted miniseries); to Ben Lewin for The Dunera Boys (original miniseries); to David Williamson for The Perfectionist (adapted telemovie); and to David Holman for the children’s drama, No Worries. ■ In October, Melbourne people living in the Inner suburbs of Carlton, Colllngwood and Fitzroy should have the chance to view the first test transmission of a community-based te le v is io n s ta tio n , T e le visio n Unlimited (TVU). With the exception of the Aboriginal station in Central Australia, there have only been a few “ passing experiments” in com munity TV. “ We intend to change all that,” says Peter Davis, a member of the organizing group. The working group is currently developing policies and strategies in the areas of funding, publicity, technological development and programming. Membership is open to all associa tions, groups and individuals. For further details, write to PO Box 263 Brunswick East, 3057, or phone (03) 481 7125 or (03) 205 194. ■ Sandra Levy and Sam Chisholm have been appointed as part-time Commissioners to the Australian Film Commission for a period of three years. Levy is a script con sultant and producer, currently producing the feature Fligh Tide, directed by Gillian Armstrong. Chisholm has been President and Managing Director of TCN-9 since 1979. ■ The National Film and Sound Archive has introduced fees for research and access to their collec tions. This will obviously affect the production of archival compilation films, so, If you’re budgeting, ring the Archive and check the costs and conditions of access. ■ Three documentaries and four features have received support from the AFC Special Production Fund. Distribution guarantees went to Virginia Rouse and Jocelyn Lee (To Market, To Market) and John Seed and Jeni Kendall (Earth First). Non deductible investments were made in Dick Dennison’s Echo of a Distant Drum, Mike Thornhill’s The Ever lasting Secret Family, and Tony Ginnane’s The Lighthorsemen. Tony Mahood and Lynda House received investment funding for One Hundred Per Cent Wool and a marketing loan was made to David Bradbury for Chile: Hasta Cuando? ■ In the furore over Hail Mary, something was missed. The United States Catholic Conference has given Bliss an ‘O’ rating — O formorally offensive.

C o n tr ib u to r s Naoko Abe and Georgina Pope head the Tokyo-based Goanna Films. John Baxter is a film reviewer for The Australian and author of numerous books on the cinema. Carol Bennetto is a film writer and publi cist, currently working at Heinemann Publishers. Rod Bishop teaches film at the Phillip Institute of Technology. Annette Bionski is a script editor and writer on film. Marcus Breen is a Melbourne-based journalist, freelance writer and documen tary filmmaker. Susan Bridekirk is a freelance journalist based in Melbourne. Mick Broderick works as a publications officer with the Australian Conservation Foundation and is a freelance writer on film. Pat H. Broeske writes regularly about film for the Los Angeles Times, and is Hollywood correspondent for the Wash ington Post and other publications. Raffaele Caputo is a freelance writer on film. Tony Cavanaugh is a freelance script editor. Mary Colbert is a Sydney-based film researcher, writer and lecturer. Sophie Cunningham is a film student and freelance writer. She contributes regularly to the Melbourne Times. Mike Downey is a freelance film writer, contributor to Variety and director of an English-speaking theatre company in Munich. Tony Drouyn is a freelance writer onfilm who also plays and teaches classical guitar. Helen Greenwood is a freelance book editor and writer on film. , Fred Harden is a film and television producer. Sheila Johnston is a London-based writer and translator. She is a film critic for LAM magazine. Brian Jones is an independent pro ducer, director, scriptwriter and journalist. Paul Kalina is a journalist at Video Week. Amanda Lipman is a journalist at City Limits in London. Geoff Mayer is a lecturer in film studies at the Phillip Institute of Technology. Lyn McDonald is a freelance writer on film. Brian McFarlane is a lecturer in English at the Chisholm Institute, and author of Words and Images. Mike Nicolaidi is a freelance writer and contributor to Variety. Norbert Noyaux works as an interpreter for the French Commercial Office in Mel bourne and is a freelance writer on film. Dieter Osswald is a journalist and contri butor to Filmecho. " William D. Routt is a film historian and academic. Tom Ryan lectures in media studies at Swinburne and reviews films for the 3LO Sunday show. Jim Schembri is a journalist at The Age. David Stratton is host of Movie of the Week on SBS-TV and reviews films for Variety. Edouard Waintrop is film critic for the French national daily Libération.

CINEMA PAPERS September — 5

AMANDA SEARLE

“What could happen to her? Go to a poor people’s shelter? Would that be a good ending? I made it so that nobody’s responsible”

Nouvelle vagabond by

Amanda Lipman

Venerated (somewhat to her horror) as the 'grandmother of French nouvelle vague cinema', Agnès Varda has always insisted that she slipped into films unintentionally. Her first feature, La Pointe courte made in 1954, by which Alain Resnais (who helped edit it) was strongly influenced when he came to direct Hiroshima, mon amour, was origin ally going to be a novel. __ But, with the likes of Cléo de 5 a 7 (Cleo from 5 to 7) — a study of an hour and a half in the life of a woman who thinks she has cancer — and Le Bonheur (about an unfaithful hus band), she soon became associated with new wave filmmakers like Resnais and Chris Marker. The points in common were the fixing of emotional perspectives in a firm social context, and a blend of fic tional and documentary style. Varda is probably best known recently for her upbeat 1977 'femin ist testimony’, L ’Une chante, l'autre pas (One Sings, the Other Doesn’t),

which dealt with abortion, families and the friendship between two women. Her latest film, Sans toit ni loi (Vagabond), is her first feature since then, but she insists she has been forging the links for it for several years, at any rate in terms of theme. "I made one film, Documentaire — in English, An Emotion Picture,” she says, "which was about a woman and a child looking for an apartment in L.A. And some shorts, including one called Seven Rooms, Kitchen, Bathroom, etc., which was all shot inside a family’s house. Now this one is about a homeless person!" Vagabond (reviewed in Cinema Papers 58) begins with an unknown young woman lying dead in a ditch and proceeds, through the testimonies of various witnesses, to retrace her last few months’ travel ling across a bleak and wintry south of France. Coming from southern France herself, Varda had been struck by the enormous discrepancy between the comfortable holidaymakers of the summer months, and the sight of the many 'vagabonds’ like Mona, the central figure of her film, who make their way across the frozen landscape of winter. "It's 1986," she says, "and there are all these home less people. Why can’t we relate to them? Why is there this gap, which is maybe them saying: No, they don’t want to be with us?" She talked to a number of them, and to one runaway girl in particular. "I took her with the crew,” explains Varda, "to give her bread and butter for two months. She didn’t work — she didn’t want to work — but I gave her money. To justify the thing, I said: 'You can coach Sandrine [Bonnaire, who plays Mona]. Sit in the woods in your sleeping bag.

Don’t do too much: get bored!’ And I gave her some money to tell me stones about her own life on the road. And then she went." Eighteen-year-old Bonnaire, the ‘discovery’ of Maurice Pialat’s A nos amours (To Our Loves) jumped at the role. Comments Varda: "I made it very simple. I said: ‘Look, this is a part you’ll have only once in your life. She’s alone, she’s dirty and she’s a rebel. And she dies from the cold. She almost doesn’t speak. Are you ready for that?’ ’’ Bonnaire had to put on weight, let herself be covered in dirt, get her teeth painted and have plastic cracked lips applied for every shot. It was extremely cold, shooting during the first few months of 1985. In the very first scene in which we see Mona alive, she comes out of the ocean — Varda warns audiences not to look for an allegory there: it was just an idea she liked — and, although they waited until the end of April to film that sequence, it was still so Icy that Bonnaire had to have buckets of warm water thrown over her afterwards. Vagabond didn’t have much of a script, since Varda preferred to work by writing the screenplay as she went along. "I write two pages, get the money, speak to people. Then, little by little, I build. If I have to write a whole script not knowing if it’ll be made, there’s a kind of desperation in my work: I don’t feel high enough. When I get the money and I know I’ll make the film, I get excited. So all the ideas and the writing come very late." The same unorthodox attitude applied to the actual shooting. Although she wrote, directed and cut Vagabond, Varda’s descriptions of the shoot make it sound like any thing but a one-woman show. "I know I work best with a small crew, and without the handicap of union problems," she says, "because I want to be able to say suddenly: ‘This doesn’t look good' or 'We have to get rid of that’. Then ten people will do It with me, and they don’t feel they’re breaking union rules. It gets done, and we’re making the film together. I admire the crew for being like that, so that invention can remain vivid. And they all come to me with suggestions, which I love." In fact, the structure of the film was conceived in that way. “ I had one young woman assistant who loves only thrillers, and she said: 'Make It a thriller! Start with the girl dead, and make the story a police investiga tion.’ I said: 'I don’t want to make a police film!’ But the thing stayed in my mind, and I thought: What if I make it a wrong police story? We find her dead, the police come, and

we discover that discussing police issues has no meaning. Then, as soon as we get rid of that false thriller element, I can investigate my own understanding of the story with all those witnesses. And, because we know she’s dead, it will give the film a tough touch." Depressing might seem a better word, but Varda shrugs that off with: "I guess I'm raising a kind of uneasi ness” . Nor does she have much time for suggestions that Mona might not need to die. “ Well, I didn’t think she could meet a prince," she says, scathingly. ‘‘What could happen to her? Go to a poor people’s shelter? Would that be a good ending? I made it so that nobody’s responsible.” Not even herself, ap p a re n tly. Because, although Vagabond is her film, Varda constantly defuses questions about Mona’s actions with the retort: "I don’t know her. I wrote it, but I don’t know her.” What seems much more important to her are the positive feelings the film raises. "It’s all so full of life, and so full of understanding of people and their contradictions in a nonjudgmental way. I like a film to have a lasting effect: I want you to be moved, I want you to be touched, I want you to be taken so that the film will be a reference for you on certain thoughts, certain subjects. We only have one life, so we have to live also through others." And she goes on to enthuse about the emotional impact on her of Arletty’s performance in Les Enfants du paradis, which happens to be one of the five films she admitted she’d seen when she made La Pointe courte. In those days, she claimed, she never watched movies because they didn’t talk about living or important things. And now? "W h e n I’ m not working, I see movies all the time. When I’m finished with this, I’ll go back to silence — on the streets, in the city. To think, to dream, to see films. It’s like another life."

“This is a part yo u ’ll only have once in your life. ” Varda on the Vaga bond set with Sandrine Bonnaire.

CINEMA PAPERS September — 7

WITH THAT KIND OF REPUTATION A

RUSSELL RETROSPECTIVE

IS A MUST

The 30 th June is behind you and you are just about ready to kick o ff... You are now going to revise the script another few times, schedule and re-schedule interminably, produce more call sheets than you throught there were shoot days and each week you are going to have to account for it. Remember — we offer a completely computerised production path through scripting, budget, scheduling callsheets and film accounting, with the flexibility to suit a wide range of production sizes and budgets.

o coincide with Ken Russell’s visit to Melbourne to restage his highly controversial production of Puccini’s “Madam Butterfly”, the Spoleto Melbourne Festival will Contact us for information on be presenting a retrospective of this outstanding and much our complete bureau service — discussed and argued film director’s films, including all the you’ll find it very cost effective. cinema features as well as many of the famous artists’ bio graphies originally made for television. The Retrospective will comprise the following features: • French Dressing (1963) • Billion Dollar Brain (1965) • Women In Love (1969) • The Music Lovers (1970) • The Devils (1971) • The Boyfriend (1972) • Savage Messiah (1972) • Mahler (1974) • Tommy (1975) • Lisztomania Sydney Melbourne (1975) • Valentino (1977) • Altered States (1980) • Crimes of Passion (1983) • plus a program of television films. Venue: State 98A W illoug hb y Road 265 C oventry S treet Crows Nest, 20 65 South M elbourne, 32 05 Film Theatre, 1 M acarthur Street, East Melbourne. Telephone: (02) 43 9 24 99 Telephone: (03) 699 38 0 0 Dates: September 16,17,19, 20,21,22, 23,24,26, 27, Telex: AA71125 29, 30 Screenings: Nightly at7.30pm, with day-timel C ontact: PETER KLAIBER C ontact: HELLEN GALBRAITH screenings to be announced. Tickets: $7.00 and or DAVID BARNES or NATALIE ROTHMANN $5.00 Concession. NB: No bookings. Tickets on sale at the door: SPOLETO MELBOURNE

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The body in question by Sophie Cunningham

Most mainstream films rely on women’s bodies as sexual objects, but m ust feminist cinema necessarily

avoid

depicting women’s bodies? A nnette Kühn, theorist

Problems of representation began to raise themselves as soon as Annette Kuhn arrived in Melbourne. Were the sportsmen who were filmed leaving the plane she had been on soccer, Australian Rules or rugby players? Even an investigation of the signi fie s of sporting difference — mainly buttocks and height — failed to determine which they were. Which just goes to show how unreliable assumptions of difference based on the body can be. A staunch defender of the muchmaligned Canberra, Kuhn arrived there from England in March, as Visiting Fellow in the Faculty of Arts at the A.N.U., and gave the opening paper in the four-day May confer ence on 'Feminism and the Humani ties’. Kuhn was in Melbourne to do a few 'gig s’ (her phrase): three seminars, all of which were about the representation of sexuality in the cinema, and the social and historical context in which such representa tions are constructed. She is probably best known for her book, Women's Pictures: Femin ism an d Cinema (1982), an im p o rta n t w ork w hich draw s together strands of feminist theory and practice to explore the way in which, together, the two might contribute to the creation of an alternative cinema. Kuhn is well placed to provide such an overview, having been in the forefront of the debates since they started in the seventies. A regular contributor to Screen, she was, until recently, a member of its editorial board. Her articles, pub lished in a large range of magazines,

cover a diversity of issues, including film studies, sociology and culture, and feminism. Originally a lecturer in sociology, she has not always written about film. And it must have been the sociologist in her that fuelled her desire to drive through Moonee Ponds after being picked up at the airport: it was, after all, the only part of Melbourne she knew anything about, thanks to Dame Edna Everage. Residents will, how ever, be relieved to know she found it nothing like Dame Edna had led her to expect. The trip to Moonee Ponds appeared to be the only unplanned stop on her itinerary, since the next two days were taken up with visits to Monash and Latrobe universities, with a stop at the AFC in South Mel bourne to have a look at some local independent work being done by women. The talk at Monash was based on an essay in her latest book, The Power of the Image: Essays on Representation and Sexuality, which explored the way in which censor ship, both institutional and selfimposed, can actually be produc tive, helping to create specific genres like film noir. At Latrobe, Kuhn tackled a sub ject similar to the one with which she had opened the Canberra confer ence. Entitled ‘Representation: some problems for feminism’, it was a fascinating look at the film, Pumping Iron 2: The Women, a documentary about the World Women’s Bodybuilding Champion ship in Las Vegas. A u stra lia n b o d y b u ild e r Bev

Pumping Iron II: The Women (Bev Francis in background, fa r right). Francis was a participant, but the judges considered her body — the most muscular in the competition — too well-built, and thus too un feminine. On Francis, muscles became ‘drag’. The slides of Bev Francis and other competitors that Kuhn showed certainly highlighted the challenge the bodybuilder poses to those pre conceptions of what a woman’s body should look like, and the film as a whole also raised interesting ques tions associated with visual pleasure in feminist film, since much of the pleasure to be had in watching it came from a response to the ca m e ra ’s investigation of the women’s bodies. Most mainstream films rely on women’s bodies as sexual objects, but must feminist cinema necessarily avoid depicting women’s bodies? Gigs given, Kuhn left for Sydney after a mere three days in Mel bourne — barely long enough, in fact, to work out the tram system. Kuhn’s interest in trams was less a sociological exercise, however, than a need to get places: many Mel bourne institutions (in contrast to those in Canberra and Adelaide) had been reticent to fund her visit. A shame, because an academic per spective on films is of special value to the development of a feminist cinema. Women filmmakers will be more likely to provide a positive alternative if they have a fuller under standing of the many ways in. which traditional cinema has represented and undermined women.

CINEMA PAPERS September — 9

The budgets, the pictures, the problems. . . by Nick Roddick

“I don’t want to point my finger, but there was obviously a failure. ” Joss Me William and Josephine Smulders in Coolangatta Gold.

“To get up one morning and say: ‘I’m going to take $10 million of our m oney and put it into a film’ . . . you know, . it’s a lot of m oney”

10 — September CINEMA PAPERS

what we’d done so far with Hoyts Edgley: the budgets, the pictures, the problems . . . And he said: 'Listen, why don’t we . . .?' By the next day, we had a piece of paper with pointers on it: a very simple deal. Of course, the lawyers and that will take months. But the deal’s done.” Chissick is quietly eloquent about the thorny question of Australian content in the films that will be made under the deal. “ As a person in volved in the Australian film industry, I would hope that it will lead to Aus tralian pictures being made, but we haven’t set any parameters. The beauty of it is, you don’t have to worry about pre-sales and 10BA regulations and prospecti and lawyers and corporate affairs. We don’t want to make a deal, we want to make movies. And unfortunately, many movies that are made are not movies at all: they’re deals.” Were Coolangatta Gold and Burke & Wills movies, then? And what did Chissick tell Weintraub about those 'experiences'? “ It was a very candid discussion: Jerry’s made enough movies to know what it’s all about. Coolangatta Gold I was very disappointed with, because I thought it was the best script to come out of Australia. So, we failed there somewhere. I don’t want to point my finger, but there was obvi ously a failure. With Burke & Wills, it seems — it is now apparent — that people in Australia were just not interested in seeing a picture about these two guys dying in the desert.” At a time when, post-Crocodile Dundee, public perception of the box-office potential of Australian movies is on the up again, Chissick remains sanguine. “ Since, say, Phar Lap and Careful, He Might Hear You

up until now, with C rocodile Dundee, we really haven’t had a big Australian hit. So you do get a little hesitant. W e’re looking for good Australian pictures — we’ve got Malcolm and Windrider coming up — but I won’t take Australian pic tures for the sake of patriotism. “ I think Crocodile Dundee will give heart and hope to a lot of film makers; but, really, every picture has to deliver on its own. If you have, say, a twin, and you’re playing Crocodile Dundee in one theatre and For Love Alone in the other, it doesn’t necessarily follow that, as soon as you fill Crocodile Dundee, everybody will go into For Love Alone. It doesn’t happen that way.” With the new multiplexes, the aim is to have as much current Hoyts product on show in each location as possible. “ There are a lot of people who will not drag themselves into town, look for a parking spot, pay for it and walk across town to the cinema, only to find that their first choice is sold out. W e’re going to give them accessibility to the theatres, free parking — and they can look up and see eight movies. There are probably going to be three that are their first choice. If they can’t get into one, they’ll get into the next. They’re not going to a movie, they’re going to the movies. “ It will take time, and of course there will be teething problems. We have twins at the Warringah Mall in Sydney and at Waverley in Mel bourne that took twelve months to get off the ground. But, if we get the audience to come once, I believe firmly they’ll come back again, and they’ll all be regular moviegoers.” And that, you have to admit, in the swimming-pool heaven of suburban Australia, couldn’t be all bad.

PATRICK RIVIERE

Movies, we are always being told — or someone is always telling Actors' Equity — are an international busi ness, a game without frontiers. If that proposition is true, then Jonathan Chissick is its living proof. Having started as the “ Latin American paper-shuffler’’ (his own description) at United Artists in New York in 1968, Chissick, now 40, was born in Israel, used to be British, and is now Australian. His eighteen years in the film busi ness have been spent in four countries: the USA (three years with United Artists in New York), Israel (six years, three of them as managing director of UA Israel), the UK (as managing director of United Artists there) and Australia. In the late seventies, he did a one-year stint here, taking the long way round between Israel and the UK, as m anaging d ire cto r of (yo u ’ve guessed it) United Artists. Now, since the departure of Terry Jackman six months ago, he has the same title at Hoyts. Chissick is, let’s face it, your average movie executive: that is to say, he doesn’t smoke a big cigar, doesn’t have models of oil wells on his desk and doesn’t play nervously with his calculator while he talks. He is, in fact, much like you or I, only richer. And he believes in movies ra th e r than de als, w h ich is refreshing. Since he took over, Hoyts has taken two steps of some signifi cance: out of the arms of Michael Edgley and into those of (coincidentally, as it turns out) United Artists; and into a deal with CIC to develop a series of suburban multiplexes, designed to bring older audiences (back) to the cinema. The production deal was, feels Chissick, only a matter of time for Hoyts. "W e’ve never put our money where our mouth is, so to speak. We’ve done our tax-shelter deals. But to get up one morning and say: ‘I’m going to take $10 million of our money and put it into a film’ . . . you know, it’s a lot of money. “ But we’re heavily involved in distribution, we’ve got an enormous exhibition company and w e’re into video. So, it’s a natural extension — something Hoyts ought to be doing. The only logical avenue seemed to be with a partner, and what better partner than one of the majors?” The deal with UA, for a number of joint productions in the SUS8-10 million range, came about during a courtesy visit to Hollywood shortly after Jerry Weintraub took over at UA (he has now left again, but these things tend to happen at the studio). The visit started predictably enough, but soon got right to the point. “ We went in and said: ‘We’re Hoyts in Australia!’ And he said: 'Oh, I know Hoyts and I’ve been to Ayers Rock and it’s wonderful. Now . . . what do you guys think about pro duction?’ So I told him my theory about 10BA and non-10BA and

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F ilm a n d R E V O L U T IO N In the May 1985 issue of Cinema Papers, we printed an ‘Open Letter’ to the world’s filmmakers by Lino Brocka. Brocka, probably the best known Filipino director (and a constant opponent of President Marcos), was, at the time, out on bail from a sedition charge that carried the threat of the death penalty. Sixteen months later, after Cori Aquino’s revolution, Brocka is back at work. Among other things, he is now the head of the Task Force concerned with reorganizing cinema in the Philippines; and he is working on his usual flurry of films. Here, he talks about getting out of (ail, about life under the last days of Marcos, about the changes that People Power has brought (and the changes it hasn’t), and about his own future as a filmmaker.

Immediately after I was released on bail, I made a movie, which is what I was pre paring to do just before I was arrested. I ’ve made about six films since Bayan Ko [Brocka’s political melodrama, in competi tion in Cannes in 1984, and shown at last year’s Sydney Film Festival], two years ago. T hat’s about average. In fact, my output is down a little, because we were very much involved with organizing and mobilizing members of the Concerned Artists of the Philippines as part of the protest movement. Also, they’d banned Bayan Ko, and we decided to fight it out with them. Fortun ately, the producer was willing to lose the money. I told him: “ You know, the Board of Censors is very vindictive, especially the Chairman!” But he said: ‘I don’t care if the movie doesn’t get shown or doesn’t make any money in the Philippines. I just want to fight it o u t.” So we filed suit in the Supreme Court, and that went on for almost a year. CINEMA PAPERS September — 13

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In the middle of all this — filming and the suit and all — we had our weekly appearance at the court. It was just a big fuss: everybody knew that, I think. But we had to make an appearance every Wednes day, because there were two cases. The suits were ‘Inciting to sedition’ and ‘Leading an illegal assembly’, both of which were punishable by death at the time — death or life imprisonment, no in-between — if you were found guilty. But it was just harrassment: that was very clear. I think the court was going to decide that there was no case, but they had orders from the top to hold it, so we had an ongoing case always hanging over our heads. We — especially the theatre group I have — were very much involved in mobilizing fof the protest movement, particularly in the provinces. The harrassment and the arrests were getting quite blatant. There was no time to make films! Between December last year and the end of May, I didn’t do a movie, which is quite a record for me. Usually, I make a movie every two months — five or six a year. There was also the fact that, because of the trouble with Bay an Ko, producers didn’t want to touch me with a serious film. I wasn’t wanting in assignments, but they were asking me to do films that the government would like — you know, the glossy ‘Ross H unter’ look, that type of film. We knew the end was near for Marcos by then, but we didn’t know how it was going to happen. Even when we were asking the people to vote for Cori, everybody was aware that there was going to be massive fraud and cheating. We knew they handled the institutions and the agencies that were

responsible for counting the ballots. The important thing was that the people knew one thing: that they had to go out and vote for Cori, even if they were going to be cheated. But, in spite of all the election vigils and all the people putting up a fight, we still needed something. And then, of course, came the sort of coup by the military, headed by Ramos and Ponce Enrile. I suppose that was the thing that did it. Now that we have this freedom that we’ve been fighting for, though, it’s not all straightforward, because there are still so many of the old structures left, and so many of the people who benefited from the Marcos government. People are scrambling for positions. It’s a different kind of battle altogether — a little bit confused, right now, and a little bit messy, because we are in the process of reconstruction, the process of rebuilding. Plus, of course, as everybody knows, the Philippines is bankrupt, and the movie industry is having a hard time, just like all the other sectors. Right after the revolution, the first thing the President did was to create commissions, like the Commission on Good Govern ment. Let’s face it: for the last 20 years, corruption was the system. It permeated almost every level of society, and the Com mission is now running after these people. Since the movie industry used to be led by people who spoke fo r the government instead of speaking about the movie industry, there was definitely the need for a change there. For example, John Litton was still running the Film Centre, and we had to get rid of himl We don’t know what to do with the Film > CINEMA PAPERS September — 15

Centre, as a matter of fact: it’s a big white story based more or less on Imelda Marcos elephant. Also, there was a lot of money — the story of a woman who has an earned because of the showing of those affectation for the arts, who sings and who semi-pornographic films: where did it go? collects statues of the infant Jesus. T hat’s Like all government agencies, the Film the one I look forward to, because the story Centre had to be audited, which necessi we have come up with is an exciting B tated the creation of a Task Force to over movie: it has all the sleaziness in it, and the see it. But, more im portant, I think, is the lust for power and the accumulation of all fact that the government realises that there these things. She would have an afternoon is the need to formulate film policies that tea-party, and there is a famous pianist will govern the movie industry. And that, playing; and probably there would be a precisely, is the function — the responsi famous American actor who comes in . . . bility — of the Task Force for Cinema. I ’m calling it Griselda R. A degree of independence is important, Griselda is married to the governor of a however. After the revolution, we organ southern province, who has been in power ized a Union of Movie Workers, of which for the last 20 years. Now, he is dying of an I ’m President. We’d been trying to incurable illness and he is up for reorganize this for a number of years, ever election. Since he is too sick, his wife takes since the First Lady instituted the Manila over the re-election campaign. She goes to International Film Festival and organized political rallies and sings a song and has the us all into ‘guilds’. The ‘Academy’ the military behind her. There is also a human government created included the different rights lawyer running against her — honest guilds, plus the producers, so it was imposs but poor. And, as the election campaign ible to negotiate on economic problems. In goes on, she realises there is the possibility fact, they made it very clear that they were this guy might win. So, she stages an not there to tackle economic problems. I ambush in which he is assassinated. Of mention that because the feeling was course, there is no evidence, and people unanimous that we didn’t want any help — refuse to talk. But the wife of the slain any subsidy or funding — from the govern opponent now runs against her, so we have ment for the Union. It is im portant to retain a story about two women fighting it out. our independence, so that we’re not I start the film with her singing at a beholden to any administration, even if it is party, then at a rally, then going to church Cori Aquino’s. and singing there. She has this fabulous It is a concern of every sector now to wedding for her daughter, with all these educate the people. I think one thing foreign friends of hers. Then she quarrels Filipinos learned from all this is that we with her husband, because he is having an were very much to blame for what affair with an American starlet who comes happened. In other words, we kept quiet. to the Philippines to make one of those That is why Marcos became more and more Ninja Ninja films. He has an affair, so she emboldened and had the gall to do it all. has an affair . . . that type of thing. With 20 years of suppression, you can You can’t exaggerate the life of Imelda: imagine the stories that are being planned it’s already an exaggeration. It’s in a right now! And they are still very relevant, fantasy world. The woman bought a crown because the revolution has not changed the — an honest-to-goodness crownl Of system: corruption is still there. I don’t course, we knew that she bought jewellery, think you can change that overnight: that millions of dollars worth: but a crown! will go on. Let’s face it: a big segment of Where would she wear it? In the evening, society still belongs to the same status quo, just to look at? Perhaps it was for a and those attitudes have not changed. As a costume party. But, if you go to a costume matter of fact, even the educational system party, you wear costume jewellery. This has got to change. We have to be weaned crown cost $184,000! away from that, because the system that And who would ever believe the reason we’ve had for the past 20 years has been why she went to Russia? It was not publi very much influenced by the lending institu cized internationally, I think, but in the tions — the IMF and the World Bank. Philippines it was. Just before the election, Now, people are very, very conscious that, she went to Russia with a statue of Our whatever aid they give, it is not in the name ■Lady of Fatima. She had a whole entourage of democracy, or because we’re such a of nuns and priests — about 50 people — ‘peace-loving nation’: it is for their own and she went to this small town in Russia interest. and had a mass there. She had a black veil For myself, now that the revolution is and she was all in costume, and pictures over, I’m going back to television. I was were taken. And do you know why she did doing several shows there, before ‘The that? Because her fortune-teller told her Cronies’ took over. Now I ’m going back: that a woman from Asia would go to I’ve agreed to do a miniseries — the Russia and convert it to Catholicism. It was story of Nino Aquino, which I was sup in all the papers. O f course, they didn’t say posed to have done two years ago but, for that that was why she went. But her cronies security reasons, couldn’t make. W hat I ’m — the ‘Blue Ladies’ — told us it was true. doing is the local version. There are, I If you put that on the screen, people would think, three international versions, but I say it was an exaggeration! don’t want to have anything to do with There’s another thing I have to show them. If they want to do a Gandhi-type which, when people see it, they will prob film, fine, as far as I’m concerned. But I ably say I am making fun. When Van don’t want anything to do with it. The story Cliburn and Margot Fonteyn left after a that we have is about a family that was visit to the Philippines, all the way from the harassed by the state — a domestic drama. VIP lounge to the aircraft, there was a red It is the story of Nino when he was arrested carpet and girls dressed in communion at the declaration of m artial law, and how clothes, with flowers in their hair. It was the family went through the trial and then straight out of Les Sylphidesl The girls had went to the United States and went back to baskets, and they threw petals, so Van normal. It’s a domestic drama that I don’t Cliburn and Margot Fonteyn are walking think international producers would be on a red carpet, and girls on both sides are interested in. throwing petals at them. If you put that on The other one I ’m thinking of doing is a the screen, can you imagine . . .? ★ 16 — September CINEMA PAPERS

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D u tc h , t l r e a t For Paul Cox, film, is the most powerful medium ever invented, but also the most abused. If the Australian film industry had more dedication and less greed, argues Cox, and if the money-lenders and execu tives restored it to the filmmakers, we would have better results. A lot of Cox’s frustration and anger comes to the surface in conversation. But his films are not nearly so blunt. They are emotional and tender; often, the meaning behind his recurring images remains obscure. They are films which appear affected by incidents in his life, and they bear the unmistakable stamp of the auteur. Indeed, David Stratton has described him as “ the most interesting auteur of the con temporary Australian cinema” . Cox does not like large gatherings, and prefers his Australian anonymity to the autograph-grabbing frenzy o f his fans in other countries. But he feels strongly that Australian filmmakers should get together more often. There is nowhere here, he com plains, where you can go and have a drink, knowing that you will catch up with fellow filmmakers: nowhere where you can swap ideas over a coffee in some cafe or other. Where is the community spirit, he asks? That is one o f the reasons why he thinks film festivals have an im portant role to play in the Australian film industry. For him, “ they are the last vestiges o f free dream s” . Do you still fe e l like a foreigner, after more than 20 years in Australia? I used to feel Australian, but not any more. I think, as you get older, you go back to your roots. A lot of people, when they die, can only speak their mother tongue, even though they have spoken other languages. Maybe I ’m getting old. Do you fe e l Dutch? No. W hat I feel has nothing to do with Holland. Even my parents had nothing to do with Holland. I was born there and was in a Dutch school for a while, but I was brought up in German, French and Dutch. H ow would you describe yourself? I think I ’m a very determined person. But I don’t call it ambition. I ’m a very compul sive character, so they say. September CINEMA PAPERS

Is this a characteristic you can apply to your film m aking? You have to. If you don’t, you’re not a filmmaker. It’s impossible. What do you think is the best attribute a film m aker can have? A lack of fear, because filmmaking is very much a medium of our times, and our times are very greedy and based on the wrong values. Filmmakers are easily seduced, so I think a lack of greed is essential. Also great determination and confidence. If in any way you start to doubt yourself . . . Each time I go overseas, I am always amazed how filmmaking has devolved into some sort of totally idiotic situation, where ten people decide what is being done and how to put a film together. I don’t work like that at all. I find it very boring and lacking in personality: we live in a society that doesn’t breed individuals any more. You are regarded now as a successful and bankable film m aker. Is that what you wanted? No, of course not. I did not even intend to be a filmmaker. I did it as a hobby and I ’ve always said that, if you take something seri ously, then you must do it as a hobby; because if you do it professionally, you have to make compromises all the time, and you have to make a living. I worked on the side, doing things I wanted to do — obscure little films that taught me a lot and which I always produced myself. I worked as a lec turer at Prahran College, and most of the money I made there went into films. From there, I became a filmmaker. But I never set out to become a ‘film director’. I find that an embarrassing title. O f all the film s y o u ’ve made, which one are you happiest about? I don’t think you should ever be happy about what you do. I think a film I made about ten years ago called Island is still about the best. It is only ten minutes long and it is totally abstract and hypnotic — and that is what I think a film should be.

Paul Cox has been making films in Australia for nearly twenty years, but people still tend to regard him more as an uprooted European. Carol Bennetto talks to him about filmmaking and other obsessions.

Overall artist: Paul Cox on location with Werner Herzogâ&#x20AC;&#x2122;s Where the Green Ants Dream in 1983.

Dutch. Do you think film m aking is self-indulgent? It is the most im portant medium of our times. It is the most abused, too. It is the most powerful thing we have invented. But I rarely go to the movies, because they make me angry. I think it is the most fantastic medium, but it is used in the most idiotic, patronizing and denigrating way. Let me tell you something. I was on the plane to Hawaii recently and I saw Prizzi’s Honor. Behind me, somebody started to clap. I was very angry with this film. I turned round and asked this man: “ What is the matter with you? Why are you clap ping? It is one of the most immoral pieces of shit I ’ve ever seen!”

“We live in serious times. We are very close to the brink of extinction” I can understand that, before Buñuel slipped out of this life, he might leave some funny, nasty little piece behind to teach people a lesson: he would have been capable of that. But here is a man at 79, John Huston, and his last ‘masterpiece’ is a totally immoral film that is being heralded as something quite brilliant. It is a piece of rubbish. We don’t live in times any more where we can indulge in that sort of thing: we live in serious times. We are very close to the brink of extinction. Film is such a powerful medium, and people are watching an average of two or three hours of tele vision and film a day.

with Australia: it’s like living in America. That second-rate culture, spitting its crazy message across the globe, and we all live for that! You can’t even turn on the television at night without hearing an American voice on every channel. And why should a foreigner like me scream against it all the time? Of course everyone agrees with me, but nobody does anything about it. A re you happy making film s, or would you prefer to be doing something else? Yeah, I would rather be doing something else! If I had the courage, I would just live a very quiet life. I would like to do a bit of painting, a bit of writing and all that sort of stuff. It’s become too big, you know: too many things happen, too much pressure, too many demands. It was never intended to be that way: I’m not ambitious on that level. I’ve never been ambitious: I have just been compulsive, and I think it is essential that people use the medium to express themselves. It is not all about some weird god — the big commercial god that is supposed to tell us how to entertain one another and how to denigrate one another. The more I grow, the less time I have for any of that shit, for any compromise. I say

Is that why you insist on such a high degree o f artistic control? Not high: total. The great irony of all this is that I am a much more commercial com modity at the moment than anybody else! All my films are about human beings and they are fo r human beings. Was Lonely Hearts a breakthrough fo r you? Lonely Hearts is an extraordinary story. It became very popular because people are basically starving for a bit of humanity on the screen. They don’t want to just have ‘shooting parties’ all the time. I ’ve always believed that. I believe much more in people than most of the others, because those people are standing between you and the audience. The others think they know what an audience needs and wants, and they set the standards. That is why going to the movies makes me angry. And why do we have American crap here all the time? T hat’s why I’m so pissed off 20 — September CINEMA PAPERS

Usually, the ideas start somewhere in child hood. I think this one started many years ago, when my mother went blind as a result of a burst blood vessel in her head. We were all terribly upset and went to see her in hospital, but she wasn’t feeling bad at all. In fact, she was having a very peaceful time, lying in a quiet little room. I have made a few films about blind people, and I’ve always found that they are very peace ful. We live in a world that only scratches the surface of things. We judge people by their faces, and never allow any time to analyse the silences of a person or their feelings. Everything is judged by society on the surface level, and we all know a person is made up of an inner life and an outer life and how these two are balanced. In Cactus, one person represents the inner and the other person the outer. One person has been everywhere, seen every thing, and the other person has seen nothing and yet he has inner peace. The other person, although she has sight, has nothing. It is based upon saying that the world consists of two different types: the shallow ones and the real ones. The shallow ones have the world: they have the big cars and the new houses. The real ones have nothing. It’s a very ambitious and preten tious idea, I realise that fully. / have read that you were influenced by Claude Goretta’s film , The Lacemaker, which also starred Isabelle Huppert.

Do you think you are different fro m other filmm akers? I don’t think I’m different: I am just more determined to do my own thing. There are very few people who get the chance to do that, because films are all controlled by the wrong people. Why should a producer, who has no idea about film, who may have been studying to become a chemist or a lawyer, suddenly become a film producer and have the final say? They have a say in the casting, in what is being made, what represents this country’s conscience; and then they have final cut.

Where did the idea fo r Cactus come fro m ?

Checking out the shot: Cox on location fo r Inside Looking Out (1977).

exactly what I think and do exactly what I need to do. How many more years do we have? We are all going to die some day. I am supposed to be a successful filmmaker, but I could give my career away just like that. I’ve done it before: I was a very successful photographer at one stage, and I just gave it away: it didn’t mean anything any more. Does film m aking still mean something to you? It means a lot, because, politically, it is a very important weapon — unbelievably important. There is nothing as fascinating or as powerful as filmmaking. Politically, it can change your whole way of thinking. That doesn’t mean to s-ay you must make ‘political’ films: I make films about people for people. The only thing we have that makes us so unique is that we can feel and we have the ability to have emotions. I have great respect for trees and animals, usually more than for people. But I must believe, underneath, that people are basically good; if I couldn’t believe that, I would give the whole thing away.

No, but he encouraged me a great deal. Here was a film with no special commercial ingredients, and yet it was very successful. If Goretta had gone to a funding body here in 1976, he would have been kicked out of the building. When I saw it, I was quite amazed to find a full house with everybody sitting there stunned after the movie. They had been given something — something to take home, something to think about and make them remember. They wanted to talk. It is so important that a film can let that happen to you. It can be entertaining, it can even be lighthearted: it is not a matter of being heavy. So, The Lacemaker gave me great en couragement, and Isabelle’s performance was absolutely stunning. By sheer coincidence, I met her a year later; I talked to her and we decided to make a film together. She thought it was a bit of a joke at the time, but I was quite serious, and we did it. Is it true that you created it for Isabelle Huppert? This particular script, yes. The idea for the film was already there and I had written some sort of script that was very different, although it had somebody going blind in it. It was never completed and it wasn’t very good, so I re-wrote everything for her. Did you have any problems with A ctors’ Equity in allowing Isabelle to come to Australia? It was either Isabelle coming here or my leaving Australia. If I haven’t earned artistic freedom by now, then I ’m living in the wrong country. I could have proceeded in Canada and San Francisco, partly with an Australian crew, but I wanted to make it here. I live here, I work here. I ’m glad we managed to solve the problems.

Yoh referred to your m ethod o f film making as being much faster and more per sonal than anybody else’s. You also use few er shots than m ost film m akers. Is there a reason fo r this? Filmmaking is an incredible indulgence in spending. I am not saying it arrogantly, but I do know exactly what I ’m doing when I start making a film. I d o n ’t take ten master shots and twenty close-ups and then see whether it all goes together. No, I would shoot on a ratio of five-, six-, seven-to-one, which is half of what other people do, because I see no point in wasting the material. T h at’s one thing. Secondly, I very often like to do things in one take, but they are very carefully laid out and they are complicated shots. They are also very risky, because you have nothing to cover yourself with. But that makes it more exciting: each time you make a film, it may be your last, so you may as well play all the way. You said to me earlier that the music in your film s is much better than in m ost film s you have seen. H ow important is music as part o f the f i l m ’s structure — because I am assuming you pride yourself on your selection o f music? No, I don’t pride myself at all. I just think — in fact, I am absolutely convinced — that, if you don’t have a sense of music, you should not be making films. Music is the basis of all creativity. I always have the music before the film begins. Why do you choose not to work in Dolby? Because Dolby is a lot of nonsense. It distorts. It blows the music up and makes it unrealistic. It is very rare that I see a film in which Dolby is properly used. Dolby is a con by the Americans, who even have a ‘Dolby expert’ for the mixing. Why should we imitate the Americans on that level? You know, I have never seen a film not suc ceed because it didn’t have a Dolby track.

“ I have a much better reputation outside Australia than I do here. I think, in Australia, there is still this thing about a migrant coming good” So many of these little aspects in filmmaking are created by somebody. You can’t even sing ‘Happy Birthday’ in a film because the Yanks somehow bought the rights to it, and it will cost you about 50 grand! It’s incredible: you can’t even pay homage to a nice song because you have to pay through the nose! Are there other European film m akers besides Goretta whom you admire? I didn’t say that I admired Claude Goretta. I think he is a fine, decent human being and that The Lacemaker is a great movie: it just touched the right nerve. But it is not a spec tacularly interesting movie: the guts, the humanity behind it are good enough for me, thank you very much! I d o n ’t need more than that. I think there are some fine filmmakers. I like everything Buñuel ever did: I think he was great. And Bergman, too. But how

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many ///m m akers are there? Just before Cactus, I was invited to go to Canada. I enjoyed meeting Tavernier and Tarkovsky and it was really stimulating for me. But you hear exactly the same thing from all of these directors: none of them really makes any money out of films. They are all regarded as doing something original, they all do their own thing and they all have a hellish time. But I think it’s extraordinary that ‘they’ say that these are the people who are supposed to be changing the shape of cinema [Cox’s invitation was part o f an event honouring ten directors who were supposed to be going to make the most significant contribution to world cinema in the next ten years]. It’s all very nice, but who are ‘they’? You have received offers to work in the States. Would you consider going to America to make a movie? Well, it’s a long story. Everyone keeps on telling me I should do it once — experience it. But I get enough experience here. I am in a very fortunate position and I am able to make my own films here. It’s not difficult to get the finance, so why the hell should I go to Hollywood? If I cannot have final cut, I don’t want to make a film. But I do have a much better reputation outside Australia than I do here! I think, in Australia, there is still this thing about a migrant coming good. If I go to a festival in the States, I can hardly move because people are asking me for my autograph.

And, although I say American movies are ratshit, at least they love you for what you do. T hat’s the good thing about America: they are much more open about cinema, even though it’s controlled by a few people whose thinking is based on the mighty dollar. Do you have a solution to all this? If I had the energy left, I would buy myself a television station and have all the control. You have to do your own thing as well as you can, and I am lucky to get away with doing my own thing — very lucky — and I have to be thankful for that. But it certainly hasn’t been easy. You get so fucking angry, and what for? It’s very easy to go to Hollywood and make a million-dollar picture, but I have to live with my own conscience. I don’t want to slip out of this life and look back and think: Yeah, well, I made a lot of money. I think th at’s nonsense. I think filmmakers have an extraordinary responsibility. People ask me: “ How does it feel, working for television? W hat’s the difference?’’ There is no difference, except that your responsibility is much bigger, because you reach more people. I think I ’ve been lucky. I came to filmmaking through the back door. It became a hobby and then an obses sion, and I have no way of turning back. I have become so obsessed with it that, now, there’s no escape. ► CINEMA PAPERS September — 21

The films of Paul Cox

Above, Isabelle Huppert as Colo in Cox’s latest film, Cactus. Below, Tony Llewellyn-Jones in the first two 16mm features: left, with Gobi Trsek in Illuminations (1976); right, Inside Looking Out (1977).

We are all alone, my dear. Above, left, Takis Emmanuel and Wendy Hughes in Cox’s Kostas (1978). Above, right, Wendy Hughes and Norman Kaye in the director’s 1981 film, Lonely Hearts. Below, Norman Kaye (right) in Cox’s worldwide success, Man of Flowers (1983). And, left, John Hargreaves, Lucy Angwin and Wendy Hughes in 1984’s My First Wife.

1965: Matuta, 23 minutes, 16mm, colour. 1966: Time Past, 10 minutes, 16mm, black and white. 1968: Skindeep, 40 minutes, 16mm, colour. 1969: Marcel, 7 minutes, 16mm, black and white. Symphony, 12 minutes, 16mm, black and white. 1970: Mirka, 20 minutes, 16mm, colour. Calcutta, 30 minutes, 16mm, colour. 1971: Phyllis, 35 minutes, 16mm, colour. 1972: The Journey, 60 minutes, 16mm, colour. 1974: All Set Back Stage, 22 minutes, 16mm, colour. 1975: Island, 10 minutes, 16mm, colour. We Are All Alone, My Dear, 22 minutes, 16mm, colour. 1976: Illuminations. Directed and written by Paul Cox. Produced by Tibor Markus. Photography by Paul Cox and Brian Gacey Edited by Paul Cox and Russell Hurley. With Gabriella Trsek (Gabi), Tony Llewellyn-Jones (Tony), Norman Kaye (Gabi’s father). 78 minutes, 16mm, colour. 1977: Inside Looking Out. Directed, photo graphed and edited by Paul Cox. Produced by Bernard Eddy and Paul Cox. Screenplay by Paul Cox and Susan Holly Jones. With Briony Behets (Elizabeth), Tony LlewellynJones (Robert), Norman Kaye (Alex). 88 minutes, 16mm, colour. Ways o f Seeing, 24 minutes, 16mm, colour. 1978: Ritual, 10 minutes, 16mm, colour. Kostas. Directed by Paul Cox. Produced by Bernard Eddy. Screenplay by Linda Aronson. Photography by Vittorio Bernini. Edited by John Scott. With Takis Emmanuel (Kostas), Wendy Hughes (Carol), Tony Llewellyn-Jones (Tony). 100 minutes, 35mm, colour. 1979: For a Child Called Michael, 30 minutes, 16mm, colour. 1980: The Kingdom o f Nek Chand, 22 minutes, 16mm, colour. Underdog, 53 minutes, 16mm, colour. 1981: Lonely Hearts. Directed by Paul Cox. Pro duced by John B. Murray. Screenplay by Paul Cox and John Clarke. Photography by Yuri Sokol. Edited by Tim Lewis. With Wendy Hughes (Patricia Curnow), Norman Kaye (Peter Thompson), Jon Finlayson (George). 95 minutes, 35mm, colour. 1983: Man o f Flowers. Directed and written by Paul Cox. Produced by Jane Ballantyne and Paul Cox. Dialogue by Bob Ellis. Photography by Yuri Sokol. Edited by Tim Lewis. With Norman Kaye (Charles Bremer), Alyson Best (Lisa), Chris Haywood (David). 91 minutes, 35mm, colour. 1984: Death and Destiny: A Journey into Ancient Egypt. Directed by Paul Cox. Produced by Will Davies. Written by Paul Cox, Phillip Adams and Michael Le Moignan. Photo graphy by Yuri Sokol. Edited by John Scott and Paul Cox. Songs and music by elSaid Mekky. W ith Phillip Adams (narrator). 74 minutes, 16mm, colour. My First Wife. Directed and written by Paul Cox. Produced by Jane Ballantyne and Paul Cox. Photography by Yuri Sokol. Edited by Tim Lewis. With John Har greaves (John), Wendy Hughes (Helen), Lucy Angwin (Lucy). 99 minutes, 35mm, colour. 1985: The Paper Boy. Directed by Paul Cox. Produced by Jane Ballantyne. Written by Bob Ellis. Photography by Yuri Sokol. Edited by Tim Lewis. With Christopher Schlusser (Joe Riordan), Tony LlewellynJones (Mr Riordan), Linden Wilkinson (Elsie Riordan). 53 minutes, 16mm, colour (for the Winners series). Handle with Care. Directed by Paul Cox. Produced by Andrena Finlay and Anne Landa. Screenplay by Anne Brooksbank. Photography by Yuri Sokol. Edited by Tim Lewis. With Anna Maria Monticelli (Kate), Nina Landis (Julie), Monica Maughan (Margaret), Peter Adams (Geoff). 75 minutes, 16mm, colour. 1986: Cactus. Directed and written by Paul Cox. Produced by Jane Ballantyne and Paul Cox. Photography by Yuri Sokol. Edited by Tim Lewis. With Isabelle Huppert (Colo), Robert Menzies (Robert), Norman Kaye (Tom). 96 minutes, 35mm, colour. 3^ -

W E W ISH THERE WERE FRIZES ENOUGH FOR ALL OUR MOVIES. We’re proud to have been associated with these films. We wish their makers lots of luck with the Awards.

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Rope trick: Sam Shepard as Eddie in Fool for Love.

A couple of years ago come November, I went on the road in England with Robert Altman. The occasion was the British release of Secret Honor, Altman’s ‘Nixon film’, in which one actor alone in a room for just under two horns re-enacts the mania and the paranoia which is, it seems fair to assume, the scenario being played out inside the former President’s head. I had seen the film a month or so before and I thought — I still think — Secret Honor, for all its self-imposed topographical limitations, among Altman’s greatest films. It is a work which uses two of the true resources of cinema — the control of point of view and the fine-tuning of pace — to astonishing effect, leaving most of the decade’s car chases and intergalactic battles looking turgid and immobile by comparison. Going on the road involved chairing three question-and-answer sessions, one in London, one in York and one in Newcastle. In York, the lecture was introduced by Andrew Tudor, author of two excellent books on the cinema; and he paid Altman a rare tribute. In the mid seventies, Tudor was film critic for N ew Society. Only once, he said, had he missed a deadline. It had been after seeing Nashville; and the sheer scope of the film, the number of issues it raised and the complexity of his own response made it totally impossible for him to write his column on time. Most of us for whom filmgoing became a passion and a pastime somewhere between 1955 and 1965 have felt that way, if not about Nashville, at any rate about one or other of Robert Altman’s films. The sixties was a dreadful decade in American cinema, with very little that shone amid the machine-tooled efficiency of the product ground out by Hollywood. The ‘first generation’ of talkie directors were mainly retired or dead, and the studios were still a long way off giving the kids a chance. And then, in 1970, along came M *A * S *H .

24 — September CINEMA PAPERS

Altman was certainly not a kid in 1970: born in that epitome of the mid-West, Kansas City, in 1925, he was in his mid-forties by the time he made M *A * S *H , with a few unmemorable features and a ten-year career in television behind him. But the film was certainly youthful. And it was a landmark, not because it engendered a seemingly endless, cosy little TV series (which Altman hates), but because it came close to revolutionizing mainstream American cinema. It had stars and a story and it was made by 20th Century-Fox and it opened in major chain cinemas. It had about it, though, an anarchic freshness: more or less by mistake, Hollywood had produced a film which reflected its time, rather than making something that seemed born and bred in the fifties timewarp of the movie capital. The soundtrack was noisy and muddled and fascinating, not antiseptic and post-synched; the handling of the narrative was loose and open, not seamless and unproblematic. Most amazingly of all, M * A * S * H was a film that millions of people went to see. It seemed to break the rule that any film made outside the mould would fail, and that any filmmaker who didn’t conform wouldn’t work. After M *A * S *H , Altman certainly worked, making fourteen films in the next ten years. And it very soon became clear that not only would Altman break the Hollywood mould: there wouldn’t be an ‘Altman mould’ either. This was not a director whose career was going to be solid but predictable, like those of his contemporaries (and fellow TV graduates), John Frankenheimer and Sidney Lumet. Im m e d ia te ly a f t e r M * A * S * H cam e Brewster McCloud (1970), a bizarre tale of sexual initiation and the desire to fly, set in the Houston Astrodomé and introducing Shelley Duvall, an actress who would become an Altman regular. Next came McCabe and M rs Miller (1971), a bleached-out anti

western, set above the snowline in the Pacific northwest, in which the issues blend into one another like the outlines of the town of Presbyterian Church in the falling snow, and whose climactic six-gun face-down simply disappears into the whiteness. The following year, there was Images (1972), a Freudian ghost story set (and filmed) in Ireland; then The Long Goodbye (1973), a film I would die for, which irreverently and quite justifiedly relocates Philip Marlowe’s schematic moral values in the unprincipled urban wasteland of modern Los Angeles. The sixth Altman film of the seventies was Thieves Like U s (1974), a remake of the 1949 Nick Ray film, They Live by Night, which looked at a doomed love affair against the background of the Depression, and did so far more honestly (if less commercially success fully) than Bonnie and Clyde. Next came California Split (1974), a gambling melodrama in which Altman did for ‘buddy’ movies what he had done to war films in M *A * S *H : decon structed them, allowing the people — in this case, Elliott Gould and George Segal — to rise above the genre. It was a film that confirmed that Altman was, on top of everything else, a great director of actors: Segal has never been better. And then came Nashville (1976), which was a critical and a commercial success in a way that none of the films since M * A * S * H really had been. Nashville was the film of the seventies — about sex and politics and music and the media, with dozens of different stories and 48 main characters. It took the tempera ture of the post-Nixon era with unerring accuracy, and with all the indelicate efficiency of a rectal thermometer. With Nashville, Altman’s career seemed established. Here was that dream-ticket of seventies Hollywood: a filmmaker of definite individuality, who reached audiences in such a

way as to guarantee his future budgets. It tinned out to be an illusion: no filmmaker that unprepared to spend too long on the same road, that unready* to repeat himself, could survive for long. By the late seventies, Holly wood was turning back towards the safe options and the familiar formulae. The Reagan era was all but dawning on the horizon. Altman’s next film after Nashville, Buffalo Bill and the Indians, or Sitting Bull’s History Lesson (1976), was a major flop (though it won a Golden Bear in Berlin). Since then, only one film out of eleven, Popeye (1980), has made an appreciable dent at the box office, and even that did nowhere near as well as Paramount anticipated. Three of the eleven — A Perfect Couple (1978), Quintet (1979) and Health (1980) — have hardly been seen, and one (O.C. and Stiggs, 1984) seems to have been shelved for good. Of the remainder, 3 Women (1977), A Wedding (1978), Come Back to the 5 and Dime, Jimmy Dean, Jimmy Dean (1982), Streamers (1983), Secret Honor (1984) and now Fool for Love (1985) have had critical responses ranging from the ecstatic to the politely deferential. But they have had very limited box-office success. None of which alters the fact that Altman remains one of the two or three most important American directors since World W ar II. Fool for Love was in competition at Cannes this year, which is one of the places some of the following comments were recorded, in an interview in the Carlton Hotel. Others were in Paris in the autumn of 1984, also in a hotel; and, of course, on the road. Most of the comments were answers to questions, at any rate initially. But they soon became state ments in their own right, which is why I have left them like that. Like his films, Altman embroiders on a subject. And, like Nashville, he rarely takes the narrow view. p.

By Nick Roddick

CINEMA PAPERS September — 25

Richard Nixon -------------------- and-

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ÏCRET HONOR

“I t ’s through Richard Nixon — my feeling is — that we’re able to look at the quality o f the Presidency. ” Phillip Baker Hall as Richard Millhouse Nixon in Secret Honor (1984).

“I was talking to Fanny Ardant the other night. She worked with Geraldine Chaplin and Vittorio Gassman in the Resnais film [La Vie est un roman]. But she never did a scene with them. She knows them just to say ‘Hello’ and she’s seen them in the film, but she doesn’t know them. Television is done the same. You know: ‘We have to pay $2,000 a day, so we’ll get this person out of the way in two days’. “I prefer not to work like that. Of course, I didn’t get there overnight. A lot of my reputa tion in being able to attract actors — my history — is such that they know, or they feel, that they’re not going to be made a fool of, that I’m not going to let bad performances go on the screen and I’m not going to lie to them. So they feel comfortable about stretching themselves as actors. “I don’t like to travel around too much in a film. I find I like to have a perimeter: it’s just an idiosyncracy of mine. Sometimes, it’s a pretty big arena, but I think it has to be an arena. I did Nashuille in a kind of big arena. Brewster McCloud was in the Astrodome. I feel com fortable in that kind of set-up. Jimmy Dean was like that, and the Nixon thing certainly was. Fool for Loue was on a big surreal set with very few people on it. “I know, when I get on the set, all those people will monitor their behaviour. Nobody wants to be the bad guy, nobody wants to be the hair in the butter. We get rid of all those private dressing rooms and limousines and stand-ins and runners to get their coffee, and they love it. Most of that special-privilege sort of attitude has nothing to do with work: it makes work more difficult for actors. It puts them on their guard. “I went to San Francisco to cast M*A *S *H. And everybody said: ‘What are you going to San Francisco for? All the actors are here in Los Angeles.’ Because that’s where they throw the coins. But I wanted people who hadn’t been in a film before. René [Auberjonois] had done almost no films to that date. After about ten days of M*A *S *H, Donald Sutherland and Elliott Gould went to the head of the studio and tried to have me 26 — September CINEMA PAPERS

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“I have a w om an w ho w o rk s w ith me called Scotty Bushnell, w h o is in m any w ays the closest thing I have to a partner. H e r h usband is artistic director of the L o s A n geles A ctors’ Theatre, and they had put on Secret Honor as a w orkshop production in a little, 40-seater theatre. Y ou had to cross the stage ju st to get into the room, and then you w ere trapped! “H e kept saying: ‘You have to see it: the actor’s great!’ I kn ow how people feel about som ething which is Richard N ix o n alone in a room for two hours: I w ouldn ’t go see it, either! I ju st did everything to avoid it! Finally, he got me. H e said: ‘W ell, I ju st don’t see h ow you can talk the w ay you do about actors, and there’s an actor of this quality and you w on ’t see his w o rk .’ So I said: ‘O K ’. I w ent and ju s t loved it. I spent all my own money: I took it to N e w Y ork and produced it there, and then to Boston, and then w e took it to A n n A rbor, and decided to do this film . N ow , I really don’t have any money! “Your first im pression is that it’s g o in g to be a comic perform ance — a lot of cheap shots. B u t ju s t to take cheap shots at som ebody like that — I mean, I couldn’t have stayed aw ake for the seven days it took to m ake the thing! It’s not about an individual: it’s through R ichard N ix o n — m y feeling is — that w e ’re able to take a look at the quality of the Presidency and the media and the politics and how lon g this is g o in g to continue. O f all the Presidents, N ix o n w a s w orst served b y the m edia because of his personality and his ow n stupidity. W h en he said som ething, there it was. It’s starting to happen w ith this other jok er w e ’ve got. The m edia w ere tough on N ixon , but they w eren ’t as tough as N ix o n thought. T h ey w ere tough on N ix o n because he’s the one w ho did it. “I think it’s com ing to a quick end, because the quality of the people that would aspire to that office is now down there in the C-m inus group. A ll of these people that get in there are horrendous. B u t they’re hum an, and they didn’t get there all at once. They didn’t ju st go from A to Z: they went to B and then O, and then, suddenly, they’re on that rollercoaster. A n d w e rew ard them for it! I mean, w hen you get rew arded for lyin g constantly. . . It’s like touching a hot stove: if every time you touched a hot stove, you had an orgasm , people w ould be ru n n in g round w ith their arm s burnt out up to here!’’

fired: they said I was ruining their careers! “Warren Beatty didn’t really go along with that on McCabe and Mrs Miller, either. But, ultimately, he really had no choice. O f course, Julie [Christie] was a great help: she’s just the opposite. The sad thing is, I don’t think Warren has ever given a better performance. But when he mentions films, it doesn’t exist. He still doesn’t understand it. He looks at me and he doesn’t trust me: he doesn’t know how it was done. “Shelley Duvall in Brewster McCloud — she was selling paintings for her boyfriend! She didn’t have the slightest idea: she’d never seen a camera before. I was looking for some body from that area who had that Texas accent. I didn’t want an actor who was going to go out and perfect the accent: I cannot abide that. I smell it every time.” “She’d never seen a camera before [Brewster McCloud], ” Shelley Duvall in 3 Women (1978).

Audiences

“I never think that I’m shooting for any par ticular audience. An artist does what he does. It’s really his own vision of something and, if he’s going to stop — whether he’s a painter or a musician or whatever — and say: ‘What kind of picture can I paint or what kind of song can I write that’s going to make me a lot of money?’, he has at that moment abdicated his art, and he’s in the manufacturing busi ness. Now, that doesn’t mean, of course, that you can’t go out and do what you want to do and it couldn’t turn into a billion dollars . . ! “So, I can’t really deal with what the audi ence is, or what it’s going to be made up of. But, if I have a piece I’m going to do, I realise I’m having a problem getting it done and I per ceive that, if there was something a little more mainline in it, it would make it more accept able to those guys who are writing the original cheque, I may bastardize myself and serve those little things up. But they’re never, in my mind, going to change the nature of what the piece is. “With Fool for Love, we never had a screenplay, which was a problem with the other companies that were going to do it. I didn’t have a screenplay on Jimmy Dean or Streamers or Secret Honor. I said: ‘I’m not going to write anything and Sam’s not going to write anything. Here’s what I plan to do . . .’ All the other companies demanded a

screenplay. And I said: ‘I won’t do it’. Then Cannon came along and said: ‘We’ll do it if we can produce it and watch the money that you spend.’ “Golan and Globus were fine. They never bothered me, they never came around. They’ve got a very big organization. But I wasn’t very happy with a lot of the people I had to deal with once the film was finished. They didn’t know what stereo was: they never would follow through. The print’s no good. The inter-negative is terrible. The titles: there’s movement on the screen. It’s just sloppy work. But they can’t attend to all that: they just don’t have anybody who knows. They’re growing a little too fast, probably. But I’m going to do another little film with them.” “I never think that I ’m shooting fo r any par ticular audience. A n artist does what he does. ” Robert Altman doing what he does on the set o f Quintet (1979).

“You know, A Wedding and Health I wanted to do in the theatre. I wrote them both as theatre pieces, but it’s impossible to get that many people on stage for any length of time. And people say: ‘Oh, you’re doing all these theatre things. Why don’t you do things like A Wedding and Health?’ Well, they were theatre pieces. It’s just that you didn’t have the knowledge that they were.”

On the

HOMOGEP ZA TION OF AMERICA

“The people are all the same. I think the idea of striving for something has been totally taken out: they sit and they’re bombarded by television. They should be afraid: they believe all that shit! We’ve got real kindergarten problems in the United States. Children in America are ultra-conservative. They’ve been so trained by primetime television that they think they’re not supposed to stop and absorb anything. They just have this in front of them, and then it disappears. I think there has to be a renaissance.” “1 don’t care whether y o u ’re in Nashville, Tennessee, or Portland, Oregon: you fin d the same clothes to buy, the same fo o d to eat. ” Jennifer Salt in Brewster McCloud (1970).

“I don’t like the southwest at all: I find it very fake. You go into a restaurant, and it’s a McDonald’s or a Taco Bell. They’ve suc ceeded in making America absolutely the dullest place, the most uninteresting place to live in the world — the whole country! I don’t care whether you’re in Nashville, Tennessee, or Portland, Oregon, or Santa Fe, New Mexico: you find the same clothes to buy, the same food to eat, the same movies to see. There’s no reason to go to these places. “There was a time when I was going to Chicago and I would say: ‘There’s a great German restaurant’ and ‘You can find suchand-such there’ or ‘That’s the place to buy a watch’. But who wants to go to Chicago? Who wants to go anywhere? It’s starting in Europe too. It spreads with the communica tions.

Films

PLi

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and

T Q

“I did an interview with German television this morning and the woman said: ‘I didn’t like your picture. Don’t you think it was a little oldfashioned? It reminds me of Tennessee Williams.’ Well, Tennessee Williams’s dia logue and presentation and repetitions are simply not very much to do with Sam Shepard’s style of writing. But it’s this pigeon holing thing that people have to do when they try to understand something. I’d rather they’d just accept it. “If you didn’t know Fool for Love was a play . . . that’s what harms it. All the people who write about it, like you, have seen the play. So they present it to the public as this film of this play. And the film public is really not inter ested in theatre. So these things all die because the knowledge is out that they’re based on theatre. “There’s always this thing of laying an over coat, a box, a crate onto the material. I’m not going to argue with anybody, because that’s the way it is. And I’m certainly not going to change what I do to try to satisfy what you want. If I succeed and people come and say: ‘Oh, this is the best picture I’ve seen in my life: I’ve seen it seventeen times’, I think they’re as crazy as you and the German woman are. I can’t make the films you want me to make: I can just show you the films I’ve made.

and

FOOL FOR LOVE “ Two, m aybe three years ago, Sam sa w Come B ack to the 5 and. Dime, Jimmy Dean, Jim m y Dean. I didn’t kn ow him — I still don’t k n ow him very Well. B u t he w rote me a letter sayin g he had a n ew play. H e liked w h at he had seen in Jim m y D ean and, if I liked this n ew play, m aybe I could m ake a film out of it? “About two years later, I w a s in P aris, and it came back to m y mind, m ainly because A m y M ad igan w a s there, and her husband, E d H a rris, had been in Fool fo r Love on stage. So I called Sam and said: ‘M aybe I can do this n o w ’. A n d he said: ‘W h o ’re you u sing?’ A n d I said: ‘W ell, w h y don’t you play the part?’ H e said: ‘Oh, I can’t do that’. Then, tw o days later, he came round and said: Yes, he would. It took me two years to get to it; it took him two days! “The idea that stayed w ith m e all the time w a s to have a w riter like Shepard w h o ’s also an actor and w ho can perform and interpret this autobiographical kind of thing. I don’t think he had an a ffair w ith his sister. B u t I think it’s about him and the kind of person he is. It’s certainly about his father, and the songs are written b y his sister: it’s a Shepard package! “H e ’s very private: I think h e’s a little self-oriented. It’s not that h e’s difficult: he’s ju s t not interesting. H e w a n ts to finish his w o rk and go play polo. B u t the w o rk in g relationship w a s good: w e ju s t didn’t become bosom pals. W e didn’t go out after shooting and get drun k together. H e ’s not very social. “ Som ebody said — it’s clever and quick — that I m ade m y film betw een the lines of his play. I w a s able to sh ow a tim ewarp, w h en the little g ir l’s three years old, and then there she is an adult at 33, looking at herself. A n d w hen the m an goes in to check into the motel, H a rry D ean Stanton is ju st w atch in g him self go in. That w a s w h at I w anted to do. I ’m not much interested in stories. It’s sort of like a visual poem of some kin d.’’

CINEMA PAPERS September — 27

Twenty years ago, a young producer named Jim Dale and I made a film appreciation series for TV . Our technique was simple: I’d write a rough script, then we'd choose som e clips and snip them out o f the 16mm prints in the station’s film library, splicing them back in afterwards. W e never cut a Lana Turner pr a Liz Taylor vehicle, but Alexander Korda’s H ollyw ood half-talkie, The Squall (1929), or Michael Curtiz’s The ¡Mad Genius (1931) were just gathering dust before being consigned (literally) to the; scrap-heap, axed when the rights ran out; Those golden days com e painfully to mind this m^nth, when a second series by Jim and m yself, Filmstruck, makes its debut on ABC Television. The budget for that sixties series was $50 a programme.« The ten half-hour .‘film essays’ o f Filmstruck cost $150,000, and would have cost

28 -—September CINÉMA: PAPERS

“ None of us wanted to grasp the nettle of copyright,” said the BFI’s John Huntley. “ The films were on the shelf and we thought they would always be there”

much more without the state-of-the-art BCtacam video process, which sharply reduced production costs. They also took a little longer to produce: we signed the con tract in April 1985, and delivered in June 1986.

What took the time? I had a clue from John Huntley o f the British Film Institute when, years ago, I was researching a feature on the film dealer, Raymond Rohauer. “ None o f us wanted to grasp the nettle o f copyright,” said Huntley. “ The films were on the shelf and we thought they would always be there. If anybody bought the rights, surely they w ouldn’t mind us showing them? But Rohauer saw that, since the advent o f television, every piece o f film had a price tag. Compilations and re-runs opened up a huge market, and he was the first to exploit it.” Filmstruck was commissioned by Paddy Cortroy o f the ABC as a ‘personal view’ of movies. We talked about Civilization and The Living World. Privately, I saw it as The Body in Question , with movies instead o f corpses. There would be interviews and

live location segments,, but perhaps a third o f the series would be film extracts — some Australian, but just as many from films which, had influenced us as filmgoers: The Overlanders and The Purple Monster Strikes, The Magnificent Seven and The

Right Stuff. Like the BFI, we didn’t anticipate copy right problems. Hadn’t heads o f distribu tion for foreign majors shown us back rooms choked with film clips and implied: All this can be yours? We should have been warned by an early straw in the wind. About the time we started researching Filmstruck, the produc tion manager o f the TV science show, Beyond 2000, asked where she could get a clip from Frankenstein. They needed a brief sequence for a. segment on genetic

engineering. I knew where there was a copy but, almost as an afterthought, I referred her to the Sydney office o f Universal on the question o f rights. “ Universal say it will cost $3,500 a minute,’’ she reported back a few days later. Before I could choke out “ You must be joking!’’, she went on: “ It’s high, but I said OK. But then they told me they wouldn’t approve it anyway; because the character o f the monster was being Over used. What can I d o?’’ The short answer, it turned out, was: Nothing. Closely questioned, our contacts in distribution admitted that," while they could give us physical possession o f clips, they had no broadcasting rights. These belonged variously to: (a) the US parent company; (b) the US independent pro ducers (e.g . Orion, TriStar, T ouch

stone/Disney) on whose behalf they distri buted the films; (c) their own video divi sions, which held the cassette rights; and/or (d) the TV network owning the broadcast i video rights. On top o f this, by agreement with Equity, no old film clips could be broadcast without agreement from the actors. We gloomily began a detailed search o f the copyright world — one which was to prove as illuminating and disorientating as any thing ever experienced on the other side o f Lewis Carroll’s looking glass. Bethwyn Serow, a 20-year-old film student hired for what looked like the simple task o f clearing rights for Filmstruck, became our Alice as, over twelve months o f struggle, she hunted down the owners o f the films and, in the process, became an expert on film copyright. ►

CINEM A PAPERS September < — 29

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Approaching Hollywood for clips was, refused clearance with a vituperative, sixwe quickly discovered, useless. The page letter filled with Stalinist rhetoric. We $3,500-a-minute rate was more or less had committed the unpardonable sin of standard. But, even if we could have paid suggesting that the Soviet government had it, nobody really wanted the money. It was not been entirely happy with Eisenstein or just their way of shaking their heads. The his work. majors just didn’t want the aggravation of Other problems were harder to crack, researching and clearing copyright for film Who controlled Charles Chauvel’s films? scholars. And what had become of To Australia with We turned to local producers and found Love, the film made by Swedish director a different, but equally strangling, jungle. Stig Bjorkman as a protest, against the The bureaucracy that is fast choking our banning of his feature, I Love, You Love, film industry has its tape firmly round the from the 1969 Sydney Film Festival? throat of film scholarship. Under one inter It turned out the literary agency, Curtis pretation of corporate law, we were told, Brown, now administered the Chauvel any use of a film funded under 10BA legis rights. And Bethwyn Serow, long after lation required the agreement of every the rest of us had given up hope, found that investor. The most helpful producer can Mai Bryning in Melbourne had hung onto hardly make a hundred phone calls for a the only surviving copy of To Australia single clip. John Sexton, for instance, did with Love, because his ex-wife appeared in his best; but one refusal was enough to it. It is now a major part of an episode on make sure we didn’t get Phar Lap. film censorship called ‘You C an’t Say At least with Phar Lap we knew the T hat!’ nature of the problem. Elsewhere, we en As for the search for classic films, it led countered only animosity. The New South us into the shadowy world of the film col Wales Film Corporation gave a blank lector. Film is usually copyrighted for 26 refusal, without explanation. Even though years, with an option to renew for a further producers like Richard Mason were agree 26. Technically, then, any film more than able to us using extracts from One Night 52 years old should be in the public Stand and Far East, the NSWFC was domain. But films can be reissued with a adamant. So were Kennedy Miller who, in soundtrack or a commentary, and re-copy what is now apparently a standard policy, righted in the new version. Or, since film declined permission to use any clip from and literary copyright laws differ, the film their productions. The South Australian may be in the public domain, while the Film Corporation agreed to the use of Free script remains protected. dom and Breaker M orant — but only if written permission was received from every actor appearing in the extract. (On the day David Williamson and Peter a courteous telex of agreement arrived from Sculthorpe describe their Edward W oodward, my estimation of that actor rose substantially.) experiences at the Saturday Woodward, thank god, was the pre matinee, and Chris Haywood cursor of a growing stream of supporters confesses he learned to ride a for the series. A chat with Saul Zaentz during his Australian visit to promote horse before emigrating to Am adeus gave us access to clips from that Australia, assuming there were film, and HandM ade Films in London cars here but “ probably not allowed us sections from Time Bandits. To name just a few of the Australian producers enough to go round” who helped, David Elfick gave us Under cover and Starstruck, Pat Lovell Picnic at Hanging R ock, M att Carroll smoothed the Until an A ustralian/U S copyright agree way to our use of Freedom and Breaker ment was signed in the seventies, little local Morant, and Tony Buckley allowed access protection existed for American films, to such films as Caddie. Film Australia though the British material was marginally negotiated a special rate for its produc safer — a hangover from the old Empire tions. days. There is no shortage of publicOnce the hurdle of theatrical rights was domain material freely available from cleared, we faced the TV stations. Initially, reputable dealers. But why were Hitch their resistance seemed unreasoningly cock’s Blackmail, The 39 Steps and The hostile — until we discovered that pro Lady Vanishes free, while we could get ducers of some earlier documentaries on nothing by Michael Powell, Anthony Australian films (and one in particular) had Asquith or David Lean? It was a world of simply omitted to get TV clearance for the loose ends and dead ends and calm clips they used. Legal skirmishes had left a custodians of a thousand prints who would residue of ill-will from which all who say: “ Rights? D on’t ask me about rights! followed would suffer. Considerable You want ’em or not?” All but gibbering diplomacy was needed before the networks by this time, we usually decided not, and came round and gave us their guarded went looking for films where the titles were assistance. clearer. So, we had the new films. But what Towards the end, an American company about the classics? The National Film and offered us a catalogue of features ranging Sound Archive was helpful in locating films from N othing Sacred to Last Year in and making them available for preview, but Marienbad. Every film, they insisted, had with every print came the inevitable slipped through the copyright net into the reminder that rights were our problem. public domain. The films were ours for To start with, just who does own the $100 a minute — with Lloyds of London rights to a forties serial, an Eisenstein litigation insurance to back up the deal. classic, a Betty Boop cartoon or a newsreel? Reluctantly, we didn’t accept. By then, we Some questions were more easily answered had managed, with the help of a network of than others. Eisenstein’s films are claimed friends, to get together what we needed. by a Sydney company. It asked for a script It is no exaggeration to call this a unique of the programme in which we proposed to series: those participating make it so. David use a clip of Battleship Potem kin, then Williamson and Peter Sculthorpe describe 30 — September CINEMA PAPERS

w o o o S u c k o n th is: J o h n B a x te r (le ft) a n d J im D a le b e h in d th e Filmstruck c a n d y b a r.

their experiences at the Saturday matinee, and Chris Haywood confesses he learned to ride a horse before emigrating to Australia, assuming there were cars here, but “ prob ably not enough to go round” . Pat Lovell and Joan Long and Richard Davis and Richard Mason frankly discuss financing, in the episode called ‘Other People’s Money’ (Joan remarking with some venom that “ raising money is the most loathsome activity known to m an” ). Taking Starstruck as an object of study, we followed its trail round Sydney, record ing Gillian Armstrong, Russell Boyd and Brian Thompson on the problems of pro duction. We were barred from the pub where it was shot — publicans have long memories — but miraculously found Thompson’s original model for the pub set on a shelf in Matt Carroll’s house. Equally unexpectedly, we heard Dale Aspin describe how she broke her back doubling Jo Kennedy in a comic fall. Indeed, the unexpected became almost prosaic. Anna Senior unearthed the hats from M y Brilliant Career and Breaker M orant, then offered, out of the blue, one of the series’s best stories, about how two elephants stampeded on Robbery Under Arm s when a wind machine was applied too liberally to their bums. “ What a pity it isn’t on film ,” we all thought — until it turned out a documentary team from Independent Productions had been there and shot the whole incident, without realising anything had gone wrong. Not one person whom we asked to inter view denied us time. Nobody asked for ± money. It was a delightful and unexpected ^ affirm ation of what one had always thought: that, among serious, professional filmmakers, goodwill outweighs vanity and spite. W hat conclusions from all this sound and fury? Most obviously, as the rules stand, it is almost impossible to present, in Australia, any serious programme on cinema, whether current or retrospective. The film production, distribution and exhibition industry, the Film Commissions and Corporations, the independent film makers and television in general are abysmally ill-prepared to deal with the ^ demand for film study materials that will follow inevitably in the wake of a new popular and educational interest in cinema. Advice to those who plan their own documentaries on film? I can only para phrase James Thurber’s conclusion to M emoirs o f a Drudge, about his years as a newspaper journalist. Noting that he left reporting to go into the magazine business, he concludes: “ Now I have a little piece of advice to all my readers, both boys and girls. Stay out of the magazine business.” Boys and girls, stay out of the film com pilation business. But, if you must dive into it, take your copy of Alice in Wonderland along. *

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No late winter, it seems, is complete without a crisis. In early September 1985, the Australian film community was in a state of panic about tax, and remained that way until the grim but scarcely fatal news was announced just over half-way through the month. Everyone, on the other hand, was looking forward to the annual gettogether and media blitz of the AFI Awards, held on 14 September. This year, the emotions are the other way round: the ' future of film finance doesn’t seem quite so bleak, but the AFI Awards are in all kinds of strife. Not, of course, that some hint of conflict has ever been entirely absent from the Awards, at any rate recently. The fondlyremembered industry dinners of the seventies, which preceded the TV spec taculars of the eighties, have faded into memory. And, since the beginning of the decade, there have been growing rumblings of discontent from certain quarters, centring on claims that the Awards may perhaps, as the A F I’s new Director, Vicki Molloy, candidly sums it up, be “ too arty and not useful to the industry” . . Put at its simplest, the problem is that films that do well with the punters have a tendency to do a great deal less well with AFI voters. And, recognizing this, the producers of the year’s m ajor box-office hits have, of late, not been entering their films. Last year, M ad Max: Beyond T h u n d e rd o m e was a n o ta b le n o n 32 — September CINEMA PAPERS

c o n te n d e r. T h e f ilm ’s p ro d u c tio n company, Kennedy Miller, claimed that a print would not be ready in time for the screenings. But the film hasn’t shown up this year, either, suggesting that it was less a case of unable than unwilling. In 1986, the Ozfilm of the decade, Crocodile Dundee, has similarly not been entered (though it has not, as Truth's scream ing h ea d lin e d e c la re d , been “ BANNED!” ), and there are a string of other, smaller no-shows: the BurrowesDixon production, Cool Change (“ not AFI style,” says Burrowes-Dixon’s Dennis Wright), a couple of independent exploita tion flicks, Fair Game and Leonora (also, one presumes, not really up the AFI voters’ street), and a couple from Crawfords — their ‘lost film’, I Live With M e Dad, and Fortress. “ After a discussion with our theatrical marketing consultant, Terry Jackm an,” says Ian Crawford, “ we decided not to enter them in the AFI Awards, because it wouldn’t be worth while.” Jackman, it is worth remembering, was also theatrical marketing consultant on Crocodile Dundee. The absence of two possible further con tenders — Burrowes-Dixon’s Free Enter prise and PB L’s Birdsville — can appar ently be explained by the fact that they are not yet entirely ready. Free Enterprise will, says Dennis Wright, be another three months in the pipeline, and Birdsville is currently being looked at in a double-head

version by a potential US distributor (reportedly Embassy). “ We didn’t , ” says producer Brian Rosen, “ want to go to the trouble and expense of preparing a show print that might have to be recut after wards.” Producers are, of. course, perfectly entitled to withhold their films. The AFI Awards are not a statutory requirement and, in the case of films with good com mercial prospects, they do not, as do the Oscars, give a m ajor box-office boost (estimated at anything up to $16 million in the case of an Oscar for Best Picture). But the AFIs are also made up of craft awards which, since they are decided by peer-group voting, do mean a lot to A ustralia’s film makers. One major victim over the last couple of years has been cinematographer Dean Semler, whose m agnificent work on Thunderdome last year was not eligible, and whose work on Birdsville is now also out of contention (“ There is no doubt in my m ind,” says the admittedly biased Rosen, “ that Dean would have w on” ). But, leaving aside the technicians whose work is robbed of peer-group recognition (other possible losers this year include Russell Boyd for Crocodile Dundee and Andrew Lesnie for Fair Game), the crisis threatening the AFI Awards goes deeper than the no-shows (three, possibly four, films out of 25) suggests. For the noncontenders are, of course, a symptom

THEMORE THINGS CHANGE...

rather than a cause. In the first place, it is not certain, at time of going to press (early August), when this year’s AFI Awards will take place, what form they will take and where they will be held — all of which puts something of a strain on their credibility as a high-profile showcase for A ustralia’s films. If irregul arity is added to excessive ‘artiness’, the chances are there will be even more noshows next year — if, indeed, there is a next year. The screenings were held, as usual, in July and August. But the actual Awards, originally scheduled for 6 September in a Sydney venue and with a telecast, as last year, on the Ten Network, now look like being in m id-to-late O ctober. A nd, wherever they are held, they w on’t be home on Ten. It all started to go wrong in the early part of this year, while the changeover in the A FI directorship was taking place. According to Network Ten’s Business Manager, Guy Dunstan, it was the date which was the m ajor stumbling block. When no suitable venue could be found for 6 September — and, says Dunstan, the Net w ork’s director of production, John Maras, had been working flat-out to find one, with the search going as far afield as Newcastle — the tyranny o f the spring calendar began to exert itself. With such m ajor events as the Melbourne Cup and the various sporting finals, the Network’s

outside broadcast facilities tend to be over stretched from late October onwards. A later date was necessary, says Vicki Molloy, because there were more films; because this year’s awards will, for the first time, include miniseries and telefeatures; and because the whole schedule of judging has become more extensive. In the end, negotiations between the AFI and Ten reached an impasse. Dunstan is adamant that there was “ absolutely no qualitative reason” for the Network pulling out. This may be true. But the failure of any other network to step in and fill the gap suggests, at the very least, the possibility of some reassessment of the entertainment value of the Awards. One problem often cited is the fact that the prizes go to films which most tele viewers will not and, in well over half the cases, could not have seen. Even if Crocodile Dundee had been included, only six of the 26 films would have had a public release by 6 September, and only two of those (Crocodile Dundee and Burke & Wills) would have been seen at all widely — a situation very different from other, similar, awards overseas, such as the Oscars, Britain’s BAFTA Awards, France’s Cesar’s and even New Zealand’s recently introduced GOFTA Awards. It is, however, a kind of chicken-and-egg situation: without the Awards, certain films might not get a release. An AFI prize does boost certain films — Careful, H e M ight

Hear You, Bliss and Fran are obvious recent examples — and can help others find a distributor. As it is, says Molloy, a num ber of producers are currently expressing concern that their chances of getting a release reduce as the Awards recede. Others, though, are less sure of the advantages of a big, flashy telecast, feeling that, over the past couple of years, the films have become almost secondary to the Awards spectacular — a state of affairs which doesn’t do much for ‘profile’. “ I don’t think,” says one major producer, “ that anyone is going to slash their wrists if the awards aren’t telecast.” This is probably a minority view, however. And, if the AFI cannot deliver a channel by October, next year’s. Awards seem, if not doomed, at any rate destined to be on a much smaller scale. Some may feel, of course, that this would better serve their role of rewarding excellence in filmmaking, not promoting profits in the industry. But this is not a view shared by Vicki Molloy. “ We will be taking a very close look at the structure and the judging criteria in the future,” she says. And the- objectives behind this reassessment will, she says, be three-fold: much closer involvement of the film industry in the management of the Awards (“ We must be seen to be serving the industry’s needs” ); the continued recognition of achievement and excellence in Australian filmmaking; and maximum publicawareness. CINEMA PAPERS September — 33

To get all or any of this, Molloy will first organization of the Awards. There are, on the other hand, growing have to find a new sponsor. The AFI Awards are not cheap to produce — not rumours that the AFI will be eased out of counting administration expenses, it costs the prizegiving position in 1987. Plans for well over $300,000 to get the show on the an Australian film ‘Academy’ — a cross road — and m ajor sponsorship is an guild organization representing all filmabsolute necessity. But W estpac’s three- production interests — have been around year sponsorship is not being renewed and, for some time, and have obviously been with the Am erica’s Cup and the Bicenten fuelled by recent AFI-Award problems. nial just round the corner, 1986 is proving Weiley would not be drawn on how such to be one of the hardest years ever for plans might affect the future of the Awards attracting m ajor commercial sponsorship — “ If an Academy existed,” he said, “ it of the arts. As Molloy puts it, “ the big could decide literally anything” — but they birthday party and the big boat race have will almost certainly be on the agenda at the soaked up all the available funds” . Also, industry get-together planned for late she says, there is a new style of November at Thredbo, which would give management abroad which is less inclined ample time for alternative arrangements to to value the non-quantifiable benefits of be made for the 1987 Awards. Molloy is, of course, aware of such arts sponsorship. moves, and has a few alternative options of Industry criticism of the existing Awards, of which Molloy is very much aware, and her own, including a revised telecast, which she has vowed to take into considera possibly by the ABC, which might be more tion, centres on the sorts o f films which in the nature of a review of the year’s pro tend to win the prizes and, by extension, the duction, with the Awards included, rather judging procedures and criteria. There is than a TV spectacular with the Awards as also a recurring dissatisfaction with its sole focus. Another way of deflecting screening conditions, reaching a climax this industry criticism, says Molloy, might be to year with multiple complaints about the have all the voting done by peer panels — a sound and picture quality at the East End 3 prototype system which is being tried out in Melbourne. Dolby soundtracks could with this year’s judging of the miniseries not be handled, and the overall sound and telefeatures — or to have some kind of system was so bad that Devil in the Flesh pre-selection (which was also apparently mooted this year). producer John B. M urray apparently con As both Molloy and the industry are sidered withdrawing his film altogether, aware, of course, the danger with industryfeeling that it could not be properly controlled awards is that they could — like assessed under the prevailing conditions. the US record industry’s Grammy Awards These are, however, technical problems — become orgies of self-congratulation, in which could (and should) be rectified. The which the year’s most successful films basic problem goes much deeper — so scoop the pool, while things such as much deeper, in fact, that, at a recent innovation (or, for that matter, excellence) meeting of the Screen Production Associa take a back seat. In some ways, it comes tion of Australia, a reported 60% of down to a simple question: should the AFI members apparently expressed opposition Awards be ‘critical’, or should they be ‘pro to having anything whatever to do with the m otional’. There is little doubt which the Awards. industry would prefer, and Molloy is going SPAA President John Weiley would not to have a hard time balancing the various confirm this figure, and was reticent about interests. discussing the m atter. “ W hat has emerged It is ironical that all this should be going over a period of years,” says Weiley, “ is on in a year in which the AFI screenings, the feeling that there ought to be industry after last year’s low point, have revealed an aw ards.” But there are, he stressed, no Australian film industry very much back on immediate plans to introduce anything like its feet, with, by general consensus, only this, and SPA A ’s position is, for the two or three duds in a slate of 25 films. At time o f writing, sixteen of the films already moment, a neutral one: it has advised its members to enter their films, but has have distributors, and five have already declined to collaborate directly in the opened. 34 — September CINEMA PAPERS

Ironically, one of the year’s better received films, Death o f a Soldier (aka Leonski and War Story), is still very much on the shelf, as a result of yet another dispute, this time with the Australian Theatrical and Amusement Employees Association over crew payments. Until the ATAEA dispute is settled — and, at time of writing, it seems possible it w on’t be — the film remains blacked. On a brighter note, Nadia Tass’s comedy, Malcolm, seems, on the basis of informal inquiries, to be the hot favourite for Best Film, with a probable starting price of 6-4 on. Cactus, Death o f a Soldier, The Fringe Dwellers, Kangaroo, The M ore Things Change and Short Changed all seem to be in there with a chance, too. So, in the pages that follow, we have, with all due reservations, made one or two tentative predictions for the four main categories. The combined budget on this year’s features is $58,594,400 — an average of $2.3 million (if the seven no-shows are included, the average goes up by $220,000). Just under half the films (twelve) were based in New South Wales, with eight in Victoria, two in Queensland, and one each in the other three states. Fifteen o f the 25 have contemporary settings and, of the remainder, only six are true ‘period’ (i.e. pre-20th century) films. The inaugural television section contains nine miniseries {Butterfly Island, Colour in the Creek, Dancing Daze, The Dunera Boys, A Fortunate Life, Land o f H ope, Palace o f Dreams, Robbery Under A rm s and Shout: The Story o f Johnny O ’Keefe) and nine telefeatures {Archer, Breaking Up, Displaced Persons, Double Sculls, I Can’t Get Started, The Long Way H om e, Natural Causes, The Perfectionist and Stock Squad). Given the criterion for inclusion — a telecast between 31 May 1985 and 31 May 1986 — there are a number of no-shows here, too, including the year’s highest rated miniseries, Anzacs (which, like Cool Change, comes from the Burrowes-Dixon stable). A Thousand Skies and Body Business are also missing from the miniseries list as, in the telefeature area, are Handle with Care, The Last Warhorse and Robbery. The eighteen contenders will be voted on by two panels, one in Mel bourne, one in Sydney, whose constitution — like so much else in this year’s Awards — has still to be decided.

The A F I Awards

|4roiind the World gill 80 Ways D ir e c t e d b y S t e p h e n M a c L e a n . P r o d u c e d b y D a v id E lfic k a n d S t e v e K n a p m a n f o r P a lm B e a c h E n t e r t a in Â m e n t P t y L td . W ritte n b y S te p h e n M a c L e a n a n d P a ul L e a d o n . C i n e m a t o g r a p h y b y L o u i s I r v i n g . P r o d u c t io n d e s ig n b y L is s a C o o t e . C o s t u m e d e s ig n b y C la r is s a P a t t e r s o n . M u s ic b y C h r is N e a l. E d it e d b y M a r c V a n B u u r e n . S o u n d b y P a u l B r in c a t , K a r e n W h it t in g t o n , R o g e r S a v a g e , B r u c e E m e r y , S t e v e B u r g e s s , N ic k i R o lle r a n d A n d r e w S t e w a r t . W i t h P h ilip Q u a s t ( W a l l y D a v is ) , A ll a n P e n n e y ( R o l y D a v is ) , D ia n a D a v i d s o n ( M a v is D a v is ) , G o s i a D o b r o w o l s k a ( N u r s e O p h e l ia C o x ) , K e lly D in g w a ll ( E d d ie D a v is ) , R o b S t e e le ( A le c M o ffa t t ) , J a n e M a r k e y ( M is e r a b le M id g e ) a n d J u d i t h F is h e r ( L o t t e B o y le ) . 9 0 m in u t e s .

Dead-End Drive-In

Burke & W ills D ir e c t e d

G ra e m e

C lif f o r d .

P ro d u c e d

Jo h n

S e x t o n fo r H o y t s E d g le y P r o d u c t io n s L td . W ritt e n b y M ic h a e l T h o m a s . C i n e m a t o g r a p h y b y R u s s e ll B o y d . P r o d u c t io n d e s ig n b y R o s s M a jo r. C o s t u m e d e s ig n b y G e o r g e L id d le . M u s ic b y P e t e r S c u l t h o r p e . E d it e d b y T i m W e ll b u r n . S o u n d b y S y d B u t t e r w o r t h . W i t h J a c k Thom pson (B u rk e ), N ig e l H a v e r s ( W ills ) , G re t a S c a c c h l ( J u lia M a t t h e w s ) , M a t t h e w F a r g h e r ( J o h n K in g ) , R a lp h C o tt e rill (C h a r le s G r a y ) , C h r is H a y w o o d ( T o m M c D o n a g h ), M o n ro e R e im e r s (D o s t M a h o m e t) , D r e w F o r s y t h e ( W illia m B r a h e ) , S u z a n n e H a r k e r ( B e s s ie W ills ) a n d J u li e H a m ilt o n ( M r s K y t e ) . 1 4 0 m in u t e s . D is t r i b u t o r : H o y t s . R e v i e w e d in Cinema Papers 5 4 , N o v e m b e r 1 9 8 5 .

D ir e c t e d b y B r ia n T r e n c h a r d - S m i t h . P r o d u c e d b y A n d r e w W illi a m s f o r S p r i n g v a l e P r o d u c t i o n s P t y L t d . S c r e e n p la y b y P e te r S m a lle y , f r o m a s t o r y b y P e te r C a r e y . C i n e m a t o g r a p h y b y P a u l M u r p h y . P r o d u c t io n d e s ig n b y L a r r y E a s t w o o d . C o s t u m e d e s ig n b y A n t o n y J o n e s . M u s ic b y F r a n k S t r a n g io . E d it e d b y A la n L a k e a n d L e e S m i t h . S o u n d b y L e o S u lliv a n , L e e S m it h , L e s F id d e s s , M a r tin O s w i n a n d J o h n H e r r o n . W it h N e d M a n n in g ( C r a b s ) , N a t a lie M c C u r r y ( C a r m e n ) , P e t e r W h i t f o r d ( T h o m p s o n ) , D a v e G ib s o n ( D a v e ) a n d S a n d y L illi n g s t o n ( B e th ) . 9 0 m in u t e s . D is t r i b u t o r : G r e a t e r U n io n .

Death of a Soldier Australian Dream D ir e c t e d b y J a c k i M c K im m ie . P r o d u c e d b y J a c k i M c K im m ie a n d S u s a n W ild f o r F ilm s id e L im it e d . W ritte n b y J a c k i M c K im m ie . C in e m a to g r a p h y b y A n d re w L e s n le . P r o d u c t io n d e s ig n by C h r is M c K im m ie . C o s t u m e d e s ig n b y R o b y n M c D o n a ld . M u s ic b y C o lin T i m m s . E d it e d b y S a r a B e n n e t t . S o u n d b y Ia n G r a n t , S a r a B e n n e t t a n d P e t e r F e n t o n . W it h Noni H a z le h u r s t (D o ro th y), G ra e m e B lu n d e ll ( G e o f f r e y ) , J o h n J a r r a t t ( T o d d ) , C a in e O â&#x20AC;&#x2122; C o n n e l ( J a s o n ) a n d J e n n y M a n s f ie ld ( S h a r o n ) . 8 8 m in u t e s .

Backlash D ir e c t e d , p r o d u c e d a n d w r i t t e n b y B ill B e n n e t t f o r M e r m a id B e a c h P r o d u c t i o n s P t y L t d . C i n e m a t o g r a p h y b y T o n y W i l s o n . M u s ic b y M ic h a e l A t k in s o n a n d M ic h a e l S p ic e r . E d it e d b y D e n is e H u n t e r . S o u n d b y L e o S u lliv a n , D a n y C o o p e r , D e n is e H u n t e r a n d B r e t t R o b in s o n . W it h D a v i d A r g u e ( T r e v o r D a r lin g ) , G ia C a r id e s (N ik k i Ic e t o n ) , L y d i a M ille r (K a t h ) a n d B r ia n S y r o n ( L y le ) . 9 0 m in u t e s .

Cactus

D ir e c t e d b y P h ilip p e M o r a . P r o d u c e d b y W illi a m N a g le a n d D a v id H a n n a y f o r S u a t u F ilm M a n a g e m e n t L t d . W r i t t e n b y W illi a m N a g le . C i n e m a t o g r a p h y b y L o u i s I r v in g . P r o d u c t io n d e s ig n b y G e o f f R ic h a r d s o n . C o s t u m e d e s ig n b y A l e x a n d r a T y n a n . M u s ic b y A lla n Z a v o d . E d it e d b y J o h n S c o t t . S o u n d b y G e o f f W h it e , G r e g B e ll, H e le n B r o w n a n d J u li a n E l lin g w o r t h . W it h B ill H u n t e r ( D e t e c t iv e F r e d A d a m s ) , J a m e s C o b u r n ( M a jo r D a n n e n b e r g ) , R eb B ro w n (P riva te E d d y L e o n s k i) , M a u r ie F ie ld s ( D e t e c t iv e R a y M a r tin ) , M a x F a ir c h ild ( M a jo r F ric k s ) , R a n d a ll B e r g e r ( P r i v a t e G a llo ) a n d B e lin d a D a v e y ( M a r g o t ) . 1 0 5 m in u t e s .

D ir e c t e d b y P a u l C o x . P r o d u c e d b y J a n e B a lla n t y n e a n d P a u l C o x f o r D o f in e L im it e d . W r i t t e n b y P a u l C o x , B o b E llis a n d N o r m a n K a y e . C in e m a t o g r a p h y b y Y u r i S o k o l. P r o d u c t io n d e s ig n b y A s h e r B ilu . C o s t u m e d e s ig n b y A p h r o d it e K o n d o s . M u s ic b y R a n t o s C o lÂ le g iu m . E d it e d b y T i m L e w is . S o u n d b y K e n H a m m o n d , J a m e s C u r r ie , F r a n k L i p s o n a n d T i m C h a u . W it h Is a b e lle H u p p e r t ( C o lo ) , R o b e r t M e n z ie s ( R o b e r t ) , N o r m a n K a y e ( T o m ) , M o n ic a M a u g h a n (B e a ). 9 6 m in u t e s . D is t r i b u t o r : R o a d s h o w . R e v i e w e d in t h is is s u e .

Departure D ir e c t e d b y B r ia n K a v a n a g h . P r o d u c e d b y C h r is t in e S u li a n d B ria n K a v a n a g h f o r C in e A u s t r a lia P t y L t d . S c r e e n p la y b y M ic h a e l G u r r , f r o m h is p la y , A Pair of Claws. C i n e m a t o g r a p h y b y B o b K o h le r . P r o d u c t io n d e s ig n b y J o n D o w d i n g . C o s t u m e d e s ig n b y A p h r o d it e K o n d o s . M u s ic b y B r u c e S m e a t o n . E d it e d b y K e n S a llo w s . S o u n d b y J o h n C r o w l e y , G e t h in C r e a g h , C r a ig C a r t e r, F r a n k L ip s o n , Y v o n n e V a n G y e n a n d P e t e r M c B a in . W it h M ic h a e l D u ffle ld ( P r e s l e y S w if t ) , S e r g e L a z a r e f f ( S im o n S w if t ) , P a tr ic ia K e n n e d y ( S y l v i a S w if t ) , J u n e J a g o ( F r a n c e s ) a n d S e a n S c u l l y ( B o w e n ) . 9 4 m in u t e s .

The A FI Awards

Malcolm D ir e c t e d b y M ic h a e l R o b e r t s o n . P r o d u c e d b y T o m Je ffre y and Jo h n S a n d fo rd . W ritte n b y Jo h n S a n d f o r d . C in e m a t o g r a p h y b y D e a n S e m le r . P r o d u c t i o n d e s ig n b y I g o r N a y . C o s t u m e d e s ig n b y J a n H u r le y . M u s ic b y C a m e r o n A lla n . E d it e d b y B ria n K a v a n a g h . S o u n d b y S y d B u t t e r w o r t h , J u li a n E llin g w o r t h a n d P e n n R o b in s o n . W it h J o h n W a t e r s (M a rtin ), J u d y M o r r is (A in s lie ) , L in d a C r o p p e r ( Ire n e ), K a te R a is o n ( N o s h ) , F ra n k W ils o n ( S ir C o lin G ra n t ) a n d J i m H o lt (Ir w in ). 9 2 m in u t e s . D is t r i b u t o r : G re a t e r U n io n .

D ir e c t e d b y S c o t t M u r r a y . P r o d u c e d b y J o h n B. M u r r a y f o r C o llin s M u r r a y P r o d u c t io n s P t y L t d . S c r e e n p la y b y S c o t t M u r r a y , f r o m t h e n o v e l, Le Diable au corps, b y R a y m o n d R a d ig u e t . C i n e m a t o g r a p h y b y A n d r e w D e G r o o t . P r o d u c t io n d e s ig n b y S c o t t M u r r a y . C o s t u m e d e s ig n b y F ra n k ie H o g a n a n d R o s e m a r y R y a n . M u s ic b y P h ilip p e S a r d e . E d it e d b y T i m L e w i s . S o u n d b y L a u r ie R o b in s o n , C r a ig C a r t e r , R e x W a t t s a n d J a m e s C u r r ie . W it h K e ith S m it h (P a u l H a n s e n ) , K a tia C a b a lle r o (M a r t h e F o s c a r i) , J o h n M o r r is ( J o h n H a n s e n ) a n d J ill F o r s t e r (J ill H a n s e n ) . 1 0 0 m in u t e s .

I Own the Racecourse

For Love Alone D ir e c t e d b y S t e p h e n W a lla c e . P r o d u c e d b y M a r g a r e t F in k f o r W a r a n t a P t y L t d . S c r e e n p l a y b y S t e p h e n W a ll a c e , f r o m t h e n o v e l b y C h r is t in a S t e a d . C in e m a t o g r a p h y b y A lu n B o llin g e r. P r o d u c t io n d e s ig n b y J o h n S t o d d a r t . C o s t u m e d e s ig n b y J e n n ie T a t e . M u s ic b y N a t h a n W a k s . E d it e d b y H e n r y D a n g a r . S o u n d b y S y d B u t t e r w o r t h , P e t e r F e n t o n , P h il H e y w o o d , R o n P u r v is , G r e g B ell a n d K a re n W h it t in g t o n . W it h H e le n B u d a y ( T e r e s a H a w k in s ) , S a m N e ill ( J a m e s Q u ic k ), H u g o W e a v in g (Jo n a th a n C ro w ) , H u g h K e a y s -B y rn e ( A n d r e w H a w k in s ) , H u w W illi a m s ( H a r r y G ir to n ) , O d ile L e C le z io ( K it t y H a w k in s ) , L in d e n W ilk in s o n ( M is s H a v ila n d ) a n d J u d i F a r r (A u n t B e a ). 1 0 2 m in u t e s . D is t r ib u t o r : G r e a t e r U n io n . R e v i e w e d in Cinema Papers 5 7, M a y 1986.

mmm■

D ir e c t e d b y B r u c e B e r e s f o r d . P r o d u c e d b y S u e M illik e n f o r F r in g e D w e ll e r s P r o d u c t io n s P t y L t d . S c r e e n p la y b y B r u c e B e r e s f o r d a n d R h o is in B e r e s f o r d , f r o m t h e n o v e l b y N e n e G a r e . P r o d u c t io n d e s ig n b y H e r b e r t P in t e r . C o s t u m e d e s ig n b y K e rr i B a r n e t t . M u s ic b y G e o r g e D r e y f u s . E d it e d b y T i m W e ll b u r n . S o u n d b y M a x B o w e r i n g , P e n n R o b in s o n , P e t e r F e n t o n a n d P h il H e y w o o d . W it h B o b M a z a ( J o e C o m e a w a y ) , J u s t i n e S a u n d e r s (M o llie C o m e a w a y ) , K r is t in a N e h m ( T r i lb y ) , E r n ie D in g o (P h il), M a lc o l m S il v a (N o o n a h ).

D ir e c t e d b y S t e p h e n R a m s e y . P r o d u c e d b y J o h n E d w a r d s a n d T i m R e a d f o r B a r r o n F ilm s L t d . S c r e e n p la y b y J o h n E d w a r d s a n d S te p h e n R a m s e y , fr o m a s t o r y b y P a tric ia W r i g h t s o n . C in e m a t o g r a p h y b y G e o ff B u r t o n . P r o d u c t io n d e s ig n b y R ic h a r d R o b e r t s . C o s t u m e d e s ig n b y M ira n d a S k in n e r . M u s ic b y R e d S y m o n s a n d M a rtin A r m i g e r . S o u n d b y D e n is e H a s le m a n d K a re n W h it t in g t o n . W it h G u ll y C o o t e ( A n d y H o d d e l) , T o n y B a r r y (B e r t H a m m o n d ) , N o r m a n K a y e (O ld M a n ) , S a f ie r R e d z e p o s k i ( T e r r y ) a n d G illia n J o n e s ( M r s H o d d e l) . 7 6 m in u t e s .

D ir e c t e d b y R o b y n N e v in . P r o d u c e d b y J ill C . R o b b f o r S y m e In t e r n a t io n a l P r o d u c t io n s . W r i t t e n b y M o y a W o o d . C in e m a t o g r a p h y b y D a n B u r s t a ll. P r o d u c t io n d e s ig n b y J o s e p h i n e F o r d . M u s ic b y P e t e r B e s t. E d it e d b y J ill B ilc o c k . S o u n d b y J o h n P h illip s , S t e v e L a m b e t h , R o g e r S a v a g e a n d B r u c e E m e r y . W it h B a r r y O t to ( L e x ) , J u d y M o r r is (C o n n ie ), L e w i s F it z -G e r a ld (B a r ry ) a n d V ic t o r ia L o n g l e y ( G e r a ld in e ) . 9 0 m in u t e s . D is t r ib u t o r : H o y t s . R e v i e w e d in Cinema Papers 5 6 ,

Has

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The Fringe Dwellers

(C h a rlie ) a n d K y lie B e llin g D is t r ib u t o r : R o a d s h o w .

D ir e c t e d b y N a d ia T a s s . P r o d u c e d b y N a d ia T a s s a n d D a v id P a r k e r f o r C a s c a d e F ilm s . W r i t t e n b y D a v id P a rk e r. C i n e m a t o g r a p h y b y D a v id P a rk e r. M u s ic b y t h e P e n g u in C a fe O r c h e s t r a . E d it e d b y K e n S a llo w s . S o u n d b y R o g e r S a v a g e , D e a n G a w e n , C r a ig C a r t e r a n d P a u l C la rk . W it h C o lin F rie ls ( M a lc o lm ) , J o h n H a r g r e a v e s (F ra n k ) a n d L i n d y D a v ie s ( J u d it h ) . 8 6 m in u t e s . D is t r ib u t o r ; H o y t s . R e v i e w e d in t h is is s u e .

m in u t e s .

D ir e c t e d b y T i m B u rs ta ll. P r o d u c e d b y f o r N a k e d C o u n t r y P r o d u c t io n s L im it e d , b y E v a n J o n e s , fro m the n o ve l b y D .H . v,t . C in e m a t o g r a p h y b y D a n B u rs ta ll. P r o d u c t io n d e s ig n b y T r a c y W a t t . C o s t u m e d e s ig n b y T e r r y R y a n . M u s ic b y N a t h a n W a k s . E d it e d b y E d w a r d M c Q u e e n - M a s o n . S o u n d b y P a u l C la rk a n d P e t e r F e n t o n . W it h C o lin F rie ls ( R ic h a r d S o m e r s ) , J u d y D a v is ( H a rr ie t S o m e r s ) , J o h n W a lt o n ( J a c k C a lc o t t) , H u g h K e a y s - B y r n e ( K a n g a ro o ) , P e t e r C u m m i n s ( S t r u t h e r s ) , P e t e r H e h ir ( J a z ) a n d J u li e N ih ill ( V ic k i C a lc o t t) . 111 m in u t e s . D is t r ib u t o r : F ilm w a y s .

Playing Beatie Bow D ir e c t e d b y D o n a l d C r o m b i e . P r o d u c e d b y J o c k B la ir f o r S .A .F .C . P r o d u c t io n s L t d . S c r e e n p la y b y P e te r G a w le r , f r o m t h e n o v e l b y R u t h P a r k . C i n e m a t o g r a p h y b y G e o f f r e y S i m p s o n . P r o d u c t io n a n d c o s t u m e d e s ig n b y G e o r g e L id d le . M u s ic b y G a r y M a c D o n a ld a n d L a u r ie S t o n e . E d it e d b y A n d r e w P r o w s e . S o u n d b y R o b C u t c h e r , F r a n k U p s o n , G le n n N e w m a n , J a m e s C u r r ie , P e t e r S m it h a n d D a v id H a r r is o n . W i t h P e t e r P h e l p s ( J u d a h B o w ) , I m o g e n A n n e s l e y (A b ig a il) , M o u c h e P h ilip s ( B e a tie B o w ) , D o n B a r k e r ( S a m u e l) , D a m ia n J a n k o (G ib b ie ) , N ik k i C o g h ill ( D o v e y ) , L y n d e l R o w e ( K a t h y ) , M o y a O ’S u lliv a n ( G r a n n y ) a n d B a r b a r a S t e p h e n s ( J u s t in e ) . 9 3 m in u t e s . D is t r i b u t o r : C E L . R e v i e w e d in t h is is s u e .

The Still Point D ir e c t e d b y B a r b a r a B o y d - A n d e r s o n . P r o d u c e d b y R o s a C o lo s im o f o r C o lo s im o F ilm P r o d u c t io n s . W ritt e n b y R o s a C o lo s im o a n d B a rb a ra B o y d A n d e r s o n . C in e m a to g r a p h y b y K e v in A n d e r s o n . P ro d u c t i o n d e s ig n b y P a d d y R e a r d o n . M u s ic b y P ie r r e P ie r r e . E d it e d b y Z b i g n i e w F r ie d r ic h . S o u n d b y G e o f f r e y W h i t e a n d P e t e r F r o s t . W i t h N a d in e G a r n e r (S a ra h ), L y n S e m m le r (B a rb a ra ), S te v e B a sto n i ( D a v id ) , R o b in C u m in g ( G r a n d fa t h e r ) , A l e x M e n g le t (P a u l) , G r e g o r y F le e t ( T o n y ) , B e n M e n d e ls o h n ( P e te r) , K i r s t y G r a n t ( S im o n e ) , A li s a M e a d o w (C h ris ) a n d J o d i e Y e m m ( B ia n c a ). 81 m in u t e s . R e v i e w e d in Cinema Papers 5 5 , J a n u a r y 1 9 8 6 .

Wills and Burke: The Untold Story D ir e c t e d b y B o b W e i s . P r o d u c e d b y B o b W e i s a n d M a r g o t M c D o n a ld f o r S t o n y D e s e r t L im it e d . W r i t t e n b y P h ilip D a lk in . C i n e m a t o g r a p h y b y G a e t a n o M a r tin e t t i. P r o d u c t io n d e s ig n b y T r a c y W a t t . C o s t u m e d e s ig n b y R o s e C h o n g . M u s ic b y P a u l G r a b o w s k y a n d R e d S y m o n s . E d it e d b y E d w a r d M c Q u e e n - M a s o n . S o u n d b y Ia n R y a n , G le n n M a r tin a n d D a v i d H a r r is o n . W i t h G a r r y M c D o n a ld ( B u r k e ) , K im G y n g e ll ( W ills ), R o y B a l d w in ( G r a y ) , M a r k L it t le ( K in g ) , N ic o le K id m a n (J u lia M a th e w s), P e te r C o llin g w o o d (S ta w e ll), J o n a t h a n H a r d y ( M a c a d a m e ) , H e n r y M a a s (C h a r le s ), W y n n R o b e r t s ( W il lia m W r i g h t ) a n d P a u l P i y o r (M ic h a e l) . 1 0 4 m in u t e s . D is t r i b u t o r : G r e a t e r U n io n . R e v i e w e d in

The Right Hand Man D ir e c t e d b y D i D r e w . P r o d u c e d b y S t e v e n G r i v e s , T o m O l i v e r a n d B a s il A p p l e b y f o r Y a r r a m a n F ilm P r o d u c t io n s P t y L t d . S c r e e n p l a y b y H e le n H o d g m a n , f r o m t h e n o v e l b y K a th le e n P e y t o n . C i n e m a t o g r a p h y b y P e t e r J a m e s . P r o d u c t io n d e s ig n b y N e il A n g w i n . C o s t u m e d e s ig n b y G r a h a m P u r c e ll. M u s ic b y A lla n Z a v o d . E d it e d b y R o n S a u n d e r s . S o u n d b y S y d B u t t e r w o r t h , D o n S a u n d e r s , P e t e r F e n t o n , P h il H e y w o o d a n d S t e p h a n i e F la c k . W i t h R u p e r t E v e r e t t ( H a r r y Ir o n m in s t e r ) , Hugo W e a v in g (N e d ), C a t h e r in e M c C le m e n t s ( S a r a h R e d b r id g e ) , A r t h u r D ig n a m ( D r R e d b r id g e ) a n d J e n n i f e r C la ire ( L a d y Ir o n m in s t e r ) . 1 0 0 m in u t e s . D is t r i b u t o r : G r e a t e r U n io n .

Short Changed D ir e c t e d b y G e o r g e O g i lv ie . P r o d u c e d b y R o s s M a t t h e w s f o r M a g p ie F ilm s P t y L t d . W r i t t e n b y R o b e r t M e r r it t ( f r o m a s c r e e n p l a y b y R o b e r t M e r r itt a n d K e n Q u in n e ll) . C i n e m a t o g r a p h y b y P e t e r L e v y . P r o d u c t io n d e s ig n b y K r is t ia n F r e d e r ik s o n . C o s t u m e d e s ig n b y A n n a F r e n c h . M u s ic b y C h r is N e a l. E d it e d b y R ic h a r d F r a n c is - B r u c e . S o u n d b y P e t e r B a r k e r , R ic h a r d F r a n c is - B r u c e , T i m J o r d a n a n d J u li a n E llin g w o r t h . W i t h D a v i d K e n n e d y ( S tu a r t ) , J a m i e A g i u s ( T o m m y ) , S u s a n L e i t h ( A lis o n ) , R a y M e a g h e r (M a r s h a ll) , M a r k L it t le ( C u r ly ) , L u c k y W i k r a m a n a y a k e ( G o p o w a lla ) , J i m H o l t ( S e r iz lo ) a n d L y n d e l R o w e ( C o u n s e llo r ) . 1 0 4 m in u t e s . D is t r i b u t o r : G r e a t e r U n io n .

Cinema Papers 5 4 ,

N o v e m b e r 1985.

The Surfer D ir e c t e d b y F r a n k S h ie ld s . P r o d u c e d b y J a m e s M . V e r n o n a n d F r a n k S h ie ld s f o r F r o n t ie r F ilm s / T h e P r o d u c e r s ’ C ir c le . W r i t t e n b y D a v id M a r s h . C in e m a t o g r a p h y b y M ic h a e l E d o ls . M u s ic b y D a v o o d T a b r iz i. E d it e d b y G r e g B e ll. S o u n d b y M a x B o w e r i n g , G re g B e ll a n d P h il J u d d . W i t h G a r y D a y ( S a m B a r lo w ) , G o s i a D o b r o w o l s k a (G in a ) , R o d M u llin a r ( H a g a n ) , T o n y B a r r y ( C a lh o u n ) , G e r a r d M a c G u ir e (J a c k ) , S t e p h e n L e e d e r ( S la n e y ) a n d K r is M c Q u a d e ( T ris h ) . 9 6 m in u t e s .

Twelfth Night D ir e c t e d b y N e il A r m f i e l d . P r o d u c e d b y D o n C a t c h l o v e f o r T w e l f t h N ig h t P t y L t d . W r i t t e n b y W illi a m S h a k e s p e a r e . C in e m a t o g r a p h y b y L o u is I r v in g . P r o d u c t io n d e s ig n b y S t e p h e n C u r t is . C o s t u m e d e s ig n b y A la n J o h n . E d it e d b y N ic h o la s B e a u m a n . S o u n d b y R o b S t a ld e r , K a r e n W h it t in g t o n , P h ilip D ic k s o n a n d J u li a n E l lin g w o r t h . W i t h I v a r K a n t s ( O r s in o ) , J o h n W o o d (S ir T o b y B e lc h ) , G illia n J o n e s ( V io la / S e b a s t ia n ) , J a c q y P h illip s ( O liv ia ) , G e o f f r e y R u s h ( S ir A n d r e w A g u e c h e e k ) , P e t e r C u m m i n s ( M a lv o lio ) , I g o r S a s (F a b ia n ) , K e r r y W a l k e r (F e s te ) a n d T r a c y H a r v e y (M a ria ). 1 2 0 m in u t e s . D is t r i b u t o r : G r e a t e r U n io n .

Windrider D ir e c t e d b y V i n c e M o n t o n . P r o d u c e d b y P a u l B a r r o n f o r B a r r o n F ilm s L im it e d . W r i t t e n b y E v e r e t t De R o c h e a n d B o n n i e H a r r is . C i n e m a t o g r a p h y b y J o s e p h P ic k e r in g . C o s t u m e d e s ig n b y N o e l H o w e ll. M u s ic b y K e v i n P e e k . E d it e d b y J o h n S c o t t . S o u n d b y M a rk L e w i s , A s h l e y G r e n v ill e a n d H e le n B r o w n . W it h T o m B u r lin s o n ( P .C . S im p s o n ) , N ic o le K id m a n ( J a d e K e lly ) , C h a r le s T i n g w e l l ( S t e w a r t S im p s o n ) , S i m o n C h i lv e r s ( H o w a r d ) , J ill P e r r y m a n ( M is s D o d g e ) . 9 8 m in u t e s . D is t r i b u t o r : H o y t s .

Young Einstein D ir e c t e d b y Y a h o o S e r io u s . P r o d u c e d b y Y a h o o S e r i o u s a n d D a v i d R o a c h f o r E in s t e in E n t e r t a in m e n t P t y L t d . W r i t t e n b y Y a h o o S e r i o u s a n d D a v id R o a c h . C i n e m a t o g r a p h y b y J e f f D a r lin g . C o s t u m e d e s ig n b y M is h i W a t t s a n d S u s a n B o w d e n . M u s ic b y W illi a m M o t z in g a n d M a r tin A r m i g e r . S o u n d b y R o g e r S a v a g e , B r u c e L a m s h e d , S t e v e B u r g e s s , G e o f f G ris t, A n n ie B r e s lin a n d P e t e r F e n t o n . W i t h Y a h o o S e r io u s (A lb e r t E in s t e in ) , O d ile L e C le z io ( M a r ie C u r ie ) , J o h n H o w a r d ( P r e s t o n P r e s t o n ) , P e e W e e W i l s o n ( E in s t e in ’s D a d ), J o n a t h a n C o le m a n ( W o lf g a n g B a v a r ia n ) a n d S u C r u ic k s h a n k ( E in s t e in ' s m o t h e r ) . 9 4 m in u t e s . D is trib u to r: R o a d s h o w .

L O C A T I O N

Bruce Petty’s history lesson The Movers lives up to its nam e w ith a hectic tw o -w e ek schedule

“We’ve had a hundred years of it now, and I think people are entitled to ask: ‘What’s a fair period in which you could expect a system to start getting it right?’”

38 — September CINEMA PAPERS

"On Monday, we did the industrial revolution," said producer Ron Saunders matter-of-factly, half-way through the second and last week of production on Film A ustralia’s $400,000, 50-minute telefeature, The Movers. With original idea, concept draw ings and script by one of Australia’s few Oscar-winners, the cartoonist and filmmaker, Bruce Petty, The Movers may be a small-scale pro duction by current Australian standards, but its ambitions are high. And its production team is unusual, too, for what, by normal definitions, is a short: the director is Gil Brealey (his first helming job since Annie’s Coming Out), the pro duction designer is Larry Eastwood (straight off Dead-End Drive-In and the miniseries, The Challenge), and the leads are Drew Forsythe and Lorna Lesley. Then, of course, there Is Bruce Petty, who is most people’s reasons for being on the project. The Movers is part cautionary tale, part comic journey of initiation through the history of technology, from the invention of the wheel to the era of nuclear power. "I suppose In a way it’s an exten sion of the political cartoons I was doing," says Petty. "It’s an attempt to see whether you can develop an abstract sort of idea in a medium that is really best at storytelling and sport and instant news. Like all car toonists, I’m continually asked to do drawings on these epic subjects, like the worst things people could do to one another. And one of the silly things we do to one another is let technology decide how w e’re going to live instead of, you know, deciding what we’d like and finding the technology to do it.“ We’ve had a hundred years of it now, and I think people are entitled to ask: 'What’s a

fair period in which you could expect a system to start getting it rights' ” The two central characters of The Movers, a young couple, are arm chair travellers — literally: their arm chair travels. A lovable, flowerpatterned, comfy, old-carpet-slipperish sort of chair, it acquires, as it travels through time, accoutrements like sails and rigging, HeathRobinsonish steam paraphernalia, Formula One aerofoils and spoilers, and some sinister military hardware. Petty is anxious to stress that The Movers is a film about who takes the decisions and why, rather than an anti-technology film. Which is just as well, given the stacks of half-milliondollar technology being used to bring the film in on time and budget. The Movers uses Ultimatte, a sophisticated blue-screen process, supervised by Danny Diklich of Omnicom, which enables back grounds, background effects and even foregrounds to be dropped in around the ‘live’ actors. But, rather than use the normal blue-screen technique of putting actors in front of real but unreach able locations, Brealey, Eastwood and Petty are after quite a different effect. " W e ’ re using it very abstractly," says Brealey, “ and the whole idea is to get a sense of cartoon." The un rea lity is also what appealed to Eastwood. “ So much of the work today is becoming more and more realistic," he says. “ Basic ally, you’re doing this boring room or that boring room. We’re trying not to be totally realistic here, which gives you a lot more freedom: it’s more akin to a 50-minute rock clip than anything else." The $400,000 budget, though tight, is high by Film Australia standards, and is “ as much as you can spend on a 50-minute television programme", says Brealey, who also reckons the cost would have been three times higher without “ a devoted band of Australian techni cians” . Already, says Saunders, a lot of interest has been shown by a couple of Australian commercial channels, by PBS in the States, and by both the BBC and Channel 4 in the UK. And it’s the controversial side of the project — the questioning of our current priorities on energy and technology — which is the real plus factor when promoting The Movers, thinks Saunders. “ I certainly hope so,” he says, “ because that’s why we’re making it!”

P e t t y ’s se s s io n : L o r n a L e s le y a n d D r e w F o r s y th e o n th e ir a r m c h a ir tr a v e ls in The Movers. F a c in g p a g e : w r ite r B r u c e P e tty .

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On the right track There will always be a place for fan tasy and always a time for laughter. Malcolm, the first feature from Nadia Tass and David Parker, gives us an abundance of both. The backdrop is a rather grey and gloomy Mel bourne; the protagonists a fellow who’s not the full quid, a criminal and his girlfriend; and the outcome a work of absolute delight. The apparently simple-minded character, Malcolm (played with pathos and jocularity by Colin Friels), is a maintenance man on the tramways. Fired after he takes his own jerry-built tram out for a joyride through the streets of Melbourne, he retreats into his fantasy world at home. Malcolm’s small weatherboard house is cluttered with weird and wonderful gadgets: his letter-box is on model-railway tracks, the cage of his pet cockatoo, Arnold, is attached to wires (he travels flying-fox style), and the kitchen is like a miniature tramways depot: trams shuttle between pots and pans. Even send ing for the milk is a complex opera

tion: the milk bottle container sits on the roof of a toy car which runs by remote control and trundles down to the local milk bar. It is a game that proprietor Mrs T (Beverley Phillips) has been playing along with for some time. And, when Malcolm can’t pay up, she insists that he take in a boarder. Flanding him an elaborate questionnaire (‘Are you neat and tidy?’, ‘Do you have a job?’), she leaves him to contend with his first caller, Frank (John FHargreaves), a not so sharp crim who’s as rough as rough. Frank takes the room; yet, when he moves in with his adoring and provocative moll, Judith (Lindy Davies), Malcolm is completely bam boozled, and is immediately dis missed by his new tenant as a moron. But, when Frank pulls off a warehouse robbery with his mate, Willy (Chris Playwood), it becomes apparent that he has the same knack for tricks, or rather need for them, as Malcolm. This initial discord marks the opening of a classic comedy: what will follow is union and the resolution of conflict. There are few openings in the script that allow Malcolm’s character, at least, to be laughed at. After his first jaunt on the tram he has us on side — and

V I E W S

S p lit sc re e n : th e g e ta w a y c a r in v e n te d b y M a lc o lm (C o lin F riels) d iv id e s in tw o to f o o l th e c o p s in N a d ia T a s s ’s c o m e d y , Malcolm.

we laugh and laugh with him, and finally the three of them together, until the end. It is this deft handling of comic structure that one appreciates. The film certainly sets out to entertain — to take you into a world of fantasy, to provoke laughter — but the point is that it is done extremely well. It is evident in the way that director Nadia Tass brings in the off-beat tu n e s of The P en gu in Cafe Orchestra (If trams could sing rather than rumble then we would, I’m sure, recognize the quirky sounds!) When the music is played, you giggle simply at the sound; that alone is the ‘action’. Much of the humour comes from the way in which Tass treats the rela tionship between Malcolm and Frank, in particular — situations in which Malcolm disarms Frank with his sincerity and honesty. For example, when Frank threatens Mal colm, fearing that he will spread the word about his criminal record, Mal colm innocently says: “ You are not going to leave are you?” Their friendship is firmly consolidated

when Malcolm builds his friend a bright yellow getaway car — a trick vehicle that leaves the James Bond escape cars for dead! The way in which Malcolm takes to crime is orchestrated beautifully, especially the staging of his own remote-control robbery (take one video screen, a model car and a gun loaded with blanks. . .). Frank Is impressed, and the three join forces in planning an operation involving the Anglo-Swiss Bank. This event is the climax of the film. Malcolm’s whacky ideas come to the fore, revealing a genius hitherto unrecognized. Even morality is taken care of, because as Judith says, "it’s all crooks’ money any way” . It leads them to another city of trams, where the trio continue schem ing in the same crazy manner. Malcolm is not a complex story and its ‘message’ is an oldfashioned one: that there are posi tive qualities, even genius, to be tapped in everyone — in outsiders like Frank, or those labelled as back ward, like Malcolm. It is a story that John Steinbeck told in Of Mice and Men; it has been played out in One Flew Over the Cuckoo's Nest, and it could probably be told again and again. Even so, stories can be lost In the way they are told. And the fact that, in Malcolm, we find both a comic and a cinematic flair sets it apart and makes it work. There are only a few moments where Tass and Parker (who wrote the script) rely on obvious comic devices (like cocka toos that answer back). Otherwise, the direction is assured, the material confidently handled. Similarly with the camera, for which Parker is responsible. Known for his still photography for Austra lian features like The Man from Snowy River, Burke & Wills and The Coolangatta Gold, Parker’s eye for framing is as original as his designs for the moving objects and mechan ical effects that originate in Mal colm’s workroom. Malcolm is a rare find, and it has not gone unnoticed outside the Aus tralian film industry. But it is, at present, something of an oddity in the Australian context: there is no brow-beating about cultural identity and it Is u n a s h a m e d ly c o n temporary. And, if forgetting is the other side of laughter, Malcolm should be taken as an affirmation: it should not be forgotten. Kathy Bail

Malcolm: Directed by Nadia Tass. Pro ducers: Nadia Tass and David Parker. Associate producer: Timothy White. Executive producer: Bryce Menzies. Screenplay: David Parker. Director of photography: David Parker. Produc tion designer: Rob Perkins. Music: The Penguin Cafe Orchestra., Editor: Ken Sallows. Cast: Colin Friels (Malcolm), John Hargreaves (Frank), Lindy Davies (Judith), Chris Haywood (Willy), Bever ley Phillips (Mrs Tamarack), Charles ‘B u d ’ Tingwell (Superintendent), Deborah-Lee Furness (Barmaid), Judith Stratford (Jenny). Production company: Cascade Films. Distributor: Hoyts. 35mm. 90 minutes. Australia. 1986.

CINEMA PAPERS September — 41

F I L

Although the core members of the Baader-Meinhof gang died in the Stammheim-Stuttgart prison less than a decade ago, Reinhard Hauff’s film of their trial makes it all seem much more distant. The deaths coincided with the emergence of punk music in the UK. But, if Andreas Baader, Ulrike Meinhof, Gudrun Ensslin and JanCarl Raspe all shared the punk sneer at bourgeois-capitalist culture, the roots of the gang were much older and much deeper. The postwar generational conflict was particularly evident in West Ger many, where the horrors of the Third Reich created a disaffected genera tion only too ready to join the world wide student protests of the sixties. But when, at the end of the sixties, the student movement began to dis in te g ra te , som e of its m ore hardened m em bers were not prepared to return to the institutions or conventions of everyday life. Unable to accept bourgeois society, a number of them engaged in violent terrorism against the state. The Baader-Meinhof gang — more properly, the RAF, or Red Army Faction — were not the only terrorists to emerge with the turn of the decade, but they certainly became the focus for political para noia over all such renegade groups. Baader and Ensslin were first jailed in 1968, after a botched attempt to burn down a Frankfurt store. In 1970, Baader was assisted in his escape from jail by Meinhof and, during the next two years, the gang went underground. They raided banks, blew up US military installations in Frankfurt and Heidel berg, and bombed the Flamburg offices of the newspaper mogul, Axel Springer. The final death toll on both sides was 28. The core of the gang — Baader, Meinhof, Ensslin and Raspe — were held in ‘investigatory detention’ for the next three years. Their trial, which began in 1975, lasted an astonishing 192 days. When it concluded in 1977, Baader, Ensslin and Raspe were all sentenced to life imprisonment. Ulrike Meinhof had been ‘found’ hanged in her cell, mid-way through the trial. When the sentences were handed down, members of the gang who were still at large hijacked a jet. The plane landed at Mogadishu, where anti-terrorist police successfully freed the hostages. Only hours later, Baader, Ensslin and Raspe were found dead in their cells, the men by gunshot, Ensslin by hanging. Like Meinhof, they were officially listed as suicides. Reinhard Hauff’s film, Stammheim (Stammheim: der Prozess), was shot in just sixteen days. Its script, by Stefan Aust, is condensed from official transcripts of the trial pro ceedings. Incidental dialogue comes from the prisoners’ letters, and information passed on by warders. Hauff’s approach is basically journalistic. Drawing from meti culous source material, he has attempted to place this dramatiza tion beyond any factual criticism. And, in adopting this position, Hauff can (and does) avoid questioning the well-founded suspicions that the RAF members were murdered in their cells.

V I E

Children of Marx and Coca-Cola

U lr ic h T uku r, H a n s C rem er (B a a d er, R a s p e ), S a b in e W a g n er, T h e re se A f f o lte r (E n sslin , M e in h o f).

By not tackling this particular issue, Stammheim strengthens its case against the judicial system, and helps to highlight the knee-jerk reac tion which has become the common response to all such terrorist acts. Concentrating instead on what is factually beyond dispute, Hauff’s film is left with a single focus: the almost gladiatorial combat between the state and its radical opponents, with one side violently rejecting the legitimacy of the bourgeois state, yet appealing to its laws, and the other representing the law, but debasing the foundations of justice. The claustrophobic atmosphere of the setting allows little escape from the events, either visually, or in terms of the seriousness of their implica tions. The Stammheim jail is a multi storey, hi-tech cement fortress, and the courtroom (specially built for the trial) is a bare, air-tight, windowless, fluorescent-lit room. The audience has little choice but to take up the drama of this con frontation, and to deal with the questions: Who are these people? What purpose is served by their acts

42 — September CINEMA PAPERS

of terrorism? And why is the judiciary unable to contain them? Both sides speak a language incomprehensible to the other; and the trial, conducted more along the lines of a debate, clearly shows how the prosecution and the judges, unable to match the verbal Intensity of the accused, adopted the tactic of resisting all political discussion with purely legal procedure. The resulting loss of control by the presiding judge, Theodor Prinzig (Ulrich Pleitgen), together with legal improprieties on his part, led to his eventual removal from the trial. And any residual respect for the legal system evaporates when it is revealed that the state has bugged conversations between the lawyers and the defendants in their cells. At this point, the trial simply selfdestructs. Stripped of its legitimacy, the legal system winds up the proceedings by convicting and sen tencing the defendants in absentia. Ulrike Meinhof’s judgement, made shortly after her death, remains the most resonant: “ After Stammheim, West Germany can never be the same’’. Hauff’s film may not ‘perform’ at the box office like a mainstream

movie during its initial theatrical release, but it will certainly be rem em bered, referred to and revived for years to come. And its unswerving dedication to factual accuracy results in a work dis tinguished not only by its logic and credibility, but also by its value as historical endeavour. Rod Bishop

S tam m heim (S tam m heim : der Prozess): Directed by Reinhard Hauff, Producers: Eberhard Junkersdorf and Jurgen Flimm. Screenplay: Stefan Aust. Directors of photography: Frank Bruhne and Gunter Wulff. Art director: Dieter Fiimm. Editor: Heidi Handorf. Music: Marcel Wengler. Sound: Jan van der Eerden. Cast: Ulrich Tukur (Andreas Baader), Therese Affolter (Ulrike Meinhof), Sabine Wagner (Gudrun Ensslin), Hans Cremer (JanCarl Raspe), Ulrich Pleitgen (Presiding ju d g e Theodor Prinzig), Peter Danzelsen, Hans Christian Rudolph, Holger Mahlich, Marina Wandruszka (Defence attorneys). Production com pany: Bioskop Film (Munich)/Thalia Theater (Hamburg). Dis tributor: McLernon Films. 35mm. 107 minutes. West Germany. 1986.

Seeing I Every once in a while, a film will generate so much electricity, so much intense feeling, that something almost magical happens: you can feel the hairs on the back of your neck stand up, and your entire body shivers with a mixture of awe and pleasure. There’s a moment like that in John Ford’s The Grapes of Wrath, when Henry Fonda talks to Jane Darwell about being an unseen presence “ whenever a man cries out for justice’’. There’s another at the end of Max Ophuls’s Letter from an Unknown Woman, when you feel that (maybe) Louis Jourdan has remembered the woman whose long letter he has been reading. And Peter Weir has managed it more than once: when Miranda is found in Picnic at Hanging Rock, and again when Harrison Ford and Kelly McGillis dance in the barn in Witness.

There’s a moment like that, too,' in Paul Cox’s superlative new film, Cactus. Robert (Robert Menzies), the solitary young collector of cacti, tells Colo (Isabelle Huppert), the French woman who has been partially blinded as a result of a car accident, that he was blind from birth. Except, he adds, for one moment when he was a child and fell over, bumping his head. Then, he says, just for a moment, he could see. A little later in the film, Cox shows us that moment in which the little blind boy falls and, as his father picks him up, sees a fleeting image of sunlight through the trees. Pure magic, with the sad little footnote that, as Robert says, “ Nobody believed me” . With Cactus, Cox has finally managed to merge the opposing elements in his career to date: his love of the' documentary, and his fascination with the surreal. The film is (mercifully, perhaps) unclassifiable: a love story, but a love story that’s surrounded by pain, like the spikes of a cactus plant. Though it’s much more optimistic than My First Wife, it’s almost more unsettling, more challenging — and much, much more adventurous. Colo is visiting her friends, Tom and Bea (Norman Kaye and Monica Maughan), in the lush hilly country side outside Melbourne; back home, in France, her marriage to JeanFrancois (Jean-Pierre Mignon) is on the rocks, and she’s running away. The opening scenes of the film, including the extraordinary opening shot, establish the setting of the story — an area that reminds Colo of Germany’s Black Forest but which, Tom reminds her, is much older. These are images that Colo will soon barely see. A sliver of glass pene trates an eye, blinding it; an eye specialist warns her that the blinded eye will have to be removed to prevent the good eye being affected as well. Ouite naturally, Colo objects, delays, vacillates. Her distraught friends try to help as best they can, and introduce her to Robert, whose first advice to her is: “ There’s nothing much to be afraid of” . But Colo is afraid, and

CACTUS

T h o rn b ir d s : R o b e r t M e n z ie s a n d I s a b e lle H u p p e r t in Cactus.

after a while only Robert can bring her any real comfort. Inevitably, they become lovers; and, just as inevi tably, Jean-Francois arrives to bring her home. Aided by the exceptional photo graphy of Yuri Sokol and the production design of Asher Bilu, Cox has produced his most tactile film: the symbol of the cacti, which give the scenes at Robert’s home an almost primeval atmosphere, is beautifully used. The director’s fond ness for cinematic doodling may not be to the taste of every viewer. But, when Cox inserts home-movie material of Colo (i.e. Isabelle Hup pert) as a child, dressed up for some festivity or diving into a lake, it is somehow very touching. Nor does Cox ignore the off-beat humour with which his films since Lonely Hearts have been infused: Tom energetically playing tennis with an unseen opponent (which turns out to be a machine), or Ray Marshall doing an impersonation of a camel at a birthday party, while Elsa Davis pounds away at the piano and sings a song for Colo. Complementing the images is the richest soundtrack Cox and his team have yet composed — ‘composed’ seems the appropriate word here — with bursts of magnificent music sharing the film with the sounds of the bush, including the extraordinary cry of the whipbird. The principal actors are faultless. Norman Kaye and Monica Maughan play Colo's sad, embarrassed hosts with just the right degrees of awkwardness, while Isabelle Hup pert makes Colo a truly memorable character. Best of all, though, is Robert Menzies; after a walk-on role in Man of Flowers and a bit part in Bliss (as Honey Barbara’s lover), this young actor emerges as a major new talent, playing Robert with absolute conviction: it’s the best screen portrayal of blindness since John Malkovich in Places in the Heart.

There are some — hopefully a small minority — who find Cox pre tentious and self-conscious. But any viewer who remains unmoved by the last dialogue exchange between Huppert and Menzies at the end of the film must truly have a heart of stone. Or, perhaps, of cactus. David Stratton

Cactus: Directed by Paul Cox. Pro ducers: Jane Ballantyne and Paul Cox. Associate producer: Tony LlewellynJones. Screenplay: Paul Cox, with Bob Ellis and Norman Kaye. Director of photography: Yuri Sokol. Production designer: Asher Bilu. Editor: Tim Lewis. Sound recordist: Ken Hammond. Cast: Isabelle Huppert (Colo), Robert Menzies (Robert), Norman Kaye (Tom), Monica Maughan (Bea), Banduk Marika (Banduk), Sheila Florance (Martha), Peter Aanensen (George), Jean-Pierre Mignon (Jean-Francois). Production company: Dofine Ltd. Dis tributor: Roadshow. 35mm. 93 minutes. Australia. 1986. ►

CINEMA PAPERS September — 43

Brillig revisited In 1932, 80-year-old Mrs Alice Har greaves (Coral Browne), the Alice to whom Lewis Carroll first recounted a little girl’s adventures in Wonder land, sails to New York to receive an honorary doctorate from Columbia University. Imperiously Victorian In manner, and travelling with a timid young companion, Lucy (Nicola Cowper), Mrs Hargreaves finds herself at the centre of an immense amount of fuss to which, for a variety of reasons, she gradually succumbs. More im portantly, she finally comes to terms with her younger self and with the love shown her- by Carroll (the Reverend Charles Dodgson), love which she has long repressed because she had been made to feel there was something wrong, some thing she “ couldn’t bear to think about” . On this slender plot, writer Dennis Potter and director Gavin Millar have fashioned Dreamchild, an Irresistible entertainment, densely textured on the level of ideas and filmed with a sure sense of the cinema’s capacity for moving fluidly in time and space. As Mrs Hargreaves grapples with the brashness of New York (a brilliantly stylized realization of neonlit streets and diners, radio stations and art deco hotel suites), she also finds herself grappling with her own past and her own imaginative life. Her Oxford childhood of walled Deanery gardens and punting on the Isis is bathed in a golden glow that has less to do with reality than memory: it is half a world and more than half a century away from clamorous New York. But the remembering is a necessary part of her drama, and the Victorian scenes are not flashbacks: they are un bidden recollections. Most touchingly, this process occurs at the conferring ceremony, when the university choir’s singing of ‘Will you, won’t you join the dance?’ is intercut with Mrs Har greaves’s memory of Dodgson’s stammering attempt to sing the same song at a riverside picnic

“ I t ’s d if fic u lt e n o u g h a t m y a g e to b e w h a t I o n c e w as, le t a lo n e w h a t I n e v e r w a s. ” C o r a l B r o w n e (a s th e o c to g e n a r ia n A l i c e ) a n d P e t e r G a lla g h e r In Dreamchild.

60-odd years before. Past and present are reconciled as she stands to make her speech, acknowledging Dodgson’s gift to her and "the love that had given it birth” . The romantic sub-plot Involving Lucy and Jack Dolan (Peter Gallagher), the likably opportunist reporter bent on a story that will reinstate him in his job, and the obvious affection in which Carroll is held by the university, fall Into place. Mrs Hargreaves, unable to respond either to love or to the ‘fuss’, is now aware of a convergence of feeling. Not that the film skirts the potentially disturbing quality of Dodgson’s love for Alice: it is perfectly clear In Ian Holm’s subtle rendering of Dodg son’s frustrations, and in the watch ful unease so sharply caught by Jane Asher as Alice’s mother. In his first original script for the big screen, Potter’s preoccupation with p a s t-p re s e n t an d h e re -th e re mobilities (as In his television plays, Cream in my Coffee and Pennies from Heaven) is joined with a flexible Interaction of reality and fantasy. Alice, sometimes a little girl (Amelia Shankley), som etim es an old woman, moves am ong Lewis Carroll’s creatures, which are more farouche in Jim Henson’s incarna tions than In Tenniel’s drawings, and notably more threatening to the old woman’s perceptions than to the child’s. What the latter receives with com posure (a rheumy-eyed March Hare, an alarmingly scrawny Griffin) un settle the old lady, for whom the fantasy life has been so long suppressed. She copes with the real world by autocratically blocking out whatever is at odds with her notions of social and moral decorum, but even these are called into question in ways that lead her back to recon sider the non-comforting world of Carroll’s wonderland. The film plays consistently with the idea of narrative, with stories within stories, with stories as versions of experience. Within the framework of Alice’s meeting with the Griffin and the Mock Turtle on an eerie beach

44 — September CINEMA PAPERS

(symmetrical tracking shots begin and end the film), Potter presents, not merely Mrs Hargreaves’s visit to America and the ‘interior’ story of her childhood, but Dodgson telling Alice (and others) the stories, the various creatures telling Alice their stories, the New York radio play about a little girl lost on the prairie . . . All life, the film suggests, is a matter of narratives, of finding parallels, of establishing cause and effect (or not) — of finding one’s own place and one’s own sense of self among bewildering events. This latter process is made more difficult for Mrs Hargreaves, partly because she is old and In a strange place, partly because the facts of her past are disturbing to her, and partly because there is something bizarre about the kind of celebrity she finds she has become. “ I was simply a little girl to whom he told his tales,” she says. Earlier on, she had told the reporter: “ It’s difficult enough at my age to be what I once was, let alone what I never was.” By the film’s end, some of the key narrative pieces have, for her at least, fallen into place. The effect of this Is, without senti mentality, one of humanization: she has been startled Into benignity in relation to Jack and Lucy, and has acknowledged Dodgson’s love and his gift. If all this sounds too solemn, I should add that it Is often very funny, and that the play of ideas is accom plished with a cinematic flair (in image and editing) which keeps at bay any hint of the didactic. At Dreamchild's centre, holding its narrative strands firmly together, Is a magnificent performance by Coral Browne as Mrs Hargreaves. Resist ing cliche, she finds beauty and pain in the move towards self-discovery, winning respect rather than a rush of easy sympathy. At her most dowager-like, she is never quite unaware of the absurdity hovering at the edges of her pro clamations; her fear in various alien worlds is properly disturbing; and her final reconciliation extraordinarily moving. If there were any justice, Coral Browne would win an Oscar, and Dreamchild would not have played to largely empty cinemas. This reviewer, possibly out on a limb, finds it the film of the year to date.

Truck all There is absolutely nothing wrong with films about trucks. Driven by James Cagney, Humphrey Bogart or Victor Mature, Yves Montand, Gerard Depardieu or Kris Kristofferson, Mel Gibson, Stacy Keach or the faceless fury of Duel, trucks have provided the movies with some of their best motion and their finest metaphors. Fair Game is about a truck, too — a customized Ford 1000 called, im modestly, The Beast. Invariably heralded by a feral growl on the soundtrack, The Beast is all chrome and spotlights, too bars and rifle racks. It is designer transport at its most macho: if it had a teeshirt, it would have a soft-pack of Camel rolled in its sleeve. Unfortunately, however, The Beast has a driver, the driver has two sidekicks, and the trio has a target — which is where Fair Game starts to come unstuck. The heroine of the film, Jessica (Cassandra Delaney) — who is, of course, the target — runs a wildlife sanctuary in the South Australian outback. It is a rather desolate place, where the parrots are kept in rabbit hutches, but at least the roos run free. Free) that is, until Sunny (Peter Ford) and his mates, Ringo (David Sandford) and Sparks (Garry Who), come on the scene, with their high-powered rifles, their packs of Camel and the aforementioned off-road vehicle. Not content with shooting a few roos (and leaving the joey whimper ing nearby for Jess to find), they also set about terrorizing Jess herself through a variety of means, few of them subtle — though pinning a compromising Polaroid of her to the inside of her fridge door and trying

Brian McFarlane

D ream child: Directed by Gavin Millar. Producers: Rick McCallum and Kenith Trodd. Executive producers: Dennis Potter and Verity Lambert. Screenplay: Dennis Potter. Director of photo graphy: Billy Williams. Production designer: Roger Hall. Alice in Wonder land characters designed and per formed by Jim Henson's Creature Shop. Editor: Angus Newton. Music: Stanley Myers. Sound recordist: God frey Kirby. Cast: Coral Browne (Mrs Alice Hargreaves), Ian Holm (Reverend Charles Dodgson), Peter Gallagher (Jack Dolan), Can's Corfman (Sally Mackeson), Nicola Cowper (Lucy), Jane Asher (Mrs Liddell), Amelia Shankley (Little Alice). Production com pany: Pennies from Heaven, in association with Thorn EMI Screen Entertainment. Distributor: Greater Union. 35mm. 94 minutes. Great Britain. 1985.

T h e b o t t o m lin e in e x p lo ita tio n : J e ssic a (C a s s a n d r a D e la n e y ) a b o u t to s tr ik e b a c k a g a in s t th e m a c h o m a r a u d e r s in Fair Game.

to brand her horse with a welding torch are among the film’s few in ventively nasty moments. Cut off from help — if, indeed, the stereotypically redneck policeman in the nearby town could be described as such — Jess is forced further and further onto the defensive until, strapping on a Rambo-style headband, she hits back. Ringo is fried on a live wire, Sunny meets a fiery death and Sparks is impaled on the sharp end of an anvil. Fair Game is an unabashed ex ploitation movie, a horse for a wellrutted course, and its success on the world video market (see the News section of Cinema Papers 58, July 1986) has proved — as if anyone still needed to know — that punters readily rent films about beautiful young women in loose-fitting shirts and invisible shorts, who are much given to taking showers (it gets very hot in the desert/jungle/outback, you see), and who are put in jeopardy by a bunch of wisecracking yobs. As exploitation, Fair Game is, I suppose, par for the course, though its first half, after a nifty piece of stuntwork involving Jess’s ute, The Beast and a refrigerator truck full of kangaroo carcases, is a little slow. Similarly, a number of laboriously built-up bits of suspense lead no where, barring a'sudden fright when a bird gets loose in a closed room (which may — who knows? — be a homage to The Birds, from which the scene is taken). Round about the mid-point, though, Fair Game ceases to be a generic exercise and tips into out right, indigenous nastiness. This happens in a scene in which Jess is strapped to the front of The Beast, her legs lashed to the roo bars, her jeans and teeshirt suggestively slit with a large knife. She is then driven about, struggling and screaming, while the men guffaw and the camera gloats. It is a loathsome scene, its voyeuristic intent far out weighing any dramatic justification. And it takes away — from this writer, at least — all sympathy for the calculated commercialism of the film, leaving one with, at best, a g ru d g in g respect for Andrew Lesnie’s cinematography and a muted admiration for Cassandra Delaney’s brave battle against s te re o ty p e . F air G am e is a thoroughly nasty piece of work, pandering to a set of attitudes it pre tends (perfunctorily) to condemn. If the only way we can make an impact on the world video market is by proving that Australia can churn out exploitation flicks like any scum bag, tax-shelter sleaze pit, then the last ten years, 10BA or no 10BA, have been pretty much in vain. Nick Roddick

Fair Game: Directed by Mario Andreacchio. Producers: Ron Saunders and Harley Manners. Screenplay: Rob George. Director of photography: Andrew Lesnie. Music: Ashley Irwin. Editor: Andrew Prowse. Cast: Cass andra Delaney (Jessica), Peter Ford (Sunny), Garry Who (Sparks), David Sandford (Ringo). Production com pany: Southern Films International. Distributor: CEL. 35mm. 90 minutes. Australia. 1986.

Midday express The credits are in red over a blackand-white rendition of the famous video news-clip of the slaughter of the demonstrators on the steps of the cathedral in San Salvador, juiced with intermittent flashes and convul sive bursts of motion. The title music sounds like it was written for a forties ‘B’ movie (no synthesizers, no guitars). Fervour and action are clearly promised by such titles. Instead, Salvador scuttles away from commit ment and begins to develop its central characters: the scumbag journalist, Richard Boyle, and his failed-hippie sidekick, Dr Rock. But the scenes in which this is sup posed to happen are flat and point less. The dialogue between James Woods as Boyle and Jim Belushi as Rock is crudely arch, and they play it like they had never met before. We are supposed to see them as parallels to Flunter S. Thompson and Oscar Zeta Acosta, yet gonzo hysteria is exactly what is missing, and we have all too much time to mourn its loss while the couple moti vate their way towards El Salvador and the movie we have come to see. Then things get better for a while. Brutality doesn’t require finesse, and brutality is what the Salvadorean material is all about. It takes only a short time for us to recognize that, in spite of all their self-centred nasti ness, Boyle and Rock are amateur ugiies in comparison with Major Max’s bully boys and the US Embassy’s plastic spooks. Oliver Stone, who directed, co wrote, co-produced and cast his infant son in a supporting role, treats the forces of repression like villains from an old spy movie: the Salva dorean nasties plot fanatically in dark rooms, while the Americans are soulless corporate robots who only come alive at noon. Subtlety is not Stone’s strong suit, and a lot of

smoke billows over the screen in this picture. From time to time, we are taken on side-trips to hell. If you didn’t already know that Stone’s big writing credit was Midnight Express, you could guess it from the pious way these sequences of festering gore are presented. Small-time jerks against big-time crooks usually makes for a good movie, but Salvador keeps coming back to Woods being an actor being Richard Boyle, and Woods has to be one of the most mechanical slime specialists in the business: all his tics are pre-programmed, making me regret he was not Christopher Walken or some other real zombie. But that is because I kept wanting Salvador to be a movie it was not — a movie which drew me in and made me ‘live’ the horror it depicted. Actu ally, Woods’s performance is of a piece with the rest of the film: calculating and exploitative, dis honest and m ean. S tran gely enough, these are the qualities which make the film good. By most conventional standards, Salvador is a ‘bad’ movie, and I don’t want readers of this review to expect anything else of it. Yet, when it was over, I found I agreed with it far more completely than I usually do with movies with political views like my own. It had done what it set out to do. Now, why is that? I think it is because, in the end, it is good — “ very good’’, like Brigid O’Shaughnessy in The Maltese Falcon. It is good because it is honest propaganda, like she was an honest liar — both of them honest because they are so blatantly dis honest. Only a fool would believe in the political engagement of what is so clearly a Killing Fields rip-off, a film so coldly sensational in its expressionist villainy and violence, so manipulative in its sentiment and ‘human feeling’. Most propaganda is ‘positive’ and inward-turning, concerned to tell the world the virtue of the cause it espouses. But it is hard to be con vincing about virtue in these cynical ' times. Salvador is almost wholly

E x p e rie n c in g th e c o n tr a c u ltu re : B o y le (J a m e s W o o d s , le ft), R o c k J a m e s B e lu s h i (in c a p ) a n d T o n y P la n a as M a jo r M a x in Salvador.

negative, and I believe what it says because it is telling me about vice. Few political films can have treated the Good Guys more per functorily and with less conviction than this one. The saints on the side of the revolution are slid quickly on and off the screen like lifesize cut outs, while the devils of repression get plenty of time to strut their stuff in all dimensions. And the result is that, in the end, what matters is their evil, not the putative good of the revolution. As the film portrays him, Boyle’s only redeeming feature is that he can sometimes feel the suffering of others. From this minimal founda tion, Salvador builds its case. It does not want to stop injustice, exploita tion, violence, racism, sexism or repression. It only wants to stop the hurting. Surely this is enough for a film to want? A film is only a film, after all. You and I may want more, but that is our business, the business of ideo logy and belief. I can believe in a film which only tells me that hurting is bad, a film which is only effective when it is showing me people in pain. So many other films want me to swallow so much more. William D. Routt

Salvador: Directed by Oliver Stone. Producers: Gerald Green and Oliver Stone. Executive producers: John Daly and Derek Gibson. Associate pro ducers: Bob Morones and Brad H. Aron son. Screenplay: Richard Boyle and Oliver Stone. Director of photography: Robert Richardson. Production design: Bruno Rubeo. Editor: Claire Simpson. Music: Georges Delerue. Cast: James Woods (Richard Boyle), James Belushi (Dr Rock), Michael Murphy (Ambassa dor Thomas Kelly), John Savage (John Cassady), Elpedia Carillo (Maria), Tony Plana (Major Max). Production com pany: Hemdale. Distributor: CEL. 35mm. 123 minutes. USA. 1986.

CINEMA PAPERS September — 45

F I

Mass and movements

D o c k e d w o r k e r: P a tr ic k D ic k s o n a s y o u n g P a d d y Q u in n , a b o u t to b e s e n te n c e d in Land of Hope.

The opening minutes of Land of Hope establish the dual themes of the need for solidarity within the labour movement and the posses sive power of Catholicism. For the next ten weeks, these themes are examined against the background of selected historical events from the past 80 years. It is a concept — developed by producer Suzanne Baker and scripted by Tony Morphett, Anne Brooksbank and John Patterson, with alternating direction by Gary Conway and Chris Adshead — that generates a considerable degree of interest, but which also causes a number of formidable problems. Occasionally, the pain and the passion of the burgeoning labour movement develop out of their inter section with the individual concerns of the Quinn family. Too often, how ever, the viewer is left in a sort of d ra m a tic cre v ic e , w h ere the mechanics of the drama and the predictability of the characters’ development fail to connect in any thing more than a superficial way

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with the rather stilted layer of his dream, however, remains a vague pragmatic programme based on the torical information. The latter are largely conveyed in declamatory installation of moderate Labor politi speeches, and a written epilogue cians and the operation of a central accompanied by Mike Perjanik’s ized arbitration system-(“ Arbitration will work, Henry: it’s the voice of superbly plaintive music. reason” ). And it lacks sufficient Each episode is organized around power to generate ten hours of a key political or industrial event, beginning with the shearers’ strike in drama. The major weakness of the mini the eighteen-nineties, and proceeds series (shared by that other member to establish a correlation between the changes in the labour move of the JNP stable, A Country Prac tice) lies in its unfailing predictability ment's fortunes, developm ents within the Catholic church, and the and the unproblematic presentation of a range of complex issues con activities and ideals of the Quinn cerning both the labour movement family. and the Catholic church. In the first episode, Paddy Quinn Initially, the tension between the (Patrick Dickson) is transformed church and the emerging union pro from scab to union organizer. In the fourth, his son, Frank, transforms vides a good deal of interest, from a member of the radical Inter culminating in Paddy’s dramatic national Workers of the World to a walk-out after an attack on socialism and Hughes from the pulpit. Unfor voluntary participant in the armed forces during WW1. Similarly, in the tunately, however, this tension gives way to cardboard caricatures, next episode, Paddy’s daughter, epitomized by the local priest’s Kathleen (Melita Jurisic), disowns the Catholic church and the tradi intolerance of Kathleen’s question tional labour movement for the Com ing of the role of the church during the Depression. munist Party during the Depression. The overriding determination of Later, during the upheavals of the fifties, culminating in the ‘Great Split’, the series to provide a neat frame work in which to place such issues Frank’s son, Dominic (Richard Moir), means that the prejudiced Catholics rats on the Labor Party to join are eventually replaced by tolerant, Menzies’s Liberal Party. And his son less dogmatic Catholics, in the form Andrew (Mark Owen-Taylor), rejects of Sarah Quinn and her mentor, his father’s conservatism to embrace Mary Teresa. Thus it is not the institu the radicalism of the sixties. The tion of the church which is at fault, cyclical movement that started with Paddy, the voice of union modera merely the execution of its tenets by tion and pragmatism in the late nine a few misguided individuals — a comforting and ultimately conserva teenth and early twentieth centuries, closes with Andrew’s final trans tive platform. C h ara cte r traits are clearly fo rm a tio n fro m a n a rc h is t to designed to provide a ready code endorsed Labor candidate under for future behaviour, whilst ‘figures Whitlam in the seventies. of knowledge’ such as Nesta Darling Whilst the basic concept may and Maureen Quinn continuously have been useful to sell the series, prefigure audience sympathies. This the decision to devote less than an predictability is coupled with a hour to some of the most complex simplistic attempt to infuse signifi issues in Australian history results in cance into every gesture and action. a reductionism that rarely allows Thus, each of the major characters more than a cursory outline of the event, and leaves the overriding per virtually dies on cue — Paddy when he learns of the installatipn of the ception of history as a series of neat, Communist Party in Russia, Nesta unproblematic packages. The rejection of a radical alterna trying to lift a box of anti-Menzies leaflets in the early fifties. Finally, tive to the exploitation of the capital Maureen ‘permits’ her own death ists is established in the opening after the election of the Whitlam episode. Paddy, the voice of reason government in 1972: the heritage of and moderation, is forced to serve a ‘Paddy's dream’ has been safely gaol sentence after the more radical passed on to Andrew and Sarah. members of his union attempt to Geoff Mayer burn down a shearing shed. The price he pays is not just imprison ment, but also the death of his Land of Hope: Directed by Gary mother and the loss of his true love, Conway and Chris Adshead. Producer: Nesta Darling. Suzanne Baker. Executive producer: In subsequent episodes, the com James Davern. Screenplay: John munist alternative is explored and Patterson, Anne Brooksbank and Tony rejected via the activities of Kath Morphett. Directors of photography: Geoff Burton and Jan Kenny. Produc leen, who eventually commits tion designer: Owen Williams. Editor: suicide in a fit of despair after Stalin's Stewart Armstrong. Music: Mike Perregime is ‘exposed’ and the janik. Sound recordist: Don Connolly. Russians invade Flungary. The Cast: Maureen Green (Young Maureen Liberal Party under Menzies also Quinn), Patricia Kennedy (Old Maureen receives its share of symbolic Quinn), Patrick Dickson (Paddy Quinn), criticism, via the adulterous and un Benjamin Franklin (Kevin Quinn), principled behaviour of Dominic, the Penelope Stewart (Young Nesta Quinn who betrays his heritage to Darling), Melissa Jaffer (Old Nesta join the enemy. Darling), Drew Forsythe (Frank Quinn), The only continuing character Melita Jurisic (Kathleen Quinn), Peter Kowitz (Leo Quinn), Richard Moir throughout the ten episodes is (Dominic Quinn). Production company: Paddy’s wife, Maureen (initially Filmrep, for JNP Films. First broadcast: Maureen Green, later Patricia Seven Network, 11 May-13 July 1986. Kennedy). It is her obsession with 16mm. 10 x 1 television hour. Aus ‘Paddy’s dream’ and the price he tralia. 1986. had to pay (gaol and an early death) that permeates every episode. The

46 — September CINEMA PAPERS

Bull and bush There are two almost memorable scenes in Alice to Nowhere which, in entirely different ways, give an insight into this two-part Crawfords miniseries. One is towards the end, where the deranged Johnny, a killer from the big smoke (played with some sin cerity by John Waters), confronts an old bushwoman played by Ruth Cracknell. With a loaded shotgun prodded into her chin, she tells Johnny: “ This country isn’t kind to creatures like you: you don’t last out here” . His response is brutal, shocking and meaningless: he simply pulls the trigger, j The other is the extended opening titles sequence on the Birdsville Track, where we meet the protag onists whom this ‘creature’ will soon face in mortal combat. The overpowering protagonist here is the face of the land itself, shown in sweepingly effective aerial photography. The human protag onists are in a battered old mail truck that forms a long line of white dust against the dimness of the dawn light. In it are Dave (Steve Jacobs), the Birdsville postie — a simple, decent man who doesn’t under stand women but does understand the land — and his biblically bearded sidekick, Ivan (SwawomifJ Wabic), a ‘refo’ from Russia who loves life, vodka and Dave, his first and only mate. Their mateship is quickly and effectively established. But this introduction is a yardstick which only serves to point up the uninspired nature of what follows The plot is standard in concept: the baddies steal something (in this case, the Queen’s opals) that they somehow lose and must get back. The opals end up in the suitcase of a passing innocent called Barbara Dean (Rosey Jones), who is en route to a job in Birdsville, via the Alice, Maree and, of course, the mail truck. Although mostly concise, the words, phrases and scenes of the screenplay seem to sit one after the other like headstones in a country graveyard — there for a purpose, but grey and flat. However, unlike a real graveyard, the story, although full of,dead bodies, has no inner logic to its existence. Worse, the purpose of these constructions is painfully obvious. This kind of plot always depends on clever artifice to lift it, and it cannot afford to allow the mechanics of the structure to be exposed. But the holes in Alice to Nowhere are too often covered by plot absurdities, careless logic and cheap cheats. As we follow the trail of murder and mayhem across the great, barren heartland of Australia, we begin to ask a few questions. Why does Johnny so rapidly degenerate into a vicious,', pathological killer when he hits the outback? And what strange sexual weirdness moves in his head? To young Betty (Joy Smithers) — who, along with Barbara, loves the postie, and whom Johnny tries to rape — he yells: “ You could have loved me!” What, inside Johnny, is cracking him up? We could also ask a few questions

Sufferin’ souls

Lowered sightS: John Waters (stand ing), Rosey Jones and Steve Jacobs in Alice to Nowhere. about Frog, Joh nn y’s wimpy, retarded, hero-worshipping cohort. But, although Esben Storm works hard to bring the character alive, there is not much a stereotyped, wimpy, retarded, hero-worshipping cohort can really say. In such films as In Cold Blood and Helter Skelter (both based on true stories), there is some insight into the nature of the killers. But Alice to Nowhere is primarily a story of surface incident. Blood Simple could get away with that because of its stylistic brilliance. But, in Alice to Nowhere, the killing is mostly reduced to nastily serious business. A series of increasingly powerful, violent and crazy confrontations eventually lead us to the point where all the script arrows have so clearly be en p o in tin g — a p itifu lly inadequate anti-climax where the thoroughly irredeemable mad dog, Johnny, almost immediately drowns in the flooded Diamantina River. Alice to Nowhere is a formula story that does not seek the enhance ment, in its production, of character, style, wit, passion or intelligence. The only thing remotely ‘new’ in it is its cold-blooded violence. Brian Jones

Alice to Nowhere: Directed by John Power, Producer: Brendon Lunney. Executive producers: Hector Crawford, Ian Crawford and Terry Stapleton. Associate producer: Michael Lake. Screenplay: David Boutland, based on the novel by Evan Green. Script editor Brian Wright. Director of photography: David Connell. Production designer: Phillip Warner. Music: Peter Best. Editor: Ralph StraSser. Sound recordist: Andrew Ramage. Cast: John Waters (Johnny), Steve Jacobs (Dave Mitchell), Rosey Jones (Barbara Dean), Esben Storm (Frog), Swawomir Wabic (Ivan), Ruth Cracknel! (Helen Spencer)! Production company: Crawford Pro ductions. First broadcast: Ten Net work, 1 and 2 July 1986. 16mm. 2 x 2 television hours. Australia. 1986.

The fictional territory of playwright Sam Shepard is vast. His chronicles tell of a mythical landscape of lonely motels, prairies, Plymouths and cowboy dreams. He delves into the junkyard of American kitsch. “ We stopped on the prairie at a place with huge white plaster dinosaurs standing around in a circle. There was no town. Just these dinosaurs with lights shining up at them from the ground,” he writes. It is a vision of America often found in the films of Robert Altman. Think of 3 Women (1977), and the depiction of the 'Dodge City' bar in a nightmarish Southern Cali fornian landscape: there is a captiva tion with the surface of things — with banality, madness and wry humour. When these two artists are placed together, as they have been in the production of the film Fool for Love, the dialectic is bound to be a fascinating one. Shepard’s award winning play was first staged by the Magic Theatre in San Francisco in 1983. It had successful seasons in America and elsewhere, before becoming a film (see the Alt man interview in this issue). Under Altman’s direction, Shepard also plays the lead, Eddie, a brash, whip-cracking cowboy, who arrives at the El Royale to make things up with his lover, May (Kim Basinger). The setting is brilliantly realised — a run-down, neon-lit motel on the edge of the New Mexico desert. Glowing pinks and the moody, even ing colours of the desert heighten the intensity of Eddie and May’s blazing and incestuous relationship. “ You know we’re connected, that was decided a long time ago,” he tells her. The beginning is very slow and contemplative: a series of long, long takes. It allows Altman to give a drawn-out explication of the two characters’ connections: they are two fighters in a no-win situation. It also invites careful exploration of the visual space — the trailers in the junkyard, an empty bar, a child on a swing. Finally it locks us in, just as Eddie and May are forced to play out their love/hate games in this claustrophobic arena. Prancing around on his horse, Eddie is brazen — an indulgent per former. But his act is often comic: he kicks in the door of May's room with his steel studded boots, he sends the glasses on the bar skittling with his whip. It is a pathetic violence, that May won’t succumb to. She per forms too. In a clinging silk slip, she sensually washes herself, playing up to Eddie’s dominant air. Then she kicks back, silencing him. The knowing watcher on the balcony is the drunken Old Man ( H a r r y D e a n S ta n to n ). H is harmonica-playing lends a melan choly air, and it is his stories that are the more philosophical:,“ It was the same love, it just got split in two,” he says, looking back over his life. Altman chooses to reveal the links between the main characters in recreations of the past. It is, I think, the major fault of the film: the camera

should have remained focused on the El Royale. In the original, the poetry in the characters’ stories is a rich source for our own imaginative play. As Eddie says: “ There’s not a movie within a hundred miles that can match the story I’m going to tell.” So why give us the images so literally? There is however some clever cinematography in these scenes, most notably in the way the past and present are diffused. For example, a scene where Eddie first sees May as a teenager blends into an image of the present, reminding us of the im possibility of escaping the past. It is typical of Altman: he plays with reflections, fragmenting the images, dislocating the visual and the narra tive space. Basinger acts May’s magazine dreams with a raw sensuality and strength. Her other recent film, 91/2 Weeks, may also have dealt with obsession; but, in Fool for Love, she is given a script loaded with poetry rather than meaningless silences. Randy Quaid as the outside ‘man’ brings to his part the right sort of awkwardness and vulnerability. Though he makes Eddie’s whole some dream of owning chickens and a plot in Wyoming look even more shallow, May can only use him. Her entanglement with Eddie goes too deep to allow any way out. The whining country tunes of Fool for Love reinforce the action. Written and performed (in addition to George Burt’s score) by Shepard’s sister, Sandy Rogers, they are about yearning, dislocation and the im O u t o f th e s a d d le a g a in : S a m S h e p a r d a s E d d i e in R o b e r t A l t m a n ’s Fool for Love, b a s e d on th e s ta g e p l a y b y S h e p a rd .

FOOL FOR LOVE

possibility of romance. And, like Ry Cooder’s music in Paris, Texas, they strike a strong emotional chord. It is on the structural level that Fool for Love is flawed — strange, because Altman is one of the few directors capable of recreating (not simply filming) stage plays on the screen. One of the few, also, whose view of American history and Ameri can culture is as simultaneously mythic and hyperrealist as that of Shepard. In the final analysis, the emotional and intellectual engagement of Shepard’s Fool for Love lies in leaving Eddie, May and the Old Man’s stories to tell themselves, not in attempting to realise the poetry of their lines. Maybe Altman was tempted to show too much, pre cisely because his and Shepard’s visions are so close. Kathy Bail

Fool for Love: Directed by Robert Altman. Producers: Menahem Golan and Yoram Globus. Associate pro ducers: Scott Bushnell and Mati Raz. Executive in charge of production: Jeffrey Silver. Screenplay: Sam Shepard. Director of photography: Pierre Mignot. Production designer: Stephen Altman. Music: George Burt. Editors: Luce Grunenwaldt and Steve Dunn. Cast: Sam Shepard (Eddie), Kim Basinger (May), Harry Dean Stanton (Old Man), Randy Quaid (Martin), Martha Crawford (May's mother), Louise Egolf (Eddie's mother). Produc tion company: Cannon Films. Distri butor: Hoyts. 35mm. 106 minutes. USA. 1985.

I L

S ta r o f th a t ilk : C h r is to p h e L a m b e r t in Highlander.

Clan destined With the arrival of his second film, Highlander, it is obvious that Russell Mulcahy’s camera eye is little short of wonderful. From the opening scene — a nighttime wrestling match at M adison Square Gardens, superbly shot with a Skycam by Garret Brown — the look of the film is constantly amazing. Intercutting between a violent, modern-day swordfight in a car park and an equally violent sixteenth-century Scottish battle, the film becomes a kind of kinetic cross between Blade Runner and Excalibur. The story of Highlander (which, given the themes, is a thuddingly dull title) is essentially that of all action/fantasy films: the struggle between the forces of good and evil. Realised through mystical char acters, these forces do battle for the source of all worldly power. In Star Wars, it was The Force; in Excalibur, it was the Holy Grail. In Highlander, it has the somewhat unimaginative name of The Prize. He who has The Prize has the future in his hands. In what may seem like bizarre casting, the French actor, Christophe Lambert, best known for his portrayal of Tarzan in Greystoke, plays the Scottish clansman, Connor MacLeod. He is surprisingly effec tive: not only is his acting strong but, in keeping with the rest of the film, his ‘look’ is always striking, too. MacLeod, whom we first see in New York in 1986, is then re-estab lished in Scotland in 1536, where he is fatally wounded during a battle. Failing to die and being tossed out o f ' his home by superstitious villagers, he eventually discovers that he has become a member of a unique group of immortal warriors. T ra in e d by the m y s te rio u s Ramirez (Sean Connery), he has to pass on through time until The Gathering, where he and other immortals will meet to fight Kurgan (Clancy Brown), the evil immortal, and (hopefully) win The Prize. The Gathering is, of course, set for New York in 1986. If the story sounds ridiculous, then it is to the filmmakers’ credit that it’s sold so well. Partly, that is because of the naturalistic approach to immortality and, more generally, age: MacLeod’s mystical character grows slowly out of the normal man.

He doesn’t want to be immortal, and its effect upon him — for instance, the relationship with his wife, who does age and finally dies, while he stays the same age — is an inter esting (though lightly explored) area. Unlike other recent fantasy/adventure films, however, Highlander is well written (by Gregory Widen, P e te r B e llw o o d a n d L a r r y Ferguson). And, except perhaps for the final climactic battle, which is pretty similar to all final climactic battles, the action sequences are fresh and exciting. M ulcahy’s direction helps — the Scottish clan battle is particularly well staged and shot — and there’s enough humour to balance the sombre struggle between the immortals. In a flashback sequence, we see a duel in which an increasingly confused and angry husband tries to stab a drunken MacLeod to death: such are the advantages of immortality. But the real success lies in the balance that is carefully built between the two potentially clashing genres — fantasy, and ‘realistic’ thriller. The scenes between the modern MacLeod (now a good 450 years old) and the police, who are inves tigating his involvement in a number of murders, are full of tension. The realisation by policewoman Brenda Wyatt (Roxanne Hart) that he is not completely normal is strong and involving, using the same juxta position of fantasy (or unreality) and reality. Sadly, though, the climactic point of this sequence — his explanation and their subsequent lovemaking — is not only unnecessary but exces sive. Highlander could have been an awful mess: New York cops, im m ortal sw ordsm en, Scottish clansmen, all set side by side . . . As it is, there are indeed a couple of moments when the film goes way over the top — the soundtrack by Queen doesn’t exactly help — but they're too few to worry about. In the final analysis, Highlander is an exciting, tightly written and beauti fully directed thriller. Tony Cavanaugh

Highlander: Directed by Russell Mulcahy. Producers: Peter S. Davis and William N. Panzer. Executive producer: E.C. Monell. Associate pro ducers: Harold Moskovitz, John Starke, Eva Monley. Screenplay: Gregory Widen, Peter Bellwood, Larry Ferguson, from a story by Gregory Widen. Director of photography: Gerry Fisher. Production design: Allan Cameron. Music: Michael Kamen. Songs and additional music: Queen. Editor: Peter Honess. Sound: Peter Pennell. Cast: Christophe Lambert (Connor MacLeod), Roxanne Hart (Brenda Wyatt), Clancy Brown (Kurgan), Sean Connery (Ramirez), Beatie Edney (Heather), Alan North (Lieutenant Frank Morgan), Sheila Gish (Rachel■Ellenstein), Jon Polito (Detec tive Walter Bedsoe). Production company: Davis/Panzer, for Thorn EMI Screen Entertainment. Distributor: Greater Union. 35mm. 111 minutes. Great Britain. 1985.

48 — September CINEMA PAPERS

V I

Scot of the Pacific It was an excellent idea to combine the story of Robert Louis Steven son’s relatively unknown life in Samoa with a look at the under explored subject of European settle ment in the Pacific. Ultimately, however, the ABC's Tusitala doesn’t seem to have made it work. The miniseries suffers from an incon sistent script and a thematic con fusion that strangely reflects the split personality of its heroine — or, perhaps, the more tortured con frontations of Stevenson’s own Dr Jekyll and Mr Hyde. Episode One of the series tries to do too much, too quickly. Describ ing Stevenson’s rise from being ‘‘unknown, penniless and a poseur” to being a popular Victorian novelist, it sketches in his Edinburgh milieu, his family background and his bouts of TB. It also deals with his infatua tion with and marriage to Fanny, an older woman from the American mid-West with a family of her own. Episode One ends with Louis and Fanny arriving in Samoa, where both Fanny and the tropical climate will nurture his genius and cure his lingering illness. The European locations in that first episode, shot around Sydney, and the cliched recreation of Victorian society, are as disappointing as the lack of character development. Angela Punch McGregor's accent waxes and wanes, becoming as tire some as John McEnery’s Scottish one. But there is no doubt that Episode One, after all that frantic sketching, leaves the viewer curious, wondering what the hero and heroine are going to do*for the next five. The answer becomes obvious in Episode Two: slow down. The loca tions definitely improve (Samoa and its sets are lovely), but the action

TUSITALA

begins to stroll along at a very tropical pace. Late Victorian colonial society is shown at its worst: bigoted, racist, small-minded and conventional, with Louis and a fewothers the shining, liberal excep tions. But the philosophical basis of that liberalism is never explained, any more than it was accounted for in Episode One’s sketch of the milieu. Rather, Stevenson comes to the rescue of the 'good king’ of Samoa, who is mistaken for a bad king by the baddies of the colonial govern ment. There is not enough back ground to the power struggle that takes place between the Europeans over this far-flung island in the Pacific to give more than a super ficial context for the anti-colonial themes of the succeeding episodes. The most interesting sections of Tusitala are those which portray native Samoan life, but their full potential is never realised. Trad itional Polynesian society is shown to be under threat from Europeans, but that threat doesn’t seem to warrant making it more than just an exten sion of the background. And, while the miniseries does succeed in building up some of the tensions between and within these societies, and adequately portrays the rapaciousness of the colonial administrators, it doesn’t manage to account for the depth of the relation ship that must have existed between Stevenson and the Samoan people. Instead, we get snapshots of Stevenson and the Samoans having a feast; Stevenson against the C onsuls; the Sam oans being pushed towards civil war; and Stevenson writing letters to the press in Europe. With such a superficial rendering of this relationship, the 'road of gratitude’ built for Steven son by the Samoan chiefs on their T h e ir is la n d s to r y : le f t to r ig h t, P e te r M cE n ery, J u lie N ih ill, D o r o th y A lis o n , A n g e la P u n c h M c G r e g o r a n d T o d d B o y c e in th e m in ise r ie s,

Tusitala.

release from prison, their wake for him, and their hacking of a path through the jungle to his mountain grave, appear inexplicable and undeserving. If this relationship remains hardly credible, the one between Fanny and Louis finally comes into its own towards the end of the series. Fanny herself slowly evolves from wifely appendage and fierce protectress into an interesting character in her own right, albeit a schizophrenic one. Angela Punch McGregor even tually gets enough script to act with, and she is very good in this difficult role. But, just as Fanny seems to be becoming more central to the drama than Stevenson himself, the latter dies. The series ends at his funeral, and Fanny is relegated once more to marginality. T his fin a l in c o n s is te n c y is especially annoying: even a note in the final credits, briefly detailing her life after Louis and the circum stances of her death, would have been more satisfying. Between them, Louis and Fanny are a good story. But it is not one that script writer Peter Yeldham tells well. Susan Bridekirk

Tusitala: Directed by Don Sharp. Pro ducer: Ray Alehin. Executive producer: Ian Warren. Screenplay: Peter Yeldham. Director of photography: Peter Hendry. Production design: Laurie Johnson. Editors: Lyn Solly and Tony Kavanagh. Music: Bruce Smeaton. Sound recordist: Ron Moore. Cast: John McEnery (Louis), Angela Punch McGregor (Fanny), Ray Barrett (Harry Moors), Julie Nihill (Belle), Todd Boyce (Lloyd), John Gregg (CusackSmith), Norman Kaye (Reverend Clarke), John Hamblin (Dr Eisier), Dorothy Alison (Maggie). Production company: Australian Broadcasting Company/Portman Productions/Channel 4. First broadcast: ABC-TV, 15 June - 20 July 1986. 16mm. 6 x 1 tele vision hour. Australia/Great Britain. 1986.

Time and again Ten years ago, Playing Beatie Bow might well have been a more signifi cant and (though it is admittedly too early to tell) a more noticed event than it will be in 1986. In the wake of Crocodile Dundee and the focusing of attention on overseas markets, the fate of such a modest and unpreten tious film seems uncertain. For Playing Beatie Bow is the hand somely-made stuff of family enter tainment, geared predominantly to an adolescent audience, and decidedly local in flavour — some thing which, a decade ago, might have made it the flagship of a burgeoning industry. Based on a novel by Ruth Park, it is a variation on H.G. Wells’s The Time Machine; in this case, seventee n-yea r-old A b ig a il (Im ogen Annesley) is transported back just over a century to 1873. Fittingly, the film worries nothing about techno logical or mystical explanations, but simply gets on with the dramatic realisations that the premise pro vides. Thoroughly pissed off with her mother for forgiving her father (who left them for another woman, and who is never seen), Abigail follows “ the little furry girl’’, Beatie Bow (Mouche Phillips), who sets her on her way to the land of old Oz. In the best tradition of the genre (and this is a mark of the film’s achievement), its ellipses of time and place are fluid and overlapping. George Liddle’s functional designs provide the bridge between the Dickensian industrial city of the eighteen-seventies, and the modernday cubist Sydney housing blocks, with their graffiti-covered play grounds. And, as in director Donald Crombie’s previous films, Caddie, Cathy's Child and, to a lesser extent, The Killing of Angel Street, it is mainly through the eyes of the female protagonist that the story is told. In the overtly romantic, senti mental and fairytale world of the past, Abigail discovers an equally romantic partner in Judah Bow (Peter Phelps). Resembling a cross between Crusoe and Robin Hood, Judah is portrayed as the perfect gentleman, his close-knit family pro viding a staunch contrast to the dis integrated modern-day situation of Abigail. Though he Is committed to one of his ‘contemporaries’, Judah and Abigail fall hopelessly in love. The lone heroine, a recurring theme in Crombie’s films, is, through her quest, dependent upon and defined by the search for a partner, and she remains, at the least, dis trustful and resentful of men. In the film’s last scene, Abigail, having returned to her humdrum modern life, befriends Robert (also played by Peter Phelps). Yet there is an ambi valent sense of loss, and a hope that one day her ideal will be (re)found, and that her own family, like the Bows, might grow to be close-knit and loving. In Playing Beatie Bow, as elsewhere in Crombie’s work, the purpose seems unashamedly senti

T im e o u t: I m o g e n A n n e s le y a n d P e te r P h e lp s in Playing Beatie Bow.

mental and melodramatic. But, above all, the film is a solid and traditional piece of storytelling, with enough cinem atic verve, humour and energy to make up for occasional lapses into stereotyped characters and banal nostalgia (there is at least one unfortunate such scene in a bordello). At its best, the film unfolds easily, allowing its striking and unique design and atmospheric photo graphy to tell the story. Indeed, DOP G e o ffre y S im p son w on both Cinematographer of the Year and the Golden Tripod at the 1986 Aus tralian Cinematographers' Society Awards. There are sequences in Beatie Bow, such as the opening, which are exemplary. The film immediately locates itself, and uses various shots to show Abigail effectively pursuing the spectre-like Beatie until, finally, through dissolves, the camera becomes Abigail’s point of view atop a cliff. Nearly all the young characters are played by people of roughly the same age, whose characters have been written and directed to appear authentic, not as some adult’s idea

of what ‘a kid’ ought to be (in which respect, Playing Beatie Bow, like the Winners TV series, is one of the few locally-m ad e pro du cts that is respectfully geared to a specific audience). Playing Beatie Bow is as naive, unpretentious and provincial as, in its own way, Back to the Future was cocky, flamboyant and exploitable. It won’t be a film to cross the Pacific — but, then again, it doesn’t try to. At least, to its credit, it wears its inten tion clearly on its sleeve. Paul Kalina

Playing Beatie Bow: Directed by Donald Crombie. Producer: Jock Blair. Associate producer: Bruce Moir. Screenplay: Peter Gawler, based on the novel by Ruth Park. Director of photography: Geoffrey Simpson. Pro duction designer: George Liddle. Music: Garry McDonald and Laurie Stone. Sound mixer: James Currie. Editor: Andrew Prowse. Cast: Imogen Annesley (Abigail), Peter Phelps (Judah Bow), Mouche Phillips (Beatie Bow), Moya O’Sullivan (Granny), Nikki Coghill (Dovey), Don Barker (Samuel), Damian Jacko (Gibbie), Su Cruickshank (Madame). Production com pany: SAFC Productions. Distributor: CEL. 35mm. 93 minutes. Australia. 1985.

CINEMA PAPERS September — 49

Childhood’s end Set in a small town in the ‘anywhere’ of Australia, Frog Dreaming re volves around a fourteen-year-old, orphaned American boy — and something of a child genius — called Cody Walpole (Henry Thomas). Cody’s Irrepressible, adventurous spirit leads him to discover the terror of ‘Donkegin’, a mythical monster which, according to Aboriginal legend, resides in a taboo area called ‘Frog dreaming’. Because it is steeped in an Abori ginal myth of passage, Frog Dream ing can, at one level, be read as a film about coming into manhood. Cody, in his determination to dis

T V

As an orphan and an American, Cody, like Huck before him, clearly stands as an outsider in the small rural community set deep in the Aus tralian outback. From the outset, he is branded as a troublemaker, with an engineering mind that brings him near to the point of death (he invents a device to convert his bicycle Into a form of railway train). Yet Cody’s passion for invention goes beyond being merely the good, clean but troublesome fun of a young lad: it can be seen as the film’s real focus of attention. Setting things up — constructing and inventing — seems to be the one permanent activity in Frog Dreaming, taking us further and further along the road to discovering the secret of Donkegin. The sisters, Wendy and Jane Cannon (Rachel Friend and Tamsin

FROG DREAMING

cover the secret of Donkegin, seeks out an Aboriginal sage by the name of Charlie Pride (Dempsey Knight). And, in a scene completely divorced from the known, familiar world, Pride puts Cody to what he calls a test of manhood, by urging the boy to dance with a satanic figure. The film takes its cue, though, not from this land and the primitive myths of manhood that abound within it, but rather from another mythical place and time that is par ticularly American. It comes from a vision of a pair of unruly lads gone off to play pirates — a myth of child hood that is as horrible as it is idyllic, and that stems ultimately from the imagination of Mark Twain. Cody Walpole could be a distant cousin to Tom Sawyer or, more likely, Huck Finn, sent over to put at bay our own satanic fears.

T a k in g a im a t th e a d u lt w o r ld : H e n r y T h o m a s a s th e H u c k -F in n c h a ra c te r, C o d y W a lp o le , in Frog

Dreaming. West), take special delight in frightening their mother with a string device that creates disturbing sounds in and around their home. The dancing satanic figure at the end of the pier in Charlie Pride’s nightmarish world is no more than a deceptive construction of fluores cent light, steel rods, rags and dangling strings. Even the word ‘Donkegin’ comes from a mispro nunciation of ‘donkey engine’. The mechanical and the supernatural thus become fused, with the mechanical working just like magic. It is this engineering spirit in Frog Dreaming that links characters together, forming and separating

50 — September CINEMA PAPERS

groups, particularly Cody Walpole, Charlie Pride and Wendy Cannon. Not only is Cody the bane of the town’s one-man police force. But, when one of his escapades involves his sweetheart, Wendy, and her pre cocious sister, Jane (they discover the shrivelled-up corpse of a drunken derelict friend of Cody’s), Cody is definitely on the shortlist of parental disapproval. In a confrontation between Cody’s guardian, Gaza (Tony Barry), and W endy’s father (Dennis Miller), Gaza puts into plain words the other’s suggestion he keep Cody under control: “ You mean, you don’t want Cody banging around with your daughter?” For the children of Frog Dreaming, the sexual suggestiveness of the word ‘banging’ would not be beyond comprehension. Indeed, the world of Frog Dreaming is one where only children seem to have a sex life — where only they are free to talk, however innocent their talk may be, of matters relating to boys and girls. This talk is not at all incidental: it often occurs at precise moments, as when, at the Donkegin waterhole, Wendy and Jane are drifting on a raft into the centre of the waterhole, Jane asks Wendy whether she has ever kissed Cody. And it is at this very moment that the Donkegin monster begins to raise its head from its murky hideaway. And what of Charlie Pride? He belongs to a world both supernatural and very real, where the little white community has no stake — a place that the community attempts to pre vent its children from exploring. He represents, at one .and the same time, both the demonic, and the innocent, profound level of (sexual) awareness, still not fully realized but, like the monster„just bubbling at the surface. Like Huck, Cody, with the help of Charlie Pride, takes flight from the community; and, like Huck, he is a truly independent spirit: he does not go off on an adventure only to be integrated thereafter into the com munity, now that he is a man. The myth of passage into adult hood is the presumption of many a kid’s adventure. Yet I have never wit nessed so many affronts to the adult world as In Frog Dreaming. If there is a true monster in the film, then it is the adult community — what it prob ably always knew but never spoke. At least, now, Cody and Wendy can go ‘banging’ around with one another. Raffaele Caputo

Frog Dreaming: Directed by Brian Trenchard-Smith. Produced by Barbi Taylor. Screenplay by Everett De Roche. Director of photography: John McLean. Production designer: Jon Dowding. Music: Brian May. Editor: Brian Kavanagh. Sound recordist: Mark Lewis. Cast: Henry Thomas (Cody Walpole), Tony Barry (Gaza), Rachel Friend (Wendy Cannon), Tamsin West (Jane Cannon), Dempsey Knight (Charlie Pride), John Ewart (Ser geant Ricketts), Chris Gregory (Con stable Wheatley), Mark Knight (Henry). Production company: Middle Reef. Distributor: Greater Union. 35mm. 95 minutes. Australia. 1985.

THE LANCASTER MILLER AFFAIR

Fear of staying on the ground I view all impending miniseries with trepidation: there is no pleasure to be derived from watching over blown narratives that pass as ‘quality dramas’, when quality is denoted by expensive production values. The Lancaster Miller Affair defies expectations, though I wonder whether it will not be a unique moment in the history of the Austra lian miniseries. Unlike the highly sophisticated but homogenized reductiveness of The Dunera Boys, the recycled nationalism of Anzacs, or the saccharine tediousness of A Town Like Alice (all highly acclaimed ‘quality dramas’), The Lancaster Miller Affair has passed virtually unnoticed. The question is why. Could it be that the series is the first to treat its subjects with a distance and an adult maturity? What is unique about it is that, in the name of realism, it actually attempts the kind of carefully modulated narration of a historical event, and serious characterization of flawed but interesting people, that one has come to expect Australian miniseries will deliberately avoid. The series concerns the rela tionship of Chubby Miller (Kerry Mack), a young Australian woman, and Bill Lancaster (Nicholas Eadie), an ace British aviator. The events of the story are based on fact and the couple, famous and notorious in the late twenties and early thirties, have now all but disappeared from view. Peter Yeldham’s script and Henri Safran’s direction produce a view of the events that is neither naively romantic nor glamorous, but often intense and interesting. When they meet in London in the late twenties, Bill is estranged from his wife, Anne (Lisa Armytage), and trying to survive failed business ventures, but also harbouring a dream of flying solo from London to Darwin. He is a kindly, diffident and courteous man, who has no success at all raising money for his venture. Chubby Miller, on the other hand, is willing to overcome any obstacles. Her determination, strength and directness provide the perfect foil for Lancaster. Not surprisingly, she too is estranged from her spouse, and her first flight in an aircraft comes to symbolize her approach to life: exhilaration.

U n f la p p a b le f la p p e r : K e r r y M a c k a s C h u b b ie in The Lancaster Miller

Affair. Chubby raises the money for the flight, on condition that Lancaster takes her along. Her role as passenger — a selling-point to sponsors — is soon transformed into that of co-pilot. A pivotal sequence, beginning with a shot of the plane’s joystick moving temptingly between her legs (in, I can only assume, a deliberate phallic joke), ends with her taking over the controls and thereafter becoming a pilot in her own right. Out of a sense of honour and rectitude, as well as a fear of scandal, they set out on their epic voyage, with the reluctant consent of Bill’s wife and parents. And, as one inevitably expects, Chubby and Bill become lovers. The narrative follows the various events of their life together — their failure to beat the record due to accident, the refusal of Anne to grant a divorce, the effect of the Depression and the slow decline in their fortunes in the USA as each new venture fails. Throughout, the m ix e d s e x u a l a n d c u ltu r a l expectations of the period lock Lancaster and Miller inevitably Into a situation where her desire for marriage and family cannot be ful filled and their relationship will be seen as, at best, unconventional, at worst, notorious and Infamous. Their journey to the United States is the beginning of a tragic decline, which culminates in the events surrounding Chubby's decision to marry a man called Haden Clarke (Wayne Cull). Bill is devastated. Later, C larke is found un conscious, shot in the head. After a traumatic murder trial — the centrepiece of the series and its most powerful moment — Lancaster is absolved of any guilt, but at the expense of Chubby’s character. She ‘becomes’ her role — the femme fatale, the dark, dangerous and sexually depraved wom an — consenting to do so because this is, claims the defence attorney, the only way to save Bill’s life. Subjected to terrible abuse from the public and the newspapers, she keeps her selfrespect, and the couple’s bond remains intact. Lancaster may well have been absolved. But, back In England, his life seems ruined. Cast out by the class of which he was (being a C atholic) only p re cario usly a member, and unable to get a divorce, he tries to redeem his

reputation by a record-breaking solo flight from London to Cape Town. But he crashes in the desert — a heroic death, brought about by a combination of social pressure (the need to ‘redeem’ his reputation at a tim e w hen re p u ta tio n m eant everything), ill fortune and the grotesque actions of his parents in denying Chubby access to money to buy a plane and look for him. The series bristles with keen social o b s e r v a t io n a n d n a r r a t iv e complexities. Lancaster’s parents are depicted as an extreme instance of religious conditioning, the father (Barry Hill) a pathetically reduced version of Lancaster himself, the mother (June Salter) leader of a bizarre charitable/religlous sect. A puritanical woman, she forces Lancaster’s wife to refuse a divorce. Anne, however, gives a more cogent, if damning reason: the parents support her and the children and, as a divorced woman, she would lose her job. A lo n g w ith th e c o m p le x characterization of Chubby Miller, it is this kind of detailed background that provides a rare attempt (in the Australian context, at least) to give sym p a th e tic treatm ent to the contradictions of the role of women. Perhaps the unglamorous treatment of sexual passion, perhaps the ‘ f a ilu r e ’ to in v o k e s im p lis tic nationalist sentiment, perhaps the drama of two people who fall to realise their dreams, are just too difficult to be the subject of the monumental publicity campaigns that promote each new miniseries. But The Lancaster Miller Affair deserves, at least, a second glance. Annette Blonski

The Lancaster Miller Affair: Directed by Henri Safran. Producer: Paul Davies. Associate Producer: David Hannay. Screenplay: Peter Yeldham. D irector of photography: Ross Berryman. Production designer: David Copping. Music: Frank Strangio. Editor: Richard Hindley. Sound recordist: Ross Linton. Cast: Kerry Mack (Chubbie Miller), Nicholas Eadie (Bill Lancaster), Malcolm Robertson (James Carson), Wayne Cull (Haden Clarke), June Salter (Maud Lancaster), Barry Hill (Edward Lancaster), Lisa Armytage (Anne Lancaster), Pro duction company: Lancaster Miller Productions. First broadcast: Nine Network, 6-8 July 1986. 16mm. 3 x 2 television hours. Australia. 1986.

Mutton dressed as Rambo For the benefit of those with short memories: a recap. A couple of years ago, Fortress was a notable cause célèbre. The producers wanted an American actress, Bess Armstrong, for the lead role. But, in spite of some substantial credits (High Road to China, The Four Seasons), Armstrong was deemed insufficiently reputable, and Equity vetoed her. With a highly theatrical flourish, Crawfords then ostensibly

abandoned the project, but only for long enough to reach a compromise with Equity. Whether or not Fortress would have gained any real advantage by using Bess Armstrong is largely irrelevant: the film’s problems lie much deeper than that. But,,in the important central role of the plucky schoolteacher, Sally Jones, Rachel Ward is totally out of her depth, possessing neither the conviction nor the dramatic range to give the character substance. Yet it’s doubtful that even Meryl Streep could have saved Fortress. There are too many holes, credibility gaps and overall strain s on audience credulity. To state that the film is based on the notorious Faraday kidnapping is to lend it a bogus aura of reality that can’t, in any way, be justified by what takes place under the guise of dramatic, imaginative licence. It begins with a kidnapping, yes; but that’s about as accurate as saying that Citizen Kane is about running a newspaper. What in fact sabotages Fortress is its tendency to run off in too many directions. The abduction itself is wellstaged. As Sally Jones and her small class of pre-teens are bailed up at gunpoint in their country schoolhouse, there is a tangible feeling of menace in the air. The sense of dread and terror is rein forced by some expert direction and camerawork, as well as by the fact that the kidnappers are wearing novelty masks, giving them a grotesquely comical appearance. Up to the point where the unseen villains herd the innocents into the van and drive off, Fortress is fairly impressive. Suspense is mounting nicely, and the film moves. But, after this promising start, it’s downhill all the way. The teacher and her pupils are thrown into a cave by the villains, who just take off for the next half-hour or so, leaving a major sag in the plot development. There is a good deal of fire-building, exploring dark passages and under water swimming, all of which is great for padding, but disastrous for maintaining audience interest. The goings-on in the cave completely shatter the momentum generated by the film’s opening scenes, dissipa ting the tension, and temporarily tu rning the whole affair into something resembling a ‘Famous Five' adventure. Naturally they find a way out, striking out across the countryside until they reach a farmhouse where, predictably and unbelievably, the villains are waiting for them. A bout of violence ensues, then the captives escape once more, eventually taking refuge in caves atop a giant rock formation (the ‘fortress’ of the film’s title). Here, they conduct a L e f t t o rig h t, A n n a C r a w f o r d , R o b in M a s o n , R a c h e l W a r d a n d S e a n G a r lic k in Fortress.

h o ld in g a c tio n a g a in s t th e ir relentless pursuers who, once again, manage to deduce their where abouts. Never has the Australian bush seemed such a small and claustrophobic place! But what harms Fortress even more than its non-linear progression is its abandonment of motivation and logically-thought-out behaviour pat terns. The motivation that drives teacher and pupils into a frenzy of blood-lust at the film’s climax is not borne out by the experiences they undergo on screen. Or, if it is justifiable, the film does not convince us that it is. Earlier on, we’ve been dropped plenty of hints that these kids are callous enough in their acceptance of violent death as a way of life. As the film opens, one of the children is propped up, half-asleep, against a fencepost, having waited up all night to shoot a marauding predator. On the way to school, he remarks to a squeamish Sally: “ You always spit on a dead animal for luck.” The children are shown as capable of killing, yet are not given sufficient cause for it, and the film’s finale is a tour de force of shameless excesses. These guileless country kids whip up an arsenal of lethal jungle devices that would bring tears to the eye of a seasoned Green Beret. By this time, Fortress has under gone yet another metamorphosis. H a ving begun as a straig ht suspense thriller and digressed into c h ild re n ’ s a d ve n tu re , it now becomes a close cousin to Lord of the Flies, albeit shorn of that work’s coherence and credibility. And the postscript, with its macabre final shot, is pure Stephen King. Or is it a bush allegory? For all its faults, Fortress is not unentertaining in its own confused fashion, however. Crazy as the plot may be, it hardly cancels out the whole film. Directors like De Palma, Spielberg and even Hitchcock are experts at transforming mutton into lamb, and a strong technique can mask a multitude of sins. Their films are, however, well put-together. Fortress is not: it's a mess. And all the cocky angles and admittedly glorious panoramas won’t disguise this unpalatable fact. The children are capable, direction effective, with music and sound surprisingly terrific. It's the script and structuring which let it down. Tony Drouyn

Fortress: Directed by Arch Nicholson. Producer: Ray Menmuir. Associate producer: Michael Lake. Executive producers: Hector Crawford, Ian Crawford and Terry Stapleton. Screenplay: Everett de Roche. Director of photography: David Connell. Production designer: Phil Warner. Editor: Ralph Strasser. Music: Danny Beckerman. Sound recordist: Andrew Ramage. Cast: Rachel Ward (Sally Jones), Sean Garlick (Sid O’Brien), Rebecca Rigg (Narelle), Robin Mason (Derek), Marc Gray (Tommy O’Brien), Peter Hehir (Father Christmas), David Bradshaw (Pussycat), Vernon Wells (Dabby Duck), Roger Stephen (Mac the Mouse). Production company: Crawfords. Distributor: UIP. 35mm. 91 minutes. Australia. 1985.

CINEMA PAPERS September- 51

Stepping again on the tiger’s tail Over 40 years ago, in the closing months of another world, Akira Kurosawa made a film called Tora no 0 o Fumu Otokotachi, his fourth. The title has been translated in various ways, but most often it comes out as They Who Step on the Tiger’s Tail. The summer of 1945 was not a happy time for Japan, and it is scarcely surprising that the military authorities should only have been prepared to authorize an apparently traditional treatment of a legend already enshrined in the Noh and the Kabuki. The result, though, was Kurosawa’s first masterpiece. The crux of Tora no 0 comes when the soldier, Benkei, attempts to smuggle his fleeing master, Yoshitsune, past an enemy check point. Yoshitsune is disguised as a porter and, at the last moment, the enemy commander, Togashi, recog nizes him. But Benkei averts disaster by taking his stick and beating the 'porter’. That a soldier should beat his lord is unthinkable. Thus Benkei’s act denies and dishonours the latter’s identity in order to save his life. But what he does also dishonours him, and is thus an act of both extreme bravery and potential self-destruc tion. The noble opponent, Togashi, however, recognizes this and, out of admiration, lets Benkei and Yoshit sune pass — an act of honour, bravery and, perhaps, self-destruc

tion on his own part. There are clear visual echoes of the 1945 film in Ran's first post credits scene, as Lord Ichimonji Hidetora sits in conference with his three sons, Taro, Jiro and Saburo. As at Tora no O’s checkpoint, the roughness of the terrain is tamed by a formal assemblage of flags and screens laid out on a hillside, while the participants sit in the same formal configuration. But, in Ran, the echoes of that exquisite early film eventually fade beneath the reworking of King Lear, which is the new film’s raison d ’être: three sons replace Lear’s three daughters (Saburo is the plainspeaking, gu ile le ss C ordelia); Goneril and Regan merge and are transposed into Taro’s wife, Lady Kaede; and there is a Fool who indulges in both wordplay and cryptic political comments. ’Ran’ means ‘chaos’, and it is chaos that Hidetora ushers in when, like Lear, he divides up his kingdom, yields his authority and expects respect to be paid where there is no power to command it. Like Shake speare’s foolish, fond old man, he undermines the edifice of state by misusing his statesman’s power. Chaos is the dark heart of both Ran and King Lear, brought on by a wilful, temporary tipping of the balance of the world. By the time we reach the film’s mid-point of the first battle — the sacking of Hidetora’s castle by the treacherous Taro — that sense of pure dram atic excitement that comes when ideas and emotions meld perfectly is coursing through the film, culminating in one of the greatest sequences Kurosawa has ever filmed. Music and stylized

52 — September CINEMA PAPERS

T a r o ’s m e n a tta c k th e c a s tle in A k ir a K u r o s a w a ’s ‘S h a k e s p e a r ia n ’ Ran.

sound replace the clamour of the battle, as Hidetora sits motionless and wide-eyed in a slatted tower, while the arrows fly past him in flocks and his men ar^e slaughtered around him in their hundreds. The attack on the castle is the heart of Ran, as the storm — Act III — was the heart of King Lear. And the fact that it is a human cataclysm, not (as in Lear) a natural one, perfectly accords with the modern work’s theme, as voiced over an hour of screen-time later through the question: “ Are there no gods, no buddha?” and the reply, “ They cannot save us from ourselves.’’ For that hour after the attack on the castle, though, Ran seems to falter, as though Kurosawa had exhausted the theme but not the details of Shakespeare’s tragedy. Thus we have another ’storm scene’, a lacklustre affair amid the whipping grasses of the plains; we have a hovel, where the blinded son of H idetora’s vanquished rival becomes “ poor mad Tom’’; and we have Hidetora “ fantastically dressed with flowers’’. And, of course, we have a second battle. Like the set-piece finale in Kagemusha (1980), it is visually stunning — a magnificent piece of orchestrated movement, of glowing camerawork (by Takao Saito, who took over the Kurosawa cinemato graphy mantle from Asakazu Nakai in the mid-sixties). But it is a fake climax, a piece of spectacle without dramatic weight, adding nothing to the tragedy of Hidetora — a mag nificent folly, verging on the selfindulgent.

That that first hour of genius should gradually evaporate into sound and fury and single, superb images makes Ran one of the true disappointments of the year. For Kurosawa’s greatness as a director is not that he can move people and horses across the screen like John Ford (whom he greatly admired) but that, like Jean Renoir (from whose films horses were largely absent), he can also distil plot, character and camera into a single, perfect mechanism. And that mechanism runs unmistakably down in the second half of Ran. For all the disappointment the film engenders, though, it has to be said that Kurosawa at his most dis appointing (and Ran is far from that) is as great a filmmaker as any still working, and ten times better than most. I doubt the year will see many better films. How sad, though, that it could not have been the best, nor have recaptured the perfect poise of Tora no 0. Nick Roddick

Ran: Directed by Akira Kurosawa. Producers: Masato Hara and Serge Silberman. Screenplay: Akira Kuro sawa and Hideo Oguni, based on the play, King Lear, by William Shake speare. Director of photography: Takao Saito. Art directors: Toshiro Muraki and Shinobu Muraki. Music: Toru Takemitsu. Cast: Tatsuya Nakadai (Lord Ichimonji Hidetora), Satoshi Terao (Taro), Jinpachi Nezu (Jiro), Daisuke Ryu (Saburo), Mieko Harada (Lady Kaede), Peter (The Fool). Pro duction company: Herald Ace/Nippon Herald/Greenwich Films, for Orion Classics. Distributor: Hoyts. 35mm. 161 minutes. Japan/France. 1985.

For some time now, American popu lar cinema has been in the throes of a nostalgia trip, reviving the glory days of tried-and-true formulae, occasionally with good results. About Last Night (Fox-Columbia) takes ‘boy meets girl, boy loses girl, boy gets girl back’ as its prescribed rule. After a promising opening, with James Belushi recounting his un believable story about last night’s sexual exploit, however, the film takes a dive into shallow waters, recasting the old formulae — a hint of teen movie, but predominantly fifties romantic satire — with the ‘new morality’. What this means is a licence to carry the camera into the bedroom for some rather frank, moody, orgasmic sketches; but it doesn’t mean constituting the bed room as the battleground proper. About Last Night would be more interesting if it was genuine about taking shots at the ‘scoring’ myths of the male characters, i.e. when boy (Rob Lowe) says to girl (Demi Moore), “ I love you” , there is a hidden clause in it all: “ I still want to screw around” . When the tug-of-war is played out more by their respective friends, however, and when About Last Night finally admits that the boy and girl’s dissatisfactions stem from the b o y’s occupational frustrations, giving the girl a back seat, then it lays down its arms and looks no more than a sex-war film. Raffaele Caputo

Of late, the French appear to be making a tradition out of thrillers with a futuristic tinge. But the latest addi tion to this cycle, ironically entitled L’Addition (Filmways), does not gain much from its ultra-modern visuals. Lorca, a prison guard played by Subway's Richard Boyringer, has a rasping voice and is more criminal than the criminals. His antagonist is Winckler, a prisoner, played by Richard Berry. Unfortunately, however, Berry's character is not really a match for Lorca, and it seems that it is only in the final sequences that he realises what the game is all about and attains a will on a par with Lorca’s. He even adopts Lorca’s rasping voice. L ’Addition is a prison picture with the right combination of characters who are propelled towards one another in a battle of wills. But I hesi tate to call it a prison picture in.the

L’Addition: to r ia A b r il.

R ic h a r d B e r r y a n d V ic

great tradition of Don Siegel’s Riot in Cell Block 11; or Robert Bresson’s Un condamné à mort s ’est échappé {A Man Escaped). The new French film is, above all, deficient in its geometry. With its futuristic prison setting all spaced out, laid flat, octagonal and slashed with Taubman’s ultra-gloss enamel, L ’Addition leaves one without a sense of hierarchy. In the film’s dis tinguished forebears, the will is not only a will to escape, but a will for movement — an upward movement — that is visually marked by the tight, oblong, multi-tiered levels missing as much from L ’Addition's structure as from its visuals. Raffaele Caputo

American Flyers: D a v i d G r a n t (le ft) a n d K e v in C o s tn e r . American Flyers (7 Keys) is the type of film that wants to keep you guessing. But, when the narrative thread is continually dotted with sweeping aerial shots and an over abundant soundtrack, it is a sure sign it doesn’t quite know how to do so. The surprising thing is that the'film is directed by John Badham. But it lacks the action and excitement of Blue Thunder and War Games. And it is written by Steve Tesich. But it lacks the sophistication and charm of Breaking Away. The drama concerns the recon ciliation of an estranged family unit after the death of dad. Not only have the descendants inherited the bank balance, but also dad’s rare brain disease. Most of the guessing is over who has got it: younger brother David (David Grant), or older brother Marcus (Kevin Costner). With David seeming the likely contender and Marcus going nuts every time he confronts his mother, they both enter ‘Hell of the West’, a three-day b ic y c lin g c o m p e titio n a cro ss Colorado. The competition is Marcus’s baby more than anyone else’s. He is determined to prove wrong a kind of family curse: mum ‘could have’ sup ported dad when he needed her most; David ‘could have’ finished his medical and law studies; Marcus ‘could have’ won the previous year's Hell of the West. With a Soviet bike team incident ally snuck into the story, the film’s patriotic nudgings no longer seem out of place. But, as the contentious point in the family drama or as a metaphor for the patriotic com ponent in American Flyers, the com petition is too facile, too swimmingly dealt with, too much an excuse for the film’s resolution. Raffaele Caputo

The heyday of the martial arts movie was a decade ago: nowadays, it appears, grace in combat cannot compete with wholesale, mechan ized slaughter. Cannon, though, soldier on with their Ninja films, of which American Ninja (Hoyts) is the fourth. While it would be an exaggeration to say they have got steadily better — they were never, frankly, much good in the first place — the last two have had their moments of interest. Ninja III: The Domination had a sword-toting heroine. And No. IV — American Ninja — has the tactiturnly beautiful Michael Dudikoff as an innocent with awesome skills, whose origins are lost in the mists of amnesia. Set in a non-descript South-East Asian country (it was made in Marcos’s Philippines), the film has a preposterous plot involving corrupt army officers, international arms tra ffic k e rs and the c o lo n e l's daughter (Judie Aronson). Joe (Dudikoff), a Gl raised by a Japanese army officer hiding out in the jungle, does battle with the ‘Black Ninja’ ("H e has taken the black path and betrayed the code: he must die” ), helped by his former mentor, who turns up tending the chief crook’s lily pond. A lot of the film looks like a faded episode from The Man from U.N.C.L.E. (Hanania Baer’s camera work is awful). The music (Michael Linn) belongs in an airport lift. But the final battle is not without echoes of the good old days when Bruce Lee flew and the soundtrack reson ated with amplified grunts and thwacks. Nick Roddick

In L’Amour en douce (Love Me Gently, Hoyts), Jeanne (Sophie Barjac) can’t bear Marc’s philander ing and has found Antoine (JeanPierre Marielle), who is safe and horrifyingly solid, but who knows she still hankers after Marc. Marc (Daniel Auteuil) moves back into his marital abode with both Jeanne and Antoine, expecting to win back her affections. Jeanne at first holds out, and Marc is forced to find someone new to love. When he falls in love with a call girl called Samantha (Emmanuelle Bead), Jeanne cannot escape show ing her regrets. The new female attempts to separate her work from her real love, but the chauvinistic Marc throws it all back in her face in a display of confused pride and egotism. Finally, the characters all learn to relate to each other beyond the limits of the two relationships. But it is never really worked out what the main point is: possessiveness, desire, love and the need to belong are all briefly explored. And, if director Edouard Molinaro is mocking the sort of character represented by Marc, French or otherwise, he resolves, disappoint ingly, that such men are cute and ultimately good, once tamed by a good woman. There is a resulting tiredness in the exuberant ending which shrouds the film in a dubious sense of com promise. And Marc’s unsympathetic

selfishness prevents any new light from being thrown on either the question of monogamy (or not), or the possibilities of a m odern extended relationship. Lyn McDonald

Under Joel Silberg’s direction, Bad Guys (Hoyts) is a careful attempt to capitalize on the extensions, rather than the inherent vulgarities, of pro fessional wrestling, with its ludicrous sexual posturing and, more recently, its heightened elements of self parody. Bad Guys seeks to create a video clip-like parody, rather than revelling in the sport’s natural absurdity and, as a result, hits all the pitfalls of filmed theatre. Skip (Adam Baldwin) and Dave (Mike Joly) are suspended from the police force for roughing up the c u s to m e rs . U n s u c c e s s fu l as labourers (Skip is fired for having sex on the job) and subsequently as striptease artists, they form a fairly innocuous tag-team. Employment in professional wrestling, it seems, is the synthesis of work-as-sex and sex-as-work. At its best, Ruth Buzzi’s portrayal of a crazed, incoherent coach to our American heroes, comes close to realising the potential for complete mayhem. As a cut-out portrayal of 'Miss Liberty’, complete with card board spikes for a crown and nylon for regal robes, Buzzi graces the in evitable climactic match against the disgusting Kremlin Krushers (Jay S. York and Alexia Smirnoff). Yet, as Terrible Turk McGurk (Gene LeBell) and all our heroes fix the Stars and Stripes on its rightful turnbuckle, one is left with the con clusion that Silberg’s wary ambi valence towards professional wrest ling is responsible for the unremark able nature of Bad Guys. Luke Nestorowicz

Bad Guys: A d a m

B a ld w in a n d M ik e

J o lly .

Starting out from Captain W.E. John’s 'Boys Own Adventures’ of a WWI flying WASP, director John Hough and writers Kent Walwin and John Groves set out, with Biggies (Roadshow), to rewrite history, not so much to win a war long lost by America, but to draw a dangerous parallel between past enemies (lest we forget) and current ones. Slithering irresponsibly between 1917 and 1986, Biggies relates the tiresome misadventures of Jim Fer guson (Neil Dickson), a New York yuppie looking for ‘‘the image of contemporary America” , who is> -

CINEMA PAPERS September — 53

spasmodically transported back to a past supposedly redolent of the future. This is so his ‘time twin’, Biggies (an Inadequate Alex HydeSmith, unintentionally providing the only comic relief of the film), can destroy a nuclear weapon held by the enemy (Russians shrouded In German uniforms). Their mission will be accom plished with the help of modern technology (here, a sophisticated police helicopter), allowing them to come up with lines like: "We nuked them!” Consequently, Biggies treads on much the same ground as the majority of popular films currently coming out of America. Our only relief Is that, because of the lament able weaknesses of Its script and the Incompetence of Its direction and cast, Biggies won’t be allowed to fly again and is likely to be quickly for gotten.

V I E W S :

book sim p licity. The C harles Manson-inspired crims go about slashing people for no reason, are constantly snarling in close-up, and park their vehicles In ‘Handicapped Only’ zones. As in Dirty Harry, C o b ra ’s methods are frowned upon by the m ore passive cops. C o b ra ’s methods are, of course, proved to be the only answer, "Y o u ’re disease,” he tells a crlm in the opening sequence; “ I’m the cure.” And shoots him dead. Overall, It is a sickening experi ence — a kind of fascist blending of The Texas Chainsaw Massacre and The Exterminator. One can only be amazed that, as US critics have pointed out, Stallone who, with his box-office clout, could presumably make anything, is content to concen trate on such wanton garbage.

» .

every night, she turns to her flam boyant Aunt Starr (Ellen Barkin) for comfort. Desert Bloom is about the girl’s innocence, and the innocence of the new nuclear age. It marks writer/director Eugene Corr’s debut and, though he succeeds in painting the broader sweeps of the canvas, the film lacks specificity, the essential element of personal drama. The scripting is awkward and heavyhanded, allowing no entry into the narrative: too much is resolved, closed in, overstated. In fact, Desert Bloom discourages you from con structing your own vision because of the tunnel-vision from which the film itself suffers. Kathy Bail

Tony Cavanaugh

Norbert Noyaux

Biggies: A l e x

H y d e - S m ith in th e title

ro le .

Hard on the heels of Rambo and Rocky IV comes Cobra (Roadshow), written by Sylvester Stallone and directed by George Cosmatos for the Cannon Group. Stallone plays Marion Cobretti, an L.A. cop who, like Harry Callahan fourteen years ago, gets the tough jobs that no one else can solve. Cobra (he doesn’t like the name Marion) has an individual method of dealing with criminals. He kills them. Cobra’s philosophy (and that of the film) is also quite straightforward: hard crims have no rights, and deserve to be killed off without trial. To say this is more hard-edged than Dirty Harry is an under-state ment. Cobra is little more than a propaganda film, albeit well-crafted, for the Stallone ideology. On the entertainment level, It is pure, comlc-

Cobra:

S y lv e s te r S ta llo n e a s M a r io n ‘C o b r a ’ C o b r e tti.

Success follows success In modern H o lly w o o d , e s p e c ia lly w h ere violence is concerned. The Sylvester Stallone, Chuck Norris and Charles Bronson sequels have shown that mindless heroes have very smart minders making megabucks out of macho Americans. In the Death Wish films, Bronson has hardly been macho. Rather, he has been a vigilante, cleaning up the streets and towns of America — an ageing reactionary out to protect the values of middle America. In Death W ish 3 (Hoyts), Bronson joins the New York Police Department and becomes an official vigilante, blessed with the task of cleaning up the East Side of the city. His quarries are 'the creeps’ — the leftovers of the city, whom the police are fearful of confronting. As in the two previous Death Wish films, Bronson not only acts as a vigilante, but as a keeper of the faith for those who still believe that violence is the only solution to anti-social behaviour by groups of the dispossessed. In the only intellectually stimulating words in the film, the NYPD recruit ing officer says to Bronson: "Y ou’re in it for the enjoyment, or you’re in it for the correctness of it.” But, with the sort of retribution that is delivered in Old-Testament fashion to the wayward in this film, there is ultimately neither enjoyment nor correctness to be found. Marcus Breen

When Rose Chismore (Annabeth Gish) gets her new glasses, the world comes into focus. It Is 1951, and Las Vegas is about to experi ence one of the best shows in town. Teachers are giving lessons in how to ‘duck and cover’, disc jockeys are singing “ Rise and shine, it’s A-Bomb time” and women are dressing up for the ‘Miss A-Bomb Contest’. Beyond establishing this setting, however, D esert B loom (FoxColumbia), doesn’t come together: while it has a fascinating period to investigate, the story is very thin. Thirteen-year-old Rose is trying to cope with the awkwardness and pain of adolescence. Ignored by her mother (JoBeth Williams), who can only answer her with platitudes, and beaten by her stepfather (Jon Voigt), who continues to live World War II

54 — September CINEMA PAPERS

Z Ferris B u e lle r’s Day O ff (UIP) takes the form of a teenage comic strip. Our hero, Ferris Bueller (M a tth e w B r o d e r ic k ), is an obnoxious, middle-class American high school kid who gets away with (almost) everything. He is cool, groovy and smart; he gives good kids bad ideas; and, most import antly, he is able to handle authority (parents, school, the police) with uncanny ease. Like all comic strips, the film is a fantasy. Ferris is the narrator and, speaking directly to the camera, he invites his audience into the story, playing on their desires and offering a way out of all those ‘teenage problems’. Using the cliches of a teen mag, he tells you how to ‘fake out’ your parents, not to worry about socialism (or any -ism: it’s not going to help you buy a car), and reinforces the good old American belief in freedom and individuality. W ritte n , d ire c te d a n d c o produced by John Hughes, Ferris's script is witty in parts, but the story line is corny and the ending is schmaltzy. There are a few experi mental touches which help create the film’s comic-strip style. But, as an ideological preparation for adoles cence, it is like a Reagan reader: all the ingredients are there, even a polished performance. Kathy Bail

Egon Schiele: Excesses:

M a tth ie u

C a r riè r e a n d J a n e B ir k in.

For Austrian painter Egon Schiele and others of the Viennese avant garde (Klimt, Kokoshka, Weininger), art was libidinous. Indeed Freud, working in the same city, was build ing the language that would define the fragile, neurotic temperament and expressionistic work of an artist like Schiele. Schiele’s portraits — strained and sexually defiant — suggest a morbidity and dissatisfaction that would, one assumes, overwhelm any biography of the artist. But it is this ‘excess’ that Herbert Vesely’s partially biographical film, Egon S c h ie le : E xcesse s (Filmways) lacks. It traces Schiele’s affairs and sexual exploits (he was Imprisoned for the alleged abduction of a minor), the attacks on his work (regarded by the establishment as shocking and affected), his marriage and his early death at the end of World War I. However, the film gives no real sense of his pain or his desires, mainly as a result of Matthleu Carriere’s frozen performance. And, though there are visually stunning moments, one tires of the meaning less obsession with the principal fe m a le c h a ra c te rs , S c h ie le 's lover/model (Jane Blrkin) and his wife (Christine Kauffman). There is something perversely constrained about Egon Schiele — a tame, even melodramatic, portrait of an artist rejected in his own time, and obviously even less understood today. Kathy Bail

At the beginning of Fire and Ice (7 Keys), there is a moment when John, an Austrian living in New York, tells the audience that his life changed totally when he set eyes on the woman he is now following across the country. When we actually see that moment in flashback, however, the camera is zooming out into a vast wide shot of a ski village, swamping the tw o c h a ra cte rs w ith the panoramic sweep of the Alpine land scape. And that about sums up Fire and Ice, made over a five-year period by writer, director and cameraman Willy Bogner. Best known for his filming of action sequences in the more recent James Bond movies, Bogner makes his debut with a film that is little more than a skiing travelogue, laced with a very simple boy-meets-girl, boychases-girl story. Even though it is only meant to be a thread upon which Bogner can hang his skiing (and other sporting) sequences, John’s quest for Susie, the girl of his dreams, is nevertheless childish, sexist and, finally, lauqhable. Werner Herzog's The Ecstasy of Woodcarver Steiner (among others) proved that a sports documentary has the potential to be more than just a showcase for well-photographed action sequences. Fire and Ice (the warmth of passion, the chill of the snow!) has some good photography of some good skiing. But that’s all. Tony Cavanaugh

FX: M urder by illu s io n (Road show) is a moderately entertaining little thriller — free of pretension, but lacking the style which might have made it memorable.

' The plot hinges around Rollie Tyler (Bryan Brown), a movie special effects wizard who is hired by a Justice Department agency to stage a fake ‘hit’ on an important mafioso. The hit proves too effective, how ever, and Rollie finds himself a marked man. A few small quibbles aside, the basic premise of FX is acceptably bizarre, the action well staged, and the quality of the performances — especially Brian Dennehy as a hardboiled cop whose life-path eventu ally crosses Rollie’s — competent. The pace is fast but uneven: the film’s high points are energetic enough, but a lumpy structure and sloppy editing cause it to drag far too much weight where it shouldn’t. What is most lacking is a sense of fear. It takes a great deal of skill to worry an audience into the possi bility that the hero may come un stuck. And Robert Mandel, a prom ising director, hasn’t yet polished that skill. The end result is likeable, exciting and occasionally original. Yet it is marred by too many loose ends and its tone is too uncertain, hovering un easily between tongue-in-cheek cap er and hard, po ker-face d realism. Tony Drouyn

In Blockade (1938), Henry Fonda made an impassioned speech about the Spanish Civil War. Hollywood, it seemed, was not all ‘bad’: here was some recognition that the defence of the Popular Front government was a just fight. The excerpt appears in the splendid documentary, The Good Fight (Cineaction), which, through interviews, newsreels, songs and radio broadcasts, tells the story of the Abraham Lincoln Brigade, part of the international army of volunteer fighters and medical workers who went to Spain to fight the fascist forces of Generalissimo Franco. The film captures the camaraderie and idealism of the men and women who left America (while the country itself remained staunchly isolation ist), motivated, not by nationalism, but rather by an intense belief in justice and peace. Though the 3,200 American volunteers were of diverse political backgrounds, The Good Fight tends to suggest that the opposition to Franco was a unified force, and glosses over the divisions and con flicts among the left-wing groups (ignoring, for example, the treatment of the anarchists). However, it is the moving testi mony of activists like Bill Bailey (a wonderful raconteur) that make the documentary so outstanding. He is filmed marching in a demonstration against US involvem ent in El

The Good Fight:

a n A b r a h a m L in c o ln B r ig a d e v o lu n te e r in S p a in .

Salvador, and the struggle of the thirties immediately becomes that of the eighties. His idealism and hope are confronting: 50 years after the beginning of the war in Spain, the ‘good fight’ continues. Kathy Bail

If the last fifteen years have pro duced a successor to the film noir, it is the desert movie, with the empty landscapes of the south-western sun belt replacing the mean streets of America’s cities as the arena for larger-than-life confrontation be tween men and women, men and men, people and myths. The Hitcher (Greater Union) has all the appearances of a run-of-themill desert flick, with a kid in a driveaway car (C. Thomas Howell) battling a psycho (Rutger Hauer) known only as John Ryder (rider — get it?). But the film —■a debut feature for director Robert Harmon and writer Eric Red — is anything but run-ofthe-mill. In fact, The Hitcher is a very fine movie indeed, from Mark Isham’s religiose score, via John Seale’s moody camerawork (the opening night-for-night, with a thunderstorm lurking on the horizon, is superb), to its intelligent, resonant direction. Howell goes through an impres sive transformation, from pimply kid to the hitcher’s nemesis. But it is Rutger Hauer who gives the film its core. Not since Robert Mitchum, 40 years ago, has the screen thrown up a more fascinating, off-beat star. Quietly taunting Howell in a diner (“ Welcome to Shitsville, kid") or casually slaying his police escort, Hauer is magnificent — a figure of magnetic stillness, wonderfully and unforgettably different from the snarling action heroes or the grandscale neurotics of contemporary male stardom. Nick Roddick

Sequels, these days, are often better than the originals, perhaps because, with the money-making formula established, there is space for some thing creative. The Karate Kid Part II (FoxColumbia) is not especially creative, but it is certainly a lot more interest ing than its teen-pic forerunner. In Part II, Miyagi (Noriyuki ‘Pat’ Morita) and Daniel (Ralph Macchio) head off to Okinawa, where they encounter Miyagi’s boyhood friend and, eventually, bitter rival, Sato (Danny Kamekona). Miyagi also re encounters his childhood sweet heart, Yuki (Nobu McCarthy), and Ralph falls in love with her niece, Kumiko (Tamlyn Tomita). All this, of course, is complicated by rivalries old and new, and has to be resolved with a bout of spin-andkick. But the sequel’s interest seems, for most of the time, to be less in martial arts set-pieces, than in story and character. Miyagi emerges, as he is clearly meant to, as a real ‘character’, while Okinawa is (interestingly) portrayed as a rural paradise, lost to the bull dozers and PXs of the USAAF base. But Miyagi’s philosophy of nonagression — "Best way to avoid

punch is to not be there” — is, finally, at variance with the narra tive’s needs. And, for all its occa sional forays into the territory of wholesome melodrama (the peace ful, smiling villagers versus Sato’s gang of thugs), Karate Kid Part II ends with the usual ingeniously choreographed flurry of chop and sock. Nick Roddick

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The Lightship:

R o b e r t D u v a ll a n d

A r lis s H o w a r d .

In his first American film, The Light ship (Ronin), based on Siegfried Lenz’s novel, director Jerzy Skolimowski attempts the ambitious task of overlaying a high-seas drama with political and moral allegory, parody and a voyage of discovery. As a guiding light to shipping off the coast of Virginia in 1955, the lightship becomes the prize and backdrop in a conflict between the American crew, headed by Captain Miller (Klaus Maria Brandauer), and the criminals who attempt to hijack it — a moral and political microcosm reminiscent of Conrad’s novels. As pure thriller, The Lightship is moderately effective, with its atmo sphere of mystery and mounting tension as power patterns change amid the labyrinths of the lurching ship, and the psychotic extremism of the stooge brothers, Eddie (Arliss H o w a rd ) a n d G ene (W illia m Forsythe). But characterization takes a strange turn, as the villains are stylized to the point of parody (a mix of fifties thuggery and high melo drama). Their mentor, Caspary (Robert Duvall), is a dandified S ou thern er pro ne to effusive excesses of philosophizing, the Captain (in complete reversal) highprincipled and humane to the point of blandness. In this curious casting against type, Skolimowski must have had some masterplan. But, like much of the metaphors and symbolism, it is dissipated amidst the incongruities. S kolim ow ski’s previous films delved into areas where the director was on firm ground. But he seems here to be trying too hard to impress, overloading The Lightship with an uneasy cargo: the attempt to Americanize Lenz’s novel for the screen leaves the ship and the film on a voyage to nowhere. Mary Colbert

My Chauffeur (Hoyts) opens with a promise that you somehow know it isn’t going to be able to keep: a sequence of close-ups of a young woman’s accoutrements — her white net gloves, her white socks, her oversized handbag, her cheap glitter accessories and, of course, her sunglasses. My Chauffeur is desperately seeking Madonna. Yet, with a mildly wacky female lead, D eborah Forem an, as Casey Meadows, the film is far from that star’s free spirit, and only just reminiscent of a forties romantic comedy. Due to an obsessive passion to drive limousines, Casey sets her sights on entering the world of ‘chauffeurism’. But, set against her is the concomitant world of male chauvinism. The staunchest chau vinist is the young heir to the limou sine company, whom she ropes without the slightest inkling of who he is and without the slightest deter mination of doing so. The film’s humour is heavily reliant on an episodic structure, which sees Casey’s assignments turned into frivolous escapades, frowned upon by her upright colleagues. Yet those escapades do not extend from her wackiness, but from the eccentricity of her assignments (pop stars, Arab oil barons, etc.), leaving her funda mentally ineffective as a character meant to put a few wrinkles into the stuffed shirts of this gentleman’s trade. With an eerie soundtrack and, at times, eerie visuals, My Chauffeur cannot hope to sustain a comic pace. The result is downright con fusing, which may have to do with the suggestion that hero and heroine are actually brother and sister. But even this is left to die with a con voluted ending, rather than being extended as a comic possibility. Raffaele Caputo

M y Chauffeur: D e b o r a h F o r e m a n a s C asey M e a d o w s.

One definition of a pornographic film is that it goes ’below the belt’. For Godard, the question then is: “ How to film below it — without being below it, so to speak . . . how to treat the human being as a whole.” The much discussed and much edited 9Vi Weeks (Roadshow) could have been an attempt to deal with this dilemma. But, whether director Adrian Lyne lacked the intel lectual means to do so or whether he was simply too much of a chauvinist even to recognize it, doesn’t really >

CINEMA PAPERS September — 55

matter now. The film is about a fragment of time (a nine-and-a-half week relation ship laced with the iconography of the pornographic) and a fragment of a woman’s body. Elizabeth (Kim Basinger), a stylish SoHo gallery director, is taken under the sexual control and mastery of a quiettalking Wall Street whizz kid (Mickey Rourke, whose body we never see), and that’s about it. There is no dialogue. Rather, we watch a sequence of commodities: designer food, designer clothes, designer sex. Unless you get some kind of voyeuristic pleasure out of the debasement and humiliation of women, forget it. And the soft-sell marketing didn’t work: one can’t even redeem 9 1/2 Weeks by placing it in the notoriously non-specific field of ‘the erotic’. Kathy Bail

Poltergeist remains one of the best horror films of the decade, function ing both as a ghost story with a sense of humour (essential), and as an intriguing glimpse of what E.T. could have been like if its alien hadn’t been so overweeningly cute. With Poltergeist II: The Other Side (UIP), one’s heart sinks at the title alone: what made Poltergeist so good was that ‘the other side' remained just that — a terrifying ‘beyond’ that began at the closet door. Nor does the opening of the new film help, with its mumbo-jumbo atop a desert mesa. After a while, though, we rejoin the haunted Freelings, snack-guzzling dog and all, now quartered with Gramma (Geraldine Fitzgerald), and with TV sensibly banned from the house. To no avail: connecting up via Carol Anne’s toy telephone, ‘they’ are back, shaking the house, ruining the plumbing, and almost strangling Robbie (Oliver Robins) with a huge outgrowth from his teeth-brace. Tracked by the undead — a preacher called Kane, revealed to be the root of all evil and stunningly embodied by the late Julian Beck, founder of Living Theater — and helped by an Indian called Taylor (Will Sampson), the wretched Free lings confront The Beast with their love, and nearly lose Carol Anne to the Great Bright Light. The film has its moments, and the cast is more than adequate. But director Brian Gibson, a graduate from British TV, doesn’t have enough time to establish the crucial ordinariness of the family (which was the cornerstone of Tobe Hooper’s original), before they are over whelmed by portentous lines and special effects. Poltergeist was a genuinely unusual, scary film; Polter geist II is a run-of-the-mill shocker. Nick Roddick

Poltergeist II:

The Other Side:

H e a th e r O ’R o u r k e a s C a r o l A n n e .

One had, in these days of slash-andstab, rather despaired of the return of grade-Z schlock movies like ReAnimator (Filmways). Graced with a soundtrack ripped off from Psycho and heavy with homages to H.P. Lovecraft, the film is, in fact, neither a thriller, nor any more accurate a version of Lovecraft’s hyperbolic world than sixties horror flicks like The Haunted Palace and The Dunwich Horror. But Re-Animator has a definite style of its own, akin to that of The Evil Dead, though with a stronger sense of both identity and humour. Pausing only to show us a sign saying ‘Zurich University Institute of Medicine’, the camera is tracking in, to the sound of screams, on a locked laboratory door. Inside, a pastyfaced prodigy called West (Keith Gordon, the car-besotted Arnie of Christine) is struggling with a deranged professor. The professor’s head explodes. West, relying on that old horrormovie adage, "All life is a chemical process” , has found a day-glo fluid that revives the recently deceased. But there are teething problems. And, to further his research — a relentless and extremely messy pro cess — he moves to the old Lovecraft stomping-ground of Arkham, Mass. The nasty bits of Re-Animator are authentically and disgustingly nasty. But it is hard not to like a movie in which a head (temporarily separated from its body and dumped, for pur poses of stability, on a letter spike) raises its eyebrows in exasperation as its lumbering, eyeless lower parts repeatedly bump into things on the way to the fridge for fresh supplies of plasma. Nick Roddick

credible character development rather than implausible nonsense. Jim Schembri

Taken from Joyce Carol Oates’s short story, 'Where Are You Going, Where Have You Been?’, Smooth Talk (Sharmill) is a more ample ver sion of the original work, and yet manages accurately to recreate the story’s spare atmosphere of growing apprehension and fear. In a remarkable feature debut, director Joyce Choppra, with the help of an intelligent screenplay by Tom Cole, paints an incisive and sensitive portrait of the last days of an a d o le s c e n c e tin g e d w ith exasperation and self-awareness. With a real flair for objectivity — it seems that her strategy is to pull you in by distancing you — Choppra delicately captures the dilemma faced by Connie (superbly played by Laura Dern), a fifteen-year-old girl caught between the opposing cur rents of childhood and womanhood. Her fellow traveller on the long road to maturity, pitted with acri monious clashes with her family, sexual conflicts and jealousy, takes the form of the lustful and sinister Arnold Friend (Treat Williams in a short but powerful performance). In one of the most erotic duels of seduction on film, Friend becomes angel and devil, dream and night mare, em bodying all C onnie’s sexual desires and fears. Faithful to Joyce Carol Oates, Choppra chooses to leave Connie’s resolution of her dilemma in an aura of ambiguity. At a time when Holly wood seems preoccupied with the male rite of passage, Smooth Talk is a refreshing and intelligent change, boosting one’s confidence in smallbudget films and woman directors. Norbert Noyaux

John Badham ’s Short Circuit (Roadshow) could be described as a 'borderline children’s film’. Like The Goonies, it unashamedly acknow ledges, through its slightly earthy humour, mildly complex humanistic themes and good, old-fashioned pacing, that kids deserve better than to be treated as Disneyland ideals, and that they can enjoy the same things as adults do. It is also to Badham’s credit that one can sit through and enjoy the adventures of No. 5, a laser-armed robot who becomes a conscious being due to a malfunction, but doesn’t annoy us with the sense of c a lc u la tio n th a t d o g g e d his template, E.T. Visually, the Panavision format seems unjustified by the film ’s generally staid camerawork. Tech nically, however, the robotics effects are a marvel in themselves, and there is even one inspired comic setpiece where three robots are repro grammed by No. 5 to perform a Three Stooges routine. Indeed, one of the most enjoyable aspects of Short Circuit is watching the skilful humanization of No. 5. The robot’s appeal is as something — or someone — nature-loving, clumsy, fallible, vulnerable, funny and slightly paranoid. And it is so deftly handled that the declaration that ‘No. 5 is alive’ comes across as

Smooth

Talk:

L aura

D ern

C o n n ie .

The cinema throws us so few genuine oddities these days that one wants Sugarbaby (Zuckerbaby, McLernon Films) to be better. The simple tale of a very fat woman in her mid-thirties (Marianne Sagebrecht) who becomes obsessed with, woos and wins a handsome young subway driver (Eisi Gulp), it creates a small world and makes us believe totally in its inhabitants. Marianne lives in a fifties apart ment, furnished only with a table, chair, single bed, black-and-white TV and Dansette recordplayer. On the latter, she plays her only record:

the sixties hit by Peter Kraus which gives the film its title. Her pursuit of Eisi is a matter of purloined subway schedules and proferred candy bars. He hasn’t a chance. Sugarbaby looks wonderful, with its sea of pinks and mauves (DOP Johanna Heer has already been featured in American Cinemato grapher). But director Percy Adlon is so determined to control the tone of his story that, once Marianne has won Eisi, there is nowhere for the film to go. The problem is built into the style: Marianne’s ordinariness, not her size, has to be emphasized. Thus, by the time the couple come together, they are so ordinary as to be almost uninteresting. Almost, but not entirely. Mari anne’s single-mindedness, Sagebrecht’s performance and Heer’s cinematography make the film con stantly entertaining. Its determined understatedness, though, ultimately acts against it. It might almost have been better as a short. Nick Roddick

Target: G e n e H a c k m a n , H u n n ic u t a n d M a t t D illo n .

G a y le

Coming four years after the release of Arthur Penn’s superb and grossly underrated Four Friends, Target (Hoyts) falls rather short of one’s expectations. Gene Hackman and Matt Dillon star as blue-collar father and estranged son in a script which seems tailor-made for hundreds of American films. The past of the father (ex-CIA agent) affects the present (a family situation even duller and more drab than that of Hackman’s recent Twice in a Life time), and jeopardizes the future (when the superfluous and marginal mother is kidnapped). Father and son join forces and ideologies by going back to the past so that a new family can come back to the future. If the potential of this ultra-conven tional script attracted Penn because of its central development of an intimate father/son conflict, his mise en scene never allows for the neces sary psychological elements. Penn seems slightly more comfort able in the action scenes, even if the often banal camera movements, the clumsiness of the plot and the air of indifference surrounding his treat ment of the subject do not convince us of any great interest in the main characters. But, if Target and its all too rare consolations do not do justice to Penn’s previous films, let us hope, nevertheless, that it won’t be four or five more years before his next. He is

a director who has repeatedly shown a pertinent and Warm observation of a certain American reality. Norbert Noyaux

If there is a dangerous message in

Top Gun (UIP), it’s not in the rightwing leanings of the film’s politics, nor in its glorification of US military air power, but in the fact that a film as wimpy, predictable and spiritless as this can make $100,000,000. The setting is the ‘Top Gun’ sc h o o l w h e re th e crea m of America’s fighter pilots are trained to be even creamier. That this school really exists, however, does little to inspire about the character of these pilots, the rigours of their training, the nature of their patriotism and the readiness to answer the call of war. What we get instead is a plodding romantic adventure yarn about a h o t-s h o t y o u n g s tu d , P e te r ‘Maverick’ Mitchell (Tom Cruise), his best bu dd y, G oose (A nthony Edwards), and sex interest Charlie (Kelly McGillis). The dramatic ‘com plications’ that ensue can be seen coming a ' light year away. For instance, once Goose’s wife and kid appear, guess how long before he dies in a plane crash? All this would have been a little more palatable if the much-touted aerial sequences were as ‘breath taking’ as many critics have made out. It’s only in the final battle sequence with some anonymous MIG jets (gutsy move, what?) that the point-of-view camera angles, the wide shots and, most importantly, the editing, come together to deliver some exciting action.

named Bountiful is, however, now a clapboard wreck. But the vividness of the natural scene, with its capacity for renewal, gives point to Carrie’s journey and, on several levels, tightens the story’s coherence. There is a modesty in the film’s claims that keeps sentimentality at bay. And there is superb ensemble playing by the whole cast — not just Geraldine Page, who is indeed remarkable, but Heard; Rebecca De Morhay (as a young woman Carrie meets on the bus), Richard Bradford (as the sheriff who finally drives her to Bountiful) and (especially) Carlin Glynn, who pitches Jessie Mae somewhere between Susan Hay ward and Gloria Grahame, adds something of her own, and wins enough sympathy for this vain and silly woman to give Carrie something tough to react against. These actors hold together an essentially picaresque structure, and give the film a rigour not always there in the writing; and director Peter Masterton acknowledges their strength in an uncluttered visual style which keeps the faces before us. Brian McFarlane

Jim Schembri

Horton Foote’s gentle little piece,

Trouble in Mind;

The Trip to Bountiful (Hoyts), first

a n d L o r i S in g er.

appeared as a television play in 1953. Made over for the stage, it is nowdefinitively adapted as a screen vehicle for Geraldine Page. Page won (and deserved) the Oscar for her performance as Carrie Watts, determined to make the eponymous journey, to reassure herself of her roots and to fortify her memories. These are under daily threat in the cramped life she leads with her in effectual son, Ludie (John Heard), and his shrewish wife, Jessie Mae (Carlin Glynn), in their two-room Houston flat, in which Carrie has a servant’s status and a living-room sofa for a bed. Choosing her moment, Carrie escapes, and the film begins its journey into the past. The ironically-

The Trip to Bountiful;

Page.

G e r a ld in e

K r is K r is to f f e r s o n

At Cannes this year, quite a few of my colleagues — even quite serious colleagues —- were to be observed slipping away from the main com petition to take in a market screening of Alan Rudolph’s new film, and coming out saying it was the festi val’s most enjoyable. They weren’t wrong. Trouble in Mind (CEL) is two hours of pure magic — a deft and wonderful blend of fairytale, film noir and romantic tragedy. Set in fictional Rain City (actually Seattle), where sinister but ineffectual militiamen patrol the streets and a secret language (per haps Korean) is spoken, it has an ex cop, Hawk (Kris Kristofferson), returning from gaol to a cafe run by Wanda (Genevieve Bujold). Also arriving there, more or less by chance, are a drop-out called Coop (Keith Carradine), his angelic bride, Gloria (Lori Singer), and their baby, Spike (Caitlin Ferguson). Hawk builds models in an upper room. Coop gets sucked into the City’s underworld, and undergoes a weird transformation, from ex-hippie to futuristic bodgie. Gloria loses Spike and gets him back. Wanda mediates, especially on the question of Hawk and Gloria. “ You and she are missing so much,” she tells him. "Shared between you, the re’s almost a whole person.”

In Trouble in Mind, Rudolph finally brings off what his earlier films have only hinted at: a visionary work, in which America becomes a dream land, with the movies as its myth, and in which characters merge and diverge. Though the pace at first seems slow and the sequence random, by half-way through the film has taken a grip on the imagina tion that is close to miraculous. Kristofferson, Bujold, Carradine and Singer are all excellent. Divine is un forgettable in business suit and ear ring as gangster Hilly Blue. And Marianne Faithful’s songs, cracked and eerie, hang over the whole film like a manic litany. Nick Roddick

As the title indicates, Violets Are Blue (Fox-Columbia) is about romance and reality; about choices and their repercussions. And, while the subject — m arriage and infidelity, career and family — hardly earns marks for originality, the film’s appeal comes from its sensitive script (by first-timer Naomi Foner), perceptive and restrained direction by Jack Fisk, and superb perform ances by Kevin Kline as the hus band, Sissy Spacek as the former love returned, and Bonnie Bedelia as wife Ruth, whose honest decency provides a refreshing dimension for the ‘wronged woman’. The setting is Ocean City, Mary land, in two time frames. In 1969, sweethearts Gussie (Spacek) and Henry (Kline) swear eternal love, and make plans for future careers in the wide world. But things don’t work out as prescribed: fifteen years later, there is a rekindling of passion, an exploration of the exuberance of love refound, and the consequent dilemma. The exhilaration of working together gives Gussie and Henry a taste of what could have been . . . and still can, if he takes up her offer of an exciting assignment overseas: two more weeks of bliss and the pro fessional challenge he’d always wanted . . . But there is a conflict between romanticism and pragmatism, and the realisation that choices are cumulative and often irrevocable. The film’s real triumph lies in the balanced handling of the dilemma, and in an ambivalence and restraint which make the emotional impact so powerful. Mary Colbert

Looking back over Wise Guys (UIP), it is hard to see why the film is so disappointing. There are some nice parodic ideas (Harry [Danny De Vito] and his kid both practising Robert DeNiro’s “ Are you talking to me?” in front of mirrors in adjacent rooms); some wonderful sets (Harry and Moe [Joe Piscopo] live side-byside in little frame houses on a Dead End street); some nice marginal observations (“ Did you know,” enquires a hood, “ that organized crime is the fourth largest employer in the State of New Jersey?” ); and some great action sequences, in cluding one in which Frank the Fixer’s beloved Cadillac is junked on the New Jersey Turnpike. But it all resolutely refuses to come

together. The story — about a couple of small-time crooks (De Vito and Piscopo), who try to cheat the boss and finally, almost by chance, win out — is laboured. De Vito and Piscopo (presumably the film’s com mercial draw cards, given their profile on US TV) have even less chemistry as a couple than James Caan and Elliott Gould in Harry and Walter go to New York. The comic timing is off, leaving one with the recurring feeling of how a scene was meant to be rather than how it actu ally is. And the editing, framing and colour-grading are all TV standard, giving the whole thing the air of one of those Happy Days episodes in which Richie and The Fonz are transported back to some previous period in US history. Comedy, one is forced to conclude, is not Brian De Palma’s forte. Nick Roddick

Wise Guys; f o r m e r w r e s tle r C a p ta in L o u A lb a n o a s F r a n k th e F ix e r.

Somewhat in the tradition of Frank Capra, director Ron Howard’s films have refreshingly reworked the populist ideal of individuals triumph ing over personal and social obstacles. In Working Class Man (UIP) — known as Gung Ho in the US but re titled here to tie in with Jimmy Barnes’s hit record — Howard takes on more than he can deal with and, like the main character of his story, Hunt Stevenson (Michael Keaton), burns the candle at both ends. Stevenson, the brigand-hero, masterminds a plan to get a Japan ese auto manufacturer to regenerate the now-defunct plant in small-town Hadleyville, and to re-employ the hundreds of laid-off workers. How ever, it is only through blatant trickery and deceit that he can bridge the gap between labour and the new boss. Howard’s trademarks of inno cence and simplicity — which, until now, have masked the inherent ambiguity of his material — are notably missing, forcing him to run for the cover of Michael Keaton’s exce lle nt k n o cka b o u t com e dy routines and a nicely-handled friend ship between Stevenson and his Japanese boss, Kazahiro (Gebbe Watanabe). In the end, the moral of Working Class Man is hard to decipher. There is no fairytale redemption, but an ex ceedingly glum resumption of the w o r k e r ’ s p lig h t w h ic h , o n e supposes, is sanctified by Jimmy Barnes’s line about the working class man’s “ heart of gold” . Paul Kalina

CINEMA PAPERS September — 57

B O O K

Australian overview AN AUSTRALIAN FILM READER e d ite d b y A lb e r t M o ra n a n d T o m O ’ R e g a n (C u rre n c y P re s s , 1985, $ 2 4 .9 5 , IS B N 0 8 6 8 1 9 123 X ). Amidst a lot of junk, one can find several admirable contributions to the growing collection of books about ‘the Australian cinema’. The initiative of a number of authors and editors (any list must include John Tulloch, Brian McFarlane, Sylvia Lawson, Ross Cooper, Andrew Pike, Graham Shirley and Scott Murray) has resulted in a body of work that is always informative and consistently illuminating. To this one can now add An Aus tralian Film Reader, a compilation of short essays and articles, some old and borrowed, some new, which are mostly useful, often provocative, and, alas, occasionally turgid. As the editors would have it, their selection "assembles a series of voices about Australian film, without seeming (so far as we can tell) to have a definite authorial voice of its own". However, the organization of the book into four major sections — ‘ Early C inem a’ , ‘ D ocum entary H o p e s ’ , ‘ R enaissance of the Feature’, and 'Alternative Cinema’ — immediately poses a specific chronology for an Australian film history, which ends up marginalizing alternative cinema, albeit uninten tionally, by locking it into a section tagged on at the end. Further, the preponderance of particular kinds of voices — those concerned to identify filmmaking in Australia as a matter of national interest, of politics and of economics — demands that films should not be separated from the cultural context in which they are made and in which they might (or might not) be viewed. The proposal is not that industrial matters should be dealt with as well as aesthetic ones. Rather, it is that the two are inextricably entwined: that one should not be segregated in the business section whilst the other is left to the capricious opinionations of the arts and/or entertainment B ryan

B r o w n in A l b i e T h o m s ’s (1 9 7 9 ): a c r e a tiv e b r e a k w ith c o n v e n tio n a l n a r r a tiv e .

Palm Beach

pages. The book that is able fully to argue the need to see Australian films in the context of Australian capitalism remains to be written. However, in the meantime, the arrangement of the material in this Reader implicitly indicates the commitment by its editors, Albert Moran and Tom O’Regan, to such a position. As if acknowledging former critical predispositions, the book does attend to individual films and direc tors. There is extended discussion of The Sentimental Bloke (the 1918 version), Picnic at Hanging Rock, The Last Tasmanian, The Man from Snowy River and so on, and con siderable space is given to the ideas and meanings circulating in the oeuvres of Raymond Longford, Charles Chauvel, Peter Weir, Bruce Beresford, Albie Thoms, and others. However, few of these (the hack reviews and journalistic doodles aside) can be deemed traditional commentaries or auteurist pieces. And they are all coerced into broader-based contexts by being placed side-by-side with discussions of the business behind the scenes, and with considerations of the place they occupy within Australian culture. This kind of approach leaves a lot to the book’s readers, for it demands an energetic and extensive commit ment from them, as well as a sufficient grasp of the subject to be able to distinguish insight from idiocy. There is certainly enough of both here to keep most potential re a d e rs e ith e r stim u la te d or enraged, and their inclusion seems, to this reviewer at least, to provide an accurate account of the ways in which the idea of ‘the Australian cinema’ has been constructed over the years. However, it is inevitable that, in any anthology, certain parts will stand out; and, among the many valuable pieces in this book, several pose vital challenges to established ways of thinking about Australian films and about ‘the industry’. Bill Routt’s incisive commentary on Charles Chauvel and 'naive cinema’ initially deals with a single dissolve in Heritage, but then develops the proposition that “ the conditions of colonial existence, today as well as yesterday, are conditions for naive cinema". Tom O’Regan’s essays about the inadvertent racism of The Last Tas manian and about the links between The Man from Snowy River and con temporary Australian popular culture pose timely challenges to the pre occupations and the poverty of current Australian film criticism and reviewing. Meaghan Morris’s splendid contri bution astutely identifies the degree to which so much filmmaking in Aus tralia is "conceptually and intellectu ally dim ", and the degree to which this is an epidemic affecting the funding bodies, the film schools and the critics. Barrett Hodsdon hurls the same set of darts at mainstream Australian filmmakers ("After two decades in which the modes of fiction have been intensively ques tioned, especially in European cinema, Australian feature film makers continue to construct stories blithely unaware of this period of

change and self-examination” ), and then goes on to analyse the ways in which Palm Beach creatively breaks with conventional narrative form. Sam Rohdie's sketch of the reasons why "the Australian cinema cannot be thought national in economic terms or independent in cultural-artistic ones" is marred by some tortuous grammatical designs. But it is also a timely antidote to the kind of self-congratulatory hype that the PR arm of ‘the industry’ bestows upon itself. And, in a similar fashion, Albert Moran goes against the fashionable grain with his hatchet job on the rhetoric of the South Aus tralian Film Corporation. It’s probable that the major users of this Reader will be found within educational institutions. Neverthe less, given the fascination of much of the writing that appears in it and the opportunities it offers for new under standings, it deserves a much wider circulation. Tom Ryan

★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★

Shadow man DREAMS OF DARKNESS: FANTASY AND THE FILMS OF VAL LEWTON b y J.P . T e lo tte (U n iv e rs ity o f Illin o is P re s s , 1 9 8 5 , $ U S 1 8 .9 5 , IS B N 0 2 5 2 0 1 1 5 4 6). The ABC’s recent Saturday-night screenings of the nine horror films produced by Val Lewton for RKO Radio in the forties gave viewers a rare opportunity to see a very attrac tive body of work — those viewers, that is, not deflected by titles like Cat People and / Walked with a Zombie. The films, made on minute budgets and using the sensational titles assigned to them by the studio, were essentially ‘B’ pictures — or 'programmers’ — destined for the bottom half of a double bill. The fact that they have outlasted most of the top halves is a tribute to the persist ence of Lewton’s vision, of his taste and intelligence as a filmmaker, of his capacity to surround himself with congenial talents — and, not least, of a certain critical tenacity. While the films were, by and large, snootily dismissed by contemporary reviewers, they were rescued from oblivion by James Agee (writing in The Nation and, later, Time), who regularly applauded their imagina tive and humane qualities, though sometimes finding them a shade too literary. Manny Farber was a later cham pion of the Lewton unit (see his essay in Negative Space) and, in 1973, Joel Siegel’s Val Lewton: The Reality of Terror offered a compre hensive and sympathetic account of Lewton’s output. Finally, Robin W ood’s essay on Jacques Tourneur, Lewton’s most gifted director (included in his 1976 collection, Personal Views), and his recent structuralist analysis of / Walked with a Zombie in Cine-

O p p o s ite : C h a lle n g in g th e b o u n d a r ie s o f th e re a l: S im o n e S im o n in V al L e w t o n ’s 1 943 Cat People.

Action!, are two further notable recognitions that something remark able was going on in the backblocks of RKO 40 years ago. The most recent addition to the Lewton bibliography is J.P. Telotte’s Dreams of Darkness, a very serious book indeed, which doesn’t waste time on trivialities like acting (Boris Karloff is the only actor discussed), or on pondering how ‘good’ the films are, but which sets out to illuminate the nature of Lewton’s vision. Telotte’s analysis of the nine films from Cat People (1942) to Bedlam (1946), is a species of auteur-struc turalism in which the auteur is the producer, whose imprint resists changing directors (Robert Wise and Mark Robson as well as Tourneur), and in which underlying structural patterns are located in film after film. The book involves a^formidable theoretical battery: Lévi-Strauss, Stephen Heath, Derrida, Foucault, p s y c h o lo g is t J a m e s H illm a n (perhaps the major reference on the sources of the fantastic, the aims of fantasy, fantasy as a growth pro cess, etc.) and Todorov (with his per ception of the "hesitation experi enced by a person who knows only the laws of nature, confronting an apparently supernatural a c t” ), among others. If Telotte does not exactly wear his learning lightly (the book is not a browse for buffs), he does deploy it intelligently in the interests of illuminating the texture of the films. While there is some reference to the industrial context in which the films were made, especially to the kinds of studio interference by RKO, this is not the book’s subject. It is essentially an examination of the ideas explored and dramatized in a series of films whose genre classi ficatio n becom es in cre a sin g ly elusive. Telotte sees the films as being concerned with challenges to the supposedly normal, to the every day environment, and with insisting on a human need for a rich fantasy life. To these ends, he discovers, throughout the Lewton oeuvre, a persistent play upon certain key oppositions, at levels of both narra tive and enunciation: reason and imagination, light and darkness, knowledge and understanding, n o r m a lity a n d a b n o r m a lity , innocence and evil, the real world and fantasy worlds. Increasingly, the lines between such apparent dichotomies are found to be less reassuringly clearcut: the child in Curse of the Cat People challenges the adult world, exposing the lim itations of its normalcy, and finding, in fantasy, a means of coping with the pain of everyday existence. The relationship of parent to child (The Leopard Man, I Walked with a Zombie, The Body Snatcher) or of teacher to pupil (The Seventh Victim, The Body Snatcher), and the use of 'doubling' character-patterns (the two sisters, the psychiatrist and the poet, in The Seventh Victim-, Irena and Alice in Cat People) are two of the chief means by which the struc-

turing oppositions are explored, and Telotte’s reading of the films reveals their working with clarity and authority. He is also alert to the different narrative approaches adopted by the films. For instance, in relation to The Leopard Man (often one of Lewton’s least-regarded films), he makes a convincing case for how the various “ separate interpolated narratives . . . add to the larger laby rinthine pattern” . The multiplicity of narrative voices in / Walked with a Zombie is seen as an “ attempt to furnish Betsy with an overview of this world or to explicate its mysteries to her” . Telotte’s uncovering of the narrative strategies and the ways in which these dramatize Lewton’s pre occupations reveal a sophisticated awareness at work in the films — and in their commentator. He draws attention, as others have, to Lewton’s ‘bus’ effect (originating in the heroine’s night time walks through New York in Cat People), and his preference for the frightening powers of suggestion over more obvious effects of horror and violence. This latter technique is traced through the films’ use of threatening absences, of patches of darkness, which unsettle because of the ways in which they — like Lewton himself — “ challenge the boundaries of the real” . Ultimately, Telotte claims, the effect of Lewton’s dark vision is not nihilistic but affirmative. “ Whatever fright or mystification we experience is to good effect, since a psychic growth can follow only from this experience of unknowing and from our encounters with the disconcert ing images to which the self gives rise.” One of the functions of fantasy is to provide such images, and Lewton has provided more than his share. Telotte’s scholarly book does justice to its subject: sometimes he makes the films sound more complex than they are, and he is oblivious to cer tain B-grade thinnesses in them. But, if his readings do not recreate one’s sense of viewing the films, they do — temporarily — go some distance to wards reconstructing a composite world. Brian McFarlane

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Bell, book and camera SCULPTING IN TIME: REFLECTIONS ON THE CINEMA b y A n d re y T a rk o v s k y , tr a n s la te d b y K itty H u n te r- B la ir (T h e B o d le y H e a d /T h e A u s tra la s ia n P u b lis h in g C o m p a n y , 1 9 8 6 , $ 5 1 .9 5 [h b k ] a n d $ 2 7 .9 5 [p b k ], IS B N 0 3 7 0 3 0 6 9 4 5 [h b k ] a n d 0 3 7 0 3 0 7 8 7 [p b k ]). For Ingmar Bergman, Andrey Tarkovsky is the most important director of our time. And, on the evidence of the Russian director’s first book, Tarkovsky himself would probably agree. Astute, well-argued and powerfully written, Sculpting in Time will be crucial to any evaluation of his place in cinema history. It also d e m o n s tra te s , h o w e v e r, th a t modesty is not one of the director’s more endearing qualities. At Cannes in 1983, Tarkovsky baited, harangued, cajoled, insulted and ridiculed those attending his press conference. The sting of his remarks was only slightly tempered by the lengthy procedure of trans lating everything into French, Italian, Russian and English. Tarkovsky’s aggression, and his instinctive defensiveness about any question (whether critical or complimentary), seemed to indicate the particular sense of public relations endemic to most Soviet artists. Tarkovsky ended the press con ference by thumping the table and informing the press that, should he not receive the highest accolade for his film, Nostalghia, he would refuse all minor awards. Justifying this p o s itio n , he re c a lle d R o b e rt Bresson’s somewhat more muted demand, made a few days earlier, for L 'Argent. Finally, Tarkovsky stormed out, leaving a bemused but mostly

cowering press corps, wondering what on earth they had done to deserve such disdain. Sculpting in Time is often reminis cent of that press conference. At its best, the book is as rewardingly uplifting as Tarkovsky’s films. At its worst, it is a tiresome harangue by an over-zealous lecturer. Using words with scalpel-like precision, Tarkovsky cannot resist turning language into a weapon, particularly when belittling the reader for underappreciating his work, or for being a culpable participant in his own mis anthropic view of the spiritual bank ruptcy of contemporary western civilisation. Writing as if from some high moral dimension, Tarkovsky even, at one point, obliquely com p are s him self to Ham let, observing: “ It is as if a man of the future were forced to live in the past” . The director does, of course, have some reason for raising the spectre of his Dostoevskian suffering. Every time, it seems, he strayed from the ‘party line’, the wrath of the Soviet intelligentsia was upon him. Ivan’s Childhood, his first film, was criticized for trying to replace “ narra tive causality with poetic articula tions” . Similar attacks were made upon his philosophical meditations in Solaris, and upon the licence he took with history in Andrey Roublev. His autobiographical film, Mirror, was dismissed as “ immodest” and shelved for several years. Stalker, a harrowing science fiction parable about the psychological and spiritual degeneracy of contemporary life, was evidence that the director had “ cut himself off from reality” . Stalker was the last straw for the Soviets, and Tarkovsky was permitted to go to the West, where his films had always received m ore critical attention anyway. The defection, however, seriously disturbed Tarkovsky. Russians claim a fatal attachment to their national roots — a ‘nostalgia’ they carry with them whenever they are separated from home. “ The entire history of Russian emigration,” writes Tar kovsky, “ bears out the western view that ‘Russians are bad emigrants’; e v e ry o n e kno w s th e ir tra g ic incapacity to be assimilated, the clumsy ineptitude of their efforts to adopt an alien lifestyle. How could I have imagined as I was making Nos talghia that the stifling sense of longing that fills the screen space of that film was to become my lot for the rest of my life; that from now until the end of my days I would bear the painful malady within myself?” S e lf-e xam inatio n apart, T ar kovsky’s book is clearly written in the grand tradition of Soviet cinema texts by Eisenstein, Dovzhenko and others. He tackles all the old ‘central’ questions, devoting sections to The film image', ‘Time, rhythm and editing’, ‘Scenario and shooting script’ and T he film actor’, as well as to the loftier issues of T he artist’s responsibility’, ‘Art — a yearning for the ideal’ and his own theoretical proposition concerning ‘imprinted tim e’. His arrogance occasionally shows up as naivety, as when he dismisses mise en scène, which he mistakenly and simplistically defines as “ the dis-

position and movement of selected objects in relation to the frame” . Tar kovsky’s rejection of montage, for “ making the audience decipher symbols [and preventing them] from letting their feelings be influenced by their own reactions” suggests his vehemence about semiology has merely been confused with his holy quest to rewrite the foundations of cinema criticism. His patronization of the audience extends to judging 80% of them unworthy of consideration: their sin, it appears, is a lack of interest in the spiritual and transcendental ques tions the director is raising in his films. For the remaining 20%, Tar kovsky is prepared to present a “ true cinema image built upon the d e s tru c tio n of g e n r e ” . T his audience, he says, is deserving of “ respect [and] a sense of dignity . . . Don’t go blowing in their faces: that’s something even cats and dogs dislike” . Tarkovsky is not alone in his despair over the masses who troop off to shallow American action films, while great works languish in the repertory cinemas. But to bemoan this syndrome as evidence of “ the spiritual vacuum which has formed as a result of modern materialism” adds little to understanding a pheno menon prevalent since the birth of

D o n a to s B a n io n is a s K r is K e lv in in T a r k o v s k y ’s Solaris (1 9 7 1 ).

cinema, if not the birth of art. His analysis of materialism as the source of all modern evil is perhaps too predictably dogmatic for a Soviet artist with a persecution complex, but Sculpting in Time, despite occasionally overstating its case, has enough genuine intellectual and critical merit to make it one of the more important cinema texts of the last decade. Reports from France of Tar kovsky’s battle with cancer raise the possibility that the career of this tortured poet-visionary may be cut short just as he reaches the height of his creative powers. Poignantly perhaps, his book ends as it begins, with a question that underscores his adoration of the religious component of Art: “ Perhaps our capacity to create is evidence that we ourselves were created in the image and likeness of God?” Rod Bishop

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CINEMA PAPERS September — 59

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R E V I E W S

The incredible hunk MEL GIBSON

by John H a n ra h a n (L ittle H ills P re s s , 1 9 8 6 , $ 1 4 .9 5 , IS B N 0 9 4 9 7 7 3 3 4 4).

MEL GIBSON b y K e ith M c K a y (S id g w ic k a n d J a c k s o n /C e n tu r y H u tc h in s o n , 1 9 8 6 , $ 1 6 .9 5 , IS B N 0 2 8 3 9 9 3 5 0 2). Mel Gibson turned 30 in January this year. He has eleven feature films to his credit, nine of them as star. And he is, to judge by the almost simul taneous appearance of these two, large-format paperbacks, fair grist for the biography mill. Neither, to be frank, is a must-buy for the film buff’s bookshelf, though the Australian one (by John Hanrahan) is the more accurate and the American one (by Keith McKay) is — well, the more inventive. Neither writer seems to have had direct access to the star for the pur poses of his biography — something about which Hanrahan is fairly open, citing other sources of information (including a Cinema Papers inter view) and specifying to the day (and almost to the map reference) where such conversations he did have with Mel took place. McKay, I suspect, had no access to Gibson at all, though since he doesn’t give sources, it’s difficult to be sure. At least, however, he doesn’t do what he did in his pre vious bio-text, De Niro: The Hero Behind the Masks, where he tried to turn failure into myth, waxing lyrical about the unmeetability of the man himself. To be fair, both writers are dealing, not with a private individual — Gibson’s privacy has, against a lot of odds (including his own pen E a r ly d a y s : M e l G ib s o n (le ft) w ith J o h n J a r r a tt, P h il A v a lo n a n d S te v e B is le y in Summer City.

chant for a good time), managed to remain just that — but with a public persona, which is a winning combination of sensitivity and sexi ness. Indeed, sexiness is a kind of leit motif in McKay’s book. Almost every portrait is sultry. And the author, whose own biography mentions Rutgers and Oxford Universities, does sterling work steering his analyses of the films back to what, presumably, his publishers wanted: a few lines on the “ ripe, intrinsic youthfulness, sensuality and helpful ness’’ of Mrs Gibson’s little boy. In terms of value for money, Hanrahan and McKay come out about even. Hanrahan, at $14.95, has 88 pages, including sixteen pages of colour, with 22 different shots (one of which turns up a couple of pages later as a black and white). McKay, at $16.95, has 96 pages, with eight pages of colour, made up of ten different shots. McKay has around 15% more text, but Hanrahan’s pictures are more interesting. Both books have filmo graphies, though only Hanrahan's is complete, and both are sloppily edited with Hanrahan, who offers “ $150,0000” [sic] as the budget for an early film, the worst offender). Denied primary source material, both writers resort to ingenious devices to get some background. Hanrahan comes up with a school photo, leaving the reader to guess which one is Mel (clue: he isn’t wear ing glasses), while McKay manages a snap of the house in Verplank, New York, where Mel spent his early years. Hanrahan tracks down Brother Patrick from St Leo’s, Wahroonga, who has a few sharp things to say. McKay has to make do with a brakeman who knew Mel’s dad when he worked on the New York Central, but who doesn’t appear to remem ber the future star. McKay’s focus is resolutely North American. Gibson’s first movie, Summer City (1976) is dismissed as “ long forgotten” , and his fourth, Attack Force Z (1978), is not men tioned at all. Both are omitted from McKay’s filmography, which gives the North American rather than the original (Australian) release date. For McKay, the Australian Broad

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casting Corporation becomes a Commission, AFI Awards become ‘Sammies', Britain’s National Theatre becomes the ‘National Academy Theatre’. And, in a book with a 1986 im print, Robert Stigwood and Rupert Murdoch are still credited with wanting “ to establish Australia as a major international production center and to produce at least three features there each year” . In terms of critical comment, Hanrahan has rather too little to say about the films, McKay rather too much. But neither really tries to tackle the essence of Gibson’s star dom, which evidently has to do with a great deal more than being goodlooking and in the right place at the rig h t tim e (H a n ra h a n rig h tly scotches the myth of Gibson being cast as Mad Max just because he turned up for the audition with a bruise from a fight in the pub, though McKay solemnly enshrines it). Buried at the end of Hanrahan’s book, though, is a comment from Hollywood publicist Paul Lindenschmid, which gives a hint of what it is all about. Gibson, says Lindenschmid, reminds him of a movie star from the thirties — someone with style, appeal and incredible good looks, not the ordinary, modern good looks of a Richard Gere or a John Travolta. It’s not much of a theory on which to build a book. But, if either of these books had been built on a theory, as opposed to the more straightforward premise that Mel sells, it might have been a better starting point than some vague notion of antipodean sexiness (McKay) or larrikin charm (Hanrahan). Nick Roddick

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Books received NB. Inclusion of a title in this list does not preclude a future review.

B AR BRA S TR E IS A N D : THE WOMAN, THE MYTH, THE MUSIC by Shaun C onsidine (Century Hutchinson, 1986, ISBN 0 7126 1082 0). Exhaustively researched (the range of sources is exemplary) and well, if a little heavily, written, this is a career biography, not a rags-to-riches story about a kid from Brooklyn. There is little or no family background (though the star's mum makes an occasional appearance); but the albums, the concerts, the TV specials, the movies, and the cor porate career-steering are lovingly documented — and at length.

CHARLTON HESTON: A BIO GRAPHY by Michael Munn (Century Hutchinson, 1986, $38.95, ISBN 0 86051 362 9). A banal, ill-written, scissors-andpaste biography that falls so far short of the labour of love it sets out to be that, perversely, it leaves one feeling almost sorry for the unlikeable actor over whom Munn fawns so persist ently. The lack of a critical perspec tive means that the extravagant

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claims about Heston’s acting genius are nowhere near substantiated. And the man’s evident contra dictions are, out of discretion, cowardice or incompetence, left wholly unexplored.

CITY OF SPADES, ABSOLUTE BE GINNERS and MR LOVE AND JUSTICE by Colin Mclnnes (Pen guin, 1985-6, $6.95 each, ISBN 0 14 002143 4, 0 14 002142 6 and 0 14 002145 0 respectively). Spin-offs being what they are — usually, paperback versions of old novels with pictures of Meryl Streep on the cover — there is all the more reason to welcome this offshoot of the recent British squib, Absolute Beginners. Reprinted for the first time in 20 years, Mclnnes’s trilogy of London before it swung is bizarre, comic and disturbing — a first glimpse of the roots of the Notting. Hill, Brixton and Tottenham riots. Not to everyone’s taste, probably, but pretty much of a must-read for anyone who believes novels should tackle social issues.

LA LUCE NEL CINEMA: INTRODUZIONE ALLA STORIA DELLA FOTOGRAFIA NEL FILM by Stefano Masi (Cooperativa Cinematografica ‘La lanterna magica’, Aquila, 2nd edition, 1985, 20,000 lire). A reprint of the 1982 publication by the industrious Aquila Festival, whose focus is the cinema’s tech nical artists rather than its directors. Masi’s book is a brief (under 150 pages) critical history of cinemato graphy, embracing both theory and practice, and with a fairly inevitable bias towards Italian maestri like Vittorio Storaro.*

NEL BUO DELLA MOVIOLA: INTRODUZIONE ALLA STORIA DEL MONTAGGIO by Stefano Masi (Cooperativa Cinematografica ‘La lanterna magica’, Aquila, 1985, 25,000 lire). Like Masi’s La Luce nel cinema (see above), this is an Aquila Festival publication, looking this time at the history, theory and practice of editing. 200 of its 284 pages are taken up with interviews with top editors, all Italian, but including such veterans as Ruggero Mastroianni (every Fellini film since Giulietta degli spirit!) and Roberto Perpignani, who cut Prima della rivoluzione, Partner,. Strategia del ragno and all the Tavianis’ features, up to and includ ing Kaos.*

SUCH DEVOTED SISTERS: THOSE FABULOUS GABORS by Peter H. Brown (Century Hutchinson, 1986, $40.95, ISBN 0 86051 361 0). An above-average stroll through the careers of the Gabor sisters — mainly Zsa Zsa, of course, because she was the most outrageous, but occasionally Eva and now and then Magda. There’s very little here that isn’t in their own (and their mother’s) autobiographies, and the pre-war Hungarian experiences are very slimly researched. But it all makes for a good read for those who believe that Hollywood is really just scandal, gossip and gold-digging. * Details on the availability of these two titles can be obtained from the Editor. if

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Big Trouble in Little China

The fragility of the feature-film industry in going it alone and main taining a momentum of production within New Zealand has been under lined by the failure of Auckland pro ducer John Maynard to get Vincent Ward's new project, The Navigator, off the ground. Maynard coupled his 6 June a n n o u n c e m e n t th a t he w as abandoning the film with the sacking of 22 personnel only a month before the film was due to shoot. A subse quent attempt to obtain underwriting for the project, originally budgeted at $US2 million, was also unsuccess ful by Maynard’s second deadline of 18 July. The Australian-born producer had vowed he would move the produc tion across the Tasman where, he claimed, the necessary underwriting had been promised, if his further effort to raise the necessary failed. That is now one of the diminishing options he is pondering. “ We’ll be finding out how real these promises are,” says Maynard. The abandoned Navigator is a sym bol of the New Zealand industry’s current problems, and ironies abound. If the project had proceeded as originally planned, it would at least have maintained a thin thread of continuity in featurefilm production on New Zealand locations during 1986. As it is, the only film shot this year has been Ngati, the low-budget first feature by Barry Barclay, for veteran producer John O ’Shea’s Pacific Films. Principal photography on Larry Parr’s latest film, Queen City Rocker, was completed last year, and his next production — probably A Soldier's Tale, based on M.K. Joseph’s war novel — is not likely to begin until January, and then on locations in France. The only other new Kiwi feature, the full-length animation title, Footrot Flats, is now in post-production and is due for major release here at Christmas. But that is being created in studios in Sydney. So, at a time when New Zealand films have finally made their pres ence felt in Europe and North America (NZ Film Commission Marketing Director Lindsay Shelton tagged this year’s Cannes market the most successful of the seven he has attended), supply could well peter out. And what will this do to future GOFTA Awards, following this year’s inaugural ballyhoo, with twelve separate categories, ranging from Best Film to Best Film Score?

New Zealand by Mike Nicolaidi L o n g b la c k c lo u d s g a th e r o v e r th e K iw i film in d u s try Ward's Navigator, the story of a medieval quest by a visionary child that crosses over into 20th-century New Zealand, has been long planned and is his first project since the widely-acclaimed Vigil, the only New Zealand film to have been selected for the main competition at Cannes (in 1984). Maynard says the new work is “ more accessible” than Vigil with a potential appeal, in Aus tralian terms, of “ Breaker Morant bottom line, and Gallipoli should it breakthrough” . Even given Vigil’s primarily arthouse appeal, the film scored well at GOFTA (best screenplay, cinematography and production design), against Parr’s runaway mainstream success, Came a Fiot Friday, which captured most categories. Cannes’s influential Gilles Jacob has added his weight to efforts to get W ard’s second feature off the ground, by nudging the Film Com mission and placing on record his opinion that Ward is “ one of the most promising and original direc tors of his generation” . But it will take more than rhetoric to transform dreams into celluloid in the cool, free-m a rket-orie nted economy that is rapidly emerging under David L a ng e’s Labour government. Special taxation incen tives are a no-no, and there are no signs that Finance Minister Roger Douglas is likely to ease the legis lative clamp in respect to private investment, imposed exclusively on the film industry two years ago by his lo n g - tim e p o lit ic a l fo e a n d predecessor in the finance portfolio, former Prime Minister Sir Robert Muldoon. While Muldoon substituted a meagre 100%, one-year write-off on investment in certified New Zealand films for the previous situation of non-recourse-loan funding (which lifted feature production to unprece dented levels in 1983-84), it can T h e d e f ia n t o n e s: B a r n e y H a r r is o n (le ft) a n d W i K u k i K a a in Ngati, th e y e a r ’s o n ly f e a t u r e to d a te .

o ^ 5 g >. g N Z F C C h a ir m a n D a v i d G a s c o ig n e : th e c o lla p s e o f The Navigator is “ a tr a g e d y ” f o r th e N e w Z e a la n d f i lm in d u s tr y .

hardly com pete for investors’ interest in the market, when gearing is still prevalent in such other ‘indus tries’ as goat farming, bloodstock, ginger growing and the staging of musicals. However, the major factor in turn ing investors away from film, accord ing to most film industry sources, is currently the negative climate created by the Inland Revenue Department. Even though the Muldoon government allowed a twoyear breathing ^space (between 1982 and 1984) before dosing the tax-break loopholes, the Department continues to hold up the returns of many pre-October 1984 investors. Some sources estimate upwards of 1,000 investors are being 'done over’ by a trio in the Department delegated to work full-time on the matter, and that negative assess ments of film investment claims, dating back to the early eighties, are now being handed back. When Maynard first went noisily public on the Navigator abandon ment, he hammered what he termed “ the discriminatory tax system” of the governm ent. Because the industry had been singled out in legislation, it could not compete with other tax-driven opportunities for in vestors’ high-risk money, he said. The necessary underwriting could not be raised in New Zealand, even though the Film Commission had made its largest-ever single investment in a feature ($NZ1 million), and upwards of $NZ1.8 million had been obtained in presales around the world. Maynard asserts that the mini mum New Zealand regimen for film should at least measure up to Aus tralia’s. “ The television and film industries of all countries in the world are the business of government,” he said. “ One way or another, they have found ways to fund these industries and reduce the risks of investors.”

Film Commission Chairman David Gascoigne described abandonment of Navigator as “ tragic” , but said the industry had many “ very robust film makers who, in spite of the climate, will continue to battle the odds and strive to provide films by and about our people.” Commission funds for the current year total $5.7 million and, while Executive Director Jim Booth diplo matically talks of providing finance for a range of functions, his current emphasis is clearly on setting up co production treaties (enabled through government legislation late last year). A planned co-production deal with Australia would designate approved products as both New Zealand and Australian, with the consequent advantages that this would have in raising investment in both countries. Booth is also involved in negotiating treaties with the Canadians and the French. The treaty with Canada is in tended to secure the co-production a lre a d y u n d e r w a y be tw e e n Auckland-based Phillips-Whitehouse Productions and Filmline Inter national of Montreal, to make a film based on the bombing of the ‘Rain bow W arrio r’ . P roducer Lloyd Phillips says the production is ready to go in October, with a four-week shoot in Fiji, followed by six weeks on New Zealand locations. Post production will probably be in Canada. Another Auckland producer, Don Reynolds, is involved in what he describes as “ an official co-venture” with the Peoples Republic of China, scheduled to shoot on location here later in the year. The project’s title is Illustrious Energy — a dramatic story about two Chinese goldminers working New Zealand goldfields last century. Phillips is also involved in another project touted for shooting during the upcoming summer months. He will be executive producer on Testa ment, based on a book written by American David Morrell, screen writer of Blood Simple. Wellingtonian Jonty Barraud will produce, with Geoff Dixon directing. But, in these difficult times for feature filmmaking in New Zealand, optimism is in continual delicate balance with pessimism. While energies intensify on these and other projects, particularly some soon to be announced by Parr’s Mirage Films, several of the country’s limited number of proven directors have been lured away. Geoff Murphy flew to Hollywood early in July to give serious con sideration to a project for Kings Road Entertainment. David Blyth (Death Warmed Up) is shooting an action picture in Miami. And John Laing leaves soon for Vancouver to direct several segments of The Flitchhiker for Home Box Office. Jane Campion and Jonathan Hardy, meanwhile, are already being claimed by the Australian film industry. And, with this year’s W ellington and Auckland Film Festivals proving the most success ful ever, it is ominous to note that, for the first time in several years, no new New Zealand features are being screened.

France by Edouard Waintrop W ro n g tu rn s o n th e ‘r ig h t ’ tr a c k The numbers for France’s second annual ‘fête du ciném a’ were certainly good this year, with 1,800,000 admissions — 400,000 of them in Paris alone — clocked up in a single day (26 June). These figures, which were up on last year’s, didn’t exactly have exhibitors dancing in the street, however, since the whole massive PR exercise of the ‘fête’ — moviegoers bought only one ticket to gain admission to a number of different cinemas — could scarcely mask the grimmer reality. In fact, the idea (which originated with Jack Lang, when he was still the socialist Minister for Culture), was little more than a brief ray of sunshine in an otherwise overcast sky. The week preceding the ‘fête’ — 18-24 June — was a major low for the French box office, registering a 40% drop on last year’s figures. This one-week disaster, caused by the soccer World Cup and the good showing in it by the French national team, even managed to reverse the slight improvement during the first quarter of 1986. Taking Paris as an example, the first six months’ figures now show a 4% drop in overall admissions by comparison with 1985. Nor is this the only cloud on the horizon: the new audiovisual bill is

going through some traumatic birth pangs. Uncertain as to exactly how they are going to be carved up, France’s television channels, par ticularly the three public ones, have been spending the past year in a state of lethargy. Around them, the audiovisual environment has been changing rapidly. But the upheavals which accompany swings in elec toral fortunes and changes in the political majority have made it hard for them to assess a delicate situation, and even harder for them to take the right decisions at the right moment. Following its 16 March triumph, the new right-wing government made known its intention of privat izing two of the public channels. After a while, this was reduced to one. The government's own right wing was in favour of Antenne 2, but TF1 ended up being the chosen one. A bill was placed before the Assembly, but the draft was so illprepared that the right-wing majority itself called for m odifications. Francois Leotard, the popular new Minister for Culture and Commun ications, an extremely ambitious politician, put in an uncharacter istically incompetent performance. The whole affair might, of course, have been just another comic moment in the ongoing saga of

H USA by Pat H. Broeske

With the summer already half gone, Hollywood is still hungering for its hot-weather hit. Aliens may turn out to be it: early reviews are more than good (some critics claim it is superior to 1979’s Alien), and the opening weekend’s figure of $11.1 million indicates that 20th Century-Fox, writer-director James Cameron and star Sigourney Weaver have much to smile about. Maybe this is not so surprising: long before the warm weather arrived, Aliens was pegged as a winner. Then again, many titles that looked pre d icta b le on paper, weren’t. " It’s going to be a Cobra summer," bragged a Warner Bros executive shortly before the film’s release. And everyone anticipated that Sylvester Stallone’s latest would blow away the competition. But, though it hasn’t exactly bombed — $46.7 million in domestic ticket

sales can hardly be sneered at — it is certainly not a Rambo or a Rocky. Other ‘sure-fire’ hits have also missed. Despite a spate of success ful sneak previews (which let loose heavy industry buzz) and a ‘PG’ rating (meaning it’s for the whole family), Short Circuit never caught fire: ticket sales to date are $37.1 million. And, though marketing analysts claimed Poltergeist II: The Other Side had the summer’s great est ‘must-see’ factor, based on memories of the 1982 original, it’s scared up only $37.8 million to date. Psycho III, which certainly doesn’t want for public recognition, also looks like being a disappointment: after two weeks, ticket sales were still only $10.8 million, against Holly wood’s prevailing wisdom that a sequel has got to break records in its first weeks if it’s to catch or surpass the original’s receipts.

S till lo o k in g f o r th e r e a l th in g ? C u ltu r e M in is te r F r a n ç o is L e o ta r d .

French political life, if it had not already had a number of detrimental effects on the French film and tele vision industry. TF1, under threat of privatization, has been operating in slow motion for the past year, producing less than usual and entering into very few external production contracts. The two private channels, ‘la Cinq’ et 'la Six’, set up last year by the socialist government (see Belinda Meares’s column in Cinema Papers 56, March 1986), also have an uncertain future under the new regime, and are likewise obliged to move cautiously. It is further downstream, however, at the independent production company level, that the real reper cussions have been felt. As a result, one paradoxical result of the new go vern m ent's m uch-proclaim ed policy of encouraging business has been that French production com panies are now doing little more than mark time. All around them in the European Community, big things are going on, with deals being done over satellites, new international networks and pro gramme exchanges. There is a real

D e f e n c e lo b b y : A n t h o n y E d w a r d s (le ft) a n d T o m C r u ise in Top Gun. T he N a v y is r e c r u itin g th e m o v i e ’s p a tr o n s .

Another disappointment, con sidering its heavyweight cast, is Legal Eagles. At time of writing, the Robert Redford-Debra Winger-Daryl Hannah romantic comedy has taken $32 million. Not bad, until you weigh that against a reported cost of more than $45 million. Prince's Under the Cherry Moon also looks to be a washout. Grosses were only $7.9 million after two weeks, although a handful of critics predict it will ultimately emerge as a camp classic with a perpetual niche on the 'midnight circuit’. And, despite lots of press about Arnold Schwarzenegger and his Kennedy bride, Maria Shriver, Raw Deal brought in only $15.9 million. The consensus on this one, released after Cobra, is that moviegoers may finally have had enough of guncrazy tough guys. As for the hits, they’re led by Tom Cruise: ticket sales for Top Gun stand, at time of writing, in excess of $88.4 million. If no one is surprised by this (after all, it is produced by the folks who brought us Flashdance and Beverly Hills Cop), there have been one or two bona fide box-office jolts this summer. Not even Columbia Pictures, for instance, predicted that The Karate Kid II would emerge as a summer champ, especially since it deviates

chance of being able to stem the American TV flood and to establish a genuine European industry. But the French companies have to remain on the sidelines. Even the film world is starting to get worried. The reason for this is that the cut backs by the public channels, together with the private channels’ increased reliance on existing stocks of films, can only aggravate the existing fall in cinema attendances. All eyes, then, are on the end of August, when the holidays will be over and there should, as usual, be a flood of films capable of refilling the cinemas. Among local films, a lot of hopes rest on Claude Berri’s Jean de Florette, starring Yves Montand and Gerard Depardieu, a major produc tion attempting to recreate the wonderful world of that writer and filmmaker of France's ‘deep South’, Marcel Pagnol. Other autumn favourites include Alain Corneau’s Le Môme, starring Richard Anconina, one of French cinema's brightest young hopes; Le Rayon vert, the annual film by that still-youthful survivor of the New Wave, Eric Rohmer; Alain Resnais’s Mélo, starring Fanny Ardant; and Alain Cavalier’s Thérèse, the revela tion of Cannes. As every year, of course, it may turn out to be an American film that hits the jackpot, such as Poltergeist II, Tobe Hooper’s Invaders from Mars and, above all, Steven Spiel berg's The Color Purple. And there is also that British outsider, disputed winner of the Palme d ’or at Cannes this year: Roland Joffé’s The Mission, starring Jeremy Irons and Robert De Niro.

so radically from the original. "Can you imagine," quipped one execu tive from another studio: “ all this from a sequel that’s actually it’s own movie?" Meanwhile, the aforesaid Top Gun is proving very potent at Navy re cru itm e n t offices. Since its strategic opening (on 16 May — Armed Forces Day), the Navy reports a flood of enquiries about its fighter pilot programme, and recruit ment tables have been set up in certain theatre lobbies. Not every moviegoer, of course, can make the grade: the T op Gun’ school, located at San Diego’s Miramar Naval Air Station, accepts only the top 1% of applicants. Meanwhile, another fly boy goes in front of the cameras: Superman. IV shoots in London in September, for the omnipresent Cannon Films, with Christopher Reeve, Gene Hackman and Margot Kidder as their old selves. This one is all about the ‘Nuclear Man’, a result of a scientific scheme concocted by Lex Luthor and his c re e p y nephew , Lenny, and intended to dissuade Superman from dismantling the w orld’s nuclear weapons. While the world waits for Superman to go into action, the reporters at the Daily Planet have to put up with a new owner: an Austra lian tycoon who owns a string of sleazy tabloids, and whose daughter takes a liking to a certain tall, dark, bespectacled reporter. ^

CINEMA PAPERS September — 63

O V E

Is there no stopping _Men? Doris Dome's comedy, Manner, about stereotypical males, is still at the top of the box-office charts. And, with the three-million-ticket mark now passed, the Kinoverband has given it a ‘Goldene Leinwand’ (Golden Screen) award. Along with Alex ander Kluge’s far more serious Der Angriff der Gegenwart auf die übrige Zeit, Dörrie’s film also won a ‘Silbernes Filmband’ (Silver Filmstrip) in the Federal film awards. The golden one went to Margarethe von Trotta’s Rosa Luxemburg. Meanwhile, Dörrle, whose film has already opened in the States, has announced two new projects: Laby rinth, which she will be co-producing with Chris Sievernich, and Love Hotel, a love story set in Japan. The big film headlines recently, however, have been about the spec tacular break in the shooting of Gelächter in der Nacht, a film ver sion of Vladimir Nabokov’s novel, Laughter in the Dark. Among the cast were Maximilian Schell and rock star Mick Jagger. The reason given for work being stopped was financial difficulties at productioncompany level. By contrast, the German-Soviet co-production, Es ist nicht leicht ein Gott zu sein, is still almost certain to go ahead in October, after many months of planning. The director is Peter Fleischmann, the budget 30 m illio n D e u ts c h m a rk s ($ 2 2 .2 million), the screenplay by JeanClaude Carriere, the story a fantasy, and the cast headed by Peter Ustinov, Flanna Schygulla, Kurt Russell and Carole Bouquet. Most of the shooting will take place in the Crimea and on the soundstages of Munich’s Bavaria Studios. On the home front, following the Am erican m odel, G erm an hit movies are now spawning sequels. In the wake of Otto 2 and Schimanski 2 (see previous columns), there is now to be a Tin Drum 2. Volker Schlöndorff is already at work on the screenplay, and David Bennent will again be playing the lead. For the time being, however, Schlöndorff is still tied up in America, where he is filming The Most Power ful Man in the World, with Steve Martin. Last but not least, Germany’s favourite TV actor, Klaus-Jurgen Wussow, star of the hospital series, Die Schwarzwaldklinik, is getting into films. Called Bitte lasst die Blumen leben, it will cost six million Deutsch marks ($4.5 million), and be a version of a novel by bestselling author Mario Simmel. A particular favourite in cinemas with a student audience has been the ‘Cannes Reel’, a compilation of prizewinning entries from this year’s festival of commercials in Cannes. And, on the subject of advertising, th e C h e rn o b y l d is a s te r has prompted a series of anti-nuclearenergy commercials, the first of which was shown at the Munich Filmfest. The ads will be either 30- or 60-second slots, and are being financed by subscription. On a similar theme, Dennis O ’Rourke’s Half Life was recently voted ‘Film of the Month’ by the Evangelical Jury. Sadly, however, by the month in question (July), it

A S

R E P O R T S

G e r m a n y by Dieter Osswald O f M ic k a n d

Momo ( R a d o s t B o k e l a n d J o h n H u s to n ). N o v e lis t E n d e lik e s it a lo t b e tte r th a n The Neverending Story. has already vanished from German screens. Top of the titles that were very much present was Coline Serreau’s French comedy, Trois hommes et un couffin. Runners-up were Young Sherlock Holmes and Out of Africa. Volker Schlondorff’s Death of a Salesman, with Dustin Floffman, was also doing good business. Chief among the flops were 9% Weeks, Runaway Train and Pretty in Pink. The Italo-German co-production, Joan Lui, a silly comedy star ring Adriano Celentano, also came a

Men

cropper. And Miko — Aus der Gosse zu den Sternen by Frank Ripploh, who scored an international hit with Taxi zum Klo, was dis appointing, too. Currently, however, all eyes are on the success or otherwise of Momo, the film version of the novel by Michael Ende, which has been translated into 27 languages and which, in Germany alone, has sold over five million copies. If Ende was unhappy about Wolf gang Petersen’s version of his other bestseller, The Neverending Story, he is allegedly very satisfied with Johannes Schaaf’s handling of Momo, even if critics do not always appear to share his opinion. The

film, shot at Rome’s Cinecittà, stars the eleven-year-old discovery, Radost Bokel, as Momo. John Huston makes a guest appearance as Master Hora. Finally, some statistics. According to the latest poll, 14% of all Germans over the age of fourteen — some 6,700,000 people — go to the cinema once a month. Of these, 37% go as often as twice or three times a month, and 10% at least once a week. Further revelations: a third of the population (around six teen million people) has been to the movies at least once in the past year. But 4% of the over-fourteens — around two million people — don’t go at all.

Japan by Naoko Abe and Georgina Pope U n s e a s o n a l g h o s ts a n d a n im a l m a g ic

A second Tokyo Film Festival is to be held in late September 1987, on a smaller scale than last year’s in augural event: there will be a com petitive main section, but the ‘Young Cinema Section’, which last year carried prize money of $1 million, has been abolished. There has, however, been at least one spin-off. Cinemagoing in Japan is traditionally seasonal, with New Year, the May national holidays and summer the prime release periods. Until the Tokyo Film Festival, horror and ghost stories were strictly for summer release only, since it is believed that ghosts only make their appearance in the hot, steamy weather. The success of the Fantastic Film Festival section changed all that, and it alone will be repeated this autumn. Local product for summer release includes Schochiku’s Kinema no ten Tenchi (The Story of Filmmaking in Japan), budgeted at a whopping 11 billion yen, and commemorating the

64 — September CINEMA PAPERS

50th anniversary of Schochiku’s Ofuna Studios. It is directed by Yoji Yamada and stars Kiyoshi Atsumi, both of ‘Tora-San’ fame. Tora-San is the central character in a dozen titles of the same name, portraying the adventures of a wandering sales man. Over a dozen Tora-San features have been made, and all have been enormous box-office hits domestically. On the independent front, Kuzui Enterprises, who began distributing only last year with the successful Stop Making Sense, have just opened Pumping Iron 2: The Women, featuring Australia’s own Bev Francis (see the ‘Profile’ on page 13). Future releases from Kuzui include the punk story, D.O.A., and Spike Lee's She’s Gotta Have It. Meanwhile, on a recent trip to Beijing, well-known actor Ken Takakura announced plans to produce a film about Japanese war orphans left in C hina. T h o u sa n d s of Japanese children were left behind when Japanese troops pulled out during World War II, and have been brought up by Chinese families. The two governments are currently co operating on a programme to

reunite fam ilies, and several hundred of the now 40- to 50-yearolds have been visiting Japan in the past year in search of long-lost relatives. Less than half find their kin. Other upcoming productions in clude Schochiku’s Hachiko (Shibuya Dog), set in the Taisho Era (the nine teen-twenties), with a budget of $US12 million. It is the story of a dog which, after the death of its master, hangs round the centrally-located Shibuya station doing wonderful deeds, including rescuing children from drowning in a nearby river and generally keeping the peace. Schochiku plan to rebuild the old station for an autumn shoot. Elsewhere, other dogs, along with robots, goblins and cats, dominate Japan’s screens this summer as well, in the form of Hambone and Hillie (with Lillian Gish), Labyrinth and the Fuji Network’s Chatran (The Adventures of a Kitten), mentioned in July’s column . Toho Distribution have just reopened Disney’s 101 Dalmatians, on a double bill with The Black Cauldron. Definitely not a dog in box-office terms, however, is Rocky IV, which has established 24 house records, and taken $US12.5 million at 208 cinemas nationwide.

Britain by Sheila Johnston T h e B ritis h h a v e c o m e : D a v id P u ttn a m to b e th e n e w C h a irm a n o f C o iu m b ia P ic tu re s comedy, Turtle Diary. Krabbe has cancelled his commitment to a role in Mario Puzo’s The Sicilian for the privilege of being blasted by Bond. But who will be doing the blasting is still uncertain. Bond-elect Pierce Brosnan is having trouble wriggling out of his contract to star in Reming ton Steele, and producer Cubby Broccoli could find himself taking Roger Moore out of mothballs for yet another outing. Meanwhile, the Peacock Com mittee has laid a curate’s egg of a report on the future of British broad casting. The main thrust is towards deregulation: an unlimited number of channels, the introduction of payTV by subscription and, eventually, a metering device. There is also a proposal to abandon internal programme-vetting of the kind that caused the Real Lives debacle reported in this column last year: TV censorship would be subject, like film, to the law of the land. What is ruffling Mrs Thatcher’s feathers, however, is the fact that Peacock has, against widespread expectation, not endorsed her pet plan to introduce advertising on the BBC (which is currently financed by a licence fee). As a result, the Com mittee’s findings could be placed on hold until after the next general election. After a sluggish spring, several

interesting new productions have gone on the road over the last weeks. Chief among them is Prick Up Your Ears, the story of the illstarred homosexual relationship between playwright Joe Orton and Kenneth Halliwell. Scripted by Alan Bennett and directed by Stephen Frears, it stars Gary Oldman, fresh from his impressive debut as Sid Vicious in Sid and Nancy, as Orton, and Alfred Molina (Peter Firth’s lugu b rio u s s id e k ic k in L e tte r to Brezhnev) as Halliwell. Meanwhile, Chloe Webb, the other half of Sid and Nancy, costars with Brian Dennehy in The Belly of an Architect, which, with a title like that, could only be directed by Peter Greenaway. A plot synopsis is probably neither poss ible nor desirable. On location in Zimbabwe, Richard Attenborough has started shooting Asking for Trouble, based on the two books by Donald Woods about black South African activist Steve Biko. Denzel Washington (from A Soldier's Story) has been cast as Biko, while Woods, who is acting as consultant on the production, is played by Kevin Kline. While there is always the risk of a bland hagio graphy along the lines of Gandhi, Asking for Trouble could and should, in the light of the sanctions row dominating UK headlines at the

time of writing, be a controversial film. One production that certainly will be provocative is Ken Russell’s latest opus, Gothic, which encom passes narcotics, romantic poetry, unorthodox sexual practices and things which go bump in the night — in short, most of the staple ingredients of a Russell film. The story concerns the strange experi ences of Shelley (Julian Sands), Byron (Gabriel Byrne) and Mary Shelley (Natasha Richardson) during one night in a lonely villa on the shores of Lake Geneva. At the box office, admissions con tinue to rise, with the first four months of 1986 up by 18% on last year (even if, more recently, receipts have been dented by the World Cup, Wimbledon and a minor heat wave). Current hits include Jewel of the Nile, QV2 Weeks, Down and Out in Beverly Hills and After Hours, Scorsese’s first British bull’s-eye for a very long time. A Room with a View is still sitting pretty in the London charts; and, in the subtitled market, Ran continues to run and run. * F r a n k e n ste in m e e ts C h ild e H a r o ld m e e ts th e M a s q u e o f A n a r c h y : K e n R u s s e ll’s Gothic, a b o u t a h a r r o w in g n ig h t o u t w ith th e p o e t s o n th e s h o r e s o f a S w is s la k e.

CLIVE COOTE

As British Film Year draws to a close, David Puttnam (who, you may remember, gave the world Chariots of Fire, Local Hero and The Mission), is making tracks for Hollywood to become Chairman and Chief Execu tive Officer of the Coca-Cola-owned Columbia Pictures. Puttnam has already dallied awhile on the shores of the Pacific, producing Foxes and Midnight Express in Hollywood in the late seventies. And, though he was reportedly chastened by the experi ence, he seems to have swallowed his distaste for the studio system (a pill sweetened, no doubt, by a rumoured three-year, $A7.5-million contract). As his opening gambit, Puttnam has signed TV comic Bill Cosby to produce and star in his own feature film. British producers apparently welcome the idea of a friendly face in L.A., though one wonders how long Puttnam himself will make out as the Coca-Cola Kid. Back in Britain, the Bondwagon is slowly cranking back into action for the next 007 epic, called The Living Daylights, after one of Ian Fleming’s short stories, and due for release in summer 1987. The villain has been unmasked: Dutch actor Jeroen Krabbe, who starred in Paul Verhoeven’s The Fourth Man, and had a supporting role in the British

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A N D

An affair of catholic — if not Catholic — ta ste s Sydney Film Festival: a w id e ch o ic e, b u t n o thing too ou trageou s This year’s Sydney Film Festival, held from 6-20 June, came to the public (though I might have pre ferred it if it were the public that came to the festival), and was re warded with an 11% increase in ticket sales and universal praise from film reviewers, who dubbed it the best in years. The range of films was so diverse that it had the breadth to please some of its audience most of the time, but perhaps lacked the depth to please most of its audience most of the time. The special night of Spanish cinema went down well, the Chinese and horror film nights less so. All in all, then,a festival with some dubious choices, but nothing too outrageous either way. One of the highlights were the ‘restoration pieces’. Michael Powell and Emeric Pressburger’s The Life and Death of Colonel Blimp (1943), with its fabulous production, wit and masterful camerawork intact, poss essed a narrative which whisked you throu gh tim e like a W ellsian machine. Equally enjoyable was Rouben Mamoulian's Becky Sharp (1935), a delightful comedy of manners with a cut-crystal performance from Miriam Hopkins. Both films had a clarity of theme and technique that reminded you of why film is also history — and that you need to see now and again that everything that you take for innovative today has already been done before. While everyone seemed to agree that it was more exciting to be out side in the street watching passions run hot over Jean-Luc G odard’s Je

vous salue, Marie (Hail Mary) than to be inside watching this chilly reflec tion of misogyny and religious tur moil, the same was not true of the same director’s Detective. This clever pastiche of Shakespearian structures and allusions, American crime films and self-parody was an intellectual endgame and a delight. Added to the beautiful photo graphy of Bruno Nuytten was a fabulous soundtrack that constantly cut across the images and mocked the dialogue. The result was a visual mind-tease by Godard that few film makers have the sardonic mind or capability to match. American Rebel was an interest ing documentary by Will Roberts about an interesting phenomenon, singer Dean Reed, who, without actually defecting to the East, made his career and home there for nearly 20 years. Reed, who was killed in a boating accident three days before the film ’s screening in Sydney, is revealed as a complex idealist with much of the Yankee naivety and ‘gosh-gee’ attitudes that are often a part of the American stereotype. The documentary, though tenta tive and at first skirting the issues, gradually hardens its gaze until it quite firmly places its sympathy on the line with its hero. And it is a nice companion piece to the other ‘diffi cult’ American film in the festival, Uforia. Uforia’s delayed release (it was made in 1980) speaks volumes for the way American distributors see their audiences and their own pur pose. Naive, idealistic and un realistic people — an evangelical preacher, a drifter who plays on his resemblance to Waylon Jennings and a romantic dreamer obsessed with UFOs — are confronted with some awful truths and, fortunately, an uncloyingly happy ending. Although Brother Bud (played by the marvellous Harry Dean Stanton),

M A R K E T S Sheldon and Arlene are small-town people with small-town hopes, direc tor and writer John Binder has nothing but admiration for the strength of their beliefs and their courage, and portrays them with wit. Very much Dean Reed country. By contrast, the ‘unhappy souls’ of Agnieska Holland’s Kokieta samotna (A Woman Alone) endure smashed hope after smashed hope until, finally, they can endure no longer. This tragic tale of a middleaged woman, alone with a small boy and grasping at straws of happi ness, proved too much for some of the Sydney audience (who burst out laughing — be it from tension or dis belief — when the woman and her crippled lover crash their car during their escape to the border). But it is an intense film about the misery and meanness that people inflict on each other when they have no personal or political choices. Small wonder, then, that the film, made in 1981, has not been released in Poland. Unlike Nadzor (Custody), the other Polish offering, which wore its audience down in its attempt to com municate, A Woman Alone left you replenished with determ ination rather than depleted. Custody was one of several films that surprised by being worthy but disappointing. Among others I would count Cool Runnings: The Reggae Movie, whose bad editing and shooting could not be countered by its enthusiasm; the straight and un imaginative coverage of the talented Laurie Anderson in Home of the Brave; Lea Pools’s Anne Trister, which was a simplistic cross-cutting of meaningful events and people that never added up; and Ken Mc Mullen’s Zina, a highly operatic and rhetoric-laden melange of symbols, landscapes and psychology which did no justice to its theme of Anti gone or to the tragic life of Zina Bronstein, the daughter of Lev Davidovich Bronstein, otherwise known as Trotsky. Of the Australian contingent at the

Succes de scandale: B la n c , M io u Tenue de soiree.

M io u , D e p a r d ie u in

festival, 2 Friends, the Jane Campion/Helen Garner/Jan Chapman collaboration, was marred by faulty sound, but still managed to shine as a delicate, finely-tuned film. Tracing the breakdown of the seemingly in destructible bond between two schoolgirls, the film moves back in time to reveal the turning points. It does so without the arrogance of hindsight or the intrusive camera of television technique (the film was made for the ABC). A ‘little’ film, it appeared to go beyond its small story and limited action because it closed in on the intimate and minute details of character and narrative. The festival for me, though, was epitomized by^ the screening of Tenue de soirée (Evening Dress), directed by Bertrand Blier. Bawdy, irreverent and quick-witted, it turned sexual stereotypes and expectations se v e re ly on th e ir head ^and ferociously ran them down. Gerard Depardieu’s performance as the brawny ex-con with homosexual preferences is startling. While the film lingers excessively in a few scenes, the transformation of the characters leaves the audience blinking. M eanw hile, G reate r U n io n ’s Terence McMahon, who has bought the film, hovered in the State Theatre’s foyer, keen to know if Evening Dress had overstepped the bounds of ribaldry. He must have been relieved to see it nominated ninth in the festival’s ten most popular films. What would have been unaccept able to public taste but highly suit able for a festival audience in past years has now become acceptable for both — something which con firms the identity crisis facing the Sydney Film Festival, to which I referred in my report last year (Cinema Papers 53, September 1985). Instead of being a cornu copia of obscure delights, it is now a binge of filmgoing that requires stamina and catholic — if not Catholic — tastes, rather than strength of mind and aesthetic perception.

Helen Greenwood ►

F E S T I V A L S

A N D

M A R K E T A J o h n is a jo h n : L o u is e S m ith a s M o lly in L iz z ie B o r d e n ’s n e w f i lm ,

W orking Girls.

Swings and roundabouts Box office up, bu t problem s still beset the M elbourne Film Festival It is becoming customary, in writing about the Melbourne Film Festival, to express a mixture of surprise and gratitude that it has happened at all. After 1984’s debacle, the 1985 festival was a small miracle. And, given the festival board’s decision not to reappoint director Paul Coulter (who has now gone west to head the Film and Television Institute in Perth), M elbourne cinemagoers should presumably breathe a sigh of relief that there was a festival this year, too. It is, however, hardly surprising that a certain amount of confusion and tension should have sur rounded the 1986 event. To start with, laudable attempts to develop a kind of fringe festival of Super-8 and video programmes led to complaints from local filmmakers that one of their few public outlets had been taken away, and that, once again, work by overseas artists was being given preference over that of local filmmakers. And then there was the Kangaroo affair. The film's producer, Ross D im s e y , a n d its A u s tra lia n distributor, Filmways, apparently only agreed to its being the opening night gala presentation if it was not reviewed in the press. Inevitably, however, reviews did appear, including a less than ecstatic one by Neil Jillett in The Age. The festival’s claim that Jillett had b ro k e n th e ‘ e m b a r g o ’ w as dismissed by The Age, on the grounds that no formal embargo had been placed: the festival’s letter m e re ly c o n v e y e d F ilm w a y s ’ ‘request’ that there be ‘no formal critique’ of the film. For a while, the three parties — festival, Filmways and Age — remained locked in stand-off. And, even if, in the end, everyone calmed down, relations with local distributors — a recurring problem for the festival — have

certainly not been improved. But what of the films? Receipts were apparently up an Impressive 29% at the box office. And an unofficial survey — no one seems to have bothered with a ‘top ten’ this year — suggested that Ososhiki (The Funerai), Desert Bloom, Pet rin a Chronia {Stone Years), Visages de femmes {Faces of Women), Mixed Blood, Working Girls and the two Michael Apted documentaries, 7 Up and 28 Up, were among the preferred films. Plus, of course, Tenue de soiree {Evening Dress), discussed by Plelen Greenwood on the previous page, and Stammheim, reviewed on page 42. Visages de femmes tells two stories: one about love (a young African woman refuses to be “ slave, possession, thing” to her husband, and establishes another relation ship), the other about work (a sharp, middle-aged businesswoman de m an ds and w ins fin a n cia l independence). These two women’s stories are framed by another event: a festival. The women of the village sing, dance and gossip: they are the chorus, commenting on the actions of the protagonists. ^ Directed by Desire Ecaré, Visages de femmes is imbued with warmth, colour and vitality, and seems closer to docudrama than fiction — an effect of the seemingly unintrusive camerawork which doesn’t simply focus on the main actors, but seeks out the expressions on many faces: the hagglers in the fishmarket, the men gambling in the village, the women working in the fields. It also contains a frank lovemaking scene whose joyful sensuality made the film one of the most memorable in the festival. A n o th e r im p r e s s iv e n o n American, non-European film was Trikal, Past, Present and Future, directed by Shyam Benegai. A man returns to Goa and, in the tradition of novelist Gabriel Garcia Marquez, a rich, romantic and quite bizarre family history unfolds (which Is, of course, a matriarchy). Trikal is high melodrama, though not without traces of political history (Goa was a Portuguese colony until 1961, the year in which the action takes place) and a commentary on the beliefs of the aristocratic Catholic family at the centre of the film. Programmed on the first and last days of the festival, Trikal did not get the critical attention it deserved, nor

68 — September CINEMA PAPERS

did the festival seem to know what to do with the film's star, Sushma Prakash, a brief visitor to Melbourne. Another visitor was Ken Mc Mullen, director of Zina. Speaking after a screening, McMullen said his interest was in “ rescuing characters from the shadow of history". In the film, he evokes the life of Trotsky’s daughter, Zina, a courageous (though disturbed) woman, who Is likened to Antigone, daughter of Oedipus. McMullen in fact uses the framework of classical tragedy: Zina is portrayed as a seer, while her father is blind to instinct — a rational man who believes interpretation of the natural world should be left to the poets. Domiziano Giordano is excellent as Zina, though the character of Trotsky (Philip Madoc) is not always so convincing. From the US independent sector, Lizzie Borden’s Working Girls was a slight disappointment after the energy and inventiveness of Born in Flames (1982). The great thing about Borden’s first film was that it was radical In content, experimental in style and accessible. With Working Girls, about a day in the life of a Manhattan brothel, Borden chooses to focus on the individual women, and on the relationships between them and the owner, Susan. The wider issues that made Born in Flames so fascinating are somewhat marginalized, and the undoubted reality of day-to-day brothel existence — that a john is a john is a john — may enhance our sense of the film’s accuracy, but also leaves a kind of 'so what?’ feeling. Apparently one of the festival’s least popular films, L ’Amour par terre (Love on the Ground) is the latest from that, fringe dweller of the French new wave, Jacques Rivette. But, along with Godard’s Détective (discussed by Flelen Greenwood), Kluge’s Die Angriff der Gegenwart an die ubrigen Zeit (The Blind Director), Tenue de soiree and Stammheim, it definitely yielded that specifically ‘film festival’ pleasure: the chance to watch a major director at the pe ak of his po w e rs manipulating the medium of cinema. In L'Amour par terre, Rivette merges the playfulness of Céline et Julie vont en bateau (Celine and Julie Go Boating, 1974) with that examination of the borderline between theatrical role-play and our .sense of sexual and social identity that made L ’Amour fou (1968) arguably his greatest film. A group of down-on-their-luck actors is hired by an eccentric millionaire to re-enact the traumas of his own relationship for an invited audience (on-screen as well as in front of it). But the relationships between the actors and their e m p lo y e r , h is f r ie n d s , his idiosyncratic valet and each other refuse to be contained, resulting in a film that is as multi-faceted as L ’Amour fou and as funny as Celine et Julie — a major achievement that soon overcame one’s sense that one had seen it all before. Which was, sadly, a feeling that kept creeping up on one elsewhere in the festival. Kathy Bail and Nick Roddick

The prognosis from Pula •.

33rd Festival o f Yugoslav Film m ay m ark the end o f an era With inflation running at a crippling 85%, production costs escalating at an equally alarming rate and a gross lack of the hard currency necessary to purchase film stock, Yugoslavia is still managing to maintain its annual average of between 30 and 35 features a year. But the prognosis is not good: mid-summer shoots have always been popular, but less films are in production right now than at any time in the past five years. It is hard to see how the current high international profile of Yugoslavian film can be maintained. Serbia heads the production stakes (odd, when you consider that the republic has a minimal subsidy for cinema), producing nearly half the films. Croatia comes a close second with six, followed by Slovenia with five. Macedonia, Montenegro, Kossova, Vojvodina and Bosnia and Flercegovina had one a piece at the annual Pula show case this year. Stole Popov’s Srecna Nova '49 {Happy ’49) swept the board, with five ‘Golden Arenas’. As with last year’s winner, Otac Na Sluzbenom Putu (When Father was Away on Business), Happy '49 is set at the time of Tito’s ‘divorce’ from Stalin. A family drama, a powerful love story and an authentic period piece rolled into one, It was scripted by veteran writer Gordan Mihlc, and takes a look at the internal crises, doubts and dilemmas posed by ideological dogmatism. Its main concern is the right to an alternative choice in life — a ‘third way’. Za Srednu Je Potrebno Troje (Three's Happiness), the latest offer ing from Prague-educated FAMU director, Rajko Grlic, is a surprisingly speedy follow-up to U Raljama Zivota {In the Jaws of Life), consider ing that Grlic usually spends between three and five years between projects. Three’s Happi ness tells the story of Drago (played

by the excellent and ubiquitous Walter Matthau-lookalike, PredragMiki Manojlovic), who is driven by poverty and despair to rob a village shop with a toy gun. After three years in prison, Drago returns to Zagreb and gets caught between two totally different women who play integral roles in the deter mination of his fate. The result is a modern melodrama not only about love triangles, but also about commitment, cowardice and the criminalization of innocent victims. Zoran Tadic, master of the psychological thriller in this part of the Balkans, was back in the Arena this year, following the international success of his 1981 film, Ritam Ziocni (The Rhythm of Crime). San 0 Ruzi (The Dream of a Rose) is a con temporary story of a man who tries to stay honest in a patently dishonest world. A factory worker (Rade Serbedzija) inadvertently witnesses a double murder and becomes both suspect and investigator. He finds a large sum of money at the scene of the crime, as well as a gun, and he takes both home. Then comes the moral dilemma: to tell or not to tell; to spend or not to spend. The Dream of a Rose is not just an ordinary thriller, but a tense morality play about right and wrong, corrup tion and honesty. In the context of Yugoslavia’s present financial situa tion, it is a bitter analysis of the situa tion in which those who are least guilty usually have to suffer the worst punishment. A much-deserved winner of the ‘Golden Arena’ for best photography (Goran Trbuljak), the film is seedily reminiscent of the decaying world of the earlier films written by Tadic’s^ regular contri butor, Zika Pavlovic. Totally ignored by the jury was Jovan Acin’s Bal Na Vodi (Dancing on Water), for me the best film of the festival. The p ro d u c e ^ is the irrepressible George Zecevic of Smart Egg Pictures, who was in volved in such productions as Makavejev’s Montenegro and The CocaCola Kid, as well as commercially successful films like Nightmare on Elm Street and Critters. Dancing on Water is basically a youth fantasy, based on the boyhood experiences and reminiscences of Zeíevic and Acin. C o m in g to g r ip s w ith a n e w a n d d if f e r e n t w o r ld : P r e d r a g -M ik i M a n o lo v ic in Three’s Happiness.

Using the Esther Williams film, Bathing Beauties, as a leitmotif, it chronicles the growing pains of the heroine, ‘Esther’ (Gala Videnovic) and her four admirers, who are all from a dispossessed bourgeois background, and shown in contrast to the unaccomplished Party man, Rile (a nicely understated perform ance by Milan Strljic). Esther’s father has remained abroad after being taken a prisoner of war. When her mother dies and Esther discovers that she is preg nant by Rile, the boys try to help her, and take advantage of a rowing competition in Istria to get her over to her father in Italy. They are im prisoned, her father takes her away and the boys never see her alive again. They all begin a new life abroad, never forgetting the bond that held them together through a most diffi cult period. Dancing on Water is a film of charm, depth, sensitivity and intelligence, told very much in the nostalgic style of American Graffiti and The Last Picture Show. In a sense, it is a highly political film, with out black and white judgements. And, for me, it far outstripped any other film at Pula this year. With new films by Zelimir Zilnik and Lordan Zafranovic shown in competition, the Pula audience had high hopes of being regaled with at least one classic from these two highly respected directors. Sadly, however, Z iln ik’s Lijepe Zene Prolaze Kroz Grad (Beautiful Women Walking About Town) missed the m a r k w i t h an o u t d a t e d collage/cinema vérité style of the sort that got him into trouble in the sixties with Rani Radovi (Early Works). Z afran ovic’s Veéernja Zvona (,Evening Bells) earned him the ‘Golden Arena’ for best direction, despite being a dull, predictable tale of the vicissitudes of 22 years in the life of Tomislav K, taking the spectator on an uneventful excur sion through Nazism, the war of revolution and the inevitable Cominform split. Meanwhile, of those directors without films this year, many are engaged in nebulous new projects which are unlikely to be finished before next year's festival. Emir Kusturica is preparing Gypsy Cara van, a chronicle of the contemporary life of Yugoslav gypsies, scripted by Gordan Mihic. Slobodan Sijan has abandoned his plans to shoot The Barbarians for Cannon, in favour of a totally new project with Centar Film. And Aleksandar Petrovié has put his 20-year-old project, Migrations, on ice, having been forsaken by the French Ministry for Culture, which had promised financial support. For Yugoslav film, the basic problem seems to be that no one wants to pay hard cash: non commercial retrospectives and festival screenings are the only outlet. Until Yugoslav producers d e ve lo p a p ro p e r m arke ting strategy, instead of bandying prints around like free gifts, they can never hope to generate the much-coveted hard currency necessary to maintain production standards. And the inter national boom could be over before it had really started. Mike Downey

R o s ie L o g ie , N o n i H a z l e h u r s t (se a te d ) a n d N a r e lle S im p s o n in

Sampling the blooms in Bavaria

Fran.

Large crow ds but slim German pickings at the fourth M unich Film iest “ A huge bunch of flowers for every one to pick from” is how Munich Filmiest chief Eberhard Hauff likes to describe his festival. Nor does he ever miss a chance to add that this is an event for the general public. 1986 was the fourth outing for the Bavarian festival and, the soccer World Cup notwithstanding, the general public turned out in force for the nine-day, ten-cinema, 150-film extravaganza. There were directors there from 30 countries and the ‘Festival of European Films’ was, for the second year running, a part of the Filmiest. Munich’s tried and tested categories were used again this year: as well as the ‘deutsche Reihe’ (German selec tion), there were programmes of foreign independent productions, children’s films and an international programme. The latter gave Munich movie goers a chance to see highlights from major foreign festivals: Tarkov sky’s Offret (Sacrifice), Altman’s Fool for Love and Spielberg’s The Color Purple from Cannes, and Peter Greenaway’s A Zed and Two Noughts and Austrian director Niki List’s Muller’s Burn from Berlin. As in Venice, Chris Bernard’s Letter to Brezhnev was rapturously received. And new offerings from the commer cial sector included the British comedy, Clockwise, Arthur Penn’s spy thriller, Target, John Badham’s teen movie, Short Circuit, and Blake Edwards’s A Fine Mess. By contrast with the international programme, the German offerings weren’t especially sparkling. It

would seem that tedious trips through the inner psyche are back in vogue in the Bundesrepublik, to judge by Rudolf Thomas’s Tarot, a turgid adaptation of Goethe’s novel, Die Wahlverwandtschaften (Elective Affinities). Then, as threatened in my July column (Cinema Papers 58), there was former critic Hans Blurnenb e rg ’s tiresom ely constructed thriller, Der Sommer des Samurai, starring fifties pop stars Peter Kraus (who sang the featured song, ‘Zuckerbaby’, in the film of the same name) and Conny Froboes. The ‘foreign independents’ sec tion was a real must-see this year, hinting (as it usually does) at the shape of trends to come. New Zealand was represented by Dangerous Orphans, Australia by Dennis O’Rourke’s Half Life and Glenda Hambly’s Fran. From the US came Robert Young's much-dis cussed Extremities, and Bill Sher wood’s well conceived gay movie, Parting Glances. Two years ago, Munich gave Heimat its world premiere. This year, it was the turn of another mammoth work, the eight-hour Väter und Söhne, directed by Bernhard Sinkel. The story of the German company, IG Farben, and its entanglement in two World Wars, it starred Burt Lan caster, Julie Christie and Bruno Ganz. Business was also done: Edward Pope and Norbert Auerbach (late of United Artists, UIP, CBS Films and a good few other major companies) launched their new, Luxembourgbased company, IFP, which, like many before it, is a European production company aiming for a share of the US market. And the protracted debate about whether Munich’s Eberhard Hauff was going to take over the Berlin Film Festival came to an end, at any rate for the time being, with the announcement that the beleaguered Berlin Film Festival chief, Moritz de Hadeln, has had his contract extended for a further five years. Dieter Osswald if -

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Fred Harden SAMPLES ThE WARES AT TRE SECOND INTERNATIONAL SMPTE CONFERENCE AND EXHJBJTJON IN SVDNEV In an industry that relies as much on technology as film and television, trade shows assume a special importance. After all, magazine reports — even the ones in Cinema Papers — are only a tease com pared to actually seeing a new product demonstrated. Australia’s isolation, and the relatively small size of our market, make trade shows crucial. We have all waited patiently for the releases of new film stocks that have been on the market over seas for some time, before the local distributor gets round to clearing existing stocks, or somehow feels the ‘time is right’. In video, there is the added prob lem of the incompatibility of our European-based system and the US and Japanese NTSC television systems — all of which makes local shows such as those mounted by the IREE (Institute of Radio and Elec tronics Engineers) and the SMPTE (Society of Motion Picture and Tele v is io n E n g in e e rs ) e s p e c ia lly important. The SMPTE, through its engineer ing standards committee and study groups, and by its documenting of technical developm ents in the SMPTE Journal, is also helping pro vide some conformity within the image-making industries. Working with an alphabet soup of committees such as the ANSI (Am erican National Standards Institute) and the EBU (European Broadcasting Union), the SMPTE assists in setting standards in a world that often sees standardization as a block to crea tivity and invention, and even as a restraint on trade. Sometimes though, mass marketing can bring about standardization, as with the VHS home video system, which has now become a de facto worldwide standard. The SMPTE has all these elements to juggle with, and is supported by a list of Sustaining Member com panies that reads like a complete A-Z of film and video brand names. The Australian section of the SMPTE gains prominence with each staging of its ‘Sound & Vision’ conferences (this year’s was held in Sydney from 24-27 June), and actively takes part in the social aspect of playing host to the international delegates.

With the financial support of the Australian Film Commission and the Federation of Australian Commercial Television Stations, there is also the presentation, over the four days of the conference, of a series of papers. What this means is that a technically interested audience is provided for what, on the whole, are individuals promoting some product or development that is (not entirely coincidentally) also on sale in the exhibition hall. The social aspects of a meeting of this kind would go almost unnoticed by visitors to the exhibition, but gives the fair the feel of an exclusive club, where the Australian members greet their US counterparts on first-name terms, and where it is traditional for Kodak to throw a cocktail party to welcome delegates.

The conference This year, the SMPTE conference opened with the presentation, on a temporarily-erected wide screen, of a collection of sequences from The Man from Snowy River, Phar Lap and the new proud-to-be-Australian, Crocodile Dundee. The Prime Minister officially opened the Confer ence, rather overshadowing the opening address by the-Minister for the Arts, Fleritage and the Environ ment, Barry Cohen. For his part, Mr Cohen began with an unsolicited advertisement for Sony, saying he now felt he understood the industry better after purchasing and using a Sony 8mm video Handycam. Fie admitted, though, that he couldn’t understand the manual. The presentation of papers then began in earnest, leading off with the now familiar face of Henri Stappaerts from Agfa in Belgium, talking about Agfa’s new XT stocks. While some of the papers seemed to be about sharing information, most were about specific new products that were on sale in the exhibition or else, more interestingly, presented a case study of a particular application. Over the four days, some of the more significant topics included Filmlab Engineering’s report on its computer-controlled processor for tight control of film soundtrack nega

tives; the plea by Dominic Case of Colorfilm that ‘You can still do so much with film opticals’; and a report on the coverage of the Indianapolis 500 by the Racecam developed by ATN-7. For a selected list of papers presented and details of available audio cassettes, see the box on page 73.

Buy Australian

company is developing a higherpriced broadcast model as well. And the Melbourne company, Sontron, announced that it has just sold several Editron editing control units to Pacific Video in California. What follows is a run-down on some of the products that I saw as setting trends or as otherwise significant.

Betacam rules

Since I assume that most readers of this column are more interested in the latest film and video production toys, I will do little more than mention the broadcast equipment which is always a significant part of each SMPTE show. Satellite dishes, Aussat, stereo sound and PIDTV (high-definition television) provided conversation for a lot of the dele gates and visitors on the floor, most of them wearing name-tags saying they were from the engineering department of a television broadcast station. , On the production front, there were, as was to be expected, few significant new products on show, most of them being improvements on existing design and hardware. Still, it was heartening to find that some manufacturers had brought costs down, at a time when the Aus tralian dollar stands so low against most major currencies. In almost every case, this was because of the use of microprocessors and the availability of cheaper personal computers. By the same token, the high cost of importing new equipment has moved some of the Australian products into the limelight, and more than once I heard buyers saying that they were supporting the local product out of preference. ‘Buy Aus tralian’ has never been an attractive motto in a market that draws on the best developments worldwide, but it is working now; and the plummeting exchange rates are making some of the local products attractive to over seas buyers. If the scale of our pro duction and our design skills can take advantage of this, then we will all benefit by the local expertise. An example of this is the small Melbourne company run by Joe Talia, which is producing vision switchers and mixers that, in the small-studio area, come head on with corporations such as the US Grass Valley Group, but at a more attractive price. Fairlight continues to sell its unchallenged CMI audio syn thesizer around the world, and has now developed its video effects syn thesizer to the point where there is so much overseas demand that the M i l l e r ’s P o r ta m o u n t: it is o la te s v e r tic a l a n d h o r iz o n ta l s h o c k .

When RCA introduced the Vz" M format in America, it looked as if it was destined to become the field production videotape recording format. But, within months, Sony had introduced its Betacam system, also on W , but carrying the dom estic VCR-format war into broadcast (Sony uses a Betamax cassette, RCA’s M format is on VHS). Despite major network pur chases of M equipment and a lot of users finding it superior to Betacam, Sony managed to reverse its defeat in the domestic market and become the de facto ENG format. Because of the ease of use of the Betacam equipment, the slight reduction in quality from 1" tape was considered a worthwhile trade-off, and it now looks like most TV stations will eventually be replacing their ‘cart’ players (which stack up the commer cials and the promo material for pro grammed replay). T h e tin y W V -C D 1 1 0 s u r v e illa n c e c a m e r a : th e s a m e C C D c h ip a s th e N a tio n a l F 2.

The rise of the Betacam-format edit suites and the acceptance of Betacam cassettes by some stations for release material has allowed a lot of producers to remain cost effec tive, especially in the low-budget, retail area of the commercials market. But it has also given birth to a number of interesting drama and documentary projects being shot on tape. The format records the output from the camera as individual com ponents (not just RGB), and only combines them when they are dubbed onto 1" or low-band cass ettes. The quality thus remains higher if all the aspects of the editing process can make use of the com ponent signals. Marsh International Films, a Los Angeles production company, has just completed a telemovie, Wizards, for Disney, shot entirely on Betacam, using Ultimatte to combine the live actors with the special mattes and fantasy backgrounds created on their graphics system. The cost savings were considerable, and the quality was apparently so good that a 35mm kine has been made for theatrical release. Elsewhere on the video front, there was a reflection at the show of the demand for component mixers. Tektronix showed a component testsignal generator, along with new ►

CINEMA PAPERS September — 71

vector and waveform monitors. In the lower-budget areas, there was JVC’s For-A range of equipment, which included the CVM-500 com ponent special effects generator, as well as field/frame stores with com ponent encoding. There was also an impressive dis play of prototype M-format equip ment from National. Called M II, it drew favourable comments, but it is probably too late for it to give the Sony format any real competition — something demonstrated by the fact that, on the Ampex stand, there was a range of familiar Betacam equip ment with an Ampex name where the Sony one should have been. It appears that Ampex has swapped Sony its 4SC digital recording information for the right to market Betacam equipment, at first to be made by Sony, but later to Ampex’s own designs. This provides a con siderable endorsement for the format.

Computers Everyone, it seemed, had a com puter-graphics system on show, ranging from the simpler, 8-bit Quanta system, which make it poss ible to create background and fore ground mattes that can be com bined with live subjects from a camera input, through systems such as the Artstar 3 (popular in Aus tralia), with full vector and raster animation, to a revamped AVA Picture Maker from Ampex. The AVA offers a cut-and-paste option with perspective control that looks just like an ADO effect. Character generators included a most impressive add-on card for an IBM PC (or clone) from Bio Elec tronics. For $3,500, this offers multiple fonts, colours, scroll and crawl, all in a standard PAL output. At the other end of the scale, Quantel’s Cypher is a combined digital-effects machine with a track ball control over a vast range of typefaces and colours, which can be controlled almost like the company's Paintbox. It may be a while before it becomes as ubiquitous in edit suites as the Chyron, but it presents an impressive leap forward in handling type on TV. There was also a new face on the Quantel stand, with which — or whom — I later caught up at a demonstration at the Video Paint brush Company in Sydney. The company has purchased Quantel’s new, completely digital, editing system called ‘Harry’. Harry can store 90 seconds of broadcast quality images that can be edited and manipulated from a Paintbox graphics tablet input. This could free a video design studio completely from the need for a 1" video tape editing system; and Harry inter faces with Encore, the Quantel 3D digital effects system. H a r d c o p y f r o m y o u r s o f tw a r e : th e M its u b is h i P 6 0 B .

The user-interface allows the designer/animator on the Paintbox to treat the material as a graphic repre sentation of ‘reels’ of images, cutting and splicing them as on a flatbed. Harry allows you to make a complete, 60-second commercial or a longer effects sequence that is first-genera tion digital quality until it goes to 1" master for release. The prospect of the completely digital editing suite is just round the corner. Meanwhile, sharing space on a modest stand at SMPTE were Peter Sjoquist, demonstrating his Scorpio Entertainment Network electronic mail system, and Steve Kuhn from C o m p u c a s t, w ith S h o w c a s t’ s information retrieval system. This hopes eventually to have all Showcast’s current list of performers, full contacts and facilities listings, and additional services such as props, locations and production personnel, all listed for instant access via a tele phone call and a personal com puter. More on these services in a later issue. Using microprocessors for an ad vanced system of colour ‘edge detection’ was the da Vinci colour grader. C osting approxim ately $50,000, this is a colour-correction controller that works with all the current telecines or for tape-to-tape grading, and it has some remark able features. The most impressive of these is a ‘geographical’ ability to select an area on the screen and change just that colour individually. By moving cross-hairs onto the object, the machine detects the edges to the colour, and allows it to be controlled without' affecting an identical object nearby. The process can be repeated any number of times. Since the launch of the product at NAB, the company claims to have sold 50 graders — an amazing number considering that the da Vinci would be mostly replacing existing equipment.

Invisible barriers The one product that was truly unique at the show couldn’t actually be seen. But it was certainly there: it was the P h o to g a rd process, developed by 3M, which puts a pro tective coating on film and photo graphic prints that stops abrasion, moisture, static electricity, colour P h o to g a r d : te n tim e s th e life e x p e c t a n c y f o r y o u r p r in ts .

degrading from UV, bacteria, and fills in base and emulsion scratches. The process has been available for some time (it won a Scientific Academy Award in 1984), and uses a thin polymer coating that is cured by UV, forming a clear (97%-transmission), tough coating. It is claimed to extend the life of cinema prints by

S up to ten times; and, at a cost of about 5.5 cents a foot for 16mm, and 7 cents a foot for 35mm, it cOuld be cost effective. The coating is being used by MGM to extend the life of its printing negatives, and allows a range of conventional solvents to be used to clean off fingerprints, grease pencils and dirt. The extra cost it adds to cinema prints tends to restrict its use to those smaller-quantity release prints that are expected to have a long life, rather than the multi-print blockbusters. Woody Allen has had all his prints coated with the process for some time, and a number of film libraries have begun using Photo gard. The company is represented here by Photo Advertising (Australia) Ltd in Sydney, and all the coating is done in this country.

Around the stands Apart from these major features and trends, there were any number of interesting individual products on show at the SMPTE. What follows is a few of them. ■ Not available at the time of the show but installed that same week was the pin-registered telecine gate jointly developed by the Sydney companies, Mirage and Videolab. I have yet to see a demonstration, but the device is claimed to be as good as the American-developed Steadygate (subject of a paper at the con ference), but at a fraction of the cost. ■ Kodak announced the availa bility of the high-speed 16mm nega tive, 7292 (mentioned in our fast stocks test in Cinema Papers 54, October 1985), and a new 35mm fast stock, 5295, with superior blue separation, for special effects work. Similar qualities are claimed for an in te rm e d ia te p r in tin g s to c k , 7243/5243. ^They all use the new Tgrain developments for fine grain and faster speed. ■ On display at the John Barry Group stand was a new Panther dolly that has a larger platform on the head, allowing the assistant to sit opposite the operator. The Panther still has one of the smoothest elec tronically-controlled hydraulic lift systems around. Also on the Barry stand was the update to the Arri BL 3, the new Arri BL 4. The most obvious external feature is the extra-large extension viewfinder, with illuminated groundglass markings. Arri has also re modelled the Lightflex into a simpler and smaller device that now looks like a more workable tool, which comes complete with an inbuilt, battery-powered dimmable eyelight. Also attracting attention on the same stand was the Schwem Gyro zoom lens. This battery-powered, g yro scop e-stab ilized lens was demonstrated with the aid of a hand held camera whose operator was sit ting on a coin-in-the-slot kid’s rocking motorbike. The video feed was impressive in smoothing out movement that would otherwise have made the results from the zoom quite unusable. ■ On the Samuelsons stand, they were showing an improved video assist system with reduced flicker. After much effort, Sammies have hit

on the combination of the new CEI Technologies camera tube, and attached it to a Jurgens mount. Sammies were also promoting the new ‘E’ series Panavision anamorphic lenses. The ‘E’ series were apparently meant to be an interim set, until the lenses that Panavision has been designing for some time could be released. As it turned out, this set of lenses (25, 35, 40, 50, 85 and 100mm) are producing such stunning results that David Connell, DOP on Slate, Wynn and Blanche McBride, has gone with Panavision after test-shooting in Super-35. ■ Another lens that, although familiar, has been significantly im proved, was on show on the Filmtronics stand. It was the new 25-250mm Angenieux zoom, exten sively re-designed. From the out side, though, the only obvious change was that the front element doesn’t turn as the lens is zoomed, which solves a problem when using polarizers and other filters. ■ From a new (to me) Melbourne company, Getlit/Wired for Sound, was a range of display and theatrical lighting and items such as a video console for video-disc cueing and image-mixing in discos. The new group also sells the English Le Maitre line of smoke machines, ranging from the $900 Mini Mist to a $2,500 model. L e M a i t r e ’s m id d le - o f - th e - r a n g e s m o k e m a c h in e s: $ 9 0 0 a n d $ 1 ,8 0 0 .

Other items from Getlit were a video projector and a range of clever, remote-controlled lights, the Pan Can servo range. Primarily de signed for theatre and discos, they could also be used for special effects.

T h e P a n C a n S e r v o S y s te m r e m o te c o n tr o l b y c o m p u te r jo y s ti c k .

3: or

■ Miller Tripods has just opened its own sales outlet in Burbank, and it is presumably a compliment that the Americans think Miller is a US com pany. M ille r’s P ortam ount immediately attracted my attention, but the company also has a new, $3,000 head that looks like its answer to the Sachtler Video 25, with a 40kg capacity and a light weight but heavy-duty tripod to

match. Miller also has a range of moulded tripod cases, similarly light but tough, and giving full-size pro tection. Cost is $295. ■ Filmwest had some unique items on its stand, along with two new Aatons: the XTR, with clear time recording, and the stripped-down, lightweight (and cheaper) XC. Both will be familiar to Aaton fans, and the XC provides a sensible alternative as a beginner’s or back-up model. Also from Filmwest and deserving a full examination (though not cheap) was a small, electronicallycontrolled product turntable called the Revpod, which can be exactly controlled and stopped (saves reverse-printing the label shots!).

P rod.

l3.4E.5i?.

T h e D e n e c k e D C o d e s la te , a v a ila b le f r o m F ilm w e s t.

There were two further products from US electronics engineer Mike Denecke, who left KEM to start his own company: first, the Decode TS-1 electronic slate, with extra bright and large LEDs giving timecode read-out — the best electronic slate I’ve seen so far, and designed to work with the time-code Nagra; and, for $US800, there was also a small time-code reader that was attracting attention.

the sm all In d e x tro n m o n ito r, designed to give a very bright picture for outdoor or high ambient light levels; what is notable is that it does not have a shadowmask or a Trinitron tube. On the tape front, it looks like we are finally going to have to concede to metrication for the familiar % " Umatic tape used in the new digital systems: the tape is designated ‘19mm’ even in the US. Sony sh o w e d its d ig ita l vid e o ta p e machine at the recent NAB show. In Sydney, only the new digital video cassettes were on display. ■ The duplication labs and AV hire companies will also have to concede that rear-screen projectors, such as the Fairchild, with its Super 8 endless cartridge, are on the way out. On the GEC stand was the Panasonic port able AG-500 VHS player/TV com bination unit. A few companies have been making similar combination sets using the small NV180A port able player for some time, but National has now produced its own compact unit. A long-awaited improvement in sound quality for VHS portables is the Panasonic VHS Hi-Fi portable AG-6400. This is the hi-fi sound ver sion of the NV180A, and allows loca tion recording at compact-disc quality, with access to the linear

Product suppliers and distributors

Agfa-Gevaert Ltd, 372-394 •Whitehorse Road, Nunawading, Vic 3131. (03) 875 0222. Ampex Australia P/L, Unit A, 61 Talavera Road, North Ryde, NSW 2113. (02) 887 3333. Artstar III is distributed by Mini comp P/L, 104 Mount Street, North Sydney, NSW 2060. (02) 957 6800. Fairlight Instruments P/L, 15 Boundary Street, Rushcutters Bay, NSW 2011: (02) 331 6333.

Filmlab

T h e S M P k it: f i v e c h a r ts in a h a n d y p la s tic c o v e r .

■ SMP Products specialize in supplying editing equipment and consumables, and had a great range of beches, trim bins, syn chronizers and winders. The com pany makes a cleverly designed adjustable film horse to hold spacer and leader, and distributes the Macbeth colour charts (recently re c o m m e n d e d fo r te stin g by Kodak), MPC sprocketed recording tape, and a range of coloured paper tapes that accept markers. ■ New from Sony are some highband U-matic models that breathe fresh life into the BVU format. The BVU-SP and the portable 150P had had some fine-tuning done to the electronics; and, by extending the colour sub-carrier and shifting the luminance signal, improved detail has been added. Also attractive was

Engineering

P/L,

201-203 Port Hacking Road, M iranda, NSW 2228. (02) 522 4144. Filmtronics (Australia) P/L, 33 Higginbotham Road, Gladesville, NSW 2111. (02) 807 1444. Filmwest Corporation P/L, 75 Bennett Street, Perth, WA 6000. (09) 325 1177. . Getlit P/L and Wired for Sound P/L, 285 Burwood Road, Haw thorn, Vic 3122. (03) 819 4566. Grass Valley Group products are distributed by Pacific Com m unication Sales P/L, 4 Euston Street, Rydalmere, NSW 2116. (02) 638 6400. John Barry Group P/L, 27 Hotham Parade, Artarrhon, NSW 2064. (02) 439 6955. JVC is distributed by Hagemeyer (Australia) BV, 5-7 Garema Circuit, Kingsgrove, NSW 2208. (02) 750 3777. Kodak (Australasia) P/L, 173 Elizabeth Street, Coburg, Vic 3058, (03) 350 1222. Miller Fluid Heads, 30 Hotham Parade, Artarmon, NSW 2064. (02) 439 6377.

Y o u can ta k e it w ith y o u : th e A G -5 0 0 m o n ito r -c u m -c a s s e tte p la y e r .

tracks as well. This VCR has come in as a professional machine with the Panasonic name on it, probably because, if it was offered as a con sumer item, it would surely kill sales of the NV180. ■ Am ong the new broadcast equipment, Ampex showed the ADO 1000, an entry-level digital effects unit that can be upgraded. The company was also showing the Zeus TBC, together with modifica tions for its VPRs (to speed up the animation capability) and a forth coming software kit for set-up called Multi-Gen, This significantly elimin-

Mitsubishi Electric Australia, 73-75 Epping Road, North Ryde, NSW 2113. (02) 888 5777. National Panasonic is distributed by GEC Video Systems: 2 Giffnock Avenue, North Ryde, NSW 2113. (02) 887 6222.

Philips Scientific and Indus trial Broadcast Systems, 25-27 Paul Street, North Ryde, NSW 2113. (02) 888 8222.

Photo Advertising (Australia) Ltd, 53-55 Herbert Street, Artar mon, NSW 2064. (02) 438 1755. Quanta Corporation products are distributed by Pacific Com munication Sales P/L (see Grass Valley Group listing for address). Q u a n te l is d is trib u te d by

Quantum Communications P/L, 8/81 Frenchs Forest Road, Frenchs Forest, NSW 2086. (02) 452 4111.

Samuelson Film Service Aus tralia, 1 Giffnock Avenue, North Ryde, NSW 888 2766.

2143.

(02)

Scorpio Entertainment Net work, 88 Darling Street, Glebe, NSW 2037. (02) 660 6444.

Sontron Instruments P/L, 36 Lever Street, Oakleigh, Vic 3166. (03) 568 4022. SMP Products, 30 Gibben Street, C a m pe rd ow n, NSW 2050. (02) 517 2745. Steadygate is distributed by

Andrew Gibson Equipment Services P/L, 113 Willoughby Road, Crows Nest, NSW 2065. (02) 438 3 8 3 l | i S yn tec In te rn a tio n a l, 60 Gibbes Street, Chatswood, NSW 2067. (02) 406 4700. Talia Sound & Video, 3 Wadhurst Drive, Knoxfield, Vic 3180. (03) 222 1844. Tektronix Australia P/L, 80 Waterloo Road, North Ryde, NSW 2113. (02) 888 7066.

ates the tiny set-up errors that are compounded with each generation of copying. By recording bars from input sources and then replaying, switching automatically back and forth, the velocity errors (which cause more degradation than the obvious signal-to-noise problems) can be finely adjusted. ■ The Philips Scientific and Indus trial stand had the Adams Smith 2600 A/V editor/synchronizers. They accept an 8 " CMX-format disk, which could speed up transfer of edit points from audio post-produc tion on a videotape job. Philips also showed the first application of com pact audio discs for sound post-pro duction, with a sound-effects library of 28 discs from the Canadian com pany, Sound Ideas. The Philips con troller allows cueing of two or more LHH 2000 Professional CD players, so that they can be accessed rapidly and cued accurately. ■ SMPTE provided me with my first sight of the Rycote Windjammer windshield for shotgun mikes, which is claimed to cut wind noise by 6dB over a normal windshield. It is distri buted here by Syntec International. ■ F ina lly, F ilm tro n ics had a Marusho Va " audio-tape splicer, which is specially made for digitaltape editing, and which is claimed to give a dead accurate vertical cut. Mr

Selected papers ‘Blow-up to 35mm shooting in 16m m o r s u p e r-1 6 ’ , Lutz Schroeter, New Zealand National Film Unit. ‘Cinematography considerations using Agfa XT125 and XT320 colour negatives’, Henri Stappaerts, Agfa-Gevaert. ‘ C o m p o n e n t d ig it a l VTR developments’, T. Eguchi, Sony Corporation. ‘Discharge lighting for film pro duction’, Adrian Donkin, Lee Colortran Ltd. 'Flight effects in IMAX’, Peter Parkes, Oxford Scientific Films. K odak rep rese ntative s p re sented the following papers: ‘Cut List system using Datakode magnetic control surface for a 16m m la b o ra to ry ’ ; ‘ D ig ita l sound’; ‘Improved 16mm Eastmancolor high-speed negative •film 7292’; 'New Eastmancolor negative 5295'; ‘Noise in film to* video transfers’. ‘Low-cost non-computer offline editing', Oliver Morgan, Acquis Ltd. ‘Motion control: an update and overview’, Andrew Gibson, Ages P/L. ‘Steadygate film-to-tape transfer using a pin-registered 35mm film gate adapted to the Rank Cintel telecine’, Wayne Smith, Steadyfilm Corp. 'Surround sound for video and television’, Ray Derek, Raydek Sound Industries. 'The use of personal computers in video production', Oliver Morgan, Acquis Ltd. Order forms for audio cassettes of the above papers are avail able from SMPTE, Australian Section, PO Box 88, Willoughby, NSW 2068.

CINEMA PAPERS September — 73

R 0

U N D

U P

The scramble and madness that characterizes the end of the financial year for the film industry has long passed and, with prospecti in the bottom drawer, now is the time to come up with the goods. And it looks like there should be a reason ably high level of production activity. Under the 10BA tax incentive scheme, a total of $159 million was secured for film and television pro duction in 1985-6. Though this marked a $26.7-million downturn from the previous year, the fall was not as dramatic as some analysts were predicting. The figures, released by the Aus tralian Film Commission, also indi cate a reduction in projects financed at 133/33 concessional rates. The combined budget of these produc tions (26 feature films, four mini series and ten telefeatures) was $105.2 million, while the 120/20 rate accounted for ten feature films, two telefeatures and one miniseries with a combined budget of $34.2 million. Amounts underwritten for invest ment in 1986-7, together with non deductible expenses, amounted to $12.4 million for the 120/20 projects, and $27.1 million for the 133/33 projects. T he W a lls o f J e r u s a le m : o n th e s e t o f The Tale of Ruby Rose.

E ig hty d o c u m e n ta rie s were financed at both rates, representing an overall budget of $19.6 million. There was also a noticeable shift away from television miniseries to features — 24 miniseries in 1984-5, compared to the five secured this year. One feature which proved popular in the marketplace was Les Patter son Saves the World. Les, Australia’s other cultural attache, teams up with Dame Edna Everage in an effort to put more ocker bums on seats than Crocodile Dundee. Scripted by Barry Humphries and his wife, Dianne Millstead, the feature began a ten-week shoot in mid-August, with George Miller directing. Bill Bennett’s production, Dear Cardholder (one of a number of features he has lined up with J.C. Williamson), is scheduled to shoot on 15 September. It stars Robin Ramsay, Jennifer Cluff and Marion C hirgw in. In M elbourne, producer/director Virginia Rouse will complete a one-month shoot in midSeptember on her second produc tion, To Market, To Market. (Her first, Geese Mate for Life!, has been sold to the ABC and will be screened later this year.) Candy Regentag, directed by James Ricketson and produced and written by Don Catchlove, will also wrap in September. Backed by the AFC, it is about the bitter-sweet relationships of a prosti tute, and is, of course, set in Sydney's Kings Cross. Nearing the end of production is Michael Pattinson’s Ground Zero. Based on the Royal Commission into the British nuclear tests at Maralinga in the fifties, its cast includes Jack Thompson, Colin Friels and British actor, Donald Pleasence. Another big-budget feature got underway on 1 September, this one from the International Film Manage ment stable.4 For The Lighthorsemen, director/co-producer Simon L in in g u p : f r o m le ft, d ir e c to r C a r l S c h u ltz, D O P J u lia n P e n n e y a n d 1 st a s s is ta n t d ir e c to r C o lin F le tc h e r , on th e s e t o f Travelling North.

Wincer is recreating Beersheba on location in South Australia — the backdrop for a drama about another part of Australia’s ‘spectacular’ military history. Antony Ginnane is also the executive producer (with Joseph Skrzynski) of High Tide, directed by Gillian Armstrong, and due to commence production in late September. While the cast and crew of The Tale of Ruby Rose weathered “ a tough and arduous shoot” in the mountains of Tasmania, the Travel ling North crew were on location in Northern Queensland. Both features wrapped in early August. Shot on the New South Wales coast, mid way between the two, Daedalus Films' The Bee-Eater has now been retitled The Place at the Coast. In the documentary arena, there seems to be lots of activity. Two of the more interesting projects, Build ing Dreams and Getting Better, come from the ‘Black Futures' series, six one-hour docos from Corroboree Films. The first, Eora Corroboree has been completed, and the other titles scheduled are Still Time, Reflection on Silver Screens and The Land Owns Us. Director of photography is Yuri Sokol and the producer is Michael Le Moignan. Jack Pizzey (Sweat of the Sun, Tears of the Moon) is currently work ing on a series of three documen taries about Australia. The produc tion company, Phillip Emanuel Pro ductions, has pre-sold the series to the ABC, and it will probably go to air for the bicentennial year. John Ruane’s short film, Feathers, with Rebecca Gilling, James Laurie, Julie Forsythe and Neil Melville, is now in post-production, and shoot ing is finished on Tony Mahood’s One Hundred Per Cent Wool. One of the most challenging scenes for director of photography David Parker must have been filming some buskers playing to an audience of sheep — the Melbourne City Square was apparently full of them! The television scene has not been quite so adventurous. From Craw ford Productions, another series of The Henderson Kids which begins shooting in September. The direc tors are Chris Langman and Paul Moloney. Production is also under way on Burbank Films’ animation, Rob Roy. Producer Roz Phillips also has two other children’s projects in pre-production: Black Beauty and Treasure Island. The 30-minute ABC drama, / Can Give You a Good Time, wrapped in early September. Based on the play by Gilly Fraser, it is directed by Peter Oysten and stars Ross Williams and Jillian Murray. Another ABC production has faced a little more drama. Producer of Perhaps Love, Jan Chapman, had to shift the Bali location of the telefeature because of delicate rela tions with the Indonesian govern ment — they had already kicked out Promises to Keep — and finally did a five-day shoot in the Philippines. Directed by Lex Marinos and written by Bob Ellis, it is being produced in association with Revcom, as part of a package of nine films that will be distributed to two other national tele vision networks, RAI in Italy and Antenne 2 in France.

P R O

The Cinema Papers Production Survey

Production Survey continued L e n g th ...................................................... 120 m in u te s P ro d , a c c o u n ta n t.....................................C a tc h 123, Synopsis: T h e tru e s to ry o f th e tria ls a n d P e te r H e w itt triu m p h s o f A u s tra lia 's g o ld e n b o y o f b o x in g P rod, a s s is ta n t ...............................K ris te n D u n p h y w h o fe ll fro m g ra c e as a re s u lt o f W o rld W a r I ’s 1st asst d ir e c t o r .................................M a rk T u rn b u ll cn o n s c rip tio n h y s te ria a n d w a s re s u rre c te d a s a 2 n d a s s t d ire c to r..................................................P e te r V o e te hes ro , w h e n he d ie d in M e m p h is , lo n e ly, 3 rd a sst d ire c to r .................................................. M a ria P h illip b e w ild e re d a n d re v ile d a t th e a g e o f 21. C o n tin u ity ............................................. D a p h n e P a ris

C a s tin g .........................................................................Liz M u llin a r THE TIME GUARDIAN K e y g r i p ...................................................... R a y B ro w n G a ffe r............................................... B ria n B a n s g ro v e P rod, c o m p a n y ...........J e n -D ik i F ilm P ro d u c tio n s B o o m o p e ra to r ..................................... G e o ff C ric k s P ty L td fo r In te rn a tio n a l A rt d ir e c t o r .................................................................Ian A lle n F ilm M a n a g e m e n t L td a n d A rt d e p t a d m in is tra to r .......................................D ia n e W rig h t C h a te a u P ro d u c tio n s In v e s tm e n ts L td C o s tu m e d e s ig n e r ..............................................T e rry R yan Dist. c o m p a n y ........... H e m d a le F ilm C o rp o ra tio n (e x c lu d in g A u s tra la s ia ) P ro p s b u y e rs /s e t d r e s s e r s .................T im F e rrie r, B lo s s o m F lin t P ro d u c e rs ..................................N o rm a n W ilk in s o n , S ta n d b y p ro p s ..................................................... D a v id W ils o n R o b e rt L a g e ttie S e t m o d e l m a k e r ................................................. R o ss W a llaCso -p r o d u c e r ................................... H a rle y M a n n e rs A rt d e p t ru n n e r/d re s s e r.................................... P e te r F o rb eDsir e c to r ................................B ria n H a n n a n t S o u n d r e c o r d is t..................................J o h n R o w le y S c e n ic a r tis t .....'...................................................... E ric T o d d S c r ip tw rite r s .....................B ria n H a n n a n t, E d ito r...................................................................... R a lp h S tra sBs ru e rsh h a n d ......................................F ra n k F a w lk n e r J o h n B a x te r E xe c, p r o d u c e r ................................P h illip J . D w ye r S e t c o n s tr u c tio n .................................................. J o h n R a n nP h o to g ra p h y .......................... G e o ff B u rto n A sso c, p r o d u c e r ..................................................... R a y P o n d1st a sst e d ito r ................................A n d re w B a rn e s S o u n d re c o rd is t................... T o iv o L e m b e r P rod, s e c re ta ry ................................................ J a n e tte D e a so 2 nnd asst e d ito r...............................N ic h o la s B re s lin E d ito r................................... A n d re w P ro w se P rod, a c c o u n ta n t............................... M a re e M a ya ll D ia lo g u e e d ito r ....................... K a re n W h ittin g to n P rod, d e s ig n e r................... G e o rg e L id d le F o cu s p u lle r ............................................. R o sy C a ss E ffe c ts e d ito r/ E xe c, p r o d u c e r ........... A n to n y I. G in n a n e W a rd ro b e .................................................. R a ch e l N o tt s o u n d s u p e rv is o r .............................................. T im G e o rdParod, n c o - o rd in a to r...............B a rb a ra R in g B u d g e t ........................................................... $ 6 9 0 ,0 0 0 L a b o ra to ry ..................................................... C o lo rfilm P rod, m a n a g e r .................S te p h e n J o n e s G a u g e .................................................... S u p e r 16 m m Lab. lia is o n ............................... R ic h a rd P io rk o w s k i P rod, a c c o u n ta n t......................C a tc h 123 S y n o p s is : T h e H ig h P la in s c ric k e te r c o m e s to B u d g e t ...................................................... $ 3 ,7 5 0 ,0 0 0 1st a sst d ire c to r ............P h ilip H e a rn s h a w THE ATTACK OF THE GARBAGE to w n . L e n g th .....................................................100 m in u te s C o n tin u ity ..................................A n n W a lto n PEOPLE G a u g e .................................................................... 3 5 m m C a m e ra o p e ra to r............. D a vid F o re m a n DOT AND THE TREE P rod, c o m p a n y ................................Im m o rta l F ilm s S h o o tin g s t o c k ...................................................K o d a k Key g r ip .................................. B ru c e B a rb e r P ro d , c o m p a n y .................................................. Y o ra m G ro ss D lst. c o m p a n y .......................................C in e m a 100 G a ffe r........................................Ian P lu m m e r S y n o p s is : A s to ry o f lo ve lo s t a n d fo u n d in a F ilm S tu d io P ty Ltd P ro d u c e r................................................. G a ry K e ady, A rt d ir e c t o r ................................. T o n y R aes re m o te w in try c o a s ta l to w n in A u s tra lia . P r o d u c e r ..............................................................Y o ra m G ro s s M a x w e ll S to k e s M a k e -u p .................................. J a n e S u rric h D ir e c to r ................................................................ Y o ra m G ro ss D ire c to r....................................................G a ry K e a d y H a ird re s s e r............................S a sh L a m e y S c r ip tw rite r ............................................................ G re g F lyn n PANDEMONIUM S c r ip tw rite r ............................................G a ry K e a d y W a rd ro b e s u p e rv is o r........ J e a n T u rn b u ll A n im a tio n d ire c to r ...............................................A th o l H e n ryP rod, c o m p a n y ..................K .F .M . P a n d e m o n iu m B a se d on th e o rig in a l id e a b y ........... G a ry K e a d y A rt d e p t a d m in is tra to r ...W e n d y H u x fo rd A sso c, p r o d u c e r .............................................. S a n d ra G ro ss P h o to g ra p h y ................................J o s e p h P ic k e rin g S tu d io s ................................H e n d o n S tu d io s P ty Ltd L e n g th .........................................................75 m in u te s S o u n d re c o rd is t.!................................. C ris to C u rtis P r o d u c e r..............................................................R o b e rt F ra n cMisixe d a t ............................. H e n d o n S tu d io s G a u g e .................................................................. 35 m m E d ito r........................................................P h illip H o w e D ir e c to r .................................................................H a y d n K e e nBa u n d g e t ................................ $ 8 ,0 0 0 ,0 0 0 S y n o p s is : D o t a n d O ld T o m , th e v io lin -m a k e r, C o m p o s e rs ............................................G a ry K e ady, L e n g th ........................................100 m in u te s S c rip tw rite rs ......................................... P e te r G a ile y, fin d th e s p re a d o f a b ig c ity th re a te n s th e ir J o h n V a llin s , G a u g e ..................................................... 35 m m H aydn Keenan life style s. T o n y R ees, S h o o tin g s t o c k .................................... K o d a k E xe c, p ro d u c e r...................................... P a tric J u ille t J o h n P h e lp s A sso c, p r o d u c e r s .................................A le x C u tle r, Synopsis: A s ci-fi a c tio n m o v ie a b o u t a w o m a n 8341: THE PYJAMA GIRL MURDER E xe c, p r o d u c e r ...........................J a m e s M. V e rn o n M ic h a e l W ilc o x w h o e n c o u n te rs tim e tra v e lle rs fro m th e 2 4 th (W o rk in g title ) P rod, c o - o r d in a to r .............................. R od G re v ille M u s ic ........................................................... G re g H a m , C e n tu ry in C e n tra l A u s tra lia . P rod, m a n a g e r ................................G ra h a m D u n n P ro d , c o m p a n y ........ U lla d u lla P ic tu re C o m p a n y C o lin Hay, P ro d , a c c o u n ta n t............................... K e ith S te w a rt in a s s o c ia tio n w ith J a m e s R e yne, WARM NIGHTS ON A SLOW MOVING W a r d ro b e .................................................. R o s W a s o n C a s a b la n c a F ilm W o rk s R o ss W ils o n TRAIN P r o p s ........................................................D e n is C lifto n P h o to g ra p h y ................................ D a vid S a n d e rs o n P r o d u c e rs ......................................... J o h n R o g e rs, P rod, c o m p a n y ...W e s te rn P a c ific F ilm s L im ite d S p e c ia l e f fe c t s ...................................... P h illip H o w e S o u n d a n d m u s ic d ir e c t o r ...........C a m e ro n A lla n J o h n W a ll P ro d u c e rs ...............................................................R o ss D im se y, M u s ic a l d ire c to r ......................................G a ry K e a d y E d ito r.........................................................P a u l H e a ly D ir e c to r ..................................................J o h n R o g e rs P a tric J u ille t L e n g th .........................................................85 m in u te s P rod, d e s ig n e r .................................M e lo d y C o o p e r S c rip tw rite rs ......................................... D ee B rie rle y, D ir e c to r ........................................................... B o b E llis G a u g e ....................................................................35 m m C a s t: A m a n d a D o le , C a n d y R a y m o n d , Ian J o h n R o g e rs S c rip tw rite r.................................................... B o b E llis S h o o tin g s t o c k .................................................. K o d a k N im m o , D a vid A rg u e , R ic h a rd M o ir, M e rc ia B a sed on th e n o ve l b y ................ R o b e rt C o le m a n B a sed on th e o rig in a l id e a b y ................ B o b E llis, S y n o p s is : A ro ck 'n ' ro ll s c ie n c e fic tio n D e a n e -Jo h n s, H e n k J o h a n n e s , D a vid B ra c k s , P rod, d e s ig n e r .................................... D a rre ll Lass D e n n y L a w re n c e co m e d y . S y d n e y is ra v a g e d b y M o n s te rs th a t A s h le y G re n v ille . E xe c, p r o d u c e r................................ R u s s e ll K e d d ie P h o to g ra p h y .............................................. Y u ri S o ko l h a ve e v o lv e d fro m g e n e tic s p o re s o rb itin g th e S y n o p s is : A p a g a n p a ssio n p la y s e t u n d e r a n d P o s t-p ro d u c tio n ..................................W in n in g P o st P rod, c o -o rd in a to r............................................J e n n ie C ro w le y e a rth . P ro fe s s o r G o o d h e a d , a 5 0 -y e a r-o ld m ad on th e s h o re s o f B o n d i b e a ch , w ith b u lk L a b o ra to r y .............................................................A tla b P rod, m a n a g e r.................................. D a rry l S h e e n ra tb a g g e ry a n d m e a n in g . s c ie n tis t, p la n s to d e fe a t th e a lie n th re a t. B u d g e t.................................................... $ 2 .7 5 m illio n P rod, a c c o u n ta n t..............................J im H a jic o s ta L e n g th .....................................................120 m in u te s P ro d u c e r’s a s s is ta n t..............................................K iki D im s e y THE BIT PART G a u g e .................................................................. 35 m m RIKKI AND PETE G a u g e ................................................................... 3 5 m m S h o o tin g s t o c k ....................................... 9 2 4 7 , 5 29 4 P rod, c o m p a n y ...-...............................C o m e d ia Ltd P rod, c o m p a n y .............................................C a s c a d e F ilm sCast: W e n d y H u g h e s (T h e G irl). S y n o p s is : T h e film is b a se d on th e tru e s to ry o f P r o d u c e rs ................................................J o h n G a u c i, P ro d u c e rs .................................................N a d ia T ass, Synopsis: T h e c e n tra l c h a ra c te r is a h o o k e r th e P yja m a G irl M u rd e r. A g ir l’s b o d y w a s P e te r H e rb e rt D a v id P a rk e r w h o w o rk s th e S o u th e rn A u ro ra . O n F rid a y fo u n d in S y d n e y in 1 93 4 a n d k e p t in a fo rm a lin D ire c to r..............................................B re n d a n M a h e r D ir e c to r ......................................................N a d ia T a ss n ig h ts g o in g s o u th a n d S a tu rd a y s g o in g n o rth , b a th at S y d n e y U n iv e rs ity , o n v ie w to S c rip tw rite r.......................................Ian M a c F a y d e n S c r ip tw rite r ...........................................................D a v id P a rk esh r e p ic k s up m e n in th e d in in g c a r a n d a fte r th o u s a n d s o f p e o p le , u n til th e m u rd e r w a s E xe c, p r o d u c e r ...............................S te p h e n V iza rd P h o to g ra p h y ........................................................ D a vid P a rk ecro n v e rs a tio n ta k e s th e m b a c k to h e r d o u b le s o lve d in 1944. B u d g e t....................................................... $1.1 m illio n E d ito r.......................................................................... K e n S a llo w c osm p a rtm e n t. In e a c h e n c o u n te r s h e d is p la y s S y n o p s is : A c o m e d y a b o u t a s m a ll-tim e a cto r. E xe c, p r o d u c e r ................................ B ryce M e n zie s a d iffe re n t c h a ra c te r, d iffe re n t s ty le s o f d re ss, THE END OF INNOCENCE A sso c, p ro d u c e r ............................................ T im o th y W h itea d m ittin g to d iffe re n t b a c k g ro u n d s . P rod, c o m p a n y ................................................. A v a lo n F ilm sP rod, s u p e rv is o r.................................................L y n d a H o u se BLIND FAITH P r o d u c e r ................................................... P h il A va lo n 1st asst d ire c to r ................................T o n y M a h o o d P rod, c o m p a n y ......................... C h a d w ic k /D o u g la s D ir e c to r .................................................................... A la n D icke Csa s t: C o lin F rie ls (P ete). F ilm & T e le v is io n S c r ip tw rite r ............................................................. A la n D ic k S e sy n o p s is : B o re d b y th e ir e a s y e x is te n c e in P r o d u c e r............................................. B ria n D o u g la s B a se d on th e s h o rt s to ry b y ................P h il A va lo n , M e lb o u rn e , R ikki a n d h e r b ro th e r P e te se t off D ire c to r................................................ B ria n D o u g la s A la n D ic k e s fo r M t Isa a n d a q u e s tio n a b le fo ra y in to th e S c r ip tw r ite r ........................................ R o b e rt T a y lo r E d ito r..............................................................A la n T ro tt h a rd e n e d w o rld o f m in in g . B a sed on th e o rig in a l id e a A sso c, p r o d u c e r ..................................K ip P o rte o u s b y ....................................................... R o b e rt T a y lo r L a b o ra to ry ......................................................... A tla b A sso c, p r o d u c e r ...............................P h illip C o llin s Lab. lia is o n ............................................................... R a y B e a ttie THE ROBOT STORY P rod, s e c r e t a r y .......................................A n n e P ryo r B u d g e t........................................................$ 1 .2 m illio n P rod, c o m p a n y .................................................. Y o ra m G ro s s L e n g th ........................................................9 0 m in u te s L e n g th .......................................................................... 98 m in u te s F ilm S tu d io P ty Ltd G a u g e .................................................................... 35 m m G a u g e .................................................................. 35 m m P r o d u c e r ............................................................. Y o ra m G ro ss S y n o p s is : R iv a lr y b e tw e e n tw o p a ris h CANDY REGENTAG C a st: A b ig a il (M rs G rü n d lic h ), C h ris to p h e r D ir e c to r ................................................................Y o ra m G ro ss c h u rc h e s e s c a la te s in to a m e d ia e v e n t o f P a te (P o lice m a n ), T o n y B a rry (M r G rü n d lic h ). S c r ip tw rite r ............................................................ G re g F lyn nP rod, c o m p a n y ........................... R a in y D a y P ty Ltd a s tro n o m ic p ro p o rtio n — le a v in g F a th e r P r o d u c e r ............................................G ra e m e Isa a c S y n o p s is : A yo u n g m a n se ts o ff on a jo u rn e y A sso c, p r o d u c e r .............................................. S a n d ra G ro ss B ra n n ig a n a tte m p tin g to u n d o w h a t th e m ira c le D ir e c to r ......................................... J a m e s R ic k e ts o n to fin d his o rig in s . T h ro u g h a m e e tin g w ith a L e n g th .........................................................75 m in u te s he n e e d e d h a s g iv e n h im ! S c rip tw rite r........................................ D o n C a tc h lo v e y o u n g A b o rig in a l, he d is c o v e rs n o t o n ly his G a u g e .................................................................. 35 m m B a sed o n th e o rig in a l id e a p a st b u t th e m u rd e re rs o f his fa th e r a n d S y n o p s is : A b oy a n d his ro b o t p a l are BUSINESS AS USUAL b y ..................................................... D o n C a tc h lo v e g ra n d fa th e r. la u n c h e d in to sp a ce . P h o to g ra p h y ............................................ M ike E d o ls P ro d , c o m p a n y ......................A rc h e r F ilm s P ty Ltd E d ito r................................................... T o n y S te p h e n s P r o d u c e r ................................................H e n ri S a fra n FEVER SKIPPY AND THE CHALLENGER M u sica l d ir e c t o r .............................. G ra e m e Isaac D ire c to r.............................. A n th o n y B owm an P rod, c o m p a n y ................... G e n e s is F ilm s P ty Ltd E xec, p r o d u c e r ................................D o n C a tc h lo v e S c r ip tw rite r ...................... A n th o n y B owm an P rod, c o m p a n y ...........S k ip p y In d u s trie s L im ite d Dist. c o m p a n y ................................ J .C . W illia m s o n P rod, c o - o rd in a to r.................................................... J o R o o n e y B a sed o n th e o rig in a l id ea S c r ip tw rite r ...................................... W illia m H. M ay Film D is trib u to rs P ty Ltd P rod, m a n a g e r.................................................B re n d a P a m b y ..................................... A n th o n y Bowm an B a sed on th e o rig in a l id e a P ro d u c e r............................................T e rry J e n n in g s P rod, a c c o u n ta n t................................... R e m a rk a b le F ilm L e n g th .........................................................9 0 m in u te s b y .....................................................W illia m H. M ay D ire c to r......................................................C ra ig L a h iff C o m p u te rs G a u g e .................................................................... 3 5 m m E xec, p r o d u c e rs ........................... W illia m H. M ay, S c r ip tw rite r s ..........................................J o h n E m e ry, 1st a sst d ire c to r ....................................................J o h n W a rra n C a s t: R a y B a rre tt (G e o ff), R o w e n a W a lla c e M a lc o lm C. C o o ke C ra ig L a h iff 2 n d a sst d ire c to r ............................. P e te r K e a rn e y (N a n cy), N o rm a n K a ye (E d w a rd ), C a ro l R a ye A sso c, p r o d u c e r ..................................................B a rb l T a y lo r E xe c, p ro d u c e r................................Ron S a u n d e rs C o n tin u ity .......................................... S ia n F a to u ra s (Joan), J e a n ie D ry n a n (C a th e rin e ), B re tt C lim o C a stin g c o n s u lta n ts ...............L e e L a rn e r C a s tin g S y n o p s is : A c o n te m p o ra ry s u s p e n s e th rille r. C a s tin g c o n s u lta n ts .................................. F o re c a s t (R oss), R o b in B o w e rin g (A lfre d ). P u b lic ity ...........................B a rb a ra J a m e s P u b lic ity S y n o p s is : A fte r th e d e a th o f an e ld e r in a B u d g e t................................................................... $ 2 .7 9 m illio F n o cu s p u lle r ............................................ C h ris to p h e r C a in HIGH TIDE C la p p e r/lo a d e r....................................................P a u la S o u th fa m ily , a w ill re v e a ls th a t a ll o f th e e s ta te is tie d L e n g th ...........................................................................94 m in u te s Key g r ip ......................................G ra h a m e L itc h fie ld P rod, c o m p a n y ..........S .J .L . P ro d u c tio n s P ty Ltd up in th e o w n e rs h ip o f a D a rlin g h u rs t g u e s t G a u g e ................................................................... 35 m m A rt d ir e c t o r ........................................R o b R ic k e ts o n D ist. c o m p a n y ............................ In te rn a tio n a l Film ho u se . T h e fa m ily , o u tra g e d b y th e d e c e a s e d S y n o p s is : T h e a d u lt S o n n y H a m m o n d ’s tw o C o s tu m e d e s ig n e r............................................... S u z y C a rte r M a n a g e m e n t Ltd and g ra n d fa th e r’s d e c is io n to le a v e th e m n o th in g , so n s, T im , a g e d 16, P e te, 10, a n d th e ir frie n d s , M a k e -u p ......................................A n n ie H e a th c o te H e m d a le F ilm C o rp o ra tio n in s p e c t th e e s ta b lis h m e n t, o n ly to d is c o v e r th a t S k ip p y T h e B u sh K a n g a ro o a n d h e r b a b y jo e y, W a rd ro b e a s s t .......................... W in s o m e B e rn a rd P r o d u c e r ................................................S a n d ra L evy it is n o t an o rd in a ry g u e s t h o u se ! P e rh a p s g e t in vo lve d in an a c tio n -fille d a d v e n tu re w ith a P ro p s b u y e r........................................M a rg o L o vich D ire c to r....................................... G illia n A rm s tro n g th e re ’s m o n e y to b e m a d e a fte r all? lo n g -sh o t A u s tra lia n e n tra n t in th e A m e ric a 's Set d e c o r a to r ...................................F ra n H o llo w a y S c r ip tw rite r .......................................... L a u ra J o n e s C u p tria ls , w ith e x c itin g a n d h ila rio u s re s u lts . A sst, e d ito r...................................................D o m in q u e F u sy P h o to g ra p h y ........................................R u s s e ll B o yd THE CRICKETER S o u n d e d it o r .................................A s h le y G re n v ille S o u n d r e c o r d is t ....................................B e n O sm o (W o rk in g title ) C a te r in g ............................................... K a o s K a te rin g E d it o r .........................................................................N ic k B e a u m a n SOMETHING GREAT B u d g e t ........................................................... $ 7 4 8 ,0 0 0 P rod, c o m p a n y ................................... M o n ro e S ta h r P rod, d e s ig n e r ......................................................S a lly C a m p b e ll P rod, c o m p a n y ..............................B o u le v a rd F ilm s P ro d u c tio n s Ltd L e n g th ........................................................................ 100 m in u te s E xe c, p r o d u c e rs ...................... J o s e p h S k rz y n s k i, P ro d u c e r............................................F ra n k H o w so n P r o d u c e r ...................................................C h ris to p h e r K ie ly G a u g e ............................................................ S u p e r 16 A n to n y I. G in n a n e S c r ip tw rite r s ....................................F ra n k H o w so n , S h o o tin g s t o c k ........................................................F uji D ire c to r....................................................................B a rry P e a kA sso c, p r o d u c e r .............................G re g R ic k e ts o n J o n a th a n H a rd y C a s t: P a tsy S te p h e n (C a n d y), G a ry C o o k e S c r ip tw r ite r .....................................M ic h a e l Q u in la n P rod, c o -o rd in a to r......................................... A n n e tte P a tte rs o n (Ian), W a rw ic k R o ss (R eg), R a in e e S k in n e r B a sed on th e o rig in a l id e a E xe c, p ro d u c e r.....................................P e te r B o yle P rod, m a n a g e r ..................................... J u lie F o rs te r b y .......................................................................... B a rry P e a kU n it m a n a g e r........................................................H u g h J o h n sPto (Fleu r), M a xin e K lib in g a itis (B ib i), T o n i S c a n lo n rod, n a c c o u n ta n t.................................N e w e ll L o c k (G ail), J a c q u l P h illip s (W e n d y), B e th C h ild P h o to g ra p h y ....................................... J o h n O g d e n L o ca tio n m a n a g e r ................................ L e a h C o cks B u d g e t.................................................... $ 5 .9 8 m illio n

A full listing o f the features, telem ovies, docum entaries an d shorts n o w in preproduction, p ro d u c tio n or post-production in Australia.

FEATURES

PRE-PRODUCTION

R V

FEATURES

PRODUCTION

CINEMA PAPERS September — 75

Production Survey continued

Wind Machines - Designed for studio and outdoors. Feature tilt swivel, built-in rain and fog. (10 machines). Jo Rain Towers - Studio models and outdoor models. Throw a precise pattern —tanker . and high pressure pumps. v V ^ Fog Machines - Designed for film use - reliable and quiet. " Minifog" "Portafog" "Gasfog" > > "Megafog" for large output. \ % <o, “f t Air Cannons - Pyro devices - Fire extinguishers - Release devices - Capsule guns w \ % r f c<^Y<g P X O Steering control for vehicles. < r Breakaway Glass - Sheets - Simulated Reinforced - bottles, glasses, plates, specials made to order. % % %o °*w\o H y d r a u l i c and Pneumatic rigs - Breakaway rigs. Falling rigs. Structural design and engineering. Flying Rigs - 3 dimensional movement for models or people to simulate’weightlessness. \r° 4 o* Model Making - vacuum forming - camera protection - mechanical devices - engineering workshop. ^

P r o d u c e r .............................................................Y o ra m G ro ss P h o to g ra p h y .......................................D a vid C o n n e ll DOT IN CONCERT D ir e c to r ................................................................Y o ra m G ro ss S o u n d re c o r d is t......................... S yd B u tte rw o rth P rod, c o m p a n y .................................................. Y o ra m G ro ssE d it o r ......................................................T im W e llb u rn S c r ip tw rite r ............................................................ G re g F lyn n F ilm s tu d io P ty Ltd B a sed on th e o rig in a l id e a b y ............G re g F lyn n , P rod, d e s ig n e r .................................. G ra c e W a lk e r P r o d u c e r .............................................................Y o ra m G ro ssE xec, p ro d u c e r............................... D ia n e M ills te a d Y o ra m G ro ss D ir e c to r ................................................................Y o ra m G ro ssP rod, m a n a g e r .....................................T o n y W in le y A n im a tio n d ir e c t o r ....................... G ra h a m S h a rp e S c rip tw rite r.............................................................J o h n P a lm Prod, er A sso c, p ro d u c e r.............................................. S a n d ra G ro ss c o - o r d in a to r .................. F io n a M c C o n a g h y B a sed on th e o rig in a l id e a U n it m a n a g e r ............................................................T ic C a rroLlle n g th .......................................................................... 7 5 m in u te s b y ...................................................................... Y o ra m G ro ssL o ca tio n m a n a g e r .............................................D a v id M a la cGaariu g e ..................................................................35 m m A sso c, p ro d u c e r..............................................S a n d ra G ro ssP rod, s e c re ta ry .................................................. L e s le y P a rk e Sry n o p s is : A n A u s t r a lia n B ic e n t e n n ia l L e n g th .......................................................................... 75 m in u te s A u th o rity e n d o rse d a n im a tio n fe a tu re s e t in P rod, a c c o u n ta n t.............. M o n e y p e n n y S e rv ic e s G a u g e ..................................................................35 m m Anuss tra lia a b o u t 4 0 ,0 0 0 ye a rs ago. 1st asst d ire c to r ................................................... B ria n G id d e C a st: D o t g o e s to H o lly w o o d to ra ise m o n e y fo r 2nd asst d ir e c t o r .......... C a ro ly n n e C u n n in g h a m sic k koalas. TO MARKET TO MARKET C o n tin u ity ................................................. J e n n i T o si P ro d u c e r’s a s s is ta n t.............................F io n a K in g P rod, c o m p a n y ................................................G o o s e y L im ite d GROUND ZERO E xtra s c a s tin g .......................................K a te In g h a m Dist. c o m p a n y ....................................................V illa g e R o a d s h o CASSANDRA (W o rk in g title ) C a stin g c o n s u lta n ts ..............Liz M u llin a r C a stin g P r o d u c e r ............................................. V irg in ia R o u se P rod, c o m p a n y ...............C a s s a n d ra P ro d u c tio n s C a m e ra o p e ra to r........................D a vid W illia m s o n P rod, c o m p a n y ..................... G ro u n d Z e ro P ty Ltd D ir e c to r ................................................V irg in ia R o u se P ty Ltd P r o d u c e r ...........................................................M ic h a e l P a ttinFocu s o n s p u lle r ............................................G re g R yan S c rip tw rite r......................................... V irg in ia R o u se P ro d u c e r.............................................................. T re v o r L u caLs ine p ro d u c e r.................................. S tu a rt F re e m a n C la p p e r/lo a d e r................................. T e rry H o w e lls B a sed on th e o rig in a l id e a D ir e c to r ...................................................................C o lin E g g leDsirtoenc to r ............................................................. M ic h a e l P a ttinKey s o n g r ip ........................................................G e o ff F ull b y .................................................................... V irg in ia R o u se S c r ip tw rite r s ......................................................... C o lin E g g le , c to r............................................... B ru c e M yle s G a ff e r .................................................. R o b b ie Y o u n g Csoto -dnire P h o to g ra p h y ......................................................J a e m s G ra n t John R uane, E le c tric ia n ............................................R o y P ritc h a rd S c rip tw rite rs ................................................ J a n S a rd i, S o u n d re c o rd is t..................................................L a u rie R o b in s o n C h ris tia n F itc h e tt M ac G udgeon B oom o p e ra to r........................................... S u e K e rr E d it o r .......................................................................T o n y P a te rso n P h o to g ra p h y ..........................................................G a ry W a p A s hn oottrig in a l id e a b y .................................... J a n S a rd i, C o stu m e d e s ig n e r ..............................A n n a S e n io r A sso c, p r o d u c e r .................................................. T ris h C a rn e y S o u n d re c o r d is t......................................................B o b C la y to n M ac G udgeon, M a k e - u p .................................................V iv M e p h a m P rod, m a n a g e r ..................................................... T ris h C a rn e y E d it o r ..........................................................................J o e C o o ke M ic h a e l P a ttin s o n H a ird re s s e r..............................................J o a n P e tch P rod, a c c o u n ta n t...............................................J e n n y P a te rso n P rod, d e s ig n e r ............................ S te w a rt B u rn s id e P h o to g ra p h y .......................................S te v e D o b so n W a r d r o b e ........................................................ H e a th e r W illia 1st m s asst d ire c to r ....................................K a th H a yd e n C o m p o s e r............................................................T re v o r L u caS s o u n d r e c o r d is t ................................................... G a ry W ilk in Wsa rd ro b e a s s t ................................................R o m o la J e ffreCy o n tin u ity .......................................................... J o a n n e M c L e n n a E xe c, p r o d u c e r ....................................................P h ilip G e rlaEcdhit o r ...................................................D a vid P u lb ro o k P ro p s b u y e r.......................................................... H e le n M a c AFsokcu ill s p u lle r .......................................................... G re g H a rrin g to A sso c, p ro d u c e r ............................................ S te p h e n A m e zPdrod, ro z d e s ig n e r ..................................................... B ria n T h o mSsta o n d b y p r o p s ..........................K a ra n M o n k h o u s e C la p p e r/lo a d e r..........................................M a rk L a n e P rod, c o - o r d in a to r ...................................J e n n y N ell E xec, p ro d u c e r....B u rro w e s F ilm G ro u p P ty Ltd S p e cia l e ffe c ts /p ro p s m a k e r......R ic h a rd W e ig h t K e y g r ip ...................................................................P e te r K e rs h a w U n it m a n a g e r....................................................... H u g h J o h n P s to n e c o - o rd in a to r............................C h ris tin e H a rt rod, S e t d e c o ra to r/p ro p s b u y e r .......... M a rtin O 'N e ill G a ffe r........................................................................R o ry T im o n e y L o ca tio n m a n a g e r ................................................P a u l T o lle P y rod, m a n a g e r ............................... N a re lle B a rs b y S c e n ic a r tis t........................................B illy M a lco lm B o o m o p e r a t o r .................................................... C h ris R o llin P rod, s e c r e ta ry ......................................................D a le E va ns U n it m a n a g e r................................................... M ic h a e l B a tc hSeelo t cr o n s tr u c tio n ...............................D e n n is S m ith M a k e -u p .................................................................A n n a K a rp in s k P rod, a c c o u n ta n t...G N F M a n a g e m e n t S e rv ic e s U n it ru n n e r........................................D o u g la s G ree n A sst e d ito r ..................................................... J e a n n in e C h ia lvWo a r d ro b e ........................................................ M ic h e lle L e o n a rd 1st a s s t d ir e c t o r ............................M ic h a e l F a ra n d a P rod, s e c re ta ry .................................................S e re n a G a ttuSstu o n ts c o -o rd in a to r............................................ C h ris A n d e rs P roonp s ..........................................................................K e n E va n s 2 n d asst d ir e c t o r ...................................................N ic k R e y nLooldca s tio n m a n a g e r............................S te p h e n S a ks A n im a l tra in e r /w ra n g le r ............... E va n n e B ra n d C a te rin g .....................................................................R o d M u rp h y C a s tin g ....................................................T re v o r L u ca s P rod, a c c o u n ta n t............................. J im H a jic o s ta B e st b o y .............................................. W a y n e Y o u n g L a b o ra to ry ........................................................C in e v e x C a m e ra o p e ra to r ........ .................A n d re w M cL e a n P rod, a s s is ta n t..................................S u sa n B e n fe r P ro d u c tio n r u n n e r .......................... J o h n M e re d ith B u d g e t............................................................$ 6 0 0 ,0 0 0 F o cu s p u lle r ..................................................... A n d re w M c L e1st a n asst d ire c to r ................................................. S tu a rt F re e m Ua nn it ru n n e r .........................................................A n to n y A d a reL e n g th .......................................................................... 9 0 m in u te s C la p p e r/lo a d e r ..................................................... M a rk S a rfra 2 ntyd asst d ir e c t o r ..................................Ian F re e m a n C a te rin g .............................................. D a n n y P o p p e r G a u g e .................................................................... 3 5 m m Key g r ip ....................................................................B re tt M c D o3rd w e all sst d ir e c t o r ............................. M ic h a e l R u m p f B u d g e t......................................................................$ 7 .3 m illio nS h o o tin g s t o c k ........................................................ F uji C o n tin u ity ....................................................... Liz P e rry A s s t g r ip ......................................................J o h n T a te L e n g th .......................................................................... 95 m in u te C sa s t: P h illip Q u a s t (E d w a rd ), K a tie R e id G a ff e r ................................................ G ra h a m M u ld e r P ro d u c e r's s e c re ta ry ....................................... G illia n C a m G p baeullg e ...................................................................3 5 m m (J a c k ie ), T o n y L le w e lly n -J o n e s (R ic h a rd ), B o om o p e ra to r............................... G e rry N u c ifo ra C a m e ra o p e ra to r ..................................................... Ian J o n eS s h o o tin g s t o c k ..................................................K o d a k G e n e vie ve P ico t (S u sa n n a ), N o el T re v a rth e n F o cu s p u lle r .......................................................... M a rk S u llivCaanst: B a rry H u m p h rie s (S ir Les P a tte rso n , B e st b o y ...........................................P a tric k O 'F a rre ll (W illia m S nr), W a y n e C u ll (W illia m Jnr). Key A rt d ire c to r ...............................................................M a x M a n to n g r ip ..................................................................B a rry H a n so D anm e E dna). , S y n o p s is : D e a ls w ith fa m ilia l e x p e c ta tio n s A rt d e p t c o - o r d in a to r .............................................. Liz H a g eG n rip ....................................................................... D a rre n H a n so S ynn o p s is : Les P a tte rs o n s a v e s th e w o rld fro m w ith in an e s ta b lis h m e n t fa m ily . o u nm, a c ra n e o p e ra to r ......................................... J e ff B ro wan s h o c k in g fate. M a k e - u p ....................................................................B o b M c C aLrro C a m e ra c r a n e ......................................B ria n B a sisto S o n ja S m u k THE LIGHTHORSEMEN H a ird re s s e r............................................................. P a u l W illiaGmasffe r......................................................Ian D e w h u rs t P rod, c o m p a n y ............ P ic tu re S h o w P ty L im ite d W a rd ro b e .........................................................A n th o n y J o n e 3rd s e le c tr ic s ............................................................ N ic k P a yne fo r In te rn a tio n a l Film S ta n d b y w a rd ro b e ..........................................S h a u n a F e n dB y o om o p e r a t o r ..................................................... M a rk W a s iu ta c M a n a g e m e n t L im ite d rt d ir e c t o r .........................................................R o b e rt D e in P ro p s b u y e r .........................................................J o y c e M c F aArla ne M a ke -u p s u p e rv is o r...........................................F io n a C a m pDist. b e ll c o m p a n y ............................ R K O P ic tu re s Inc. S ta n d b y p r o p s .......................................... T o n y H u n t p eacdia l e ffe c ts m a k e -u p ................B o b M c C a rro n P ro d u c e rs ................................................... Ian Jo n e s, O p tic a l e f fe c t s ....................................................... P a u l W h itbSre S im o n W in c e r A rt d ir e c t o r .........................................................R o b e rt D e in S till p h o to g ra p h y ..................................................R u b y D a vies C o -o rd in a to r/d ra fts m a n ....................... R o b e rt Leo S c r ip tw rite r ................................................ Ian Jo n e s R u n n e r....................................................... D a le E va n s l h o to g ra p h y .........................................................D e an S e m le r P u b lic ity ................................................................T re v o r L u ca sS ta n d b y p ro p s ..................................................... H a rry Z e tteP A rt d e p t ru n n e r ................................................ A n d re a J o h n S s to o unn d r e c o r d is t ...................................................L lo yd C a rric k C a te rin g ...................................................................K a os S p e c ia l e f fe c t s ...................................................... A la n M a xwEedll,ito r.......................................................... A d ria n C a rr L a b o ra to ry ............................................................. A tla b P rod, d e s ig n e r .................................B e rn a rd H id e s P e te r E vans, Lab. lia is o n ............................................................ P e te r W illa rd DARK AGE B ria n P e a rce E xec, p r o d u c e r ........................A n to n y I. G in n a n e L e n g th ........................................................................ 100 m in u te s P rod, c o m p a n y .................... FG Film P ro d u c tio n s A sso c, p r o d u c e rs ...................................D a vid Lee, C o n s tru c tio n m a n a g e r................ K e n H a ze lw o o d G a u g e .................................................................... 3 5 m m (A u s tra lia ) P ty L im ite d fo r C a rp e n te r/fe n c e r............................. R o b in H a rtle y J a n B la d ie r S h o o tin g s t o c k .......................................................C B A In te rn a tio n a l F ilm M a n a g e m e n t L im ite d C a rp e n te r/p a in te r........................... C o lin B u rc h a ll P rod, c o -o rd in a to r................................. D a le A rth u r Cast: T e s s a H u m p h rie s (C a ssa n d ra ), B rio n y D ist. c o m p a n y ............R K O P ic tu re s Inc. th ro u g h S tu n ts c o -o rd in a to r.............................................. G le n B o sw P e rod, ll m a n a g e r........................................P h illip C o rr B e h e ts (H e le n ), S h a n e B ria n t (S te p h e n ), E m b a s s y H o m e E n te rta in m e n t P rod, a c c o u n ta n t............. M o n e y p e n n y S e rv ic e s A c tio n v e h ic le m e c h a n ic ................D a vid T h o m a s S u sa n B a rlin g (L ib b y), T im B u rn s (G ra h a m ), P ro d u c e r..................................................................B a s il A p p le b y N u rs e .................................................................... M e g a n C o o p e r M a n d y C a rte r Lee J a m e s (R obe rt). D ir e c to r ..............................................A rc h N ic h o ls o n S to ry b o a rd a r t is t ................................................A lfre d B o rg 1st asst d ir e c t o r ............................. B o b D o n a ld s o n Synopsis: A b e a u tifu l y o u n g g irl in h e r la te W ritte n b y .............................................................S o n ia B o rg , M e c h a n ic ...............................................................D a vid T h o mCaosn tin u ity .................................................... L in d a R a y te e n s is h a u n te d b y v is io n s o f h e r p a s t. H e r fro m a s c re e n p la y by B e st b o y .................................................................... L e x M a rtin C a s tin g ........................................................ J o L a m e r h o rrific n ig h tm a re s c e n tre a ro u n d th e v io le n t S o n ia B o rg , P u b lic ity ................................ S u zie H o w ie P u b lic ity C a m e ra o p e ra to r s ..............................................D e an S e m le r, s u ic id e o f h e r m o th e r w h ic h sh e w itn e s s e d as a T o n y M o rp h e tt, M ixe d a t ........................................................S o u n d firm R ic h a rd M e rrim a n ch ild . S te p h e n C ro s s L a b o ra to r y .....................................................C o lo rfilm A rt d ire c to r.................................V irg in ia B ie n e m a n B a sed on th e n o ve l, Numunwari, Lab. lia is o n ............................... R ic h a rd P io rk o w s k i A sst a rt d ir e c t o r ...............................C a ro lin e P o lin b y ...................................................G ra h a m e W e b b B u d g e t........................................................$ 7 ,0 0 0 ,0 0 0 C o stu m e d e s ig n e r..............................................D a vid R o w e P h o to g ra p h y .................................. A n d re w L e sn ie L e n g th ........................................................................105 m in uPtero s p s b u y e rs ................................ H a rv e y M a w so n , DEAR CARDHOLDER S o u n d r e c o r d is t ................................... G a ry W ilk in s G a u g e ........................................ 35 m m a n a m o rp h ic M a rk D a w so n E d ito r .....................................................................A d ria n C a rr P ro d , c o m p a n y ............................... M e rm a id B e a ch S h o o tin g s t o c k ................................................ ..K o d a k S ta n d b y p r o p s .......................................................J o h n D a n ie ls P rod, d e s ig n e r.....................................................D a vid C o p p in g P ro d u c tio n s P ty Ltd S c e n ic a r tis t ............................................................. R a y P e d le r C a s t: C o lin F rie ls (H a rv e y D e n to n ), D o n a ld C o m p o s e r................................... D a n n y B e c k e rm a n P ro d u c e r ..................................................................... B ill B e n n P e tt S e t c o n s tru c tio n ................................................D a n n y B u rn e tt le a s e n c e (P ro sp e r), J a c k T h o m p s o n (T re b ilP rod, m a n a g e r................................................. R e n a te W ils o n D ire c to r........................................................................B ill B e n ncock), e tt S till p h o to g ra p h y .................................................... J im S h e ld o n N a ta lie B a te (P at), S im o n C h ilv e r s . U n it m a n a g e r........................................................C h ris J o n e s S c rip tw rite r................................................................. B ill B e n n(P e ttre sid e n t). T e ch , a d v is e r ....................................... H a ro ld B o o th P rod, s e c r e ta ry ................................................... P a u la B e n n e tt P h o to g ra p h y ......................................................... T o n y W ils oSn y n o p s is : G ro u n d Z e r o Is a c o n te m p o ra ry W ra n g le rs ........................................ B ill W illo u g h b y , P rod, a c c o u n ta n t.................................................... L e a C o llin s E d ito r....................................................D e n is e H u n te r R a y W in s la d e , th rille r a b o u t o n e m a n ’s s e a rc h fo r th e tru th . A A c c o u n ts a s s t s ..................................................D e b ra C o le , C o m p o s e r......................................M ic h a e l A tk in s o n G e ra ld E g a n film o f m y s te ry a n d in trig u e , s u s p e n s e a n d T ris h G riffith A sso c, p ro d u c e r ....................................... J e n n y D a y C a te r in g ....................................................................... E li H u n te1rst a sst d ir e c t o r .................................................. B a rry H a ll a ctio n , a ll o f w h ic h b e g in s w ith a s e e m in g ly u n P ro d u c tio n e x e c ................................................. E la in e W h itere la te d s e rie s o f eve n ts. M ixe d a t ............................................................ H e n d o n S tu d io 2 ns d .a sst d ir e c t o r ............................... C h ris O d g e rs P rod, c o - o r d in a to r ..................... D e b b ie S a m u e ls L a b o ra to ry ............................................................. A tla b 3rd asst d ire c to r......................................................K e n M o ffa t L o c a tio n m a n a g e r .................................................S u e S e e a ry B u d g e t.................................................... $ 1 0 ,5 0 0 ,0 0 0 LES PATTERSON SAVES THE C o n tin u ity ................................................................. K a y K e n n e s s S o u n d e d it o r ..................................... D a n n y C o o p e r L e n g th ........................................................................120 m in u te C as s tin g ........................ M a rtin P ro d u c tio n s P ty Ltd WORLD M ix e r ....................................................B re tt R o b in s o n G a u g e ....................................................................3 5 m m C a s tin g c o n s u lta n ts ........................................... F a ith M a rtin P rod, c o m p a n y ............. H u m p s te a d P ro d u c tio n s M ixe d a t .............................................. S o u n d O n Film S h o o tin g s t o c k ...................................................K o d a k E xtra s c a s t in g ..........................................................J a n K in g s b u P ty Ltd L a b o ra to ry .............................................................A tla b S y n o p s is : T h e s to ry o f a g ro u p o f m e n in an F o cu s p u lle r .......................................................... C o lin D e a n e P ro L e n g th ...........................................................................92 m in u te s d u c e r............................... .................. S u e M illik e n A u s tra lia n L ig h t H o rs e re g im e n t in th e s ix 2 n d fo c u s p u lle r ............................................... F e lic ity S u rte e s D ire c to r..................................................G e o rg e M ille r G a u g e ...................................................................3 5 m m m o n th s le a d in g up to th e c h a rg e a t B e e rsh e b a , C la p p e r/lo a d e r..................................................... P e te r T e ra k e s S c rip tw rite rs .................................. D ia n e M ills te a d , Cast: R o b in R a m s a y (H e c H a rris), J e n n ife r th e w o rld ’s la st g re a t c a v a lry c h a rg e . K e y g r ip ................................................................... B re tt M c D o w e B a rry H u m p h rie s C lu ff (A ggie), M a rio n C h lrg w in (Jo). A sst g r ip ..................................................................J o h n T a te TERRA AUSTRALIS B a sed on th e o rig in a l Idea Synopsis: T h is is a s to ry a b o u t a m a n w h o C a m e ra s u p p o rt s y s te m / b y : ................................................. D ia n e M ills te a d , P rod, c o m p a n y ....................................Y o ra m G ro ss e x c e e d s h is lim it on his c re d it c a rd , so he ta k e s a r m o u re r.......................................... B ria n B o s is to B a rry H u m p h rie s F ilm S tu d io P ty Ltd o u t five m o re c re d it c a rd s to p a y o ff th e firs t.

(Lola ), J o h n P o iso n (C yril), F ra n c e s c a R a ft (Fio n a ), Im o g e n A n n e s le y (S acha ). Synopsis: C a n d y w o rk s as a p ro s titu te in B a m b i’s M a s s a g e P a rlo u r a n d H e a lth S tu d io in S y d n e y ’s K in g s C ro ss. S h e h a s b e e n to a rt sc h o o l a n d s h e ’s a c q u ire d a v e n e e r of s o p h is tic a tio n , b u t fe e ls e n g u lfe d b y th e sh e e r o rd in a rin e s s o f h e r o w n a n d o th e rs ' live s. As th e s to ry b e g in s, C a n d y ’s w o rk in th e p a rlo u r is b e g in n in g to a lte r th e te n o r o f h e r re la tio n s h ip w ith Ian, th e m a n sh e liv e s w ith . S h e m e e ts R eg, a la c o n ic , e n ig m a tic m a n , w h o b e c o m e s th e o b je c t o f an o b s e s s io n .

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EFFECTS ENGINEERING Bottles- S heetglass Specials M ade To O rder. LOT 46 LAITOKI RD, TERREY HILLS, NSW 2084. TELEPHONE: (02) 4501648 450 2956 A s s is ta n t...........................................................G e o rg io L iv e rio L ib e rty h o r s e s ..................................E v a n n e B ra n d L a b o ra to ry .................... i.......................................... V F L V ic to r J u y G a ff e r ...................................................................... P e te r O ’ B rie P u b lic ity .............................................. G e o rg ie B ro w n L ne n g th ......................................................... 9 3 m in u te s In -b e tw e e n e rs .................................M a x im G u n n e r, 2 n d e le c tr ic s ...........................................S te v e C a rte r C a te r in g .............................................. A & B C a te rin g G a u g e ..........................S u p e r 3 5 m m T e c h n is c o p e R ic k T in s c h e rt, 3 rd e le c tr ic s .......................................S h a u n M a c k a y S t u d io s ..................................A B C , F re n c h ’s F o re s t S h o o tin g s t o c k ........................................K o d a k 5 2 9 4 B a rb a ra C oy, B o o m o p e r a t o r ......................................................M a rk W a s iu M ix e d a t .....................................A B C F o re s t S tu d io s Cta a skt: M ic h a e l B u tc h e n c e (S am ), S a s k ia P o st G a illy n G a d s to n , A rt d ire c to r ............................................ R o n H ig h fie ld L a b o ra to r y ..................................................... C o lo rfilm (A n n a ), N iq u e N e e d le s (T im ), A n d re w C la y to n P a u l B a ke r, A sst a rt d ire c to r/ L e n g th ........................... M in is e rie s 6 x 5 0 m in u te s , J o n e s (N ick), T o n v H e lo u (L u c h io ), M a rtii C o le s L iz T h o m a s , s c e n ic a r tis t..................................R o B ru e n -C o o k F e a tu re film 2 h o u rs (M a rk), C a th e rin e D e la n e y (T h e g irl), P e te r R o b e rt M a lh e rb e , A rt d e p t ru n n e r/a s s is ta n t................T o b y C o p p in g G a u g e ...................................................................35 m m W a ls h (A n th o n y), C a ro lin e L e e (Je n n y), G a ry C a ro l S e id l, M a ke -u p s u p e rv is o r.............................................. B o b M c C aFrro Cast: J o h n S ta n to n ( M a g w itc h ) , S ig r id o leny (B arry). K e n K e ys, M a k e -u p ................................................. S o n ja S m u k T h o rn to n (B rid g e t), R o b e rt C o le b y (C om M e la n ie A lle n , S y n o p s is : A fa s t a n d fu rio u s lo ve s to ry s e t M a ke -u p a s s is ta n t........................................A n n a b e l B a rto a n m id th e co m e d y , c h a o s a n d c ra z y c o n p e y s o n ), N o e l F e rrie r (J a g g e rs ), G e ra rd M a ria H a re n , H a ird re s s e r............................................................. P a u l W illiafm K e n n e d y (T ooth), T o d d B o y c e (P ip ), A n n e u ss io n o f a t y p ic a l in n e r - c it y s h a r e d P h illip S c a rro ld , W a rd ro b e s u p e rv is o r........................................A n n ie B a n jahm L o u is e L a m b e rt (E s te lla ), B ru c e S p e n c e o uins e h o ld as th e in d u lg e n t y e a rs o f th e C h ris E va n s, W a rd ro b e a s s is ta n t............... L u c in d a M c G u ig a n (G a rg e ry), R o n H a d d ric k (T a n k e rto n ), J ill s e v e n tie s g iv e w a y to th e h a rs h e r re a litie s o f K a th y O ’ R o u rk e , P ro p s m a k e r ............................................J o h n M u rch life in th e e ig h tie s . F o rs te r (M iss H a vish a m ). C la re L y o n e tte , P ro p s b u y e r .......................................................D e rric k C h e tw y n Synopsis: Great Expectations — The Untold W a y n e K e lly, DOT AND THE SMUGGLERS S ta n d b y p r o p s ......................................... L ia m L id d le Story ta k e s th e c h a ra c te r A b e l M a g w itc h fro m D a re k P o lk o w s k i, S p e c ia l e ffe c ts ..................................B ria n R o lls to n , S a ra h L a w so n , C h a rle s D ic k e n s ’s n o ve l Great Expectations, P rod, c o m p a n y .....................................Y o ra m G ro ss L u k e O ’ H a llo ra n F ilm s tu d io P ty Ltd V ic to r J u y a n d b u ild s a s to ry a ro u n d his life , fro m th e tim e M o d e l m a k e r/s p e c ia l e f f e c t s ......W illia m D e n n is P r o d u c e r ................................................Y o ra m G ro ss he, w a s e x ile d in A u s tra lia as a c o n v ic t, u n til he A n im a tio n c h e c k e rs .............................................. K im C ra ste A s s is ta n t to D ir e c to r .................................................. Y o ra m G ro ss m a d e his fo rtu n e a n d re tu rn e d to E n g la n d . Liz L a n e, m o d e l m a k e r s h o p ........................ W a y n e T ru c e K im M a rd e n S c r ip tw rite r ................................................G re g F lynn C a rp e n te r................... A n d re w W h itn e y -G a rd in e r INITIATION B a sed on th e o rig in a l id e a b y ...........G re g Flynn, C o lo u r s t y lis t ..................................S h a ro n J a c k s o n R ig g e r ..................................................B e rn a rd M a rtin Y o ra m G ro ss Ink a n d p a in t....................................... J a c k P e tru s k a P rod, c o m p a n y ................................. F ilm b a r P ty Ltd C o n s tru c tio n m a n a g e r ........................................J o h n P a rkA en r.im a tio n d ire c to r..........................J a c q u e s M u lle r (A n im a tio n A id s) Dist. c o m p a n y ........................................... W o rld w id e A s s t c o n s tru c tio n m a n a g e r................. P a u l M a rtin A s so c, p ro d u c e r................................. S a n d ra G ro ss R e n d e r in g .............................................................. V ic k i J o y c e e x c lu d in g A u s tra la s ia A s s is ta n t e d ito r . .................................................. P h ilip D ixo nP rod, m a n a g e r .................................J e a n e tte T o m s C a m e r a ................................................................ J e n n y O s c h e G o ld fa rb D is trib u to rs Inc. E d itin g a s s is ta n t...............................................A n to n y G ra y L e n g th .......................................................................... 75 m in u te s ito r.................................................................... D e n n is J o n ePs r o d u c e r.........................................J a n e B a lla n ty n e Ed S tu n ts c o - o r d in a to r ............................................ C h ris A n d e G rs ao u n g e ..................................................................35 m m S o u n d e d it o r ..........................................................J o h n M c K D a yire c to r............................................. M ic h a e l P e a rce T ra n s p o rt m a n a g e r............................................R a lp h C la rkC a st: K e ith S co tt, R o b yn M oore. P u b lic ity .................................................................... R e a F ra n S c is c r ip tw rite r ..........................................J a m e s B a rto n A s s is ta n t tra n s p o rt S y n o p s is : D o t a n d h e r b u s h la n d frie n d s try to L a b o ra to r y .....................................................C o lo rfilm B a sed on th e o rig in a l id e a m a n a g e r...............................J e re m y H u tc h in s o n sto p w ild life s m u g g le rs fro m c a p tu rin g a C a s t: V o ic e s : J o h n C la rk e , P e te r H a yd e n , b y .................................................. M ic h a e l P e a rce S till p h o to g ra p h y .....................................................J im T o w nBleuyn yip . F io n a S a m u e l, D o ro th y M c K e g g , B illy T. P h o to g ra p h y .............................. G e o ffre y S im p s o n B o a t m a s te r............................................................J o h n B irre ll Ja m e s. S o u n d re c o rd is t.................................. T o iv o L e m b e r B e st b o y ........................................J o n a th a n H u g h e s DOT AND THE WHALE S y n o p s is : A n a m in a te d fe a tu re . T h e a d v e n E d it o r ................................................................... D e n is e H a ra tz is R u n n e r/tra in e e ...................................................... F fio n M u rp h y tu re s o f D o g a n d W a l, a n d th e c h a ra c te rs of P rod, d e s ig n e r ..................................J o n D o w d in g P rod, c o m p a n y .................................................. Y o ra m G ro ss A F T V S a tta c h m e n t d u rin g Footrot Flats. E xec, p r o d u c e r .......................... A n to n y I. G in n a n e F ilm s tu d io P ty Ltd p r o d u c tio n ..............................................................Ivo B u ru m P rod, c o -o rd in a to r............................................J e n n ie C ro w le y P r o d u c e r .............................................................Y o ra m G ro ss P u b lic ity ......................T h e R ae F ra n c is C o m p a n y GREAT EXPECTATIONS — P rod, m a n a g e r.................................................. R o b e rt K e w le y U n it p u b lic is t ..................................................... R o n n ie G ib s oDnir e c to r ............................................................... Y o ra m G ro ss THE UNTOLD STORY U n it m a n a g e r..................................................... M a s o n C u rtis S c rip tw rite r.............................................................J o h n P a lm d r C a te r in g ............................... M M K S e rv ic e s P ty Ltd P rod, a c c o u n ta n t................................... C h ris to p h e r H u n n A n im a to n d ir e c t o r ................................................. R a y N o w laPnrod, d c o m p a n y ..............A u s tra lia n B ro a d c a s tin g L a b o ra to r y ..................................................... C o lo rfilm A c c o u n ts a s s is ta n t............................................... A le x W a lk e r A sso c, p ro d u c e r.............................................. S a n d ra G ro ss C o rp o ra tio n , In te rn a tio n a l F ilm Lab. lia is o n ..............................R ic h a rd P io rk o w s k i 1st asst d ir e c t o r ................................................... E u a n K e d d ie P rod, m a n a g e r ................................................ N a re lle H o p le y M a n a g e m e n t L im ite d L e n g th ...........................................................................9 0 m in u te s 2 nll,d a sst d ir e c t o r ................................................... G u s H o w a rd L e n g th .......................................................................... 75 m in u te P sro d u c e rs ................................................................ T o m B u rs ta G a u g e .................................................................. 35 m m 3 rd a sst d ire c to r...................................................K e vin T u rn e r R a y .A lc h in G a u g e ..................................................................35 m m S h o o tin g s t o c k ...................................................K o d a k C o n tin u ity ..........................................................J o a n n e M c L e n n a n C a s t: K e ith S co tt, R o b yn M o o re . D ir e c to r ...................................................T im B u rs ta ll C a s t: J o h n J a rra tt (S te v e H a rris), N ik k i C o g h ill C a m e ra o p e r a t o r ..................... G e o ffre y S im p s o n S y n o p s is : D o t a n d N e p tu n e th e d o lp h in b a ttle S c rip tw rite r............ , ............................... T im B u rs ta ll (C a th y P o pe), M a x P h ip p s (B e sse r), B u rn h a m F o cu s p u lle r ........................................................ M a rtin T u rn e r to sa ve th e life o f a b e a c h e d w h a le . B a sed on an o rig in a l id e a b y .......... T o m B u rs ta ll B u rn h a m (O o n d a b u n d ), D a v id G u lp ilil C la p p e r/lo a d e r........................................................... J o M u rp h y S o u n d r e c o r d is t.................................. P e te r B a rb e r (A d ja ra l), R a y M e a g h e r (G a rre t), J e ff A s h b y K e y g r ip ..................................................................R o b in M o rg a n FOOTROT FLATS — THE MOVIE E d ito rs .............................................. T o n y K a va n a g h , (M a c W ilso n ). G rip ........................................................J o h n G o ld n e y P rod, c o m p a n y ...............M a g p ie P ro d u c tio n s Ltd L yn S o lly S y n o p s is : A h u g e ro g u e c ro c o d ile te rro ris e s G a ffe r.................................................... T re v o r T o u n e P r o d u c e rs .............................................................. J o h n B a rn ePtt, ro d , d e s ig n e r............................... L a u rie J o h n s o n th e in h a b ita n ts o f D a rw in . E le c tric ia n /g e n e ra to r Pat C ox C o m p o s e r........................................ G e o rg e D re y fu s o p e ra to r .........................................................W e rn e r G e rla c h DOGS IN SPACE D ir e c to r ............................................................... M u rra y B a ll E xe c, p r o d u c e r .......................... A n to n y I. G in n a n e B o o m o p e r a t o r .....................................................S c o tt R a w lin g s S c re e n p la y ..............................................M u rra y B all, A s s o c ia te p ro d u c e r.......................S ig rid T h o rn to n P rod, c o m p a n y ....................E n te rta in m e n t M e d ia A rt d ir e c t o r .......................................................... P a d d y R e a rd o n T o m S c o tt P ty L td in a s s o c ia tio n w ith P ro d , m a n a g e r................................................. D e n n is K ie lyC o s tu m e d e s ig n e r..................................... A p h ro d ite K o n d o s B a se d on th e c h a ra c te rs th e B u rro w e s F ilm G ro u p L o ca tio n m a n a g e r...................................................V a l W in dHo an ird re s s e r/m a k e -u p ..................................... K irs te n V e y s e y cre a te d b y ...................................................... M u rra y B a ll P rod, s e c r e ta ry ............................................ M a u re e n C h a rlto n P r o d u c e r ................................................G le n y s R o w e S ta n d b y w a r d r o b e ...................... R u th D e La L a n d a tio n d ire c to r ............................. R o b b e rt S m it D ir e c to r .............................................................. R ic h a rd L o w eAnnsim te in P ro d , a c c o u n ta n t...............................J u d y M u rp h y P ro p s b u y e r........................... C h ris to p h e r W e b s te r t e d ito r......................................C h ris H a m p s o n S c r ip tw rite r ....................................................... R ic h a rd L o w eSncsrip te in 1st asst d ire c to r ................................. W a y n e B a rry S ta n d b y p r o p s ..................................................... P e te r D a vie s P ro d u c tio n s u p e rv is o r...................... M ike M id la m B a se d o n th e o rig in a l id e a 2 n d a s s t d ire c to r ......................„....G a ry S te p h e n s S e t c o n s tru c tio n ...................................................J o h n M o o re U n it m a n a g e r............................................. D o n P a ge b y .................................................................... R ic h a rd L o w ePnrod, s te inm a n a g e rs ......................M a rk D ’A rc y -Irv in e , A sst e d ito r ............................................................S im o n J a m e s K a te R o b in s o n C o n tin u ity ................ , ..........................S ia n F a to u ro s P h o to g ra p h y ................................. A n d re w d e G ro o t S o u n d e d ito r...........................................................G le n N e w n h a m P ro d u c tio n a s s t........................................ T im A d lid e C a s tin g ................................................................. J e n n y A lle nM ix e r..................................................................... J a m e s C u rrie S o u n d r e c o r d is t................................... D e a n G a w e n P rod, a c c o u n ta n ts .................................. A n d ro u lla , L ig h tin g c a m e r a m a n ....................... P e te r H e n d ry E d it o r ............................................................J ill B ilc o c k S tu n ts c o -o rd in a to r.............................................. G le n B o s w e ll M o n e y p e n n y S e rv ic e s (A u s tra lia ) C a m e ra o p e r a t o r ...............................R o g e r L a n s e r E xe c, p r o d u c e r .................................... R o b e rt Le T e t S till p h o to g ra p h y .................................. S u z y W o o d P ro d u c e r’s a s s is ta n t..........................................R o se Lai F o cu s p u lle r ....................................P a u l P a n d o u lis P ro d , m a n a g e r.................................................... L y n d a H o u se P u b lic ity ..................................................M a ria n P a g e B a c k g ro u n d s .............................. R ic h a rd Z a lo u d e k C la p p e r/lo a d e r................................... R o b e rt F o s te r U n it m a n a g e r ............................................K im L e w is B e st b o y .............................................................G ra e m e S h e lto n K e y g r ip ............................................. Lona John P ro d , s e c r e ta rie s ...................................................S u e S te p hLeany-o s , u t a r tis ts ................................B ru c e P e d e rso n , R u n n e r............................................ D a v id S o re n s o n S te ve L u m le y, A sst g r ip .................................................................G a ry B u rd e tt J a kki M ann C a te rin g ................................................D a n n y P o p p e r P e re V a n R e ik, G a ff e r .........................................................................T im J o n e s P rod, a c c o u n ta n t.....................................A n n e G a lt S tu d io s ...............................................................H e n d o n S tu d io s D e a n e T a y lo r, E le c t r ic ia n s .............................................................K e n P e ttig re w , 1 st asst d ir e c t o r ................................................... R o ss H a m ilto n M ixe d a t ............................................................ H e n d o n S tu d io s P a u l S tyb le , R o b e rt W ic k h a m 2 n d a s s t d ir e c t o r ....................................................P a u l G rin d e r L a b o ra to ry ...................................... C o lo rfilm P ty Ltd J a m e s B a ke r, 3rd a sst d ir e c t o r ............................................... M a rg o t S a lo m o n B o o m o p e ra to r............................. D a vid P e a rso n Lab. lia is o n .......................................................R ic h a rd P io rk o w s k i L e a n n e H u g h e s, D e s ig n e rs .................................. J o h n P ry c e -J o n e s , C o n tin u ity ..............................................................G a y le P ig a lle B u d g e t.......................................................................... $ 3 m illio n ........... K e n M u g g le s to n J a n D ’S ilv a , C a s tin g c o n s u lta n ts ...................................... F o rc a s t L e n g th ...........................................................................97 m in u te s J o h n M a rtin C a m e ra o p e ra to r......................................P a u l E llio t A s s t d e s ig n e r............................................................C o l R u d d e r G a u g e .................................................................. 35 m m F o c u s p u lle r ....................................S te v e M c D o n a ld A n im a to rs ................................................................. D o n M a c kCinonsotunm , e d e s ig n e r................................... „..Q u e n tin H o le S h o o tin g s to c k ................... K o d a k E a s tm a n c o lo u r J o n M cC le n a h a n , C la p p e r/lo a d e r................... M a n d y W a lk e r M a k e u p ............................................. .C h ris tin e E h le rt Cast: B ru n o L a w re n c e (N at), R o d n e y H a rve y ................ J iri H a vlin A lis ta ir B yrt, K e y g r ip ....... ....................................... N o e l M c D o n a ld (B illy), A n n a -M a ria W in c h e s te r (S al), M ira n d a W a r d ro b e ................................................................. R o n D u tto n G a ird e n C o o ke , A s s t g r ip ..............................................................W a y n e M a rs h a ll O tto (S tevie). C h ris H a u g e , W a rd ro b e a s s t.......................................... R o ily C a n o G a ffe r ......................................................................... P a u l O ’ N e ill Synopsis: A h ig h a d v e n tu re s to ry o f a b o y ’s B o b B a xte r, P ro p s .....................................................................L a u rie D o rn B o om o p e ra to r...........................S te p h e n V a u g h a n in itia tio n in to m a n h o o d th ro u g h tria l a n d o rd e a l A n d re w S ze m e n y a i, ....................... S a n d i E yles, A rt d ire c to r ............................................J o d y B o rla n d a fte r a p la n e c ra s h in th e re m o te A u s tra lia n J im W y lie , ........ W a y n e P a s h le y H a ir a n d m a k e -u p ........... , .................. C a ro ly n N o tt, ra in fo re st. It is a life o r d e a th jo u rn e y th a t S im o n O ’ L e a ry, P ro p s b u y e r s .........................................................C lin t W h itein, vo lve s m a g ic a n d ritu a l. T ro y D a vie s ........ R u s s e ll B u rto n , L ia n n e H u g h e s, W a r d ro b e .............................. L y n n e M a rie M ilb u rn , N ic k H a rd in g , S p e c ia l e ffe c ts ........................ C h ris R ym a n K a re n A n s e ll JACKSON’S CREW J o h n B u rg e , A rm o u re r......................................P a d d y M cD o n a ld , P ro p s b u y e r ..........................S te v e n J o n e s -E v a n s H e n ry N e ville , S e t d re s s e r............................... S u s a n G la v ic h S ta n d b y p r o p s .......................................... M a c g re g o r K n o x P rod, c o m p a n y ...................................R e e f F ilm s Ltd S p e c ia l e f fe c t s ................................. B ria n M c C lu re J a m e s B a ke r, D ist. c o m p a n y ..............................G lo b a l T e le v is io n S p e c ia l e f f e c t s ......................................P e te r S tu b b s A rm o u re r............................................. P e te r L e g g e tt G re g In g ra m S e rv ic e s L td (U .K .) S e t c o n s tr u c tio n .................... Ian M c L a y S e t d e c o ra to r............................ R o b e rt H u tc h in s o n A s s is ta n ts ....................................... D e n is e K irk h a m , P ro d u c e r............................................................ R ic h a rd R o o k e r A s s t e d it o r ....................... C h ris tin a D e P o d o lin s k y M u rra y G riffin , N e g. c u t t e r ..............................................................P a m T o o sDe ir e c to r ..............................................................M ic h a e l R o d g e r M u s ic p e rfo rm e d L u c in d a C lu tte rb u c k , S o u n d e d ito r s ...................................................... P e te r T o w nSecnrip d tw rite r............................................ K e n M e th o ld b y .................................V a rio u s M e lb o u rn e b a n d s L a w rie S ilv e s trin W a lly M a c a rti, B a sed on th e o rig in a l id e a S o u n d e d it o r ........................................D e a n G a w e n M ix e r......................................................................... M a rk W a lk e rb y ..........................................................K e n M e th o ld D a re k P o lk o w s k i, S tu n ts c o -o rd in a to r........................... G le n B o s w e ll S tu n ts c o -o rd in a to r......................P e te r A rm s tro n g A s trid N o rd h e im , P h o to g ra p h y ......................................... J o h n S to k e s S till p h o to g ra p h y .................................................S te v e P yke S till p h o to g ra p h y ..............................G a ry J o h n s to n B a rb a ra C o y, S o u n d r e c o r d is t .......................................... Ian G ra n t B e s t b o y ...................... P e te r S c o tt P a u l S tib a l, H o rs e m a s te r...................................... G ra h a m W a re E d it o r .......................................................B o b B la s d e ll ► R u n n e r .......................................................J u le s T a y lo r

CINEMA PAPERS September — 77

P R

I O N

Production Survey continued

P rod, d e s ig n e r ...............................R ic h a rd R o o k e r W a rd ro b e a s s is ta n t.......................B e lin d a B o u rk e P ro p s b u y e r ........................................ P e te r W o o f P rod, d e s ig n e r ................................... S e a n C a llin a n C o m p o s e r ........................................B ru c e S m e a to n S ta n d b y p r o p s ........................... K a ra n M o n k h o u s e S ta n d b y p r o p s .................................................... A d e le F le re C o m p o s e r ............................................... P e te r M ille r E xe c, p ro d u c e rs ..................................K e n M e th o ld , A rt d e p t m in io n ...............G ra h a m ‘G ra c e ’ W a lk e r S e t c o n s tr u c tio n .............................................. A s h le y D u ff, E xec, p ro d u c e rs ....................................M M A F ilm s, L e o B a rre tto D ra fts m a n .............................................. M a rtin W a le G le n M a rs h a ll, AFC P rod, a c c o u n ta n t................... H o rw a th & H o rw a th G e o ff F e n to n M o d e lm a k e r;....................................... R o ss W a lla c e P rod, m a n a g e r............................. A n d re w M cP h a il 1st a s s t d ir e c t o r .................................................. D a v id M u n ro C o n s tru c tio n m a n a g e r ....................D e n n is S m ith P rod, a c c o u n ta n ts ................................................. Lyn Jo n e sS,till p h o to g r a p h y ................................P e te r W h yte , 2 n d a sst d ire c to r..................................A n d re w E llis S ig n w rite r............................................ B ria n H a m m ill J a n D a lla s D a vid B u rn s C o n tin u ity ................................C a ro lin a H a g g s tro m S c e n ic a rtis t/s e t f in is h e r .................. B illy M a lc o lm R u n n e r .........................................................J u lia n B a ll P rod, a s s is ta n t........................................................... K it Q u a rry C a s tin g ....................E la in e H o lla n d & A s s o c ia te s A sst s e t f in is h e r ..............................M a rtin B ru v e ris C a te rin g ........................... R o d T h o rp e — R a ffe rty s 1st asst d ire c to r ........................... A n d re w M c P h a il L ig h tin g c a m e ra p e rs o n ..................................... J o h n S to k eCsa rp e n te rs .............................................. J o h n R a nn, M ixe d a t ............................................ S o u n d F irm 2 n d asst d ire c to r .......................................................K it Q u a rry C a m e ra o p e ra to r ................................................. J o h n S to k e s A n d y C h a u v e l, L a b o ra to ry ............................... ........................ C in e v e x C a stin g c o n s u lta n ts ......................................F o rc a s t F o cu s p u lle r............................................................B ra d S h ie ld M a rc u s S m ith , Lab. lia is o n ........................................... Ian A n d e rs o n L ig h tin g c a m e ra m a n .......................... D a vid K n a u s C la p p e r/lo a d e r..........................C o n s ta n tin e R ig a s L a rry S a n d y B u d g e t ...................................................... $ 1 ,2 0 0 ,0 0 0 C a m e ra o p e ra to r.................................. D a vid K n a u s K e y g r ip .................................................................. D a v id W h a nA sst e d ito r ...................................... P a m e la B a rn e tta L e n g th .........................................................95 m in u te s F o cu s p u lle r .......................................... L isa S h a rk e y G a ff e r ..........................................................K e n M o ffa t D ia lo g u e e d ito r....................................L iz G o ld fin c h G a u g e .................................................................. 35 m m C la p p e r/lo a d e r ..... A lis o n M a xw e ll (a tta c h m e n t) B o om o p e ra to r............................... B ru c e W a lla c e Fx e d ito r ................................................ A n n ie B re s lin S h o o tin g s t o c k ................... K o d a k 5 2 4 7 a n d 5 2 9 4 K e y g r ip ..................................................... S te ve M ille r M a k e -u p ....................................................A p ril H a rve y A sst d ia lo g u e e d ito r.......................... D a n y C o o p e r C a s t: M e lita J u ris ic (R u b y R ose), C h ris H a y S p e c ia l fx p h o to g ra p h y ........................A le x P ro ya s H a ird re s s e r............................................................. A p ril H a rv eMy ix e r .................................................... R o g e r S a va g e w o o d (H e n ry R o se), R o d Z u a n ic (G em ), M a rtyn G a ffe r s ..................................................... S te ve M ille r, W a r d ro b e ...............................................J o S h e p p a rd S tu n ts c o - o rd in a to r....................... C h ris A n d e rs o n S a n d e r s o n ( B e n n e tt ) , S h e ila F lo r a n c e D a vid K n a u s S e t d e c o ra to r ....................................... D a vid F ra n k s S till p h o to g ra p h y ............................C a ro ly n Jo h n s, (G ra n d m a ). B o o m o p e ra to r ........................................C ra ig W o o d N eg. m a tc h in g ..................................................... A tla b O liv e r S tre w e S y n o p s is : L o c a te d a m o n g th e h a u n tin g p e a ks A rt d ir e c t o r ................................................P e te r M ille r O p tic a ls ...................................................................A tla b B e st b o y ............................................ S h a u n C o n w a y a n d b ro o d in g m ists o f T a s m a n ia ’s C e n tra l C o s tu m e d e s ig n e r s .........................A n g e la T o n ks, T itle d e s ig n e r .................................................. R ic h a rd A lle n R u n n e r .................................................J o h n M e re d ith H ig h la n d s, T h e T a le o f R u b y R o s e is th e s to ry M a th u A n d e rs o n C a te r in g ..................................................................... J a n D ru mCmaoten rde r ......................................................C h ris S m ith o f a w o m a n o v e rc o m in g an in te n s e fe a r o f th e M a k e -u p ......................................... M a th u A n d e rs o n L e n g th ......................................9 0 m in u te s (a p p ro x .) A sst c a t e r e r ................................................ B illy A lle n d ark. H a ird re s s e r.................................... M a th u A n d e rs o n G a u g e .................................................................... 16m m M ixe d a t ........................................................S o u n d firm S ta n d b y p r o p s ......................................... P e te r M ille r S h o o tin g s t o c k ...................................................K o d a k TRAVELLING NORTH L a b o ra to r y ..................................................... C o lo rfilm S p e cia l e ffe c ts .............M e a n in g fu l E ye C o n ta c t, Cast: J o h n B o w m a n (Tom ), P e n n y Jo n e s Lab. lia is o n ...............................R ic h a rd P lo rk o w s k i L e w is M o rle y P rod, c o m p a n y ...................V ie w P ic tu re s L im ite d (Jenny), C a e R e e s (C a th y), G re g P o w e lls B u d g e t...................................................... $ 3 .5 m illio n S c e n ic a r tis t ...............................N ic k S ta th o p o u io s Dist. c o m p a n y ....................................................... C E L (G a vin ), R e b e c c a C o g z ill (S a lly), A n d re w B o o th L e n g th .......................................................90 m in u te s C a rp e n te rs ..................................... D a n n y H e rrin g , P r o d u c e r ................................................. B e n G a n n o n (Theo), O ve A ltm a n (T e rry), J e n n y H a ll (Peta), G a u g e ...................................................................35 m m D a vid T h o m p s o n D ire c to r......................................................................C a rl S c h u ltz D a vid C le n d in n in g (R egg ie). S h o o tin g s t o c k ...................................................K o d a k S e t c o n s tru c tio n .... D e re k W yn e ss (B ro k e n H ill), S c rip tw rite r........................................................... D a v id W illia m s o Synopsis: A tw o -h o u r p ilo t fo r a fa m ily te le C a s t: R a ch e l W a rd (M a rg e H ills), B ry a n B ro w n P e te r W a ts o n (S tu d io ) B a sed on th e p la y b y ........................................ D a vid W illia m s o v is io n s e rie s fe a tu rin g a w ild life p h o to g ra p h e r, (S o n n y H ills), S a m N e ill (N e v ille G iffo rd ), A sst e d ito rs ..............................................J o h n K u b ik, S o u n d r e c o r d is t......................................................S yd B u tte rw o his th re e c h ild re n , a n d th e ir a d v e n tu re s in S teven V id le r (S u g a r), J e n n ife r C la ire (D aisy), A lic ia G a u vin E d it o r ..................................................................... H e n ry D a n g a r A u s tra lia as a n a tu ra l h is to ry film cre w . P e te r C u m m in s (N ed), C a ro le S k in n e r (M rs M u sica l d ire c to r ...................................... P e te r M ille r P rod, d e s ig n e r............................... O w e n P a te rs o n G ibson ), C la ris s a K a ye -M a so n (M rs Ja c k s o n ), S o u n d e d ito r ............................................C ra ig W o o d P rod, s u p e rv is o r.............................................. S a n d ra M c K e n z ie MARAUDERS S u sa n L yo n s (M a rg a re t F ie ld in g ), B a rry H ill E d itin g a s s is ta n t .....................................J o h n K u b ik P rod, c o - o rd in a to r..........................C a th y F la n n e ry (R ic h a rd F ie ld in g ). P rod, c o m p a n y ............................... T h e M a g ic M en S till p h o to g ra p h y .......................... H u g h H a m ilto n , P rod, m a n a g e r...................................................... J u lia O v e rto n P r o d u c e r ...............................................M a rk S a va g e S y n o p s is : T h e film te lls th e s to ry o f a w o m a n W e n d y M cD o u g a ll, L o ca tio n m a n a g e r ............................. R o b in C lifto n w h o b re a ks w ith c o n v e n tio n a n d d e fie s th e D ir e c to r ..................................................M a rk S a v a g e M a th u A n d e rs o n U n it m a n a g e r..............................................Ian K e n n y S c r ip tw rite r ........................................... M a rk S a v a g e ta b o o s o f an e ra in th e p u rs u it o f selfR u n n e rs .................... A lis io n P ic k u p (B ro k e n H ill), P rod, a c c o u n ta n t................................J ill C o v e rd a le P h o to g ra p h y ........................................ M a rk S a va g e kn o w le d g e a n d se x u a l fu lfilm e n t. B ryn W h ittie (S tu d io ) P rod, a s s is ta n t................................. H a rrie t M cK e rn S o u n d re c o rd is ts .................................................. P a ul H a rrin g to n , C a te r in g ............T h e H a p p y C a rro t (B ro k e n H ill), 1st a sst d ir e c t o r ...................................................C o lin F le tc h e r PROMISES TO KEEP R ic h a rd W o ls te n c ro ft A lis io n P ic k u p (S tu d io ) 2 n d asst d ire c to r ..............................................M u rra y R o b e rts o (W o rk in g title ) E d ito rs ..................................................M a rk S a va g e , S tu d io s ........................................... S u p re m e S tu d io s 3rd a sst d ir e c t o r .................................................. J a n e G riffin P a u l H a rrin g to n L a b o ra to ry .....................................................C o lo rfilm M a n a g e m e n t c o m p a n y ...L a u g h in g K o o k a b u rra C o n tin u ity .......................................................... P a m e la W illis C o m p o s e rs ................................ J o h n M e ra k o v s k y , Lab. lia is o n ..........................................S im o n W ic k s , P ro d u c tio n s P ty Ltd A c c o u n ts a s s t/S y d n e y lia is o n ........ D o n n a W illis M a rk H o rp in itc h W a rre n P ro d u c tio n a g e n t .................................. G re a t S co tt C a s tin g ............................................................... S a n d ra M c K e n z ie E xe c, p ro d u c e rs ................ R ic h a rd W o ls te n c ro ft, L e n g th .........................................................86 m in u te s P ro d u c tio n s P ty Ltd L ig h tin g c a m e ra p e rs o n ...................................J u lia n P e n n e y C o lin S a va g e G a u g e ..................................................................16 m m P r o d u c e r .................................................. J a n e S co tt C a m e ra o p e r a t o r ............................................... J u lia n P e n n e y P rod, a c c o u n ta n t.................... D a vid W o ls te n c ro ft S h o o tin g s t o c k .....................................................7291 D ir e c to r .................................................. P h illip N o yce F o cu s p u lle r ...............................................................Ian T h o rb u rn P rod, a s s is ta n ts ................................C o lin S a va g e , S c r ip tw rite r .............................................................. J a n S h a rpC a st: M ich a e l L ake (Felix), M e lis s a D a vis C la p p e r/lo a d e r.................................................... F ra n k H ru b y R ic h a rd W o ls te n c ro ft, (B etty), T h e N o rm (S m ith ). A d d itio n a l m a te ria l...................A n n e B ro o k s b a n k K e y g r ip ............................................P a u l T h o m p s o n P a ul H a rrin g to n B a sed on th e o rig in a l Idea b y ..............J a n S h a rp A s s t g r ip ........................................... G e o rg e T s o u ta s S y n o p s is : A c rip p le d m a n a n d h is fa n a tic a lly C a s tin g ..............................................T h e M a g ic M en P h o to g ra p h y .........................................................P e te r J a m ere s lig io u s s is te r live in a s h a c k in th e m id d le o f a G a ffe r......................................................................... R e g G a rs id e L ig h tin g c a m e r a m a n ......................... M a rk S a va g e S o u n d re c o rd is t...................................................... T im Lloydv a s t d e se rt. T h e m a n d re a m s o f le a v in g in a E le c tric ia n ............................................................... A la n D u n s ta n C a m e ra a s s is ta n t...............R ic h a rd W o ls te n c ro ft E d ito r ...........................................F ra n s V a n d e n b u rg B o om o p e ra to r..............................................S u e K e rr fly in g m a c h in e o f h is o w n in v e n tio n . A c o m e d y K e y g r ip ..............................................................Du D oo P rod, d e s ig n e r................................................... J u d ith R u sse S e t d e c o ra to r................................................... A le th e a D e a n e o llf th e iro n ic. B o om o p e r a t o r ................................................. M e g a n N a p ie E rxec, p r o d u c e r....................................................... J a n S h a rp A rt d ire c to r .............................................D a le D u g u id M a k e - u p ................................................................S o n ia B e rtoBase n lia is o n ........................................................ P e g g y W o o d THE STEAM DRIVEN ADVENTURES C o stu m e d e s ig n e r ................................ J e n n ie T a te S p e c ia l e ffe c ts /m a k e -u p ...................................C o lin S a vaPgrod, e OF RIVERBOAT BILL m a n a g e r..............................A n to n ia B a rn a rd M a k e -u p ......................................... V lo le tte F o n ta in e M u sica l d ire c to r .......................J o h n M e ra k o v s k y L o ca tio n m a n a g e r...............................B e vin C h ild s H a ird re s s e r..................................... W e n d y d e W a a l P rod, c o m p a n y ............................ P h a n ta s c o p e Ltd S tu n ts c o -o rd in a to r........................S h a u n S u lliv a n P rod, a c c o u n ta n t.......................... R o b in a O s b o rn e P ro d u c e r.................................................................. P a u l W illiaSmtas n d b y w a rd ro b e ............................................ J e n n y M ile s S till p h o to g ra p h y ...............R ic h a rd W o ls te n c ro ft, 1st a sst d ire c to r ................................................... C h ris W e b bD ire c to r.....................................................................P a u l W illiaCmoss tu m ie r ................................................................. L y n H e a l C o lin S a va g e 2 n d a s s t d ir e c t o r ...........C a ro ly n n e C u n n in g h a m S c rip tw rite r...............................................................C liff G re e nP ro p s b u y e rs ..................................................B lo s s o m F lin t, T itle d e s ig n e r ............................................................ M r K h yro n asst d ire c to r ...........................H e n ry O s b o rn e 3rd L e a H a ig B a sed o n th e n o ve l b y ..........................................C liff G re e n L e n g th .......................................................................... 80 m in uC teosn tin u ity .......................................E liz a b e th B a rto n P h o to g ra p h y ........................................................ D ia n e B u lle S n ta n d b y p r o p s ................................ N ic k M c C a llu m G a u g e ....................................... H ig h b a n d BVU C a s tin g ............Liz M u llin a r C a s tin g C o n s u lta n ts A rt d e p t ru n n e r ( S y d n e y ).....................................T o r L a rse n S o u n d re c o r d is t..............................B ria n L a u re n c e Cast: C o lin S a v a g e (E m ilio E a st), Z e ro L ig h tin g c a m e r a m a n ..........................P e te r J a m e s C o m p o s e r..............................................................K e v in H o c kA inrtg d e p t ru n n e r (P o rt D o u g la s) ....T o b y C o p p in g M o n ta n a ( J .D . K r u g e r) , M egan N a p ie r C a m e ra o p e ra to r ...................... D a n n y B a tte rh a m C o n s tru c tio n m a n a g e r........................ P h il W o rth A n im a tio n ..........................f. ................G u s M cL a re n , (R e b e c c a H o w a rd s), P a u l H a rrin g to n (D a vid F ocu s p u lle r ......................................................... A n n a H o w a rd A sst e d it o r ...................................................R o s e m a ry Lee P a u l W illia m s , F raser), J a n ie F e u ro n (w ro n g e d d a u g h te r), C la p p e r/lo a d e r................................................. J a m e s R icka rd 2 n d a sst e d ito r ........................................................ E rin S in c la ir M a g g ie G e d d e s, S o n ia B e rto n (P e n n y E a st), A u d re y D a vies G rip s .............................................. B re n d a n S h a n le y, M u sica l c o - o r d in a to r ...........................................A la n J o h n S te v e n F re n ch (M o th e r K ru g e r), A n n a H a m p s e n (Ja im e D a ve N ich o ls S o u n d e d ito rs ........................... K a re n W h ittin g to n , L a b o ra to r y ................ V ic to ria n F ilm L a b o ra to rie s W in te rs), N ic k B ra d le y (C ra ig K ru g e r), C ra ig G a ffe r.................................................................... S im o n Lee L e n g th .......................................................................... 75 m in u te s P e n n R o b in so n M ile s (B oy). B o om o p e ra to r .................................................... P h ilip T ip e nGea u g e ..................................................................16 m m M ix e r ....................................................... P e te r F e n to n Synopsis: A fte r a s a v a g e h it a n d run th e G e n n ie o p e ra to r..................... D a rre n M c L a u g h lin A sst m ix e r .......................................... P h il H e y w o o d S h o o tin g s t o c k ...................................E a s tm a n c o lo r v ic tim s e x a c t re v e n g e u p o n th e ir a ss a ila n t. C o s tu m e d e s ig n e r.................C la rris s a P a tte rs o n T ra n s p o rt m a n a g e r.........................P e te r O ’ K e e fe C a s t: V o ic e o ve rs: F ra n k T h rin g , B ria n R e ve n g e tu rn s to b lo o d s h e d a n d te rrify in g M a k e -u p /h a ird re s s e rs ...................................... J o a n H ills, H a n n a n , H a m ish H u g h e s , B e a te H o rris o n , B e st b o y ................................................. C ra ig B rya n t re le n tle s s v io le n ce . J e n n y B row n R u n n e r.................................................... D a vid J o y c e D e b b y C u m m in g , B e n W illia m s , A d a m W a rd ro b e b u y e r.............................................. R o sa lie H oodW illia m s. P u b lic ity .................................................... P a tti M o styn S ta n d b y w a rd ro b e ........................................... B a rb ra Z u s sSinyon o p s is : A n im a te d a d v e n tu re s e t on th e PETER KENNA’S THE GOOD WIFE C a te r in g .........................................J a n e tte ’s K itc h e n W a rd ro b e a s s t./s e a m s tre s s ............................ K a tie R o ss S tu d io s ............................................................S u p re m e M u rra y R ive r at th e tu rn o f th e c e n tu ry . P rod, c o m p a n y ...................L a u g h in g K o o k a b u rra P ro p s b u y e r/s e t d re s s e r ......................................S u e H o yleR iv e rb o a t B ill a n d his c re w a tte m p t to p ro te c t L a b o ra to ry ............................................................. A tla b P ro d u c tio n s A sst to p ro d u c tio n d e s ig n e r ........ J a n e J o h n s to n Lab. lia is o n ............................................................ P e te r W illa rd , an ille g a l b u n y ip fro m th e lo n g a rm o f th e law . D ist. c o m p a n y ...A tla n tic R e le a s in g C o rp o ra tio n S ta n d b y p ro p s .......................................P a u l A rn o tt D a vid C o le P ro d u c e r....................................................................J a n S h a rp THE TALE OF RUBY ROSE S c e n ic a rtis t............................................................A la n C ra ft L e n g th .......................................................................... 95 m in u te s D ir e c to r ................................................ K e n C a m e ro n G a u g e ....................................................................3 5 m m P rod, c o m p a n y ..........................................S e o n F ilm S c r ip tw rite r ........................................................... P e te r K e n nCao n s tru c tio n m a n a g e r...............A lis ta ir T h o rn to n C a rp e n te r/s e t m a k e r ....................................H e rm a n B ron S h o o tin g s t o c k ...................................................K o d a k P ro d u c tio n s P ty Ltd P h o to g ra p h y .........................................J a m e s B a rtle e list. c o m p a n y ...........................................W o rld w id e C a s t: Leo M cK e rn , J u lia B la ke , G ra h a m S o u n d r e c o r d is t ..................................................... Ben O smCo a rp e n te r.............................................................G le n n M itc h D A sst e d ito rs ....................................................M a rg a re t S ixe l, K e n n e d y, H e n ri S ze p s, D ia n e C ra ig , M ic h e le e x c lu d in g A u s tra la s ia E d it o r ........................................................... J o h n S c o tt M andy Hanak Fa w d o n , A n d re a M o o r, D re w F o rs v ih e , J o h n F ilm a n d G e n e ra l H o ld in g s , P rod, d e s ig n e r ................................S a lly C a m p b e ll S till p h o to g ra p h y ....................................V iv ie n Z in k G reg g. H e m d a le C o m p o s e r .........................................C a m e ro n A lla n B e st b o y ............................................................... J a s o n R o g e rs S n o p s is : B a sed on th e D a vid W illia m s o n p la y P r o d u c e rs ............................................................B ry c e M e n zieys, P ro d , c o n s u lta n t............................ G re g R ic k e ts o n P ro d u c tio n r u n n e r .....................Ja m e s M c T e ig u e o f th e sa m e n am e. A n d re w W is e m a n A sso c, p r o d u c e r ................................. H e le n W a tts C a te r in g ..............................................‘O u t to L u n c h ’ , D ire c to r.................................................................R o g e r S c h o le s P ro d u c tio n m a n a g e r ......................... H e le n W a tts C a s s ie V a le S c rip tw rite r......................................... R o g e r S c h o le s P rod, c o -o rd in a to r.......................................E liz a b e th S ym e s L a b o ra to r y ................................................... C o lo rfilm P ro je ct d e v e lo p m e n t............... K a th e rin e S c h o le s L o ca tio n m a n a g e r............................................M a u d e H e a th Lab. lia is o n ............................... R ic h a rd P io rk o w s k i B a sed on th e o rig in a l id e a U n it m a n a g e r .....................J e a n -P a u l ‘ L o n ’ L u c in i u do g P rod, a c c o u n ta n t.......................................... G e m m a R a w B s th rneet......................................................................$ 2 .6 m illio n b y ........................................................................R o g e r S c h o le s P sh o to g ra p h y ........................................................S te v e M a so n P rod, a s s is ta n t.......................................................F ra n L a n igLaenn g th .......................................................................... 9 5 m in u te G a u g e ..................................................................35 m m S o u n d r e c o r d is t ..................................B o b C u tc h e r 1st asst d ire c to r ...................................................... P h il R ich 2 n d a s s t d ire c to r ................................................. C ra ig B o lleSsh o o tin g s to c k ......................................................A g fa C o m p o s e r................................................................ P a u l S c h u tz e E xe c, p ro d u c e r...................................B a sia P u szka 3 rd a sst d ire c to r ..................................................G ra n t Lee C a s t: W e n d y H u g h e s (M a ria M cE vo y), J o h n AUSTRALIAN WILDERNESS SERIES L on e (R aka), S te ve n J a c o b s (G e o rg e M cE vo y), A sso c, p r o d u c e r ......................................Ian P rin g le C o n tin u ity ........................................T h e re s e O ’ L e a ry P rod, c o m p a n y ....................................K e s tre l F ilm P e ta T o p p a n o (Judy), M a rjo rie C h ild (M a ria ’s P rod, m a n a g e r ......................C h ris tin e G a lla g h e r P ro d u c e r’s a s s is ta n t.................................... G e o rg ia M a rtin P ro d u c tio n s P ty Ltd m o th e r), G illia n J o n e s (M itty), M a th e w T a y lo r P rod, ba se s u p e rv is o r ......................................... K e n D a w es C a s tin g ........ ............. Liz M u llin a r a n d A ss o c ia te s , D ist. c o m p a n y ...................................... K e s tre l Film (S im o n M c E v o y ), C la u d ia K a rv a n (J u lie U n it m a n a g e r....................................... P h illip H e a ly Liz M u llin a r P ro d u c tio n s P ty Ltd M cE voy), R e b e c c a S m a rt (T e ssa M cE vo y). H e lic o p te r s u p e rv is o r ........................................R u s s J a c k s o n C a m e ra o p e r a t o r ...................... P e te r M e n z ie s J n r P ro d u c e r........................................ J o h n R ic h a rd s o n S y n o p s is : A n e x o tic ro m a n c e s e t in S y d n e y P rod, s e c re ta ry ..................................................... T e rri G o ld s m ith F o cu s p u lle r ......................................................... G a rry P h illip s D ire c to rs ................................................. D a v id G re ig , and T h a ila n d . C la p p e r/lo a d e r ...................................................... S u si S titt P rod, d o c to r ............................J e a n n ie L e d in g h a m D anae G unn, K e y g r ip ...........................................L e s te r C. B is h o p P rod, a c c o u n ta n t.............................................. J e n n y D a vie s C a th e rin e M illa r SPIRITS OF THE AIR/GREMLINS OF 1st a sst d ire c to r ................................................. J a m ie L e g g e A sst g r ip ................................................T e rry C. C o o k S c r ip tw rite r s .........................................D a vid G re ig , THE CLOUDS G a ff e r .........................................................................P a v G o vin d 2 n d a s s t d ire c to r.........................................K a th e rin e S c h o le s J o h n R ic h a rd s o n G e n n ie o p e ra to r .................................. R o b e rt B u rr P ro d , c o m p a n y ........................................ M e a n in g fu l Eye C o n tin u ity ........................................................... R o b yn C ra w fo rd P h o to g ra p h y ................................... K e v in A n d e rs o n C o n ta c t P ty Ltd C a s tin g ..................................... L iz M u llin a r C a s tin g B o o m o p e ra to r.....................................................G e o ff K rix A rt d e p t c o -o rd in a to r...........................L ea h C o cks F o cu s p u lle r............................................... J o h n P la tt P ro d u c e rs ................................................................ A le x P royas, G a ffe rs ................................................................W a rre n M e a rn s, A rt d e p t a s s t .......................................................... P e te r F o rb e s A n d re w M c P h a il A lle y n M e a rn s D ir e c to r .................................................... A le x P ro ya s C o s tu m e d e s ig n e r .............................. J e n n ie T a te B o om o p e ra to r .................................................... C ra ig B e g g s S c r ip tw rite r s .......................................................... A le x P royas, M a k e -u p ...................................................S a lly G o rd o n P e te r S m a lle y A rt d ire c to r s .........................................................B ry c e P e rrin , H a ird re s s e r............................................ W illi K e n ric k H a ro ld R ile y W a rd ro b e s u p e rv is o r/s ta n d b y ..........J e n n y M ile s B a sed on th e o rig in a l id e a b y ........... A le x P ro ya s P h o to g ra p h y .........................................................D a vid K n a uM s a k e -u p .................................................................. J a n e B y rn e A s s is ta n t s t a n d b y ..........................G a b rie lle H e a ly W a rd ro b e .............................................................. H e le n P o y n d e r S o u n d re c o rd is t ........D a v id W h ite (a ttachm ent), W a rd ro b e a s s is ta n ts ................................ L yn H e a l, E d it o r ......................................................................C ra ig W o o dW a rd ro b e a s s is ta n t................... M a ry a n n e W h y te C o lle tte R e yn o ld s,

DOCUMENTARIES

Please help us keep this survey accurate. Phone Kathy Bail on (03) 329 5983 with any errors or omissions. ►

78 — September CINEMA PAPERS

Australian Dream — The Perfectionist — The Last Bastion —

Allies —

I ■32

SARA BENNETT

I ight The

freelance film editor now has her own

THE PRODUCTION HOUSE

FULLY EQUIPPED C U TTIN G ROOMS

near Colorfilm Camperdown

YOUR NORTHERN TERRITORY CONTACT

FEATURES • MINI SERIES DOCUM ENTARIES (02) 519 9752 or (02) 357 5867 s

CINEMATOGRAPHY LOCATION SURVEYS UNIT MANAGEMENT

PHONE MIKE ATKINSON IN DARWIN (089) 85 1093

— jeueg s,8l pooQ s,pi — siejoas ;o jeuiuin$ — lueoijddy ag±

5 W H IC Z

t= lL /> \S \y N C :

F = IL /7 \S \y N C : F IL d

FILM TO VIDEO TRANSFER

EDGE NUMBERING, 16mm & 35/17 V^mm. A well established complete service for Features, Documentaries and Mini-series. Multi-coloured coding.

Our Aerial Image Telecine System offers uncompromising sharpness and colour reproduction.

• 8 mm • 9.5 mm • 16 mm • 35 mm slides • 3A" & % " EDITING FACILITIES «VIDEO PRODUCTION • VIDEO DUPLICATION (BULK QUANTITIES)

ART WORK for TITLES & CREDITS. Experienced design and production of Hi-con supers, Roll-ups and Coloured Cards and liaison with laboratories.

388 CLARENDON ST., SOUTH MELBOURNE

(03) 699 9079

C P CinECLfilR PRODUCTIOfl/ The Telecine Specialists

• 2 lllowa Street, East Malvern, 3145

Phone: (03) 25 3565

FILM/VIDEO CAL $145

No more going crazy working out time codes when making up cue sheets in video off-lining. This calculator will add time codes together, subtract one time code address from another (offsets)

and convert film lengths into time code. Handles frames only; Super 8, 16mm and 35mm film gauges in feet and frames; 18, 24 and 25 fps time code or projection speeds.

Ace Edit 11-15 Young Street Paddington 2021 Australia. Telephone (02) 328 1339, Telex AA22421 AMINEX

24 track recorder Necam 11 Computer Mixdown system Q-lock Vision-to-Sound Synchroniser 16/17.5/35M.M. Sprocket Record/Playback 3,500 sq. ft. sound stage that accommodates a 120-piece orchestra Full Dolby noise reduction Complete sound mixing facility

C redits Include: “The Flying Doctors” 1983 T.V. Series “Robbery Under Arms” 1984 Feature “The Henderson Kids” 1984 T.V. Series “Playing Beatie Bow” 1985 Feature “Butterfly Island” 1985 T.V. Series

For further information phone Kerry Hohenhaus

Star$ound Sir Sam uel Griffith Drive, Mt. C oot-tha, Q U EE N SLA N D

Phone: (07) 369 9999

Production Survey continued

WARDROBE • MAKE-UP VANS • CAMERA TRUCKS • CAST VANS • PROPS VANS • UNIT VEHICLES • TRACKING VEHICLES

FOR THE SUPPLY OF ALL FILM PRODUCTION TRANSPORT CONTACT DAVID SUTTOR ON (02) 439 4590

STTlTP 318 WILLOUGHBY ROAD, NAREMBURN, SYDNEY

PROUD TO BE SUPPLYING: • Ground Zero • Army Wives • Willing and Able • Promises to Keep • Vietnam • Harp in the South

STATION WAGONS • SEDANS • HI-ACE VANS • 4 X 4 TOYOTA LANDCRUISERS • ACTION VEHICLES • TRAY TOPS • BUSES

S o u n d r e c o r d is t.............................G re g B u rg m a n n D ir e c to r ....................................................J o h n O a k le y S y n o p s is : A d o c u m e n ta ry th a t e x a m in e s th e C a m e ra a s s is ta n ts ..........................K a ttin a B o w e ll, E d ito rs ...................................................... D a v id G re ig , S c r ip tw r ite r ........................................B o b R a y m o n d p o litic a l c o n s id e ra tio n s th a t a ffe c t s a fe ty in th e R o b in P lu n k e tt R e b e c c a G ru b e lic h E xe c, p r o d u c e r ...................................... O s c a r S h e ri W e s te rn A u s tra lia n e le c tric a l in d u s try . S till p h o to g r a p h y ............................................. K im b a l B a k e r P ro d , m a n a g e r ...........................K a re n A le x a n d e r A sso c, p r o d u c e r ............................... B o b R a y m o n d C a s t: B ra d R o b in s o n , B a rry H u m p h rie s . P rod, s e c r e ta ry ................................................B a b e tte A n g ePllrod, m a n a g e r................................C la ire E d w a rd s S y n o p s is : A c h a t a n d a s tro ll w ith B a rry THE HIDDEN PATH P rod, a c c o u n ta n t.......................D a v id B u tte rfie ld L e n g th ..................................................3 x 6 0 m in u te s H u m p h rie s fro m S t. K ild a p ie r to H a n g in g (w o rk in g title ) C a m e ra a s s is ta n ts ..........................................R o m a n B a ska G,a u g e ....................................................................16m m Rock. P rod, c o m p a n y .......................................... M e d ia c a s t E lv ira P ia n to n i S y n o p s is : A C h in e s e -A u s tra lia n fa m ily re tu rn s P r o d u c e r ...................................................... J im D a le S o u n d e d ito r .....................................................V irg in ia M u rra toy C h in a a n d re fle c ts on th e d iffe re n c e s b e tw e e n LIFE IN SPACE D ir e c to r ....................................................... Ivo r B o w e n M ix e d a t ......................................... F ilm S o u n d T ra c k th e tw o c u ltu re s in an a tte m p t to e s ta b lis h its S c r ip tw rite r ............................................................D a vid E lly a P rdrod, c o m p a n y ...........In d e p e n d e n t P ro d u c tio n s L a b o ra to r y ................ V ic to ria n F ilm L a b o ra to rie s id e n tity . T h e d o c u m e n ta ry s e rie s fo c u s e s on D ist. c o m p a n y ............ In d e p e n d e n t D is trib u to rs E d it o r .......................................................................P e te r S o m e rv ille B u d g e t ............................................................ $ 6 7 8 ,0 0 0 fo u r s u b je c ts : 'C h in a to w n to C h in a ’ , th e silk P rod, m a n a g e r .....................................................H a ze l J o y nP e rr o d u c e r .......................................................P e te r B u tt L e n g th .................................................. 3 x 5 0 m in u te s in d u s try , tra d itio n a l m e d ic in e a n d C h in e s e D ir e c to r ......................................................... P e te r B u tt P rod, a c c o u n ta n t....................................... R iv a D a le G a u g e ...................................................................16 m m cu is in e . E xe M ix e d a t .................................................................. P a lm S tu d io s c, p r o d u c e r ...............................................G ra h a m F o rd S h o o tin g s t o c k .........................E a s tm a n c o lo r N e g. L e n g th ........................................................................... 5 0 m in u te s COURAGEOUS L a b o ra to r y ......................................................C o lo rfilm C a s t: T h e a M c L e o d . o f life a n d th e Lab. lia is o n ............................................................K e rry J e n k S iny n o p s is : T h e o r ig in P rod, c o m p a n y ......................... G a rd e n C ity F ilm s S y n o p s is : T h re e p ro g ra m m e s fro m a s ix -p a rt c o n tro v e rs ia l s u g g e s tio n th a t life d id n o t b e g in L e n g th ...........................................................................28 m in u te s P ro d u c e r .............................................J a n e t M cL e o d s e rie s lo o k in g a t K a k a d u , th e D a in tre e , a n d on e a rth b u t w a s s e e d e d fro m th e d e p th s o f G a u g e .....................................................................16m m D ir e c to r .......................... G e o rg ia W a lla c e -C ra b b e S o u th -W e s t T a s m a n ia (T h e G lid e rs ). T h e sp a ce . S c rip tw rite rs .........................................................J a n e t M cL eSohdo, o tin g s t o c k .............................. E a s tm a n K o d a k c o n c e p t o f th e p ro g ra m m e s is b a s e d on th e S y n o p s is : D o c u m e n ta ry o n a m a rin e a rc h a e o G e o rg ia W a lla c e -C ra b b e n e e d to re a c h a u d ie n c e s n o t a lre a d y a w a re o f LINK-UP DIARY lo g ic a l e x p lo ra tio n o f th e C o o ta m u n d ra S h o a ls P h o to g ra p h y ................................... B ria n M c K e n z ie th e u rg e n t n e e d to p re s e rv e th e re la tiv e ly few (w o rk in g title ) in th e T im o r S e a. D ive rs s e a rc h fo r g e o lo g ic a l re m a in in g w ild e rn e s s a re a s in A u s tra lia . S o u n d re c o r d is t.......... G e o rg ia W a lla c e -C ra b b e P ro d , c o m p a n y ............................... A IA S F ilm U n it, a n d a rc h a e o lo g ic a l in fo rm a tio n a b o u t th e E d ito r .............................. G e o rg ia W a lla c e -C ra b b e BALI TRIPTYCH A u s tra lia n In s titu te o f A sso c, p r o d u c e r ...................................................J o h n C ru thcelim rs a te , s e a le ve l a n d c o a s ta l e n v iro n m e n t o f A b o rig in a l S tu d ie s th e are a , fro m a p e rio d o f 4 0 ,0 0 0 y e a rs ago. L a b o ra to ry ........................................................ C in e v e x P ro d , c o m p a n y ..................................B o z a d o P ty Ltd P ro d u c e r..................................... D a vid M a c D o u g a ll B u d g e t ...............................................................$ 7 0 ,0 0 0 P r o d u c e r ..................................................................A B C D ire c to r........................................ D a vid M a c D o u g a ll HOW THE W EST WAS LOST P r o d u c e r..................................................................J o h n M cL eLaenn g th .........................................................5 0 m in u te s S c r ip tw rite r ................................ D a vid M a c D o u g a ll G a u g e .....................................................................16m m D ire c to r..........................................J o h n A .C . D a rlin g P ro d , c o m p a n y ............ F re n d s F ilm P ro d u c tio n s P h o to g ra p h y ..............................D a v id M a c D o u g a ll S h o o tin g s t o c k ........................................................ F u ji S c r ip tw r ite r ..................................J o h n A .C . D a rlin g P ro d u c e r............................................................H e a th e r W illia m s So S y n o p s is : A d o c u m e n ta ry film s e t in th e fis h P h o to g ra p h y ............................... D a v id S a n d e rs o n D ir e c to r .................................................................. D a vid N o a ke s u n d re c o rd is t........................ D a v id M a c D o u g a ll E d ito r................ ............................D a vid M a c D o u g a ll insge r g ro u n d s o f N o rth e rn A u s tra lia . T h e film S o u n d r e c o r d is t ......................................................M a x H e n n S c r ip tw rite r s ...................................... D a vid N o a ke s, S y n o p s is : A v é rité -s ty le a c c o u n t o f a w e e k on fo llo w s th e c re w o f a p ra w n b o a t on a s ix -w e e k M ix e d a t ..........................................................T ra n s film P a u l R o b e rts e ro a d w ith th e w o rk e rs o f L in k -U p , w h o fis h in g trip . A t sea, th e p e rs o n a l d ra m a o f th e L a b o ra to r y ......................................................C o lo rfilm B a se d o n th e b o o k b y ...........................................D o n M c L eth od y o u n g m e n ’s liv e s e v o lv e s . R e la tio n s are B u d g e t ............................................................ $ 5 0 0 ,0 0 0 P h o to g ra p h y ........................................................ P h illip B u ll se a rc h fo r m is s in g p e rs o n s fro m A b o rig in a l s tre tc h e d to th e lim it a s th e y w o rk a ro u n d th e L e n g th ...................................................3 x 50 m in u te s S o u n d r e c o r d is t .............................................. M ic h a e l R a ynfa e sm ilie s b ro k e n up b y th e p o lic ie s a n d th e a c tiv itie s o f th e N S W A b o rig in e s P ro te c tio n c lo c k , a s c h e d u le d ic ta te d b y th e d riv e to c a tc h G a u g e ..................................................................... 16m m E d ito r....................................................... F ra n k R ija v e c a n d W e lfa re B o a rd s b e tw e e n 1 88 3 a n d 1967. pra w n s, to s trik e g o ld . S h o o tin g s to c k ..................................7291 a n d 7 2 9 4 R e s e a rc h e r/c o n s u lta n t..................... P a u l R o b e rts S y n o p s is : A d e fin itiv e v ie w o f B a lin e s e life s ty le , h is to ry a n d c u ltu re .

A d d itio n a l r e s e a r c h .........................................M a rio n B e n ja m in REES — REFLECTIONS OF P rod, c o -o r d in a to r .........................................H e a th e r W illia mLLOYD s P ro d , s e c re ta ry .........................F ilm T y p e S e rv ic e s AUSTRALIA P rod, c o m p a n y ....................... O ra n a F ilm s P ty Ltd L ig h tin g c a m e r a m a n ........................................P h illip B u ll BLACK FUTURES 2: P rod, c o m p a n y .......................... A u s tra lia n A r t F ilm P r o d u c e r .................................................................. D ic k D e n n is o n C a m e ra o p e ra to r................................................P h illip B u ll BUILDING DREAMS D ir e c to r s ........................................................... M ic h a e l B a lso n , P a rtn e rs h ip s C a m e ra a s s is ta n t.................................................A n n e B e n zP iero d u c e r.................................................................... D o n B e n n e tts M a tth e w F la n a g a n P ro d , c o m p a n y ........................................C o rro b o re e F ilm s 2 n d u n it p h o to g r a p h y ........................................ A n n e B e n zD ieir e c to rs .............................................. D o n B e n n e tts , S c r ip tw rite r .................................... P a tric k O ’ F a rre ll P r o d u c e r.................................. M ic h a e l L e M o ig n a n P ro p s ............................................... M a rio n B e n ja m in J e re m y H o g a rth P h o to g ra p h y .....................................................M ic h a e l E w e rs D ir e c to r s ..................................M ic h a e l Le M o ig n a n , P h o to g ra p h y ............................................................R a y H e n m a n S o u n d re c o r d is t......................................................M a x H e n nNseeg. r m a tc h in g .................................. T a n g T h ie n Tai Y u ri S o k o l S till p h o to g r a p h y ................................................. C re w T e rry C a rly o n E d it o r ................................................. M ic h a e l B a lso n S c r ip tw rite r s ...........................M ic h a e l Le M o ig n a n , P u b lic ity ............................................................. H e a th e r W illiaSmo su n d r e c o r d is t ................................... J o h n F re n c h M u s ic .................................................. R T E O rc h e s tra B o b M e rritt L a b o ra to r y ......................................................C o lo rfilm E d it o r ........................................................... T im L e w is L a b o ra to r y .......................................................C in e film S c rip t e d it o r ........................................................... L a rry L u ca s Lab. lia is o n ............................................................ K e rry J e n k in P rod, m a n a g e r..........................................J o S te w a rt P h o to g ra p h y ........................................................... Y u ri S o koLl e n g th .................................................. 3 x 6 0 m in u te s B u d g e t ............................................................ $ 1 3 0 ,0 0 0 L a b o ra to ry ........................................................C in e v e x S o u n d r e c o r d is t .....................................................R u th B e rryG a u g e .....................................................................1 6m m L e n g th ........................................................................... 72 m in uLteesn g th ...........................................................................5 0 m in u te s A sso c, p r o d u c e r ...................................................L a rry L u caS s y n o p s is : A n a lte rn a tiv e h is to ry o f A u s tra lia . G a u g e ............................................................................ 16 m m G a u g e .....................................................................16 m m P ro d , s u p e r v is o r .............................. B e e R e y n o ld s S h o o tin g s t o c k ..............E a s tm a n 7291 a n d 7 2 9 4 S h o o tin g s t o c k .........................................................F u ji THE GREENLAND EXPEDITION R e s e a rc h .............................................................. C a s e y R ya n C a s t: J a c o b O b e rd o o , C ro w N y a n g u m a rd a , S y n o p s is : T h e firs t in a s e rie s o f film s on A u s U n it m a n a g e r.........................................S u s ie A b o u d P rod, c o m p a n y ................ P ic k w o o d R iv e r P ty Ltd S n o w y J u d a m a i, D o n M c L e o d , th e S tre lle y tra lia n a rtis ts a n d th e ir w o rk . P ro d , s e c r e ta ry .................................................. C a s e y R ya nP r o d u c e r.........................................S a n th a n a N a id u c o m m u n ity . 1st a sst d ire c to r ..................L e s le y L a m o n t-F is h e r D ir e c to r ...................................................M ike B o la n d S y n o p s is : H o w t h e W e s t W a s L o s t is th e LOUDER THAN WORDS L e n g th ......................................................... 5 6 m in u te s P h o to g ra p h y ......................................... M ike B o la n d s to ry o f th e A b o rig in a l p a s to ra l w o rk e rs ' s trik e G a u g e .................................................................... 16m m S o u n d re c o r d is t........................... G re g B u rg m a n n P rod, c o m p a n y ..........................................P e n F ilm s o f 1 9 4 6-4 9 to ld th ro u g h a c o m b in a tio n o f C a s t: B o b M e rritt (P re s e n te r). E d it o r .................................................. T o n y P a tte rs o n P ro d u c e rs ............................................................. J e n n y H a rd in g , d o c u m e n ta ry a n d d ra m a tic re c o n s tru c tio n . S y n o p s is : A h o m e is m o re th a n a h o u s e . T h is P ro d , a c c o u n ta n t...................... A n to n y S h e p h e rd A n d re w S c o llo A b o rig in a ls in th e n o rth -w e s t w e re v irtu a lly film lo o ks a t h o w A b o rig in e s a re b u ild in g th e ir L e n g th .........................................................60 m in u te s D ir e c to r ................................................................. J e n n y H a rd in g sla v e s to th e la rg e p a s to ra l o p e ra to rs u n til th e y o w n h o u s e s a n d th e e ffe c t th a t th is is h a v in g G a u g e .................................................................. 16 m m S c r ip tw rite r .......................................................... J e n n y H a rd in g b e g a n to q u e s tio n th e ir lo t w ith th e h e lp of u p o n th e ir live s, th e ir c o m m u n itie s a n d th e ir S h o o tin g s t o c k ............................................ E a s tm a n P h o to g ra p h y ....................... G a e ta n o N. M a rtin e tti w h ite p ro s p e c to r, D o n M c L e o d . In 194 2, d re a m s. S y n o p s is : A d o c u m e n ta ry a b o u t fo u r k a y a k e rs P rod, m a n a g e r ...................................................S a ra h C o w a rd M c L e o d m e t w ith h u n d re d s o f A b o rig in a ls fro m led b y E a rle B lo o m fie ld to th e e a s t c o a s t o f th e P ilb a ra re g io n a n d , a fte r s ix w e e k s o f B u d g e t............................................................... $ 4 0 ,0 0 0 G re e n la n d re tra c in g th e 1 20 0 km jo u rn e y of m e e tin g s it w a s d e c id e d th e o n jy w a y to a c h ie v e BLACK FUTURES 3: L e n g th ........................................................................... 25 m in u te s E n g lish e x p lo re r G in o W a tk in s . G a u g e .....................................................................1 6m m ju s tic e w a s to s trik e , a fte r W W II. T h is is th e GETTING BETTER C a s t: A n ia W a lw ic z , T T O , E ric B e a ch . s to ry o f th e ir s tru g g le a s to ld b y th o s e w h o live d P ro d , c o m p a n y ............................C o rro b o re e F ilm s HEAVY DUTY S y n o p s is : A d o c u m e n ta ry p re s e n tin g p e rfo rm it. P ro d u c e r.................................. M ic h a e l Le M o ig n a n a n ce p o e try. P rod, c o m p a n y .............. E le c tric a l T ra d e s U n io n D ire c to rs ..................................................................L a rry L u ca s, JACK PIZZEY IN AUSTRALIA o f A u s tra lia Y u ri S o ko l MAKE WAY FOR THE MACHINES (W e s te rn A u s tra lia n B ra n ch ) P rod, c o m p a n y ............................... P h illip E m a n u e l S c r ip tw r ite r s ............................................................ B o b M e rritt, P ro d , c o m p a n y ........... In d e p e n d e n t P ro d u c tio n s D ir e c to r ..............................................................A n d re w O g ilv ie P ro d u c tio n s Ltd C a s e y R ya n , D ist. c o m p a n y ............In d e p e n d e n t D is trib u to rs S c r ip tw rite r s ................................... A n d re w O g ilv ie , P r o d u c e r ........................................P e te r T h o m p s o n M ic h a e l Le M o ig n a n P r o d u c e r ...................................................... P e te r B u tt L in d a B u tc h e r E xe c, p ro d u c e r............................... P h illip E m a n u e l S c rip t e d it o r ..............................................L a rry L u c a s D ir e c to r .........................................................P e te r B u tt S o u n d r e c o r d is t ....................................................J o a n P e te rs L e n g th .................................................. 3 x 5 0 m in u te s P h o to g ra p h y ........................................................... Y u ri S o ko l E xe c, p r o d u c e r ...............................................G ra h a m F o rd E d it o r ..................................................................A n d re w O g ilvGiea u g e ....................................................................16 m m S o u n d r e c o r d is t .....................................................R u th B e rry L e n g th ........................................................................... 5 0 m in u te s P ro d , m a n a g e r ......................................................M a rk L o n eCy a s t: J a c k P iz z e y (P re se n te r). S u p e rv is in g e d ito r ...............................D a v id S tiv e n S y n o p s is : In v e s tig a te s th e e ffe c t o f ne w 1st a sst d ir e c t o r ................................ L in d a B u tc h e r S y n o p s is : A lo o k at th e A u s tra lia n w a y o f life A s so c, p r o d u c e r .................................. L a rry L u c a s te c h n o lo g y o n w o rk a n d le is u re in c a p ita lis t L ig h tin g c a m e ra p e rs o n .............................J im K e rr as se e n b y a n ‘o u ts id e r’ . P ro d , s u p e r v is o r ............................... B e e R e y n o ld s s o cie ty. C a m e ra o p e ra to r....................................P e te r B a k e r R e s e a rc h ...............................................................C a s e y R ya n C a m e ra a s s is ta n t.................................. N ic S a d le r THE LIFE IN A DAY OF BARRY U n it m a n a g e r........................................................S u s ie A b o u d MYSTERIES DOWN UNDER G a ffe r......................................................S te v e P e d d y P ro d , s e c r e ta ry .................................................. C a s e y R ya n HUMPHRIES B o om o p e ra to r.....................................M ic h a e l O ffe r P rod, c o m p a n y ..........C h a n n e l C o m m u n ic a tio n s 1st a s s t d ire c to r ..................L e s le y L a m o n t-F is h e r (w o rk in g title ) M a k e - u p .................................................................... G a il B e n n e tt (F ilm In v e s tm e n ts ) Ltd L e n g th ........................................................................... 5 6 m in u te s c o m p a n y .......................B ra d R o b in s o n a n d W a rd ro b e ...................................................................G a il B e n nPerod, tt D ist. c o m p a n y ................... E V P T e le v is io n P ty Ltd G a u g e .................................................................... 16 m m S p e c ia l e f fe c t s ....................... S tu n ts In c o rp o ra te d E m p re s s R o a d P ro d u c tio n P ro d u c e r..............................................................W a y n e G ro o m C a s t: B o b M e rritt (P re s e n te r). M u sic p e rfo rm e d b y ......................T h o m a s K a y s e r P r o d u c e rs ............................................................... B ra d R o b inSscorip n , tw rite r........................... B a rry G ro o m S y n o p s is : M o re th a n o n e in 4 0 A b o rig in a l M a rk J o ffe S tu n ts .........................................................................P a u l B u c k le y E xe c, p r o d u c e r ....................................................K e vin M o o re b a b ie s d ie w ith in a y e a r o f b irth . M o re th a n o n e S till p h o to g r a p h y ..................................................M a rk L o n eD y ir e c to r ........................................................M a rk J o ffe L e n g th .................................................. 6 x 6 0 m in u te s in tw o A b o rig in a l m e n o v e r s ix ty s u ffe r fro m th e masu, g e .................................................................... V id e o A n im a tio n ......................................................In flu e n tia l F ilm s,P h o to g ra p h y ....................................................M ic h a e l W illiaG e ye d is e a s e , tra c h o m a . T h is film lo o k s a t a E lle ry R ya n, Penne W est S y n o p s is : A u s tra lia n ‘ R ip le y ’ s B e lie v e It o r m o v e m e n t to w a rd s ra d ic a l im p ro v e m e n ts in D a ve C o n n e ll T e ch , a d v is e r............................... G ra h a m E d w a rd s N o t’ — little kn o w n fa c ts a b o u t A u s tra lia . A b o rig in a l h e a lth c a re . W e m e e t th e A b o rig in a l S o u n d re c o r d is t...............................A n d y R a m a g e M ix e d a t .................................................... S o u n d s w e s t h e a lth w o rk e rs o f th e 2 1 s t c e n tu ry . T h e 'film E d ito r ................................................... R a lp h S tra s s e r L a b o ra to ry ........................................................ C in e v e x NOMADS OF INDIA a ls o p ro v id e s an in trig u in g lo o k in to tra d itio n a l Lab. lia is o n .............................................................M a rk L o n eAy sso c, p r o d u c e r ............................. S im o n F e n n e r A b o rig in a l m e th o d s o f h e a lin g . (w o rk in g title ) P rod, m a n a g e r ...................................... C ra ig G riffin B u d g e t............................................................... $ 1 8 ,0 0 0 P ro d , c o m p a n y ..........................................M e d ia c a s t L e n g th ........................................................................... 15 m in u P tero s d , a s s is ta n ts ................................A b ig a il J o n e s , THE CHINA MOON SERIES D ist. c o m p a n y ............................... P a h la j B a ja j and S a ra h d e T e lig a G a u g e ....................................................................V id e o , 1 6 m m C om pany, Bom bay R e se a rch a s s is ta n t........................ N a ta lie G ro s b y P ro d , c o m p a n y ........ C in e m a tic S e rv ic e s P ty L td S h o o tin g s to c k ......................S o n y B e ta c a m , 7291

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P r o d u c e r ....................................................................J im D ale P h o to g ra p h y .................................................. G ra e m e R o ss P rod, a s s is ta n t ................................ L e sle y J e n k in s Lab. lia is o n ........................................... Ian A n d e rs o n D ire c to r..................................................................R o g e r S a n dEaxe ll c, p r o d u c e r ....................................................... J im D a le A rt d ire c to r .............................................K e rrie B ro w n L e n g th .........................................................50 m in u te s P h o to g ra p h y .......................................................R o g e r S a n dParod, ll L re n g th .....................................................90 m in u te s c o - o r d in a to r ..............................................H a ze l J o y n e S h o o tin g s t o c k .....................................................7291 E d it o r ............................................... P e te r S o m e rv ille G a u g e ....................................................................16m m P ro d , a c c o u n ta n t....................................... R iva D a le C a s t: R e b e c c a G illin g (F ra n ), J a m e s L a u rie E xe c, p ro d u c e rs ..................................................K e vin M o o re S h o o tin g s to c k ................................................... E C N (Jack), J u lie F o rs y th e (O lla ), N e il M e lv ille S ,tu d io s .......................................................K o o k a b u rra C h a n n e l C o m m u n ic a tio n s L e n g th .......................................................................... 5 0 m in u te C as s t: G e o rg e D o n lkia n . (B ert). P ro d , c o - o r d in a to r .............................. H a ze l J o y n e r S y n o p s is : W itc h H u n t is a s to ry o f tria l and S y n o p s is : F o u r p e o p le , a n u n u s u a l b a b y a n d G a u g e .............................................................. B e ta c a m e rro r, in n o c e n c e a n d g u ilt. It w a s an a tte m p t to a p e a c o c k s p e n d a n ig h t to g e th e r. P ro d , a c c o u n ta n t.................................................. R iva D ale S h o o tin g s t o c k ..................................................... S o n y fin d a c rim e — th e s o -c a lle d 'G re e k C o n 1st a s s t d ire c to r ........................................................... J. J h a laS y n o p s is : E p is o d e o n e o f th e d o c u m e n ta ry s p ira c y ’ — b u t it tu rn e d in to a m a s s iv e e rro r in M ixe d a t .................................................................. P a lm S tu d sioesrie s , O u r S e c o n d C e n tu ry , on th e im p a c t o f THE MAGIC PORTAL L a b o ra to r y .................................................... C o lo rfilm ju d g e m e n t th a t w a s re ve a le d as a c o n s p ira c y va rio u s s o c ia l a n d te c h n o lo g ic a l d e v e lo p m e n ts P r o d u c e r ........................................................... L in d s a y F le a y L ab . lia is o n ............................................ K e rry J e n k in of a fa r la rg e r o rd e r. E le m e n ts o f th is c o n d u rin g th e la s t c e n tu ry . V ic t o r ia ’ s C h ild re n D ir e c to r ..............................................................L in d s a y F le a y L e n g th ..................................................... 5 0 m in u te s s p ira c y are s till u n fo ld in g . sh o w s th e e ffe c t on th e s o c ia l o rd e r o f th e B a se d on th e o rig in a l id e a G a u g e ....................................................................1 6m m m o ra l c h a n g e s s tim u la te d b y th e rise o f th e b y .................................................................... L in d s a y F le a y S h o o tin g s t o c k .............................. E a s tm a n K o d a k p o p u la r p re ss, th e m a ss m e d ia a n d th e A WORLD OF FESTIVALS P ro d u c tio n a d v ic e ............ G e o rg e B o rz y s k o w s k i S y n o p s is : S h o t e n tire ly o n lo c a tio n in India , d e v e lo p m e n t o f s o c io lo g y a n d p s y c h ia try . P rod, c o m p a n y ................... B a rin d e r P ro d u c tio n s L a b o ra to ry ...................................................... C in e v e x th is d o c u m e n ta ry fe a tu re s th e la s t n o m a d ic P ty Ltd B u d g e t.............................................. $ 7 ,8 0 0 (a p p ro x .) trib e o f In d ia , th e R a b a ri, w h o a re a m o n g th e VINCENT, THE LIFE AND DEATH OF P r o d u c e r ................................................... J o y B a rro w L e n g th ............................................................................11m in u te s m o st d is tin c tiv e o f th e tra d itio n a l c u ltu re s o f VINCENT VAN GOGH D ir e c to r s ..............................................D a vid B a rro w , G a u g e ....................................................................1 6m m G u ja ra t, India . B a rry S lo a n e S y n o p s is : T h re e L e g o c h a ra c te rs in a L e g o P rod, c o m p a n y ........................................ Illu m in a tio n F ilm s S c rip tw rite rs ....................................... D a vid B a rro w , s p a c e s h ip d is c o v e r th e M a g ic P o rta l, w h ic h P r o d u c e rs ........................... T o n y L le w e lly n -J o n e s , A PALETTE FOR A SWORD B a rry S lo a n e c a n tra n s p o rt th e m to o th e r a n im a te d re a lm s. W ill D a vie s P ro d , c o m p a n y ............ Y a rra B a n k F ilm s P ty Ltd H o w e ve r, as th e film p ro g re s s e s , it a lso D ire c to r..................................................................... P a u l C o x E d ito r....................................................... C o lin G re ive D ist. c o m p a n y ........................................R o n in F ilm s tra n s p o rts th e m to re a lity a n d a lso in to th e B a se d on th e o rig in a l id e a b y .......................... P a u l C o x E xe c, p r o d u c e r ........................................ B o b P la sto P ro d u c e r.................................................. N e d L a n d e r a n im a tio n s e t th e y a re b e in g film e d in. F ilm a n d P rod, d e s ig n e r.................................................... A s h e r B ilu L e n g th ............................................... 12 x 3 0 m in u te s D ir e c to r .............................................T re v o r G ra h a m real w o rld c o llid e w ith in te re s tin g re s u lts . P rod, a s s is ta n t ....................................................F io n a E a g gSeyr n o p s is : A d o c u m e n ta ry s e rie s fe a tu rin g S c r ip tw rite r .............................C h a rle s M e re w e th e r tw e lve E u ro p e a n fe s tiv a ls . E a ch e p is o d e u se s P ro d , a c c o u n ta n t......................... S a n th a n a N a id u P h o to g ra p h y .....................................J o h n W h itte ro n th e p re s e n t-d a y p e o p le e n g a g e d in c e le b ra tio n MIDDRIFFINI 1st a s s t d ire c to r ............................ B re n d a n L a v e lle S o u n d r e c o r d is t ..........................................P a t F iske to re fle c t th e s a g a o f e v e n ts a n d c h a n g e s th a t C a m e ra o p e ra to r ........................ Paul Cox P r o d u c e r ......................................... S a b rin a S c h m id E d ito r..................................................... T o n y S te v e n s h a ve m o d ifie d a n d s h a p e d th e ir s o c ie ty C a m e ra a s s is ta n t........................B re n d a n L a ve lle D ir e c to r ............................................S a b rin a S c h m id P rod, m a n a g e r .................................. D a n ie l S c h a rf th ro u g h tim e . K e y g r i p ...........................................P a u l A m m itz b o ll S c rip tw rite rs ..................................S a b rin a S c h m id , L e n g th .........................................................6 0 m in u te s C o stu m e d e s ig n e r ................................. J e n n ie T a te G re g o ry P ry o r C a s t: Y o s l B e rg n e r, J im W ig le y , R u th B e rg n e r, C o s tu m e c o n s t r u c tio n ............................... B e v e rle y B o yd B a sed o n th e o rig in a l id e a G e o rg e Luke . b y.-................................................ S a b rin a S c h m id C a rp e n te r ........................................................... W a lte r S p e rl S y n o p s is : A P a le tte f o r a S w o r d is a d o c u V o ic e - o v e r .................................................P e te r F ro st m e n ta ry a b o u t a rt a n d a rtis ts , id e a ls a n d M ix e d a t .......................................... H e n d o n S tu d io s S F X , a t m o s ....................................J o n M c C o rm a c k c o m m itm e n t, c u ltu re a n d p o litic s . It is th e s to ry L a b o ra to ry ........................................................ C in e v e x M u s ic ..........................................Y o rk S tre e t S tu d io s o f p a in te r Y o s l B e rg n e r a n d his s is te r, R u th , a G a u g e ........................................................................... 3 5 m m E d it o r s ...............................................................S a b rin a S c h m id , d a n c e r, w h o c o m e to A u s tra lia to e sc a p e th e S h o o tin g s t o c k ........................................................ Fuji THE ANNIVERSARY D a vid A tk in s o n g ro w in g d a n g e rs o f a n ti-s e m itis m a n d fa s c is m S y n o p s is : A film a b o u t th e life a n d w o rk of P rod, c o m p a n y .............S h a d o w p la y P ro d u c tio n s C o m p o s e r........................................................Ian C o x in th e ir P o lish h o m e la n d . In M e lb o u rn e , th e y V in c e n t va n G o g h (1 8 5 3 -1 8 9 0 ). P r o d u c e r............................................... R o d W a y m a n A n im a tlo n /ro s tru m b e c o m e p a rt o f a v ita l a rtis tic m o v e m e n t D ire c to r.................................................. R o d W a y m a n c a m e ra o p e ra to r ........................................S a b rin a S c h m id WAR BRIDES s e a rc h in g fo r an a rt to re fle c t th e g re a t s o c ia l S c rip tw rite r........................................... R o d W a y m a n N eg. m a tc h in g ...............................................W a rw ic k D ris c o ll u p h e a v a ls o f th e th irtie s a n d fo rtie s. (w o rk in g title ) P h o to g ra p h y ....................................... T e rry C a rly o n M u sic p e rfo rm e d b y ..................................... Ian C o x P rod, c o m p a n y ................................... ..T o n y W ils o n S o u n d r e c o r d is t ..................................S e a n M e ltz e r S o u n d e d ito r s ................................................. S a b rin a S c h m id , PARROTS OF AUSTRALIA P ro d u c tio n s P ty Ltd E d ito r ..............................E d w a rd M c Q u e e n -M a s o n D a v id A tk in s o n P ro d , c o m p a n y ..........C h a n n e l C o m m u n ic a tio n s P r o d u c e rs ..................................... L u c in d a S tra u s s , P rod, a s s is ta n t.................R h o n d a B a rk -S h a n n o n M ix e r ....................................................... B ru c e E m e ry (F ilm In v e s tm e n ts ) Ltd T o n y W ils o n C o n tin u ity .........................................................R h o n d a B a rk C -Shhaara nn o nr v o ic e s ............................. G re g o ry P ryo r, c te D ist. c o m p a n y ............................D o c u m e n ta rie s o f D ire c to r....................................................................T o n y W ils oCna m e ra o p e ra to r ............................. T e rry C a rly o n M e rry n G a te s A u s tra la s ia P ty Ltd S c r ip tw rite r ....................................L u c in d a S tra u ss C a m e ra a s s is ta n t .....................................K e ith P la tt A n im a tio n ..........................................................S a b rin a S c h m id P ro d u c e r................................................G ra n t Y o u n g P h o to g ra p h y .........................................................T o n y W ils oBno om o p e ra to r.....................................P a tric k S la te r T itle d e s ig n e r...................................................S a b rin a S c h m id E xe c, p r o d u c e r ...................................K e vin M o o re S o u n d r e c o rd is t...................................................... L e o S u llivAartn d ir e c t o r ........................................ D ia n n e G iu lie ri S o u n d re c o rd in g L e n g th .................................................. 6 x 6 0 m in u te s E d ito r ..................................................... T im L itc h fie ld M a k e -u p ...........................................A n d re a C a d z o w s tu d io s ......................F ilm S o u n d tra c k A u s tra lia G a u g e ................................................................. 16m m E xe c, p ro d u c e rs .................................K e vin M oore, H a ird re s s e r..................................... A n d re a C a d z o w M ixe d a t ........................................................S o u n d firm S y n o p s is : A d o c u m e n ta ry a b o u t th e p a rro ts o f C h a n n e l C o m m u n ic a tio n s W a rd ro b e ............................................ D ia n n e G iu lie ri L a b o ra to ry ........................................................C in e v e x A u s tra lia . P rod, a c c o u n ta n t......................S tu a rt L lo yd & Co. E d itin g a s s is ta n t...............................A la n W o o d ru ff B u d g e t...............................................................$ 3 0 ,9 6 5 L e n g th .......................................................................... 5 0 m in uTteitle s d e s ig n e r ........................................... R a y S tro n g L e n g th ...........................................................................16 m in u te s G a u g e ................................................................... 16m m A ROUGH CUT S till p h o to g ra p h y ..............................T ib o r H e g e d is G a u g e .................................................................... 1 6 m m S y n o p s is : W a r B r id e s is th e s to ry o f s o m e o f C a te r in g ................................................................ F lirty s S h o o tin g s to c k ........................................... 7291 E C N P rod, c o m p a n y ...............................................C .l.T .Y . N o rth th e 1 5 ,000 A u s tra lia n w o m e n w h o m a rrie d L a b o ra to ry ........................................................C i n e ve x S y n o p s is : “ H m m m . . . w h e n y o u c lo s e y o u r Dist. c o m p a n y ................................ R o u g h C u t Inc. A m e ric a n s e rv ic e m e n d u rin g W o rld W a r II. Lab. lia is o n ........................................... Ian A n d e rs o n eyes . . , ” s p e c u la te s N o b o d y -E ls e , th u s D ir e c to r s ........................................... R o b G e n o ve se , M a tso n lin e rs in th e U S A rm y ’s m a ssive e v o k in g a d re a m in R e b e c c a ’s m in d , w h e re L e n g th ........................................................ 25 m in u te s G iffo rd T re b ilc o c k m a n o e u v re c a lle d ‘ O p e ra tio n W a r B rid e ’ to jo in G a u g e ........................ S u p e r 16 fo r 35 m m re le a se u n fo ld s th e s to ry o f G ro s m o n d , s u p p o s e d ly a P h o to g ra p h y ...............................G iffo rd T re b ilc o c k th e ir s w e e th e a rts on th e o th e r s id e o f th e S h o o tin g s t o c k ....................................E a s tm a n c o lo r b u n yip , a n d h is w h a c k in g ta il a n d m a n y te e th . S o u n d r e c o r d is ts ............................................. W e n d y M ille r, w o rld . F o rty ye a rs la te r th e y ta lk a b o u t th e ir Cast: L lo yd C u n n in g to n (N ig e l), M a u re e n G ro s m o n d la m e n ts th e lo ss o f M id d riffin i, th e M a rk S m ith e xp e rie n c e s . E d w a rd s (C yn th ia ), R o b yn G ib b e s (C a rm e l), c a u s e of h is g re a te s t to o th a c h e . M id d r iffin i’s E d it o r ............................................ G iffo rd T re b ilc o c k P a u l Y o u n g (E ric), R o w e n a M o h r (C a n d y), m y s te rio u s id e n tity is e v e n tu a lly re v e a le d , a n d C o m p o s e rs .......................................................V o rte x , M ic h a e l D u ffie ld (W ilb u r), R e b e c c a G ib n e y h e r s p e c ta c u la r re tu rn d e lig h ts G ro s m o n d . A n L e o n H a ll, WINGS OF THE STORM (Jilly), J o h n L a rk in g (M c P h e rs o n ), F io n K e a n e a n im a te d tra g ic o m e d y . W a y n e C u s a n s k i, P rod, c o m p a n y ..........................................S te llie Ltd (A rth u r). M a rk S m ith , P ro d u c e r......................................Z e ld a R o s e n b a u m Synopsis: N ig e l a n d C y n th ia H a m ilto n h o ld a H a d le y D ire c to r................................................................. O s c a r W h itbdre in a nd e r-p a rty to c e le b ra te 25 y e a rs o f m a rria g e , NERVOUS PASSION L ig h tin g .....................................................................P a u l K e yte S c r ip tw rite r ..................................... H o w a rd G riffith s w ith d is a s tro u s re s u lts . A m a d c a p c o m e d y . P u b lic ity ............................................J o h n G o o d ric h , P r o d u c e rs .......................................S e th L o c k w o o d , P h o to g ra p h y ...............: .............................C h ris R e id N ic O w e n N o e lin e H a rris o n FEATHERS S o u n d r e c o r d is t ..................................................G e o ff S p u rre ll S tu d io s ...............F o s s il L o d g e S tu d io s , N o rw o o d D ir e c to r ............................................ S e th L o c k w o o d E d it o r ........................................................P h il W in g a te P ro d u c e r.............................................T im o th y W h ite T a p e c o -o rd in a to rs .................................P o li D e des, P h o to g ra p h y ................................... A llis o n M a x w e ll T e c h n ic a l d ire c to r..........................................R ic h a rd B e rryDmire a nc to r....................................................J o h n R u a n e G o rd a n a S te v a n o v ic , S o u n d re c o r d is t.................................. V ic to r G e n tile A sso c, p r o d u c e r .............................................H o w a rd G riffith S csrip tw rite r.............................................J o h n R u a n e W e n d y M ille r C a m e ra o p e r a t o r ................................................ A n n e B e n z ie P rod, a s s is ta n t......................................S a lly M a so n B a sed o n th e s h o rt s to ry b y ....R a y m o n d C a rv e r L e n g th ....................................................4 1 .5 m in u te s B u d g e t.............................................................. $ 5 3 ,0 0 0 L e n g th .................................................. 2 x 60 m in u te s P h o to g ra p h y ............................................ E lle ry R yan G a u g e ..................................................... 1 " v id e o ta p e L e n g th ...........................................................................2 4 m in u te s S y n o p s is : M o re A u s tra lia n a irm e n w e re k ille d S o u n d r e c o r d is t .............................. R u s s e ll H u rle y C a s t: B e lin d a B a e k e r, E la in e B a y (In te r G a u g e .................................................................. 16 m m fly in g b o m b e rs o v e r E u ro p e th a n in a n y o th e r E d ito r........................................................K e n S a llo w s vie w e rs), N ic O w e n . S y n o p s is : T o n y is c o n fro n te d w ith h is o w n th e a tre o f W o rld W a r 2. T h ro u g h a rc h iv a l A sso c, p r o d u c e r ...................................Ken S a llo w s S y n o p s is : A g ro u p o f y o u n g p e o p le lo o k a t life s e x u a lity w h e n he m e e ts a h o m o s e x u a l. fo o ta g e a n d in te rv ie w s w ith s u rv iv o rs a n d re la P rod, s u p e rv is o r......................... D e n is e P a tie n c e in th e n o rth e rn s u b u rb s o f A d e la id e fo r th e m tiv e s W in g s o f t h e S to rm d e s c rib e s th e u n iq u e P rod, a c c o u n ta n t.................................... J o a n B la ir se lv e s a n d o th e r y o u n g p e o p le . S e x, d ru g s a n d NIGHTFIND e x p e rie n c e o f b o m b e r a ir c re w s . W h ile 1st a sst d ir e c t o r ..................................... R ic L a p p a s ro c k a n d ro ll rule. re c o u n tin g th e ir b ra ve ry, it m e a s u re s th e c o s t C a m e ra o p e r a t o r ................................... E lle ry R ya n P rod, c o m p a n y .............................................O d y s s e y F ilm s a n d is at o n c e an e le g y a n d a re q u ie m fo r th e C a m e ra a s s is ta n t........................... K a ttin a B o w e ll P ro d u c e rs ........................................................... S te v e n J a c o b s o n , VICTORIA’S CHILDREN 5 ,0 0 0 y o u n g m e n w h o n e ve r c a m e ho m e . K e y g r ip ..................................................... R ic L a p p a s M a rc u s C o rn P rod, c o m p a n y ......................................... M e d ia c a s t G a ffe r...................................................J o h n B re n n a n D ir e c to r ................................................................S te v e n J a c o b s o n P ro d u c e r.......................................................... B e th w y n S e ro w WITCH HUNT A rt d ir e c t o r ....................................... C h ris K e n n e d y S c rip tw rite r.........................................................S te v e n J a c o b s o n D ire c to r.............................................................B e th w y n S e ro w M a k e - u p ............................................V ic k i F rie d m a n B a sed o n th e o rig in a l id e a P rod, c o m p a n y .......D o c u m e n ta ry F ilm s L im ite d S c rip tw rite r............................................................. J o h n B a x teDrist. c o m p a n y .................................................S B S T V W a rd ro b e .......................................... V ic k i F rie d m a n b y ...................................................................... S te v e n J a c o b s o n B a se d on th e o rig in a l id e a S e t d re s s e r....................................... H u g h M a rc h a n t P h o to g ra p h y ........................................ M a rc u s C o rn P r o d u c e rs .......................... B a rb a ra A . C h o b o c k y , b y ...........................................................................J o h n B a x te r A sst e d it o r ........................................A ile e n S o lo w ie j C h ris O liv e r S o u n d re c o r d is ts ................................ M ic h a e l S iu , P h o to g ra p h y ....................................... C o lin P u rn e ll, N e g. m a tc h in g ...............................................C in e v e x D ir e c to r ........ ......................... B a rb a ra A . C h o b o c k y M a rc u s A d le r E d g e n u m b e r in g ........................... O liv e r S tre e to n S c rip tw rite rs ...................... B a rb a ra A . C h o b o c k y , E d ito rs .................................................................. S te v e n J a c o b s o n , S u e C a s triq u e , B e st b o y ......................................... H a y d e n B re n n a n M a rc u s C o rn R u n n e r....................................................K e n M a h la b J e ffre y B ru e r C o m p o s e r ..............................................................P e te r M y e rs C a te r in g .................... ..................... T ra c y M cG o va n , P h o to g ra p h y ........................................ J e ffre y B ru e r 1st a s s t d ir e c t o r .................................................. K a th y C h a m b e rs A n n e D re s h e l E d ito r................................................ .....J e ffre y B ru e r C o n tin u ity ...............................................................T o b y T h a in L a b o ra to ry .......................................................C in e v e x P rod, m a n a g e r ...................................... A n n a G rie v e L ig h tin g d ire c to r ............................... D a v id W a lp o le

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sch o o ls. It is a c o m p ila tio n o f a rc h iv a l fo o ta g e F o cu s p u lle r ........................................................... M a rk L a n e RECYCLED FOR DESTRUCTION THE TRAVELLER’S TALE a rra n g e d a c c o rd in g to th e m e . In W o m e n in C la p p e r/lo a d e r...............................................M a tth e w C o rn P rod, c o m p a n y ........................ M o sh i P ro d u c tio n s P rod, c o m p a n y ...............S n o w G u m P ro d u c tio n s C h a n g e , th e th e m e s a re : w o m e n in w a rtim e , K e y g r ip .....................................................P e te r D a rb y P ro d u c e rs ...........................................E n zo V e c c h io , P r o d u c e rs ..........................................M ic h a e l B a tes, w ife a n d m o th e r, w o m e n ’s w o rk , issu e s, A s s t g r ip s ........................................G id e o n W a rh a ft, D a n ic a D a n a G ra h a m B in d in g c h a n g in g o p p o rtu n itie s a n d re la tin g . N ic k T o w le r, D ire c to rs ............................................. E n z o V e c c h io , D ire c to r................................................ M ic h a e l B a te s C h ris W a rd D a n ic a D a n a B a sed on th e s to ry b y ..................... M ic h a e l B a te s G a ffe r .............................................................. C a m e ro n W a lla c e AUSTRALIAN INNOVATION S c rip tw rite rs .......................................E n z o V e c c h io , P h o to g ra p h y ...................................................G ra h a m B in d in g B o o m o p e ra to r .................................... S te p h e n E llis P rod, c o m p a n y ..................................F ilm A u s tra lia D a n ic a D a n a S o u n d r e c o r d is t ................................J e n n ife r S c o tt M a k e - u p ..........................................................P h illip p a O ’C o llin s D ist. c o m p a n y ...................................F ilm A u s tra lia L e n g th ........................................................ 4 0 m in u te s E d ito r .................................................... M ic h a e l B a te s S p e c ia l m a k e -u p e f fe c t s .........C la y to n J a c o b s o n P ro d u c e r................................................... J o h n S h a w C o m p o s e r........................................... P h ilip P o w e rs S e t c o n s tr u c tio n ....................................................N o e l A b re cGhat u g e ..................................................................16 m m V isu a l e f fe c t s ................................................. G ra h a m B in d inDgire c to r..................................................... Ian M u n ro Synopsis: T h e s to ry lo o ks a t th e e x is te n c e o f S till p h o to g r a p h y ........................................... M ic h a e l J a c o b s o n S c rip tw rite rs ..............................................Ian M u n ro , M u sic p e rfo rm e d b y ..................T h e A B C S in fo n ia m u ltip le p e rs o n a litie s . It is a b o u t a m a n w h o D ia lo g u e c o a c h ................................... P e te r T u llo c h C o n A n e m o g ia n n is L a b o ra to ry ..................................................... C o lo rfilm k ills h im s e lf in a m o st u n u s u a l w a y, illu s tra tin g B e st b o y ..................................................................C h ris C o rb e tt B a sed on th e o rig in a l id ea Lab. lia is o n .................................................... G le n E ly th a t h e ll is n ’t s u ch a b a d p la c e in c o m p a ris o n R u n n e r .............................................................. ....J e n n i C a n n o n L e n g th .......................................................................... 17 m in u te sb y ..................................................... H a rry B a rd w e ll w ith th e w a y w e live. E ve n ts re ve a l th a t re a lity P u b lic it y .................................................................... N e il W a rd P h o to g ra p h y ..................................... A n d re w F ra s e r G a u g e ....................................................................16m m can s o m e tim e s im ita te fic tio n . C a te r in g ................................................V a l J a c o b s o n , S o u n d r e c o rd is t......................... R o d n e y S im m o n s S h o o tin g s t o c k ..................................................... 7291 J ill C o rn SACCADE E d it o r ................................................... R o b in A rc h e r C a st: B a rrin g to n D a vis (T ra ve lle r), F ra n c S a u le L a b o ra to ry ................................................................V F L E xe c, p r o d u c e r .................................G e o ff B a rn e s (S tra n g e r). P rod, c o m p a n y .................... C M F ilm P ro d u c tio n s L e n g th ...........................................................................20 m in u te s P rod, m a n a g e r.................................. R o n H a n n a m Dist. c o m p a n y ................ A rin y a F ilm D is trib u to rs S y n o p s is : A tra v e lle r in th e S n o w y M o u n ta in s G a u g e .................................................................. 16 m m U n it m a n a g e r........................... C o n A n e m o g ia n n is P ro d u c e r...........................................C a rm e lo M u sca has an e n c o u n te r w ith th e s u p e rn a tu ra l. S h o o tin g s t o c k ..............E a s tm a n 7291 a n d 7 2 9 4 P rod, s e c r e ta ry ........................... M a rg a re t C re w e s D ire c to r...................................................................C a rlo B u ra lli Cast: S te v e n J a c o b s o n (C h ris), A d ria n W a rd UNDEAD P rod, a c c o u n ta n t.............................. S te p h e n K a in S c rip tw rite rs ..........................................C a rlo B u ra lli, (T om ). A s s t e d ito r ..............M a ry J a n e St. V in c e n t W e ls h M a tth e w K e lle y Prod, c o m p a n y ...............................T h e M a g ic M en Synopsis: A n a lie n s p a c e c ra ft is th e la s t th in g Setu P h o to g ra p h y ................................... M a tth e w K e lle y P ro d u c e rs .............................................................. M a rk S a va g , d io s ................................................ F ilm A u s tra lia C h ris e x p e c ts to fin d in h is b a c k y a rd . Even L a b o ra to ry ......................................................... A tla b E d it o r ................................................ P e te r P ritc h a rd R ic h a rd W o ls te n c ro ft m o re u n e x p e c te d are th e e x c itin g e v e n ts w h ic h Lab. lia is o n ...................................................B ill In g lis C o m p o s e rs ............................................ E rro l H. T o u t, D ir e c to r ...................................................................M a rk S a va g e fo llo w . A fa n ta s y a d v e n tu re fe a tu rin g a te e n a g e e n g th ..................................................5 x 29 m in u te s P e te r H a d le y, S c r ip tw rite r ............................................................M a rk S a va L ge b o y ’s e n c o u n te r w ith a v ic io u s a lie n . M a rk M c A n d re w P h o to g ra p h y ......................................................... M a rk S a va G g ea u g e .................................................................. 16m m S h o o tin g s t o c k .................................. E a s tm a n c o lo r P rod, m a n a g e r............................... F ra n c e s W a lk e r E d it o r ...................................................................... M a rk S a va g e ONE HUNDRED PER CENT WOOL S y n o p s is : A u s tr a lia n I n n o v a t io n is an P ro d u c tio n a d v is o r .....................H e a th e r W illia m s C o m p o s e r....................................................... V a rio u s P rod, c o m p a n y .......K o o ro o c h e a n g P ro d u c tio n s in c is iv e a n d in fo rm a tiv e lo o k a t in n o v a tio n in P rod, a s s is ta n ts ............................. C o lle e n C ru ise , 1st asst d ire c to r..................R ic h a rd W o ls te n c ro ft A u s tra lia . It e x a m in e s p a st a n d p re s e n t P ro d u c e rs ............................................................ L y n d a H o u se , V ic k i d e P ra ze r C a s tin g ....................................................................M a rk S a va g e , a ch ie v e m e n ts a n d th e im p o rta n c e th a t in n o v a T ony M ahood 1 st asst d ire c to r.................................... S c o t M cL e o d R ic h a rd W o ls te n c ro ft tio n h a s in s h a p in g A u s tra lia ’ s fu tu re . D ire c to r....................................................................T o n y M a h oC od o n tin u ity ......................................................K a te U he S p e cia l e ffe c ts m a k e -u p ...................................C o lin S a va g e S c r ip tw rite r ........................................................... T o n y M a h oC od a m e ra o p e ra to r .................................... Ian P u g sle y S till p h o to g ra p h y ...............R ic h a rd W o ls te n c ro ft, B a se d on th e o rig in a l id e a F o cu s p u lle r ....................................... S te v e P e d d ie BYLINES C o lin S a va g e b y .......................................................................... T o n y M a h oC od a m e ra a s s is ta n ts ..........................A n n e B e n zie , B u d g e t................................................................ $ 3 ,0 0 0 P rod, c o m p a n y .................................. F ilm A u s tra lia P h o to g ra p h y ........................................ D a vid P a rk e r P e te r B a k e r L e n g th ..........................................................................6 0 m in u te s e c to r ............................................................G ra h a m C h a se D ir S o u n d re c o r d is t............................. S te ve H a g g e rty Key g r ip ...................................................................K a re l A k k eGrm an au gn e .............................................................. S u p e r 8 S c rip tw rite r......................................................G ra h a m C h a se E d it o r ................................................ A ile e n S o lo w ie j A sst g r ip .................................................................D a vid C ro ss C a st: R ich a rd W o ls te n c ro ft (C h a rlie ), C a ssy B a se d on th e o rig in a l id ea P rod, a c c o u n ta n t.................................... A n n e G a lt 2nd u n it p h o to g ra p h y ..........................................P a u l W o o Lan d e (The u n d e a d g irlfrie n d ), C ra ig M ile s (S am b y ................................................................... G ra h a m C h a s e 1st asst d ir e c t o r .................................................. C h ris O d g eUrsn d e rw a te r p h o to g ra p h y ............D e n is R o b in so n S a vini), M a rg o t P ike (A m y), A u d re y D a vie s P h o to g ra p h y ........................................................ K e rry B ro w n 2 n d a sst d ire c to r ....................................J a k k i M ann G a ffe r .............................................. A s h le y d e P ra ze r (S heila), C h ris Le P a g e (R ob), P a u l H a rrin g to n S o u n d re c o r d is t......................................................B o b H a yes C o n tin u ity .................................... S a lly E n g e la n d e r A rt d ire c to r ............................................................. J u lie G ra n(Ray), t D a vid W o ls te n c ro ft (D an), T ro y In n o c e n t E d it o r ................................................................ G ra h a m C h a se F o cu s p u lle r ............................................................. R e x N ic h oAlssst o n a rt d ire c to r ....................................H e a th e r Lee (W illy O ’D o nald ). E xec, p r o d u c e r ................................. G e o ff B a rn e s K e y g r ip .........................................M ic h a e l M a d ig a n M a k e -u p ..................................................D in a V o la ric S y n o p s is : A‘ lo n e r fe e d s a b d u c te d c h ild re n to a P rod, m a n a g e rs ................................R on H a n n a m , G a ffe r.........................................................P a u l O ’ N e il S p e c ia l e ffe c ts m a k e -u p ............. L id d y R e yn o ld s, ro ttin g , h u n g ry d e n iz e n o f th e d e a d . C o m p lic a Ian A d k in s C a te r in g ........................................................... T im b a le C a te rin g , N o e l H o w e ll tio n s a ris e as h u m a n re m a in s a re re a n im a te d P rod, s e c r e ta ry ...........................M a rg a re t C re w e s R o d M u rp h y P r o p s ....................................................T im T h o rn to n , a n d th e u rb a n la n d s c a p e is a w a sh w ith P rod, a c c o u n ta n ts ....................................... S te p h e n K a in, B o om o p e ra to r .................................................... D a vid H a w ke M u rra y S im o n ra ve n o u s fle s h -m o n g e rs . N e il C o u s in s A rt d ir e c t o r .........................................................M a rio n R e n nA iert d e p t r u n n e r .................................D e an C o s te llo C a m e ra a s s is ta n t................................................... J im W a rd M a k e - u p ...................................................................R ike K u lla S c ke t d e c o ra to rs .................................. T im T h o rn to n , VIOLET N eg. m a tc h in g .................................. T o m S te ve n s, H a ird re s s e r............................................................. R ike K u lla c k M u rra y S im o n C a ro l P a rso n s, P rod, c o m p a n y .........................C h ip p e n d a le F ilm s W a rd ro b e ................................................................. R ike K u lla cSko u n d d e s ig n ......................................................C h ris L ynch M a ry P a z -N o b le P ro d u c e r........................................................... M ic h a e l C o rd e ll S ta n d b y p r o p s ...........................................Ian M cL a y S o u n d a s s t ......................................... G a rry G rb a va c Sllo u n d e d ito r ................................................... G ra h a m C h a s e D ire c to r..............................................................M ic h a e l C o rd e S e t c o n s tr u c tio n .......................................Ian M cL a y E d itin g a s s is ta n t...............................C o lle e n B a u e r S c r ip tw rite r ......................................................M ic h a e l C o rd eMll ix e r ........................................................ G e o rg e H a rt L a b o ra to ry ........................................................C in e v e x A d d itio n a l so u n d e f fe c t s .......S c o tt M o n tg o m e ry N a rr a to r ....................................................... J ill M cK a y Based on th e o rig in a l id e a Lab. lia is o n .................................................................Ian A n d eM rsix o ne r.............................................................................Ian M c L o u g h lin b y .................................................................... M ic h a e l C o rd eOllp tic a ls ............................................................. C in e v e x B u d g e t.............................................................. $ 8 7 ,6 0 0 S till p h o to g ra p h y .............................. M u rra y S im o n T itle d e s ig n e r..........................O p tic a l a n d G ra p h ic P rod, m a n a g e r........................................ K y lie B u rke L e n g th ....................................................... 5 5 m in u te s T itle d e s ig n e r ...................................................... P h ilip M o n a g h a n C a s tin g ..................................................................H ila ry L in steSatu d d io s .................................................F ilm A u s tra lia G a u g e .................................................................... 1 6m m W o rk s h o p s u p e rv is o r......................S im o n P h ilip s M ixe d a t ................................................Film A u s tra lia B u d g e t.............................................................$ 4 0 ,0 0 0 S h o o tin g s to c k .................................. 7291 a n d 7 2 9 2 S tu d io s .......................................................... W o o m e ra L a b o ra to r y ...................................................... C in e film L e n g th ....................................................... 20 m in u te s Cast: R o w e n a M o h r (Ida), J a m e s C o x (M on ty), M ixed a t........................................................S o u n d firm Lab. lia is o n ................................................................B ill In g lis G a u g e ...................................................................16m m N ic k G ia n n o s ( R u d i), P a u l M c D e r m o tt L a b o ra to ry ........................................................C in e v e x G a u g e ....................................................................16m m S y n o p s is : A b la c k c o m e d y a b o u t an old (F ro g sle y), G in a R ile y (T h e re se ), R e g E va n s Lab. lia is o n ........................................................... B rya n S la d e S h o o tin g s to c k .................................. E a s tm a n c o lo r w o m a n w h o is n o t w h a t sh e a p p e a rs. (C h a rlie ), B ru c e K n a p p e tt (T a xi d rive r). B u d g e t.............................................................. $ 3 7 ,0 0 0 S y n o p s is : T h e film is an in s id e s to ry o f life at Synopsis: A c o u n try g irl c o m e s to th e city. L e n g th ..........................................................................3 0 m in u te s The Sydney Morning Herald. T h e film lo o ks at G a u g e ....................................................................35 m m th e d a ily p ro c e s s fro m th e e d ito ria l d e c is io n S h o o tin g s t o c k .................................................. K o d a k QUICK WINDOW m a kin g , th e n e w s g a th e rin g a n d th e m e e tin g s , Cast: J o h n T a rra n t (John), A d ria n M u lra n e y P ro d u c e r...................................... K a te J a s o n -S m ith to th e la te n ig h t ro llin g o f th e p re sse s. (A d ria n ), M ic h a e l J o h n s to n (M ic h a e l), M ic h e lle D ire c to r.........................................K a te J a s o n -S m ith M a rtin (N ikki). S c rip tw rite rs .................................P a u li K a u k a in e n , FINANCIAL MANAGEMENT Synopsis: A s tu d y o f tw o frie n d s w h o are K o n s ta n tin e M a ts o u k a s IMPROVEMENT PROGRAM (FMIP) lin k e d b y a tra g ic e ve n t, a n d th e in e v ita b le c o n B a se d on th e o rig in a l id e a fro n ta tio n w ith th is e ve n t. A n e x p lo ra tio n P rod, c o m p a n y ..................................F ilm A u s tra lia b y ...................................................P a u li K a u k a in e n o f th e b o u n d a rie s b e tw e e n m e m o ry and D ist. c o m p a n y ............................ ........Film A u s tra lia S o u n d re c o rd is t...................................................K e vin D a v id s o n re m e m b ra n c e , th e p o in t w h e re p a s t and P ro d u c e r..............................................R o n S a u n d e rs E d it o r ......................................................A n n ie C o llin s p re s e n t b lu r in to one. D ire c to r........................................................S ta n D a lb y C o m p o s e r..........................................N ig e l W e s tla k e S c r ip tw rite r .............................................................S ta n D a lb y A sso c, p r o d u c e r ..................................................P e te r F o s te r P h o to g ra p h y ........................................................ K e rry B ro w n AUSTRALIA: ‘WOMEN IN CHANGE’ L ig h tin g c a m e ra m a n ..........................................P e te r F o s te r S o u n d r e c o rd is t.................................. H o w a rd S p ry C a m e ra a s s is ta n t ....W e n d y L in d e m a n -W a lk le y P rod, c o m p a n y ...................................Film A u s tra lia E xe c, p ro d u c e r................................. R o n S a u n d e rs THE SPELL MISSPELT B o om o p e ra to r s ..............................D e b o ra h P e rry, P ro d u c e r...................................................................J a n P u n ch P rod, m a n a g e r........................................ G e rry L e tts J o h n H e w e n so n D ir e c to r ......................................................R o b in G o ld D ire c to r............................................... B o b K in g s b u ry P rod, s e c re ta ry ....................................M a g g ie L ake S e t d e c o ra to r................................... B a rb ra Z u s s in o S c r ip tw rite r s ........................................ S im o n D a ley, S c rip tw rite r.............................................................. T e d M yers P rod, a c c o u n ta n t..............................G e o ff A p p le b y L a b o ra to r y ..................................................... C o lo rfilm P e te r M o rg a n , B a sed on th e o rig in a l id e a P rod, a s s is ta n t.................................... V ic k i S u g a rs B u d g e t......... .................................................... $ 1 1 ,8 7 8 R o b in G o ld b y ................................................G u n n a r Isa a cso n , C a s t: A n d re w H a rw o o d . L e n g th ...........................................................................10 m in u te P hs o to g ra p h y ...........................................................K riv S te n d e rs N o rm a n B a k e r S y n o p s is : A p ro m o tio n a l v id e o a b o u t th e G a u g e .................................................................... 1 6m m S o u n d re c o rd is t.........................N ic h o la s H o u se g o P h o to g ra p h y ........................ M ic k v o n B o rn e m a n n F in a n c ia l M a n a g e m e n t Im p ro v e m e n t P ro g ra m . S h o o tin g s to c k ................................. 7 2 4 7 a n d 7 2 5 0 E d ito r........................................................ R o ss W ils o n S o u n d r e c o rd is t................................. J e a n F o n ta in e F ro n te d b y S e n a to r P e te r W a ls h , it is fo llo w e d Cast: K o o tje W o o ls c h ry n (R ich a rd ), C a th y C o m p o s e rs ...........................................................P e te r M o rg E a nd, it o r .......................................................... T o m F o le y b y in te rv ie w s w ith fin a n c ia l c o n tro lle rs a n d D o w n e s (M a ria ), H e le n P a n k h u rs t (P u ck), S im o n D a le y E xe c, p r o d u c e r ..................................G e o ff B a rn e s a d m in is tra to rs fro m v a rio u s d e p a rtm e n ts . J e n n y L u d la m (R e m o va list), J e n n y H o p e P rod, m a n a g e r ....................................J u d y M o rg a n E d u c a tio n a l c o n s u lta n t........................................T e d M ye rs B a sic p rin c ip le s o f F M IP a re o u tlin e d w ith th e (R e m o va llst), J e re m y B e n d e r (S u rfie ), W illia m L a b o ra to r y ..................................................... C o lo rfilm P rod, m a n a g e r................................... R o n H a n n a m aid o f g ra p h ic s a n d a p re s e n te r. W a lk e r (T h u g ), S h a q u e lle M a y b u ry (B itch ), B u d g e t.............................................................. $ 1 3 ,1 7 8 P rod, s e c r e ta ry ...........................M a rg a re t C re w e s D e b o ra h P e rry (M e rm a id ). L e n g th ...........................................................................11m in u te P rod, s a c c o u n ta n t.............................. S te p h e n K a in HOMELESS Synopsis: Quick Window s h o w s th e fle s h , th e G a u g e .................................................................... 1 6m m S tu d io s ..................................................Film A u s tra lia fla s h a n d th e fis h o f S y d n e y as se e n Synopsis: D a s h in g s o n g s te r, T h e F a b u lo u s M ixe d a t ................................................ F ilm A u s tra lia P rod, c o m p a n y .................................. F ilm A u s tra lia th ro u g h th e e ye s o f a n e w a rriv a l. T h e s to ry G e o rg ie , is a g o g to fin d h is s ta g e s h o w in te r Lab. lia is o n ................................................... B ill In g lis D ist. c o m p a n y ....................................F ilm A u s tra lia fo llo w s R ic h a rd ’s g ra d u a l re c o g n itio n , th ro u g h ru p te d b y th e a p p e a ra n c e o f a m e s s e n g e r fro m L e n g th ........................................................ 6 0 m in u te s P r o d u c e r ......................................................J a n e t B e ll m e m o ry a n d fa n ta s y , o f th e re a s o n s w h y M a ria th e A n g e l o f D e a th w h o h a s c o m e to b e g a Synopsis: Women in Change is th e firs t in a D ire c to r.............................. D a v id H a y th o rn th w a ite m ig h t p o s s ib ly h a v e w a n te d to w a lk o u t o n h im . fa v o u r fro m a m o rta l. s e rie s o f tw e lv e vid e o s fo r u se as a re s o u rc e in S c rip tw rite r........................D a vid H a y th o rn th w a ite

G O V E R N M E N T FILM P R O D U C TIO N FILM AUSTRALIA

82 — September CINEMA PAPERS

P h o to g ra p h y ......................................... K e rry B ro w n E xe c, p r o d u c e r .......................................... J a n e t B e ll P ro d , m a n a g e r ............................... N ig e l S a u n d e rs P ro d , s e c r e ta ry .................... A m a n d a E th e rln g to n P ro d , a c c o u n ta n t................................ N e il C o u s in s Synopsis: F o r th e In te rn a tio n a l Y e a r o f S h e lte r, a p ro g ra m o f h o u s in g tre n d s in A u s tra lia .

IN FLIGHT 4 P ro d , c o m p a n y ...................................F ilm A u s tra lia D ire c to r.................................. P a u l W o o ls to n S m ith S c r ip tw r ite r .......................... P a u l W o o ls to n S m ith P h o to g ra p h y .......................................J o h n H o s k in g S o u n d r e c o rd is t................................... H o w a rd S p ry E d ito r........................................... ...... B a rry P a tte rso n E xe c, p r o d u c e r ..................................G e o ff B a rn e s P rod, m a n a g e r................................... R o n H a n n a m P rod, s e c r e t a r y ...........................M a rg a re t C re w e s P rod, a c c o u n ta n t.............................. S te p h e n K a in S tu d io s ................................................. F ilm A u s tra lia M ix e d a t ................................................ Film A u s tra lia La b . lia is o n ....................................................B ill In g lis Synopsis: In Flight is a s im u la te d flig h t o f a je t a irlin e r o v e r th e c o n s tru c tio n s ite o f th e new B ris b a n e In te rn a tio n a l A irp o rt p ro je c t. T h e film is u p d a te d e v e ry y e a r as th e w o rk p ro g re s s e s . It is sh o w n to th e p u b lic in a s p e c ia lly b u ilt fu s e la g e o f a m o d e rn je t.

K e y g r i p .............................................G a ry C le m e n ts RENEWABLE ENERGY B o om o p e ra to r............................... M a rk T o m lin s o n P rod, c o m p a n y ............................ V T C (V ic) P ty Ltd A sst e d ito r .................... ....................K a re n W e ld ric k D ist. c o m p a n y ............................................ F o c a l/F ilm V ic to ria N e g. m a tc h in g ................ N e g M a tc h in g S e rv ic e s P ro d u c e r................................... .............J o h n H ip w e ll S o u n d e d it o r .......................... ..............J u lia n S c o tt D ir e c to r ......... ......................................... C h ris L o fve n M ix e r ..........................................................J u lia n S c o tt S c r ip tw rite r ........................................... J o n S te ve n s S tu d io s .............. ....T a s m a n ia n F ilm C o rp o ra tio n S o u n d r e c o rd is t......................................T o n y Q u in n M ixe d a t...................T a s m a n ia n F ilm C o rp o ra tio n E d ito r ......................................................R o b O ’ N e ill RAINFOREST L a b o ra to ry ........................................................ C in e v e x P rod, d e s ig n e r .............................C h ris W o rra ll Lab. lia is o n ............................................B ru c e B ra u n P rod, c o m p a n y .................................. F ilm A u s tra lia C o m p o s e r..........................................F ra n k S tra n g io L e n g th .........................................................15 m in u te s P r o d u c e r .................................................................. D o n E za rdE xe c, p ro d u c e r.........................V in c e n t O 'D o n n e ll G a u g e .....................................................................16m m D ir e c to r ............................................................. J e a n n ie B a k eP r rod, m a n a g e r ....................................... K in ta N o la n S h o o tin g s t o c k ......................................................7 2 9 4 S c r ip tw rite r .................................................. v .Je a n n ie B a k eC r o n tin u ity ....................................... J u d y W h ite h e a d Synopsis: D e sig n e d fo r e ig h t to tw e lv e -y e a rP ro d , d e s ig n e r ................................................J e a n n ie B a k eSr c rip t a s s is ta n ts ....................................D ig ip ro m p t, old sc h o o l c h ild re n , th is d ra m a tiz e d d o c u m e n E xe c, p r o d u c e r ................................. G e o ff B a rn e s J a n e O ’ M e a ra ta ry lo o ks at a c c id e n ts th a t ca n o c c u r on L e n g th ........................................................... 7 m in u te s C a s tin g ......................................Liz M u llin a r C a stin g buse s, in ca rs, rid in g b ik e s o r ju s t w a lk in g to G a u g e ................................................................... 35 m m L ig h tin g c a m e ra m a n ........................................M a rtin M cG ra th a n d fro m s c h o o l. F o u r p a rtic u la r s to rie s a re Synopsis: Rainforest is a b o u t th e tro p ic a l C a m e ra o p e ra to r....................................C h ris R eed c o m b in e d to s h o w ju s t w h a t c a n h a p p e n in o n e ra in fo re s t w ild e rn e s s o f n o rth e rn Q u e e n s la n d . T a p e o p e ra to r..........................................P e te r B a rry d a y if th e fu n d a m e n ta l ru le s o f ro a d s a fe ty a re T h e p re c io u s n a tu re o f th e p la c e w ill be c o n K e y g r ip ...........................................................S te p h e n S h e lly fo rg o tte n ^ ve ye d u sin g a n im a tio n a n d J e a n n ie B a ile r’s 2 n d u n it p h o to g r a p h y .......................................D a vid H a skin s p e c ia liz e d a rt w o rk. G a ff e r ......................................... R ic h a rd J o h n s to n e M a k e - u p .............................................. J e n n y B o e h m E d itin g a s s is ta n t.................. ........ J a n L o u th e a n C a te rin g ............................................ N a n c y W a lq u is t Cast: E m ily C a n n o n (P e n n y P o lla rd ), F a tric ia K e n n e d y (M rs B e tta n y). Synopsis: A d ra m a tiz e d d o c u m e n ta ry fro m R o b in K le in ’s w e ll kn o w n c h ild r e n ’s, boo k.

B o om o p e r a t o r .................................................S te v e n J a m e s ROCK ART M a k e -u p .................................................K e ryn C a rte r W a rd ro b e ......... ..................................... B e th W h e la n P rod, c o m p a n y ....................................F ilm 'A u s tra lia S p e c ia l e ffe c ts ......................................................B ria n H o lm e s D ist. c o m p a n y .................................... F ilm A u s tra lia S e t c o n s tru c tio n ....................................................... Ian M c W h a P r o d u c e r .......................................................J a n e t B e ll M ix e r ....!................................................................. J o h n C a m pPromotion b e ll D ire c to r................................................. D a vid R o b e rts Australia is part of the Depart A n im a tio n ..............................................................C h ris W o rra ll S c r ip tw r ite r ......................................... D a vid R o b e rts ment of Sport, Recreation and Tourism. E xe c, p r o d u c e r ...................................................J a n e t B e ll T u t o r ............................................... J e n n ife r G ilm o u r THE MOVERS S tu d io s .......................................... V T C (V ic) P ty Ltd P rod, m a n a g e r ........................... ..N ig e l S a u n d e rs M ixe d a t .........................................V T C (V ic) P ty Ltd P rod, s e c r e ta ry .................... A m a n d a E th e rin g to n P rod, c o m p a n y ...................................F ilm A u s tra lia PADDY’S MARKET B u d g e t..............................................................$ 5 6 ,0 0 0 P rod, a c c o u n ta n t..............................N e il C o u s in s D ist. c o m p a n y .................................... F ilm A u s tra lia L e n g th ..........................................................................2 2 m in u te s n o p s is : A d o c u m e n ta tio n o f A b o rig in a l ro ck P rod, c o m p a n y ....................... P ro m o tio n A u s tra lia P ro d u c e r....................................................................R o n S a u nS d ey rs G a u g e ...................................1 " C fo rm a t v id e o ta p e p a in tin g in th e N o rth e rn T e rrito ry . P r o d u c e r ................................................ S andi Logan D ire c to r....................................................... G il B re a le y C a st: T im S c a lly (C apt. V in c e S o la r), T a m s in S c r ip tw rite r .......................................................... B ru c e P e tty D ir e c to r .........................................................C. H in d e s W e s t (J u lie ), T h o m a s H u tc h in g (S im o n ), G a u g e ................................................................... V id e o B a se d on th e o rig in a l id e a SOUNDS LIKE AUSTRALIA . . . T o w s e r th e dog. Synopsis: A lo o k a t o n e o f A u s tra lia 's u n iq u e b y ......................................................................... B ru c e P e tty NATURALLY S y n o p s is : S im o n a n d J u lie d is c o v e r th e p o te n 'o p e n a ir ’ c ity m a rke ts. P h o to g ra p h y ....................................................... B ru c e H illy a rd P rod, c o m p a n y ................................................... ...F ilm A u s tra tialia l fo r th e use o f re n e w a b le e n e rg y re s o u rc e s . S o u n d r e c o rd is t...................................................... K e n H a m m o n d D ist. c o m p a n y .................................... F ilm A u s tra lia A v id e o fo r u se in p rim a ry s ch o o ls. E d ito r.................................................... D a vid H u g g e tt P ro d u c e r...............................................T ris tra m M ia ll HAND MADE MUSICAL P rod, d e s ig n e r................................ L a rry E a stw o o d D ire c to r.......................................... J a m ie R o b e rtso n INSTRUMENTS WONDERS DOWN UNDER E xe c, p r o d u c e r............................... R o n S a u n d e rs S c r ip tw rite r .................................. J a m ie R o b e rtso n P o st-p ro d , s u p e r v is o r ............................................B ill In g lis P rod, c o m p a n y ...................... P ro m o tio n A u s tra lia P rod, c o m p a n y ...........P ro d u c tio n G ro u p — A A V P h o to g ra p h y .....................................S te ve W in d o n , P rod, m a n a g e r .................................................... G e rry L etts P r o d u c e r .................................................S andi Logan P r o d u c e r ..........................................D a vid C a m p b e ll J im F ra zie r U n it m a n a g e r......................................................... V ic k i S u g a rs D ire c to rs ................................................... E. K e n n in g , D ire c to r..................................................R a y W a g s ta ff S o u n d r e c o r d is t.................................M a x H e n n s e r P ro d , s e c r e ta ry ........................................ Liz W rig h t C . H in d e s S c r ip tw rite r s ..............C le m e n g e r-H a rv ie P ty Ltd E d ito r.............................................. J a m ie R o b e rts o n P rod, a c c o u n ta n t............................. G e o ff A p p le b y G a u g e ....................................................................V id e o P h o to g ra p h y ........................ G e o rg e K o m o n e s k e y C o m p o s e rs ............................................. K e vin Peek, 1 st a s s t d ire c to r ...................................................G e rry L etts Synopsis: A lo ok at th e fin e c ra fts m a n s h ip th a t C o m p o s e rs ............................................. M e n at W o rk M a rs L a sa r 2 n d a s s t d ir e c t o r .................................................. V ic k i S u g a rs goe s in to th e m a k in g o f A u s tra lia n h a rp s, E xec, p ro d u c e r.........................V in c e n t O ’ D o n n e ll E xe c, p r o d u c e r...................................A v iv a Z ie g le r C o n tin u ity ...........................................................D a n u ta M o rris e y v io lin s, p ia n o s a n d g u ita rs . M u s ic a l d ir e c t o r ..................................................K e vin H o c k in g A sso c, p ro d u c e r....................................... Ian A d k in s R e s e a rc h e r (film lib ra ry )....................T ric ia F a rre n L a b o ra to ry .............................................................. A A V C in e v e x U n it m a n a g e r .................................... D e b b ie S id o re R e s e a rc h e r ( s tills /b o o k s )............S o n ia R o th b u ry B u d g e t.......................................................... $ 1 6 0 ,0 0 0 P rod, s e c r e ta ry ..................................S h a ro n M ille r NATIONAL PARKS C a s tin g .......................................................... F o rca st, L e n g th ...........................................................................17 m in u te s P rod, a c c o u n ta n t.............................. J o h n R u sse ll R a e D a v id s o n G a u g e s ..................................................16 m m , vid e o P rod, c o m p a n y ....................... P ro m o tio n A u s tra lia C a m e ra a s s is ta n t............................. L is a S h a rk e y C a m e ra a s s is ta n t....................................Ivan K a ce r S h o o tin g s t o c k ...........................................E a stm a n P ro d u c e r................................................. S andi Logan A sst e d ito r ............................................C a ry H a m lyn K e y g r ip ...................................................... P e te r D o ig Cast: D ir e c to r ............................................... R. H a rg re a v e s . N eg. m a tc h in g ....................................................... F ilm A u s tra lia J o h n F a rn h a m , L ittle R iv e r B a n d , D a m e G a ffe r ........................................................................... Ian B o sm a n G a u g e ................................................................... V id e o E d n a E v e ra g e , B a rry H u m p h rie s , D o n M u sic p e rfo rm e d b y ............................K e vin P e ek, B o om o p e ra to r......................................................M a rk K e a tin g D u n sta n , P ru e A cto n . Synopsis: A vid e o a b o u t th e flo ra a n d w ild life M a rs L a sa r A s s t a rt d ir e c t o r ................................R o b R o b in s o n th a t are p ro te c te d in A u s tra lia ’ s u n iq u e ' Synopsis: T o u ris t p ro m o tio n fo r V ic to ria . M ixe d a t .....................................................................Film A u s tra lia C o s tu m e d e s ig n e r ......................T o n y J o n e s -L o v e n a tio n a l p a rks. L a b o ra to ry ......................................................... :..A tla b M a k e -u p ............................................ B rita K in g s b u ry B u d g e t............................................................$ 2 5 0 ,0 0 0 H a ir d re s s e r ..................................... B rita K in g s b u ry L e n g th ........................................................ 5 0 m in u te s W a rd ro b e ..........................................C h e y n e P h illip s KELPIE EXPORTS G a u g e .................................................................... 16m m P ro p e rty m a s te r ......................................................Ig o r L a z a re ff P rod, c o m p a n y .......................P ro m o tio n A u s tra lia S y n o p s is : S o u n d s L ik e A u s tr a lia . . . N a tu r P ro p s b u y e r............................................................ P e ta L a w so n P r o d u c e r ................................................ S a n d i L o g an a lly is a m u s ic film /v id e o fe a tu rin g A u s tra lia n C h o re o g ra p h y ..................D o n a ld S p e n c e r-H a rris D ir e c to r .........................................................C. H in d e s m u s ic ia n s M a rs L a s a r a n d K e vin P e e k, w h o C a rp e n te rs ............................................................ G e o ff H o w e, G a u g e ................................................................... V id e o cre a te m u s ic b y re c o rd in g n a tu ra l s o u n d s and F ra n k P h ip p s Synopsis: O n e o f A u s tra lia ’s u n iq u e e x p o rts is th e n ‘s a m p lin g ’ th e m in to an A u s tra lia n CORRECTIVE SERVICE INDUSTRIES S e t c o n s tru c tio n m a n a g e r .............B ria n H o c k in g c h a s in g h e rd s w o rld -w id e . d e sig n e d c o m p u te ris e d m u s ic a l in s tru m e n t — P ro p s m a k e r .............................. E rro l G la s s e n b u ry P rod, c o m p a n y ..........................................P LH F ilm s th e F a irlig h t. U sin g th e F a irlig h t, th e y b en d A sst e d ito r ............................................................. C h ris M c G ra th P ro d u c e r....................... P e te r L iv in g s to n e -H o rto n th e m to n a lly a n d rh y th m ic a lly in to m u s ic a l S a fe ty o f fic e r ......................................................B e rn ie L e d g e r WORK RESOURCE CENTRE D ir e c to r .........................P e te r L iv in g s to n e -H o rto n co m p o s itio n s . S till p h o to g r a p h y .....................R o b e rt M c F a rla n e P h o to g ra p h y ......................................................... C ra ig W a tkP inrod, s c o m p a n y ....................... P ro m o tio n A u s tra lia T e ch , d ire c to r s .................................................. D a n n y D ik lic h , S o u n d r e c o rd is t.................................................... J a c k O ’B rie n P r o d u c e r ............................................... S a n d i L o g a n O m n ic o m V id e o P ty L im ite d E d ito r...............................................G le n M c C re d d e n D ire c to r....................................................... E. K e n n in g B e st b o y ......................................J o n a th a n H u g h e s E xe c, p ro d u c e r.................................................... P e te r D im oG n da u g e ................................................................... V id e o R u n n e r ........................................A n d re w D a lb o s c o L e n g th ...........................................................................17 m in u Synopsis: te s A lo o k at a n o ve l w a y to h e lp le ss P u b lic ity .................................................................L io n e l M id fo rd S h o o tin g s t o c k ............................................ B e ta ca m fo rtu n a te m e m b e rs o f th e c o m m u n ity . U n it p u b lic is t ....................................................... L io n e l M id fo rd Synopsis: P ro vid e s a g e n e ra l v ie w o f th e S tu d io s ......................................................................F ilm A u s tra lia ra n g e o f h ig h -q u a lity p ro d u c ts m ade by FREE CLIMBING M ixe d a t .....................................................................F ilm A u s tra lia in m a te s in N S W S ta te p ris o n s . T h e s e g o o d s EAMON BURKE P ro d u c e r.........................................V in c e O 'D o n n e ll B u d g e t ........................................................... $ 4 0 0 ,0 0 0 are m a d e fo r g o v e rn m e n t in s titu tio n s a n d ca n D ir e c to r ...............................................................N a ta lie G re e n P rod, c o m p a n y .......................P ro m o tio n A u s tra lia L e n g th ...........................................................................58 m in u te s be p u rc h a s e d b y firm s in th e p riv a te se cto r. S c r ip tw rite r ....................................L o u is e S h e p a rd P r o d u c e r ................................................S a n d i L o g a n C a s t: D re w F o rs y th e (Jo h n ), L o rn a L e sle y P h o to g ra p h y ......................................................N a ta lie G re e n D ire c to r....................................................... E. K e n n in g (Tara), C a n d y R a y m o n d (S a ch a ), B o b B a in e s WOOD MACHINING E xe c, p ro d u c e r......................... V in c e n t O ’ D o n n e ll G a u g e ................................................................... V id e o (M a rc u s ), G e o ff K e ls o (W a lte r), D o n a ld E xe c, a s s is ta n t......................... M a ry G u s ta v s s o n Synopsis: A p ro file o f E a m o n B u rk e , c a m P rod, c o m p a n y ..........................................P L H F ilm s S p e n c e r-H a rris (B a rt), A u s s ie M e rc ia d e z L e n g th ...........................................................................20 m in u P tero s d u c e r....................... P e te r L iv in g s to n e -H o rto n p a ig n e r fo r p e a ce , w h o , a t th e a g e o f e le ve n , (H elen). has g a in e d n o to rie ty a ro u n d th e w o rld . G a u g e ..................................................... S u p e r 16 m m D ir e c to r .........................P e te r L iv in g s to n e -H o rto n S y n o p s is : T h e M o v e r s is a c o m ic d o c u m e n S h o o tin g s t o c k .............................................E a stm a n P h o to g ra p h y ......................................................... C ra ig W a tk in s ta ry a b o u t te c h n o lo g y a n d th e s e a rc h fo r th e Synopsis: A film th a t p ro m o te s ro c k c lim b in g S o u n d r e c o rd is t.................................................... J a c k O ’ B rie n g o o d tim e . A m a n a n d a w o m a n p u s h a lo u n g e CONSERVATION VOLUNTEERS a n d e n c o u ra g e s o th e rs to try th e s p o rt. T h e film E d ito r ..............................................B e rn a rd P u k rz w a c h a ir th ro u g h fiv e d iffe re n t p e rio d s o f h isto ry, w ill fe a tu re e x p e rie n c e d w o m e n c lim b e rs . E xe c, p ro d u c e r.................................................... P e te r D im o nPdrod, c o m p a n y ....................... P ro m o tio n A u s tra lia m e c h a n iz in g it a n d a d d in g d o m e s tic a p p li L e n g th .......................................................................13.5 m in u te sro d u c e r ................................................ S a n d i L o g a n P a n ce s to it u n til, at th e e n d o f th e film , th e y Synopsis: T h e v id e o d e m o n s tra te s th e tra in in g D ir e c to r .........................................................C. H in d e s h a ve th e c h a ir p ile d w ith d e v ic e s on a ra m p GIRLS IN CONTROL of in m a te s of N S W S ta te p ris o n s in th e u se o f a G a u g e ................................................................... V id e o re a d y fo r b la s t off. D u rin g th e c o u n td o w n th e y P ro d u c e r........................................... S a lly S e m m e n s v a rie ty o f w o o d w o rk in g m a c h in e s . S kills Synopsis: A g ro u p o f c o m m itte d y o u n g a n d o ld a re try in g to w o rk o u t w h e th e r th e y h a ve had S c r ip tw rite r ............................................. K irs ty G ra n t a cq u ire d th ro u g h th is tra in in g a re p a rt o f a p e o p le re b u ild b u sh p a th s, fe n c e s a n d n a tio n a l th e g o o d tim e o r w h e th e r it is s till to c o m e . E xe c, p ro d u c e r................................................V in c e n t O ’ D ore n nheallb ilita tio n p ro g ra m . p a rks, all as vo lu n te e rs . L e n g th ...............................................25 m in u te s PENNY POLLARD’S DIARY G a u g e ......................................................................B V U Synopsis: A film d e m o n s tra tin g w o m e n w o rk SHELTERED WOOL WORKSHOP P rod, c o m p a n y ................ ..................F ilm A u s tra lia in g in th e te c h n ic a l a re a s o f th e m e d ia . D ist. c o m p a n y ................. ..................F ilm A u s tra lia P rod, c o m p a n y ....................... P ro m o tio n A u s tra lia P r o d u c e r ........................... ..........................J a n e t B e ll P r o d u c e r ................................................ S a n d i L o g a n D ire c to r.............................. .D avid H a y th o rn th w a ite KIDS AND SPORT D ir e c to r ........................................................ C . H in d e s S c rip tw rite r....................... .D avid H a y th o rn th w a ite G a u g e ................................................................... V id e o P ro d u c e r................................................................. S a lly S e m m e n s B a sed on th e s to ry b y... ....................... R o b in K le in Synopsis: U ltra -fin e fle e c e d e v e lo p e d w ith in a S c r ip tw rite r ...............G re a te r G lid e r P ro d u c tio n s P h o to g ra p h y .................... ..................... K e rry B ro w n s h e lte re d w o rk s h o p p ro v e s a s u c c e s s . E xe c, p ro d u c e r............................................... V in c e n t O ’ D o n n e ll ROAD SAFETY S o u n d r e c o rd is t.............. ........... B ro w n y n M u rp h y B u d g e t.............................................................$ 3 0 ,0 0 0 P rod, c o m p a n y ..............................T a s m a n ia n F ilm E d it o r .................................. ...................... R u th C u lle n L e n g th ........................................................ 20 m in u te s C o rp o ra tio n P ty L im ite d C o m p o s e r......................... ........... M ic h a e l A th e rto n QUESTACON Dist. c o m p a n y ................ ..F o ca l C o m m u n ic a tio n s E xe c, p r o d u c e r ............... ..........................J a n e t B e ll P rod, c o m p a n y ....................... P ro m o tio n A u s tra lia NATIONAL HERBARIUM P ro d u c e r.............................................. D on A n d e rs o n P rod, m a n a g e r ............... ...............N ig e l S a u n d e rs P r o d u c e r ................................................ S a n d i L o g a n D ire c to r................................................. D o n A n d e rs o n U n it m a n a g e r .................. ........ C o rrie S o e te rb o e k P rod, c o m p a n y ................. J a n in a C ra ig S e rv ic e s D ire c to r................................................... E. K e n n in g S c r ip tw rite r ......................................... D o n A n d e rs o n P rod, s e c r e ta ry ............... ............................. D i H e n ry G a u g e ................................................................... V id e o S c rip tw rite rs ..............................................J ill M o rris, P h o to g ra p h y .................... ............R u s s e ll G a llo w a y P ro d , a c c o u n ta n t........... ..................... N e il C o u s in s Synopsis: A n e w s c ie n c e c e n tre tra v e llin g M a ry L a n c a s te r S o u n d r e c o rd is t........................................ T o m G ib lin 2 n d asst d ire c to r............. ...................... M a rtin J e ffs show . E xe c, p r o d u c e r................................................V in c e n t O ’ D o n n e ll E d ito r.................................. ...............R o ss T h o m p s o n C o n tin u ity ......................... ..........D a n u ta M o rris s e y P ro d , c o -o rd in a to r................................................S a lly S e m mEexec, n s p r o d u c e r ..................................... Ian S h a d b o lt C a s tin g .............................. ..........................J o e S c u lly L e n g th ........................................................ 20 m in u te s P rod, s u p e rv is o r............. .................. W a y n e C o w e n L ig h tin g c a m e ra p e rs o n .....................K e rry B ro w n G a u g e .................................................................. 16 m m P rod, a c c o u n ta n t...................... ..........S u sa n N a to li C a m e ra a s s is ta n t........... ........................ J o h n S c o tt P rod, a s s is ta n t................................... W e n d y R im o n Synopsis: A film to d e lv e b e h in d th e b la n d K e y g r ip .............................. ..............G e o rg e T s o u ta s C o n tin u ity ............................................. W e n d y R im o n s c ie n tific w a lls o f an h e rb a riu m , to re ve a l th e G a ff e r ................................ ........................ C h ris F leet L ig h tin g ca m e ra p e rs o n ...........R u s s e ll G a llo w a y ric h m a trix o f h is to ry , s c h o la rs h ip a n d c o m m o n A rt d ir e c t o r ....................... ................... U rs u la K o lb e C a m e ra a s s is ta n t...................................C o lin G ru b b u n ity fo u n d th e re . A sst a rt d ir e c t o r .............. ..................A n g e la K n ig h t

PROMOTION AUSTRALIA

NEW SOUTH WALES FILM CORPORATION

FILM VICTO RIA

TASMANIAN FILM CORPORATION

Please help us keep this survey accurate. Phone Kathy Bail on (03) 329 5983 with any errors or omissions.

CINEMA PAPERS September — 83

T E L E V IS IO N

P ro d , s u p e rv is o r B u d g e t................. L e n g th .................. G a u g e ...................

Production Survey continued ..........Ire n e K o ro l ......$ 3 .7 5 m illio n .2 X 120 m in u te s ................... 16 m m

p io n e e rin g e n g in e e r, C .Y .O ’C o n n o r, th e m a n w h o b ro u g h t w a te r to th e K a ig o o rlie g o ld fie ld s .

PRINCE AT THE COURT OF YARRALUMLA

L e n g th .........................................................5 0 m in u te s G a u g e ................................................................... 16 m m S h o o tin g s t o c k .....................................................7291 Synopsis: T h e c la s s ic a d v e n tu re s to ry of p ira te s a n d b u rie d tre a s u re .

FUTURETROUPERS

P rod, c o m p a n y ............................... S o m e rs e t F ilm s WATCH THE SHADOWS DANCE S u p e rv is in g p r o d u c e r ..............J a m e s M . V e rn o n P rod, c o m p a n y ........................C h a d w ic k /D o u g la s D ir e c to r .................................................................. C o lin E g g lePsrod, to n c o m p a n y ..............................S o m e rs e t F ilm s F ilm a n d T e le v is io n S u p S c r ip tw rite r ............................................................C o lin E g g le s to ne rv is in g p r o d u c e r ..............J a m e s M . V e rn o n P ro d u c e r............................................. B ria n D o u g la s D ir e c to r ....................................................... M a rk J o ffe Synopsis:D r a c u la c o m e s to o u t b a c k S c rip tw rite r......................................... B ria n D o u g la s S c r ip tw r ite r ..............................M ic h a e l M c G e n n a n A u s tra lia . B a se d on th e o rig in a l id e a AT ARMS LENGTH Synopsis: A c tio n d ra m a in v o lv in g m a rtia l a rts. b y .......................................................B ria n D o u g la s P rod, c o m p a n y ...........................K u ra n y a P ic tu re s P rod, a s s o c ia te .............................. K e n t C h a d w ic k THE RED CRESCENT P ty L im ite d P rod, m a n a g e r ................................... P h illip C o llin s P rod, c o m p a n y ............................... S o m e rs e t F ilm s P ro d u c e r ....................................................B ill H u g h e s P rod, s e c r e t a r y ...................................... A n n e P ry o r S u p e rv is in g p r o d u c e r ..............J a m e s M . V e rn o n S c r ip tw rite r s .........................S u s a n H a w o rth , S c rip t e d it o r ..............................P a tric k E d g e w o rth D ir e c to r ................................................... H e n ri S a fra n S a lly W e b b L e n g th ................................................13 x 3 0 m in u te s S c r ip tw rite r .................................... R ic h a rd C a s s id y B a sed on th e o rig in a l id e a G a u g e .............................................................. 1 " v id e o Synopsis: A n in te rn a tio n a l th rille r. b y ....................................................................... S u sa n H a w o rth Synopsis: In th e n e a r fu tu re , an o u t-o f-w o rk A sso c, p r o d u c e r ............................................... S u s a n H a w o rth th e a tre tro u p e in a d v e rte n tly p re v e n t th e p ira c y AUSTRALIA . . . TAKE A BOW THE SHIRALEE B u d g e t........................................ $ 1 m illio n (a p p ro x.) o f A u s tra lia 's u n d e rg ro u n d p o w e r s o u rc e b y a L e n g th ...........................................................................95 m in u te s P rod, c o m p a n y .......................... S o u n d s e n s e Film P rod, c o m p a n y ..................S A F C P ro d u c tio n s L td m o s t d e v io u s a n d d e a d ly o rg a n iz a tio n . G a u g e ...................................................................16m m P ro d u c tio n s P ty Ltd P ro d u c e r.....................................................B ru c e M o ir Cast: S u sa n H a w o rth (K a te M o rris). P ro d u c e r................................................. B ria n M o rris D ire c to r.............................................. G e o rg e O g ilv ie LONG TAN Synopsis: A c o n te m p o ra ry s to ry o f a w o m a n ’s D ire c to r....................................................B ria n M o rris S c rip tw rite r.......................................T o n y M o rp h e tt P rod, c o m p a n y ................ T h e L o n g T a n F ilm Co. B a se d on th e o rig in a l id e a re la tio n s h ip w th th e d e lin q u e n t g irl in h e r ca re . B a sed o n th e n o ve l b y .................... D 'A rc y N ila n d (p ro p o s e d ) b y ...........................................................B ria n M o rris P h o to g ra p h y ...................................G e o ff S im p s o n S c r ip tw rite r s .................................. D a v id H o rs fie ld , P h o to g ra p h y .......................................... P e te r D a vie s THE AUSTRALIAN CAMELEERS S to ry e d ito r ........................................... P e te r G a w le r L e x M cA u la y, S o u n d r e c o r d is t..............................................M ic h a e l G is s in g P ro d , c o m p a n y ......................M e d ia W o rld P ty Ltd P rod, d e s ig n e r....................... K ris tia n F re d e rik s o n B ru c e H o rs fie ld , E d ito r.............................................................T im S tre e t P r o d u c e rs .............................................................. J o h n T a to u lis , E xe c, p r o d u c e r ....................................... J o c k B la ir J u lia n n e H o rs fie ld P rod, m a n a g e r ..................................... F io n a A a ro n C o lin S o u th Cast: B rya n B ro w n (M a ca u le y), N o n i H a zle B a sed on th e o rig in a l id e a P rod, s e c re ta ry .................................................... L in d a H o p k in s D ir e c to r ....................................................................J o h n T a to u lis h u rs t (Lilly). b y ...................................................B ru c e H o rs fie ld A s s t e d ito r ..........................................L in d a G o d d a rd S c rip tw rite r............................................................. J o h n T a to E u lis Synopsis: T o M a c a u le y , th e c h ild w a s his xe c, p r o d u c e r ............................. B ru c e H o rs fie ld M u sic p e rfo rm e d P h o to g ra p h y ....................... G a e ta n o N. M a rtin e tti ‘s h ira le e ’ , a b u rd e n a n d a h a n d ic a p , a n d a lso a P ro d , a c c o u n ta n t........... M a n fre d a n d M c C a llu m b y ............................ A u s tra lia n Y o u th O rc h e s tra E d ito r......................................................... M a rk G ra c ie co n s ta n t re m in d e r o f b itte rn e s s a n d fa ilu re . It L e n g th ...................................................... 110 m in u te s S o u n d e d ito r .................................................... M ic h a e l G is s in g A s s o c , p r o d u c e r ............................. Y v o n n e C o llin s w a s his n a tu re to d o th in g s th e h a rd w a y: th e G a u g e .................................................................. 35 m m M ix e r...................................................................M ic h a e l G is s in g P ro d , m a n a g e r................................................G e o rg ia H e w so n w a y he sa w it, th e re w a s no o th e r c h o ic e . W h a t Synopsis: A re c re a tio n o f th e B a ttle o f L o n g S till p h o to g ra p h y ............ W ild lig h t P h o to A g e n c y P ro d , s e c r e t a r y ..........................T a n ia P a te rn o s tro he h a d n ’ t ta k e n in to a c c o u n t w a s th e c h ild 's T an , w h e n a n A u s tra lia n p a tro l o f 108 m e n P u b lic ity ................................... T h e W rite O n G ro u p o v e rw h e lm in g n e e d fo r love. R e s e a rc h e r....................................... K a re n B o n c z y k fo u g h t o ff m o re th a n 100 0 e x p e rie n c e d V ie t U n it p u b lic is t......................................................S h e rry S tu m m B u d g e t ...........................................................$ 2 0 0 ,0 0 0 C o n g . B a se d o n th e s u rv iv o rs o w n g rip p in g L a b o ra to ry ............................................................. A tla b SONS OF STEEL L e n g th ...........................................................................6 0 m in uatec sco u n ts, th e s to ry illu s tra te s th e th e s is th a t Lab. lia is o n ................................... B ru c e W illia m s o n G a u g e .................................................................. 16 m m th e w a r in V ie tn a m w a s w o n m ilita rily , b u t lo st P ro d , c o m p a n y ........................ B ig Isla n d P ic tu re s B u d g e t............................................................$ 9 2 2 ,5 0 0 S h o o tin g s t o c k ................................................. K o d a k p o litic a lly . P ro d u c e r....................................... J a m e s M. V e rn o n L e n g th ....................................................................7 x 2 8 m in u te s Synopsis: A d ra m a tiz e d d o c u m e n ta ry on th e D ire c to r..................................................... G a ry K e ady G a u g e .................................................................... 16m m p lig h t o f th e A fg h a n c a m e le e rs b ro u g h t to MESMERISED S c r ip tw rite r .............................................G a ry K e a d y S h o o tin g s to c k ........................A g fa X T 125, X T 3 2 0 A u s tra lia to o p e n th e o u tb a c k . P h o to g ra p h y ....................................... J o e P ic k e rin g Synopsis: A c o n te m p o ra ry lo o k a t life in e a ch P ro d , c o m p a n y ............. A b a c u s P ic tu re s P ty Ltd Synopsis: A fu tu ris tic a d v e n tu re s e t to p o w e r A u s tra lia n s ta te a n d te rrito ry . P ic tu re s , m u s ic D ir e c to r .................................... D a n ie l A. M cG o w e n BLACK BEAUTY fu l h e a vy m e ta l ro ck ’n ’ roll m u s ic . F a n ta s y a n d and so u n d e ffe c ts w ill te ll th e s to ry — th e re w ill S c rip tw rite r...............................................J o h n N a sh sc ie n c e fic tio n a re b o u n d to g e th e r b y a b a n d o f be no d ia lo g u e o r n a rra tio n . T h e s e rie s is P rod, c o m p a n y ...............................................B u rb a n k F ilm sB a sed o n th e s to ry b y ..........D a n ie l A. M cG o w e n like a b le , o ld fa s h io n e d h e ro e s. e n d o rse d as a B ic e n te n n ia l p ro je c t a n d is P ro d u c e r....................................................................R o z P h illip E sd it o r .................................................... B o b B la d s d a ll sp o n s o re d b y IB M A u s tra lia . S c rip tw rite r................................................... J .L . K a n e E xec, p ro d u c e r..... F ilm te c P ro d u c tio n s P ty Ltd, H o w a rd M . G a rd e n e r B a se d on th e n o ve l b y ......................................A n n a S e w e ll TALL SHIPS THE FAST LANE A sso c, p r o d u c e r ................ R o di W e lls -M c G o w e n E d ito rs .............................................. P e te r J e n n in g s , P rod, c o m p a n y ...............K u ra n y a B ra d le y L u ca s P rod, m a n a g e r........................................ P e n n y W a ll C a ro lin e N e a ve P ro d u c e r.....................................................................B ill H u g hP e srod, c o m p a n y .................................................... A B C E xe c, p r o d u c e r ..................................................... T o m S ta c e L ye n g th ........................................................90 m in u te s Dist. c o m p a n y ....................................................... A B C S c rip tw rite r........................................D e n is e M o rg a n P ro d , c o - o rd in a to r...................................J o y C ra s te G a u g e ................................................................... 16m m P ro d u c e r......................................................N o e l P ric e B a sed on th e o rig in a l id e a b y .............B ill H u g h e s Synopsis: A ra u n c h y b u t ta s te fu l c o m e d y P rod, m a n a g e r..........................................R o d d y Lee D yire c to rs ............................................... M a n d y S m ith , E xe c, p r o d u c e r .........................................................Ian B ra d le P rod, a c c o u n ta n t........................................... A n d re w Y o u nagb o u t a n u p - a n d -c o m in g b a r r is t e r w h o M a rk J o ffe , B u d g e t.................................... $ 2 .7 m illio n (a p p ro x .) C a s tin g ....................................................................... J o y C ra sbtee co m e s m e s m e ris e d b y th e s ig h t o f b e a u tifu l C o lin B u d d s L e n g th ............................................... 13 x 3 0 m in u te s wom en. C a m e ra o p e ra to r s ............................................... G a ry P a ge, S c rip tw rite rs .................................... A n d re w K n ig h t, Synopsis: A n a d v e n tu re s e rie s e n c o m p a s s in g T a n y a V is k ic h J o h n C la rke , an e p ic vo ya g e a b o a rd a b a rq u e n tin e s a ilin g S to r y b o a r d .............................................B o b F o s b e ry M a x D a nn, NANCY WAKE sh ip . C o n te m p o ra ry a d o le s c e n ts sa il fro m T im in g .........................................................J e a n T y c n J o h n A lso p , B ro o m e to S y d n e y to a rriv e in tim e fo r th e A n im a tio n d ire c to r ........................................W a rw ic k G ilb ePrtrod, c o m p a n y .......... S im p s o n Le M e s u rie r F ilm s D e b o ra h P a rso n s, ‘G ra n d P a ra d e o f S a il’ in J a n u a ry 1988. Dist. c o m p a n y P re -sa le S e ve n N e tw o rk D ire cto r, S tu d io 2 ................................................G e o ff C o llin s R o b y n W a tto n P r o d u c e rs ........................................R o g e r S im p so n , P a in tin g s u p e rv is o r ....................... J e n n y S c h o w e B a sed on th e o rig in a l id e a THOSE DEAR DEPARTED R o g e r Le M e s u rie r C o lo u r s ty lin g ....................................A n g e la B o d in i b y ..........................................................................J o h n C la rke , n c o m p a n y ...............................P h illip E m a n u e l A n im a tio n c h e c k e rs ................................................ L iz Lane,S c rip tw rite r.......................................................... R o g e r S im p sPorod, A n d re w K n ig h t B a sed on th e n o ve l b y ............... R u s s e ll B ra d d o n » P ro d u c tio n s P ty Ltd K im C ra ste , S o u n d re c o rd is ts ................................................ P e te r M ills, S crip t e d it o r ..................................... B a rb a ra B is h o p P ro d u c e r........................................... P h illip E m a n u e l K a th ry n d e K n o c k , T im W ilto n E xe c, p r o d u c e rs .............................A la n B a te m a n , D ir e c to r ................................................ T e d R o b in so n C a rla D a le y E d it o r s .......................................................................K e n T y le r, J o h n S tu rz a k e r S c r ip tw rite r ......................................S te ve J. S p e a rs P re -p ro d u c tio n ................................ A le x N ic h o la s F ra n k Z im m e rm a n P rod, s e c r e ta ry ................................E d w in a N ic o lls L a y o u t s u p e rv is o r ................................................ G le n L o veLtt e n g th ................................................4 x 6 0 m in u te s P rod, d e s ig n e r s .................................................A lw y n H a rb o tt, G a u g e ..................................................................16 m m P rod, a s s is ta n t................................ C o lle e n W a le s L a yo u t a r t is t s ........................................................Y o s h B a rry, C a ro le H a rv e y Synopsis: T h e s to ry o f N a n c y W a k e , A u s tra L e n g th ........................................................ 9 0 m in u te s J o a n n e B e re s fo rd , C o m p o s e rs ............................................................ G re g S n e d d o n , lian h e ro in e o f th e F re n ch R e s is ta n c e in W o rld G a u g e ................................................................... 16m m D a v id C o ok, A n d re w B a y lo r W a r 2. Synopsis: M a rily n F a lc o n a n d h e r h u s b a n d Y a ro s la v H o ra k, E xec, p ro d u c e r...................................................... N o e l P rice (w hom she m u rd e re d ) fin d lo ve a g a in w h e n he S te v e L yo n s, P rod, m a n a g e r........................M a rg a re t G re e n w e ll re tu rn s to h a u n t her. PALS N e il G ra h a m P rod, s e c re ta ry ................................. J a c q u ie L a m b B a c k g ro u n d la y o u ts ...................... D a v id S k in n e r 1st a sst d ire c to r ................................ P e te r B a ro u tis P ro d , c o m p a n y ..............C o m m u n iq u e /A u s tra lia n TREASURE ISLAND B a c k g ro u n d a r tis ts ............. B e v e rle y M c N a m a ra , 2 n d asst d ir e c t o r ................................................... D o n R ya n In te rn a tio n a l P ic tu re s P a u l P a ttie C o n tin u ity .................................................................. L e e H e m in g D ist. c o m p a n y ................................ J .C . W illia m s o n P rod, c o m p a n y ......... ....................B u rb a n k F ilm s N e g. m a tc h in g .....................................C h ris R o w e ll C a s tin g ......................................................D in a M a n n (w o rld w id e e x c e p t A u s tra lia ) P ro d u c e r..................... ......................... R o z P h illip s N o. o f s h o ts ...............................................................600 L ig h tin g d ire c to r s ...................................R o n C o m b , P r o d u c e rs ............................................... J im G e o rg e , S c r ip tw rite r ............... ...........S te p h e n M a cL e a n V o ic e -tra c k d ir e c t o r .............G e o rg e S te p h e n s o n N o e l Q u irk W a y n e G ro o m B a sed on th e nove l T itle d e s ig n e r........................................N e il G ra h a m C a m e ra o p e ra to rs .................................................D ic k W illo u g h b D ire c to r...................................... M a rio A n d re a c c h io .R o b e rt L o u is S te v e n s o n b y ............................. L a b o ra to ry ............................................................. A tla b R o g e r M c A lp in e S c rip tw rite rs .......................................... R o b G e o rg e , E d ito rs ......................... ................ P e te r Je n n in g s , L ab . lia is o n ................................................... G a ry K e ir K e y g r ip ............................................ M a x G a ffn e y J o h n P a tte rso n C a ro lin e N e a ve B u d g e t ............................................................$ 7 6 0 ,0 0 0 B o om o p e ra to r ......................................................G a ry L u n d B a sed on th e o rig in a l id e a b y ..........R o b G e o rg e , E xe c, p r o d u c e r ........ .........................T o m S ta c e y L e n g th .......................................................................... 5 0 m in u te s M a k e -u p ......................................................................Ian L o u g h n a n R o n S a u n d e rs , P rod, c o -o rd in a to r... ...........................J o y C ra ste G a u g e .................................................................... 16 m m W a rd ro b e ........................................................B e v e rle y J a s p e r J o h n P a tte rs o n P rod, m a n a g e r.......... ..........................R o d d y Lee S h o o tin g s t o c k ..................................................... 7291 S e t c o n s tru c tio n ....................................................A B C W o rk s h o p P h o to g ra p h y ......................................R o g e r D o w lin g P rod, a c c o u n ta n t.... ..................A n d re w Y o u n g Synopsis: T h e a u to b io g ra p h y o f a h o rse , fo l T itle d e s ig n e r..................................... P h il C o rd in g ly P rod, a c c o u n ta n t................................D a vid B a rn e s C a s tin g ........................ ........................... J o y C ra s te lo w in g th e life o f B la c k B e a u ty th ro u g h a s e rie s P u b lic ity ............................................... G e ò rg ie H o w e S tu n ts c o -o rd in a to r..................................V ic W ils o n C a m e ra o p e ra to rs ... ..........................G a ry P a ge, o f d iffe re n t o w n e rs , g ro o m s a n d c o m p a n io n s , S tu d io s ....................................................................A B C , M e lb o u rn e B u d g e t.................................................... $ 1 .2 5 m illio n T a n y a V is k ic h a n d th e c h a n g in g c irc u m s ta n c e s o f his life. L e n g th ................................................10 x 5 0 m in u te s L e n g th ............................................... 10 x 30 m in u te s S to ry b o a rd ................ ...................... S te v e Lyo n s, G a u g e ............................................................................ 1 " v id e o ta p e S h o o tin g s t o c k .............................................B e ta c a m A le x N ic h o la s THE BREEZE Cast: D e b ra L a w re n c e , R ic h a rd H e a ly, T e rry Cast: J o h n J a rra tt (O s c a r M cL e a n ). T im in g ......................... ........................... J e a n T y c h B a d e r, P e te r H o s k in g . P rod, c o m p a n y ...................................................M o sh i P ro dSynopsis: u c tio n s T h irte e n -y e a r-o ld S a m m y ru n s A n im a tio n d ire c to r... ................W a rw ic k G ilb e rt Synopsis: T h e e v e n ts s u rro u n d in g a p a ir o f P ro d u c e rs .............................................................. E n zo V e c cahw ioa, y a n d jo in s h is fa th e r, O sca r, a s tu n tm a n D ire cto r, S tu d io 2 ..... ...................... G e o ff C o llin s d o w n -a t-h e e l p riv a te eyes. D a n ic a D a n a w h o live s a ro v in g life fo llo w in g th e film s and P a in tin g s u p e rv is o r. ...................J e n n y S c h o w e D ire c to rs .............................................E n zo V e c c h io , sh o w s a ro u n d th e c o u n try . H is g ra n d p a re n ts C o lo u r s ty lin g ............ ................... A n g e la B o d in i D a n ic a D a n a h ire a d e te c tiv e to b rin g th e la d b a ck. T h e tw o THE FLYING DOCTORS A n im a tio n ch e c k e rs . ..............................Liz Lan e, S c rip tw rite rs ...................................... E n z o V e c c h io , fu g itiv e s fin d th e m s e lv e s in th rillin g s itu a tio n s K im C ra ste , P ro d , c o m p a n y ......... ......... C ra w fo rd P ro d u c tio n s D a n ic a D a n a try in g to re m a in o n e s te p a h e a d o f th e law . K a th ry n d e K n o c k , P ro d u c e r.................... P h o to g ra p h y ............................................S a s h a B rk ic C a rla D a le y D ire c to rs .................... P ro d , d e s ig n e r........................................................ C a rl R izzo P re -p ro d u c tio n ..... .................... A le x N ic h o la s PIGS WILL FLY C o lin B u d d s, A rt d ire c to r ................................... R o s a n n a V e c c h io L a yo u t s u p e rv is o r .........................G le n L o ve tt D an B u rs ta ll, P ro d , c o m p a n y ............................... S o m e rs e t F ilm s C o s tu m e d e s ig n e r.....................A n n a M a ria B rk ic L a yo u t a r tis ts ........ ........................ Y o s h B a rry, M a rk d e F rie s t L e n g th ...........................................................................75 m in u S teusp e rv is in g p r o d u c e r ..............J a m e s M . V e rn o n J o a n n e B e re s fo rd , S c r ip tw rite r s .............. ......................T o n y M o rp h e tt, S c rip tw rite r............................................ C ra ig C ro n in G a u g e .................................................................. 16 m m D a vid C o ok, C h ris tin e M c C o u rt, Synopsis: A z a n y co m e d y . Synopsis: T h e s to ry o f a g ro u p o f frie n d s w h o Y a ro s la v H o ra k, V in c e M o ra n , b e c o m e in v o lv e d in s o m e th in g o v e r th e to p o f S te v e Lyo n s, P e te r H e p w o rth PIPEDREAMS th e ir h e a d s. T h e y fin d th e m s e lv e s d ra w n in to a N e il G ra h a m P h o to g ra p h y ................... ........................... L o u is P u li v ic io u s circ le . P rod, c o m p a n y .......................... K u ra n y a P ic tu re s B a c k g ro u n d la yo u ts ....................D a vid S k in n e r S o u n d re c o r d is t............. B a c k g ro u n d a rtis ts .. ..... B e v e rle y M c N a m a ra , P ty L im ite d E d ito rs ............................... FIELDS OF FIRE P r o d u c e r........................... ........................B ill H u g h e s P a u l P a ttie R o ss E va ns, S c r ip tw rite r .............................................. M a ry G a g e N eg. m a tc h in g .......... ....................... C h ris R o w e ll P ro d , c o m p a n y .....................................................P a lm B e a ch G ra n t Fe n n E n te rta in m e n t P ty L td B a sed o n th e o rig in a l id e a b y ............ B ill H u g h e s No. o f s h o ts ................ .........................................6 0 0 C o m p o s e rs ...................... V o ic e tra c k d ire c to r.. .......G e o rg e S te p h e n s o n P ro d u c e rs ..............................................................D a vid E lfic kA, sso c, p r o d u c e r ............................ S u sa n H a w o rth L a u rie S to n e S te ve K n a p m a n B u d g e t.................................... $ 1 .5 m illio n (a p p ro x .) T itle d e s ig n e r............ .......................N e il G ra h a m E xe c, p ro d u c e rs ............ ............ H e c to r C ra w fo rd , L e n g th ........................................................95 m in u te s L a b o ra to ry .................. ...................................... A tla b D ire c to r............................................... R o b M a rc h a n d Ian C ra w fo rd , G a u g e ................................................................... 16m m Lab. lia is o n ................ S c rip tw rite rs ......„ .........................M ira n d a D o w n e s, .............................G a ry K e ir T e rry S ta p le to n Synopsis: B a se d o n th e tra g ic s to ry o f th e B u d g e t........................ R o b M a rc h a n d P rod, s u p e rv is o r............ ............................. $ 7 6 0 ,0 0 0

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A s s t p r o d u c e r .....................................................J u d ith C o w a rd M ixe d a t ......................................................... S p e c tru m F ilm sS c rip tw rite rs ..................................................... V a rio u s HEY DAD S to ry e d ito r........................................................... A lis o n N is s e lb P ro d , c o - o r d in a to r ..........................................S im o n e N o rth L a b o ra to ry ..............................................................A tla b P rod, c o m p a n y ...............J a c a ra n d a P ro d u c tio n s S c rip t e d ito r s ........................................................... N e il L u x m o o re , P ro d , m a n a g e r ..................................................... C h ris P a g e Lab. lia is o n .............................................P e te r W illa rd D ist. c o m p a n y ............... P re -s a le S e v e n N e tw o rk M o rg a n S m ith U n it m a n a g e r........................................................... R o d S h o rt G a ry K ie r P ro d u c e r....................................................G a ry R e illy S to r y lin e r s ..............................................................T o n y M c D o n a ld , P ro d , s e c re ta ry ............................... C a ro l M a tth e w s B u d g e t ........................................................ $ 6 ,0 5 0 ,0 0 0 D ir e c to r ................................................ K e vin B u rs to n J o h n C o u lte r, P rod, a c c o u n ta n t....................................................J e ff S h e n k e r L e n g th .................................................. 4 x 96 m in u te s S c r ip tw r ite r .............................................. G a ry R e illy B o b G re e n b u rg 1 st a s s t d ire c to r s ................................................J a m ie L e slie , G a u g e .................................................................... 16m m B a sed on th e o rig in a l id e a b y ........... G a ry R e illy B a sed o n th e o rig in a l id e a S te w a rt R ig h t S h o o tin g s to c k ....................................................... E C N E x e c u tiv e -in -c h a rg e of b y ............................................................................. R e g W a ts o n 2 n d a s s t d ir e c t o r ......................................... S tra c h a n W ils o n C a s t: L in d a C ro p p e r (M e lb a ), H u g o W e a v in g p r o d u c t io n ......................................A la n B a te m a n S o u n d re c o r d is t.................................................... R o ss T h o m p s o n C o n tin u ity ................................................................ T a ra F e rrieSr tu d io s ............................. A T N -7 S tu d io s , S yd n e y (C h a rle s A rm s tro n g ), P e te r C a rro l (D a vid E d ito r.......................................................P h il J o h n s o n S c rip t e d it o r .............................................D e b b ie C o x M itch e ll), T o m B u rlin s o n (S yd M e re d ith ), J u n e L e n g th ............................................... 1 2 x 3 0 m in u te s P rod, d e s ig n e r ..................................... G e o ff H a tto n C a s tin g ........................................................................J a n P o n tife x B ro n h ill (A n n is M o n ta g u e ), J u lie H a s e le r G a u g e ............................................................V id e o ta p e C o m p o s e r................................................................ A la n C a s w e ll F o cu s p u lle r ............................................................ P a u l T ille y (A n n ie M itch e ll), N e ll S c h o fie ld (B e lle M itch e ll), C a s t: R o b e rt H u g h e s (M a rtin K e lly), J u lie M c E xe c, p ro d u c e r........................................................R e g W a ts o n C la p p e r/lo a d e r ..................................................W a lte r R e p p ic h A n d re w T ig h e (Tom C h a ta w a y), R o b e rt G a rd G re g o r (B e tty W ils o n ), P a u l S m ith (S im o n A sso c, p r o d u c e r .........................................Ian S m ith Key g r ip ............................................................ W a rw ic k S im p s o n (C h a rle s T u rn e r), J u d i F a rr (A m y D a v id s o n ). Kelly), S im o n e B u c h a n a n (D e b b ie K e lly), S a ra h P rod, c o - o r d in a to r ...........................W e n d y W a lk e r A sst g r ip .......................................................... C a m e ro n S tra c M h aonn a h a n (J e n n y K e lly), C h ris to p h e r T ru s w e li S y n o p s is : A m in is e rie s on th e life o f N e llie P rod, m a n a g e r.......................................... M ic k M ills G a ff e r ..............................................................B ill J o n e s M elba . (N udg e). A s s is ta n t d ir e c t o r s ......................................... M u rra y G ro u b e , B o om o p e ra to r........................................... L e ig h P ate NEIGHBOURS L in d a W ils o n , A rt d ire c to r ..................................................B ria n B e tts THE LIVING BORDER P a u lin e W a lk e r P rod, c o m p a n y ...........G ru n d y T e le v is io n P ty Ltd A s s t a rt d ire c to r ...................................................E le n a P e rro tta P rod, c o m p a n y .............................................G o u lb u rn M u rra y P r o d u c e r ..............................................................P h ilip E a st F lo o r m a n a g e r......................................................... R a y L in d s a y H a ir d re s s e r ............................................... L isa J o n e s T e le v is io n Ltd (in c. in V ic.) D ire c to rs .......................................... R ic h a rd S a rre ll, C a s tin g ..........................................................J a n R u ss, W a r d ro b e ............................................................. R o b yn A d a m s Dist. c o m p a n y .............................................. G o u ib u rn M u rra y J a n e D a n ie ls S te v e M a n n , S ta n d b y w a r d r o b e .................................. J o H a d d o n T e le v is io n Ltd (in c. in V ic.) G a ye A rn o ld , L ig h tin g s u p e rv is o rs ......................R o d H a rb o u r, P ro p s b u y e r ............................................................G le n J o h n s o n P a u l M a lo n e y K e ith F e rg u s o n , S p e c ia l e ffe c ts ......................................................T e rry W ilc o P c kr so d u c e r .................................... R o s e m a ry M a rrio tt D ire c to r.......................................................... Ian C ru se R e g S m ith S c rip tw rite rs ..................................................... V a rio u s S e t d re s s e rs ........................................... D a w so n Lee, S c rip tw rite r........................................G ra h a m J o n e s S c rip t s u p e r v is o r ................................................... R a y K o lle S ta g in g s u p e rv is o rs ................................ B ill W e b b , B re tt V ie tc h , B a sed on th e o rig in a l id ea S c rip t e d ito r s .........................................R ick M a ie r, B ritt D e n n is o n , P e te r K e e b le , b y ....................................................................G ra h a m J o n e s Y s a b e lle D e an G re g W e b b , D a rc y C h e n e P h o to g ra p h y ........................................................ D a vid R u sse ll B a sed on th e o rig in a l id e a b y ......... R e g W a tso n C h a rlie P e llig rin o S e t c o n s tr u c tio n .............................................. G o rd o n W h ite M a k e -u p ....................................................... J o P a rd y , A s s t e d ito r s ............................................................ J u n e W ils o S n ,o u n d r e c o r d is t............................................. G ra h a m J o n eSs o u n d r e c o r d is t s ..........................D a ve S h e lla rd , E d ito rs ....................................................................D a vid R u sse ll, G ra n t V o g le r, F io n a C o tto n , O w e n J o h n s to n Ian C ru se , K e ith H a rp e r, L a u ra K a zika , N e g. m a tc h in g ..................................................J e n n ie K e em , R o s e m a ry M a rrio tt R o b S a u n d e rs L e o n ie T re a d w e ll J ill Lord n d e s ig n e r ...................................... S te ve K e lle r P rod, H a ird re s s e r.................................W illia m M c llv a n e y M u s ic e d ito r .......................................................... D a vid H o lm eEsxec, p ro d u c e r..................................................... T o n y K e n iso C ottm p o s e r .............................................. T o n y H a tch W a rd ro b e ...................................... B ig i M a lin a u s k a s , E d itin g a s s is ta n t....................................................F re d K irk u pP rod, c o - o rd in a to r.....................................R o s e m a ry M a rrio P rod, a s s is ta n t.................................................. N ic o le B o s c h e tti E xec, p r o d u c e r..................................... R e g W a ts o n J u lia n n e J o n e s M ix e r ...................................................................R ic h a rd B ro b yn 1st a sst d ir e c t o r .................................................... P a u l S im pAssso o n c, p r o d u c e r................................... P e te r A s k e w O .B . s u p e rv is o r .................................M a rk H a n c o c k S tu n ts c o - o r d in a to r .......N e w G e n e ra tio n S tu n ts R e -e n a ctm e n t d ir e c t o r ................................. G o rd o n D o w e ll P rod, c o -o rd in a to r.............................J a y n e R u s s e ll P ro p s b u y e r............................................................M a rk G riv a s FX e d ito r s ............................................................... J u lie M u rra y, L ig h tin g c a m e r a m a n ........................................D a vid R u sse ll P rod, m a n a g e r ................................. R o slyn T a ta rk a S ta n d b y p r o p s ................................................... S u s a n B irja k , B ru c e C lim a s iglo h o r m a n a g e rs ............................ P e te r O ’C o n n o r, W a y n e W ilc o x D ia lo g u e e d ito rs ................................................. G a v in M yers,C a m e ra a s s is ta n t..............................................K ie ra n R a le F 2nd u n it p h o to g ra p h y .............................................Ian C ru se , A la n W illia m s o n , S o u n d e d ito r s .......................................... D a v id M uir, M ic h a e l C a rd e n P a u l S im p s o n P e te r H in d e , B ru c e F in la y, R u n n e r ............................................... B re tt M a tth e w s A rt d ire c to r ...........................................................N ic o le B o s c h e tti P e te r M e rin o , R o ss S u lliv a n , L a b o ra to ry ........................................................C in e v e x J a c k B ro w n P e te r S a y Lab. lia is o n ...........................................................B ru c e B ra u nA sst e d ito r................................................ D a vid B ria n M u sic p e rfo rm e d b y ..................................Y a b b ie s , D ire c to r’s a s s t s ............................. M a ria n n e G ray, M u s ic e d ito r ............................................................J o h n W h ite C a s t: A n d re w M c F a rla n e (D r T o m C a lla g h a n ), M u d d y C re e k B u sh B a n d J o R itta n , V isio n s w itc h e r ...................................J im M a u rid is Liz B u rc h (D r C h ris R a n d a ll), P a t E viso n (V io le t N a r r a t o r ................................................................. B a rry G o o d e a r R h o n d a B a rk -S h a n n o n T e ch , d ir e c t o r s .................................................... B a rry S h a w , C a rn e g ie ), L e w is F itz -G e ra ld (D a vid G ib so n ), P re s e n te r................................................................J o h n A tk inCsao sn tin g ........................................................... Ja n R u ss R ic k N o tt, B ru c e B a rry (G e o rg e B a xte r), L e n o re S m ith P u b lic ity ............G o u lb u rn M u rra y T e le v is io n Ltd C a s tin g a s s is ta n t............................................S h a ro n M cC o n n e ll J a c k B ro w n , (K a te W e llin g s ), M a u rie F ie ld s (V ic B u ckle y), S tu d io s ..................................... G M V -6 , S h e p p a rto n L ig h tin g s u p e rv is o r .......................K e ith F e rg u so n H o w a rd S im m o n s , M ax C u lle n (H u rtle ), G il T u c k e r (Jo e Fo rre st), M ixe d a t ...................................G M V -6 , S h e p p a rto n A rt d ir e c t o r .............................................. S te v e K e lle r P e te r M e rin o T e rry G ill (S g t C a rru th e rs ). L e n g th ........................................................5 0 m in u te s M a k e -u p .................................................................L o u is J o rg eCn saetenr,in g ................................................ H e le n L o u e rs S y n o p s is : A R o ya l F ly in g D o c to r S e rv ic e is G a u g e ...................................................................... B V U v id e o ta p e D a vid H e n d e rs o n P o s t-p ro d u c tio n ......................A T V -1 0, M e lb o u rn e lo ca te d in th e o u tb a c k to w n o f C o o p e rs S h o o tin g s t o c k .................................................S co tch H a ird re s s e rs .......................................................... J u lie C o rb eCt,a s t: E lsp e th B a lla n ty n e (M e g M o rris), M a g g ie C ro s s in g . T h e tw o d o c to rs , T o m C a lla g h a n a n d S y n o p s is : T h e L iv in g B o rd e r — a p o rtra it of S u e W a rh u rs t K irk p a tric k (Jo a n F e rg u s o n ), G e rd a N ic o ls o n C h ris R a n d a ll, n o t o n ly c o n te n d w ith th e th e M u rra y R ive r a n d its p e o p le — p o rtra y s th e W a rd ro b e ..............................................................Iso b e l C a rte (A r, nn R e yn o ld s), J o y W e s tm o re (J o y c e P rin g le ), m e d ic a l c h a lle n g e s , b u t a ls o w ith th e sm a ll past, p re s e n t and p o s s ib le fu tu re o f A u s tra lia ’s C a th y T u rn b u ll, E rn ie B o u rn e (M e rvin P rin g le ), L o is C o llin d e r c o m m u n ity in w h ic h th e y live. g re a te s t river. T h e d o c u m e n ta ry d e p ic ts th e F re n n y C ro o k, ( A lic e J e n k in s ) , G le n d a L in s c o t t ( R ita role o f th e riv e r in th e d e v e lo p m e n t o f A u s tra lia THE HENDERSON KIDS II J e s s ie F o u n ta in , C o n n o rs), P a u la D u n c a n (L o re le i W ilk in s o n ), and its still e n o rm o u s p o te n tia l. C o rin e G le n n P h ilip H yd e (R o d n e y A d a m s), M ic h a e l W in P rod, c o m p a n y ...................C ra w fo rd P ro d u c tio n s P rops b u y e r............................................................M a rk G riva cs h e s te r (M a rty J a ckso n ). P ty Ltd MELBA S ta n d b y p r o p s ....................................................... P a u l S u th eSrla y nnodp, s is : T h e p o w e rfu l a n d u n iq u e s to ry o f P ro d u c e r.....................................................A la n H a rd y R o s e m a ry G e a ro n w o m e n in p ris o n . T h is s to ry, w h ic h te lls o f th e P rod, c o m p a n y .......................................... C B S e ve n D ir e c to r s ..........................................C h ris L a n g m a n , O ff-lin e e d itin g ......................T h e E d itin g M a c h in e live s o f w o m e n in p riso n , th e c rim e s th e y c o m P ro d u c tio n s P ty Ltd P a u l M o lo n e y m nitte d and th e ir p e rs o n a l h e ll b e h in d b a rs , is P ro d u c e rs ................................................................ E rrol S u llivMauns, ic e d it o r ......................................................W a rre n P e a rso S c rip tw rite rs .................................. P e te r H e p w o rth , V isio n s w itc h e r ...................................................J e n n y W illiaemms o tio n a lly p a c k e d d ra m a tic e n te rta in m e n t. P o m O liv e r R o g e r M o u lto n , T e c h n ic a l d ire c to r s ............................................. J a c k B ro w n , D ir e c to r ..............................................................R o d n e y F ish e r G a lia H a rd y, ROB ROY R ic N o tt, S c r ip tw r ite r ................................... R o g e r M cD o n a ld J o h n R e eves, H o w a rd S im o n s P h o to g ra p h y .........................................................D e an S e m le r, P rod, c o m p a n y ...............................................B u rb a n k F ilm s D a vid P h illip s , C a te rin g .....................................................................T rio C a te rin g d u c e r.................................................................... R o z P h illip s A n d re w L e sn ie A n d re w K e n n e d y P ro P o s t-p ro d u c tio n ......................A T V -1 0, M e lb o u rn e P h o to g ra p h y .......................................................... B re tt A n d eS rsoounn d r e c o rd is t....................................P a u l B rin c a t S c r ip tw rite r ...............................................................R o b M o w b ra y C a s t: G a ry F iles (Tom R a m sa y), G e o ff P a in e d itwo r ...............................................M a rc va n B u u re n B a sed on th e n o ve l b y .................S ir W a lte r S c o tt S o u n d r e c o rd is t.................................................... J o h n M c K eErro (C liv e G ib b o n s ), P e te r O ’ B rie n (S h a n e P rod, d e s ig n e r ..........................................R o g e r K irk C o m p o s e rs ................................... G a rry M cD o n a ld , E d ito rs ...............................................P e te r J e n n in g s , R a m say), A la n D a le (Jim R o b in so n ), A n n e A sso c, p r o d u c e r ..................................J u lie M o n to n L a u rie S to n e C a ro lin e N e a ve H a d d y (H e le n D a n ie ls), S te fa n D e n n is (P aul P rod, E xe c, p r o d u c e rs ............................................... H e c to r C ra w fo rd , c o - o rd in a to r.......................S u s a n n e D a rce y E xec, p r o d u c e r ......................................................T o m S ta c e y R o b in so n ), K ylie F lin k e r (L u c y R o b in so n ), U n it m a n a g e r........................................ C h ris J o n e s Ian C ra w fo rd , P rod, c o - o rd in a to r................................... J o y C ra s te E la in e S m ith (D a p h n e C la rke ), P a u l K e a n e P rod, s e c r e ta ry .....................................S u s ie J a rv is T e rry S ta p le to n P rod, m a n a g e r.......................................... R o d d y Lee (D es C la rke ), M yra De G ro o t (E ile e n C la rke ). P rod, a c c o u n ta n t.................................C a tc h 1-2-3, A sso c, p r o d u c e r .......................... C. E w a n B u rn e tt P rod, a c c o u n ta n t........................................... A n d re w Y o u n g S y n o p s is : Love ’ em o r h a te ’ e m , b u t e v e ry J e n n y V e rd o n C a s tin g ........................................................................J o y C ra s te P rod, e x e c u tiv e ............................................... M ic h a e l La ke o n e 's g o t ’e m : n e ig h b o u rs . R a m s a y S t r e e t . . . P rod, a s s is ta n t................................................... M a rtin C a h e ig h C a m e ra o p e ra to r s ............................................... G a ry P a ge, P rod, c o -o rd in a to r..................................G in a B la ck th e sta g e fo r an e x c itin g d ra m a s e ria l . . . d ire c to r ........................M ic h a e l B o u rc h ie r T a n y a V is k ic h P rod, m a n a g e r........................................................ R a y H e n n 1st e s sasst y d ra w in g b a c k th e c u rta in to re ve a l th e in trig u e 2 n d asst d ir e c t o r ................................. J u lie F o rste r S t o iy b o a r d ............................................................... B o b F o s b e ry P rod, a c c o u n ta n t....................................... R on S in n i a n d p a s s io n s o f A u s tra lia n fa m ilie s . . . and 3rd asst d ir e c t o r ................T o b y C h u rc h ill-B ro w n T im in g .................................................................... G e o ff C o llin s 1st asst d ir e c t o r .................... R ic h a rd C le n d in n e n th e ir n e ig h b o u rs . A n im a tio n d ire c to r ........................................W a rw ic k G ilb e rt 2 n d asst d ire c to r .............................................M ic h a e l W h iteC o n tin u ity ................................................... J o W e e ks 3 rd a s s t d ire c to r ............................................. M a u ric e B u rn sP ro d u c e r's a s s is ta n t.............................. S u e H u n t D ire cto r, S tu d io 2 ................................................ G e o ff C o llin s THE OZ SERIES C a s tin g .................................A n n C h u rc h ill-B ro w n C o n tin u ity ............................................ L e sle y F o rsyth P a in tin g s u p e rv is o r .......................................... J e n n y S c h o w e F o cu s p u lle r ...........................................C o lin D e a n e S c rip t e d ito r ........................................................... J u tta G o e tze C o lo u r s ty lin g .................................................... A n g e la B o d in i P rod, c o m p a n ie s ..........................E le c tric S h a d o w F o cu s p u lle r ...........................................................C ra ig B a rd eCn la p p e r/lo a d e r .................................................. T r a d e G riffith s A n im a tio n c h e c k e r s ................................................Liz K a ne, M o tio n P ic tu re s , C la p p e r/lo a d e r ..................................................... G a ry B o tto K meley yg r ip ................................................................... M e rv M c L a u g h lin K im C ra ste , D e u x V is a g e s P ro d u c tio n s , A sst K e y g r ip ..................................................................... R o b H a n s fo rd g r ip ...................................................... P a t N a sh K a th ry n d e K n o c k , K C T S S e a ttle , U S A A s s t g r ip ....................................................................... Ian P h illipGs a ffe r ....................................................... J o h n M o rto n C a rla D a le y P ro d u c e r.................................................J im B re n n a n B o om o p e ra to r ...................................................... G re g N e lsoEn le c tric ia n ..............................................D e a n B rya n t P re -p ro d u c tio n .......................................................A le x N ic h o la s D ire c to r...........................................J a m e s L in g w o o d B o om o p e ra to r....................................................... P a u l G le e S socnrip tw rite r.............................................................J o h n E m e ry A rt d ir e c t o r ........................................................A n d re w R e e se L a yo u t s u p e rv is o r ................................................ G le n L o v e tt A s s t a rt d ire c to r .................................................... G re g ^ llis A rt d ir e c t o r .....................................................C h ris tin e D u n sta B ansed on th e o rig in a l id e a L a yo u t a r tis ts ........................................................Y o s h B a rry, A sst a rt d ire c to r s .................................................... K im D a rb y, b y ....................................................... L a u rie G ilb e rt, C o s tu m e d e s ig n e r .............................. C la re G riffin J o a n n e B e re s fo rd , J e n n y C a rs e ld in e M a k e - u p .................................................. B ra d S m ith D a vid C o o k, J a m e s L in g w o o d H a ird re s s e r....................................................E liz a b e th H a rp eCro s tu m e d e s ig n e r .................................................J a n H u rlePyh o to g ra p h y .......................................................L a u rie G ilb e rt Y a ro s la v H o ra k, W a rd ro b e ............................................................... K e e ly E llis M a k e - u p ............................................................. W e n d y S a in sSbouury S te v e Lyo n s, n d, r e c o r d is t ....................................... M ik e P ip e r S a lly G o rd o n S ta n d b y w a rd r o b e ........................................... M a rio n B o yce N e il G ra h a m E d ito r.......................................................................K e vin M cL e a n H a ird re s s e r..................................C h e ry l W illia m s W a rd ro b e a s s t......................................... A n n e W e n t B a c k g ro u n d la y o u ts .......................................... D a vid S k in n e r E xe c, p ro d u c e r......................... J o h n C o n e y (U S A ) W a rd ro b e s u p e rv is o r ...............H e a th e r M c L a re n P ro p s b u y e r ..............................................Len B a rra tt B a c k g ro u n d a r tis ts ............B e v e rle y M c N a m a ra , C a s tin g .......................................................... S p o tlig h t s,a m e ra o p e ra to r ............................... L a u rie G ilb e rt S ta n d b y p r o p s .................................................. R o la n d P ike C u tte r s ...................................................................H e le n D ykeC P a u l P a ttie M a rc ia L id d e n , S e t d r e s s e r s ..........................................................S o u li L iv a d itis , N e g. m a tc h in g ...................................... C h ris R o w e ll C a m e ra a s s is ta n t ....................... G ile s A n d re a tta L e ig h E ic h le r A n n ie M cC a rth y, G a ffe r................................................................. R ic h a rd P a rk hNo. ill o f s h o ts ............................................................... 6 0 0 S h e ry l P ilk in g to n , S c e n ic a r t is t ............................................................... Ian R ic h te r o ic e tra c k d ire c to r ...........G e o rg e S te p h e n s o n M a k e -u p ............................................................. E ls p e th R a d foVrd J e a n T u rn b u ll C a rp e n te rs ........................................................M ic h a e l S h o tb o lt, T itle d e s ig n e r........................................................... N e il G ra h a m M u sic p e rfo rm e d b y ........................................... M a rk R ive tt, J a n is E rm a n is W a rd ro b e a s s is ta n t......................................A m a n d a L o v e jo y L a b o ra to ry ..............................................................A tla b E lly M e m e d S e t c o n s tr u c tio n .............................................. G o rd o n W h iteP ro p s b u y e rs ............................................................. B ill B o o thL, e n g th ...........................................................................60 m in u te Lab. s lia is o n ....................................................G a ry K e ir S a n d y W in g ro v e C o n s tru c tio n fo re m a n ....................................... P e te r M cN e e G a u g e ............................................................. B e ta c a m B u d g e t............................................................ $ 7 6 0 ,0 0 0 D ia lo g u e c o a c h .................................................... P e te r T u llo cShta n d b y p r o p s ...................................................... C o lin G ib s o L e n g th ...........................................................................5 0 m in u te s Cna st: D a m o n H e rrim a n (T o m m y), J a c q u i P ike B e st b o y ..................................................................G re g R o b inSspoenc ia l e ffe c ts m a k e - u p .............B o b M c C a rro n G a u g e .....................................................................16m m (Ju d ith ), J a n e K itc h in g (M e lissa ), K e ith H in d S h o o tin g s t o c k ..................................................... 7291 (M r G ilch re st), C a t L a w re n c e (K e lly), G lyn n R u n n e r .......................................................................C o n M a n cSuestod e s ig n e r.................................................... Ig o r N a y N ich o la s (G lyn n ), J o h n E m e ry (The D o cto r). U n it p u b lic is t ...................................................... S u s a n W o o dS c e n ic a r tis t .................................... G illia n N ic h o la s V o ic e s : P h illip H in to n (M a c D o n a ld , K ing C a rp e n te rs .......................................... A n d y T ic k n e r, G eo rg e ), S im o n H in to n (Y o u n g C o lin ), J a n e S y n o p s is : T h e fu n d in g p ilo t o f a d ra m a tiz e d S t u d io s ................................................................... H S V 7 D a vid S co tt, d o c u m e n ta ry s e rie s on A u s tra lia . It w ill be M ixe d a t ................................ C ra w fo rd P ro d u c tio n s H a rd e rs (O in a , M rs S te w a rt), B ru c e S p e n c e R o ry F o re st, fo llo w e d b y 13 o r 26 h a lf-h o u r e p is o d e s a im e d (D u n ca n ), N ic k T a te (R o b Roy), A n d re w L e w is L a b o ra to ry .................................................................V F L B ro n w y n P a rry at th e A m e ric a n c h ild r e n ’s te le v is io n m a rke t. L e n g th ............................................... 12 x 60 m in u te s (H a m ish ), R on H a d d ric k (K ille a rn ), A n d re w S e t c o n s tru c tio n .................................................... A la n F le m in g In g lis (Ja m e s S te w a rt), B ill K e rr (D u k e o f G a u g e .....................................................................1 6m m PRISONER A sst e d ito r ............................................................ J e n n y H icks M o n tro se ), T im E llio tt (D u k e o f A rg y le ). S h o o tin g s t o c k ................................5 2 9 1 ,5 2 9 2 M u s ic a l d ire c to r ........................................................ B ill M o tz in g C a s t: N a d in e G a rn e r, P a u l S m ith , M ic h a e l S y n o p s is : R ob R o y M a c G re g o r is th e S c o ttis h P rod, c o m p a n y ...........G ru n d y T e le v is io n P ty Ltd E d itin g a s s is ta n t..................................................N ig e l T ra ill P ro d u c e r................................................M a rie T re v o r ve rs io n o f R o b in H o o d , w h o c le v e rly tric k s th e A itk e n s , B ra d le y K ilp a tric k . W ra n g le r ...........................................................G ra h a m W a re D ire c to rs ....................................... K e n d a l F la n a g a n , e vil D u ke o f M o n tro s e o u t o f th e ta x e s c o lle c te d S y n o p s is : T h e fu rth e r a d v e n tu re s o f S te v e a n d R u n n e r ................................... T o m C h u rc h ill-B ro w n T a m a ra H e n d e rs o n a n d th e ir frie n d s c o m in g to fro m th e v illa g e rs . H e is d e c la re d an o u tla w S e a n N a sh , C a te r in g ................................................. O u t-to -L u n c h a n d has m a n y e x c itin g e s c a p a d e s b e fo re he g rip s w ith life in a to u g h s u b u rb a n e n v iro n T o n y O s icka , S tu d io s .............................................................. P yra m id S tu d io s can c le a r his na m e . C h ris S h e il m ent.

CINEMA PAPERS September — 85

O D

T l

Production Survey continued

A rt d e p t r u n n e r ...................................S a m R ic k a rd SONS AND DAUGHTERS S y n o p s is : T w e n ty -tw o e p is o d e s d e p ic tin g th e S h o o tin g s t o c k .........................................7 2 9 1 ,7 2 9 4 S c e n ic a r tis t............................................. C h ris R e ad life s ty le a n d e x p e rie n c e s o f a fa m ily -ru n C a s t: T e rry T h o m p s o n (U la m in a ), A n th o n y P ro d , c o m p a n y ...........G ru n d y T e le v is io n P ty Ltd S e t c o n s tr u c tio n .......................... G ra e m e G illig a n Q u e e n s la n d B a rrie r R e e f re s o rt isla n d . H o p k in s (B a n g u ra ). P r o d u c e r ................................................................P o s ie J a c o b s A sst e d it o r ......................................M e lis s a B la n c h e S y n o p s is : T h is is th e fo u rth in a s e rie s o f s h o rt D ir e c to r s ................................................... M a rk P iper, M u s ic a l d ire c to r ....................................A s h le y Irw in d ra m a s b a se d on A b o rig in a l Iq g e n d . It is th e CASSIE R u s s e ll W e b b , A u d io d ire c to r ........................................S te v e S m ith ta le o f a b o y a n d his s to le n c a n o e ; o f s e lfis h A lis te r S m a rt, P rod, c o m p a n y ...............S ta rlite F ilm P ro d u c tio n M u s ic e d it o r .................................. G a rry H a rd m a n ness a n d g re e d p e rs o n ifie d ; a n d a le sso n in P in o A m e n ta P r o d u c e r..............................................C a rl T. W o o d s M ix e r s ..............................................J o h n D e n n iso n , s h a rin g . M o re to n Isla n d lo c a tio n s b e c o m e th e S c rip tw rite rs .....................................................V a rio u s D ire c to r................................................ C a rl T. W o o d s T o n y V a c c h e r b e a u tifu l a u th e n tic e n v iro n m e n t in w h ic h th e S c rip t e d it o r ...........................................................G re g S te ve n s S c rip tw rite r..........................................C a rl T. W o o d s S tu n ts c o - o rd in a to r........................ B e rn ie L e d g e r s to ry firs t to o k p la ce . S to ry e d ito r .................................................B e va n Lee P h o to g ra p h y ......................................... P a u l O z e rs k i R u n n e r................................................ L in d a P a v ila c k B a se d on th e o rig in a l id e a S o u n d r e c o r d is t ................................ H a rv e y W e lsh a te rin g .............................................. M M K C a te rin g b y .............................................................................R e g W a tsC on E d it o r ............................................................ A la n L ake THE FISH ARE SAFE S tu d io s .............................................T h e F ilm C e n tre S o u n d r e c o r d is t s ...........Z b y s z e k K rz u s z k o w ia k , A s s t to p r o d u c e r ...............W ilh e lm in a S c h im m e z M ixe d a t .................................................... A u d io Loc. P rod, c o m p a n y ..................................................... A B C N o el C u n n in g to n , P rod, a s s is ta n ts .................................................T a n y a T h o m p s o n , L a b o ra to ry ............................................................... C F L D ist. c o m p a n y ........................................................ A B C N ic k B u c h n e r, S a lly A n n e F reney, Lab. lia is o n ........................................K e vin A c k ro y d P ro d u c e r.....................................................N o e l P rice M a th e r D o rn K ris T a y le r L e n g th ............................................. 26 x 46 m in u te s E xe c, p ro d u c e r.........................................N o e l P rice E d ito rs ......................................................................C liv e J e n k in s , S ta n d b y c a m e ra m e n ........................... G e o ff O w e n G a u g e .................................................... 16 m m to ta p e D ir e c to r ............................................ N o n i H a z le h u rs t M ic h a e l H a g e n C la p p e r/io a d e r......................................................R o ss W e n ke S h o o tin g s t o c k ........................................7 2 9 1 ,7 2 9 2 S c rip tw rite r................................... D e b o ra h P a rso n s P rod, d e s ig n e r ........................................................K e n G o o d m a n G r ip s ....................................................S te v e n B o la ck, C a s t: G ra n t D o d w e ll (W illin g ), S h a n e W ith in g B a se d on th e o rig in a l id e a C o m p o s e rs ..............................................................D o n B a ttye , M a rk R o b so n to n (A bel), R e b e c c a R ig g (A n g e la R e d d ie ), b y .................................................D e b o ra h P a rso n s P e te r P in n e G a ffe r.............................................................. S la w o m ir J a s trz e b s k i L u ciu s B o rich (P a rra m a tta ), M a rtin V a u g h n P h o to g ra p h y ............................ Ian W a rb u rto n A C S E xe c, p ro d u c e r........................................................D o n B a tty e B o om o p e r a t o r ........................................................T im T o w e rs (Ju st O ne), T in a B u r s ill' (M a g g ie ), M a rk S o u n d r e c o r d is t ..........................................B ill D o yle A sso c, p ro d u c e r ............................ G ra h a m M u rra y S ta n d b y s o u n d re c o rd is t.............. P e te r C h a n n o n M itc h e ll (D obso n), S im o n C h ilv e rs (P isa ni), P rod, m a n a g e r...................................... J a n e t V e a le M a k e -u p ....................................................................D e si M a d dPorod, c k d e s ig n e r..................................................... F ra n k G a rle y D a n e C a rso n (S w a nn). P rod, m a n a g e r...................................................... J o h n W in te r U n it m a n a g e r......................................... R a y W a lsh N eg. m a tc h in g ..................................................... C h ris R o w e ll S y n o p s is : W illin g a n d A b e l is a s m a ll c o m p a n y P rod, s e c r e t a r y ......................................................L is a F itz p a tric k M u s ic .......................................................................C o lin T im mPsrod, s e c r e ta ry ...............................................J a c q u ie L a m b e s ta b lis h e d by o u r tw o c e n tra l c h a ra c te rs , w h o 1st a sst F lo o r m a n a g e rs ..............................S o re n J e n s e n , E d itin g a s s is ta n t.......................................... N o e lle e n W e s tc o m b d ir e c t o r ............................ P e te r T ro fim o v s o ffe r th e ir se rv ic e s in a n y c a p a c ity , to a n yo n e , D a vid W a tts, M ix e r ..........................................................................R od H e rb 2 e nrtd a s s t d ir e c t o r ..................................... N e il W ils o n a t a n y tim e . . . an o ffe r w h ic h ca n p la c e th e m n tin u ity .............................................................. K e rry B e va n J a m ie C ro o k s C a te r in g ..................................................................Ire n e S a u nCd o e rs in s itu a tio n s th a t ca n be d ra m a tic , h u m o u ro u s C a s tin g ........................................................D in a M a n n D ire c to r’s a s s ts .................................................J e ffre y G ale, L a b o ra to ry ....................................................C o lo rfilm or d a n g e ro u s. C a m e ra o p e ra to r..................................... R o d C o a ts K a re n M oore, L e n g th ......................................................90 m in u te s F o cu s p u lle r ....................................................... T re v o r M o o re L e sia H ru b y G a u g e ................................................................... 16m m C la p p e r/io a d e r..........................V ic to r G u g tie lm in o S ta g in g s u p e rv is o r ....................................... G u n th e r N e s z p o r C a st: H a le y J o liffe (C a ssie ), R o b in D o yle K e y g r ip ........................................ T o n y W o o lv e rid g e C a s tin g ...................................................................... S u e M a n a g e r (R o g e r D u nn), J u d ith S a u n d e rs (D arlen e), G a ffe r ................................................ A n d re w H o lm e s C a s tin g a s s t ........................................................J e n n y O ’ D o n n e ll W ilh e lm in a N a p ra s n ik (B re n d a ), J im D o h e rty E le c tric ia n ................................ P e te r R o s s b o ro u g h L ig h tin g s u p e rv is o rs ......................P e te r R u sse ll, (T o n y O re sto ), L e slie A s h e r (S o p h ie ), R o b e rt B o om o p e ra to r ..........................................................Ian C re g a n M itc h L a n e, J o h n so n (S gt M ills), L a u rie B a rto n (H o b o ), Jim A s s t a rt d ir e c t o r ....................................J u d ith H u rs t D a vid M o rg a n Lam (J o h n n y W ah). P u b lic ity .............................................................G e o rg ie H o w e M a k e -u p ............................................................. J o a n n e S te ve n s S y n o p s is : A s u s p e n s e fu l a n d m o v in g s to ry o f a ARMY WIVES C a te r in g ....................................... S w e e t S e d u c tio n s H a ird re s s e rs ................................ G re g H a n n e m a n , y o u n g c o u n try sc h o o lg irl. S e x u a lly a tta c k e d b y P rod, c o m p a n y ........R o a d sh o w , C o o te & C a rro ll S tu d io s ..................................................................... A B C G a il E d m o n d s h e r m o th e r’s b o y frie n d , d is b e lie v e d a n d P r o d u c e r ................................. P a m e la H. V a n n e c k M ixe d a t.................................................................... A B C W a rd ro b e s u p e rv is o r ....................R o b e y B u c k le y ig n o re d b y h e r m o th e r, sh e ru n s a w a y a lo n e to D ire c to r...........................................D e n n y L a w re n ce L e n g th ...........................................................................75 m in u te s W a rd ro b e a s s t s ......................M a rg a rita T a sso n e , th e raw life and p itfa lls o f th e c ity stre e ts. S c r ip tw rite r ..................................A n n e B ro o k s b a n k G a u g e .................................................................. 16 m m N o rm a n T u n b rid g e , B a sed on a National Times S y n o p s is : L en a, a 3 4 -y e a r-o ld w o m a n a n d J u lie T a y lo r DREAMTIME — THE CREATION a rtic le b y .............................................L y n d a ll C risp N e d, a 6 0 -y e a r-o ld m a n d rift th ro u g h life P ro p s ................................................. A n d re w B a rra n t, Prod, c o m p a n y ..............................................A B C TV P h o to g ra p h y ................................. R o ss B e rry m a n u n a w a re th e y a re g ro w in g o ld e r d a ily . W h e n R u s s e ll O ’ B rie n D ist. c o m p a n y ..................................A B C E d u c a tio n S o u n d r e c o r d is t .................................... R o b S ta ld e r th e y m e e t a t a c o u n try h o te l, a frie n d s h ip S e t d e s ig n e r .......................................... L e o n e R o se P ro d u c e r................................................................R o b in J a m e s E d it o r ................................................ R ic h a rd H in d le y d e v e lo p s w ith m o re e n ta n g lin g ra m ific a tio n s — S e t d re s s e r..............................................P e te r M o rris D ire c to r...................................................................P e te r C o o ke M u s ic e d ito r............................................................G a ry H a rd C moam n p o s e r..............................................................C h ris N eal S c rip tw rite r...........................................................B ru c e M u rpmhuych to th e irrita tio n o f b o th. E xe c, p r o d u c e rs ..................................M a tt C a rro ll, V is io n s w itc h e r ......................K a th le e n H ln c h c liffe B a sed on a n ................................................A b o rig in a l le g e n d G re g C o o te T e c h n ic a l d ir e c t o r s ................................ P a t B a rte r, THE HARP IN THE SOUTH P rod, c o -o rd in a to rs ...................................... B a rb a ra R in g , S o u n d r e c o rd is t.................................... M el R a d fo rd K e ith C a rtw rig h t, E d ito r ....................................................S te v e R h o d e s R o sslyn A b e rn e th y P rod, c o m p a n y ........................... A n th o n y B u c k le y G ra h a m M a n io n P rod, d e s ig n e r ...................................................... N ic k R eed P rod, m a n a g e r........................... S a lly A y re -S m ith P ro d u c tio n s P ty Ltd C a te rin g ...............................................T a s te B u d d ie s U n it m a n a g e r..................................................... D a n n y L o ckeCtto m p o s e r........................................................... M u rd o M cR aPero d u c e r....................................... A n th o n y B u c k le y P o s t-p ro d u c tio n ............................... C u s to m V id e o s L o ca tio n m a n a g e r..........................................P a tric ia B lu n tP rod, c o -o rd in a to r..............................................S te v e R h o dEe xe c, p r o d u c e r ...........................R o b e rt M e rc ie c a C a s t: T o m R ic h a rd s (D a vid P a lm e r), L e ila P rod, m a n a g e r ...................................................... D ick R e ad D ire c to r..............................................G e o rg e W h a le y P rod, a c c o u n ta n t.................................. C a tc h 1-2-3, H a yes (B e ryl P a lm e r), P a t M c D o n a ld (F io n a C o n tin u ity ..............................................................In g rid A n d eSrscer nip tw rite r ................................ E le a n o r W itc o m b e T o n y H u ls tro m T h o m p so n ), Ian R a w lin g s (W a y n e H a m ilto n ), n d on th e n o ve l b y ........................................R u th P a rk 1st a sst d ire c to r ....................................................J o h n W a rraSncrip t a s s is ta n t................................................... In g rid A n d eBrsaese A b ig a il (C a ro lin e M o rre ll), B e lin d a G ib lin P ro d u c e r’s a s s is ta n t........................................ In g rid A n d e P rsheonto g ra p h y ........................................................... P a u l M u rp h y 2 n d asst d ire c to r.............................. P e te r K e a rn e y (A liso n C a rr), O ria n a P a n o zzo (S u sa n H a m il C a s tin g .................................................R o b in J a m e s 3rd asst d ire c to r ................................................. R o b in N e w e ll S o u n d re c o rd is t......................S y d n e y B u tte rw o rth ton), B ria n B la in (G o rd o n H a m ilto n ), S a ra h C o n tin u ity ........................................................ L a rra in e Q u in nLeigllh tin g c a m e r a m a n ........................................ P e te r C o o ke E d ito r....................................................W a y n e Le C lo s K e m p (C h a rlie ), D a n n y R o b e rts (A n d y G re e n ). C a m e ra o p e ra to r ................................................ P e te r C o o ke C a s tin g ...................................M a ize ls & A s s o c ia te s P rod, d e s ig n e r ............................................... B e rn a rd H id e s S y n o p s is : T h e y w e re b o rn tw in s, s e p a ra te d at F o cu s p u lle r ........................................C o lin H e rtzo g F o cu s p u lle r ...................................... B ria n B re h e n y C o m p o s e r.............................................................. P e te r B e st b irth , a n d re u n ite d 20 ye a rs la te r w ith o u t k n o w C la p p e r/io a d e r.................................. C o lin H e rtzo g C la p p e r/io a d e r................................. M a rc u s H id e s P rod, m a n a g e r .....................................................C a ro l H u g h e s in g th e ir re la tio n s h ip , a n d th a t w a s ju s t th e C a m e ra a s s is ta n t.............................C o lin H e rtzo g C a m e ra a tta c h m e n t.................D o m in ic M c D u ffy L o ca tio n m a n a g e r ............................................. R o b in C lifto n b e g in n in g o f th e in trig u e a n d d ra m a ! O n e o f A sst g r ip s .............................................R o g e r C a rte r, Key g r i p ..................................................Pip S h a p ie ra U n it m a n a g e r ............................ R o x a n e D e lb a rre A u s tra lia ’s m o st p o p u la r a n d s u c c e s s fu l d ra m a J e a n e tte M cG o w n A s s t g r ip ................................................. J a s o n H a rris P rod, s e c r e ta ry ......................... C a th e rin e B is h o p se ria ls. G a ffe r..................................................................L in d s a y Foo teS p e cia l fx p h o to g ra p h y .................................... P e te r C o o ke P ro d , a c c o u n ta n t............ M o n e y p e n n y S e rv ic e s , Co B o om o p e ra to r................................................ A n d re w D u n ca n s tu m e d e s ig n e r ............................................... N ic k R e ed V a l W illia m s WILLING AND ABEL M a k e -u p ......................................................................Piri W y n yParod, rd a s s is ta n t.................................................... N ic k y R o w n tre A rt d ire c to r ...................................A n d re w B la x la n d H a rda sst d ire c to r ...................................................... B o b H o w a rd P rod, c o m p a n y .................... T h e W illin g a n d A b e l A sst a rt d ir e c t o r ................................................... M a rc R yan a ird re s s e r...............................................................P iri W y n y1st C o stu m e d e s ig n e r ............................................. T e rry R yanW a rd ro b e ...................................................................P iri W y n y2anrd C o m p a n y P ty Ltd d asst d ir e c t o r ....................................... Ian K e n n y P ro p s ..................................................................... L a u rie M c G a P ro d u c e r..............................................L yn n B a yo n a s M a k e -u p ........................................A n n ie H e a th c o te 3 rry rd asst d ire c to r.........................................M a rk D a y D ire c to rs ................................................J o h n P o w er, H a ird re s s e r....................................................... D e b b ie C la rkSee t d e c o ra to r .........................................................N ic k R e edC o n tin u ity .............................................N ic k y M o o rs A sst e d ito r............................................R o g e r C a rte r R ic P e lliz z e ri, C o s tu m e s u p e rv is o r .................L o u is e W a k e fie ld C a s tin g ................................................................... S u s ie M a ize ls N eg. m a tc h in g ..................................................... B a rry M c K nCiga hs ttin g c o n s u lta n ts ........... M a iz e ls & A s s o c ia te s W a rd ro b e a s s t ............................G a b rie lle H e a le y G a ry C o n w a y edy S c rip tw rite rs .........................................T e d R o b e rts, P rops b u y e r/s e t d r e s s e r ............................. E u g e n e In ta s R e s e a rc h ................................................................ J o a n K e n nE xtra s c a s tin g ............................ C a ro lin e B o n h a m M u sic p e rfo rm e d b y .........................................M u rd o M cR a e P e te r S c h re c k , A sst p ro p s b u y e r/d re s s e r..........C a th e rin e F in la y C a m e ra o p e ra to r.......................D a vid W illia m s o n M ix e r ...........................................................................M e l R a d fo rd D a vid B o u tla n d , S ta n d b y p ro p s ......................................J o h n D a n ie ll F o cu s p u lle r ................................G e o ffre y W h a rto n S h e ila S ib le y, S p e c ia l e ffe c ts ..................................................... C h ris M u rraNy,a rr a to r .................................................................B e lza Low ah C la p p e r/io a d e r...................................................... J o h n P la tt O p tic a ls .................................................................... K e n P h e la n P e te r K in lo c k , D a vid H a rd le K e y g r ip ..................................................................R o b in M o rg a n S tu d io s ................ F e rry R o ad O rc h e s tra l S tu d io s M ic h a e l A ik e n s , H e ad c a r p e n t e r ............................ B o ris K o sa n o vic A sst g r ip .....................................................................J o n G o ld n e y M ixe d a t ...................................................................A B C B ris bG a naeff e r ........................................................ M ic k M o rris L eo n S a u n d e rs , C a rp e n te rs .................................. M a x w e ll W o rre ll, L a b o ra to ry ............................................. C o lo rfilm L u is B a y o n a s G ra n t L o n g le y E le c tric ia n s ............................................. C h ris F leet, L e n g th ...........................................................................15 m in u te s P h o to g ra p h y ......................................................D a n n y B a tteCrhoanm s tru c tio n m a n a g e r ...................B ria n H o c k in g D a vid S c a n d o l G a u g e .................................................................... 16m m S o u n d re c o rd is t...................................................... K e n H a m A msst o n dc a r p e n te r ................................... D a n ie l B a x te r B o om o p e ra to r........................................................ S u e K e rr S h o o tin g s t o c k ..................................................... 7291 E d it o r ................................ S tu a rt A rm s tro n g A sst e d ito r ........................................... P e te r M cB a in A rt d ire c to r ..................................V irg in ia B ie n e m a n P rod, d e s ig n e r ................................ M ic h a e l R a lp h D u b b in g e d ito r (d ia lo g u e )...................................Z o lt K ila rnCeayst: F red C h o n g (M a rm o o ), E d d ie H ahu A sst a rt d ir e c t o r ............................................ C a ro lin e P o lin (B a im e ), L o rin a W illia m s (Y hi), A k e D a vid D u b b in g e d ito r ( f x ) .......................... A n d re w P la in E xe c, p ro d u c e rs ............................. Lyn n B a yo n a s, C o s tu m e d e s ig n e r..............................................D a v id R o w e (W o m an ), T o n y H o p k in s (M an). T e d R o b e rts D u b b in g e d ito r a s s ts ....................... S te lla S a vva s, M a k e -u p ..............................................................W e n d y F re e m a n S y n o p s is : T h is is th e th ird in a s e rie s o f s h o rt R o b e rt W e rn e r A sso c, p r o d u c e r .....................................................R od A lla n H a ird re s s e r.............................................................T e rri M e is s n e r d ra m a s b a se d on A b o rig in a l le g e n d s . It d e a ls S tu n ts c o -o r d in a to r .............................. G u y N o rris P rod, c o -o rd in a to r.............................. J u lia R itc h ie A s s is ta n t m a k e - u p ..........................Iv o n n e P o lla c k w ith th e C re a tio n o f M an a n d W o m a n in th e L o c a tio n m a n a g e r..............................B e va n C h ild s S till p h o to g r a p h y ............................C a n d y Le G u a y A s s is ta n t h a ird re s s e r..................... K o re l S p o o n e r G e n e ra to r o p e r a t o r ............................................. T o m R o b inDsre o na m tim e . U n it m a n a g e r ............................. A n d re w M e rrifie ld W a rd ro b e s u p e rv is o r...............K e rry T h o m p s o n P rod, a c c o u n ta n t...............................................C a tc h 1-2-3,B e st b o y ................................................D ick T u m m e ll S ta n d b y w a rd ro b e ............................................... J o h n S h e a DREAMTIME — THE STOLEN CANOE T h e re s e T ran, R u n n e r.................................................. A n to n y A d a re A s s t s ta n d b y w a r d r o b e ...............................H e a th e r L a u rie P e te r H e w itt C a te rin g ................................................F ra n k M a n le y P rod, c o m p a n y ..................................................... A B C W a rd ro b e a s s t..................................... F lo rin d a H a rt P rod, a s s is ta n t................................E m m a G o rd o n L a b o ra to ry ....................................................C o lo rfilm D ist. c o m p a n y ................................................ A B C T V P ro p s b u y e r .........................................................D e b ra O v e rto n 1st a s s t d ire c to r s ..................................................J o h n W ild , Lab. lia is o n ............................... R ic h a rd P io rk o w s k i P ro d u c e r...............................................R o b in J a m e s S ta n d b y p ro p s ..................................... J o h n D a n ie ll C ra ig B o lle s B u d g e t.......................................................$ 1 .4 m illio n D ir e c to r ................................................ R o b in J a m e s A s s t s ta n d b y p r o p s ................... M ic h a e l M e rc u rio 2 n d a sst d ire c to r................................................... B re tt P o p pLleewnegllth .......................................................90 m in u te s S c rip tw rite r.......................................B ru c e M u rp h y S c e n ic a r tis t ............................................................. R a y P e d le r 3 rd a sst d ir e c t o r .............................................A n d re w M e rrifie G ald u g e ................................................................... 16m m B a sed on a n ................................................A b o rig in a l le g e nBdru sh h a n d ...........................................................D a v id D u ffin C o n tin u ity .............................................T ra c y P a d u la , S h o o tin g s t o c k ............................7 2 9 1 ,7 2 9 4 , 7 19 2 P h o to g ra p h y .................................................... M ic h a e l F a n nC inogn s tru c tio n m a n a g e r....................................D a n n y B u rn e tt N ic o la M o o rs C a s t: J u lie N ih ill (Jill), L ia n L u n so n (W e ndy), S o u n d r e c o rd is t.......................................................M elR a d fo Crd a rp e n te rs .................................. G o rd o n M c In ty re , C a s tin g ........................ N a ta lie W e n tw o rth S h ie ld s S h a n e C o n n o r (G ra n t), P h ilip Q u a s t (P eter). E d ito r ......................................................................S te v e R h o d e s C o n M u s ta rd , L ig h tin g c a m e ra p e rs o n ...........D a n n y B a tte rh a m S y n o p s is : T h e s to ry o f th e te n s io n th a t P rod, d e s ig n e r ........................................N ic k R eed M a rc u s E ra s m u s C a m e ra o p e ra to r .............................................. D a n n y B a ttedrh mlo p s b e tw e e n tw o frie n d s w h o m a rry a rm y ea ve E xe c, p ro d u c e r................................................. H a rv e y S h o re A s s t e d ito r ................................................................... J o C o o k F o cu s p u lle r .......................................................... C h ris C o le se rv ic e m e n o f d iffe re n t ra n ks. U n it m a n a g e r........................................... D a vid P a lm S u p e rv is in g s o u n d e d it o r ................................ D e a n G a w e n C la p p e r/io a d e r................................................. J a m e s R ic k a rd P ro d u c e r’s a s s is ta n t........................................ In g rid A n d eSrsoeunn d e d ito rs ......................................................H e le n B ro w n , K e y g r ip ............................................................ B re n d a n S h a n le y C a s tin g ......................................A n n C la rk A g e n c ie s C a th y F e n to n G a ff e r ......................................................................C h ris F leet C a m e ra a s s is ta n t................................................C o lin H e rtzSoogu n d e d itin g a s s is ta n ts .............P h illip a H a rve y, BUTTERFLY ISLAND 2 E le c tric ia n ............................................................ D a vid S ca n d o l M a k e - u p ........................................... L y n d a l R h o d e s P a u l H u n tin g fo rd , A s s is ta n t e le c tr ic s ......................................J o h n Lee P rod, c o m p a n y ...........In d e p e n d e n t P ro d u c tio n s P ro p s .................................................. L o rry M c G a rry R u fu s M c C ra tc h e tt B o o m o p e ra to r................................................G ra h a m M c K in n e y P ty Ltd S e t c o n s tru c tio n ..............................................G e o rg e Jo h n sMoix n e r ....................................................................... P e te r F e n to n A rt d e p t c o - o r d in a to r ................A la n a h O ’ S u lliv a n P ro d u c e r.............................................S ta n le y W a ls h A s s t e d ito r ...................................J e a n e tte M cG o w n S tu n ts c o -o r d in a to r .............................................. G u y N o rris C o s tu m e d e s ig n e r................................ D a v id R o w e D ir e c to r s ..................................................B ill H u g h e s, N e g. m a tc h in g ......................................................B a rry M c K nSig tillh tp h o to g ra p h y .................................................... J im T o w n le y M a k e - u p ........................................ M ic h e lle B a rb e r H o w a rd R u b ie S o u n d e d it o r ....................................................... B ru c e R e d mRaens e a rc h e r................................................ K r is W y ld e H a ird re s s e r.......................................... T ris h N e w to n C o m p o s e r.................................................M a rio M illo M ix e r ...........................................................................M e l R a d fo Urd n it ru n n e r ......................................................... A n to n y A d a re W a rd ro b e s u p e rv is o r.................K e rry T h o m p s o n E xe c, p r o d u c e r ...................................... G e n e S c o tt N a rr a to r .................................................................B e lz a Lo w aAhrt d e p t ru n n e r ............................ S te p h e n W a rre n S ta n d b y w a rd r o b e ......................... H e a th e r L a u rie P rod, m a n a g e r..................................T e rrie V in c e n t O p tic a ls .................................................................... K e n P h e laPnu b lic ity ..........................................J u d y B ro o k m a n , M ixe d a t ..............................................C u s to m V id e o W a rd ro b e a s s t .................................... S h a u n a F le tt M ixe d a t .......................................A B C T V , B ris b a n e N e tw o rk T e n P ro p s b u y e r ..........................................A n d re w P a ul L a b o ra to ry .............................................................A tla b L a b o ra to ry ..................................................... C o lo rfilm C a te r in g ....................................... M a rik e J a n a v ic iu s Cast: G rig o r T a ylo r, P e n n e H a c k fo rth -J o n e s , A s s is ta n t p ro p s b u y e r .............. R o w a n M c K e n z ie L e n g th .......................................................................... 2 0 m in u M te ixe s d a t ................................................................U n ite d S o u n d M o u c h e P h illip s , M a rk K o u n n a s. S ta n d b y p r o p s ............................. R o b e rt M o x h a m G a u g e .................................................................... 16m m L a b o ra to r y ................................................. C o lo rfilm

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86 — September CINEMA PAPERS

Lab. lia is o n ............................... R ic h a rd P io rk o w s k i B u d g e t........................................................$ 4 .2 m illio n L e n g th .................................................. 6 x 6 0 m in u te s G a u g e ...................................................................16 m m S h o o tin g s t o c k ......................................................A g fa C a s t: A n n e P h e la n (M u m m a ), M a rty n S a n d e r s o n (H u g h ie ), A n n a H ru b y (R oie), K a a rin F a irfa x (D o lo u r), G w e n P lu m b (G ra n d m a ), Syd C o n a b e re (P a t D ia m o n d ), M e lis s a J a ffe r (M iss S h e ily), S h a n e C o n n o r (C h a rlie ). S y n o p s is : A m in is e rie s b a se d o n R u th P a rk ’s b e s t-s e llin g n o ve l o f th e sa m e n a m e .

C o s tu m e d e s ig n e r .........................A n th o n y J o n e s S c r ip tw rite r s ....................................C a ro l S o b ie ski, P rod, d e s ig n e r.....................................................O te llo S to lfo J e ri T a y lo r M a k e -u p ............................................ M a rjo ry H a m lin A sso c, p ro d u c e r................................. M ic h a e l La ke H a ird re s s e rs ......................................................C h e ry l W illiaPmrod, s , s u p e rv is o r ................................ E w a n B u rn e tt P h o to g ra p h y .........................................R on H a g e n S o u n d r e c o r d is t ..................................L lo yd C a rric k T ris h N e w to n P rod, c o -o rd in a to r................................. G in a B la ck W a rd ro b e s u p e rv is o r ................................... S h a u n a F le n aPdrod, y E d it o r ............................................................G a ry B la ir m a n a g e r ....................................D a rry l S h e e n S ta n d b y w a rd r o b e ...........................................D e vin a M a xwUenllit m a n a g e r................................... L e ig h A m itz b o ll P rod, d e s ig n e r ................................ S a lly S h e p h e rd P ro p s b u y e r .................... S im o n C h e tw y n d -J o n e s E xec, p ro d u c e rs ............................. V irg in ia C a rte r, P rod, s e c re ta ry ............................ M e lis s a W ilts h ire P ro p s b u y e r ......................................................... H e le n M a c aPsrod, k ill a c c o u n ta n t...................................... R o n S in n i L in d a Lavin P rod, c o -o rd in a to r............................................L e o n ie J a n s e n S ta n d b y p r o p s .................................................. R o b e rt M o xh1st a ma sst d ir e c t o r ........................................ J o h n W ild S p e c ia l e ffe c ts ...................................................N e v ille M a xw2enll, d a s s t d ir e c t o r ............................................ M ic h a e l M c InP tyrod, re m a n a g e r............................................ G ra n t H ill A la n M a xw e ll 3 rd asst d ire c to r .................................................. P e te r N a th U a nn it m a n a g e r.................................................... M u rra y B o yd C h o re o g ra p h y ........................ N e ll C h a llin g s w o rth C o n tin u ity .................................................................... Liz P e rryP rod, s e c r e t a r y ...................................................J a n e t A d e s S c e n ic a r t i s t ..........................................P e te r C o llia s P rod, a c c o u n ta n t......................R o b e rt T h e a d g o ld L o ca tio n m a n a g e r ................................ N e il M c C a rt HUNGER S e t c o n s tr u c tio n ......................................D e re k M ills P rod, a s s is ta n t.......................................................S tan L e a m a n C a s tin g ...................................................... G re g R o ss, A sst e d ito r ........................................................J e a n in e C h ia lv o 1st asst d ire c to r ....................................................B ria n G id d e n s D in a M ann P rod, c o m p a n y ................................................... A B C L ig h tin g c a m e ra m a n .......................................J a m e s D o o la2nd n asst d ire c to r ..................... H a m ish M c S p o rrin P r o d u c e r ....................................................................J a n C h a pNmeg. a n m a tc h in g ............................................ N e g th in k F o cu s p u l le r ......................................................... H a rry G ly n 3rd a ts isa sst d ire c to r ...................................................M a rk B ish o p D ire c to r............................................................. S te p h e n W a llaMcues ic a l s u p e r v is o r ...............................R on P u rvis C o n tin u ity .................................. K a rin d a P a rk in s o n S o u n d e d ito r s .................................................J e a n in e C h ia lvo , C la p p e r/lo a d e r ...............................G a ry B o tto m le y S c r ip tw rite r .............................................L o u is N o w ra C a s tin g .....................................................Liz M u llin a r Lee S m ith K e y g r i p .................................................Ian B e n a lla c k B a sed on th e o rig in a l id e a L ig h tin g c a m e ra m a n ........................... R o n H a g e n S o u n d e d itin g a s s ts .............................................. S u e B la in e y, A sst g r ip ......................................A rth u r M a n o u s a k is b y ............................................................L o u is N o w ra C a m e ra o p e ra to rs .................................................R on H a gen, N o e lle e n W e s tc o m b e G a ffe r ......................................................Ian D e w h u rs t P h o to g ra p h y ................................... J u lia n P e n n e y P h il C ro ss E d itin g a s s is ta n t.......................................... S u z a n n e M a b e y E le c tric ia n ............................................................... N ic k P a yn e S o u n d r e c o rd is t...............................C h ris A ld e rto n Focu s p u lle r s ................................................. W a rw ic k F ield, M ix e rs ..................................................................... P e te r F e n toBno, om o p e ra to r......................................G re g N e lso n A sst s o u n d re c o rd is ts ............................ G e o ff K rix, J o hn O gden P h il H e yw o o d A s s t a rt d ire c to r ................................B e rn ie W y n a c k S c o tt T a y lo r C la p p e r/lo a d e r ................................. L a u rie B a lm e r S tu n ts c o - o r d in a to r ...........................................F ra n k Le n n C o no s tu m e d e s ig n e r ............................................. C la re G riffin E d it o r ............................................................................B ill R u sso Key g r ip ........................................................ T o n y Hall S till p h o to g ra p h y ................................... V ivia n Z in k , M a k e -u p ..............................................................M a g g ie K o le v P rod, d e s ig n e r .......................................Jim M u rra y A sst g r ip ..................................................................G re g T u o h y S te w a rt W a y H a ir d re s s e r ........................................D o u g G la n v ille D e sig n a s s t..........................................P a ul H in d e re r 2nd u n it p h o to g ra p h y ........................................... P h il C ro ss O p tic a ls ................................................P e te r N e w ton W a rd ro b e s u p e rv is o r ........................................C la re G riffin G a ff e r ......................................................................B ria n A d a m s C o m p o s e r ............................................N a th a n W a ks W a rd ro b e a s s t................................................... M a rio n B o yce H o rse m a s te r ..................................... R a y W in s la d e E xe c, p r o d u c e r ..................................Ja n C h a p m a n R u n n e r.................................................................. A lis o n M c C W ly m o nro t b e s ta n d b y .................................................S u e M ilesE le c tric ia n s ................................................ B re tt H u ll, a rd T im M o rris o n P rod, m a n a g e r ...................................C a ro l C h irlia n P u b lic ity ..................................................... C h a n n e l 7, P ro p s b u y e r .......................................................M u rra y K e lly Boom o p e ra to r..................................................... C h ris G o ld s m ith U n it m a n a g e r ............................... B e v e rle y P o w e rs R h o n d a D a w so n S ta n d b y p r o p s ........................... S h a n e R u s h b ro o k A rt d ire c to r................................................................ P h il E a g le s P rod, s e c r e t a r y ..................................................S u sa n W e llsC a te rin g .................................................................. J o h n F a ithS fuel t d re s s e rs ........................................B ria n D u stin g , C o stu m e d e s ig n e r...................M a rg o t M c C a rtn e y 1st a sst d ir e c t o r ..............................................G ra h a m M illa rM ixe d a t ................................................................U n ite d S o u n d J o h n R o u ch M a k e -u p ............................................. L e a n n e W h ite , 2 n d asst d ire c to r .................................................S te v e S ta n nLaard b o ra to ry ..........................................................A tla b A rt d e p t r u n n e r.................................... T ris h K e a tin g F io n a S m ith C a rp e n te r...............................................................P e te r H e rn C o n tin u ity ..........................................................R h o n d a M c A vLab. o y lia is o n ................................................ D a vid C o le H a ir d re s s e r ........................................R o c h e lle Ford C o n s tru c tio n m a n a g e r .................................. R o b e rt H e rn C a s tin g ..................................................J e n n ife r A lle n B u d g e t........................................................$ 2 ,5 0 0 ,0 0 0 (a p p ro x.) W a r d ro b e ........................................................ J e a n n ie C a m e ro n A sst e d ito r ............................................P e te r B u rg e ss C a s tin g a s s is ta n t ................................................ Ire n e G a s kLeell n g th ................................................3 x 120 m in u te s S tu n t c o - o r d in a to r ...................................................B ill S ta c eWy a rd ro b e a s s is ta n t............................................ M a rg D illo n L ig h tin g c a m e ra m a n ........................................ J u lia n P e n nG e ya u g e ...................................................................16m m P rops b u y e r.......................................................H a rv e y M a w so n S till p h o to g r a p h y .......................... M ic h a e l R a yn e r, C a st: M a tth e w F a rg h e r (Jo e W ils o n ), Kim F o cu s p u lle r ............................................................B re tt J o y c e S ta n d b y p ro p s ......................................................B ria n Lan g Tony Fedder K re ju s (M a ry B ra n d ), G le n n K e e n a n (Ja m e s C a m e ra a s s is ta n t............................. G e ra rd Q u in n S p e cia l e f fe c t s ................................................ C o n ra d R o th m a n W ra n g le r .................................................G e ra ld E gan B rand ), C la ris s a K a ye -M a so n (M rs S p ice r), K e y g r ip .................................................A la n T re v e n a Set d e c o ra to r..................................... S im o n C a rte r N u rs e ....................................................... V ic k i G ild e rs A la n D a vid Lee (Ja ck B a rne s), B ill H u n te r (B ill A sst g r ip ............................................. P a u l L a w re n c e C a rp e n te r............................................ J im M c K ro w n B e st b o y .................................................................... L e x M a rtin G a lle tle y), H u g h K e a ys-B yrn e (B o b G a lle tle y), E le c tric ia n s ....................................... M a rtin P e rro tt, R u n n e r.................................................................... D o u g G re eC n o n s tru c tio n m a n a g e r ...................M ik e M cL e a n M ich a e l C a to n (D a ve R e g a n ), R e g Lye (Jim m y P ie rre D rion P u b lic ity ............................................................... S u sa n W o o dSet c o n s tr u c tio n ........................................C ra w fo rd s o w le tt), S e a n S c u lly (H e n ry Law son). M a k e -u p .................................................................S u z ie S te w N a rt A sst e d ito r.................................................................... Jo F rie se n C a te rin g ............................................................ B a n d a id y n o p s is : H e n ry L a w s o n 's 'J o e W ils o n ' W a r d ro b e ........................................................ C a ro lin e S u ffieSld Neg. m a tc h in g .......................................................U S A P o s t-p ro d u c tio n s u p e rv is o r ......... J o h n H o lla n d s sto rie s are th e c o re o f h is a c h ie v e m e n t a n d his P r o p s ..................................................... R o y E a g le to n S tu n ts c o -o rd in a to r............................................ C h ris P e te rs L a b o ra to ry ................................................................V F L P ro p s b u y e r ........................................................A d ria n C a n nmo ost n c o m p le te s e lf-p o rtra it — e x c e p t th a t J o e 's S till p h o to g ra p h y ...................................................S u zi W o o d s life e n d s h a p p ily a n d L a w s o n ’s d id not. T h e y L e n g th ......................................................184 m in u te s P ro p s d r e s s e r ....................................................... T o n y W illia m s W ra n g le r.............................................J o h n E d w a rd s G a u g e .................................................................. 16 m m S p e c ia l e f fe c t s ................................................... L a u rie Faen also c o n ta in m a n y o f his fin e s t c h a ra c te rs , R u n n e r.............................................. C a m e ro n M e llo r in c lu d in g M rs S p ic e r, J im m y N o w le tt, D ave S h o o tin g s t o c k ...................................... K o d a k E C N A sst e d ito r...............................................................S a s a V ita c e k P u b lic ity ............................................................... S u sa n W o o d R e gan, J a c k B a rn e s a n d th e d a s h in g M a g g ie C a s t: T o m J e n n in g s (Tom Q u a yle ), C h ris to M u sica l d ire c to r .................................N a th a n W a k s C a te rin g .............................................. D a n n y P o p p e r C h a rlsw o rth . p h e r C u m m in s (K it Q u a yle ), K e ith M ich e ll M u s ic p e rfo rm e d S tu d io s ................................................................. H S V -7 (E d w a rd Q u a y le ), C a th e rin e M c C le m e n ts b y ........................ S y d n e y S y m p h o n y O rc h e s tra LIVING FOREVER L a b o ra to ry ................................................................V F L (P e g g y M a c G ib b o n ), G o rd o n J a c k s o n (L o c k ie S o u n d e d ito r ............................................................ Des H o rn e Lab. lia is o n ........................................B ill H a rrin g to n P rod, c o m p a n y ......................... C h a d w ic k /D o u g la s M a cG ib b o n ), R a lp h C o te rill (D o rm a n W a lke r), A sst s o u n d e d ito r.........................T im W o o d h o u s e B u d g e t..........................................................................$4 m illio n Film and T e le v is io n C h ris to p h e r P lu m m e r (F in n M cC o il), D ick M oss M ix e r ..........................................................S te v e H o pe L e n g th ..........................................................................9 2 m in u te s (C h a rlie C a stle s), G ra h a m R o u se (S g t Jo e T itle d e s ig n e r ......................................................L yn n e B a rreDttist. c o m p a n y ...........................................T h o rn EMI G a u g e ..................................................................35 m m P u b lic ity ............................................................ G e o rg ie B rowPn ro d u c e r .................................................................B ria n D o u gClaosllin s), K e rry M c K a y (Ja ck D o bey). S h o o tin g s t o c k .................................................. K o d a k D ire c to r................................................................... B ria n D o u gSlaysn o p s is : T h e lo ve a ffa ir o f tw o y o u n g s te rs C a te r in g ............................................... O u t T o L u n ch C a st: L in d a Lavin (L iz G a vin ), L a n e S m ith la sm a n ta g o n is tic C a th o lic a n d P ro te s ta n t L e n g th ...........................................................................90 m in uStecsrip tw rite r............................................................ B ria n D o u gfro (Sam G avin), M a g g ie F itz g ib b o n (A lva ), Paul B a sed on th e o rig in a l id e a fa m ilie s a lie n a te s th e p o p u la tio n o f a s m a ll G a u g e .................................................................. 16 m m C ro n in (B ob Ja m e s), M e rvyn D ra ke (F a th e r b y ..........................................................................B ria n D o u g la s c o u n try tow n. C a s t: B re n d a n H ig g in s (M ic h a e l), M e lita J u ris ic O ’ Leary). P h o to g ra p h y ........................................................ B a rry M a lse e d (lle a n a ), J o h n B e ll (C o n su l), P a u l C h u b b S y n o p s is : T h e s to ry o f L iz G a v in a n d h e r S o u n d re c o r d is t..................................J o h n P h illip s (C a ffre y), C a th y D o w n e s (Sue). eleven ch ild re n . T h e y m ove to A u s tra lia in th e E d it o r .................................................... K e n S a llo w s PERHAPS LOVE S y n o p s is : A n o rig in a l 9 0 -m in u te te le m o v ie e a rly se v e n tie s a n d ta k e o v e r a ru n d o w n o u t P rod, d e s ig n e r ....................................B ryce P e rrin w ritte n b y L o u is N o w ra . P rod, c o m p a n y .................................................... A B C b a ck station. E xe c, p r o d u c e r................................................R ic h a rd T a n n e r Dist. c o m p a n y ....................................................... A B C P rod, m a n a g e r .................................. P h illip C o llin s P ro d u c e r...................................................................J a n C h a p m an SALLY AND SANTA I CAN GIVE YOU A GOOD TIME P rod, s e c r e t a r y ....................................................A n n e P ryo r D ire c to r..................................................L ex M a rin o s P rod, c o m p a n y ........................ D a vis F ilm & V id e o P rod, a c c o u n ta n t...........................................C a ro ly n Fyfe P rod, c o m p a n y ..................................................... A B C S c rip tw rite r.................................................... B o b E llis 1st asst d ire c to r ................................. P h illip C o llin s P ro d u c tio n s P ty Ltd Dist. c o m p a n y ........................................................A B C B a sed on an o rig in a l id e a b y ................... B o b E llis C a s tin g ........................................................G re g A p p s Dist. c o m p a n y ......................... D a vis F ilm & V id e o P ro d u c e r....................................................N o e l P rice P h o to g ra p h y ............................................C h ris to p h e r D a vis C a s tin g c o n s u lta n ts ..............Liz M u llin a r C a stin g P ro d u c tio n s P ty Ltd D ire c to r.................................................. P e te r O yste n S o u n d re c o rd is t................................C h ris A ld e rto n L ig h tin g c a m e r a m a n ........................................ B a rry M a lse e d P ro d u c e rs ............................................... J o h n D a vis, S c rip tw rite rs .........................................G illy F ra se r, E d it o r ....................................................................... M ike H o n e y U rs u la K o lb e C a m e ra a s s is ta n t........................ G re g H a rrin g to n Ray M ooney P rod, d e s ig n e r ................................................. M u rra y P ic k n e tt D ir e c to rs ............................................... U rs u la K o lbe, W a rd ro b e .......................................................... F ra n k ie H o g a n B a sed on th e p la y b y ............................ G illy F ra se r D e sign a s s t ............................................... J u lie B e lle y J o h n D a vis P h o to g ra p h y ............................................................. Ian W a rbAusst rto ne d it o r ........................................................ V irg in ia M u rra E xec, p r o d u c e r ....................................................... Ja n C h a p m a n S c r ip tw rite r ......................................R ic h a rd T u llo c h B u d g e t .......................................................... $ 5 0 0 ,0 0 0 S o u n d r e c o r d is t.......................................... B ill D o yle P rod, m a n a g e r ..................................................... J o h n M o ro n e y B a sed on an o rig in a l id ea P rod, d e s ig n e r........................................................M a x N ic h oLlse enng th .........................................................96 m in u te s U n it m a n a g e r ................................................B e v e rle y P o w ers b y ........................................................... J o h n D a vis, G a u g e .................................................................. 16 m m P rod, m a n a g e r................................. M a rio n P e a rce Prod, s e c r e ta rie s ................................J u lie A d a m s, S h o o tin g s t o c k ......................................................A g fa U rs u la K o lb e P rod, s e c r e ta ry ................................J a c q u ie L a m b A n n a b e l J e ffe ry P h o to g ra p h y .......................................... Ian M a rd e n Caam s t: C h ris tin e H a rris (P re se n te r), J im H u rta k, 1st a sst d ire c to r ....................................................J o h n M a rkh P rod, a s s is ta n t............................................... R h o n d a M cA vo y S o u n d re c o rd is t.............................................. R ic h a rd B o ne P ro fe s s o r P e te r S in g e r, P ro fe s s o r A rth u r B irch , L e n g th ........................................................30 m in u te s 1st asst d ire c to r....................................S c o tt F e e n e y E d it o r ............................................................. Ian V a ile B a rb a ra M cG re g o r. G a u g e .................................................................... 16m m 2 n d asst d ire c to r s .............................. L a n c e M e llo r, P rod, d e s ig n e r...................................................U rs u la K o lb e S y n o p s is : T h e c o n tro l of Life. T o m o rro w ’s C a s t: Ross W illia m s , J illia n M u rra y. V id M c C le lla n d C o m p o s e r.........................................................M ic h a e l A th e rto n p e o p le — T o d a y ! A u s tra lia 's s ta n c e in m a n ’s S y n o p s is : T h e v is it b y a m a n to a p ro s titu te C o n tin u ity .........................................................R h o n d a M cA vo y E xe c, p ro d u c e r..................................................... J o h n D a vis n e xt s ta g e o f e v o lu tio n . a n d th e p s y c h o lo g ic a l tra u m a th e m e e tin g C a s tin g ................................................ J e n n ife r A lle n P rod, m a n a g e r.................................................... C a th y M ille r g e n e ra te s. C a s tin g a s s t.......................................................... Ire n e G a ske ll 1st asst d ir e c t o r ................................................. C a th y M ille r L ig h tin g c a m e ra p e rs o n ......... C h ris to p h e r D a vis MUSICAL MARINER C a m e ra a s s is ta n t................................................T o n y C o n n o lly C a m e ra o p e ra to r.....................................J e ff M a lo u f JOE WILSON P rod, c o m p a n y ................................. L u c k y C o u n try A rt d ir e c t o r ......................................................... U rs u la K o lb e F o cu s p u lle r..................................................... R ic h a rd W ilm A o tt P ro d u c tio n s P ty Ltd sst art d ire c to r .......................................... C a it W a it P rod, c o m p a n y ..................................................B ilg o la B e a ch C la p p e r/lo a d e r...................................................... G ed Q u in n Dist. c o m p a n y ...........L u c k y C o u n try D is trib u tio n C o stu m e d e s ig n e rs ...................D e id re D o w m a n , P ro d u c tio n s P ty Ltd Key g r ip ..................................................A la n T re v e n a P r o d u c e rs ...........................................B ill L e im b a c h , B e v e rle y C a m p b e ll-J a c k s o n P ro d u c e r.........................................A le x a n d ra C a n n A sst g r ip ............................................ P a u l L a w re n c e M ic h a e l D illo n , P r o p s ................. ........................................T o r L a rse n , D ir e c to r ........................................................... G e o ffre y N o tta g e E le c tric ia n s ...................................... M a rtin P e rro tt, C la ire L e im b a c h A le x is R a ft S c rip tw rite r............................................................ K e ith D e w h u rs t R o b e rt W ic k h a m D ire c to r................................................ B ill L e im b a c h Set d e c o r a to r .................................................... U rs u la K o lb e B a sed on s h o rt s to rie s B o om o p e ra to r..................................................... S c o tt T a y loSr e t c o n s tr u c tio n .....................................................T o r L a rse n , Pn h o to g ra p h y ....................................... M ic h a e l D illo n b y ........................................................................ H e n ry Law so M a k e - u p ...........................................................S y lv a n a V e n n e n C o m p o s e r .....................................D a vid F a n sh a w e A le x is Raft, P h o to g ra p h y ............................................ P e te r Levy W a rd ro b e ................................................D e an P e a rce C h ris B re c h w o ld , S o u n d re c o r d is t..................................................... P a u l B rin cBa u t d g e t...........................................................$ 1 6 0 ,0 0 0 P ro p s b u y e r ...................................Ian A n d re w a rth a n g th ........................................................ 60 m in u te s D a le D u g u id E d ito r ..........................................................................T im W e llbLuern S p e cia l e ffe c ts ...................................................L a u rie Fae n,M u sic p e rfo rm e d b y ......... ......... M ic h a e l A th e rto n G a u g e ..................................................................16 m m P rod, d e s ig n e r...................................H e rb e rt P in te r P e te r L e g g e tt S o u n d e d ito r .................................................... Ian V a il C a st: D a vid F a n sh a w e (P re se n te r). C o m p o s e r............................................... S ve n L ib a e k E d itin g a s s is ta n t.................................................. S a sa V ita c e k S y n o p s is : A fte r five ye a rs c o lle c tin g o ve r S till p h o to g r a p h y ............................................. D e id re D o w m a n P rod, c o -o rd in a to r........................ M a rg a re t S la rke S till p h o to g ra p h y ............................M a rtin W e b b e y 1,500 h o u rs o f m u s ic a n d e ffe c ts fro m M ic ro P u p p e ts d e s ig n e d and P rod, m a n a g e r .............................. S te p h e n J o n e s P u b lic ity .............................................G e o rg ie B row n m a d e b y .................................... D e id re D o w m a n , U n it m a n a g e r........................................................... P h il U rq u nh ea srtia , M e la n e s ia a n d P o ly n e s ia , w o rld C a te rin g ...................................................... T a k e O n e B e v e rle y C a m p b e ll-J a c k s o n P rod, a c c o u n ta n t............................................... C a tc h 1-2-3 re kn o w n m u s ic c o m p o s e r D a vid F a n s h a w e is S tu d io s .............................................. A B C , G o re H ill re a d y to p re p a re his n e x t m a jo r p ie c e ‘ P a cific P u b lic it y ................................................E la n a M cK a y P rod, a s s is ta n t.................................................. M a n d y C h a n g M ixe d a t................................................................... A B C C a te r in g ................................................ F e lic ity D a vis 1st asst d ire c to r .................................................. D e u e l D ro o gOadny s s e y ’ , w h ic h w ill p re m ie re fo r th e 1988 L a b o ra to ry .................................................... C o lo rfilm B ice n te n n ia l. S tu d io s ..................................................................... V T C 2 n d asst d ir e c t o r ..................................................T o b y P e ase Lab. lia is o n .......................................................... D a vid S h u b e rt M ixed a t.................................................................... R B A 3 rd a sst d ir e c t o r ...............T o b y C h u rc h ill-B ro w n L e n g th .......................................................................... 90 m in u te s B u d g e t............................................................$ 1 2 0 ,0 0 0 C o n tin u ity ............................................................ J e n n y Q u ig le y MY BROTHER TOM C a st: A n n e G rig g (A nnie), F ra n c o is D u n o y e r L e n g th .......................................................................... 48 m in u te s P ro d u c e r’s a s s is ta n t........................M a n d y C h a n g (P atric), J o h n S h e e rin (Jack). G a u g e ...............................................................B e ta ca m C a s tin g .........................................................A le x a n d ra C a n n P rod, c o m p a n y ...................C ra w fo rd P ro d u c tio n s S y n o p s is : A n o rig in a l 9 0 -m in u te te le m o v ie . (C o m m u n ic a tio n s ) P ty Ltd P u p p e te e rs : A lle n H ig h fie ld , R ic h a rd B ra d F o cu s p u lle r .............................................................. B ill H a m m o n d shaw , T in a M a tth e w s, J o e G la d w in , C a ro lin e C la p p e r/lo a d e r.................................................. M a n d y K in g P r o d u c e r .....................................................R od H a rd y E xe c, p ro d u c e rs ..........................H e c to r C ra w fo rd , Jo n e s. K e y g r ip ......................................... N o b b y S z a fra n e k A PLACE TO CALL HOME Ian C ra w fo rd , S y n o p s is : A c h a rm in g p u p p e t s to ry c a p tu rin g A s s t g r ip ............................... R o u rk e C ra w fo rd -F le tt T e rry S ta p le to n P rod, c o m p a n y ....................................... C ra w fo rd s , th e u n iq u e fla v o u r o f an A u s tra lia n C h ris tm a s . G a ff e r ..................................................R ic k M c M u lle n S a lly w rite s to S a n ta to a sk fo r ra in to s a v e her E m bassy TV, USA E le c tric ia n s ............................................................ B re tt J a rm aDnire , c to r................................................... P in o A m e n ta S c r ip tw rite r ........................................ T o n y M o rp h e tt P ro d u c e rs ................................................ M ike Lake , A u s tra lia n n a tive a n im a l frie n d s . S a n ta b rin g s T h a d L a w re n ce , a s n o w b a ll, b u t it is to o h e a vy a n d th e s le ig h B a sed on a n o ve l b y ..................... J a m e s A ld rid g e J e ri T a ylo r, M a tth e w In g lis c ra s h e s in th e b u sh . S a lly a n d h e r b u sh frie n d s S o u n d r e c o rd is t............................. J o h n M c K e rro w R o ss M a tth e w s B o om o p e ra to r....................................................... P a u l G le e so n h elp S a n ta to d e liv e r his p re s e n ts on tim e . D ir e c to r ..............................................R u ss M a y b e rry A rt d ir e c t o r ....................................................... S te w a rt W a y E d ito r............................................................... P h il R eid

CINEMA PAPERS September — 87

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C IN EM A

BACK ISSUES Number 1 (January 1974): David William

son, Ray Harryhausen, Peter Weir, Antony Ginnane, Gillian Armstrong, Ken G. Hall, The Cars That Ate Paris. Number 2 (April 1974): Censorship, Frank Moorhouse, Nicolas Roeg, Sandy Harbutt, Film under Allende, Between the Wars, Alvin Purple. Number 3 (July 1974): Richard Brennan,

John Papadopolous, Willis O’Brien, William Friedkin, The True Story o f Eskimo Nell. Number 10 (September-October 1976):

Nagisa Oshima, Philippe Mora, Krzysztof Zanussi, Marco Ferreri, Marco Bellochio, gay cinema. Number 11 (January 1977): Emile de Antonio, Jill Robb, Samuel Z. Arkoff, Roman Polanski, Saul Bass, The Picture Show Man. Number 12 (April 1977): Ken Loach,

Tom Haydon, Donald Sutherland, Bert Deling, Piero Tosi, John Dankworth, John Scott, Days of Hope, The Getting of Wisdom. Number 13 (July 1977): Louis Malle, Paul

Cox, John Power, Jeannine Seawell,

.->! j

Number 17 (August-September 1978): Bill Bain, Isabelle Huppert, Brian May, Polish cinema, Newsfront, The Night the

Number 40 (October 1982): Henri Safran, Michael Ritchie, Pauline Kael, Wendy Hughes, Ray Barrett, My Dinner

Prowler. Number 18 (October-November 1978):

with Andre, The Return of Captain Invincible. Number 41 (December 1982): Igor

John Lamond, Sonia Borg, Alain Tanner, Indian cinema, Dimboola, Cathy’s Child. Number 19 (January-February 1979): Antony Ginnane, Stanley Hawes, Jeremy Thomas, Andrew Sarris, sponsored documentaries, Blue Fin. Number 20 (March-April 1979): Ken Cameron, Claude Lelouch, Jim Sharman, French cinema, My Brilliant Career. Number 22 (July-August 1979): Bruce Petty, Luciana Arrighi, Albie Thoms, Stax, Alison's Birthday. Number 24 (December 1979-January

1980): Brian Trenchard-Smith, Ian Holmes, Arthur Hiller, Jerzy Toeplitz, Brazilian cinema, Harlequin. Number 25 (February-March 1980): David Puttnam, Janet Strickland, Everett de Roche, Peter Faiman, Chain Reaction, Stir. Number 26 (Aprll-May 1980): Charles H.

Joffe, Jerome Heilman, Malcolm Smith, Australian nationalism, Japanese cinema, Peter Weir, Water Under the Bridge. Number 27 (June-July 1980): Randal Kleiser, Peter Yeldham, Donald Richie, Richard Franklin's obituary of Alfred Hitchcock, the New Zealand film industry, Grendel Grendel Grendel. Number 28 (August-September 1980):

Bob Godfrey, Diane Kurys, Tim Burns, John O’Shea, Bruce Beresford, Bad Timing, Roadgames. Number 29 (October-November 1980):

Bob Ellis, Uri Windt, Edward Woodward, Lino Brocka, Stephen Wallace, Philippine cinema, Cruising, The Last Outlaw. Number 36 (February 1982): Kevin Dobson, Brian Kearney, Sonia Hofmann, Michael Rubbo, Blow Out, Breaker Morant, Body Heat, The Man from Snowy River.

Peter Sykes, Bernardo Bertolucci, In Search o f Anna. Number 14 (October 1977): Phil Noyce,

Number 37 (April 1982): Stephen Mac-

Matt Carroll, Eric Rohmer, Terry Jackman, John Huston, Luke's Kingdom, The

Lean, Jacki Weaver, Carlos Saura, Peter Ustinov, women in drama, Monkey Grip.

Last Wave, Blue Fire Lady. Number 15 (January 1978): Tom Cowan,

Number 38 (June 1982): Geoff Bur-

Francois Truffaut, John Faulkner, Stephen Wallace, the Taviani brothers, Sri Lankan cinema, The Irishman, The Chant o f Jimmie Blacksmith. Number 16 (April-June 1978): Gunnel

Lindblom, John Duigan, Steven Spiel berg, Tom Jeffrey, The Africa Project, Swedish Cinema, Dawn!, Patrick.

Auzins, Paul Schrader, Peter Tammer, Liliana Cavani, Colin Higgins, The Year of Living Dangerously. Number 42 (March 1983): Mel Gibson,

Number 50 (February-March 1985): Stephen Wallace, Ian Pringle, Walerian Borowczyk, Peter Schreck, Bill Conti, Brian May, The Last Bastion, Bliss. Number 51 (May 1985): Lino Brocka, Harrison Ford, Noni Hazlehurst, Dusan Makavejev, Emoh Ruo, Winners, The Naked Country, Mad Max: Beyond Thunderdome, Robbery Under Arms. Number 52 (July 1985): John Schle-

John Waters, Ian Pringle, Agnès Varda, copyright, Strikebound, The Man from

singer, Gillian Armstrong, Alan Parker, soap operas, TV news, film advertising,

Snowy River. Number 43 (Jvlay-June 1983): Sydney

Don't Call Me Girlie, For Love Alone, Double Sculls. Number 53 (September 1985): Bryan

Pollack, Denny Lawrence, Graeme Clifford, The Dismissal, Careful He Might Hear You. Number 44-45 (April 1984): David Stevens, Simon Wincer, Susan Lambert, Street Kids, a personal history of Cinema Papers. Number

46 (July 1984): Paul Cox, Russell Mulcahy, Alan J. Pakula, Robert Duvall, Jeremy Irons, Eureka Stockade, Waterfront, The Boy In the Bush, The Woman Suffers, Street Hero. Number 47 (August 1984): Richard

Lowenstein, Wim Wenders, David Brad bury, Sophia Turkiewicz, Hugh Hudson, Robbery Under Arms. Number 48 (October-November 1984):

Ken Cameron, Michael Pattinson, Jan Sardi, Yoram Gross, Bodyline, The Slim Dusty Movie. Number 49

(December 1984): Alain Resnais, Brian McKenzie, Angela Punch McGregor, Ennio Morricone, Jane Campion, horror films, Niel Lynne.

Brown, Nicolas Roeg, Vincent Ward, Hector Crawford, Emir Kusturica, New Zealand film and television, Return to Eden. Number 54 (November 1985): Graeme Clifford, Bob Weis, John Boorman, Menahem Golan, Wills and Burke, The Great Bookie Robbery, The Lancaster Miller Affair, rock videos. Number 55 (January 1986): James

Stewart, Debbie Byrne, Brian Thompson, Paul Verhoeven, Derek Meddings, The Right-Hand Man, Birdsville, tie-in market ing. Number 56 (March 1986): Fred Schepisi, Dennis O’Rourke, Brian Trenchard-Smith, John Hargreaves, stunts, smoke machines, Dead-End Drive-In, The More Things Change, Kangaroo, Tracy. Number 58 (July 1986): Woody Allen,

Reinhard

Hauff,

Orson

Welles,

the

Cinematheque Française, The Fringe Dwellers, Great Expectations: The Untold Story and The Last Frontier.

Other Publications □ The Australian Motion Picture Yearbook 1980. $15 (Overseas: $30 surface, $40 air mail).

□ The Australian Motion Picture Yearbook 1981/82. $15 (Overseas: $30 surface, $40 air mail).

□ The Australian Motion Picture Yearbook 1983. $25 (Overseas: $35

rowes, George Miller, James Ivory, Phil Noyce, Joan Fontaine, Tony Williams, law and insurance, Far East.

surface, $45 air mail).

Number 39 (August 1982): Helen Morse,

(Overseas: $20 surface, $26 air mail).

Richard Mason, Anja Breien, David Millikan, Derek Granger, Norwegian cinema, National Film Archive, We o f the

□ The Documentary Film in Australia edited by Ross Lansell and Peter Beilby. $12.95 (Overseas: $18 surface, $24 air mail).

Never Never.

88 — September CINEMA PAPERS

□ The New Australian Cinema edited by Scott Murray. $14.95

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