OCR |
| “Film and tape, have achieved the perfect marr1age3L;<;:.::1e::1:;.i;.Re3recorder has completed the film/Video circle. Film conversion to tape has b[...]ited for a quality tape—to—film conversion. The major feature of the CTR—3 is the high resolution three—tube display system with its associated dichroic optics. This assures the elimination of the raster line structure without any sacrifice to resolution. When this is combined with the quality of Eastmancolor film from Kodak, the color saturation and color balance are perfect. The impact of all this is the coming together of the film and video laboratories. Now a job can be shot on film, have all the optical and titles done on tape and be released on film. The potential is unlimited and the time saving enormous. At Videolab we are proud to be the first to introduce it to Australia.” Peter Bowlas; General Manager, Videolab. (A Division of the Colorfilm Group) { Kodak Motion Picture[...] |
| Everybody says the Victorianfilm industryhasacomplex. . . You’ .,.I ‘T I iii‘ L_ / A couple of years ago , -- V I ';-I ' the wctorian Film Corporation opened the Melbourne Film Studio. To begin with, it was not[...]But it has already seen nearly12 million dollars in production pass through its doors.[...]e, but what a relief to be able to work free from the weather, flight paths and the neighbourhood dog. fime saved. Money saved. A[...]Burstall or Geoff Burrowes. On April ’| 1982, the \/EC. will open Phase 2. Together with the existing sound stage, it will be the best plug—in production complex in this oountry. Dressing rooms, producers offices, wardrobe, change rooms, stars’ suites, s[...]ully equipped kitchen where your caterer can have the moming tea scones hot before you've rolled the first shot. The Wctorian Film Corporation underwrites this projec[...]that won't break your budget. Book early before the new financial year scramble. Call the Wctorian Film Corporation on (03) 329 703[...] |
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| The New South Wales Film Corporation is devoting incr[...]o script . and project development. . We are also in the business of in‘v“e"sting>in*and-arranging.£inanoe.e£ae.m@£isa 2 " picture production. ' ' gck this up, we offer a full range of marketing services, including a Viiegiczally-placed office in Los Angeles. So, if you want to evelop or make a movie, now’s the right time to get in touch with us. New South Wales Film Corporation 45 Macq uarie Street. Sydney. Australia 2000 Telephone (02) 27 5575 Telex FILCOR AA23298 |
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| [...]te Peter_Ustinov: Interview Brian McFar|ane Women in Drama: Meg Stewart Rivka Hartman Clytie Jessop Ma[...]arstruck Scriptwriter interviewed: 110Features The Quarter Obituary Fred Harden Production Survey[...]Reds Keith Connolly Starstruck Debi Enker Priest of Love John Tittensor Duet for Four Sam Rohdie Body Heat Dave Nash Best of Friends Jim Murphy Rich and Famous Brian McFar|a[...]Book Reviews Government and Film Sam Rohdie Recent Releases Reds Merv Binns Review: 164 Managing Editor: Scott Murray. Associate Ed[...]117 131 147 149 153 173 178 163 164 Women in Drama Meg Stewart: 136 166 167 169 170 171 171 175 175 Heatwave Review: 163 Cinema Papers is produced with financial assistance from the Australian Film Commission. Articles represent the views of their authors and not necessarily those of the editors. While every care is taken with manuscripts and materials supplied for this magazine. neither the Editors nor the Publishers accept any liability for loss or damage which may arise. This magazine may not be reproduced in whole or in part without the permission of the copyright owner. Cinema Papers is published every[...]fice, 644 Victoria St, North Melbourne, Victoria, Australia, 3051. Telephone: (03) 329 5983. © Copyright Ci[...]April 1982. Cover): Jo Kennedy as Jackie Mullens in Gillian Armstrong's Starstruck (see review p.165 . CINEMA PAPERS April - 107 |
| [...]IIIIIIIIICIIIIIIIIIIIIIIIIIIOII—.OIIIIIIIlIIll The Australian Writers’ Guild’s 15th Annual Awgie Awards, sponsored by Ampol, were announced on March 4 in Adelaide. Peter Welch reports: The awards were presented by the State Minister for the Arts, Murray Hill, and the guest of honor, Professor Manning Clark, A.C., to writers in 13 categories, with the winner for an Origi- nal Work for the Stage. Flon Elisha for Einstein, also winning the major Awgie Award for Outstanding Work. The awards were announced after the dinner in the opulent Victorian sur- roundings of Edmund Wright House with the Musica de Camera Quartet (harpsichord, two recorders and viola da gamba) playing baroque music throughout the evening. Master of ceremonies was Adelaide playwright Rob George, whose latest work, Percy and Rose, centred on the relationship of Australian composer Percy Grainger and his mother, starring Dennis Olsen and Daphne Grey, was premiered at the 1982 Adelaide Festival of Arts. Names of the winners in each cate- gory, together with brief biographical details and some of their other writing credits (where known), follow: Original Work for the Stage and winner of the major Awgie Award: Ron Elisha, Einstein. Einstein is Ron's second produced play. It was presented by the Mel- bourne Theatre Company in 1981 and has just completed a season at the Category: Children's Roger Dunn Adaptation Doc[...]Himself Monkey Grip John Duigan Seymour Centre in Sydney. Seasons of Einstein have also been licensed to Queensland, A.C.T., Western Aus- tralia, New Zealand and the Lyric Theatre, London. Faber and Faber (London) have made an offer to publish the play. Ron E|isha’s other produced play was In Duty Bound, presented by the Melbourne Theatre Company in two seasons in 1979-80. Ron Elisha was born in Israel in 1951 and emigrated to Australia with his family in 1953. He graduated in medi- cine from Melbourne University in 1975, completed his residency in Sydney and is now practising in Melbourne. His interest in writing dates from 1967. Awards Fracas IIIIIIII[...]IIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Major changes to the Australian Film Awards were recently announced by the organizing body, the Australian Film Institute. The industry has not ac- cepted them quietly. Scott Murray reports: The AFI could have had little idea what shock waves it would send through the film industry with its announcement of the rules governing the 1982 Awards. The controversy centres on changes to the judging of feature film entries by the introduction of a pre-selection jury. The Issues In 1976, the then executive director David Roe abandoned the long-held So You're Getting a Divorce No Names No Pack Drill Two Men Running The Sullivan; (episodes 907/8) Winter oi Our Dreams jury system in preference for industry voting. All eligible features were screened in Melbourne, Sydney and Adelaide (and in later years in Perth, Brisbane and Hobart) and accredited film professionals viewed each film before voting in the category or cate- gories of their expertise (e.g.. editing or sound). They also voted with AF! members (full and associate) for the Best Film Award. Some years later, the procedure was changed and all voters had to be members of the AFI, which now has an open membership. This year, with no forewarning, the judging system was changed again. Due to what the AF! feared would be an avalanche of entries (35 being the figure quoted), it decided to pre-select the features down to a “manageable” level. The proposal was that a "com- mittee of eminent film industry profes- sionals" select four "nominations" in each of 13 categories. which would then be voted on by al[...]bers. This raised several queries: (i) Four films in 13 categories means that up to 52 different films could be pre-selected (assuming that number of films was ever pro- duced in one year). So, such a pre-selection procedure does not in itself mean the final number of films up for voting will be less than the number of features entered. Of course, some films may be of such a low standard that almost anybody would pre-select them out. But what if one of those films had the best sound editing in years: the jury would be obliged to nominate that film for c[...]Has written documentaries for several years with the Tasmanian Film Corporation and Film Australia. Writing Pals, a children's television series for the TFC. Dorothy Hewitt Golden Valley Chapel Perilous. Man from Mukinupin. Her latest play is in the Perth Festival. Bob Herbet Elizabeth Jolley Adapted from his stage play which was produced by the Sydney Theatre Company in 1980. A radio writer for many years. Among her other radio credits are: Night Fleport, The Performance. Shepard on the Roof and Woman in a Lampshade. David was co-writer of the feature film Breaker Moran! and directed the television series A Town Like Alice. Luis Bayonas Bellamy (episode 26) Eleanor Witcombe Writer of screenplays for My Brilliant Career and The Getting of Wisdom, plus the television series Water Under the Bridge. Previous writing credits include Case, a feature for Film Australia, plus Sporting Chance and cold Comfort for televi[...]uited, starring Steve Speers. Wrote and directed the feature film Month to Mouth, directed Dimboola and has just finished directing the feature Far East, starring Bryan Brown. Monte Miller Award tor an Unproduced Script by an Associate of the Guild: Shared by Julia Britton for her stage play[...]and Christopher Kennedy for his original teleplay The End of the Course. |
| [...]e unannounced guideline might be invoked, whereby the jury would be instruc- ted to keep the total number of nominated films below a limit — say 10. If this is so, thejury may be forced to ignore the best candi- date for a specific category and go for the second or third best. For example, a certain film A may have the best sound but is so poor in all other respects it is not being considered for[...]ould be a temptation to ignore film A and put one of the other 10 films in its place (i.e., in the sound category).(iii) There is also the problem, seen at many past Awards, of landsliding one film at the expense of others. Because one film is so superior to the rest in many ways, there is a tendency among voters — and critics — to assume it is superior in all ways. Thus a film like Breaker Morant (in 1980) or Galil- poli (in 1981), however deser- vedly, sweeps the pool. This has happened in open voting, and it is conceivable it could happen even more so in pre-selection — especially if a limit is set. (iv) Perhaps most important, how- ever, is the problem ofthe old film board argument: if a person is talented[...]judgments. Even if a jury can be found, there is the question of prejudice. Will it favor mainstream commercial ci[...]ures? Would, for instance, last year's Wrong Side of the Road make it past a pre-selection jury? If it didn't, it would be the AFl's —- and the industry's — loss, to say nothing of the filmmaker's. In short, the arguments against a pre-selection seem overwhelming. The only argument in its defence is that the number of films to be screened will be unmanageable. But it is a false argument. The closing date for finished prints is, as of writing, May 21. This was the date all producers and industry people have been working to, and the one on the application forms. The number of films eligible for entry appears to be about 28. Now, at least five of these will be in release around screening time, or have had a major release (three weeks or more). This means the maximum number of films needing a screening is 23. In 1977, the AFI showed 20 films.‘ Screening three more film[...]geable exercise. Also, not showing films already in release, and which are easily viewable, is a needed change in regulations. At present, too many AFI members wait until the Awards screenings before seeing a film (free). Su[...]bers should be encouraged to see Australian films in their correct environ- ment — at a cinema with a paying audience. The Furore When the 1982 application forms were mailed and news of the changes reached the industry, there was a sudden, almost violent, reaction..Three days later, on March 3, at a meeting of Continued on p. I 92 1. Two were later withdraw[...]IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII The untimely death of assistant director Chris Maudson, 36, from a brain tumor saddened the Australian feature film industry. Chris had worked on some 12 feature films‘ in the capacity of assistant director, special- izing in the difficult area of organizing actors for their appearance before the cameras. His special quality was to give actors the feeling that he cared about them as people, and t[...]ut them at ease as they prepared to appear before the cameras. Chris was the link between the often slow progress on the set and the impa- tient performers psyched up and ready to do[...]en getting irritable about waiting. But Chris was the kind of person with whom it was very difficult to get irr[...]he brought news to so many makeshift green rooms of yet more delays, even the emotional grandstanders found it hard to vent their spleen on him and the production he represented. Chris was likewise given the often onerous task of ringing the production office and giving producers and production managers the news that the day’s shooting was going into over- time. His voice had a slight stammer, a disarming weapon that brought the news about the complicated shot that was just about to be completed and the couple of quick close-ups to follow up in no time at all and wrap up the day. Even when you knew he was talking about thre[...]as a film buff with an overall love for all types of films and a particu- Iar passion for Jean-Luc God[...]nnan's attic, which houses a legendary collection of videos, and emerged with films starring Judy Holl[...]le Lombard, and went on to give me plot summaries of the likes of Easy Living and Born Yesterday. The last job Chris worked on was casting for the forthcoming television series on the Whitlam years. His know- ledge of actors and cinema gave Chris the perfect qualifications for the job of casting, and I believe that had he lived Chris would have found this to be his perfect position in the film industry. About 400 people attended Chris’ 1. Chris Maudson‘s credits: The Tres- passers, Newsfront, A Town Like Alice, Long[...]k, Hoodwink, Fighting Back, Touch and Go. Barney, The Chain Reaction and Stir. funeral. The line-up included directors Phil Noyce, Gill Armst[...]illiams and Melody Cooper. Bryan Brown delivered the funeral oration, which began: "In December 1976, I met Chris Maudson and Richard Brennan, and was introduced to 161 Victoria St. Over the next five years, I partici- pated in countless discussions, mostly about film, around a certain round table in their kitchen. Many people here today, I know, share a similar experience. “The hospitality and camaraderie existing at Chris and[...]ss director through a bad stretch. “To walk up the stairs and be faced by Chris sitting at the table always beaming and saying ‘Hi’ made you sure there was at least one person in this world who was glad to see you and he always was. His enthusiasm to be around people never waned." On the set of Far East, work stopped and cast and crew stood on the roof of the ageing Supreme Studios where associate producer J[...]ce for Chris. I believe Chris Maudson maintained the balance between actors and tech- nicians better than anyone else in the industry. I appreciate the contribution that he made to my three features and I wish so much that we had him on the next one. Chris is survived by his 10- year-old daughter Samantha, who has appeared in many of the films he ""°"‘°d °”~ — David Elfick Bill Bain For many, Upstairs, Downstairs and The Duchess of Duke Street typify excellence in British television drama. The leading director for both series was Bill Bain, an Australian. On February 22, Bain died of cancer in London. Trained as a school teacher, Bain soon turned to acting and then direc- tion at the Australian Broadcasting Commission, where he handled child- ren's programs, sheep dog trials and The Quarter A R Y the occasional light drama. in 1962, he moved to Britain where he was invited to direct an episode of Harpers W1 for ATV. This was followed by episodes of The Avengers, csllan, Public Eye, The Rivals of Sherlock Holmes and Enemy at the Door. He had also directed the feature What Became of Jack and Jill and several television plays, including The Importance of Being Earnest, Pretty Polly, The Listener and Fathsr’s Help. Bain returned briefly to Australia in 1978 to work at the Australian Film and Television School. His role was that of guiding 12 third-year students through their television projects. In an inter- view in Cinema Papers‘ he said: "One of the nice things about the AFTS is that all the people I know in the industry would have liked to come here. We all ha[...]fire and are still pretending we know more about the technical side than we do. So I think that the more of us who can make a contribution to this place the better. “Maybe I am idealistic, but I came out gladly to do this job. I believe in the potential talent this country has, though what it[...]lace like this where people can make mistakes on the quiet and not have them thrown . up on the television or film screen for all of us to think, ‘Jesus, isn't that awful.’ " Bill Bain was unquestionably one of the world's finest television directors. His episodes of Upstairs, Downstairs and Callan stand with the best tele- vision drama ever produced. One of the pleasures, in fact. of a series like Upstairs, Downstairs was picking whether a particular episode was directed by Bill Bain. If the show evoked genuine emotion without being sentimental, if it managed to turn the simplest linking scenes into magically- charged moments, then Bain was probably the director. “One's concern is always to find the reality of a script, to sniff out what the dangers are likely to be. One must ride very care[...]o go soggy on you . . . “It is also a caring on the part of the people who are working on a program. If you do so[...]if you can get a caringness going — a love for the thing itself — then you will trans- mit some of that feeling." Bill Bain transmitted that love. His presence in world filmmaking will be greatly missed.[...] |
| Where did you get the idea for “Starstruck”?I just started writing down sketches of characters I knew from this pub where my mother u[...]most reveal themselves with their style and form of speech. So I jot down things people say, and they lay the seed for the scenes. Once I have the rough arch- itecture for a few scenes, I begin to evolve a plot to accommodate the Main photograph: Jo Kennedy as Jackie Mullens[...]cLean and director Gillian Armstrong make some on-the-spot script alterations. Scott Murray talks[...]ing a flat with someone you d0n’t like. I see the character, then I hear the character, and what I hear is the spur to write. Most things are funny simply because a particular person says them. Think of Marilyn Monroe: she walks into a ship’s cabin in Gentlemen Prefer Blondes and says, “Look — ro[...]ly funny, but, when she says it, it’s a scream. In fact, it was so right for her that Billy Wilder used a varia- tion of the same gag in Some Like It Hot. CINEMA PAPERS April — 111 |
| Stephen MacLean Inspiration comes from the oddest quarters. One night in London I went to a perfect produc- tion of Chekhov’s Cherry Orchard at the Riverside and he immed- iately becamc my favorite[...]losing their cherry orchard and their entire way of life reminded me of the real pub people I knew. They lost their pub, and the loss of true location left them ghost-like. I can remember when the first Australian films came out in London, somebody said to me, “The thing about you Australians is you should stick t[...]generalization, but I do think there is a strain of Aus- tralian thinking which leans towards morbidity. That’s okay, but it’s often expressed in a preten- tious, middle-class way — Toorak ‘quality’ culture at one end, Carlton ‘alternative’ at the other. Perhaps our sense of isolation gives us a morbid strain, but the work seldom has the patches of levity the Russians bring to their morbid books or plays — you know, that terrific manic quality. In our case there has been too much striving for intellectual superiority, and it has produced a lot of dull, boring works — more so in theatre than in film. One film that does really hit its mark on[...]arts, which is bleak and sad, but funny! That’s the thing: whenever tragic things are happening in life, something zany is usually happening simulta[...]n black comedy. Given that many Australian films of the early 1970s were comedies, why did they stop being made? “Star- struck” is the first comic film in a while, except for “The Club” . . . Well, to me, Don’s Party is one of the best Australian films ever. In that one David Williamson was funny and serious. Is comic writing in Australia under- valued? Yes, because of the pretensions I have been banging on about. The Australian public has a highly developed sense ofcomedy. We are the only country which takes it from all over the world, on tele- vision. And yet the powers which run entertainment (and that includes the government) accord it the kind of status you would give junk food. It happens in every arm of the media. A great Aussie writer, Ross Campbell, just died. He labored for many years doing columns for the Packer press. He wrote real things, like the humiliation a father feels when his kiddie says, “Daddy, why doesn’t our fridge have a light in it like everyone else’s?” And, of course, all those middle-brows 112 -— April CINEMA PAPERS aspiring to seriousness just don’t have the brains to attach value to real talent like that. It doesn’t hide behind a cause, but has the con- fidence to be itself; it isn’t phoney. But comedy will once again gain prestige, as it had in the 1930s, with columnists like Dorothy Parker and Robert Benchley in journal- ism, and Ben Hecht and Billy Wilder in film. They were very friv- olous but they dealt w[...]y regarded — and still are. We are getting out of that post- World War 2 period when comedy, and it happened here also, became a very lowly-prized commodity. The 1970s brought back more apprecia- tion for the craftsman. I’m glad. Australia has a bit of money in the kitty, so it tried to buy ‘art’ and ‘culture’, which is a prime example of a middle class getting culture- obsessed and gett[...]t is a very rare work. I suppose Alvin Purple and the early comedies were sort of awful; there was some great stuff in the Barry McKenzie films, but it was more spot burlesque comedy. And the public loved them. I respect the real public, not the culture vultures, because they dare to like what they really like, which is more than you can say for a lot of critics. We should value comedy. Our most rememb[...]t an arts grant system that fostered him, was it? In developing talent, the culture |
| [...]ing affaires with Frank Moorhouse, don’t there? In writing, there is too much false value placed on[...]bscure pieces, when those very writers often have the talent to be encouraged out into the open, to drop all the references only they find interesting. In those circles, you can be frivolous or flip- pant, but only if you throw in wooden ‘serious’ stuff.Australians seem compelled to act out the role of ‘the artist’; French-style. And the industry itself hangs naive labels. For instance,[...]truck? She is far too serious. She could not have the sense of humor to do Starstruck.” Can’t you be serious and have a sense of humor too — or even a sense of comedy? People could not comprehend that a woman (and I emphasise the sex) O S wphen Maelean only $5 for a ticket. People in the industry are concerned with their future . . . I[...]you are still rolling it, so why be conservative? The basic principle of rolling it is against that. And as for being conc[...]al or heightened quality about it, par- ticularly in the pub scenes, which are perhaps closer to most people’s sense of reality than the pop culture scenes. Was that the sort of style you were going for? Yes. That sub-plot abo[...]bout a dis- appearing species. I am talking about the Australians who had a sniff of the Depression. They have a ,_p ,4)‘: ~. . .,- .[...]p right: Robbie and Jackie sing “Body and Soul" in the Harbour View Hotel. Righr: Angus, in the schoolroom, sings “Starsrruck". Above: Jackie leads Angus, disguised as a kangaroo to hide his youth, to the Lizard Lounge. Starstruck. could be serious about her work and have a sense of humor. As for myself, I have suffered the reverse of that; because I might crack a few gags wherever I[...]n think I’m not serious about my work. That’s the Aus- tralian culture climate, love. _ I find the Australian public is far more adventurous than the people who develop talent. But the public has less at risk - different point of view to anyone born 10 years later. They are basi- cally a working people with a special kind of wit and a theat- ricality about them which is ver[...]ey are disappearing; we have been so colonized by the U.S. Starstruck is an odd form of Americana syphoned through the caustic Australian eye. Star- struck’s form was created by many American films before it. It is the type of film which falls somewhere between reality and pantomime. A lot of people go to films expecting them to represent re[...]her than real life. And Gill Armstrong has struck the right note here, whereby the people are heightened, are leaning towards caricature, but nevertheless demand to be taken seriously. The characters disengage themselves from their backgrounds. I relate Edna Everage to this, the fine line between character and caricature. Edna started out as a satirical character within the dramatic framework of Moonee Ponds. As the years went by, people began to think of Edna as a real person. This is tied to the sense of reality Australian women bring to trans- vestism.[...]ing 20 years for a basically female audience from the suburbs, and they go and watch these guys sort of ridicule femininity. Patrick White wrote in his memoirs that Australian women are far more interesting than Aus- tralian men because of this male element in their make-up. He wrote that Australian men do not possess a corresponding feminine element in their make—up, and are con- sequently less interesting. White went on to despair about a certain type of woman who stifles that wonderful feminine part to ape the worst kind of male qualities. They are often very witty and put people in their places with their tongues — women who hav[...]strong and tough, like Pearl (Margo Lee) who runs the pub in Starstruck. Edna is an extreme of that type —— “Aus- tra1ia’s answer to the Jewish momma”, as Barry Humphries billed himself in New York. Actually, I found Pearl a rather sad, almost tragic, figure . . . Sad? Look at the way she is used by Lou (Dennis Miller) . . . I c[...]n given that, she still has to accept him robbing the safe . . . Oh, she is not prepared to accept that at all. That just happened in a soap opera plot twist —- though I actually grafted that in from a real- life memory. I think Australian women are used to covering for men, in one way or another. The heightened realism of the pop sequences touches on styles used in pop clips: for example, the ‘I Don’t Like Mondays’ clip of The Boom- town Rats. Was that a deliberate influence? The Starstruck theme song takes place in a schoolroom because Angus (Ross O’Donovan) goes to school and much of the potential audience will, too. The schoolroom as a setting for pop might seem an overworked location, but it is all relative to the amount of time kids - actually have to spend in them. Is there a risk that an audience will bring to “Starstruck” the expecta- tion of being thrilled in the way, say, a~Devo clip thrills them? Those thrill[...]ng. You can use cutting to communicate rhythm for the length of a clip, but you have to use it sparingly in a feature because it’s tiring — which is what Gill has done. I think she’s right. But I think any of those songs could lift from the film. This is how I think an audience responds to film clips of musicals on television. First, they get to like the song. Second, they get to like someone in the clip. They get to thinking about maybe buying the record. Then they want to go to Grease or what- ever so they can see John and Olivia do the songs bigger and louder than on television. So, with “Starstruck”, you have to get people hooked on the music first . . . Absolutely. We have to get that music out there and expose people to the clips. Their response to the CINEMA PAPERS April — I13 |
| [...]ole will be another story.How involved were you in the choice of musical numbers? Did you include directives in the script? Instinct told me where to place them. When the songs were obviously necessary to the plot, I wrote them in first go. But I also went over the script afterwards and wrote in “song” in the sections which would gain energy from the mere infusion of a song. Even a dramatic script can be likened to a popular song in structure: there is the opening chorus, the bridge, the melody, the climax. It is the bridge that most often lets a song down — and a[...]gh. Some- body is talking, then they turn to sing in another voice, which always worried me and sent me running for the popcorn. The only one like that which really works is The Band- wagon, largely because of the con- ception of writers Adolf Green and Betty Comden. A Star Is Born was the first musical I believed. Every musical number ha[...]context. So at first I put Star- struck’s songs in a strictly realistic context, such as a band perf[...]“No, let’s just do what we feel like.” Take the scene in the bar where Jackie (Jo Kennedy) just starts singing “It’s Not Enough”. I had always wanted a ballad in the bar, because Ijust loved it when Judy Garland was jamming with the musos in her film, and the James Mason charac- ter comes in and sees her. That was realistic, whereas Gill has our girl start singing. I think it works well, in the end. Did “A Star Is Born” influence the structure of the film? It would be great if Jackie walked up and[...]Norman Main.” No, I do not think it influenced the structure, just the feeling. I took the advice that writers get: if you want to write a book, write the kind of book that you would want to read. But people are[...]want to look dumb. I thought I would get down to the kind of film I really love — and it was A Star Is Born,[...]ally blew me out. I reasoned that if I could keep the magic of that film with me while I wrote Starstruck it would keep me going. So, Jackie became the Judy Garland character on the way up. The pub background became the Norman Main character: the In A Star Is Born Norman dies and in Starstruck, which is a much more simplistic piece, Jackie saves the pub. That is the pantomime aspect of it. I think pantomime fits the form by the very nature of pop music. I thought Breaking Glass was a hideous[...]was serious. “Starstruck” reminds me greatly of the pop musicals of the 1960s . . . We are in the midst of a 1960s revival, but it is more subtle than most,[...]rm. When I first wrote Starstruck, I was working in London on a Fox short about the mod revival. So I set Starstruck in the 1960s mod style, which was a mistake because you should always remember fashion is a wheel and the wheel turns too quickly for films. David Elfick [co-producer] then came up with the shrewd and tough notion that the period setting might be seen as a crutch for the film. Aus- tralians tend to art direct their films rather than give them a good story. So David thought the script had to be made contemporary. There is a feeling to Starstruck I connect with British style pieces of the 1960s: Smashing Time, Morgan: A Suitable Case for Treat- ment, Here We Go Round The Mul- berry Bush. I had dinner with Diana Melley, and she mentioned that her husband George wrote the dread- ful Smashing Time, “which looked so old-fashioned when it finally came out in London.” And I said, “Oh but we teenagers in Me]- bourne loved it, because of the time-gap between us and London.” We all went and saw those films in larger numbers than other countries. They had a sense of optimism and glossiness which Australia still feels. Relative to the rest of the world, we have more to be optimistic about. Those films had a kind of screwball fun which suited the Australian sensibility, and, even if they maybe weren’t the greatest films in the world, Aus- tralians were quick to pick up the satire. Look at Can’t Stop The Music. That film did no business anywhere in the world whatsoever. It is a terrible film, but it is pure anarchy and a big joke on The Gang’s All Here and all those Twentieth Century-Fox musicals. Aus- tralians, apart from the clever sell that Alan Carr gave it here, got the joke, whereas the Americans did not have the sense of humor to get it. We got the joke about the Here We Go Round the Mulberry Bush- type of films better than anybody. Australians have a highly- attuned sense of humor. That Given that at times the film gets into . . . . . r ‘ alcoholic on the slide down whose comes from being a Comblrlatlon of -—-——————-—-———— a “S where some mum accuse ‘t "1. time had passed, who was of Scots, Irish and English, who are Top: Jackie and Robbie, leader of The sendmg up mummy groups _e'g" another era. That pub became a the funniest races of people in exis- /lV"”(’l,b”’}' Abovgflackgifijdjle[...]iiltbafiiildnfilrfgkiodllg N9” . erry 0 H ' ay, in the pool _ person to me. tence, one way or ano[...] |
| I did not write Nana fat. She was not fat in the script. But Pat Evison is great; she uses her size to great, comic effect.What about the scene where Jackie is disappointed because her go[...]at?” Given Jackie’s obvious dis- appointment, the line has the ring of trying to play fair . . . Almost every woman, ho[...]ted, instinctively does not like finding out that the man of her affections is gay. That person being gay cuts her out on the sexual level, which is a very large level to be cut out on. That is why J ackie’s line seems out of character . . . Yes. I might have failed there;[...]re-written and changed into a pool party instead of a leather bar, as I had originally written it, be[...]already been done. But I did not quite keep track of the re-writes, and the actor playing the part, John O’May, who had seen an earlier draft[...]part and a chance to say something. Now they kind of dump on him when they find out he is gay.” I n[...]ation. Actually, I don’t think her line is out of character. Angus says, “He can’t be gayl”,[...]can’t he?” — meaning, “Look around, a lot of people are.” It was one of those situations where I did the re-write to accom- modate a different situation. When it was a period script, the kids went to The Purple Onion, which was a famous club in Sydney, and they met this fantastic drag queen, who looks exactly like Pearl. There is a scene in the dressing room of a television station where Jackie tells her band[...]own life, etc. It is a bit like a Sybylla speech in “My Brilliant Career”. But the disaster of the show teaches her the importance of other people in her life. Were you commenting on the problems of per- sonal independence? Starstruck is just mean[...]d girls and boys are usually pretty selfish. But the structure does lead people to assume she has been[...]was ‘right’ for her character as presented to the public. Performers rarely know what is Stephen MafLean good for them. Mae West is one of the few in the history of show- business who knew everything about what she[...]me capacity for that. That is why there are a lot of brilliantly-talented people around about whom eve[...]ented.” ‘But they do not have that conception of iden- tity which is what being a star is. And Jackie did not have it for herself; she just had the ambition. You will find that relationship through the history of show- business from time immemorial, and it is al[...]ser, Judy Garland has her thug. Basically, I saw the script as a love story between Angus and Jackie, a kind of Les enfants terribles. The way the film played is different, because, quite naturally, it took on a life of its own. Now, it is not Angus’ story —— it[...]with which to hang on to her. Gill came up with the idea that Angus should mature at the end and find his own girl; he is about to go off on his own tangent of maturity. I can remember going, “Oohhhl”, because I thought of Saturday Night Fever, the story of which I loathed. John Travolta treats all the girls like slobs, then we are supposed to believe he has opted for ‘maturity’ at the end because he aspires to a half-assed, middle-cl[...]social implications — and it works. You wrote in ‘Penthouse" that Gill wanted to be sure it was[...]Brennan’s . . . Directors are very suspicious of writers and expect the worst from them. But I am not by nature a writer — in that sense. Having gone through that whole showbi[...]every point you win you lose one. Gill came into the piece quite late, but she hardly changed the script. She did fix a hole, however, and add the finishing touch of Angus meeting the gum—chewing girl. l. Australian Pent[...] |
| [...]You have to hold on to whatever attracted you to the project. Richard Brennan said to me, “You make the film when you write it, then somebody takes it a[...]that is what happens. If I had known that somehow the film would come out being Jackie’s story more than Angus’, I would have been in a quandary. I would not have thought it could wor[...]about a girl who wants to be a star. But because of the emotional qualities Gill invested in the film, Starstruck works. But there was no way I co[...]at was your role as associate producer?“I was the only person who’d associate with the producers.” Sorry it’s an old gag. Initially[...]usic break- downs, had lunch with publishers, put the net out. I’d talk to the Art 116 — April CINEMA PAPERS Above: Jackie and The Wombats steal the show at the New Year’s Eve concert. Right.’ Jackie goes t[...]heroes Angus might paste to his walls, that type of thing. I also did a few quick fiddles during sho[...]have liked to, because I would have altered some of Angus’ dialogue. I wrote his stuff in short, staccato sentences — the Jewish kind of talking. Ross O’Donovan naturally speaks in long, rambling sentences with a nasal accent. It was his first part; I would have liked to have adapted the lines to him. But when you hit upon a director,[...]take. And it was no mistake with Gill. What sort of audience did you have in mind? From nine to 18. If the film takes, it may then wash into the broader audience that in the old days used to trot along and see My Fair Lady.[...]- nize and appreciate, and maybe get a giggle out of.[...]w. What projects are you working on? I am doing The Lee Gordon Story about the eccentric Amer- ican promoter who sort of colon- ized Australia during the 1950s. But that is tough; I haven’t for- mulate[...]writing a script I call “Eddie and Katoots”. The two leads are a kid, because I like writing about them, and an over- the-hill model who suddenly has to do something with her life because the beauty ideal has changed to 16- year-olds like Brooke Shields. She is 32 and never had to do a thing in her life; now she has to. Then there is a book I[...]onnected to, Intermission, by Anne Baxter. She is the actress who won a few Oscars, then went “B”. It is basically a love story, about her four years spent in the Austra- lian bush. Harry M. Miller now owns the rights to it. I saw Anne Baxter in New York and talked to her about it. I think it could be one of the few genuine opportunities one has to show Aus- tralia to the American perspective. Our tie with the U.S. on every level, intrigues and disturb[...] |
| Nora (Noni Hazlehurst), 33, a single mother living in a large, loosely-constructed commune, wants a love with “no fade from distance in it”. What she gets is Java (Colin Friels), a 23- year-old actor, whose life is “a messy holiday of living ofi‘ his frie ”. He is a junkie, but[...]is addicted, Smack habit, love habit — what’s the diflerence; they can both kill you.Monkey Grip[...]on, for producer Patricia Lovell, and is based on the no vel by Helen Garner. Noni Hazlehurst as Nora in Ken Cameron '5 Monkey Grip. CINEMA PAPERS[...] |
| [...]rmer, you have had extensive experience on stage, in film and on television. When you began your career did you envisage that kind of breadth?In 1962, when I was still at school, my foremost amb[...]evision, and I started to learn about cameras. At the same time, I was doing children’s plays in school holidays and that kept me in there as far as stage work went. The thing that was the turning point in my life, that brought it all together, happened in 1965. I had just left high school, and was about to go on to university, when the ABC offered me a part in a tele- vision serial that was going to be shot o[...]cted by Ken Hannam, for whom I had already worked in a television play. I was only 18, and to go away[...]part series for children, which was later sold to the BBC, which repeated it a couple of years ago. As a result, I am now getting love-letters from 18-year- old boys. Did the opera provide you with the inspiration to go on to “Band- stand”? I did not actually sing in the opera. The ABC used to do operas with actors miming opera singers’ voices. It was Hansel and Gretel. the full Humperdinck opera. Marilyn Richardson was my[...]ecause you used to sing to pre-recorded tapes — of your own voice, of course. I always wanted to be a singer, but I di[...]on- ately, but singing was still good fun. I sang in a pantomime which led to me being offered a recording contract at the same time as Billy Thorpe. He recorded Poison Ivy[...]ning for actors? I am all for it. I did not have the regulation two years at the National Institute of Dramatic Artists (NIDA), but I probably had as much tuition as any of my con- temporaries who went there — like Helen[...]itzpatrick and Judy Morris. I fluked some work at the Old Tote and found myself with the same actors and workshops and classes that they had, for in those days the NIDA students used to be understudies for all the produc- tions at the Old Tote. Kate Fitzpatrick always reminds me that the first time she went on stage she was my understudy. I had lost my voice when I was doing Peter Pan in the daytime, and The Interviewed by Tom Ryan School Mistress at n[...]didn’t you just mime her voice? Because it was the same day that a broken rope made me fall five metres to the floor. That was awful, but it gave me one of my better ad libs. I dragged myself to my feet and told the world, “Even fairy dust isn’t foolproof.” Do you have a preference for stage work over the other areas of performance? No, because film is still a com- parative novelty for me. I have only done a handful of films, whereas I have done dozens of plays. But I would hate to think I was never goin[...]again. There is something fantastic about playing in front of an audience. I sang for 25,000 people at the Myer Music Bowl earlier this year — it was wonderful. You don’t often get that, but the 1700 at Her Majesty’s for They're Playing Our S[...]udiences that responses vary so much, even though the performance remains constant. I think that is a c[...]are sometimes giving and sometimes not. Yes, but in theatre they, generally anyway, observe a decorum that one does not get in cinemas. How do they communicate to you? You can hear every gasp and sigh — you can feel the tensions. Don’t tell me I am imagining it. No.[...]g to find out what it is like. Is it like sitting in a living room, relating to one person and trying[...]I feel just like a radar. As one primarily bred in theatre, how important for you is the limita- tion on rehearsal time in television? Trial by Marriage is unusual, in that it was done with a live audience and in a very regimented way. We started rehearsals on the Monday, and went through to Saturday from 9 a.m. to 5 p.m. every day. On the Saturday we rehearsed all day, and then the audience came in and we recorded it that night. It is true that for a Crawfords kind of production conditions are more rushed, and that y[...]a certain facility for coping. Having done dozens of Homicides, Division 4s and Matlocks in the early stages of my career, I have developed a certain facility for that kind of thing. I CINEMA PAPERS April — 121 |
| [...]laide Tonight, publicizing Stork; Weaver as Masha in the Nimrod's production of ‘The Seagull ; Jack Alien, Sean Scully, Weaver and Gordon Glen- wright in the ABC 3 Be Our Guest{,' Weaver and Little Pattie sing “Let’s Get Together on Bandstand m 1966; Weaver in One and One Makes Two; Weaver interviews Burt Lancaster for Wtllesee; Weaver and Peter Sumner in Trial By Marriage. imagine people who have only had the luxury of working on film, or in subsidized theatre, would find it fairly frustrating. But, in a way, it is a good training ground.‘ I haven’t done a soapie like The Restless Years or The Young Doctors, but I have heard that they can be[...]than Crawfords, for whom I must say I have a lot of admiration. Crawfords have done so much. They have trained some of our best people technically: cameramen and direct[...]te to put soapies down. because I have such a lot of respect for the people who work behind the scenes on them. But that 15 not the kind of work I want to go into now. Can you identify any particular sources of inspiration or models that have influenced you as an actress? When you are heavily involved in your own work, you are, to a large extent, cut off from what you can learn from others. That kind of learning seems to occur between heavy jobs. But one of the biggest influences on me was Judi Dench, who is just about my favorite actress, playing Perdita in The Winter's Tale. It was in 1970. in a performance by the Royal Shake- speare Company, for whom she had also played Viola in Twelfth Night. Despite the fact that I had been an actress for eight years,[...]sible. I had always tried to hide my personality in a part, submerge it completely, like Alec Guinness does. But the example that Judi Dench set provided a great turn[...]yourself copying someb0dy’s mannerisms or style of performance? Ifl could, I am sure I would, but t[...]most accents, if I work hard at them and do a lot of research, but, when it comes to imitating other p[...]out. Do you have preferences for different types of characters or roles? No. I never want to either, because to me one of the best things about my work is doing as many differ[...]ular, because you can do six different characters in a year, rather than being stuck in the one. Your ability to take and make a |
| [...]How do you go about preparing a character?It is the usual obvious things that you learn at drama scho[...]g; I am very ordered that way. How important are the lines as they have been written? I would rather[...]lines than clumsy, banal lines. But I think a lot of actors use that as a cop-out. I think most actors[...]ne sound good. I see a bad script as a challenge. The script is something you can get around, I think, if you have a lot of truth. What does having “truth” mean? I mea[...]und a script if you can act. Do you ever dislike the characters you play, or do you always have to fi[...]g them very much. And that comes naturally. A lot of drama teachers say you should try to like the person you’re playing. That is often difficult,[...]be fairly easy to summarize your persona as that of a girl every mother would like to have as a daughter, forever cheerful and able to perk others up in a crisis . . . I don’t know about the tuck-shop mothers. A tuck-shop mother at school u[...]to say, “That one, she’s as cute as a hatful of razor blades.” Outside the tuck-shop and your pram, though, I think my first[...]o think it is more com- plicated. There is a kind of neurosis that seems to hover around many of the characters you play, like Joan in “Trial by Marriage” . . . I think with Joan it is more a psychosis. But the character I have been playing for two years Il0W,§ play, or heard of you playing, a Sonya in They're Playing Our Song, is definitely neurotic.[...]I bring to every charac- ter. Someone like Josie in Caddie isn’t at all neurotic. She is very well balanced. She falls in love with a sailor who makes her pregnant; it is the 1930s and the poor girl has to get an abortion. She has such an[...]she keeps going. I think Josie has great strength of character; no neurosis there. I only wish I were[...]ed. Perhaps then she belongs to another category of characters you seem to play: that of the victim. Like the wives in “Do I Have to Kill My Child?” and “Petersen” . You are right, I think. There is an aspect of me, a kind of vulner- ability, I cannot help bringing to nearly[...]y to hold it down. What I was urged to give Diane in Do I Have to Kill My Child? was that vulnerable g[...]p people to identify with her, to sympathize with the kind of hostility a woman (or a man, too) can feel toward[...]to a baby. It was a great ordeal. I really love the wife in Petersen. I styled her on someone very close to m[...]character rang very true to me. Yet, I still have the occasional woman coming up and saying I have done a great damage to the cause of feminism by playing a woman who is downtrodden like that. I think that is very stupid. Are you conscious of being used in particular roles because you have certain charact[...]appropriate to those roles? Probably, yes —— the “vulner- able‘, lovable thing”. I think I a[...]that too. They wanted people to like her but, if the woman had been a bit less sym- pathetic, the character balance would have been off. If she had[...]ll; I am just sitting down. I think that is what the appeal was. I know that the scene in the first series in the restaurant where I beat up the waiter is very funny: suddenly two grown men who are more than six feet tall are terrified of me. That is pretty funny. I don’t think I have[...]ona seems too aggressive for that, too strong for the malw you would have to play opposite? Really’? That’s great! I am told that one of the most appealing things about me is that I am so boyish. A lot of people laugh at that, but, when I think about it,[...]sn’t it? And I have always wanted to play Viola in Twelfth Night, which of course is the one where she is disguised as a boy. I guess I h[...]hing vivacious and brilliant, and I am not that. The press is not all that bad, but I still get idiot reporters saying, “Don’t you get sick of playing dumb blondes?” I don’t play dumb blon[...]eat not to care whether people like you. That is the best way to deal with the press when you are an actor, I think, because then it will never get in the way of your work. But the press has been, in one sense, very kind to you . . . It has been ju[...]s kind. I can remember every nasty, unjust or bad review I have had, every time I have been misquoted. But the articles that were written about you while you were in Mel- bourne were all positive . . . Yes, but they were all deserved. Of course . . . But there is a terrible thing to co[...]ink maybe he is brighter than you’d thought. On the other hand, more soberingly, comes the thought that perhaps he is wrong, after all. The advertising industry generally seems to find your[...]exploitable. Do you ever feel that it has got out of your control? Not altogether. I always have the power to say no, and I do knock back a couple of television advertisements a week. But if some- thing seems interesting to me, I will do it — like the Mad Max 2 advertisement. I think they asked me to do that because they believed that a lot of young women (my age!) would think, “There’s a normal, sane, cheerful, pleasant- natured mother of one who likes a film I thought was just a ruffia[...]” I generally avoid television advertisements. In fact, I hate them. But I don’t think the Mad Max 2 one will do me any harm. I defy anyone to take me to the Trade Practices people and claim that what I said was misleading. So, it is the product that controls your choice here . . . Yes. I have turned down offers that would have meant a lot of money. In Melbourne Cup Week last year, I was offered unbou[...]peal to me at all, so I said no. I hate that kind of exposure. Money matters to me, but it does not ma[...]evision advertisements, though. But you do a lot of voice-overs, and one is forever hearing you on ra[...]ount voice-overs because there is now an industry in my voice. God knows why. I think I have a terrible bloody voice. There are two girls in Melbourne and a girl in Sydney who sound more like me than I do. I listen[...]o, it’s not you. It’s so and so?’ A couple of years ago, I went into a radio studio to do a job[...]Weaver voice)”. I said, “Why did you put this in the script?” and they said, “We thought you wouldn’t be available. We were told at the last minute you were, and that was the script we were going to use.” We had just started recording, when they stopped the tape and said, “No, no, no! That’s not it.”[...]you mean — that’s not it? This is it. This is the Jacki Weaver voice.” We got by, but what they w[...]’t what they got. I have also done quite a lot of putting voices to models, though I changed my voice a little bit, made it deeper. I used to do a lot of child- ren’s voices, too, and quite a few chara[...]t it is not imitative. You must come under a lot of pres- sure to promote the film you are in . . . Yes. It is really hard work — harder than making the actual film. You really have to be pleasan[...] |
| Jacki Weaver the time. You press a button and then you become a charming, interesting person. That is the best sort of publicity the film can get, and you want the film to do well because it means more work for yo[...]l it when you have been connected with it, unless of course you are just com- pletely incapable of doing so. On the other hand, the press often uses situations like that to get at y[...]I really have given up caring. There are a couple of days every so often when I want to get under the blankets and just stay there, but generally speaking I can cope. I fend them off. I had 14 interviews in one day recently and every one of them broached the subject of my personal life. If you are in a suffi- ciently anaesthetized frame of mind, you can cope with that. But I have been an interviewer myself. For a year I worked on the Wil- lesee program, and learned a lot from that a[...]Caddie {Helen Morse) and Josie (Jacki Weaver) in Donald Cr0mbie's Caddie. less of how good an interviewer you might have been, you[...]e they thought I would be a good interviewer, but the only way they could have known that was because I had once been interviewed by Willesee in connection with Caddie. ‘After- wards they sai[...]eally good inter- views, I think. But I got a lot of flak from the press for that too, because a lot of them jealously guard their domain. They like to c[...]t is entirely false, because most people writing in newspapers nowadays are practically illiterate; they are terrible. What kind of strategy did you use for interviews? I knew that I had to be light and, because most of the people I inter- viewed were charming, pleasant and agreeable and I was giving them the same sort of feedback, it made for an interesting sort of parlor discussion. There were areas Dolly (Jacki Weaver), the brothel madame, and Piggatt (Michael Long), the puritan cop. Squizzy Taylor, directed by Kevin Do[...]been good for Cinema Papers, but for television, in prime time, nobody wanted to know. They cut it all out. Do you find any problems being a woman in what is still essentially a male industry? No. I[...]lay men’s parts. IfI were, say, a businesswoman in advertising, my being a woman might well hold me back. But in my particular work, I haven’t been conscious of it as a problem. In your experience in film, have there been any particular working env[...]ence, even though it appears that I did so little in it. I did lots more than the release print shows. A lot of my stuff hit the floor, and Peter Weir, who is such a kind soul, said to me, “The reason your stuff isn’t there is not because it[...]ot matter to me because I got six fantastic weeks of watching Peter work and being in Clare, which is a wonderful place. That is a film I most enjoyed just for the atmosphere, just for being in It. I like working with Tim Bur- stall. There wa[...]s good, too. I have a favorite story connected to the opening scene in Petersen, which people who have only seen it on t[...]wn my arm and then on to my stomach to a close-up of my caesarian scar, and then there is a cut to an[...]ed to lay music over it. He was calling down from the camera encouraging me: “All right darling, c’mon darling, give him a hug, c’mon! Let’s see some of that old suburban ecstasy. C’mon sweet- heart.[...]ked working with Kevin Dobson who gives you a lot of freedom. Concluded on p. 185 |
| [...]NS ()NE HUNDREDSusan Tate arlos Saura was born in Huesca, Spain, in 1932. Seven years later, iGeneral Franco’s Falangist army defeated the Republican armies, ending the Spanish Civil War and beginning nearly 40 years of repressive, military government in Spain and entirely changing its cultural life. Spain has always had a history of repressive government, with the establishment of the infamous tribunal of the Spanish Inquisition in 1480, a body which functioned spasmodically into the 1800s, after its initial burst of purges, eliminating religious heretics and generally seeing to the morals of the country. Likewise, the Junta Superior de Censura Cinematografica (Supreme Board of Film Censorship), which was established in 1937 by rebel troops even before Franco came to power, served after the victory as a way of supervising the morals and attitudes of the country. It recog- nized the potential power of the nascent film industry and set to work to use it as a vehicle to consolidate the victory by producing national- istic, reactionary and propagandist cinema. Typical of films produced at the time was Raza (Race), made in 1940, directed by Jose Luis Saenz de Heredia (who was to become the chief director for the Franquist regime) and written by Franco under a p[...]this period, many intellectuals and artists fled the country, rather than stay and try to work under its repressive laws. Saura was one of those who grew up under them. The years of the Republic from 1931-1936 had seen the rapid growth of the Spanish film inclustrv. with the -at |
| [...]Rflfaela Apamw Turns One H“"d"ed' H creation of the first film studios, and the pro- duction of the first talkies. Censorship laws and other prohibit[...]nmental bodies under Franco were responsible for the cessation of this growth, the stagnation of any creativity and guaranteed empty cinemas. Not[...]ilm- makers obliged to make films that glorified the Franquist state, but, as Germany had strong commercial interests in Spain and many theatres - were German-controlled, in the early years after the Fascist victory they could not afford to be critical of the Fuhrer either. A typically repressive government move was the blacklist drawn up in 1940, which listed North American actors who had openly supported the Republic during the war. Their names could not be used or mentioned publicly. Ironically, included on the list was Charles Chaplin, to whom Saura was later[...]l- dine Chaplin, was to become his ‘muse’ and the leading actress inthe script had to be shown by the filmmaker to a board of censors which could refuse permis- sion to make the film on the basis of it, or carve large chunks out of it. Filmmakers virtually became hirelings of the state. The first films produced in Allied countries were not allowed into Spain until 1943. These were then dubbed in Spanish. (For linguistic uni- formity, all Spanish and foreign films were dubbed in Castilian; other national languages such as Basque were not allowed.) The plots of foreign films were subject to dramatic changes. The married couple in John Ford’s Mo ambo was given a brother and sister relations ip to excuse the wife’s illicit affaire with another man. Comme[...]bbing licences were given to Spanish producers on the 126 — April CINEMA PAPERS F er, Fernando {[...]' ’ Mama Carlos Saura 5 man Gomez). basis of the quality of their own films, meaning those which most gratified the regime. Not to be left out, in 1950 the Catholic Church created its own National Board of Classification of Spec- tacles, which introduced a notorious color[...]white. Red was accorded to those that would place the viewer in danger of mortal sin. It was not until the Spanish government recognized the importance of creating a more internationally credible cinema t[...]ere given more financial assistance and free- dom in their work. Spain received its firstjolt to its esteem in the eyes of the rest of the world when it was refused admission to the United Nations in 1946. However, films whose produc- tion was encouraged by the Government, with a view to overseas release and its attendant pres- tige, were often not released in Spain and only found overseas markets. Spain saw the establishment of its first official school for film studies in 1947: the IIEC (Insti- tuto Investigaciones y Experimentaciones Cinematografica), which became in 1962 the EOC (Escuela Oficial de Cinematografica). Its existence meant that for the first time students of film could be exposed to foreign films. It was at the Italian Cinema Week, held in Madrid in 1949. that they had their first taste of neo- realism, via the Italian films shown there. arlos Saura graduated from the IIEC six years after its establishment, in 1952. His filmmaking owes something to his exposure to neo- realism at the college. A year before, three films appeared which also showed the influence of neo-realism in Spanish film, as introduced at the college. They were Surcos (Furrows) by J. A. Niev[...]Amo. Surcos is significant as it was his approval of it which had the relatively progressive Garcia Escudero removed fr[...]ion as Under-Secretary for Cinema. His return to the position from 1963-67 saw a new liberalism creep back into the film industry, when he created a new category for subsidy, that of “special interest” which replaced the old cate- gory of “national interest”. He also formed the experimental art cinemas where such films could be shown. Before that, in 1952, films were class- ified from 1A to 3. A film’s position on the scale usually reflected its “national” interest and would be financed or refused release in Madrid and Barcelona according to it. Saura’s first feature film, Los golfos (The Hooligans), made in 1959 and generally con- sidered to be the first of the New Wave of Spanish Cinema, thus beginning Saura’s career as one of the first Spanish auteur directors, was originally cl[...]Escudero resumed his position as Under- Secretary in 1963 that the film could be released. The film concerns a group of young delin- quents and their nefarious attempts to get money. It is typical of films of the period in its use of youth as a way of expressing ideas that otherwise would not have got past the censors. * This was the first of many feature films Saura was to make, after a period of experimenting with documentaries, that used filmm[...]e Mama cumple dios anos (Mama Turns One Hundred), in 1979. It also dealt with themes that interested Saura on a per- sonal level: those of childhood and the oneiric |
| Saura, Spain and Mama world in which it is encompassed in later adult life, concerns which are still present in Mama. It is typical of the way in which he uses his subject matter as political symbols and as reflections of his individual interests, as is also evident in Mama. ama Turns One Hundred was Saura’s entry in the 1979 San Sebastian Film Festival in Spain. It was also a highly- acclaimed entrant in the 1981 Melbourne and Sydney film festivals. The film was made four years after Franco’s death and many filmmakers were enjoying the new freedom that the change of leadership allowed, making politically-explicit films such as El deputao (The Congressman) by Eloy de la .Iglesias, which deals with the persecution A suffered by a member of the Socialist-Marxist ‘ party from Fascist party members because of his , homosexuality. Saura, however, continues t[...]r Fran- quismo, and because his films are a blend of ideas not entirely political, which are best exp[...]debt to Luis Bunuel. Saura talked about his aims in making Mama to a reporter at the San Sebastian Festival and stated that after maki[...]rger, something that could be geared more towards the outside”.' He decided to pick up the charac- ters of a previous film Anna y los lobos (Anna and the Wolves, 1972) and “see what had happened to them”? In it he worked with the same producer, Elias Querejeta,_photographer Teo[...]plin and Norman Briskl, whom he has always used. In these terms, as well as in thematic ones, there is a continuity and interwea[...]oncerned with making a political allegory through the characters as in dealing 1. Program of 1979 San Sebastian Film Festival. 2. Ibid. with the characters as individuals with separate and private worlds. Anna (Geraldine Chaplin), of Anna and the Wolves, was the British governess for the children of a once—wealthy Spanish family which lives fractiously in a large, rambling country house in Spain. She returns to that family with her husband on the occasion of the Mama’s (Rafaela Aparicio) 100th birthday. Through setting up this situation, Saura pro- vides for the occurrence of the elements of memory and reminiscence in the film, partic- ularly through Anna, for whom the occasion is very sentimental, and the Mama, for whom life in general is laced with sentiment. Anna fondly remembers the young women as children, for whom she was governess, and responds to them accordingly. She also remembers the now deceased Jose and his military museum, crammed with uniforms and guns, a more external reference to the passing of Franco’s military regime. The reality is that Natalia (Amparo Munoz) has become a beautiful seductress, who lasciviously accepts the joint offered her by Anna’s husband Antonio (Norman Briski), when, soon after his arrival, he contemplates the strangeness of the situation he has walked into. olitically, Natalia represents the new liberalism of Spain and greater ’ sexual freedom created by changes in divorce laws after Franco’s death. 2 On an ind[...]she becomes a A vehicle for escape and fantasy, the importance of which, during childhood and in adulthood, is one . . of Saura’s fascinations. Natalia seduces Antonio F‘ in her fantastic bedroom, a virtual sultan’s tent V of silks and hashish. Anna’s other ward has grown[...]her mother, Luchi (Charo Soriano), plots against the Mama and anticipates her death with relish. She blatantly asks the Mama at dinner what she plans to do with the house and the " estate after her death. Already she and Luchi are mentally subdividing the land with an eye to selling it to developers. A scene which highlights the natures of the two revolves around the family’s “memory “ box”, a trunk where old clothes and bric-a-brac ; have been stored. Natalia dips in and finds a transparent black dress which she wears and parades in front of Antonio, consolidating the effect of his seduction the night before. Her 5» sister instead struts in a military outfit, tapping a swagger stick in a feisty manner. Juan (Jose Vivo), one of the Mama’s sons and Luchi’s husband, has left the household since the time of Anna and the Wolves, with Amelia the E cook. His departure is also reflective of the ‘ loosening of marital ties after Franco’s death and the rush to the divorce courts which ensued. His affaire with Amelia, especially as she is not introduced in the film, is another reference to adult fantasy worlds and the outlet they provide from domesticity. Antonio’s[...]ne it when he cannot sleep and Anna keeps pulling the blankets away from him, grunting contentedly in , her sleep. This scene accentuates the eroticism V, and exotic element of the scene which follows. With Juan’s departure, and loses death, there is only one son at home: the pathetic Fernando if (Fernando Fernan Gomez), who lives in a world 9 of unrealized fantasy. Anna’s return to the house evokes that period of time for Fernando and the two eras fuse together in his mind. He recalls his love for her and is asha[...]trated that he cannot express it. Man’s dreams of flying are always used to represent a yearning for the impossible and it is Fernando 3, who, in some of the most humorous scenes in 7 Concluded on p. 18] if CINEMA PAPERS Ap[...] |
| Is there anything you have not yet done in the arts that you would like to do?No, I don’t th[...], I only do things because I am asked to do them. In fact, I have to turn things down. Human nature being what it is, people have it in their minds that I can do all sorts of things, which I very often cannot. Once I . conducted a children’s perfor- mance of thethe Minneapolis Symphony Orchestra asked me to conduct a whole season. I thought The awqrd-winning_ actor-writer-director talks about[...]m that I loved music too much for that. However, in parenthesis, I did conduct the Philharmonia Orches- tra in a film, and the first violin Peter Usrinov as Hercule Poir[...] |
| [...]ov “I have always felt that art, if it is of suf- ficient quality and is national enough, wi[...]nducted by many worse”, which I thought was one of the most flat- tering things ever said to me. The first violin’s comment is a guarded compliment,[...]than writing; I enjoy it very much. It is a sort of tactical excite- ment; it does not give you the strat- egic pleasure of writing something which is accepted. I have never regarded myself as a professional director, in the sense that I know how to deal with actors. I know[...], but I do not have a very developed visual sense in the case of moving pictures. I know what can be done, but I have to stimulate myself in that sort of way. I don’t think you can be in two places at once. You always betray where you came from and the film director is rather like a cabinet minister:[...]may have grown to directing, but they never lose the traces of where they have come from. I suppose my path has been a more literary one and therefore, in the last analysis, I trust a verbal imagination more[...]hat can be done. So, I have never really thought of myself as a professional director who is waiting for material. It is a matter of getting something which really fires my enthusiasm and I am capable of doing. Billy Budd is probably my most successful[...]emely rigorous because we were all on board ship. The role of a captain of a ship and that of a director of a film are practically interchangeable. So, when[...]here are we going now?”, they were asking me as the skipper as much as the director. Also, their visual imagina- tion was automatically stunted by the narrow possibilities which were imposed by the fact that we were on the ship. In other words, if Bach were suddenly given a romant[...]d not know where to begin because he did not live in the same time as Tchai- kovsky. But if he were reduce[...]have more to contribute as an actor because I am the type of which ihere is not a tremendous amount about. It[...]tly because people have a more conventional sense of casting. Poirot has been very helpful to me becau[...]ough I do other things. And I would hate to spend the rest of my time doing nothing but Poirot. At the same time, I hope I have a wider range than that. I have played King Lear twice in the last two years with some success. As for writing, I am always drawn towards the theatre or to pure literature, more than to films for roughly the same reasons, although I have written screen- pla[...]re important than he is given credit for, just as the teacher is much more important in society than he is given credit for. A teacher is[...]ted your first film, “School for Secrets”, at the age of 25, and in a film industry that must be one of the most precarious in the world. I am interested in how, at 25, you got to be directing Ralph Rich- a[...]r late to ask me. I felt I had practically missed the bus when 24 arrived and nothing happened. School for Secrets really hap- pened because of Felippo del Giudice, an Italian who had played an important part in the British film industry. He was an ebullient man who was a kind of Sancho Panza to J. Arthur Rank’s Don Quixote. T[...]School for Secrets, which was a big success, for the Air Ministry really. They wanted to have some- thing about radar which was on the same lines as In Which We Serve or The Way Ahead. They were such extraordinary days tha[...]stopped shooting for a day to allow me to get out of the army. I had to go to Olympia and get a nasty suit[...]eant, which was my compensa- tion for having been in there for four-and-a-half years and now facing civvy street. I had to have a medical and all the things you do when you get out of the army. And they actually stopped shooting for a day which cost us a lot of money. They were forced to; there was no way round it because I had started Peter Ustinov in uniform for Private Angelo, which he co-directed[...]on temporary leave. I had to do all my research in uniform at RAF stations, often get- ting rooms wh[...]ivate. It was a very peculiar situation, but then the military is very odd. I hated every minute of it, but I never regretted it because it taught me a great deal. I knew it would be hysterically funny in retrospect, even if atrocious at the time. It is surprising you have not direc- ted more films. The three films you did direct in the 19405, “School for Secrets”, “Vice Versa”[...]nt that British films could have made a lot more of. Why did you limit yourself in this way? Because I felt the British film industry was barking up the wrong tree. They were trying to get advice from the U.S. — or from Ameri- cans — on how to break into the American market. This meant they got hold of some very third-rate American advisers to[...] |
| [...]nts so we could be understood. This was precisely the wrong way of going about it.I opposed the tendency of trying to enter the American market with an amorphous, hybrid product[...]leave Rome. Stanley Kubrick’: Spartacus. Right: The Ringmaster (Peter Ustinov) and Lola Montes (Martine Carole) in Max Ophuls’ have always felt that art, if it is of L0“ M””’“' sufficient quality and is n[...]le if everybody had been trying to speak American in order for the people in Peoria to understand. The Beatles proved that when they broke into the U.S. market. They did not make any compromise on[...]Quo Vadis and suddenly there was no looking back in that line. In fact, you worked in three more or less ‘sandal and toga’ films in the 1960s: “Quo Vadis” for Mervyn 130 — April CINEMA PAPERS 9 LeRoy, “The Egyptian’ for Michael Curtiz, and “Spartacus” for Stanley Kubrick . . . I think the Americans are the only people who can do ancient Roman films for the simple reason they are like the ancient Romans. If you go into the Chase National Bank to get a loan you are taken into a room with columns of gor- gonzola and, in the middle of all this, a furled flag and an eagle behind him, his feet on the table, the bank manager is saying, “Why don’t we go home and continue this conversation by the atrium and kick this idea around.” It is the mixture of extreme relaxation and formality and majesty whic[...]ibly well. Everybody got riled when Robert Taylor in Quo Vadis said: “Why don’t you bring Priscilla and the kids over for the weekend?”, but that is pre- cisely what a Roman of those times would have said. What differences di[...]ck I cannot really speak about because it was one of his first films. Hehad done two brilliant films b[...]le and he was sud- denly launched into this world of super productions. So he was rather subdued. I said in my book that at that moment he had none of the virtues but also none of the vices of youth. One did not know how old he was. He was an[...]very much. As for LeRoy, I was able to tell him the other day that the French had just had a retrospective of his films at the Cinematheque in Paris and that several eminent French critics had praised him for his style. He took his cigar out of his mouth and said, “What style, for Christ sak[...]ost an insult to have himself loaded with style. The crowning film of your career, and indeed almost the crowning experience of films in its decade, was Max Ophuls’ “Lola Montes”. What can you say about working with Ophuls? The first night of the film was an absolute disaster: the film broke twice. But Ophuls rather enjoyed it. H[...]e it seemed almost too good to be true. I wrote the obituary for The Guardian on Ophuls and in it I said he was a man of such perversity that he was capable of making the smallest wristwatch in the world and then hanging it on a cathedral so that passers-by could see the time. He was a mischievous and delightful man. I[...]with him. Ophuls had Cinemascope imposed on him in that film and he did not like it because he loved the incredible intimacy — I mean almost embarrassing intimacy —— of the screen. He said to me with a mischievous look, “Peter, I have found a way of defeating Cinema- scope today.” I thought, my G[...]reat deal. On Lola Montes, I had to do my scenes in French, German and English. People forget Lola Montes was done in three separate ver- sions, one after the other, so there was no possibility of only doing one take; there had to be a minimum of three. It was ridiculous, because Martine Carrol[...]ehind my head. I had to move my head according to the direction of her eyes so she could see the board. I asked her to make a slight gesture when[...]ished talking because I could not recog- nize it [the way she spoke]. One day, Ophuls had me do a four-and-a-half minute take. I was the ringmaster and had to shout as all sorts of horses and things and a dwarf moved past. In the middle of one of the many takes I suddenly got hoarse, and I sent the dwarf for a glass of water. He was surprised as it was not in text, but he went away and got it. At the end, Ophuls came to me with a slightly res[...] |
| l ' ‘I The glittering occasion of the London Film Festival's 25th jubilee brought a singular honor to the Australian cinema: Gallipoli was chosen for the gala open- ing, in the presence of the Prince and Princess of Wales, five weeks before the film was to open in London's West End. British critics, predictably bemused by the sprinting sequences, keep compar- ing Gallipoli to Hugh Hudson’s Chariots of Fire, but it is closer to All Quiet on the Western Front. Of course, the script takes the easy (though historically ac- curate) option of blaming the British commander for the battle‘s tragedy; had he been less stupid, the Anzacs may have survived, and won. The ethics of winning — that is, the ethics of war — are never even questioned. With the period setting, the attitudes of the period dominate the film's emotional world. But Gallipoii leaves a memory of Russell Boyd's fine camerawork flatter- ing the handsome horses and men, flashing smiles and sunny skies; and of one heart-rending moment as the soldiers festoon the sandbags along their trench with personal possessions which, at the sound of the attack, sldnly _ rn into treasured mementoes of the dead. Peter Weir's London Film Festival triumph[...]s: John Duigan’s nostalgic yet quizzical Winter of Our Dreams; Michael B|akemore’s disarmingly candid Personal History of the Australian Surf, where he establishes himself as the perennial “straight poofter”; Gillian Armstro[...]etter, which was paired off with my favorite film of the year, David Bradbury’s Public Enemy Number One[...]t, Cinema Papers, No. 32, p. 142). Gratifyingly, the best of the films New Zealand showed at Cannes, smash Palace[...]nd all who caught its single screening liked it. In common with every other festival, the London Film Festival receives agreat deal of criticism from various quarters. With apparent an[...]rectify everything that could possibly be faulted in connection with their programming. Too many big-[...]stablished directors’? Well, there is a section of the Festival devoted to New Directors. Too many films which reflect the taste of the middle-class, middle-aged Establishment? Answer:[...]ough avant-garde works? Well, try to separate all the British and all the American films into mainstream and in- dependent cinema, and keep one‘s fingers crossed that enough of the in- dependents should turn out to be avant- garde as well. Above all, never let it be said that the Festival neglects the Third World. This year it had six films from Africa — of these, Trances, directed by Ahmed El Maanouni, was the most praised — and 12 from Asia. After all, they make more films in Asia than in the rest of the world put together, and with two new films by LO[...]il Taylor “iii Ian McKeIIar as D. H. Lawrence in C /rrislopher Miles’/ilm of the writer's life, Priest of Love. Mrinal Sen, a Lester Peries from Sri La[...]were six films from Latin America — never mind the quality, just feel the revolutionary fer- vor. Of course, the Controversy section consists of films difficult to classify, and easy to misconstrue. It may be a practical way of labelling, like the “Miscellaneous" drawer of any filing clerk. And yet, how can such disparate[...]do with atom bombs is necessarily controversial: The Day After Trinity, by John Else, about the work of J. Robert Oppenheimer and his team, is history by now. But then, Shuji Terayama’s The Fruits of Passion, perhaps because a semi-Western cast incl[...]under Controversy. To accommodate such films as The Fruits of Passion, Mauro Bolognini‘s The Lady of the Camellias, Bertrand Blier’s Beau pere or Frank Perry’s Mommie Dearest, the London Film Festival will need to invent yet anot[...]ould be, simply, Moneyspinnersl British — Best of. . . ? When the London Film Festival began, its avowed aim was to bring the best foreign films, particularly winners from international festivals, to London. But when the British cinema Iurched from crisis to crisis, the Festival has increas- ingly accepted the provision of a show- case for new British films as its duty and included them in the program, whether they reached the highest international standards or not. Some British productions can of course stand up to any comparison, and cannot be[...]h have broken through international barriers; but the only feature film of this class had already been seen at Cannes: Ken Loach’s Looks and Smiles. But neither the critical esteem it achieved in Cannes, nor its success in London, has achieved cinema distribution for it.[...]vision — Adrina, directed by Bill Forsyth, with the supernatural element so dear to BBC-Scotland, and[...]eenplay — Looks and Smiles too is going back on the shelf, awaiting its television broadcast. Two fi[...]Burning an illusion, had been shown at Edinburgh in August. They were aided by the BFI Production Board, whose finances are on a much smaller scale than the Australian Film Commission's; the result is that their films look as if they were made to order for the “alternative festival circuit" of Edinburgh, Mannheim, Rotterdam and so on, and ten[...]complicated time- structure to avoid that bugbear of “the bourgeois cinema", plain linear narrative. Noneth[...]finer points, even apart from its worthy ideology of drawing parallels between Irish rule in Ulster and the male domina- tion endured by lrish women. There are some excellent scenes, mostly location shooting (in more than one sense of the word) in Belfast, and, towards the end, the family relationships emerge with increasing sensitivity. But it has many faults as well, which all stem from the script. The photography is more than competent throughout, and some of the acting catches the-mood, as well as the intonation, of militantly lrish speech patterns. By contrast, B[...]director, contrives to present a radical subject in a conventional, almost soap-opera format. The heroine, a British-born colored girl, starts with the morality and expectations of middle- class British society, only to find that these attitudes and aspirations are not shared by the young men of her world. Firstly, circumstances force her to look for her roots in African culture and racial consciousness, which develops her dignity and strength. In spite of slight faults, Burning an illu- sion brings out the relevant emotional and social issues without overt comment or proselytizing. The British premiere given special prominence, by being chosen to close the Festival, was Priest of Love, directed by Christopher Miles from Alan Plater's screenplay, based in turn on Harry T. Moore's biography of D. H. Lawrence. As with so many British productions, the cast of established theatrical stars (Ian McKellen, Janet Suzman, Penelope Keith) do their utmost, but the script has a numbing banality, in spite of the juicy literary scandals of Lawrence's life, and the direction has all the verve of a metronome. As shown in Ken Russell's Women in Love, Lawrence is the one writer whose works can sustain an imag[...] |
| [...]ell could have handled his life as well. instead, the passions of Lawrence's life and the tragedy of his death, at the age of 45, are all presented in the golden glow of an aperitif commercial.The documentaries, however, were of a remarkably high standard. Even though it may have been better suited under the heading of Controversy, The Animals Fllm, written and directed by Victor Schonfeld, is outstanding in every way. It covers one of the most debated is- sues in Britain: the treatment accorded by people to the other animals. The film first shows the misuse of animals as pets. then their abuse in factory farming, their torture in laboratory experiments, and the deliberate encouragement of cruelty in such traditional sports as foxhunting, deer shoot[...]sing. Well- structured and thoroughly researched, the film is as good as its footage, some of it shot in secret, possibly allows. While it may help the Animal Liberation Front, whose campaign the film supports, it is also good cinema. Another documentary. So That You Can Live, made by the Cinema Action collective, follows the life of a Welsh family through five years of economic and political change. Another dimension is added by linking the family’s attitudes to those of the 19th Century Welsh work- ing class, and the Evening institute and Worker's Library movement which characterized the previous generations. In spite of occasionally confusing flashbacks, and its rather random inter- cutting of the general with the intimate, So That You Can Live is a remarkable experiment, testing to the limit the honesty possible in a documentary, and accepting the process of filmmaking as a factor of change in the family's life. A last-minute addition came from Lutz Becker, whose The Double-headed Eagle, shown in 1973, established him as one of the major figures in the historic documentary. (Becker had also co- operated with Philippe Mora on Swastika.) His latest film, Lion of Judah, also took several years to research, collage, edit and provide with a commen- The history of a Welsh family through five years of economic and political change: So That You Can Li[...]PAPERS tary. Becker’s basic technique is still the same: he uses the original, contem- porary newsreels and propaganda films to show events; but junking the original soundtracks. Instead, he adds commen- tary in which he is not ashamed to show hindsight, as well as music, to deepen the meaning of his images. In Lion of Judah, he uses the recordings that an anthropologist friend made of Ethiopian folk music in the 1960s. Musso|ini's campaign to annex Ethiopia in 1936 is shown as an at- tempted genocide of unmitigated cruelty. The newsreels showing the Italian ad- vance are actually seen from the point of view of their victims, and fascinating footage which seems to come from Haile Selassie's private records illustrates the Emperor’s brave but doomed resistance. The most moving moment of the dis- cussion, and possibly of the entire Festival, came when a member of the audience thanked Lutz Becker for the compassion and dignity his film dis- played towards the people of Ethiopia. Even apart from Becker's co- production, German films appeared to advantage in each Festival section. Volker Sch|ondorff’s The Forgery, another last-minute addition, aroused the most interest: it examines a German journalist's confusion in the civil war of Lebanon —— it hardly matters whether a few years ago, or in the present. Among the New Directors section, Percy Adlon’s Celeste, w[...]y Sohrab Shahid Saless, came on video only. It is the most visually ambitious of Saless’ films so far, and as he has already collected a solid corps of British admirers, a large-screen showing would ha[...]Reinhard Hauff‘s Endstatlon lrelhelt lost even the pun of the title in the translation (in English, it is called Slow Attack) and the sub-titles lack the subtlety of dialogue which, in German, establishes the complex characters. The London .*‘t“ One of the finds of Cannes I 981: Percy AIdon’s Celeste. audience was left with an above-average popular thriller, without the philosophical undertones. The Controversy section also included Frank Ripploh's[...]rte (No Mercy No Future) by Helma Sanders-Brahms: the latter won the BFI Film Award for 1981 as “the most original and imaginative film introduced by the National Film Theatre during the year”. This is the first time since the Award’s in- auguration that it was won by a woman. The jury described Die beruhrte as “a daring, imaginative and moving portrait of a schizophrenic woman, which questions society's definitions of madness and exposes its intolerance towards those beyond its under- standing". Multiple Choices In keeping with the London Film Festival tradition, most foreign film[...]be happier to choose more than one film, but, all the same, it adds a pleasant, personal note to be res[...]efore, during and after its screening — and for the director, should he choose to come. Had I seen Miklos Jancso‘s The Tyrant’s Heart, I may have chosen it, if only b[...]eals, and this is his most complex and emblematic in a long time. However, my nominee, Duty Fre[...] |
| [...]bout visas and regulations about citizenship blur the borderline between right and wrong for their vict[...]can handle serious subjects lightly.Apart From The Films All in all, the Festival should not be criticized for any of its programming, as It would only result in 20 more films being added to an already overcrowd[...]ism should be (or must be) directed at its venue. The National Film Theatre is far too small for a festival for the 10 million inhabitants of London: not only its auditoria, but the foyers, bars and other facilities all become squalid half-way through the day. The present system of a few (eight, to be precise) forays into Leicester Square on Sunday mornings, or up the stairs to the Queen Elizabeth Hall, may relieve the congestion a little, but without adding giamor. A[...]itional publicity to justify some investment from the film industry or the distributors; a larger theatre would make it- possible to accommodate the larger public which is frustrated by the present system of preferential booking for British Film institute members. Then, there may be room in the NFT — even if only in the smaller NFT-2 — for press conferences. Now, dir[...]nd that their only contact with their audience or the press is limited to a discussion after the screening. This is sometimes cut to 10 or even fi[...]saying: "We must leave now, but you can continue the discussion in the foyer” - that is, in the middle of hundreds trying to get in or out, queue- ing at three box-offices and four toilets. Any discussion in such a place creates a traffic jam rather than a more subtle understanding of a director’s work. A skilled journalist can alw[...]t an audience reaction to a new work. So, even if the idea of moving to the heart of London continues to meet resistance, it should be possible to make time for proper press conferences in London, as at any other proper festival. Even if two hours were set aside each day, in the smaller of the two theatres, it would only mean a reduction of 19 films. Out of more than 130, this does not seem to be an irredeemable loss; and perhaps the Festival would be less like a factory with films[...]on day and night shifts. Mari Kuttna Animation The Festival's Animation section continued its tradition of cramming into two programs an admirable and numerically limited selection of "the best of" world and British output. Forty films were screened, ranging in length from 13 30-second British commercials to t[...]tful and deceptively simple Canadian film History of the World in Three Minutes Flat — proving that it is breathl[...]winner at Ottawa 1980, Mills‘ mad-cap rush from the Beginning to the End was warmly received by the audience attending the gala opening of Peter Weir’s Gailipoli. At the 1980 Zagreb Festival the inter- national Association of Animated Film- makers (ASIFA) agreed on a redefinition of “animation" — from the old “frame-by- frame" to “the creation of moving images through the manipulation of all varieties of techniques apart from live-action methods”. Thi[...]date such new techniques as com- puter animation. The 11 films in the world program, selected from entries in the 1981 Annecy Festival, included a Polish film which offended animation purists and inspired the Annecy Jury to award it the Grand Prix: Zbigniew Rybczynski‘s eight-minute Tango. it pushes ASlFA's definition to the limits. Flybczynski uses individual photo- graph[...]to create pixiliated, but not quite, live-action. The film opens on a room. A ball bounces through the window and a boy climbs through to retrieve it. A woman enters cradling a baby, then sits at the table and nurses it. As she stands and leaves, a[...]side door carrying a package. While he is placing the package on top of the wardrobe, the bail bounces through the window and the boy climbs through to retrieve it. When the man leaves by another door, a thief lurking at the window steals the package. As he is leaving, the woman cradling the baby returns until some 36 characters crowd into the room, wordiessiy perform some private motion, then leave — only to return almost immediately and repeat the same action exactly: a naked woman dressing; a ma[...]ts and flexes his muscles; a couple makes love on the bed; a baby's nappy is changed; an old woman rest[...]A rhythmic tango melody by Janusz Hajduk provides the metre for this superb, surreal dance of everyday life. The State-room scene in A Night at the Opera is similar; but Tango is not played for laughs. At the Zagreb Festival, the emerging Josko Marusic, from the Zagreb Film Studio, won second prize for Fisheye.[...]and hyperactive cartoon recounts yet another day of life in a tower block. Little figures scurry about the cross-section of the building — the main communication channels being the lift and the sewer. The activities are depressingiy routine and occasionally repetitive, like the naked girl lying on the bed waiting for a man who peels away layer upon layer of clothing. Some are blissfully ironic, like the man who deviously conceals his money in an open wail-safe behind a painting, only to have a gaggle of chortling thieves pitter-patter away with the painting. And some are tinged with despair: a tenant who fails to wake up is rushed away in a coffin by the squad; a character paces in a room and bleeds into the toilet; a man threatens to jump and does so; a child searches for its mother. Toward evening the workers return and pack into the lift. At night, all except one sit isolated in their rooms watching the same television program. The loner locks himself in the lift’ and screams. Two films touched upon the subject of I 981 London Film Festival the aged. The first, from The Netherlands, was Paul Driessen‘s dis- passionate and fataiistic Het treinhuisje (Home on the Rails), a black comedy about two pensioners taking tea in a room. Every hour, when the cuckoo strikes, their routine is interrupted by a frantic thumping on the door. The woman opens it and a squirrel leaps in and flattens itself against the wall. When the opposite door is opened, a train roars through the house. Driessen‘s finely- lined figures, cool pastel colors and wry humor are contrasted with the lumpy characters, some running gags with the cuckoo clock and a mute tragedy when the old man lies across the rails after his sackfui of gold has been stolen by claim- jumpers. The second film, Birgitta Jansson’s Semesterhemmet (The Summer Camp), won public and critics’ prizes at Annecy and was the Festival program’s sole clay animation film. it[...]son’s eye for character is sensitively realized in the figurines‘ modelling, movement and gesture, and is charmingly enhanced by the idea of providing her characters with actual voices recorded at a Swedish summer camp in 1980. Although the Festival was not provided with a subtitled print, the documentary technique is sufficiently atmospheric to raise the issue of verisimiiitude — an issue which is succinctly and plausibly resolved. Ferenc Rofusz’s A legy (The Fly), from Hungary's renowned Pannonia Film Studi[...]as a masterpiece. Told subjectively and drenched in golden monochrome, the artwork effectively simulating wide-angle distortion, it is about a fly which senses the approach of autumn and, seeking refuge, buzzes into a farmhou[...]ly an irritated and unseen human pursuer launches the fly on a frantic bid for escape and survival. The film excited spontaneous applause and won the Best Film Award at Ottawa 1980, then went on to win the Oscar for the Best Animated Short Film of 1981. While these are early days for its inclusion in an Animation Pantheon, A Iegy is nevertheless tec[...]and engagingiy witty. Compared with these films, the six selections from North America were mostly parochial and nostalgic. in George Griffin's Flying Fur, a strike by the mice at ACME Film Productions Simulated wide-angle distortion: Ferenc Rofuszk The Fly. CINEMA PAPERS April — 133 |
| [...]m Festival provokes a chase by their colleagues, the cats. The film unintentionally captures the drift of the North American entries since, as a homage, it uses the soundtrack of the 1944 Hanna-Barbera cartoon for MGM Putting on the Dog. The other American entry, Barrie Nel- son's Opens Wedneedey, wasn't any more promising. it turns on the idea of a theatre producer rehearsing his cast of shapes and characters to a colorful floral finale[...]ed by such lines as, “Excuse me. have you heard of Stanis- lavsi<y or Woody Allen?” from the theatre's interfering cleaning lady. Opens Wednesday was awarded the jury prize at Ottawa '80 and the Grand Prix at the 1981 ASlFA Festival in New York. The four Canadian entries were better. Winning a Special Jury Prize at Annecy, Frederic Back's Crac is the story of a handcrafted rocking chair from the moment the carpenter fells a tree (hence the onomatopoeic title) in a small farming community in 19th Century Quebec, through succeeding generat-[...]fields and lifestyles. to its last resting place in the city's Museum of Modern Art where it is used by one of the attendants. The set- piece rural wedding reception, where the blue-shadowed revellers swirl to Quebecoise folk music. is joyfully repeated in the darkened museum. The rocking chair is once again the centre of attraction and it whirls the sterile abstracts back to a richer, more un- equi[...]ast Sing, from international Ftocketship Ltd, won the prize for a Film for Children at Annecy. Burrowed away behind the razor-sharp lines and flat color areas of conventional cartooning is a surreal behind-the- scenes look at showbusiness. Toledo Mung Beast, half-man half-cephalopod. lazily performs the laid-back Willie Mabon blues number, "|'m Mad", on a baby grand for Vern and his pet cactus. In an adjacent, modishly-furnished loungeroom, a chicken roasts a chicken over a candle, Black Ear the Dog sits frozen with his scotch and a poodle leaps about blowing a cool sax. When Toledo finishes and tosses the question, “What do you think'?", the room does a Dali by obligingly melting. Crac and Sing Beast Sing demonstrate the Capabilities of Canada's emerging independent animation industry, though the National Film Board continued to reinforce its so[...]with two superbly-crafted films. Sheldon Cohen's The Sweater, from a story by Roch Carrier, is a charming reminisc- ence about how, in the winter of 1946 in the small Quebec community of Ste Justine, a 10-year-old boy faces his life's[...]ite and blue French Canadian hockey sweater, with the famous Number 9 on the back, becomes threadbare and his mother buys a new one by mail-order. When the sweater arrives, the boy finds it is not the familiar French Canadian Number 9, but the blue of the rival Toronto Maple Leaf team. He throws a tantrum, to little avail. The boy is doomed to go down to the village rink in his new Toronto Maple Leaf sweater and be rejected by all his friends wearing the French Canadian Number 9. The village curate pronounces him a rebel and sends him to church to repent. “I asked God", recalls the older and wiser narrator, "to send a hundred mill[...]o eat up my Toronto Maple Leaf sweater." Clearly the best of the North American entries, however, was Clorinda War[...]after her sudden death by two fellow animators at the NFB, Lina Gagnon and Suzanne Gervais. it is a film of simple. mutable beauty. Lines like vapor trails, pulsating with a life of their own, swirl in constant flux against a background of pastel shades to momentarily suggest an image — a landscape at sunrise, a man and a woman, the birth of a child — before dissolving in a melange of rippling line and soft hues, thus unfolding the idea of perpetual creation. Merging with these transitory[...]t Annecy and, together with Tango and A legy, was the highlight of London's World Program. The influence of the peace movement and the concern of the Committee for Nuclear Disarmament were evident in the Festival's British Program. Ofthe 15 films and 13 advertisements screened to an audience composed largely of members of the local industry, four films were pessimistic about the present, while another four dealt specifically with the coming holocaust. And. while British animation co[...]resourceful and competent work by newcomers. For the first time for two years, however, the work of Bob Godfrey (Dream Doll in 1979 and Instant Sex in 1980) was sadly absent. Russell J. Brooke's The Comic Story is an oblique and light-hearted frame story set in that vague land where reality and fantasy converg[...]alks home through a graveyard where an assortment of ghouls scheme to distract him with a few transmogrification tricks. The boy is oblivious to their antics (including a di[...]: "Lines like vapor trails, pulsating with a life of their own I34 — April CINEMA PAPERS A Treb[...]Ian Moo- Young. change into a bat, succeeding the second time only after colliding with a tombstone wicket) because the comic characters are more horrifically compelling[...]ch was first. Sheila Graber's Face to Face takes the idea of metamorphosis into more familiar territory. Using the simple technique of animating a paint and crayon sketch, she ages a c[...]er James’ After Beardsley, with artwork ghosted in the artist's style suggesting how he would have postered the modern world, including The Bomb. if he hadn't died of consumption at the age of 25, and the Brothers Quaij's Ein brudermord (A Fratricide), a[...]wed as two insects, would have won pens down. As the opening titles came up for the latter film, one scornful member of the suddenly restless audience cried out, "What is a German film doing in a British Animation Festival?'' The four films which presented a nuclear Armageddon a[...]gence was regrettable. They were introduced with the well-known "The Babel Fish” episode from Douglas Adams’ Hitch-hiker’s Guide to the Galaxy, animated by Rod Lord, for the BBC. it was followed by Pretend You'll Survive, a[...]r removed from World War I propaganda films about the ravaging Hun, it achieved image overkill as it fo[...]television screen. “It could happen today", but the day passes uneventfully: "lt didn't happen today.[...]ity prevails. Then it happens. After a long night of street cries and civil unrest, she emerges from the ruins of her home to find the landscape devastated, her body ravaged by radiation and the air swarming with bloated flies. "Don‘t Pretend to Protest" warns the grim end- title. Robin Whiteman's sequential and pessimistic The Way of the Fool presented, but hardly developed, a novel idea: Tarot cards for the nuclear age. Moving from Creator/inventor — through such opposites as The Cycle/The Wheel, Revelation/Explosion and The Star/The Blast — to Whole- ness/Extinction, each card depicted a rapid, multicolored pattern of images: from the sea and the land, to missiles and The Bomb. The best of the peace films, however, was John Hales’ Dilemma,[...]with a pessimism about man's destiny bordering on the grotesque, Dilemma is a grand parade of familiar and cherished icons fragmenting to reveal tableaux of apocalyptic potential. The mask of Tutankhamun becomes an Egyptian war chariot, Greek and Roman busts of philosophers easily change into phalanxes and legions, an Aztec idol becomes an army — as does the bene- ficent image of the Buddha, and Leonardo da Vinci's contribution included designs for military machines. Although the intent behind succeeding civilizations’ resort[...]eir development rather than sinisterly bellicose, the game was always up. But now the development of microchip technology provides improved missile de[...]ships become larger, swallowing smaller versions, in a cosmic and technological version of the survival of the fittest. Frequently these images revert to the bland. changeless icon of man. lmpassive throughout history, blinded by today's media, ignorant about the consequences of conventional and nuclear armament, man is about as secure as a light globe target for a rifle. The remaining films were a jumble of varying styles and particular interests. They included Nick Lever’s orthodox John Barleycorn, the song with pictures; Stuart Wynn Jones‘ elaborately supple experimental film Organic Canonic Icon, in which tubular shapes flourish luxuriantly around an onrushing vanishing point to the soothing strains of Pachelbel's “Canon"; Neil Thomson's suspenseful extrapolation of a Max Klinger etching entitled In Fiagrenti; Alex Brychta's Flora Dance, where wild- flowers are used as convenient instruments in a live-action day- dreaming youth's ‘brass’ band — the notes being cleverly improvized by Vivian Fisher'[...]xed; John J. Miller's accomplished cartoon Act V, the Graveyard Scene from Hamlet, characterized[...] |
| [...]Timothy Forder's sympathetic little cartoon about the platonic love-life of an ugly little man, with a heart of gold, named Marun Buchstansangur, who lives alone in a crack between the kitchen floor and the cupboard.Overall, the 13 commercials demon- strated the British industry's search for a narrative format[...]irtation with musical interpretations. And, while the work of Richard Taylor and Vera Linnecar was absent, Geof[...]their successes at Ottawa '80. Dunbar was awarded the Grand Prix for Ubu and Vestor received a Special[...]ovided two more commercials for Alka Seltzer, and the prolific lan Moo-Young presented his Magoo-like Norman Normal character in a gaudy and fluent ad for Trebor’s 'Dandies‘.[...]s by Eric Goldberg. Nairn Arena Cushion Floor and the anti- smoking Nick-0-Teen, and the lyrical Tempest ad for Shell by Russell Hall. The final film on the British program. Richard Wolff's Still Life, is a bright and ingeniously-scripted satire on the life and aesthetics of the egocentric Scottish artist Lawrence Angus MacConI, renowned for his dining and vehicle pictures. Lawrence, the narrator Gary Bond tells us, tried most schools of painting -— Cubist, Surrealist (witness his “[...]nce stated that his paintings could be understood in one second, his bio- graphers take him at his wor[...]'s work. With a script as taut and witty as this, the visuals become complementary: "ln one moment he became older. One moment. Older." The moments in this intelligent and hilarious spoof of the art world and films on art are rich and many. Jazz The Jazz Program consisted of shorts and feature-length documentaries, mostly from the U.S. The Festival audience was touched, not only by the music and the cloying sense of nostalgia, but also with gratitude for the concern of sympathetic filmmakers who managed to retrieve some moments and memories of past musicians which would otherwise have been lo[...]- becke's gin-soaked latter years, before he died of pneumonia in New York on August 6, 1931, that many people remember. The drink —- and his music. The tone he achieved was difficult for his contempora[...]in' else". As Louis Armstrong was to say later on in -the 1930s, "Ain't none of them play like him at." y Armstrong's comment still stands and forms the subtitle to Bix, a labor of love by CBC-TV producer Brigitte Berman. For four years, in her spare time, she criss- crossed theof time, had not been able to forget him after 50 years.” in this comprehensive film biography, narrated by Ri[...]and Edward Hopper paintings (no film exists today of Bix playing), Berman has assembled as rounded a portrait as we will possibly ever have of the jazz musician who, along with Armstrong, was the heart of jazz in the 1920s. She has also collated an enviable collection of Bix’s work: “Jazz Me Blues”, "Royal Garden Blues", “Riverboat Shuffle" and “Tiger Rag” by The Wolverines; “Davenport Blues" by Bix and his Rh[...]he provides some cool and lingering seascapes for the recording of Bix playing his piano composition "In a Mist", it is a reminder of the theme throughout — that Bix Beiderbecke was a p[...]explains. talked through his music "straight from the heart and told you what he was thinking”. Berm[...]athetic film is enjoyable and timely, and it sets in high relief the realization that Bix Beider- becke, the “born genius” who opened up new avenues of harmony and melody for jazz, died at the age of 28. Fortunately for the audience at Sun Ra: A Joyful Noise, frozen aghast like their compatriots in The Producers, director Robert Mugge surfaced to give[...]ctive. “Sun Ra”, Magge explained, “was born in Birmingham, Alabama, in 1915 and not, as he claims, on Saturn.” it nee[...]nal philosophy is accessible to just a few. Here, in 60 kaleidoscopic minutes, Mugge provides the gaudy, robe- apparelied Sun Ra every opportunity[...]th an audience he couldn't care is there or not. The experience is not altogether incomprehensible, at least in the short term. As a jazz iconoclast this key- boardi[...]y advanced") and drummer James Jacson (“Sun Ra, of course, showed me a whole — another idea about[...]ntally, Sun Ra’s communal family. Sun Ra revels in his role as a visionary, linking Egyptian mytholo[...]ystery." Mugge has assembled a liberal selection of Sun Ra’s music, interviews with band members and Sun Ra's lectures straight into the camera: “One day a voice from another dimension[...]may as well practise and be prepared for it", “in my music I speak of unknown things", “They say that history repeats[...]ition because they don't know what they're doing. The people who do know what they're doing haven't pro[...]ay a reality”, '‘I want people to become part of the magic myth and the magic touch of the mythocracy — not theocracy, or any of your other ‘ocracies’ and “They say that h[...]not my story. What's your story?” Sun Ra lives in Philadelphia. What Michelle Parkerson's “... But Then, She’s Betty Carter" lacks in technique is saved by its subject's enthusiasm. The bebop singer's commit- ment to her music and her zest for life is infectious. Parkerson began her film in 1976, but only managed to complete it shortly before the Festival: two of those intervening years were spent searching for[...]ing conversation with Carter with material filmed in a concert at the Cranston Auditorium. Betty Carter reveals hersel[...]to “My Favourite Things", or when she discusses the album she recorded with Ray Charles to “The Trolley Song". Gladly the cuts are relatively unobtrusive, allowing Betty to seat offstage about a variety of subjects: her scorn for black musicians who abandoned jazz "to make a million dollars” but of Motown and Soul, her concern that black educators should be helping black children learn from the black singers of the '20s and '30s, and the pride she has in her career — "Today, it you’re a man, you've[...]If you're a woman you're ‘independent’ . . . in the old days it was just ‘working hard'." Her reminiscences of the early days of bebop in Detroit, hanging out with Charlie Parker, Miles Davis and John Coltrane, experimenting with the flatted fifth and the scat, are as lively and as anecdotal as if they w[...]ollowed up with him appearing onstage with her at the Cranston, tinkering on treble. But Parkerson's film is clearly not a biography, nor does it unravel the "mysteries and innuendoes" about Betty Carter whi[...]ed Parkerson to her subject. it is a relaxed view of a modest singer who, after a quarter of a century of being in the vanguard of bebop, can still say, ''I think i am a jazz singe[...]icago's Maxwell St market, for more than 60 years the venue for sidewalk blues musicians. The color and sound of the musicians emerges from black-and-white photographs of the area when it was established as a market by Russian and Polish immigrants in the early 1900s. Then, with film clips from the '50s, stills and a roving camera, the film gradually charts the change from the time when the only music heard was the cash register to today when Jim Brewer, Playboy V[...]Little Pat Rushing, Floyd Jones, Carrie Robinson, The Clarksdale Blues Band and many more can be found. Much of the flavor of the '20s and the years since is recalled by the crusty raconteur and blues musician Blind Arvella Gray (who had his eyes shot out in 1930 in an argument over a woman) remembering how Charlie[...]aters among others have all played on Maxwell St. The filmmakers have also used clips from Gray's home movies, taken on Maxwell St in the '50s, and dedicated the film to him. Blind Continued on p. 188 C[...] |
| 1/ 1. /' E loved /' the the- atre as a child. We had an English teacher who, in- stead of our English lessons, allowed us to produce whatever Shake- speare play we were doing at the moment. I used to direct those. Then I did my Arts degree, majoring in drama and English. When I finished, I just though[...]had done acting lessons at university and gone to the Independent, but I found the theatre more and more claustrophobic and interior, so the idea of making documentary films became very exciting. I was quite naive going into it, in a way. Even little news clips on television seemed so interesting, because it was much wider, out in the open, and not that theatre experience of going into musty theatres in the daytime to rehearse, Where did you start making[...]re was a place that made documentary films called the Commonwealth Film Unit, and that I might get a jo[...]hey had an arrangement about a certain percentage of women —— like about two girls to 10 boys — and a girl had just left, so I got the job. It doesn’t seem acceptable now, but when I first started doing it I liked the adventurous life. It seemed great, constantly fin[...]ituations that you normally wouldn’t get into. The other thing that appealed to me about film was the combination of visual and intellectual elements. My mother is an[...]have something to do with that as well. I thought the theatre was wonderful and I always really liked w[...]vision. I can watch television or go to films all the time. 136 — April CINEMA PAPERS xws tr “xx[...]Your first films were all docu- mentaries. . . The trap with documentaries is that when you find a good story you want to make reality fit the story: you try to rearrange reality, consciously[...]rific to make a film about. You then try and make the people be what the idea is, which is unfair to the people. But it is also unfair to the good story if you can’t do itjustice. It seems[...]to. Documentary really works when you have a lot of freedom and a lot of footage, and you go in to find the truth. But then the same thing happens, because you get a.lot of footage and start making up the story in the editing. On the two films I most enjoyed making, She’s Meg Stewart. W My Sister and Slipway Dreaming. I arranged the material to my own vision. But you can't arrange[...]rst, it inconveniences them a lot because you are in their house for more than they had ever realized,[...]maybe three people’s experiences — yours and the two actors’ — and then create something more than just the script. It is not using people. I don’t think all documentaries do that, but that’s one of the reasons I wanted to work in drama. When did production start on “Happy Endings”? We started rehearsals in the last week in October and shooting in November. My plan was to have it finished by the end of last year, but obviously we are a bit over that now. I felt that if I didn’t shoot it before the end of the year I wasn’t going to make it. It has been going on so long it would have been silly. I have lots of other things to do. Where did the idea for the film come from? It sort of started as a joke and just expanded. I wrote the scene in the middle to begin with, and then wrote out from it. The scene is in a motel room where two people are watching Jean-L[...]once done that myself. It is a great combination of images. There is something about a motel room and[...]working outwards, which I often do when editing. In fact, I quite often don’t start at the beginning. As soon as I start using scisso[...] |
| John Hargreaves and Perme Hackforrh-Jones in the motel bedroom. Meg Stewart's Happy Endings. How do you feel about directing a drama for the first time? The work I did as a continuity girl was useful because I worked on a lot of dramas in one capacity or another. So the actual form of it is not too terrifying. The good thing is you can get actors to do it again, which you can’t in documentaries. You coax actors in the same way you coax people to give a good interview[...]e able to communicate with actors. I found doing the test scenes with the actors very stimulating and demanding. When we we[...]What does this line mean?” And I didn’t write the script going into great explanations ofof how you can shift the balance. Stephen would come out on top in the dialogue in one scene, but, if you added one more line of ‘dialogue, Angela would come out on top. Then it can change with the performers — the intonation or the strength of the actors changes it again. The thing I was conscious of in the script was trying to get that balance between them. The next thing I would want to do as far as drama goes is write a feature script, rather than direct one. The difficult thing about drama and films is that I don’t need to be the general in feature filmmaking. This means that I am not as dedicated as a lot of male film directors appear to be. I am not interested in having to control vast amounts of people. I can’t even bear the notion of being a ringmaster. anything, and also money — but the thing about directing that is hard is I would want to be very confident about my knowledge of the script. I don’t think I would be able to direct an episode of Cop Shop at the moment, though if I were shut in a room and told to direct Cop Shop I suppose I probably could. I guess I could tell the criminals how they should be interpreting the role. I’d feel uneasy about directing the action se- quences or choreographing fights, but I guess I would get someone in to choreograph the fight for me. I guess it would depend on whether I liked the script and how confident I felt about the characters. Ifl had an ideal, if I were going to[...]mercial but werejust slightly more true to a sort of artistic intent. I think Bob Rafelson is a good d[...]hn Huston’s Fat City was my favorite I can see the fascination of film.And then there areeven funny saying, “Let’s shoot the procession and let’s have three crews and a helicopter” and all that stuff, but I feel the good thing about drama is that you can have a fir[...]eople. I have no desire to shout at people and if the first assistant is really good, he/she can do all that. Then I can devote my time to the actors and the cameraperson. But the responsibility always comes back to the director, because everybody wants to know, and yo[...]ike that means your whole life is taken over, and the end product may not be as you wanted it to be. I[...]to be directing one feature film after another. The other thing is, in everything I have done, in radio programs and in the sort of writing that I would like to do, I draw on living experiences. And if you are working all the time, you can’t have any living experiences. I suppose you do [while making films], but that gets back to the unreality of theatre. Do you see yourself directing scripts w[...]do — I would always consider films like I Walk the Line, with Tuesday Weld and Gregory Peck, films that have something differ- ent. Lots of small films can be really good. I do like the extravaganza things, straight adventure if you wa[...]an’s World’s Just It and a Bit 1978 Not Just the Object Joining the Mouse Race 1979 The Thompsons 1982 Happy Endings But a lot of films that are _success- ful seem quite small in terms of actors and controllability. I am not that obsessed with drama. I can be really interested in whatever project I am doing. Veronica Soul stayed with me for a couple of days and I got really inspired by her. I wanted to make a film using the sorts of things she did; a documentary, but using animatio[...]mething I would want to keep doing. Perhaps it is the ultimate sort of media exposure, which I don’t even think about[...]Perme Hackforth-Jones and John Hargreaves: shades of Jean-Luc Godard. Happy Endings. CINEMA[...] |
| [...]. From 1969 to 1974, I was an actress at La Mama in Carlton. I was lucky to be a part ofthat scene. While the actors at the Melbourne Theatre Company were still speak- ing w[...]we were hypercritically and overtly Aus- tralian. The first plays ofjack Hib- berd, John Romeril, Alex[...]Williamson were performed at La Mama, and I acted in the original productions of Dimboola and The Coming of Stork. During this time I started direct- ing pl[...]"1fth—year medicine, I ran drama workshops with the inmates of Larundel Psychiatric Hospital. I had the courage to try anything. By 8 a.m. I had to be in the operating theatre assisting the anaesthetist. My lunchtimes were spent per- forming at schools and factories with the Portable Players. At night, I directed rehearsals[...]an active, if undirected, time. How did you make the transition from acting to writing? I was always[...]natural candidate. Improvization was a big part of our rehearsals and street theatre, and we were encouraged to write our own dialogue and this de- mystified the written word for me. This was the time you wrote ‘Dream Girl’ . . . ? Dream Gi[...]y child- hood and adolescence came tumb- ling out of me with amazingly accurate recall. It is a funny,[...]21 and now I have an active dislike for this kind of chaotic, emotional archaeology. It was workshopped successfully at the National Playwrights’ Confer- ence in 1977. How did you get into film? My only experience in film up until 1974 was small roles in local productions like Brakefluid. I cut my firs[...]por- trayed a woman’s thoughts by a succession of jump cuts and increasing close—ups. It worked well though, even though I didn’t think of moving the camera. The effect was like one of those cartoon book- lets which, when you flip the pages, create a continuous movement. Why did you go into film after medi- cine, rather than the theatre? I always loved film, but it was a matter of not having the oppor- tunity. Although I acted in several films and made one short comedy, it wasn[...]first scriptwriting job. How would you describe the kinds of films you have made and the sort of things you want to make? Rivka Hartman and actors in Hartman '5 Consolation Prize. Consolation Prize is a slapstick comedy which I made as a vehicle to act in. There was only one other professional actor in the entire cast of hundreds. On A Most Attractive Man, I worked with[...]one else’s script. I am particularly interested in comedy, but I feel open to any sort of film. Is there comedy in “A Most Attractive Man”? Yes, it is a witty black comedy. How did you find the script for it? Through a chance meeting with |
| M-‘ _>_$7‘V gf ‘fr ' _~_. ; H the writer in Darling St, Balmain. Did your theatre background help in At least two other people had tried film directing? to get funding for the project, but it was the team of Gilly Coote and myselfwhich finally got the film off the ground. Would you a ain direct another _ B person’s script? Yes. I am looking for scripts at the moment. On A Most Attractive Man, I enjoyed inter[...]ou approach a subject from someone else’s point of view. Inin the writing process. It would be ideal to work on a d[...]When you say two or three writers, do you mean on the same project? Yes. Writing is the first stage in filmmaking, which is a collabora- tive process. W[...]as easy as writing alone. This is especially true of comedy. What about the integrity of the writer? The work of the writer and director overlap to some extent. It is best for the integrity of the film when director and writer have a good understanding; but at some stage the director takes over. Directing film is totally d[...]der them- selves filmmakers and be familiar with the camera and understand the reason for each shot. Dialogue in film is more naturalistic than in theatre where conventions allow you to use poetic speech or even didactic argument. Theatricality in film is strange and usually doesn’t work. Perh[...]think my acting and writing and everything I did in theatre has been valuable exper- ience. Consolati[...]A Most Attractive Man is much more advanced. Who influences you? My mother and grandmother were devoted film buffs, and my brother and I were regulars at the local Saturday matinees. I thrived on a diet of serials and B-grade films on television. My grand[...]ntal trash and we would always have a good sob at the romantic parts. Now I love Fed- erico Fellini’s La strada, Marcel Carne’s Les enfants du paradis and the Marx Brothers. When I made Consolation Prize, I studied the early silent comedies of people like Buster Keaton and experience in vaudeville which gave them immaculate timing and a great knowledge of how to make people laugh. It is a pity that Mabel Normand, who taught them both about film, never achieved the fame or the opportunity to direct. They were total filmmakers[...]like Mae West, Jacques Tati and Woody Allen, all of whom have influenced me. Billy Wilder is a director with the greatest sense of humor. His films like Some Like It Hot and One Two Three are the funniest of all. Have you met any resistance as a woman working in film? Film is dominated by men, like the rest of society. I have had assessors patronize me and lab technicians treat me like an imbecile. In each case it happened because I am a woman. In general, women are better to work with. Their conditioning has trained them to consider others, and that’s the basis of working on a film. Would you employ women on a film in preference to men? I have never been put in that position. I think I’d treat each case as it comes. Was it accidental that most of the crew for “A Most Attractive Man” were women? Yes; we simply chose the best people for the job. It’s true that these turned out to be mostly Charlie Chaplin. They had years of women, and I think the shoot bene- Rivka Hartman Rivka Hartman Filmography [975 Fantasy Sequence I978 The Battle of Mice and Frogs 1979 Consolation Prize l98l A Most Attractive Man fited from this. However, the person who did our lighting, Paul Tate, is fantas[...]director is a man, too. What do you think about the films Australians are making at the moment? I think it’s an exciting time for Aust[...]e more contemporary stories about real people set in the city — films like Love Letters From Teralba Road, Mouth To Mouth and Pure S . . .. I love the Italian neo-realist films like Bicycle Thieves, because they are simple, emotional stories of people in the city. I’d love to make an Australian Midnight Cowboy. What sort of films would you consider directing? It is a deli[...]don’t much like neurotic films. I am interested in stories about survival. If you were asked to dir[...]x 3”, what would you say? I’d say I’d read the script. * Carole Skinner, Grigor Taylor and Julie McGreg0r during a break in filming of Hartman 3 A Dorian (Grigor Taylor) and Fra[...] |
| I thinkwomen directors have a dif- ferent way of depicting charac- ters and scenes in a film. Even with a gutsy director like Gillian Arm- strong one can still tell the film has been directed by a woman. They seem to bring more intimacy to scenes — maybe it’s just a way of handling sensory things. Certain male directors h[...]en seem to have it more. Also, female characters in their films come across stronger. Many male write[...]usually all right when it comes to old women, but the young ones are very often stereotypes. Even Dosto[...]t nothings, aren’t they? How do you feel about the por- trayal of women in Australian films? I don’t think many contem- porary roles have shown women in any depth. Very often the actresses have nothing to get their teeth into. I[...]e scripts written by women. I think this could be the answer. We could do some really good things. There seem to be more roles for women in theatre . . . Even then there are very few reall[...]ng part to achieve this. Is there a common theme in your work? The subjects very much dictate what I do. Until now, the docu- mentaries I have done have been on artists. I am totally influenced by the artists I try to represent. In a sense, this feature film I am doing [Emma’s War] will be the same. It’s dictated by the characters and by the time they live in. There is a certain mood I want to the 19403, the war. I don’t want it to be a heavy psychological drama. I want it to be a film that portrays the period and gives you some insight into the characters of the woman and her two children, and what the war does to them. You have written the script. Will you direct it? Yes. I wrote it with my husband, Peter Smalley, and at the moment it looks as though I will be pro- ducing it, too. The producers I have approached here have all been to[...]out four years ago, and I took what I had written in to Peter’s editor at Andre Deutsch, who thought it would make a good film. We came home to Australia [from Britain] and I sent an outline to the Australian Film Commission. Steve Wallace and the other assessors said they liked the idea and gave me a little bit of money — I think $300 — to develop the treat- ment. I thought that was very encouraging![...]w did you go about writing it? When we discussed the project, I had talked about the idea of using improvizations with the actors. But when I started the treatment, I real- ized I was never really going to get a script together if the whole thing were only going to be set out as guid[...]so I started. A few months later I went back to the AFC and the assessors (a different lot, of course) thought the script was lousy, more like a novel than a script[...]ve much to do with it, because it’s not my sort of thing — it’s all about women and adoles- cent[...]started to edit it and began to see possibilities in it which he hadn’t observed before. Then we decided to work on it together. get, of Last year I took the third draft to London with me and showed it to Alan Seymour and asked him what he thought of it. He wrote me a two—page criticism which was[...]nger, without losing its integrity. I also showed the draft to Sandy Lieber- son who said he thought it[...]still with Warner Bros? Yes, but he is now with the Ladd Company. He liked it, but he didn’t think[...]eached an audience anywhere, really. I then took the draft to Greg Coote at Roadshow and he said much the same sort of thing: it was too gentle, not dramatic enough for[...]At one point I thought, “God, we are changing the whole concept of the script and I will end up with this psychological[...]to do a Margarethe von Trotta—type drama about the psychological dis- turbances of two sisters. It’s meant to be a film about the celebration of life as seen by an adolescent, a film which will try to point out, in a subtle way, the stupidity of war. Actually, I was able to take some of the suggestions people made and develop them without changing my feeling for the script. We devel- oped a sensory scene for the mother which will give the actors a chance to do interesting things. So I di[...]t’s become much stronger. Who have you thought of casting in it? I gave the script to Michele Faw- don, who’s reading it. I want her to play the part of the mother; it’s a lovely part for her. She has to be a lush and still retain the audience’s sympathy. She is a warm, sensual woman, very protective of her children, very lonely — so she drinks too[...]year? . . . Yes, we hope so. Does this depend on the money arriving in time? Yes. I have people who will put money in providing the AFC come to the party. I’ll know in the next couple of weeks where I stand there. It appears you will be using a small crew . . . A very small crew; the absolute minimum. I think that is going to be bet[...]king with children, and getting performances out of them. How confident are you about directing acto[...]el- lous directors. I worked with Jack Clayton on The Innocents; I played the part of Miss Jessel, the ghost. One of the things he did when we had a difficult scene — where he had to do a close-up of me crying — was to clear the set. There were only Jack and Freddie Francis, the lighting cameraman, and about eight people instead of 80. I think a lot of directors and actors would work better that way.[...]ended being cut, anyway. Truman Capote, who wrote the script along with John Mortimer and Jack, thought all the close-ups of the ghost were too ~ ».".‘i§ Michele Fawdon ( in Cathy ‘.9 Child): to star in Emma ’s War. |
| [...]rthy, so out they went. I had very good training in New York at.the Theatre Studio with Curt Conway and Lonnie Chap-[...]n things that are going to worry me — keep- ing the camera fluid and so on — but once I start the first scene and am into it, anything that looks w[...]u have someone to handle production things during the shoot? Yes, I am going to have a very good produ[...]ll be directing, but I’ll have a lot to do with the art direction, too. I have a definite idea about the look of the film. I.’ll have a design co-ordinator working with me and looking for props and everything, but the overall decisions about the look of the film will be mine. Brian Probyn will be doing some tests “and then we will decide which of two very different kinds of period look we will go for — either a soft, warm, velvety look, or a strong decorative look where the patterns the shadows make will be emphasized. How long will the shoot be? Four weeks, with four weeks’ pre-pro[...]camera, and we will also have to do a fair amount of hiking up and down mountains —— a lot of it is being shot in a valley in the Blue Mountains — so we don’t want to carry heavy equipment anyway. What will you do with the film when it is finished? The script at the moment is with Roadshow, but I really see it more as an art-house type film, maybe showing somewhere like the Dendy in Sydney. I don’t see with that kind of budget it is going to be the sort of film that Warners would be interested in distributing. It depends . . . if the acting really takes off and it moves people, then[...]me why I haven’t done a short film first. Well, the answer is that it is so difficult to get them shown and it seems an awful waste of time, money and hard work to do a film that is pr[...]g a feature length, one can at least have a go on the market place. How did the 85-minute length arrive? Well, I was aiming at 90. It’s a fairly spare sort of script and it might take another five minutes either way, depending on how much time we devote to filming the land- scape, which is an important part of the film. It was originally con- ceived as an hour—long film, but I couldn’t achieve the slow kind of dramatic build-up I wanted at that length; it see[...]ends on a high note, which is good: Armistice Day in Martin Place. It will be news footage because of our low budget. Do you think we should be making[...]udget films? Yes. I feel that quite strongly. I The fashion parade in L”/ylie Jessop 's Flamingo Park. Filmography : C lytie Jessop 1970 The Stolen Child 1977 David Boyd: Return to Sfumato[...]1801-1878 1979 Flamingo Park 1982 Emma’s War (in preparation) have always felt that budgets for films are ridiculously high. It is just a shocking waste of money. Even with marvellous directors like Jack Clayton, I was always aware of the horrible waste of money; it just didn’t seem necessary. I think it is quite good to try and stick to low budgets. A lot of the world’s greatest directors made their best films on low budgets. The flops usually occur when they have too much mone[...]it alarming to hear people discussing their films in terms of millions instead of con- tent. And in certain areas one isn’t taken seriously if one[...]phic — Panavision, Steadicam, Dolby sound . . . the works — then I would love to have a go at some-[...]ve to do a really expensive thriller —- not for the money, but just to be able to use this marvellous[...]t about “Flam- ingo Park”, particularly about the way you have sold it? Columbia-EMI-Warner paid 3000 pounds ($5100) for the rights for three years. That was just for the British rights, but compared to what Roadshow pai[...]lian rights — it seemed very good for a short. The AFC had loaned me the money for the 35mm blow-up and Roadshow and Columbia-EMI- Warner used the 35mm negative. Columbia-EMI-Warner must have spent four times as much as I spent making the film on the 100 prints they had done. I wanted the film to be seen by as wide an audience as possible, so I was pleased with both those sales, although in retrospect I don’t think the money paid was adequate. It has also been sold to WNET-TV in New York for $5000. Apparently it’s a good stat[...]all a “high- class station”! l’ve had a lot of print sales locally: the National Gallery in Canberra, the Art Gal- lery of New South Wales and the State film libraries have all bought it. i[...] |
| some Reactions to the second 3 Edition ". . . an invaluable reference for anyone with an interest — vested or altruistic — in the continuing film renaissance down under . . .” VARIETY “The most useful reference book for me in the past year . . .” Flay Stanley SCREEN INTERNATIONAL “The Australian Motion Picture Yearbook is a great asset to the film industry in this country. We at Kodak find it invaluable as a reference aid for the i"dU5"Y-” David Wells Manager Motion Picture an[...]arkets Division KODAK “. . . one has to admire the detail and effort which has gone into the yearbook. It covers almost every conceivable facet of the film industry and the publisher's claim that it is ‘the only comprehensive yellow page guide to the film industry’ is irrefutable.” THE AUSTRALIAN “Anyone interested in Australian films, whether in the industry or who just enjoys watching them, will find plenty to interest him in this book.” THE SUN-HERALD (Sydney) “This significant publicat[...]ot only to professionals but everyone interested in Australian film.” THE HERALD (Melbourne) “May I congratulate you on[...]ul publication to us, and I'm sure to most people in, and outside, the business.” Mike Walsh HAYDEN PRICE PRODUCTIONS “The 1981 version of the Australian Motion Picture Yearbook is not only bigger, it’s better — as glossy on the outside as too many Australian films try to be an[...]ent as many more Australian films ought to be M THE SYDNEY MORNING HERALD “l have been receiving the Cinema Papers Motion Picture Yearbook for the past two years, and always find it to be full of interesting and useful information and facts. It is easy to read and the format is set out in such a way that information is easy to find. I consider the Yearbook to be an asset to the office.” Bill Gooley COLORFILM ". . . another good effort from the Cinema Papers team, and essential as a desk-top reference for anybody interested in our feature film industry.” THE ADELAIDE ADVERTISER “An indispensable reference for anyone working in or dealing with the Australian film industry.” David White BROOKS W[...]carefully researched and comprehensive directory of show-biz Australian style, the Motion Picture Yearbook is an indispensable guide — an encyclopaedia of one of the most progressive and exciting film industries to emerge this century." CLEO The Third (1985) Edition The Third Edition of the Motion Picture Yearbook will be totally revised and updated. As in the past, all entrants will be contacted to check the accuracy of entries, and many new categories will be added to the Yellow Pages directory and film personnel checklists. The Yearbook will again take a detailed look at what’s been happening in all sections of the Australian film scene over the past year, including financing, distribution and[...]vals, media, censorship and awards. A new series of profiles is also underway and will highlight the careers of director Peter Weir, composer Brian May, distribu[...]Anderson and actor Mel Gibson. A new attraction in the 1983 edition will be an extensive editorial section comprising three feature articles on aspects of Australian and international cinema, including film financing, special effects, and a survey of the impact our films are having in the U.S. specifications Size 85 (240 x 180mm) Design Extensively illustrated For release in September 1982. Extent 430 PP (BPPTOX-) editorial text in mono, 2 and Deadlines for advertising material on[...]Detailed section identification on tops and sides of pages. $19.95 lapprox.) board. laminated[...] |
| DESIGN 0N T RIAI the State of the TI ue to its visual nature and its roots, one has to face the fact that cinema is a contemporary artform. What is more, it is a popular artform: like all artforms of today, for the first time in the history of western man, it belongs to the people rather than being the sole prop- erty of the monk, recluse, dilettante, idiot king or the church. rt was never of great interest to the masses, and certainly wasn’t enter- taining when it was a tool to present them with icons for worship in the golden age of Christianity, or when paintings were commissioned to inflate the importance of officialdom through portraiture. Before the 18005, art had only been the property of the people when artists made personal state- ments or observations, which seemed to be the privilege of the Dutch painters from Hierony- mous Bosch through B[...]d within religious or monarchic requirements: for the glorification of man in the eyes of man, or man in the eyes ofhis gods. The social/political illustrators of the 17th and 18th centuries in Britain prove an exception to this general rule (Hogarth, Rowlandson, Gillray), but art was not freed from the hold of the cogniscenti until the mid—l9th Century. Conversely, art cannot exist in a world of its own; it must be broadcast, shared and discussed. The man sitting alone in a room of his house, giggling uncontrollably, is not a come[...]made public. Consequently, it is worth a look at the state of the arts in general — at a few prevalent attitudes to it, and its relationship with the rest of the outside world. It seems to be pretty difficult for film to be accepted as an art- form — the subject is badly taught at schools, and only considered from the point of view of criticism (after the event), or as a potential trade. Peter Wollen makes this point in his book Signs and Meanings in the Cinema (1969): “. .. universities still continue to parade a phantom of aesthetics, robbed of immediacy and failing in energy, paralysed by the enormity of the challenge that has been thrown down (at the feet of aesthetics by cinema).” Yet it remains as simp[...]e messages that people leave behind when they go. The theoretical study of film is no more complicated than the study of painting or music — the premises are the same as they always have been —— and, as the photographer CINEMA PAPERS April — 143 |
| [...]painter Man Ray observed, “There is no progress in art any more than there is in love- making.”All the arts in the 20th Century are open slather for anyone. Every aspect of mainstream work that has developed since World War 2 has been the result of innovation, experimentation, writing and discussi[...]s to principles and strictures that are as old as the hills that some of the earliest western pictures were carved into. The creative world is richer and busier than ever. Dozens of objects are tossed into orbit around the earth each year. There are people walking about with synthetic organs inside them, but the artist acts like a gourmet standing in an exotic delicatessen at a loss for what to buy for his supper; whereas, in fact, we now have the entire history of mankind, and his leftovers (or “art”, if you like), as our palette and visual vocabulary, to be used in any combination to express whatever we feel in painting, music, film or sculpture. What a splendid opportunity. Why, then, do we live in such a creatively-sterile climate? Some established artworks are as popular as ever: deliver a bundle of Blue Boy re- productions to a supermarket, and they will be out the door as fast as electric drills in the week before Father’s Day. The image is well established —— very obviously, a picture of a young man dressed in New Romantic style - and it is uncontroversial. Why? ut how about the commissioning, designing and erection of that bright yellow sculpture for the city square in Melbourne? The piece is actually called Vault, referring to the curved, leaping pieces and the enclosed vault below them. The piece was commissioned (by the city council that was uprooted only shortly before the sculpture was uprooted) to grace the bare floor of the new city square. The reaction by the press and public was strikingly similar to that of a pack of hyenas, accustomed to having the vast wastes of a desert to itself, coming across an archaeology expedition encamped for the night, setting upon them and eating every last soul. Melbourne’s citizens ate all the more ravenously when that “moral whore” and champion of free thought and speech, the press, disclosed the price that had been paid for the sculpture. The piece in question had to suffer the indignity of being used as a graffiti board and to wear its popular and bigoted title of the “yellow peril”, before being moved to a small park by the Yarra. The council which ordered the piece from Donald Swan must surely have approved the design and costing of this inanimate object on which so many people have vented their aggression against the Asians and asserted their determination not to look at anything that exists without apparent function; yet the council did not defend its democratic decision to com- mission the work. Despite the fact that Vault is by modern standards a conserva[...]cclaim for it until he is safely dead and buried, the rarity of the piece then increasing its value out of all pro- portion to its worth. I saw the commissioning, erection, dis- mantling and resiting of Vault as one extended “happening”, an almost perfect example of that artform. I recognized the concept of collective artworks (as a filmmaker must), and that the function and duty of the artist is to reflect and demonstrate the state of society of the time. I 144 — April CINEMA PAPERS had not realized that Melbourne was capable of categorized, and attempts are made to this kind of genius. The poet Paul Eluard had something to say on this subject when he described the work of the Marquis de Sade: “Written almost entirely in prison, the work seems to be for ever in disgrace and banned. The price that must be paid for its appearance in the light of day is the disappearance of a world where stupidity and cowardice bring with them all of our misery.” In a world where anything goes, we still try to arra[...]. , v. Above: Blue Boy — supermarket sales by the hundred. Below: Vault, now in its new home of Batman Park. rationalize the new as being a progression of its precursor. However, it is impossible to think in this linear manner without severe cerebral hemorrhage, because man, and his creations, exist in a continuum, not in separate, sequential time capsules, like an eveni[...]ogramming. e live with an ongoing de- velopment of past ideas, helped and hindered as we go by genuinely new inventions or discoveries, while the issues under discussion remain the same: how can I ensure eternal life?; thein peace?; what is reality?; and when do we get paid?, etc. This continuum of previous ideas being constantly re-developed lead[...]abels that have derived from innovative movements of the past are easily recognized when directly referred to graphically, but the concepts encapsulated within those images have al[...]ive consciousness. This is clearly illustrated by the work of the surrealist movement, whose main body of work under that group heading was done between theof its normal context (but not necessarily stating anything as a result). In other words, the contemporary view of surrealist ideas is linked with the paintings, objects and photographs by the group — the images they created —— rather than with the poetry, writing and films which show clearly that it was a movement of ideas and thoughts and jokes rather than a visual movement, such as the Post Impressionist school had been. However, these ideas were expressed articulately in a visual way, giving yet another frame of reference. |
| Above: The bridge “illuminated by night like a fairground[...]e Now. Right.’ Vincente Minnelli is An American in Paris with its painted backdrops.But are we tau[...]so, although their physical expression may not be in the particular styles with which we are familiar. A painting does not need to have drooping watches in it to belong to this school of thought. In film, the absurdities and horror of a ghastly wartime situation were expressed as a surrealist notion by Francis Coppola in Apocalypse Now at the point where Willard comes across the bridge illuminated by night like a fairground, the attendant soldiers stoned off their faces as if they were at Mardi Gras. Thejuxtaposition of these two concepts (21 battle and a street party) is, in essence, a surrealist device to heighten what is a watershed incident that leaves Willard alone for the remainder of his journey up the river to Kurtz’ camp. The imagery cannot be found in the art history books, but the notion can. ast styles of art, and references to them, are familiar to many film- makers, but to quote from the past makes no sense unless the essential meaning of the original image is conveyed. Quotation is a kind of shorthand method of expressing a whole idea by showing an image that[...]olizes, that idea. I have seen mentioned about a recent Australian film that such and such a scene was based on the work of painters Rupert Bunny and Hans Heysen, say, and the final outcome of that scene may well have been a photographic inter- pretation of something that either of those two artists once created. But unless this use of their work imparted something extra to the atmosphere of the period, or unless the whole film had been constructed around their images, little has been gained. _ Judging from my experience of “borrowing” from painters, and it is always h[...]visual media, I would suggest that to mention it in the first place was a mistake, as visual research usually only serves to provide inspiration to help the approach to mood or lighting, for instance. On the other hand, an entire sequence that was based on the work of painters from the Impressionist school (e.g., the final ballet in Vincente Minnelli’s An American In Paris), works because it combines the visions of 10 artists, who had been working in Paris early in the century, with the film’s ability to move the dancers in and out of tableaux and scenes, making the painted images even more expressive by bringing them to life. That sounds rather distasteful, but the effect is pure magic. Designed by Irene Scharaff[...]riginally made from isolated, deep-frozen moments in real life, but we are allowed to enjoy the chorus girls kicking their legs, and the customers frolicking in a reconstruction of one of Toulouse-Lautrec’s haunts, that shows both the life of the cafe and the artists’ interpretations at once. This is, per[...]familiar with cafe society, but understandable to the most naive of audiences once explained on film. In this way, even the most abstract notions can be communicated to vast sections of the public; by integrating various familiar images and activi- ties, in this case the atmosphere that generated the original paintings is recreated, thereby also promoting a better understanding of the work of art itself. This perhaps illustrates an earlier point about advancing the cause of art and thought by use of well-designed film images. Film is one ofthe few forums available to the artist to promote new concepts —— not to a select few peers or to the academic world, but to almost the whole English-speaking world. Take for example mu[...]and musical notes that, were they to be performed in a concert hall, would cause most of the audience to walk out, denouncing the music as modern garbage, having no form and meaning nothing. The critics would label it as avant—garde, daring, modern jazz, or concrete music, using these tags to discuss the work, instead of listening to it and enjoying its free flight. However, in the context of the film for which the piece was composed, the music may have the most extraordinary effect of raising the Film Production Design/Part Two audience’s emotions of fear, sorrow, suspense or laughter because the music is as much illustrated by the accompanying images on the screen as those images are substantiated by the music. The film has been strengthened by the sounds, and the sounds made understandable. The sounds which would have caused so much distress in a concert have been accepted, and it is quite possible that many people will buy a recording of the music to play at home, being able to visualize the images from the film as they listen to it again. he ability of most people to conceive ideas visually is amazingly restricted, unless it is done for them, despite the fact that anyone can be taught to draw, or play music, or fix a motor car. It is just a matter of being shown how the process is done with the tools, and (more importantly) the principles of the concepts behind these activities. Yet, there is an innate fear of new ideas, as though they are conceived to throw over old or established concepts: the “stupidity and cowardice” of which Paul Eluard spoke. Bringing an awareness of ideas, and giving them visual form, is the role and duty of the artist in society. The artist looks at himself and his sur- roundings in a critical manner, seeing the ironies, injustices, shames and joys of life with mixed feelings of scepticism, anger, laughter and happiness, and then has to be bold enough to present a visual image of this in public. This relatively harmless member of society has tradi- tionally been given a hard time by those who pull strings and have any clout with the established order. There is an awful fear that the people will be upset by innovation. If, however, the joy of the creator were shared by the patron of his art, then that spirit would be automatically passed on to the public. This obviously relates to the fine arts as much as to film production. It is often said of history that it is after the event and not at the time that historians can look back and see[...] |
| Film Production Dest;gnfl’art Two ,“What will the historians say about us in 50 years?” is not an unusual query, an assumption that by being too close to an event one cannot put it in a proper perspective, which is true to an extent. I see the on—the-spot historian of all ages to be the artist in all his different guises, reflecting and showing the state of society of the time; and sometimes even prophesying events to co[...]d that he is thought to differ from his own image of himself, and is quickly distressed by such a suggestion. Modernism of all ages has been consistently abused, misunderst[...]y; and we can now enjoy laughing at examples from the past. The music of Mozart was abused because it was seen to be too busy — there were thought to be far too many notes in each piece. But we now see Mozart as one of the fathers of latter-day musical form. The Impressionist painters were shouted down, because, ironically at the time of the advent of photography, their work was not truly a photographic representation of nature. They were painting light, not reproducing past modes of seeing the world. My grandfather had the opportunity at the beginning of the century to buy works of Paul Cezanne at very reasonable prices when he visited Paris, but declined because he considered the paintings incomplete. While that conservatism mak[...]s it happening right under our noses, right row? The Impressionists’ simple but beautiful paintings are now an important part of our visual language. The work of Pablo Picasso has enabled us to recognize a few brisk pencil lines as a poetic rendering of a dove in flight, giving us yet more shorthand devices, including the everyday understanding of forms such as the newspaper cartoon drawing, in all its different characters. The attention by these artists of the early 20th Century to the art of other more primitive cultures has given us an understanding of images from all over the world. Perhaps their appreciation of New Guinea carvings triggers our primordial instincts, reminding us how simple life really is. But this is the late 20th Century; there will be more to follow after us. There will always be a continuum of creativity and invention. There may be fewer people around on the planet, but the people calling themselves artists will con- tinue to turn their elders and more reactionary peers apoplectic in the attempt to understand life rather than force a meaning upon it. Maybe there will eventually be some progress in love- making, who knows? the can distinctly remember, as a child in Britain — perhaps about 10 years old —— s[...]. Against a rough interior wall [it by one splash of weak light, showing the gaunt face with its tousle of short hair, sat a forlorn but determined character wearing a pair of wire- rimmed sunglasses and a dark collarless sweater, speaking in a low, hoarse voice. _He said something to the effect that Australia is “no place for a thinking person or artist;'the people there have no appreciation of anything . . . it’s hell.” In the eight years I have lived here now, I have often wondered about this chap: had he ever returned to Australia? Perhaps he is one of our celebrated expatriates, or perhaps he was thrown to the sharks by his own despair, or that of his public. In many ways what he said was wrong: 146 — April CINEMA PAPERS realest stand Australia is really a wonderful place for artists and think[...]to realize those dreams without too much trouble. Australia has become an adult member of the western world during the past 20 years; we share our mutual achievements with other countries through the excellent communications systems that we all take for granted. People are taking notice of us: what we have to export in the arts is quite acceptable. But that hoarse black and white prophet was also quite right in his own way: there is so little conviction that anything but the tried and tested concepts are worthy of consideration. Where is the adventure that gave rise to the country’s growth in the first place? What has happened in the arts, and particularly in filmmaking, is that we are producing a stylistic facsimile of the outside world’s product in the very same way that the civilization of Australia has emulated and reproduced the comforts and safety of western civilization. I do not intend to belittle[...];: ii‘ w£:7"i"l I.--n-5 ~uv'~ A sketch of a giant crossbow by Leonardo da Vinci, an artist[...]p moving on — straight ahead. After many years of hard work by some dedicated men and women, Australia now has a healthy young film industry. We have ma[...]for days on end without sleep to make up for lack of funds and to get things done within ridiculously- tight shooting schedules. The technical quality of our work in most areas is of world standard, but it seems that too few filmmak[...]at to do with this wonderful facility; that often the initiators and producers are not up to the standard of their technical crew. . Until recently the subject matter of films made in Australia was safely devoted to period pieces — ideas safely ensconced in the past — where stories perhaps more relevant to the present day had their edges softened and their messages tempered and lost in the froth of bygone periods and their lush trappings, giving the distinct impression that these filmmakers did not want to be seen to be saying anything of consequence in the first place. There is also a school of thought that to gain acceptance on the international market we must lose our identity in copying customs, accents and traits of the customer countries. Are the Americans going to respect us any more for pretending that we drive on the right-hand side of the road, or for trying to make Sydney look like New[...]eling that if production companies are to promote the development of artists and film form in this country, then they must be prepared to accept the consequent financial losses. If this is a real fear ——-— I have seen a similar phrase in print several times — then it only serves to show that the producers in question are not intimately familiar with the true nature of their professed medium. It smacks of the medieval attitudes I mentioned earlier. The answer to anyone who wants to sell something new is that it should be packaged in a fresh, compelling manner that reinforces and underscores the idea; and there are people in the film industry — creative people within Australia Concluded on p. 183 |
| [...]Without Ellmlnations For General Exhibition (G) The Contract: R. Chow, Hong Kong, 2605m, P. Chan Har[...]J. Waietzky, U.S., 987m, Sharmill Films Kings oi the Square Ring (videotape): Y. Kawan, Japan, 102 min[...]dder than Mad (16mm): Not shown, Greece, 95'.30m. The Castellorizian Club On Any Sunday II: R. Riddeli[...]Job: F. Chis, Hong Kong, 2550m, M. Louey Poverty, The Hustler (16mm): Pergamis Film, Greece, 987m, The Castellorizian Club Vanuatu — Struggle to Freedom: Film Australia, Australia, 828m, Film Australia Not Recommended tor Children (NRC) continental D[...]m, Joe Siu lnt’l Film Co., O(emoiloneI stress) The Foreign Student: First Films, Hong Kong, 2414m, Comfort Film Enterprises, 0(adu/t concepts) The Great Cheat: Hwa Llang Movie Co., Hong Kong, 2475[...]ts (A'sIa), V(I—I-I). L(I-I-I) Love Comes from the Sea: C. Ling, Hong Kong, 2797m, Joe Siu lnt’l F[...]4200m, SKD Film Dist., O(adulf concepts) My cape of Many Dreams: Not shown, Hong Kong, 2935m, Joe Siu[...]Joe Siu Int'l Film Co., O(emofioneI stress) — The Prince Love story: First Films, Hong Kong, 2610m, Comfort Film Enterprises, V(i-I-j) The Private Eyes (b): R. Chow, Hong Kong, 257Bm, P. Chan, V(l-/-/) Race to the Yankee Zephyr: Hemdale, New Zeaiand, 2962.44m, GU[...](I-m-i) Return from Matopo (16mm): Greece, 987m, The Castellorlzian Club, V(i-I-/) crbot Monster: P. Tucker, U.S., 1673m, Valhalla Films, i-I-i) Spring in Autumn: C. Lin, Hong Kong, 2285m, doe Siu Int'l Film Co., O(aduIt theme) The Story of the Green House: Elegant Films Co., Hong Kong, 2602m,[...]Eyes (June 1981 list). For Mature Audiences (M) The Boxer from the Temple: Shaw Bros, Hong Kong, 2642m, Joe Siu lnt’l Film Co., V(f-m-g) The Convict Killer: Shaw Bros, Hong Kong, 2726.97m. Joe Siu lnt’l Film Co., V(f-m-i) The Dev|l’a Men (16mm): Getty Picture Corp., Britai[...]: Not shown, Hong Kong, 2989m, P. Chan, V(f-m-g) The King and the Eunuch: T. Lung, Hong Kong, 2454.14m, Comfort Film Enterprises, V(l-m-g) Legend of Fang I-ieui: Shaw Bros, Hong Kong. 2610m, Joe Siu[...]m, Sharmill Films, O(adult theme) _ Love Between the Raindrops: Fiimove Studio Barran- dov, Czechoslovakia, 3458m, Roadshow Dist., S(I-m-/) Mission for the Dragon: Asso Asia Film, Hong Kong, 2219m, Eupo Film Co., V(f-m-g) The Mortal storm: Golden Harvest, Hong Kong, 2605.85m, Dynasty Film Dist., V(l-m-g) The Night the Lights Went Out In Georgia: Avco Em- bassy, U.S., 2989.87m, Hoyts Di[...], 2496.13m, Cinema lnt‘l Corp., O(adulf theme) The Patriot Game (16mm): lskra, France, 1020m, Australian Film institute. WI-m-i) Prince of the City: B. Harris. U.S., 4418m, Warner Bros (Aust.)[...]lumbia Film Dist., S(i-l—i). O(aduIt concepts) The Bhaolin Invlncibleez Elegant Films Co., Hong Kong, 2545m, Lilond, V(f-m-g) The Snake Man: Dararoath Film, Hong Kong, 2743m, Lilo[...]-m-9) , Thunderground (16mm): Barry Cross_ Prods, Australia, B33.B7m, Barry Cross Prods, L(I-m-g), Ofsexual i[...]Kong, 2428.B9m, Lilond, V(f-m-g) Films examined in terms of the Customs (Cinematograph Films) Regulations and Sta[...]tuitous For Restricted Exhibition (R) Behind the Green Door (modified British version) (videotape)[...]via, 8101.26m, Valhalla Films, I- -1 Occupation In 26 Pictures: Jadran-Croatia Film, Yugoslavia, 310[...]31.55m, resslve Training Seven Keys, S(i'-m-g) The Professional Killer: Prog Co., Hong Kong, 2478m,[...]mins, Electric Blue (A‘asia), S(f-m-g) Return of the Deadly Blade: New Century Film, Hong Kong, 2668m,[...]U.S., 290Dm, GUO Film Dist., V(i-m-i), L(I-m-i) The Stewerdeeses (original SD version) (a): Louis K. Sher Prods, U.S., 2522.B2m, G.L. Film Enterprises S(f-m-g) The Thorn: Framemorgen Prods, U.S., 1978.39m, G.L. Fi[...]ce, 2413m, Apollon Films, S(i-m-i) Two Champions of Shaolin: Shaw Bros, Hong Kong, 2886.28m, Joe Siu lnt’l Film Co., V(f-m-g) A Very Small Case of Rape (pre-censor cu1verslon): T. Rotor, U.S., 205[...]Eliminetlons For Restricted Exhibition (R) City of the Living Dead (pre-censor cut version): G. Maslni,[...]ns: 8m (44 secs) Reason for deletions: S(/-h-g) The Young Hitchhikers (pre-censor cut version) (16mm)[...], 2057.50m, A.Z. Associated Theatres, S(i—h-g) The Other side ot Julia (videotape) (b): C. Gifford,[...], 2476.20m, Roadshow Dist., O(sexua/ exploitation of minor) 3 A.M. (videotape) (c): R. Mccallum, U.S.[...]iously shown on September 1978 list. Films Board of Review smokey Bites the Dust (a): New World Pictures, U.S., 2352m, Roadshow Dist. Decision reviewed: Classify “R" by the Film Censorship Board. Decision of the Board: Uphold the decision of the Film Censorship Board. (a) Previously shown on September 1981 list. Note: Length oi the film Body Heat shown as 2770.43m (September 1981 list) should read 3095.57m. Length of the film Full Moon shown as 2286.82m (July 1981 list) should read 2523.56m. Title of film shown as Partners (September 1981 list) has[...]without Eiiminations For General Exhibition (G) The Cheat (16mm): Paramount, U.S., 1593m, National Library of Australia gance craze: Chrysalis, Britain, 2379.41m, Rock Film lst. Doctors and Nurses: Universal Entertainment, Australia, 2454.14m, Universal Entertainment The Headless Horseman (16mm): Paul Kllliem Film Classics, U.S., 943m, National Library of Australia Little Adventures (16mm): Y. Yuukl/T. Nishlguchi,[...]wn. Hong Kong, 2676m, Com- fort Fiim Enterprises The Tinder Box (16mm): Advance Films, Denmark, 735m,[...]l-m-g) 14‘a Good 18': Better (videotape): Film Australia, Australia, 50 mins, Film Australia, Ofadolescent theme) St Helena: Davis/Panzer Prod[...]: Grove Press, Hungary, 867.45m, National Library of Australia, V(I-I-/). O(nudity) (a) Reduced by producer's c[...]August 1981 list). For Mature Audiences (M) All the Wrong ciuae (For the Right solution): Cinema City and Films, Hong Kong, 2739m, Golden Reel Films, Sf!‘-m-9). V(i-m-9) The Amateur: Michael Drabinsky Prod./Pan Canadian Fil[...]2523.56m, Reid & Puskar, V(f-m-g) Die variable (The Fiancee): Dela, E. Germany, 2984.02n1, Quality Fi[...]Casselman/McMuilan Prod., U.S./Greece, 2221.83m, The House of Dare, O(nudify) Flag of iron: Shaw Bros, Hong Kong, 3146m, Joe Siu lnt‘l Film Co., V(f-m-g) Galaxy of Terror: R. Corman, Britain, 2231.04m, United Artists (A‘asia), V(f-m-g) The Ghostly Face: S. Tan, Hong Kong/Indonesia, 2536m,[...]., 2565.70m, Warner Bros (Aust.), V(l-m-g) _ Man of iron: Film Polski, Poland, 3922.49m, Contai, O(ad[...]nt‘l, S{i—l-i), L(i-m—i) 3456.18m, Rlvele of the Silver Fox: Asso Asia Film, Hong Kong, 2352.68m, Eupo Film Co., i/(f-m-i) A Rumour of War: D. Manson, U.S., 2860.64m, F.G. Film Prods,[...].S., 3151.34m, Roadshow Dist., O(aduIt concepts) The Tigress of Shaoiln: R. Shaw, Hong Kong, 2717.36m, Joe Siu ln[...]Kong, 2806m, Comfort Film Enterprises, V(f-m-g) The Captives (VI fangnl) (reconstructed version) (a):[...]ven, Denmark, 1561.73m. Cinerama Films, S(f-m-g) The confession of a N nlec: A. Brummer, W. Germany, 2245m, A.Z. Ass[...]d version) (c): Trlnacra Films. France, 2580.20m, The House of Dare, S(f-m-g) Evllepeair (reduced version) (d): Warner Bros, U.S., 2509.92m, Warner Bros (Aust.), V(f-m-g) The Happiest Moment: Shaw Bros, Hong Kong, 2592.40m,[...]Hong 3122.87m,-Joe Siu lnt’l Film Co., V(f-m-g) The Losers (16mm): Fan Fare Films, U.S., 1053.38m, Blake Films Vic., V(f-m-g) The Midnight Jogger (16mm): Fieetan Films, U.S., 592.38m, 14th Mandolin, S(f-m-g) The New Adventures of Snow White (videotape): J. Cross W. Germany, 72 m[...], 2468.B8m, Blake Films Vic., S(i-m-9). V(f-m-g) The Worst of the Los Angelee Erotic Film Festival (16mm): P. Grego[...]deletions: V(i-h-g), O(imitab/e gunmaking) Night of the Warlock (16mm) (pre-censor cut version) (a): Sata[...]ril 1981 list. Films Refused Registration Alice in Wonderland (videotape) (a): W. Osco, U.S., 76 mins, Video Classics, S(i—h-g) Alice in Wonderland (videotape) (a): W. Osco, U.S.,[...] |
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| Publications from a CI EMA PAPERSSOON FOR RELEASE The Documentary Documentary films occupy a special place in the history and development of Australian filmmaking. From the pioneering efforts of Baldwin Spencer to Damien Parer's Academy Award w[...]'s Stepping Out and David Bradbury’s Frontline, Australia's documentary filmmakers have been acclaimed world-wide. The documentary film is also the mainstay of the Australian film industry. More time, more money and more effort goes into making documentaries in this country than any other film form — features, shorts or animation. In this, the first comprehensive publication on Australian doc[...]authors and filmmakers have combined to.examine the evolution of documentary filmmaking in Australia, and the state of the art today. ntents The History of the Documentary: A World View International landmarks,.key figures, major movements. The Development of the Documentary in Australia A general history of the evolution of the documentary film in Australia, highlighting key films, personalities and events. in Australia Documentary Producers An examination. of the various types of documentaries made in Australia, and who produces them. A study of government and independent production. The aims behind the production of documentaries, and the various film forms adopted to achieve the desired ends. This part surveys the sources of finance for documentary film here and abroad. The Marketplace The market for Australian documentary films, here and[...]nces and ratings. Making a Documentary A series of case studies examining the making of documentaries. Examples include large budget docu[...]ries. ORDER NOW Film Each case study examines, in detail, the steps in-the production of the documentary, and features interviews with the key production, creative and technical personnel involved. The Australian Documentary: Themes and Concerns An examination of the themes, precccupations and film forms used by Aus[...]rectors. Repositories and Preservation A survey of the practices surrounding the storage and preservation of documentary films in Australia. Comparisons of procedures here and abroad. The Future A look at the future for documentary films. The impact of new technology as it affects production, distribution and marketing. A forward look at the marketplace and the changing role of the documentary. Prbducers and Directors Checklist A checklist of documentary producers and directors currently working in Australia. Useful Information Reference information for those dealing with, or interested in, the documentary film. This section will include listings of documentary buyers, distributors, libraries, festivals, etc. Published by Cinema Papers in association with the Victorian Film Corporation. ORDER FORM f"W Please send me |__l copies of The Documentary Film in Australia @ $9.95. Cheques, money orders dr Bankcar[...] |
| [...]“It contains just about. A " "' A , everything the Australian ""'mW~""“’ ' . = ' film industry o[...]tional Times“A must for anyone . H interested in the local film industry. A ustralian Playboy “Everything one could possibly want to know about the Australian film industry seems to be contained in the Australian Motion Picture Yearbook. . . a reference book no one seeking information about the film industry Down Under can afford to be w"h0m'[...]981/82 Cinema Papers is pleased to armounce that the 1981/ 82 edition of the Australian Motion Picture Yearbook can now be ordered. The enlarged, updated 198 1/ 82 edition contains many new features, including: 0 Comprehensive filmographies of feature film scriptwriters, directors of photography, composers, designers, editors and sound recordists 0 Monographs on the work of director Bruce Beresford, producer Matt Carroll and scriptwriter David \Wil1iamson 0 A round-up of films in production in 1981 0 Actors, technicians and casting agencies . 0 An expanded list of services and facilities, including equipment supp[...]FeSflV3|S n war S i ll Exhibition; Governmentand the Film r . . - - Industry; Film Organizations; Fest[...]t(a:iis‘ng';\JeF€i}ler‘tiIve Censorship’ The Me‘“3- Directors of Photography, Editors, Production and Re-dimension[...]xhibitors yer 'sers " ex Fill out order form for the 1980 and 1981/82 Editions on page 8 of this special insert. |
| CINEMA PAPERS in association with Thomas Nelson AUSTRALIAN TII The first 25 years records, year by year, all the important television events. Over 600 photographs, some in full color, recall forgotten images and preserve memories of programmes long since wiped from the tapes. The book covers every facet of television programming — light entertainment, q[...]van Hutchinson. AUSTRALIAN TII takes you back to the time when television for most Australians was a curiosity — a shadowy, often soundless, picture in the window of the local electricity store. The quality of the early programmes was at best unpredictable, but still people would gather to watch the Melbourne Olympics, Chuck Faulkner reading the news, or even the test pattern! At first imported series were the order of the day. Only Graham Kennedy and Bob Dyer could challenge the ratings of theThe Mavis Bramston Show. With the popularity of that rude and irreverent show, Australian television came into its own. Programmes like Number 96, The Box, Against the Wind, Sale of the Century have achieved ratings that are by world s[...]an entertainment, a delight, and a commemoration of a lively, fast- growing industry. Fill out order form forAustralian- TV on page 8 of this special insert. ’ l I . ‘I . n[...] |
| The first comprehensive book on the Australian film revivalUUUE lllfilll 208 pps, 28cm x 20. 5cm (II" x 8") s -In this major work on the Australian film industry’s dramatic rebirth, 1[...]tique. Illustrated with 265 stills, including 5 5 in full color, this book is an invaluable record for all those interested in the New Australian Cinema The chapters: The Past (Andrew Pike), Social Realism (Keith Connoll[...]de (Sam Rohdie). $14.95 Fill out order form for The NewAustralian Cinema on page 8 of this special insert. |
| [...]M IKE . . WUIE II A cotpprehensive guideBehind the screen |
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| News 5 Mike Walsh Leo James 8 The Video Censorship Mess: What You Should Know Damie[...]and materials supplied for this magazine, neither the Editors nor the Publishers accept any liability for loss or damage which may arise. This magazine may not be reproduced in whole or in part without the permission of the copyright owner. Channels is published by Cinema[...]. Editors: Peter Beilby, John Pruzanski. The editors would like to thank the follow- ing ior their help and co-operation: Road- show Distributors (the stills from Alvin Purple); Australian Film instit[...]nt; and Canberra Times (for permission to reprint the photo of Gough Whitlaml. © Copyright Cinema Pa[...] |
| AUSTRALIAN TV The first 25 years records, year by year, all the important television events. Over 600 photographs, some in full color, . recall forgotten images and preserve memories of programmes long since wiped from the tapes.The book covers every facet of television programming — light entertainment, q[...]Ivan Hutchinson. AUSTRALIAN TV takes you back to the time when television for most Australians was a curiosity — a shadowy, often soundless, picture in the window of the local electricity store. The quality of the early programmes was at best unpredictable, but still people would gather to watch the Melbourne Olympics, Chuck Faulkner reading the news, or even the test pattern! At first imported series were the order of the day. Only Graham Kennedy and Bob Dyer could ;challenge the ratings of the westerns and situation comedies from America and Britain. Then came The Mavis Bramston Show. With the popularity of that rude and irreverent show, Australian television Came into its own. Programmes like Number 96, The Box, Against the Wind, Sale of the Century have achieved ratings that are by world s[...]an entertainment, a delight, and a commemoration of a lively, fast- growing industry. go get a copy 0_/‘Australian TV, fill our the order form in the centre pages of Cinema apers. Metro Television, gearing up for _ _ _ . th eberve? tlua|_ ir_1tro_du gtign of Eé’d‘é’,€’n;2,°%!‘,S?,‘}',§;§’n"t',-,',‘,',"'°" pu ic e evision in y ney, ' ' ex offers its facilities for v[...] |
| [...]edly sold on video cassette.Jolly Roger Lowered in Newcastle An illegal video-cassette racket was broken by Federal police in New- castle, New South Wales, in January. It was alleged that the organizers were operating a legitimate video cassette club through which they rented and sold pirated copies of films not yet released on video cassette. Titles seized were reported to include Dr Zhivago, Gone with the Wind, Picnic at Hanging Rock and Breaker Morant, with a retail value of up to $100,000. In February, police struck again in the West Australian mining town of Port Hedland. Hopefully, the incidence of video piracy will be curtailed with the announcement of stiffer penalties. The previous fines were $10 a cassette, up to a maximum of $200, while present legislation provides a fine of $1500 for first offenders and up to $10,000 or si[...]or both for second offences. Aunty Roars “ABC Australia is probably the second most active television pro- ducer in the world", says Wynn Nathan, the president of Lionheart Television International, now exclu- sive distributors of ABC programs in the US, Canada and South America. The ABC's previous distributor, Don Taffner, was also distributor for the Canadian Broadcasting System and Thames Televisio[...]as more time to promote ABC programs effectively. The Alvin Purple series is a natural for rated cable[...]oadcasting. Lionheart is also a co-producer with the ABC, the first production being the seven-hour mini-series, 1915. The Betamax case Universal and Disney Studios have won the latest round in the ‘Betamax’ case in the U.S. in 1979, Universal, together with Walt Disney Studios. sued for damages over breach of copyright. The defendants were an individual owner of a Betamax video- cassette recorder and the Sony Corporation of the U.S. The case centred on the right of the individual to record programs for his own use. Sony won the first round and the video industry heaved a sigh of relief. But the judgment was later overturned by a Federal Appeals Court in California. Universal, however, modified its ori[...]m selling any more video—cassette recorders — in favor of a “fair and reasonable royalty" from manu- facturers. After winning the court decision, MCA (Universais parent company) t[...]against every known manufacturer and distributor of video recorders in the US. Sony now has two courses open to it: to wait until the Supreme Court can hear the case, or to call for Federal legalization of home—taping. In working for the latter, Sony has spent $2 million in newspaper advertise- ments urging the public to let their legislators know how they feel about the Appeals Court decision. In the advertisements, Sony claims the VCR is only a device to beat the constraints of time. The decision in the U.S. has no bearing on Australian copyright law, which has not yet been tested in rela- tion to videotaping, but could easily influence the outcome here. The Aus- tralian Audio—Video Tape Association belie[...]deo—cassettes if proposals from representatives of the Australian Copyright Council get government appro[...]ettled last June when a U.S. District Court found in favor of Paramount Pictures in an alleged infringement over episodes of the successful tele- vision series Star Trek. The cult status of the series made it a major seller in video; pirated copies of episodes were being marketed openly. Paramount Pictures failed to put copyright notices on the films, but the court has decreed that copyright applied nonethel[...]SI Fox? When oil billionaire Marvin Davis bought the Twentieth Century-Fox Corporation, it was rumored that he wanted to sell part of the Fox lot to raise capital. The precedent had been set when the highly-priced luxury suburb, Century City, was carved out of the original back lot. it now seems Davis will sell all Fox property in Westwood. Davis has vir- tually signed a deal to buy a 50 per cent interest in Studio Center from the US. broadcasting giant CBS. The Studio Center lot in the San Fernando Valley section of Los Angeles houses CBS, Mary Tyler Moore Enterpri[...]lease their product on CED videodiscs. Then came the announcement of Twentieth Century-Fox Video and CBS Video Enterpr[...]eo products. This new agreement throws into doubt the old agreement CBS had with MGM. CBS has also resur- rected CBS theatrical films and has many productions in various stages of development. Record Fee For Rights The Los Angeles Olympic Com- mittee accepted a $9.2 million bid for the exclusive Australian rights to tele- vise the 1984 Summer Olympic Games. The winner was, unexpec- tedly, the Ten Network. To put this figure into perspective, the European Broadcasting Union, an association of European national broadcasters, is reported to be[...]r those same rights. Commercial-free Television The much—publicized Dix Report on funding of the ABC suggested that the Commission should use some of the revenue-raising methods of the Public Broadcasting System in the U.S. This commercial—free network raises money[...]s, private donations and cor- porate underwriting of programs. Contributing corporations get only a credit at the beginning and end of programs. Defenders of the Dix Report consistently denied that corporate und[...]ks, but it now seems that 10 P88 network stations in the U.S. are preparing to broadcast commercials. Meanwhile, the ABC will seek to save another $1.7 million as it has run out of money for this financial year. EMANUEL! A[...] |
| Win and Place Only After six years of rating the ‘best’ and ‘worst’ shows on television, the National Parents and Teachers Association in the U.S. has aban- doned the practice. The NPTA, still unhappy with the quality of programming, has adopted the approach of positive reinforce- ment, through publicity and a[...]its judging panel believes have proper ‘quality of life’ values. high artistic and technical qualities, and the absence of grat- uitous sex and violence. Programs that do not meet with the organiza- tion's approval will not be publicized. Under the old system, it seems, the list of ‘worst’ programs received most of the publicity. Shortage Within Boom As the extent of the video market in the PAL format hits home, the blank- tape suppliers are finding it difficult to meet the demand. This shortfall is due to an under-estimate of the size of the market as the suppliers geared for production two years ago. It seems in Britain and Europe demand is running 50 per cent over supply. Another factor is the impact of the demand for pre-recorded material on the blank—cassette market, with dis- tributors clamoring for quality blank Bruce Gyngell, the G from GC Produc- tions. New Talent Show Undaunted by the recent failure of ATV—10’s Search For a Star, the Ten Network is still trying to beat the highly-successful New Faces on Nine. It commissio[...]ted by Tim Webster. There will be cash prizes and the chance to win a two—week engagement at the MGM Grand Hotel in Las Vegas. Actors Settle After a two-year dispute, an agree- ment between Actors Equity and the Film and Television Production Association has been signed. The agreement guarantees actors employed in serials, mini—series and telelilms a larger slice of the pro- ceeds from international sales. The agreement is valid for two years. 6 -- CHANNELS April 1982 The RCA Capacitance Electronic Disc- Seiectavision, w[...]e retail discounts. Fluctuating Fortunes at RCA in 1980, Thornton Bradshaw was appointed RCA‘s fourth chairman in six years. The New York—based corporation — which manufactur[...]designs and owns satel- lites, and owns and runs the NBC television network — lost U.S.$109.3 million in the first three quarters of 1981. Bradshaw, however, has instilled new confidence into the corporation. He dismissed Fred Silverman as head of NBC-TV and appointed Grant Tinker of Mary Tyler Moore Enter- prises. acknowledged as producing the highest-quality products on U.S. television. Bra[...]nagement style honed during 17 years as president of the _Los Angeles-based Atlantic Richfield Oil Company[...]ortant deci- sions facing him. After poor results of the first year's sales of RCA’s Selectavision videodisc — and dis- missing 400 of its 4000 workers — the whole future of videodisc. where RCA has large sums invested, is clouded. The Press and The Third World An under-reported major news story, and one whose outcome could affect all the news read and seen on television, concerns the efforts of the Third World to sponsor a “new world information[...]countries claim they are being misrepresented by the wes- tern media and are demanding “posi- tive" coverage and help in expanding their communications facilities. Wester[...]for control, and believe that no matter how valid the criticisms of their coverage, government control of the media is not the answer. At a conference in Tallories, France, in May, where represen- tatives of the leading western news organizations gathered. UNESCO director—general Amandou M'Bow angrily denied charges of Soviet manipulation in the debate, but it was noted by the eminent defender of the free press. Leonard Sussman, that most of UNESCO's 150—member governments believed in and prac- tised control of the press by government. Up, Up and Away Sales figures show that for the first time more than a million VCRs were sold last year in the US. According to the Electronic Industries Associa- tion's Consumer Electronics Group, this represents an increase in sales of 69.1 per cent over the previous year. There are more than 3 million VCRs in use in the US. Meanwhile, according to the Elec- tronics Industries Association of’ Japan, VCR production and export doubled for the second year in a row. Output shot up 114 per cent to 9.5 million[...]Sauter, group vice- president and general manager of RCA, predicted, at the Consumer Electronics Show, that the sales of video hardware and software would grow to $10 bil[...]television has failed to find a program to match the success of ABC's Countdown. The Ten Network and Michael Gudinski, of Mushroom Records. are set to change all that. Wir[...]nski, has been com- missioned to produce a number of pop/rock programs for national airing. There are three initial programs, all produced out of Melbourne. Radio simulcasts play an important role in all three. Wrok (pronounced rock) is a five nights a week halt-hour program pro- bably set in the 5 p.m.—7 p.m. time- slot. It will be simulcast with Top—4O stations around the country (3><Y in Melbourne and 2SM in Sydney). Nightmoves has been resurrected with fo[...]pt called Stereo Home Box Office will be aired on the last Wednesday of every month. it will feature a local or overseas artist, produced in stereo and also simulcast in stereo on FM stations. Michael Gudinski of Mushroom Records has formed Wired Producti[...] |
| Opening Up In February, Melbourne and Sydney had their first taste of Public Broadcasting, when Open Channel, a communi[...]l's programming ranged from first—hand accounts of what it is like to be an Aboriginal in white Australia, to explorations in the arts, Open Channel would like public television to be part of any pay tele- vision service that eventuates from the Australian Broadcasting Tri- buna|‘s inquiry into pay television’s introduction into Australia. Jim Waley (left) and Steve Leibman. News is Big Spearheaded by Sixty Minutes, the Australian version of the US. program of the same name, the national Nine Network has become the premier news and current affairs network in Australia. Making use of 24-hours-a-day satellite links with the U.S., and rights to the news services of the American ABC and CBS television networks as well as United Press International Television News and the British News At Ten the Nine Network now has three other news and current[...]r news services. Sunday is an Australian version of the CBS Sunday edition of their morning news programs, and is designed as a[...]cover stories, features and regular departments. The World Tonight, hosted by Sunday's Jim Waley, is based on the American ABC network's World News Tonight and Nightline The new format program, broadcast in a late-night timeslot, has been welcomed by those interested in increased international content, and by viewers who cannot catch the early evening news broadcast. The much—awaited morning news program The National Today Show, quietly slipped into Nine‘s schedule in late February. It began as an hour- long hard new[...]hen Sue Kellaway joins Steve Leibman as co-host. The credit for all this activity must be partly inspired by the increased international content of Channel 0/28 news and current affairs programs. Viewers Complain Statistics recently released by the Australian Broadcasting Tribunal suggest that either Australians are becoming blase about the quality of their television, or that the channels are getting closer to an ideal pro- gramming formula, The ABT’s 1980-81 annual report includes a three-year comparison of written complaints covering television advertisin[...]ogram- ming totalled 291 last year, down from 320 in 1979-80 and 371 in 1978-79. Allegations of bad taste (sex, violence and lapses of moral standards) in entertainment and news programs continue to be the main cause for complaint. The next most common reasons are specific allegations of sex, indecency or violence. Other concerns come and go. In 1978-79, for example, 64 correspondents complained about the televising of R-rated films. Last year, by comparison, only eight people were moved to make the same complaint. The number of repeats and poor programs drew 46 complaints in 1979-80, but only 21 last year. More surprising is that of the 291 complaints about general pro- gramming last year 31 concerned a single episode of The Don Lane Show. The viewers put pen to paper alter Lane interviewed J[...]s. including Doris Stokes.) Twenty-eight wrote to the Tribunal objecting to Lane’s attitude in the interview. Three expressed support for Lane. Television advertising drew 157 written complaints in 1980-81 com- pared to 278 the year, before. Most writers were concerned about the number of advertisements on their screens, the taste and safety aspects of some commercials or the adver- tisement of intimate products. Last year, for the first time, a few people also wrote in complaining about sexism in advertising. But the largest number of com- plaints about any single issue was when 116 people wrote to the ABT during 1979-80 to question the high sound level of advertisements — an issue that barely drew comment any other year. Last year, the ABT’s mail contained 37 complaints about the use of children's and family television time. Once again there were fewer com- plaints than in years past, but major concerns remain the unsuitability of some programs and the promotion of adult shows during children's viewing time. -3%[...]_.M "m1.m.iIiitwAi. I'ru.v—n- T One episode of The Don Lane Show at- tracted over 10 per cent of all the com- plaints about general programming last yeah The ABT report says that 20 per cent of complaints received during 1980-81 involved a possible breach of the ABT’s standards; however, only 11 per cent of all complaints were found to be justified. The report also notes that since July 1980 stations h[...]dule programs classified "C" for children between the hours 4-5 p.m., Monday to Friday (although they a[...]hese programs to accom- modate sports telecastsi. In 1980-81, Flipper was the most popular program in this timeslot, drawing an audience of 142,000 five- to 12-year- olds in Sydney and Melbourne. The next four most popular after- noon programs among the pre-teens were Mouse Factory, Shir|'s Neigh- bour[...]nder World (although their ratings varied between the two state capitals). But the most popular show among five- to 12-year-olds was not shown in "C“ program time. Sale of the Century, aired at 7 p.m., pulled in 301,000 pre-teen viewers in Sydney and Melbourne lastyear (out of a total audience in those two cities of close to two million). Ford Superquiz ran a close second-choice among the children. The same breakdown shows that more under-12—year—olds were glued to re—runs of the 1960s U.S. sit-com, I Dream of Jeannie, or stayed up to watch That's Incredible, The Dukes of Hazzard, CHiPS and Prisoner, than tuned in to any of the classification programs.‘ Elsewhere in its 250 pages, the report also contains the good news that Australian content on Australian television has been steadily increasing. In the five years surveyed, the percentage of Australian pro- grams has increased from 39.5 per cent in 1976-77 to 49.9 per cent in 1980-81. The bad news is that the profitability of the Australian com- mercial networks dropped 1O per cent in the 1979-80 financial year. Even though political advertising for the 1979 elections added $2,214,043 to the stations’ revenues, after tax, the net profit dropped from $46,838,956 to $42,114,857. The 15 metropolitan stations earned $28,687,805 or 68 per cent of the total profit, while the 35 country stations earned $13,427,052 or 32 per cent of the total. I 1. Figures for Sydney and Melbou[...] |
| ‘relevision management, says Mike Walsh, looks in the wrong places for personalities and producers. som[...]entertaining over dinner.Walsh, 45, genial host of Austra- lian television's most penetrating (124 c[...]is medium with a iaundiced eye. His involve- ment in television and theatre pro- duction, his ownership of cinemas in Richmond and Penrith, New South Wales, and his intention to become a producer of feature films one day, make him a fascinating per[...]s him equally at home as performer or executive. In this interview, during the christmas break, he took time to reflect on his w[...]LEO JAMES Your production company, Hayden Price, in which you are partnered by David Price, joined forces with Channel 10 in Melbourne to produce “Together Tonight”. was that a significant step towards your greater involvement in the executive area of television? Not particularly for me, apart from seeing the tapes, passing comment on them and talking about[...]at oneto David and I took more responsibility for The Mike Walsh Show. David and I liaise on things, bu[...]would you see Hayden Price becoming more involved in pro- ductlon... Yes, definitely. is there any c[...]should, however indirectly, have any involvement in the programming of 10 or any other network? No, they have bought Mi[...]ne it before! when is your contract up with Nine? The end of this year. Do you feel any personal conflict over the dual roles of personality and executive . . . No, I lo[...] |
| hats. I am wearing a farmer hat at the moment, and I have been wearing property developer and cinema hats for the past few months, as well as The Mike Walsh Show hat.is what is good for the growth of the production company necessarily best for Mike Walsh the performer? can you separate the two? Obviously I look after Mike Walsh the performer because he has been a good product for[...]ooking after my own talent and being protected by the people around me. I think talent handling is anot[...]at we are pretty good at. We have developed a lot of people, such as Jade Hurley, Jeanne Little, Dr Ja[...]with television go? My first television show was in 1965, a thing called Ten on the Town on TEN-10. It was nominally a teenage progra[...]ew pop stars and a ballet. We used to record half of it at the studio and the other half on location. Do you remember what you[...]iastic. Why did you go into radio first, Instead of going straight for tele- vision? I was highly available for television; it was just that the demand was less than enthusiastic. I thought I would go into the production side of television, and I wanted, desperately. to be a ca[...]o go down and haunt Bert Newton when he was doing The Late Show at HSV-7. Philip Brady, who is another[...]a booth announcer at GTV-9, and Pete Smith was at the ABC. Sol knew a lot of people around; I just didn't know any direct way of getting in. Then I thought, if I went to radio and made a na[...]and how to hold a program together. I always knew the type of program I wanted to do, which is basically the one I do now. It was only later I realized that variety in a solid talk format was really my best bag. when you were doing “Ten on the Town", and later “66 And All That” for TEN-10, did you give up radio? No, I stayed at 2SM all the way through. But 2SM went through a few format ch[...]to go for talk-back radio, which no one had done in this country, officially. There had been some exp[...]manager that I should give up radio as I would be In television FHSCUDCIV. I FOIIDWBU HIS UUIIICE and IVES DUI‘ Of Wflfk FD!‘ three flIOll£'hS. " but this was the real thing, with the legal seven-second delay. 80 in 1967 I became the first talk-back radio announcer on air. In the meantime, Jack Neary from NLT and Bill Harmon had asked me to help out with Don Lane on the interviews on The Tonight Show at TCN-9 — somewhere between the job of announcer and assistant interviewer. And there are still some marvellously embarrassing kine- scopes of those days of myself and Don Lane. Then. when Don was off air because of the alleged marijuana charge, I compared two Tonight[...]manager that I should give up radio as I would be in television instantly. I followed his advice and was out of work for three months. Eventually, I rang Nigel Dick at GTV-9 in Melbourne and said I was coming down to see him.[...]Nine were using assorted people for one-offs on In Melbourne Tonight; so. I did one. It mustn‘t ha[...]d nothing. But when they decided to go ahead with the Today program, at the beginning of 1968, I got that. Had you heard they were planni[...]No. I had done about four games show pilots, none of which went to air, and then I was offered Today.[...], but I agreed and did it for 12 months. That was the real turning point. After |
| [...]and our ratings weren‘t too good. So, they put in Tony Charlton. The ratings went from a nine to a one, and later to an asterisk.To my mind, the mistake was putting it under the news depart- ment. I had Bobo Faulkner, who was a[...]hearted. That’s where it started to fall apart. The first six months were great fun; the last six months were a bit horrific. A month bef[...]see Nigel Dick and said, “l’m not happy with thein Sydney to change the nature of the program and make it more respectable. My approach to anything is to package meat in the middle of entertainment so that people will take notice of it. Pack pure information to anyone, and they can't cope with too much of it, especially at that time of morning. So, I walked out of his office without a job. That was in 1969. Having left GTV-9, I was contacted immediately by Kevin Lewis, who said I had a chance of getting a Tonight- type show on HSV-7. Then there was about a six-week period, during which The .Today Show got into terrible trouble, and GTV—[...]nks, I have been through that.” HSV—7 gave me the Thursday night, Mike Walsh Show. Which did very well . . . The first three months weren’t too good, but, as the irony of the business would have it, Nigel Dick came over from GTV-9 to HSV-7 to start the Seven Revolution. He started it, despite claims to the contrary by other people. Nigel backed me tremen[...]It had Frank Rich, Mary Hardy and Sue Donovan as the basic comedy team, John-Michael Howson as comedy[...]grapher. Kevin Lewis’ Jardine Productions lost the show, and it became a domestic HSV-7 production. It eventually knocked off the Thursday night In Melbourne Tonight, which had been an institution in Melbourne. GTV-9 threw everyone in — Jimmy Hannan, Bert Newton — everyone except Graham. And we won the year. At the end of that year, Nigel had Far left: Walsh poses for a publicity shot with his then secretary Pam Peters in 1970, the year of the Mike Walsh Show on HS V-7 in Melbourne. Left: Cornpere of 66 and All That, an early TEN-10 comedy revue sho[...]n and decided he didn’t want a variety show out of Melbourne. He wanted a cheaper show. So, I was turned into a sort of clipboard, carry- ing David Frost for the beginning of 1971; that lasted about six months. Ironically, by the time we came off, we were rating up in the 17s and 185, which was starting to get respectable. What about the gap between that show finishing during 1971 and the start of the new “Mike Walsh Show” on Channel 10? I stayed around Australia until the end of 1972 and then went to Britain for about 10 months, where I free- Ianced, doing interviews for the BBC and television commercials. who were the people you inter-- viewed? Obviously my most impressive interview — it is the only one in the BBC archives — was the one with Malcolm Muggeridge. Apparently it is — not wishing the man any ill-health — in his obituary report on standby at the BBC. I also did Peter Sellers, and interesting off-beat people like Miklos Rozsa, the film composer. Then there were some interminably boring interviews, such as with the Wedgwood china people. Did TEN-10 bring you back from London for the afternoon show? Screen Gems had put up a pro- position to TEN-10 for a talk-variety show in the middle of the day. It had nothing to do with what we are doing now. Ian Holmes, who was the boss of 10, had been at Nine during my Today Show days an[...], if you can get Mike Walsh, you have a chance at the format. Screen Gems had thrown up all sorts of names because everyone in the world thinks they can do a talk-variety show. They had interviewed a whole lot of dunderheads. It's a wonderful list, some of whom now have trendy little food columns and occasionally have a great blast at me, in which I take a wry interest. They piddle along wi[...]I never looked better because I had been pounding the streets of London doing interviews and living on mince meat. So I came back to do the show for three months only, as things had started to pick up for me in London, and I looked like I would have a c[...] |
| [...]ion commercials can be very lucrative over there. The last one I did before leaving was for BOAC; that was worth £10,000. So. you didn't need to get too many of those commercials to be living well in London in 1972.You came back just for three months and then "shut the door" . . . Yes, although there were a lot of changes before the show hit a workable format. Some of the original run-downs were hilarious. They would hav[...]and I was supposed to fill an hour and a half out of that. You would ask them if they liked diabetic p[...]one would pop up and cook their favorite dish — the sort of rubbish that would never rate here. American talk shows are full of that. I knew that wouldn't work for the Australian public, which has a short attention th[...]or interviews and that caused a ruckus. I called in David Price, who was running a service station. David had had the same feeling about the state of the industry. He came in to direct the program and immediately recognized the problems we had. I said. “Thank God there's som[...]o?" “Well," he said, “Number 96 is being shot in the studio next door. There are some interesting people in that. We will drag them in and do interviews with them." We went back to management and told them that was the new way the show was going. And they said, “But aren't you going to interview the singers?" And I said, “They are there to sing, aren't they?” At the beginning we were taping six shows over three days — two a morning. And we were taping so far ahead that the audiences hadn't even heard of our show. They had no idea what the program was about. Did you have much opposition[...]was three orfour years before Melbourne was live. In fact. Melbourne wasn't live until we took the show to Nine; which was one of the reasons for moving. We had been two days behind in Melbourne. You established a success in daytime, which had not been a very productive area. Larry Nixon had done “Lady for a Day” in Melbourne, and Tommy HanIon’s “It Could Be Yo[...]was only half an hour a day. . There were a lot of half-hour shows that worked, and Tony Barber had[...]en successful. but it was pure formula quiz show. In fact, Tony Barber said to me the first night he went to the Logies. “I wish you luck. but you haven't a hop[...]s patronized it, and there is still a fair amount of patronizing today. I still have to cop the “King of Daytime TV“ and “Darling of the Blue Rinse Set" and all that rubbish. I knew our[...]p opera or yet another mindless quiz show or took the approach of the compere who says, “Now Mums . . Our program has always been aimed at people, and one of the first nice things that came our way — and this was in the day of all that activist o.-stair, ‘ 39- .- *1-. . thing — was when the Women's Electoral Lobby praised our program and said it was the first program that had treated women intelligentl[...]occasionally write a really good ‘crit' on some of that rubbish that is put on air, on some of the so- called ‘personalities’ who are given a go on television. Management looks in the wrong places for personalities; they look in the wrong area for producers, too. Sometimes. they gi[...]bs because they have all gone out for a meal with the new general manager or someone, and they were so[...]an you would believe. I could rattle off a series of names that immediately come to mind, but I wont.[...]love to sit down and do a complete devastation on the stupidity. from managerial level down, of that sort of concept. Part of the problem could be put down to the ease with which lame came in the 19603 — and I suppose I can put myself down the[...]and an awful lot who rode on their backs because the 1960s demanded so many personalities. The word “star" lost its meaning then. By 1963, eve[...]rough them all. Andy Warhol said it would get to the stage where everyone would be famous for 20 secon[...]e stage. when did your involvement as a producer in live theatre start? The first one was Barry Humphries. Then you did ‘The Kingfisher’ and you brought Chris Langham out h[...]l’ll only say that we have presented a number of successful attractions. And there has been some talk of an original Australian musical . . . Left[...] |
| [...]t is put on air. " Well, that is a fair way down the line. The concept looks very good, and we have had very goo[...]people we have spoken to about it. It may get off the ground next year. I don't want to rush it though,[...]responsible as producers and this is another one. In such projects you have to tread carefully because you don't have the luxury of out-of-town tryouts in this country. Your cinema interest began in your youth . . . Yes — all my interests began in my youth. I really haven't changed at all; I have[...]wasn't showing films to people. When you bought the Regent in Richmond, NSW, was that initially a sort of indulgence by someone who had always wanted to run a theatre? No, never. I just had at the back of my mind that. if television died for me, I could always run the local picture theatre and have a farm. I thought And you are involved in the day-to- day operation of the Regent? Yes. I have a general manager for the company now because it has grown considerably. Bu[...]ren't hamstrung with a boss who jumps on them all the time. There are often times when I would like to[...]a little more, but I find that if you do that all the time you stifle people’s creativity. 80, John Chapman is basically the creative force on The Mike Walsh Show these days, and Paul Dravet looks after the theatres. I am in it every step of the way, but as chairman of the board rather than operations manager. I have my own concept of something and I set the house style and employ the people who can work that way. I'll back them to the hilt, but, obviously, I keep a close inspection on it. I don't just employ people and say let me know what the profit or loss is at the end of the year. I initiate the projects and they work on the basis I want them to work on. I expect the style to be followed and if it gets off the rails, well, I'll interfere. But, otherwise, I’I| just let them fire in their own way. The real ambition is to get a conglomerate together w[...]ld like to get all my activities and companies to the level where I can move people from one to another[...]o something else, such as a film or a stage show. The whole philosophy of what I have been doing is to get a bunch of creative people together and give them room to mo[...]ross-pollinate to stop them getting bored. About the only pie in which you don’t have a finger is producing feat[...]n interest you? Oh, very much. But I want to see the dust settle. I am a bit bored with all the used car salesmen and shonky doctors and everybody else putting in their tax money. This does give money to the industry, but it has also meant a tremendous rush[...]st want to see some rationale, as I am sure a lot of people do, before I get in there. Are there any particular types of film in which you would like to be involved‘? No, not[...]think everything should be money-making. I think the moment you get away from the commercial yardstick or box-office yardstick or rating yardstick is the moment you get into wanking. and I don't really believe that anyone has a right to do that in a big way. It should be done in a theatre that seats about a hundred people. - |
| Damien Mcclelland THE VIDEO CENSORSHIP MESS what you should know tra[...]ot its start with pornography. Pirated cassettes of banned films began to find their way into Australia and one no longer had to join the “raincoat brigade” to see them. One could als[...]ne's taste for particular scenes or sequences via the freeze—frames, the fast and slow motion and the repeated viewings that cassettes offered —— options not available in often sleazy "adult" cinemas. Now the triple X-rated video-cassette — the voyeur’s dream — has been joined in the market by mainstream films. It is out of this development that a whole new set of problems has arisen. Puzzlingly, the video-cassette revolution has been allowed to gro[...]legislative responses at federal or state levels. The industry itself — importers, suppliers and distributors —— seems for the present content to operate according to a gentlem[...]utmoded and inappropriate legislation. At present the industry is — in theory at least — regu- lated by the Film Censorship Board. This raises the question of whether a government body has the right to censor what people do in their own homes; and there is no doubt that the home market is the one cassettes are aimed at. The problem is, in part, historical. The Common- wealth Film Censorship Board was setup in 1917, but Advertising material for triple X-r[...]booming business. I2. ,-\d‘»¢rli.. .ium the control u| the \u Customs until ll h.i.\’ heen i.i.. ' .....u[...]er shalt not be passed. under this Purl "r' N il. in Ihropinlun ullhe Ba-.ird ‘ "‘ lul lhc iiiiii[...]s blttsphemous. indecent or it obscene: (hi the tilnt or .id\-crtising mallet l\ likel} to he inj[...]i\'¢rlisIng mallet is like!) to he ofiensive to the people or it rflcfldi) nzllllln or To the people of u purl oi’ the Queen ~donitnions. or (it) the film or adtcrlising mutter depicts .In_\ i1t:tllL'r liw uhihitiun oivthicii is undesirable in the puh|i( inldrhl (2) Where application is mode to the Bozird of Review under regur Iation 39 of these Regulations to rertcvt ‘.1 decision of the Censorship Board in relation to ‘.l lilnt or advertising mutter. the film shall not be registered, or the advertising matter shall not be it. under this Furl it _Uie “Qnrd of Review confirms. un Ih: gr-u ' ' '—~t or advertising Krlid referred la in our. ::f(hg I;‘§[ --i An extract from the Customs Act, through which Com- monwealth Censorship is exercised. _ it was not until 1949 that the states began, one by one, to go along with its decisions. The Board's role, however, remains a purely advisory one: it has no actual control over the states in matters of film and videotape censorship. “The states guard their legis- lation very, very jealo[...]othing more.” There is a further complication, in that the Board registers and classifies films and videotap[...]tion; and each state has its own legislative view of what constitutes a public or private showing. in New South Wales, for example, the Theatre and Public Halls Act provides a fairly cl[...]ian legislation is not even remotely equivalent. The interstate legislative jumble has made for some strange situations. In Victoria, it is an offence to sell - but not to a[...]triple X-rated material. Queens- land and Western Australia seem to follow Censorship Board decisions only when it suits them, and Western Australia even has separate classifications for different parts of the state — what goes in the fertile south is too strong for the dry north. There is also the Sydney phenomenon of “adult" cinemas showing unregistered and unclassified films, in open breach of Common- wealth and State laws. he burgeoning of the video-cassette market caught the Classification Board off its guard. In last year's report — the first such report in the Board's history — Strickland acknowledged the strain on staff and resources caused by the ever—increasing use of videotape. “Looking ahead,” she says, “one can foresee video- tape possibly displacing celluloid as the predominant |
| [...], but on giant video panels. Once picture quality in this format has improved, the practice will undoubtedly spread.“The widespread domestic application of video- tape poses an even greater threat to the continued viability of the cinema as we know it. One symptom of the threat is the recently—initiated practice of some major motion picture companies of simultaneously releasing their new product in videotape and standard celluloid formats. “A major concern for film censorship is the ease with which films and videotapes can be duplicated. This will be a continuing problem, despite the fact that some commercial videotapes have encoded[...]deletions to videotapes creates difficulties, as the Board lacks the necessary equipment. it is thus obliged to rely on the importers written confirmation that the deletions have been made. "Videodiscs will prese[...]ms, as it is not presently possible to delete any of the informa- tion contained in their grooves. Their importation will necessitate the purchase of additional equipment by the Board, the training of staff in its use and appropri- ate legislative amendments.[...]All I can do Is propose and nothing more. ” The Board's classification is designed to tell the public what sort of film is up for display, and Strickland says the Board aims at reflecting the plurality of com- munity standards in Australia today. “Within the limits of the legislation, the Board tries to implement a censorship policy based on the philosophy that adults have the right to make their own decision regarding the material read, heard or seen; but that people gen[...]exposure to material that may be offensive — or in the case of children, harmful —— to them.” at the censorship debacle boils down to for wthe video—cassette industry. says Douglas Long, then spokesman of the Australian Video Association, is “tremendous problems for the distribu- tors, the retailers and possibly the people who are buying.” Many of the distributors do not seem to care. They simply meet thethe censor decides, but this attitude is open to being influenced by the axiom that sex sells: of the two versions, M and R, of Saturday Night Fever, Rigby offers the R for video- cassettes. Top: John Travolta in RigbyCIC’s Ft-rated Version of Saturday Nighf FGVEL Above: Video Classics’ Wal[...]Video Classics’ Walter Lehne says: “We accept the same classification for company products as the theatre. Of course, there has been talk of a separate censorship for video and we would welcome it.” Video Classics, in common with most other distribu- tors, is careful to cover itself by displaying the Board’s rating on all its cassette boxes, altho[...]es, Strickland told Channels she had tried to get the states to formulate some sort of unified legislation regarding the video- cassette industry last August. Her proposal was "put in the too—hard basket,” she says, but she expects the states to reconsider it later this year. She sees the censorship arrangement for literature as a[...] |
| the gory and violent sequences. Flight: Tinto Brass’ Caligula was out by the distributor after being banned by the censor.The fate of Tim Burstall’s film highlights the inconsistencies of censorship decisions made for broadcast television. The theatrically-released version was heavily cut for commercial television, while the Alvin Pur- ple television series on the ABC showed much more. From lelt to right: Debbie Nankervis in the uncut theatrical version. The same scene at the point where commercial television decided to cut. This shot of Debbie Nankervis and Graeme B/undell was cut lrom the version released on commercial television. This shot with Peta Peters was allowed in the ABC series. 16 -- CHANNELS April 1982 Thousands of films have suffered at the hands of the Film Censorship Board since its formation in 1917. The Censor’s demands have ranged from small deletions to outright bannings. The following stills have been taken from films affec[...]een uncut at a commercial screening. Nobody knows in what versions these films will ultimately be rele[...]ssettes. One can be sure, however, it will not be the film- maker’s. Clearly the right of people to view uncen- sored films — and the use of home video cir- cumvents the social problems — has still not been met. |
| Above left: Michelangelo Antonionl’s Blow Up had parts of this sequence cut. Above right: Lewis Gilbert's The Adventurers had deletions made due to sex[...] |
| nother major area of dissatisfaction among distributors is that of the delays experienced while a film or videotape made its way through the Board's administrative machinery. Not many distributors will go on the record about this. but Walter Lehne is openly cri[...], has some 80 films awaiting classification, some of which have been at the Board's Sydney headquarters for three months. "The video industry is a whole new industry in this country,” he says. “and the Board just does not seem capable of doing the job.” And then there is the continuing saga of Electric Blue. A sort of British audio-visual rendition of Club International and Playboy, the Electric Blue video- tapes are distributed by Peter Southwell out of Mel- bourne. He has managed to put out seven edi[...]but 006 went back and forth to Sydney three times in three-and-a-half months before passing muster. He claims it cost him $20,000 in lost revenue. When Electric Blue 007 fronted the censors on December 17, 1981 , it was cleared by[...]eye, 007 was “much hotter than 006. But that is the thing. If the Board gives you a hard time on one, they go easy on the next." Ironically, a clip from the film Straw Dogs which ran unabashedly in Australia's cinemas, was deemed unsuitable when included in Electric Blue. The size of the video—cassette industry is difficult to ascertain. The move by the big media groups into the area is an indication that there is a lot of money to be made from cassettes, but just how muc[...]es and rentals totalled U.S.$1 billion last year. Australia is not in that league, but if American estimates of market shares correlate here, video pornography claimed between 20 and 50 per cent of the market last year. The article quoted Screw magazine publisher Al Goldst[...]erestimating sales by focusing on hardcore films. in the past, X-rated films were seen and judged almost Left: Peter Southwell of Electric Blue. Below: Susan George and Dustin Hoffman in Straw Dogs: cut by the censors lorrelease on Electric Blue. |
| Top: Al Goldstein, publisher of Screw magazine: the public wants "real films with sex”. Above: Malcolm McDowell andAdrienne Corri in A Clockwork Orange: different versions for different markets. exclusively by men. “The product is changing today because more couples ar[...]ong is adamant that no realistic figure exists on Australia's video—cassette consumption. “His- torically[...]simple as that. But how much is anyone‘s guess. The whole area is further complicated by the fact that much of the Triple X stuff is pirated anyhow.” eanwhlle consumers seem unaware of how vulnerable the uncontrolled growth of the video—cassette market has left them. Con- sumer affairs bureaus in Melbourne and Sydney report few complaints; but purchasers of pornography are unlikely to express their dissati[...]obligation on distributors to state which version of a film is being offered for sale. Clockwork Orange, for example, was made in a number of different versions for different territories; The Godfather was made in dif- ferent versions for cinema and television; Woodstock is reported to have had 40 minutes of sexual and drug- related activity excised from the American version before release in Australia and the gap plugged with more music; nobody seems to know which version will eventually appear on cassette, but the version used on television here is the Australian one. Most distributors are content to offer product that was screened locally in a Board-classified version and in Strickland’s view this more than meets consumer[...]ns a grey area as far as censorship is concerned. The Australian Broadcasting Tribunal and the Australian Broadcasting Commission allow the Board to examine and classify imported programs. Thus the Government and commercial stations come under the Boards umbrella. Interestingly, commercial television seems to welcome the Boards embrace. When the Government tried to sever the connection last year, the Federation of Australian Commercial Television Stations said no, claiming the Board was in a better position to draw a “fine line” between the demands of vocal minority groups. In addition, the commercial stations seem to have a higher sense of propriety: when the ABC—produced Alvin Purple series made its channel crossing to the Seven Network, much was missing. The Special Broadcasting Service, on the other hand, is not obliged to observe the ABT's program standards. Most weeks, SBS programm[...]explicit language, though sometimes SBS gestures in the Board's direction by running a questionable program after prime time. Perhaps the main point about censorship in 1982 is that it has lost much of its status as an issue. A glance through the censorship file in any newspaper office reveals the decline: the fat files of the early 1970s shrink steadily as the years go by. Society seems to have become less anxious about individual behaviour in private; and because of the video cassette, filmed material that would have been unthinkable in Aus- tralian living rooms a decade ago is now hardly out of the ordinary. I Woodstock: the Australian record album had songs excis- ed. The versions released theatrically and on tele[...] |
| [...]Julie Stone he sweeping changes now underway at the Disney studios represent a radical departure from the conservative image fostered by Disney for so many years. Due for release in the middle of this year, Tron, with its spectacular effects and state—of— the—art techniques, is aimed at capturing the imagina- tion of children and adults today as surely as those earl[...]ms did years ago. A feature—|ength combination of animation and live action, Tron heralds a new age of computer—generated film and video graphics. The[...]-year-old Tom Wilhite and his assistants, a group of young animators who are about to reshape drastically the tradition of cute hand-animation that has been the Donald Duck, one of the many popular characters created by Walt Disney, the pioneer 0/ high quality single-frame animation.[...]S DISNEYLAND Disney hallmark. Gone with Tron are the days of fairy dust, Jiminy Cricket and lisping ducks. Computer animation from Disney might seem to go against the handcrafted sensibility of the studio, yet Disney's moral and political conservatism always disguised a creative liberalism bordering on the revolu- tionary. The early Disney animated films broke new ground in color, believability and story development. and set the standards for everyone else in those early days. Disney himself had a basic ins[...]w tools that would help him provide entertainment the public would welcome. In the same spirit, Wilhite is banking $13.5 million on being able to combine the Disney tradition of the well-told story with live action and animated characters co—existing in a computer—generated landscape. He is doing this in collaboration with a few old—school animators and a gaggle of whiz-kids recently out of Cal Arts (California Institute of Art; Valencia), the animation and film school set up by Disney. Since[...]-breed animators have been honing their skills at the Disney studio on the corner of Dopey Drive and Mickey Avenue; and now those skil[...]among hundreds. computer games house real people in another dimension which is controlled by a single malevolent program. The protagonist, Flynn (Jeff Bridges), who begins as[...], is blasted into electronic particles and awakes in a fourth—dimensional world whose overlord is the evil Dillinger (David Warner). The saga is played out in a setting where the life force is electricity, where computer programs are the alter egos of the programmers and where electronic T he action of Tron centres on the premise that |
| [...]ladiators do battle. Flynn is sentenced to die on the video game grid, where the amusements found in arcades become life and death realities.Tron represents the most extensive use yet of computer—generated video animation, with resultant massive reductions in the amount of time needed and the production costs that make conventional animation so prohibitively expensive now. The bulk of the film's graphics are being generated by Magi, of New York State, and Information international, of California. Their computers create a picture by delivering messages to individual points of light, called "pixels", on a video monitor, with[...]pixel. “lt’s a bit like putting a picture on the big billboard in Times Square," a graphics expert explains; except that where the Times Square billboard has 8000 light bulbs, a computer image has millions of pixels, each of which must be programmed for each frame of film. CHANNEL! April 1982 — 21 |
| create one frame of computer animation. Multiply that by the 1,240 frames needed to make one minute of film and the immensity of the task is apparent. An additional group of computers is used to control exposure and camera[...]provide a weekly “Pert" (Program Evaluation and Review Technique) readout indicating where the film stands in relation to its post—production schedule. All this cuts out a lot of jobs. No longer, for example, is it necessary to have model makers construct three- dimensional figures that the animators can touch and turn as they strive for an exact rendering; now the com- puter does this, on screen. Gone too are the hundreds of inbetweeners, those custodians of the art who so carefully made the transitional drawings connecting one pose to the next. In addition, any single scene, or “ceI" can be rec[...]lable for use any later scenes or for adaptation in subsequent ims. What has to be remembered, though, is that it was the humanity of the Disney animated films — not the technology behind them — that gave them their near- universal appeal. Whether the new computer tech- niques can match the original films in terms of story, character development, tension, conflict a[...]g their best to maximize that involvement: Bally. the largest maker of video games in the U.S., is creating the Tron video game for its nationwide chain of arcades and for installation in theatres a month before the film is released. It's hard to see Tron no[...] |
| [...]ll Nllllllllllllllrl International Iolanthe The Gilbert and Sullivan Operas Production company A[...]ghtoperas. Format Wdeotape Progress Production The Jewel in the Crown Production company Granada Television Prod[...]d on Paul Scott’s award—winning novels — “The Raj Quartet", the story is set in the last days ol the Fla] in lndia. Length 14 hours Format Film Progress Pr[...]Redgrave, John Gielgud, Joan Plowright Synopsis The life of the controversia|19th Century German composer, Richar[...]uction Scheduled release February 1983 Winds of War — Ralph Bellamy and Howard Lang. 24 — cunurvsns April 1982 Winds of War Production company ParamountPictures Produc[...]aw. Jan»Michael Vincent, John Houseman Synopsis The story of the events that befall the Henry family at the beginning of World War 2. Length 16x1 hour Format Film Prog[...]ty. Jose Ferrer, Jack Thompson Synopsis Based on the biography of the former Prime Minister of Israel, Golda Meir. Length 4x 1 hour Format Fil[...]Stapleton Cast Lorraine Bayly Synopsis Based on the lite ol a female barrister and her familyin the 1 9205. Length 52 x 1 hour — proposed Format Integrated film and videotape Progress Pre-production For the Term of His Natural Life Productioncompany Mintonlnvestme[...]d Mullinar, Robert Coleby Synopsis An adaptation of Marcus Clarke's classic novel of the same name, Length 6 hours Format Film P[...] |
| [...]ts their values, ideals and ambitions. Set among the residents of a community welfare home. 22 x ‘/2 hour Integ[...]s Mike Preston, Peta Toppano, Barry Quin Based on the exploits of the Missing Persons Special Investigation Branch. 10[...]ckie Woodburne, Lorraine Bayly, Bill Hunter Story of two young men who grow up in rural NSW and go off to World War 1. 7 x 1 hour Film Production Mid~1982 November 11, 1975 — The Whitlam government's dismissal. November 1 1[...]n, Bill Hunter, John Hargreaves. Stewart Faichney The events leading up to and including the dismissal of the Whitlam government. 6 x1 hour Film Production Return to Eden Hanna Barbera (Australia)/McElroy and McElroy Hal McElroy Michael Laurence A story of passion, intrigue, murder, vengeance and the obsession of two women for the same man. 6 x 1 hour Pre—production Runaw[...]//, Miles Buchanan, Simone Buchanan and John Hamb/in. Runaway Island Production company Grundy Or[...]han Miles Buchanan, Simone Buchanan, Julie Tyler The children of a wealthy landowner try to get evidenceof a corrupt governor's guilt. Set in the 1830s. 1 x 2 hour and 8 x ‘/2 hour Film Post[...]ila Kennelly, Tom Farley, Miles Buchanan A group of children turn an old ghost town into a profitable[...],Tina Bursill, Briony Behets A series portraying the lives of the people behind an Australian corporation fa[...] |
| [...]release July 1982, Channel 0/28 Synopsis: Women of the Sun is an ambitious production, consisting of four self-contained episodes. Each part is set in a different period and recounts the events which occurred in the lives of four Aboriginal women, their immediate families a[...]81. ,--_/ Episode One: 1824-1830. Alinta (The Flame) The lives of the Nyari people are completely disrupted when they find two escaped white convicts washed up on the beach of their tribal lands, an event that will change the[...]ft inset opposite). Episode Two: 18905. Maydina (The Shadow) Separated from her daughter, Ma ydina (M[...]plates her alien clothes and identity, and thinks of escape from the church mission station. (Background opposite). Episode Three: 1939. Nerida Anderson. Based on the Cummeragunga Walkout of 1939, in which 600 Aboriginal people walked off a Victorian mission station, Nerida Anderson (Jus tine Saunders), the leader of the dissidents, and her grandmother (Minnie Patton) f[...]ving she is Polynesian and adopted, is haunted by the first misgivings about her real Aboriginal[...] |
| [...]. 14. UUJHUUUU CHANNELS is pleased to announce the formation of Australia ’s first library of quality films on videotape. Drawing on the best of international cinema, the CHANNELS VIDEO LIBRARY will offer movie lovers an outstanding collection highlighting the work of the world’s best filmmakers. To enable collectors[...]ANNELS will also offer special prices on packages of films by outstanding directors. The first in this series will highlight the work of Alfred Hitchcock. CHANNELS II 1. Allegro non[...]ackers US. 1930. Dir. Victor Heerman. Star- ring: The Marx Brothers. $59.95 Battleship Potemkin Sovie[...]chcock. Starring: Anny Ondra. $49.95 Blue Angel, The Germany. 1930. Dir. Joseph Von Sternberg. Starri[...]onuts U.S. 1929. Dir. Joseph Stanley. Star- ring: The Marx Brothers. $59.95 . Deer Hunter, The U.S 1978. Dir. Michael Cimino. Star- ring : Robe[...]nald Sutherland, Julie Christie. $79.95 General, The U.S. 1927. Dir. Buster Keaton. Star- ring: Buster Keaton. $59.95 Godfather, The U.S. 1972. Dir. Francis Ford Coppola. Starring: Marlon Brando, Al Pacino. $79.95 Gofdrush, The U.S. 1925. Dir. Charlie Chaplin. Star- ring: Cha[...]ring: Carol Kane, Steven Keats. $69.95 Any three of the following films 16. 17. 18. 19. 20. 21. 22. 23. can be ordered for 10% off the recommended retail prices. See order form for de[...]ms by Alfred HICCIICOCK 4. Blackmail $49.95 18. The Lodger $59.95 26. Psycho $79.95 29. Sabotage $59.[...]Thirty Nine Steps $59.95 IDEO LIBRAR 15. Kid, The U.S. 1921. Dir. Charlie Chaplin. Star- ring: Cha[...]an C. Cooper. Star- ring: Fay Wray. $59.95 Knife in the Water Poland. 1962. Dir. Roman Polanski. Starring: Leon Nienczyk. $59.95 Lodger, The Britain. 1926. Dir. Alfred Hitchcock. Starring:[...]tten, Anne Baxter. $59.95 Man Who Fell to Earth, The U.S. 1976. Dir. Nicolas Roeg. Starring: David Bowie. $79.95 Marriage of Maria Braun, The W. Germany. 1979. Dir. Rainer Werner Fassbinder.[...]ck. Star- ring: Cary Grant. $69.95 One Flew Over the Cuckoo’s Nest U.S. 1975. Dir. Milos Forman. St[...]vice U.S. 1938. Dir. William Seiter. Star- ring: The Marx Brothers, Lucille Ball. $59.95 Sabotage Bri[...]r- ring: John Gielguld, Peter Lowe. $59.95 Shoot the Piano Player France. 1962. Dir. Francois Truffau[...]Bergman, Gregory Peck. $69.95 Spiral Staircase, The U.S. 1946. Dir. Robert Siodmak. Star- ring: Dor[...]ng: Cary Grant, Joan Fontaine. $59.95 Third Man, The U.S. 1949. Dir. Carol Reed. Starring: Orson Welles, Joseph Cotten. $69.96 Thirty Nine Steps, The Britain. 1935. Dir. Alfred Hitchcock. Starring:[...]Mikayo. $69.95 Address Postcode Please send me the following films from the Channels Video Library Film number Price Films from the Alfred Hitchcock (see catalogue) package[...] |
| VIDEOTAPE John Pruzanski The Decline of the Studios and the ltise of Television In the 1950s, television really arrived as a mass medium in the US. and the Hollywood major studios watched in horror as their patrons and profits deserted them[...]ave those sur- vivors been able to wrest a degree of market control back from television. When television came to Australia in 1956 the local film industry was dead and buried, with film distribution completely in the hands of U.S. and — to a lesser extent — British interests. The development of television here thus fell — in the commercial area —— to the giant press interests, who had already invested substantially in radio. The American experience, given the size and influence of the film industry there when television began to asse[...]was very different. Hollywood's near-fatal error of judgment occurred in the early 1930s when General David Sarnoff, head of The Radio Corporation of America, decided to begin manufacturing televisio[...]eiving equipment. Subsequently, disenchanted with the programs available from the few independent stations around the country, he set out to increase sales of receivers by creating quality programs, and his N[...]d into tele- vision production and distribution. The film studios failed to grasp the implications of this new development. Louis B. Mayer turned down the offer of a share in NBC and even forbade his employees to watch TV, the attitude being that if it was ignored this upstart innovation would go away. Such was not to be the case. After peaking in 1946, cinema attendances began a steady decline and, in 1951, when there were 12.5 million TV receivers in use in the Left: RCA 's David Sarnoff. Centre: Louis 8. Meyer turned down the offer of a share in RCA. Right: The logo oi the RKO corporation. The company's inventory was sold to the General-Tire and Rubber company, and the studio complex to Lucille Ball and Desi Arnez. US, the writing was clearly on the wall. Film attend- ances plummeted in cities with TV and theatres began to close. Itegrouning and Rethinking At first, the film studios scrambled to repel the invader by offering innovations that television could not match: 3D, Odorama, a variety of widescreen pro- cesses, enhanced sound quality and an increased use of color. But all that was to no avail. So, the studios regrouped and rethought. Television had already made extensive and profitable use of film titles whose copyright had lapsed, or which had been bought up by farsighted middlemen. Many of these films were old and of poor quality, but their success with viewers was undeniable. So, in 1956, the studios bowed to the inevitable and began to sell their product to television. A major factor in this decision had been the popular- ity of the New York program Million Dollar Movie: the General Tire and Rubber Company had bought RKO, one of the Hollywood major studios, and was using the studio's product to provide programming for TV stations the company owned in the major markets. Alive now to the income that TV sales could generate, the cash-poor studios gave in; but they were clever enough to come up with a sc[...]d give them enduring control over their product. The name of the game was packages. A package comprised a few soug[...]ght be shown. (This is a practice now widely used in Australia by local film distributors and U.S.—based packa[...]al title was assigned a value which was reflected in its programming and publicity; thus the major cinema success was assured of its aura and television ratings to match — a si[...]television and its audiences today. Hollywood on the Television Payroll This arrangement did not signify the signing of a peace treaty; it was more in the nature of an accommo- dation that injected some badly-neede[...]udio coffers. But a second breakthrough had begun in 1954 when the Walt Disney Studios signed a deal for the Disneyland series with the fledgling American Broadcasting Company.[...] |
| [...]ctice today. Right: Francis Ford Coppola reedited The Godfather, integrating it with The Godfather, Part Two and unused footage to create[...]for television as Disney was not regarded as one of the majors — even though time has shown Disney to be the most consistent and financially sound of all the Hollywood corporations. it did, however, alert Jack Warner of Warner Brothers ~ the man who frowned on any appearance of a television set in a home scene in a Warner feature — to the profit potential of providing original material for television, and Warner signed a deal with ABC to produce films for the 1955-56 season.To defuse any theatre-owned animosity to these dealings with the enemy, Warner stipulated that in each one-hour film, a 10-minute segment, called Behind the Cameras, must be included. These segments depicted work on feature films soon to be released in theatres; in other words, they were free commercials for Warners’ features. Thus, with television productions of Casablanca, King’s Row and Cheyenne, all broadcast under the umbrella title "Warner Brothers Presents“, the first sig- natory to the truce opened the floodgates. The other majors soon followed and this innovation saved many of them. Feature film attendances continued to decli[...]mming. A symbiotic relationship developed between the studios and the networks. The networks began dropping the live dramatic presenta- tions that spawned a new generation of actors and directors, and concentrated on telefilm programs. The changing Tide The studios were reasonably happy, with profits increasing as a steady new market of young patrons began to boost cinema attendances in the 19605. 30 — cm.-mm.=r.s April 1932 Feature films were taking up a smaller percentage of air time on television, but the major features were becoming more important for the ratings and, during the 1960s, the networks balked at paying what they thought were[...]ial roles. They provided some tremendous hits for the net- works, ratings-wise, but also had the effect of increas- ing the aura surrounding the ‘special event’, major feature film on television. This relationship continued up to the 19705. A Holly- wood major studio release was premiered in the major cities, showcased around the country, then perhaps re- issued a year or so later. Only then was it considered for television release. The studios judged the drawing power of a film in the theatres and when they thought few people would pay to see the film again, television would have its chance. This process could take any- thing from two years up to, in the case of Gone With the Wind (1939), almost 40 years. Again, in the mid-19‘/Os, the networks were openly dissatisfied with the prices they had to pay. Sometimes a network pre-b[...]t was theatrically released. Networks were paying in the low millions for these sales. rather than the US$15 million they paid for Jaws. Sometimes they[...]per’ (Rocky), sometimes they bought a disaster (The Sorcerer — known as Wages of Fear in Left: Casablanca, the Warners' classic, was one of the first features to be used as the basis for a television series. Centre- Gone With the Wind waited for 40 years to be shown on televisio[...]for Jaws, which will pro- bably only be beaten by the television sale of Star Wars. |
| [...]Left: Satellite-delivered Home Box Office is the most successful cable program distributor. Centre[...]tre right: M1 '8'}! and Patton are two films from the first package of Hollywood features to be released on video cassette. Right: Superman, The Movie was instrumental inreversing the video-cassette release policies of the major Hollywood studios. Australia). Now, as before, the networks have begun to tinker with the idea of producing their own material for theatrical relea[...]systems. cable Cable television had been around in the U.S. from the early 1950s, when Community Access Television was[...]or cable company set up a large receiving station in a poor-reception area and wired up individual homes to this aerial. Then, in 1975, Theta Cable in Los Angeles asked a crucial market research quest[...]l-free theatrical feature films into their homes? The answer dictated that they should try and Z-Channe[...]any cable operator — or individual — who had the necessary receiving equipment. Cable operators charged each consumer and then reim- bursed the program originator. These companies disrupted the studio releasing pat- terns. Again, it took time for the majors to release their latest films to cable, but they eventually came to the party after returns increased. The new pattern squeezed a cable release between the theatrical and television releases. That eventually began to affect the television networks who had initially believed that cable release, with only a small percentage of the population wired up, would actually improve a film's aura and help the ratings. That was probably true until the proportion of homes wired grew to a point where television ratings were adversely affected. The net- 9 to 5 was one of the first Twentieth Century-Fox films to have simulta[...]ed to respond by offering bigger money for films, in an effort to outbid cable. What the future holds for network policy on theatrical fea[...]now produces its own programming for a multitude of different net- work types, and thethe studios and again disrupts the releasing patterns of films is the video cassette. in 1975, the first successful ha|f—inch video- cassette recorder, the Sony Betamax. hit the U.S. market. The VH8 system entered soon after, but the studios again were very wary of entering this market. In 1976, a company called Magnetic Video secured the rights to release a package of early Twentieth Cen- tury—Fox titles on video c[...]so successful that Twentieth Century- Fox bought the company in 1979 and released more films on cassette. Other companies sprang up, buying the rights to foreign films and packaging films whose rights had lapsed. The other studios were still reluctant to sell their[...]home consumers and, for a time, pornography ruled the shelves of home video stores. The video cassette seemed the perfect means of distribution for sex. Hollywood Dashes In The proliferation of video—cassette recorders and the ease of duplicating tapes created a major piracy prob- lem. in 1978, it was possible to find pirated copies of Superman, The Movie in video retailer stores before the film had been released theatrically in the U.S. The stations took note of consumer demand for their pro- duct and, to minim[...]hey slowly began to release their titles; now all the major studios distribute some of their product on cassette and video- disc. The relevant strategies — number of titles released, timing of release and sale versus rental policies — vary[...]ly announced that theatrical and cassette release of many of their films will in future be simultaneous. They reason that w[...] |
| On the other hand, Paramount Pictures announced that the[...]. They aim to keep a respectable distance between the theatrical release and home video release. The other studios fall some- where in between. There are now more than 3000 feature film titles released on cassette in the U.S., some so recent that they have not yet been released theatric- ally in Australia.The studios are in a strong enough position to vary release patterns[...]own purposes. To show their dissatisfaction with the cable companies’ poor payments, Fox sold Breaki[...]ette before it was released to cable television. In Australia, the traditional pattern of distribution has not yet been markedly affected. We have no form of pay television and even though video-cassette recor- ders have been on the market for some six years, the feature film software has only been generally released within the last three years. Outside of pornography and R—rafed material, mainstream feature film distribution was initiated by Walter Lehne of Video Classics in 1979, although the market did not start moving until Magnetic Video (South Pacific) started in 1981. The other major studios followed. Cinema Inter- natio[...]l Pictures, Paramount Pictures and others) joined the Rigby Publishing group to form Rigby—CiC. Publishing and Broadcasting, the Kerry Packer group of com- panies, set up Star Video in 1980. They have no major studio ties and pick up[...]ome Video began late last year and is operated by the Warner subsidiary, Warner Elektra Asylum Records.[...]d from ADT adult published information concerning the ADV 3dYe““”e theatrical versions of the films. Therefore, :g'r:‘ead":d all listings of film lengths are approximate DOC documemaw only, owing to variations in the length of DRA mama distributed theatrical versions. The censor— FAM family ship ratings listed are onl[...]ings._All films §;R fh°r'fi,';fe '°"°” are in color unless otherwise indicated. WAR wa, Sample Entry WST western African Queen, The 1951/John Huston t Dishvibutors Humphrey Bogart.[...](NRC) DRA MV $69 00 H“ GL Video African Queen, The title INT . I ' ' 1951 year of theatrical KC £‘;,:é'E'c:/rhea distribution - - /John Huston director KV Kmg ofinin Britain and exclusively marketed the United Artists library, which it lost in 1981 when United Artists changed hands and the library was bought by Magnetic Video. in Australia, lntervision is actively hunting for its own titles. The situation in Australia has yet to be sorted out. Other independent distributors (listed in the Distributor Key of the following Checklist) have bought the rights to various feature films and other program[...]sion programs, sports and ‘how to‘ cassettes. The next instalment of the Program Checklist will include further video- cassette categories. Consumer acceptance of video has expanded the market to unforeseen proportions and also made it far more complex. In the old days —— which were not so long ago — fi[...]present, feature films make up a major proportion of video-cassette and videodisc programming, and wil[...]ers open up, quite liter- ally, a whole new world of television; the screens we use for entertainment already have other applications in business, information and security. As for distribution patterns of feature films, news, sport, newspapers, magazines[...]have already been big changes with more to come. In all of this video is going to play a major part. Abe Lincoln in Illinois 1939/John Cromwell 1: Raymond Massey. Ge[...]er, Robert Lansing. (R) DOC VC $59.95 Adventures of a Private Eye ‘A Suzy Kendall, Harry H. Corbett. 90m (RI COM VC $69.95 Adventures of Huckleberry Finn, The 1939/ Richard Thorpe 1 Mickey Rooney. Walter Connolly. 90m (G) bw FAM VC $69.95 Ad ventures of Sherlock Holmes’ Smarter Brother, The 1975/Gene Wilder 1: Gene Wilder. Madeline Khan. 87m (NRC) COM MV $69.00 African Queen, The 1951 /John Huston it Humphrey Bogart. Katharine H[...]n Mitchell, Glynis Johns. 102m DRA VV $59.95 All in a Night's Work 1961/Joseph Anthony «A- Dean Martin, Shirley Maclaine. 91m (NRC) COM MV $69.00 All in the Sex Family (Ft) ADT KV $69.95 All That Jazz 1979[...]no Bozzetto. (NRC) ANM $69.95 Amazing Dobermans, The 1976/David and Byron Chudnow at Fred Astaire, Barbara Eden. 94m (NRC) FAM VC $69.95 Amazing World of Psychic Phenomena, The 9: Raymond Burr. 92m DOCO VC $69.95 American Nlt[...]9.95 Applause, Kitty Darling HH $59.95 AP!-3'9. The /Menahem Golan 9: Catherine Mary Stewart.[...] |
| [...]omedy about Broadway backstage doings remains one of the brightest films of its period. Released in 1950, the film gathered together a top- line cast and gave[...]o have improved with age.All About Eve concerns the effect an ambitious young actress has on those ar[...]dicated playwright and his non-professional wife, the way is wide open for bitchy fun and games, and. M[...]tion and first-class sound makes this a must for the collector. Ivan Hutchinson All that Jazz Direc[...]or. Released by Twentieth Century-Fox video. One of the most successful attempts at musical biography eve[...]is for Joe Gideon, and if so, he is more critical of his own fail- ings than most of us. The musical has sequences that shook. dazzle. stimulate, but rarely bore. The spectacularly staged and edited open-heart surgery sequence becomes a song and dance routine full of mordant wit. There are splendid per- formances fr[...]fair, sound first-class. Ivan Hutchinson Around the World with Fanny Hill 101m (R) ADT VC $69.95 Assassination of Trotsky, The 1972/Joseph Losey tr Richard Burton, Alain Delon[...]ood. Carol Lynley. 85m (NRC) ACT VC $69.95 Bait, The 1973/Leonard Horn 1 Donna Mills. Michael Constant[...]Lanchesler 80m (G) bw KV $69.95 Beast Must lie, The 1974/Paul Anneit t Peter Cushing. Calvin Lockhart 93m (M) HOR VC $69.95 Bedspread. The (R) ADT KV $69.95 Behind Convent Walls Wallerian[...]ors 4: Joyce Denner. 80m (R) DRA $8 $69.95 Below the Belt it John Tull. Buck F|ower.90m (R) DRA KC $69.95 Beneath the Planet of the Apes 1970/Ted Post it James Franciscus, Charlton[...]Carlson. 78rn bw DRA VV $59.95 Bermuda Triangle, The t John Huston. 1 25m (M) ACT KC $69.95 Bermuda Triangle, The /Richard Friedenberg. 95m DOC VC $69.95 Best of Walt Disney's True Life Adventures (G) FAM WD $R.[...]Beyond Death‘a Door 90m DOG VC $69.95 Beyond the Door # 2 90m (R) HOR KC $69.95 Beyond the Poseidon Adventure 1979/Irwin Allen t Michael Caine. Sally Field. 122m WH $R.O. Beyond the Valley of the Dolls 1970/Russ Meyer t Dolly Read, Cynthia Myers. 109m MV $69.00 Bible, The 1966/John Huston tr George C. Scott. Richard Harr[...]0 Big Bad Wolf 60rn (G) ANM VC $69.95 Big Land, The 1957/Gordon Douglas t Alan Ladd. Virginia Mayo. 92m WST VV $59.95 Biggest Battle, The t Henry Fonda, Samantha Eggar. 97m (AO) WAR KC $6[...]Arbanville, Mona Kristensen. 96m SV $79.95 Billy the Kid Returns (G) WST KV $6995 Birds of Prey 1973/William Graham -1: David Janssen. 74m (NRC) ACT VC $69.95 Birthday Party, The 1968/William Friedkin 1: Robert Shaw, Dandy Nicho[...]Black Deep Throat (R) ADT KV $69.95 Black Hole, The 1979/Gary Nelson tr Maximilian Schell. Anthony Pe[...]eavon Little. Gene Wilder. 93m COM WH $R.O. Blob,The 1958/Irvin Yeaworth in Steve McQueen. Anita Corseaut. 85m (G) HOR KV $69[...]a Darnell. 123m ACT MV $69.00 Blood BeastTerror, The tr Peter Cushing. Robert Fleming. HOR VR $59.95[...]odthlrsty Butchers (M) HOR VC $59.95 Blue Angel, The 1930/Jose Van Sternberg er Marlene Dietrich, Emil Janning. 90m bw DRA HH $59.95 Blue Belle in Annie Belle. 86m (R) DRA KC $69.95 Blue Fire Lad[...]Angela Lansbury. 97m (G) MUS MV $69.00 Blue Max, The 1966/John Guillerman 1 George Peppard. 149m (NRC) ACT MV $69.00 Blues Brothers, The 1980/John Landis 1' John Belushi, Dan Aykroyd. 13[...]Capuclne. 104m (A0) COM KC $69.95 Bobble Jo and the 0utIaw1976/Mark L. Lester it Lynda Carter. Marjoe Gortner. 85m (R) DRA KC $69.95 Body, The /Roy Battersby. 108m DOC TE $69.95 Boob Tube, The tr John Alderman. 98m (R) COM KC $69.95 Boston Strangler, The 1968/Richard Fleischer 4: Tony Curtis. Henry Fond[...]rd Basehart. 73m WST SV $79.95 Boys from Brazil, The 1978/Franklin Shaeflner air Gregory Peck. James Mason. 119m (M)DRA MV $69.00 Brain of Blood in Kent Taylor. 82m (M) HOR KC $69.95 Breaking Away[...]Celia Johnson. 86m (G) bw DRA SC $59.95 Brighty of the Grand Canyon 1967/Norman Foster t Joseph Cotlen,[...](G) FAM KC $69.95 Brubaker 1980/Stuart Rosenberg in Robert Redford. Yaphei Kolto. 130m (M) DRA MV $R.[...]ngers /Joseph Kong tr Bruce Lee. Chan Wai Man. 91 in ACT INT $69.95 Brute, The /Gerry O'Hara at Sarah Douglas, Julian Glover. 90m (R) HOR vc $69.95 Buck Rogers in the 25th Century 1979/Daniel Haller tr Gil Gerard, Pa[...]89m SF CIC $79.95 Bugs Bunny/Road Runner Movie, The 1979/ Chuck Jones tr Bugs Bunny. Road Runner, 92m[...]Connie Strickland. 87m (R) DRA KC $69.95 Bundle of Joy 1956/Norman Taurog «tr Debbie Reynolds, Eddie Fisher. 98m COM VV $59.95 Butch and Sundance — The Early Years 1979/ Richard Lester 1: William Katt Tom Berringer. (G) WST MV $69.00 Butch Cassldy and The Sundance Kid 1969/ George Roy Hill in Paul Newman. Robert Redford. 106m (NRC) WST MV $6[...]nnelli, Michael York. 123m MUS SV $79.95 Cabinet of Dr Caligari, The 1919/Robert Wiene av Werner Krauss, Conrad Veidt[...]ey Maclaine. 126m (G) MUS MV $69.00 Can’t Stop the Music 1980/Nancy Walker i Village People, Valerie[...]th Connor, Shirley Eaton. 84m COM TE $49.95 Case of the Smiling Stiffs 1: Harry Reems 72rn (R) COM VC $69[...]arris, Sophia Loren. 127m ACT MV $R.O. Castaways of l.he General Grant 75rn (NRC) ACT VC $59.95 Cat[...]. Vincent Price. 99m bw DRA VV $59.95 Chaperone, The (R) ADT KV $69.95 Charleston it Bud Spenc[...] |
| [...]bertson. Claire Bloom. 106m DRA SV $79.95Child. The 83m (R) HOR KC $69.95 Chisurn 1970/Andrew V. McL[...]Richard Burton. 176m (NRC) DRA MV $69.00 Clones, The 1973/Paul Hunt Lamar Card ~k Michael Greene. Greg[...]e-Name: Rawhide (R) ADT KV $69.95 Colditz Story, The 1957/Guy Hamilton 1 John Mills. Eric Portmsn. 93m[...]ee Van Cleei. 89m (A0) WAR KC $69.95 Contesslons of a Young Housewife or Jenniler Welles. 80m (R) COM 53 $69.95 Connecticut Yankee in King Arthur's Court, A 50m (G) ANM SV $49.95 Con[...]t tan Mccuiloch. 96m (R) HOR SB $69 95 Contract, The t Bruno Pradal. 85111 (M) DRA KC $69.95 Convoy 1[...]aul gsvéman, George Kennedy. 126m DRA WH Count. The immigrant. The (G) KV $69.95 Countess [led ot Lauuiter fir Ter[...]it Terrence Hill. WST VR $59.95 Creeping Flash. The 1973/Freddie Francis it Christopher Lee. Peter Cu[...]ocodile /Sampole Sands. 83m HOR INT $69.95 Cross of Iron 1976/Sam Peckinpah in James Coburn. Maximilian Schell. 128m ACT TE $69.95 Cruel sea, The 1953/Charles Frend rr Jack Hawkins. Stanley Baker[...]anne Fisher. 65m (R) ADT VC $69.95 KV $69.95 Cry in the Night. A 1956/Frank Tuttle ir Natalie Wood. Edmun[...]HOR KC $69.95 Cry Uncle (R) ADT KV $69.95 Cure. The Adventurer, The (G) KV $69.95 Curly Top 1935/Irving Commings 1 Shirley Temple. John Boles. 75m (G) bw FAM MV $69.00 Curse of the Crknson Altar. The 196i-3Nernon Sewell 9 Boris Kariotl. Christopher[...]roll Baker. 106m (R) DRA KC $69.95 Darn Busters, The 1954/Michael Anderson at Richard Todd. Michael Re[...]h. 117m (G) FAM MV $69 00 Davy Crockett, King or the Wild Frontier 1955/ Norman Foster 1 Fess Parker. Buddy Ebsen. (G) FAM WD $R.O. Day It Came To Earth, The 1977 84m (M) SF VC $69.95 Day of the Dolphin 1973/Mike Nichols vr George C. Scott. Trish Van Devere. 10-Sm (G) DRA MV $69.00 Day of Watch Cari Dreyer. HOR HH $59.95 Day the Earth Moved, The 1974/Robert Michael Lewis 1 Jackie Cooper. Stella[...]Jim Kelly. Aldo Ray. 90m ACT INT $69.95 Death on the Nile 1978/John Guillermin a Peter Ustinov. Angela Lansbury. 135m DRA TE $79.95 Deathhead Virgin, The 1: Jock Gaynor. Larry Ward. 90m (M) DRA KC $69.95 Deep Six, The 1958/Rudolph Mate -0: Alan Ladd, William Bendix. 105m DRA VV $59.95 34 — cmuvueu April 1982 Deer Hunter, The 1978/Michael Cimino 1: Robert De Niro. John Cazal[...]son, Jessica Tandy. 88m WAR MV $69.00 Detective, The 1968/Gordon Douglas 1» Frank Sinatra. Jack Klugm[...]evil Rider 74m (M) ACT VC $69.95 Devil's Garden, The 76m (R) ADT VC $69.95 KV $69.95 Devils of Darkness 9 William Sylvester. 90m (M) HOR KC $69.95 Devils Wanton, The 1962/Ingmar Bergman t Doris Svenlund. Birger Malmstem. 72m bw HOR HH $59.95 Diary of Anne Frank 1959/George Stevens 9: Joseph Schildkr[...]l Pacino. John Cazale. 130m WH $R.O. Doll Squad. The 9: Michael Ansara. 102m (M) ACT VC $69.95 Domino Principle, The 1977/Stanley Kramer up Gene Hackman. Mickey Roone[...]nt73 t Chesty Morgan.90m (R) ADT VC $69.95 Dove, The 1974/Charles Jarrott t Joseph Bottoms. Deborah Ra[...]dd. Marisa Pavan. 111m WST VV $59.95 Duchess and the Dirtwater Fox, The 1976/Melvin Frank i George Sega). Goldie Hawn. 10[...]00 Dynamite (R) ADT KV $69.95 Eagle Has Landed, The 1977/John Sturgess 1: Michael Caine. Donald Sutherland. 119m (NRC) ACT MV $69.00 East of Eden 1955/Elia Kazan 9: Julie Harris James Dean. 115m DRA WH $R.O. Electric Horseman. The 1980/Sydney Pollack or Robert Redford. Jane Fonda[...]ounter With Disaster 93m DOC VC $69.95 Enforcer, The 1976/James Fargo tr Clint Eastwood. Harry Guardin[...]inch. Michael York. 104m (M) DRA VC $69.95 Enter the Dragon 1973/Robert Clause 1: Bruce Lee, John Saxo[...]R) DRA KC $69.95 Erotic Adventures oi Pinocchio, The i Alex Roman. Jyanne Thorne. 80m (R) COM KC $69.95 Erotic Adventures of Superknight, The 100m (R) COM KC $69.95 Erotic Adventures of Zorro, The 2 Robyn Whitting. 93m (R) COM KC $69.95 Escapade in Japan 1957/Arthur Lubin at Teresa Wright. Jon Provost. 92m DRA VV $59.95 Escape To The Sun 1979/Menahem Golan tr Lawrence Harvey. Jack H[...];R%int Eastwood. Sondra Locke. 1 19m ACT WH Evil in the Deep a Stephen Boyd. (NRC) ACT VC $69 95 Executive's Wives. The 734-n (R) ADT VC $69.95 KV $69.95 Exorcist, The 1973/William Friedkln i Ellen Burstyn. Jason Miller. 121m HOR WH $R.O. Exotic Dreams of Casanova 1 Johnny Roco. Janet Louise. 90m (R) COM[...]n. Kate Woodville. 78m DRA KC $69.95 Eyes Behind the Stars /Roy Garret rt Robert Hoitman. Nathalie Delon. 90m SF INT $69.95 Eyes Behind the Stars 9: Martin Balsam. 88m (AO) SF KC $69.95 Ey[...]urt. DRA MV $R.O. Fabulous Bastart from Chicago, The 86m (R) DRA KC $69.95 Face of Fu lihnchu, The 1965/Don Sharp t Christopher Lee. Nigel Green. 94m DRA TE $69 95 Fairytales 80m (R) ADT VC $69.95 Fall of the House of Usher, The (NRC) HOR VC $69.95 Fantasm 1976/Richard Frankli[...]Boyd. Raquel Welch. 96m (G) SF MV $69.00 Fantasy in Blue (R) ADT KV $69.95 Farewell My Lovely 1975/D[...]Chauvlnists 89m (R) ADT VC $69.95 Flendlsh Plot of Dr Fu Manchu 1980/Piers glsgogard it Peter Sellers. Helen Mirren, WH Fireman. Caught in Cabaret, The (G) KV $69.95 First Time, The (R) ADT KV $69.95 FirstTravelilng Saleslady /Art[...]ogers. Carol Channing. 92m WST VV $59.95 Fistful of 44's. A (R) ADT KV $69.95 5 Desperate Women 1971[...]d. Anjanette Comer. 73m DRA 5V $79.95 Five Weeks in a Balloon 1978. 48m (G) ANM CIC $59.95 Flash Gor[...]nderson. 115m SF VC $69.95 Flesh and Blood Show, The DRA KC $69.95 Fleeh Gordon Howard Ziehm. 91m (R) SF VC $6995 Floorwalker, The Rink, The (G) KV $69.95 Florida Connection, The it Dan Pastorini. June Wilkinson. 102m ACT INT $6[...]John Wayne. Robert Ryan. 102m WAR NM $59.95 Fog, The 1: Janet Leigh. John Houseman. MV $69.00 For the Love or ivy 1968 -1: Sidney Poitier. Abbey Lincoln. 100m DRA SV $79.95 Forgotten Man. The 1971/Walter Grauman * Dennis Weaver. Ann Francis.[...]. 125m bw WST NM $59.95 Forty Graves tor 40 Guns in Rita Rogers. Robert Padilla. 85m (R) WST KC $69.9[...]e Merriwether. 85m (G) SF KV $69.95 Four Deuces, The 1975/William Bushnell Jr sir Jack Palance. Carol[...]to Love 92m (R) ADT KC $69.95 French Connection. The 1971/William Friedkin 1' Gene Hackman. Roy Scheider. 100m (M) ACT MV $69.00 From the Earth to the Moon 1958/Bryon Haskin at Joseph Cotten. George Sanders. 100m SF VV $59.95 Fugitives. The (R) ADT KV $69.95 Fun in Acapulco 1963/Richard Thorpe 1 Elvis Presley. Ursula Andress. 93m (G) MUS MV $69.00 Funniest Man in the world, The * Douglas Fairbanks Jr. 90m bw DOC INT $69.95 VC $69.95 Fury, The 1978/Brian De Palma it Kirk Douglas. John[...] |
| Gauntlet. The 1977/Clint Eastwood 1 Clint East- wood, Sondra Locke. 109m ACT WH $R.O.Gay Divorcee, The 1934/Mark Sandrich 1 Fred Astaire. Ginger Rogers, 107m bw MUS NM $59.95 General. The 1927/Buster Keaton 1 Buster Keaton. 108m bw COM H[...]e, Jane Russell. 88m (NRC) DRA MV $69.00 Getting of Wisdom, The 197 7/Bruce Bereslord 1 Susannah Fowle, Barry Hum[...]Daniels, Gwen Brisco, 107m MUS INT $69.95 Ghoul, The Freddie Frances 1 Peter Cushing, John Hurt. 88m ([...]owell, 96m COM VV $59.95 Girl Who Knew Too Much, The 1969/Francis D. Lyon 1 Adam West. Nancy Kwan. 96m (NRC) ACT KC $69.95 Girls at the Gynaecologist 1 Monica Dahlberg. 90m (R) ADT VC $[...]ey, Stella Stevens. 102m (G) MUS MV $69.00 Girls in the Streets 80m (R) DRA KC $69.95 Glorlfylng the American Girl HH $59.95 Glory 1956/David Butler[...]Jack Palance. 93m (NRC) WST VC $69.95 Godfather, The 1972/Francis Ford Coppola 1 Marlon Brando, Al Pacino. 164m DRA CIC $79 95 Godsend, The 93m (M) HOR VC $69.95 Godson. The 1 Jason Yukon, Lois Mitchell, 86m (R) DRA SB $69.[...]ris, Ann Turkei. 102m (M) ACT SC $59.95 Goldmsh. The 1925/Charlie Chaplin 1 Charlie Chaplin. 100m bw C[...]Schever. 84m (R) COM VC $69.95 Grand Sensuallst, The 90m (R) ADT VC $69,95 Grease 1978A=landal Kleise[...]via Newton—John. 110m MUS CIC $79.95 Great Day in the Momlng 1956/Jacques Tournier 1 Robert Stack, Ruth[...]ae Clarke. 75m (G) DRA KV $69.95 Great Houdlnis, The 1976/Melville Shaveison 1 Paul Michael Glaser, Sally Struthers. 108m DRA SV $79.95 Great Monkey Rip-Off, The /Tom Stobart 1 Alan Hale. 87m FAM INT $69.95 VC $69.95 Great Muppet Caper, The 1981/Jim Hensen 1 gilaigpets. Charles Grodln. 97m (G) COM MV Great McGonagalI, The /Joseph Mcerath 1 Spike Miliigan, Peter Sellers, 89m COM VR $69.95 Great Race, The 1965/Blake Edwards 1 Jack Lemmon. Tony Curtis. 150m COM WH $R.O. Greatest Heroes of the Bible Vol 1 David and Goliath, Samson and Delilah[...], Hugh O'Brien (G) FAM VC $69.95 Greatest Heroes of the Bible Vol. 2 The Deluge, Joshua at Jericho /James L. Conway 1 Lew Ayers, Robert Culp. (G) FAM VC $69.95 Greatest Heroes of the Bible Vol. 3 Moses, Solomon /James L. Conway 1 Ll[...]avid Carradine. (G) FAM VC $6995 Greatest Heroes of the Bible Vol. 4 Daniel, Joseph /James L Conway 1 Rob[...]Jill Clayburgh. 94m DRA SV $79.95 Grissom Gang, The 1971/Robert Aldrich 1 Kim Darby, Scott Wilson. 12[...]pie Girl (R) ADT VC $69.95 Guess What We Learned in School Today 96m (R) ADT VC $69.95 Guess Who's Sleeping in My Bad 1973/Theodore Flicker 1 Dean Jones. Barbar[...]l and Gretel 60m (G) FAM VC $69.95 Happy Hooker, The 1975/Nick Sgarro 1 Lynn Redgrave. 87:-n (R) COM VC $69.95 Happy Hooker Goes to Hollywood, The 1 Martine Beswicke, Phil Silvers, 85m (R) ADT VC $69.95 Happy Hooker Goes to Washington, The 1 Joey Heatherton, George Hamilton ADT VC $69 95 Hard Heads, The 1 Scott Mackenzie. 90rn (M) ACT KC $69 95 Hard K[...]ACT VC $69.95 Harvey (R) ADT KV $69.95 Healers, The DOC VR $59.95 Heaven Can Wait 1978/Warren Beatty[...]add. Edward G. Robinson. 98rn DRA VV $59.95 Hell In the Pacific 1968/John Boorman 1 Lee Marvin, 103m WAR[...]bert Gribbin. 85m (R) DRA SB $69.95 Hitchhikers. The 1 Misty Rowe. 92m (R) DRA KC $69.95 Hollywood Hi[...]KV $69.95 Hot Lunch (R) ADT KV $69.95 Hot Rock, The 1972/Peter Yates 1 Robert Redford, George Sega) 9[...]tephanie Lawlor. 86m (R) ADT VC $69.95 Hothouse, The (R) ADT KV $69.95 House of Exorcism 1975/Mario Bava 1 Telly Savaias, Elke Sommer, 88m (R) HOR VC $69.95 House of the l.iving Dead Philip N. Krasne 1 Mark Burns. Shirley Anne Field. 85m HOR INT $69 95 House of Wax 1953/Andre De Toth 1 Vincent Price, Frank Lovejoy. 88m HOR WH $R.O. House That Wouldn't Die, The 1970/John Llewellyn Moxey 1 Barbara Stanwyck, Ric[...]Donny Most, 78rn (G) FAM SV $79.95 Human Factor, The 1980/Otto Preminger 1 Richard Attenborough, John Geiigud. 115m (R) DRA SC $59.95 Hunchback of Notre Dame, The 1939/Jean Delannoy 1 Charles Laughton, Maureen O'Hara. 112m bw DRA NM $5995 Hungry Pets,The 1 Rene Bond. 95m (R) COM KC $6995 Hunter, The 1979/Buzz Kuiik 1 Steve McQueen, Eli Wallach. 97m[...], Frances Dee 69m Dw HOR NM 559 95 I Wish I Were In Dixie (R) ADT KV $69.95 I'm All Right Jack 1960/[...]k 1 Lise Danvers, Fabrice Luchini. (R) SV $79.95 In Broad Daylight 1971/Robert Day 1 Richard Boone. Suzanne Pieshette. 73m DRA SV $79.95 In Search of Anna 1979/Esben Storm 1 Richard Moir. Judy Morris. 91m (M) DRA SC $59.95 In Search of Historic Jesus 90m DOC VC $69.95 In Search of Noah’: Ark 1976/James L Conway 1 Brad Crandaii.[...].95 Incoming Freshman (R) ADT VC $69.95 Inferno in Paradise 1 Jim Davis. Richard Young. 9lm (PG) ACT[...]amson. 89m (AO) WAR KC $69.95 Inspector General, The 1949/Henry Koster it Danny Kaye, Waiter Slezak. 1[...], and his fall from critical favor was as fast as the exit from Eden. The film that caused the trouble was Contes immoraux (immoral Tales), a collection of four erotic shorts, each complete in itself. (A fifth was actually shot, but held over to become the dream sequence of a later film, The Beast.) As one who has admired Borow— czyk’s exploration of sexuality, from the melodramatic Story of a Sin, through the sinister Heroines of Evil, to his witty Dr Jeckyl st Ies femmes, i can only disagree with those who see sex as a lesser topic of critical debate. immoral Tales is an entertaining, shrewd and visually splendid look at aspects of sexuality, done with a masterly wit and lightness of touch. in no other film has a major filmmaker been so rewardingiy obsessed with the nude female form, commented on its power or divor[...]from a moralistic viewpoint. Borowczyk is about the only serious filmmaker singlemindedly pursuing a cinematic examination of sexuality (he is about to do the Marquis de Sade's Justine). Some view any portrayal of sex on the screen as, if not unneces- sary, at least unpleasant. Borowczyk argues the fascinations and joys of sex- uality should be brought into the open. I see no reason, on the strength oi his work, to disagree. But if the release of any Borowczyk on video is to be applauded, it is[...]e Star Video should release a dubbed tape instead of a sub-tilled one. Sub-titles are easy to read on tele- vision (of Channel 0/28), and it is hard to see how sales could have been badly affected. The dubbing on this tape is, in fact, so appallingly awful (and flagrantly wayward from the original delicacy and innuendo) that I cannot, in the end, recommend this tape to anyone. Scott Murray[...]95 intimate Games (R) ADT VR $59.95 Intruders, The 1969/Lee Robinson 1 Ed Devereaux, Tony Bonner. 100m (G) ADV KC $69.95 invasion of X From Outer Space, The 87m (G) SF KC $69 95 invincible, The t Bruce Li. 90m (M) ACT VC $69 95 involuntary Bird (R) ADT KV $69,95 lpcress Hie, The 1965/Sidney J Furie 1 Michael Caine. Nigel[...] |
| Island At The Top of the Wond 1974/Robert Stevenson tr David Hartman. Donald Sinden. 93m (G) FAM WD $FI.O.Island of Flshmen t Joseph Cotten. Barbara Bach. 98m (R) HOR SB $69.95 Island of Terror 1967/Terence Fisher wk Peter Cushing. Edwa[...]ider. Richard Dreyluss. 124m HOR CIC $79.95 Jaws of the Dragon (NRC) ACT KV $69.95 Jazz Singer, The 1927/Alan Crosland at Al Jolson. 89m bw MUS HH $5[...]Donald Sutherland. (M) DRA VC $69.95 Journey Out of Darkness 1» Ed Devereaux. Kamahl. VR $59.95 Joy of Flying 98m (R) ADT VC $69.95 Joys of Georgette. The (R) ADT KV $69.95 Julia 1979/Fred Zinnemann t Ja[...]Tom Ligon. 90m (NRC) ACT KC $69.95 Jungle Book, The 1942/Zoltan Korda tr Sabu. Joseph Calleia. 108m F[...]9 95 Justine De Sade 90m (R) ADT VC $69.95 Kid, The 1921/Charlie Chaplin 0: Charlie Chaplin. Jackie C[...]n. Leslie Ann Rivers. 72rn (R) THR $3 $69.95 Kill the Shogun (NRC) ACT KV $69.95 Klller Elephants HOR KV $69.95 Killing of Sister George.The 1968/Robert Aldrich -Ar Beryl Reid. Susannah York. 138m DRA SV $79.95 King and l, The 1956/Walter Lang ir Deborah Kerr. Yul Brynner. 12[...]el Keith. James Yagi. 90m NRC) ACT KC $69.95 King of Kong Island /Bert Morris 1: Brad Harris. Marc Law[...]allum, Patrick Macnee. 84m ACT (NT $69.95 Kingdom of the Spiders 1977/John Cardos t William Shatner. Tiffany Bolling. 91m SF INT $69.95 Kings of the Hill Michael Dymtryk it Jim Bohan. Jason Sommers.[...]tthau. Deborah Winters. 114m DRA SV $79.95 Knife In the Water 1962/Roman Polanski t Leon Niemczyk. Jolant[...]. 93m (NRC) ACT VC $69.95 Land That Time Forgot, The 1975/Kevin O'Connor 1: Doug McClure, John McEnery. 86m ACT TE $69.95 Language of Love 103m (RI DOC VC $69.95 Lasertvlast 1978/Mic[...]n's Lipstick created quite a furore when released in 1976. Concerning a violent rapist who is freed by the courts only to rape again. then be murdered by the original victim, it came at a time when thefeminist move- ment was wont to use the term “rape” as a description of many actions by men toward women. What critical r[...]— it would be hard for anyone present to forget the sight of 20—odd people standing and cheering when the rapist is shot in the groin. Seen six years later, Lipstick seems a mu[...]still appears overly melodramatic and sensational in some scenes (the rapist walking naked through his flat while tormenting his victim by phone), while in others it is admirably controlled (the first rape is horrific without being un- necessarily explicit). The key scene is the first trial, where the rapist is acquitted. At the end of the film, the prosecutor—turned-defence- v lawyer (it is unclear) argues that her client is innocent of murder because she was righting a wrong: i.e., the law had failed and citizens have the right, in such cases. to seek justice. But given the two explanations of the rape. by vic- tim and attacker. and given the un- equivocal right of a defendant to the benefit of the doubt, it is difficult to see how the first trial jury could have decided otherwise. The law was correct (it had no option if the defendant's rights were to be preserved). but justice failed (the rapist was freed). Given this reading (i.e., the argument advanced at the end of the film is not necessarily the ‘message’ of the narrative). Lipstick takeson all sorts of nuances. It certainly deserves a second viewing. Technically. the sound and image quality are excellent. Scott Murray Last of the Mohicans 1976. 48m (G) ANM CIC $59.95 Last Train[...]hony Ouinn. 91m (NRC) WST MV $69.00 Last Valley, The 1971/James Clavell ‘K’ Michael Caine. Omar Sh[...]Andrews. 88m bw DRA MV $69.00 Lavender Hill Mob, The 1950/Charles Crichton tr Alec Guinness. Stanley Holloway. 78m bw COM TE $49.95 League of Gentlemen, The 1960/Basil Dearden 0 Jack Hawkins, Richard Altenborough. 112m (G) bw COM SC $59.95 Legend of Hillbilly John, The (NRC) HOR KV $69.95 Legend of the Werewolf 1 Peter Cushing. 90m (M) HOR VC $69.95[...]. Graham Chapman. 89m COM TE $79.95 Likely Lads, The /Michael Tuchner it: James Bolan. Rodney Bewes. 86m COM TE $69.95 Lincoln Conspiracy, The i Bradford Dillman. 87m DOC VC $69.95 Linda Love[...]ident at Linda Lovelace. (R) COM KC $69.95 |_ion in Winter, The 1968/Anthony Harvey at Peter O'Toole. Katharine H[...]83rn (R) ADT VC $69.95 Little Laura and Big John in Fabian Forte. Karen Black. ACT VV $59.95 Little[...]Smith. 98m ((3) bw FAM KV $69.95 Uttle Mermaid. The 66m FAM INT $69.95 Little Princess, The 1939/Walter Lang t Shirley Temple. Richard Greene. 91m FAM HH $59.95 Lodger. The /Alfred Hitchcock. bw DRA HH $59.95 Longest Day, The 1962/Ken Annakin * John Wayne. Robert Mitchum. 169m (G) bw WAR MV $69.00 Long Weekend, The 1978/Colin Eggleston -k John Hargreaves. Briony B[...]ry. Bessie Love. 60m bw HOR HH $59.95 Love Among the Ruins 1975/George Cukor t Katharine Hepburn, Laurence Olivier. 1 1 2m DRA SV $79.95 Love and Death In A Women’s Prison i Anita Strindberg 100m (R) DRA KC $69.95 Love and The Midnight Auto Supply 90m (NRC) ACT VC $69.95 Love Box, The (R) ADT VC $69.95 Love Camp 7 tr Robert Cresse.[...]n O'Neal. Lesley Warren. 72rn DRA SV $79.95 Love of a Nympho (R) ADT KV $69.95 Love Story 1971/Arthu[...]Young. Cloris Leachman. 106m DRA SV $79.95 Loves of Cynthia 90m (R) DRA KC $69.95 Love’s Vicious C[...]Ellen Widmann. 99m bw HOR HH $59.95 Mad Bomber. The 1972/Bert I. Gordon t Vince K Edwards. Chuck Conn[...]ADT SV $79.95 Mag Wheels 81m (M) ACT VC $69.95 The Magic Christian 1970/James McGrath 9: Peter Sellers. Ringo Starr. 92m (NRC) COM KC $69.95 Magic Sword, The 1982/Ben I. Gordon ‘k Basil Rathbone. Estelle W[...]tt. Michael Forest. 103m (A0) ACT KC $69.95 Maid in Sweden /F. Johnson as Kristins Landberg. Monika Erman. 90m (R) ADT VC $69.95 Maids. The 86m (R) ADT VC $69.95 KV $69.95 Man From Button Willow, The 1965/David Betiege t Dale Robertson. Edgar Buchanan. 79m (G) ANM INT $69.95 VC $69.95 Man From Utah. The 1: John Wayne, George Hayes. bw HH $49.95 Man In the White Suit. The 1952/Alexander Mackendrick « Alex Guinness. Joan Greenwood. 82m bw COM TE $49.95 Man Who Came To Dinner. The (R) ADT KV $69.95 Man Who Fell To Earth 1976/Nic[...]y. 134m (R) DRA TE $79.95 Man Who Knew Too Much. The 1934/Alfred Hitchcock tr Leslie Banks. Peter Lorre. 84m bw DRA HH $59.95 Man Who skied Down Everest, The tr Yuichiro Miura. 100m (G) DOC VC $89.95 Man with the Golden Arm 1955/Otto Preminger gsgiggk Sin[...] |
| ‘ _ 5749-? The Man Who Fell To Earth Director: Nicolas Roeg. St[...]e, Buck Henry, Candy Clark. Produced by British L/Of), 7976. 134 mins. Color. Released by Thorn EM/.[...]to its ultimate meaning. wide open to any number of learned interpretations. Basically, its plot is s[...]and not altogether riveting sci—ti either, But the manner of its telling is fascinating. David Bowie is perfectly cast as the ethereal Visitor from a drought-ridden planet who[...]s own dying world. Fragmentary and hallucinatory. The Man Who Fell To Earth haunts the mind with a sense of sadness, and its visual images stay with one. Th[...]ion as this country has seen, being equivalent to the “R" version seen in cinemas. Happily, this is a cassette that does almost total justice to the co|or—camera work of Anthony Richmond. Sound quality also excellent.[...]rt. Steve Vincent 79m (R) DRA KC $69.95 Marriage of Maria Braun, The 1979/Rainer Werner Fassbinder tr Hanna SchY9U”3- 120"‘ (M) DRA VC $69.95 Mars Attacks the World 1: Buster Crabbe. bw SF HH $59.95 Mary ot[...]Elliot Gould. 111m (NRC) WAR MV $69.00 Massacre in Rome 1973/George Pan Cosmatos «Av Richard Burton[...]Mostel, Keiko Kishi. 131m COM SV $79.95 Masters,The 1 James Mason. Franco Nero 109m (AO) DRA KC $69.9[...]0m ACT INT $69 95 Meet John Doe 1941/Frank Capra in Gary Cooper. Barbara Stanwyck. (G) bw DRA KV $69 95 Meet Sweet Myra (R) ADT KV $69.95 Memory of Us 1974/H, Kaye Dyal -1: Ellen Geer. Jon Cypher.[...](G) COM KC S69 95 Mr Sycamore 1974/Pancho Kohner in Jason Robards. Lee Remick 85m SF INT S69 95 Mrs[...]one’s Thing (R) ADT KV $69 95 Mrs Thompson and the Convict King 50rn FAM VC $59.95 Moments /Moshe M[...]A VC $69 95 Monique (R) ADT VR $59.95 Monitors, The 1969/Jack Shea 1 Guy Stockwell Susan Oliver. 94m (NRC) COM KC $69.95 Moon is Blue, The 1953/Otto Preminger 1 David Niven. Maggie McNamara 95m ADT MV $69.00 More Language of Love 100m (R) DOC VC $69 95 Mother Knows Best ([...]. Kim Krejus 90m (M) DRA VC $69 95 Muppet Movie, The 1979/James Frawley 1: The Mupoets. 92m (G) FAM MV $69 00 Murder By Decree 1979/Bobclark in Christopher Plummer. James Mason 121m DRA MV $69 00 Murder on the Orient Express 1974/Sidney Lumet w Albert Finney.[...]bkin. 90m (G) DOC VC $69 95 Mysterious Monsters, The /Robert Guinette tr Peter Graves. 90m DOC VC S69 95 Naked Came the Stranger t Derby Lloyd Rains 75m (R) COM KC $69.95 Naked and the Dead, The 1958/Raoul Walsh it Clilt Robertson, Aldo Ray. 131m DRA VV $59.95 Natasha, The Deadly Drop (M) HOR KV $69.95 National Lampoon's[...]Hackman, Jennifer Warren. 95m DRA wH SR 0 Night of the Big Heat 4- Christopher Lee, Peter Cushing 50m (NRC) THR KC $69 95 Night of the Living Dead 1968/George A Romero it Judith O'Dea, Russell Streiner. 90m bw HOR HH $59.95 Night of the Sorcerers 87m (R) HOR KC $69.95 Night is My Futu[...]pher Plummer. 101 m (NRC) DRA SC $59.95 None But the Lonely Heart 1944/Clillord Odets 1: Carey Grant,[...]113m DRA MV $R,O, Northville Cemetery Massacre, The 1: David Hyry, Jan Sisk. 85m (R) ACT KC $69.95 VC[...]gman. 101m bw DRA SV $79.95 Notorious Cleopatra, The iv Sonora. 68m (R) COM SB $69.95 Notorious Daughter of Fanny Hill, The 70m (R) COM KC $69.95 Now It's Cindy (R) ADT KV[...]land, 9im ACT INT S69 95 Old Man who Cried Wolf, The 1970/Walter Grauman 1 Edward G Robinson, Martin Balsam. 73m DRA SV $79.95 Omen. The 1976/Richard Donner ir Gregory Peck, Lee Remick 111m (R) HOR MV $69.00 On the Game (R) COM VC $69.95 one Flew Over the Cuckoo's Nest 1975/Milos Forman is Jack Nicholson[...]lch John Richardson 96m ACT TE $69.95 one on Top of the Other ‘I Jean Sorel. Elsa Martinelli (M) DRA VC $69 95 Orgy Box, The t Evan Stelle. Ann Myers. 89m (R) DRA KC $69 95[...]as, Francois Perier 86m bw DRA HH $59.95 Outlaw, The 1943/Howard Hughes 1- Jane Russell, Jack Buetel.[...]-Ar Bryan Brown. (M) DRA VC $69.95 Panic City 92in ACT INT $69.95 Panic in Needle Park 1971 rJerry Schatzberg 1: Al Pacino,[...].95 Parity Party (R) ADT KV $69.95 Paper Chase, The 1973/James Bridges t Timothy Bottoms, John Housem[...]nt. Irene Dunne 125m bw DRA HH $59.95 Perishers. The 80m (G) ANM KC $69.95 Permissive (R) ADT VR $59.[...]Candy Rialson. 102m (R) DRA _i<c $69.95 Phantom of the Opera, The 1925/D. Rupert Julian 1: Lon Chaney, Mary Philbin. 79m bw HOR HH $59.95 Pied Piper of Hamelin, The 1957/Bretaigne Windust it Van Johnson. Jim Backus. 89m (G) FAM $3 $69.95 Pig Keeper‘: Daughter, The at Terry Gibson, Patty Smith. 93m (R) COM SB $69.95 Pilot. The t Clilt Robertson. Gordon MacRae. 90m (M) DRA VC[...]: Zooey Hall. 88m (Fl) DRA $3 $69.95 Pornography in Hollywood (R) ADT KV $69.95 Poseidon Adventure, The 1972/Ronald Neame i Gene Hackman. Ernest Borgnine. 113m (NRC) ACT MV $69.00 Prince and the Pauper, The 50rn (G) ANM SV $49.95 Prisoner of Second Avenue, The 1975/Melvin Frank it Jack Lemmon. Anne Bancroft. 105m DRA WH $R.O Private Life of Henry the Eighth KV $69.95 Producers, The 1968/Mel Brooks t Zero Mostel, Gene Wilder 98m COM MV SR.O. Professionals. The (R) ADT KV $89.95 Prophecy 1979/John Frankenheim[...]worth. 102m (M) DRA CIC $79.95 Proud and Damned, The 1973/Ferde Grote Jr 1 Chuck Connors, Jose[...] |
| [...]kins. Janet Leigh. 108m bw HORCIC $79.95 Racket. The 1951/John Cromwell 1 Robert Mitchum. Robert Ryan. 88m bw DRA NM $59.95 Railway Children, The 1972/Lionel Jeffries -1: Jenny Agutter. Dinah Sheridan. 104m DRA TE $69.95 Raise the Titanic 1979/Jerry Jameson t Jason Robards. Richard Jordan. 114m (G) ACT MV $R.O. Ramrodder, The ‘I Jim Gentry. 92m (R) DRA KC $69.95 Rancho No[...]ers 9: Sam Chew. 83m (M) HOR KC $69.95 Reach For the Sky 1956/Lewis Gilbert ‘R Kenneth More. Muriel Pavlow. 135m (G) bw DRA SC $59.95 Real Bruce Lee. The 1- Bruce Lee. 120m ACT INT $69.95 Reason To Live[...]Joan Fontaine.130m bw DRA SV $79.95 Refinements of Live (R) ADT KV $69.95 Reluctant Heroes 1971/Robert Day it Ken Berry. 73m COM SV $79.95 Resurrection of Zachary Wheeler, The 1 971 /Bob Wynn i Angie Dickinson. Bradford Dlllman. 100m DRA VV $59.95 Return of the Pink Panther, The 1975/Blake Edwards 9: Peter Sellers. Christopher[...]ers. Bradford Dillman. 73m DRA SV $79.95 Revenge of Trinity tr Terence Hill. 92rn (A0) WST KC $69.95 Ribald Tales of Robin Hood. The -k Ralph Jerkins. 88m (R) COM KC $69.95 Ring of Bright Water 1969/Jack Coulfer Av Bill Travers. V[...]C $69.95 Riverboat Mama (R) ADT KV $69.95 Robe, The 1953/Henry Koster it Richard Burton. Jean Simmons[...]rx Bros. Lucille Ball 78m bw COM NM $59.95 Rose. The 1979/Mark Rydell 1: Bette Midler. Alan Bates. 125[...]. Barbara Stanwyck. 97m (G) MUS MV $69.00 Rover. The 1967/Terrence Young 9: Anthony Quinn. Rita Haywor[...]Franco Nero. 96m (AO) ACT KC $69 95 Sales Girls. The (R) ADT KV $69.95 Saludos Amigos (G) FAM WD $R.O. Sand Pebbles. The 1966/Robert Wise 1 Steve McQueen. Richard Atlenborough. 179m ACT MV $R.O. # Santa and the Three Bears 64m (G) KC $69.95 Santa Fe Trail 194[...]FAM VC $69.95 Schlock (G) HOR KV $69.95 School of Hard Knocks. The (R) ADT KV $69.95 Schoolgirl Hitchhikers at Gild[...]Lorre. 93m (G) bw DRA HH $59.95 KV $69.95 Secret of Dorian Gray. The i Helmet Berger. 95m (R) DRA KC $69.95 38 — CHANNELS April 1982 Secret Policeman's Ball. The tr John Cleese. Peter Cook. VR $69.95 Secret Sex Uves of Romeo and Juliet. The 1: Stuart Lancaster. Antionette Maynard. 96m (R)[...]t. Robert Powell. 115m (M) DRA VC $69.95 Secrets of sweet Sixteen 80m (R) COM KC $69.95 seven From H[...]alance. 87m (NRC) ACT VC $69.95 Seven Year itch, The 1955/Billy Wilder at Marilyn Monroe. Tom Ewell. 1[...]dflow To Use Them 30m (R) DOC VC $49 95 Sex and the Other Woman 86m (R) COM VC $89 95 Sex Connection. The (R) ADT KV $69.95 Sex Thief, The (R) ADT VR $59.95 Sex world 80m (R) COM KC $69.95 Sexcapades of Celestine. The 1» Pamela Stafford. 96m (R) COM KC $69.95 Sexual Freedom U.S.A. 96m (R) DOC KC $69.95 Sexy Dozen. The (R) ADT KV $69.95 Shadow of Chikara. The ~k Joe Don Baker. Sondra Locke. 96m (M) ACT KC $6[...]Alan Ladd. Jean Arthur 117m WST CIC $79.95 Shape of Things to Come. The 1979/George McGowan «Ar Jack Palance. Carol Lynl[...]-1: Anne M. Kuster. 87m (M) DRA KC $69.95 Shoot the Piano Player 1962/Francois Truflaut at Charles Az[...]ler. John Hudson. 99m (NRC) WAR KC $69.95 Sinbad the Sailor 1947/Richard Wallace 4: Douglas Fairbanks Jr. Maureen'O'Hara. 117m ACT NH $59 95 Sisters of Death 87m HOR INT $69.95 Sixteen 93m (R) ADT VC[...], Debra Winger. 89m (R) COM VC $69.95 Smokey and the Bandit 1977/Hal Needham t Burt Reynolds. Sally Field. 96m ACT CIC $79.95 Smokey and the Hot Wire Gang KV $69.95 Snapshot 1979/Simon Wlnc[...]n. Peter Strauss. 110m (M) WST MV $69.00 Soldier of Fortune 1955/Edward Dmytryk -at Clark Gable. Susa[...]mes Cagney. Evelyn Dow. 84m (G) bw KV $69.95 Son of Blob 1972/Larry Hagman vr Robert Walker. Richard Stahl. 88m HOR KV $69.95 Son of Kong 1933/Ernest B. Schoedsack or Robert Armstrong. Helen Mack. 70m bw ACT NM $59.95 Song of Norway 1970/Robert Aldrich * Toralv Maurstad, Flo[...]anssen. Cloris Leachman. 98m ACT TE $69.95 Sound of Music. The 1965/Robert Wise at Julie Andrews. Christopher Pl[...]Vlfllliam Ross. 80m (NRC) SF KC $69.95 Spanker. The 90m (R) ADT VC $69.95 Spellbound 1945/Alfred Hit[...]ry Peck. 111m bw DRA SV $79.95 Spiral Staircase. The 1946/Robert Siodmak it gorothy McGuire. Kent Smit[...]Essex. Adam Faith. 108rn MUS TE $69.95 Starlet. The 80m (R) ADT KC $69.95 Step Lively 1944/Tim Whela[...]l. Harry H. Corbett. 93m COM TE $69.95 Stick Up. The 1979/Jeffrey Bloom t David Soul. 103m (M) ACT VC[...]Cord. Britt Ekland. 96m (M) DRA MV $69.00 Sting. The 1973/George Roy Hill it Paul Newman. Robert Rediord. 129m COM CIC $79.95 Story of O, The 1975/Just Jaekin 1 Corinne Clery. Udo Kier. 94m ADT SV $79.95 Story of Vernon and Irene Castle. The 1939/ H. C. Potter t Fred Astaire. Ginger Rogers.[...], 1931. 76 min. Black and white. Released by King of Video. With the introduction of “ta|kies" in 1927. The Jazz Singer by Warner Brothers. the art of filmmaking changed. The days of silent films cranked on location gave way to tons of equipment firmly locked to studio floors. Sound a[...]sion and finesse. Hollywood cinema went back into the studios and reverted to its dramatic beginnings — the theatre. Until technology invented lighter and mo[...]designers gallantly sculptured exterior locations in huge sound stages. but to the eyes of a viewer weaned on modern location fiiming and sp[...]more real than reality. Svengali looks poor. But the camerawork and direction of Wilkie Cooper and Archie Mayo are early ex- amples of innovative technical work. designed to punctuate mood and plot. Mayo‘-5 use of sharp angles. whether provided by shadows, buildings or skewed framing. adds to the fore- boding atmosphere initiated by the fine scripting of J. Grubb Alexander and the brilliant and menacing portrayal of John Barrymore. Based on the novel Tri/by by George du Maurier. Svengali is set in Paris in the 18903. The title character is a musician—cum—hypnotist who turns Trilby (Marion Marsh). the object of his unreciprocated love. into an opera star. The folly turns sour as true love begins to unbind the spell and separate the maestro from his mistress. The film ends with the reunification of Svengali with his ingenue in death. The lighting and special effects are state of the art for the era and an interesting example of early sound iilmmaking. The picture and sound quality are not to the stan- dards one expects from films today. but taking into account the age of the film one could not expect much better. Jo[...] |
| Stranger, The 1946/Orson Welles 1: Edward G.Robinson. Loretta Y[...]Hoffman, Susan George, 118m ACT SV $79.95Stud, The 1978/Quentin Masters t Joan Collins. Oliver Tobia[...]loway. 80m FAM INT $69.95 Superbug, Craziest Car in the World 96m (G) FAM VC $69.95 Superstar Goofy (G) ANM WD $R.O, Superman The Movie 1978/Richard Donner 1: Christopher Reeve, M[...]DRA KV $69.95 Swallows and Amazons Claude Watham in Virginia McKenna. Ronald Fraser. 88m FAM TE $69.9[...]karova. Anthony Dowel), 125m MUS TE $69.95 Swap, The 1969/Jordan Leondopoulos t Robert De Niro. Jennifer Warren. 90rn (M) DRA VC $69.95 Swarm, The 1978/lrwin Allen 1 Michael Caine. Katherine Ross.[...]Stephanie.Powers, 73m HOR SV $79.95 Sweet Taste of Jay (R) ADT Kv $69.95 Swing Time 1935/George Ste[...]rs. 103m bw MUS NM $59.95 Swinging Cheerleaders, The -0: Jo Johnston. 94m (R) COM SB $69.95 Swinging Ski Gris (R) ADT VC $69.95 Switchblade Sisters, The 1: Robbie Lee. 90m (R) ACT SB $69.95 KV $69.95 Take the Money and Run 1969/woody Allen ar Woody Allen. Janet Margolin. 85m COM SV $79.95 Tale of the Dean’: Wile, The 1: Christine Murray. 76m (R) ADT SB $69.95 Tales of Beatrix Potter /Reginald Mills 1 Dancers of the Royal Ballet. 86m (G) FAM TE $86.95 Tales of Mystery and Imaginations t Jane Fonda. Peter Fonda. 122m (M) MYS KC $69.95 Tales of Washington Irving 50m (G) ANM SV $49.95 Tall in the Saddle 1944/Edwin L. Marin t John Wayne, Ella Rai[...]ws. Omar Sharil. 119m (M) DRA MV $69.00 Tapestry of Passion (R) ADT KV $69.95 Target Harry or Vic Morrow, Suzanne Pleshette. 83m ACT SV $79.95 Taste of Evil, A 1971/John Llewellyn Moxey t Barbara Parkins. Barbara Stanwyck, 73m DRA SV $7995 Teasers, The 83m (R) ADT VC $69.95 Teenage Jail Bait (R) ADT[...]e. Julie Andrews 122m COM WH $R.O. That Cold Day in the Park 1969/Robert Altman it Michael Burns. Sandy D[...]Nancy Kwan. 88m (NRC) DRA KC $69.95 That’)! Be The Day 1974/Claude Watham it David Essex, Ringo Star[...]ung 120m ACT SV $79.95 Thief Who Came To Dinner, The 1973/Bud Yorkin -t Ryan O’Neal. Jacqueline Bisset. 105m COM wi-I $R.O. Thing. The 1951/Christian Nyby t Kenneth Tobey, Margaret Sheriden. 80m bw SF NM $59.95 Third Man, The 1949/Carol Reed 1: Orson Welles. Joseph Cotten. 9[...]Phipps. 90m (M) HOR VC $69.95 Thirty Nine Steps, The 1935/Alfred Hitchcock 1: Robert Donat. Madeleine[...]r I-Ire (R) ADT KV $69.95 Those Magnificent Men In Their Flying Machines 1965/Ken Annakin 2 Sarah Mi[...]ee Way Split (R) ADT KV $69.95 300 Year Weekend, The t William Devane, Michael Tolan. 80m DRA SV $79.95 Tiger By The Tail 1966/R. G. Springsteen 1: Christopher George[...]ey, Ann Margret. 108m (M) MUS SC $59.95 Too Late The Hero 1970/Robert Aldrich 1: Michael Caine, Cliil[...]Cassidy, Jeremy Brooks. (M) HOR VC $59.95 Touch, The 1971/lngmar Bergman 1 ElliotGou|d, Bibi Andersson. 112m DRA SV $79.95 Touch of Satan it Michael Berry. 67m (PG) THR SB $69.95 Touchables, The 1 Claire Brennan. 66m (M) COM KC $69.95 Toys Are Not For Children 80m (R) DRA KC $69.95 Trackers, The 1971 /Earl Bellamy it Ernest Borgnine. Julie Adam[...]n Alderman. 80m (R) ADT KC $69.95 Train Robbers, The 1973/Burt Kennedy at John Wayne. Ann Margret. 92m[...]on Pick Up 95m (R) ADT VC $69.95 Trapped Beneath the Sea 1974/William A. Graham t Lee J.Cobb. Martin B[...]Turned on Girl (R) ADT KV $69.95 Turning Point, The 1977/Herbert Ross t Anne Bancroft Shirley MacIain[...]athrene Conti. 80m (R) COM KC $69.95 Undefeated, The 1969/Andrew McLagIen 1 John Wayne, Rock Hudson. 1[...]y Evans, Liz Frazer, 83m (R) COM VC $69.95 Under the Table You Must Go 60m (NRC) DOC KC $69.95 Unholy[...]e Howerd, Patrick Cargill. 86m COM TE $69.95 Use the Back Door (R) ADT KV $69.95 Valley ot the Dolls 1967/Mark Robson 1: Barbara Perkins, Patty[...]ra, Trevor Howard. 112m (G) WAR MV $69.00 Voyage of the Damned 1976/Sam Wanamaker 1) Faye Dunaway, Max Von Sydow. 134m (M) DRA MV $69.00 Voyage to the Bottom of the Sea 1961/Irwin Allen i Walter Pidgeon. Joan Fonta[...]hn, Maria Schneider. (M) DRA VC $69.95 Warriors, The 1979/Walter Hill it Michael Beck, James Remar. 90[...]s. Joan Crawford. 132m COM WH $R.O. who Has Seen the Wind 1976 at Brian Painchaud, Gordon Pinsett. 100[...]lvia Miles. 90m (M) DRA VC $69.95 Who’s Afraid of Virginia Woolf? 1966/Mike Nichols at Elizabeth Taylor, Richard Burton. 129m DRA WH $R.O. Wicker Man, The 1973/Robin Hardy at Edward Woodward. Britt Ekland. 83m DRA TE $69.95 Wife Swappers, The (R) ADT VD $69.95 Wilbur and the Baby Factory 91m (R) COM KC $69.95 Wild Gypsies[...]ura Welcome. 85m (Fl) DRA KC $69.95 Wild Rebels, The at Steve Alaimo. Willie Pastrano. ACT VV $59.95[...]Francis, 73m WST SV $79.95 Willie NeIson’s 4th of July Picnic «oz Willie Nelson. 88m (NRC) MUS $3[...]Eagle /Rex Fleming. 64m DOC INT $69.95 Winners, The (NRC) DRA VC $69.95 Winnie the Pooh and the Honey Tree (G) ANM WD $R.O. Witchmaker, The 1969/William 0. Brown t Anthony Eisley, John Lodg[...]ie Langlord. 96m (G) FAM SC $59.95 Wooden Horse, The 1950/Jack Lee at Leo Genn. David Tomlinson. 98m b[...]n-Michael Vincent 93m (G) FAM WD $R.O. Wrestler, The as Ed Asner. 105m (NRC) ACT KC $69.95 Wright Brothers, The 57m DOC VC $69.95 Xanadu 1979/Robert Greenwald t[...]95 X-Rated Lovers (R) ADT KV $69.95 Yellow Rose of Texas, The 1 Roy Rogers, Dale Evans. bw HH $49.95 Yeti t Ji[...]C) bw DRA SC $59.95 HH $59.95 Young Cycle Girls, The 62m (R) ADV VC $69.95 Young Lions, The 1958/Edward Dmytryk 4: Marlon Brando, Montgomery Clift. 167m bw DRA MV $69 00 Younger the Better. The 80rn (R) COM KC $69.95 Yuma 1970/Ted Post an Cli[...]George England. 93m MUS SV $79 95 Zebra Killer, The 90m (M) DRA KC $69.95 Zeta One (R) ADT VR[...] |
| [...]cts and Processes column aims to give an overview of new concepts and product develop- ments that will[...]For future issues. manufacturers and distributors of new releases in the home video, educational, industrial and broadcast[...], North Melbourne, 3051.Electronic Photography in as little as 18 months. a home screen could be di[...]camera Slightly larger than a standard 35mm SLR, the prototype demonstrated records the images on a 4.5 cm (1 ‘/4- inch) diameter disc,[...]s 50 pictures and is reusable. After photography, the discs are removed from the camera, placed in a playback unit and viewed on a standard television. The Mavica demonstrated a 350- lines horizontal resolution — better than that of home VCRs. yet considerably short of the results from 35mm film. The Mavica can also be used to take continuous motion[...]es, pictures made this way cost only a few cents (the Mavipak was announced as costing about $2.50) and the system is another indication of how electronics may provide an alternative to the growing cost of silver used in conventional film The price quoted for the camera was U.S.$66O and the player US$220. Sony also announced a hard—copy plain paper color printer to go with the Mavica. -T Sony's new Mavica electronic still ca[...]orage disc. 40 — CHANNELS April 1982 Formats Australia is waiting for the promised release of the laser/optical videodisc lSanyo, and the inventors of the format, Philips and Pioneer, have already demonstrated PAL models). in the US, the various systems are fighting a price war. The Capacitance Electronic Disk system lS selling for well below the US$500 suggested as the list price by RCA which developed the CED system. There has been industry comment that high development costs. especially for the Philips laser system, will mean that all the disc systems must soon show improved sales to close the gap made by Projection The easiest way to get a large tele- vision image is to use a video pro- Jector. The pioneer of video projec- tion. Henry Kloss, demonstrated his Novabeam Model Two at the recent Consumer Electronic Show in Las Vegas. With three projection tubes and fast plastic lenses. the system weighs only 32 kg, and is about the size of a large portable television. It is bright enough to dispense with the usual large curved screen and projects a 1 x 1.2[...]icture on to any suitable surface from a distance of 1.2 m. it is compact, light- weight and portable and planned for an August release in the U.S. priced at $2000. Above: The Pioneer /aser/optical videocl/sci VP-1000. Left: The slim new Sony portable Beta recorder/player. gro[...]at will help to decide which system we see here. The economics of video—cassette hire as against videodisc purchase will also play a significant role. The economics involved in tape libraries‘ holding VHS and Beta formats may also decide the battle of the rival ‘./2-inch formats. In the US, VHS leads in a booming hire market. Indications are that the local market will show the same trend as Australia approaches a projected 200,000 VCR units in use locally. Sony was quick to point out, with the U.S. release of its new Beta portable, that the VHS camp could not build a portable unit as narrow owing to the wider VHS cassette. The VH8 reply is a smaller cassette with correspondin[...]special’ holder for replay on VHS home units. The V4-inch systems from Cannon and Funai/Technicolor have improved their chances in the market, with the announcement of a 2‘/2-hour cassette. With the weight of '/4-inch portables half that of the lightest ‘/2- inch systems, and resolution that[...]needs an industry consensus on standards to push the ‘/4-inch format to the forefront. Large Screen The Sony 30-inch monitor, released in limited quantities last year, demonstrated the problems that came with what was a dramatic increase in screen size. The set weighed about 124 kg, much of which was attributable to the extra thick glass needed to prevent the large picture tube from imploding. The development of any larger sizes seems improbable, although Sony,[...]ens using electron beams travel- ling parallel to the surface then being deflected at right angles onto the screen's phosphors. Liquid crystal displays have[...]a. Low contrast and restricted viewing angles are the main dis- advantages of LCDs. |
| cameras Although the press handout that accompanied the Eastman Kodak- owned company Spin Physics‘ release of a high-speed video-motion analysis system states that it is com- mercially impractical at the consumer level, the device is an impressive first entry into the video marketplace‘ The heart of the system is a new solid state image sensor developed by Kodak research laboratories. TheIn‘ November 1980, Kodak disclosed a method of tu|l—color recording from sensors similar to those used in the Spin Physics system. Patent watchers have been pr[...]e time and this release brings it a step closer. The use of solid-state image sensors has enabled camera manu- facturers to reduce the size of video cameras; this has led to the release of prototype-integrated camera and VCR units from So[...]S cassettes, that run at faster speeds and record the Top: The broadcast quality Matsushita one-piece VHS cameralrecorder. Above: The self-contained cameralrecorder from Hitachi. A st[...]s currently under discussion. signal information in a different format from home VCRs. RCA claims tha[...]a “three-to- one improvement over 3/4-inch tape in terms of chrominance resolution, dis- tortion and noise".[...]TV came closer to realization with demonstrations in the US. last year. in an effort to convince Federal legislators that HD[...]on satellites and cable systems, lkegami provided the camera, Matsushita the monitors and large screen video projectors, and Sony the digital video recorders needed to handle the wide band- widths of the 1125 scanning line system. This is almost twice the number of lines of the PAL system used in Australia, and the new system was presented in a widescreen format of 1:13. HDTV may see its first use as a feature fil[...]er—director Francis Coppola, fresh from his use of video techniques in One From the Heart, saw the demonstration and resolved to use HDTV for his next feature. The transfer of HD video to film should give almost the same resolution as 35mm. Roger Corman, president of New World Pictures, announced a start, early this year, for the tape to film pro- duction Sector 13. lmage Transform of Los Angeles, which has provided high-quality tape to film transfers for some years, has now, in partnership with Compact Video, developed a syste[...]ffects, Corman hopes to save “GO to 70 per cent of normal production costs? I Top: Francis Ford Coppola — investigating the possibility of shooting his next feature film on video ta[...] |
| FREE 20 MOVIES of your choice from our special Video Movie Package[...]DEO RECORDER & CAMERA 2» A. AFTER TRADE IN ALL BRANDS STOCKEDV ‘we will give you a trade-in of up to $700 on your old Video Recorder me 699 119[...]St.) Open Thurs. till 7 p.m., Sat. till 3 p.m. $THE EXORCIST CAN "I' STOP THE MUSIC - THE GODFATHER ONE FLEW OVER THE CUCKOO’S NEST NOSTALGIA and FAMILY VIEWING E[...]BAIT (R) SCHOOLDAYS — FREDDIE > - ’ ‘ ALL IN THE sEx FAMILY (R) BARTHOLOMEW ‘ . ' LIP SERVICE ([...]ACK DEEPTHROAT (R) GREAT Guy _ ,. I ' V I. LOVE OF A NYMPHO (R) MES I :?\REwIscLAI.GTNoE‘/:nMs — h lolthe’ GARY COOPER GULL|VER’S TRAVELS (G) THE BLOB (G) ' ’ -W Plus STAR TREK NOTE: A - ;..\K KING OF VIDEO i"L‘.'£.’§"..'2.i‘;‘.‘f‘.”'[...]DA 3132 (via) ALL CASSETTES SOLD BY ' - , . KING OF VIDEO INCLUDE PHONE (03) 534 5623 mm mama[...] |
| [...]andy equipment guide will be included and updated in each issue of ‘Channels’ . All the relevant information included is that supplied by the manufacturers. The prices listed are the Australian distributors’ recommended retail pri[...]rative prices only, as much discounting occurs at the distributor and retailer level. The VCR guide contains Beta and VHS models onl[...] |
| [...]10.000 Hz 55 watts 16.4 kg 5999 B : SL-C5 7 days (in black and white) functions (L500) 40 dB 485x168x3[...]atts 15.8 kg Auto rewind. plays 3 : SL-T7 7 days (in black and white) functions (L-500) 40 dB 485xl68x[...]d Dual zoom VC-90E 1.95 kg f1.4 motorized BuiIt—in/electronic 2/3 inch Vidicon uto[...] |
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| [...]TVC-200 t1.6 motorized Built-in/electronic 2/3 inch FIGS 4 position white Telesco[...]back HITACHI C-600E 1.9 kg 11.6 motorized Built-in/electronic 2/3 inch Variable white 75 lux Telesco[...]wfinder $P.O.A. JVC GXBSE l1.4 motorized Built-in/electronic 2/3 inch Vidicon Auto with manual Inte[...]denser NATIONAL wV—303DN t1,4 motorized Built-in/electronic 2/3 inch Stripe 2 position color Handl[...]sator NORDMENDE C-225 2 kg l1.4 motorized Built-in/electronic 2/3 inch Vidicon Auto I 00 lux 8.5 wat[...]r $P.O.A. SANYO VCC-545P 3.5 kg t2 zoom/ Built-in/electronic 2/3 inch Vidicon Manual color 100 Iux[...]899 SHARP _ _ XC-34 2.7 kg 11.4 motorized Built-in/electronic 2/3 inch Saticon Auto Wu Iux 12 watts[...]ONY ’ _ _ HVC-2000PE 2.9 kg Canon 11.8 Built—in/electronic 2/3 inch MF 4 position white 70 Iux at[...]100,000 Iux 45 dB light, 3 position electret fade in/out. motorized 300 lines conversion lllter[...] |
| IN YFRNA TI ONAL TVPR OGRAMMING R. A. BECKER 59’ CO. PTY LTD Suite 3, 2A Waters Road Neutral Bay NS W/2089 Australia Phone: (02) 908 2600 Telex: AA 25914 Postal add[...]... 0 ACTING FOR TELEVISION O STUDIO TECHNIQUES the services we offer Vid Australia members. 2 CALL SyDNEy (02) 356 1820 Finding movies you want isjust one of Well save you up to 25% off regular recommended retail prices. Or rent you the best movies from just $6.90 per week. You can choose from over 450 video movies in our current catalogue. Including gems like Joan[...]on Troppo". FOR WORKSHOP DETAILS David Bowie in “The Man who Fen To Earth", FREEMAN: (Creative consultant) “Channel 0/28 and “Citizen Kane". one of the best ever. has been a most rewarding and stimulating two years of vid Australia membership is just $10 per my life. It's n[...] |
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| W@M E ~r%‘1: SUN WOMEN OF THE SUN, a drama series in four self-contained episodes, has given one of the world’s most oppressed minorities a first-time opportunity to tell a part of their history in their owl:-i words, through % their own experiences. For more than fifty thousand I ' years, the Aboriginal people have inhabited Australia, but with the arrival of the white Australian, the erosion of their vast and unique culture began, and has continued until the present day. WOMEN OF THE SUN takes up the story of these extraordinary people in the 1820’s and follows it, with impeccable and powe[...]nia Borg H yllus Maris .1. DRAMATIC HISTORY IN THE MAKING. A 1982 Australian Production Soon[...] |
| In November last the Film and Television Production Association of Australia and the New South Wales Film Corporation brought together[...]scuss film financing, marketing, and distribution of Australian films in the 1980s with producers involved in the film and television industry.The symposium was a resounding success. Tape recordings made of the proceedings have been transcribed and edited by CinemaiPapers, and published as the Film Expo Seminar Report. Copies can be ordered[...]n, Berkowitz and Selvin Harry Ufland President. The Ufland Agency (US) Contents Theatrical Production The Package: Two Perspectives Perspective I: As Seen by the Buyer (i) Partial versus complete packaging, or[...]pikings; Mike Medavoy Perspective ll: As Seen by the Seller The role of the agent in packaging. Speaker: Harry Ufland Theatrical Production Business and Legal Aspects (i) Sources of materials (published, original screenplays. etc.). (ii) Forms of acquisition agreements and/or writer's agreements[...]s (“pay or play" defer- ments. “going rates". approvals). (iv) Insurance. (V) Guild and union requireme[...]singetc. . Speaker: Eric Weissmann Distribution in the United States (I) Mapping the distribution sales campaign When and where to open. How to allocate advertising budgets. Number of theatres. 70mm and stereo. Reissues. Ancillary ma[...]xhibition terms. Advances and guaran- tees; split of box-office (90-10 with "floor" “house-nut". etc[...]ve. Speaker: Barbara Boyle Distribution Outside the United States Distribution terms. Relationship and terms with sub—distributors and exhibitors. Recoupment of expenses. Cross-collateralizing territories. Dubb[...]lic broadcasting. Speaker: Lois Luger Financing of Theatrical Films Major Studios Control. approvals. overhead. over-budget provi- sions. total or par[...]ve pick-u p. Speaker: Rudy Petersdorf Financing of Theatrical Films Independent Studios Rise of independent financing. Tax motivated and otherwise. Completion financing. Speaker: Sam Gelfman Presale of Rights Separating rights by media. Pay televisio[...]roblems. Interim and comple- tion financing. Term of distribution rights. Speaker: Mark Damon Multi-National and Other Co-Productions Availability of subsidies. Treaties. Tax incentives. Government i[...]Speaker: Simon Olswang Fill out order form for the Film Expo Seminar Report on page 8 of this special insert. |
| [...]G. Hall. Tarifl Board Report. Antony i. Ginnane. The care That Ate Perle.BACK ISSUES Take advantage of our special ofler and catch up on your missing i[...]s than half-price! Number 2 April 1974 Violence in the Cinema. Alvin Purple. Frank Moor- house. Sandy Ha[...]t Deiing. Piero Tosi. John Scott. John Dankworth. The Getting at Wisdom. Journey Among Women. Number 1[...]r. Peter Sykes.- Bernardo Bertoiucci F.J. Holden. In Search of Anna. Index: Volume 3 CINFMQ Number 3 July 1974 John Papadopoious. Willis O'Brien. The Mc- Donagh Sisters. Richard Brennan. Luis Bunuel. The True story at Eskimo Nell. Number 5 March-April[...]lian Film Censorship. Sam Arkolt. Roman Polanski. The Picture Show Men. Don't Party. storm Boy. Num[...]Tom Cowan, Francois Truflaut. Delphine Seyrig. The Irishman. The Chant ot Jimmie Blacksmith. Sri Lankan Cinema. The Last Wave. Number 16 April-June 1978 Patrick. S[...]79 Bill Bain. Isabelle Hup- pert. Polish Cinema. The Night the Prowler. Pierre Ftissient. Newetront. Film Study[...]inema. Sonia Borg. Alain Tanner. E Cathy's Child. The Laat .Taamanlan. Number 19 January-February[...]ed Documentaries I i Number 26 April-May 1980 The Films oi Peter Weir. Charles Jolie. Harlequin. Nationalism in Australian Cinema. The Little Con- efl. &a: Vobnae 0 Number 37 Mar[...]on sterstruck. Jacki Weaver. Peter Ustinov, Women in Drama, node, Heatwave. Number 20 March-April 197[...]erman. My Brilliant Career. Film Study Resources. The Night the Prowler. Number 27 June-July 1960 The New Zeaiand Film Industry. The 2 Men. Peter Yeiciham. Maybe This Time. Donald Ri[...]ilm. Grendel, Grendel, Grendel, David Hem- mings. The Odd Angry shot. Box-Oftice Grosses. Snapshot. Number 28 August-September 1980 The Films oi Bruce Bares- iord. Stir. Melbourne and S[...]ront. Film Study Resources. Koetae. Money Movers. The Aus- tralian Film and Tele- vision School. Index[...]Ellis. Actors Equity Debate. Uri Windt. Cruising. The Last Outlaw. Philippine Cin- ema. The Club. Note: issues number 4, 6, 7, 8, 30, 31, 34[...]tember-October 1979, Australian Television. Lat of the Knuclrlemen. Women Filmmakers. Japanese CIn’em[...]umber 33 July-August 1 981 John Duigan on Winter of Our Dreams. Government and the Film industry. Tax and Film. Chris Noonan Fiobert[...]ary-February 1 982 Kevin Dobson, Blow Out, Women in Drama, Michael Rubbo, Mad Max 2, Puberty Bluea. Fill out order form for Cinema Papers back issues on page 8 of this special insert. ‘ ' |
| use the lumen of Ieisur , - me and subscribe in »+ 5cm MA 1 year ( 6issues)$18 2 years (1[...]e purchase price Overseas Rates (All remittances in Australian dollars only) Bo[...]tions Volumes Ezibinders Back Issues 6 12 1 8 (to the price of each Zone issue: issues issues (each) (each) copy, add the following) 1. New Zealand $25.20 $46.40 $67.70 $[...]B (21-24) are still available. Hundsomely bound in black with gold embossed lettering Volume 7 contains Sl2 lavishly-illustrated pages of 0 Exclusive interviews with Fill out order form[...]ok reviews. 0 Production surveys and reports from the sets of local und international production. 0 Box—olTi[...]d to announce that an Ezibinder is now available in black with gold STRICTLY LIMITED EDITIONS l’l[...]nbound copies. individual numbers can be added to the binder independently, or detached ifdesir[...] |
| [...]6) D Please start D renew U my subscription with the next issue. If a renewal, please state Record No.[...]make a subscription to Cinema Papersa gift, cross the box below and we will send a card on your behalf with the first issue. D Gift subscription from (name of sender) .........................................[...].20 per copy) To order your copies place a cross in the box next to your missing issues, and fill out the form below. If you would like multiple copies of any one issue, indicate the number you require in the appropriate box. DDEIDCIDDEIDDDDEJDDUDDDEIU 1235[...]30, 31, 34 and 35 26 27 28 29 32 33 36 37 are out of print. Bound volumes Please send me bound volumes of D 3 (issues 9-12) B 4 (issues 13-16) D 5 (issues[...]volume. Ezllbllflders Please send me E) copies of Cinema Papers’ Ezibinder at $1 5 a binder. - 2[...]urface; $40 airmail). (b) Please send me D copies of the 1980 Yearbook at $1 9.95 a copy (Foreign: $30 surface; $40 airmail). 3. Australian TV, The First 25 Years Please send me D copies of Australian TV at $1 4.95 a copy (Foreign: $17 surface; $26 airmail). 4. The New Australian Cinema Please send me D copies of The New Australian Cinema at $1 4.95 a copy (Foreign:[...]Film Expo Seminar Report Please send me D copies of the l-'Ilm Expo Seminar Report at $25 a copy (Foreign[...]anied by bank drafm only. All quoted figures are in Australian dollars. NB.’ Please make al[...] |
| [...]David Samuelson, technical author’ and partner in the worldwide equipment rental company Samuel- sons, was in Australia late last year to introduce his development of a new front projection system’. Fred Harden tal[...]t andabout his other projects. I was born into the industry in the silent days and started as a boy in the project- ion room. I then went to the cutting room, became a cameraman and finally found myself in the equipment business. But until this day, I am a working filmmaker. Last July, I did some filming of the Royal Wedding in St Paul’s Cathedral. was that as a conscious effort to keep your hand in? Yes. Movietone, where i worked for 19 years, was making a film version of the wedding. They needed cameramen experienced in 35mm and in the old manners of newsreel cameramen that Australia knows well. They felt it was better to take an oldie out of retirement, who may have been rusty using a camer[...]s still a demand for a film newsreel-style record of an event that had had worldwide live television coverage . . . There are a number of countries which don't have television, or didn't take all of the coverage, so there is still a need for film newsreeis. And the Central Office of information still supplies film to a number of overseas countries, particu- iarly South America. India and South Africa. In the future, our recorded history will be on videotape, instead of film. This will mean future study and use will be of essentially low-resolution images. It was pointed out, for example, that at the attempted assassination of Ronald Reagan all the news crews were Electronic News Gathering (ENG) tele- vision crews. And by the time the stop motion frames reached Australia by satellite, and were recorded and replayed, the information content, although dramatic, was iust a blur. The only images that were sharp were the still press and magazine photos. This, I feel, will leave a great gap in our visual history . . . Not only that, but a great deal of history is not covered in depth. News- reel cameramen today take maybe three shots and are lucky if two of them are used. How often on television today do[...]pher magazine and has written two excellent books in the Focal Press Media Manuals series on the equipment and techniques of Motion Picture Cameras and Lighting. 2. The Samclne Front Projection System is available thro[...]a three-minute segment. You get maybe two minutes of what is happening, rather than someone talking about it. The other worrying thing is how long videotape is going to last; how long is the gum going to keep the metal oxide stuck to the backing. And once that gum has perished, you end up with a can of metal filings. it depends on how it is stored, as[...]equipment rental company. How are you approaching the growing use of videotape? The more videotape there is, the more videodisc and cassettes, the more direct broadcast satellites and cables, the more outlets, then the more demand there is for material. in its wake, the greater demand there is for film. As an originating source? Yes. And, of course, at the top end of the market there is still the cinema. Although more and more films will be made with the television outlet in mind, they really have to use the cinema outlet because that is where they get thei[...]s on for a few weeks or months, and is written up in papers, it gets big word-of-mouth publicity. People know about Gone with the Wind, Raiders of the Lost Ark or Superman, but name me a five-year-old[...]sed first on cable? This is obviously a concern. The publicity of a film release carries on over into the time when it is a cable program or a cassette. if you were to make Gone With the Wind for television, would any- body have ever heard of it two weeks later? i am sure the companies are looking at this aspect with, for example, the simul- taneous release of “9 to 5” in theatres and on cassette, where the publicity can have a dual role and reach differen[...]. Here we have an interesting situation, because of all the plays recently to make an impact on British television, A Town Like Alice made the greatest. Partly, this was because it ran for fou[...]hing A Town Like Alice?" it got an unusual amount of word-of-mouth. But it has been shown once and it is gone.[...]e interesting to see if a program like that, with the word-of- mouth and good publicity it got, could carry over into another type of outlet. But very little television gets the fame cinema product does, and so you can afford to put money into cinema that you couldn't in television. You know that film is going to live f[...]have plans to widen Samuel- cons’ lllm bus into the video area? David Samuelson beside his Samcine F[...]anning to move into video. We are feeling our way in London, in that we are trying something new, which is dry hi[...]TFls — without a technician. it is des- patched in rigidized silver boxes in the same way as film equipment. Of course, all the ancillary equipment is the same, such as doiiies, etc. The next step, for Panavision and our- selves, will be a video camera that accepts standard film facilities: the Pana- cam. That is a likely trend for people such as commercial makers who like to operate with the focus-pulling tech- niques they are used to. the same way of working with an operator and assistant that they do on film. That is one of the ways we see things going, particularly for commercials. One day they will ring up and order a Panafiex and the next day the same crew will order the Panacam. We won't be getting into trucks and broadcast vans because we think that will go with the new equipment. The whole business of truckloads of gear being unnecessary was the same thing that happened to sound recording when the Nagra came in. i remember when if you shot sound on location, a[...]nt up walls and across roofs and into windows and the soundman ruled the roost and actually switched the film camera on and off. All that disappeared with the coming of the Nagra. The small VPFi units will have the same impact. The_only use for the large vans would be for an outside broadcast, and certainly not for a commercial. I wonder at the value of imitating film equipment when the design of the ENG video equipment is so advanced. is it a way of encouraging greater use of video- tape with crews which are reluctant to use[...]s or which are used to feature film work? What is the balance of commercial hire as against feature work? They are both important to us; the same people do both. Top cameramen, such as Fredd[...]commercials when they are not doing features — the same as your people do here. You get top talent working on the same equipment, and it is checked out with the same love and care. And the charges are the same. The ratio of commercials to features varies all the time. Nearly all the big special effects films from all over the world were made in Britain last year. Raiders of the Lost Ark, Superman II, Empire Strikes Back, Clash of the Titans, Outland, Excalibur — all were made at roughly the same time, so you tend very much to feature hire for that period. in 1981, you got a balance because there was hardly anything going and the commercials were very important. The threatened strike of directors in the U.S. really killed that year for fiimmaking, and we are just beginning to get over it. in early 1982, we see ourselves busy again with the new James Bond film, there is Superman III, the new Star Wars and another big special effects film called Dragons of Krull — all running at more or less the same time. CINEMA PAPERS April — 149 |
| [...]Yes. I have a running battle with people who say the British film industry is dead. I say, "Well, Superman and Superman II left 20 million pounds in Britain on below-the-line costs. How many Carry On Up the Khybers do you have to make to earn that sort of money?”"Ah, but it doesn't show British life," they say. Well, The Deer Hunter was a 100 per cent British-financed f[...]is Samuelsons with new product development, like the Louma’ and the new front projection rig? That is my side of the business. I am an inveterate inventor and a very lucky person because I have the facilities to do that sort of thing, and an outlet for the devices I come up with. It has always been my dre[...]s pro- jector and I wasn't prepared to spend tens of thousands of pounds on an old Mitchell process projector and then make something of it. Then one night I had an idea of how to turn an obsolete camera Into a process projector. Having made that up. the development of the rig was straightforward. The Louma started when a couple of young French guys came to Samuel- sons with the basic idea. They had put a camera on the end of what could only be described as an outslzed microphone boom; it was originated to make a film In a submarine. I suggested putting a tale- vision viewfinder on the camera with a remote control, as we had already d[...]’s Daughter. So, we developed it, and all three of us received a technical Academy Award for our contributions. Now i am busy in London on 3D. Comin' at Ya’ is a big success in the U.S. and I read in Variety, a couple of weeks ago, that there were 10 3D films in pro- duction — and that didn't include the one Roman Polanski may direct, for the producer of Being There. Will your system require polarized glasses? Yes. That's not new; it is how you link the two cameras and how you project it. This is my ne[...]ne has to keep up-to-date, and it is a philosophy of our company that we like to innovate. That is the way we keep ahead of everyone else and how the industry keeps ahead of television. You have to give cinemagoars somethin[...]m being good enter- tainment, it was a fine piece of crafts- manship. I was reading in ‘clnefx’ a description of the front projection system that was used for “Outland” . . . Yes, the system is called Introvision. it is a complicated[...]ailable, there should be an immediate application in commercial work. . . 3, The rig was recently used for the first time in Australia by Melbourne commercials director, Peter Corbett[...]o. 33. DP 272-75). 150 —- April CINEMA PAPERS The Samcine From Projection System. We hope it will be a lot less expensive than chroma key. The ability to film edit should be cheaper also. The man who developed the lntrovision system commented that if he really hated somebody he would give them a simple description of how his system worked and let them go away and te[...]tion . . . Yes, there is a lot not written about the amount of anguish expended sorting it out, and we don't wan[...]protecting them is another matter. We have a lot of innovative ideas in our system, but primarily we are trying to be the opposite end of the market to systems like lntrovision. We are trying to take the bullshit out of front projection. Front projection has been arou[...]that it is a very special matte box that fits on the camera that puts back- grounds in. You can use your ordinary dolly and ordinary geared head, and you can shoot in a room like this. With a piece of 3M screen material behind me, you could "film" this interview in New York. You should be able to go from normal shots to process in 20 minutes, just like changing from an Elemack to[...]nd backgrounds, people will use it simply to fill in windows and door- ways, to transpose a location. There is a company in London called World Backgrounds which has a library of stock shots of everywhere in the world. If you wanted to have a Bangkok or Rocky M[...]. You just say to these people, "Send me 100 feet of the Rocky Mountains", and it should be on the next plane. They have a remark- able collection a[...]together to supply their materials, because part of the idea is to have available backgrounds. I look upon it as a background machine. Who Said The Home Film Market Was Dead? At a time when much of the photographic trade is seeing a veritable tide of activity in household video equipment, one distributor, J. Osawa and Co Ltd, Japan, believes the home film market is far from dead. in the face of the VTR versus 8mm film controversy, the company has designed, manu- factured and launched an entirely new range of 8mm cameras. Two of the film cameras have already won major Japanese design awards, and, the release of the range has been backed by an aggressive marketing campaign. Being marketed under the Bell and Howell name, the new range includes models T10XL, T20XL, T30XL, and T50XL. They are distributed nationally by Australia's newest photographic equipment distributor, J. Osawa (Aus- tralia) Pty Ltd, a subsidiary of the Tokyo- based international trading concern. g The Bell and Howell T1 OXL and T30XL received the 1981 Good Design Award, or "G-Mark", granted by Japan's Ministry of Trade and industry. The award is given to products judged superior on the basis of design, function, quality and appear- ance. its closest Australian equivalent would be the Australian Design Award. Backing the release of the new camera range is a campaign which promotes the advantages of the 8mm film gear over VTR. While conceding that VTFI[...]uite costly, 8mm film gear has actually come down in price, while including more and more capabilities. All four cameras in Osawa’s Bell and Howell line-up are in the medium- to low- end of the film camera market. The award-winning Bell and Howell T10XL is a highly c[...]that allows filming under law-light conditions. The Bell and Howell TIOXL 8mm camera. The Bell and Howell T30XL is another model with low-l[...]dition signal and battery test, with a film speed of 18 fps or single frame control. Models T2[...] |
| [...]s standard. Details are available from J. Osawa (Australia) Pty Ltd, 13 Chard Rd, Brook- vale, NSW 2100. Tel[...]I TV Standards Converter Pics Australasia is the sole Australian agent for the OK] TV Standards Con- verter. The OKl converts the American NTSC signals to the Australian PAL D and back the other way. It will also convert to and from Secam. Until the introduction of the OKI, the equipment to convert broadcast signals was restricted to television stations. The OKI by comparison weighs 40 kg and measures 266 x[...]tion house. installed an OKI. Ross Webb, co-owner of Colorburst, is using the OKI in conjunction with a joystick color corrector. Sin[...]s with frequent overseas contact: ‘‘I bought the OKI in preference to another converter because I found[...]It seems to maintain a better picture stability. The best way to see this is with the American football games. When the camera does a fast pan to follow the ball, the background jerks. With the OKI, it still jerks but not nearly as much." Webb is using the OKl’s digital enhancer and an analogue image enhancer to improve the converted picture quality. For more information,[...]AL D, and vice-versa. Photokina Cologne 1982 The 1982 Cologne Photokina is to be held from October[...]10). Agreement on this timing has been reached by the organizers: the German Photographic Industry Association (Ver- band der Deutschen Photographischen lndustrie) and the Cologne Trade Fair Company. This change in dates will meet the wishes of manufacturers and also of German and foreign dealers who are in favor of having the fair open on a Monday, and having it run for seven days, as in the past. Two New Releases From GEC National National Panasonic has announced the release of the NV-8050, the first readily-available, time-lapse, video- cassette recorder. Using 1/2-inch VHS cassettes, the NV-8050 provides an easy-to-use monochrome animation system with its one shot mode, or a broad range of applications in its other time-lapse modes. The picture quality for all speed operations is high, with a horizontal resolution of 310 lines. An optional plug-in unit allows day/ month/ year/ hour/ minute/ second data to be displayed. The U-matic format (3/4-inch) cassette has been given a new lease of life with the introduction of the National Panasonic Series 9000 high performance system. Not just a revised model, the system promises high quality video performance with a signal-to—noise ratio of 46 dB, color and horizontal resolution of 260 lines color, and 330 lines monochrome. The editing system includes the NV- 9240 recorder, which is used as a source, the NV-A960 editing controller and the NV-9600 high performance editing recorder. The NV-A960 editing controller is a micro-processor b[...]rch dials for source and editing decks. Search is in forward and reverse at various speeds, and there[...]oints selected for an individual edit anywhere on the tape. For further details, contact the local offices of GEC National. The National Panasonic N V-8050 time-lapse video-cassette recorder. The National Panasonic ediling syslem. John Barry Group Sets Up New Singapore Company The well-known Australian film and television supply and rental company, the John Barry Group, is setting up an independent company in Singapore to be known as Barry and Warta Trading Pty Ltd. John Barry is managing director of the John Barry Group, and Horst Warta the Group's former general manager. Warta is to take up residence in Singa- pore and will be the company's managing director. Barry and Warta, Si[...]Kong, India, Indonesia, Japan, Korea, Malaysia, The Philippines, Sri Lanka, Taiwan and Thailand. Horst Warta is well known on the Asian film and television scene, having been export manager for the John Barry Group for some years before his appoin[...]manager. He has travelled extensively throughout the region and is familiar with local market requirements. The new Singapore company will follow the pattern set by the John Barry Group, Australia, in that it will specialize in marketing and servicing quality film and televisi[...]ses Warranty On Daymax HMI Lamps Developed by the same company that lights Amerlca’s space vehicl[...]to guarantee their long life. A pro-rata warranty of up to 400 hours is given on some lamps and, if a light fails in less than 50 hours, it is general practice for Pi[...]not had to replace any Daymax lamps. Produced by the Californian company, ILC Technology, Daymax owes its reli- ability and design to the lighting used in manned and unmanned space vehicles and satellites[...]lighting systems were most recently used to light the interior and exterior of the Columbia space shuttle. Daymax HMI lamps’ long[...]h performance is achieved through a com- bination of plasma physics, unique high temperature seals, ad[...]a dry, very pure argon atmosphere is maintained. The lamps are processed with an all metal vacuum system before and after being charged with metal halide in the dry box, while a turbo molecular pump prevents hy[...]ne: (02)2641981. Take Pride David and Tod Pride of Pride Studios have just completed work on the first of three computer-controlled special effects systems. It is a camera mount with seven computer-controlled axes of motion. Fitted with a Fries reflex con- verted 35mm Mitchell with video-assist viewfinder, the system also has nodal head-point movement. For f[...]hat allows student-paced individualized learning. The entire system is made up of four components: VRS-100 video responder, VRP-100[...]g positions also require a player and a monitor. The VRS-100 enables the student to respond to the videotape. The optional VRP-100 printer provides printouts of students’ answers as well as a printer record of programming. _ The VRC-100 encodes new or exist- ing video-tapes and the VRD-100 facil- itates new programming of pre-recorded tapes. This unique learning system[...]student to advance, at his or her own pace, while the printer allows the instructor to monitor the progress. The Responder system is compatible with progra[...] |
| [...]e deals on first class air tickets to people ’ in the film industry. 0‘ 0 With our Celebrity Travel[...]can sleep your way to Cannes, or anywhere around the world forwlittle rrpre than Economy fare. . Talk to us and discover out-of-this-world deals at down-to-earth prices.[...] |
| [...]cal consultant . . . . ..Manning Clark Synopsis: The drama of the ill-fated expedition of 1860-61. FOR LOVE ALONE Prod. company . . . . ..[...]. . . . . . . . . . .77. . .. Fay Weldon Based on the novel by . . . . . . . . . . . . . . . . . . .. Christina Stead Synopsis: The story of Teresa Hawkins, high-minded, passionate and independent, and her attempts to fulfil her ideals of love, first with her teacher, the self—seeking Jonathon Crow, who shows her worlds other than the prosaic one she's known, and later, after bitter struggles, in London, with the American businessman, James Quick. HOSTAGE Exec[...]Alexander Hopkins No further details supplied. THE SUNBEAM SHAFT Prod. company . . . . . . . . . . .[...]ed release . . . . . .. February. 1983 Synopsis: in 1936, the miners in the small South Glppsland town of Korumburra barricaded themselves in the main shaft of the Sunbeam Colliery, demanding better pay and working conditions. Their story is that of the Australian Labour Movement in the 1930s. TlME’S RAGING ‘ Prod. company Limeli[...]. . .Frank Moorhouse, Sophia Turkiewicz Based on the short stories from Futility and Other Animals by[...]ter . . . . . . . . . . .. .Terry Bourke Based on the novel by . ..Roger Ward Photography . . . . . . .[...]d. managers . . . . . . . . . . . ..Ken Metcaife (The Philippines), Judith West (New Zealand) . . . . . . . . . . . . . . ..Tim Higgins (Australia) . . . . . ..Mitch Griffin . .Ross Lane oy Harri[...]. . . ..Peter Kearney Continuity Jenny Ouigley (The Phi|.), June Henman (N.Z. and Aust.) Director's[...]. . . . . . . .. Sachiko Bourke, Mario Metcaife (The Phil.); David Williams (NZ. and Aust.) Mixed at[...]. . . . . . .. United Sound Laboratory .. Atlab Australia Gauge . . . . . .. 35mm 1:165 ratio Shooting st[...]y), Barryv«DonnelIy (Jack Lambert). THE CLINIC Prod. company . . . . . . . . ..The Film Housel Generation Films Producers . . . . .[...]. . . . . . . . . . . . .. Greg Millen Based on the original idea by . . . . . . . . . . . . . . . .[...]Casting . . . . . . . . . . . . . . . . . . ..The Film House Casting consultants ....M 8. L Consult[...]riptwriter .. . . . . . .. Jan Sardi Based on the original idea by ..Jan Sardi, Michael Pattinson[...]itkins). Synopsis: Two turbulent adolescent weeks in the life of a teenage migrant ltalian boy living in Melbourne’s inner suburbs. Forthis fortnight two families live in the one crowded terrace: the recently arrived family from Italy who will take over the house, the current family who are preparing to leave. Gino m[...]cept his Italian background, and start a new kind of life, hopefully one more step towards maturity.[...]. . . . . . . . . . . .. Richard Cassidy Based on the novel by . . . . . . . . . . . . . . . . . . . .[...]Tim Burns (Kent), Henri Szeps (York). Synopsis: The story of a stylish Sydney boutique 'owner and her husband.[...]who has not as yet achieved financial success. On the surface, they appear to have a perfect relationship. However, their marriage is shattered when he is accused of rape after a casual indis- cretion one afternoon[...]ggle to prove, and for her to continue to believe in, his innocence. ON THE RUN Prod. company . . . . . . . . . . ..Pigelu P[...]field, Rod Taylor, Beau Cox, Ray Meagher. PLAINS OF HEAVEN Director . . . . . . . . . . . . . . .[...]Cast: Richard Moir. No further details supplied. THE YEAR OF LIVING DANGEROUSLY Pro[...]. . . . . . . . . . .. David Williamson Based on the novel by . . . . . . . . . . . . . . . . . . . .[...]RS, DIRECTORS AND PRODUCTION COMPANIES To ensure the accurac of your entry, please Contact the itor or this column and ask for copies of our Pro- duction Survey blank, on which the details of'y6ur production can be entered. All details must be typed in upper and lower case. The cast entry should be no more than the 10 main actors/actresses - their names and character names. The length of the synopsis should not exceed 50 words. Editofis n[...]pers cannot, therefore, accept responsibility for the correctness of any entry. Key grip . . . . . . . .[...]stralian Broadcasting Service journalist, arrives in Jakarta during a time ofthe politics of the country and with Jill Bryant, an English Embassy[...]. . . ..David Ambrose, Quentin Masters Based on the novel by . . . . . ..Kit Denton Photograp[...] |
| [...]. . . . . . . . . . . . . “Sonia Borg Based on the novelby . . . . . . . . .. ..Frank Dalby Daviso[...]assistant Jan Tourrier 1st asst director ...C0|in Fletcher Prod. designer ...[...]wards (Mrs Muspratt), Will Kerr (Jim). Synopsis: The story of a sheepdog in the Australian outback, based on the classic novel by Frank Dalby Davison. FAR EAS[...]. . . . . . . . . . . . . “John Duigan Based on the original idea by . . . . . . . . . . . . . . . .[...]ot). Synopsis: A political thriller which exposes the violent and exploitative realities of multi— national companies in a South-East Asian country. Against this backgrou[...]. . . . . . .. Michael Cove, Tom Jeffrey Based on the novel by “..John Embling Director of photography . . . . . . . . . . . . .. John Seale[...]en off as a delinquent by most adults until John, the teacher. fights against all odds to straighten ou[...]. . . . . . . . . . . “Michael Latimer Based on the cartoon strip by . . . . . . . .. .. Jim Bancks[...]able Brady). Marie Loud (Miss Sharpe). KITTY AND THE BAGMAN Prod. company Forest Home Films for Adam[...]. . . “ Phillip Cornford. John Burnie Director of photography “.Dean Semmler Sound recordist . .[...]'Rourke), Val Lehman (Lil Delaney), John Stanton (The Bagman), Gerard McGuire (Cyril Vikkers), Collette[...]d Hepple (Sam), Danny Adcock (Thomas), John Ewan (The Train Driver). Synopsis: A period comedy drama set in Sydney about two crime queens, Kitty O'Rourke and[...]laney. Together, these two remarkable women ruled the underworld of sly-grog shops, gambling houses, prostitution and hold-up merchants in the rip-roaring 1920s. playing, laughing and lighting with a gusto the city has never known since. MIDNITE SPARES[...].....Caroi Devine Wardrobe . . . . . .. . Ruth do in Lands Ward. assistant . . . . . . . . . .[...] |
| [...]om), Jonathan Coleman (Wayne), John Godden (Chris the Rat). Synopsis: The story of young people, their Sunshine City car ‘culture’, the motor speedway and the criminal world of car-part stealing.NEXT OF KIN Prod. companies . . . . . . . .. The Film House, S.l.S. Productions Dist. company . .[...]. . . . ..Michae| Heath, Tony Williams Based on the original idea by . . . . . . ..Timothy White, Mic[...]), Debra Lawrence (Carol), Tommy Dysart (Harry). THE PIRATE MOVIE Prod. company . . . . . . . . .JHl[...]opsis: Loosely based on Gilbert and Sullivan's “The Pirates of Penzance". Film includes five Gilbert and Sulliva[...]inning and end; most is a long fantasy sequence. THE RETURN OF CAPTAIN INVINCIBLE Producer . . . . . . . .[...]. . . . . .Andrew Gaty, Steven de Souza Based on the original idea by .. Photography . . .. Sound reco[...]nopsis: A madcap, musical comedy- adventure where the flying super hero crushes Nazis, threatens bootleggers, helps boy scouts and battles Moscow. The Return of Captain invincible HUNNIN’ ON EMPTY (working title) Prod. company . . . . . . . . Film Corporation of Western Australia Producer . . . . . . . . . . . . . . .. Porn Ol[...]. . . . . . . . . . . . .. Barry Tomblin Based on the original idea by . . . . . . . . . . . . . . . .[...]eacock Catering Ray Fowler Laboratory . . Atlab Australia Lab. liaison .. .Greg Doherty Length . . . . . ..[...]ssion.with cars and someone else‘s girl, Julie. The film follows Mike's struggle to win Julie and survive the challenge of her vicious boyfriend to a series of illegal street races. THE SEVENTH MATCH Prod. company . . . . . . . . . .[...]. . . . ..Yoram Gross. Elizabeth Kata Based on the original idea by . . . . . . . . . . . . .[...] |
| [...]uit each Cannes de|egate's travel requirements by THE travel consultants to the Australian film industry.A variety of extremely competitive first, business, and economy class airfares to Nice or Europe or “Round—The-World" are still available. We offer accommodation in self-contained studios and pool- side apartments[...]r our clients. Ring Michael Rudny or Maude Heath in Sydney. (02) 920 1 385 or (02) 436 3981 We've do[...]When you edit with l-(EM, you're editing with the best of them‘ From 16mm to Super—1 o to 35mm—even v[...]MPTE and EBU— Code processing. With KEM as part of your editing team. sophisticated German engineeri[...]Film Production suite 155, Raffles Hoiei Western Australia (5000 international Pty. Ltd Services. 1~3[...] |
| Asst animator . . . . . . . . . . . . . . . ..Kaye Watts In betweeners . . . . . . . . . . .. Vicki Robinson,[...]Mixed at . . . . . . . . . . . . . . ..At|ab (Australia), Magno Sound (New York)Laboratories . . . . . . . ..Co|orfilm (Australia) Movielab (New York) Length . . . . . . . . . .[...]Haddrick (father, partisan, soldier). Synopsis: The poignant story of a young child, orphaned by war, and her struggle to survive. it is representative of the plight of children in war—torn countries and acts as the voice of all children against the suffer- ing and hardships imposed by all wars. A SLICE OF LIFE Prod. company . . . . . . . . . . ..John La[...]. . . . . . . . . . . . . ..Roadshow Distributors Australia Producer . . . . . . . . . . . . . . .John Lamo[...]eoft Kelso. Lance Curtis. Robert Gibson Based on the original idea by . . . , . . . . . . . . . . . .[...]s Creek ski resort, where they create havoc among the other skiers during a carnival weekend. SOUTHERN[...]Mrs Sto||ier), Peter Collingwood (Mr Hollister). THE DARK ROOM Prod. company . . . . . . . . . . . .[...]oper (Patricia). Synopsis‘ A contemporary story of sexual rivalry and obsession; of lost youth and false mahhood. A triangle which le[...]Combes. DOT AND SANTA CLAUS (Further Adventures of Dot and the Kangaroo) Prod. company . . . . . . . . . . ..Y[...]. . . . . . . ..John Palmer, Yoram Gross Based on the original idea by . . . . . . . . .. Yoram Gross P[...], Nerissa Martin, Margaret Butler, Kim Craste In betweeners . . . . . . . . . ..Vicki Robinson, As[...]: Barbara Frawley (Dot). Ross Higgins. Synopsis: The continuing adventures of Dot and her search for the missing joey. Dot meets with a hobo in her outback home town, the hobo becomes Santa Claus. and takes Dot on a wond[...]re witnessing various Christmas ceremonies around the world. DOUBLE DEAL[...]. . . . . . . . . . . . ..Brian Kavanagh Based on the original idea by . . . . . . ..Brian Kavanagh P[...]: A psychological thriller, its plot is a mystery of manipulation and double- dealing about the elegant, beautiful Christina Stirling, her urbane, successful man-of-the-world husband, Peter, a daunting, sensuous young[...]. . . . . . . ..United Sound Laboratory ...Atlab Australia Lab. liaison .. . .. . James Parsons Length . . .[...]nity is bliss- fully unaware that a killer stalks the streets. A mother and her two sons survive in a dis- integrating relationship. These two ele- ments come together to form the basis of this mystery-thriller, GOODBYE PARADISE[...] |
| [...]. . . . . . . . . . . . . ..Terry Bourke Based on the original idea by . . . . . . . , . . , . . , . .[...]way on loca- tion. ls unaware that her sister and the care- taker have been murdered. The murderer returns to kill the woman, and so begins a battle of wits.LONELY HEARTS Prod. company , . . . . . .[...]. . . . . . . . ..John Clarke, Paul Cox Based on the original idea by . . . . . . . . . . . . . , . .[...]ary Wilkins Post-production fficllltles. : . .. The Joinery Mixed at . . . . . . . . ..United Sound S[...]ptwriter . . . . . . , . . . . . . ..Ken Cameron. in association with Helen Garner Based on the novel by .....Helen Garner Photography . . . . .[...]Rock music performed by . . . . . . . . . . . ..The Divinyls Sound editors . . . . . . . . ..Ashiey G[...]ita). Synopsis: Nora. 33. a single mother living in a large, loosely constructed commune, wants a love with "no fade from distance in it". what she gets is Javo. a 23 year—old actor. whose life is “a messy holiday ofthe difference, they can both kill you." MYSTERY[...]. . . . Stuart Glover, Michael Hohensee Based on the original idea[...](Ah Leong). Synopsis: When three children cross the harbor to explore Castle House — a strange, uno[...]Excitement. mystery and non-stop action and roll-in- the-aisle comedy for children. NORMAN LOVES ROSE Pr[...]r .. .. Geraldine Catchpool Publicity . . . . . . The Rea Francis Company Trainee... . . . . . . . , .[...]13 year-old preparing for his Bar Mitzvah. Sister-in~Law Rose, the object of his passion, becomes pregnant to the great surprise of husband Michael (for years unable to satisfy her desire for children), to the delight of parents-in-law who at East can bask in the many exclamations of “Mazeitovl”, but Norman's response raises a preposterous question — who is the father? RUN REBECCA. RUN![...]. . . . . . . . . . . . ..Char|es Stamp Based on the original idea by . . , . . . , . . . , . . . .. G[...]Peter Sumner (Mr Dimitros), Ron Haddrick (Speaker of Parlia- ment), John Ewart (Minister for Immigra-[...]hdown). Synopsis: A young girl taking photographs of her pet cockatoo is prevented from leaving a lone[...]r a widespread search, she manages to escape with the help of a boy scout. Sympathetic to the immigrant's problems, she pleads his cause in Parliament. SQUIZZY TAYLOR Prod. company ....Si[...]. . , , , . . . . . . , .. Roger Simpson Based on the original idea by . . . . . . . . . . . . . . . .[...]mon Thorpe (Paddy). _ . Synopsis: A film based on the life of the notorious Melbourne gangster of the 19205, "Squizzy” Taylor. TURKEY SHOOT Prod. c[...]John Ley (Dodge), Bill Young (Griff). synopsis: The year 1995 — the world is run by a strict regime. if you step out of line you are labelled a “Turkey". Further failure to conform means you are a candidate for the "Turkey Shoot". WE OF THE NEVER NEVER Prod._ companies . . . . . . . . . Adams Packer Productions, Film Corp. of WA.[...] |
| [...], Donald Blitner (Goggle Eye).Synopsis: A story of the hardship faced by newly-married Jeannie Gunn which recalls the courage, vitality and humor of early cattlemen and Aboriginal stockmen in a harsh, but memorable Northern Territory environment. IN RELEASE Please see previous issue for details of: The Beat of Friends Breakfast in Perl: Freedom Duet tor Four Heatwave The Man from Snowy River Save the Lady Staretruck Sweet Dreamers /——T \[...]iter .. . . . . . . . . . .. Sue Woolfe Based on the original idea by . . . . . . . . . . . . . . . . . . . . . . . . . .. Sue Woolfe Dir. of photography . . . . . . . . . .. Philip Betts Sou[...]16mm Shooting stock Eastmancolor 7242 Progress in release Release date January 1982 First release[...]that she can't remember, and always between them the bed, the knife and the door to freedom. DESIDEFIATA Producer . . . .[...]. . . . . . . . . .. Robert Wallace Strand No.1 IN ENTERTAINMENT LIGHTING watt DYR lamp. the E.N.C. kits. e For further details call the ’ Strazndman ’ at Rank Electronic or Authoris[...]reet, Pymble NSW2073. Phone: [02)449 5666 SOUTH AUSTRALIA 101-105 Mooringe Avenue, Camden Park SA 5038. Phone: [08)295 0211 WESTERN AUSTRALIA 19 Md3onald Street, Osborne Park WA 6016. KPhon[...]e: (08) 212 2033 Phone: [CD3] 31 8935 Pulsar is the latest in the range of focusable floodlights from Quartzcolor. Pulsar is[...]lder. Accessories include barndoors, plus a range of gaffer grips, stands etc. Pulsar is also available in a 3 light kit and together with Mizar (the new 300/500 watt fresnel ) forms the basis of LAUNCESTON K.W. McCu|loch Pty. Ltd, 44 Canning S[...]her; Elizabeth was master; alone, she is victim. THE MARY QUANT MASOUE OF DEATH Prod. company Somnambulist Prod[...]ss . . . . . . . . . . . . . . . . . . . . . . .. in release First released . . . . . . . . . ..Longf[...]eir (Jane), Bradley Miller (Toby). Synopsis: Set in the cockroach belt, Frances and Dorian live through the last few weeks of a lopsided relationship; Frances. raising her three children on the pension, provides Dorian with bed and board becau[...]rsley (Nurse). synopalnz A silent film depicting the life of a boy growing into manhood and his undying love f[...]st: Andrew (T m). Syr1opIlI:A young man is shown the details of his own death. THE PERMANENT BOOKING Dist. company . . . . . . . . .[...]r . . . . . . . . . . . ..Anthony Bowman Based on the original idea by . . . . . . . . . . . . .. .Ant[...]. . . . . ..April 1982 Synopsis: A comedy about "the social sport". SPECIAL ANNOUNCEMENT FOR FILM PR[...]SONNEL CUTTING CONTACTS A BRAND NEW SERVICE TO THE FILM INDUSTRY A service to Producers dnd Film Editing Personnel. Comprehensive lists are being compiled of the locations and schedules of Editing Personnel. One phone coll will Tel[...] |
| For those interested in attending AUSTRALIAN I CANNES FILM FESTIVA[...]pover options. Participants are guaranteed the option to cancel on the eleventh hour (whether for unmet contractual obligations or the tender of new contracts). MONAHAN INTE[...]AVE., CAMMERAY. PH.: 904 735 producers of fine tv programs and films |
| Angels of War DOCUMENTARIES SHORTS AMERICA WEST[...]Woody Strode ( imseif). Synopsis: America West is the Buffalo Bill heritage of U.S. alive and well in 1982. Today's cowboys drive pickup vans with shotguns displayed hanging in the back window. A lot of the film was shot at 3000m elevation in the Colorado Rockies. ANGELS OF WAR Prod. company ...Robin Film[...]psis: A documentary film about tl'i'e experiences of the people of Papua New Guinea during World War 2. CHANGING THE NEEDLE: A study of drug rehabilitation in Vietnam Prod. company .. . . . .[...]s Editor . . . . . . . . . . . . . . . . . . ..Co|in Waddy Prod. co-ordinator Mavis Robertson Music p[...]. . ..Lee Whitmore Mixed at . . . . . .. ...Fiim Australia Laboratory . . . . . ..Co|orfi|m Lab. liaison ..[...]. . . . .. Awaiting release Synopsis: Conditions of post-war Vietnam are revealed through a study of one of the most serious consequences of the war: drug addiction. The cure of drug addiction relies on traditional medicine, in[...]ercise and herbal extracts, and on a total change in social environ- ment. In the face of material scarcity, the emphasis is on self-reliance. TALES OF THREE CITIES Prod. company . . . . . . .[...]. . . . . ..John Hallows, Fran Hernon Based on the original idea by . . . . . . . . . . . . . . . .[...]Current affairs documentary dealing with aspects of three cities — Hong Kong, Singapore and Bangkok — includ- ing the bicentennial celebrations in Bangkok. AUSTRALIAN FILM COMMISSION Bad Animals —— The Greenboe Corporation (Ian Barry); cinema feature; 2nd draft funding — S4000 Ball — From the Mountain to the See — Tarnan Productions (John Darling): tele-[...]feature: script development funding — $15,000 The Blood Opal — James Murray; cinema feature; 1st[...]feature; script development funding -— $12,000 The Leaf Tango With Rudolph Valentino — Hilary Lins[...]ma feature; script development funding — $5500 The Man in the Mountain — T.C. Produc- tions (Tom Cowan); cinema feature; script development funding — $2500 Needles in Haystack: —— Bob Huber, David Hall; televisio[...]ini-series; script development funding — $4000 The Passionate Years — Merlin Produc- tions (Anne W[...]; cinema feature; 2nd draft funding —— $8250 The Real Thing — Talking Picture Company (Max Oldfi[...]ins); cinema feature; 1st draftfunding - $31,860 The Umbrella Woman — Margaret Kelly Productions; ci[...]ding and project development funding — $48,087 The Unscrambled Egg — Ken Hayles; cinema feature; 2[...]revised production budget — $15,222 Loana To the North — Malcolm Douglas Films; bridging loan fo[...]/Baliantyne Film Productions; additional increase in limited guarantee facilities — $3214 AUSTRALIAN FILM AND TELEVISION SCHOOL THE ACTOR-DIRECTOR RELATIONSHIP Producer . . . . . .[...]. . . ..Pre-production Synopsis: A film examining the actor- director relationship from the audition, through rehearsal to the shoot. THE ACTOR-DIRECTOR RELATIONSHIP (within the production of November Eleventh, 1975) Producer[...]e . . .1-inch videotape Synopsis: An observation of the development of the characters with the five directors and their different methods AUSTR[...]tion Synopsis: Describes and explains this aspect ofof design, in the studio and on location. RADIO — COPYWRITING[...]opsis: Trai on writing for commercial radio. THE STRUCTURE OF TELEVISION IN BRITAIN Producer Eric Haliiday Director .Anton[...]n Synopsis: Describes and explains these aspects of British commercial television. T.V. JOURNALISM 1. THE REPORTER; 2. THE NEWSROOM Producer . . . . . . . . . . . . .[...]uction VIDEOCRIT: APPROACHES TO AUSTRALIAN FILMS THE BUSH MYTH IN AUSTRALIAN FILMS Producer . . . . . .[...]. . . . . ,.Pre-production Synopsis: investigates the "bush myth" as expressed in Australian films. VIDEOCRIT: THE LIFE AND ART OF CHARLIE CHAPLIN Producer . . . . . . . . . . . .[...]ss . . . . . . . . _ . . . . . _ . . . . . . . .. In release Synopsis: Prof. Geduld is interview[...]actor, composer and director, to his death, with the use of excerpts from his films and stills. FILM AUSTRALIA ANZCAN CABLE Dist. company . . . . . . . . . . . . .. Film Australia Producer .. Peter Johnson Length’ . . . . . .[...]. . . . . . . . . . . ..1985 Synopsis: A film on the cable to be laid between Australia, New Zeaiand, Norfolk island. Fiji, Hawaii and Canada. AT THE CANOE CAMP Prod. company . . . . . . . . . . . .. Film Australia Dist. company Film Australia Producer . . . . . . ..lan Dunlop Director . . .[...]ritjin Maymunu makes a traditional dugout canoe. AUSTRALIA DAY Prod. company . . . . . . . . . . . .. Film Australia Dist. company .....Film Australia Producer . . . . . .. .. Elizabeth Knight Direct[...]1982 synopsis: A film to encourage participation in Australia Day celebrations. For the National Australia Day Committee. AUSTRALIA IN THE '80! (Spin Offs) Prod. company . . . . . . . . . . . . . . . . . . . . .. MDA Dist. company ...Fi|m Australia Producer ..... .. .. Peter Johnson Director . . .[...]ix films dealing with specific subjects mentioned in the major film: i.e., mining, agriculture, science, commerce, recreation and politics. THE AUSTRALIAN EYE Prod. company . . . . . . . . . . . .. Film Australia Dist. company Film Australia Producers . . . . . . . . . . . . . . ..Macek Rub[...]ss . . . . . . . . . . . . . . . . . . . . . . .. In release Synopsis: Four films in a continuing series on Australian painters. AVIATION AUSTRALIA . . . . . . . . . . . .. Film Australia ...Don Murray . Michael Fallson .. . Michael Fall[...]ydney, and a light aircraft from Dubbo to Sydney, the film studies the control over Australian airspace. Continu[...] |
| the ' . _ “The most thrilling film event film event of the year. One 7' ' I ~ A ' ., in many years. It is an realizes that there once was a ' ‘_ 1 ‘ A. , explosion of creativity by a film that justified all the . ‘ T man on fire.” adjectives that have ‘ 'isubsequently been debased. I . I Pauline Kael, The New Yorker Napoleon sweeps, it takes the ‘ *‘j*“'j_‘ breath aria)’. it dazzles.[...]be missed n We come away from Napoleon exulting in his extraordinary Judith Cris, inventiveness, spirit and zingy M. virtuousity. You applaud, you “The most exhilarating and cheer, it makes you gasp wi[...]-,,e,,,.,,,~c mm ma. “A silent epic that puts the . _ truthfully be Called historic. I talkies to shame. A visual can’t imagine anything more experience of such grandeur completely enthralling or that it staggers the mind.” unique.” Music composed by Reconstruc[...]EPIC FILM — OR A SYMPHONY CONCERT BUT A ONCE IN A LIFETIME EVENT! To be presented LIVE wi[...] |
| [...]e’s subject is a grandiose property development in Sydney which threatens to disrupt the lives of the mainly old and poor living in the homes which have to be demolished for the project. The drama focuses on archi- tect Stephen West (Richard Moir) who is designing the project and an anar- chist/terrorist/murderer Kate Dean (Judy Davis) at the forefront of those trying to stop it. The architect con- cedes that the project will only be affordable for the well-off. It will, however, serve as a model for future well planned low—cost housing.The film opens abruptly with an act of public violence perpetrated by thug- gish agents of wealth. Squatters are cleared from a building as other agents of wealth in Australia, the police and the television reporters, stand around watching. A heavy mallet is smashed through a door in slow motion. The televising of the event and the subsequent coverage of later happen- ings by radio is the device by which the audience is kept involved with the back- ground of the film: political and busi- ness manipulation and exploitation. The device is common to a lot of films and probably owes its popularity to Robert Altman. In Australia, it has been used to best advantage in Sunday Too Far Away and, for a slightly differ- ent purpose, in Palm Beach. In Heatwave, its counterpoint between the official view of events and what is happening on screen produces a subversive view of the use and abuse of power and influence outside the law. The irregular use of slow motion to emphasize certain actors throughout the film is continued and is apparently conceived as[...]ly interpolate meaning and one senses that often, in- stead of achieving the desired distanc- ing effect, it enables the audience to luxuriate in certain moments of violence. Heatwave is an overtly-political film which traces certain patterns of power and authority in Australian society. These patterns do not relate to govern- ment or the legal system except insofar as two peripheral cha[...]ffectual and corrupt policemen, finally seen out of focus fleeing from the scene of a violent crime. The viewpoint from which the narra- tive is entered is that of Kate Dean, the anarchist, whose actions against the developer range from trivia (spilling food on him[...]d one assumes she has murdered a lawyer). Because of its absence of refer- ence to over-riding legal or political structures, a common but rather sim- plisticjudgment of the film is to lump it in the category/genre of paranoia films typified by such excessively boring works as The Parallax View, The Domino Principle and Flight of the Con- dor. That branch of filmmaking ex- cludes any real notion of realistic detail from intruding into the surface of the work. Heatwave’s surface of plot and event has the meticulous attention to accur- ately-constructed detail one finds in work like Sidney Lumet’s New York police thrillers. In particular, quite elaborate amounts of information are given about financial, architect[...]ch areas than ever presented previously. Beneath the constant action that oc- curs in the film are two points of character. Kate Dean’s remains fixed; she reve[...]ce as and when she pleases. Stephen West, despite the stan- dard monotone playing now familiar from Ric[...]West is a character new to Aus- tralian films, the supercilious poor boy made good, a model of the new right- winger of today, an example of those who make it by their own efforts and, therefore, believe that it is only lack of effort and hard work which prevents others doing[...]ts to see social forces and mach- inery unleashed of which he was un- aware. My first reaction to the film was to believe that it was ‘about’ Stephen’s development of political conscious- ness, the slow and unsteady realization that he was being manipulated by the darkest face of capitalism. Watching the film again I am not at all sure that such a ‘m[...]re interesting takes place with this charac- ter. The Christmas party scenes of family reunion indicate his working- class background that he has shed, an environment in which he is now self- conscious. His initial con[...]dents are antagonistic and mostly uncomprehending of their prin- ciples. He has an armor against the real world made up of sarcasm and petu- lance. This brilliant boy is no[...]c and employment humiliations, and a bashing. By the end, it is hard to believe he has learnt much: i.e., it is difficult to believe that he yet understands the exploit- ative and manipulative social forces on whose behalf he has worked. Thus, though the audience understands what has taken place, Stephe[...]ted to his own self—centred- ness. This concept of character and politics has parallels with Rainer Werner Fassbinder’s work, in its ideo- logy of exploitation and in its method of expression via a straightforward and quite simple narrative. West’s only hope of salvation seems Anarchisl Kare Dean (Judy[...] |
| [...](Bill Hunter) and Victoria West (Anna Jemison) at the New Year's Eve Party, before the violence. Heanmve. to lie in his emotions about the trans- fixing and charismatic Kate Dean. It’s easy to believe in anything that eman- ates from that luminous Judy[...]is drawn and them that lead him to be present at the final shootout. He is not ikely to come over to the side of the angels, a side which is also heavily com- promised by its resort to murder as a political weapon. The political reference points in Heatwave posit no smooth or ordered solution to c[...]Whether that might constitute paranoia is rather in the eye of the beholder. There are flaws in Heatwave; most of them spring from scripting ideas that do not work and might have been aban- doned. The silliest aspect is the attempt to record and incorporate aspects of certain union battles into the narrative. There are obvious attempts to parallel[...]ils down to an abrupt and unconvincing scene with the unionist marching in to a meeting of Capitula- tron. Capitulation is proper, it happens all the time, but its lack of any dramatic conviction or ring of probability is quite another matter. In a similar vein, there is a suspicion that the desire of the script to get West and Dean into bed suffers from[...]t be rather crasser motives than operate for much of the rest of the film. Their sexual involvement is part of the explanation of West’s developing awareness. Dramatically, it[...]s fascina- tion more than sexual satisfaction (if the latter has in fact occurred all round). Heatwave is finally an uplifting and inspiring work. The fact that it tackles such themes in a fully commercial pro- ject (and not just in some token 16mm Creative Development Fund ghetto[...]y, wartish social practice and cor- ruption among the pillars of society is to be totally applauded. It was rare[...]expose those that do wrong, those who manipulate the law, those 164 — April CINEMA PAPERS whose gr[...]s is a remarkable and much desired transformation of Australian production practice. Phillip Noyce and[...]mm feature, Newsfront, that also broke new ground in an imag- inative and clever way. One hopes that Heatwave will allow all those involved to make more of its kind, for it is as skilled a piece of film- making as anything made by Martin Scorsese, whose expressionistic methods in films like Taxi Driver are echoed here. One hopes that others will take the lead, not drop the ball, and that Heat- wave’s joke about Howard Rorke stays just that and the film does not remain a single lonely fountainhead with its prophetic self-reflection nestled in it. Heatwave: Directed by: Phillip Noyce. Produc[...]screenplay by Mark Stiles, Tim Gooding. Director of photography: Vincent Monton. Editor: John Scott.[...]wave Films. Distributor: Roadshow. 35mm. 93 mins. Australia. 1982. Reds Keith Connolly Warren Beatty plays the end against the middle in Reds. His epic (200 minutes) biopic of John Reed, the most attractive figure in the far-left wing of the U.S. pantheon, is couched in a style thoroughly familiar to the middlebrow audience — romantic-adventure. Thus, though the f'1lm’s long-dead characters (Reed shares the spotlight with his wife, the radical writer and feminist Louise Bryant) would be as unacceptable to the Reagan establish- ment as they were to Wilson’s, the modern filmgoer is not asked to identify with the sympathetically- presented couple, played by Beat[...]uching love story played out against a background of cataclysmic events. It is a formula that has work[...], and there is no reason it should not do so for the real- life John and Louise. Beatty does not play[...]nd he does not distort known facts, as do biopics of other left-wing heroes of the Americas (Elia Kazan’s Viva Zapatal, Richard Fleischer’s Che!) or stop short of the ‘difficult’ parts (Hal Ashby’s Bound for Gl[...]iewer can tell — I make no claim to be any kind of an expert, but have read widely on the subject -— the f1lm’s account of Reed’s hectic last five years (I915-1920) — during which he reported and suppor- ted the Bolshevik Revolution in the Soviet Union, co-founded the U.S. Communist Party, died of typhus and was buried in the wall ofthe Kremlin — is reasonably faithful to the historical record and the ideological milieu. Perhaps inevitably, there is the occa- sional anachronism or inconsistency of speech — as when Emma Goldman, the celebrated anarchist, complains in 1919 Russia that “the system” isn’t working — but no serious departures from fact. Some of Reed’s contemporaries, such as the legendary IWW leader Big Bill Haywood, are compre[...]ish playwright Trevor Griffiths. But Beatty gets the im ortant things right. He portrays Re as an ideal- istic, impulsive, romantic of the Left, an ally of the working class who hailed from an upper-class family, saw what he wanted to see in the Bolshevik Revolution and, absurdly, adopted it as a facile model for achieving socialism in the U.S. Reed wasn’t alone in this, of course, in the U.S. or elsewhere.~What made him so special in the U.S. was his com- bination of a vividly-persuasive tongue and pen, charismatic[...]and patrician origins (he wasjust five years out of Harvard when the film begins). Other elements that ring true are the intellectual ferment of New York’s Greenwich Village in those years, the heyday of the so-called ‘Lyrical Left’, euphoric scenes in Petrograd, 1917, and the characteristic sectarian in-fighting surrounding the founding of the imitative U.S. Communist Party. Nevertheless, most of this, and a good deal more of a political and ideo- logical nature, is backgrou[...]ive and responsible, but background for all that. In essence, Reds is the love story of two caught up (and, in Reed’s case, consumed) by the apocalypse of their age. In no way is that assessment intended to be disparag[...]ficant people from undeserved obscurity, and that in itself is a worthwhile enterprise. Ifhe chooses to do so in the filmmaking style he knows best — and can best sell to the computers that do Hollywood’s thinking these days — good on him. His choice of title is not unimpor- tant in this context, inferring that even adherents of the most un-American of heresies can aspire to, and achieve, the best of American qualities, like love, honor and the pursuit of happiness — all the things, in fact, that the Holly- wood epic asks of its heroes. “They were a couple.” observes one of the 33 aged real—life eye-witnesses whose varied and contradictory testimonies punctuate the film. Indeed, Beatty could have laid on the romantics far more thickly and stayed within the bounds ofveracity. Reed was an inveterate seeker after the ideal woman, and was forever announcing that he had found her. When, at the age of 28, he met Louise, then a 27-year-old would-be writer and photographer, he issued yet another declaration of dis- covery and the Village salons chortled knowingly. But this really was “it” for both of them, though by all accounts they practised what a later age would call “open marriage”. The most affecting and incisive moments in the film are precisely those which indicate the deepening inter- dependence of the relationship. At first, Louise lives almost entirely in the shadow of Reed’s fame and magnetic personality. Painfully, she develops talents and perceptions of her own (from the little I have seen ofin this instance, the 1916 U.S. presi- dential campaign. Later, after the couple has married, split and made up, she expresses -— in a moving interlude during the Russian Revolution — her gratitude at being drawn into the maelstrom of world events. Beatty and Griffiths deftly relate the strengths and the difficulties of the rela- tionship to the political and polemical battle in which Reed is engaged, such as separation arising[...]union struggles and other poli- tical missions. The l'1lm’s theme may be viewed as a running discourse on commitment,‘ private and public, and the interaction of one to the other. In fact, what I like most about Reds is this unempha[...]ed be neither distinction nor discrepancy between the personal love of individuals and their devotion to ideas and cause[...]. A naive notion no oubt, requiring a high degree of honesty and tolerance, and easier to appreciate on the screen than in real life. Here Beatty not only invests a Hollywood-style romance with the verisimilitude of recent history, he transcends the romantic conventions. This be ins with the lovers’ first meeting, w en Reed visits his family in Portland, Oregon, in l9l5 after returning from covering the Mexican Revolution (of course, he was with the rebels) and World War 1. Aspiring photographer a[...]uise leaves her dentist husband to live with Reed in the radical bohemia of Greenwich Village, at an arty colony at Provincetown (where she meets O’Neill) and, after their marriage, in a semi-rural retreat at Croton, on the Hudson. Most of the changes in their steadily-deepening relationship are revealed at these three abodes. From there, the Revolution steadily takes over their lives and, w[...]and long, enforced separations. Reunited behind the French lines on the Western Front, after Louise had stamped off on a war correspondent assignment as a result of the row over O'Neill, the couple travel to Russia, where the Tsar has recently been toppled. They arrivejust in time for the |
| Reds main event of the era, the seizure of power by Lenin’s Bolsheviks in November 1917 (it was still October under the old Julian calendar to which the Russians then adhered). Reed, now a convinced Leninist (his Marxism remained shaky), returns to the U.S. to write his electrifying account of the Bolshevik Revolution, Ten Days That Shook the World, and help found a U.S. Communist Party after failing to persuade the then quite large and influential Socialist Party[...]ime, two contending Communist Parties — to seek the imprimatur of the Communist Inter- national, he is interned in Finland, inveigled into a propaganda trip to Baku and stricken with typhus. Louise turns up just in time for a death-bed scene that is sentimental yet gently distanced. Although Reds at times resembles, in scope and style, such heroic epics of the 1960s as David Lean’s Lawrence of Arabia and Dr Zhivago, Beatty never allows the spectacle to overwhelm the characters. For one thing, most of the - depicts, address bewildered Russian workers in English, speed around Petrograd in a truck passing out Rus- sian-language leaflets he couldn’t read and participate in the storming of the Winter Palace.‘ If memory serves, the Winter Palace sequence is modelled on Sergei Eise[...]er, itselfbased upon Reed’s Ten Days That Shook the World. . Among the many graces of a thoughtfully-produced film is its casting. Beatty and Keaton may be too tarred with the film-star brush for one to accept them unreservedly as the pair they are supposed to be, but by all accounts Reed, though not as hand- some as Beatty, was a man of extra- ordinary charisma, while Louise Bryant has[...]mercifully, a restrained O'Neill; Edward Herrman, in a few fragmented minutes, is suitably lofty as Max Eastman, another for- gotten genius of an earlier American Left; and author Jerzy Kosinski makes the outstanding female radical thinker and activist of her time, and emanates the brusquely uncompromising brass- tacks fundamentalism that led her so quickly into conflict with the Bol- sheviks. Goldman is, therefore, the most convenient vehicle for the doubts and disillusion that many idealistic overseas supporters of the Revolution soon began to experience. Thus, as men[...]n, phrases are put into her mouth, but as a whole the depiction seems a valid one. Certainly, she is correctly seen as insisting that questions of women’s rights should not be submerged in the day-to-day exigencies of the political struggle, while her disavowal of B01- shevism in practice — or, more pre- cisely, the compromises Lenin was forced to make — is well documented. In this connection, Reed also is seen to exhibit the beginnings of disillusion, although he defensively rebuts Gold-[...]Reds. big action set-pieces are confined to the a convincing screen debut in the role of second, and shorter, part. More impor- tantly, canny plotting and editing keep the principals in the forefront of events. Strict-interpretationists may be irked by[...], as when a translated Reed speech appears to set the workers marching towards the Winter Palace, or the couple’s sexual reunion is montaged into the Bolshevik rising. But it is a matter of historical record that Reed did do some of the things that I have heard people question after seeing the film. He did, as Beatty Comintern leader Grigori Zinoviev. (The last, incidentally, in depicting Zinoviev as a dissembling, self-satis- fied pooh-bah, is the one really unfair portrait in the whole film — but that is Beatty’s doing, not Kosinski’s.) The big gun of the supporting cast, however, is Maureen Stapleton as the legendary Emma Goldman. With the help of the wardrobe and make-up departments, she strikingly resembles I. John P. Diggins, The American Left in the Twentieth Century, Harcourt, Bruce, Jovanovich, New York, 1973. about to break with Communism at the time of his death: “Disillusionment there was, deeply[...]early to give it up without another struggle?” The weariness Beatty portrays in Reed towards the end is presumably intended to be due not only to[...]t also doubt and indecision. 2. Theodore Draper, The Roots of Amer- ican Communism, Viking, New York, 1963. However, while Beatty quite prop- erly presents the misgivin s expressed by some leading lights oft e[...]rs ago (and it should also be noted that at first the Bolshevik Revo- lution was greeted with rapture by a majority ofthe world’s Leftists of every tendency), at no stage does he turn the film over to neo—McCarthyite tarra- diddle, as he might have been prompted to do in the age of Ronald Reagan. Theof Russian Bolshevism is an inverted Roman Catholicism. Almost every production decision taken by Beatty in this massive project is_either successful or, at[...]iable. But one I find difficult to account for is the failure to identify the 33 real-life witnesses who pop up throughout the film like soloists from a nonagenarian Greek chor[...]ay, confusing some people. I recognized a handful of them: novelists Henry Miller and Rebecca West, Lady Dora Russell (a fellow-delegate with Reed to the Comintern), film journalist Adela Rogers St John[...]iberties stal- wart Roger Baldwin. Other members of a motley crew include sociologist Scott Nearing, phil- osopher Will Durant, Oleg Kerensky, son of the provisional government Russian leader the Bolsheviks threw out (he plays his father in the film), veteran Communist journalist Art Shields, one-time party comrades of Reed’s like Will Weinstone and, so help me, comedian George Jessel. What some of them have to do with the subject is not altogether clear, though others pr[...]insights. Presumably, Beatty left their names off the testimony because such ticketed talking-heads are a standard part of most historical television docu- mentary. If so,[...]s as much like television documentary as Lawrence of Arabia is propaganda for the PLO. That it also rises head and shoulders above other big-budget spectacles of recent times is equally apparent, and for the best possible reasons: to wit, the application of intelligence and humanity to all the essential film- making skills (among which Richar[...]gjust who is going to see this film and what many of them make of it. Like the young woman who asked after a preview: “Was tha[...]?” She seemed a bit miffed to learn that it was the work ofa couple of nobodies named Pottier and Degeyter and that it was called “The Internationale”j I suspect that to her the events she had just witnessed occurred not only in another time, but in a distant galaxy. Reds: Directed by: Warren B[...]enplay: Warren Beatty. Trevor Griffiths. Director of photography: Vittorio Storaro. Editors: De[...] |
| Starstruck Starstruck Debi Enker Australia’s first “comedy musical” is concerned with the themes and rela- tionships that its director, Gillian Arm- strong, has proved to be familiar with, and adept in portraying: a woman’s dreams and aspirations; her efforts to realize them in a personal sense and through her relationships; and the con- trasting environments that her quest for recognition creates. As in My Brilliant Career and 14’s Good, 18’s Better, the heroine is caught between two stages of her life, rep- resented by two radically different environments. Her progress towards the materialization of her ambition, her struggle for independence, coup[...]her family, and her methods and her pitfalls form the narrative core of the film, in this case supplemented by a series of musical numbers. The story is set in Sydney, where Jackie Mullens (Jo Kennedy), daughter of Pearl (Margo Lee) who runs a working-class, harbo[...]iable father, Lou (Dennis Miller), has dumped him in Pearl’s care while he pursues greener pastures. Together they enlist a back- up band, The Wombats, led by Robbie (Ned Lander), and set out to assault the entrenched music industry, personified by Terry Lambert (John O’May), the host of a Countdown-style music program called Wow. Their[...]to appear at Wow’s New Year’s Eve concert at the Opera House, thus securing recognition as musicians, and to win the $25,000 prizemoney to save the Harbour View Hotel, which has been threatened with closure by the brewery. It is a conventional story, tracing Jac[...]rough any means that Angus dreams up, and setting the homely pub back- ground against the glossy clubs and studios of Sydney. Undeniably optim- istic, often simplistic[...]o a well- observed and finely-detailed caricature of Australian society at its kitschest and dazzling best. Starstruck has no pretensions to depth of social, political or historical content; it is satisfied to present a lovable, idiosyncratic group of charac- ters, gently explore some of their values, beliefs and problems, and allow them to be simply and happily resolved. While many of its contemporary musical counterparts are concerned with the ultimately unsolvable prob- lems of poverty, racial tension and class conflicts, as in Breaking Glass and West Side Story, the validity of war in Hair, or chronicle and reinterpret history in Jesus Christ Superstar, Cabaret and Singing in the Rain, Star- struck pursues its course in the vein of The Monkees and the first films of The Beatles, accepting success as its des- tination and jauntily detailing all of the pranks and pitfalls that litter the path. The narrative concludes with the first real taste of this success and, thereby, differs from the musicals that question the motivations and the methods of illustrious celebrities in All That Jazz, Phantom of the Paradise and Nashville, and avoids the roblem of examining the price of star om against the quality of life, as in A Star is Born and Satur- day Night Fever. As in My Brilliant Career, the narra- I66 — April CINEMA PAPERS '3" -- ./z[...]\l-I /7’Tlt'HSt"\ her //wilrc‘/71' ur:/Amt’ In /12;’ bar or 1/it‘ /Ia/bum llt‘H Hula’/.[...]rt:/rt)//_L; '3 Smrsrruck. tive develops through the depiction of conflicting environments. The world that Angus and Jackie aspire tojoin — the musical world — is fast and glossy. One of the first musical numbers, Jackie’s debut at the Lizard Lounge, is visually stunning as the camera sweeps into the Lounge and glides purpose- fully behind the action, absorbing the pink, aqua and yellow neons, the pul- sating beat and the gyrating audience. It captures a darkened but qui[...]c both dominates and unites. Characters rotate to the beat in unison, distin- guishing themselves from the mass only by their mode of dress and hairstyles. Dialogue is superfluous in this world; its language is music and its allure lies within the energy, tempo and enthus- iasm with which it is presented. Jackie’s performance of “Temper Temper” is her key to this world, and she quickly monopolizes all the atten- tion from her captive audience in the Lounge, and the cinema, and gains the interest of the initially apathetic Wom- bats. The performance confirms Angus’ faith in her and shows the audience that she does have “that little bit ex[...]hat My Bril- liant Career’s “visual style is the chief source of the film’s coherence”'. The colors are rich and expressive. The rhythm of the music is visually established and heightened by the tight editing techni ues that are so effec- tively employ in pop music clips, and Luciana Arrighi’s playfull[...]coupled with Russell Boyd’s fluid camera, lift the film beyond its hackneyed narrative and in- evitable resolutions. Where the dialogue is loaded with familiar Australian banalities and occa- sional witticisms — and the film prefers caricature to character development[...]e enhances Star- struck beyond its limited plot. In the style of her predecessors, Breaking Glass’s Kate and Cab[...]ndividual- istic, occasionally outlandish choices of hairstyle, clothing and make-up that visually separate her from her other world: the pub. The pub does not ap- pear for 20 minutes into the film; when it does, its loving, carefully-construc- ted combination of Australian kitsch and mundane lino and laminex de- lineates the scene for Jackie’s conflict. The Harbour View is populated with an assortment of weird and wonderful types: Reg (Max Cullen) and h[...]4-565. Booth (Melissa Jaffer) with a mena- gerie of cats in tow; and a bevy of beer- gutted, vocal regulars. The fastidious attention to detail within the pub gives it an immediately recognizable. cosiness, while its con- trast to the Lizard Lounge defines its parameters as the bastion of working- class Australian norms and values. As in My Brilliant Career, Armstrong’s at- tention to detail and sense of atmo- sphere go beyond a backdrop for the action; they define it. Despite Starstruck’s narrative parallels in films like A Star is Born and Breaking Glass, its presentation of a heroine is quite different. Jackie’s developm[...]ger and her per- sonal maturation are framed from the outset by the fact that the audience’s introduction to her takes place after she has prepared to goon stage at the Lizard Lounge. One first sees her emerging from the hairdresser with carrot-red hair blazing like a traffic light on her head. For the audience at the Lounge and in the cinema, Jackie has no childhood and no past as ei[...]aid. From her introduction, one views her through the stage persona that she is endeavouring to create. When she is finally seen pulling beers in her little blue uniform, the image is not, and can- not be, of a barmaid, but rather of a performer playing a less—exacting role. Jackie does not exist for the audience beyond her chosen role as star. All of her future actions relate to that image, and her[...]fessional trials and tribulations are seen purely in terms of the realization of her ambi- tions. The social and political overtones of Cabaret, West Side Story and Breaking Glass, and the pressures they impose on their leading characters[...]alien- ated by her aspirations. Her develop- ment in the film, therefore, is often one- dimensional. She is resolute and enthusiastic in the pursuit of her dream, and she quickly learns the ropes. In a very funny, beautifully-judged scene, where Ang[...]tes her zealous determination for recognition and the star quality that distinguishes her from the ogling, awe- struck hordes below, which are excit[...]ring, yet totally bewildered by her motivations. The inevitable assertion of her inde- pendence comes with her television debut on the Wow show, compered by the facile Terry Lambert, to whom she is strongly att[...]verride her honesty to herself and her loyalty to the band, when she is persuaded to appear without The Wombats. Her untimely, superficially- convinced, yet unconvincing declara- tion of independence leads to disaster. Her persona is neutralized by an army of make-up people, back-up vocalists and cameras, as she laments, “I believe in my belief in you,” belatedly realizing that it was misplaced. She has taken the right stand, but unlike My Brilliant Career’s Sybylla, it is at the wrong time and for the wrong reasons. Angus and the band watch her per- formance from the pub, and hum |
| Starstruck “Who’s Sorry Now?”, once again pit- ting the false glamor of the studio against the homely sincerity of the pub. Adding insult to injury, Jackie’s unfor- tunate trust in Terry, largely a product of her attraction to him, is thrown back in her face when she finds that he is homosexual, in a lavishly-staged pool party scene that juxtaposes Sydney’s skyline and the emblems of its lifestyle — brawny lifesavers — with the glitter, choreography, and humor of Busby Berkeley’s Hollywood. Jackie has learnt about the neces- sary balance between independence and interdependence. From this point onwards, the relationships between Jackie and her family and friends take on a different meaning, coinciding with the celebration of Christmas at the pub. Circumstances are bleak for Pearl. Not only is her pub threatened and her position as the embodiment of middle- class standards under continual assault from her family, but Lou, the man to whom she has given her body and her money, enjoys both and then vanishes, robbing the pub’s safe as a parting gesture. Pearl quietly[...]e for you. They trample all over your dreams.” In a brief and gentle scene, Pearl and Jackie display a genuine love and rap- port for the first time, when Pearl gives Jackie her favorite blue dress. It is at once a sad declaration of her redun- dancy and a display of implicit support for Jackie. She is now actively con- tributing to Jackie’s pursuit of stardom. It is an emotional and narrative turn- ing point in the film. Christmas unites the extended family and Angus pre- empts his plan to sabotage the Opera House concert and ensure that Jackie and The Wombats appear, win the $25,000 and secure their future. The two concluding musical numbers unite Jackie’s worlds. As she rouses the Opera House audience, the image cuts to the pub where the television cover- age of the concert has everyone singing and dancing with her. Her music has bridged the gap between the two worlds. The performance visually and musi- cally details the interdependence that the film has supported, while accum- ulating much of its style and image. With stuffed replicas ofWally the cock- atoo on their shoulders and yellow caps liberated from the Wow show tech- nicians, The Wombats herald Jackie’s precarious entrance from the ceiling, clad in Pearl’s blue dress. As the fireworks explode over the Opera House and the pub regulars spill out into the street singing, Angus begins his own romantic lif[...]share an ice-cream and then roll blissfully away in a blaze of gold and purple hues. The film leaves him to pursue interests other than his ori- ginally stated ambition of “helping people be what they should be”. While the film chronicles Jackie’s rise to stardom, it i[...]worldly, off- beat approach to life, reminiscent of The Monkees television show and The Beatles in A Hard Day’s Night and Help!, that really encapsulate the es- sence of Starstruck. His voice is the first one heard in the film and he is clearly its mouthpiece. Although[...]sexual yearnings often alienate him from Jackie, the band and his family, his optimism and eagerness to employ any available ploys to secure his goals are what the film, in itself, depicts and advocates. His complete, nai[...]t them to, and his tireless energy and innovation in their pursuit, is the basis of the film's approach to life. It overcomes the obstacles of parental dis- approval, the hype of the music in- dustry, the absence of alternatives for adolescents and, finally, the burden of financial obligations as simplistically and as e[...]ts carefully detailed and contrasted observations of Australian life com- bine harmoniously, declaring to the wishful, receptive viewer that the enthusiasm and the resourcefulness of the Mullenses and their friends can quickly, and quite painlessly, triumph over the most insurmountable odds. In the audience, one is placed in the position of the crowd ogling Jackie’s tightrope walk, relishing[...]stume and its energy, but remaining unquestioning of its motivations. We want to believe in its geniality and simplicity. But, ulti- mately, it just isn’t enough to carry the narrative that relies too heavily on observation at the expense of any tan- gible statement beyond optimism, and to[...]about a girl who wants to be a star. But because of the emotional qualities that Gill invested in the film, Starstruck works.” However, the really special, really effective musicals don’t only leave an audience with a feast of well-choreo- graphed, stylish images, and songs that linger and conjure pleasurable memories long after the film has ended. Their narratives become coded repre- sentations of the social and sexual prob- lems of the real world. In that league, Starstruck is like sherbet: it looks[...]en MacLean. Screenplay: Stephen MacLean. Director of photography: Rus- sell Boyd. Editor: Nicholas Beauman. Production designer: Brian Thomson. Music: The Swingers, Tim Finn, Jo Kennedy. Sound recordist:[...]ach Pictures. Distributor: Hoyts. 35mm. 105 mins. Australia. 1982. Priest of Love John Tittensor “In the case of D. H. Lawrence,” writes Harry T. Moore in the book on which this film purports to be based, “biography is more important for an understanding of his work than for the majority of authors . . . if only because he lived more inten[...]s experience more directly.” There is implicit in this warning a demand for intellectual rigorousne[...]pher Miles and writer Alan Plater have seen fit, in their cinematic wisdom, to ignore; the result is a film that is insensitive, superfici[...]ey should have known better: their 2. See p. ll6 of this issue. D. H. Lawrence (Ian McKellen),[...]awrence (Jane! Suzmari). Christopher Miles'Priest of Love. earlier Lawrence collaboration, The Virgin and thein a definite direc- tion, they have no idea of where to go. Plater’s choice of an elaborately—impres- sionistic approach seems merely per- verse, a gesture towards a complexity Priest of Love never looks like achieving: what emerges out ofa welter of incident and ill-controlled flashback is a bitty, undeveloped and sometimes incoherent narrative, a portrait of the artist as a doomed man that only illus- trates, yet again, the inability of com- mercial cinema to accept the fact that creativity cannot be made into a visible process. Visibility is what Priest of Love is all about: Ian McKellen looks very like D[...]Janet Suzman very like Frieda von Richthofen, who in 1912 abandoned her English scholar- husband and three children to remain with the writer until his death in 1930; other characters, notably the gangling, myopic Aldous Huxley (James Faulk- ner)[...]e physical exactness. ' This is all very well at the ‘Diana Ross is Billie Holliday’ level, but, as a method of illuminating the personality and career of a creative artist, it has its shortcomings. Abou[...]sionally violent — although this last only when the insensitivity of the rest ofthe world drove him to it. Frieda is uncon[...]you’re a crazy man!” she exclaims delightedly in between a lot of frowning and grim- acing), just as passionate as[...]u’ll die when I tell you and not before”). If the style sounds familiar, it’s only because it’s been used in so many other similarly bad films. But this reliance on stereotypes vitiates Priest of Love in more than just the obvious way. In its naive concern to portray its subject as a ‘great writer’ hounded by a narrow, vengeful society, the film denies his real complexity by sup- pressing those aspects of the man that do not chime with the hero-as-victim cliche. Much is made of his democratic temperament, but nothing of the unattractive gratification he drew from Frieda’s aristocratic background, nor of his nasty flashes of anti-semitism; because he must be seen as fiercely loyal there can be no mention of the savagery with which, in his life and his books, he could turn on those who be- friended and supported him; and the sermons on love he hurls so batheti- cally from the steps of Zapotec Indian temples cannot be tainted by his belief in the fundamentally-secondary role of women in emotional and sexual relationships. Other charac[...]ated: John Middleton Murry (Mike Gwilym), husband of Katherine Mans- field and himself a writer and literary authority ofno mean standing, is made capable of mistaking Shelley’s To a Skylark for one of Lawrence’s own, rather lame lyrics (with Lawrence, baff- lingly, registering not the slightest surprise at this blunder); and by way of providing the film with a running joke, Penelope Keith’s Dor[...], valued this woman’s friendship for 15 years. In a particularly repellent scene, Lawrence goes to[...]ost at once. “You’re all wrong”, he mutters in tones of cosmic condescension as the script begs for a laugh at the expense of someone who does not share the hero’s implicitly- limitless sexual talents. The truth of this matter is rather more disturbin to those who would prefer, as the film does, to worship without qualification at[...]rence did go to bed with Dorothy Brett — twice, in fact, in 1926 — and on each occasion her willingness was confronted with the impotence that was plaguing Lawrence at the time. More scrupulous screen- writers will find the necessary details in Harry T. Moore’s The Priest of Love. Elsewhere, the film is notable for a curious indecisiveness for which the director must take the blame. Aldous Huxley climbs up and down a ladder[...]eem unsure as to whether there are parts for them in this particular film; and as Angelo Ravag[...] |
| [...]lm Corporation, 1-3 Bowen oa , Moonah, Tasmania, Australia 7009 e ephone (002) 30 3531 Telegrams. Tasfulm Ho[...]84 7199 Decibel Manufacturing Pty. Ltd. KITTY 8: THE BAGMAN LIDDY CLARK COLETIE MANN DAVID BR[...] |
| [...]nt prospect, even as Frieda removes his clothes.The overall slackness of the editing is invaluable in maximizing these def- iciencies, with a good deal of super- fluous assistance from a corny and intrusive score. There is plenty more to whinge about — the funny Italians, the repressed Englishmen, the fascistic Germans, for example — but little to[...]: his agony is over and so is ours — almost. At the end, Frieda and a band of friends tootle off into a grotesque New Mexico sunset and, for a moment, it seems they have lost the urn con- taining Lawrence’s ashes. They find it again, of course, but by then it doesn’t matter — his spirit has been cast to the winds some 125 minutes earlier. Priest of Love: Directed by: Christopher Miles. Producers:[...]y: Alan Plater, from a book by Harry T. Moore and the writings of D. H. Lawrence. Direc- tor of photography: Ted Moore. Editor: Paul Davis. Produ[...]5 mins. Britain. 198]. Duet for Four Sam Rohdie The central character of Duet for Four, Ray (Mike Preston), is con- structed by means of his relations to others, relations in which he repeatedly errs — to wife (Diane Cilen[...]tary (Clare Binney), business partner (Gary Day). The errors are those of incompleteness, a certain moral inadequacy but ne[...]t is always ‘other’ relations that compromise the relations that directly engage him: his relation[...]lives, is punc- tuated by distressed phone calls in the middle of the night from his wife, to whom he returns, but half-heartedly, enraging the woman he lives with, not satisfying the wife who calls to him. When the mistress asks for marriage, he dissembles; when h[...]uite large enough; he panders to a representative of a giant American firm interested in a partner- ship/takeover but he uses his mistress to help win the contract (against her will, who is bored and irritated by the imposition, and morally outrages the American) and his secretary, who is, and is not, to set up by Ray to be a weekend business screw for the American. _ This nowhere aspect of Ray’s dis- satisfaction is the figuration of the film: even his toy business is half-hearted (he w[...]daughter, he is simultaneously generous (presents of money) and harsh (unsympathetic to her pregnancy[...]succeed suicide (truly her father’s daughter). In the end, Ray is decisive: he will marry his mistress,[...]ered-from- suicide-attempt daughter, and gives up the toy business to manage steam trains (before surrendering the business, he doubly triumphs over the American by forming an all-Australian toy manu- facturing combine against the Amer- ican bid for takeover). It would be incorrect to see the irresoluteness, ‘conflict’ and duplicity of the central character as a ‘human’ or psychologic[...]t it seems principally to be: a narrative device. The ‘thematic’ of split, division, moral indecisiveness is not only confined to Ray (everyone shares the quality in their relations to Ray and in the conduct of their own lives from the attempted-suicide daughter to the unselfconfident partner, career-or-housewife mistress and unsure-about-her—place/age wife), but forms the central meaning of irresolution and imbalance of the narrative as if such unsettlement were but a pretext for the conclusion- resolution of the film in which every- thing is clarified and firmly put into place. The device, in its repetition, its emphatic frequency, its everywhere- ness, is a device for unifying the narra- tive so that wherever one gazes, to whatever one attends, it takes one to everywhere else in the narrative: the split person of Ray’s business partner recalls Ray; the split person of Ray recalls his daughter (her problem in life is her indecisiveness); the split person of his daughter recalls her l-can‘t-make- up-my-mind-which- of- you- to- love lover; and so on, enmeshing, enfol[...]each distinctness and differ- ence and separation in the fiction to this oneness of its theme. (An entire school of criticism which calls itself ‘theory’ and the[...]sailability is outraged at such narrative devices of unification and coherence which it sees as an ideo- logical operation which provides the spectator a secure but false sense of his/her unity in the mirrored unity of the narrative; such theory, in fact, un- ifies itself in a staggering, compulsive repetitiveness and a monstrous writing which makes the narratives they ‘reveal’ and ‘unravel’ sh[...]her purposes/functions to this process ofdoubling in the narra- tive beyond the play of imbalances and asymmetries which are finally resolved. These, while in part particular to the films of Tim Burstall, are in other terms as general as daplpelgangers and Jekyll and Hyde, name y the constitu- tion of the opposition between desire (individual, often anti[...]e, explos- ive, anti—social (and entertaining). The play with this difference can be various; the Burstall game (and perhaps the most common) involves the ultimate defeat of duty (social rules, morality) by the force of desire (the contrast in- volving the division, social repression versus individual liberation). If Duet for Four is internally coherent in the way described, by its play upon repetitions, the film also repeats aspects of other Burstall films, though in a somewhat different arrangement. Burstall films have always stressed the libidinal —- desire, activity, sexuality — ag[...]nd morality. (He has a delightful, vicious hatred ofthe classic- realist text’; for their inactivity; f[...]iting and especially when they attempt to imitate the truly seductive writing of French Fathers who lure them and trick them into[...]ul serio.) Stork, Alvin Purple, Eliza Fraser and The Last of the Knucklemen have had, in their various ways, central charac- ters who are[...]s; to applaud them is to share their distaste for the rules and yet . . . their behaviour is truly mons[...]I would say, subjectively, ‘brilliantly’), is the monstrous creation of others, the sexual food preyed upon by others (who are all fa[...]ocritical, dishonest) so that Alvin is their sign of a repressed and vulgar sexuality beneath exteriors of psychologism or suburbanism or academicism. The division of identities within the films are divisions of iden- tifications for a viewer — the moral, social world is condemned, but in its place are monsters. Ray, in Duet for Four, included in himself what had been exclusive to the central characters of most Burstall films; in Duet for Four morality (and, what accompanies it, pretension) is no longer in the social world outside the character (which Alvin or Stork or Pansy enrage and batter themselves against) but is inside the character, is part of Ray, so that he is not monster (and thereby surre[...]zed’, ‘made complex’, made realistic. Ray, of all other Burstall protagon- ists, is perhaps closest to Petersen, but unlike him he is located from the start of the narrative as within the conven- tional social world (“trendy” said on[...]e tame, less crazed, more ‘compromised’ (from the outset) than Petersen. The ‘problem’, therefore, of the film (it is in many ways a ‘problem’ film with resemblances to forms of the soap opera) is not how to tame Stork or C[...] |
| [...]tranquillize Alvin, but how can Ray sneak out of all these complications and compromises, how to accept the world as it is and yet at the same time opt out of it, how, in effect, undramatically and therefore decently, to[...](including Duet for Four) and believe them to be the most intelli- gent, the most interesting, the most comic and the least pat and formulaic of all contemporary Australian films (the consistencies within them are less formulas than restlessnesses). The delight of his films is for me in their structural outrage to a middle—class- ness, in their creating monstrous, vulgar, wild, untamed pure libidinal signs of desire and energy as weapons not simply against all that represses them, but as signs for the revelation of that repression, signs which uncover the joylessness of duty, of rules, of conven-tions, of their vulgarity, their monstrosity, their dishone[...]t for Four is different from other Burstall films in having a central character who is not monster and in which the differences — social/indivi- dual, repression/liberty — are less stark, so that escapes from the one by the assertion of the other are more mild, more subdued, more canny tha[...]I am not anxious to conclude from this difference in relation to other films (which may in fact be here exag- gerated), still less to conclude from this or from past films some social or other kind of message. But I do wish to remark on the ‘ending’ -— somewhat easy, flaccid, a seemingly too neat resolution of things. The ending in fact is perfectly false in any ‘human’ or ‘realistic’ terms, but eminently intelli- gent in narrative ones. It is happily an unashamed ‘false’ ending, the impos- sible happy end, utterly artificial, an ending clearly marked, a tying up by a piece of string, or, better, by a red rib- bon, whose sincerity it would be false to believe in. Duet For Four: Directed by: Tim Burstall. Produ[...]tine Suli. Screenplay: David Williamson. Director of photography: Dan Bur- stall. Editor: Edward McQue[...]and Associates. Distributor: GUO. 35mm. I00 mins. Australia. 1982. ' Body Heat Dave Nash Only lack of motivation and an in- adequate perception of the world around him keep small-time lawyer Ned Racine (William Hurt) from being a shyster. This is the most interesting thing about the hero (read: patsy) of scriptwriter Lawrence Kasdan’s directing debut, Body Heat, a work in the school of Jim Thompson, David Goodis and James M. Cain (these specialists in plotting American sexuality through crime. decay and locale are having a good year, what with the genuine Cain articles, The Postman Always Rings Twice and Butterfly, and Cla[...]Thompson’s Pop. 1280). We make our way through the film following Ned, linked to situations by 170[...]ty Walker (Kathleen Turner), young and bored wife of a middle-aged real-estate tycoon. By the middle ofthe film, they have burned the husband for his money. The pressure of the sub- sequent investigation produces distrust. Ned[...]A. Preston), feed him clues until he begins to do the basic addition, by which time he has taken the fall. He puts the events and absences of the narrative together in the pen — too late. By then, Matty is tanning on a banana republic beach out of Dark Passage or The Long Goodbye. It is straightforward narrative: no enfolded flashbacks, no multiple or simul- taneous lines of action. The film, its advertising (see Cinema Papers’ last cover — not a scene from the film, but a promotion shot), and its critical reception all present the film as a steamy, modernfilm noir. As the film itself is so insistent on this, one ought to ask in what ways it is and in what ways it isn’t. Thinking through the film, the sense that there is something missing grows. What is missing and why? Let’s start with the film’s stipulated imagery: sweltering heat (and to get out of the way the usual question about Body Heat, no this is not a[...]ng, middle and end are marked off by great blasts of flame; the filling between is a doomed love affaire in the subtropical summer of a Florida backwater where people talk about the heat a lot. It is iconographic, indexed carefully through the film by symmetrical spinal and underarm splotches on shirts, and by the even more systematic interest the film takes — and this isn’t a film which is interested in too many things — in the narrative rhythm and placement of the hero’s outfit: whether he begins a scene with j[...]y, and whether he makes additions or subtractions in the course of the scene (this is not a sarcasm). Sweat in this film is like blood in a Jean-Luc Godard film — formal, not mimetic: there is no homage to the great, noir sweaters of earlier Holly- wood cinema (Elisha Cook jun., for[...]at one is worried about fidelity to real life: so the people in Body Heat don’t look or behave like people trapped in a heat- wave. This leaves the function of heat as even more clearly a metaphor for moral and sexual situations. Body Heat is one of the American films of the past decade which directs attention to its film n[...]r plot, noir imagery and a very noir fatal woman. The film shows her destroying a greedy chump and tel[...]and hence dangerous; it involves a double, a swap of identities with a schoolmate for fraudulent purposes, as well as a plainness not in harmony with her new lifestyle. The last shot, the image which puts the seal on the film, is a close camera move around her face behind sunglasses on the beach below the mountains. If the shot says anything, it is that she is a glacial e[...]uman, weak, conflicted, contradictory or a victim of her own passions (as we are variously in Out of the Past, Detour, and Lady From Shanghai); we must supply that impulse from our memories of noir films. So what is Body Heat doing with film noir? It doesn’t retain the imagery but fractures the narrative form, as Alain Robbe-Grillet does. It doesn’t turn the form inside out for revisionist purposes, as Robert Altman and his goofy Philip Marlowe do in The Long Goodbye. It offers a critique of American society, but seemingly by rote, because that, too, is part of the old noir form. What is it doing with noir stylistics? Kasdan keeps his film solidly within thethe initiation of scenes, and lots of slow camera movements. The use of locale is neither as specific nor as integrated a[...]ant. Some are used for alienating effect, such as the Walker mansion (an impersonal sign, material but not a part of living); others are well lived-in by the characters, particularly the cafe where Ned and his friends lunch. But none of the places is energized by action or by that precise noir strategy. the mapping of interior geography in terms of second-by-second potential. In other words, Body Heat is not interested in Anthony Mann. This is not to deny the quality of the mise en scene, which is often striking, Matty Walker ( Kathleen Turner) and Ned Racine ( William Hurt): the destroyer and the patsy. Lawrence Kasdan 3 Body Heat. like the initial fire image, with Ned watching a part of his childhood burn down in the distance (an initial noir gesture: a hero whose past has burnt out and whose present is negligible). At the film’s climax there is an excellent shot-reverse shot, pivoting around Ned (nearest the camera), in which the woman he takes to be his obsession — in white on a black field — is sub- stituted by his other nemesis, his old friend the detective, also white on black, as the two poles of his personal life come together to crush him. The final absence, the missing thing which separates Body Heat from old[...]o or three snappy dialogue lines which remind one of the old form, but the film is not powered by them, not awash with them. It is not obsessed by the poetic ver- nacular, the virtuosity, the condensed power of noir dialogue, one of the pin- nacles of Hollywood scriptwriting. Body Heat has no: “You[...], Canino”; “Nobody’s all bad, but she comes the closest”; “Lady, I don’t have time”; “We’re sisters under the mink”; “Your future is all used up.” Body Heat also avoids the energy of characterization. Its people don't perceive and respond to their world through the knowledge of their doom, or the awareness that they can’t win so they might as well do it big. This par- ticular heritage of romanticism to film noir is missing. The film is about losing, but it is not about[...] |
| Best of Friends Rich and Famous not, as even the coldest and most arbi- trary noir-related films (Alfred Hitch- cock’s) do, invite the audience to be close to its characters, no matter[...]ld may be. These things are not necessarily true of all the American genre nostal- gia/pastiche/remake films of recent years. There is a separate strain of films which intersect with them, but which have a rather different purpose. In the case of Body Heat, the purpose is to maintain the genre structure, the narra- tive form, the mise en scene style, the references, the worldview/ideology, while at the same time making sub- tractions, removing elements, referring one back so that we supply (and in doing so, note the omissions and the strategy) the expected material. Such films hollow out types. They leave the static signs of a style, but they remove perhaps its most attractive aspect: energy. Body Heat is an excellent example of this. Finally, something is missing, leached out[...]ft is ritual, a reflexive rela- tionship between the viewer and the object, which like post-modernist art depends on our simultaneously supplying absences and considering the entire process. It is like slicing open a fruit to find everything in its proper place inside — seeds, pulp — but dry as dust. It is not like the hot wet kiss at the end of a hollownose slub. That is the point of Body Heat. Body Heat: Directed by: Lawrence Kasd[...]d T. Gallo. Screenplay: Lawrence Kasdan. Director of photography: Richard H. Kline. Editor: Carole Lit[...]istributor: Roadshow. 35mm. ll3 mins. U.S. I981. The Best of Friends Jim Murphy “A Friendly Film” proclaims the main title, which is a nice welcome; this must be[...]ed to see you. No doubt they arejust that. But as the film churns on its way, it puts a strain on the friendship. A dozey dog is friendly, but who wants to spend 97 minutes in the dark with one? The Friendly Film Company’s pro- duction The Best of Friends is an attempt by scriptwriter Donald Mac-[...]contemporary light comedy-romance which examines the age-old battle of the sexes in terms recognizable to today’s Australian audien[...]to sentiment, and there are at least three scenes in which Opera House, Sydney Harbour and Harbour Bri[...]ngela Punch McGregor) is a television personality of some unspecified talent and Tom (Graeme Blundell) is an accountant. At the f1lm’s opening, he is calling at her trendy two[...]ears since they met at school, and they have been the best of friends ever since. Tom is the fellow who makes Melanie laugh, with whom she fee[...]thus far. However, since she has just been given the brush-off by a lover and he has been stood up by[...]dinner, get drunk and end up sleep- ing together. The romantic quotient of this one-night stand is created with the line, “I wonder what it would be like; it might do us both good”, which unfor- tunately is the tone of much of the dialogue. Next morning, Melanie can’t remember much, but decides that repeat performances are not in order. She loves him too much (a subtle dis- tinction from being “in love”) to spoil the perfect friendship. And that might have been that, but for her forgetful- ness in omitting to take her Pill on the fateful night. Presto, she’s pregnant! This development enables Tom to per- suade her to let him move in under the same roof. But, No! She won’t marry him, a tick[...]and Melanie do an “odd couple” routine about the trials of living together (he’s tidy, she’s not; he cooks the meals and has a tan- trum when she’s late home from work), the audience is roused to apathy over the big question: will Tom get her to the altar? Such a plot might be made to work, but only with vastly more wit and style than assembled by the creators of this bland and inconsequential concoction. I found the central characters quite unin- teresting for a start, and this is a severe handicap in any type of film, let alone a light comedy when the audience is supposed to chuckle indulgently at the foibles of the characters. Director Michael Robertson’s insistence on low-key, naturalistic delivery of dialogue results merely in limp performances. Angela Punch McGregor, in a couple of argumen- tative scenes, manages to get out of the rut momentarily, but Graeme Blundell is humdrum throughout. There isn’t one comfortable performance in the film, let alone a genuinely comic one. “Bit” contributions are either over- acted or feeble, and the extras who pop- ulate scenes in a hotel and department store might just as well h[...]additional proof that they were being paid to be in the background. In short, the film lacks strong, pacy direction that can animate the scenes in tune with a comic spirit. The script, too, must carry some of the blame for the leaden pace because it is heavy with pointless sm[...]Didn’t think it was just a boy”) which Under the influence of Veuve Clicquoi, friends become lovers: Tom (Graem[...]e (Angela Punch McGregor). Malcolm R oberison 's The Best of Friends. could have been eliminated to great advantage. While the actors manage to avoid making such exchanges acut[...]hem sounding like ponderous padding which retards the momentum of the film. Director of photography David Gribble has given the film such a pris- tine look that it resembles the unreal world of the television commercial (which, on reflection, isn’t entirely out of character with the performances). In one shot, Melanie inside a closed car is lit with such unlikely evenness that you wonder whether they took the roof off the vehicle to let the sun stream in. Shadows can be seen in an interior of St Mary’s Cathedral, but don’t seem to exist anywhere else. If the film looks like a television commercial, the characters are not much more believable than thos[...]smear dirt on your tennis dress before washing it in lue gunk, or who drop from heli- copters into supermarket carparks to inquire of remarkably unfazed shop- pers what they think abo[...]doesn‘t excuse him writing a film about them. The Best of Friends: Directed by Michael Robertson. Producer: Tom Jeffrey. Screenplay by Donald Macdonald. Director of photography: David Gribble. Editor: Ron Williams.[...]orah Gray). Mark Lee (Bruce). Production company: The Friendly Film Company. Distributor: Hoyts. 35mm. 97 mins. Australia. 1982. Rich and Famous Brian McFarlane You can[...]directed by an old man because, unlike most films in recent memory, it presents New York as a beautiful city. Apart from that, the fact that George Cukor is 82 is irrelevant — except perhaps for the way experience shows in the film’s narrative fluency, its superb handling ofdialogue, and the way it sets up opportunities for two gifted actre[...]ts and work together wittily and sympathetically. In matters like these, Cukor has had plenty of time to prepare himself.‘ Concluded on p. I 93[...]given to Cukor’s age. but that is no excuse for the extraordinary patronage (and emptiness) of the review in The Age (January 29, 1982). The reviewer speaks of the film as “totter[ing] along in a rather geriatrically-wayward fashion” and fin[...]praise and beneath contempt — or should that be the other way round”. Does he know what he means to[...]oying a film which may prove un- fashionable with the now people. he hedges his bets by describing it as, “an enjoyable, superbly sappy piece of entertainment that is saved from com- plete ludic[...]realist and an almost subliminally pervasive tone of self-mockery". My italics are intended to draw attention to. respectively, the condescension and muddle-headedness that permeate the review. It is not my habit or aim to have at CIN[...] |
| We try harder . . . because . . . We are not the largest, but we are proud to be one of the major international completion guarantors in the world. Motion Picture Guarantors lnc., together with its associated companies, has guaranteed completion of more than 200 films since 1970, including feature length movies with total budgets in excess of $35,000,000. Our policy is to assist the producer in every possible way with counsel and expertise. We conceive our job as helping the Production Team maintain its objectives: MOVIE FI[...]. Frequently producers have told us that we were of material help in spotting difficulties early and assisting in their solution. We are able to offer bonding for the largest-budget films as well as smaller, at strictly competitive rates. Our no4:Iaim bonus is the most attractive in the industry. We will be pleased to consider bonding[...]e enquiries by telex or telephone (collect). ln Australia: In New Zealandz SYDNEY: Film Services (02) 2901588.[...]erly If it's going to be a SUCCESS. And success in the - movie business means business at the box office. So how do you go about publicising the fact you've got a tenific new movie? . I Enter[...]& Company. So, if you want your movie to be shown in We specialise in promoting new films and the best light, contact Diane Worland or have been involved in the successful Omar Sehic at D. Worland & Company. launch of many fine Australian productions. They'll give y[...]& co. including television and radio commercials, The Basement, 418 St. Kilda Road, posters and[...] |
| [...]s journey he is accompanied by a woman, his image of her increasingly erotic . . .Freedom is directe[...]Haywood. Top: Ron (Jon Blake) is refused ajob at the cement works. Right: Ron and Sally (Jad C apel/a) and the Porsche. Below: Annie ( Candy Raymond) and[...] |
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| Government and Film in AustraliaIna Bertrand and Diane Collins Currency Press, S[...]lt to place Bertrand and Collins’ ‘history’ of the relations of the Australian state to the Australian film industry. On the one hand, it narrowly focuses on the industry, but aggres- sively delimits itself to not considering the few films the industry produced (Australian) or the majority of films it imported (Hollywood), so that any argume[...]eened — one mightjust as well have been writing of automobiles or pencils: “This historical narra[...]h Australian films as texts or objects, but with the place of film in Australian society . . (The book begins with this declara- tion of seeking to find the place of something which it does not try to understand.) On the other hand, the consideration of the industry is inadequate for the lack of any theory or concepts of the capitalist state (and colonial) which is liberalized as “governments”, a serious lack in a work concerned with the rela- tions of the state to a major capitalist industry. The state becomes a series of successive governments pressured by groups to which it does or does not respond, a testament variously to the strengths/weaknesses of groups or weaknesses/strengths of governments — thus the b0ok’s notion of “Aus- tralian society”, social democracy made benign and banal. No knowledge is offered of the economic and ideo- logical and social structures of the Aus- tralian state, and little knowledge is evident of historical factors beyond dates and lists of names and person- alities and committees and commis- sions, so that much if not all of the richness and conceptual interest of the subject is reduced to a thin line of a form of narrativity which proceeds: “At 9:45 pm on 28 November 1962, the Senate appointed a Select Com- mittee to investigate means of encouraging Australian productions for television . . The narrative explicative framework is causative at the lowest possible level: no intervening structures of the state, of class, of ideological forms, of political practice are allowed to interrupt the this-happened-then-that-happened history: “But[...]ud- ing Australian) films, and its corol- lary of discrimination against Amer- ican films, were outcomes of the increasing dominance of Hollywood over the international film market from the end of the First World War. To take such action implied critic- ism of the United States, an increas- ingly important ally of Australia, particularly after the Second World War: it could not be taken lightly.” The chain of logic is linked by a series ofof continuity concluding in the simplicity “it could not be taken lightly”. What are excluded by these means are the col- lapse of the international market after 1930, the attempts at economic self-suf- ficiency within the capitalist world con- sequent on the Depression (Australia was within the imperial market), the power of American capital in Aus- -tralia generally and within the film industry in particular, the inadequate market of Australia to support film production without state subsidies not forthcoming for the liberal economic ideology of the Australian state, and the fact that Australian capital was more than content to serve and admin- ister the interests of American capital. Essentially, the story the book tells is of an Australian state (and states) at first giving[...]us- tralian film industry (though state policies in the l920s and ’30s resulted in considerable banking and industrial concentration; the various film dis- tribution/exhibition monopolies formed were part of this general econ- omic development), and then giving support until by the mid-’70s it actively began to subsidize a national industry. So, it is the story of progress (the emergence of an Australian film), of enlightenment (a state taking a hand in culture), and of tasks yet to be done (a future). (The middle section of the book, concerned with ‘Film as Educa- tion’ though peripheral to the industry/state relation, essentially retells the same story of progress and of an ever-brightening dawn.) The progress of the story occurs by means of two mechanisms: pure even- tuality (“By the end of the ‘30s the total failure of the quota legislation was depressingly apparent: by March 1937 Cinesound was the only company left in production”), and an interpretative framework provided by the comings and goings 0 pressure groups which are na[...]or are they related to economic structures except in a certain technical division of labor). Moralists. loyalists and producers come together to pressure the state to intervene either to establish an Aus- tr[...]into a few large monopoly formations dependent on the import and distribution of American films, have a more ‘liberal’ notion of the state, do not want it to intervene in the industry and are not concerned with an Australian film production, for the capital risks involved and for the more certain profits of American film imports. For the most part, the big monopoly companies aligned to banks and foreign capital prevail, but in the end (the past 10 years) contrary pres- sures have been asserted and with these have emerged Australia and an Aus- tralian film. There is something in that story, but for it to make sense the role of capital needs to be understood, particularly for its economic and social control over the state, and, equally, the structures of films made in the past decade — what was and can be financed (it[...]“loyalists” on state committees). Certainly, the slightly chauvinist pro- gressive idyll of Australian cultural advance is false and the same capital interests that were concerned not to[...]found it to their benefit to do so and have used the Australian state successfully to that end. The aggressive avoidance of the book in understanding the very Australian film whose presence now on the screen it celebrates is unfortunate; had the writers been less aggressive they could have demonstrated how the debate about Australian film from the 1920s onwards, concerned with the construc- tion of an Australian film (modest, realist, serious) as opposed to the domi- nant Hollywood film related to an economic[...]ralian independence and film production as such. The small producer groups were intent upon defining a[...]t Australian anti-Hollywood product and something of that survives in the films of the early ’70s, particularly the crazy comedies of Bruce Beresford and Tim Burstall. The exhibitor/distributor interests tied to American[...]rage an Australian production, but conceptualized the cinema in relation to the narrative models of Hollywood, models which an Australian neo-realism[...]ly, sought to contest. 1 If social positions and the role of the state have somewhat shifted, ideologi- cal differ[...]alian film remain. By concluding their history as the realization simply of an Australian production, the formation of an industry, without placing these within a wider context of the develop- ments of the state and of capital, or in relation to the forms of the films made and shown in Australia, is to conclude that debate with a pedestrian ease inadequate to the past and to the present, and to be genuinely care-less in the guise of academic care (dates and boards forever sitting) of the com- plexity and interest of Australian film industry. Recent Releases Mervyn Binns This column lists books released in Australia. as at January l982. which deal with the cinema or related topics. All titles are on sale in bookshops. The publishers and the local distributors are listed below the author in each entry. If no distributor is indicated, the book is imported (lmp.). The recommended prices listed are for paperbacks, unl[...]ject to variations between bookshops and states. The list was compiled by Mervyn R. Binns ofthe Space Age Bookstore, Melbourne. Popular and General Interest The Art of Heavy Metal Animation for the Eighties Text by Carl Macek Heavy Metal/New York Zoetrope/‘Gaumont, $11.95 The adult comic strip art of Heavy Metal magazine is featured in animated form in the film Heavy Metal. This book is about the artists and the mzltking of the film. Numerous illustrations in co or. Cluck! Jon-Stephen Spink Virgin/Nelson Ausl.., $10.95 An amazing tongue-in-cheek survey of the chicken in films, when they have appeared or even been refe[...]ent Aust., $24.95 (HC) Full-page color portraits of Hollywood stars from the late 1930s through to the ‘$05. A great nostalgia collection. In A Glamorour Fashion Robert La Vine and Unwin/Allen and Unwin Aust.. $29.95 The great years of Hollywood costume. All the famous designers are dealt with in detail, with a foreword by Cecil Beaton. James Bond in the Cinema John Brosnan, 2nd edition Barnes/Tantivy/Oaktree Press, $17.95 (HC) An entertaining and in-depth assessment of the world’s most popular and durable literar[...] |
| [...]RINTS. I_'.'INE FILM LABORATORY NIGHT RECEPTION IN CURRY LANE Control Cal Gardiner —[...]957 SERVICES PROVIDED For enquiries contact one of our experienced directors: Jack Gardiner — Qua[...]99; NAPOLEON $10.99; MARJORIE MORNINGSTAR $12.99; THE FRENCH LIEU- TENANT’S WOMAN $11.99; THE SEA WOLVES $13.99; VALENTINO $9.99; DRACULA $9.99; OUO VADIS $11.99; JAWS $9.99; THE EUROPEANS $10.99; CROSS OF IRON $13.99; MARRY ME A LITTLE (ORIGINAL CAST, S[...]backs. Free movie poster with every purchase. FOR THE MONTH OF APRIL ONLY! Write now for a free current Iist ofOF FEATURE AND DOCUMENTARY FILMS WHO REQUIR[...] |
| Book Reviews The inside story of te1evision’s most popular show, with a foreword by Alan Alda. Mel Brooks’ History of the World Part 1 Mel Brooks and Jeff Smith, $6.95 an illustrated story of the hilarious Mel Brooks 1 m. Punch at the Cinema Presented by Dilys Powell Robson/Hutchinson Group Aust., $17.95 (HC) A collection of articles, cartoons and caricatures from Punch ma[...]ing classic films and famous stars. Saddle Aces of the Movies Buck Rainey Barnes/Tantivy/Oaktree Press, $27.50 (HC) A comprehensive coverage of the Hollywood cowboys, with more than 200 illustrations and one of the most complete filmographies compiled. Together[...]in Kanin Doubleday/Doubleday Aust., $29.95 (HC) The stories of the great Hollywood teams, from Fred Astaire and Ginger Rogers to Woody Allen and Diane Keaton, plus the Marx Brothers and many more. Illustrated. The Warner Brothers Cartoons Will Friewald and Jerry[...]Press/James Bennett, $18.95 (HC) A filmography of the animated shorts produced by Warner Bros and a tribute to the people who created them. Not illustrated. Biographies and Fllmographlos The Films ofAlan Ladd M. Henry and R. De Sourdis Citadel/Davis Publications, $25.50 (HC) A new addition to the range of “Films of . . .” books with a complete coverage ofall Ala[...]st details, story and stills. Barbra A Biography of Barbra Streisand Donald Zec and Anthony Fowles N[...]ishing Co., $19.95 (HC) An illustrated biography of the very popular vocalist and screen star. Before I[...]es Mason Hamish Hamilton/Thomas Nelson, $25 (HC) The autobiography of one of Britain’s leading screen stars. The story of a very successful career. Elvis Albert Goldman Allen Lane/Penguin. $19.95 (HC) The unvarnished story of the pop music and film star idol, and the extravagances that led to his death. Diana Coope[...]r Hamish Hamilton/Thomas Nelson Aust., $25 (HC) The life and times of one of the best-loved British actresses. Gregory Peck Mich[...]with numerous illustrations, including those from the star’s private album. now in paperback. Ingrid Bergman — My Story Ingrid Bergman and Alan Burgess Sphere/Thomas Nelson, $5.95 The best-selling autobiography of a screen super- star, now in paperback. James Wong Howe: Cinematographer Tod[...]antivy/Oaktree Press, $23.95 A camera—eye view of motion picture history focused on the life and art of the most celebrated cinematographer. Jane Fonda Fred Lawrence Guiles Michael Joseph/Thomas Nelson, $25 (HC) The life and career of a very successful but controversial actress, who has triumphed over personal tragedy in her early life. Joyce Joyce Grenfell herself an[...]st., $4.50 _ A biography/autobiography edited by the late British actress’ husband. Reggie Grenfell, and Richard Garnett. Now in paperback. Mae West Fergus Cashin W. H. Allen/Hutchinson Group, $19.95 (HC) The first complete biography of Ho1lywood‘s most irreverent comedienne and Amer[...]ghton/Hodder and Stoughton, $12.95 A new edition of this illustrated appreciation of the career of the famous film actress. Marilyn Lives Joel Op nhe[...]al homage, with a brief but illuminating text. to the life and career of the Hollywood legend. McQueen Tim Satchell Sid wic[...]mat, well-illustrated biography and career survey of the late screen actor Steve McQueen. The Movie Greats Barry Norman BBC/Hodder and Stoughton, $24.95 (HC) A new collection following the author’s The Holly- wood Greats, based on the BBC television series, covering Marilyn Monroe, P[...]d and Nicolson/Hodder and Stoughton, $16.95 (HC) The authorized and probably definitive biography of Sellers, by a leading film chronicler and critic[...]Collins Aust., $15.95 (H A personal insight into the life of Peter Sellers by his son. Raising Caine William[...]hinson Group, $16.95 HC) An authorized biography of British actor Michael Caine, the Cockney-born star “who beat the system”. Richard Burton Paul Ferris Weidenfe[...]odder and Stoughton, $24.95 (HC) A new biography of Richard Burton, who has come in for more than his share of media coverage over the years, but one which endeavors to generate more r[...]d and Nicolson/Hodder and Stoughton, $27.95 (HC) The autobiography of Chaim Topol, the Israeli actor who starred in the film of Fiddler on the Roof and many other films, including For Your Ey[...]dfors Simon and Schuster/Ruth Walls, $20.95 (HC) The autobiography of the Swedish actress which highlights the problems of being an actress and, at the same time, trying to remain oneself. The Whole World in His Hands S. Robeson Citadel/Davis Publications, $25.50 (HC) A pictorial biography of the famous Negro singer and actor, Paul Robeson, covering his work for his people and his career on the stage, film and radio. Directors Close Up: The Contemporary Director Edited by Jan Tuska Scarecrow Press/James Bennett, $27.95 (HC) The third and last in the series. The previous two titles covered The Contract Director and The Hollywood Director. The Films of Carl-Theodor Dreyer David Bordwell California U.P./Australia and New Zealand Book Co., $32.95 (HC) The most extensive book published on the work of Dreyer, which highlights the challenge his work offers to the dominant filmmaking styles. Francois Truflaut[...]acMil1an Co. Aust., $6.95 An authoritative study of the work of Francois Truffaut and a loving tribute to the man. Images at the Horizon Werner Herzog New York Zoetrope/Gaumont[...]op with Werner Herzog conducted by Roger Ebert at the Facets and Multimedia Centre, Chicago, U.S., April 17, 1979. Crltlcal The Celluloid Closet Homosexuality in the Movies Vito Russo Harper and Row/Book and Film, $20.95 (HC) A chronological and thematic history of the por- trayal of homosexuality and lesbianism in films. The Feature Film as History Edited by K. Short Croom Helm/Cambridge U.P., $21.90 (HC) A consideration of feature films showing their potential as histori[...]even essays by various film historians. Film on the Left William Alexander Princeton U.P./Australian and New Zealand Book Co., $17.50 A survey of documentary films in the U.S., from 1931 to 1942. French Cinema of the Occupation and Resistance Andre Bazin Ungar/Ruth Walls, $18.50 (HC) The Birth of a Critical Esthetic — Foreword by Francois Truffaut A collection of articles and reviews which show the critical development of the man who was largely responsible for the growth of today’s French cinema. Hemingway and Film Gene D. Philips Ungar/Ruth Walls, $8.50 A survey of the films that have been made based on Ernest Hemingway’s novels, and the difficulty the scriptwriters have had in translating them into film. Hollywood in the Seventies Les Kayser Barnes/Tantivy/Oaktree Press, $8.50 A comprehensive overview of the major trends and new directions of Hollywood filmmakers and producers. The Hollywood, Social Problem Films Peter Roffman and Jim Purdy University of Indiana Press/Imp. A survey of Hollywood films on madness, despair and politics, from the Depression to the 1950s. Hollywood's Vietnam Gilbert Adair Proteus/Doubleday Aust., $19.95 (HC) A survey of all the films that covered the war in Vietnam, from The Ugly American to Apocalypse Now. Ideology and the Cinema: Social Representation in the Cinema and other Media Bill Nicholla Indiana U.[...]detailed discussion ofthe aesthetics and ideology in films, using as examples Blonde Venus and The Birds, plus various documentary films. Loser Take All: The Comic Art of Woody Allen Maurice Yacowar Ungar/Ruth Walls, $9.95 A new edition, now in paperback, on the work of filmmaker and actor. Overexposuress The Crisis in American Film- making David Thompson Morrow/Quill lmp., $11.20 A collection 0 articles/film reviews by the author of A Biographical Dictionary of Film. Film Hlolory Classic Australian Film Stills Photographica, $6.95 Twelve postcards in a plastic clip, featuring scenes from famous Australian films from 1900 to 1940. Film and Fiction The Dynamics of Exchange Keith Cohen Yale U.P./Book and Film. $20.95 (HC) An overview of the dynamics of artistic change and exchange in the late 19th Century and early 20th Century. The Kindergarten of the Movies: A History ofthe Fine Arts Co. Anthony Slide Scarecrow/James Bennett, $16.95 (HC) A chronicle of the activities of the Fine Arts Film Company, its films, directors and stars. The Magician and the Camera Erik Barbow Oxford U.P./Oxford U.P., $19.50 (HC) The role of the magician in the development ofthe cinema — as inventor, exhibitor and producer. The special effects wizards of today owe the development of their craft to the magicians of the silent days. Screening of the Past Lary May Oxford U.P./Oxford U.P., $29.95 (HC) An exploration ofhow the film industry has shaped society from the Victorian to modern times. A Short History of the Hungarian Cinema New York Zoetrope/Gaumont, $6.95 A paperback booklet printed in English in Hungary, giving an illustrated survey of Hungarian filmmaking. Reference American Famil[...]Scarecrow/James Bennett, $29.95 (HC) A listing of films (16mm) that illustrate American family life, past and present. The Encyclopedia of Animated Cartoons Series Jeff Lenberg Arlington[...]d Cartoons and Television Cartoons. Encyclopedia of M usicol Film Stanley Green Oxford U.P./Oxford[...]k with more than 1600 entries, answering hundreds of questions about musical films and their stars. The English Novel and the Movies Edited by Michael Klein and Gillian Parke[...]novels and answer such questions as “Are works of literature superior to their movie versions?" Fi[...]mes Bennett, $33.75 (HC) An alphabetical listing of films giving an outline of the content of each, plus a directory of film sources and filmmakers, and a bibliography. Reference Guide to the American Film Noir 1940- 1958 Robert Ottoson Sc[...]$18.95 (HC) A descriptive filmography on films in the American film noir category, with a comprehensive bibliography. The Screen Image of Youth: Movies About Children and Adolescents Rut[...]row/James Bennett, $26.95 (HC) An extensive list of films, with an outline of the content of each, plus index and source details. Scrlpts The Blue Angel The Novel by Heinrich Mann and the Script by Josef Von Sternberg Ungar/Ruth Walls, $8.50 A book combining the novel and the script of the film, for instant reference and comparison. Tim[...]erry Gilliam Hutchinson/Hutchinson Group, $10.95 The illustrated screenplay of the fantasy comedy film from the Monty Python people. Television Australian TV — The First 25 Years Edited by Peter Beilby Nelson/Thomas Nelson, $14.95 A nostalgic year-by-year survey of Australian tele- vision, with all the funny, embarrassing and historic moments remembered. Illustrated throughout. The American Vein Christopher Wicking and Tise Vahim[...]t a new book but previously overlooked. A look at the films made especially for television in the U.S. Those Fabulous TV Years Brian Davies Cassell Aust./Methuen Aust., $14.95 An illustrated history of Australian television: the personalities, the highs and the lows. A nostalgic feast. Visions Before M idnigh[...]Pan-Picador/William Collins, $5.95 A collection of television criticisms from The London Observer, 1972-76. Filmmaking The Craft of the Screenwriter John Brady Simon and Schuster/Ruth[...]sky, Goldman, Lehman, Schrader, Simon and Towne. The Master Handbook ofSti'll and Movie Titling for A[...]NZ Book Co., $22.50 (HC) A comprehensive text on the subject. Stop Motion Animation Don Dohler Dohl[...]Focal Press/Butterworth, $32.95 (HC) A text on the important aspect of animated film- making: timing. The Way to Write for Television Eric Paice Elmtrce/Nelson Aust., $13.95 The complex art ofwriting for television is covered in this book, which aims to guide the student through the pitfalls. Non-cinema Associated Titles Australian Melodrama: Eighty Years of Popular Theatre Eric Irvin Hale and Ironmonger/Wild and Woolley, $19.95 (HC) An illustrated history of early Australian theatre. Australian Music Direc[...]Kingfisher Books, $14.95 A comprehensive survey of the whole music scene in Australia, plus reference sections on everything associated with the industry. Rock Lens Rock Photography by Bob Kin[...]Cassell Aust./Methuen Aust., $14.95 A collection of photographs of rock music artists — local and overseas visitors. A local example of the flood of books now available on rock and popular music. N[...]as come out with a novel based on his experiences in Hollywood. Puberty Blues Kathy Lette and Gabrielle Carey McPhee Gribble/Kingfisher, $4.95 A new edition of this novel about two teenage girls growing up. No[...]Carl Ruhen. Q.B. Books/Gordon and Gotch, $3.95 The book of the sensational sequel to Mad Max, starring Me[...] |
| [...]d for your next cinema commercial without leaving the country.Colorfilm has taken delivery of a Dolby Stereo Optical Sound Camera. Its the first in the Southern Hemisphere, the third of its kind and only the sixth Dolby camera in the world. The Dolby System is a remarkable combination of full optical stereo sound, with frequency respons[...]on system. \?\/hat that means to you is sound on the screen as good as the sound you get at home from your hi—fi. The same sound system used in ‘Star Wars: ‘Apocalypse Now’, ‘Quadrophen[...]film. 35 I\/Iissenden Road, Camperdown NSW 2050. Australia. Telephone (02) 5161066 Leo Burnelt 4 3700 |
| [...]ion Dist. company . . . . . . . . . . . . .. Fllm Australia Producer . . . . . . .. ....Don Murray Director[...]. . . . . . . . . .Post-productionSynopola: One in a series of technical films on the construction of Brisbane Airport. DEFENSIVE DRIVING Prod. company . . . . . . . . . . . .,Fi|m Australia Dist. company .. ..Fi|m Australia Producer . . . . . . .. Elizabet[...]Synopslo A film on defensive driving sponsored by the Department of Transport for use in high schools and driving schools. FROGS Prod. company Dist. company Producer .. ...Fi|m Australia .Film Australia ..John Shaw[...]Progress . Production Scheduled re . August 1982 THE GAMES Prod. company .. .Film Australia Dist. company Film Australia Producer Peter Johnson Director .Nick Torrens S[...]. . . . . . . . . . . ..Pre-production Synopsis: The official film for the XXII Commonwealth Games to be held in Brisbane in 1982. IMPACT OF MINING: MEASURE OF CARE Prod. company . . . . . . . . . . . ..Film Australia Producer . . . . . . .. ..Don Murray Director ..[...]aiting release Synopsis: Two television films on the work of scientists In the Kakadu National Park where Australia's largest uranium mines have been found. IT STANDS TO REASON Prod. company ........... .. Film Australia Sponsor . . . . . . . ..Army Training Command Pro[...]ogram designed to generate a greater appreciation of the Army Training System. KIRIBATI AID (Working title) . Film Australia Prod. company .. ....Don Murray Producer , . .[...]82 Synopsis: Three animated films‘ for release in Kiribati (Gilbert islands) to instruct the inhabitants in the use of a newly-installed sewerage plant. LET’S TALK ABOUT IT Dist. company . . . . . . . . . . . . .. Film Australia Producer . . . . . . . . . . . . . . . . ..Don Mu[...]s: Three films dealing with sex education for use in the classroom. 1: Male and Female. 2: Birth day. 3: P[...]T SEA Prod. company . . . . . . . . . . . .. Film Australia Dist. company Film Australia Producer . . . . . .. .. Peter Johnson Director .[...]. . . . . . . . . . . . . ..16mm Synopsis. A day in the life of a seaman in the Royal Australian Navy. MY COUNTRY, DJARRAKPI Prod. company .. ..Fllm Australia Dist. company .Film Australia Producer .. ..lan Dunlop Director ..lan Dunlop S[...]unlop Length .. .550 ft Gauge. 6mm Synopol . 1 ws the Y relationship between one of his bark paintings and an important site on his M[...]Prod. company . . . . . . . . . . . .. Film Australia Dist. company .. .. Film Australia Producer . . . . . . . . . . . . . . . .. Peter J[...]. . . . . . ..1983 Synopsis: A film to show how the Natural Disasters Organization is helping to establish and support the various State Emergency Services. NARRITJIN AT D[...]Prod. company . . . . . . , . . . . ..Fi|m Australia Dist. company .. .. Film Australia Producer . . . . . . . . . . . ..lan Dunlop Direc[...]tock . . . . . . . . .. Ektachrome 7252 synopsis: The life of Manggalili clan leader Narritjin Maymuru and his family in Arnhem Land. NARRITJIN IN CANBERRA Prod. company . ....Film Australia Dist. company Film Australia Producer... ...|an Dunlop Director .. Ian Dunlop[...]. . . . . . . . . . . . . ..Ektachrome Synopsis: The work of Narritjin Maymuru and his son Banapana as visiting artists-ln- residence at the Australian National University. Canberra. 1 982[...]Prod. company . . . . . . . . . . . .. Film Australia Dist. company .....F||m Australia Producer . . . . . .. .. Elizabeth Knight Directo[...]s about energy and one each about science, sport. the arts. film, agriculture and architecture. For the Australian pavilion at the 1982 Knoxville World's Fair. ON YOUR MARK Prod. company . . . . . . . . . . . ..Fi|m Australia Dist. company Film Australia Producer .. Peter Johnson Photography . . . . . .[...]Post-production Synopalaz A promotional film for the 1982 Commonwealth Games. OPERATION OELLULOID[...]. . . . . ..Kingcroft Prods Dist. company Film Australia Producer . . . . . .. .. Peter Johnson Director .[...]. . ..1983 Synopsis: A public relations film for the Australian Army, depicting a full exercise and the need for this type of training. PARASITES Film Australia . Film Australia Prod. company . . . . . .. Dist. company[...]ed release . .. August 1982 Synopsis: Episode in the series of biological science films. REPRODUCTION Film Australia Fllm Australia Prod. company Dist. company[...]Synopsis: All living creatures have seven things in common — one is reproduction. RIGHT HERE AND N[...]m to encourage school leavers to consider joining the Army as an apprentice. For the Department of Defence. SANDRINGHAM PROJECT Prod. company . . . . . . . . . . . ..Film Australia Dist. company . Film Australia Producer , Elizabeth Knight Director .. ...Greg R[...]Post-production Synopsis: A documentary about the traffic modifications and community consultation in Sandringham; tor the Department of Transport. SOLOMON ISLANDS Prod. company . . . . . . . . . . . .. Film Australia Producer . . . . . . . . . . . . .. Don Murray Di[...]. . . . . . . . . . . ..1982 Synoptic; A series of 10 films ranging from 8 minutes to an hour, recording the cultures of the Solomon islands at the time of Independence. STAYING UP FRONT Film Australia . Film Australia Prod. company .. Dist. company[...]release Synopsis: entary designed to increase the awareness among owner- drivers of the business side of the long- distance trucking industry. THE WEEKLY’S WAR Prod. company . . . . . . . . . . . .. Film Australia Dist. company .. Film Australia Producer . . . . . . .. .. Suzanne Baker Director[...]. . . . . . . . . . . . . . . . ..1983 synopsis: The story of Australia in the 19405. as seen through the eyes of some of the journalists who worked on The Aus- tralian Women's Weekly. SOUTH AUSTRALIAN FI[...]: A film designed to impart a basic understanding of architecture and the general principles of urban design. DAN[...]. Eastmancolor Synopsis: A dramatized account of the correct procedures and dangers associated with the use of detonating cord. and demonstrating various applic[...]signed to promote an understanding and acceptance of an increasing program of replenishing Adelaide's beaches. A "1940s" detective wanders through Adelaide trying to discover who stole the beach. A TASTE OF SOUTH AUSTRALIAthe Japanese market. VICTORIAN FILM CORPORATION CRI[...]e . ...November 1982 synopsis: A training film on the techniques of crime detection. Made for the Victoria Police. A GOOD SCHEME Prod. companies[...]ss . . . . . . . . . . . . . . . . . . . . . . .. in release Synopsis: A documentary on the involve- ment of four young people in the Duke of Edinburgh's Award Scheme in Australia. Made by the Department of Youth, Sport and Recreation. HAIR OF THE DOG (Working title Alcohol Abuse) Prod. company[...]982 synopsis: A short film about early detection of alcohol abuse. Produced for the Health Commission. IF YOU'RE MISSING ART Prod.[...]. . . .. Production Synopsis: A short film about the arts in Vic- toria. Made for the Ministry for the Arts. MUSIC FILMS Prod. company . . . . . . . .[...]. . . _ . . . . . Production Synopsis: A series of animated films about music for educational distribution. Made for the Victorian Education Department. Concluded[...] |
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| [...]rt Two Continued from p. 146 — who specialize in doing precisely that. They are collectively known as Art Departments. In film history these people, in conjunction with imaginative directors, were responsible for earning for Hollywood, and hence, by proxy, the entire world film industry, the name of the Dream Factory. The images of cinema and the form of cinema have become part of our collective consciousness through this essentially visual medium. This facility exists within Australia as well, believe it or not. Art direction in this rebirth of Australian films has certainly helped to sell our films abroad, but is largely confined to the reproduction of past or present reality, and is generally executed without the overall design of the film in mind. The recreation of reality for film is so easily achieved with money and recourse to the right photographs or magazines for reference, but this sort of approach rarely tells an audience anything it doe[...]or a past setting that takes some liberties with the accuracy of the period, can be pure magic. The great period pieces of British and American cinema would opt for the visually impressive over historical accuracy ever[...]not given rise to any pedantic complaints, since the designs would have been based on fact, and their[...]surpass itself. Film Production Design/Part Two The production design concept is a tool that is available to Australian filmmakers to further unify their work. The production designer is not just an art director,[...]ustification but as an exhortation to filmmakers in this country to continue to dream and grasp for[...]that which is easily within reach, hiding behind theof Circus 02 and Mommas Little Horror Show and the success of the Mad Max films. “That which gives dreams their[...]0 mins, L & M Imports, S(i-h-g) Erotic Adventures of candy (reconstructed version) (o): G. Palmer, U.S[...]ersion) (a): A. Garron/W. Lustig, U.S., 2370.10m, The House of Dare, V(l—h—g) Paul. Lin and Caroline (pre—[...]alakoff, U.S., 2332.4om, Cinerama Films, Srl-h-g) The Private Atternoone of Pamela Mann (f): L. Sultana, U.S., 2280.60m, Blak[...]0.6tJm, Sunn Classic Prods, O(sexual exploitation of a I17ll'IOI) The senator's Daughter (videotape): Joyeeux Prod./Cal[...]o., Hong Kong. 2593.29m, Golden Reel Films Kings of the Square Ring (16mm): Y. Kawan, Japan, 1129.91m, Landmark Films The Lieutenant and I: Progressive Trading, Hong Kong,[...]r: C. Carajopoulos, Greece, 2800m. Apollon Films The Terror of Tiny Town (16mm): Astor Picture Corp., U.S., 603m[...]: Blau Films, Spain, 2468m, Spanish Films Wizards of the Water (16mm): A. Rich, Australia, 1031m, Alan Rich The Women Soldiers: Golden Gate Film Co., Taiwan. 205[...]ox Columbia Film Dist., O(aduIt theme) Attack ot the Killer Tomatoes: Four Square Prods, U.S., 2370.48m, G.L. Film Enterprises, L(i-I-g) Daughter of Devil Flah: Not shown, Thailand, 2575m, Lilond, V(l-I-/) Evll Under the Sun: Brabourne 8. Goodwin, Britain, 3179m, Guo Fi[...]. Italy, 2373m, Cinema ltalia, O(aduIt concepts) The Man From Snowy River: G. Burrowes, Australia, 2908m, Hoyts Dist., V(l-I-j) O koteoa exo apo t[...]O(adult concepts) Staratruclt: Elfick & Brennan, Australia, 2880.15m, Hoyts Dist., L(i-l—i), O(nudity) Fo[...]Kastner, U.S., 2398.37m. Cinema Int'l, V(i-m-g) The Deacendant of wing chun: Sunrise Film Trading Co., Hong Kong, 2[...]rod., 2539.B0m, Dynasty Film Dist., V(i-m-i) From the Life oi the Marionettee: Personatilm, W. Germany. 2852.72m, V[...]t Film Enterprises, V(i-m- Heatwave: H. Linstead, Australia, 2509.92m, Roadshow Dist., V(l-m-/), L(l-m-i) In[...]: Everybody‘: Allowed to Cry (16mm): L. Bugden, Australia, 504.71m, Sydney Filmmakers Co- op., O(emol'ional stress, adult theme) The Kid with the Golden Arm: Shaw Bros, Hong Kong, 2347m, Joe Siu lnt’l Film Co., V(i-m—g) The Leet Duel: Not shown, Taiwan. 2475m, Golden Reel Films, V(l—m—g) Love In Flrat Clan: Italian International Film, Italy/France, 2537.81m, N.S. Prods, O(sexualallusion) The Love Suicide: at sonezakl (16-mm): Kodosha— Kim[...]tructed version) (a): Kennedy Miller Enterprises, Australia, 2565.70m, Warner Bros (Aust.) Martial club: Shaw[...]e Siu lnt'l Film Co., V(l-m-g) Mr Kwong Tung and the Robber (16mm): Wang Cheung Enterprises, China, 10[...]nson lnt'l, U.S., 2743m, Reid & Puskar, V(l-l-g) The Phantom Killer: Raymond Chow Prod., Hong Kong, 2593.5Bm, Dynasty Film Dist., V(l-m-g) The Pursuit of D.B. Cooper: M. Taylor Prods, U.S., 2733.0‘rm, Roadshow Dist., S(i—I-I). L(f-m-/') Hong Kong, The Security: New Force Films, Hong Kong, 3214m, Lilo[...]Vista Video, U.S., 82 mins, Videolink, S(i-h-g) The Burning (pre—censor cut version): Mlramax Prods, U.S., 24B2m, Fllmways A'esian Dist., V(i-m—g) The Centerfold Glrla (videotape): Dimension Pictures,[...]deo Prods, U.S., 61 mins, R. O'Neill, Olbondage) The Golden Lady (videotape): K. Careie/P. Cowan, Britain, 89 mins, Videolink, S(i—m-g), V(i-m-i) The Great Eecape From Women’e Prleon (videotape): O[...]ong, 95 mins, J 8. P Video Tape Hire, V(i-m—g) The Joy ot Fooling Around (videotape): J—C Ramon, G[...]-m-I), Olnudify) (a) See also under "Fllms Board of Review". (b) Previously shown in an English-language version as King, Queen, Knav[...]Love Me Deadly: Cinema National, U.S., 2565.70m, The House of Dare, O(necrophilia theme) Mad Max 2 (a): Kennedy Miller Enterprises, Australia, 2593.5Bm, Warner Bros (Aust.), V(l-m-g) Mad Max 2 (reconstructed version) (b): Kennedy Miller Enterprises, Australia, 2565.70m, Warner Bros (Aust.), V(l-m-g) Perla K[...]U.S., 77B.87rn, Valhalla Films, S(I-m-I) Slaves In Cagee (reconstructed version) (d): B. Kobenhaven, Denmark, 1645.80m, Cinerama Films. Sll-m-9) The Stud and the Nympho: R. Show, Hong Kong, 2844.58 rn, Joe Siu I[...]s Vic., S(l-m-g) (a) See also under "Films Board of Review". (b) See also under “Films Board of Review". (c) Previously passed “M" with deletions (Ma[...]with Eiimlnetlone For Reetrlcted Exhibition (R) The Beat of the New York Erotic Film Feetlvel (a): Saliva Films,[...]l-m-g) Reason for deletions: S(i-h-g), L(l-h-g) The First Time (reconstructed pre-censor cut version)[...]ember 1981 list. Films Refused Registration All the Loving Neighbor: (16mm) (pre-censor cut \éersion): Cine Cal Prods, U.S., 555m, 14th Mandolin, ((47-9) 4 In A Bed (16mm): Jack Films, U.S., 628.50m, 14th Man[...]): S. Norman, U.S., 72 mins, Videolink, S(l-h-g) The Poaaeaalon (16mm): Not shown, U.S., 658.60m, 14th[...]., 1983.30m, Cinerama Films, S(i-h-g) sweets For the suite (16mm): Cine Cal Prods, U.S., 678m, 14th Ma[...]ociated Theatres, O(sexual violence) Films Board of Review Mad Max 2 (a): Kennedy Miller Enterprises, Australia, 2593.58m, Warner Bros (Aust.) Decision reviewed: Classify “R" bythe Film Censorship Board. Decision of the Board: Uphold the decision of the Film Censorship Board. Mad Max 2 (reconstructed version) (b): Kennedy Miller Enterprises, Australia, 2565.70m, Warner Bros (Ausi.) Decision reviewed: Classify “R" by the Film Censorship Board. Decision of the Board: Classify Private Leaaona (c): R. Ben Efr[...]Prods. Decision reviewed: Refusal to register by the Film Censorship Board. Decision of the Board: Uphoid the decision of the Film Censorship Board. (a) See also under "For R[...]an Film Corporation, Synopele: A documentary on the urban street life of homeless children In Mel- bourne. Made for television release.[...]wick synomk An ammat m on 6 pl a 5 O the marketplace. Made for the Department[...]G GLASS — A Director .. .. . . . . ..John Dixon of Consumer Affairs ON To DI5'- C°”‘P3"Y - A -[...]LM ABOUT DRAMA Length . . . . . . . . ..38 mins ' THE 1934 LOND ii" °YP0i3|°l'| _ _ _ Gau e . . . . .[...]torian 3r,o§,r,,9 srock H _ _ _ , “Fuji A SHOE OFIn release Set designer .......... .. Geoff Richards[...]Progress . . . . . . . . . . . . . . . . . . .. in release THE UNSUSPECTING CONSUMER Synopaiuz A madcap, musical[...]pany > _ _ _ _ _ _ _ _ H Victorian advemure Wham the flying super hero Length . . . . . . . . . . .[...]. . . .. 48 mins Research adviser Alex McDonald the elements of drama. Made for the rm corporarion returns to crush the evil Mr Midnight, who Gauge . . . . . . . . . .[...]any H _ _ _ _ _ ._ Vicmrian plans to rid New York of its immigrants. Progress . . . . . . . . . . . .[...]o MELBOURNE Director mupmer Green - 9955 about the classic air race, being filmed In Shooting stock . . . . . . ..Fu)l Scrimwmer _ _F,e,e,. Green Australia and England for Victoria's 150th Progress[...] |
| [...]a gaino One VU meter monitors input/output level. The other continuously monitors crystal pilot tone on[...]l-lz mains or external sync pulses. 0 Wide lock—in range. 0 Manual mode to allow salvage of tapes made with near flat batteries, etc. rgcosrigieple automatic operation. 0 Contains in—built 24OVac power supply to operate THAN COST! "l have been making documentary films for a number of years and I have always been amazed that most so[...]eel—tcHeel tape recorders. After making a film in Antartica lastyear, where I found myself riding o[...]rystal locking‘. Recorder: 5 This conversion of the Sony TC—D5Pl?O is the result. For the documentary film industry, especially out on loca[...]N DICK SMITH ELECTRONICS PHONE: l02I 888 3200 THE OPEN PROGRAM EARTHWEEK82 SIR WILLIAM MCKELL MEDIA AWARD The Annual Award for Excellence in Australian Film and Television School FREE! Environmental Reporting For the writer, director or originator of a printed, broadcast or _ televised feature on the environment. Information on our shortterm, specialized courses conducted throughout Australia for film, television and radio professionals PRIZES: $500 and plaque in each category Catalogues for our training materials available in print and on $1000 0Ve1'311C01IlIl1eIldati0n film and video tape Get in for your chop now. Drop us a line or call us at:[...]ion, Box 4036, G.P.O., Sydney 2001 (02) 266 0661 The Open Program, Australian Film and Televisi[...] |
| [...]t he wants, I suppose because he has worked a lot in a television frame-: work. But a lot of us can’t handle free- dom. I mean, I can someti[...]not. Every job I start on, I feel as though it is the first job I am doing. There is a lot of instinc- tive things now after 20 years that I kn[...]and things, but every job is like a new one, and the way a director creates a working situation for the cast is very important. You have done a lot of comedy, the Australian brand of which might best be described as “grotesque”, not so much in reference to your parts, but certainly to the tone of the work. Do you feel more comfor- table inside that or inside the more refined wit-sharpening of some- thing like ‘They’re Playing Our Song’[...]il Simon does and I would like to see him do more of that sort of comedy. Yet, comedy is so hard to do. I remember some of the funny bits in The Removalists just not being there in the film, even though it was the same actors doing them. Tony Buckley is a good ed[...]harder than drama. I have just finished reading the Jack Lemmon biography. He tells a wonderful story about the old man on his death-bed saying, “I’m dying.[...]Peter Cummins, Kate Fitzpatrick and Jacki Weaver in Tom Jeffrey’: The Removalists. leaned over and said, “What’s t[...]m having a slight love affaire with Neil Simon at the moment, after two years of doing his play. If I ever meet him, you know, it[...]cause I have been saying his words all this time. The same if I ever meet Carol Bayer Sager because I h[...]it looks primitive John Waters and Jacki Weaver in ‘They ’re Playing Our Song’. now, I felt very much at home in Stork. We worked hard on that — and I really have a soft spot for it. But I am not as fond of Alvin, and I hated Alvin Rides Again, even though I accepted a part in the tele- vision series. I don’t think Tim’s ever forgiven me for doing The Seagull at the Nimrod, instead of Alvin Rides Again. A lot of Australian comedy is based on caricature rather t[...]only to describe it, not to say it’s had. A lot of American comedy, Neil Simon in particular, works more at establishing charac- ter, even if it finally doesn’t go all the way . . . That is true. It does rely on cari- ca[...]k is great, and I must admit that there are parts of Trial By Marriage that really make me laugh. But it is that kind of broad thing you were saying, and I would love us to get into those other areas. It is essentially a matter of direc- tion, I think. What we lack most are direc[...]ed naturally, it would have been a lot better for the program. I have also gone offhaving a live audie[...]to leave laughter space. But I was talking to one of the actors from Barney Miller, which I think is a terrific series, and he said there were audiences for the first couple of series, as for Welcome Back Kotter, but after a while, when cults grew around some of the characters, the audiences used to go off their faces and it becam[...]w why it didn’t. I certainly don’t think any of the so-called critics who write for news- papers know[...]I wish they would shut their traps, because most of them haven’t the first idea about making comedy. It is no longer g[...]er, and therefore I have every right to write for the normal viewer.” If you are going to write about something to which people have given many months of great thought and care, you have to know what you are talking about and not simply sit at a typewriter and, in a couple of minutes with a few ill- chosen words, demolish. If you do, the public unfortunately will still say, “Oh, it di[...]her help- lessly, I’ll say, “Yes, but look at the idiot who did the write-up.” The kind of thing that happens is illustrated by the case of Blow Out, which is a terrific film. John Waters,[...]w better, said to me, “I didn’t read one good review of that, so I didn’t bother with it.” And we had to say to each other, “Yes, but look at the fools who wrote the reviews.” I think it is a lack in this country. Newspapers seem to care so much about the level of sports writing, but when it comes to the arts . . . Of course, that is not to say that there aren’t so[...]em you feel that because they know and care about the subject, it is fair enough. H. G. Kippax of The Sydney Morning Herald is one of those I respect enormously, though he ofte[...] |
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| [...]endary,/azz gul/arisr Talmage Farlu w — subject of Lorenzo dv Stefano’: Talmage Farlow. 1981 London Film Festival Continued from p. 135 Arveiia Gray died in September 1981. As he says about his music, “The blues - that’s where we came from. Music can change, but you don't forget the blues." The film might be a little loose around the edges, but its charm is as easy as a stroll along the sidewalk. Reminiscences have a way of crystallizing something about an elusive personality, but Lorenzo de Stefano in his first major documentary as director trusts his camera. In Talmage Farlow he allows one digression about the legendary jazz guitarist. Pianist Jimmy Lyon describes how he was playing in Greensboro, North Carolina, during World War 2 when the door opened and “in comes this tall drip of water" carrying a guitar. Tal Farlow played a few[...]anding. I wondered what a guy like this was doing in Greensboro, North Carolina. He said he was a sign-painter." Tal Farlow went on to become “The Worlds Greatest Jazz Guitarist” as he was billed in the 1950s. Then he disappeared, shunned fame and devoted himself to a quiet life in a seaside retreat with his wife and his music. De Stefano delivers the photographs, the record covers and the clippings quickly: it is of marginal concern. This is not a film about why a great musician gave up the bright lights, nor is it a scalpel job — trying[...]ast himself. as well as being assistant editor on The Black Marble and The Blue Lagoon, De Stefano met Tai Farlow in 1978 and found him “one of the most fascinating and genuine persons l have ever met - gifted to the point of genius, quiet in the manner of an artisan". These are the qualities that shine through this superb film. As George Benson says at the beginning, “Tai Farlow means harmony and a humble person." This blend of the man and his music is the Holy Grail of documentaries on famous musicians. That Lorenzo d[...]subject. I88 — April CINEMA PAPERS interested in “the creative way”, he brought Farlow together with[...]“Jazz musicians play for each other rather than the people out front", says Farlow. “They talk to e[...]Edward Thomas’ precisely-framed camera catches the moments when the eyes glint and we hear something which Farlow dis[...]loosen up and you can do what you want to do.” The snap is there too when The Tai Farlow Trio, with Tommy Flanagan on piano and Red Mitchell on bass, are rehearsing for the sell-out concert which forms the final scenes of the film. There are scenes of Farlow at home and sign-painting “Fat Chance" o[...]ennese wife Tina, but these arise as naturally as the frequent image of the lanky North Carolinian coaxing a melody from his[...]Franklin Stettner have achieved clean recordings of “Fascinating Rhythm”, “Cherokee”, "Flamingo”, “Longhorn Blues”, “Autumn in New York" and “Jordu”, to name a few. These j[...]have achieved a rare creative communion — with the music as sole entry point. As the guitarist comments before he is about to take the trio on stage for the New York concert, “With a jazz trio there's pro[...]alk’ going on on stage than there ever could be in the audience." Before Bob Dylan, The Weavers were the conscience of a generation. For a moment in 1980, in Carnegie Hall, they were together for their last concert. They are older, of course, and the voices which carried the message of political folk music in the 1950s found the strain a bit too much at times. But they were greeted as old friends by an exhilarated audience, some of whom weren't around when the group was blacklisted by the House Un-American Activities Committee — they knew such songs as "Tzena Tzena”, “The Hammer Song", “Wimoweh" and “Goodnight irene" from the recordings of others like The Kingston Trio, Peter Paul and Mary, and Trini Lopez. ‘‘I know this concert will be our last'', says the feisty Lee Hays from his wheelchair, and it was.[...]but not before James B. Brown completed shooting The .‘._’,_.:’-2 . - ‘.",_a ‘3 '_ The Weavers. from James B. Brown's Thein fact, ‘two’ films: the film Brown intended to make about the group and their times, supplemented with footage taken of them playing at a pre- arranged private picnic; and the film of the phoenix which arose at that picnic and went on to prepare and give its last sell—out concert. At first the two appear mismatched. Like a time machine gone c[...]t entwine and disorientation is final. Or is it? in addition to The Weavers and Brown, this film needs an.audience. i[...]ave been an interesting compilation about a group of people, cherished only by folk musicians and agei[...]we, have. Archive If there were any doubt that the activities of cinema preservationists rated a poor third, if the fossils rated at all, the 1981 Festival demonstrated all too clearly that cinema history, at least in some of its forms, has become decidely up—market. in popular terms, television can assume some of the credit. Thames‘ Hollywood and Granada’s Camera, both aimed at recreating as closely as practicable the original intentions of the filmmakers, spurred a widening interest in early films in general and such particular matters as early color processes and the correct speed. The spin-offs have gone in all directions. At the 1980 Festival, Martin Scorsese lectured about his[...]negative and positive stocks that will not fade, the BBC produced a documentary on the work of the National Film Archive and, flowing directly from the Hollywood series, there is the collaboration between the BFI and Themes TV to present four ‘silen[...] |
| Sea Vultures, the previously-lost smuggling drama b_v Victor Sjosrr[...]Ihe Swedish Film Institute. special screenings. The first of these was Abel Gance’s Napoleon. Falthfully rec[...]low and with a new score by Carl Davis conducting the Wren Orchestra, it was screened at the 1980 London Festival. Subsequent screenings have made it a cult-film in Britain and in the U.S. The second film, King Vidor‘s 1928 “lntimate epic" The Crowd, also scored by Carl Davis conducting the Wren Orchestra, was the piece de resistance at the 1981 Festival. in line with the happy coincidence of renewed interest in the silents and the London Festival's 25th Anniversary, a number of special events were organized. Running concurrently with the main program were: a retrospective of 60 films, an exhibition of past cinema equipment — including a Kaiee Model[...]and a Technicolor 3-Strip camera — presented by the Projected Theatre Trust of Berkhamsted, the launching of the BFl's Museum of the Moving Image project for the South Bank, and the NFA’s display of stills and designs from past London festivals along with a special program of archive treasures. All received more than casual interest. In 1975, one of the most remarkable private collections of early cinema was discovered in Switzerland. Assembled during the first decades of cinema in a Jesuit seminary by its Abbe, Josef Joye, it numbers some 2500 films. Most of the collection has survived and, with the approval of Cinematheque Suisse. was acquired by the NFA. The Archive has since been racing against time to copy the fragile treasure, but stock and labor costs have hampered the project. So far only about 200 films have been duplicated. From these the Archive's Elaine Burrows, Don Swift and Clyde Jea[...]presenting every genre from all leading countries of production. There is a ‘wide variety. Lucian No[...]ion for Pathe is a fllnchingiy palpable tableaux of torture as a Cardinal wanders from one tormented heretlc to another, while The Clown and his Donkey (1910) is a rare example of the work of an early British animator, Charles Armstrong, using white-on-black silhouettes. The collection includes two films Sidney Olcott directed for Kalem. The first, The Lad From Old Ireland (1910), was described in Bioscope as “A romance of the Emerald isle . . . the first production ever made on two continents" and[...]'t forget Aileen. When she writes. describing how the bailiffs are due, Terry sails home immediately. A Although the end scenes are missing, Terry and Aileen presumably marry and return to the U.S. Olcott managed to film on location in Ireland and New York so that some of the footage (rural Ireland and Terry as a construction worker in New York) has documentary value. There is also some fascinating trick photography on the liner to Ireland when Terry imagines Aileen in his arms. The second. The Railroad Raiders of ’62 (1911), is the story (later filmed by Buster Keaton) of the Civil War raid led by Captain Andrews in April 1862 when Unionist spies attempted to capture “The General”, a Confederate locomotive. Olcott's dramatic construction of the chase is highlighted by some crisp cross- cutting, perspective compositions and location filming. The print is In excellent condition. Three films detailed turn-of-the- century industrial processes. The Making of a Modern Newspaper is a valuable little promotion film by the Lubin Co in 1907 and follows the production of the Philadelphia Record from the front desk to home delivery. The Edison Co made Expert Glass Blowing in 1909 and, although contemporary reviews des- crib[...]ng his skill at making novelty glass objects. And the motor car production line was evi- dently reaching Germany in 1911 when Bllck in elne automobllfabrlk (A Glimpse Inside a Motor Ca[...]e as an optimistic promotion film for Opel cars. The extracts were a brisk runaround of some of the features in the collection. The storm scene from William V. Ranous' 1909 production of King Lear, for Vitagraph, was screened presumably to show early special effects — in this case the storm was created by direct scratching of the emulsion. The St Bartholomew Night Massacre scenes from Le Huguenot (1909) for Gaumont is a swashbuckling example of the work of Louis Feuillade in his formative years. The collision scene in Mime Misu‘s dramatization of the Titanic disaster for Continental-Kunstfilm in 1912, In nacht und eis (in Night and ice), is memorable for some rather obvious use of models and hysterical acting by the doomed officers. And an extract from one of the series of adventure subaitern films for Clarendon directed by Percy Stow, Lieutenant Rose and the Chinese Pirates (1910), was notable less for the daring antics of Rose (P.G. Norgate) than for the inventive special effects employing explosives and back- projection as the pirates are destroyed in their lair. By far the most impressive find to date is a superb print of a previously lost smuggling drama, Havsgamar (Sea[...]ctor Sjostrom directed for Svenska Biogralteatern in 1916. The Swedish Film Institute co- operated with the NFA in providing the original inter-titles for the restoration. Havsgamar is about how the unsolved murder of a Customs officer continues to haunt a small community when, 15 years later, his lookalike son succeeds to the job. It is a mature and accomplished film, notabl[...]hard Lund and Nils Elvfors. Recently restored by the NFA from a print found in the Beamish Museum, Co Durham, Charles Brabin’s Tw[...]26) is a charming, albeit sadly-dated, adaptation of Thomas Burke's 1917 story Twinkietoes: A Tale of Chinatown. Monica “Twink|etoes” Minasi (Colleen Moore) is a Cinderella-type innocent in a back-street world where vice and crime have snared most. She dances in a music-hall and dreams first of emulating her late mother’s earlier music-hail[...]own to his daughter, become a sometime thief, and the jealous and spiteful Cissie (Gladys Brockwell) who resents Twinkietoes for her youthful innocence and for the cruel fact that she has unintentionally cap- tivated Cissie's husband, the champion boxer Chuck Lightfoot (Kenneth Harlan). Gradually they become a web which smothers the vivacious dancer. Although she achieves momentary acclaim at the Limelight music hall, her self-respect is shattered when the vengeful Cissie turns Dad Minasi into the hawk-faced inspector Territon (William McDonald) of Scotland Yard. Her hopes a memory, Twinkietoes sadly tells the kindly and ubiquitous wino, Hank (Lucien Llttlefield), that she is going far away. In a letter to the Festival organizers, Colleen Moore explained how she insisted on two endings: the Burke version where Twinkietoes drowns, and Twink[...]has finally divorced Cissie. She left exhibitors the choice as to which ending should be used. invariably they chose the latter. and it is this version which survives in the Beamish print. The restoration is admirable, pre- serving James C. V[...]dulated photography and compositions which mirror the narrative, changing from bright sunny opening sce[...]-enshrouded streets at night. Some shots, such as the one of Twinkle- toes, back-lit, talking to a draught horse near a street-market, are rivetting. The dream sequences, where Twinkietoes imagines herself as a famous ballerina arising from the arrangement of tea- leaves in a cup, anticipate Busby Berkeley’s polished ens[...]s spiked her drink, to her rapturous reception at the Limelight, where she is seen dancing in the pupils of Chuck's eyes. These technical flourishes, howeve[...]essentially pedestrian and melodramatic plot, and the film remains a mere vehicle for the mischievous and effervescent talent of Colleen Moore. Merian C. Cooper and Ernest B. Sc[...]ncidentally, a 35mm di- acetate safety print with the original tinted scenes was found in the Natural History Museum in London. it was this print that was screened at the Festival although, as Kevin Brownlow reassured the audience, this sort of thing will be done with it "not too many times”. Chang was the result of Schoedsack and Cooper’s opinion that documentar[...]wherebythey could film on location, but dress up the production using Hollywood dramatic values. Despite problems on location in northern CINEMA PAPERS April — I89 |
| [...]ses 35mm €5’I6mm Neg'atiw Cutting, beginning in Maw}, 1983 CHRIS HOWELL PRODUCTIONS Three-year diploma course Training in Penshurst Street’ Camera Sound Editing wllloug[...]ants for both courses must be . . . . 0 resident in Australia 0 able to submit a portfolio of work with their application 0 mature, dedicated, knowledgeable and creative. The AFTS is a statutory authority funded by the Federal government. Full time AFTS students are p[...]es where applicable. All applications must be on the appropriate official application form, ava[...] |
| Siam, they brought in a film about a Siamese family pioneering a new patch of jungle. The father, Kru, captures a baby chang (elephant) and keeps it. The tormented mother chang rescues her baby, precipitating the return of the Great Herd — unslghted since the youth of the wise men in the nearby village.The drama-documentary approach spotlights cross—currents which are never entirely resolved. The stllted amateur actors, recreating aspects of their daily lives for the camera, appear awkward and misplaced, and it is c[...]t Flaherty’a films, then directing participants in situ revealed its own problems. Their technical attempts to enliven the action oscillate between momentary success and di[...]h’s loquacious inter- titles stretch far beyond the charming: a shot of a baby bear — “Ma‘m, dear, please tell me a bear story"; the elephants In a kraal — "Man’s brain overcomes the Elephant’s brawn”; and Kru to his elephant — “Bring me a length of sugar-cane, 0 very small daughter." The best moments in chang belie the overall aim. Kru‘s family packing up for the night includes touching grab shots of the rounding up of the pups and piglets, and the green-tinted jungle shots of monkeys swinging in the trees and tiger: in the undergrowth reveal an eye for unrehearsed action. The set-piece elephant charge through the village, filmed in Magnascope, is a com- mendable montage — cutting from Schoedsack's camera in a reinforced pit to Cooper’s in an overhanging tree.‘ Although the film's theoretical basis is largely bankrupt, it is. nonetheless, a valuable film, shocking in the conservation-conscious 1980s, yet a moment of experimentation from the men who later got it right with King Kong. Hollywood celebrated the coming of sound with "a||-star vaudeville and revue entertainment” and it wasn't long before the British cinema provided its own home-grown pastiche. The NFA has reassembled Adrian Brunel’s Eistree Calling, made for British international Pictures in 1930, from various sources. That's Entertainment, British-style, 1. The film was almost boiled during processing and because the scene was impossible to reshoot, each blank frame[...]osed on a step-printer. it lsior this reason that the charge scene appears I'll"! IN Mk!- Frirz Lang’s House by the River. 1981 London Film Festival Adrian Brunel’s I930 variety compilation, Elstree Culling, restored by the British National Film Archive. suffers as much from the lack of a good press over the past 50 years as from the fact that the appeal of the music hall in the 1920s isn't exactly timeless. Predictably, however, not all of it is forgettable. Lily Morris sings two cheeky numbers, “Why Am i Always the Bridesmaid" and “He's Only A Working Man", the Three Eddies slide effortlessly through “Dance Around in Your Bones" and Teddy Brown (large enough for two[...]a perform an acceptable “Ain‘t Misbehavin”. The items are linked by Tommy Handley doing a routine[...]tely tries to get his homemade set to work before the show is over. Some of the comedy sketches have some exceilent gags: such as the attempt to inject a some of culture into the show by reciting the soliloquy from Hamlet during a magic act, and Donald Calthrop and Anna May Wong's burlesque of a scene from The Taming of the Shrew where he rides round in circles whipping a motor-cycle while she throws furniture and custard pies. The film includes four dance routines in Pathe stencil color and an interpolated item dire[...]a husband returns home to his adulterous wife (“Of no interest whatever”, he told Francois Truffaut). Perhaps the most unfortunate aspect of Elstree Calling is that it lacks the style of the satirical short with which the Festival programmers introduced it. Walter Creighton’s The shaming of the True (1930), from a deadpan script by Beverley Ni[...]irbanks and Mary Pickford were appearing on stage in London in The Taming of the Shrew. Until the NFA found a 35mm negative of Fritz Lang’s House by the River (1950), it survived as a handful of battered 16mm prints and was the rarest Lang film still extant. Now restored to pristine condition, it was screened to an audience consisting of a few Lang enthusiasts. Based on Alan Herbert’s[...]vant girl, dumps her body into a river, then uses the experience as material for his next project, the film echoes such other Lang films as Scarlet Street in its theme of creativity growing out of death, as well as pointing forward to the overlapping appearances of guilt and innocence in Beyond a Reasonable Doubt. The discovery of the negative is fortuitous in the light of the present re- evaluation of Lang and the re-thinking, in an extra-auteurist sense, of the Lang- text.’ ‘Ar 2. See Stephen Jenkins (ed.), Fritz Lang: The Image and the Look, BFI, 1981. Phil Taylor TO ADVERTISE IN Ring Peggy Nicholls: Melbourne 830 I09[...] |
| The Quarter Saura, Spain and Mama Continued from p.[...]nd fumbles while trying to fly, against all laws of physics, his oversized kite. Despite much amateu[...]s attempts are doomed to failure. His involvement in such unpragmatic and unproductive activities receives dire warnings from the Mama that his allow- ance will be cut off. Her response is typical of governmental attitudes towards those who func- tion in society as dreamers — writers, poets and painters. The youngest grand-daughter in the film also lives in a dream world full of the fears and fan- tasies of childhood, that runs parallel to those which have been revealed of the adults in the film. She experiments with a tale she has heard which rings of witchcraft and voodoo, and that involves jamming her finger in her bedroom door and watching it turn black at sunrise. She lives peripherally and vicariously around the adults, picking magpie-like at the scraps of details of their lives which they leave uncovered behind the[...]es all these activ- ities from her bedroom, or at the times when she is ceremoniously brought to the dinner table. Her bedroom is a web of memories, scat- tered with photographs and infused with her own reminiscences which she verbalizes to the sym- pathetic Anna, who she draws to her bosom as the only non-partisan member of the group. Her undefined illness, which manifests itself in recurrent and perilous fits, eased only by medi- cine, is the subject of individual pathos in its concern with the frailty of old age, but is also symbolic of the weakness of the state, that which the Mama most ultimately represents, when beset by self-interested groups in the community. In the capacity of her relationship with the Mama, Anna represents Foreign Aid, as it is to Anna that the Mama looks for protection against her family’s[...]le as foreign aid is highlighted by her return to the use of English at specific moments of the film. On the personal level of their relationship, it is the Mama who steps in, in her psychic form, to aid Anna as she weeps in a cave after realizing her husband’s infidelity, dispensing wisdom on the nature of love and marriage. Their relation- ship and its operation on two different levels is typical of the blend in this film of political and individual concerns. The friction between members of the family, the family and the Mama, and between Anna and her now contrite husband, culminates in the final scene: the anticipated day of the Mama’s 100th birthday. In another of the psychic scenes of the film, Juan has returned, willed by Fer- nando to appease the distressed Mama who pines for her son’s presence on her birthday. Luchi lays siege in trying to make him return to her. Natalia dances a heady flamingo in her bewitching dress in front of a boggle-eyed Antonio. Fernando tries to realize his affection for Anna by acting out the words of advice the Mama has given him. Anna reassumes her maternal role with Natalia when she offers her a cup of hot chocolate, which Natalia scornfully refuses. And eventually the Mama has the fit which the family has been greedily awaiting. Despite Anna’s attempts to give her medicine, the Mama appears to die. But there is an unexplained gust of wind, curtains flap and the Mama comes back to life. She casts out those who have plotted against her, including the weak and feeble-minded Fer- nando, as would any leader after an attempted coup. The state is stronger for having dealt with those who worked against it. The film leaves its interior setting and returns to the outside world, the camera looks back reflectively on the house where the events have taken place. Most characters in the film, in keeping with its concerns, have a certain childlike quality to them: Anna in her failure to see the realities of the situation she has stepped back into; Antonio in his willing seduction by Natalia and nail- Saura[...]husband to stay and not return to his lover. And the Mama, though having adult realization of the schemings of her family and dealing mature advice to Anna and Fernando, is happiest when dwelling in the world of her childhood. 11 her birthday she is thrilled to be lowered from the ceiling in a garland-bedecked chair as she was when she was[...]s her food as a child with lip- smacking delight. The shabby and shambling Fernando has never lived in an adult world. Ironically, the ruthless girls with their scheming ways display no childish attributes. It is in them that Anna most expects to find those traits. The images in the film are rich and potent: the stark landscape on which the memorial scene for Jose is held beside his tombstone, and from which the pink and cream house juts out incon- gruously. The scene of the birthday party stands out in its sumptuousness. The film is sprinkled with Spanish elements such as the flamenco dancing and the religious pictures which feature in the house and particularly in the«Mama’s bedroom. These particulars give credenc[...]e by Argentinian Norman Brinski, that not only is the work of Saura imbued with his own personal interests in indivi- duals, and his life under Franco, but with the whole Hispanic, including Latin-American, culture[...]ez, and artists like Goya, who bring a world rich in imagination to Western culture. * References Program of San Sebastian Film Festival 1979. Marsha Kinder, “Carlos Saura: The Political Development of Individual Consciousness”, Film Quarterly (Spri[...]1980, pp. l3-17). Vicente Molina-Fox, New Cinema in Spain, B.F.I. publication. during the AFl screening schedule) example, if eight AFI members paid-up members would be allowed to The Quarter Continued from p. I 09 the Features Division of the Film and Television Production of Australia in Sydney, the changes were debated by concerned producers. Kathleen Norris, executive director of the AFI, attended to present the AFl’s case, explaining the logistical and cost problems of screening so many films. Despite lengthy and oft[...]estion out his ear? — no agreement was reached. The FTPAA did, however, appoint a sub- committee of Sue Milliken (producer and FTPAA Features Divisio[...]), David Roe (producer and ex- executive director of the AFI) and Henry Crawford (producer and AFC commissioner) to examine the issues and report back. An extraordinary meeting was then called for March 11 in Sydney. A motion was then passed that: “The FTPAA strongly urges the AFI to reconsider the introduction of a pre-selection process in this year’s Awards and that the AFI rationalize its screening schedule to maximize industry voting by increasing the number of screenings of eligible films to four in Sydney and Mel- bourne (except that this number b[...]ilms that have had a sub- stantial release or are in release 2. The National Times, March 7. 192 — April CINEMA PAPERS and that the AFI screen all eligible films once in other capital city venues.” The next day a discussion was held with FTPAA members in Melbourne. The attitude there, according to Sue Milliken, was slightly different to that of their Sydney colleagues. Most were not overly concerned about the pre-selec- tion process, but were most worried about the small number of working voters. Norris says the changes were made only after getting near-unanimo[...]e contacted, many informally over lunch, and some of those consulted subsequently voted along with the FTPAA motion. Had a serious survey been undertaken, the number consulted would have been 10 times as larg[...]and film people (par- ticularly those not living in Sydney) that they were ignored. As of March 19, Norris said the AFI had still not come to any agreement with the relevant guilds and associations, but stressed the AFI was “sensitive” to the opinions expressed. One compromise solution the AFI and the FTPAA are considering is a kind of expanded pre-selection process. Namely, the AFI will appoint four jurors for each of the 13 cate- gories, and hold screenings of all films in Melbourne and Sydney. if other AFl members wish to see all the films, they can and their vote will be counted. For accredited to vote for the editing Award see all the films, the total number of votes cast in the editing pre-selection is 12. Naturally, if no AFI member makes it through all the screenings, the jury pre-selection will stand. Voting will be by secret ballot. Once a decision is reached on the pre-selected films, those films will be again screened in the capital cities for AFl members to vote on. In theory, this is an acceptable com- promise, as both systems can be tested against each other. Unfortunately, the scheme may be rendered useless if the date of print closure is changed, as is unfairly being urged by the AFI, to June 30. This would mean the number of eligible films would leap from 28 to perhaps 42. The number needing pre- selection screenings would increase likewise. Only one producer at the second FTPAA meeting was known to support the change of date; his film won’t be ready by May 21. Obvio[...]have already been raised and, if inflamed again, the threatened boycott of the Awards by some producers and organizations could happen. if the AFI awards are boycotted, who would run any substitute awards? The FTPAA could step in, or an association of guilds formed specially to manage them. Neither,[...]er body or bodies can claim to be as objective as the AFI. if the guilds ran the Awards, for instance, it is conceivable that only vote in their relevant categories (e.g., only ACS members[...]ith suffi- cient experience can vote at present). The AFl has been intransigent on this point and shoul[...]lowed to exclude other, equally-qualified people, the fairness of the system is open to abuse. Equally, if the FTPAA, say, or Actors’ Equity. had a controllin[...]certain categories — if not barred altogether. The AFI may have well demonstrated the difficulty of pro- viding a legally-crisp definition of an “Australian film”, but a loose definition[...]strictive one. One could also raise doubts about the ability of any group or groups to co- ordinate the Awards on at least a three- state basis. No, the AFI is the body which can best run the Awards. It is not entirely free of outside pressures (the AFC’s keenness to have the 1978 Awards in Perth is one example), but it is freer of vested interests than comparable bodies. Holding the Awards is also impor- tant for the AFI if it is to maintain a sig- nificant industry profile. The AFI oper- ates many of its activities outside the industry at large; this is one of its Concluded on p. I 94 |
| Rich and Famous Film Reviews Continued from p. I 71 In some ways, Rich and Famous is the film Cukor has always been want- ing to make: that is, one in which the women are not only more sympathetic and intelligent than the men, but are ultimately allowed by ‘the script to be so. As Gary Carey says in his essay on Cukor in Cinema.‘ A Critical Dic- tionary’ (and he is[...]ly to Katharine Hepburn): . . more and more, as the decade [the 19305] progressed, the heroine was given her come-uppance. Having had he[...]rtheless, Carey rightly claims, “no matter what the script may say, the women in Cukor’s films are always superior to the men in their intelligence, their sensibility and the sheer vibrancy of their presence.” With the two women in Rich and Famous, Cukor no longer needs even a t[...]ging them to (male) heel. I cannot predict what the radical feminists will make of Liz (Jacqueline Bisset) and Merry (Candice Bergen[...]y Gerald Ayres’ screenplay, has brought them to the ultimate realization that they are the best things in each other’s lives. As everyone must by now know, the film is a re-make of the 1943 Warners’ film Old Acquaintance in which Bette Davis and Miriam Hopkins played the Bisset and Bergen roles. This film was in turn based on John van Druten’s play of the same name, and, whatever is to be said for the Davis-Hopkins duo, there is not much to be said for van Druten. The play is a pedestrian matinee piece, schematic in its treat- ment of the career woman and the housewife-novelist, and it is only the intelligence and wit of the Warners’ ladies that lifts the film clear of cliche. Rich and Famous does not, of course, always avoid cliche, but it fills in the contours of its women’s lives with more entertaining detail, and is more truly interested in their feelings. Liz and Merry are old college friends and the film focuses on four occasions in 20- odd years of their lives. The first is 1959 when, in a stun- ningly-lit and romantically-scored night[...]Liz urging them to “have a wonderful life”. The second is 1969, UCLA, where Liz is being introduc[...]ed with feminist politics, as Merry comes rushing in with her daughter. This is perhaps the most richly-textured of the four main sections, as Liz and Merry size up each[...]hairstyle, so that Liz’s rest- lessness within the success which Merry another reviewer, but I mean to express dissatisfaction with a review ofa film by a major filmmaker, one that never b[...]I980, p. 239. Liz Hamilton (Jacqueline Bisset), the successfully-serious novelist, and Merry (Candice Bergen), a secretive writer of trash. George Cukor’s Rich and Famous. admires her for and Merry’s not—quite- satisfaction in her Malibu house and apparently happy marriage play against each other in a lively tension. Merry has written a boxful of trashy novels in her spare time and this section of the film ends with Liz, back in New York, persuading her publisher to read it. Be[...]ion and we watch her watching herself. Everything in the decor of her new house, in her costume, in the lighting of the scene points to her fabulous success as a best- s[...]nted by Liz’s continuing edginess with her kind of success. It is the kind that wins academic respect — and a cramped apartment — and the film (i.e., Cukor and his production designer, J[...]utely knowing about what mise en scene can reveal of character. Doug, Merry’s husband who loves (?)[...]friend”. All these scenes are very per- ceptive in their emotional coloring: nothing in the feeling between married Doug and Merry or between divorcing Doug and Liz enerates the same kind of response as o the enduring ups and downs of friendship between the two women. The 1981 New York se uence finds Liz a propriately ensconce at the nice, dow y Algonquin and Merry, also appropriately, at the plushy Waldorf Astoria. Merry has at last written a “real book” and Liz is on the panel to judge the Book of the Year. Having got over Doug’s departure, Merry is, as she says, now “a woman of proven talents sitting by the fire playing the piano”, while Liz, her reputation high enough to get her on to the panel, is bedding young men who quote Lawrence and Eliot in bed. Inevitably the friendship is pushed towards breaking point and there is a fight that recalls — and obliterates — the slanging match in The Turning Point. (Cukor makes the moment.of physical violence inevitable and important; Herbe[...]ue, or describing camera set—ups that reinforce the complementary natures of Liz and Merry, or indexing the way the feeling between them varies and grows, it is hard not to sound arbitrary when I say that the final scene is earnl. It ought to be merely senti- mental (“My oldest friend — what else have we got in life.”) and of course in part it is, but it is still saved by its wit (“[...]“They’re beginning to look alike.”) and by the film’s sense of lives that have “achieved a helluva lot”. Mer[...]Eve party to join Liz at her country hearth, and the film closes on a long-held shot of the two Women flank- ing the screen, the glow of the fire and the gleam of glasses between them. It is, as I recall, an almost exact copy of the end of Vincent Sherman’s 1943 film, and a very good ending it is. Like the whole film, it has real warmth and, for the 1980s, makes a quite audacious appeal to audience feeling. Like last year’s highly successful The Four Seasons, Rich and Famous is at least partly a hymn to friendship. Like the earlier film, it acknowledges the potential for irritation and jealousy in any close relationship; it also applauds the hard-won durability of the feeling that keeps these disparate women together. Cukor is a great director of women (he is also a great director of men — vide James Mason in A Star is Born, Cary Grant and Lew Ayres in Holiday, Aldo Ray in The Marrying Kind) and he has achieved from Bisset and Bergen the best perfonnances of their careers. For a while into the film, one wonders if they can possibly transmute the basically novelettish outline of the story as Davis and Hopkins did. They don’t come to their roles with the reson- ance of a long line of star successes and the confidence of established screen personage that their predecessors did. At first I wondered if it was a matter of their age, but though Hopkins was six years older in 1943 than Bergen in 1981, Davis was two years younger than Bisset. Th[...]probably had less to do with their ages than with the sorts of knowledge of them the audience brought to its perception of them. As it is, Cukor has a harder job than Sherman in creating two full—throttled star performances, but he brings it off. Bergen, in the easier role, is marvel- lously funny and touching[...]exual questing is never really explained or built in. There is an element ofcliche in the assumption that the intellectual woman should be sexually unfulfilled and therefore prone (to use the term loosely) to_ cramped coitus in an aero- plane loo or a pushover for an 18-year old Don Juan of the streets. Bisset works away intelligently to fill out the role, and under Cukor’s direction, with its eye for the externals that reflect what is going on inside, s[...]incingly as any two actresses I remember. As for the others, if John Loder and Gig Young hardly mattered in 1943, David Selby and Hart Bochner are practically invisible in 1982 as Merry’s husband and Liz’s latest bed-mate. In a way, the final declaration of faith in the women’s friendship might have been more strikin[...]Nobody else matters, though there are nice little in-jokes in having scenarist Fay Kanin as the college professor welcoming Liz to UCLA, and in some of the party guests (e.g., Marsha Hunt, Christopher Isher- wood). As to actors, the film is a duet and the instrument has been tuned by a master. Cukor is back in familiar territory — the area between private and public selves, the persistence of a relationship in the teeth of competition and jealousy — and he is back with[...]- tainment, a pervasively intelligent refiection of contemporary mores. Rich and Famous: Directed[...]s, based on a play by John van Druten. Direc- tor of photography: Don Peterman. Editor: John F.[...] |
| 40 IF YOU NEED CONTACT 10 YEAR IN THE BUSINESS OF SHORT FILM PRODUCTION INTERNATIONAL AWARDS PROD[...]wishes to purchase 1974 book titled Allan Dwan: The Last Pioneer by Peter Bogdonovich Contact: Warre[...]inders Lane, Melbourne 3000 Phone: [03] 652 4244 The Quarter Continued from p. I 92 strengths. But i[...]onal seminars and open meetings are insufficient. The Awards, with its high degree of industry co-operation and feedback (the fracas this year being a perfect example), gives the AFI that vital contact. it is now up to the AFI to balance its desire to change the Awards against the reality of being part of an industry. It is a test by which the AFI will be judged. Ulla Ryghe uIIIlllnlllluIIIInnIIIIIIIIIIIIIIIIIIIIIIIIIllllll Ulla Ryghe, editor of nine of Ingmar Bergman's films, including The Silence, Persona and Hour of the Wolf, has joined The Australian Film and Television School as acting head of the Editing Workshop. Ryghe has taught at the Swedish Film Institute, McGill University, The Cyprus Broadcasting Corporation and in Swiss Television. She has edited for the Canadian National Film Board and been a freelance documentary director in Montreal and Toronto. She came to Australia from Paris where she had been working on International Co-pro- ductions for the Swedish Film Institute. AFC Changes The Minister for Home Affairs, lan Wilson, has announced the appoint- ment of Sir James Cruthers as part- time chairman of the Australian Film Commission. The appointment is for a three-year term. Cruthers has had a long career in the 194 — April CINEMA PAPERS media industry, starting at the Perth Daily News in 1939. in 1959, he was appointed general manager of TVW-7 with a brief to set up Perth's first tele- vision station. He subsequently joined the board of directors, and, in 1976, became chairman and managing director, before retiring in 1981. Cruthers is also a committee member of the Children’s Television Foundation and has recently been appointed a director of the board of United Telecasters Sydney. Ray Beattie has been appointed a part-time commissioner of the AFC for a three-year term. Beattie has had a long involvement with the film industry and is chief executive of Atlab Australia and president of the Film and Tele- vision Production Association of Australia. Beattie began his career at Color- film in 1958, becoming senior manager in 1960. in 1962, he joined Eric Porter Studios where he established and managed the Porter Processing Film Laboratory. His association with Atlab began in 1966, as sales manager, becoming chief executive in 1970. The retiring part-time commissioner is David Williams, who was appointed to the AFC in 1979. Williams, one of the most active supporters of a local film industry, is general manager of the Greater Union Organization. ATAEA IIIIIIIIIIDIIIIIII IIIII IIIIIIIIIIIIOIII I IIIIIIIII I III The Australian Theatrical and Amusement Employees Association has recently announced the results of its management elections. Those elected were: Lyn[...]78-80 STANLEY STREET, COLLINGWOOD VICTORIA, 3066. AUSTRALIA. Telephone: (03) 41 4245 After hours: (03) 850 20[...]Schuberth — executive. Reportedly, 35 per cent of ATAEA members (1650) voted. One of the major issues of the election was whether Damien Stapleton would be re[...]rly unfavorable pre- election press, particularly in the Sydney film newspaper, Filmnews, which ran a high[...]nst it, he's running on his record and a campaign of smear ‘n’ fear", etc.). According to Filmnews, Simon Jenkins defeated Stapleton by 11 votes. But the issue didn’t finish there. Stapleton called an emergency meeting of the ATAEA federal council and challenged the election results, saying not all members received[...]tion has obviously raised serious questions about the ATAEA’s handling of such simple pro- cedures as a democratic vote. An[...]opments will be viewed with great interest by all in the film industry. ATOM The Australian Teachers of Media (publisher of Metro) has launched a new series of study guide publications, entitled “Australian Feature Films in the Classroom". The first was released to coincide with the Australian premiere of Puberty Blues in Melbourne. (Bruce Beresford's film was the subject of the first guide.) Current resource material is needed to assist in any study of Australian feature films. included in the study guides will be reviews, production details,[...]ing used to allow classroom display, and there is the opportunity to acquire inex- pensive class sets. Publication of the study guides will coincide with key release dates of those films selected as subject material. ATOM i[...]y and tertiary media teachers and institu- tions, the media industry and people from the community with a broad in- terest in the mass media. For more information regarding the Australian Teachers of Media and the “Australian Feature Films in the Class- room” series, contact: Lee Burton, Secre[...]after six-and-a- half years as full-time chairman of the Australian Film Commission. watts became chairman of the AFC in May 1975 after 25 years with the ABC, during which time he was director and controller of television programs, initiating the current affairs program, This Day Tonight, and fi[...]manager-TV from 1972 to 1975. Watts represented the ABC and Aus- tralia at UNESCO conferences, was a delegate to the European Broad- casting Union and has been a member of the Australian Film and Television School's Council. Watts recently became the chair- man of the Australian Children's Tele- vision Foundation. * |
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| [...]recorder has completed the[...]The major feature of the CTR-3 is the[...]its associated dichroic optics. This assures the elimination of the raster line structure without[...]combined with the quality of Eastmancolor film from Kodak, the color saturation and[...]The impact of all this is the coming together of the film and video laboratories.[...]Now a job can be shot on film, have all the[...]The potential is unlimited and the time[...]to be the first to introduce it to Australia."[...](A Division of the Colorfilm Group)[...] |
| Everybody says the Victorian film industry ha sa com plex[...]A couple of years ago[...]the Victorian Film Corporation opened[...]the Melbourne Film Studio.[...]nearly 12 million dollars in production pass[...]be able to work free from the weather, flight paths[...]and the neighbourhood dog.[...]On April 1 1982, the V.F.C. will open Phase 2.[...]Together with the existing sound stage, it will be[...]the best plug-in production complex In this country.[...]have the morning tea scones hot before you've[...]rolled the first shot[...]The Victorian Rim Corporation underwrites this[...]before the new financial year scramble.[...]Call the Victorian Film Corporation on[...]Victorian Film Corporation Office: 4 0 9 K IN G STREET, MELBOURNE Studio: 117 ROUSE STR[...] |
| [...]ude that com pensates for camera film, available in 16mm and even the m ost severe exposure So in summary, all w e can 35mm, that will positively[...]elivers such a fine say is that if you've got the creative the creation of any m asterpiece. grain that every frame can be know-how, and the will, w e've got appreciated as a work of art in itself. the way. New Gevacolor Type 682. New Geva[...]can be processed without any of the This film passes even the problems created.by climatic Head Office, EO. Box 48, toughest of tests with flying colours conditions. And it's c[...]th Nunawading, VIC. 3131. (if you'll forgive the pun), the process employed by m ost major reproduci[...] |
| The New South Wales Film Corporation is devoting incr[...]and project development. We are also in the business of investing in and arranging fin a n ce !o r m otion^[...]back this up, we offer a full range of marketing services, including a ^ M i ^ M K ^ B a B i i a t e gicallY-olaced office in Los Angeles. So, if you want to develop or make a movie, now's the right time to get in touch[...]45 Macquarie Street. Svdnev, Australia 2000 Telephone (02[...] |
| is proud to have been associated with the production of |
| [...]McFarlane Women in Drama: Meg Stewar[...]ture Preview: 117 The Quarter[...]Women in Drama Interview: 120 Picture Pre[...]Heatwave Review: 164 Mari Kuttna, Phil Taylor 149 Review: 163 Film Censors[...]175 Priest of Love John Titt[...]Dave Nash Best of Friends Jim Mu[...]Sam Rohdie Recent Releases Merv[...]Papers is produced with financial assistance from the Australian Film Commission. Ian Baillieu, Brian[...]aurice Perera. Proof-reading: Articles represent the views of their authors and not necessarily those of the editors. While every Arthur Salton. Design and L[...]and materials supplied for this magazine, neither the Editors nor Administration: Patricia Amad. Secre[...]inclair. Office Assistant: Jackie Town. the Publishers accept any liability for loss or damag[...]reproduced in whole or in part without the permission of the copyright owner. Cinema Papers is Advertising: P[...]pesetting: B-P Melbourne, Victoria, Australia, 3051. Telephone: (03) 329 5983. Typesett[...] |
| 1982 Awgie Awards Seymour Centre in Sydney. Seasons of jury system in preference for industry[...]to voting. All eligible features were The Australian Writers' Guild's 15th Queensland, A.C.T., Western Aus screened in Melbourne, Sydney and Annual Awgie Awards, sponsored by tralia, New Zealand and the Lyric Adelaide (and in later years in Perth, Ampol, were announced on March 4 in Theatre, London. Faber and Faber[...]film the play. before voting in the category or cate The awards were presented by the gories of their expertise (e.g., editing or State Minister for the Arts, Murray Hill, Ron Elisha's other produced play sound). They also voted with AFI and the guest of honor, Professor was In Duty Bound, presented by the members (full and associate) for the Manning Clark, A.C., to writers in 13 Melbourne Theatre Company in two Best Film Award. categories, with the winner for an Origi seasons in 1979-80. nal Work for the Stage, Ron Elisha for Some years later, the procedure was Einstein, also winning the major Awgie Ron Elisha was born in Israel in 1951 changed and all voters had to be Award for Outstanding Work. and emigrated to Australia with his members of the AFI, which now has an family in 1953. He graduated in medi open membership. The awards were announced after cine from Melbourne University in the dinner in the opulent Victorian sur 1975, completed his residency in This year, with no forewarning, the roundings of Edmund Wright House Sydney and is now practising in judging system was changed again. with the Musica de Camera Quartet Melbourne. His interest in writing dates Due to what the AFI feared would be an (harpsichord, two recorde[...]om 1967. avalanche of entries (35 being the da gamba) playing baroque music[...]ure quoted), it decided to pre-select throughout the evening. Awards Fracas the features down to a " manageable"[...]level. The proposal was that a "com- Master of ceremonies was Adelaide M ajor changes to the Australian Film mittee of eminent film industry profes playwright Rob Geor[...]ed by sionals" select four " nominations" in work, Percy and Rose, centred on the the organizing body, the Australian each of 13 categories, which would relationship of Australian composer Film Institute. The industry has not ac then be voted on by all int[...]: (i) Four films in 13 categories means Grey, was premiered at the 1982 Adelaide Festival of Arts. The AFI could have had little idea that up[...]be pre-selected (assuming that Names of the winners in each cate through the film industry with its number of films was ever pro gory, together with brief biographical announcement of the rules governing duced in one year). So, such a details and some of their other writing the 1982 Awards. The controversy pre-selection procedur[...]known), follow: centres on changes to the judging of in itself mean the final number of feature film entries by the introduction films up for voting will be less than Original Work for the Stage and winner of a pre-selection jury. the number of features entered. Of of the major Awgie Award: Ron course, some films may be of such Elisha, Einstein. The Issues a low[...]em Einstein is Ron's second produced In 1976, the then executive director out. But what if one of those films David Roe abandoned the long-held had the best sound editing in bourne Theatre Company in 1981 and years: the jury would be obliged to has just completed a season at the[...]several years with the Divor[...]and Film Australia. Writing Pals, Original Works for Dorothy Hewit[...]the TFC. Elizabeth Jolley[...]Mukinupin. Her latest play is in Original Work for Two Men Running the Perth Festival. Radio[...]play Television Serial David Stevens The Sullivans which was produced by the Episode Luis Bayonas (epis[...]Sydney Theatre Company in[...]are: Night Report, The[...]Performance, Sheperd on the[...]Roof and Woman in a[...]David was co-writer of the[...]and directed the television[...]Jonah Writer of screenplays for My Adaptation Laura Jon[...]Brilliant Career and The Ken Cameron Every Man for Getting of Wisdom, plus the Original Work for John Duigan Himse[...]the Bridge.[...]Adaptation Winter of Our Cass, a feature f[...]Dreams Australia, plus Sporting Original Feature[...]Wrote and directed the feature[...]directing the feature Far East,[...]er Award for an Unproduced Script by an Associate of the Guild: Shared by Julia Britton for her stage play[...]and Christopher Kennedy for his original teleplay The End of the Course.
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| [...]The Quarter unreasonable to suppose that n[...]the occasional light drama. In 1962, he (ii) Given this, one can speculate[...]guideline might be invoked, whereby the jury would be instruc[...]to direct an episode of Harpers W1 for ted to keep the total number of nominated films below a limit --[...]ATV. This was followed by episodes of say 10. If this is so, the jury may be forced to ignore the best candi The Avengers, Callan, Public Eye, The date for a specific category and go for the second or third best. For[...]Rivals of Sherlock Holmes and Enemy example, a certain film A may have the best sound but is so poor[...]at the Door. in all other respects it is not being consid[...]He had also directed the feature say, 10 films have already been[...]What Became of Jack and Jill and could be a temptation to ignore film A and put one of the other 10[...]several television plays, including The films in its place (i.e., in the sound category).[...]Importance of Being Earnest, Pretty (iii) There is also the problem, seen at[...]Polly, The Listener and Father's Help. many past Awards, of landsliding one film at the expense of others.[...]Bain returned briefly to Australia in Because one film is so superior to the rest in many ways, there is a[...]1978 to work at the Australian Film and tendency among voters[...]Television School. His role was that of in all ways. Thus a film like Breaker Morant (in 1980) or Galli[...]ding 12 third-year students through poli (in 1981), however deser vedly, sweeps the pool. This has[...]their television projects. In an inter happened in open voting, and it is conceivable it cou[...]view in Cinema Papers' he said: more so in pre-selection -- especially if a limit is[...]"One of the nice things about the (iv) Perhaps most important, how[...]AFTS is that all the people I know in ever, is the problem of choosing a jury. Given a very active indu[...]the industry would have liked to it will be h[...]had a baptism by a vested interest. It is the old film board argument: if a person is[...]more about the technical side than he will be too busy working himself to make those judgments. The untimely death of assistant we do. So I think that the more of us Even if a jury can be found, there director Chris Maudson, 36, from a is the question of prejudice. Will it brain tumor saddened the Australian funeral. The line-up included directors who can make a contr[...]udget features? on some 12 feature film s1 in the place the better. Would, for instance, last year's capacity of assistant director, special bull, Esben Storm and Stephen Wallace; Wrong. Side of the Road make it izing in the difficult area of organizing producers Margaret Fink, Richard[...]? If it actors for their appearance before the Brennan, Mike Thornhill, Errol Sullivan didn't, it would be the AFI's -- and cameras. His special quality was[...]ndy out gladly to do this job. I believe in the industry's -- loss, to say actors the feeling that he cared about nothing of the filmmaker's. them as people, and that[...]Hughes, Kris McQuade, Arna-Maria the potential talent this country has,[...]e Winchester, Lorna Leslie, Jo Kennedy, In short, the arguments against a as they prepared to appear before the John Hargreaves and Bryan Brown; th[...]s focusing and pre-selection seem overwhelming. The cameras. only argument in its defence is that the[...]discipline -- also a place like this number of films to be screened will be Chris was the link between the often Daniell and Jenny Woods; agents unmanageable. But it is a false slow progress on the set and the impa Hilary Linstead, Jane Cameron and[...]itable Lynn Gailey, Stuart Green, Norma the quiet and not have them thrown The closing date for finished prints about waiting. But Chris was the kind of is, as of writing, May 21. This was the person with whom it was very difficult to Moriceau, Cheryl Williams and Melody up on the television or film screen for date all producers[...]rought news Cooper. have been working to, and the one on to so many makeshift green rooms of all of us to think, `Jesus, isn't that the application forms. yet more delays, even the emotional Bryan Brown delivered the funeral[...], which began: awful.' " The number of films eligible for entry their spleen on him and the production appears to be about 28. Now, at least[...]Bill Bain was unquestionably one of five of these will be in release around screening time, or have had a major Chris was likewise given the often the world's finest television directors. release (three weeks or more). This onerous task of ringing the production means the maximum number of films office and giving producers an[...]His episodes of Upstairs, Downstairs production managers the news that the needing a screening is 23. In 1977, the day's shooting was going into over[...]and Callan stand with the best tele[...]ing three disarming weapon that brought the[...]f i l ms s e e ms h a r d l y an news about the complicated shot that unmanageable exercise. was just about to be completed and the One of the pleasures, in fact, of a couple of quick close-ups to follow up Also, not showing films already in in no time at all and wrap up the day. " In December 1976, I met Chris series like[...]son and Richard Brennan, and is a needed change in regulations. At about three hours overtim[...]was introduced to 161 Victoria St. until the Awards screenings before Over the next five years, I partici was directed by Bill Bain. If the show seeing a film (free). Surely, AFI Chris was a film buff with an overall pated in countless discussions, members should be encouraged to see love for all types of films and a particu mostly about film, around a[...]d genuine emotion without being Australian films in their correct environ lar passion for Jean-Luc Godard. Just a round table in their kitchen. Many ment -- at a cinema with a[...]share a sentimental, if it managed to turn the audience. a[...]simplest linking scenes into magically- The Furore tured spirited female leads. He dived " The hospitality and camaraderie[...]charged moments, then Bain was When the 1982 application forms which houses a legendary collection of existing at Chris and Richard's were mailed and news of the changes videos, and emerged with films[...]elped many an unfinancial pro probably the director. reached the industry, there was a Judy Holliday,[...]job- " One's concern is always to find the days later, on March 3, at a meeting of summaries of the likes of Easy Living hunting technician, unappreciate[...]reality of a script, to sniff out what the Continued on p. 192[...]The last job Chris worked on was through a bad[...]re later withdrawn from voting, but casting for the forthcoming television 20 were screened. series on the Whitlam years. His know "To walk up the stairs and be ride very carefully over e[...]ledge of actors and cinema gave Chris the perfect qualifications for the job of faced by Chris sitting at the table passages if you don't want your[...]perfect position in the film industry. made you sure there was at lea[...]person in this world who was glad to " It is also a caring on the part of the[...]1. Chris M audson's credits: The Tres enthusiasm to be around people[...]Barney, The Chain Reaction and Stir.[...]the thing itself -- then you will trans[...]mit some of that feeling."[...]presence in world filmmaking will be[...]On the set of Far East, work stopped[...]and cast and crew stood on the roof of 1. Cinema Papers, No. 17, p. 79.[...]the ageing Supreme Studios where[...]the balance between actors and tech[...]nicians better than anyone else in the[...]industry. I appreciate the contribution[...]wish so much that we had him on the[...]appeared in many of the films he[...]The Duchess of Duke Street typify[...]excellence in British television drama.[...]The leading director for both series was[...]22, Bain died of cancer in London.[...]tion at the Australian Broadcasting[...] |
| [...]w riter tephcn Maclean Where did you get the idea for characters I wish to de[...]to sit with them every day for sketches of characters I knew from this pub where my mother[...]most reveal themselves with their style and form of speech. So I jot I see the character, then I hear down things people say, and they the character, and what I hear is the lay the seed for the scenes. spur to write. Most th[...]imply because a particular person Once I have the rough arch says them. Think of Marilyn itecture for a few scenes, I begin to[...]walks into a ship's evolve a plot to accommodate the cabin in Gentlemen Prefer Blondes[...]ander); Jackie; cousin Angus (Ross scream. In fact, it was so right for O 'D onovan); Jackie;[...]cLean and director Gillian Armstrong tion of the same gag in Some Like make some on-the-spot script alterations.[...] |
| Stephen MacLean Inspiration comes from the aspiring to seriousness just don't oddest quarters. One night in have the brains to attach value to London I went to a pe[...]real talent like that. It doesn't hide tion of Chekhov's Cherry Orchard behind a cause, but has the con at the Riverside and he immed fidence to be its[...]ll once again gain orchard and their entire way of life prestige, as it had in the 1930s, with reminded me of the real pub people columnists like Dorothy Parker I knew. They lost their pub, and the and Robert Benchley in journal loss of true location left them ism, and Ben Hecht and Billy ghost-like. Wilder in film. They were very friv[...]they dealt with serious I can remember when the first things -- and isn't that black A ustralian films came out in comedy? And these people were London,[...]e, very highly regarded -- and still "The thing about you Australians is are. you shou[...]azy generalization, but I We are getting out of that post- do think there is a strain of Aus World War 2 period when comedy, tralian[...]That's okay, very lowly-prized commodity. The but it's often expressed in a preten tious, middle-class way -- Toorak[...]`quality' culture at one end, Carlton tion for the craftsman. I'm glad. `alternative' at the other. Australia has a bit of money in Perhaps our sense of isolation the kitty, so it tried to buy `art' and gives us a morbid strain, but the `culture', which is a prime example work seldom has the patches of of a middle class getting culture- levity the Russians bring to their obsessed and getting[...]ality. So I loved Don's Party because it In our case there has been too much was serious w[...]edly intellectual. But and it has produced a lot of dull, that is a very rare work. I suppose boring works -- more so in theatre than in film. Alvin Purple and the early comedies were sort of awful; there was One film that does really hit its some great stuff in the Barry mark on this score is Paul Cox's Mc[...]ature Lonely spot burlesque comedy. And the Hearts, which is bleak and sad, but public loved them. funny! That's the thing: whenever tragic things are happening in life, I respect the real public, not the so m eth in g zany is u su ally culture vultures, bec[...]is more than you can say for a lot of Given that many Australian films of critics. the early 1970s were comedies, why did they stop bei[...]We should value comedy. Our struck" is the first comic film in a while, except for "The Club" . . . most remembered Australian talen[...]is one phries, and it wasn't an arts grant of the best Australian films ever. In system that fostered him, was it? In that one David Williamson was developing talent, the culture funny and serious. Is comic writing in Australia under valued? Yes, because of the pretensions I have been banging on about. The Australian public has a highly developed sense of comedy. We are the only country which takes it from all over the world, on tele vision. And yet the powers which run entertainm ent (and that includes the government) accord it the kind of status you would give junk food. It happens in every arm of the media. A great Aussie writer, Ross Campbell, just died. He labored for many years doing columns for the Packer press. He wrote real things, like the humiliation a father feels when his kiddie says, " Daddy, why doesn't our fridge have a light in it like everyone else's?" And, of course, all those middle-brows 112 - A[...] |
| [...]seem to be only $5 for a ticket. People in the every film which tries to represent fo[...]ilm is synthetic. Pearl (Margo Lee) who runs the a few films about having affaires f[...]pub in Starstruck. Edna is an with Frank Moorhouse, don[...]Starstruck was written straight extreme of that type -- "Aus there? In writing, there is too much If you ar[...]a theatrical exper tra lia 's answer to the Jewish false value placed on well-inten[...]pieces, when why be conservative? The basic ience rather than real life. And Gill billed himself in New York. those very writers often have the principle of rolling it is against that. Armstrong has struck the right note talent to be encouraged out into the And as for being concerned about here, whereby the people are Actually, I found Pearl a rather sad, open, to drop all the references only your future, you don't h[...]icature, but nevertheless they find interesting. In those demand to be taken seriously. The Sad? circles, you can be frivolous or[...]disengage themselves pant, but only if you throw in heightened quality about it, par from their backgrounds. Look at the way she is used by Lou ticularly in the pub scenes, which are[...]ple's I relate Edna Everage to this, the sense of reality than the pop culture fine line between character and[...]seem compelled to scenes. Was that the sort of style caricature. Edna started out as a good root and Pearl liked a good act out the role of `the artist'; you were going for? satirical character within the root. French-style. And the industry dramatic framework of Moonee itself hangs naive labels. For Yes. That sub-plot about a pub Ponds. As the years went by, people Even given that, she s[...]people is about a dis began to think of Edna as a real accept him robbing the safe . .. going, some people said to me,[...]ill Armstrong doing Star- about the Australians who had a[...]uck? She is far too serious. She sniff of the Depression. They have a This is tied to the sense of reality that at all. That just happened in a could not have the sense of humor[...]actually grafted that in from a real- serious and have a sense of humor[...]emory. I think Australian too -- or even a sense of comedy?[...]men, in one way or another.a woman (and I emphasise the sex)[...]The heightened realism of the pop[...]sequences touches on styles used in[...]pop clips: for example, the `I Don't[...]Like Mondays' clip of The Boom-[...]The Starstruck theme song takes[...]place in a schoolroom because[...]school and much of the potential[...]audience will, too. The schoolroom[...]relative to the amount of time kids[...]actually have to spend in them.[...]bring to "Starstruck" the expecta[...]tion of being thrilled in the way, say,[...]bbie and Jackie sing "Body and different point of view to anyone person. Les Girls at Kings Cross Those thrilling Devo-type clips S o u l" in the Harbour View Hotel. Right: born 10 years late[...]rely almost wholly on cutting. You Angus, in the schoolroom, sings "Starstruck". cally a working people with a basically female audience from the can use cutting to communicate Above: Jackie leads Angus, disguised as a special kind of wit and a theat suburbs, and they go and watch rhythm for the length of a clip, but kangaroo to hide his youth, to the Lizard ricality about them which is very these guys sort of ridicule you have to use it sparingly in a Lounge. Starstruck.[...]g; we have been so Patrick White wrote in his right. and have a sense of humor. colonized by the U.S. memoirs that Australian[...]re interesting than Aus But I think any of those songs As for myself, I have suffered the Starstruck is an odd form of tralian men because of this male could lift from the film. This is how reverse of that; because I might Americana syphoned through the element in their make-up. He wrote I think an audience[...]that Australian men do not possess clips of musicals on television. people often think I'm n[...]feminine element First, they get to like the song. about my work. That's the Aus American films before it. It is the in their make-up, and are con Second, they get to like someone in tralian culture climate, love. type of film which falls somewhere sequently less interesting. the clip. They get to thinking about[...]maybe buying the record. Then I find the Australian public is far[...]nt to go to Grease or what more adventurous than the people A lot of people go to films certain type of woman who stifles ever so they can see Joh[...]that wonderful feminine part to ape do the songs bigger and louder than[...]life. Well, there is nothing like real the worst kind of male qualities. on television. But the public has less at risk -- life excep[...]people in their places with their get people hooked on the music[...]to the clips. Their response to the[...] |
| Stephen MacLean film as a whole will be another In A Star Is Born Norman dies story. and in Starstruck, which is a much[...]listic piece, Jackie saves How involved were you in the choice the pub. That is the pantomime of musical numbers? Did you include aspect of it. I think pantomime fits directives in the script? the form by the very nature of pop[...]was a hideously bad film, and it was them . When the songs were serious. obviously necessary to the plot, I wrote them in first go. But I also "Starstruck" reminds me greatly of went over the script afterwards and the pop musicals of the 1960s . . . wrote in "song" in the sections which would gain energy from the mere infusion of a song. Even a We are in the midst of a 1960s dramatic script can be likened to a revival, but it is more subtle than popular song in structure: there is most, and pre-hippy. New Wave is the opening chorus, the bridge, the a pre-hippy 1960s term. melody, the climax. It is the bridge When I first wrote Starstruck, I that most often lets a song down -- was working in London on a Fox and a script, too. short about the mod revival. So I For someone who likes musicals, set Starstruck in the 1960s mod I often find them a laborsome style, w[...]talking, then they turn to fashion is a wheel and the wheel sing in another voice, which always turns too quickly for[...]me running for Elfick [co-producer] then came up the popcorn. The only one like that with the shrewd and tough notion which really works is The Band that the period setting might be wagon, largely because of the con seen as a crutch for the film. Aus ception of writers Adolf Green and tralians tend to art dire[...]than give them a good story. A Star Is Born was the first So Dayid thought the script had to musical I believed. Every musical[...]rst I put Star- connect with British style pieces of struck's songs in a strictly realistic th e 1960s: Smashing Time,[...]But Gill said, "No, let's ment, Here We Go Round The Mul just do what we feel like." Take the berry Bush. scene in the bar where Jackie (Jo I had dinner with Diana Mell[...]nough" . I had always wanted husband George wrote the dread a ballad in the bar, because I just ful Smashing Time, "which loo[...]as so old-fashioned when it finally jamming with the musos in her came out in London." And I said, film, and the James Mason charac "Oh but we teenagers in Mel ter comes in and sees her. That was bourne loved it, because of the realistic, whereas Gill has our girl time-gap be[...]nk it works well, We all went and saw those films in in the end. larger[...]countries. They had a sense of Did "A Star Is Born" influence the optimism and glossiness which structure of the film? Australia still feels. Relative to the rest of the world, we have more to It would be great if Jack[...]ilms walked up and said: "This is Mrs had a kind of screwball fun which Norman Main." No, I do not think suited the Australian sensibility, it influenced the structure, just the and, even if they maybe weren't the feeling. greatest films in the world, Aus I took the advice that writers get: tralians were quick to pick up the if you want to write a book, write satire. the kind of book that you would Look at Can't Stop The Music. want to read. But people are not That fil[...]ess anywhere honest about films they really like in the world whatsoever. It is a because they do not wa[...]umb. I thought I would get down and a big joke on The Gang's All to the kind of film I really love -- Here and all those Twentiet[...]12 and really blew me out. I tralians, apart from the clever sell reasoned that if I could keep the that Alan Carr gave it here, got the magic of that film with me while I joke, whereas the Americans did wrote Starstruck it would keep me not have the sense of humor to get going. it. We got the joke about the Here So, Jackie became the Judy We Go Round the Mulberry Bush- Garland character on the way up. type of films better than anybody. Given that at times the film gets into The pub background became the A ustralians have a highly-[...]areas where some could accuse it of N orm an Main character: the attuned sense of humor. That[...]sending up minority groups -- e.g., alcoholic on the slide down whose[...]ls and fat women -- did time had passed, who was of comes from being a combination of Top: Jackie and Robbie, leader o f The you feel the need to hold back, to be another era. That pub b[...]homosexual the funniest races of people in exis friend, Terry (John O 'M ay), in the pool[...] |
| [...]not write Nana fat. She was pool party instead of a leather bar, of a television station where Jackie good for them. Mae West is one of not fat in the script. But Pat Evison tells her band that she is performing the few in the history of show- is great; she uses her size to great, as[...]a anyone who is a big star has some What about the scene where Jackie quite keep track of the re-writes, Sybylla speech in "My Brilliant capacity for that. That is why there is disappointed because her golden and the actor playing the part, John Career". But the disaster of the are a lot of brilliantly-talented haired boy is homosexual? W[...]who had seen an earlier show teaches her the importance of people around about whom every Angus appears[...]ft, said, " I am really disap other people in her life. Were you one says, "Why aren't they[...]ted. This was a good part and a commenting on the problems of per They are so talented." But they do back[...]ence? not have that conceptfbn of iden that?" Given Jackie's obvious dis kind of dump on him when they[...]tity which is what being a star is. appointment, the line has the ring of find out he is gay." Stars[...]nt. That is not to deny herself; she just had the ambition.[...]to be taken terrifically seriously. through the history of show- like finding out that the man of on location. Sev[...]ost like a pimp/hooker being gay cuts her out on the sexual Actually, I don't think her line is[...]has a level, which is a very large level to out of character. Angus says, " He But the structure does lead people to hairdresser, Judy[...]t is why Jackie's line seems out around, a lot of people are." Basically, I saw the script as a of character . . .[...]It was one of those situations it was that her cousin Angus, who Jackie, a kind of Les enfants Yes. I might have failed there; it where I did the re-write to accom was also her manager, actually terribles. The way the film played is is all a bit murky. I got edgy[...]whole gay sequence it was a period script, the kids went better for her, what was `right' for it took on a life of its own. Now, it was re-written and changed into a to The Purple Onion, which was a her character as presented to the is not Angus' story -- it is Jackie's famous club in Sydney, and they public.[...]There is a scene in the dressing room[...]Gill came up with the idea that[...]Angus should mature at the end[...]go off on his own tangent of[...]"Oohhh!" , because I thought of[...]Saturday Night Fever, the story of[...]treats all the girls like slobs, then[...]opted for `maturity' at the end[...]You wrote in `Penthouse'1that Gill[...]Directors are very suspicious of[...]writers and expect the worst from[...]writer -- in that sense. Having gone[...]Gill came into the piece quite[...]late, but she hardly changed the[...]and add the finishing touch of[...]Angus meeting the gum-chewing[...] |
| Stephen MacLean Above: Jackie and The Wombats steal the But, I am always suspicious when show at the N ew Year's Eve concert. Right: people tell you[...]about heroes Angus I am doing The Lee Gordon have to hold on to whatever[...]ste to his walls, that type Story about the eccentric Amer attracted you to the project. of thing. I also did a few quick ican promoter who sort of colon Richard Brennan said to me, "You fiddles during shooting. ized Australia during the 1950s. make the film when you write it,[...]would have altered some of Angus' while, I'm writing a script I[...]happens. If I dialogue. I wrote his stuff in short, " Eddie and Katoots" . The two had known that somehow the film staccato sentences -- the Jewish leads are a kid, because I like would come out being Jackie's kind of talking. Ross O'Donovan writing abo[...]re than Angus', I would naturally speaks in long, rambling the-hill model who suddenly has to have been in a quandary. I would sentences with a nasa[...]was his first part; I would have the beauty ideal has changed to 16- Every other film is about a girl who liked to have adapted the lines to year-olds like Brooke Shields. She wants to be a star. But because of him. is 32 and never had to do a thing in the em otional qualities Gill invested in the film, Starstruck But when you hit upon[...]e with Gill. Anne Baxter. She is the actress who[...]won a few Oscars, then went " B" . " I was the only person who'd What sort of audience did you have It is basically a love story, about associate with the producers." in mind? her four years spent in the Austra Sorry it's an old gag.[...]From nine to 18. If the film owns the rights to it. Initially, I did things Tike solicit takes, it may then wash into the ing songs. I sent out music break broader audience that in the old I saw Anne Baxter in New York downs, had lunch with publishers,[...]and talked to her about it. I think it put the net out. I'd talk to the Art Fair Lady. Starstruck has a form could be one of the few genuine[...]nd appreciate, and maybe get tralia to the American perspective. a giggle out of. Our tie with the U.S. on every level,[...] |
| [...]ommune, wants a love with "nofadefrom distance in it". Whatshe gets is Javo (Colin Friels), a 23[...]s addicted. Sm ack habit, love habit -- what's the difference; they can both k ill you. Monkey Gr[...], fo r producer Patricia Lovell, and is based on the novel by Helen Garner. N o n i H a z le h u r s t a s N o r a in K e n C a m e r o n 's M o n k e y G rip.[...] |
| [...]m Ryan Perhaps, more than any other Aus opera. The ABC used to do operas School Mistress at night, a[...]nd sometimes not. extensive experience on stage, in voices. It was Hansel and Gretel, film and on television. When you the full H um perdinck opera. Why didn't you just mime her voice? Yes, but in theatre they, generally began your career did yo[...]does not get in cinemas. How do that kind of breadth? It took me a whole term -- an hour Because it was the same day that they communicate to you?[...]l five You can hear every gasp and sigh In 1962, when I was still at how to mime it properly. This metres to the floor. That was awful, -- you can feel the tensions. Don't school, my foremost ambition was helped me a lot when I did Band but it gave me one of my better ad tell me I am imagining it.[...]had insisted that I should pre-recorded tapes -- of your own and told the world, " Even fairy dust No. I am trying to fi[...]it is matriculate, and I was planning to voice, of course. like. Is it like sitting in a living[...]arn to realize that I was a much better work over the other areas of masse thing, it is tricky to describe about cameras. At the same time, I actress than I was a singer. Acting[...]nnot see their faces; was doing children's plays in school was what I cared about, passion[...]tell when there is one holidays and that kept me in there ately, but singing was still good fun. No,[...]nsym as far as stage work went. I sang in a pantomime which led to parative novelty for me.[...]a radar. The thing that was the turning me being offered a recording done a handful of films, whereas I point in my life, that brought it all contract at the same time as Billy have done dozens of plays. But I As one primarily bred in theatre, together, happened in 1965. I had Thorpe. He recorded Poison Ivy would[...]I was never how important for you is the limita just left high school, and was about and[...]stage again. There is tion on rehearsal time in television? to go on to university, when the Something's Got a Hold on You something fantastic about playing ABC offered me a part in a tele and sold 159![...]Trial by Marriage is unusual, in in front of an audience. I sang for that it was done with[...]and in a very regimented way. We[...]25,000 people at the Myer Music started rehearsals on the Monday, shot on film, which was really What is y[...]9 a.m. to 5 p.m. every day. On the[...]then the audience came in and we that, but the 1700 at Her Majesty's recorded it that night.[...]m, for whom I had I am all for it. I did not have the for They're Playing Our Song was already worked in a television play. reg u latio n two y ears at the fair enough, too. It is[...]was only 18, and to go away on National Institute of Dramatic I think you are really missing out kind of production conditions are location to do somethi[...]too good an opportunity to as much tuition as any of my con before an audience now and again.[...]ing experience. coping. Having done dozens of were understanding, and I did Helen Morse, Kate[...]at where you are working properly or Matlocks in the early stages of my for children, which was later sold to the Old Tote and found myself with not just by their response. career, I have developed a certain the BBC, which repeated it a couple the same actors and workshops and I was brought up to believe that facility for that kind of thing. I of years ago. As a result, I am now classes that they had, for in those there isn't any such thing as a bad getting love-letters from 18-year- days the NIDA students used to be audience. And, essential[...]. understudies for all the produc great way for an actor to be trained. tions at the Old Tote. But I have learned from seeing my Did the opera provide you with the Kate Fitzpatrick always reminds films several times over with inspiration to go on to "Band me that the first time she went on different audiences that r[...]as my understudy. I had vary so much, even though the lost my v[...]ance remains constant. I I did not actually sing in the Peter Pan in the daytime, and The think that is a certain indication[...] |
| [...]the luxury of working on film, or in Clockwisefrom above: Jacki Weaver and Ernie Sigl[...]ing Stork; Weaver as fairly frustrating. But, in a way, it is Masha in the Nimrod's production of "The Seagull"; a good training ground.- Jack Allen, Sean Scully, Weaver and Gordon Glen- wright in the ABC's Be Our Guest!; Weaver and Little I haven't done a soapie like The Pattie sing "Let's Get Together" on Bandstand in Restless Years or The Young 1966; Weaver in One and One Makes Two; Weaver Doctors, bu[...]can be incredibly hectic, even more Peter Sumner in Trial By Marriage. so than Cra[...]must say 1 have a lot of admiration.[...]They have trained some of our best[...]because I have such a lot of respect for the people who work behind the[...]the kind of work I want to go into[...]sources of inspiration or models that[...]When you are heavily involved in[...]learn from others. That kind of[...]heavy jobs. But one of the biggest[...]actress, playing Perdita in The Winter's Tale. It was in 1970, in a performance by the Royal Shake[...]also played Viola in Twelfth Night. Despite the fact that I had been an[...]personality in a part, submerge it[...]does. But the example that Judi[...]style of performance?[...]I work hard at them and do a lot of[...]different types of characters or[...]because to me one of the best things[...]six different characters in a year, rather than being stuck in the one.[...] |
| [...]e been playing for two years now,% play, or heard of you playing, a do it -- like the Mad Max 2 very easy for you . . .[...]asked Sonya in They're Playing Our traditional romantic heroine.[...]that a lot of young women (my Oh no. It's so hard![...]t about it. that, too strong for the males you natured mother of one who likes a[...]ter. Someone like Josie in Caddie Really? That's great! I am told[...]advertisements. In fact, I hate isn't at all neurotic. She is very well that one of the most appealing them. But I don't think the Mad It is the usual obvious things that balanced. She falls in love with a things about me is that I am so[...]ailor who makes her pregnant; it is boyish. A lot of people laugh at defy anyone to take me to the write down who am I, how old am the 1930s and the poor girl has to that, but, when I think about it[...]ngth that she can say to wanted to play Viola in Twelfth So, it is the product that controls[...]er friend, "Well, there's no use Night, which of course is the one your choice here . . . is a painstaking pr[...]ave been and will that would have meant a lot of[...]money. In Melbourne Cup Week[...]year, I was offered unbounded How important are the lines as they think Josie has great strength of riches[...]hate that kind of exposure. Money I would rather be given beauti[...]though. banal lines. But I think a lot of category of characters you seem to normally go somewhere where actors use that as a cop-out. I think play: that of the victim. Like the people don't know me, I am fairly But you do a lot of voice-overs, and most actors can make beautifully- wives in "Do I Have to Kill My quiet. People who do not kn[...]They expect there is now an industry in my a bad script as a challenge. The an aspect of me, a kind of vulner something vivacious and brilliant,[...]voice. There around, I think, if you have a lot of nearly every character I play, even The press is not all that bad, but I are two girls in Melbourne and a truth.[...]at I still get idiot reporters saying, girl in Sydney who sound more like[...]was urged to give Diane in Do I " Don't you get sick of playing say, " I can't remember doing[...]me that is far removed A couple of years ago, I went script if you can act. her, to sympathize with the kind of from the truth. into a radio studio[...]I said, " Why did you put this in the Do you ever dislike the characters can feel towards her baby. I found car[...]s have to that part really draining, because I is the best way to deal with the We were told at the last minute you And something to like about them[...]are an actor, I were, and that was the script we[...]in the way of your work. when they stopped the tape and much. And that comes naturally. A I really love the wife in Petersen.[...]And I said, "What do you mean -- lot of drama teachers say you I styled her on someone very close But the press has been, in one sense, that's not it? This is it. This is the should try to like the person you're to me, though I have never told her[...]mpossible. When Sybil Thorn me. Yet, I still have the occasional It has been just as unkind as I have also done quite a lot of[...]it deeper. I used to do a lot of child she managed to find her sym have done a great damage to the unjust or bad review I have had, ren's voices, too,[...]can sound pathetic: Lady Macbeth loved her cause of feminism by playing a every time I have been misq[...]You must come under a lot of pres woman who did that must have that. I think that is very stupid. But the articles that were written sure to promote the film you are[...]in. .. something right about her. about you while you were in Mel[...]Are you conscious of being used in bourne were all positive . . . harder than making the actual film.[...]are seen Yes, but they were all deserved.that of a girl every mother would as appropriate to those[...], forever Of course . . . cheerful and able to perk others up Probably, yes -- the "vulner in a crisis. . . able', lovable[...]sider here. When a reviewer I don't know about the tuck-shop times. I believe that is why they whom[...]ar lipstick and wanted people to like her but, if the he is insane, tells you that you are go out wi[...]Wait till she's 20; she'll be so hard." pathetic, the character balance feelings about him. You think[...]'s as been tougher, it might not have thought. On the other hand, more cute as a hatful of razor blades." been as entertaining, but because I soberingly, comes the thought that[...]. . . perhaps he is wrong, after all. Outside the tuck-shop and your Actually I am quite tall; I am[...]irst sitting down. The advertising industry generally impression isn't altogether false. I think that is what the appeal seems to find your image eminently But I also think it is more com was. I know that the scene in the exploitable. Do you ever feel that it plicated. There is a kind of neurosis first series in the restaurant where I has got out of your control? that seems to hover around many of beat up the waiter is very funny: the characters you play, like Joan in suddenly two grown men who are Not altogether. I always have the "Trial by Marriage" . . . more than[...]do knock of me. That is pretty funny. back a couple of television I think with Joan it is more a[...]ertisements a week. But if some psychosis. But the character I have I don't think I have ever[...] |
| Jacki Weaver the time. You press a button and[...]her worst roles were interesting person. That is the best[...]anyone these things, and I think I sort of publicity the film can get,[...]an actress." and you want the film to do well[...]for television, in prim e time,[...]woman in what is still essentially a you have been connec[...]male industry? unless of course you are just com[...]That is all they're good for. pletely incapable of doing so.[...]Anyway, how can it affect me? I On the other hand, the press[...]were, say, a businesswoman in often uses situations like that to get[...]might well hold me back. But in my at you and find out things that you[...]conscious of it as a problem. do not want to tell about your[...]In your experience in film, have private life. It is something that ha[...]antastic experience, even though it are a couple of days every so often[...]appears that I did so little in it. I[...]did lots more than the release print when I want to get under the[...]a lot of them jealously guard their A lot of my stuff hit the floor,[...]e about it. It is soul, said to me, "The reason your fend them off.[...]Weaver) in D onald C rom bie's Caddie. writing in newspapers nowadays wasn't good; i[...]" I don't know how true that I had 14 interviews in one day[...]t it did not matter to me recently and every one of them What kind of strategy did you use because I got six fantastic weeks of[...]watching Peter work and being in broached the subject of my less of how good an interviewer you[...]lm I most enjoyed just personal life. If you are in a suffi might have been, you would not have because most of the people I inter for the atmosphere, just for being in[...]t it. ciently anaesthetized frame of got that job . . .[...]them the same sort of feedback, it I like working with Ti[...]made for an interesting sort of stall. There was a fantastic camar[...]Dolly (Jacki Weaver), the brothel madame, connected to the opening scene in For a year I worked on the Wil- me that job because they thought I and Piggott (Michael Long), the puritan cop. Petersen, which people who have[...]Thompson's finger from that about being an inter the only way they could have[...]my stomach to a close-up of my viewee. I think I have always been known that[...]s as an interviewee, been interviewed by Willesee in[...]He was calling down from the how important that is, how it helps wards they s[...]hug, c'mon! Let's see some of that than against you.[...]n actress. If you views, I think. But I got a lot of flak[...]shoulder." hadn't been Jacki Weaver, regard from the press for that too, because[...]who gives you a lot of freedom.[...] |
| [...]arlos Saura was born in Huesca,[...]Spain, in 1932. Seven years later,[...]defeated the Republican armies,[...]ending the Spanish Civil War and[...]beginning nearly 40 years of repressive, military[...]government in Spain and entirely changing its[...]cultural life. Spain has always had a history of[...]repressive government, with the establishment of the infamous tribunal of the Spanish Inquisition[...]in 1480, a body which functioned spasmodically[...]into the 1800s, after its initial burst of purges,[...]seeing to the morals of the country.[...]Likewise, the Junta Superior de Censura[...]Cinematografica (Supreme Board of Film[...]Censorship), which was established in 1937 by[...]served after the victory as a way of supervising[...]the morals and attitudes of the country. It recog[...]nized the potential power of the nascent film[...]consolidate the victory by producing national[...]Typical of films produced at the time was Raza[...](Race), made in 1940, directed by Jose Luis[...]Saenz de Heredia (who was to become the chief[...]director for the Franquist regime) and written by[...]artists fled the country, rather than stay and try[...]of those who grew up under them. The years of the Republic from 1931-1936 had seen the rapid[...]growth of the Spanish film industry, with the[...] |
| [...]Carlos Saura's Mama His return to the position from 1963-67 saw a[...] |
| [...]Saura, Spain andMama world in which it is encompassed in later adult ideas not entirely political, which are best with the characters as individuals with separate life, concerns which are still present in Mama. It expressed by abstract methods. He also incor is typical of the way in which he uses his subject porates surrealist tou[...], matter as political symbols and as reflections of a debt to Luis Bu |
| [...]et done in the arts that you would like[...]to do them. In fact, I have to turn[...]people have it in their minds that I can do all sorts of things, which I[...]r mance of the New York Sym[...]ductors. Then the Minneapolis[...]conduct a whole season. I thoughtThe award-winning a cto r-w ri[...]lane. the joke had gone far enough, and I[...]However, in parenthesis, I did conduct the Philharmonia Orches tra in a film, and the first violin[...] |
| [...]man who was a kind of Sancho shooting when I was still a[...]on ter I had to do all my research in[...]very peculiar situation, but then the compromise with it.[...]a big success, for the Air Ministry minute of it, but I never regretted it[...]in retrospect, even if atrocious at[...]thing about radar which was on the the time.conducted by many worse" , which I were asking me, "Where are we same lines as In Which We Serve It is surprising you have not direc thought was one of the most flat going now?" , they were asking me or The Way Ahead. ted more films. The three films you tering things ever said to me. as the skipper as much as the did direct in the 1940s, "School for[...]inary S ecrets" , ``Vice V ersa" and The first violin's comment is a tion was auto[...]sh films the narrow possibilities which were today. We stopped shooting for a could have made a lot more of. Why Well, if you are not used to it, it imposed by the fact that we were on day to allow me to get out of the did you limit yourself in this way? has an extraordinary compliment the ship. In other words, if Bach army. I had to go to O[...]suit thrown at me by a Because I felt the British film Mitty dreams.[...]s my compensa industry was barking up the wrong know where to begin because he did tion for having been in there for tree. They were trying to get advice You have often made more than one not live in the same time as Tchai four-and-a-half years and now from the U.S. -- or from Ameri contribution to a film. Wh[...]had to have a cans -- on how to break into the generally find more satisfying:[...]he would know better what medical and all the things you do got hold of some very third-rate directing?[...]doing than Tchaikovsky when you get out of the army. And American advisers to tell us[...]day which cost us a lot of money.[...]more to contribute as an actor P eter Ustinov in uniform fo r Private easier than writing; I enjoy it very because I am the type of which Angelo, which he co-directed with M ichael much. It is a sort of tactical excite there is not a tremendous amount Anderson. ment; it does not give you the strat about. It means also that I do not egic pleasure of writing something work terribly consistently beca[...]tional I have never regarded myself as a sense of casting. Poirot has been professional director, in the sense very helpful to me because it has that I[...]have a very developed visual would hate to spend the rest of my sense in the case of moving time doing nothing but Poirot. At pictures. I know what can be done, the same time, I hope I have a but I have to stimulate myself in wider range than that. I have that sort of way. played King Lear twice in the last I don't think you can be in two two years with some success. places at onc[...]r writing, I am always where you came from and the film drawn towards the theatre or to director is rather like a cabine[...]minister: it is a vague profession. for roughly the same reasons, Anybody who sets out to be a fil[...]recting, but they he is given credit for, just as the never lose the traces of where they teacher is much more important in have come from. societ[...]sly important more literary one and therefore, in and his remuneration is never high the last analysis, I trust a verbal enough. imagin[...]ion can tell a story ade "School for Secrets", at the age of quately until I see somebody else do 25, and in a film industry that must it brilliantly. Then I realize what be one of the most precarious in the can be done. world. I am interested in how, at 25, So, I have never really thought of you got to be directing Ralph Rich myself as a[...]ial. It is a Richard Attenborough . . . matter of getting something which really fires my enthusiasm and I am At 25 I thought they had left it capable of doing. rather late to ask m[...]Billy Budd is probably my most practically missed the bus when 24 successful film as a director and it[...]for Secrets really hap were all on board ship. The role of a pened because of Felippo del captain of a ship and that of a Giudice, an Italian who had played director of a film are practically an important part in the British interchangeable. So, when actor[...] |
| [...]R o y 's Q uo Vadis. bring Priscilla and the kids over for I wrote the obituary for The understood. This was precisely the A bove: Batiatus (Peter Ustinov) and the weekend?" , but that is pre wrong way of going about it. Varinia (Jean Sim m ons) prepare to leave cisely what a Roman of those times Guardian on Ophuls and in it I said[...]ld have said. he was a man of such perversity I opposed the tendency of trying The Ringm aster (Peter Ustinov) and Lola to enter the American market with[...]rences did you find that he was capable of making the an amorphous, hybrid product. I M o n tes (M artine Carole) in M a x O p h u ls' working for LeRoy, Curtiz and smallest wristwatch in the world have always felt that art, if it is of[...]really speak so that passers-by could see the You cannot compromise with it. LeRoy, " The Egyptian'' for about because it was one of his first time. He was a mischievous and Galli[...]films before, but they were on a speak American in order for the[...]scale and he was sud well with him. people in Peoria to understand. The I think the Americans are the denly launched into this world of Ophuls had Cinemascope Beatles proved t[...]super productions. So he was rather broke into the U.S. market. They Roman films for the simple reason subdued. imposed on him in that film and he did not make any compromise on they are like the ancient Romans. If did not like it because he loved the their accents. They were under you go into the Chase National I said in my book that at that incredible intimacy --[...]u are taken moment he had none of the virtues almost embarrassing intimacy -- in[...]clever. into a room with columns of gor- but also none of the vices of youth. gonzola and, in the middle of all One did not know how old he was. of the screen. He said to me with a So, I thought it[...]cedure. Then, for behind him, his feet on the table, personality, but self-effacing and found a way of defeating Cinema some reason my career as an actor the bank manager is saying, "Why d[...]Quo Vadis and suddenly there conversation by the atrium and him quite well and I liked him very was no looking back in that line. kick this idea around." It is the much.[...]mixture of extreme relaxation and[...]brought them closer together and In fact, you worked in three more or formality and majesty which Amer[...]I was able to tell less `sandal and toga' films in the icans do terribly well. Everybody him the other day that the French said: "Two pieces of black welwet!" 1960s: "Quo Vadis" for Mervyn got riled when Robert Taylor in had just had a retrospective of his He was an astonishing fellow and I[...]films at the Cinematheque in Paris liked him a great deal.[...]He took his cigar out of his mouth scenes in French, German and[...]sake?" was done in three separate ver[...]oubt prefers to regard sions, one after the other, so there[...]s just a craftsman . .. was no possibility of only doing one[...]take; there had to be a minimum of[...]The crowning film of your career, move my head according to the[...]and indeed almost the crowning direction of her eyes so she could[...]experience of films in its decade, see the board. I asked her to make a[...]with Ophuls? nize it [the way she spoke].[...]The first night of the film was an One day, Ophuls had me do a[...]absolute disaster: the film broke four-and-a-half minute take. I w[...]twice. But Ophuls rather enjoyed it. the ringmaster and had to shout as[...]He started giggling because it all sorts of horses and things and a[...]dwarf moved past. In the middle of[...]one of the many takes I suddenly[...]got hoarse, and I sent the dwarf for[...]a glass of water. He was surprised[...]as it was not in text, but he went[...]away and got it. At the end, Ophuls[...] |
| [...]iiiiiiilllllililimiliiiiiiiiiiiiiiiiiiiiiii The glittering occasion of the London Mrinal Sen, a Lester Peries from Sri films as The Fruits of Passion, Mauro success in London, has achieved cinema Film Festival's 25th[...]new Shohei Imamura from Bolognini's The Lady of the Camellias, distribution for it. Like two other films singular honor to the Australian cinema: Japan and Lino Brocka's[...]ion -- Adrina, directed Gallipoli was chosen for the gala open even sell tickets. Also, there were six Perry's Mommie Dearest, the London by Bill Forsyth, with the supernatural ing, in the presence of the Prince and films from Latin America -- ne[...]element so dear to BBC-Scotland, and Princess of Wales, five weeks before the the quality, just feel the revolutionary fer another category. Perhaps it c[...]fter Death, directed by Anthony film was to open in London's West End.[...]British critics, predictably bemused by Of course, the Controversy section British -- Best o f. . . ? going back on the shelf, awaiting its the sprinting sequences, keep compar[...]llipoli to Hugh Hudson's Chariots consists of films difficult to classify, and When the London Film Festival began, of Fire, but it is closer to All Quiet on the easy to misconstrue. It may be a practical its avowed aim was to bring the best Two films by new directors, Maeve and Western Front. Of course, the script way of labelling, like the " Miscellaneous" foreign films, particularly wi[...]Burning an Illusion, had been shown at takes the easy (though historically ac drawer of any filing clerk. And yet, how international festivals, to London. But Edinburgh in August. They were aided by curate) option of blaming the British can such disparate works as Andrzej when the British cinema lurched from the BFI Production Board, whose commander for the battle's tragedy; had Zuiawski's sex-horror, Possession, be crisis to crisis, the Festival has increas finances are on a much smaller scale he been less stupid, the Anzacs may lumped together with a tense television ingly accepted the provision of a show than the Australian Film Commission's; have survived, and won. The ethics of panel discussion by British steel workers case for new British films as its duty and the result is that their films look as if they winning -- that is, the ethics of war -- are and trade union leaders, called A Ques included them in the program, whether were made to order for the "alternative never even questioned. tion of Leadership and directed by Ken they reached the highest international festival circuit" of Edinburgh, Mannheim,[...]Rotterdam and so on, and tend to look With the period setting, the attitudes of[...]shabby against most London Film the period dominate the film's emotional Also, not everything to[...]ival films. world. But Gallipoli leaves a memory of bombs is necessarily controversial: The course stand up to any comparison, and Rus[...]er Day After Trinity, by John Else, about the cannot be overshadowed by big reputa Maeve, by Pat Murphy and John ing the handsome horses and men, work of J. Robert Oppenheimer and his tions or ta[...]iewpoint, a flashing smiles and sunny skies; and of team, is history by now. But then, Shuji through international barriers; but the feminist bias and a complicated time- one heart-rending moment as the Terayama's The Fruits of Passion, only feature film of this class had already structure to avoid that bugbear of "the soldiers festoon the sandbags along their perhaps because a semi-[...]a French co Looks and Smiles. But neither the critical trench with personal possessions which,[...]lified it from being listed esteem it achieved in Cannes, nor its narrative. Nonetheless, Maeve has finer at the sound of the attack, sldvfiy )(|m into as Asian, is also grou[...], even apart from its worthy treasured mementoes of the dead. Controversy. To accommodate s[...]ideology of drawing parallels between[...]Irish rule in Ulster and the male domina Peter Weir's London Film Festival[...]are some excellent scenes, yet quizzical Winter of Our Dreams;[...]mostly location shooting (in more than Michael Blakemore's disarmingly candid[...]one sense of the word) in Belfast, and, Personal History of the Australian Surf,[...]towards the end, the family relationships where he establishes himself as the[...]from the script. The photography is more which was paired off with my[...]than competent throughout, and some of of the year, David Bradbury's Public[...]the acting catches the-mood, as well as Enemy Number One (see Berlin Fi[...]the Intonation, of militantly Irish speech Festival report, Cinema[...]ntrast, Burning an Illusion, by Gratifyingly, the best of the films New[...]radical subject in a conventional, almost Palace by Roger Donaldson[...]soap-opera format. The heroine, a shown at London, and all who caught i[...]British-born colored girl, starts with the single screening liked it.[...]morality and expectations of middle-[...]these attitudes and aspirations are not the London Film Festival receives a great[...]shared by the young men of her world. deal of criticism from various quarters.[...]for her roots in African culture and racial Festival director Ken[...]ectify everything that could possibly be faulted in connection[...]In spite of slight faults, Burning an Illu with their progra[...]sion brings out the relevant emotional name, well-established direct[...]issues without overt comment there is a section of the Festival devoted[...]to New Directors. Too many films which reflect the taste of the middle-class,[...]The British premiere given special middle-aged Estab[...]the Festival, was Priest of Love, directed create a new section called Contr[...]screenplay, based in turn on Harry T. to separate all the British and all the[...]Moore's biography of D. H. Lawrence. As American films into mainstream and in[...]with so many British productions, the[...]cast of established theatrical stars (Ian dependent cine[...]net Suzman, Penelope fingers crossed that enough of the in[...]Keith) do their utmost, but the script has dependents should turn out to be avan[...]a numbing banality, in spite of the juicy[...]literary scandals of Lawrence's life, and garde as well.[...]the direction has all the verve of a Above all, never let it be said that the[...]metronome. Festival neglects the Third World. This[...]As shown in Ken Russell's Women in year it had six films from Africa -- of[...]Love, Lawrence is the one writer whose[...]utrageous, treatment, and probably Maanouni, was the most praised -- and 12 from Asia. After all, they make more films in Asia than in the rest of the world put together, and with two new film[...] |
| [...]as tary. Becker's basic technique is still the One o f the fin d s o f Cannes 1981: Percy A ld o n 's Celeste. well. Instead, the passions of Lawrence's same: he uses the original, contem life and the tragedy of his death, at the porary newsreels and propaganda films age of 45, are all presented in the golden to show events; but junking the original glow of an aperitif commercial. soundtracks[...]tary in which he is not ashamed to show The documentaries, however, were of a rem arkably high standard. Even hi[...]en though it may have been better suited the meaning of his images. under the heading of Controversy, The Animals Film, written and directed by In Lion of Judah, he uses the Victor Schonfeld, is outstanding in every recordings that an anthropologist friend way. It covers one of the most debated is made of Ethiopian folk music in the sues in Britain: the treatment accorded 1960s. Mussolini's campaign to annex by people to the other animals. The film Ethiopia in 1936 is shown as an at first shows the misuse of animals as pets, tempted genocide of unmitigated cruelty. then their abuse in factory farming, their The newsreels showing the Italian ad torture in laboratory experiments, and vance are actually seen from the point of the deliberate encouragement of cruelty view of their victims, and fascinating in such traditional sports as foxhunting, footag[...]ll- Selassie's private records illustrates the structured and thoroughly researched, Emperor's brave but doomed resistance. the film is as good as its footage, some of it shot in secret, possibly allows. While it The most moving moment of the dis may help the Animal Liberation Front, cussion, and possibly of the entire whose campaign the film supports, it is Festival, came when a member of the also good cinema. audience thanked Lutz Becker for the co[...]documentary, So That You played towards the people of Ethiopia. Can Live, made by the Cinema Action collective, follows the life of a Welsh Even apart from Becker's co family through five years of economic production, German films appeare[...]litical change. Another dimension advantage in each Festival section. is added by linking the family's attitudes Volker S chlondorff's The Forgery, to those of the 19th Century Welsh work another last-minute addition, aroused ing class, and the Evening Institute and the most interest: it examines a German W orker's Library movement which journalist's confusion in the civil war of characterized the previous generations. Lebanon -- it hardly matters whether a In spite of occasionally confusing few years ago, or in the present. flashbacks, and its rather random inter cutting of the general with the intimate, Among the New Directors section,So That You Can Live is[...]lon's Celeste, which many experiment, testing to the limit the critics call their greatest find at Cannes, honesty possible in a documentary, and continued to receive unstinted praise. accepting the process of filmmaking as a Unfortunately, Grabbe's Last Summer, factor of change in the family's life. by Sohrab Shahid Saless, ca[...]only. It is the most visually ambitious of A last-minute addition came from Lutz Saless' films so far, and as he has Becker, whose The Double-headed already collected a solid corps of British Eagle, shown in 1973, established him as admirers, a large-screen showing would one of the major figures in the historic have generated great interest. doc[...]regret is that Swastika.) His latest film, Lion of Judah, Reinhard Hauff's Endstation freiheit lost also took several years to research, even the pun of the title in the translation collage, edit and provide with a commen (in English, it is called Slow Attack) and the sub-titles lack the subtlety of dialogue which, in German, establishes the complex characters. The London[...]popular thriller, without the philosophical[...]The Controversy section also included[...]Sanders-Brahms: the latter won the BFI[...]Film Award for 1981 as "the most original[...]and imaginative film introduced by the[...]National Film Theatre during the year" .[...]This is the first time since the Award's in[...]The jury described Die beruhrte as[...]portrait of a schizophrenic woman,[...]which questions society's definitions of[...]M ultiple Choices The history o f a Welsh fa m ily through fiv e years[...]c and political change: So That You Can Live. In keeping with the London Film[...]choose more than one film, but, all the[...]the director, should he choose to come.[...]Had I seen Miklos Jancso's The[...]emblematic in a long time. However, my[...] |
| [...]Rybczynski uses individual photo the aged. The firs t, from The[...]and fatalistic Het treinhuisje citizenship blur the borderline between proper press conferences in London, as not quite, live-action. The film opens on a right and wrong for their victim[...]room. A bail bounces through the (Home on the Rails), a black comedy Zsombolyai Is a director[...]about two pensioners taking tea in a serious subjects lightly.[...]imbs through to room. Every hour, when the cuckoo day, in the smaller of the two theatres, it retrieve it. A woman ente[...]kes, their routine is interrupted by a ApartFrom The Films would only mean a reduction of 19 films. frantic thumping on the door. The Out of more than 130, this does not seem baby, then sits at the table and nurses it. woman opens it and a squirrel leaps in All in all, the Festival should not be to be an irredeemable[...], a man enters and flattens itself against the wall. When criticized for any of its programming, as it the Festival would be less like a factory by a side door carrying a package. While the opposite door is opened, a train roars would only result in 20 more films being with films processed through like he is placing the package on top of the through the house. Driessen's finely- added to an already ov[...]n day and night shifts. wardrobe, the ball bounces through the lined figures, cool pastel colors and wry[...]window and the boy climbs through to humor are contrasted with the lumpy must be) directed at its venue. The[...]characters, some running gags with the National Film Theatre is far too small for[...]retrieve it. When the man leaves by cuckoo clock and a mute tragedy when a festival for the 10 million inhabitants of Animation another door, a thief lurking at the the old man lies across the rails after his London: not only its auditoria, but the[...]sackful of gold has been stolen by claim- foyers, bars and other facilities all The Festival's Animation section window steals the package. As he is become squalid half-way through the continued its tradition of cramming into leaving, the woman cradling the baby jumpers. day.[...]returns . . . until some 36 characters The second film, Birgitta Jansson's[...]numerically limited selection of "the best crowd into the room, wordlessly perform The present system of a few (eight, to of" world and British output. Forty films s[...]motion, then leave -- only Semesterhemmet (The Summer Camp), be precise) forays into Leicester Square were screened, ranging in length from 13 to return almost immediately and repeat on Sunday mornings, or up the stairs to 30-second British commercials to two the same action exactly: a naked woman won public and critics' prizes at Annecy the Queen Elizabeth Hall, may relieve the 15-minute entries: Christopher James'[...]sing; a man replacing a light globe is and was the Festival program's sole clay congestion a little[...]On the bed; a baby's nappy is changed; capped gue[...]ye for character is justify some investment from the film included Stephen French's technical[...]go melody by Janusz sensitively realized in the figurines' industry or the distributors; a larger accomplished but labored Storm from Hajduk provides the metre for this modelling, movement and[...]is charmingly enhanced by the idea of accommodate the larger public which is Armstrong's 14's Good, 18's Better; and superb, surreal dance of everyday life. providing her characters with actual frustrated by the present system of Michael Mills' delightful and deceptively The State-room scene in A Night at the voices recorded at a Swedish summer prefe[...]ritish Film simple Canadian film History of the Opera is similar; but Tango is not played camp in 1980. World In Three Minutes Flat -- proving Institute members.[...]hs. Although the Festival was not provided Then, there may be room in the NFT -- winner at Ottawa 1980, Mills' mad-cap At the Zagreb Festival, the emerging with a subtitled print, the documentary rush from the Beginning to the End was[...]ique is sufficiently atmospheric to even if only in the smaller NFT-2 -- for warmly received by the audience Josko Marusic, from the Zagreb Film press conferences. Now, directors who attending the gala opening of Peter Studio, won second prize for Fisheye. At raise the issue of verisimilitude -- an are invited for three days[...]Skyscraper). resolved. their audience or the press is limited to a At the 1980 Zagreb Festival the Inter discussion after the screening. This is national Association of Animated Film Marusic's inventive and hyperactive Ferenc Rofusz's A legy (The Fly), from sometimes cut to 10 or even five minu[...]ition cartoon recounts yet another day of life Hungary's renowned Pannonia Film which usually ends by Ken Wlaschin or of " animation" -- from the old "frame-by- in a tower block. Little figures scurry Studio[...]ty saying: "We must leave now, frame" to "the creation of moving images about the cross-section of the building -- masterpiece. Told subjectively and but you can continue the discussion in through the manipulation of all varieties the main communication channels being drenched in golden monochrome, the the foyer" -- that is, in the middle of of techniques apart from live-action[...]ely simulating wide-angle hundreds trying to get in or out, queue methods" . This was designed to accom the lift and the sewer. distortion, it is ab[...]te such new techniques as com The activities are depressingly routine the approach of autumn and, seeking Any discussion in such a place creates a puter animation. The 11 films in the world[...]re subtle program, selected from entries in the and occasionally repetitive, like the immediately an irritated and unseen understanding of a director's work. A 1981 Annecy Festival, included a Polish naked girl lying on the bed waiting for a human pursuer launches the fly on a skilled journalist can always detach a[...]man who peels away layer upon layer of frantic bid for escape and survival. celebrity and shepherd him away for a and inspired the Annecy Jury to award it clothing. Some[...]e private interview, but that is no substi the Grand Prix: Zbigniew Rybczynski's the man who deviously conceals his The film excited spontaneous tute for a director who[...]inute Tango. It pushes ASIFA's money in an open wall-safe behind a applause and won the Best Film Award at audience reaction to a new work. So, definition to the limits. painting, only to have a gaggle of Ottawa 1980, then went on to win the even if the idea of moving to the heart of[...]ing thieves pitter-patter away with Oscar for the Best Animated Short Film London continues to mee[...]the painting. And some are tinged with of 1981. While these are early days for its[...]r: a tenant who fails to wake up is inclusion in an Animation Pantheon, A[...]rushed away in a coffin by the squad; a legy is nevertheless technically b[...]character paces in a room and bleeds short (three minutes!)[...]into the toilet; a man threatens to jump witty.[...]mother. Toward evening the workers Compared with these films, the six[...]return and pack into the lift. At night, all mostly parochial and nostalgic. In[...]except one sit isolated in their rooms George Griffin's Flying Fur, a[...]watching the same television program.[...]The loner locks himself in the lift and the mice at ACME Film Productions[...]Two films touched upon the subject of[...]ulated wide-angle distortion: Ferenc R o fu s z's The Fly.[...] |
| [...]Festival provokes a chase by their colleagues, the first crisis. His red, white and blue French[...]Canadian hockey sweater, with the cats. The film unintentionally captures famous Number 9 on the back, becomes Change into a bat, succeeding the through such o pp osite s as The the drift of the North American entries threadbare and his m[...]ond time only after colliding with a Cycle/The Wheel, Revelation/Explosion since, as a homage, it uses the one by mail-order. When the sweater tombstone wicket) because the comic and The Star/The Blast -- to Whole- soundtrack of the 1944 Hanna-Barbera arrives, the boy finds it is not the familiar characters are more h o rrifi[...]each card depicted a cartoon for MGM Putting on the Dog. French Canadian Number 9, but the blue compelling. Which comic characters? rapid, multicolored pattern of images: The other American entry, Barrie Nel[...]ich comic? As with a matryoshka doll, from the sea and the land, to missiles son's Opens W ednesday, wasn't any of the rival Toronto Maple Leaf team. He it is difficult to determine which was first. and The Bomb. more promising. It turns on the idea of a throws a tantrum, to little avail. The boy is theatre producer rehearsing his cast of doomed to go down to the village rink in Sheila Graber's Face to Face takes the The best of the peace films, however, shapes and characters to a[...]nto Maple Leaf sweater and idea of metamorphosis into more familiar was John H[...]s as, be rejected by all his friends wearing the territory. Using the simple technique of computer-animated film dedicated "to[...]French Canadian Number 9. The village animating a paint and[...]uction" . Fatalistic " Excuse me, have you heard of Stanis curate pronounces him a rebel and[...]cal about civiliza- lavsky or Woody Allen?" from the sends him to church to repent. " I a[...]nterfering cleaning lady. God" , recalls the older and wiser[...]there were no prizes for destiny bordering on the grotesque, Opens W ednesday was awarded the moths to eat up my Toronto Maple Leaf[...]herwise Dilem m a is a grand parade of familiar[...]agmenting to reveal jury prize at Ottawa '80 and the Grand[...]Christopher James' After Beardsley, with Prix at the 1981 ASIFA Festival in New Clearly the best of the North American artwork ghosted in the artist's style tableaux of apocalyptic potential. The York. en[...]ggesting how he would have postered mask of Tutankhamun becomes an[...]the modern world, including The Bomb, Egyptian war chariot, Greek and Roman The four Canadian entries were better. Prem iers[...]gs), completed if he hadn't died of consumption at the busts of philosophers easily change into Winning a Specia[...]udden death by two fellow age of 25, and the Brothers Quaij's Ein phalanxes and legions, an Aztec idol Frederic Back's Crac is the story of a[...]e), a puppet film becomes an army -- as does the bene handcrafted rocking chair from the animators at the NFB, Lina Gagnon and where Kafka's assassin/assassinated are ficent image of the Buddha, and moment the carpenter fells a tree (hence Suzanne Gervais. It is a film of simple, viewed as two insects, would have won Leonardo da V inci's contribution the onomatopoeic title) in a small mutable beauty. Lines like vap[...]designs for military machines. farming community in 19th Century pulsating with a life of their own, swirl in Cuebec, through succeeding generat constant flux against a background of As the opening titles came up for the Although the intent behind succeeding[...]latter film, one scornful member of the concomitant with their development and lifestyles, to its last resting place in and a woman, the birth of a child -- suddenly restless[...]d out, rather than sinisterly bellicose, the game the city's Museum of Modern Art where it before dissolving in a melange of "What is a German film doing in a British was always up. But now the development is used by one of the attendants. The set-[...]Animation Festival?" of microchip technology provides piece rural wedding reception, where the rippling line and soft hues, thus unfolding[...]as blue-shadow ed revellers swirl to the idea of perpetual creation. Merging The four films which presented a well as f[...]smaller versions, in a cosmic and repeated in the darkened museum. The melody for piano and violin by Denis[...]far more relevant technological version of the survival of rocking chair is once again the centre of Larochelle. and poignant -- although their indul the fittest. Frequently these images[...]revert to the bland, changeless icon of attraction and it whirls the sterile Prem ier jours was awarded a[...]d, together with introduced with the well-known "The blinded by today's media, ignorant abo[...]Babel Fish" episode from Douglas the consequences of conventional and equivocal, time. Tango and A legy, was the highlight of Adams' H itc h -h ik e r's G uid e to the nuclear armament, man is about as Mary[...]Galaxy, animated by Rod Lord, for the secure as a light globe target for a rif[...]Pretend You'll International Rocketship Ltd, won the The influence of the peace movement Survive, a scream for nuclear disarma The remaining films were a jumble of prize for a Film for Children at Annecy. and the concern of the Committee for[...]s and particular interests. Burrowed away behind the razor-sharp Nuclear Disarmament were evident in the ment from Leeds Animation Worksh[...]Nick Lever's orthodox lines and flat color areas of conventional Festival's British Program. Of the 15 films Using shock techniques, not far John Barleycorn, the song with pictures; cartooning is a surreal behind-the-[...]alf-cephalopod, audience composed largely of members films about the ravaging Hun, it achieved in which tu b u la r shapes flo u rish lazily performs the laid-back Willie of the local industry, four films were[...]g to live each day as if vanishing point to the soothing strains of baby grand for Vern and his pet cactus. pessimistic about the present, while[...]Pachelbel's "Canon" ; Neil Thomson's In an adjacent, modishly-furnished another four dealt specifically with the Hiroshima victims and megatons existed suspenseful extrapolation of a Max loungeroom, a chicken roasts a chicken[...]screen. " It could Klinger etching entitled In Flagrenti; Alex over a candle, Black Ear the Dog sits animation continues to maintain high happen today" , but the day passes Brychta's Flora D ance, wh[...]instrum ents in a live-actio n day finishes and tosses the question, "What competent work by newcomers. For the could happen tomorrow" , but tranquillity dreaming youth's 'brass' band -- the do you think?" , the room does a Dali by first time for two years, however, the prevails. Then it happens. Afte[...]bligingly melting. work of Bob Godfrey (Dream Doll in 1979 night of street cries and civil unrest, she Vivian Fish[...]emerges from the ruins of her home to Miller's accomplished cartoon Act V, the C r a c and Si ng B e a s t Si ng and Instant Sex in 1980) was sadly find the landscape devastated, her Graveyard Scene from Hamlet, demonstrate the capabilities of Canada's absent. body ravaged by radiation and the air characterized by alien, ectomorphic[...]Russell J. Brooke's The Com ic Story swarming with bloated flies. " Don't industry, though the National Film Board is an oblique and light-hearted frame Pretend to Protest" warns the grim end- continued to reinforce its solid reputation story set in that vague land where reality with two superbly-[...]boy buys a title. Cohen's The Sweater, from a story by horror comic an[...]graveyard where an assortment of Roch Carrier, is a charming reminisc gh[...]ith a few pessim istic T h e W ay of the Fool ence about how, in the winter of 1946 in transmogrification tricks. The boy is the small Quebec community of Ste oblivious to their antics (includ[...]idea: Tarot cards for the nuclear age. Justine, a 10-year-old boy f[...] |
| [...]1915 and not, as he claims, on Saturn." It part of the magic myth and the magic cartoon about the platonic love-life of an him, if only for a brief period of time, had needed to be said. For although Sun Ra touch of the m ythocracy -- not ugly little man, with a heart of gold, not been able to forget him after[...]stra have been together theocracy, or any of your other named Marun Buchstansangur, who[...]cies' " , and "They say that history lives alone in a crack between the[...]itself. They say that history kitchen floor and the cupboard. In this comprehensive film biography, philosop[...]rated by Richard Basehart and Here, in 60 kaleidoscopic minutes, itself. But that's not my story. What's your Overall, the 13 commercials demon illustrated with photographs, period Mugge provides the gaudy, robe- story?" Sun Ra lives in Philadelphia. strated the British industry's search for a posters and E[...]lowing its two-year (no film exists today of Bix playing), perform, philosophize and de[...]ith an Then, She's Betty Carter" lacks in And, while the work of Richard Taylor portrait as we will possibly ever have of audience he couldn't care is there or not.[...]and Vera Linnecar was absent, Geoff the jazz musician who, along with enthusiasm. The bebop singer's commit Dunbar and Paul Vestor returned with Armstrong, was the heart of jazz in The experience is not altogether ment to her[...]three commercials, each following their the 1920s. She has also collated an incomprehensible, at least in the short infectious. Parkerson began her film in successes at Ottawa '80. Dunbar was enviable collection of Bix's work: "Jazz term. As a jazz iconoclast[...]1976, but only managed to complete it awarded the Grand Prix for Ubu and Me Blues" , "[...]composer and arranger is shortly before the Festival: two of those Vestor received a Special Jury Prize for[...]his four-minute Sunbeam. The Wolverines; " Davenport Blues" by such ta[...]vanced" ) and drummer James Jacson filmed in a concert at the Cranston two more commercials for Alka Seltzer,[...]Bix's composition "Cloudy" from ("Sun Ra, of course, showed me a whole Auditorium. and the p ro lific Ian M oo-Y oung memory, d[...]rter reveals herself as playful Normal character in a gaudy and fluent little too lyrical wh[...]ides some Ra's communal family. Sun Ra revels in and impish offstage as she is on, a theme[...]chard cool and lingering seascapes for the his role as a visionary, linking Egyptia[...]Animation returned, fresh from recording of Bix playing his piano mythology with s[...]Clio Award for 1980's composition " In a Mist" , it is a reminder "Some call me Mr Ra,[...]Washington Post: Landscape, with two of the theme throughout -- that Bix call me my[...]when she discusses the album she Nairn Arena Cushion Floor and the anti who, as Hoagy Carmichael explains,[...]iberal recorded with Ray Charles to " The smoking Nick-O-Teen, and the lyrical talked through his music "straight from selection of Sun Ra's music, interviews Trolley Song" . Gladly the cuts are Tempest ad for Shell by Russell Hall. the heart and told you what he was with ba[...]lectures straight into the camera: "One scat offstage about a variety of subjects: The final film on the British program,[...]ack musicians who ingeniously-scripted satire on the life and enjoyable and timely, and it sets in high abandoned jazz " to make a million aesthetics of the egocentric Scottish relief the realization that Bix Beider and be prepared for it" , " In my music I dollars" out of Motown and Soul, her a rtist Lawrence Angus MacConi, becke, the " born genius" who opened up speak of unknown things" , "They say that concern that[...]or his dining and vehicle new avenues of harmony and melody for history repeats it[...]hat's h/story, helping black children learn from the pictures. Lawrence, the narrator Gary jazz, died at the age of 28. not my story. Nature never repeats itself. black singers of the '20s and '30s, and Bond tells us, tried most schools of Why should / repeat myself?" , "What's the pride she has in her career -- painting -- Cubist, Surrealist (witness his Fortunately for the audience at Sun wrong with today's youth i[...]e who have intuition `Independent' . . . In the old days it was incomprehensible vehicles. He once their compatriots in The Producers, because they don't know what[...]ector Robert Mugge surfaced to give doing. The people who do know what trying to fly? It makes[...]Her reminiscences of the early days of also." On his deathbed, after filming his[...]hey're doing haven't proven anything" , bebop in Detroit, hanging out with last drive along a suburban street, he "was born in Birmingham, Alabama, in " I'm not human. I'm a catalyst. I'm[...]Coltrane, experimenting with the flatted necessary to invent me" , and with his[...]fifth and the scat, are as lively and as final breath he misqu[...]her first break, is followed up with understood in one second, his bio[...]him appearing onstage with her at the graphers take him at his word and[...]s work. With a script as taut and witty as this, the visuals become[...]rkerson's film is clearly not a complementary: " In one moment he[...]biography, nor does it unravel the became older. One moment. Older." The[...]" mysteries and innuendoes" about Betty moments in this intelligent and hilarious[...]Carter which first attracted Parkerson to spoof of the art world and films on art are[...]her subject. It is a relaxed view of a rich and many.[...]modest singer who, after a quarter of a[...]century of being in the vanguard of Jazz________________________[...]singer." The Jazz Program consisted of shorts and feature-length documentaries,[...]axwell Street Blues, a first film by mostly from the U.S. The Festival[...]aritsky and co audience was touched, not only by the[...]produced by Sandra Lieb, is a reverent music and the cloying sense of nostalgia,[...]ut Chicago's Maxwell but also with gratitude for the concern of[...]St market, for more than 60 years the sympathetic filmmakers who managed to[...]venue for sidewalk blues musicians. The retrieve some moments and memories of[...]color and sound of the musicians past musicians which would otherwise[...]photographs of the area when it was It is jazz cornetist Leon Bi[...]Polish immigrants in the early 1900s. he died of pneumonia in New York on[...]Then, with film clips from the '50s, stills August 6, 1931, that many people[...]and a roving camera, the film gradually remember. The drink -- and his music. The tone he achieved was difficult for his[...]charts the change from the time when the contemporaries to' describe: "like a girl[...]only music heard was the cash register to saying yes" , "a mallet hitting[...]The Clarksdale Blues Band and many Shaw and Hoagy Ca[...]' else" . As Louis Armstrong was to say later on in the[...]Much of the flavor of the '20s and the 1930s, "Ain't none of them play like him[...]years since is recalled by the crusty yet."[...]in 1930 in an argument over a woman) forms the subtitle to Bix, a labor of love by[...]CBC-TV producer Brigitte Berman. For four years, in her spare time, she criss[...]Muddy Waters among others have all crossed the U.S. visiting anyone who[...]played on Maxwell St. The filmmakers[...]movies, taken on Maxwell St in the '50s,[...]and dedicated the film to him. Blind[...] |
| [...]mentaries. . . arranged the material to my own that's all right becau[...]want to talk to me I The trap with documentaries is[...]tne tne- want to make reality fit the story; imposition on people. You knock[...]yourself you have found these you are in their house for more than fascinating working[...]se you really create teacher who, in people and they would be terrific to sec[...]people's experiences -- yours and stead of our English make a film about. You then try the two actors' -- and then create[...]orking, say, with an something more than just the lessons, allowed us to and make the people be what the average Australian family,[...]roduce whatever Shake idea is, which is unfair to the exploitable, and you have t[...]ing or know that do that, but that's one of the speare play we were doing people. But it is also unfair to the reasons I wanted to work in drama.[...]someone else is going to pick them at the moment. I used to good story if you can't do it j[...]see themselves as We started rehearsals in the last Then I did my Arts degree, that you can man[...]being typical. All these things come week in October and shooting in majoring in drama and English. want to.[...]finished by the end of last year, but about films. I had done acting you have a lot of freedom and a lot hassle.[...]bit over that lessons at university and gone to the of footage, and you go in to find the now. I felt that if I didn't shoot it Independent, but I found the truth. But then the same thing before the end of the year I wasn't t h e a t r e m o re a n d m o re happens, because you get a.lot of[...]t has been going claustrophobic and interior, so the footage and start making up the on so long it would have been silly. idea of making documentary films story in the editing. On the two I have lots of other things to do.[...]Where did the idea for the film come[...]from? I was quite naive going into it, in[...]It sort of started as a joke and a way. Even little news cl[...]just expanded. I wrote the scene in[...]the middle to begin with, and then television seemed[...]wrote out from it. The scene is in a[...]where two people because it was much wider, out in[...]Contempt on television. I had once the open, and not that theatre[...]combination of images. There is experience of going into musty[...]that film Contempt, because it is theatres in the daytime to rehearse..[...]do when editing. In fact, I quite called the Commonwealth Film[...]often don't start at the beginning. Unit, and that I might get a job[...]and making patterns, and working percentage of women -- like about[...]10 boys -- and a girlhad just left, so I got the job. It doesn't seem acceptable now, but when I first started doing it I liked the adventurous life. It seemed great, constantly fi[...]tions that you normally wouldn't get into. The other thing that appealed to me about film was the combination of visual and intellectual elements. My mother is a[...]ve something to do with that as well. I thought the theatre was wonderful and I always really liked[...]ion. I can watch television or go to films all the time. 136 - April CINEMA PAPERS |
| [...]I John Hargreaves and Penne Hackforth-Jones in the motel bedroom. Meg Stewart's Happy anything, and[...]the thing about directing that is[...]be. I am confident about my knowledge of 1976 Slipway Dreaming drama for the first time? not interested in having to control the script. I don't think I would be 1977 Hal[...]vast amounts of people. I can't even able to direct an episode of Cop The work I did as a continuity bear the notion of being a Shop at the moment, though if I They Recko[...]ster. were shut in a room and told to It and a Bit a lot of dramas in one capacity or[...]op Shop I suppose I 1978 Not Just the Object another. So the actual form of it is I can see the fascination of probably could. I guess I could tell Joining the Mouse Race not too terrifying. The good thing is saying, " Let's shoot the procession the criminals how they should be 1979 The Thompsons you can get actors to do it again, and let's have three crews and a interpreting the role. I'd feel uneasy 1982 Happy Endings which you can't in documentaries. helicopter" and all that stuff, but I about directing the action se You coax actors in the same way feel the good thing about drama is quences or choreographing fights, But a lot of films that are success you coax people to give a[...]sistant but I guess I would get someone in ful seem quite small in terms of interview; you start relating to them who can shout at people. I have no to choreograph the fight for me. I actors and controllability.[...]y into them. desire to shout at people and if the It is almost as though you are first ass[...]n do all that. Then I can devote liked the script and how confident I drama. I can be really interested in Then it is not such an amazing my time to the actors and the felt about the characters. whatever project I am do[...]If I had an ideal, if I were going couple of days and I got really But the responsibility always to have a care[...]ired by her. I wanted to make a I found doing the test scenes with comes back to the director, because style director, it would be to make film using the sorts of things she the actors very stimulating and everybody want[...]s line mean?" And I didn't is taken over, and the end product sort of artistic intent. I think Bob absorb me as thoroughly as making write the script going into great may not be as you wa[...]a feature film. But perhaps once I explanations of every line, I just[...]doing. Perhaps it is the ultimate that. I became, very careful --[...]Huston's Fat City was my favorite sort of media exposure, which I because it is very much[...]don't even think about that much. people -- of how you can shift the film, and it would possibly be good films like I Walk the Line, with To entertain a cinema full of people balance. Stephen would come out to[...]is probably quite an extraordinary on top in the dialogue in one scene, to be directing one feature film[...]d it every night but, if you added one more line of after another. The other thing is, in ent. f[...]gela would come out everything I have done, in radio[...]extraordinary, * on top. Then it can change with the programs and in the sort of writing Lots of small films can be really performers -- the intonation or the that I would like to do, I draw on good. I do like the extravaganza strength of the actors changes it living experiences. And if[...]things, straight adventure if you again. The thing I was conscious of working all the time, you can't want to get lost on an afternoon. in the script was trying to get that have any living e[...]Penne Hackforth-Jones and John Hargreaves: shades of Jean-Luc Godard. Happy Endings. films], but that gets back to the The next thing I would want to unreality of theatre. do as far as drama goes is write a fea[...]t Do you see yourself directing scripts one. The difficult thing about written by other people? drama and films is that I don't need to be the general in feature I would consider something[...]by someone else to do not as dedicated as a lot of male -- I would always consider[...] |
| [...]before you -- not a commercial length. I wrote of moving the camera. The effect comedy which I made as a vehicle[...]t when I was 21 and now I have an was like one of those cartoon book to act in. There was only one other active dislike for this kind of lets which, when you flip the pages, professional actor in the entire cast From 1969 to 1974,[...]logy. It create a continuous movement. of hundreds. On A Most Attractive I was[...]Man, I worked with professional Mama in Carlton. I was the National Playwrights' Confer Why did you go[...]nd sync-sound on someone lucky to be a part of that scene. ence in 1977. cine, rather than the theatre? else's script. I am particularly While the actors at the Melbourne interested in comedy, but I feel Theatre Company were still sp[...]always loved film, but it was a open to any sort of film. ing with British accents and calling matter of not having the oppor each other "darling" , we were My only experience in film up tunity. Although I acted in several Is there comedy in " A M ost hypercritically and overtly Aus until 1974 was small roles in local films and made one short comedy, Attractive Man"? tralian. The first plays of Jack Hib- productions like Brakefluid. I cut[...]ft (60 m) film which por at La Mama, and I acted in the trayed a woman's thoughts by a How would you describe the kinds of How did you find the script for it? original productions of Dimboola succession of jump cuts and films you have made and the sort of and The Coming o f Stork. increasing clos[...]fifth-year medicine, I ran drama workshops with the inmates of Larundel Psychiatric Hospital. I had the courage to try anything. By 8 a.m. I had to be in the operating theatre assisting the anaesthetist. My lunchtimes were spent per forming at schools and factories with the Portable Players. At night, I directed rehearsal[...]active, if undirected, time.How did you make the transition from acting to writing? I was a[...]al candidate. Improvization was a big part of our rehearsals and street theatre, and we were[...]to write our own dialogue and this de mystified the written word for me. This was the time you wrote `Dream Girl' . . . ? Dream Girl was a play that came Rivka Hartm an and actors in H artm an's Consolation Prize. directly from my[...]y child hood and adolescence came tumb ling out of me with amazingly accurate recall. It is[...] |
| [...]MA the writer in Darling St, Balmain. Did your theatre background help in experience in vaudeville which gave Rivka Hartman Filmograp[...]them immaculate timing and a to get funding for the project, but it great knowledge of how to make 1975 Fantasy Sequence was the team of Gilly Coote and Directing film is tota[...]people laugh. It is a pity that 1978 The Battle of Mice and Frogs myself which finally got the film off from directing for stage. I think[...]who taught them 1979 Consolation Prize the ground. film actors s[...]both about film, never achieved the 1981 A Most Attractive Man[...]nd be familiar fame or the opportunity to direct. Would you again direct another with the camera and understand the They were total filmmakers -- like fited from this. However, the person's script? reason for each shot. Dialogue in other writer-director-[...]film is more naturalistic than in dians like Mae West, J[...]and Woody Allen, all of whom have art director is a man, too. the moment. On A Most Attractive you to use po[...]ting some didactic argument. Theatricality in director with the greatest sense of What do you think about the films one else's work. You always learn fi[...]s like Some Like It Australians are making at the something when you approach a work.[...]Hot and One Two Three are the moment? subject from someone else's poi[...]funniest of all. of view. Perhaps f[...]nce as a Australian films. I admire people In preference to writing and but it is mo[...]mmunicate woman working in film? like Gill Armstrong, Steve[...]write, but I would writing and everything I did in the rest of society. I have had real people set in the city -- films like to be involved in the writing theatre has been valuable exper[...]mitive film. A imbecile. In each case it happened S . . . . I love the Italian neo-realist three writers. Initially, I[...]because I am a woman. In general, films like Bicycle Thieves, because[...]Their conditioning has trained of people in the city. I'd love to[...]the basis of working on a film. Cowboy. do you mean on the same project? My mother and grandmother[...]Would you employ women on a film What sort of films would you Yes. Writing is the first stage in brother and I were regulars a t the in preference to men? consider dire[...]tive process. Writing with two on a diet of serials and B-grade I have never been put in that It is a delicate balance between p[...]don't much like neurotic films. I of comedy. sentimental[...]am interested in stories about always have a good sob at the Was it accidental that most of the survival. What about the integrity of the romantic parts. Now I love Fed[...]Max 3", what would you say? The work of the writer and the Marx Brothers. Yes; we simply chose the best director overlap to some extent. It[...]people for the job. It's true that I'd say I'd read the script. is best for the integrity of the film When I made Consolation Prize,[...]when director and writer have a I studied the early silent comedies women, and I think the shoot bene good understanding; but at some of people like Buster Keaton and stage the director takes over. Charlie Chaplin. They had years of Carole Skinner, Grigor Taylor a n d Julie M cGregor during a break in film in g o f H artm a n 's A Dorian (Grigor Tayl[...] |
| by the time they live in. There Last year I took the third draft to children, very lonely[...]is a certain mood I want to get, of London with me and showed it to[...]ar? . . . the 1940s, the war. I don't want it Alan Seymour and asked him w[...]to be a heavy psychological drama. he thought of it. He wrote me a I I wa[...]as very Does this depend on the money[...]arriving in time? think the period and gives you some constructive and helped[...]l put women insight into the characters of the about how to make it stronger, money in providing the AFC come[...]to the party. I'll know in the next directors woman and[...]sing its integrity. I also couple of weeks where I stand have a dif what the war does to them.[...]there. ferent way of showed the draft to Sandy Lieber-[...]depicting charac You have written the script. Will well-written, imaginative script, crew . . . ters and scenes in a you direct it? film. Even with a gutsy[...]encouraging. A very small crew; the absolute[...]with children, strong one can still tell the Peter Smalley, and at the moment Bros? and getting performances out of film has been directed by a it looks[...]Yes, but he is now with the Ladd intimacy to scenes -- maybe it's ducing it, too. The producers I have Company. He liked it, but he didn't How confident are you about just a way of handling sensory approached here have all[...]s. I worked with Jack Also, female characters in their I started writing it as a book anywhere, really. Clayton on The Innocents; I played films come across stronger.[...]ok the part of Miss Jessel, the ghost. male writers are not good at depict what I had written in to Peter's I then took the draft to Greg One of the things he did when we ing women. They are usuall[...]had to do a close-up of me crying right when it comes to old women, We came home to Australia [from much the same sort of thing: it was -- was to clear the set. There were but the young ones are very often Britain] and I sent an outline to the too gentle, not dramatic enough for only Jack and Freddie Francis, the stereotypes. Even Dostoyevsky's A ustralian Film[...]and Shakespeare's heroines are Steve W allace and the other vision. He suggested putting more eight people instead of 80. mostly insipid, sweet nothings, assessors said they liked the idea sex into it! aren't they?[...]I think a lot of directors and and gave me a little bit of money --[...]I think $300 -- to develop the treat What was your reaction to that?[...]wrote the script along with John How do you feel about the por ment. I thought that was very[...]Mortimer and Jack, thought all the trayal of women in Australian films? encouraging! Ridiculous, actual[...]point I thought, "God, we close-ups of the ghost were too but anyway . . . are changing the whole concept of[...]Michele Fawdon (in Cathy's Child): to star I don't think many contem the script and I will end up with this in Emma's War.[...]ical drama about a porary roles have shown women in How did you go about writing it? tee[...]Margarethe von Trotta-type any depth. Very often the actresses drama about the psychological dis have nothing to get their teeth into. When we discussed the project, I turbances of two sisters. It's meant[...]to be a film about the celebration of I'd like to see more scripts written had talked about the idea of using life as seen by an adolescent, a fil[...]which will try to point out, in a by women. I think this could be the improvizations with the actors. But subtle way, the stupidity of war.answer. We could do some really when I started the treatment, I real Actually, I was ab[...]of the suggestions people made and good things.[...]feeling for the script. We devel a script together if the whole thing oped a sensory scene for the mother which will give the actors a chance There seem to be more roles for[...]take their advice and it's much women in theatre . . . guidelines for impr[...]I went back admit it or not, most actresses to the AFC and the assessors (a would like to be great. But they different lot, of course) thought the really need a very strong part to script was l[...]it. I came home to my Is there a common theme in your husband, who is a scriptwriter and work?[...]ist, and because he hated to Who have you tho |