Cinema Papers November-December 1981

Registered by Australia Post —publication no. VBP2121

incorporating television

MAD M AXII Color Poster Inside

PubertyBlues Roman Polanski Heatwave M aurkeM urphy Hörnen in Dram a Computer Graphics Reviews & m o re Issue 35 $3.00*

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“ Film ensures the highest quality work with a minimum o f problems«

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of achievement in cinematographic technology.

M y job, and that of my team, is to make sure we back up that achievement with the best technical service and support possible. Its in that capacity that I’m constantly involved with laboratories, television stations and film producers.

The regional Technical Sales Representatives, like myself, are the men on the spot in each major Australian city. We are in turn backed-up by the Motion Picture Technical Service Staff and a large annual research and development investment, world-wide.

This ensures that film producers and laboratories are capable of turning out the highest quality work. So when you buy Eastman Motion Picture film you not only get a product with a proven history, but you get the latest technical developments and the best of technical support.

A nd its all just a phone call away.”

Russ C hapm an Sales and E ngineering M anager M o tio n P ic tu re D ivision

Kodak Motion Picture Film KODAK (Australasia) PTY. LTD. K 7/9928 KSB

ADAIR INSURANCE BROKING GROUP Box 3884 GPO Sydney, NSW 2001 Cables "A ris e rv " Sydney Telex AA24771

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ARE SERVING THE FILM INDUSTRY ON AN EVEN WIDER

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A JOINT ANNOUNCEMENT IN LATE AUGUST WAS MADE BY SCOTT MILNE, PRESIDENT OF ALBERT G. RUBEN & COMPANY INC.

(LOS ANGELES),

FILM INSURANCE BROKERS UNDERWRITING FOR THE FIREMAN'S FUND INSURANCE COMPANY AND RONALD S . ADAIR, MANAGING DIRECTOR OF ADAIR INSURANCE BROKING GROUP OF COMPANIES THAT "ADAIR MANSON BYNG PTY. LTD. HAVE BEEN APPOINTED AS THE SOLE CORRESPONDENTS IN AUSTRALIA AND NEW ZEALAND FOR ALBERT G. RUBEN & COMPANY INC. AND FIREMAN'S FUND INSURANCE COMPANY."

NEIL McEWIN, DIRECTOR OF ADAIR MANSON BYNG PTY. LTD. HAS RECENTLY SPENT TIME IN LOS ANGELES AND HEADS OUR TEAM OF SPECIALISTS IN INVITING ENQUIRIES ON ALL ASPECTS OF FILM INSURANCE, INCLUDING ERRORS AND OMISSIONS ETC.

RONALD S . ADAIR MANAGING DIRECTOR Neil McEwin

Adair Manson Byng Pty. Ltd. GPO Box 3884, Sydney 2001 Phone: 2 90 1588 Telex AA24771

SYDNEY Tom Laskas James C Allardice

MELBOURNE Wayne Lewis

Bob Cook

Adair Insurances Pty Ltd GPO Box 3884 Sydney 2001

Adair Insurances (Vic) Pty Ltd GPO Box 74B Melbourne 3001

Adair Insurances (Old) Pty Ltd GPO Box 1371 Brisbane 4001

Phone 61 2485

Phone 2 29 249 4

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BRISBANE

Most television and video magazines don’t believe that there is intelligent life in front of the TV screen ill mmm nil mm fmmå

Cinema Papers does and proudly announces

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Editorial Enquiries:

Peter Beilby (03) 329 5983

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Advertising enquiries:

John Pruzanski (03) 329 5983

Among Tom Nurse’s other achievements, he helped extend TheTierm of his Natural Life.

Tom, you’d probably be the most experienced lab manager in the country.

Where did you get your experience?

My first job was with Denham in the UK. But that was quickly interrupted by Mr. Hitler. I went into the Navy Fleet Air Arm, although I managed to continue with photographic work there.

How? I was an observer on a Swordfish. We were attached to a carrier, mostly doing convoy work in the North Atlantic, but part of that job was processing the reconnaisance and camera gun film.

That must must have been hairy processing at sea.

Well, we managed to set up a sort of lab on the carrier.

Three drums, one for developer, one for fixer and a wash bath.

Not exactly Colorfilm quality.

Not quite. After the war, I went back to Denham for a spell, and it was there I had my first contact with the Australian industry. We did ‘The Overlanders’and ‘Eureka .

Stockade! Then in 1949 I came to Australia.

And here?

Firstly, Automatic Film Laboratories, then to Ealing at Pagewood. We worked on films like ‘Kangaroo’and ‘Bitter Springs’ and the Eileen Joyce film ‘Wherever She Goes! After Ealing pulled out of Australia, I moved to Fox for a while, then Mervyn Murphy asked me to help him run a very small lab that he was starting up. So I moved from Fox to the double garage behind Mervyn’s parents’ home in Paddington. That was the beginning of Supreme. We stayed there for a couple of years, during which time we made the Carruthers/Pappy Gault fight film over a weekend. They said it couldn’t be done. Finally we moved to

the old tin shed, into colour in 1963, and in 1973, the Supreme lab was bought by Colorfilm.

And here I am.

A very unusual job recently went through the lab.

The regeneration o f‘For the Term of His Natural Life’. Tell us a little about it.

About four weeks before the Sydney Film Festival, the National Library got in touch to tell us they’d discovered another part of that film, which was originally made in 1927. They asked us to try and restore it to its original exhibition quality for the opening of the Festival. This presented a tremendous number of technical problems.

Parts were 16mm and had to be blown up to 35, parts were still missing. But the most interesting thing was that they wanted us to reproduce the original tinting and toning effects which were used in the 20’s. These effects were achieved by using different coloured bases, and then toning the film on top of these bases. The effect added atmosphere to the original black and white. For example, bright sunny scenes and hot scenes were a yellow colour, night scenes were tinted blue, and interiors warmed up to give an illuminated lamp light effect. All this offered considerable problems for grading and quality control, and to everybody handling this considerably shrunken film.

Some sections of the film are seven generations away from the original. Yet it stands up remarkably well.

How can a producer bringing a film into the lab help you produce a better job?

If the laboratory knows what you’re trying to produce on the screen, we can, very often, through discussion and testing, find a better, more efficient and often cheaper way of producing that result. Typical of that would be the shooting of ‘The Irishman! The cameraman and director wanted a certain

effect. By modifying the processing, and using certain types of raw stock, we were able to produce the desired effect almost automatically. In other words, the amount of grading and alteration to the final footage were kept down to an absolute minimum.

I understand you’ve just done a complete overhaul on the lab. Could you tell us a little about it?

Yes. About 18 months ago, we started a complete update on all the processing and printing equipment. We’ve put in new Filmlab processing machines, new printers including the latest Bell & Howell modular full wetgate submersion machines, new Hazeltme new sensometnc equipment which, incidentally, is plugged into the computer programme we’ve been designing here, new optical printers, new sound equipment, and, still in progress, a first rate preview theatre. I’d say that we have, at the moment, one of the most modern laboratories anywhere in the world. Murray Forrest, the group general manager, has just come back from Europe and America, and he could back that up.

You’ve been doing some interesting work on the film tape interface.

We’ve recently done a number of episodes of the ‘Bellamy’series which were shot on film, the neg transferred to tape, then finished on tape.

Were given to understand that were one of the first labs in the world to be working like this.

But certainly not the last, it will be happening more and more.

Tom, very briefly, what happens to a piece of film when it’s brought into Colorfilm?

When cans of rushes come into the lab, they firstly go to neg. processing. They’re opened in total darkness and checked very thoroughly to make sure the film is intact, then it’s

processed to strict sensometric controls. After that, it’s examined for defects, NG takes removed, scenes requiring printing are assembled, identified, cans identified. Then it’s ultrasomcally cleaned, printed and moved to positive processing. The positive print is screened, the lab report made out, and any information required is forwarded immediately. Then the film is handed to the editor.

One of the problems in lab work is changing technology and helping staff keep up with that change. D o you have some sort of staff training scheme?

We started one about 18 months ago. Everybody on staff is eligible for it. To date we’ve put through about 105. The idea is to give each member of the staff an idea of where they fit in to the whole process. I think we’re getting better results and co-operation since the scheme started.

Finally, Tom, how would you persuade someone that Colorfilm is the best lab in the country, if not in the world?

I would say that it’s one of the few labs in the world where your film is handled as an individual item, not as just one thousand out of ten million feet passing through, by people who are just as interested in producing the best result possible as you are. And I’m not just talking about the obvious people one thinks of in that context, the Bill Gooleys and Arthur Cambridges, but all the technicians, who run the processing and printing machines, the ones who keep the lab running 24 hours a day.

35 Missenden Road, Camperdown, Sydney, Australia, Telephone: (02) 5161066.

Telex: AA24545.

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A rticles and Interviews

Puberty Blues Producers Interviewed: 432

Margaret Kelly and Joan Long: Interview Miranda Brown Roman Polanski Neil Sinyard Maurice Murphy: Interview Dave Sargent Heatwave: photographic record Women in Drama Linda Biagg Jane Oehr Di Drew Jan Punch Mark Stiles Mad Max II: picture preview

432 438 444 451 455 456 458 460 462 466

Mad Max II Picture Preview: 466

Features The Quarter Venice Film Festival 1981 Geoffrey Gardner Film Censorship Listings The Computer in Animation Fred Harden Box-office Grosses Production Survey

429 448 464 470 479 481

Reviews Maurice Murphy Interviewed: 444

Thief Keith Connolly The Second Journey (to Uluru) Rod Bishop Chariots of Fire Les Rabinowicz The Killing of Angel Street Keith Connolly Raiders of the Lost Ark R. J. Thompson Wrong Side of the Road Almos Maksay

495 497

Roman Polanski Examined: 438

498 499 500 503

Books

Heatwave Photographers’ Record: 451

Legends on the Screen Ross Cooper Kim Novak in Camera and Ingrid Bergman: My Story Brian McFarlane Recent Releases Merv Binns

Managing Editor: Scott Murray. Associate Editor: Peter Beilby. Contributing Editors: Tom Ryan, Ian Baillieu, Brian McFarlane, Fred Harden. Editorial Consultant: Maurice Perera. Proof-reading: Arthur Salton. Design and Layout: Keith Robertson, Meredith Parslow, Andrew Pecze. Business Consultant: Robert Le Tet. Office Administration: Nimity James. Secretary: Anne Sinclair.

Office Assistant: Jackie Town.

Advertising: Peggy Nichols (03) 830 1097 or (03) 329 5983. Printing: Eastern Suburbs News­ papers, 140 Joynton Ave., Waterloo, 2017.. Telephone: (02)662 8888. Typesetting: B-P Typesetting, 7-1 7 Geddes St, Mulgrave, 3170. Telephone: (03) 561 2111. Distributors: NSW, Vic., Qld, WA, SA: Consolidated Press Pty Ltd, 168 Castlereagh St, Sydney, 2000. Telephone: (02) 2 0666. ACT, Tas.: Cinema Papers Pty Ltd. U.S.: T B. Clarke Overseas Pty Ltd. ‘ Recommended price only.

506 507 508

Women in Drama interviews: 455

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 two months by Cinema Papers Pty Ltd. Head Office. 644 Victoria St North Melbourne, Victoria, Australia, 3051. Telephone: (03) 329 5983. © Copyright Cinema Papers Pty Ltd, No. 35, November-December, 1981.

Cover: George Miller's Mad Max II (see picture preview pp. 466-69).

CINEMA PAPERS November-December — 427

Winning Isn’t Everything DESIRE Best Cinem atography (non-feature section), 1981 Australian Film A w ards

DRINK THE MOON Best Experim ental Film, 1981 Australian Film A w ards

FATTY FINN Best Costume Design (N orm a Moriceau), and Best Original Music (Rory O’Donoghue & G raham e Bond), 1981 Australian Film A w ards

MANGANINNIE Silver Prize, Children’s Section, Moscow International Film Festival, 1981

PUBLIC ENEMY NUMBER ONE Grand Prize for Docum entary Films, San Francisco International Film Festival, 1981

STEPPING OUT Best Docum entaiy Film, 1981 Australian Film A w ards

WATER UNDER THE BRIDGE Best Actor in a TV Series (David Cam eron), and Best Actress in a TV Series (Robyn Nevin), Australian Film and Television A w ards (Sammys), 1981

WINTER OF OUR DREAMS Best Film Actress (Judy Davis), and Best Supporting Film Actress (Cathy Downes), Australian Film and Television A w ards (Sammys), 1981 Best Lead Actress (Judy Davis), 1981 A ustralian Film A w ards

WRONG SIDE OF THE ROAD Jury Prize (Ned Lander and Graeme Isaac), 1981 Australian Film A w ards

We’re proud to be associated with this selection of award-winning productions and some of the prizes they have won.

But that’s not all there is to it.

The Australian Film Commission gives m any film-makers a start through script assistance and project development grants.

We’d like to see your ideas for new films.

Possibly we can be of assistance in getting them produced, and m aybe they’ll go on to win awards too.

For further information on script assistance project development, marketing, and international film festivals, contact:

Australian Film Commission 8 West Street, North Sydney 2060 Telephone: 922 6855

AFC007

The Quarter

Turned the Corner?

After months of dispirited specula­ tion about the state of the film industry, there are indications of recovery.

Gloom set in when the tax legislation, as relating to the industry, was finally passed on June 24. The main problem was that a film needed to be financed, developed, made and released within a financial year to reap maximum bene­ fits. This would mean, many argued, a bunch up of production early in a finan­ cial year, and nothing from, say, December on. It is still a little early, but that prediction looks likely to be accurate. . A result of this bunching is a press­ ing for finance at the one time (JulySeptember), hardly the time com­ panies or individuals are looking for tax deductions. That is usually in April­ June, when it is far too late to be of much use to producers.

This seemingly irreconcilable timing problem has prompted some pro­ ducers to voice loudly their frustra­ tions, adding concern to an already dis­ heartened industry. Private investors seemed to have had no difficulty reading the signs and vanished almost as quickly as they had appeared. This led more than one industry spokes­ man to predict it was all over — possibly the industry’s most persistent refrain since 1960. .

This unease was compounded by the inability of producers to gain accurate assessments from the Taxation Depart­ ment as to what constituted eligible expenditure. Some films, which were set up on the basis of a presumed 100 per cent eligibility, were rumored to be having 50 per cent or more of their expenditure rejected. This hardly led to industry confidence. The Taxation Department, as if delighting in its “ power by silence” approach, has done little if anything to improve an intoler­ able situation.

Then, when it looked over, and pro­ ductions like The Dunera Boys, Kangaroo, Raven’s Gate and Bondi Blue folded or were postponed, others managed to turn a precarious im­ balance into a kind of stability. The most discussed example is The Pirate Movie, which among several teething problems suffered an artistic dispute between the producers and the director, Richard Franklin, leading to Franklin’s resignation. Many saw this as predicating the film’s fate, but the $6 million project quickly engaged veteran director Ken Annakin and moved con­ fidently into production.

Other films to go into production late in 1981 include Donald Crombie’s Kitty and the Bagman (producer: Tony Buckley), Michael Caulfield’s Fighting Back (producers: Sue Milliken, Tom Jeffrey) and Tony Williams’ Before the Night is Out (producer: Robert Le Tet).

Maurice Murphy’s double-bill of Goose Flesh and Horror Movie, which had been halted after eight days shooting, was also predicted to resume shooting soon.

Added to these films those that were already in production (A Burning Man and The Man from Snowy River, both having breaks in production — the first accidental, the second planned), it seems as if the industry is showing signs of fighting back. More im­ portantly, private investment is said to be flowing again. All that needs to be done now is to get that financial year restriction changed, b u t. . .

rejecting the film is “sexual exploita­ tion of a minor”. This raises several issues: (1) Who is exploited — the charac­ ter in the film, or the actor who no doubt was fully aware of what he was doing? (Incidentally, does the Chief Censor, Janet Strick­ land, believe that an audience cannot tell the difference be­ tween a character on a screen and a real person?)

(2) What constitutes a minor? Un­ fortunately, the censorship legis­ lation doesn’t define this; worse, Strickland is, on last account, unaware herself.1 And if, say, a minor is ruled to be someone less than 16, does this refer to the age of the character or of the actor?

Objection to the “exploitation of minors” is, of course, commendable — though no more so than objecting to the exploitation of anyone else. But it is becoming increasingly difficult to separate a genuine concern for a child’s rights and a puritanical awk­ wardness when faced with adolescent sexuality. One only need read the reviews by many adult critics of Franco Zefferelli’s Endless Love. Instead of being affronted by the poverty of its concept, most have objected to the putting of youthful obsession on screen. One critic, John Hindle, in a highly-emotive outburst, called the film a piece of “teenage pornography” .

Such confusions seem also to be plaguing the censors. Do they deny that adolescent love/sex is a fair topic for debate (and if they do, wouldn’t they be negating a major section of world literature)? If not, why are they setting up fanciful and arbitrary parameters as to what is-acceptable to them (and to say they are reflecting public taste ignores the success of the Big M com­ mercials or, even, The Restless Years)?

The Chief Censor has promised much in her extensive press publicity. It is time she faced some of the issues and stated how censorship should function, and why.

1. Cinema Papers, No. 25, p. 23.

Last Film Search Eight film companies and organiza­ tions have given $100,000 to the National Library of Australia’s National Film Archive to help locate and pre­ serve nitrate prints of early Australian films. The five-year project is to be headed by Michael Cordell, a Sydney filmmaker.

The greatest problem of nitrate prints is decay, and it is felt that any films found after this five-year search will be past restoration. Hence the urgency and the commitment by Kodak (Australasia), The Utah Foundation, The Australian Film Commission,

Channel 7 Perth, The Greater Union Organization and the film corporations of New South Wales, Queensland and Victoria.

(Reports on the search will appear in future issues of Cinema Papers.)

Women Directors To highlight the state of women film­ makers in the U.S., a committee of women members of the Directors Guild has released statistics about the number of major features directed by women. Of the 7332 features released by major distributors in the U.S. during the past 30 years, only 14 had women directors. And, out of 65,000 hours of national, network, prime-time dramatic television, only 115 hours were directed by women.

In Australia, the figures for the 11 years from 1970 to 1980 are five out of 170 features (including those co­ directed by a woman). Women have been more prominent as producers, however. Out of the 81 people who have worked as a producer or associate producer on a feature since 1975, 17 are women.

(In this issue, Cinema Papers begins a series of interviews with Australian women filmmakers. See pp. 455-63.)

Co-op Cinema Closure In a press release of October 7, the Sydney Filmmakers Co-operative announced that its cinema in Darling­ hurst would close. The release said: “A resolution of the Co-op’s Annual General Meeting . . . instructed the directors to allocate no funds to the maintenance or programming of the cinema in 1981/82. This decision follows hard on the heels of an indication from the Australian Film Commission’s Creative Develop­ ment Branch that it is unprepared to continue funding the cinema’s operation. “ Frank Maloney, the C o-op’s adm inistrator, said that, ‘The decision closes the door on innova­ tive programming and theatrical exhibition of a wide range of independent and experimental films in Australia. The AFC, is urging the Co-op to make its operations economic at a time when the whole Australian film industry depends heavily on various sorts of direct and indirect public subsidy. The AFC is putting the squeeze on the wrong end of the industry, jeopardizing its future development over compara­ tively small sums.’

“At the Annual General Meeting, it was resolved to seek support from other groups in lobbying the AFC

Censorship News Most disturbing of the recent censor­ ship decisions has been the banning of Private Lessons. An Israeli-American comedy about the tuition of a boy in the ways of the flesh, the film has already been shown uncut in many overseas countries.

The reason for the Australian Censor

Private Lessons: shown in Japan, Germany, Venezuela, Puerto Rico, Spain, Italy, Brazil, Hong Kong, Greece and the U.S. without any censorship problems. It is, however, banned in Australia, being yet another example o f how Australian film censorship has once again become one o f the world’s most restrictive.

CINEMA PAPERS November-December — 429

A new publication from Cinema Papers Documentary films occupy a special place in the history and development o f Australian filmmaking. From the pioneering efforts o f Baldwin Spencer, to Damien Parer’s Academy Award winning Kokoda Front Line, to Chris Noonan’s Stepping Out and David Bradbury’s Frontline, Australia’s documentary filmmakers have been acclaimed world-wide.

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

—

Contents 1. The History of the Documentary: A World View International landmarks, key figures, major movements.

2. The Development of the Documen­ tary in Australia A general history of the evolution of the documentary film in Aus­ tralia, highlighting key films, per­ sonalities and events. This part will also examine the position docu­ mentaries occupy in the context of the film industry at large.

3. Documentary Producers An examination of the various types of documentaries made in Australia, and who produces them.

A study of government and inde­ pendent production. The aims behind the production of docu­ mentaries, and the various film forms adopted to achieve the desired ends. This part will survey the sources of finance for docu­ mentary films here and abroad.

4. The Marketplace The market for Australian docu­ mentary films, here and abroad.

This section will examine broad­ cast television, pay television, theatrical distribution, video sales

In this first comprehensive publication on Australian documentary films, Cinema Papers, in conjunction with the Victorian Film Corporation, looks at the history, financing, production, and distribution o f Australian documentary films. A special section will deal with the international marketplace, and the prospects fo r overseas financing, co-production and distribution.

and hire, box-office performances and ratings.

5. Making a Documentary A series of case studies examining the making of documentaries.

Examples will include a large budget documentary series for television; one-off documentaries for television and theatrical release; and educational and instructional documentaries.

Each case study will examine, in detail, the steps in the production of the documentary, and feature interviews with the key pro­ duction, creative and technical per­ sonnel involved.

6. The Australian Documentary: Themes and Concerns An examination of the themes, pre-occupations and film forms used by Australian documentary producers and directors.

7. The Audience An analysis of the documentary audience: its size, structure, and tastes. Key demographics. The

impact of documentary films on their viewers.

8. Repositories and Preservation A survey of the practices sur­ rounding the storage and preserva­ tion of documentary films in Aus­ tralia. Comparisons of procedures here and abroad.

9. The Future A look at the future for documen­ tary films. The impact of new tech­ nology as it affects production, dis­ tribution and marketing. A forward look at the marketplace and the changing role of the docu­ mentary.

10. Producers and Directors Checklist A checklist of documentary pro­ ducers and directors currently working in Australia.

11. 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.

Advertising Contact Peggy Nicholls on (03) 830 1097. Interstate callers may reverse the charges Or write to The Advertising Manager, Cinema Papers, 644 Victoria Street ' North Melbourne, Vic., 3051.

The Quarter

and the Federal Government to give a higher priority to the exhibition and d is t r ib u t io n of A u s tr a lia n independent films.”

Harris Joins AFC Mike Harris, former Australian bureau chief for the U.S. trade paper Variety, has joined the Australian Film Commission as its North American representative. He replaces Jim Henry, who is to take up the position of director of marketing at the South Aus­ tralian Film Corporation.

Another appointee to the AFC is David Court, who has succeeded Philip Nelson as executive assistant to the general manager, Joe Skrzynski.

Head of Production David Roe has been appointed head of production of the Film Corporation of Western Australia Pty Ltd. Roe is a graduate of the University of Western Australia and was executive director of the Australian Film Institute from 1973 to 1978. He then joined the New South Wales Film Corporation as a senior adviser in production and marketing. In June 1981 he was granted leave of absence from the NSWFC to produce Kangaroo, which is hoped to go into production mid-1982.

Sydney in the Dark The Sydney University Filmmakers Society, in association with the Festival of Sydney, is to present a season of contemporary Australian cinema, en­ titled ‘‘Sydney in the Dark” .

The screenings will be held over three days and evenings (January 2-4), and will cover the different directions of Australian independent filmmaking, from small features to experimental shorts.

For further information, write to: The Secretary, SUFS, Box 64, Holme Build­ ing, University of Sydney, NSW, 2006.

A ustralian Film A wards The 1981 Australian Film Awards were presented at the Regent Theatre on September 16 and televised live by the ABC. The winners were: Best Film: Gallipoli Best Achievement in Direction: Peter Weir (Gallipoli) Best Performance by an Actor in a L e a d in g R ole: M el G ib so n

Endless Love: “teenage pornography”?

Best Short Fiction: Captives of Care (Stephen Wallace) Best Experimental: Drink the Moon (Mark Foster) Special Cinematography: Lois Irving (Desire)

Longford Award: Phillip Adams

Reid & Puskar John Reid and Rod Puskar, both fo rm e rly of the G reater Union Organization, have formed their own promotion and marketing company.

They aim to handle three or four Aus­ tralian films a year, working from the time of pre-production to overseas launch.

Reid and Puskar also plan to handle some overseas films in the Australian market.

Dolby Sound Stereo Consultantfor A ustralia

(Gallipoli)

Best Performance by an Actress in a Leading Role: Judy Davis (Winter of our Dreams)

Best Performance by an Actor in a Sup­ porting Role: Bill Hunter (Gallipoli) Best Performance by an Actress in a Supporting Role: Judy Davis (Hood­ wink)

Best Achievement in Cinematography: Russell Boyd (Gallipoli) Best Screenplay: David Williamson (Gallipoli)

Best Sound: Don Connolly, Greg Bell, Peter Fenton (Gallipoli) Best Achievement in Film Editing: William Anderson (Gallipoli) Best Original Music Score: Grahame Bond, Rory O’Donoghue (Fatty Finn)

Best Achievement in Art Direction: H erbe rt P in ter, Wendy Weir (Gallipoli)

Best Achievement in Costume Design: Norma Moriceau (Fatty Finn) Jury Prize: Ned Lander, Graeme Issacs for Wrong Side of the Road Best Documentary: Stepping Out (Chris Noonan)

Dolby Laboratories has appointed Don Connolly as Dolby sound stereo consultant for Australia. Connolly has been working in the industry as an independent sound engineer and, in his role as sound consultant, he will co­ ordinate and supervise the technical aspects of Dolby sound stereo produc­ tions in Australia. He can be contacted via Magna-Techtronics, the Dolby studio equipment distributor for Aus­ tralia.

Barry Bawden, Film Australia, is also being trained by Dolby Laboratories in the use of the Dolby stereo encoding equipment. In this way, technical assistance for the encoding equip­ ment will be assured at all times.

The first Australian Dolby sound pro­ duction is Mad Max II, now being mixed at Film Australia, to be followed

by Freedom. In future, each producer should contact Magna-Techtronics Australia Pty Ltd, (02) 438 3377, when considering Dolby stereo mixing.

Magna-Techtronics will initiate pro­ ceedings for service agreements, licences, etc. Stereo sound mixing

facility bookings should be made through Film Australia, (02)467 0111, and through existing commercial com­ panies for other requirements of the sound mix.

Dolby sound stereo mixing is expected to be available in some com­ mercial Australian houses during 1982.

The Senate and Censorship After years of barely rating a mention, censorship has moved back into the political arena. The catalyst was the Chief Censor’s recent decision not to allow Nagisha Oshima’s Ai no corrida (Empire of the Senses) to be shown uncut at the National Film Theatre. This led Senator Hamer, chairman of the Australian Film Institute (controlling body of the NFT), to question the state of film censorship in the Senate in August (see Cinema Papers, No. 34, pp. 316-17, for a reprint of his speech and the reply by the Attorney-General, Senator Durack).

The irony of Hamer’s attack on censorship was that it came from a Liberal senator and was directed at his own Government. The Labor Party, which had once promised the total abolition of film censorship but on coming to power did nothing about it, remained silent. But no longer. Senator Evans has since come out to strongly question the Government’s attitude to censorship, particularly in regard to that applying to film festivals. Evans also questioned whether film censor­ ship was moving back to more restric­ tive times.

Following Is a reprint from Hansard of an Evans-initiated debate: Senator Evans — I refer the Attorney-General to his Press release dated 16 October reporting the outcome of the meeting of Commonwealth and State Ministers concerned with censorship in which he states that the Ministers ‘ex­ pressed general satisfaction with the classification of films by the Film Censorship Board’. I ask: Did the Ministers reach this conclusion hav­ ing regard to the apparently much more stringent policy applied by the

Board in recent times in relation to serious films such as Oshima’s In the Realm of the Senses, and Sig­ mund Freud and Dora, which policy has been causing mounting con­ cern among those in the com­ munity who are concerned to main­ tain reasonably sophisticated and civilised standards of censorship in Australia and to avoid our plunging back into the dark ages of censor­ ship of the 196'0s and before? More importantly, perhaps, does this statement about films mean that the proposed new uniform literature censorship system, which was also decided and announced at that meeting, will apply the lowest rather than the highest standards of tolerance now prevailing?

Senator Durack — Having viewed some of the films that are in fact banned altogether I think we would be plunging back into the dark ages if they were perpetrated on the Australian community. All the State Ministers who had the opportunity at that meeting of viewing some of the absolutely ghastly material that is produced by obviously sick minds would, I think, be astounded at the suggestion that control of censor­ ship of this material should be com­ pletely removed. I think it was also clear from the discussions that took place and the methods of cuts on certain films employed by the Film Censorship Board that there is still a fairly liberal attitude indeed taken — perhaps many people would think a too liberal attitude — by the Censor­ ship Board. However, as I said in that Press release, the general view expressed by the Ministers was that the Board was in fact giving effect to community standards in this area and was doing a good job The only criticism of the Board expressed in some quarters was that it perhaps was being a little too liberal, but not in the direction that Senator Evans is complaining about. That is what I meant by the statement. For my own part, I reiterate that from the dis­ cussions I have had with the Board, from what I have seen of its work and certainly from what I have seen of the films that it has actually ban­ ned, I believe that it is setting a sound community standard.

The literature censorship scheme is very much in the early formative stages. The general principle would be to endeavour to obtain agree­ ment on the sort of material which would be placed in s p e c ific categories and the form of access to that material. That would be the responsibility of a national body, the form of which has not yet been determined. Each State would still reserve the right to make specific decisions about what material was In fact put into any particular category. I cannot give the Senate very much detail about the scheme, but that was the approach that was agreed upon. Officers have been asked now to prepare a detailed scheme and the Ministers have decided to meet within the next 12 months to give it further considera­ tion.

Senator Evans — I wish to ask a supplementary question. I ask the Attorney-General, for the purpose of evaluating his answer. Can we as­ sume that the Durack test of obscenity is the same as the Frank­ furter test of obscenity which became famous in the United States?

Senator Durack — I am not suggesting any test of my own. I am simply saying that, from what I have seen of the work of the Board, it is doing a very fair job of what is a difficult task. Its members are the ones who are called upon to deter­ mine community standards and, if the honourable senator wants to put it in such terms, the test of obscenity is that of the Board, ir

CINEMA PAPERS November-December — 431

ARGARETKEUY OANWNG Interviewed by Miranda Brown

Whose idea was it to make the film of ‘Puberty Blues’?

Kelly: Mine. After I got the rights and did the treatment, I approached Joan to produce it.

What were Joan and you doing at the time?

Kelly: I was a television writer. I was doing The Restless Years and a children’s series for the ABC called Top Marks.

Long: I was planning to produce a couple of things. I had already started working on a script with another writer, and had written one for Tony Buckley. As well, I was looking after the sales and servicing of The Picture Show Man. That occupied a lot of my time.

Apparently, you were quite disillu­ sioned with production work . . .

Long: Not really. Everyone has their down points. Where did you read that?

In David Stratton’s book, ‘The Last New Wave’ . . .

Long: He interviewed me when I was at a low point and these things go on forever. No, I didn’t say I wasn’t ever going to produce. I told him I wasn’t sure that I would. I certainly didn’t think I would pro­ duce alone again. But, you change all the time.

ages. I don’t think the authors had written them with the intent of pulling them together into a novel. I think that was the publisher’s idea, who I imagine put in some pretty solid editorial work getting the stories into an order and correcting discrepancies.

Kelly: The original stories I Was it this project that brought you received had the real names still in two together? them, whereas in the finished product many characters had been Long: Yes. But Margaret had amalgamated and the names said to me earlier that she was changed. I think the characters had interested in producing, with a kind changed so much by then that they of attachment to a producer. Later were a lot further away from the on, she sent me the material for this real thing. film. I loved it. It wasn’t the story as it appears now, though. The What was Kathy Lette’s and short stories weren’t in any Gabrielle Carey’s reaction to particular order and they needed a making the film? certain amount of editing, but they were wonderful.

Kelly: They were thrilled, delighted, ecstatic.

Were they as episodic as in the Long: As well they might be. If novel? you think of all the authors who pester producers wanting their Long: The stuff of the stories was books to be made into films, and there, but they weren’t in that how few ever get to be made into order. They did need pulling films, it’s understandable. together. There were sloppy sorts of inaccuracies to do with people’s What were other people’s reactions?

K elly: I a p p r o a c h e d the Australian Film Commission for investment money to write the script, and they were quite keen on the idea. In fact, mostly it was received enthusiastically.

Did you always have Bruce Beresford in mind as director?

Long: Yes. He was on the top of our list originally, but we read an article in Screen International which listed all the enormous projects he had in mind, one after the other, stretching for years ahead, and we thought he would never have time for a small-scale film like Puberty Blues. We more or less said, “Well, that’s it. Bruce obviously wouldn’t do it.”

Months later, Bruce told us that he never gave an interview to Screen International and it was made up from stuff from other newspapers and journals.

We considered a lot of directors, but in the end it came back to Bruce. And Bruce wanted to do it, which was the main thing. He was very keen.

Kelly: When the book was

CINEMA PAPERS November-December — 433

Joan Long and Margaret Kelly

published, Bruce heard that Joan had the rights to it and he wrote saying he’d like to do it.

The novel is very episodic and picaresque. How did you get around these problems?

Kelly: We made it into a story.

There is one main girl in the book, Debbie, and she is the lead girl in the film. We just made it more her story and amalgamated a lot of things.

Does the storyline differ at all?

Kelly: I don’t know that there is a storyline to the book.

Long: There is an impression of time and events. We made the storyline; we had to, otherwise we would have found ourselves bogged down or side-tracked. All the elements of the storyline are there.

We just had to strengthen some parts and discard others.

M argaret also wrote some original scenes: for instance, the scene where the mother wants Debbie to go with them and see her father buy a new car. She doesn’t want to go. Well, that’s Margaret’s original scene. I think it’s a successful one, but we took from the book the fact that she thought she was pregnant: that gives the dramatic tension underneath the whole scene.

of it takes place on the beach, let’s one’s original concept of the character. face it.

How did he create this atmosphere?

Long: Bruce is a most energetic director — he researched all the locations personally.

Apparently, some of the original ‘characters’ had turned up and watched the filming. Did you have to get permission from any of them?

Kelly: Every time we walked into a shop in Cronulla someone would say, “ Oh, that was me. I was so and so” . We must have met about eight Bruces! So, we did not have any worries there. Everybody in Cronulla is obviously convinced they were in the book.

Long: And everybody in the area went to school with Kathy and Gabrielle. It seems half the teachers we came in contact with at the high schools we used across the river, quite a distance away, had taught these girls. So they say. There is nothing like a bit of fame for

People are always trying to dig into David Williamson’s work to find on whom the characters are based . . .

Kelly: It’s impossible, because what the writer has in mind on starting out is never what comes out on the screen. It has been through so many changes.

Long: And, as Margaret says, the mere fact an actor, who is physically different, is portraying that role is often enough to divert people from thinking that any resemblance exists. Mind you, I wouldn’t go as far as Margaret in saying that it is completely different. In fact, in some ways I think the film, because it is a more powerful and more immediate medium than a book, may seem more like the girls’ lives than that portrayed in the book.

Kelly: There are certain types in the film with whom people identify.

There are surfies on the North

Long: Extras. All the main parts are done by professionals. There was a picture of a girl in the Daily Mirror who said she starred in Puberty Blues; I’d never heard of her.

Kelly; She might have been an extra.

There are some sensational qualities in the book: drugs, sex, etc. Did you see that as a plus or a minus for the film?

Kelly: I am very much into realism. To that extent, I see anything that’s real as a plus. And drugs and sex are a part of teenage life, whether that’s good or bad.

Will there be any problems with censorship?

Kelly: We were terribly aware of this when the film was being made.

I went to see the Censors before I started the screenplay and was aware of it all the way. We have tried to keep the film as real as

Australian films are often criticized for short, choppy scenes. Do you agree?

Long: Most films have short, choppy scenes. That’s filmmaking.

It’s not television, which is more like theatre.

Kelly: One of the advantages of writing films is that you can progress your action where you like, without having to go back to the same sets all the time.

Would you call the film semi-auto­ biographical?

Kelly: I guess it’s based vaguely on the girls’ lives. No, I don’t think it’s autobiographical: it’s fiction. It is the story of young people in any suburb, anywhere in the world. I would think the film relates very little to the real facts. It has changed so much. The parents are different, the whole situation is different. Every step you make takes it away.

Long: But the milieu is there though from the book. And Bruce is very good at recre a tin g atmosphere; he has given it life. So much of this film takes place in suburban streets, suburban livingrooms, suburban houses.

In the hands of a really bad director it would look like The Restless Years, but it doesn’t. Bruce has given it a big screen feeling and made it interesting visually, which is very hard to do with this kind of material. Only a small percentage

Director Bruce Beresford on the beach with Nell Schofield (left) and Jad Capelja.

e v e r y o n e to ju m p on the Shore. I come from the North bandwagon.

Shore and I based certain aspects of Kelly: A lot of writers certainly the boys on my sons. That was my base characters on real people. I vision when writing the screenplay. have written about my parents But there certainly will be people eight or so times. They have never who will identify with the recognized themselves, because by characters in the film. the time it gets to screen it has gone through an editor and the actor’s Are any Cronulla children playing interpretation, and it is nothing like parts?

434 — November-December CINEMA PAPERS

possible, but within the guidelines laid down by the Censor.

If the book was published 20 years ago, one imagines it would have been banned . . .

Long: I think it would have been an “ R” film 20 years ago, possibly even 10 years ago. But I think these

Joan Long and Margaret Kelly

days, particularly with the spate of teenage films that have come from the U.S. . . . Well, it remains to be seen.

But we definitely did not want to make a film that young people would not be able to see; we didn’t want to make an “ R” film. We don’t think we have sacrificed anything in making it a possible “ M” .

significant. Debbie’s parents are played by Alan Cassell and Kirily Nolan and we only see Sue’s mother (Rowena Wallace). We didn’t go into it in great depth, but the feeling was that Sue’s was a single-parent family.

after that, and it wasn’t long before we had the sum required.

How long did the actual shooting take?

impossible distance from Sydney.

It was the equivalent of shooting at Palm Beach and the peak-hour drive was horrendous.

Were there any mishaps?

Long: Seven weeks. We planned to have a six-week shoot, with a few Long: It was a surprisingly d ay s up our s le e v e s fo r disaster-free shoot. Only Nell hurt When did you go into pre-produc­ emergencies. We had to use those her foot rather badly. But it wasn’t tion? and more — we had a lot of rain. in the course of her work; it was just a bit of high spirits in between takes. She tried to jump a barbedwire fence. A more experienced actor wouldn’t have done that.

Actors usually realize they have to look after themselves.

Apart from that, it was just the usual things that go wrong with equipment and so on. The weather was the worst mishap.

How were Jad Capelja and Nell Schofield chosen?

The surfie funeral from Puberty Blues.

Long: Just before December, we The book touches on lots of social issues, like how unconnected school moved into six weeks p r e ­ is with real life. Did you highlight production. At that time we were still working on the investment side. any of those issues?

It was a very big job raising money Kelly: I think the big difference is for the film and looking after all the that I tried to show the parents’ side investors, with all the legal work of things a bit more. The girls had and inquiries to handle. The film is written, because they are young, more than 50 per cent private from the teenagers’ point of view. investment.

Because I know both sides — I have been a teenager and I know what Did the alterations in the tax it’s like being a parent of teenagers concessions affect you?

— I tried to bring in the point of Long: We first started to raise view of the parents a little bit, without preaching or making it the money under the old tax boring. I think some of those areas concessions. It was fairly slow going, but we were getting there. worked very well.

Long: I think some of the most We had the AFC investment, which successful scenes in the film are of was a bit less than 50 per cent at that stage; it’s actually gone down a family life.

Kelly: It was important to give it bit more since.

Then, there was an election a more rounded look. The father and mother are in it only briefly, promise by Bob Ellicott [then but they are important characters. Minister for Home Affairs] and Parents are an important part of a everyone believed that if the Liberals got in on October 18, teenager’s life.

Long: The mere fact that these 1980, they would honor their things are being done as an act of promise. We found investments rebellion against parents is were coming a lot more quickly

Long: Allison Barrett, the casting director, first cast a net over all the people who were registered with an agent. As you can imagine, there aren’t many experienced people of that age. Bruce looked at all those people.

A ls o , q u it e a few from Wollongong heard Margaret talk on the local radio and there was a spate of applications from there.

Just out of courtesy we saw most of them, and we did find one very good girl [Leanda Brett], who plays Cheryl. But M argaret actually suggested Nell, whom she had known as a child.

Kelly: She is the same age as my children and one of my sons, who had seen her recently, said he thought she was attractive. So, I decided to audition her. She went to see Allison, who liked her and contacted Bruce. Nell had a screen test and ended up with the lead role.

Before that, she’d been in a few commercials and a couple of Kelly: We had the beach scenes dramas at school. She’d really had scheduled so many times, with no experience. extras and everyone down there, and it would rain. This cost us huge What about Jad Capelja? amounts of money, because we had to send everyone home.

Kelly: We found her during Long: But we were able to use Allison’s search. I think she must some of the dull weather quite have been one of the Keane kids — effectively. We were able to use it Linda Keane. for the beach funeral of the drug Long: She had had very little addict, and use the rain for a professional experience — mainly sequence that showed the kids school plays. Now, both have playing cards when they couldn’t aspirations to be actresses. surf.

Kelly: Actually, both want to be directors. Jad has been in Freedom Beresford was staying at Cronulla, since and she is certainly quite wasn’t he? keen. And I know that Nell’s trying to get into film school as a director.

Kelly: Yes, nearly everybody was. It was so hard shuffling Do you think it is good to have backwards and forwards to Sydney unknown faces in a film? with early starts and night shoots.

Bruce and Don M c A lp in e Kelly: If they can do the job, yes. [cinematographer] were there, and Long: I don’t think it matters. It we stayed down there most of the is just who is best for that particular time. All the Melbourne crew and role. Normally, that’s the best cast were put up at flats in actor. Mostly, actors do have Cronulla. experience to be good, but you can Cronulla is about 40 km from the get people without much experience city, which, with the traffic, is an if they have amazing talent. Put CINEMA PAPERS November-December — 435

Joan Long and Margaret Kelly

Was the major problem with the Cronulla branch or the main branch?

Long: The main Education D e p a rtm e n t, th rough which everything has to go if you want to use any schools or school facilities.

What was the main complaint?

Kelly: The book is very well known in the Cronulla region, of course.

Long: The schools are most antagonistic because they think the authors have given Sylvania High, in particular, a very bad name. But none of the schools in that area wanted to know about us.

What eventually happened?

A smokers’ break: Debbie (Nell Schofield) and Sue (Jad Capelja). Puberty Blues.

them with a really good director . .

out of context would have looked like. But when we realized what the trouble was, we sent the department

Long: The schools arrived at a good compromise; as long as you don’t go over the river — the Cooks river I think it is. We had to stay on that side of the river, slightly closer to Sydney.

Kelly: It was really only the week before we started shooting, Do you find co-production more enjoyable than working alone?

Long: I certainly enjoyed it after my last experience. The minus is that you only get half the money each [both laugh]. We are pretty honest; we can’t take a whole producer’s fee each.

Kelly: We started mid-’79 and have been working full time on this from pre-production, through production to the final icing on the cake, and we did it all on the one fee; Long: Sales, servicing and marketing takes a hell of a lot of time, more or less indefinitely, and the run-up to a feature film is at least two years. Getting the script right is a drawn-out process, and very time-consuming, but so basic.

If you don’t have a good script, you may as well put the brakes on and slow everything down until you do — or forget it.

Were there any finds?

Long: Ned Lander, who had already been in The Restless Years and has just played a lead role in Starstruck; he’s certainly very talented. Jay Hackett, who plays Bruce, is extremely good. His is a very strong, powerful performance.

Did Beresford enjoy working with a young cast?

Kelly: He seemed to love it. But Bruce seems to enjoy his work so much that he likes all aspects. He certainly got on well with them and got great performances. * Long: They asked him when he left school and he told them — 1950 or something — and they all fell about, laughing their heads off.

What will be the initial drawing card for the film — Beresford’s name, or the novel’s reputation?

Long: I think the filmic type people will go because of Bruce’s name, but I don’t think the film needs any hook; it’s all there.

Kelly: The book may attract, but it may also repel. A lot of parents didn’t like the book.

Were there any problems with parents?

Kelly: I was attacked on Cronulla Beach one day by the lady from the local Parents and" Citizens’ Association who said we were giving Cronulla children a bad name.

Long: We did have trouble with the Education Department until we s e n t th e m a full s c r i p t .

Unfortunately, the production manager, without realizing what he was doing, had picked out the school scenes from the script and sent them only those. You can imagine what these scenes plucked

Tony Hughes, Ned Lander, Geoff Rhoe and Michael Shearman in Puberty Blues

the whole script and followed it up with a conference.

A friend of mine, who has been a film scholar and is high up in the Education Department, heard that we were having trouble with them — I didn’t tell him — and intervened on our behalf, which was extremely good of him. We got good co-operation after that.

436 — November-December CINEMA PAPERS

Both of you have written scripts. Did you feel tempted to collaborate?

Long: No, though I helped Margaret with the development stages. She also worked with Bruce when he was able to devote himself to the script, which wasn’t until he had returned from the U.S.

Is it enjoyable, that time?

Long: I like developing a project.

I suppose, in a way, for a producer it’s more or less like having a very long pregnancy [loud laugh from Margaret Kelly], I don’t really think you get any crea tiv e satisfaction. I have done everything in films and I know what areas give

Joan Long and Margaret Kelly

you creative satisfaction.

Being a producer is not a highly creative process, ‘whatever some producers in this business might like to say. It’s creative only so far as you have worked with a good scriptwriter and director. It’s the director who puts the film on the screen and, even after you have a stunning script, it’s still a big question mark if the director isn’t superb.

television play like that, it’s nothing like writing an original television play because you are given break­ downs and someone else is doing half the creative work. It may not be along the lines that you would normally do it, so going from that to doing a screenplay is a huge jump. It’s almost impossible.

I find that with a screenplay you have to go through so many drafts to get a good one. David Wil­ liamson said at the Gallipoli How did you find producing your opening that if it is a good film, and first film? he believes it is, it’s because he went

by a writer who had done just that.

But it’s very rare.

are available to each other to discuss problems. I think that’s great.

Will the two of you be co-producing anything else?

What are your separate projects?

Kelly: We don’t have any plans at this stage, which is not to say we won’t. When producing a film, because so much time has to be put into it, you have to be totally committed to the project. And we were both totally committed to Puberty Blues. There isn’t another project at the moment to which we

Kelly: I am doing one called The Umbrella Woman, which is a Peter Kenna screenplay. Peter is a well-known stage w riter in Australia. Phil Noyce is going to direct it, and it is about the love triangle between two timber workers, who are brothers, and the wife of one of them. It’s set in timber country somewhere in northern NSW. We have looked at locations in Wauchope. I don’t know when I’ll be shooting it; I originally thought of February. It’s a fairly high-budget Film. With the new tax concessions, I am discovering that the money people are dictating when we shoot our films, and it may have to go back into the next financial year because of money problems.

Long: Well, mine’s a low-budget film [Time’s Raging], It has been written and planned as a lowbudget film — not ultra low. but as low as we can make it these days.

“Puberty Blues” was done on a pretty low budget . . .

Long: Yes, Puberty Blues ended up being one of the lowest budget Flms around. We stuck to the budget, too, which apparently is quite an achievement.

Times Raging has a new' director.

Sophia Turkiewicz. It's been written by Frank Moorehouse and Sophia Turkiewicz. from some short st ori es

by F r a n k Moorehouse. It's a contemporarystory about sophisticated people.

It's basically about a career woman who. although she is married, decides to have a child on her own.

When is “Puberty Blues” being released?

Long: About December 10 — the ideal release date.

Debbie (Nell Schofield) and Gary (Geoff Rhoe). Puberty Blues.

Kelly: I loved it. I found it very through so many drafts and hard work. prepared it beforehand.

Long: She got a bit of a shock, I The art of a good screenplay is think [both laugh], the going through a lot of drafts.

Kelly: No, I enjoyed it very much There is not enough good people and am hoping to produce another doing it, unfortunately. There are film. people filming first drafts and I think it shows. It is terribly hard It was also the first feature you have work and I show very little patience written. How did you find that? with writing. To start off writing a screenplay very rarely works. You Kelly: Very difficult. Much more have to learn the craft first. difficult than producing.

How should people go about What are the major differences in learning the craft? your approach to film and television?

Long: Writing short films or working in television — just Kelly: U nfortunately, our writing. Doing anything at all. television industry at the moment is Kelly: To jump into a screenplay nearly all soap operas. So, although first up is almost impossible, there is creativity in writing a though I did read a script recently

When did Roadshow Distributors become involved?

Long: We sent them the script both feel totally committed. We while we had our application in for have one each separately, though.

Long: We are going on sharing funding at the AFC. They wrote a the office and I think that’s awfully letter saying they definitely would be interested in distributing the useful because . . .

Kelly: We still have the film. Quite a few months later, when the film definitely looked like partnership.

Long: Yes. One can get so a goer, we had a conference with isolated on one’s own. That is what them and tied up the details of the I didn’t like about the aftermath of distribution agreement. It was tied producing The Picture Show Man. I up before we began shooting. had an office at home and, while a lot of work was on the telephone Are you planning to take it to and I got out when the occasion overseas festivals? demanded, it was an isolated life. I don’t think it is good and that is Kelly: We are taking it to the why film producers tend to U.S. in September. congregate in a complex, like Long: You are usually invited to Filmside. festivals. I had too many invitations Margaret and I have our own for The Picture Show Man. little complex here. I think it could Kelly: We'll see how we go in the work very well because we know we U.S. first, then decide after that.ifrCINEMA PAPERS November-December - 437

¡¡¡¡ill

WOMAN POLANSKI Neil Sinyard

Opposite: Roman Polanski as a director (Tess), and (inserts) as an actor in Andrzej Wajda’s A Generation (top), The Tenant (middle left), Dance of the Vampires (aka The Fearless Vampire Killers) (middle right) and Chinatown (bottom).

Below: the young man and the husband (top), the wife and the young man: Polanski’s first feature, Knife in the Water.

“ Who’s the midget?” The question is sar­ donically posed by the detective in Chinatown who has been poking his nose into sinister affairs and is being harassed now by two thugs, one large, one small. The question offends the small thug who responds by slashing the detec­ tive’s nose with a knife and threatening next time to feed it to the goldfish. The ‘midget’, then, is the genre’s archetypal baby-faced psychopath. He is also the director of the film, Roman Polanski.

Water, made in 1960. It tells the story of a olanski’s films can invariably be con­ couple who pick up a student hitch-hiker whom sidered as unnerving responses to they have almost run over and the tensions that impolite questions. They are about develop between the three when the student is king-size malevolence deceptively invited to join the couple on their yacht. The contained in a pint-pot. Nearly all older man wishes to show off before the student: are ultimately stories of violence and more murder, secretly, it is suggested that he wishes to laced with philosophical abstractions liven and an up what is developing into a boring uncomfortable grisly humor. weekend routine with his wife. His exhibition­ Polanski is one of the most elusive auteurs of ism and self-assurance crumple under events the modern cinema. He is physically elusive — which make him uncertain whether the student, his career has flitted disconcertingly between whom he has caused to fall off the yacht, has Poland, England, Hollywood and France — and drowned or whether he has returned and seduced this makes him difficult to contextualize. He is his wife.. an art cinema director with a nose for com­ There are many features which one is to mercial success. He is a man a little outside of recognize in future Polanski: the hints of sexual the mainstream cinema, yet he is also a trend­ frustration and insecurity; an ironic use of setter, adding fresh blood to the horror film landscape, the idyllic setting counterpointing the (Rosemary’s Baby), seeping cynicism and color fraught psychological atmosphere; a fluent into the world of the private-eye (Chinatown), naturalistic style to convey progressively heated and breathing fresh life into the filmed literary states of mind. The film concludes on a question mark — does the husband believe his wife, or classic (Tess).

Polanski can be cynical and romantic, not? will he go to the police, or not? — which baroque and austere. He can marshal the most leads not to narrative closure but to one of those opulent effects, like the ball in Dance of the satisfyingly resonant anticlimaxes of which Vampires, yet can create atmosphere and Polanski is a master. menace with the simplest of means, like the The knife of the title is owned by the youth buzzing of a fly in Repulsion and What?. There and secretly coveted by the older man. It is one are three predominant modes in Polanski’s of those objects in Polanski which is absorbed career — the surrealist, the demonic and the perfectly naturally into the realist narrative and classical — yet they all interlock, as realism gets yet seems also to pick up mysterious meta­ out of joint and the monstrous becomes the phorical associations — something to be felt as a norm. Above it all is Polanski’s mastery as a symbol (like, for example, the rotting rabbit’s filmmaker. “ I am neither critic nor sociol­ head in the heroine’s handbag in Repulsion) ogist,” he once said, “ merely cineaste.” without a specific symbolic explanation being Polanski’s first feature was Knife in the intended or offered.

P

CINEMA PAPERS November-December - 439

Roman Polanski

Top: Carol (Catherine Deneuve), after her first nightmare.

Above: after murdering the landlord. Repulsion. Below: husband (Donald PIeasenee), in pit, wife (Françoise Dorleac) and gangster (Lionel Slander) in Cul-de-sac.

440 — November-December CINEMA PAPERS

nives, sharp objects, abound in Polanski, and they are murderous.

There is the attack with the razor in Repulsion, the sickeningly explicit butchering of Duncan in Macbeth, the slitting of the detective’s nose in Chinatown, the murder of Alec d’Urberville in Tess, stabbed by the heroine and with the blood from his heart staining the ceiling of the landlady’s room below. Knives recur as Polanski’s favorite weapon because most of the struggles in his films are close personal confrontations between victim and villain. Knives that dissect, tear and divide somehow parallel the process of paring away protective psychological layers that happens to the tormented leading characters in Polanski’s world.

But violence in Polanski, while often extreme, is never cathartic. It never seems to resolve anything but only succeeds in cutting into an ever-deeper void. All his films show the effect of psychological violence, of people imposing themselves on others, attempting to exploit some sort of advantage (the theme of Polanski’s most brilliant short, Mammals). But they also show the impotence of physical violence, which is not only futile but invariably enacted out of weakness rather than strength, fear rather than conviction. This is elaborated in Polanski’s imaginative visualization of the murder of Duncan in Macbeth. The king wakes up before Macbeth strikes and the latter, horrified at being caught in so compromising a situation, goes clumsily through with the deed out of sheer desperation and terror.

Physical violence as a correlative to psycho­ logical anxiety is the main theme of Repulsion (1965), a chilling study of mental breakdown as seen from the inside. Polanski assembles external data to reflect Carol’s (Catherine Deneuve) internal schism (rotting food, cracks in the walls and pavements); and interestingly equates her madness and violence as a projection of her sense of oppression as a female.

In the film, it is noticeable how the sexes are represented in discrete factions: the women’s white beauty parlor (another essay on the theme of putrid flesh); the convent; the all-male pub with its harsh leather furnishings. Intima­ tions of a brute masculine world against which a frightened heroine lashes out are intensified by shots of crude and leering road-workers, a lecherous landlord, the sexy lover of her sister, and even by the male wrestlers watched by her sister on television.

One has always felt a strong sense of the feminine in Polanski (acknowledged explicitly by his bold drag performance in The Tenant) which leads him to identify with his fearful and vulnerable heroines who are crying out against the world in which they find themselves. There was a lot of talk about Luis Buñuel and Alfred Hitchcock when discussing Repulsion, but the sensibility it particularly recalls is that of the poet and novelist Sylvia Plath. There is the same father-fixation, the same sense of being “ inhabited by a cry” and of violence directed from without and within, and the same use of horror-film imagery to convey the impression of a mind at the end of its tether. Carol in Repulsion, Rosemary in Rosemary’s Baby, Mrs Mulwray in Chinatown, the heroine of Tess are all figures threatened by overwhelming social, domestic, patriarchal forces.

Polanski has sometimes been accused of sexism in his films, particularly in Chinatown where the hero leads all the women to destruction and yet gets away with a slashed nose. The heroine has her eye blown out (the eye, it must be noted, whose attractive imperfection has led to the film’s one love scene between hero

and heroine). But if Chinatown is a tragedy (as I believe it is), it is so partly because of the film’s agonized examination of the fate of women in that society. It is the sympathetic weight given to the heroine’s dilemma in the film and the under­ cutting of the hero’s own sexism (which is modified by the dread events he uncovers) that give the ending of that film its particular pain. similar sympathy is evident in the attitude to Carol in Repulsion, who is a typical Polanski character.

She is a stranger in a foreign land, which means not only that she is a Belgian living in London and a woman in a man’s world, but that she is an ‘abnormal’ figure in a society intolerant of the unconventional (the theme of Polanski’s first short, Two Men and a Wardrobe). Polanski’s main characters tend to be outcasts or exiles. But the exile is psychical as well as geographical. It expresses a moral and emotional estrangement from modern society whose values are often viewed with hostility. His main characters are rootless, haunted, trapped, alone in rooms which begin to echo their own inner disintegration. Home becomes a nebulous, even frightening, concept.

The sense of exile in Polanski (which he shares with many major artists of the century) is, on the one hand, a rejection of society, a reaction against its constrictions and a studied indifference to its praise or blame. On the other hand, this exile can be felt as an expulsion from society, a perverse refusal to come to terms with reality that can lead to obscurity, alienation and despair. Polanski’s characters — and Polanski himself — constantly wrestle with these twin impulses of defiance and desperation.

Cul-de-Sac (1966) forsakes a setting of social reality for a world of absurdist psychology reminiscent of Harold Pinter and Samuel Beckett. Two gangsters, one seriously wounded, burst in on a strange married couple living in a remote Northumberland castle and completely shake up the relationship that they find (an ‘intruder’ motif that is very characteristic of Pinter). The gangsters are waiting for a boss who, like Godot, sends frequent messages but never arrives.

The work is a brilliantly-shot comedy of menace. It is more bizarre and audacious than Knife in the Water, but its setting and its interplay between three characters are similar.

Donald Pleasence’s husband is an extra­ ordinarily comic depiction of unco-ordinated man, who cannot get himself together physically, psychically or sexually. Francoise Dorleac is his wife, a thoughtless, youthful tease whose cruel games eventually bring the relation­ ships to a crisis, in a situation presaged by a magnificent single-take sequence on the beach when husband and gangster (Lionel Stander) moodily discuss women and the restrained yet sinuous camera movement stoically records the shifting alliances between the three characters.

Polanski’s observations on British eccen­ tricity, mordantly apparent in the portrayal of the lugubrious neighbours in Repulsion, are given delirious expression in a scene where husband and wife are unexpectedly visited by friends. Far from enlisting the friends to drive out the gangster, the husband compels the gangster to pose as a thoroughly incongruous servant and drives out his dreadful friends who have only come to spy on the state of his recent marriage.

The ending sees the wife running out, the gangster shot, and the husband completely alone, clutching a rock, surrounded by open sea, and wailing the name of his first wife whom he left a year ago for this younger girl. ‘Every man is an island’, is the feeling, and it ties in with an

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Roman Polanski

ominous line in Repulsion, which at the time seemed harmless but which reverberates uncom­ fortably: “We all have to live our own lives in the end, you know.”

Polanski moved then into one of the most dis­ turbing phases of his career and made what one might call his demonic trilogy. Together they represent Polanski’s three faces of horror: modern-ironical (Rosemary’s Baby), traditionalparodical (Dance of the Vampires) and tragicalclassical (Macbeth). Although they are widely differentiated in tone and intention, they each reach the same disquieting conclusion: that the powerful attractio n of the demonic is overwhelming.

Polanski’s world is a godless one, a world sub­ ject to a malignant rather than a benign fate.

Most of his films begin with chance encounters that unnervingly are to throw their characters’ fates awry—Knife in the Water, Cul-de-Sac, Macbeth, Tess. The shaky plotting of Thomas Hardy has never looked more logical than in Polanski’s Tess where every coincidental effect, inexorably leading the heroine to her dread destiny, seems perfectly natural, even inevitable.

husband is ridiculing the Pope on television. In the nightmare sequence she asks a priest for forgiveness only to discover that he is wearing the mysterious tannis ring that signals his membership of the coven of witches and his im­ plication in what is happening to Rosemary.

“God bless Dr Hill” , says Rosemary, shortly before the man is to turn her over to the chief villain. The more she turns to religion for help, the more immediate and terrifying is the rebuff.

In this context, it is appropriate that the film should close with a grotesque parody of the Adoration of the Magi (“Come see the child” the guests are told) which in its way is as mis­ chievous as Bunuel’s notorious evocation of the Last Supper. Both men are making pacts with profanity.

Nevertheless, the real terror in Rosemary’s Baby is not that there might be witches in New York, but that the people close to you — doctor, neighbours, even husband — are not to be trusted. Like a number of Polanski’s works, the the ending o f Cul-de-sac, the husband "alone, film is really about the traumas of treachery, be­ Above: clutching a rock, surrounded by open sea’’. Below left: the ing constructed on a series of betrayals so shat­ dance from Dance of the Vampires. Below centre: Rosemary tering that the individual is finally reduced to a (Mia Farrow) and husband Guy (John Cassavetes) in Rose­ mary ’s Baby. Bottom: Rosemary and knife in the final scene. state of almost total passivity.

Dance of the Vampires (1969) provides the olanski’s scepticism could never mirth behind the macabre. It is an affectionate countenance religious belief. The homage to a genre Polanski enjoys (particularly strategy of Rosemary’s Baby (1968) The Haunting and Peeping Tom, he says) which is not to make you believe in witches: finds room for humor without dissipating the it is to make you disbelieve in impact of moments with the authentic frisson of Catholicism. The flashbacks indict Rosemary’s fright. Thus, a genuinely terrifying moment (Mia Farrow) strict convent upbringingwhen and her a vampire swoops down on a girl in a bath first significant bouts of sickness occur when her is immediately shattered by the sound of a

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CINEMA PAPERS November-December — 441

Roman Polanski

Above: Jon Finch as Macbeth in Macbeth. Below centre: Polanski as the young Pole and Isabelle Adjani as the girl. The Tenant. Bottom: the midget (Polanski) prepares to slice the nose of the detective (Jack Nicholson). Chinatown.

442 — November-December CINEMA PAPERS

hilariously high-pitched shriek which the hero emits on seeing the incident. A tense passage when a monster is threatening to bite the young man is banished when he succeeds only in getting his teeth into a (in fact,the) good book.There is a superb choreographic midnight ball, with the conversations ingeniously fragmented by the rhythms of the dance, and Polanski’s own performance is amusing and delightful. Being chided for provoking a homosexual vampire into an attack on him, Polanski pleads in a tone of ineffable innocence: “ I didn’t. He got excited on his own.”

Nevertheless, for all the incidental diversions, there is still a disturbing twist in the tale. “That night, fleeing from Transylvania,” says the narrator at the end, “ Professor Abronsius never guessed he was carrying with him the very evil he had wished destroyed. Thanks to him, this evil would at last be able to spread across the world.”

Polanski’s version of Macbeth (1971) was at­ tacked for its over-emphasis on the carnage at the expense of tragic nobility. But it is clear that Polanski was not interested in attempting to re­ create the play’s specifically tragic vision.

Polanski responds to the material as a cineaste and has produced a wholly fresh cinematic inter­ pretation: Macbeth becomes an ingenious fusion of horror film and film noir.

The noir elements are in the reading of the characters and the atmosphere: the seduction of a weak but ambitious hero by a strong heroine who impels him to murder, set against a shadowy world that is dark with something more than night. The horror elements are contained in the film’s specific stress on the power of the supernatural: Macbeth becomes the tragedy of a man who believes what he was told by three witches.

The re-interpretation of the work in terms of specific film forms allows for a liberating irreverence towards stuffy readings of the play.

The soliloquies have a certain weightlessness (notably in his jokey presentation of “ Is this a dagger I see before me?”) because Polanski does not really believe their psychological torment: from the moment the malignant demonism is planted, they are doomed. Indeed, the key to the interpretation in many ways is the line “ fair is foul” , which not only refects the deceptiveness of appearance but specifically relates to the un­ usually youthful and attractive Macbeth and Lady Macbeth here (Jon Finch and Francesca Annis) who are actually black-hearted and cor­ rupt.

A certain impish humor abounds, notably in the film’s building of the minor character of Ross into a major Machiavellian monster, and in the very funny presentation of the porter who, in this version, takes a very long time to reach the gate because he is drunk and has to stop and urinate on the way.

Such relief is rare in the film, though. Mainly it is a picture of an overpowering evil, a Macbeth whose Jacobean ruthlessness has a clear reference to some of the horrors of the modern world committed in the name of overweening ambition. It is a production that could well have been endorsed by a fellow Polish Shakespearean like Jan Kott.

Polanski’s more orthodox film noir is China­ town (1974), his labyrinthine private-eye movie which moves inexorably towards darkness and chaos. The socio-sexuaf rottenness at the heart of the community evokes Hammett and Chandler but by the 1970s the modern screen hero is no longer able to cope. The hero of Chinatown is not all that far removed from Polanski’s middle-aged hero in Knife in the Water: a man who thinks he is in control, who swaggers through the action trying to impress but whose desperately self-assertive and cock­

sure actions bring down the whole structure of his world, precipitating a disaster he sought to avoid.

The ambitious social and political scope of Robert Towne’s screenplay has been much com­ mented on, particularly its exploration of a dis­ honesty, ruthlessness and paranoia evocative of Watergate. Nevertheless, one suspects that the specific political issues of the screenplay did not especially interest Polanski, whose films show little inclination to engage directly in political debate. One suspects that the material first of all appealed again to the cineaste in Polanski, giv­ ing him the opportunity to view a distinguished film genre with a sense of nostalgia that is also crossed with a modernist streak of enigma and cruelty. One suspects too that he relished the prospect of attempting once again to convey menace through ambience — through odd washed-out color, through a narrative that seems to mesh together through symbols more than events, and, in particular, through a sense of place.

Perhaps the most characteristic Polanski ele­ ment in Chinatown is the sense of corruption conveyed by the setting — an arid Los Angeles which even then Polanski might have responded to as an image of a decayed dream, like his own tragic experience of Hollywood. This is also true of Chinatown itself, which is not only a location but a state of mind, representing a dangerous past, a state of libidinous and lawless anarchy, and a premonition of bad luck. The final action takes place there and, in the process of solving everything, the hero simultaneously loses everything. “ Forget it, Jake, this is China­ town” , he is told and he turns helplessly away from the wreckage he has inadvertently wrought and is swallowed by the dark streets. etween Macbeth and Chinatown, Polanski had made What? (1973), a diversion which had returned him to the world of absurdist comedy and offered a free variation on Alice in Wonderland re-told in explicitly sexual and sur­ realist terms. The heroine is innocent, provocative and put-upon, and the repeated voyeurism, suggestive groaning and collapsing walls recalled Repulsion, though here treated in a much more light-hearted vein.

Repulsion is more directly invoked by The Tenant, the film Polanski made in France in 1976.

Polanski plays the tenant, a young Pole (though, as he keeps insisting, he is a French citizen) who takes over the flat of a girl who has tried to kill herself. The hero becomes himself tormented by querulous neighbours, by mysterious happenings in the toilet outside his window, by visits from the previous tenant’s friends, and by the per­ sonality of the girl beginning to take him over.

There is something particularly piquant about Polanski putting himself through the kind of ex­ periences to which his heroines have previously been subjected, and the disintegration of per­ sonality is at once the product of a perceptibly disturbing environment but also the outcome of the hero’s excessive self-vilification and self­ torment. A superb scene in a church where Polanski’s attraction for the girl (Isabelle Ad­ jani) is stopped in its tracks by his becoming queasy at the sermon on putrefying flesh is a precisely poised moment: does it indicate the corruption around, which is to engulf him, or the exaggerations taking place within his own head?

“At what point do I cease to be me?” the hero asks. “At what point do I become a mindless body or a bodiless mind?”

For all the humor in the characterization and detail (Egyptian hieroglyphics alongside graffiti on that lavatory wall), it is the hero’s self­ questioning and his ultimate unavailing fight to

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Roman Polanski

preserve his sanity and identity that compel at­ tention, and Polanski’s haunted face and per­ sonality dominate the film.

The feeling of being an outsider in hostile territory has clear relevance to Polanski, and the same personal feeling is evident in Tess (1979), quite apart from the dedication “To Sharon” . It tells of someone victimized through one mistake in the past and hounded for it to the death, for going against a “social law” . In sympathizing so directly with the heroine (Nastassia Kinski), Polanski highlights the thrust in his adaptation against that society’s male values. Angel’s (Peter Firth) hypocrisy, and Alec’s (Leigh Lawson) smooth seduction and rough rectification of wrongs have no severe repercussions against themselves but distress and destroy the women who stray into their path.

The film has many visual and dramatic beauties — the shot of the night dancing when Angel first sees Tess and which, in its mysterious lighting, anticipates their final scene at Stone­ henge; the comically but ominously trembling vicar during the wedding ceremony of Angel and Tess; the way one can feel the house growing cold as Tess chills Angel with her revelations.

Perhaps the most surprising aspect of the adaptation is his decision to cut two scenes from the novel which one felt he would be certain to include: the death of the horse in the early part; and Angel’s remarkable sleep-walking ex­ perience during their traumatic honeymoon. It is a decision to cut symbolism and the subcon­ scious from the novel and go for the realism at

its heart. It is as if Polanski did not want anything to distract from the terrifyingly plaus­ ible linearity that he perceived in Tess’s fate.

What he also changes perhaps is the tone.

Hardy quoted Gloucester’s lines in King Lear as a key to the mood of his novel: “As flies to wanton boys are we to the gods/ They kill us for their sport.” Polanski’s epigraph to Tess could also be from King Lear, one feels, but this time Edgar’s lines to Gloucester: “ Men must endure/ their going hence even as their coming hither;/ Ripeness is all.” “ Have they come for me?” asks Tess at the end. “ I am ready.” Polanski ends with this, stressing the nobility of Tess’ accep­ tance of her fate rather than the horror of the fate itself. The film’s poignant, quiet roman­ ticism at the end has the sense of Tess, and perhaps Polanski himself, coming out of a night­ mare to a renewed ‘ripeness’.

“Today, to be with it,” Polanski said recently, “ it means to deal with fundamental, essential, simple human emotions and feelings, not try to impress by absurd or surrealistic imagery and thinking.” In the past Polanski has been at­ tacked for what has been variously defined as “sentimental irrationalism” or a “masochistic indulgence in pain” . The criticisms might have had some validity, though Polanski’s bleakness has always been temporarily irradiated by com­ passion and humor. But they seem inapplicable to the austere beauty of Tess. Those critics who professed disappointment with the film might have misunderstood Polanski’s new direction.

He has stared long enough into the abyss. ★

Above: the wedding o f Angel Clare (Peter Firth) and Tess (Nastassia Kinski). Tess. Below: “Men must endure/their going hence even as their coming hitherfRipeness is all. ” Kinski as Tess.

CINEMA PAPERS November-December — 443

Why did you become a filmmaker?

I have always been a little put off by the term “filmmaker' — it is so pretentious. I can't dissociate mak­ ing films from doing shows in theatre or for television, or making commercials. It's all showbusiness to me.

How did you break into film­ making?

The director o f Fatty Finn, Doctors and Nurses, and the yet-to-be-completed Horror Movie and Goose Flesh talks with Dave Sargent.

Below: Doctors and Nurses.

badly managed throughout the world that, thank God. films do get made and stage shows do get put on. Very few clever people have their hooks into television. A few in U.S. in the 1950s and a few in England in the 1960s, and that’s all.

Are Australian audiences receptive to Australian comedies?

I doubt if we will ever know, because so few are made. Certainly Brian Rosen asked me whether I audiences were very receptive to would direct Fatty Finn. People had Alvin Purple, but I can’t quite sent me scripts before, but I was assess whether that was because busy doing other things. This time I Alvin was a bit of soft porn and said “yes” as I thought it the best humorous, whether it w'as just humorous, or whether it was novel script I had read, at that stage. for us to make a film at that time.

But then, audiences also loved How advanced was the project?

Barry McKenzie. So, why did we The script was written and the stop making those films, given our film industry was built on them? I money had been raised. have absolutely no idea.

There is a problem with What freedom did you have in. inter­ Australian humor, however, in the preting the screenplay? way the audience is structured.

Educated Australians prefer what I had all the freedom I wanted. 'hey call British humor — what was All the dramas had happened pumped out in the Ealing comedies before I got there — as you can or on the BBC. But the majority read in Cinema Papers' There were audience finds what the Americans two versions of the script: the one do by far the funniest. Somewhere, Bob Ellis and Chris McGill had we have a few Australians who try written, and the one incorporating to convince people that what’s the changes Bob had been asked to funny in Australia is funny, but the audience finds that hard to accept. do.

I got together with Bob. said I So often you hear the word “silly” loved two of the new passages, but instead of “ funny” . I have never wanted to throw the rest out. I felt, been able to understand that. I for instance, that the goat race don’t know why we find Alan Alda wasn't strong enough as there funnier than Paul Hogan, but we weren’t any jokes in it. I then do. I call it the northern hemi­ showed Bob some jokes I had sphere cultural cringe: if you come written, and he said, “ Fair enough, from above the equator the audience is going to accept you go for your life."

After that I pruned the script more than if you live a foot below.

Then again, maybe our comedies quite a lot, cutting it down from 120 just aren’t good enough. If the to 90 minutes. audience were given a better What kind of working relationship product, perhaps we would be do you prefer with producers and m aking hundreds of them .

Something went w'rong with our writers? humorous development, and I don’t One that gets the thing done. know what it is.

Comedy is that it is much easier if everybody is happy and you don’t How was “Fatty Finn” received? have arguments about the direc­ Well. I w'as surprised on two tion. It is easier for me to analyse if the humor is working. counts: one was that older people went; the other was that children had never imagined Fatty Is cinema a good medium for did. Ibeing able to drag children comedy, as compared to stage or Finn away from their television sets or television? from films like Empire Strikes Back. I would rather go to One thing that fascinates me is Superman II than Fatty Finn.

People w'ho don’t pretend to be the upsurge in film humor. This is probably because television humor sophisticated really liked Fatty Finn. is terrible and has got worse. It is Of course, sophisticated people did hard to believe that the industry as well, but I aim to make films for that created that king of comedy people who assess the film they go shows, Bilko, in the 1950s can do to and don’t feel the need to the awful stuff one sees today. compare it with other films. I’ve As far as I can see. anybody with always found it fascinating that half a brain could take over tele­ people say, “The Sydney Sun is vision and annihilate the entertain­ now'here near as good as The ment industry. No one would go to Observer." But you wouldn’t buy films. But television is so incredibly The Sun if you liked The Observer, so why compare them.

The people who assess scripts 1. Bob Ellis interview. Cinema Papers. No. 29, pp. 314-19, 386.

— distributors, film producers,

whoever — are just the same. They are always saying, “ Buñuel didn’t do this.” But the audience has never heard of Buñuel. I don’t go about saying Superman II is the same as King Kong, or that The Empire Strikes Back is The Black Prince in different costumes. For God’s sake, I just want to enjoy a Film for what it is.

What do you wish to convey by the reversal?

I hope it means a lot of jokes, a lot of fun. The only message is enjoyment.

From what you have said, you don’t seem particularly interested in children’s film per se . . .

Not at all. If I had made a Film Talking about comparison, to what that was called a “children’s film” , extent were you influenced by the I would feel embarrassed. I didn’t film “Kid Stakes”? want to go to a children’s film when The s c rip t was c e rta in ly I was young! I didn’t think Bambi influenced a hell of a lot. But, other was good until I was 22. than using it as research — and I Are there particular themes or showed it to the children — I don’t stories that interest people at think I was much influenced. I was different age-levels? a lot more influenced by Syd Nicholls who drew the comics.

No. There are just adults in The comics also intrigued me publishing and Filmmaking who try because . they show that people to manipulate children. We all aren’t as depressed by depressive know that little children like a big times as historians make out. image, so they write books about Everybody was hopeful; everybody elephants. Children only get was trying their guts out to get up favorite stories because that’s all there. they have been given. I know a When you are really broke — woman who read Greek fables to and I only have been starving once her son: people cutting off each — you aren’t necessarily all that other’s heads and gouging out unhappy about it. Sure I was their mother’s eyes. And he thought wondering where I might steal it was a lot of fun — any child some food, but I didn’t consider i would. was deprived. It is only a media I know nothing about what thing that has people being research says is “ good” for depressed during the Depression. children. But I know that the best time to be a child is when you are Perhaps the comic strip tried to about 62. The best part of child­ divert people from their worries . . . hood is memories. In fact, it is pretty hard being little, unless you Fatty (Ben Oxenbould) and his gang. Fatty just like films, television, and have a lot of support. If you have Finn. even newspapers do. What we buy older brothers or sisters, it is pretty when we go to a Film is an hour- easy because you have other important. I want to make films and-a-half of being transported children around to keep the adults that make children feel hopeful. away from normality. But 1 don’t at bay. But if you are the First, or a I think fantasy is wonderful; it is know whether people go to forget couple of lone children in life, you more real than reality. If I hadn’t their terrible, sad lives. It is just don’t have any help. Life doesn’t had Superman comics when I was a lovely to experience another life. become easier until you are 20. child, I would have gone mad. And I wouldn’t have known anything.

Does “ Fatty Finn” idealize What is the general attitude within Who learnt anything at school? I the Australian film industry to films never disliked school, but it is made childhood? made specifically for children? and organized like a prison; it is Fatty Finn was made for the detention for six hours a day. adult in the child and the child in I don’t know because, as I said, I I think everybody is what they the adult. Adults go round telling hate the term “children’s film” . It saw at the cinema. Now, for people children how ideal childhood is, but sounds as if it was made by younger than I, they probably are children aren’t foolish. I remember committees of the CWA, by people knowing it was much better being who think they know what’s best Below: Miguel Lopez as Dr Juan Perón in for children. an adult.

Probably the most successful Doctors and Nurses.

I don’t think anyone’s very interested in children being children’s Film — i.e., the Film that children, except adults. Parents most children have seen — is Star take children to Benji; children Wars. And the reason it was so don’t decide themselves to see it. successful was because it is about Maybe when you are four to six you the immediate generation the might like Benji, but if you are a children aspire to — i.e., people fraction older and can play a Space who are just a bit older than them. invaders machine, you wouldn’t If you are down the six to 10 scale, choose to see it. You’d want to go then you want to be 16 to 18. You and see stuff where there are can’t imagine being a grandfather particularly, but you can imagine heroes. being a bit older.

Films made about little girls So, for whom is “Doctors and riding horses are really for a select Nurses” made? group of people; they are for a few The aim is to try and interest young girls who like ponies and children in fantasy, where the who hope one day they are going to children are adults and they treat have a big hprse to ride; or for the adults like children; it is a adults who wish they had horses role-reversal thing. The children when they were young. And I don’t find that sort of selectivity win rather than lose.

what they saw on television. But that’s what you arel The power of your own personal relationship has no hope compared to four hours a day of television. It doesn’t matter how many people love you, or how many people you are in love with, or what human relationships you have, television will win hands down. For example, I learned more about sex from the original Blue Lagoon than I did from any human being.

I think quite a lot of the Euro­ pean children’s things one sees on Channel 0/28 are just wet. I just think, “What a pack of wet people you are” , all running around building tree houses in the middle of the city. It is all so trendy and boring. It is an adult version of what children want to do. They

Maurice Murphy

don’t want to do that: they want to pinch a car, or do something interesting.

I think children are really clever and only do that sort of stuff because they know it is expected of them. They go around being cute, but they don’t desire to be that way.

When a child gets on a bike and you say, “ Keep on the footpath” , he goes around the corner, out of sight, and on to the road to mix it with the cars and motor-cycles.

Who wants to ride on a narrow footpath? Only dills do that.

What have you learned about children, while working with them?

Like most people in show­ business, I thought one should never work with children or dogs.

But the reverse is true. Children are incredibly intelligent and they respect what they are doing. They learn everything they are supposed to and usually do it more efficiently than adults.

Adults also often come to a set feeling tired, but children never do.

They are sensible about resting. .They know instinctively that you can’t shoot for 10 hours a day, so they work for about an hour and then go off for 15 minutes to refresh themselves. Then they race back to do their next scene.

One of the good things about the film, is that I actually had to get down to their height. Life's quite different down there, and you start

to look at the adults from their height; it is very interesting.

Is it more demanding working with children?

No, much easier. But I try to put the children in a situation of bringing out their own personal­ ities. I don’t ask them to assume characters and act. I find somebody who is like the character and then get him to play himself. I like people being themselves.

sort of performance. When you are rehearsing you never ask to do the final thing: you make sure that is kept at bay, i always leave a certain la titu d e so th a t it is more spontaneous on the day.

What is your individual approach to filmmaking?

There are visual jokes, which have to be organized by the director, but usually I like the humor that comes from the performers. And if the director Do you do much preparation with interferes with that too much, he is likely to shatter the comic nature of your actors during rehearsals? a scene.

I have always found it difficult One of the things I really dislike about filmmaking is that it is making the actors do specific things difficult to get everyone together to a specific timing — to open a beforehand. With a stage play you door at a precise moment, so it is always do that; you usually have perfect for the camera and so on. I four or so weeks of rehearsal to prefer to make the camera perfect work on performances together. for the performer.

1 am finding with the horror film I think doing rehearsals is the best thing in life. So I have [Horror Movie] that it is a lot easier regretted that one doesn’t rehearse to be precise and to storyboard each scene. With comedy I need to enough on film. be open to anything that is funnier Do you ever find that performances than what is written. are lost as a result of before-take Why are you doing a horror film rehearsals? after two comedies?

Well, I would much prefer to do In our little bag of future projects everything in one take. I hate camera rehearsals and all that sort was this horror film, and each time of stuff because it is death to any I looked at it I thought, “ It really could be funny.” I then began to Below: a cricket game is arrested by the local wonder at the kind of challenge it would be for me to stop making it constable. Fatly Finn. funny. Horror is very fragile and I felt it would be so easy to make it funny.

I am also intrigued that some people find horror films horrific, and others think them funny. One group will believe in it and go shiver, shiver, while another group will laugh all the way through. I am hoping our film isn’t going to be one people laugh at.

What is it about?

A bloke who loves horror films and commits horrors at the films.

But. of course. I couldn’t stop at that, so 1 thought of doing another film as well, with the same cast and a similar plot. One is horror, the other is comic [Goose Flesh], I am dying to see if you can do two films around the same subject.

How do you plan to release them?

Separately, but they would make a really good double-bill at the drive-in. although I don’t know how keen people are on double-bills any more.

Are the films financed indepen­ dently?

Yes. though there is a bit of Australian Film- Commission money in it.

What was the AFC’s attitude to the inventiveness of the project?

My argument to them was that we are going to write comedies till the cows come home, but what audiences want is last year’s American success. No one is going to be able to deliver that. So, I said, why not look at it from the end of the audience? Maybe the way to get people to go to a comedy is for them to understand on what it is based, it doesn’t seem right to make a parody of The Poseidon Adventure — leave those to Hollywood. And I don’t really want to do a parody of Picnic at Hanging Rock because that's too limited and nobody is going to understand it.

But what would happen if I made a parody of a film which i had shot myself? It's not a bad idea, really.

A lot will depend on the marketing and distribution . . .

Absolutely. Marketing anything that isn’t the same as something else has always been a difficulty in Australia. It hasn't been so in other countries, however. But I think I can work out how to do that.

You are in a unique situation of working on two films when your last still hasn’t been released. What position does that place you in?

Tired. I am tired.

Would you have preferred to have had “ D octors and N u rs e s ” exhibited to see how people react before going to another project?

No, With television, one is quite used to moving on. That doesn’t worry me at all. Also, they are totally different sorts of films, with completely different audiences in mind. ] find making one film every two

M aurice M urphy

on someone else inventing the form.

One of the things that disap­ points me about television is that it hasn’t even begun to invent what could be invented. I can never understand why they don’t fiddle around with things a bit more, make it a bit more inventive. Film has rushed off and done all that special effects stuff that television could have done 50 times easier.

What schedule do you have for “Horror Movie”?

The Lover (John Derum) and the Mother (Deidre Rubenstein) in Murphy’s as yet uncompleted Horror Movie/Gooseflesh double. (Production stopped after eight days, but is hoped to resume soon.)

years a bit slow; I’d like to do more than that. And what is so wonderful about Australia is that you can do what you want. You are not pigeon­ holed. I find that most exciting.

What are the advantages and dis­ advantages of trying to make films in Australia?

I have known, since I was quite young, that if you try to emulate Hollywood you are stuffed; you have no hope of succeeding. They can always do it better than us. So, one has to invent something that is unique, different. For me, it really isn’t enough to do a horror film because they are fashionable and one might make a profit because Dressed to Kill and Friday the Thirteenth did well. I want to do a horror Film because I reckon the making of them is very similar to comic performing. It is a shame nobody has thought of using comedians to do a horror film before, because comedy is so close to being grotesque.

have great dancers. However, if the thing was based on anything that looked like an American musical, we might as well forget it. it would have to be a musical that was different — though not so different that nobody would recognize it.

Is enough thought being given by Australian directors to the political implications of the meanings their films convey?

No, and that is because we love being recognized in any way, shape I am allowed to sleep between or form. Australia is a country that desires to be where it is not. I have two and Fve in the morning. yet to find an Australian who Obviously shooting schedules are thinks Australia is situated some­ related to economics. Do you think where between New Zealand and tight schedules have marred Aus­ the Indian Ocean. Most people think it is somewhere else. I have tralian films? always found that very sad.

Yet, if you ask an Australian 1 can’t dissociate schedules from the economics of how many where north is, he will tell you — people are likely to see a film. I and he knows because he desires to would love to do a $5 million Flm be there. God knows why. As much here, but it would be so unrelated to as they say Australia is the lucky the potential audience here that it is country, everybody knows where . not right. It would be a film for the north is.

The cynical interpretation is that financiers, the directors and producers; it has nothing to do with the only reason there is a film the audience. Even with the hope of industry in Australia is because the the American sales, I couldn’t country is being recognized by the bullshit myself into believing we northern hemisphere. I don’t would make money out of it — no believe the Government would put matter how many Kirk Douglases one cent into films if they didn’t we imported.

I can only relate it to my feeling Dracula (Barry Creyton) and Edward that you can’t beat Hollywood at its (Robert Menzies) in Horror Movie/Goose­ own game. You can only hope to be flesh. recognized in Hollywood by working within one’s own confines.

The Australian films that have been really successful, that got into the overseas marketplaces, were made for Australia. They have been made by the people in the Australian confine.

My first audience is in George or Bourke Sts, though hopefully I will make them well enough for some­ body else to be interested. I wouldn’t dare make a horror film that tries to be similar to Brian de Palma’s films. I’d only make a horror film if I could see it being different to his.

Do you think the attempts to make films for the international market­ place will make or break the Australian industry?

I wish 1 had specialized know­ ledge about that. 1 was in England when the film industry there was collapsing, and people said it was You have expressed a real interest in because they were trying to make films for the Americans, or because film form . . . the Americans were manipulating Oh, absolutely. Most of the the Eady money.

So, I can’t quite answer that, things I do play around with forms.

I don’t know when I’ll make a though I have a feeling that the space Flm, but I really want to. I chance of us making a musical that want to do what Stanley Kubrick does better in the U.S. than Grease or Saturday Night Fever is so and the others haven’t done.

1 love mucking around with remote as to be not worth having a forms, and that is what comedy bash.

However, there is a musical basically is — fiddling round with drama. At the lowest level, you put entertainment to be developed in a man in a dress and get laughs that this country. We are the second way. Call it pantomime, but it relies best at musicals in the world and

create recognition for Australia.

Australia is like a child who desires to be recognized by its parents, We don’t have any desires to be free. After all. England had to press federation and freedom on us.

We still don't desire to take our freedom; we don’t want to be free of England. We were more sad when they broke with us than they were. We have never got rid of that feeling of being a colony.

Do you feel it is a healthy sign so many films are being made this year?

Having lived most of my adult life with people saying, “Next year we will make hundreds of films” , it is so exciting to finally see us making them. There are problems about the type of product, how much of it there will be and whether it can be all placed. But these things will be sorted out. Product tends to create markets, and we haven't even begun to think about many existing marketplaces for our films.

I am not an incredible optimist, but I remember milk gluts when I was a child. The farmers produced too much milk, but they got rid of it all by turning some into cheese.

They fiddled around with it a bit.

All this activity is going to introduce a competitive aspect. Obviously it is going to be harder to get money for Concluded on p.514

VENICE

filmfestival

1981

Geoffrey Gardner

No festival operates in a perfect world.

Even Cannes, for so long seemingly im­ pregnable, is now faced with the threat of the American Film Market. Venice has rarely been untroubled throughout its 50 years since the first Festival in 1932 but, unbowed, it goes on. And, in the Italian manner of things, it plans to celebrate its 50th birthday next year — not 50 festivals mind, for it’s been a lot more turbulent than that. The present series under Carlo Lizzani, begun in 1979, has only reached its third.

Venice’s problems are (at least) two­ fold. Being under the aegis of the wider cultural organization of the Biennale, it is forced to compete for funds with all the other arts. Being in Italy, it must come to some compromise with MIFED over any market activities.

Venice rightly opts for concerning itself with quality and the issues of film culture, but it was interesting to note that a special side event seemed to spring up almost spontaneously, and showed an odd range of sometimes commercial films. They ranged from the excellent Japanese domestic drama, Kohei Oguri’s Muddy River, to outright com­ mercial chores like Duccio Tessari’s Per un centesimo d’un secondo, a ski-based melodrama.

The fact that Lizzani has managed to get the Festival on for three years in a row despite these problems, and others like a staff strike just before the start, is a tribute to his tact and diplomacy.

Whether Lizzani has, in his efforts, had to sacrifice his influence as to what to program is more problematic.

On the basis of what was shown it must be suspected, as there were some very strange decisions made over what to include. For a start, there was no Aus­ tralian film, but there were three mediCristopher Cazenove in Krzysztof Zanussi's Front a Far Country (Da un paese lontano —

Giovanni Paolo II).

Kohei Oguri’s Muddy River, an “excellent domestic drama

448 — November-December CINEMA PAPERS

ocre efforts from Yugoslavia, including one, Emir Kusturica’s Do You Remem­ ber Dolly Bell?, which surprisingly won the Golden Lion for best first film.

In his introduction to the Festival cata­ logue, Lizzani talked of the Festival this year having “courage” : “Courage, in Venice’s choice of many works by new directors, or those new to the big screen, but also research in tune with the time of great vitality and courage which cinema — it seems to me — is entering after years of sad decline. “ Considering the gravity of the worldwide crisis in the film industry, it is surprising how many works — cer­ tainly interesting — chosen in or out­ side competition, have assumed a precise standpoint: the search for the consensus of, and a dialogue with, the spectator beyond the parameters which become ever more binding in crisis periods . . . There is, in short, on the part of the more sensitive direc­ tors and producers, a renewal of aggression which offers considerable hope.”

This is hardly an important statement about film culture. Rather, I think it gives

some clues to the way that Venice is moving to satisfy its cultural masters at the Biennale office. From that source there are already suggestions that in future there will be more emphasis on the Third World, particularly new film­ making in the Arab countries.

There may have already been a distinct turn in this direction. In the two previous years there had been a wideranging series of heavyweight discus­ sions on topics like the future of the cinema, or on those directors being paid homage, with contributions from such as Michel Ciment, Andrew Sarris, Jona­ than Rosenbaum, Tadao Sato, Tony Rayns, Max Tessier and Dudley Andrew.

This year, budgetary constraints prob­ ably precluded the importation of plane­ loads of luminaries, but one wonders whether Lizzani might have reasoned that a discussion in front of 50 people hardly justified the expense.

In (and out of) Competition At the heart of the major festivals in Berlin, Cannes and Venice is the Com-

1981 Venice Film Festival

Susan Tyrell and Ben Gazarra in Marco Ferreri’s Storie di ordinaria follia (Tales of Ordinary

Madness). petition. Much of the festival’s and the festival director’s reputation rests on the quality that can be attracted. In Berlin, the only two films likely to enjoy lasting reputations were the out-of-competition American entries Raging Bui! and Ordinary People. Here the standard was definitely higher, and one got the feeling that more than a few films were destined to last, and some were more than pass­ able entertainment.

The out-of-competition component also produced all sorts of provocations.

The films here were Peter Bogdano­ vich’s They All Laughed, Marco Ferreri’s Storie di ordinaria follia (Tales of Ordinary Madness), Pat Murphy and John Davies’ Maeve, Krzysztof Zanussi’s From a Far Country and Ling Zi’s Yuan ye.

Bogdanovich and Zanussi faced considerable hostility for their contribu­ tions, the former deserving it rather more than the latter. They All Laughed has four private detectives in pursuit of four women, and each pair falling in love. It is difficult to find anything positive to say about this alarmingly affected comedy with its collection of characters in desperate need of an author. Bogdano­ vich still seems to want to renovate old genres, and this comedy is yet another reason he should give up the attempts.

Zanussi’s expensive sketchbook on the early life of the Pope disappointed many for different reasons. The left found it objectionable for its heavy criticism of the Polish Communist Party; the film implicitly taking the side of the reactionary Church. The British estab­ lishment appeared to feel that dramatic­ ally it was a dud, and was not satisfied by its brush-stroke approach to recent Polish history.

Expecting little from such an imposs­ ible subject, I found It of some Interest and its ending, with the Pope’s return to Poland, quite moving. I would not like to think that Zanussi is going to move irrevocably into this area of production.

His hopefully single attempt at it Is not lacking interest or merit.

Maeve, a BFI Production Board film, presented as “omaggio al British Film institute” , is an awkwardly constructed film mixing episodes of a young woman’s life in Belfast, past and present. What comes across best is its picture of the casual violence of the place, and the sub­ mission of the citizens to it. By turns it comes to focus on the position of women in that society and their oppression for the alleged good of political causes. This much is quite powerful.' The effect is

lessened by mediocre technique. Like rather too many of the Board’s produc­ tions, a firmer hand on the editing might work wonders.

Marco Ferreri’s Tales of Ordinary Madness may well be the only film in this group to have some lasting Impact.

Based on Charles Bukowskl’s short story, The Most Beautiful Woman in Town, plus some additional material which gives it an even more "vulgar” basis than the original, this is a tale of a down-and-out alcoholic who has a beautiful but erratic woman fall for him.

In such a relationship, wherein he is in­ capable of meeting the emotional demands she makes, one can discover classic Ferreri material. It allows him to explore the extremities of human exist­ ence and values, and, inevitably, the behaviour Is filled with violence — far

more violence, in fact, than the original story.

It must be questioned whether the in­ clusion of some incidents adds anything except shock value. Also to be ques­ tioned is the decision to make the male character a boozy novelist, thus providing the opportunity for a preten­ tiously written and delivered com­ mentary to be included. Ferreri seems to work best the less he explains and simply shows. Tales of Ordinary Madness is an engrossing experience — disgusting, imperfect and, once again, uncompre­ hending of women.

Yuan ye (Savage Earth), a debut film

by Ling Zi, full of ugly camera technique in a gothic tale of feudalism, had the unsought distinction of being unfavor­ ably compared with Ying Yunwei’s Tao li jie, China’s first talkie. Made in 1934, Tao li jie is a bold tale of a man who goes wrong and is punished mercilessly by a corrupt system. It was to Llzzani’s credit that the film was retrieved and given new screenings before a large public.

With these films out of the way, the Competition can be neatly divided: films of genuine value, and the rest. The former boiled down to Margarethe von Trotta’s Die bleierne zeit, Ulu Gros­ b ard’s True Confessions, Sidney Lumet’s Prince of the City and Leon Hlrzman’s Eles nao usam (Black Tie). Other likely candidates (Miklos Jancso, Jiri Menzel, Mrinal Sen, Nanni Moretti and Anja Breien) produced work of some interest, but simply not of the same standard as those four.

Margarethe von Trotta’s Die bleierne zeit Is another strong foot forward In the career of this director. Here, her con­ frontation of feminist issues and the place of women of radical thought is much more direct than in her two previous films. The male characters in her previous films were positioned too easily as caricatures and props. Here there is no such construction of the drama.

Von Trotta’s concentration is on two siste rs, dau gh te rs of a h e ll-fire Protestant clergyman. One (a brilliant performance by Jutta Lampe) is a radical feminist, living comfortably with a man

who shares her opinions, and the house­ work. The second is a terrorist, and it is her capture, her incarceration and her death in prison which provides a thoughtful and powerful drama, and the opportunity for the position the women have adopted towards modern German society to be examined.

Von Trotta freely acknowledges as her source material the death of Gudrun Ensslin, a member of the Baader­ Meinhof gang, and whose death is the subject of a new book by Ensslin’s sister.

The two American entries had criminal melodrama as their base, and compari­ sons are instructive. Ulu Grosbard’s True Confessions is the more immediately winning because it’s more flamboyant in its drama, and has two standout per­ formances from Robert Duvall and Robert DeNiro at its core.

Opening in 1963, and quickly flashing further back to 1948, it tells of two brothers: one an ambitious priest, the other a relentless cop. The priest has plenty of crooks surrounding him, par­ ticularly those willing to curry favor with property gifts in return for building con­ tracts. The cop is on the trail of the murderer of a prostitute. The fact that its narrative fairly races along is very much in its favor.

At its base is an exploration, or perhaps an attempt to explore, the extent of the temporal and spiritual power of two institutions in decline. Church and law enforcement are undergoing moral crises, and have lost much of their Integrity and sense of purpose. Equally flippant and acerbic towards both institu­ tions, the film still manages to develop some genuine warmth and sympathy for the people who are its workers. By having a tenuous thriller plot, it opens these matters up only as side issues. By having that plot not matter by the con­ clusion, the film provides the oppor­ tunity to think a little longer about these all-male bastions and the considerable (corrupt) power they wield.

Sidney Lumet’s Prince of the City is a much more single-minded meditation on police power and eschews any dramatic trappings. Totally straightforward, it starts with a major drug bust by the

Treat Williams (centre) as the detective who turns state’s evidence to expose corruption within the New York police force. Sidney Lumet’s Prince of

the City.

CINEMA PAPERS November-December — 449

1981 Venice Film Festival

narcotics squad (the princes of the city), and ends with the members of that squad vilified and broken, their corruption exposed by the member who could not cope with the guilt that his corruption wrought.

This is a long film (170 mins) and mostly lacks the Inherent action of Lumet’s other New York street films, Serpico and Dog Day Afternoon. It is also a better film, and one which plumbs the moral issues of police power with great exactitude. It discusses these matters, draws out their implications, show s the c r ip p lin g e ffe c ts on personalities. And, at the end, it doesn’t want anyone to be seen as a hero or a villain. It has already received heavy critical support and may need It to do well with an impatient public. One hopes, for the future of this kind of filmmaking, that it will find an audience.

Leon Hirzman, perhaps the last working survivor of the Brazilian Cinema Novo movement, appears to have got back into the mainstream with his Black Tie. My late arrival and difficulty in coping with the Italian sub-titles pre­ clude any further comment. Its recep­ tion was good, and the film won one of two special jury prizes. Let’s hope it goes on to further screenings at other festivals.

The Italian Cinema Venice should be a showcase for Italian production, but on the evidence presented here there is very little to shout about. Five Italian films were in Com­ petition, and none really produced any fireworks. Much touted entries like Nanni Moretti’s Sogni d’oro and Marco Tulllo Giordano’s La caduta degli angelí rihelli were very disappointing. Peter Del Monte’s Piso Pisello, a film of calculated charm about the adventures of a 13 yearold who fathers a child and, at 15, has the mother run off, was certainly lively. It had the audience In a howling, clapping gale of laughter and tears. Hardly the stuff, however, to set the standards for a major national cinema. Bernardo Bertolucci’s La tragedia di un uomo ridicolo (Tragedy of a Ridiculous Man) was not

shown even in an information slot — a curious turn.

In this context it may be worth noting that after Venice, Tullio Kezich In La República, in a long article on the Italian cinema, made five points about its situa­ tion. Roughly translated they were: 1. The reliance on previous formulas; 2. Fear of taking risks;

3. An indulgent sense of film culture; 4. The division of the Italian cinema and theatre; and 5. Insufficiency of Italian acting.

Kezich followed these points with his own thoughts and examples, but one must endorse at least the first three points very strongly.

Bosco d ’amore, the new film from the Italian novelist-filmmaker, Alberto Bevilacqua.

450 — November-December CINEMA PAPERS

Other Films Freed by Llzzani from only presenting new and unseen works, Venice per­ forms a valuable function in its series of “ Mid-day/Midnight” screenings. This year the film s were chosen less

randomly, and often they matched, or counterpolnted, each other on their day.

Thus Jean Rouch’s Ambara dama, a remarkable ethnographic record of a dance ceremony celebrating the end of a period of mourning, was shown along­ side Carlos Saura’s equally remarkable film version of the Garcia Lorca Ballet, Bodas de sangre. Programming of that kind is inspired.

Other combinations included Brian de Palma’s Blow Out with the South Korean ghost story Pee mak, directed by DooYoung Lee. This latter film was the biggest surprise of the Festival, and marks the debut of a director of great talent. The tale within a tale contains a story of repressed and expressed eroticism worthy of Luis Buñuel, and its handling of the drama is quite faultless.

To compare its elegance of decor costume and camerawork with the ugly, perfunctory and zoom-laden Chinese film Savage Earth, previously men­ tioned, serves only to emphasize how good it is.

Other films of merit shown in this section, which will need more space, were Ulrich Edei’s Christiane F., a graphic film about teenage drug addic­ tion in Germany; Ivan Passer’s Cutter’s Way, a melodrama about three friends which sits a little uneasily on a crime plot; Raymond Depardon’s San Clemente, a documentary similar In scope to those of Frederick Wiseman, about an insane asylum In Italy and its Inmates during a time when new methods of treatment are slowly being introduced; and Edgardo C ozarinsky’s One M an’s War, an amalgam of old newsreels and new com­ mentary which gives a picture of life in Paris during the German occupation.

Finally, mention must be made of two works by French directors. The first is a debut by Catherine Binet, Les jeux de la Comtesse von Doningen de Gratz, a fascinating mixture of two tales, one autobiographical, the other fictional.

In the former, a young girl's obsession with an older man she sees at a swim­ ming pool leads to suicide. In the other, a man’s obsession with trapping a burglar, who is slowly walking off with his posses­ sions, finally leads to entrapment and a gruesome death by starvation. Only after the death does one finally see the house­ holder’s face, the smug unemotional bourgeois visage of Michel Lonsdale.

Then there was, at last, Jean Renoir’s The River. Another tranquil and majestic work from this greatest of all directors — a reminder that the best films can be straightforward, simple, not strain after effect, and still move one to tears, it

Mrinal Sen’s Chaalchitra (Kaleidoscope), also seen at Venice.

Director Phillip Noyce on location at the Jamison Street Nightclub. (David Moore)

Five photographers record the m akin g o f P hil N oyce's Heatwave. The photographs a re p a r t o f an exhibition organ ized b y the f ilm â&#x20AC;&#x2122;s p ro ­ ducer, H ilary Linstead.

Heatwave

Above: Judy Davis holds position while the camera is lined up. (David

Right: A t Wattemolla Beach: Noyce (left), director o f photography Vince Monton, and boom operator Chris Goldsmith. (Max Dupain)

Above: Extras relax between takes during filming o f the New Year's Eve party. (Robert McFarlane)

break outside the Central Court o f Petty Sessions, Sydney: Judy Davis and Richard Moir. (Willy Young)

:Yj& - m ™

m e/:.

■>■

WOMEN IN DRAMA M ark S tiles

/

There is a Second Wave coming in the Australian film industry, and V / it will consist largely o f women filmmakers.

Until now, women film ­ makers have concentrated on documentary films and non-narrative film forms, centred on feminist issues. Traditional narrative filmmaking has remained an area dominated by men — in the newly-formed Directors’Association, for in­ stance, there are only two women out o f a membership o f about 60.

That situation appears to be changing: in the next two years a dozen features written and/or directed by women are planned or already in pre-production. In the next six months alone three features made by women will appear: Going Down, directed by Melissa Woods and produced by Hayden Keenan, premieres in Sydney in December; Emma’s War, written and directed by Clyde Jessop, goes into production in January; and in February shooting will begin on Raging, directed by Sophia Turkiewicz from a Frank Moorehouse script, produced by Joan Long.

Behind these films are at least 30 women filmmakers working in drama, concentrated in Sydney but also active in Melbourne and Adelaide. Some are making short dramas, while others are writing or directing full-length features, and still others are directing for television.

Behind them again (according to the Women’s Film Fund and the Creative Development Branch o f the Australian Film Commission) is a ground-swell o f newer women filmmakers intent on making narrative films. Production applications which two years ago favored documentary projects now run two to one in favor o f narrative films.

To report on this development, and what it might mean for future film production in this country, I talked to a number o f women directors in Sydney. later series o f interviews with women from other states is planned.) I asked them why they were interested in drama; how they felt about the portrayal o f women in Australian films; about their experiences working in a male-dominated industry; the differences they saw, if any, between films made by men and those made by women; and about the films they wanted to make.

CINEMA PAPERS November-December - 455

LINDA BLAGG Australia. People in crisis are m anipulated to expose their innermost feelings on film for the edification of an audience. They are used, often without realizing it, and Why do that I find immoral. That is one you make thing that can never happen in drama where you work through drama, rather actors. than documen­ taries?

Do you understand the feminist critique of drama?

Obviously there is a place for drama as well I understand that it is sometimes as documentary. I chose meant as a criticism of the drama because, for me. it is patriarchal origins of narrative 'the most effective way of exploring story-telling. In that sense there is ideas. Narrative story-telling can probably some truth in it. Story­ deal with archetypes — like fairy telling began with the tales told by stories—and, because it is a form men returning from the wars — like of entertainment, you can use it to Odysseus. But what does that get across ideas you have about matter if I happen to find drama a human behaviour. m o re effectiv e way of To me the most important aspect communicating ideas? of drama is its potential to convey inner states of mind. Now that is What kinds of films would you like pretty difficult to do. Ingmar to make?

Bergman can do it, Satyajit Ray, Michelangelo Antonioni, Alfred Genre films; to me they are the Hitchcock — all the great directors m o d e rn - d a y e q u iv a le n t of in fact. For me that is the ultimate mythology. There is a certain — the culmination of cinema. format laid down and you work That’s what a work of art is — within that. Cinema noir was a very something that . can convey the effective way of conveying m y s te r y , the fe e lin g s , the archetypes and inner states of metaphysics of what it’s like to be mind, but in an entertaining way — alive right now. It means landscape even though their point of view was and lighting are as important as the frequently very pessimistic. I characters’ dialogue and actions. haven’t reached a stage yet where I I have just seen L’eclisse by feel confident enough to work Antonioni — that’s what it’s all within a genre, but I’d like to — about for me. In fact, it was so something set in medieval times great it made me feel like giving up. with an apocalyptic theme, if I lived in England, or something set in the What about the documentaries you future where life has become a have made? question of survival, or fantasy — people isolated, set adrift — on a If I had made a documentary on desert island or a block of flats. incest rather than a drama — Just Science-fiction is the most under­ Me and My Little Girlie — I rated area, and yet it’s a rich source wouldn’t have been able to show of ideas and in a vastly entertain­ what the experience was actually ing form. like. Whereas, if you are doing At the moment I am just drama, you can show moments of beginning, just starting to open up time which you couldn’t possibly and get a little beyond my limited get through documentary, because experiences. And yet, in a sense, that relies mainly on people talking whatever you do, a film is a to camera. reflection of where you are at that Another factor is that some of particular moment. the documentaries I particularly get a lot out of are ones that deal with What are you doing at the moment? someone’s personal experiences — often traumatic. But I cannot help I am working on a feature-length feeling these Films are made in a script called Runaway, but I have' highly immoral way. That was no ambition to become a writer. I certainly my experience with the am just interested in getting ideas documentaries I made for Film on film. Someone else’s script

456 — November-December CINEMA PAPERS

would do, but they never come my way.

Why is that?

I am not experienced enough.

But people liked “Just Out of Reach” . . .

Only Co-op audiences saw it. But it was a difficult film and the best audience I ever got was a group of ex-psychiatric hospital patients.

That was because they had all “been there’’. What I am doing now is attempting to find a more successful means of conveying an idea. Just Out of Reach was too ambitious, trying to encapsulate six years in one hour. It was too episodic.

The basic problem was that it was too much like an essay — too explanatory of behaviour in a verbal, episodic way. I have learnt that you shouldn’t impose, as the writer-director, on the characters and the characters’ relationship with the audience. With Runaway I want to create characters that exist on their own terms, where the message doesn’t impose itself or weaken the story.

What is “Runaway” about?

It’s a story about a relationship between a young, middle-class woman who has recently divorced, working and bringing up her 9year-old son, and a" 14-year-old

runaway girl she accidentally becomes involved with. The older woman, Gabrielle, discovers the girl, Stevie, has been sent to an institution for basically no other reason than her parents have disowned her. Gabrielle gives the girl a home and their relationship develops in spite of hostility and conflict.

It is a psychological drama. In one sense they are playing out the mother/daughter conflict — only this time, unlike anything else I have ever done, th e re is a resolution, a theme of hope.

Through the relationship, both come to terms with their own lives; Stevie learns not to make decisions harmful to herself and overcomes her obsession with her dead brother whom she idolizes; and Gabrielle learns to take from life instead of always denying herself — she leaves a stultifying job and enters into a new love relationship.

I am determined to make these characters grow, become more than they once were. I want to say growth can only come through being close to someone else. There has been a lack of “real” women characters in Australian films — women that aren’t passive victims of whatever Fate has dished out to them. There have been too many sexist fantasies of what men think women are, fantasies that are frequently hostile. It’s about time some of the balance was redressed.

What sort of budget will it have?

Lorna Lesley and Martin Vaughan in Linda Blagg’s Just Out of Reach.

Women in Drama/Part One

It will be low budget.

Given you make low-budget films, why did you have such a big crew on “Just Out of Reach”?

It didn’t seem like such a big crew when we were working. And I wouldn’t have had an experienced crew like that if it hadn’t been for Ross Matthews, the producer — they all knew and trusted him. In fact, Ross played a large part and it was good because it was his first role as a producer, although he had worked on a lot of films as a first assistant or production manager before then.

The experience of working with a professional crew was a delight.

They were all committed and supportive. Did you watch that film at the Festival about Billy Wilder — his little story about the writer making the bed and the director falling into it? Well, the excitement of it all, of making that film, was much better than writing it.

Have you been encouraged?

Oh yes. By my husband Ken and my close friends — and my producer, Ross.

What about funding bodies?

Filmography: Linda Blagg 1973 1974 1975 1976 1977-78

Empty Spaces Daddythings Birthplace Just Me and My Little Girlie Flo and Marianna (Multi­

cultural Society Series, Film Aust) Kamahl (Multi-cultural Society Series, Film Aust) Betty (Multi-cultural Society Series, Film Aust) EBR (Multi-cultural Society Series, Film Aust) 1979

Just Out of Reach

by the time they rejected it, be­ cause “there were already too many films about runaway girls” , I had done the research and had a detailed treatment. I went with this to the New South Wales Film Cor­ poration and about 12 weeks elapsed before they rejected it on the grounds that it wasn’t “com­ mercial” enough, by which time I had already produced my rough first draft.

I see just about every film in town—Ordinary People, Kramer vs Kramer, and" The Four Seasons — all films that deal with fairly domestic, commonplace situations and yet have been very successful.

The funding bodies just don’t want to take risks. But the worst part is when you begin to think they are right and you have a dud project, and you are yet another writer b e l l y a c h i n g a b o u t b e in g misunderstood.

No, I haven’t caught anyone’s interest yet, mainly because I haven’t done much, partly because my ideas are not so commercial in their terms. That’s the hardest part: trying to convince people a p sy ch o lo g ical dram a is Are you interested in experimenting commercial. If you are not making with form? a film about “nice people battling in the good old days”, or films that I feel a bit inadequate in terms of exploit sex or violence, you have experimenting with form. I have some difficulty. enough difficulty in learning and I applied to the Women’s Film m a s t e r i n g th e t r a d i t i o n a l Fund with an outline to get some research funding for Runaway, but Concluded on p.513

Cathy (Lorna Lesley) in Just Out of Reach.

Cathy attempts suicide. Just Out of Reach.

CINEMA PAPERS November-December — 457

Tread Softly was important for many reasons.

Firstly, I had not worked in drama — specifically my own drama — nor had I ever written before, or considered that I could write. The Film School cre­ ated the environment for me in which I was able to do that. I wouldn’t have been able to make that film anywhere-else.

What’s happened to it since?

Tread Softly won the Greater Union Award for Best Drama at the 1980 Sydney Film Festival.

Greater Union bought it after it had won and blew it up to 35 mm.

It then went out as the support to The Killing of Angel Street. It looks wonderful in 35mm.

Have you been approached to do features on the strength of it?

There have been a lot of approaches. Since I first went to the School, many features have been offered and projected, but they fell through, for various reasons. I was very fortunate to get an agent before I left the School. David Puttnam. when he was in Aus­ tralia, saw Tread Softly in rough cut and was very impressed with it.

He went out of "his way to speak to a lot of people, including some agents around town. Before I left the Film School I had a call from one of the agents to say, “ David Puttnam said you are a person to get hold o f ’, and all that. So. I got an agent about four months before I left and anything that came up went through him. This was wonderful because it gave me the perspective I needed. Also the agent, who wasn’t about to pressure me into taking up whatever feature offer was there, considered my needs as a growth process.

I am not about to say that I re­ jected them all: some of them have fallen through and others just weren’t right. I’ve had a lot of arguments about this from people.

I believe the first feature is very im­

portant. Obviously I want to make features, but I want to make them for the right reasons. It goes back to my needs as a director.

Eventually the feature that I decided was right for me was an adaptation of Henrik Ibsen’s The Wild Duck. I wasn’t really pleased with the screenplay, but the idea interested me a lot. It came up as a fairly definite offer.

different writers and some of the best actors in the country.

I have been at the ABC a year and I have done three 55-minute plays as part of a series we have just finished, and an 85-minute single play has been written in conjunc­ tion with me and the writer, purely on the ABC’s part to keep me there. It is just fantastic. I wouldn’t have had that experience in features in three years. I have learned so I believe the project involved Liv much, and the more you learn, the more you realize, “God, I can’t Uliman . . . stand out there yet and do it. I need One of the things I had always more time.” said was I wanted to work with Australian actors, but part of the Is there a particular starting point in package was using some overseas your work as a director? actors. I think it’s fairly wellknown that one of them was Liv I believe we have wonderful Uliman and the other was Trevor actors in this country. They have to Howard. Then it came down to Liv be given the space and time, love Uliman saying she wanted Bruce and care, to create. I believe that’s Beresford, or Phil Noyce, or my responsibility as a director. I whoever. They then had to go back am beginning to find writers I can to her and say, “Well here is the work with. It’s not the writer who director: she’s unknown to you.’’ stands alone; it’s that combination As she had seen my second-year film at the Film School when she came to Australia, she eventually agreed. Then other things happened and it fell through.

What came out of that was the opportunity to work with Brian Rosen. He and I went-looking for locations with Philip Emmanuel, the producer, and found some fan­ tastic locations. It has nothing to do with The Wild Duck — it was to be set in Australia around 1910-15. All sorts of things came out of that and we became very excited about it. I think it was the first time I felt I would be prepared to give two or three years to one film. Then Mr Howard [Federal Treasurer] stepped in and it’s still sitting.

What i would like to do is reassemble the whole package. The script has to be written with the loc­ ation in mind, and we need to recast with actors from Australia.

of the writer and the director. And if you cast correctly, and give them the right environment, you are going to make exciting drama in this country. And drama I mean in inverted commas.

In the long run, it’s the actors on the screen. The pictures come out of that; not the other way round. I get very angry when I hear about pictures that look fantastic. I don’t care how wonderful they look; if there isn’t a performance carried through, why bother with the picture quality. I say that because I see filmmaking and drama as part of our observation of life and our emotional needs.

Do you consider yourself primarily an actors’ director?

As a director, you have to find depths within yourself to give back to a whole lot of people, not just the actors. My total concern is not just the actor. Every day I have to find something inside myself to inspire

Why did you go to the ABC? Among the other offers were two very large-budget, dramatized documentaries, both overseas. That was a great crisis point. Eventually I decided against them because I felt I shouldn’t give 18 months to make a dramatized documentary when I could easily spend that time working at the ABC with a lot of

458 — November-December CINEMA PAPERS

Natalie Bate and John Pratt in Tread Softly, written and directed by Di Drew.

Women in Drama/Part O ne

that I expect. You can’t give out unless you get back.

This business is about sexualityin lots of ways. You are dealing with sexuality all the time. Every piece of material we are being presented with is about a love affaire between one person and another, or a breakdown of that affaire, or conflict between them.

That’s what we do. We have it on the screen and off the screen, too.

We have it on the floor between dif­ ferent sets of people who hate each other; we have it all around.

Would you prefer to work with men or women?

Di Drew (centre) directs a scene for Tread Softly.

the crew. I use music a lot and improvizations for the actors and also for the crew.

As far as I am concerned, the need to inspire that crew comes from the actor, and it’s sort of a duality game. In the theatre, I work close to the actors, on the stage with them. Then, as that five or six weeks of rehearsal progresses, I move from the stage down to the front row and then back and back until they are on their own.

Now, I have used that idea a bit when rehearsing in film. I stay close to them and tell them to keep their performance as close to themselves as I am. I then pull out and back to the point where I think they are ready to work for the crew.

So, you have two things happening: you say to the actors, “ You are ready to give a performance and here is your audience” , and so you have them feeling a moment of performance, if you like; and the crew reacting to that. I hope — if I have done my job properly — that they will become excited by what they see and respond by doing their job well.

I don’t know if it works, but that’s the theory!

doubt whatsoever that most actresses respond well to a female director.

What you have to do more than anything else is keep yourself open as a director when you are working.

I must love all my actors, otherwise I am not going to make them look good on the screen and they are not going to give me the performances.

And that love, whether it’s to the actor or the actress, is the same. It is love of their creative ability and what they are giving back to me to put on the screen. And that love is not sexual love — professional, if you like. But I won’t love them or any member of my crew if they were casual and unprofessional, and do not come up with the goods

Will you go back to directing in the theatre?

I think it is essential for me to be able to work happily within all three areas: film, stage and tele­ vision. But it’s very difficult for a woman to work in the theatre in Sydney. I have got into television,

1979 1979 1980 1980-1

A Dili Pickle Obedience Tread Softly The Company They Keep (episode of Menotti) (ABC) O ne W a y C o n v e r s a t i o n (episode of Menotti) (ABC) The N a m e o f the Game (episode of Sporting Chance)

(ABC)

A Step in the Right Direction

(ABC) Survivors (episode of Spring and Fall) (ABC)

and I think I can get into film, but to get into the theatre . . .

Why is that?

In the theatre in Sydney, it’s basically jobs for the boys. There is a huge fence. One could probably go to Melbourne and do a sub­ sidiary thing at La Mama and the Athenaeum 2, perhaps, having the right contacts and convincing a few people. But I don’t know how to go about that in Sydney. I’ll break it down. One day I will.

What is lacking in the films being made now in Australia?

Passion. There is no passion on the screen. I wrote a thesis about Judy Davis’ performance in My Brilliant Career on that very premise. My Brilliant Career was a very pretty film and it had a nice kind of screenplay, if you like, but every piece of passion you might have been able to wring out of My Brilliant Career happened off­ screen. Every moment of con­ frontation between those two people was never seen. It happened when they, were out the door, or years away from each other.

Most of the films I have seen in Australia don’t confront people. I really feel strongly about that.

What kinds of films should we be making?

I would like to make under­ stated films — almost document­ ary in style but nonetheless drama — high drama played low key.

They would explore relationships, emotions and people and their needs in a dramatic context. I think we have come part way towards it.

There are two films in particular that, I think, are very interesting: Gallipoli and Winter of our Dreams, In Gallipoli, for the first time we have an Australian film that is underwritten, understated. It is so economical in its dialogue, so strong in its emotional impact.

Do you find any difference directing men as opposed to women?

Of course there is a difference.

And a director has to be aware of those differences. I am much more in tune with the needs of my actresses than I am with an actor: it’s much easier. With an actress, I can see the problem and I can use a kind of shorthand. There is no

I would encourage women because I work well with them. But it’s conditioning. I can work well with men — as a director I think one has roles to play, too. If I have a choice between a man or a woman, I will accommodate that.

But given equal ability . . . I guess it comes down to personalities. I’d go for a person with whom I get on best, as I can’t work in an alien environment.

The last person I’d have on my set, man or woman, is someone who is not committed. If I think something is awful, I don’t want anyone else to tell me at the time — tell me later, but not then. And it wouldn’t matter who it was, they would be off the set so fast. You have to be committed totally, even if you think it’s wretched.

Filmography : Di Drew

Robyn Nevin and Natalie Bate in Tread Softly.

Concluded on p.513

CINEMA PAPERS November-December — 459

j j j

{ «

film crews all over London, ask­ ing, “Can I be attached to you? I want to know how to edit a film.”

Then I went to the BBC, where I When started really learning about tech­ did you nique and cameras, and things like first feel that. the need to When did you make “Stirring”? make films?

want to know about them.” “Why not?” I asked, becoming very interested.

Anyway, I walked into 4C and said, “We are going to make a film, but we are looking for a class to be in it. The subject of the film is going to be corporal punishment.” “We’ll be in it Miss, we have something to say about that. We can do it!” So, the class chose itself, really.

We had a lot of preparation for the film and spent the August holi­ days setting up the classroom. We soundproofed the room, put carpet on the floors and worked out a twocamera system of coverage. Paul Roebuck was the teacher in the film, and it just took off.

We didn’t use any script. Paul just started by asking the students what they thought about corporal punishment. They then had to go out and survey other people’s opinions. The students chose people they really wanted to talk to, like the police.

Things happened along the way that dramatized the whole experi­ ment, and things came out. that were not at all expected. I have two enormous folders of the transcripts of what was said about school-life and why corporal punishment is necessary, or not necessary. They enacted things and role-played teachers, with versions of good and bad teachers, and why teachers would be driven to cane a boy.

The film was very outspoken and, I think, very moving for a lot of people. It caused much anxiety in some areas. When it was com­ pleted, it went through various screening processes. It was banned from public screenings for a few years.

It sounds a much more dramatized The first films I film than I had realized, with improStirring was commissioned by made were document­ the Federal Department of Educa­ vization and role-playing . . . aries. That was because tion as a teaching film to show how of the way I saw life at a controversial issue may be But those techniques were only the time, and still do. I find handled by a teacher in a class­ used as part of that process of drama going on all around room. At that stage they wanted to teaching. We simply filmed what me. I found that out when I got make some teaching films that were happened in that classroom. We hold of an 8mm camera — I was based on social science areas of tried to keep things as normal as about 16 — and started making education. These were areas that possible. The boys still went to their black and white films. hadn’t been taught much and the other classes and so forth.

It was through documentary that teachers were rather nervous about It was a very rewarding film to I discovered drama, by photo­ them. The Education Department make. I worked with Mike Edols graphing Victoria market and relied on teachers to talk about and John Rhodes on camera; they looking at it later. The one image issues, but often teachers got into have a fantastic eye for what’s that stuck in my mind was when I heavy trouble when they started going on in a situation. had the camera trained on a lane­ talking about their attitudes way in the market. It was a very towards abortion or something.

How did you become involved with wet day and an old woman came The issue we decided on was drama? shuffling down, went to a rubbish corporal punishment and I met a tin and started picking cabbage teacher called Paul Roebuck, who I went to Britain originally to leaves from the tin. When I was was working at Dover Heights Boys act, and after some years ended up filming it, I hadn’t really been High. He was also an actor and had going to the Royal Court Studio aware of what that image meant, a great rapport with his class. where I did studio classes in improbut when I saw it on the screen it When I went to the school, I was vization. Then I worked with East suddenly said a whole lot of things. pushed towards the more academic End and Camden Town children, I made my first 16mm film in classes, the fifth and sixth forms, dramatizing important aspects of London in 1964, with a camera bor­ which would be a good showcase their lives. rowed from a Nigerian. I also made for the school. However, there was In the past two years, I have a film about my girlfriend, with this class down the bottom of the resumed my association with the whom I shared a flat at the time; I list, 4C, that had about 25 boys in theatre. At the end of last year, I did all the photography. I then it. When I inquired about it, the What was the reaction to the film at was part of a Women Theatre spent the next few weeks chasing school said, “Oh no, you wouldn’t the time?

Directors’ Course at the Nimrod

Niu Gini Cultural Shock, co-directed by Jane Oehr and Ian Stocks.

460 — November-December CINEMA PAPERS

Stirring, Jane Oehr'sfilm about the handling o f controversial issues at a boys’ high school.

Women in Drama/Part One

Theatre with nine other women. An Englishwoman came out to take that course and that was very stimulating.

The real bridge with drama I suppose occurred when I made a film called Roma for some people in Melbourne called the West Com­ munity Theatre, based in Moonee Ponds. They developed a play with four Moonee Ponds housewives based on the experiences of a woman who, at the age of about 55, found it very difficult to leave her house. I.am not saying that she was agoraphobiac, but she really did find going outside very difficult.

The play was called Roma and it was a monologue that lasted about 70 minutes. It was performed very successfully in Moonee Ponds to large audiences of women who identified very strongly with the main character, who put every­ thing except herself first. Her life is sacrificed to everybody else’s.

Anyway, the WCT wanted to carry through an experiment to see if they could turn it into a film. We got some money and I wrote the script from the play. We chose one of the original housewives, Merle Swinney, to play the part. She was not an actress but seemed so appropriate, in that a lot of it was her experience. I was working with someone who wasn’t an actor, so I was keeping some of my documen­ tary background there, but I was requiring them to act. It was often difficult and maybe not always successful.

What sort of films do you want to make?

Roma is probably some indica­ tion. I am interested in relation­ ships and people. They are the main things I want to make films about; exploring psychological processes

and relationships — family rela­ remain open and explorative. There tionships particularly. I believe are exceptions, of course. everything springs from these.

And I want to make films that Do you think there are inherent take audiences closer to the heart of differences in the films men and things. My next film, Mirror, women make?

Mirror, is about that: a mother and Over the past few weeks, at the her grown-up daughter coming to Australian Film and Television terms with each other’s differ­ School, I have been looking at ences. many films made by people aged Is that something Australians don’t between 17 and 27, male and female. I must have seen about 80 do at the moment in films? films: some super 8 films, 16mm, videotapes, etc. What became The interesting thing about the apparent, if you are going to draw films men have been making in Australia is that they are often so sexist lines, which I felt myself impersonal — for the most part. I doing after a while, was that the think that’s odd. European films males were interested in making — are not like that and they are the and these are 17 year-old guys who films I see a lot. I think that is a are still at school — films about problem here in a way. The film alienation, from a male point of industry is still very much a male view: computers, the machine taking over, science fiction, preserve.

Many films deny the complexity violence, fantasies of violence and of people and I think Australians so on.

And the female films, being are just as intense as any other group of people as far as their made by 17 and 18 year-old girls, emotions and motivations go. But were about love, relationships, they are very reluctant to expose people — they were all on the other them, and the only way we seem to side. I don’t think I saw one science have done it has been either to fiction film made by a woman, and laugh at it or not do it at all. The that’s an interesting polarization theatre deals with these things all that seems to be happening as well.

The male films are preoccupa­ the time, but in film we haven’t tions more with the material and done it very much.

I find it quite exhilarating to be the external, and with fantasy — able to experience the world the fantasy of impossible thoughts. through a film character and know The female ones were domestic and that the character had made about one-to-one relationships and so on. contact with other people.

Basically, I think artists are The differences seemed very marked people who embody the male and in that instance . .. female in unequal degrees. That’s It’s interesting. I don’t know why I like creative people. They are not forced into being narrow; they what it means exactly. You can are not forcing themselves into make silly generalizations on the corners. That’s also what I mean basis of sex. I don’t believe that it’s about the complexity of people and necessarily that way. I don’t believe how our films largely deny that that relationships and emotions and complexity. To create, one must so on are the sole province of

Jane Oehr, director, and Merle Swinney, actress, during the filming of Roma.

Filmography: Jane Oehr 1968 1969 1970 1971 1972 1974 1974 1975 1976 1980 1981

Black Man in the Cinema Four Women Filmmakers Moonrock* Great Medicine Ball Caravan* Tamu : The Guest* Niu Gini : Culture Shock* Reluctant Flame* Stirring Seeing Red and Feeling Blue Roma Mirror, Mirror

* with Ian Stocks

women. I don’t believe that women have some secret knowledge of those things that men don’t have, or that men have some secret know­ ledge of male processes that isn’t available to women.

The main thing for me is to com­ municate a sense of wonder, to re­ awaken an audience to the things within us all.

Given equal ability, would you prefer to work with men or women?

I rarely think in those terms, but I do understand the problems women have in expressing them­ selves — and you and I haven’t really discussed that. I look very sympathetically and supportively. I hope, towards any woman trying to achieve anything creatively. I have always supported women in the past for those reasons.

A film crew to me is a mixture of ingredients, and what one wants are ingredients that are going to work well together. It's no good having too many like-minded people on a film crew, for example, because what you get is a flatness. I like a fairly dynamic situation to work in and I don't want approval all the time from the people I am working with. I like to be questioned and challenged. ★

Roma (Merle Swinney), the house-bound housewife. Roma

CINEMA PAPERS November-December — 461

What do you 'want to do as a director?

My next step is to 'become a competent, lard-nosed commercial 'director. I’d like to get 'lots of experience in things 'like television series and soap operas. It’s a terrific training ground. I am interested in film and television as a craft: I am inter­ ested in being a good craftsperson.

I am not interested at this stage in making the definitive work of art.

How did you come to work on “The Restless Years”?

It arose out of an enormous disillusionment with the ABC at the time. The opportunity to leave was there, and I took it. I was curious to know what it was like at a commercial station. I felt there would be an enormous amount of prejudice about employing a woman director, but there wasn’t,

have. One of the problems of directing for women is that the people who employ you expect you to behave like a man. Someone told me I didn’t seem like a director because I wasn’t aggressive. One producer I worked for even accused me of not fighting with him enough.

These are male expectations of me, and' I can’t live up to them. I don’t want to live up to them. I don’t think that sort of pressure is put on male directors.

I didn’t have this experience at Grundy’s, w'ho were very fair to me.

I think in the commercial area they really are more concerned with the product, and if you are turning out that product, they don’t care who you are. In the ABC — a public service structure — people are much more concerned about your personality.

How do you feel about the way women are being portrayed in films?

There is generally a much greater awareness in the community of sexism and all that goes with that, I have been very heartened to find how much change has taken place, and how much the very hard work that a few dedicated women have been doing for the past decade is Had that been your experience at beginning to pay off for all women, the ABC? Television is reflecting that change in attitude. People say to No, it’s just an expectation I me, “Oh, The Restless Years is

Menotti at a demonstration organized by anthropologists. Menotti.

terribly sexist” , but the show has always been careful to have women questioning their roles in marriage, and show women interested in making a career.

I had a little bit of say in the scripts I directed for The Restless Years, and if anything had been blatantly sexist I would certainly have refused to do it. But there wasn’t anything that was blatantly or overtly sexist. The only thing I objected to in the series was the common stereotyping of women as very bitchy, conniving people, young w omen w hose m ain preoccupation in life was to get a man at all costs. It’s unfortunate to project women in that way, because it reiterates that the only life a woman can have is through a man.

For God’s sake, we have been saying that isn’t so for 10 years.

What about films as opposed to television?

Menotti (Ivar Kants) and Aunt Beryl (Joy Hruby) in the ABC’s Menotti. Punch directed two episodes.

462 — November-December CINEMA PAPERS

I don’t know. There seemed to be a flutter a couple of years ago of films, like An Unmarried Woman, about women’s conflicts in the late 1970s. But now — and the Australian Film Institute Awards screenings reflected this — there are a lot of films about men. There was Gallipoli, which had no women at all, and that particularly ugly

film, C entrespread. T h a t ’s appalling. I don’t know hoAv that happened. On the one hand there are films like Maybe This Time, Bob Ellis’ film about women1, and, on th e o t h e r , f ilm s lik e Centrespread. The Australian film industry made those two films within two years of each other.

So, how can you reflect on what the trend is? Centrespread was brutal and ugly. It was so blatant I couldn’t believe it was serious. One woman said to me that she thought it was harmless and silly, but I was offended. It seemed preoccupied with hurting and attacking women.

Woul d wo me n, gi ven the opportunity, make films differently than men?

I wouldn’t do it differently; I’d do it the way I am doing it now. I direct in a feminine way, and if they don’t like it they can lump it.

As to the type of film that women would make, that would be very different. Perhaps I am idealizing women, but I suspect there wouldn’t be the emphasis on violence and sexual violence. That’s very much a preoccupation of films now. What worried me about The 1. W ritten by Bob Ellis and Anne Brooksbank, and directed by Chris McGill.

Women in Drama/Part One

I

N

Postman Always Rings Twice was that it was a projection of the male fantasy that women like to be raped. She fell in love with her rapist, and I found that quite offensive. I d o n ’t w ant to perpetuate those myths in films.

Are there any local directors whose handling of roles for women is interesting?

No, although I do feel Maybe This Time had some merit. I think the gap between men and women in Australia is enormous. Given that gap, it is a lot to expect that men can make films about women. Men presume to make films about women. I don’t know that I would presume to make films about men.

I do think Chris McGill got something out of Judy Morris that was very accurate, and of course the script was partly written by a woman. It did show a lot of understanding about women.

It’s a little hard talking about individual films. I remember watching Maybe This Time and feeling that I identified with it.

Other times I didn’t, and that’s the criterion really: if one as a woman could identify with the film, and not feel alienated by it, or angry. So often you watch a film about a woman that’s been made by a man and you feel so angry, because it’s wrong — and it’s getting out there and being put on the screen and accepted as truth.

Will that only change when women start making features?

D I think there should be much more of a mix in every field. The power has to be shared, otherwise we are on the brink of our destruction. And once the power is shared, the product will be more real because we will have the input of both sexes. At the moment you have the input of mostly one. The projection is always that of the male fantasy. The problem goes deeper than that, of course, because women have lost their fantasies and have been told for so long that their fantasies are the male fantasies.

I don’t think in the long term we will be making films about men and about women, but at this stage it seems to me there is a need for films and books about women because nobody understands them.

We don’t understand ourselves. We have been told how we feel, how we think, what our fantasies are, but we don’t really know ourselves and this is one of the problems. We are still trying to redefine our roles, a propos men and a propos each other. In the past, our roles were pretty simple, and that was competing with each other for male approval. When you throw that out, there is confusion about what replaces it.

It seems to me that when we talk about an interim phase, part of it is your interviewing me and talking about women as directors. You are interviewing me because I am a woman director, not because I am of any interest otherwise — except that if you are a woman director you must be interesting because it’s

R

A

M

pretty hard!

Do you think there are fundamental differences between the films women make and those men are making now?

We get into a lot of trouble if we try to pretend that men and women aren’t different. We don’t know what the differences are, because of the conditioning processes that go on. But I would be quite happy — if everything were equal — to acknowledge that men and women are different. What I don’t want to happen is that one exploits or dominates the other, and at the moment that is the case. A lot of people seem to think that the feminist movement is asking for the right for women to behave like men, which is a fairly crass misinterpretation. But as long as we keep insisting that we are the same as men, we are liable to have that misinterpretation thrust upon us.

1 say we are different; we have different qualities to contribute to the world, and we want to be allowed to make the contribution.

At the moment the male principle is dom inant and everything is interpreted in terms of that.

Women have nowhere to go to express themselves, and in the end they don’t even know who they are.

Anne Summers talks about that in her book when she says women have been colonized. I think we are like a conquered people and now living in an alien culture. Some of us try to ignore it and there are those women who try to be honorary men, who betray all women ultimately. But I can understand doing that — maybe I have tried it — because it seems so im p o s s ib ly f r u s t r a t i n g , so alienating, to live in a culture that all the time denies your existence, or only acknow ledges your existence in terms of male sexual fantasies.

Up until now that is really the only existence we’ve had, apart from being consumers. We have been taken into account in terms of box-office but not in terms of how we are portrayed on the screen.

What is it about drama that attracts you as a director?

Simon Burke, Lisa Crittenden and Peter Phelps in The Restless Years. Punch directed 15 episodes.

A

I believe people have a talent for something. I believe I have a talent for drama. I am very interested in drama because it’s about the way people relate, and I find that infinitely interesting.

It’s a hard question to answer because it goes right to your soul.

When you really come down to it, it’s the art form, it’s the means of expressing yourself, and I am more interested in drama than I am in

Filmography : Jan Punch 1979 Partners (ABC) 1980 Menotti -— 2 episodes (ABC) 1981 The Restless Years — 15 episodes (Grundy’s)

film. I came into film and television directing through acting, not through an interest in the technical side. I was interested in drama long before I was aware that I was a feminist, so I can’t say I am interested in drama because I can express my feminist feelings better there than I can in a documentary.

I am interested in drama because there I can express myself, and if I, as a woman, can express myself, then that is a progressive step for feminism, too. I am not interested in separating myself out into a movement and calling myself a feminist. If I express myself as a woman, that’s all I have to do.

What have your experiences been working with male crews?

You get various responses. One is hostility, which takes the form of mute hostility: they won’t really communicate with you, and they’ll only answer you in monosyllables.

That’s very off-putting. Then you get the other response, where they want you to mother them. That’s very tiring. And then you get the third response, where they want to relate to you sexually, and expect you to come on in certain sorts of ways. That's a bit of a game, that’s okay. You get those who say to you, I like working with lady direc­ tors. They used to say that to me at Channel 10, “ Gee. it’s great having a lady director.” They just liked having a woman around. And then you get those who just treat you like a person, who don’t make you blatantly aware that you are a woman in the industry.

There is only one male director I have ever talked to about this sort of thing, and I was surprised to find that the pressures that were put on him were also very great, although different. We were working on the same show, and I think there is a lot more pressure on men to play power games with each other. I rarely get drawn into that and if somebody tries it on me I usually just don’t play. But it seems men are much more vulnerable when it comes to the crew' wanting them to assert themselves in a certain sort of w'ay. There is a pressure on men to enter on some sort of pow'er struggle with their male crew-- and male cast, which I have never encountered, it

CINEMA PAPERS November-December — 463

FILM CENSORSHIP LISTINGS Films examined in terms of the Customs (Cinematograph Films) Regulations and States’ film censorship legislation are listed below.

An explanatory key to reasons for classifying non-“G” films appears hereunder:

JULY 1981

Frequency

Films Registered Without Eliminations For General Exhibition (G) (1 6 m m ): S h o c h ik u , J a p a n . 9 5 3 m , N a tio n a l L ib r a r y o f A u s tra lia Autumn Afternoon (1 6 m m ): S h o c h ik u , J a p a n , 1 2 3 7 m , N a tio n a l L ib r a r y o f A u s tra lia Condorman: D isn e y, U .S ., 2 4 5 4 .1 4 m , G U O F ilm Dist.

Eika katappa (1 6 m m ): W . S c h ro e te r. W . G e rm a n y , 1 5 7 9 .6 8 m , G o e th e In s titu te Fortinl/Can! (1 6 m m ): S tr a u b -H u ille t, Italy, 9 16 m , N a tio n a l L ib r a r y o f A u s tra lia The Fox and the Hound: D isn e y, U .S ., 2 2 7 2 .4 7 m , G U O F ilm D ist.

I dlkl tie hountas: T. T h e o d o s o p o u lo s , G re e c e , 2 8 2 8 .5 0 m , A p o llo n F ilm s An Inn In Tokyo (1 6 m m ): S h o c h ik u , J a p a n , 8 72 m , N a tio n a l L ib r a r y o f A u s tra lia The Legend of the Lone Ranger (p re -c e n s o r c u t v e r­ s io n ) (a): W . C o b le n z , U .S ., 2 5 9 3 .5 8 m , H o yts Dist.

The Life and Tim e* of Rosie the Riveter (1 6 m m ): C la rity E d u c a tio n F ilm s, U .S ., 7 1 2 m , Le C le z io F ilm s The Neighbour's Wife and Mine (1 6 m m ): S h o c h ik u , J a p a n , 6 1 8 m , N a tio n a l L ib ra ry o f A u s tra lia Save the Lady (1 6 m m ): T a s m a n ia n F ilm C o rp ., A u s ­ tra lia , 8 33 m , T a s m a n ia n F ilm C o rp .

There Was a Father (1 6 m m ): S h o c h ik u , J a p a n , 954 m , N a tio n a l L ib r a r y o f A u s tra lia To You With Love: C h o u Lin K a n g , H o n g K o n g , 2 49 6m , J o e S iu In t'l F ilm Co. The Trials of Alger Hiss (1 6 m m ): H is to ry o n F ilm , U.S., 1 7 9 9 .0 8 m , Le C le z io F ilm s (a) S e e a lso u n d e r “ F o r M a tu re A u d ie n c e s " a n d “ F ilm s B o a rd o f R e v ie w "

Infrequent

Frequent

/ / i i

f f f f

S (Sex) ..................................

V (Violence)...........................

L (Language) .......................

0 (Other) ..............................

Army An

Sweet Dreamers (1 6 m m ): T.C. P ro d u c tio n s , A u s tra lia , 8 8 8 .5 7 m , T.C . P ro d u c tio n s . O fadult concepts) The Thin Line: G u y F ilm P ro d u c tio n s , Isra e l, 2 3 0 4 .1 2 m , G .L. F ilm E n te rp ris e s , O fm ental illness) The Unseen: A. U n g e r, U .S .. 2 3 7 0 .4 8 m , F ilm w a ys A ’sia n D ist., Vfi-m -g) Violence at High Noon (1 6 m m ): S o z o s h a P ro d u c tio n s , J a p a n , 108 9m . N a tio n a l L ib r a r y o f A u s tra lia , Vfi-l-j) Zorro the Gay Blade: M e lv in S im o n P ro d u c tio n , U.S., 2 5 3 9 .8 2 m . R o a d s h o w D ist., O fsexual innuendo) (a) S ee a ls o u n d e r “ F o r G e n e ra l “ F ilm s B o a rd o f R e vie w ".

E x h ib itio n "

a nd

For Restricted Exhibition (R) Absolute Monarch: W in g -S c o p e C o ., H o ng 2 6 7 3 .5 m , J o e S iu In t’l F ilm C o ., Vff-m -j)

Kong,

Low I I I I

Medium m m m m

Centrespread: A u s tra lia n F ilm P ro d u c tio n s , A u s tra lia , 2 2 5 6 .9 3 m , G .L. F ilm E n te rp ris e s , S ff-m -j) Cheeky Chap: G o ld e n H a rve st, H o n g K o n g , 2 6 2 1 .4 7 m , P. C h a n , Vft-m -g) Enter the Ninja: G o la n -G lo b u s , U .S ./J a p a n /P h ilip p in e s , 2 6 2 0 .0 3 m , Fox C o lu m b ia F ilm D ist., V ft-m -g) Evilspeak: W a rn e r B ro s ., U .S .. 2 8 4 4 .5 8 m , W a rn e r B ro s (A u s t.), Vft-m -g) Executor: N. & M. E n g lis h , H o ng K o n g , 2 3 5 8 .9 8 m , Jo.e S iu In t’l F ilm C o., Vft-m -g) Family Enforcer (v id e o ta p e ): W . P a n ze r, B rita in . 86 m in s, In te rv is io n V id e o , Vft-m -g), Lff-h-g) Gambler’s Delight: S h a w B ro s, H o n g K o n g , 2 5 9 3 .2 9 m , J o e S iu In t’l F ilm C o., S fi-m -g), V ft-m -g) Hoodlums: N ai B o n e t E n te rp ris e s . U .S ., 2 4 5 4 .1 4 m , C ry s ta l F ilm C o rp ., V fi-m -g), Lff-m -g) The

Purpose

High h h h h

Justified

Gratuitous

j j j j

g 9 g g

The Kentucky Fried Movie (r e s u b m is s io n ) (a): R. W e iss, U .S ., 2 2 5 8 .9 3 m . R o a d s h o w D ist., S fi-m -g) La sbandata: M o n d ia l te fl, Ita ly, 2 4 8 2 .0 3 m , A. M . A le s s i F ilm & V id e o S e rv ic e , S fi-m -g) Love Lust and Ecstasy (p re -c e n s o r c u t v e rs io n ): A n d r o m e d a I n t ’l F ilm s , G re e c e , 2 1 1 2 .0 6 m , A .Z .

A s s o c ia te d T h e a tre s , S ff-m -g) Love’s Vicious Circle (1 6 m m ) (r e c o n s tr u c te d v e rs io n ) (b ): O. d e la C ro c h e . U .S ., 5 4 8 .5 m , 14th M a n d o lin ,

S ff-m -g) Midnite Plowboy (re d u c e d v e rs io n ) (v id e o ta p e ) (c): P u re G o ld P ro d s , U .S ., 68 m in s , K & C. V id e o , S ft-m -g ) Mud Honey (v id e o ta p e ): R. M e y e r/G . C o s te llo , U .S ., 92 m in s . J. S e it, O fsexual violence) Never Too Late To Repent: H o n Y a n g F ilm s , H o ng K o n g , 2 4 5 9 .6 2 m , G o ld e n Reel F ilm s , Vft-m -g) The Plgkeeper’s Daughter (v id e o ta p e ): P u re G o ld P ro d s , U .S ., 90 m in s , K. & C. V id e o , S ff-m -g ) The Story of Woo Viet: P e a rl C ity F ilm s , H o n g K o n g , 2 6 2 1 .4 7 m , G o ld e n R eel F ilm s, V(i-h-g) (a) P re v io u s ly s h o w n on J u ly 1978 list. (b ) P re v io u s ly s h o w n o n M a rc h 1981 list. (c) P re v io u s ly re g is te re d in a p re -c e n s o r c u t v e rs io n (O c to b e r 1 978 list).

Not Recommended for Children (NRC)

S p e c ia l c o n d itio n : T h a t th e film b e s h o w n o n ly to its m e m b e rs by th e N a tio n a l F ilm T h e a tre o f A u s tra lia in its 1981 “ M ic h a e l P o w e ll” se a s o n .

B lueb eard’s Castle: F o s te r P r o d s / S u d d e u t s c h e r R u n d fu n k , B rita in , 1 66 1m , N a tio n a l F ilm T h e a tre o f A u s tra lia A Canterbury Tale: T h e A rc h e rs , B rita in , 3 4 3 3 .5 6 m , N a tio n a l F ilm T h e a tre o f A u s tra lia Contraband: B ritis h N a tio n a l, B rita in , 2 5 2 0 m , N a tio n a l F ilm T h e a tre o f A u s tra lia The Edge of the World: R o c k S tu d io s , B rita in , 2 2 4 3 m , N a tio n a l F ilm T h e a tre o f A u s tra lia 49th Parallel: O r tu s /M in is tr y of In fo rm a tio n , B rita in , 3 4 0 6 m , N a tio n a l F ilm T h e a tre o f A u s tra lia I Know Where I’m Going: T h e A rc h e rs , B rita in , 2 5 4 7 .4 8 m . N a tio n a l F ilm T h e a tre o f A u s tra lia A Matter of Life and Death: T h e A rc h e rs , B rita in , 2 8 8 0 m . N a tio n a l F ilm T h e a tre o f A u s tra lia One of Our Aircraft is Missing: B ritis h N a tio n a l, B rita in , 2 9 3 5 m . N a tio n a l F ilm T h e a tre o f A u s tra lia

Apart From You (1 6 m m ): S h o c h ik u , J a p a n , 658 m , N a tio n a l L ib r a r y o f A u s tra lia . V(i-m -i) Born Rich: T se B ro th e rs , H o ng K o n g , 2 6 0 8 .8 4 m , Jo e S iu In t’l F ilm C o., V(i-l-j), O fadult theme) Chariots of Fire: E n ig m a P ro d ., B rita in , 3 3 4 6 .5 6 m , Fox C o lu m b ia F ilm D ist., L(i-l-j) Di'aslmanton aformln: G. P a p a llo s , G re e c e , 2 74 9m , A p o llo n F ilm s , 0(re venge theme) Escape to Victory: L o rim a r, U .S ./H u n g a ry , 3 1 7 9 .2 3 m , R o a d s h o w D ist.. V(i-l-j), L(i-l-j) Fatso (1 6 m m ): B ro o k s film s , U .S ., 1 0 3 1 .1 8 m , A m a lg a ­ m a te d (1 6 m m ) F ilm D ist., L(i-l-g) The Helpless Taste: C h o u L in g K an e , H o ng K o n g , 2 5 5 0 m , J o e S iu In t'l F ilm C o.. O fadult theme) Japanese Night and Fog (1 6 m m ): S h o c h ik u , J a p a n , 1 1 7 7 m , N a tio n a l L ib r a r y o f A u s tra lia , O fadult theme) Kaala patthar: Y ash Raj F ilm s, In d ia . 4 2 0 0 m , S K D Film D ist., Vfi-f-g) Kathenas me tin trella tou: B yro n K o u ro u n io tis & Co., G re e c e , 3 0 8 9 m , A p o llo n F ilm s, S fl-l-g) Knlghtriders: L a u re l, U .S ., 3 2 9 0 .7 8 m . U n ite d A rtis ts (A s ia ), V(f-l-i) The Lucky Star: T e le M e tro p o le , C a n a d a , 3 0 6 7 .6 8 m , F ilm w a y s A ’sla n D ist.. V(i-l-j) Osaka elegy (1 6 m m ): D a iic h i Eiga, J a p a n , 7 64 m , N a tio n a l L ib r a r y of A u s tra lia , S fi-l-j) Our Darling Coach: L ap Y un B ro s., H o ng K o n g , 2 6 4 9 .3 6 m , G o ld e n Reel F ilm s, Vfl-l-g) Pale Flowers (1 6 m m ): N in g in C lu b P ro d ., J a p a n , 1 0 5 1 m , N a tio n a l L ib r a r y o f A u s tra lia , S fi-m -j), Vfi-m -i) Roar: A m e ric a n F ilm w o rk , U .S .. 2 6 4 9 .3 6 m , F ilm w a ys A s ia n D ist., Vfi-m -j) Sailing For Tomorrow: C h o u n Lin K a n g , H o ng K o n g , 2 6 0 5 m , J o e S iu In t’l F ilm C o .. O fanim al cruelty) Sisters of Gion (1 6 m m ): D a i-lc h i C o m p a n y , Ja p a n , 7 6 1 m , N a tio n a l L ib r a r y o f A u s tra lia , O fadult theme) Souls on th e R o ad (1 6 m m ): S h o c h ik u , J a p a n , 8 79 m , N a tio n a l L ib r a r y o f A u s tra lia , V(i-l-j) Suhaag: T r e h a n /S h a rm a n . In d ia , 4 5 1 0 m , S K D Film D ist., Vff-l-j) Tell Me a Riddle: G o d m o th e r P ro d ., U .S ., 2 5 6 5 .7 m , D o lp h in E n te rp ris e s , O fadu lt theme)

Films Registered With Eliminations For Mature Audiences (M) Endless Love: D. L o v e ll/F . Z e ffire lli, U .S ., 3 1 2 3 .4 6 m , R o a d s h o w D isL , S fi-m -j) D e le tio n s : 2 .1 m (5 se cs) R e aso n f o r d e le tio n : O fsexual a ctivity in volving a m inor)

For Restricted Exhibition (R) All In the Sex Family (1 6 m m ) (re c o n s tr u c te d v e rs io n ) (a): D. B. M a s e rg a le . U .S ., 2 8 5 .2 2 m , 14th M a n d o lin ,

S ff-m -g ) D e le tio n s : 3 .7 m (21 se cs) R e a so n fo r d e le tio n : S fi-h-g) (a) P re v io u s ly s h o w n on M a rc h 1981 list.

Films Refused Registration Axe: J. P a tte r s o n /H . N o va k, U .S ., 1 8 4 4 .9 m , R e g e n t T ra d in g E n te rp ris e s , Vff-h-g) Candy Goes to Hollywood (p re -c e n s o r c u t v e rs io n ): G. P a lm e r. U .S ., 2 2 9 9 .9 m , C in e ra m a F ilm s, S ff-h-g) Las cinco maneros de ver el placer (S p a n is h v e rs io n ) (v id e o ta p e ): M a jo r V id e o P ro d s , S p a in , 90 m in s , C a ta lu n a P ro d s , S ff-h-g) Pro Ball Cheerleaders (v id e o ta p e ) (a): J. M a th e w , U .S ./B rita in , 70 m in s , A . F a im a n , S ff-h-g) The Takers (v id e o ta p e ): G. T ro y /J . G a ly o n , U.S., 75 m in s , K. & C. V id e o . S ff-m -g ), O fsexual violence) T h e T e x a s C h a in S a w M a s s a c r e ( b ) : V o r te x /H e n k e l/H o o p e r , U .S ., 2 2 8 3 .4 m , G U O F ilm D ist V ff-h-g) ’’ (a) R e je c te d in a p re -c e n s o r c u t v e rs io n (N o v e m b e r 1979 lis t); s u b s e q u e n tly re g is te re d in a re c o n ­ s tru c te d v e rs io n as Pro-Ball Hookers (A p ril- M a y 1980 lists). (b ) P re v io u s ly s h o w n on A p r il 1976 list; se e a ls o u n d e r “ F ilm s B o a rd o f R e v ie w ” .

For Mature Audiences (M) Bez mllosei

(Without Love) (1 6 m m ): F ilm P o lski, P o la n d , 1 1 1 8 .9 4 m , P o lis h C o n s u la te -G e n e ra l, S fi-m -j) B a n g F ilm s, H o ng K on g , 2 7 1 5 .2 4 m , J o e S iu In t’l F ilm C o ., O fem otional pitch) Dragonslayer: B a r w o o d /R o b b in s , B rita in . 2 9 4 0 .8 5 m , G U O F ilm D ist.. Vfl-m -g) Figlio della stelle: T ita n u s F ilm s , Italy, 2 5 3 7 .8 1 m . A. M, A le s s i F ilm & V id e o S e rv ic e , S fi-m -j) The Fool E scape: L a u B r o th e r s . H o n g K o n g , 2 8 2 4 .3 9 m , J o e S iu In t’ l F ilm C o ., V fl-m -g ) For Your Eyes Only: U n ite d A rtis ts , B rita in , 3513.89m, U n ite d A rtis ts (A ’sia ), V ft-m -g) Full Moon High: L a rc o , U .S ., 2 2 8 6 .8 2 m , R o a d s h o w D ist., O fsexual innuendo) The Gam bler and the Fake: L. Y u /H . Ja n , T a iw a n , 2 7 2 1 m , G o ld e n Reel F ilm s, Vfi-m -j) Hara k lr i (1 6 m m ): T a ts u o H o yso ya , J a p a n , 1502m , N a tio n a l L ib r a r y o f A u s tra lia , V fi-l-j) History of the World Part I: B ro o k s F ilm s, U.S., 2 4 5 4 .1 4 m , H o y ts D ist., O fsexual innuendo, religious Charlie’s Bubbles: B an g

parody) The Legendary Strike: G ra p h ic F ilm s (H .K .), H o ng K o n g , 2 5 7 7 .3 9 m , H o n g A u s t., Vft-m -g) The Legend of the Lone Ranger (p re -c e n s o r c u t v e r­

Films Board of Review The Legend of the Lone Ranger (p re -c e n s o r c u t v e r­

s io n ) (a): W . C o b le n z , U .S .. 2 5 9 3 .5 8 m , H o yts D ist.,

Vfi-m -g) Naked Youth (1 6 m m ): S h o c h ik u , J a p a n , 105 7m , N a tio n a l L ib r a r y o f A u s tra lia , S fi-l-j), V ft-m -g) Przed odlotem (1 6 m m ): P o ls k i/ S ile s ia , P o la n d , 1 0 3 1 .1 8 m , P o lis h C o n s u la te -G e n e ra l, O fadult con­ cepts) R a p u n z e l,

L e t D o w n Y o u r H a ir ( 1 6 m m ) : S h a p iro /R o n a y /W in h a m , B rita in , 8 5 5 .6 6 m , S y d n e y F ilm m a k e r s C o -o p e ra tiv e , O fadu lt concepts) Special Treatment: G o ld e n G a te F ilm C o., H o n g K o n g , 2 7 4 5 .6 4 m , J o e S iu In t’l F ilm C o ., O fadu lt concepts)

Explicitness/lntensity

Scene from Tony Paterson’s R-rated Centrespread.

464 — November-December CINEMA PAPERS

s io n ) (a): W . C o b le n z , U .S ., 2 5 9 3 .5 8 m , H o y ts D ist D e c is io n R e v ie w e d : C la s s ify “ M ” b y th e F ilm C e n s o r­ s h ip B o a rd .

D e c is io n o f th e B o a rd : C la s s ify “ G ".

The Tex as C h ain Saw M a s s a c re (b ) : V o r t e x / H e n k e l/H o o p e r, U .S ., 2 2 8 3 .4 m , G U O F ilm D ist.

D e c is io n R e v ie w e d : R e fu sa l to re g is te r b y th e F ilm C e n s o rs h ip B o a rd .

D e c is io n o f th e B o a rd : U p h o ld th e d e c is io n o f th e F ilm C e n s o rs h ip B o a rd . (a) S e e a ls o u n d e r "F o r G e n e ra l E x h ib itio n " a n d "F o r M a tu re A u d ie n c e s ” . (b ) S e e a ls o u n d e r “ F ilm s R e fu s e d R e g is tr a tio n ” . ‘A ’

Publications from

i

AUSTRALIAN

MOTION PICTURE AUSTRALIAN

MOTION PICTURE YEARBOOK

1981/82

“It contains ju st about everything the Australian film industry one could ever wish to kn o w .”

National Times “A must fo r anyone 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 without.

Screen International Cinema Papers

A U ST R A L IA N

MOTION PICTURE YEARBOOK

CdorfiriT

1981/82

Edited by Peter Beilby

Cinema Papers is pleased to announce that the 1 9 8 1/ 8 2 edition of the Australian M otion Picture Yearbook can now be ordered.

T he enlarged, updated 19 8 1/ 8 2 edition contains many new features, including: • Comprehensive filmographies of feature film scriptwriters, directors of photography, composers, designers, editors and sound recordists • Monographs on the work of director Bruce Beresford, producer M att Carroll and scriptwriter David Williamson • A round-up of films in production in 19 8 1 • Actors, technicians and casting agencies • An expanded list of services and facilities, including equipment suppliers and marketing services

Contents

PART 2: Feature Films 1980 and 1981

PART 1 : Australian Film Industry Round-up

PART 3: Profiles Bruce Beresford, Matt Carroll and David Williamson.

Local Production; Distribution and Exhibition; Government and the Film Industry; Film Organizations; Festivals; Awards and Competitions, Visitors; Television; Censorship; Technology; The Media

Overseas Introduction; Salesand Releases; Festivals, Awards and Competitions; Overseas Media

PART 4: Feature Film Personnel Producers, Directors, Screenwriters.

Directors of Photography, Editors, Production Designers and Art Directors. Composers, Sound Recordists.

PART 5: Directory

PART 6: Media

Organizations Services and Facilities

Print, RadiO\ Television, Overseas Media Representatives, Film Bookshops and Record Shops.

Film Stock, Sound Stock, Equipment Suppliers, Equipment Rental, Lighting Rental, Actors and Actresses' Agencies, Technicians' Agencies, Casting Consultants, Laboratories, Film Studios and Sound Stages, Editing and Post-Production Facilities, Preview Theatres, Recording and Mixing Studios, Animation,Titlesand Graphics, Special Effects, Negative Matching, Edge-numbering, Film Production and Re-dimension, Publicists, Marketing Services, Caterers, Insurance, Customs and Shipping Agents, Car and Truck Rental, Media Research.

Production Companies Distributors and Exhibitors

PART 7: Reference Film and Television Awards Film Festivals Legislation Tax, Copyright, Export Incentives, Censorship.

Statistics Bibliography Feature Film Checklist: 1 9 7 0 ­ 1980 Capital City Maps Advertisers’ Index

Fill out order form fo r the 1980 and 1981/82 Editions on page 8 o f this special insert 2

¡¡EW from H CINEMAPAPERS in association with Thomas Nelson

AUSTRALIAN TV The firs t 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, quizzes, news and documentaries, kids’ programmes, sport, drama, movies, commercials... Contributors include Jim Murphy, Brian Courtis, Garrie Hutchinson, Andrew McKay, Christopher Day, 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.

$14.95 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 standards remarkable.

AUSTRALIAN TV is an entertainment, a delight, and a commemoration of a lively, fast­ growing industry.

Fill out orderform fo r Australian TV on page 8 o f this special insert, 3

In this major work on the Australian film industryâ&#x20AC;&#x2122;s dramatic rebirth, 12 leading film writers combine to provide a lively and entertaining critique. Illustrated with 265 stills, including 55 in full color, this book is an invaluable record for all those interested in the N ew Australian Cinema.

The chapters: The Past (Andrew Pike), Social Realism (Keith Connolly), Comedy (Geoff Mayer), Horror and Suspense (Brian McFarlane), Action and Adventure (Susan Dermody), Fantasy (Adrian Martin), Historical Films (Tom Ryan), Personal Relationships and Sexuality (Meaghan Morris), Loneliness and Alienation (Rod Bishop and Fiona Mackie), Childrenâ&#x20AC;&#x2122;s Films (Virginia Duigan), Avant-garde (Sam Rohdie).

$14.95 F ill out order form fo r The New Australian Cinema on page 8 o f this special

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4

There’s a lot more to Artransa Park than ju st the finest sound stage in Australia.

As most people in the business are aware, Artransa Park houses two of the finest stages in the Southern Hemisphere.

What some people don’t realise is that Artransa’s facilities also include two make-up rooms, a large dressing room with shower, a production office, dark room, rehearsal room, wardrobe/storage room and a receptionist Like the stages, the ancillary areas at Artransa are clean, air-conditioned and relatively dust free. a So why put up with second best? Talk to Maryanne ^ Morss about your next shoot. You’ll find that mp y the best is always cheapest in the long run. * r \ lx

ARTRANSA PARK FILM STUDIOS

Artransa Park Film Studios, Television Centre, Epping. NSW. 2121. Phone (02) 858 7600 AP844

George M iller9s

Som etim e in the d eva sta ted fu tu re, rival car gangs fig h t over the rem aining p e tro l supplies. M a d M a x , his beau tifu l interceptor now a decaying hulk, fig h ts to keep order â&#x20AC;&#x201D; but w hose?

Top left and middle left: a gang rides to war with prisoners roped to their â&#x20AC;&#x2DC;chariotsâ&#x20AC;&#x2122;.

Anti-clockwise from bottom left: a gang pursues and invades a petrol carrier.

Above: Mel Gibson as Max. Top right: the â&#x20AC;&#x2DC;f eralâ&#x20AC;&#x2122; child. Right: Bruce Spence as the helicopter pilot. Below: Max and feral child.

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0 M P U T 1 D E 0

Fred Harden

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energy and is thousands of times faster than any in television commercials and the work of com­ mechanical plotter drawing on paper. Because puter artists. Bob Abel, who has been the bestthe image is formed from light generated when known animation designer in the field of motion the electron beam strikes the phosphors on the graphics for the past five years, now believes that inside of the tube’s face, it has to be continually the time has come for a change. He said, redrawn or “ refreshed” to remain visible. The “ Computers have taken a very definite role persistence of the glowing image on the storage and are growing in importance. That razzle tube phosphor, however, meant that it needed to dazzle, slit scan candy apple, streak, back be refreshed less frequently and allowed the light, flair stuff has pretty well burned itself computer to continue other memory functions out. People are seeking new looks and . . . a meanwhile. common computer language which offers a Then, the growing impatience of users with union and control of myriad animation forms. the limitation of the storage tube technology It allows us to seek out more patterns and meant that other, faster methods capable of im­ more possibilities of creative expression.” mediate interaction with the user were required.

Abel, using an Evans & Sutherland (E&S) This demand came at a time when the cost of computer, can produce simple line storyboards computer memory was cut dramatically with the that show the movements and positions of an ob­ mass production of the solid state chip. Now it is ject in real time, allowing a commercial to be an accepted, everyday event to see interactive pre-planned and shown to a client or animation com puter-controlled home and arcade designer at an early stage (see photographs). The videogames in full color with ever-increasing “wire frame” style of image can then be complexity and resolution. Each issue of the transferred on a plotter to a paper hard copy and computer magazines, that are growing in then as a negative (clear lines on black) Kodalith numbers on the news-stands, carry ads for low- film and photographed as conventional or resolution), high-res, supergraphics and a grow­ backlit animation. The computer’s ability to ing list of software with trademarked names like produce a wire frame, 3-D line image when U-Draw, The Designer and Micro-Painter, all programmed with X, Y, Z co-ordinates, and to designed for the Apple, Tandy and other small move it (rotate, tilt, etc.) so that it can be viewed computers. from different positions, has become a common The home computer user will see the most technique in industrial and architectural applica­ dramatic innovations in graphic systems well in tions. ' advance of commercial or business users. The The ability to define solid plane perspective “ impulse purchase” nature of most home com­ surfaces in color and move them is obviously a puter systems almost dictates that after the more complex process. The examples of this in Computer Graphics initial learning stages, where the computer is de­ the photographs with the car radio show how ad­ mystified and the operator/programmer under­ vanced the techniques have become. stands that they are in control of this “dumb” A number of companies are producing start­ he development of computer graphics machine, they must apply it to further ling images that are wholly computer generated. as a means of interaction for creative demanding tasks to justify the cost of the equip­ The Walt Disney animated film Tron, now in man and fast, error-free machinery ment. The area of graphic displays is another production and to be released in mid-1982, calls looked initially like an idea in search chance to show-off the system, and the manufac­ on the skills of a number of U.S. computer of an application. The output of a turers know and exploit this need. animation companies: among them are the New drawing pen on a plotter seemed to be allThe thatadvantage of this trend for the artist or York company Digital Effects Inc., the Com­ was required for most design and industrial commercial image makers is that now, for low puter Graphics Lab. at the New York Institute applications and, in the initial years of computer cost, they can produce results that were the ex­ of Technology and Information International development, it appeared that the expenses of clusive domain of the special effects companies Inc. (Ill), of which John Whitney jun. is a developing a television screen display were working for the big-budget films. partner (see the reference to the Whitney family This creative application is becoming evident below). Whitney foreshadowed last year that III prohibitive. When Tektronix developed a lowcost storage tube in 1969 there was an im­ mediate movement of computer visual displays from a specialist area of high technology into the “H um an beings are slow, error-prone and creative while computers public domain and the public decided it needed these images. are fa st, error-free and d u m b ” — Carl M achover, leading a recent The technique required for producing an im­ seminar in Sydney on the applications o f computer graphics. age on a cathode ray tube (CRT), such as the picture tube in home television sets, requires less

his article attempts to examine the impact of computer technology on the field of animation. It will look at completely com­ puter-generated graphics, video graphics and the work of a Sydney company that is the o ffsh o o t of D avid Deneen’s animation com­ pany Filmgraphics, called Motiongraphics Pty Ltd. Motiongraphics was the first company in Australia to install the computer-con­ trolled Oxberry camera and animation rostrum.

T

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470 — November-December CINEMA PAPERS

would soon be able to generate a fully-detailed, 3-D perspective, animated human figure.

The investment in equipment, research and develop nent to reach this level of complexity can obviously never be recovered from just one commercial. The massive returns from a feature film such as Star Wars, however, could repay such an investment and it is in this direction we should look for the next developments.

Meanwhile, watch the computer magazines for low cost applications and development.

Further reading and recent articles: “Video Art — Electric Sculptures” (describes the Digital Effects-designed Video Palette, the develop­ ment of which was sponsored by the U.S. ad agency, J. Walter Thompson), F u tu re L ife , No. 27, June 1981.

C o m p u t e r G r a p h ic s P r im e r , Mitchell Waite, Howard W. Sams & Co. Inc., 1980 (although suffer­ ing from its 1980 publishing date, it gives a good in­ troduction with programming examples for the Apple in Basic).

A r t D ire c tio n seems to be running a regular review of animation, computer and conventional. The April 1981 issue is especially good. Subscriptions USS24 a year. Back issues USS2 a copy. 10 East 39th St., New York, N.Y. 10016, U.S. C re a tiv e C o m p u tin g , from which the Groucho Marx illustrations come. Subscriptions USS29 a year.

P.O. Box 789-M, Morristown, New Jersey 07960.

U.S. In te r fa c e A g e and K ilo b a u d M ic r o c o m p u tin g have regular graphics articles and, like C re a tiv e C o m ­ p u tin g , are in most major newsagencies.

G en e Y o u n g b lo o d ’s E x p a n d e d C in e m a , published

by E. P. Dutton in 1970, remains remarkably accurate in its computer sections. The book was prophetic (and exciting) when it came out, but is now probably out of print.

Just released in Australia is D ig ita l H a r m o n y

by John Whitney sen., published by Byte Books/McGraw Hill. This covers Whitney’s theory of the interrelation of musical harmony with visual com­ puter patterns. The color illustrations are from his films, including Arabesque, and the book contains programs and articles by Whitney from various sources (including a 1971 American C in e m a to g r a p h e r article talking about his Slit Scan work that led to the stargate sequences in 2001: A Space Odyssey).

The August 1980 issue of B K S T S J o u r n a l (British Kinematograph, Sound and Television Society) had a long article on the Antics computer animation system.

Subscriptions are 20 pounds a year, but maybe that particular back issue is available. BKSTS, 110-112 Victoria House, Vernon Place, London WC1B 4DJ, Britain.

Left: Computer-generated images from the E & S computer, work of U.S. company Bob AbeI & Associates.

CINEMA PAPERS November-December —471

AT M SI THI WHO WHAT WHEN WHERE WHY 01AUSTRA1IAH MUSK Never before have so many of Australia’s top music writers been assembled in the one publication to cover the most important aspects of Australian music today. And never before has so much information, so many photographs, stories, biographies, facts and statistics about the Australian music industry been concentrated in the one place. The Australian Music Directory is an indispensible handbook detailing every important facet of Australian music. Essential information for anyone interested in, dealing with or working in Australian music.

A u s tra lia n M u s ic on R e c o rd The first ever comprehensive cata­ logue of Australian artists and composers on record — classical, brass bands, children, country, ethnic, folk, humor, jazz, pop, rock, sacred, soundtracks.

52 pages, over 3500 entries.

The Y ellow P a ges of A u s tralian M u s ic The most detailed listing of services and facilities relevant to the music business ever compiled, including: managers, promoters, record companies, intruments, lighting, studios, transport, promotions, photographers, live music venues, campuses, record shops, media . .. more than 60 categories, with over 10,000 entries.

i-^n h i i k h e i

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nECORD COVER AND LABEL PRINTING

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In November last the Film and Television Production Association of Australia and the New South Wales Film Corporation brought together 15 international experts to discuss 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 Cinema Papers, and published as the Film Expo Seminar Report.

Copies can be ordered for $25 each.

Contributors

Contents

Arthur Abeles

Theatrical Production The Package: Two Perspectives Perspective I: As Seen by the Buyer

Chairman, Filmarketeers Ltd (U S )

Barbara D. Boyle Executive Vice-President, and Chief Operating Officer, New World Pictures (U.S.)

Ashley Boone Worldwide Marketing and Distribution Head, Ladd Company (U.S.)

Mark Damon

(i)

Partial versus complete packaging, or starting from scratch with an idea. (ii) Evaluating for different markets, different costs (budgeting).

Speakers: Barry Spikings; Mike Medavoy

President, Producers Sales Organization (U.S.)

Perspective II: As Seen by the Seller

Michael Fuchs

The role of the agent in packaging.

Speaker: Harry Ufland

Senior Vice-President Programming, Home Box Office (U.S.)

Samuel W. Gelfman Independent Producer (U.S.)

Theatrical Production Business and Legal Aspects

Distribution terms Relationship and terms with sub-distributors and exhibitors. Recoupment of expenses. Cross-collateralizing territories Dubbing. Censorship Speakers:Arthur Abeles: Klaus Hellwig(Northern European perspective): Massimo Ferrara (Italian and European perspective).

Television Production and Distribution Production for network or syndication Deficit financing. Tape versus film. Licensing "off-net­ work". United States and foreign. Commercial versus public broadcasting.

Speaker: Lois Luger

Financing of Theatrical Films Major Studios

Executive Vice-President, Orion Pictures (U.S.)

Sources of materials (published, original screenplays, etc.). (ii) Forms of acquisition agreements and/or writer's agreements. (iii) Talent agreements (“ pay or play” defer­ ments, “going rates", approvals). (iv) Insurance. (v) Guild and union requirements (foreign and domestic production). (vi) Subsidiary rights. Publishing music, merchandising,etc.

Speaker: Eric Weissmann

Simon O. Olswang

Distribution in the United States

Presale of Rights

(i)

Separating rights by media. Pay television, free television (network syndication).

Speaker: Michael Fuchs

Klaus Hellwig President, Janus Film Und Fernsehen (Germany)

Lois Luger Vice-President, Television Sales, Avco Embassy Pictures Corporation (U.S.)

Professor Aw. Massimo FerraraSantamaria Lawyer (Italy)

Mike Medavoy Solicitor. Brecker and Company (Britain)

Rudy Petersdorf President and Chief Operating Officer, Australian Films Office Inc. (U.S.)

Barry Spikings Chairman and Chief Executive, EMI Film and Theatre Corporation (Britain)

Eric Weissmann Partner, Kaplan, Livingston, Goodwin, Berkowitz and Selvin

Harry Ufland President, The Ufland Agency (U.S.)

(i)

Distribution Outside the United States

Mapping the distribution sales campaign' When and where to open. How to allocate advertising budgets. Number of theatres.

70mm and stereo. Reissues. Ancillary markets — hold back for pay and free television. (ii) Exhibition terms. Advances and guaran­ tees, split of box-office (90-1 0 with “floor", “house-nut", etc.); blind bidding; policing Speaker: Ashley Boone

Producer/Distributor Relationship Terms: Differences where distributor financed production. How distributor expenses are recouped. Distributor fees. Advertising commit­ ment, if any. Outside sales representative.

Speaker: Barbara Boyle

Control, approvals, overhead, over-budget provi­ sions, total or partial financing Negative pick-up.

Speaker: Rudy Petersdorf

Financing of Theatrical Films Independent Studios Rise of independent financing. Tax motivated and otherwise. Completion financing.

Speaker: Sam Gelfman

Presale by Territory Advantages and problems. 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 investments.

Speaker: Simon Olswang

Fill out order form fo r the Film Expo Seminar Report on page 8 o f this special insert.

5

BACK ISSU E S Take advantage of our special offer and catch up on your missing issues. Multiple copies less than half-price!

Number 1 January 1974

Number 2 April 1974

Number 3 July 1974

Number 5 March-April 1975

Number 9 June-July 1976

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

A n to n y I. G in n a n e . The

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

Alvin Purple. F ra n k M o o rh o u s e . S a n d y H a r b u tt.

F ilm U n d e r A lle n d e .

N ic h o la s R o eg . Between

John P ap a d o p o Io u s .

W illis O 'B rie n . T h e M c D o n a g h S is te rs . R ic h a rd B r e n n a n . L u is B u n u e i.

J e n n in g s L a n g . B y r o n .

H a s k in . S u rf F ilm s . B ria n P ro b y n . Sunday Too Far Away. C h a rle s C h a u v e l.

M ilo s F o r m a n . M ik lo s J a n c s o . L u c h in o V is c o n ti.

R o b yn S p ry . Oz. Mad Dog Morgan. J o a n L o n g .

The True Story of Eskimo Neil.

Index: Volum e 1

Wars

Index: Volume 2

Number 12 April 1977

Number 13 July 1977

Number 14 October 1977

Number 15 January 1978

Number 16 Aprii-June 1978

K e n n e th L o a c h . T o m H a yd o n . B e rt D e lin g . P ie ro T o s i. J o h n S c o tt. J o h n D a n k w o rth . The Getting

L o u is e M a lle . P au l C o x.

J o h n P o w e r P e te r S ykes.

B e rn a rd o B e rto lu c c i. F.J.

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

J o h n H u s to n . Blue Fire

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

Lady

Ho lden In S e arch Anna Index: Volum e 3

C h in e s e C in e m a .

The Irishman. The Chant of Jimmie Blacksmith. S ri L a n k a n C in e m a . The Last Wave

Patrick. S w e d is h C in e m a .

John D u ig a n . S te v e n S p ie lb e rg . Dawn! Mouth to Mouth. F ilm P e r io d ­ ica ls.

Cars That Ate Paris

of W is d o m J o u rn e y Among Women

of

S u m m e r f ie ld

Number 10 September-October 1976 N a g isa O s h im a . P h illip p e M o ra . G a y C in e m a . J o h n H e ye r. K rz y s z to f Z a n u s s i.

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

Number 11 January 1977 E m ile d e A n to n io . A u s ­ tra lia n F ilm C e n s o rs h ip .

S am A rk o ff.

R om an P o la n s k i. The P ictu re

Show Man Storm Boy.

Don’s Party.

Number 17 August-September 1978

Number 18 October-November 1978

B ill B a in . Is a b e lle H u p ­ p e rt. P o lis h C in e m a . The Night the Prowler. P ie rre R is s ie n t. Newsfront. Film S tu d y R e s o u rc e s .

J o h n L a m o n d . Dimboola.

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

Cathy’s Child. The Last Tasmanian

Index: Volum e 4

Number 19 January-February 1979 A n to n y I. G i n n a n e .

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

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

Number 20 March-April 1979

Number 21 May-June 1979

Number 22 July-August 1979

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

My Brilliant Career F ilm S tu d y R e s o u r c e s . The

Mad Max. V ie tn a m o n Grendel, Grendel, G re n d e l. D a v id H e m m in g s . The Odd Angry Shot. B o x -O ffic e G ro s s e s .

Snapshot.

B ru c e P e tty. A lb ie T h o m s .

New sfront. F ilm S tu d y R e s o u r c e s . K o s ta s .

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

Night the Prowler

F ilm .

Index: Volume 5

Number 26 April-May 1980

Number 27 June-July 1980

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

C h a rle s J o ffe . Harlequin.

N a tio n a lis m in A u s tra lia n C in e m a . Ttfa Little Con­

T h e N e w Z e a la n d F ilm I n d u s t r y . The Z Men P e te r Y e ld h a m . M aybe This Time. D o n a ld R ich ie .

vict.

Index: Volume 6

G re n d e l, Grendel

G r e n d e l,

Number 23 September-October 1979

Number 24 December 1979 January 1980

A u s t r a lia n

B ria n

T e le v is io n .

Last of the Knucklemen.

W o m e n F ilm m a k e r s .

J a p a n e s e C in e m a . My

B rillia n t C a re e r. Tim .

Thirst. T im B u rs ta ll.

Beach.

Reaction D a v id P u t t n a m . C e n s o r s h ip .

Stir. E v e re tt d e R o ch e .

Touch and Go. F ilm a n d P o litic s .

T re n c h a rd S m ith .

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

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

A rth u r H ille r.

Palm

Number 25 February-March 1980 Chain

Number 28 August-September 1980

Number 29 October-November 1980

Number 32 May-June 1981

Number 33 July-August 1981

Number 34 September-October 1981

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

Breaker M orant. S ta c y K each Roadgam es

B o b E llis. A c to rs E q u ity D e b a te . U ri W in d t.

J u d y D avis. D a vid W illia m ­ son. R ic h a rd R u sh . C u b a n C in e m a A Town Like

J o h n D u ig a n on Winter of Our Dreams G o v e rn m e n t a n d th e F ilm In d u s try . Tax a n d Film . C h ris N o on a n.

R o b e rt A ltm a n . Gallipoli.

P e t e r W e ir . B la k e E d ­ w a rd s . S h o h e i Im a m u ra .

C r u is in g T h e L a s t Outlaw. P h ilip p in e C in ­ em a. The Club.

A lic e

F la s h

C h a n n e l 0 /2 8 .

G o rd o n

W inter of Our Dreams M e lb o u rn e a n d S y d n e y F ilm F e s tiv a ls . Hoodwink.

Roadgames Grendel

* Note: numbers 4, 6, 7, 8, 30 and 31 are out of print.

Number 35 November-December 1981 M ad

M ax

II.

M a rg a re t L o n g on Puberty Blues M a u ric e M u rp h y . R o m a n P o la n s k i W o m e n in D ram a.

K e lly a n d Jo a n

1 3 5 7

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Computer, Motion and Video Graphics

points called a bitmap, where each pixel cor­ responded to a one bit or on/off position in the frame store.

This image is in a digital (on/off) form and, if it is to be displayed on a standard television monitor that is made up of raster lines from scanning the tube face with an electron beam, a graphic interface is required to make the signal compatible. There are additional devices re­ quired to produce a signal compatible with the broadcast requirements of timing and syn­ chronization.

To record this image, the simplest method is to photograph it from a high-resolution televi­ sion screen. There are a few companies in Australia that offer this service (Leigh-Mardon One o f the hypnotic forms from James Whitney’s computer in Melbourne, for example, can produce a wide film Lapis. range of end formats — 16mm, 35mm and larger still formats — with quality suitable for reproduction). replayed instantly remains video graphics’ greatest attraction.

The new range of broadcast digital video ef­ fects control-room panels and mixers can add an intermediate form of video-image animation.

The “squeeze zoom” , rotating box wipes, digital delays and multi-image splits and repositioning provide effects that would be time-consuming ideo graphics, although now involv­ and costly to produce as film opticals, and are ing computer and digital technology, now developing images that are unique to the are tied to the analogue nature of television medium. television. The U.S. pioneer of syn­ Developments in the video graphics area thesized video images, Bill Etra, in­ range from the simplicity of the Sanyo Color stalled one of the early proto-types of the Rutt Blackboard to the Ampex Video Art Television Etra video synthesizer, at the Melbourne video system that was displayed at the IREE con­ production house A.A.V. ference. The Sanyo product consists of a 63cm The basis of the system is a television camera television monitor that allows the user with a light pen “ brush” to choose from eight basic Hardcopy printout, the simplest form o f computer graphic viewing a monochrome television screen. The (from Creative Computing). signals going to the screen and from the camera colors and several graphics symbols to “draw” are manipulated electronically. With the addi­ on the screen. It has provision for micro­ tion of a colorizer, it provided a simple, low- computer input and the image can be recorded resolution form of animating still logos and on floppy disc. magine a screen is divided into thousands images.

The Ampex AVA system is considerably The U.S. company, Image West in Los more sophisticated (and expensive). Consisting of small rectangular areas; these areas are called pixels. The resolution of the image Angeles, is probably still the best-known video­ of an artist console, computer rack and disc produced depends on the number of animation company. Its machinery is many drives, with peripheral equipment such as a hard horizontal and vertical pixels that make generations more sophisticated than the original copy device for 35mm color slides, the first im­ Scanimate equipment. Russ Maehl, now work­ pression of the device is its simplicity. Two up the image.

Color resolution depends on the number of ing from VTC Sydney, was employed at Image monitors (color and monochrome) sit above the color (intensity) choices that are possible at each West and was then involved in setting up the drawing-board-size artist’s easel. pixel (determined in part by the shadow mask on system in Sydney.

The white graphics tablet controls all the Due to the nature of the complex patching and “ menu” selection functions from the right hand the television tube) and is expressed in terms of switching required, the individual skills and ex­ side of the board and the drawing area is on tie bits per pixel.

To originate the image, the user can choose perience of the operator is an important part of left. The magnetic stylus is used to sketch with between various methods: a typewriter the result. Combined with videotape post­ various brush sizes or to position shapes or (keyboard) console, optical scanner, light pen or production and editing, it is still the quickest images recalled from an extensive memory. a graphics or digitizing tablet. These are all way to achieve animation of a graphic. From Text can be inserted in a wide range of fonts methods of addressing the computer to a certain being limited in the past to simple, low- and parts of the picture can be “cut and pasted” pixel on a vertical line numbered “Y” and resolution images, the developments are toward — i.e., moved around, enlarged, reduced or full-color image manipulation and integrating rotated. Photographs or artwork scanned by a horizontal line “ X” .

To store all these individual points in suf­ live, computer-controlled camera tracks, zooms cam era can be m anipulated, colored, “solarized” and positioned. ficient numbers to make an image, or a frame of and pans.

The ability to preview the result in real time picture, a frame buffer is required. The simplest The interest for me was the subtlety and form of frame buffer would have a map of these and make changes or corrections that can be resolution obtainable. As well, after choosing

Computer Graphics — Techniques

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Images from the pop clip for Perth group the Dugites, directed by John Clarke, with video effects from the digital pane! at Videolab in Sydney.

CINEMA PAPERS November-December — 473

Computer, Motion and Video Graphics

be displayed for accurate coloring of small areas. By retaining a chroma key background color, the image can be keyed over backgrounds and the resulting image recorded on to tape or in the computer memory.

Like much of the developments of video technology, each company seems to take a parallel path, with its own refinements, which, if combined with its competitors, would produce amazing equipment. The need for a broadcastquality, stop-motion, single-frame VTR is a missing link in the further development of video animation and with the speed towards digital television it would arrive just in time to be replaced.

The SMPTE and Sony demonstrations in the U.S. of high resolution television in widescreen format is another step in allowing a totallyelectronic animation result to be used in cinemas, either by transfer to film (kine) or by video projection.

Motion Graphics The Ampex AVA electronic art system showing the worktable and stylus, with the “menu" monitor on the right.

“brush” sizes, the lines can reproduce pencil or charcoal sketches and watercolor painting, and it has a wide color palette to choose from.

There is only a limited animation function available that uses the AVA’s ability to change any color chosen while leaving other elements as selected. The animation is a color cycle through the spectrum, similar in effect to the rotating polarized displays used for exhibitions. Each frame of drawing can be stored on hard disc and w'ould require single-frame VTR editing if a motion sequence were required, or to film one frame at a time.

The obvious application would be in broad­ cast television station use. Weather maps can be rapidly made up from pre-programmed sym­ bols: other maps and graphics for news use could be updated instantly. One of the sequences demonstrated at the IREE was for the recent French elections, where candidates' photographs could be moved to positions on their electoral maps, replaced with other candidates as the results arrived, and assembled into party groups, all within seconds.

The design functions that are allowed, such as the ability to look at package design with dif­ ferent background and lettering color, and different-sized type, would be attractive only to the largest design studios because of the high cost of the unit. It was still another taste of the future.

Also announced at the IREE was Pics ap­ pointment to handle the Japanese KNACk Animatography system (mentioned in the Photokina report in Cinema Papers, No. 30, p.

473). Although only a videotape and brochures were available, the system remains an impressive middle ground between conventional animation techniques, and video and computer graphics.

The most important part of the system is the Quick Action Recorder. This allows black and white line-drawings, scanned by a separate camera, to be assembled in sequence with a wide range of variations of speed and sequence available for replay on the monitor.

The digital memory holds 240 original draw­ ings that can be recalled in sequence to produce a cycle, substituted for other positions in the sequence, scanned more than once to allow the operator to speed up or slow down a cycle, or deleted and replaced. After the animator has 474 — November-December CINEMA PAPERS

checked his drawings the conventional copying to cel and painting can take place.

The development is underway for the image from the Quick Action Recorder to go to the next major piece of NAC equipment, which is the Electronic Painter. This device allows the operator, who uses a joy-stick controller with an on-screen cross-hair cursor, to call up any of 128 pre-programmed colors or mix new ones, and rapidly fill in the areas of the drawing. Black lines can be drawn or erased, colors can be sub­ stituted to try effects and an enlarged image can

otion graphics are probably closer in meaning to the Greek words that make the word photography: i.e., “light writ­ ten” . The techniques that are in fashion as motion graphics depend extensi on multiple exposures, with an original image source that consists of no more than a backlit hole or slit in a black background. It really is painting an image with light.

When I asked David Deneen if he had called his company, Motiongraphics, after John Whitney’s company name, Motiongraphics Inc., that was started in 1960, he said he had not known about the Whitney company name and

M

David Deneen at the keyboard o f the computer controlling the Filmgraphics Oxberry animation stand.

Computer, Motion and Video Graphics

was just quick enough to realize that the term was generic for a style of animation.

Whitney gave more than the name to motion graphics. Working with his brother James, John Whitney’s film Five Abstract Film Exercises won first prize at the first Experimental Film Festival in Brussels in 1949, The work of other abstract filmmakers of the time, such as Oscar Fischinger and Len Lye (who was to take first prize at the second Brussels Festival), en­ couraged the brothers, and John became an animation director at UPA in its boom years of the 1950s.

During this time, he worked with Saul Bass on the title sequence for Alfred Hitchcock’s Ver­ tigo. He directed several short musical films for CBS and worked with Charles Eames on a multi-screen presentation. In the post-war period of the 1950s, he quickly realized the bargains that the Army surplus analogue gunsight computers represented, and built a com­ plex computer table that filled a room. Con­ stantly experimenting and rebuilding, the only major work he completed was Catalogue, which was just that — a catalogue of the many beautiful results possible on the machine.

James Whitney produced Lapis on the device in 1966 and John’s three sons, Michael, Mark and John jun., all used and adapted the machinery for their film work.

With a familiarity with slit-scan techniques used in astronomy, John Whitney produced film titles and commercials using slit-scan years before Douglas Trumball produced the fantastic “trip” sequence of the stargate corridor for the end of 2001: A Space Odyssey.

Bob Abel’s commercial in the early 1970s for 7-UP, with its tongue in cheek fantasy with multi-colored rainbows and voluptuous fairies floating past holding bubbles, must have been a turning point for animation of commercials. The highlight sparkles and streaking became a Bob Abel trademark, and were widely imitated.

The design of work in this style is made more

difficult for the animator because so much of the actual image never exists until photographed, consisting as it does of multiple exposures and open shutter movements. The complexity of such work is made easier and faster if the result can be repeated exactly. Tests and slight changes that could take days to photograph could be ruined if the operator forgot a single movement in a sequence having a screen time of only five seconds.

The application of the fast error-free com­ puter to the task of control of these multiple repeated functions must have been an obvious idea. Oxberry animation equipment is an in­ dustry standard and Oxberry was quick to recognize the need for computer control.

With motors on all of the table functions that allow X, Y movement, rotation and column tracking of the camera, the computer can be programmed to give minute adjustments with a repeatability not possible by hand.

The computer is programmed (see detail) allowing for all the standard animation practices including fairing (speeding up or slowing down the rate of movement at the head and tail) and a punched tape made. This tape can be used to repeat a complex move on another job, or just stored in case of reshooting or revisions.

The PDP 8 computer that Oxberry have used in the installation until the recent model change is now some years old as a design; yet, consider­ ing that it spends so much of its time waiting for the machinery to reach its start and end points, it is adequate. Any reservations about the com­ puter held by the operators seem to be with the program, not with the machinery'. The Oxberry supplied software cannot be user modified to adapt it to a particular studio’s needs. To do this would require a complete program to be written at the expense of “down time” on the stand.

I asked David Deneen if the camera had significantly increased the output of work. He felt that there may have been a saving in camera time of about one-third, but that this had been

Above and right: Frames from recent commercials and promotions by Motiongraphics Pry. Ltd., and an example o f a single event from the Oxberry program.

offset by the increased demand on the equipment for motion graphics work, and the computer is indispensable for the slit-scan and streaking work.

The television commercial end tag of the “ rotating store” for Myer in South Australia is an example of the complexity of the work of Motiongraphics. The drawing of the triangular store was originated from computer drawings.

The co-ordinates and dimensions of the store were entered in the computer and individual drawings made on the plotter of the in-between positions as the computer rotated the line image.

From these black ink on paper drawings Kodalith high contrast negatives were made and registered onto punched animation cels. The se­ quence was shot backlit, with a colored filter, slightly soft focus, then rewound and shot again with the white line burnt in. On different runs, the soft “blobs” of background light and the rays of light that come from the corner doorways were added. In total, weeks of work for less than five seconds of on-air time. This ex­ plains, perhaps, the higher cost of motion graphic animation and also its attraction as a complex and innovative form of animation.

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Computer, Motion and Video Graphics

M otion Graphics — Techniques and the Future he effects obtained with a time­ exposure photograph of a night-time city scene, where the moving cars leave streaks from their headlights and tail-lights, are a common ex­ perience. It is this same technique that gives motion graphics its strongest images. No handpainted artwork can give the same saturation or vibrancy as is obtained from the backlit, highcontrast images. The image can be modified by using fog, star and other filters on the camera lens, and colored by placing color filters beneath the artwork.

Often, multiple exposures are made with dif­ ferent colors and degrees of sharpness. The movement of the camera and of the compound with the back-lit art, while the shutter is open on a single frame, is repeated on the next frame John Whitney, the “father” o f motion graphics, and a frame with a slight change in the starting position of from Motiongraphics Pty Ltd’s commercial for Myer. the camera or artwork.

T

Effects such as highlight sparkles and other enhancing additions to live action footage are positioned by rotoscoping the footage and then the highlights are shot by bi-pack printing onto the original. This enhancement can be quite subtle, just a matter of adding a slightly sharper line to a product such as a car that lacks “gloss” .

Slit-scan — the simplest form of this effect — is a straight line slit with a rear-lit or rearprojected image (abstract or photographic) or colored filters behind it. If the slit is horizontally across the field at the start of the frame, when the camera with its shutter open starts its move towards the slit, it moves towards the top or bot­ tom of frame and leaves a patterned streak behind it. The shutter is then closed, the camera moved back to its start point, the image through the slit changed and the process repeated. The Douglas Trumball stargate corridor sequence at the end of 2 0 0 1 is perhaps the most famous ex­ ample. Here the image is “ mirror” printed so that an image of the slit moves towards the top

and bottom of the frame, drawing the viewer’s eye into the frame.

Andy Gibson, managing director of AGES Pty Ltd, the Australia distributors of Oxberry equipment, recently visited Oxberry in the U.S. I asked him what new developments were forthcoming from Oxberry, especially as the PD P -8 com puter used is now old technology.

“The problem of staying ahead of such rapidly changing technology was one of the reasons I was eager to visit the U.S. and I wanted to check out the system of our com­ petitor, Cinetron. “ I was relieved when I got to New York, after seeing how advanced the Cinetron system was, to find out the new developments Ox­ berry had made. They rolled back the curtains and said here it is. They showed me the actual model number two — the first prototype is in use in New York, and details of it will be released to the public on October 25, at the

SMPTE conference in Los Angeles. The new computer has been developed using the chip under licence from NAC in Japan and I feel that it will place them so far ahead of their competition. “ Some of the other developments that will be available are an automatic fade and dissolve keyboard. It permits the user to program the amount of frames of fade or dissolve, and to choose what degrees of opening of the shutter it will begin and finish at. It has the facility to change the logarithmic curve to allow for the response of varous filmstocks such as in­ terpos, interneg and CRI. “There is also a computer control for the aerial image with a 4 to 1 enlargement or reduction. This will allow controllable, con­ tinuous zooms of the image. “ Also available is the Modukrome light source demonstrated at last year’s Photokina.

[The Modukrome filters are in a pack im­ mersed in a fluid that reduces the differences in diffraction when combinations of filters are used.]

“The light source on the aerial image projec­ tor, if overseas trends are an indication, will have to be fully color controllable. This would not only supply a colored back light source for streak and slit-scan work, but would also allow CRIs or internegs to be color graded.

The development of computer control of this light is an obvious demand and this is forthcoming.”

There can be no doubt that like all industries that have a need for repetitive, boring (for the operator) machine functions, but needing high accuracy, computer control can be a major aid to productivity. The animation industry has always had this aspect. Initial creative work must then go through many labor-intensive steps to reach the screen. Cel painting, for example, can add weeks to a production as each handpainted color air dries. Machinery such as the NAC electronic painter, with a skilled operator, could reduce this time to hours. Apparently, when introduced to the Japanese market, the NAC company expected that the usually conser­ vative Japanese animation companies would resist the introduction and retain their traditional methods. But companies responded immediately and purchased large numbers of machines.

The problem of labor being replaced by the new equipment will bring confrontation to the industry as it has to many others outside, but the ability for creative artists to produce their work and ideas faster and more accurately, and hence more economically, must win out.

Looking ahead, the possibilities of completely computer-generated images replacing those imaged on film is some time away, especially in Australia. Companies such as III have such a massive investment in equipment that they have reported financial problems and must be relying heavily on their research and development in­ vestment to be repaid through feature films.

The demand for material for cassette, cable and videodisc will mean that animators will be in a prime position. The mixture of motion graphics, computer graphics and video tech­ niques will, when joined with conventional animation, supply a major portion of this material. As master animator Bob Godfrey said. “ Animation is the last artistic hurdle of the 20th Century” and, with the anticipation of Walt Disney’s Tron, it will be a giant leap for a mouse.

The coverage o f New Products and Pro­ cesses scheduled for this issue has been held over till the next issue to allow room for the above article on computer animation. ★

CINEMA PAPERS November-December — 477

M o tio n P ic tu re G u a ra n to rs Inc W e try h a rd e r. . . b e c a u s e .

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O N TIME - O N BUDGET! Frequently producers have told us that w e were of material help in spotting difficulties early and assisting in their solution.

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(1 0 *)

6 3 ,4 6 0

5 9 ,9 2 1

PTH

ADL.

BRI.

$

Rank

1 2 3 ,3 8 1

1

(7 )

3 4 ,8 2 7

(1 )

1 1 ,5 7 5 (2 *)

7482

(1 )

Fantasm Comes Again

F W

Mad Max

RS

3195

■ — ---------- —

660.161

.......... — H

N/A

5 1 .9 2 4

8 3 .6 7 0

1 17.002

Foreign Total0

5 .4 7 0 .0 9 5 3 .7 0 3 .7 4 9

2 .9 3 8 .8 5 4

Grand Total

6 .1 3 0 2 5 6

2 .9 9 0 778 1 .7 1 7 .0 5 0 1 .7 1 7 .0 5 0

N /A

1 .6 3 3 .3 8 0

1 .6 0 0 .0 4 8

* Figures exclude N /A figu res. ® Box o fllce grosses ol indi victual tilm s h ,vo been supoliod to Cinema Papers bv the Australian Film Comm ission of all oreIqn1 llm s shown durlnq the oer odTn the area s S S d o This figure represents the total box-olti "e°gross .c 9 'oss oi an foreign mms snown auring tne penoa in the area speu tied. ‘ C ontinuing into next period NB. Figures in parenthesis a bove the gros ses represent weeks in release. II more than one ligure appears, the Him has been released In more than jn e cinem a dr ring the period

N/A

6 3 .4 6 0

1 5 .3 4 6 .1 2 6

N/A

59.921

—

—

—

123,381

4 .6 7 5 ,0 9 9 3 .9 8 4 .9 9 8 2 .4 0 5 .8 9 7

1 .4 3 8 ,4 3 6 1 ,2 8 0 .7 8 5

1 3 ,7 8 5 ,2 1 5

4 .7 3 8 .5 5 9 4 .0 4 4 .9 1 9 2 .4 0 5 ,8 9 7

1 .4 3 8 .4 3 6 1 ,2 8 0 .7 8 5

1 3 .9 0 8 .5 9 6

<1> Australian theatrical distributor only. RS - Roadshow; GUO - G reater Union Organization Film D istributors; FITS - Hoyts Theatres; FOX - 20th Century Fox; UA - United Artists; CIC - Cinema International Corporation; FW - Film ways Australasian D istributors; 7K - 7 Keys Film D istributors; COL - C olum bia Pictures, REG - Regent Film D istributors; CCG - Cinema Centre Group, AFC - Australian Film C om m ission; SAFC — South Australian Film C orporation; MCA — M usic C o rpo ratio n of Am erica; S — Sharm lll Films; OTH — Other. (2) Figures are drawn from capital city and inner suburban first release hardtops only. (3) S plit figures Indicate a m ultiple cinem a release,

Box-Office

CINEMA PAPERS November-December —479

Australian Total

N/A

N/A

Kevin Peak ' Animal Olympics.

Tales of the Unexpected.

The Long Good Friday. (member of Sky).

Dudley Simpson.

The Ascent of Man Doctor Who. Blakeâ&#x20AC;&#x2122;s Seven.

Madame Bovaiy. ,

T Chris Neal.

Age of Consent.

Auntie Jack.

Norman Gunston Wall to Wall. A

Martin Raphael.

Cafe Debris. * Nosy.

Summer of the Crystal

r

,V\°V Vob

Themos Mexis. ^ This Day Tonight.

Maggie Eckhardt.

Italian Variety Show.

Greek Affair.

Mexis and Friends.

Betw een them ,these men have terrified little children,reduced grow n men to tears and m ade old people feel twenty years younger.

Michael Wilson & Associates. 4/123 Macquarie Street, Sydney. N S W 2000. Telephone (02) 275880.

THE PERFECT FAMILY MAN

FEATURES P R E -P R O D U C TIO N

BUSH CHRISTMAS P ro d , c o m p a n y

.................. B ush C h ris tm a s P ro d u c tio n s P ro d u c e r ........................................ P aul B a rro n D ire c to r ....................................... H o w a rd R u b ie S c rip tw rite r .................................... T e d R o b e rts P ro d , a c c o u n ta n t ......................M a rie B ro w n C a s tin g ............................................. Dee N e ville L e n g th .................................................... 96 m in s G auge ......................................................... 3 5 m m S h o o tin g s to c k ......................... E a s tm a n c o lo r P ro g re s s ...................................P re -p ro d u c tio n S c h e d u le d re le a s e ......................... M a y 1982 Cast: G a ry M c D o n a ld (B ill). J o h n H o w a rd (S ly).

Synopsis: A re -m a k e o f the A u s tra lia n c in e m a c la s s ic . A n a d v e n tu re in v o lv in g th e m a n a g e r a n d le ad s in g e r o f a b a n d th a t g o e s b u st. F o u r te e n a g e rs se t o ff to p u rs u e th e tw o ro g u e s w h o , “ s tra n d e d ” w ith o u t fu n d s , a re fo rc e d to tu rn to a life o f c rim e a nd ste a l a v a lu a b le ra c e h o rs e .

•

FOR LOVE ALONE P ro d , c o m p a n y ........... M a rg a re t F in k F ilm s P r o d u c e r .................................... M a rg a re t Fink D ire c to r ..................................S te p h e n W a lla c e S c r ip t w r it e r .................................... Fay W e ld o n B ase d on th e nove l b y ........................................... C h ris tin a S te a d Synopsis: T h e s to ry of T e re s a H a w kin s, h ig h -m in d e d , p a s s io n a te a nd in d e p e n d e n t, a nd h e r a tte m p ts to fu lfil h e r id e a ls of love, firs t w ith h e r te a c h e r, th e s e lf-s e e k in g J o n a th o n C ro w , w h o s h o w s h e r w o rld s o th e r th a n th e p ro s a ic o ne s h e 's k n o w n , a nd la te r, a fte r b itte r s tru g g le s . In L o n d o n , w ith the A m e ric a n b u s in e s s m a n , J a m e s Q u ic k .

FORTRESS P ro d , c o m p a n y ........... A s s o c ia te d R a nd R F ilm s B ase d on th e n o ve l by . . . . G a b rie lle L o rd E xec, p ro d u c e r ........................... H ila ry H eath P h o t o g r a p h y ................................R oss N ic h o ls S o u n d re c o rd is t ......................... G a ry W ilk in s E d i t o r .................................... W illia m A n d e rs o n Synopsis: A c o u n try s c h o o l te a c h e r a n d her p u p ils a re k id n a p p e d . A fte r re c o v e rin g fro m th e in itia l s h o c k , th e y se t a b o u t o rg a n iz in g th e ir e s c a p e . T h e p la n le a d s to re v e n g e a g a in s t th o s e w h o h a ve v io la te d th e e s ­ ta b lis h e d p a tte rn of th e ir lives.

GIRL WITH A MONKEY P r o d u c e r ......................................... D a vid P e rry S c r ip t w r it e r .................................. F ra n k H a rve y B ase d o n th e n o ve l b y ..............T h e a A s tle y A s s o c , p ro d u c e r .................. P e te r C a m p b e ll Synopsis: A film fo llo w in g th e e v e n ts o f a lo n e ly, y o u n g s c h o o l te a c h e r in a s m a ll N o rth Q u e e n s la n d to w n . H e r lo n e lin e s s le a d s h e r in to h a v in g an a ffa ir w ith an o ld e r m an.

MARNI P ro d u c e r ...................................... D a rre n B o yce D ire c to r ........................................ D a rre n B o yce S c r ip t w r it e r .....................................D a rre n B o yce B a se d on th e o rig in a l id e a by ..................................... D a rre n B o yce P h o t o g r a p h y .................................. D a rre n B o yce S o u n d re c o rd is ts .......................S im o n M o re D a rre n B o yce E d i t o r ................................................ D a rre n B o yce 1st a sst, d i r e c t o r ............................... K im T a y lo r S c rip t a s s is ta n t .......................M ic h a l B la d e n C a s t in g ......... ...................................D a rre n B oyce C a m e ra o p e ra to r ..................... D a rre n B o yce S p e c ia l fx p h o t o g r a p h y ......... D a rre n B o yce E le c tr ic ia n ......................... ............. S im o n M o re M a k e -u p ..............................................K im T a y lo r O p t ic a ls ........................................... D a rre n B o yce B u d g e t ........................................................... $ 3 0 0 0 L e n g th ................................................

60 m in s Cast: S a lly M in te r (M a rn i), K im T o rre s (M a rk ), M a n d y S m ith (B itc h ), K im T a y lo r (D o c to r).

Synopsis: A p s y c h ic h o r ro r s to ry .

P ro d u c e r .................................... N a ta lie M ille r D ire c to r ......................... M a lc o lm R o b e rts o n S c rip tw rite r ..............................A la n H o p g o o d P h o to g ra p h y .................... M a lc o lm R ic h a rd s E d ito r .........................................R o b e rt G ib s o n A s s o c , p ro d u c e r ...................... C a rlie D e ans P ro d, c o -o rd in a to r .......................T e ssie H ill P ro d , m a n a g e r .................... R o b e rt K e w le y Synopsis: T h e film c h a rts th e fo rtu n e s of G e ra ld P e rc iv a l, a 38 y e a r-o ld b u s in e s s e x ­ e c u tiv e w h o is m a rrie d w ith tw o yo u n g c h ild re n , as he e m b a rk s on h is s e a rc h fo r s e lf-re a liz a tio n .

THE SUNBEAM SHAFT P ro d , c o m p a n y

........................... R .M .L . F ilm P ro d u c tio n s D ire c to r ......................... R ic h a rd L o w e n s te in S c rip tw rite rs ................R ic h a rd L o w e n s te in , C liff G re en P h o to g ra p h y .................... A n d re w De G ro o t E d ito r ................................................J ill B ilc o c k E xec, p ro d u c e r .........................J e n n y C a d d L e n g th .................................................... 90 m in s G auge ........................................... S u p e r 1 6m m Synopsis: In 1936, in th e s m a ll to w n of K o r u m b u r r a . th e m e n a n d w o m e n o rg a n iz e d A u s tra lia ’s firs t s ta y -in s trik e . T he u n iq u e c h a ra c te ris tic s a nd re s ilie n c e o f th e c o a l m in e rs a n d th e w o m e n of K o r u m b u rra a nd n e a rb y W o n th a g g i c re a te a h u m a n d ra m a , a nd a s tru g g le of b itte rn e s s a nd d e te rm in a tio n . A d ra m a tic re c o n s tru c tio n .

TIME’S RAGING P ro d , c o m p a n y . . . L im e lig h t P ro d u c tio n s P ro d u c e r ............................................J o a n Lon g D ire c to r ............. : ............. S o p h ia T u rk ie w ic z S c rip tw rite rs .................... F ra n k M o o rh o u s e , S o p h ia T u rk ie w ic z B ase d on th e s h o rt s to rie s fro m Futility and Other Animals by ..................F ra n k M o o rh o u s e L e n g th .................................................... 90 m in s G auge .........................................................3 5 m m Synopsis: C o n flic t b e tw e e n a c a re e r w o m a n — a la w y e r — w h o w a n ts to h a ve a c h ild b e fo re it is to o late, a nd h e r jo u r n a lis t h u s b a n d w h o d o e s n ’t.

WILDE’S DOMAIN P ro d , c o m p a n y

......................... In d e p e n d e n t P ro d u c tio n s Dlst. c o m p a n y .................. iP P L D is trib u tio n P ro d u c e r ............................. B re n d o n L u n n e y S c rip tw rite r .................................. T e d R o b e rts B ase d on th e c o n c e p t by ........................................... M a rc ia H a tfie ld P h o to g ra p h y ....................................... P hil P ike E d ito r ............................................. B o b C o g g e r E xec, p ro d u c e r ..............................G e n e S c o tt F e a tu re s m a n a g e r . . . . W e n d y C h a m b e rs C a m e ra a s s is ta n t .................... K eith B ry a n t L e n g th .......................................................90 m in s G auge .........................................................1 6m m P ro g re s s ..................................P re -p ro d u c tio n S c h e d u le d re le a s e .........................M a y 1982 Synopsis: A fa s t-m o v in g d ra m a a b o u t the in flu e n tia l W ild e c irc u s fa m ily . Dan W ild e h e a d s th e m a s s iv e e n te rta in m e n t e m p ire th a t c o v e rs e v e ry th in g fro m lio n p a rk s to live th e a tric a l p ro m o tio n s . H is la te s t v e n tu re b rin g s an in te rn a tio n a l b a lle t to A u s tra lia a nd fa m ily c o n flic ts d e v e lo p w h e n D a n ’s e n tre p re n e u r ia l in te re s ts g e t e n ta n g le d w ith lo ca l p o litic s .

PRODUCERS, D IR E C T O R S AND P R O D U C T IO N C O M P A N IE S To ensure the accuracy o f your entry, please co nta ct the e d ito r of this colum n and ask fo r copies o f our Pro­ d u ctio n Survey blank, on w h ich the details o f yo ur p ro du ction can be entered. All details must be typ e d in u p p e r and Sower case The cast entry should be no more than the 10 main actors/actresses — the ir names and character names. The le ngth o f the synopsis should not exceed 50 words.

E dito r's note: All entries are sup­ plied by p ro du cers/p ro d uctio n co m ­ panies, o r by their agents. Cinema Papers c a n n o t, th e re fo re , a c c e p t responsibility for the correctness of any entry.

In b e tw e e n e rs

PR O D U C TIO N

A BURNING MAN Prod, com pany .......... McElroy & McElroy Producer ............................ Jam es McElroy Director .............................Quentin M asters S crip tw riters ...................... David Am brose, Quentin M asters Based on the novel by ............ Kit Denton P hotography .......................... Peter Hannan Sound recordist .................... Don C onnolly Editor .......................................Richard Clark Prod, designer .......................... Bob Hilditch C om poser ............................... Groove Myers Prod, co-o rd in a to r ............ Terry Fogharty Prod, m anagers .............. Peter Appleton, Greg Ricketson Unit m anager ........................ David Findlay Prod, secretary ................. W ilm a Schinella Prod, accountant ............Elaine C row ther 1st asst d irector ............ Michael McKeag 2nd asst director .......................John Rooke 3rd asst director ...........................Ian Kenny C ontinuity ...........................Roz Berrystone Casting .....................................Rae Davidson Camera ope rator .................. Keith W oods Focus puller ............................ Steve Mason C la p p e r/lo a d e r ........................ Stuart Quin Key grip .................................... Don Andrews Asst grip .................................. Phil Shapiera Electrician .................................. Derek Jones Boom operator .......... G raham M cKinney Asst art d irector ...................... John C arroll Costum e designer ............ M arta Statescu M ake-up .......................................Jose Perez H airdresser ...................................Jose Perez W ard, assistant ..................C atrlona Brawn Props buyers .................................. Ian Allen, Sue Hoyle Standby props .............................Paul Jones Special effects ...............Conrad Rothman, C hris M urray.

Alan Maxwell, Peter Arm strong, Jonathon David Set construction ...................... John Parker Asst edito r .................................Doug Frazer Sound editor ............................. John Foster Stunts co-o rd in a to r ............ Frank Lennon Still photography .......... Geoff M cGeachin Best boy ....................................M att Slattery Runner ....................................Richard Hobbs Unit pub licist ...................... Babette Smith Catering ............................... Nene Morgan, Christina Norman Laboratory .....................................Colorfilm Cast: Tom S ke rrltt (Howard Anderson), Ian G ilm our (Steve Adams), James Mason (George Engels), W endy Hughes (Sophie McCann), Kim Deacon (M aggie Anderson), Ray Barrett (W ebster), Norm an Kaye (Percy Farley), Guy Doleman (Julian Fane), M artin Harris (Curly Chester), Michael Petrovitch (Joe Laliniei).

.................... V ic k i R o b in s o n , A s trld B re n n a n , B re n d a M c K le , P au l M a ro n A n im a tio n a s s is ta n t ......... R o b e rt M a lh e rb e C h e c k e rs a n d c le a n e rs . . .A n im a tio n A id s, B ru c e W a rn e r, Ja n C a rru th e rs L a b o ra to ry ............................................. C o lo rfilm L e n g th .......................................................80 m in s G a u g e ............................... . ........................ 3 5 m m S h o o tin g s t o c k .............................E a s tm a n c o lo r S c h e d u le d re le a s e .................... M a rc h , 1982 Cast: D re w F o rs y th e (S a n ta C la u s).

Character voices: B a rb a ra F ra w le y (D ot), R o ss H ig g in s.

Synopsis: T h e c o n tin u in g a d v e n tu re s o f D ot a nd h e r s e a rc h fo r th e m is s in g jo e y . D ot m e e ts w ith a h o b o in h e r o u tb a c k h o m e to w n , th e h o b o b e c o m e s S a n ta C la u s, a nd ta k e s D o t on a w o n d e rfu l a d v e n tu re w itn e s s in g v a rio u s C h ris tm a s c e re m o n ie s a ro u n d th e w o rld .

FIGHTING BACK

P ro d , c o m p a n y . . . . S a m s o n P ro d u c tio n s P ro d u c e rs ..................................... S u e M illik e n , T o m J e ffre y D ire c to r ................................M ic h a e l C a u lfie ld S c rip tw rite rs ............................. M ic h a e l Co ve, T o m J e ffre y B ase d on th e n o ve l by . . . .J o h n E m b lin g D ire c to r of p h o to g ra p h y ............................. J o h n S e a le S o u n d re c o rd is t ..........................T im L lo yd E d ito r ............................................. Ron W illia m s E xec, p ro d u c e r ........................P h illip A d a m s P ro d. c o -o rd in a to r .. .C a ro ly n n e C u n n in g h a m P ro d , m a n a g e r .......................Su A rm s tro n g L o c a tio n m a n a g e r .......................T o n y W in le y P ro d u c e rs ' s e c re ta ry ........... M a ry W illia m s P ro d , a c c o u n ta n t . . M o n e y p e n n y S e rv ic e s (C ra ig S c o tt) 1st a sst d ire c to r .................. S te ve A n d re w s 2 nd a sst d ire c to r ................ C h ris M a u d s o n 3 rd a sst d ire c to r .......................... P hil Rich C o n tin u ity .............................C a ro lin e S ta n to n C a s tin g c o n s u lta n t .................H e le n R o lla n d (H R c o n s u lta n t) E xtra s c a s tin g ................................ D in a M a n n F o cu s p u lle r .................. R ic h a rd M e rry m a n C la p p e r/lo a d e r ........................... D e rry Field K ey g rip .................................. P au l T h o m p s o n A s s t g rip .............................. B re n d o n S h a n le y G a ffe r ............................................... Reg G a rs id e B o o m o p e ra to r .................... J a c k F rie d m a n A rt d ire c to r .................. C h ris to p h e r W e b s te r M a k e -u p .............................................. J ill P o rte r W a rd ro b e .................... R o byn S c h u u rm a n s W a rd , a s s is ta n t ........................... J e n n y M ile s P ro p s b u y e r .........................M ic h a e l T o le rto n S ta n d b y p ro p s ............................C o lin G ib s o n S e t c o n s tru c tio n .........................H a ns T h e ile A s s t e d ito r .............................. C a th y S h e e h a n Neg. m a tc h in g .....................M a rg a re t C a rd in S tu n ts c o -o rd in a to r ................. H e ath H a rris A c tio n v e h ic le m a n a g e r ................................B a rry B ra n s e n S till p h o to g ra p h y .......................J im T o w n le y DOT AND SANTA CLAUS A c to rs tu to r ................................W ilfre d F lin t (Further Adventures of Dot and the M e c h a n ic ......................................D a ve T h o m a s Kangaroo) B est b oy .................................. S a m B le n s to c k R u n n e r .................................... R ic h a rd U ssh e r P ro d c o m p a n y .........................Y o ra m G ro s s P u b lic ity ......................................... D a vid W h ite F ilm S tu d io (B ro o k s W h ite O rg a n iz a tio n ) D ist. c o m p a n y . . . S a to rl P ro d u c tio n s Inc., C a te rin g .................................... N e n e M o rg a n , N e w Y o rk C h ris tin a N o rm a n P ro d u c e r .................................... Y o ra m G ro s s S tu d io s .........................J o h n M o rte n S tu d io s D ire c to r .......................................Y o ra m G ro s s M ix e d at ......................................U n ite d S o u n d S c r ip t w r it e r s ................................J o h n P a lm e r, L a b o ra to ry .........................................C o lo rfilm Y o ra m G ro s s Lab. lia is o n ....................................... B ill G o o le y B ase d on th e L e n g th .................................................. 100 m ins o rig in a l Idea b y .................... Y o ra m G ro s s G auge .........................................................3 5m rr P h o t o g r a p h y ........... B o b E vans (a n im a tio n ), S h o o tin g s to c k ..............E a s tm a n c o lo r 5 2 4 / C h ris A s h b ro o k (live a c tio n ) C a st; L ew is F itz -G e ra ld (J o h n ), P au l S m ith S o u n d re c o rd is t fo r (T o m ), K ris M c Q u a d e (T o m ’s m u m ), C a ro ­ c h a ra c te r v o i c e s ......... J u lia n E llin g w o rth lin e G illm e r (R o s e m a ry ), C a th e rin e W ilk in C h a ra c te r d e s ig n .................... Ray N o w la n d (M a r y ), B e n G a b rie l (M o r e la n d ) , W yn C o m p o s e r ..................................... M e rv y n D ra k e R o b e rts (P a yne ).

A ss o c , p ro d u c e r ....................... S a n d ra G ro s s S y n o p s is : A re m a rk a b le re la tio n s h ip b e ­ P ro d , m a n a g e r ......................... V irg in ia K e lly tw e e n a y o u n g te a c h e r a nd a d e e p ly P ro d , s e c re ta rie s / A d m in is tr a t io n ............................................M eg R o wdeisd,tu rb e d 13 y e a r-o ld boy. T o m is w ritte n o ff as a d e lin q u e n t by m o s t a d u lts u n til M a rg a re t L o ve ll J o h n , th e te a c h e r, fig h ts a g a in s t all o d d s to P ro d , a c c o u n ta n t .....................W illia m H a u e r s tra ig P ro d u c e r’s a s s is t a n t ....................................K e lly D u n ca n h te n o u t h is life.

C a s t in g ........................... In te rn a tio n a l C a stin g S e rv ic e s GOOSE FLESH C a m e ra o p e ra to r .......................... B o b E vans P ro d , c o m p a n y ................................U n ive rsa l C a m e ra a s s is ta n t ........... L y n e tte H e n n e ssy E n te rta in m e n t C o rp o ra tio n A rt d ir e c t o r .................................. Ray N o w la n d S c e n ic a r t i s t ................................................A m b e r E llisP ro d u c e r .........................................B ria n R osen D ire c to r ................................

M a u ric e M u rp h y Neg. m a t c h i n g .................... M a rg a re t C a rd in S c rip tw rite rs .................. G e o ffre y A th e rd e n , C h ie f a n im a t o r ........................... Ray N o w la n d M a u ric e M u rp h y A n i m a t o r s ......................................................... P aulM c A d a m , A n d re w S ze m e n y e i, B ase d on th e o rig in a l id e a by ........................... M a u ric e M u rp h y , A th o l H e nry, B ria n R o sen C y n th ia L e e ch, P h o to g ra p h y .................................. J o h n S ea le N ic h o la s H a rd in g A s s t a n im a t o r ....................................................K ay W aStts o u n d re c o rd is ts ........................ T im L lo y d , K en H a m m o n d B a c k g ro u n d a r t i s t .................................... A m b e r E llis d ito P a in t e r s ............................................................. R uth E d eElm a nr, .........................................G re g o ry R o p e rt K im M a rd e n , P ro d , m a n a g e r ..............................R o sie Lee P ro d , s e c re ta ry ............H a rrie t A y re -S m ith S te ve H u n te r.

P ro d , a c c o u n ta n ts ........... R ic h a rd H a rp e r N e ris s a M a rtin , M anagem ent M a rg a re t B u tle r, T o n y M c N a lly K im C ra s te

1st a sst d ire o to r ......... C h a rle s R o th e rh a m 2 nd a sst d ire c to r ..............D a vid T re th e w e y C o n tin u ity ............................C a ro lin e S ta n to n F o cu s p u lle r .....................R ic h a rd M e rry m a n C la p p e r/lo a d e r ...................... G e o ff W h a rto n K ey g rip ....................................P au l T h o m p s o n G a ffe r ................................................Reg G a rs id e E le c tric ia n .................................S am B le n s to c k B o o m o p e ra to rs ................J a c k F rie d m a n , A n d re w D u n ca n A rt d ire c to r ..............................E a m o n D ’A rc y C o s tu m e d e s ig n e r ............... Ron W illia m s M a k e -u p ....................................R o b b ie A u s tin W a rd , a s s is ta n t ................................Lee H a ig P ro p s b u y e r ......................... S a n d y W ln g ro v e S ta n d b y p ro p s ....................... R ic h a rd W a ls h S p e c ia l e ffe c ts m a k e -u p ............................... B o b M c C a rro n A s s t e d ito r ........................... M ic k y O ’S u lliv a n N eg. m a tc h in g .....................................C o lo rfilm S till p h o to g ra p h y .................. M ik e G id d e n s , B ria n M c ln e rn y B est b o y .................................. J o h n W h itte ro n R u n n e r ............................................. Je ss T a p p e r C a te rin g ...................................V a rn e s C a te rin g M ix e d a t ...................................... U n ite d S o u n d L a b o ra to ry ......................................... C o lo rfilm Lab. lia is o n ........................................B ill G o o le y B u d g e t ..................................................... $ 5 0 0 ,0 0 0 L e n g th .................................................... 90 m in s G auge .................................................. I . . 3 5 m m S h o o tin g s to c k ........................... E a s tm a n c o lo r C a s t: D re w F o rs y th e (V in c e n t), P au l C h u b b (G rim e s ), J o h n D e ru m (L o v e r) , L in d a N e w to n (S a n d ra ), S a ra h d e T e lig a (C a th y), D a vid A rg u e (N ic k ), Ja y H a c k e tt (T o n y).

S y n o p s is : A " s p o o f ” on all h o r ro r film s , p a st a nd p re s e n t.

HORROR MOVIE P ro d , c o m p a n y

................................U n iv e rs a l E n te rta in m e n t C o rp o r a tio n P ro d u c e r .......................................B ria n R o sen D ire c to r ................................ M a u ric e M u rp h y S c rip tw rite rs ....................... M a u ric e M u rp h y , B ria n R osen B ase d on th e o rig in a l id e a by .................................... B ria n R osen P h o to g ra p h y .................................... J o h n S ea le S o u n d re c o rd is ts .......................... T im L lo y d , K en H a m m o n d E d ito r ....................................... G re g o ry R o p e rt P ro d , m a n a g e r ..............................R o sie Lee P ro d , s e c re ta ry ............H a rrie t A y re -S m ith P ro d , a c c o u n ta n ts ........... R ic h a rd H a rp e r M a n a g e m e n t, T o n y M c N a lly 1st a sst d ire c to r ......... C h a rle s R o th e rh a m 2 n d a sst d ire c to r .............. D a vid T re th e w e y C o n tin u ity ............................C a ro lin e S ta n to n D ir e c to r’s a s s is ta n t ........................D in a M a n n F o cu s p u lle r .....................R ic h a rd M e rry m a n C la p p e r/lo a d e r .............. G e o ffre y W h a rto n K ey g rip .................................. P au l T h o m p s o n G a ffe r ................................................Reg G a rs id e E le c tric ia n .................................S a m B ie n s to c k B o o m o p e ra to r ......................J a c k F rie d m a n A rt d ire c to r ............................... E a m o n D 'A rc y C o s tu m e d e s ig n e r ................ Ron W illia m s M a k e -u p ..................................... R o b b ie A u s tin W a rd , a s s is ta n t ................................ Lee H aig P ro p s b u y e r ....................... S a n d y W ln g ro v e S ta n d b y p ro p s .........................R ic h a rd W a lsh S p e c ia l e ffe c ts m a k e -u p ............................... B o b M c C a rro n A sst e d ito r ......................... M ic k y O ’S u lliv a n N eg. m a tc h in g .....................................C o lo rfilm S till p h o to g ra p h y .................... M ik e G id d e n s B est b o y .................................. J o h n W h itte ro n R u n n e r ............................................. J e ss T a p p e r C a ter mg ..................................V a rn e s C a te rin g M ix e d at ...................................... U n ite d S o u n d L a b o ra to ry ..................

C o lo rfilm Lab. lia is o n .......................................B ill G o o le y B u d g e t .....................................................$ 5 0 0 .0 0 0 L e n g th ....................................................90 m in s G auge ...........................................................3 5 m m S h o o tin g s to c k .........................E a s tm a n c o lo r C a st: D rew F o rs y th e (V in c e n t), P au l C h u b b (G rim e s ), J o h n D e ru m (L o v e r) , L in d a N e w to n (S a n d ra ). S a ra de T e lig a (C a th y), D avid A rg u e (N ic k ), Ja y H a c k e tt (T o n y).

S y n o p s is : A p s y c h o p a th , e n th ra lle d by h o r ro r film s , e m u la te s w h a t he se es on th e s c re e n . T h e d ra m a tic c lim a x is a n ig h t of h o r ro r at a d riv e -in c in e m a .

KITTY AND THE BAGMAN P ro d , c o m p a n y ........... F o re s t H o m e F ilm s P ro d u c e r ............................... A n th o n y B u c k le y D ire c to r ................................. D o n a ld C ro m b ie S c rip tw rite rs ................................J o h n B u rn e y, P h ilip C o rn fo rd P h o to g ra p h y .................................D ean S e m le r S o u n d re c o rd is t ........................J o h n P h illip s E d ito r .................................... T im o th y W e llb u rn P ro d , d e s ig n e r ........................ O w e n W illia m s C o m p o s e r ......................................... B ria n M a y E xec, p ro d u c e r ...................... P h illip A d a m s A sso c, p ro d u c e r ........... J a c q u e lin e Ire la n d P ro d , m a n a g e r ..............J a c q u e lin e Ire la n d U n it m a n a g e r ..........................D ia n a N ic h o la s P ro d , s e c re ta ry .................. A n to n ia B a rn a rd P ro d , a c c o u n ta n t ......... H o w a rd W h e a tle y 1st a sst d ire c to r ..................S tu a rt F re e m a n 2 n d a s s t d ire c to r .................... C o lin F le tc h e r 3 rd a sst d ire c to r . . . ...................C h ris S h o rt

CINEMA PAPERS November-December - 481

Rugged mountains

Surf beaches

Whatever your location ... take a look at New Zealand. In a pocket-sized country New Zealand offers an incredible variety of fresh locations and backdrops. Modern transport and communications make life easy and travel quick for the production team.

An alive and successful local film industry All the back-upyou need isat hand. In acountryof only 3 million people no fewer than 9 feature films will be produced in 1981. Several of these are co-productions with international producers.

That says a lot for the skilled actors, dedicated crews and back-up equipment and facilities you'll find in New Zealand.

A “SUPERB” Laboratory — Mew Zealand National Film Unit 'Superb" is not our word but Emmy Award winner Andrew Brown's. Recently on location in New Zealand filming "Bad Blood" for Southern Pictures he had this to say about the National Film Unit Laboratory: “ It’s equal to any trusted and top-rated laboratory anywhere in the world. The quality and colourof the'dailies'we received throughout shooting was first class. We couldn't fault the service and attention orovided

Small towns

Exciting cities

Thermal activity

Old world charm

by the laboratory and its staff. It was always reliable, efficient and highly professional. In short, superb."

We make the difference The New Zealand National Film Unit is the difference that turns the idea of shooting in New Zealand from an ‘interesting thought’ into a highly practical possibility. Under one roof in our modern complex you’ll find everything you need for production and post-production. We can also help you with liaison with Government Departments and other bodies to help smooth your way.

Hire Equipment The latest in camera and editing equipment for hire for location work.

Design and Rostrum Camera/Opticals Graphics, animation, special effects and full opticals service.

Stock shot library Comprehensive collection of scenic, archival and other material available.

Laboratory Services

Office Space

From instant rushes to release prints at competitive rates in 35mm and 16mm — backed by internationally trained and experienced technical staff.

To assist your production a number of offices are available.

Sound

If you’d like more information about New Zealand and what the New Zealand National Film Unit can offer, contact Douglas Eckhoffthe Managerof the National Film Unit. He’ll tell you how the NFU can help you with your next production.

Three sound theatres. A dubbing theatre with 12 track Neve Mixing Console. A music stage large enough to record a full symphony orchestra.

Special effects recording theatre. Plus the experts to go with them.

Big Fully Equipped Sound Stage 58' x 86' x 22'. The best Sound Stage in the Southern Hemisphere.

Editing Furnished and equipped editing rooms and edge numbering service available.

Interested?

F o r in fo r m a tio n a n d p ric e s c o n ta c t: D o u g la s E c k h o ff. M a n a g e r, o r P e te r F o w le r. M a rk e tin g E x e c u tiv e .

N a tio n a l F ilm U n it, P O B o x 460 02 . P ark A v e n u e .

L o w e r H u tt, NEW ZE A LA N D T e le x: N Z3 4 91 T e le p h o n e : W e llin g to n 6 7 2 -0 5 9

New Zealand National Film Unit

C o n tin u ity ...........................................J o W e e ks C a s tin g .................................... M itc h M a tth e w s C a s tin g a s s is ta n t (e x tra s ) .............................. M iria m F re e m a n C a m e ra o p e ra to r ......... D a n n y B a tte rh a m F o c u s p u lle r ..............................S te ve D o b s o n C la p p e r /lo a d e r ................A n d re w M c L e a n K e y g rip ........................... M e rv e M c L a u g h lin A s s t g rip s .......................................... P at N ash, B ria n E d m o n d s G a ffe r ............................................. J o h n M o rto n E le c tric ia n s ..................................Ian P lu m b e r, J a s o n R o g e rs, B e d e Ire la n d , D ean B ru a n B o o m o p e ra to r ............................ R ay P h illip s A rt d ir e c to r ..........................S te w a rt B u rn s id e A s s t a rt d ire c to r ..................... J u d ith R ussell C o s tu m e d e s ig n e r ........... J u d ith D o rs m a n M a k e -u p .................... L e slie L a m o n t-F is h e r H a ird re s s e r ................................... W illi K e n ric k W a rd , a s s is ta n ts ...........................Lyn A ske w , K e rry B a rn e tt P ro p s ............................................. J e n n y G re en P ro p s b u y e rs ..............S te p h e n A m e z d ro z , S u e H o yle S ta n d b y p ro p s ................................S u e H oyle, P au l Jo n e s S p e c ia l e ffe c ts . . . . A lm a x S p e c ia l E ffe cts C h o re o g ra p h y ........................... A n n e S e m le r S e t d e c o ra to r ..............................J e n n y G re en S c e n ic a rtis t .............................. N ed M c C a n n C a rp e n te rs ................................Len M e tc a lfe , H a n n e s F in g e r, S ea n K ille n , M ic h a e l F e a rn h e a d , Ray E lp h ic k , G e o ff B rid g e s , C h a rle s L iv e rs id g e S e t c o n s tru c tio n .................. R o b R ic k e ts o n A s s t e d ito r .....................A n n a b e lle S h e e h a n N e g. m a tc h in g .................... M a rg a re t C a rd in M u s ic a l d ir e c to r ........................... B ria n M ay S tu n ts c o -o rd in a to r .................... B o b H icks S till p h o to g ra p h y .................... P a tric k R ivie re T e c h , a d v is e r .................................... P au l Foss B est b o y .........................................Ian P lu m b e r R u n n e r ....................................... A n n ie P e a c o c k P u b lic ity ........... T h e Rae F ra n c is C o m p a n y U n it p u b lic is t .................................Rae F ra n c is C a te rin g ......................................... K e vin V a rn e s S tu d io s ................................M o rt B a y S tu d io s L a b o r a to ry ........................................... C o lo rfilm L a b . lia is o n ....................................... B ill G o o le y L e n g th .................................................. 100 m in s G auge .......................................................... 3 5 m m S h o o tin g s to c k ...........................E a s tm a n c o lo r C a s t: L id d y C la rk (K itty ), V al L e h m a n (L il), J o h n S ta n to n (T h e B a g m a n ), G e rry M c G u ire (C y ril V ik k e r s ) , C o le tte M a n r. ( D o r is d e S a lle ) , R e g E v a n s ( C h ic k a D e la n e y ) , T e d H e p p le (S a m ) , D a n n y A d c o c k (D e te c tiv e T h o m a s ), D a vid B ra d ­ s h a w (L a rry O ’R o u rk e ), A n th o n y H a w kin s (S im o n M o rn in g to n ).

S y n o p s is : A p e rio d c o m e d y d ra m a se t in S y d n e y a b o u t tw o c rim e q u e e n s , K itty O ’ R o u rk e a n d B ig L il. T o g e th e r th e s e tw o w o m e n ru le d th e u n d e rw o rld o f s iy -g ro g s h o p s , g a m b lin g h o u se s, p ro s titu tio n and h o ld -u p m e rc h a n ts in th e 1920s.

P ro p s b u y e r .................................. P e te r K e n d a ll S tu n ts c o -o rd in a to r .................. G ra n t P age M ix e r .................................................... P hil J u d d .

S ta n d b y p r o p s .......................J o h n P o w id itc h F e n cin g in s tru c to r .................. J o h n F e th e rs P hil H a yw o o d S p e c ia l e f f e c t s ...................................R ick C lise S till p h o to g ra p h y .......................B a rry P ea ke S tu n ts c o -o rd in a to r ...................D e n n is H u n t S c e n ic a r t i s t ................................................... D a ve O 'GBraeds yt b oy • ...................................P e te r M o lo n e y S t u n t s .................................................. V ic W ils o n , S e t c o n s tru c tio n .............................. Ian D o ig B est b o y (2) ............................C o lin W illia m s M ik e R eid, A sst e d ito r ...................................... K en S a llo w s R u n n e r ................................ K eith H a n s c o m b e Ian J a m ie s o n .

Neg. m a t c h i n g ...................... M a rg a re t C a rd in P u b lic ity ......................................... D a vid W h ite H a ns V an G yen M u s ic a l d ire c to r .................... B ru c e R o w la n d (B ro o k s W h ite O rg a n iz a tio n ) S till p h o t o g r a p h y ......................... J im T o w n le y CLOSE TO THE HEART S o u n d e d ito r ............................. T e rry R o d m a n C a te rin g ..............................H a ro ld Je n e K och O p t ic a ls ........................................................... A tla b E d itin g a s s is ta n t ...........................K en S a llo w s Cast: K ris ty M c N ic h o l. C h ris to p h e r A tk in s .

T e ch , a d v is e r ........................... J im S h e p p a rd P ro d , c o m p a n y ........... A d a m s P a c k e r F ilm M ix e r .................................. J u lia n E llin g s w o rth T e d H a m ilto n , G a ry M c D o n a ld . B ill K e rr, M e c h a n ic ..........................................M a rk A lie n .

P ro d s.

S tu n ts c o -o rd in a to r ................... H e ath H a rris M a g g ie K irk p a tr ic k .

P r o d u c e r ...................................J o h n B. M u rra y J a m e s S ta m m e rs S t u n t s ............................................................. G e ra ld Egan.

Synopsis: L o o s e ly b a se d on G ilb e rt a nd B est b o y .......................................T re v o r T o u n e D ire c to r ..................................................P au l C o x B ill W illo u g h b y S u lliv a n 's “ T h e P ira te s of P e n z a n c e ''. Film R u n n e r s .................................. J a n e t S y m o n d s .

S c r ip t w r it e r s ................................... J o h n C la rk e , S till p h o t o g r a p h y ......................................... D a vid P a rkinecr lu d e s fiv e G ilb e r t a nd S u lliv a n so n g s, J o h n G o ld n e y P au l C ox O p t ic a ls .................................... R o g e r C o w la n d a n d s ix n e w o n e s . S to ry h a s a c o n ­ P u b lic ity .............................................. P h ilip P ike B ase d on th e o rig in a l id ea T itle d e s ig n e r .................... D a vid L a n c a s h ire te m p o ra ry b e g in n in g a nd e n d ; m o s t is a C a t e r in g ......................................... F ria rs T u c k e r b y ........................................................ P aul C ox T e ch , a d v is e r ...................................J a c k L o v ic k lo n g fa n ta s y s e q u e n c e .

S tu d io s .................. S .A .F .C . N o rw o o d S tu d io P h o to g r a p h y ........................................Y u ri S o ko l T e ch , a d v is e r/ T r a in e e s ................ (c o n tin u ity ) A n n e W a lto n , S o u n d re c o rd is t .................... K en H a m m o n d H o rs e t r a i n e r .................. D e nze l C a m e ro n (b o o m S w in g e r) R o b C u tc h e r E d i t o r ................................................................... T im L ew is W r a n g le r s ........................................................J o h n B a ird , SARAH M ix e d at .......................................F ilm A u s tra lia P ro d , d e s ig n e r ..................................N eil A n g w in L a u rie N o rris , L a b o ra to ry ..................................................... A tla b E xec, p ro d u c e r ......................... P h illip A d a m s (The Seventh M atch) B ill W illo u g h b y A s s o c , p r o d u c e r ......................................... E rw in R a do Lab. lia is o n .................................. G re g D o h e rty B est b oy .................................... C o lin W illia m s Prod, com pany ...................... Yoram Gross L e n g th .......................................................95 m in s A s s t p ro d u c e r .........................Fran H a a rs m a R u n n e r .....................................T o n y M c D o n a ld Film Studio G au g e ............................................................ 3 5 m m P ro d , m a n a g e r ..................... Ja n e B a lla n ty n e P u b lic it y ......... M ic h a e l E d g le y In te rn a tio n a l Dist. com pany ........................ Yoram Gross S h o o tin g s t o c k .................................... E a stm a n F in a n c ia l a d v is e r ...................... J o h n F o ste r U n it p u b lic is t ................................. S u zie H o w ie Film Studio P ro d , a c c o u n ta n t ........... N a ta lie H a m m o n d S c h e d u le d re le a se .................... E a ste r 1982 C a t e r in g ........................................... H e le n W rig h t Producer ...................................Yoram Gross 1st a sst d ire c to r .................... B e rn a rd E dd y C a s t: Jo n B la k e (R on ), C a n d y R a y m o n d S t u d io s ....................................... S ta rc h F a c to ry D irector .....................................Yoram Gross C o n tin u ity ................................... J o a n n a W e e ks ( A n n ie ) , J a d C a p e lja ( S a lly ) . C h a r le s M ix e d at ........................................................ At Iart S c rip tw rite rs ............................. Yoram Gross, C a m e ra o p e ra to r .................. B a rry M a lse e d T in g w e ll (C a s s id y ), M a x C u lle n (F a c to ry L a b o ra to ry ........................................... C o lo rfilm Elizabeth Kata F o cu s p u l l e r ..............................N in o M a rtin e tti C le rk ), C h ris H a yw o o d (P h il), Reg Lye (O ld Lab. lia is o n ............................................B ill G o o le y Based on the C la p p e r/lo a d e r ................................ C h ris C ain F a rm e r). J o h n C la y to n (C .E .S . O ffic e r).

B u d g e t ......................................................S3 m illio n original idea b y .................. Yoram Gross Syn K ey g r i p ........................................................... D a vid C a ssa r o p s is : Ron. fire d fro m h is jo b at an L e n g th .................................................... 10Q m in s P h o to g ra p h y .............................Jenny Osche.

G a ffe r ............................................. J o h n E n g e le r e n g in e a s s e m b ly p la n t, a tte m p ts to s a tis fy G a u g e ................................3 5 m m A n a m o rp h ic Bob Evans (anim ation), B o o m o p e ra to r .............................G ra n t S tu a rt his fa n ta s ie s by s te a lin g a P o rs c h e T u rb o .

S h o o tin g s t o c k ........................... E a s tm a n c o lo r Lloyd Freidus M a k e -u p ..........................................V iv M e p h a m T h is has c a ta s tro p h ic re s u lts fo r h im s e lf S c h e d u le d re le a s e .....................E aste r, 1982 (live action — New York) H a ir d r e s s e r ......................................................... V iv M e pahnd a mth o s e try in g to p u t h im in h is p la ce .

C a s t: K irk D o u g la s (H a rris o n . S p u r), J a c k Sound recordist .......................... Gary Rich W a rd , a s s is t a n t ....................................... F ra n k ie H o ga n T h o m p s o n (C la n cy), T o m B u rlin s o n (Jim ), (live action — New York) P ro p s b u y e r .................................................P h illip E ag le s S ig rid T h o rn to n (Je s s ic a ), L o rra in e B ayly E d ito rs ..........................................Moya Wood. S o u n d e d ito r ........................... P e te r B u rg e s s GOODBYE PARADISE (R o s e m a ry ). C h ris H a yw o o d (C u rly ), T o ny John Palm er B est b o y ............................... M ic h a e l M a d ig a n B o n n e r (K a n e ), D a vid B ra d s h a w (P a te rs o n ), Character design ...................... Athol Henry R u n n e r ............................................................... T o m B a c sPkro a id , c o m p a n y ........... P e te rs h a m P ic tu re s G us M e rc u rio (F re w ), T e rry D o n o va n (H e n ry Assoc, p r o d u c e r ................................. Sandra Gross C a t e r in g ...............................................K e rry B oyle .

P ty L td C ra ig ).

Prod, m anagers .......... David B. Appleton L a b o ra to ry .............................................C o lo rfilm P r o d u c e r ............................................ J a n e S c o tt S y n o p s is : An e p ic a c tio n a d v e n tu re s to ry (New York), L e n g th ...................................................... 100 m in s D ire c to r ........................................... C a rl S c h u ltz b a se d on B a n jo P a te rs o n 's c la s s ic p o e m .

Virginia Kelly (anim ation) G a u g e ............................................................3 5 m m S c r ip t w r it e r s .........................................B o b E llis.

Unit m a n a g e rs ....................................... Yoram Gross S h o o tin g s t o c k .............................E a s tm a n c o lo r D e n n y L a w re n c e THE PIRATE MOVIE (anim ation), C a st: W e n d y H u g h e s (P a tric ia ), N o rm a n B ase d on o rig in a l id e a David B. Appleton K aye (P e te r). J o n F in la yso n (G e o rg e ), JuHa by ......................................... D e n n y L a w re n c e P ro d , c o m p a n y .................. JH I P ro d u c tio n s (New York) B la ke (P a m e la ), J o n a th o n H a rd y (B ru c e ).

S o u n d re c o rd is t ................ S yd B u tte rw o rth P ro d u c e r ...................................... D a vid J o s e p h Prod, s e c re ta rie s .............. M argaret Lovell, S y n o p s is : A tra g i-c o m ic lo ve s to ry b e tw e e n E d i t o r ......................... R ic h a rd F ra n c is -B ru c e D ire c to r ..........................................K en A n n a k in Meg Rowed P ete r T h o m p s o n , a m id d le -a g e d b a c h e lo r, P ro d , d e s ig n e r ............................ G e o rg e L id d le S c rip tw rite r ............................. T re v o r F a rra n t A d m inistration ..................... M argaret Lovell a nd P a tric ia C u rn o w , a 30 y e a r-o ld s p in s te r.

C o m p o s e r .......................................... P e te r B est P h o to g ra p h y ........................... R o b in C o p p in g Meg Rowed P ro d , c o -o rd in a to r .....................F io n a G osse S o u n d re c o rd is t .............................P au l C la rk Prod, accountant ................ W illiam Hauer P ro d, m a n a g e r ........................... J ill N ic h o la s P ro d , d e s ig n e r ......................... J o n D o w d in g Prod, a s s is ta n t................................... Jeanette Toms T ra n s p o rt/ DEAD EASY C o m p o s e r .................................... T e rry B ritte n 1st asst director .......... David B. Appleton U n it m a n a g e r ......................................... P e te r L a w le ss E xec, p ro d u c e r .........................T e d H a m ilto n (New York) D ire c to r .........................................B e rt D e aling P ro d, s e c re ta ry .......................... Lyn G a lb ra ith A s s o c , p ro d u c e r ............. D a vid A n d e rs o n Producer's a s s is ta n t............. Kelly Duncan (N o fu r th e r d e ta ils s u p p lie d ) .

F in a n c ia l c o n t r o lle r ............. R ic h a rd H a rp e r P ro d , e x e c u tiv e .......................R ic h a rd D avis C a s tin g ................June Cann Management, P ro d , a c c o u n ta n t ..................... K a re n V o lic h P ro d , c o -o rd in a to r ............. R e n a te W ils o n Shanahan M anagem ent L o c a tio n m a n a g e r .....................J a n e n e K n ig h t P ro d , s e c re ta ry ...................

A n n e O 'L e a ry Casting consultants .. . Mitch Consultancy 1st asst d ire c to r ................... N e ill V in e -M ille r FREEDOM P ro d , m a n a g e r .............................. T o m B in n s Camera assistant .......... Lynette Hennessy 2 nd a sst d ir e c t o r ..........................................P e te r W ille se e L o c a tio n m a n a g e r ....................... H e le n W a tts Key g r ip .............. Bob Shulm an (New York) 3 rd a s s t d i r e c t o r ......... ..

P e te r K e a rn e y P ro d, c o m p a n ie s ................S o u th A u s tra lia n P ro d , a c c o u n ta n t ......... G &S M a n a g e m e n t E le c tric ia n s .................................. Raffi Feruci, C o n tin u ity ........................................... P am W illis F ilm C o rp o ra tio n S e rv ic e s Tom Drake (New York) C a s tin g ............................................ M ic h a e l L ynch E n d e a v o u r C o m m u n ic a tio n s C o rp .

A c c o u n ts a s s is ta n t .......................P e te r D o ns M ake-up ............ David Forrest (New York) P r o d u c e r .........................................M a tt C a rro ll C a stin g c o n s u lta n ts . . F o rc a s t C o n s u lta n ts P ro d , a s s is ta n t ..................M ic h a e l M c In ty re H a ird re s s e r........ David Forrest (New York) D ir e c t o r .............................................S c o tt H icks C a m e ra o p e ra to r ........... D a n n y B a tte rh a m 1st a sst d ire c to r .................. M u rra y N e w e y W ardrobe . . . . M arsha Pattern (New York) S c r ip t w r it e r ......................................................J o h n E m eFry o cu s p u lle r ................................S te ve M a so n 2 nd a sst d ire c to r .................. A n d re w M o rs e Scenic a r t is t ................................ A m ber Ellis B ase d on o rig in a l C la p p e r/lo a d e r ......................... R u ssell B aco n 3 rd a sst d ire c to r .................. M u rra y F ra n cis (anim ation) idea b y .........................................J o h n E m e ry Key g r i p ...................................... P au l T h o m p s o n C o n tin u ity ................................J e n n y Q u ig le y B ackgrounds .............................. A m ber Ellis S c rip t e d i t o r .................... G ra e m e K o e ts v e ld A sst g rip ..............................B re n d a n S h a n le y P ro d u c e r’s s e c re ta ry . . G in n y M u ld o w n e y Neg. m a tc h in g .................. M argaret Cardin P h o to g r a p h y ............................. Ron Jo h a n s o n 2 nd u n it p h o to g ra p h y ..............Ja n K en n y.

C a s tin g .......................................H elen R o w la n d Music perform ed by ............ Gior Feidman S o u n d re c o rd is t ............................. T im L loyd F ra n k H a m m o n d C a m e ra o p e ra to r ..........................D a vid B u rr N a rra to r.........................................................Mia Farrow THE MAN FROM SNOWY RIVER E d i t o r ..................................................P h ilip Reid G a ffe r ................................ G ra h a m R u th e rfo rd F o cu s p u lle r ........................... B a rry H a llo ra n Chief a n im a to r.............................Athol Henry P ro d , d e s ig n e r ........................ H e rb e rt P in te r B o o m o p e ra to r ............................... N 0 e l Q u in n C la p p e r/lo a d e r .........................B en S e re sin A n im a to rs ........................

Nicholas Harding.

P ro d , c o m p a n y .................... M ic h a e l E d g le y C o m p o s e r ....................................................... Don W a lk Aertr d ir e c t o r .....................................J o h n C a rro ll K ey g rip ................................................... Ian P ark Cynthia Leech, In te rn a tio n a l, E xec, p ro d u c e r ..............................Jim G e o rg e A rt d e p t, c l e r k .......................G e ra ld in e R o yds A s s t g rip s .................................... K e rry B oyle, A ndrew Szemenyei, C a m b rid g e F ilm s P ro d , c o -o rd in a to r .................. B a rb a ra Ring M a k e -u p .................. L e sle y L a m o n t-F is h e r R ic h a rd T u m m e l, Ray Nowland, P r o d u c e r .................................. G e o ff B u rro w e s P ro d , m a n a g e r .........................V a le rie H a rd y H a ir d r e s s e r ......................................J e n n y B ro w n J a im e L e ch ie Kevin Roper, D i r e c t o r .........................................G e o rg e M ille r U n it m a n a g e r ........................ Rob B ro o k m a n W a rd ro b e ........................................... K ate D u ffy G a ffe r .........................................S te w a rt S o rb y Ty Bosco S c r ip t w r it e r s ................................J o h n D ixo n , P re -P ro d , s e c re ta ry . S h e rre e G o ld s w o rth y W a rd , a s s is ta n t ................L e sle y M c L e n n a n E le c tric ia n s .........................

D a vid P a rk in s o n .

Anim ation assistants ........ Jeanette Toms, F re d C u l C u lle n P ro d , a c c o u n ta n t .................. M ic h a e l C u rtis P ro p s a s s is t a n t .................................... ig o r Nay G e o ff M a in , Robert M alherbe, B ase d o n th e p o e m by . . . B a n jo P a te rs o n 1st a sst d ire c to r ........................... J a n M a rn e ll P ro p s b u y e r .........................................|a n A lle n P hil G o lo m d ic k , Lynette Hennessy 2 nd a sst d ir e c t o r ....................C h ris W illia m s P h o t o g r a p h y .............................. K e ith W a g s ta ff S ta n d b y p ro p s .............................. Ig o r L a z a re ff T e x F o ote Asst a n im a to r.............................. Kaye Watts S o u n d re c o rd is t ......................... G a ry W ilk in s 3 rd a sst d i r e c t o r .................... Ron S tig w o o d S p e cia l e f f e c t s ............................C h ris M u rra y P la y b a c k o p e ra to r ....................

G re g S te e le in betweeners .....................Vicki Robinson, E d i t o r ................................................ A d ria n C a rr C o n tin u ity ..................................S h irle y B a lla rd S p e c ia l e ffe c ts a s s is t a n t ___ D a vid H a rd ie B o o m o p e ra to r ................ C h ris G o ld s m ith Astrid Brennan, C o m p o s e r .................................. B ru c e R o w la n d P ro d u c e r s s e c r e ta r ie s ................P at S e rg o .

C h o re o g ra p h y .........................R oss C o le m a n A rt d ire c to rs ............................. T o n y W o lla rd .

Brenda McKie, E xec, p ro d u c e r s ................... M ic h a e l E d g le y, A lis o n B a rre tt (S yd .), S c e n ic a r t i s t ................................N e d M cC a n n N ic H e p w o rth Paul Maron S im o n W in c e r A u d in e L e ith (A d e i.)

C a rp e n te r .................................. R o b in W a rn e r A rt d e p t m a n a g e r .......................D a vid S ea rl P a in te rs ...................................Ruth Edelm an, P ro d , s u p e r v is o r .....................................M ic h a e l L a ke L ig h tin g c a m e ra m a n ........... Ron Jo h a n s o n S et c o n s tru c tio n m a n a g e r ..D e n is D o n e lly C o s tu m e d e s ig n e r . . .A p h ro d ite D o w d in g Kim Craste, P ro d , c o -o rd in a to r ............................. Ja n S to tt F o cu s p u l l e r .................................. H e n ry P ie rce A sst e d ito r ....................................... M a rk D a rc y Kim M arden.

U n it m a n a g e r ................................................ G e o ff H u nMt a k e -u p ..................................L o is H o h e n fe ls C la p p e r/lo a d e r ............................. J o h n F o ste r S o u n d e d ito r ........................ A n d re w S te w a rt M a k e -u p a s s is ta n ts ................P a tty P ayne, Steve Hunter, P ro d , s e c re ta ry ................................T ris h Fo le y K ey g r i p ............................................ R o b M o rg a n E d itin g a s s is ta n t ................A s h le y G re n v ille N ick D o m in g , Nerissa Martin, A s s t g rip s .............................. G ra e m e S h e lto n .

P ro d , a c c o u n ta n t ......................J im C ra n fie ld S tu n ts c o -o rd in a to r .................. D e n n is H u n t R o b yn P ic k e rin g M argaret Butler 1st a s s t d ire c to r .....................M u rra y N e w e y M ic h a e l W h ite S tu n tm e n ........................................... V ic W ils o n .

H a ird re s s e r ..................................J o a n P etch Checkers and cleaners .. .Anim ation Aids, 2 n d a s s t d ir e c t o r ..................... S te w a rt W rig h t 2 nd u n it p h o to g ra p h y .. . D avid F o re m a n .

M ik e R ead.

Bruce W arner, 3 rd a s s t d i r e c t o r ............................................. J a n E llioAts s t h a ird re s s e rs .................... K e rrie D avis, P au l D alw itz.

Ian L in d .

A m a n d a R o w b o tto m Jan Carruthers 2 n d u n it d ir e c t o r s .......................J o h n D ixo n , P e te r S m ith .

Dog h a n d l e r .................................D e n n is H u n t W a rd ro b e ......................................

P am M a lin g Title d e s ig n e r..............................

Tony Ablen S im o n W in c e r G e o ff S im p s o n .

S till p h o t o g r a p h y ........................J im T o w n le y S ta n d b y w a rd ro b e .................... D a vid R ow e M ixed at ............................ Atlab (Australia), C o n tin u ity ........................................... J a n T y rre ll G us H o w a rd B est b o ys ........... ....................J a c k K e n d ric k .

W a rd , b u y e r ......................................V iv W ils o n M agno Sound (New York) C a s tin g c o n s u lta n ts ..............................M IT C H G a f f e r ................................G ra e m e R u th e rfo rd A la n G lo s s o p S ta n d b y p ro p s .................................. B a rry H all L a b o ra to rie s .............. Colorfilm (Australia) C a m e ra o p e ra to rs .....................D an B u rs ta ll, E le c tr ic ia n ..................................K e ith J o h n s o n R u n n e r ........................................... M e ry l C ro n in S p e c ia l e ffe c ts .......................R. J. H o h m a n , M ovielab (New York) D a vid E gg b y, B o o m o p e ra to r .......................J a c k F rie d m a n P u b lic ity ........... B ro o k s W h ite O rg a n iz a tio n J o h n E gget, Length .................................................80 mins M a lc o lm R ic h a rd s A rt d ir e c t o r .................................. H e rb e rt P in te r U n it p u b lic is t .................................. D a vid W h ite C o n ra d R o th m a n Gau9e ...................................................... 35mm F o c u s p u l l e r .......................D a vid W y n -J o n e s M a k e -u p ..............................M a rg a re t L in g h a m C a t e r in g .........................................J o h n F a ith fu l!

S p e c ia l e ffe c ts a s s t ....................... R ick C lise Shooting s to c k ..........................Eastm ancolor C la p p e r/lo a d e rs ..............................Ian Jo n e s, W a rd ro b e ........................ R uth d e la L an de S tu d io s .................... ................................. A rira n s a C h o re o g ra p h y ........................... D a vid A tk in s Cast: Mia Farrow (Sarah).

Joe C onnor P ro p s A s s is t a n t ............................................P e te r C o llia Msix e d at .....................

U n ite d S o u n d A s s t c h o r e o g r a p h y .........

C a m ille E d w a rd s C h ara cter voices: Joan Bruce (m other and C a m e ra a s s is ta n t ....................B ria n B ro h e n y P ro p s b u y e r ..............................A n n i B ro w n in g L a b o ra to ry ............................................. C o lo rfilm S e t d re s s e r ...................................

J ill E den g r a n d rh o t h e r ), Shane P o rte o u s K e y g r i p ................................ G e o ff R ic h a rd s o n S ta n d b y p r o p s .............................S te w a rt W a y Lab. lia is o n .......................................................... B ill G o o le y S c e n ic a rtis t .............................

B illy M a lc o lm (blacksm ith, partisan, soldier), Ron HadA s s t g rip s .................................. Ian B e n n a llic k , S p e c ia l e f f e c t s ........................... B ria n P e a rce B u d g e t ................................................. $ 1.8 m illio n C a rp e n te rs ..................................... D e n n is Lee. drick (father, partisan, soldier).

B ru c e T o w e rs A sst e d ito r ..........................C a th e rin e M u rp h y L e n g th .................................. ..............110 m in s A la n F le m in g , Synopsis: The poignant story of a young 2 n d u n it p h o to g ra p h y ..............J o h n H a d d y Neg. m a t c h i n g ............................................. A tla b $fa u 9 e ...........................................................3 5 m m R o ry F o re st, child, orphaned by war. and her struggle to M u s ic a l d ire c to r ......................... D on W a lk e r G a f f e r ........................................... R o b b ie Y ou n g S n o o tin g s to c k . . E a stm a n C o lo r N e g a tiv e U m ar K g ru s o . survive. It is representative of the plight of M u s ic p e rfo rm e d by ................. D on W a lk e r.

E le c t r ic ia n .................................. P e te r M a lo n e y S c h e d u le d re le a s e ........................... M id 1982 H o d g e s & R ic h te r children in w a r-to rn countries and acts as B o o m o p e ra to r .......................... M a rk W a s ita k C o ld C h ise l C o n s tru c tio n m a n a g e rs ......... P hil W o rth , the voice of all children against the suffering A rt d i r e c t o r ......................................... Les B in n s S o u n d e d ito r ..........................A n d re w P ro w se K en H a ze lw o o d and hardships im posed by all wars.

C o s tu m e d e s ig n e r ......................... R o b in H all E d itin g a s s is ta n ts ..................... R o b e rt G ra n t, S h ip s lia is o n o ffic e rs ........... Ian G o d d a rd , M a k e -u p ................................V iv ie n M e m p h a n L in d y H a rris o i G o rd o n K irb y H a ir d r e s s e r ...................................R o c h e lle F o rd M u s ic a l a rra n g e rs .................. P e te r S u lliv a n , W a rd ro b e ....................................... J e n n y A rn o tt R o g e r S a vich W a rd , a s s is t a n t ....................................... F ra n k ie H o g a n D u b b in g e d ito r .......................T e rry R o d m a n

P O S T-P R O D U C TIO N

CINEMA PAPERS November-December — 483

L a b o r a to ry ............................................. C o lo rfilm N e g a tiv e c u ttin g ................M a rg a re t C a rd in A s s t d u b b in g e d ito rs . . . . M ik e O ’D o n n e ll, L ab . lia is o n .......................................B ill G o o le y L a b o ra to ry .......................C o lo rfilm P ty. L td .

A n n e B re sla n B u d g e t ...................................................$ 1 ,1 4 7 ,6 6 5 P o s t-p ro d u c tio n S o u n d m ix e rs .......................R o g e r S ava g e, L e n g th ................................105 m in s (a p p ro x .) f a c i lit ie s ..............................S tu d io C lip J o in t B ru c e L a m s h e d G a u g e ............................................................ 3 5 m m P ro d u c tio n fa c ilitie s ........................... F llm s id e D o lb y c o n s u lta n t ....................... D a vid W a tts S h o o tin g s t o c k .............................E a s tm a n c o lo r S p e c ia l lig h tin g e ffe c ts ........... R o g e r Foley, S tu n ts c o -o rd in a to r ......................M a x A s p in C a s t: N o n i H a z le h u rs t (N o ra ), C o lin F rie ls E llis D. F ogg S tu n ts ............................................. G u y N o rris , (J a v o ). A lic e G a r n e r (G ra c ie ), H a ro ld M u s ic a n d s o u n d -m ix in g G le n B o sw e ll, H o p k in s (W illie ), C a n d y R a y m o n d (L illia n ), f a c i lit ie s .....................................................U n ite d S o u n d G e rry C a u sla a , M ic h a e l C a to n (C live ), T im B u rn s (M a rtin ), S o l ic it o r .......................H a rt F itz p a tric k & Co. B o b H icks, C h ris tin a A m p h le tt (A n g e la ), Don M ille r­ C o n s u lta n t to th e d ire c to r ......... Ja n S h a rp K im N o yce, R o b in s o n (G e ra ld ), Lisa P e e rs (R ita).

L e n g th .......................................................90 m in s B ra d le y P a tte rs o n S y n o p s is : N o ra , 33, a s in g le m o th e r liv in g in G a u g e ................................................................1:85 A c ro b a tic s tu n ts .................... V e rn D ie tric h a la rg e , lo o s e ly c o n s tru c te d c o m m u n e , S c h e d u le d re le a s e .................... M a rc h 1982 A c ro b a tic d o u b le ................. M e lis s a G rille tt w a n ts a lo ve w ith “ n o fa d e fro m d is ta n c e in C a s t: J u d y D a vis (K a te D e an ), R ic h a rd M o ir T ru c k d riv e r ......................... D e n n is W illia m s it” .

W h a t sh e g e ts is J a vo , a 23 y e a r-o ld (S te p h e n W e st). C h ris H a yw o o d (P e te r S till p h o to g ra p h y .................... C a ro ly n J o h n s a c to r, w h o s e life is “a m e s s y h o lid a y of H o u s e m a n ), B ill H u n te r (R o b e rt D u n ca n ), O p tic a ls .................................. R o g e r C o w la n d liv in g o ff h is frie n d s " . He is a ju n k ie , b u t it's J o h n G re g g (P h ilip L a w so n ), A n n a J e m is o n A n im a l tra in e r ................................ D a le A s p in HEATWAVE N o ra w h o ’s a d d ic te d . “ S m a c k h a b it, lo ve ( V ic t o r ia W e s t), J o h n M e illo n (F r e d d ie B est b o y .......................................... P au l M o ye s h a b it — w h a t's th e d iffe re n c e , th e y ca n b oth D w ye r).

U n it ru n n e rs ................................. K e vin C ross, Prod, com pany ...................Heatwave Films k ill y o u ."

Ian M itc h e ll Dist. com pany ...............................Roadshow T ra ffic s u p e rv is o rs .................D ean K ee n an , P r o d u c e r ................................ Hilary Llnstead G ra n t L a rk in C o -p ro d u c e r.........................Ross M atthews C a te rin g ............................................. Ray F o w le r D ir e c to r .....................................Phillip Noyce MAD MAX II RUN REBECCA, RUN! A s s t c a te rin g ............................... P e te r M o y e s S c r ip tw rite rs .....................Marc Rosenberg.

P ro d , c o m p a n y ..................... K e n n e d y M ille r T ra n s p o rt m a n a g e r ................... R a lp h C la rk P ro d , c o m p a n y ......................... In d e p e n d e n t Phillip Noyce E n te rta in m e n t U n it d r iv e r s ........................................J o h n B ra n d , P ro d u c tio n s Based on the original D ist. c o m p a n y J a c k S kyve r, P ro d u c e r ................................ B re n d o n L u n n e y screenplay by ................ M ark Stiles and (e x c e p t th e U .S .. C a na d a, S u e C la rk Tim Gooding D ire c to r ....................................P e te r M a x w e ll N o rw a y) .................................... W a rn e r B ro s T ru c k m e c h a n ic ................... .A r th u r H e n le y S c rip tw rite r ............................. C h a rle s S ta m p P h o to g ra p h y .........................Vincent M onton M o to rc y c le b u y e r .................. B a rry B ra n s e n P ro d u c e r ................................B yro n K e n n e d y B ase d on th e o rig in a l Sound re cordist .....................Lloyd C arrick D ire c to r ......................................

G e o rg e M ille r M o to rc y c le m e c h a n ic s . . . .

B a rry B ra n s e n , id e a by .....................................G a ry D e a co n E d it o r ............................................ John Scott S c rip tw rite rs ..............................T e rry H ayes, G u y N o rris P h o to g ra p h y ....................................... P hil P ike Prod, d e s ig n e r............................ Ross M ajor G e o rg e M ille r, C h ie f c a r m e c h a n ic ..............D ave T h o m a s S o u n d re c o rd is t .......... R o w la n d M c M a n is M u s ic ...................................... Cameron Allan B ria n H a n n a n t M e c h a n ic s ......................................... A lla n M ills, E d ito r ................................................ B o b C o g g e r Prod, m anager ......................... Lynn Gailey P h o to g ra p h y ................................ D e an S e m le r G e o rg e B is c h o ff, C o m p o s e r ...................................S im o n W a lk e r Prod, m anager ......................... Lynn Gailey S o u n d re c o rd is t ...................... L lo yd C a rric k B ill A n d e rs o n , E xec, p ro d u c e r ........................... G e n e S c o tt Unit location m a n a g e r......... Peta Lawson E d ito rs ................................M ic h a e l C h irg w in , G o rd o n P arr, F e a tu re s m a n a g e r . . . . W e n d y C h a m b e rs Asst, lo cation m a n a g e r........ M ark Thomas D a vid S tiven .

M a rs h a ll R ead, P ro d , s u p e rv is o r ....................C h ris G a rd in e r Prod, secretary ........................Fiona Gosse T im W e llb u rn S tu a rt J o h n s o n , P ro d , m a n a g e r .......................... P e te r A b b o tt Prod, accountancy . .M onypenny Services, C o m p o s e r .........................................B ria n M a y Jo h n M u rc h , P ro d , s e c re ta ry ............... W e n d y C h a p m a n Alan M arco P ro d , s u p e rv is o r ................. P a tric k C la y to n C live S m ith P ro d , a c c o u n ta n t ..................... P e te r L a y a rd 1st asst d irector ................ Steve Andrews P ro d , c o -o rd in a to r ........................... R o sa n n e P o s t-p ro d , s o u n d ................A A V A u s tra lia , P ro d , a s s is ta n ts ...................... S ea n M c C lo ry , 2nd asst d ire c to r .................Chris Maudson A n d re w s -B a x te r S p e c tru m F ilm s F io n a M a rk s 3rd asst d ir e c t o r ...........................Phil Hurst P re -p ro d , c o -o rd in a to r ..............J e n n y Day M ix e d a t ................................... F ilm A u s tra lia 1st a sst d ire c to r ........................K e vin P ow ell 2nd unit c a m e r a ............ Frank Ham m ond, P ro d , a c c o u n ta n t .......... C a th e rin e B a rb e r L a b o ra to ry .........................................C o lo rfilm 2 nd a sst d ire c to r .................. P au l C a lla g h a n Richard M ichalak A c c o u n ts a s s is ta n t . . J e n n ife r L ee L ew es C o lo r g ra d in g .................. A rth u r C a m b rid g e C o n tin u ity .............................C a th e rin e S a u te r C ontinuity ...........................Therese O'Leary 1st a s s t d ire c to rs ................B ria n H a n n a n t, L ab . lia is o n .......................................B ill G o o le y C a s tin g .............................. M itc h C o n s u lta n c y C a s tin g ............ M & L Casting C onsultants P a tric k C la y to n C a st: M e l G ib s o n (M a x).

B ru c e S p e n c e C a m e ra a s s is ta n t ...................... K e ith B ry a n t Casting .

2 nd a sst d ire c to r ..................... T o iv o L e m b e r (G yro c a p ta in ), M ik e P re s to n (P a p p a g a llo ).

K ey g rip .................................M e rv M c L a u g h lin consultants . M & L Casting C onsultants V e r n o n W e lls ( W e z ) , K j e l l N il s s o n 3 rd a s s t d ire c to r ........................... P hil H u rst 2 nd u n it p h o to g ra p h y . . . .G a ry M a u n d e r, Extras casting A d d itio n a l a sst d ir e c t o r ......... A n d re w P lain (H u m u n g u s ), E m il M in ty (F e ra l c h ild ), M a x P hil D o rity c o - o r d in a to r .....................Jenny G oddard P h ip p s (T o a d ie ), S yd H e yle n .(C u rm u d ­ C o n tin u ity .........................................L in d a Ray G a ffe r ...................................................... Ray A n g Cam era ope rator ...................... Louis Irving g e o n ), V irg in ia H ey (W a rrio r W o m a n ), S te ve P ro d u c e r’s s e c re ta ry . . C a th e rin e P h illip s B o o m o p e ra to r ........................... J a n M c H a rg Focus p u lle r ..............................David B rostoff J. S p e a rs (M e c h a n ic ).

P ro d u c e r's a s s is ta n t ................. L in d a B ates A rt d ire c to r ..................................J a k o b H o rv a t C la p p e r/lo a d e r .................. Andrew M cLean S y d n e y o ffic e lia is o n ................... D ixie B etts M a k e -u p .....................................F io n a S p e n c e Key g r ip .............................................Ray Brown T e le p h o n is t ............................... S a n d y L a ld la w W a rd ro b e .................................. F io n a S p e n c e Second grip ............................... Stuart Green C a s tin g ............................. M itc h C o n s u lta n c y W a rd , a s s is ta n t ..................K e rry T h o m p s o n A ddit p h o to g ra p h y ................ Colin Deane, MONKEY GRIP D ire c to r's p re -p ro d .

P ro p s ......................................... B ria n E d m o n d s Stephen Dobson a sst .......................................M a rd y K e n n e d y A s s t e d ito r ................................... G in a L e n n o x G a ffe r ................................... Brian Bansgrove P ro d , c o m p a n y ......................... P a v ilio n F ilm s D o c u m e n ta ry N eg. m a tc h in g .............................C h ris R o w e ll Best boy ...................................Paul G antner P r o d u c e r ..................................... P a tric ia L o ve ll p h o to g ra p h y ........................A n d re w L esn ie S o u n d e d ito r ................................ B o b C o g g e r G enerator D ire c to r .........................................K en C a m e ro n C a m e ra o p e ra to r ..................... D ean S e m le r M ix e r .................................... J u lia n E llin g w o rth S c r ip t w r it e r ................................ K en C a m e ro n , o p e ra to r/e le c tric ia n ................Colin Chase F o cu s p u lle r ..................

R ic h a rd M e rry m a n S till p h o to g ra p h y ...................G a rry M a u n d e r in a s s o c ia tio n w ith E le c tric ia n s .................. ............Reg Garside.

C la p p e r/lo a d e r ................A n d re w M c L e a n A n im a ls a rra n g e d H e le n G a rn e r Sam Bienstock K ey g rip ................................

G ra h a m M a rd e ll by ........................... A n im a l T a le n t P ty L td B ase d on th e n o ve l b y ......... H e le n G a rn e r Boom operator ................ Chris G oldsm ith A s s t g rip .................................... G a rry C a rd e n C ba le te rin g ......................S a lly G re v ille -S m ith P h o t o g r a p h y .................................................. D a vid G rib Art dept m a n a g e r...................... David Searl G a ffe r ............................................. J o h n M o rto n M ix e d a t ........................................................ A tla b S o u n d re c o rd is t ........................... M a rk L ew is C onstruction m a n a g e r............ Danie Daems A s s t e le c tric ia n ...........................D ean B rya n Lg ae b tt o ra to ry ................C in e F ilm L a b o ra to ry E d i t o r ................................................................D a vid H u g W ardrobe designer .................. Terry Ryan B o o m o p e ra to r .................. C h ris G o ld s m ith Lab. lia is o n ............................. C a lvin G a rd in e r P ro d , d e s ig n e r ............................ C la rk M u n ro M ake-up ...................................Sally Gordon A rt d ire c to r ........................... G ra h a m W a lk e r L e n g th .................................................... 85 m in s C o m p o s e r ................................B ru c e S m e a to n M ake-up assistants . . . .Robern Pickering, A s s t a rt d ire c to r ..............S te ve A m e z d ro z G auge ...........................................................1 6m m E xec, p ro d u c e r .........................D a n n y C o llin s Edwina Archer A rt d e p t a s s is ta n t .................P a u lin e W a lk e r S h o o tin g s to c k ........................................... 7247 A sso c, p ro d u c e r .................... T re ls h a G h e n t H a ird re s s e r............................. M elissa Jaffer C o s tu m e d e s ig n e r ......... N o rm a M o rlce a u .

S c h e d u le d re le a s e ................ J a n u a ry 1982 P ro d , c o -o rd in a to r ................................ B ria n n Miss Jem lson's M a k e -u p .................................... K a rla O 'K e e fe C ear, s t: H e n r i S z e p s ( M a n u e l) , S im o n e h a ird re s s e r........................... Caralyn Taylor U n it m a n a g e r s .................................................S u e P a rk S p e c ia l e ffe c ts m a k e -u p . . B o b M c C a rro n B u c h a n a n (R e b e c c a ). A d a m G a rn e tt (R od ), W ill D a vie s W ardro be s u p e rv is o r............Anthony Jones W a rd ro b e m a s te r ....................

R o g e r M o n k M a ry A n n S e v e rn e (M rs P o rte r), J o h n P ro d , a c c o u n ta n t .................. T e rry M c G ra th W ard, assistant ..................Jillian M ahoney P re -p ro d . w a rd , m is tre s s . S h e lle y L o d g e S ta n to n (M r P o rte r), P e te r S u m n e r (M r 1st a sst d ire c to r .................. S tu a rt F re e m a n Standby w ardrobe .................. Jan Hurley W a rd , m a c h in is ts ..................P am M a ylin g , 2 nd a sst d ir e c t o r .......................................... C o lin F le D tclm h eitro r s ), Ron H a d d ric k (S p e a k e r o f P a rlia ­ Props buyers/set T e rry L a m e ra , 3 rd asst d i r e c t o r ........................................... T o m B lam c keentt), J o h n E w a rt (M in is te r fo r Im m ig r a ­ dressers ...........................Sally Cam pbell.

M a rg a re t T h o m a s tio n ), M a rtin V a u g h a n (C ra n k y M e m b e r), C o n tin u ity .................................. J a c k ie S u lliv a n Robert Flaherty, S p e c ia l p ro p s C o rn e lia F ra n c is (M e m b e r fo r S o u th d o w n ).

P ro d u c e r's a s s is ta n ts . . . . N ic k y R o w n tre e .

Lissa Coote d e s ig n e r /b u y e r .................M e lin d a B ro w n S y n o p s is : A y o u n g g irl ta k in g p h o to g ra p h s E la ine M e n zie s Asst set dresser .......................... Peter Hart P ro p s b u y e r ............................P au lin e W a lk e r o f tth e r p e t c o c k a to o is p re v e n te d fro m C a s t in g ............................................................

A lis o n B a rre Standby p r o p s .......................... John Danlell A s s t p ro p s b u y e r .................... Ian M c G ra th le a v in g a lo n e ly is la n d b y a n ille g a l C a s tin g c o n s u lta n t ................... A lis o n B a rre tt Special e ffe c ts .................. Reece Robinson, S ta n d b y p ro p s ...........................

J o h n D a n ie ll im m ig ra n t, w h o fe a rs d e p o rta tio n . A fte r a L ig h tin g c a m e ra m a n ..............D a vid G rib b le Alan Maxwell A rt d e p t ru n n e r ....................... P e te r C a s ta ld i w id e s p re a d s e a rc h , sh e m a n a g e s to e s c a p e C a m e ra o p e ra to r .................... N ixo n B in n e y, C horeography .................... C hristine Koltai S p e c ia l e ffe c ts c h ie f ...........

J e ffre y C liffo rd w ith th e h e lp o f a b o y s c o u t. S y m p a th e tic to D a n n y B a tte rh a m Special effects m ake-up . . . .Sally G ordon, S p e c ia l e ffe c ts te a m ......... M o n te F ie g u th , th e im m ig ra n t’s p ro b le m s , sh e p le a d s his Robert M cCarron, F o cu s p u l l e r .................... P e te r M e n z ie s J n r D a vid H a rd y, c a u s e in P a rlia m e n t.

C la p p e r/lo a d e r ............................. D e rry F ie ld s Judy Lovell, S te ve C o u rtle y C a m e ra a s s is ta n t ......... P e te r M e n z ie s J n r Phillippa Noyce S p e c ia l e ffe c ts ru n n e r .........

M a rk C la y to n K ey g r i p ............................................................... Ray B ro w n C arpenter .............................Bruce Hlllhouse S p e c ia l e ffe c ts w e ld e rs . . . . B ria n H u n te r, A s s t g rip s ......................................S tu a rt G re e n , Unit r u n n e r ........................... Richard Ussher G re g M u lh e a rn G ra h a m Y ou n g A ssem bly edito r ...........Frans Vandenberg SOMETHING WICKED G a f f e r ............................................M ile s M o u ls o n Asst film edito r ............................... Sue Scott C o n s tru c tio n m a n a g e r ........... D e n n is S m ith C o n s tru c tio n s t a n d - b y .......... K e rrin S te ve n s B e st b oy ...........................................G e o ff M a in e P ro d , c o m p a n y .......................D a vid H a n n a y Sound editors ...............................Greg Bell, C o n s tru c tio n te a m ......... F re d ric k S a n to s, E le c tr ic ia n ....................................................... D ick O ld fie ld Helen Brown, P ro d u c tio n s G e o rg e Z u k iw s k y j, B o o m o p e ra to r .......................P aul S c h n e lle r Stella Savvas P ro d u c e rs ..................................D a vid H a n n a y, G e o rg e T so u ta s, A rt d ir e c t o r .......................t . . .. Ron H ig h fie ld "Eden" design ...................... Paul Pholeros G e o ff B ro w n M ic h a e l L e h m a n n .

M a k e -u p ............................................ J u d y L o ve ll D ire c to r .....................................B ria n M c D u ffie M odel builders .............A & M Partnership P e te r d e B ono, H a ir d r e s s e r ......................................... J u d y L o ve ll S c rip tw rite r ............................. T e rry O 'C o n n o r A rchitectural consultants .. Paul Pholeros.

P h ilip H e n d e rs o n -W ils o n , W a rd ro b e ....................................... K a th y J a m e s B ase d on an o rig in a l Steve Lesiuk D e re k W yn e ss W a rd , a s s is ta n t ............................... C a th y F a rr Ide a by ................................T e rry O ’C o n n o r Sound m ixers ..........................Peter Fenton, A sst e d ito rs ................................. Les F ld d e ss, P ro p s b u y e rs / Gethin Creagh, P h o to g ra p h y ................................. D a vid E g g b y A n n a b e lle S h e e h a n , se t d r e s s e r s .................... E liza b e th H e arn, Phillip Heywood S o u n d re c o rd is t ...........................M a rk L e w is P h ilip D ickso n , L lo y d C a sey E d ito r ....................................................T im S tre e t Stunts co -o rd in a to r ....................Max Aspin R u th B ea ch S ta n d b y p r o p s ................................................. Ig o r L a zPa ro re dff, d e s ig n e r ........................... B o b H ild itc h Stand-in for Ms Davis .. Teresa W ilkinson E d ito rs ’ a s s is ta n ts .................. A lis o n P ic k u p , S c e n ic a r t i s t ............................ Len A rm s tro n g S tunt doubles .............................Max Aspin.

C o m p o s e r .................................... M ik e H a rve y D e llro y e E d g e c o m b e S e t c o n s tru c tio n ..................P e te r T e m p le to n Dale Aspin, E xec, p ro d u c e r .................. J o h n F itz p a tric k M o n ta g e e d ito r ..................

B ru c e L a m s h e d A s s t e d ito rs ..........................

L e slie M a n n is o n , Frank Arrow sm lth, (F ilm c o ) N eg. c u tte r ............................M a rg a re t C a rd in R o s e m a ry Lee Stephen Sherwood P ro d , m a n a g e r ....................... J u lia O v e rto n M u s ic a l c o n d u c to r .......................B ria n M a y R o ck m u s ic Safety c o -o rd in a to r ....................Bob Hicks U n it m a n a g e r ..................................D i N ic h o la s 2 nd u n it d ire c to r .....................B ria n H a n n a n t p e rfo rm e d b y ............................................... T h e D iv in y lsd , s e c re ta ry ......................B e lin d a M a so n P ro Voice c o n s u lta n t..................................G eorge Ogilvie 2 n d u n it a sst d ir ............................................ M a rk T h o m Sa o su n d e d ito rs .....................A s h le y G re n v ille , Still p h o to g ra p h y ..................................... David Parker, P ro d , a c c o u n ta n t ......... H o w a rd W h e a tle y M a rk L e w is Robert McFarlane 2 n d u n it c a m e ra m a n ......... G e o ff S im p s o n 1st a sst d ire c to r ..................S tu a rt F re e m a n 2 nd u n it g rip ......................... G ra h a m C a rte r M ix e r ................................................ P e te r F e n to n C atering .. . .Cecil B. de Meals on Wheels, 2 nd a s s t d ire c to r ........... M ic h a e l B o u rc h le r M a in u n it 2 n d c a m . o p. . . B ill G rim m o n d A s s t m i x e r ...............................G e th in C re a g h Keith Heygate 3 rd a s s t d ire c to r ................... A n n ie P e a c o c k M a in u n it 2 n d ca m . a sst ......... D e rry F ie ld S till p h o t o g r a p h y ..................................Ian P o tte r C atering a s s is ta n t.......................Ken Taylor C o n tin u ity ..............M a rg a re t R o se S tr in g e r M a in u n it a d d .

T itle d e s ig n e r ......................................Fra n B u rk e P ro d u c e r’s a s s is ta n t . . . . . V a n e s s a B ro w n Titles ..................................... Roger Cowland ca m . a s s t .......................P e te r L ip s c o m b e C h ild re n 's d ia lo g u e c o a c h ......... J a n e O e h r L ig h tin g c a m e ra m a n ..............D a vid E g g b y O p tic a ls .......... O ptical & G raphic Pty. Ltd. C h ie f d u b b in g e d ito r . . . . B ru c e L a m s h e d R u n n e r ......................................... L isa H e n n e s s e y C a m e ra o p e ra to r ......................D a vid E g g b y C olour grader ................ A rthur Cam bridge D u b b in g e d ito r ....................A n d re w S te w a rt M ix e d at ........................................U n ite d S o u n d F o cu s p u lle r .............................. D a v id C o n n e ll Lab ora tory lia is o n .......................Bill Gooley C a s t: Ray B a rre tt (S ta ce y). R o b yn N evin (K a te ). J a n e t S c riv e n e r (C a th y M c C re d ie ), K a te F it z p a t r ic k (M rs M c C re d ie ), L ex M a rin o s (C o n ). J o h n C la y to n (B ill T o d d ), G u y D o le m a n ( Q u in e y ) . P a u l C h u b b (C u rly ). .

S y n o p s is : S he w a s all a n y o ld fo o l c o u ld ask f o r — a b e a u tifu l m a s o c h is t w ith an E le c tra c o m p le x . S h e k n e w h e r life w a s a g re a t p re ­ d e s tin e d a d v e n tu re , a nd . if it e n d e d like B o n n ie a n d C ly d e , so be it. It w a s fo r g irls lik e th is th a t o ld fo o ls lik e A g a m e m n o n d ie d — A g a m e m n o n a n d M ik e S ta c e y . E x ­ D e p u ty P o lic e C o m m is s io n e r , M ic h a e l S ta c e y O BE .

484 — November-December CINEMA PAPERS

C la p p e r /lo a d e r ............................. E rik a A d d is C a m e ra a s s is ta n ts ......... S a lik S ilv e rs te in , S a lly E c c le s to n K ey g rip ................................ M e rv M c L a u g h lin A s s t g rip s ................................B re tt R o b in s o n , R o b e rt V e rk e rk 2 n d u n it p h o to g ra p h y ..............P e te r Levy, S a m B ie n s to c k G a ffe r ............................................... R o g e r W o o d E le c tric ia n ........................................P e te r W o o d B o o m o p e ra to r ............................ S te v e M ille r A rt d ir e c to r ................................. B o b H ild itc h A s s t a rt d ire c to r .....................R o b e rt J o n e s M a k e -u p .................................... R in a H o fm a n is H a ird re s s e r ................................R in a H o fm a n is W a r d ro b e ........................................... B o b L lo y d W a rd , a s s is ta n t ..................... R o b in a C h a ffe y P ro p s ....................................................T o n y H u n t P ro p s b u y e r ....................................... Ian A lle n S ta n d b y p r o p s .................................... T o n y H u n t S p e c ia l e ffe c ts ........................... B ria n O le se n , A la n M a x w e ll, P e te r E van s C a rp e n te rs ..............................R u sse ll J o n e s , M o rr is E vans, A d ria n S to re y S e t c o n s tru c tio n ........................J o h n P a rk e r, M ic h a e l O s b o rn e A s s t e d ito r .....................C a th e rin e S h e e h a n N eg. m a tc h in g ........................... G o rd o n P e ck M u s ic a l d ire c to r .......................M ik e H a rve y M u s ic p e r fo rm e d b y .......................................D o u g P a rk in s o n , N a o m i W a rn e , M a lc o lm M c C a llu m , D a vid S p a ll, S te v e K ie ly S o u n d e d ito r ................................. K la u s J a ritz E d itin g a s s is ta n t ..................... T e rry M o o n e y M ix e r ......................................................P hil J u d d S tu n ts c o -o rd in a to r s . . .P e te r A rm s tro n g , H e rb N e ls o n S tu n ts ..................................................G le n D avis, Bev Teague, M a tth e w H e ssia n , Dee J a m e s , C h ris H e ssia n , R o c k y M c D o n a ld S till p h o to g ra p h y .......................C h ic S tr in g e r O p tic a ls ..................................... A n d re w M a so n T itle d e s ig n e r ..................

M ik e B e rry B est b o y ...........................................P e te r W o o d R u n n e r ....................................... M a rd i K e n n e d y P u b lic ity .......................C a rlie D e a n s P ty L td U n it p u b lic is t ................... E liz a b e th J o h n s o n C a te rin g .........................................P au l S a rg e n t, E ric L a rse n , S h e lle y s , P lu m C ra zy M ix e d a t .................................... U n ite d S o u n d L a b o ra to ry ............................... A tla b A u s tra lia L ab . lia is o n ..............................J a m e s P a rs o n s L e n g th .................................................... 90 m in s G auge .........................................................3 5 m m S h o o tin g s to c k ............E a s tm a n c o lo u r 5247 C a st: D ia n a M c L e a n (V al M e a d o w s ), J o n B la k e (P e te r M e a d o w s ), Ja n K in g s b u ry (P e g P re n tic e ), D a v id F r a n k lin (D a v id P r e n t ic e ) , D a n ie l C u m e r f o r d (J o e y M e a d o w s ), G uy D o le m a n (M ik e H ayes), J o a n n e S a m u e l (C h ris ), K it T a y lo r (P a ul S lo a n e ).

S y n o p s is : A s u b u rb a n c o m m u n ity is b lis s ­ fu lly u n a w a re th a t a k ille r s ta lk s th e s tre e ts .

A m o th e r a nd h e r tw o s o n s s u rv iv e In a d is ­ in te g ra tin g re la tio n s h ip . T h e s e tw o e le ­ m e n ts c o m e to g e th e r to fo rm th e b a s is of th is m y s te ry -th rille r.

SQUIZZY TAYLOR P ro d , c o m p a n y . . . . S im p s o n Le M e s u rie r F ilm s D ist. c o m p a n y .....................................F ilm w a y s P r o d u c e r ............................R o g e r Le M e s u rie r D ire c to r ....................................... K e vin D o b s o n S c r ip t w r it e r ................................R o g e r S im p s o n B a se d on th e o rig in a l id e a b y ..................R o g e r S im p s o n P h o t o g r a p h y ...................................................... Dan B u rs ta ll S o u n d re c o rd is t ........................... P hil S te rlin g E d i t o r ........................................... D a vid P u lb ro o k P ro d , d e s ig n e r .............................................L o g a n B re w e r C o m p o s e r ...............................

B ru c e S m e a to n E xec, p ro d u c e r ...................... R o g e r S im p s o n P ro d , s u p e r v is o r .................. B ria n D. B u rg e s s P ro d , m a n a g e r ......................... C h ris tin e S u li L o c a tio n m a n a g e r .....................W a rw ic k R oss P ro d , s e c re ta ry .............................A n n O 'L e a ry P ro d , a c c o u n ta n t ........................... P a tti S c o tt P ro d , a s s is t a n t ............................W e n d y M ille r 1st a s s t d ir e c to r ..............P h ilip H e a rn s h a w 2 n d a s s t d ir e c t o r ............................................ P au l H e a le y 3 rd a s s t d i r e c t o r ......................................M a rc u s S k ip p e r C o n tin u ity .................................. A n n e M c C le o d L ig h tin g c a m e ra m a n ..................D an B u rs ta ll C a m e ra o p e ra to r .........................Dan B u rs ta ll F o cu s p u l l e r ..............................B a rry H a llo ra n C la p p e r /lo a d e r ....................... W a rw ic k F ie ld K ey g r i p .......................................P au l A m m itz b o l A s s t g rip .....................................P e te r K e rs h a w G a f f e r ................................................................. B ria n A d a m s B o o m o p e ra to r ......................... G e o ff W ils o n A rt d i r e c t o r ....................................................L o g a n B re w e r A s s t a rt d ir e c to r .......................... F ra n k J a k a b C o s tu m e d e s ig n e r ......................J a n e H y la n d M a k e -u p ......................................L o is H o h e n fe ls H a ir d r e s s e r ................................S u zie C le m e n ts W a rd ro b e ........................................ J a n e H y la n d W a rd , a s s is t a n t .........................................M a rg o t L in d s a y

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P r o p s ..................... N ic h o la s v a n R o o s e n d a e l D r i v e r ..............................................P e te r B o u rn e S t u d io s ......................... A rtra n s a P a rk S tu d io s C a s t: S te ve R a ils b a c k (P a u l A n d e rs ), O livia L a b o ra to ry ............................................. C o lo rfilm P ro p s b u y e r . . . .N ic h o la s va n R o o s e n d a e l M ix e d a t .................................... F ilm A u s tra lia H u s s e y ( C h r is W a lt e r s ) , N o e l F e r r ie r S ta n d b y p ro p s . ......................... H a rry Z e tte l L a b . lia is o n ...................................B ill G o o le y L a b o r a to ry ................................A tla b A u s tra lia ( M a llo r y ) , C a rm e n D u n c a n (J e n n ife r ) , S p e c ia l e f f e c t s ....................... K o n ra d R o th m a n L e n g th .......................................................90 m in s L ab . lia is o n ............................G re g D o u g h e rty , L y n d a S t o n e r ( R it a ) , M i c h a e l C r a ig S e t d e c o r a t o r .......................... P a tric k R e a rd o n G a u g e .............................................................3 5 m m (T h a tc h e r), R o g e r W a rd (R itte r), M ic h a e l C h e ry l R o d g e rs S e t c o n s tru c tio n ..........................R o w a n F lu d e S h o o tin g s t o c k ............................. E a s tm a n c o lo r L e n g th .....................................................105 m in s P e tro v itc h (T ito ), G u s M e rc u rio (R ed ), J o h n A s s t e d ito r .............................. B re tt S o u th w ic k Cast: A n g e la P u n c h M c G re g o r (J e a n n ie G a u g e .............................................................3 5 m m L ey (D o d g e ), B ill Y o u n g (G riff).

S o u n d e d ito r .......................... L o u is e J o h n s o n G u n n ), A rth u r D ig n a m (A e n e a s G u n n ), T o n y S h o o tin g s t o c k .............................E a s tm a n c o lo r S y n o p s is : T h e y e a r 1995 — th e w o rld is run E d itin g a s s is ta n t ................... A n n B e re s fo rd B a rry (M a c ), M a rtin V a u g h a n (D a n ), L e w is by a s tric t re g im e . If yo u s te p o u t o f lin e yo u n e g a tiv e 5 247 S till p h o t o g r a p h y ........................................... S u s y W oSo cd hs e d u le d re le a s e .....................M a rc h . 1982 F itz -G e ra ld (J a c k ), J o h n J a rra tt (D a n d y ), a re la b e lle d a “ T u rk e y ” . F u rth e r fa ilu r e to B e s t b o y ........................................ G a ry P lu n k e tt C e c il P a r k e s (C h e o n ), D a n n y A d c o c k c o n fo rm m e a n s yo u a re a c a n d id a te fo r th e Cast: J o K e n n e d y (J a c k ie M u lle n s ), R oss (B ro w n ), T o m m y L e w is (J a c k a ro o ), D o n a ld R u n n e r ............................................ J a k e A tk in s o n “ T u rk e y S h o o t".

O 'D o n o v a n (A n g u s M u lle n s ), P at E viso n P u b lic i t y .................................L y n e tte T h o r b u rn B litn e r (G o g g le Eye).

(N a n a ), M a rg o Lee (P e a rl), M a x C u lle n C a t e r in g ................................ A n n D e c h a in e a u x Synopsis: A s to ry o f th e h a rd s h ip fa c e d by (R eg ), N ed L a n d e r (R o b b ie ), M e lis s a J a ffe r WALL TO WALL S t u d io s ................................................................A A V , n e w ly -m a rrie d J e a n n ie G u n n w h ic h re c a lls (M rs B o o th ), J o h n O ’M a y (T e rry L a m b e rt), O p e n C h a n n e l, th e c o u ra g e , v ita lity a n d h u m o r o f e a rly D e n n is M i lle r ( L o u ) , N o r m a n E r s k in e P ro d , c o m p a n y ..............................W a ll to W a ll c a ttle m e n a n d A b o rig in a l s to c k m e n in a P o rt M e lb o u rn e S tu d io s (H azza ), P hil J u d d , D w a yn e H illm a n a n d Ian P r o d u c e r ........................................................... E rro l S uhlliv a nh , b u t m e m o ra b le N o rth e rn T e rrito ry a rs M ix e d a t ........................................ U n ite d S o u n d G ilro y o f “ T h e S w in g e rs ” as "T h e S w in g ­ D ire c to r .......................................... M a rk E g e rto n e n v iro n m e n t.

L a b o r a to ry ................................................ C in e v e x e rs ".

P h o t o g r a p h y ..............................................

V in c e n t M o n to n L a b . l i a is o n .................. S ta n le y L o p u s z a m s k i Synopsis: S ta rs tru c k , a c o m e d y a n d fa s t­ S o u n d re c o rd is t ......................... J o h n P h illip s B u d g e t ............................................................. $ 1 .7 m p a c e d ro c k m u s ic a l, is a b o u t tw o te e n ­ E d i t o r .................................................................

C o lin W a d d y a g e rs a n d th e ir e c c e n tric fa m ily w h o ru n an L e n g th ..................................................... 105 m in s P ro d , d e s ig n e r ...............................................L a rry E a s tw o o d G a u g e ............................................................. 3 5 m m in n e r-c ity , w o rk in g -c la s s p u b . A n g u s , 14, C o m p o s e r ..............................................C h ris N eil S h o o tin g s to c k ............................. E a s tm a n c o lo r m a n ip u la te s th e m e d ia in an a tte m p t to tu rn E xec, p ro d u c e r ....................... R oss M a tth e w s his c o u s in , J a c k ie , 18, in to a s in g in g star.

C a s t: D a vid A tk in s (S q u iz z y T a y lo r), J a c k ie P ro d , m a n a g e r ............................J u lie M o n to n W e a v e r (D o lly G re y ), K im L e w is (Id a U n it m a n a g e r ..................................T o n y W in le y P e n d e r), R o b e rt H u g h e s (H a rv e y ), S te ve P ro d , s e c re ta ry ........................... C a ra F a m e s B is le y (C u tm o re ), C u l C u lle n (S to k e s ), A la n P ro d , a c c o u n ta n t ........................... P e n n y C a rl TURKEY SHOOT C a s s e ll (B ro p h y ), M ic h a e l L o n g (P ig g o tt), 1st a sst d ir e c to r .................. S te v e A n d re w s T o n y R ic k a rd (D u tc h ), S im o n T h o r p e (P a d ­ THE BEST OF FRIENDS P ro d , c o m p a n y ...........................

S e c o n d FGH 2 nd a sst d ir e c t o r ............................................. P hil R ich dy).

F ilm C o n s o rtiu m C o n tin u ity ..............................................J o W e e k s P ro d , c o m p a n y .........................The F rie n d ly S y n o p s is : A film b a s e d on th e life o f th e D ist. c o m p a n y ( f o r e ig n ) ..................

H e m d a le C a s t in g ..................................

M itc h C o n s u lta n c y F ilm C o m p a n y n o to rio u s M e lb o u rn e g a n g s te r o f th e 1920s, L e is u re C o rp o ra tio n C a m e ra o p e ra to r ........... D a vid W illia m s o n D ist. c o m p a n y ................H o y ts D is trib u tio n “ S q u iz z y " T a y lo r.

P r o d u c e r s ......................... A n to n y I. G in n a n e , F o cu s p u l l e r .................................................. S te ve D o bPsro o nd u c e r ......................................... T o m J e ffre y W illia m F a ym a n C la p p e r /lo a d e r ..................... R o b yn P e te rs o n D ire c to r ........................... M ic h a e l R o b e rts o n D ire c to r .................. B ria n T re n c h a rd S m ith K ey g r i p ...................................................... G e o rd ie D rySd e n tw rite r .....................D o n a ld M a c d o n a ld c rip S c r ip t w r it e r s ..................................J o n G e o rg e .

A s s t g rip ....................................... T e rry J a c k lin B a se d on th e o rig in a l STARSTRUCK G a f f e r ....................................................P a v G o v in d N e ill H icks Idea by .......................D o n a ld M a c d o n a ld B a se d on s to ry b y ......... G e o rg e S c h e n c k , B o o m o p e ra to r .............................. Ray P h illip s Prod, com pany .........................Palm Beach D ire c to r of Pictures (Starstruck) R o b e rt W illia m s , M a k e -u p ................................................L iz M ic h ie p h o to g ra p h y ......................... D a vid G rib b le D a vid L a w re n c e H a ir d r e s s e r ........................................... Liz M ic h ie P r o d u c e rs ..................................................David Elfick, S o u n d re c o rd is t ..............................T im L lo yd Richard Brennan P h o t o g r a p h y ....................................................J o h n M c L W e aanrd ro b e ......................................... J e n n y M ile s E d ito r ........................................... Ron W illia m s D irector .............................G illian A rm strong S o u n d re c o rd is t ..............................P au l C la rk W a rd , a s s is ta n t ....................M ira n d a S k in n e r C o m p o s e r .......................................... B ria n K in g E d i t o r ...................................................... A la n L a ke P ro p s b u y e r .............................. D a vid B o w d e n S c r ip tw rite r .......................Stephen M acLean P ro d , c o -o rd in a to r ..............J u lie K e n n e d y P ro d , d e s ig n e r .........................................B e rn a rd H id eSsta n d b y p r o p s ...................K a ra n M o n k h o u s e Based on original idea P ro d , m a n a g e r .......................Su A rm s tro n g S p e c ia l e ffe c ts . . . .■........................................Ivan D u rra by ....................................Stephen M acLean C o m p o s e r ........................................... B ria n M a y U nnitt m a n a g e r ....................... T o n y W e llin g to n A s s t e d ito r ................................C h ris tin e S p ry E xec, p ro d u c e r s ..............................J o h n D aly, P h o to g ra p h y .............................Russell Boyd P ro d u c e r's s e c re ta ry . . . E liz a b e th B a rto n S o u n d e d ito r ........................... V ic k i A m b ro s e D a vid H e m m in g s Sound recordist .............................Phil Judd P ro d , a c c o u n ta n t ......... H o w a rd W h e a tle y A s s o c , p r o d u c e r ............................. B ria n C o o k S till p h o t o g r a p h y ........................................... B lis s S w ift E d it o r ............................... N icholas Beaum an 1st a s s t d ire c to r ................... E d d ie P ry lin s k i U n it m a n a g e r ............................................M ic h a e l F u lleBre s t b o y ...............................................A n d y R e id Prod, d e s ig n e r........................B rian Thom son 2 nd a sst d ire c to r ....................:C o lin F le tc h e r R u n n e r ..........................................M a rk L a m p re ll P ro d , s e c re ta ry ........................... J e n n y B a rty Assoc, produce r ............ Stephen M acLean 3 rd a sst d ire c to r .......................T o n y W in le y F a c ilitie s m a n a g e r .......................C h ris S h o rt C a t e r in g ................................. C e cil B. d e M e a ls Prod, m anager ......................B arbara G ibbs C o n tin u ity ................................A d rie n n e R ead P ro d , a c c o u n ta n t ..............................D ean Hill on W h e e ls Location m a n a g e r................ Richard Ussher C a s tin g c o n s u lta n ts .................... Dee N e v ille P ro d , a s s is t a n t .................. B a rb a ra W illia m s S t u d io s ................................................................ M o rt B ayC a m e ra o p e ra to r Prod, secretary ......................... Lynn Gailey .....................N ix o n B in n e y 1st a s s t d ire c to r ...............T e rry N e e d h a m C a s t: G a ry D ay (E d B a llin g e r). P e n n y D o w Prod, accountant ...................Digby Duncan F o cu s p u lle r .................. P e te r M e n z ie s ju n .

2 nd a s s t d ir e c t o r ...........................................J o h n R o o n ke ie (C in d y ). K im D e a co n (Ja n e ), J o h n E w a rt Accounts a s s is ta n t........ Vicki M ontgom ery C la p p e r/lo a d e r ..............G e o ffre y W h a rto n 3 rd a sst d i r e c t o r .......................................... M a rk Ja ffe(M e r S to llie r), J ill F o rs te r (M rs S to llie r), P e te r 1st asst d ire cto r .....................M ark T urnbu ll K ey g rip ....................................P au l T h o m p s o n C o llin g w o o d (M r H o llis te r).

C o n tin u ity ............................... T h e re s e O ’ L e a ry ,2nd asst d ire c to r ................... C hris M audson A s s t g rip .............................. B re n d o n S h a n le y P ro d u c e r's a s s is t a n t ............. S y lv ia V an W yk 3rd asst d ir e c t o r .................................... Colin Fletcher G a ffe r ...........................................M ile s M o u ls o n C a s t in g .........................................................C a rm e n D u n ca n WE OF THE NEVER NEVER C o ntinuity ............................... A d rienne Read E le c tric ia n ..................................... D ick O ld fie ld C a m e ra o p e ra to r ........... , ...........D a vid B u rr P roducer's secretary ................ Suzi Parker B o o m o p e ra to r .................... J a c k F rie d m a n P ro d , c o m p a n ie s ....................A d a m s P a c k e r C a s tin g ........................................... Liz M ullinar . F o cu s p u l l e r ................................D a vid B ro s to ff A rt d ire c to r .................................... J o h n C a rro ll P ro d u c tio n s .

C la p p e r /lo a d e r ............................. B en S e re sin Casting consu ltants .........M & L Casting A s s t to th e a rt d e p t ..............S im o n Q u a ife F ilm C o rp . o f W .A .

K e y g r i p ...............................G ra h a m L itc h fie ld Pty Ltd C o s tu m e d e s ig n e r .................... C a ro l B e rry A s s t g rip s .........................................D a vid H ead.

P r o d u c e r ...........................................................G re g T e pMpaekr e -u p Extras casting ..............................................L iz M ic h ie R o b e rt V e rk e rk D ire c to r ............................................... Ig o r A u z in s c o - o r d in a to r ................ C hristine W oodruff H a ird re s s e r ......................................... Liz M ic h ie 2 n d u n it c a m e ra S c r ip t w r it e r ..................................................... P e te r S c hWreacrd k ro b e (s ta n d b y ) . . . L e sle y M c L e n n a n C am era ope rator .................... Nixon Blnney o p e ra to r ...................................... B o b H u g h e s P h o t o g r a p h ...................................................... G a ry H a nse Focus p u lle r ............................John Swaffield P ronp s b u y e r ...................................... S ue H o yle 2 n d u n it fo c u s S o u n d re c o rd is t ..................L a u rie R o b in s o n C la p p e r/lo a d e r ................G eoffrey W harton S ta n d b y p ro p s .......................A n n i B ro w n in g E d i t o r .................................................. C liff H a yes Key g r ip ......................................................... RayBrownp u l l e r ................................R ay S c a rb o ro u g h A s s t e d ito r ......................C a th e rin e S h e e h a n 2 n d u n it P ro d , d e s ig n e r ....................................J o s e p h in e Fo rd Asst grips .................................. Stuart Green, N eg. m a tc h in g .....................M a rg a re t C a rd in c la p p e r / lo a d e r .......................................... C o lin D e anEexec, p ro d u c e r ......................... P h illip A d a m s G eordie Dryden S o u n d e d ito r ........................... P au l M a x w e ll G a f f e r ......................................................................Ian D e wAhsusrs o tc , p ro d u c e r ...........................B ria n R o sen G a ffe r ................................... Brian Bansgrove E d itin g a s s is ta n t .......................A n n e B re s lin E le c tr ic ia n s ........................................................ T e x Foote, P ro d , c o -o rd in a to r .....................J a n e t M c lv e r Best boy ..................................... Paul G antner M ix e r ..............................................P e te r F e nto n • Ian P h ilp U n it m a n a g e r ...................................................P au l A rnAostts t m ix e r ..................................G e th in C re a g h Electrician A rt d i r e c t o r .......................V irg in ia B ie n e m a n P ro d , s e c re ta ry ........................... T o n i B a rn a rd gen era tor o p e ra to r ..............................C olin Chase S till p h o to g ra p h y .......................B ria n M o rris C o s tu m e d e s ig n e r . . . . A p h ro d ite K o n d o s P ro d , a c c o u n ta n t ......................... J o h n F o ste r E le c tric ia n ................................ Peter O 'Brien T itle d e s ig n e d by ..................................... XTO ?

M a k e -u p .................................. B o b M c C a rro n , P ro d , a s s is t a n t ................M ic h a e l B o u rc h ie r Boom ope rators ................ Jack Friedman.

B est b o y .......................................G o rd o n N u tt A n n ie P o s p ic h il Pat Fiske T ra n s p o rt m a n a g e r ..............G a ry R e b e rg e r R u n n e r .................................... D a vid T re th e w e y H a ir d r e s s e r ........... M a u re e n W ro e -J o h n s o n C o n s tru c tio n m a n a g e r ...............R ay P a ttis o n Asst to Production P u b lic ity ......................................... D a vid W h ite W a rd ro b e .................................. P a m e la M a ilin g A s s t c o n s tru c tio n D e s ig n e r ........................................... A n drew Sanders (T h e B ro o k s W h ite O rg a n iz a tio n ) S ta n d - b y w a rd ro b e .................. D a vid R ow e m a n a g e r ...............................D a n n y C o rlo ra n A rt d ir e c t o r ................................................... Kim H ilder C a te rin g ...................................... J e m s C a te rin g W a rd , a s s is ta n t ....................... J u lia M a n s fo rd 1st a sst d ire c to r ............................T im H ig g in s Asst to art d ir e c t o r .....................R obert Dein M ix e d at ......................................U n ite d S o u n d P ro p s b u y e r s ..............................................A d ria n C a n n2ond n . a s s is t d i r e c t o r ........... B re n d a n L a ve lle A rt departm ent L a b o ra to ry ........................................... C o lo rfilm P au l D u lie u 3 rd a s s t d i r e c t o r ........................................... J e ss T a pLpab e r. lia is o n ....................................... B ill G o o le y assistants .............................David McKay, P ro p e rty m a k e r s ......................... D a v id P rid e .

Scott Roberts C o n tin u ity ..................................C h ris tin e L ip a ri L e n g th .................................................... 96 m in s T a d P rid e C a m e ra o p e ra to r .......................G a ry H a nse n C ostum e designer ............ Luciana A rrighi G auge ...........................................................3 5 m m S ta n d b y p r o p s ..........................................G e o rg e Z a m F moitcu s p u l l e r ..................... P e te r V an S a n te n W ardro be c o - o r d in a to r .............. Terry Ryan S h o o tin g s to c k ........................... E a s tm a n c o lo r A s s is ta n t s ta n d b y C la p p e r/lo a d e r ................................. P hil C ro s s M ake-up ................................... Elaine Carew S c h e d u le d re le a s e ..............F e b ru a ry , 1982 p r o p s ................................J o n o th a n B a rra u d H a ird re s s e r........................... C heryl W illiam s K ey g r i p .......................................N o el M c D o n a ld Cast: A n g e la P u n ch M c G re g o r (M e la n ie ).

S p e c ia l e f f e c t s ..............................J o h n S te a rs W ardro be s u p e rv is o r............Antony Jones A s s t g rip s .............................. W a yn e M a rs h a ll,.

G ra e m e B lu n d e ll (T o m ). R u th C ra c k n e ll A s s ts s p e c ia l J o h n J a s iu k o w ic z W ardro be assistant .......... M elody C ooper (Iris), H e n ri S z e p s (L ilo ). G ra h a m R o use e ffe c ts ..............................P e te r H u tc h in s o n , G a f f e r .................................................................. M ic k M o(F rris O n-set w a rd r o b e .................Sue A rm strong a th e r J a m e s ), M o y a O 'S u lliv a n (M rs B e rn ie C o rfie ld G e n e o p e r a t o r ................................................ T o m R o bMinasloonn), L es F o x c ro ft (M r M a lo n e ). M a rk Lee Props buye rs/ S c e n ic a r t i s t ............................... B illy M a lc o lm set d r e s s e r s ..................... Sally C am pbell.

B o o m o p e ra to rs .......................... G re g S te e le , ( B ru c e ). S o n ja T a llis (P a m m ie ), S e rg e C o n s tru c tio n c a r p e n t e r s ............. B ria n C o x.

Lissa Coote M a lc o lm C ro m ie L a z a re ff (C o lin ).

K en S tic k e r A s s t a rt d ire c to r ........... G ra e m e D u e s b u ry S tandby p r o p s ......................... Clark M unro Synopsis: M e la n ie a n d T o m w e re th e b e st S ta n d b y c a rp e n te r ..................

G ra e m e S ang C o s tu m e d e s ig n e r .........

C a m illa R o u n tre e C h oreography ...........................David Atkins o f frie n d s . . . u n til th e y fa ll in lo ve . W ill th e y C o n s tr u c tio n m a n a g e r .................... B ill H ow e M a k e -u p ......................................... S a lly G o rd o n Asst c h o re o g ra p h e r..............A n d ris Toppe live h a p p ily e v e r a fte r?

A s s t e d ito r ...................................K a re n F o ste r Scenic a r t i s t ............ Elizabeth Leszczynski M a k e -u p a s s is ta n t ......... R o b e rn P ic k e rin g E d g e n u m b e r e r .......................S a n d y L a id lo r H a ir d r e s s e r ....................................................... W illi K e n ric k C arpenters ............................... Rory Forrest, N e g. m a t c h i n g ...................... M a rg a re t C a rd in C hris Jones, S e a m s tre s s 1 ....................................R u th T ic k le U n it n u rs e ................................ T o n i O k k e rs e Guy M iller S e a m s tre s s 2 .................................................. R u th M u n ro e S tu n ts c o -o rd in a to r ................K e rry R o ssa ll W a rd ro b e a s s is ta n t ..............F io n a N ic h o lls Set construction .....................Alan Fleming S t u n t s ............................................. G le n B o sw e ll, S ta n d - b y p r o p s ............................... Ro B ru e n Asst edito r .............................Duncan Taylor R ic h a rd B oue.

S ta n d - b y p ro p s a s s is ta n t . . . .G re g N e lso n M usical d ire cto r ..................... M ark M offatt Z e v E le fth e rio u S p e c ia l e f f e c t s .............................................R e ece R o b in s o n Supervising S till p h o t o g r a p h y ..........................B a rry P ea ke A s s t s p e c ia l e ffe c ts ..................... P e te r G lo s s sound edito r .......................Paul Maxwell B e s t b o y .......................................C o lin W illia m s A rt d e p a r tm e n t a s s is ta n t . S te ve F u lle rto n D ubbing a s s is ta n t.................. Anne Breslin P u b lic it y .......................... C a rlie D e a n s (A u s t).

A rt d e p a r tm e n t a n im a ls ..............Earl G a n o Editing assistant .......................... Lindy Trost D e n n is D a v id s o n & A ss o c . (L .A .)

H o rs e m a s t e r ..............................R ay W in s la d e S tu n ts '............................................................ Dale Aspin, U n it p u b lic is t ............................... B en M itc h e ll A s s t e d ito r .................................. K a re n W h ite r Reece Robinson C a t e r in g ............................................................D a vid W illia Sm tills p h o t o g r a p h y .................. P e n n y T w e e d ie A e r ia lis t ..................................... Tim C oldw ell L a b o r a to ry ........................................... C o lo rfilm W r a n g le r s ................................ J im W illo u g h b y , Still p h o to g ra p h y ...........................Bliss Swift L a b . lia is o n ..................................... B ill G o o le y B a rry G ro v e s Singing coach ........................... Janice Slater L e n g th ....................................................... 94 m in s W ra n g le rs ' a s s is t a n t ...................................... J a n M itc h e ll Band coach ...........................Buzz Bidstrup G a u g e ................................ 3 5 m m A n a m o rp h ic B e s t b o y ...................................... R ic h a rd C u rtis W ra n g le r ..........................................Dale Aspin P a n a v is io n U n it r u n n e r s ...................... A n to n y S h e p h e rd , R u n n e r........................................... Peter Page S h o o tin g s t o c k ............K o d a k E a s tm a n c o lo r Ian B illin g Unit pub licist ................................Fran M oore U n it n u r s e .........................................................S a lly W a lk e r C a te rin g ............................. Cecil B. De Meals On Wheels A b o rig in a l a d v is e r ..................V ik k i C h ris tie

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BREAKFAST IN PARIS P ro d , c o m p a n y ..........................J o h n L a m o n d M o tio n P ic tu re E n te rp ris e s D ist. c o m p a n y .................................. R o a d s h o w P ro d u c e r .............................

John Lam ond D ire c to r ........................................ J o h n L a m o n d S c r ip t w r it e r ........... .’ .....................M o rr is D a lto n S o u n d re c o rd is t ......................... J o h n R o w le y E d i t o r ......................................................... J ill R ice C o m p o s e r ............................................B ria n M a y E xec, p ro d u c e r ........... C in e m a E n te rp ris e s A s s o c , p ro d u c e r ...................... M ic h a e l H irs h P ro d , s u p e r v is o r ........................................... J o h n C h a se P ro d , s e c re ta ry ................................ A n n M u d ie P ro d , a c c o u n ta n t .................. G ra e m e W rig h t 1st a sst d ir e c to r ...................... R o ss H a m ilto n 2 nd a sst d ir e c t o r ......................... B illy B a x te r 3 rd a sst d i r e c t o r ......................... S tu a rt W o o d C o n tin u ity ......................................... J u lie B a te s P ro d u c e r's a s s is t a n t ........... M ic h e le W ie n e r D ire c to r's a s s is t a n t ........... D e n is e P a tie n c e L ig h tin g c a m e ra m a n ......... R o ss B e rry m a n F o cu s p u l l e r ........................................................ Ian J o n e s C la p p e r /lo a d e r ......................... D a via S te v e n s K ey g r i p .............................................................. N o el M u d ie A sst g rip ...........................................B a rry B ro w n G a f f e r .............................................. L in d s a y F o o te B o o m o p e ra to rs ................... S te v e n H a g e rty , A n d re w R a m a g e A rt d i r e c t o r ................................ S te p h e n W a lsh A s s t a rt d ir e c to r ...................... E ric G ra d m a n C o s tu m e d e s ig n e r fo r M s P a rk in s ......................... P ru e A c to n M a k e -u p ............................................J o s e P erez H a ir d r e s s e r ......................................... J o s e P erez W a rd ro b e c o - o r d i n a t o r .............. J a n e H o w a t S ta n d b y p r o p s .......................H e le n K a v a n a g h S p e c ia l e f f e c t s ............................................... B ria n P e a rc e C a rp e n te rs ................................... H u g h B a te u p , R o b e rt H e rn , P e te r H e rn , S te v e n P o o le S et c o n s tru c tio n ................................... Ian D o ig S till p h o t o g r a p h y ..................G ra e m e W e b b e r B est b o y .........................................G a ry S c h o le s P u b lic it y ................T a k in g C a re O f B u s in e s s U n it p u b lic is ts ................................J u d y G re e n , P e te r M u rp h y C a t e r in g ......................... K e rry B y rn e C a te rin g S t u d io s .......................P o rt M e lb o u rn e S tu d io L a b o ra to ry ................................................C in e v e x Lab. lia is o n ....................................................... A la n J a m e s L e n g th .........................................................90 m in s G a u g e .............................................................3 5 m m S h o o tin g s t o c k ............................. E a s tm a n c o lo r S c h e d u le d re le a s e ........... N o v e m b e r. 1981 C a st: B a rb a ra P a rk in s . R od M u llin a r.

S y n o p s is : T h e r o m a n c e t h a t d e v e lo p s b e tw e e n a s u c c e s s fu l d re s s d e s ig n e r a n d a p h o to g ra p h e r. S e t a g a in s t th e b a c k d ro p o f ro m a n tic P a ris, it tra c e s th e re s o lu tio n o f th e ir c o n flic ts a n d th e ir fin a l u n io n .

DOCTORS & NURSES P ro d , c o m p a n y .................................. U n iv e rs a l E n te rta in m e n t C o rp o ra tio n P ro d u c e r ................................ M a u ric e M u rp h y D ire c to r ...................................M a u ric e M u rp h y S c r ip t w r it e r s .................................................M o rris G le itz m a n , D o u g E d w a rd s , R o b yn M o a se .

T o n y S h e ld o n B ase d on the o rig in a l id e a b y ................M a u ric e M u rp h y P h o t o g r a p h y .....................................J o h n S e a le S o u n d re c o rd is t ............................ T im L lo y d E d i t o r ..................................................................G re g R o p e rt C o m p o s e r .........................................................M ik e H a rv e y P ro d , s e c r e t a r y ..............H a rrie t A y re -S m ith P ro d , a c c o u n ta n t ..................R ic h a rd H a rp e r M anagem ent 1st A s s t d i r e c t o r ......... C h a rle s R o th e rh a m 2 nd A s s t d ire c to r .......................... P am B ro w n C o n tin u ity ..............................C a ro lin e S ta n to n F o cu s p u l l e r .......................R ic h a rd M e rry m a n C la p p e r/lo a d e r ................ G e o ffre y W h a rto n K ey g r i p ................................ G ra h a m L itc h fie ld G a ffe r ............................................. Reg G a rs id e E le c t r ic ia n .....................................S a m B ie n s to c k B o o m o p e ra to r ........................J a c k F rie d m a n A rt d i r e c t o r .............................................. B o b H ill C o s tu m e d e s ig n e r .............J u d ith D o rs m a n M a k e -u p ......................................... V iv M e p h a m H a ir d r e s s e r ................................G a yle E d m o n d s W a rd ro b e ....................... R o b yn S c h u u rm a n s P ro p s b u y e r ........................... S a n d y W in g ro v e S ta n d b y p r o p s ..........................................R ic h a rd W a lsh A sst e d ito r ............................. M ic k y O ’S u lliv a n M u s ic a l d ir e c to r ......................... M ik e H a rv e y M ix e r ............................................ P e te r F e n to n S till p h o t o g r a p h y ........................................ M ik e G id d e n s D ia lo g u e c o a c h ................................ D in a M a n n T e ch , a d v is o r .............................................. N e rid a T ric k R u n n e r ...................................D a vid O x e n b o u ld P u b lic it y ................................................................ Lyn T h o r b u rn C a te rin g ...........................

C e c il B De M e a ls O n W h e e ls M ix e d at ......................................U n ite d S o u n d L a b o ra to ry ..............................................C o lo rfilm L ab . lia is o n ........................................................ B ill G o o le y L e n g th ...................................................... 90 m in s.

G a u g e ............................................................. 3 5 m m S h o o tin g s t o c k ............................. E a s tm a n c o lo r S c h e d u le d re le a s e ............C h ris tm a s . 1981

CINEMA PAPERS November-December — 487

with no parking hassles.

It also made

SOUNDSENSE to change from Mingara Films Pty Ltd to . ..

SOUNDSENSE FILM PRODUCTIONS PTY LTD.

■ Can be attached to fences, doors, car bumper bars, piping and any other solid materials.

■ Quick attachment; unique sliding arrangement, no need to turn and turn threaded shafts.

■ Versatile, two attachment points plus the ball cup can be rotated to any angle desired.

■ Ideal for small, tight locations where tripods do not fit.

■ Strong, specially selected high strength aluminium and steel construction.

R.E. Miller Pty. Ltd. 30 Hotham Parade, Artarmon,2064 phone:(02) 439-6377

The name behind the name is still the same BRIAN MORRIS Executive Producer of award winning documentaries 1979 SAMMY, 1980 LOGIE, 1981 UNITED NATIONS MEDIA PEACE PRIZE. THE SPECIALISTS IN FILM 8c TV DOCUMENTARIES. PLEASE NOTE NEW ADDRESS 8c PHONE NUMBER.

SOUNDSENSE

Film Productions Pty. Ltd.

343 SAILORS BAY ROAD, SYDNEY, NORTHBRIDGE N.S.W. 2063.

P.O. BOX 97 NORTHBRIDGE N.S.W. 2063.

TELEPHONE (02) 9 58 1088 (3 lines).

3RD FLOOR, STANBfTH HOUSE, 26 CUSTOM ST EAST, AUCKLAND. NEW ZEALAND. RHONE 7 7 9 -0 3 3 .

A D ELA ID E FILM SERVICES TEL

M O T IO N PICTURE LIGHTING EQUIPM ENT RENTAL

2 Ó 4 2 2 3 7

OFFICE 3 Patterson Close Vista S.A.5091 POSTAL ADDRESS PQ Box 436 Nth. Adel.

S.A. 5006

We are a company specialising in set construction, props and special effects for film, television and still photography. All our sets and effects are of a first rate standard and encompass the full spectrum.

Our policy of keeping overheads low allows us to produce work at a reasonable rate, which we hope will benefit you the customer.

INTERESTED?? CALL (03) 584 9808 or A.H. 772 9019

O

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I A

T I O

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DESIGN AND CONSTRUCTION 3 /1 6 Charlton Avenue, Cheltenham, 3192.

C a s t : B e rt N e w to n (M r C o d y ), P a m e la S te p h e n s o n (M s W a ve ), G ra e m e B lu n d e ll (M r X), A n d re w M c F a rla n e (M illig a n ), J u n e S a lte r (M rs C llq u o t), D re w F o rs y th e (K a tz), R ic h a rd M e ik le (P re s id e n t), M ig u e l L o p e z (D r J u a n P e ro n ), M a ry A n n e D a vid so n (Is o b e l G o ld ), T e rry B a d e r (M r G le e so n ).

S y n o p s is : T h e lo ve s, th e liv e s , th e d re a m s a nd th e fe a rs of th e In c re d ib ly y o u n g d o c ­ to rs a nd n u rs e s . B ut, in th is a d a p ta tio n of th e o ft-to ld s to ry , th e d o c to rs a n d n u rs e s a re p la y e d b y c h ild re n , th e p a tie n ts by a d u lts .

DOUBLE DEAL

P u b lic ity ................................W e n d y C h a m b e rs L a b o r a to ry .................. C in e F ilm L a b o ra to ry L ab . lia is o n .................................. Cal G a rd in e r L e n g th .......................................................85 m in s G a u g e .............................................................1 6 m m S h o o tin g s t o c k .............................E a s tm a n c o lo r C a s t: A ile e n B ritto n (M is s M a rk h a m ), H e n ri S z e p s (M r W ilb e r f o r c e ) , J o h n C o b le y (M o rris ), Ray M e a g h e r (S ta k o v ic h ), S im o n e B u c h a n a n (K a te ), S c o tt N ic h o la s (B e n ), J e re m y S h a d lo w (S p id e r), R o b e rt G e a m m e l (R o c c o ), T o n y Lee (A h L eo ng ).

S y n o p s is : W h e n th r e e c h ild re n c ro s s th e h a r b o r to e x p lo r e C a s tle H o u s e — a s tra n g e , u n o c c u p ie d m a n s io n — th e y e n ­ c o u n te r s in is te r b a d d ie s , a k id n a p p in g and a h ila rio u s , e c c e n tric la d y. E x c ite m e n t, m y s te ry a n d n o n -s to p a c tio n a n d ro ll- in th e -a is ie c o m e d y fo r c h ild re n .

S till p h o t o g r a p h y .......................................... M ik e R oll T itle d e s ig n e r ..................................Fra n B u rk e B e s t b o y .................................... C o lin W illia m s R u n n e r s .................................... M a rd l K e n n e d y , R ic h a rd H o b b s P u b lic it y .......................................R o a d s h o w and L im e lig h t P ro d u c tio n s C a t e r in g ............................................................ J o h n a nd S usa n F a ith fu ll M ix e d at ..........................................................A tla b P ro d , c o m p a n y .................. S p la s h P ic tu re s L a b o ra to ry ..................................................... A tla b P ro d u c e r .....................................L ee W h itm o re L e n g th ........................................................ 90 m in s D ire c to r .......................................Lee W h itm o re G a u g e ............................................................ 3 5 m m S c rip tw rite r ................................Lee W h itm o re S h o o tin g s t o c k .............................E a s tm a n c o lo r B a se d on th e s h o rt S c h e d u le d re le a s e . . . D e c e m b e r 10, 1981 s to ry by .................................. L ee W h itm o re C a s t: N e ll S c h o fie ld , Ja d L a p e lja , G e o ff P h o to g ra p h y ................................J e n n y O s c h e R hoe, T o n y N o g a e s, Ja y H a c k e tt, Ned S o u n d re c o rd is t .............................. P at F iske L a n d e r, S a n d y P au l, L e a n d a B re tt, C h a rle s E d ito r ......................................... D e n ise H a sle m T ln g w e ll, K irr illy N o la n.

P ro d , d e s ig n e r ......................... L ee W h itm o re C o m p o s e r ................................ N e d W e th e re d M u s ic p e rfo rm e d by .. C h ris tin e C o rn is h N a rra to r .......................................Lee W h itm o re SAVE THE LADY A n im a tio n .................................. L ee W h itm o re L a b o ra to ry ........................................... C o lo rfilm P ro d , c o m p a n y ..............................T a s m a n ia n B u d g e t ....................................................... $ 1 5 ,0 0 0 F ilm C o rp o ra tio n L e n g th ...................................................8 m in s D ist. c o m p a n y ......... Y o u n g A u s tra lia F ilm s G auge ...........................................................3 5 m m P r o d u c e r ............................................B a rry P ie rc e S h o o tin g s to c k .........................

E a s tm a n c o lo r D ire c to r ............................................... L eo n T h a y P ro g re s s ............................................ P ro d u c tio n S c rip tw rite rs ................................J o h n P a lm e r, S c h e d u le d re le a s e ................O c to b e r 1983 Y o ra m G ro s s P h o t o g r a p h y .....................................................G e rt K ircSh ynneor p s is : A re c o lle c tio n , in a n im a te d fo rm , o f N e d W e th e re d , w h o w a s b o rn in K a lS o u n d re c o rd is t ............. J o h n S c h ie fe lb e in o ogrlie in 1895 a n d d ie d in S y d n e y in 1961, E d i t o r ....................................................................Jo n B o wglin se en th ro u g h th e e ye s o f a little g irl w h o s e C o m p o s e r .................................P e te r M c K in le y fa m ily he u se d to v is it in th e la st y e a rs o f his E xec, p ro d u c e r ............................. J o h n H o n e y life.

P ro d , m a n a g e r ........................D a m ia n B ro w n

ANIMATION

NED WETHERED

Prod, com pany ................ Rychem ond Film Productions Dist. com pany ...............................(overseas) Hem dale Leisure Corp.

P ro d u c e rs .................................................. Brian Kavanagh; FOUR-HANDED DUET Lynn Barker Director ..................................Brian Kavanagh ' (fo rm e rly P a rtn e rs ) S c r ip tw rite r .............................Brian Kavanagh Based on the D ist. c o m p a n y ..............................................G U O original idea b y .................Brian Kavanagh P r o d u c e r s .................................... T o m B u rs ta ll, P h o to g ra p h y ........................... Ross Berrym an T im B u rs ta ll Sound recordist .................... John Phillips D ire c to r ......................................... T im B u rs ta ll E d it o r ................................................Tim Lewis P h o t o g r a p h y ................................ Dan B u rs ta ll C o m p o s e r.............................Bruce Sm eaton S o u n d re c o rd is t ........................... P hil S tirlin g Exec, produce r ............................. John Daly E d i t o r .................... E d w a rd M c Q u e e n -M a s o n Assoc, p r o d u c e r ....................... Carlie Deans A rt d ir e c t o r .................................. H e rb e rt P in te r Prod, s u p e rv is o r ...................................... John Chase C o m p o s e r ....................................P e te r S u lliv a n Prod.

A s s o c , p ro d u c e r ......................C h ris tin e S uli co -o rd in a to r . . . Carolynne C unningham P ro d , c o -o rd in a to r .................... H e le n L isto n Prod, accountant .................... Lynn Barker P ro d , s e c re ta ry ........................... H e le n L is to n Prod, a s s is ta n t............................................. LynDevine P ro d , s e c r e t a r y ................................................ P at C a s p e rs P ro d .'a c c o u n ta n t ........................... P atti S c o tt 1st Asst d ir e c t o r ................. Ross Hamilton 1st A s s t d i r e c t o r ....................... J a m e s P a rk e r 1st a sst d ire c to r ........................J a c k Z a lk a ln s 2nd Asst d ire cto r ..........................Bill Baster 2 nd A s s t d ire c to r .................... S tu a rt B e a tty 2 nd a sst d ir e c t o r ......................... Ian B e rw ic k 2nd unit d ir e c t o r ...................Brian Kavanagh 3 rd a sst d i r e c t o r ......................... G aye A rn o ld 3 rd A s s t d ir e c t o r s ................M a rc u s S k ip p e r, Continuity ...............................Shirley Ballard C o n tin u ity ................................D a p h n e C ro o k s D u n c a n M a c a rth u r P rodu cer’s a s s is ta n t............Helen Kavanagh F o cu s p u l l e r ...................... J o h n J a s iu k o w ic z C o n tin u ity .....................................C a rm e n H u g o Focus p u lle r ................................... Ian Jones C la p p e r/lo a d e r .................................J a n D a lla s C la p p e r/lo a d e r ........................... P h illip C ro s s C la p p e r/lo a d e r .............................. Phil Cross K ey g r i p ......................................G a ry C le m e n ts C a m e ra a s s is ta n t ........... P e te r V an S a n te n Special fx ........................... Conrad Rothman K ey g r i p ........................................................... D a vid C a sBsoaor m o p e ra to r .......................... D a vid C re a g h G a ffe r .......................................Lindsay Foote A s s t g rip ......................................P e te r K e rs h a w A rt d ir e c t o r ........................................................ Jo n B o w lin g Boom operator ...........................Ray Phillips G a f f e r ..............................................B ria n A d a m s M a k e -u p ................................F e lic ity N e w m a n Art d ir e c to r ..................................... Jill Eden B o o m o p e ra to r ..............................Ray P h illip s M a k e u p a s s is ta n ts ......... M a rg a re t P ie rce , THE DEVIL CALLED Asst art d irector .......................... Phil Eagles M a k e -u p ..................................... L o is H o h e n fe ls P a tty A g e rid is M ake-up ..............................Deryck De Niese H a ir d r e s s e r ............................................ N d u m s k y S a loAns s t e d ito r ..................................M e g a n P u rc e ll P ro d , c o m p a n y . . . . D a h w illy P ro d u c tio n s H a ird re s s e r............................... Pietra Robins W a rd ro b e .......................................J a n e H yla n d M ix e r .........................................P e te r M c K in le y P ro d u c e r .....................................M ira n d a B ain W ardrobe ..................................... Anna Jakab P ro p s b u y e r ........... ............. P a tric k R e a rd o n L e n g th ...................................................... 80 m in s D ire c to r ...................................... S te p h e n R adie Props b u y e r .............................Nick Hepworth S ta n d b y p r o p s ............................................... J o h n P o wCast: d itc h W a lla s E ato n (T ro tte r), J o h n E w a rt S c rip tw rite r ............................... S te p h e n R adie Standby p r o p s .............................................KenHazelwood S et d e c o r a t o r . . N ic h o la s V an R o o s e n d a e l (U n c le H a rry ), B ill K e rr (M a c D u ff), D e s m o n d P h o to g ra p h y .................... A n d re w d e G ro o t Special e ffe c ts ...................C onrad Rothman S till p h o t o g r a p h y ............................S uzy W o o d T e s te r (C a p ta in ), J o h n C o b le y (M e n ia l), S o u n d re c o rd is t ......................M a ria n C. H ill C o n s tru c tio n .....................Geoff Richardson, J o h n U n ic o m b (M in is te r), B a rry R u g g le s B est b o y ........................................G a ry P lu n k e tt E d ito r ...........................................S te p h e n R a die Ian Doig (C o l), F ra n k ie D a v id s o n (B lu e ), M ira n d a C a t e r in g ......... M o b ile M o v ie M e a l M a c h in e C a m e ra a s s is ta n t ......... S te ve M a c D o n a ld Asst edito r ............................... Ken Sallows C a rtle d g e (Jo ), R o b e rt C la rk s o n (S p e cs).

2 nd u n it p h o to g ra p h y ......... M a ria n C. H ill L e n g th .................................................... 100 m in s Still p h o to g ra p h y ...................................... Suzy W ood Synopsis: F o u r c o u n try c h ild re n fin d an o ld G a u g e .........................................................35 m m S tu n ts c o -o rd in a to r .....................M a tt B u rn s Best boy ................................... Gary Scholes s te a m fe rry w h ic h Is a b o u t to be d e m o lis h e d S h o o tin g s t o c k .............................E a s tm a n c o lo r L a b o ra to ry ................................ V ic to ria n F ilm R u n n e r....................................... Stuart W ood by th e M a ritim e T ra n s p o rt C o m m is s io n .

C a s t: M ik e P re s to n (R ay), G a ry Day (T e rry ), L a b o ra to rie s P u b lic ity ..................................... Carlie Deans T h e y a re a b le to fo il the d e m o litio n p la n s W e n d y H u g h e s (B a rb a ra ), D ia n n e C ile n to B u d g e t ....................................................... $ 2 3 ,0 0 0 Unit pub licist ........................... Peter M urphy a nd sa ve th e fe rry , th e "L a d y H o p e ” . A (M a rg o t). M ic h a e l P ate (G ie s m a n ). V a n e ssa L e n g th ................................40 m in s (a p p ro x .)

Laboratory .........................................Colorfilm c o m e d y fo r c h ild re n .

L e ig h (D ia n n e ). W a rw ic k C o m b e r (B ria n G auge ...........................................................1 6m m Lab. lia is o n ...................................Bill Gooley In g e rs o ll), R od M u llin a r (O v e rla n d ), C la ire S h o o tin g s to c k ........................... E a s tm a n c o lo r B u d g e t.............................................................. $1m illion B in n e y (J a c k i N e s b itt), S ig rid T h o rn to n P ro g re s s ................................. P o s t-p ro d u c tio n (C a ro lin e ).

Shooting s to c k .......................... Eastm ancolor C a s t: A rp a d M ih a ly (K a rl), H o w a rd S ta n le y Cast: Angela Punch M cG regor (Christina S y n o p s is : A c o n te m p o ra ry film . ( S te w a r t) , J a n e t A n d r e w - A r t h a (C la ra ), SWEET DREAMERS Stirling), Louis Jourdan (Peter Stirling), D a ryl P e lliz te r (P u n k ), D a na e N o b e s (P u n k ’s Diane C raig (June S tevens), W arw ick g irlfrie n d ) , A n n T u o h y (B a s h e d w o m a n ), P ro d , c o m p a n y ................T .C . P ro d u c tio n s C om ber (young man), Bruce Spence (Doug P ro d u c e r ...............................

L e s le y T u c k e r M a tt B u rn s (H u s b a n d ), H a ro ld B a ig e n t PUBERTY BLUES M itchell), Peter C um m ins (Detective Mills), (R o o m in g -h o u s e m a n a g e r).

D ire c to r .........................................T o m Cowan S y n o p s is : K a rl, a fa c to ry w o rk e r, is s lo w ly Patty C rocker (C hristina's m other), Kerry S c rip tw rite rs ................................. T o m C o w a n , P ro d , c o m p a n y . . . . L im e lig h t P ro d u c tio n s W alker (Sibyl A nderson). Danee Lindsay d riv e n m a d by th e in d u s tria l e n v ir o n m e n t In L e s le y T u c k e r D ist. c o m p a n y .................................. R o a d s h o w ( ju n io r s e c r e ta r y ) , J u n e J a g o (M rs w h ic h he lives.

P r o d u c e r s ........................................................ J o a n L o n gB,ase d on th e o rig in a l id e a Coolidge).

• M a rg a re t K e lly by ............................................. . T o m C o w a n , Synopsis: A psychological thriller, its plot is L e s le y T u c k e r D ire c to r .................................. B ru c e B e re s fo rd a mystery of m anipulation and d ou ble­ S c r ip t w r it e r ............................................. M a rg a re t K e llyP h o to g ra p h y ................................ B ria n P ro b y n d e a lin g a b o u t th e e le g a n t, b e a u tifu l S o u n d re c o rd is t .................. P au l S c h n e lle r IN SEARCH OF THE B ase d on th e n ove l Christina Stirling, her urbane, successful E d ito r ............................................ T o m C o w a n by ............................................ K a th y L e tte a nd JAPANESE m a n - o f- th e - w o r ld h u s b a n d , P e te r, a A rt d ire c to r ................................ L e sle y T u c k e r G a b rle lle C a re y daunting, sensuous young man and Peter's C o m p o s e r ......................................... B re tt C a b o t P ro d , c o m p a n y ............S w in b u rn e In s titu te P h o t o g r a p h y ..............................D on M c A lp in e efficient, devoted secretary.

S o u n d e d ito r ................... P e te r S o m e rv ille F ilm a nd TV S c h o o l S o u n d re c o rd is t .......................G a rry W ilk in s

SHORTS

M ix e r .................. ..................J u lia n E llin g w o rth E d i t o r .................................... W illia m A n d e rs o n C o m p o s e r s .........................................................Les G o cLke, n g th .................................................... 96 m in s G auge .........................................................1 6 m m T im Finn P ro d , m a n a g e r ...................... G re g R ic k e ts o n C a s t: R ic h a rd M o ir (W ill D a n ie ls), S ue MYSTERY AT CASTLE HOUSE L o c a tio n m a n a g e r s ........................................ P hil R ich, S m ith e rs (J o s e p h in e R u sse ll), A d a m B ow en S u e P a rk e r (S tu a rt), F ra n k ie R a y m o n d ( L a n d la d y ) , P ro d , c o m p a n y ........................... In d e p e n d e n t P ro d , s e c re ta ry ..............................H e le n W a tts R ic h a rd T ip p in g (B u s k e r), M a is ie T u rn e r P ro d u c tio n s P ro d , a c c o u n ta n t ......................... P e n n y C a rl (Y o u n g a c tre s s ), G a b rie l (W a itre s s ).

P r o d u c e r ................................ B re n d o n L u n n e y P ro d , a s s is t a n t ...........................................R e n a ta W ilsSynopsis: on T w o y o u n g A u s tra lia n s m e e t in D ire c to r .......................................P e te r M a x w e ll 1st a s s t d ire c to r .......................M a rk E g e rto n L o n d o n a n d in s p ire d b y th e ir d re a m s o f S c r ip t w r it e r s ..............................S tu a rt G lo v e r, 2 n d a s s t d ir e c t o r ................M a rs h a ll C ro s b y m a k in g film s in A u s tra lia fa ll in lo ve a nd M ic h a e l H o h e n s e e 3 rd a sst d i r e c t o r ...................................... R e n a ta W ilscoenle b ra te .

B ase d on th e o rig in a l id e a C o n tin u ity ........................................ M o y a Ice to n b y .....................................................G e o ff B e a k P h o t o g r a p h y .......................................................P hil P ikeP ro d u c e r's a s s is t a n t......... C y n th ia B la n c h e F o r d e ta ils on L a d y , S ta y D e a d se e issu e C a s t in g .......................................... A lis o n B a rre tt S o u n d re c o rd is t ........... R o w la n d M c M a n ls No. 34, p .387.

C a m e ra o p e ra to r .................. Don M c A lp in e E d i t o r ................................................ B o b C o g g e r F o cu s p u l l e r .....................................D a vid B u rr E xec, p ro d u c e r ..............................G e n e S c o tt C la p p e r/lo a d e r ..............................D e rry Fie ld A s s o c , p r o d u c e r .......................R u ss e ll H u rle y K ey g r i p ................................M e rv M c L a u g h lin P ro d , c o -o rd in a to r ..................... P e te r A b b o tt A s s t g rip .................................... P e te r M a s d e n P ro d , m a n a g e r ......... C h ris to p h e r G a rd in e r G a f f e r .................................................. R o b Y ou n g P ro d , s e c re ta ry .................. W e n d y C h a p m a n c tr ic ia n ......................................................... S am B le n s to c k P ro d , a s s is t a n t ............................................... S ea n M c LEole u ry B o o m o p e ra to r ..................

M a rk W a s lu tu k 1st a s s t d ire c to r . . . .C h ris to p h e r G a rd in e r A grth a d nir e c t o r ................................D a vid C o p p in g 2 n d a s s t d ir e c t o r ............................................P au l C a lla C o s tu m e d e s ig n e r ..............S u e A rm s tro n g C o n tin u ity ...............................C a th e rin e S a u te r M a k e -u p .................. .........................J u d y L ove ll C a s t in g ................................ M itc h C o n s u lta n c y H a ir d r e s s e r ....................................... J u d y L o ve ll C a m e ra a s s is ta n t ........................ K e ith B ry a n t K e y g r i p ................................ M e rv M c L a u g h lin W a rd , a s s is t a n t ........................................... C a th y J a m e s 2 n d u n it p h o to g ra p h y .................. P hil D o rity, P r o p s ........................................................... D e rry c k C h e tw y n G a rry M a u n d e r P ro p s b u y e r ............................................... W e n d y S u g a r G a f f e r ....................................................................Ray A n gS ta n d b y p r o p s .........................................D e rry c k C h e tw in B o o m o p e ra to r ........................... Ja n M c H a rg A s s t p ro p s ............................... D e n n is M a n s o n A rt d i r e c t o r .................................... J a k o b H o rv a t A s s t e d ito r ............................J e a n n in e C h la lv o W a rd ro b e ......................................F io n a S p e n c e S o u n d e d ito r .................... W illia m A n d e rs o n P r o p s ................................................................. B ria n E d mEodnitin d sg a s s is ta n ts .................... M a rk D ’A rc y , A s s t e d ito r ...........................M ic k e y O ’S u lliv a n D e n ise H a sle m N eg. m a t c h i n g ................................C h ris R o w e ll M ix e r ......................................... D o u g la s T u rn e r S till p h o t o g r a p h y ......................................... F io n a S p eAnscset, m i x e r ........................... J u lia n E llin g w o rth G a rry M a u n d e r S t u n t s ...................................................G ra n t P age

C a s t : H o w a rd S ta n le y (S ta n le y B u rn s a n d h is fa n ta s ie s ), R o g e r P u lv e rs (P ro fe s s o r W illia m S. S tic k ), A m a n d a M a (M a s k e d lo v e r), C h o n g W e n g H o o (G ra p h ic d e ­ sig n e r), Ue K y o g o (J a p a n e s e m a n ).

S y n o p s is : A n A u s tr a lia n b u s in e s s m a n d e c id e s to e x p o rt s tu ffe d b u d g ie s to J a p a n , a nd s e ts o u t to u n d e rs ta n d th e J a p a n e s e .

A n e x p e rim e n ta l s a tire on W e s te rn h a n g ­ ups.

THE SAME STREAM (p re v io u s ly B E F O R E T H E F L O O D ) P ro d , c o m p a n y ........... C r o s s c u rre n t F ilm s D ist. c o m p a n y ..............C r o s s c u rre n t F ilm s P ro d u c e r .................................. J a m e s B ra d le y D ire c to r .................................... J a m e s B ra d le y S c rip tw rite r ..............................J a m e s B ra d le y B a se d on th e o rig in a l id e a by ................................ J a m e s B ra d le y P h o to g ra p h y ........................... A n d re w L e s n ie S o u n d re c o rd is ts ................ P au l S c h n e lle r, B ru c e E m e ry E d ito r ............................................ G e o ff B e n n e tt C o m p o s e rs .................................. K e n d a l B ird , B ru c e E m e ry P ro d , m a n a g e r .....................S u sa n L a m b e rt P ro d , a s s is ta n t .......................... J o e l P e te rs o n C o n tin u ity ......................................... L in d a Ray S c rip t a s s is ta n ts ........................C h ris M c G ill, S a lly D a rn le y , V e ra P le v n ik C a s tin g c o n s u lta n ts . . M itc h C o n s u lta n c y L ig h tin g c a m e ra m a n ......... A n d re w L e sn ie C a m e ra o p e ra to r ................. A n d re w L e sn ie F o cu s p u lle r ............................ K im B a tte rh a m C la p p e r/lo a d e r ....................R o b y n P e te rs o n C a m e ra a s s is ta n t ................. K im B a tte rh a m 2 nd u n it p h o to g ra p h y . . M ic h a e l C o rd e ll, C h ris N o o n e M a k e -u p .................................. B rita K in g s b u ry H a ird re s s e r .....................M itc h a G o -G o -G o A s s t e d ito rs ..............................J o H o rs b u rg h , J a m e s B ra d le y N eg. m a tc h in g .....................................C o lo rfilm M u s ic p e r fo rm e d by ......... K e n d a l B ird & B ru c e E m e ry, X L C a p ris , M a g ic P u d d in B a n d , T h e L a u g h in g C lo w n s S o u n d e d ito r .............................G e o ff B e n n e tt M ix e r ............................A la s d a ir M a c F a rla n e S till p h o to g ra p h y .................... J o e l P e te rs o n O p tic a ls .................................................. C o lo rfilm T itle d e s ig n e r .......................... J a m e s B ra d le y C a te rin g ......................................... S a lly D a rn le y M ix e d a t .......................................P a lm S tu d io s L a b o r a to ry ............................................C o lo rfilm L ab . lia is o n .....................R ic h a rd P io rk o w s k i B u d g e t ........................................................$ 2 6 ,0 0 0 L e n g th .................................................... 23 m in s G auge ........................................................... 1 6m m S h o o tin g s to c k ..............E a s tm a n c o lo r 7247 P ro g re s s .............................................. In re le a se C a s t : J o h n Ley, V e ra P le v n ik .

S y n o p s is : A c o n s e rv a tio n is t w o rk in g to save th e F ra n k lin R iv e r in T a s m a n ia 's S o u th W e st w ild e rn e s s c o m e s to S y d n e y w h e re he m e e ts a w o m a n w h o s e life s e e m s to ta lly d iffe re n t to his. T h e c o n flic t in th e ir d e v e lo p ­ in g re la t io n s h ip is h e ig h te n e d b y th e c o n tra s t b e tw e e n lo c a tio n s in S y d n e y a nd T a s m a n ia .

DOCUMENTARIES

P ro d u c e r ...................................... S o lru n H o aa s D ire c to r ............................

S o lru n H o aa s S c rip tw rite r ..................................S o lru n H o aas B ase d on th e o rig in a l id e a by ................................. S o lru n H o aa s, w ith c o n trib u tio n s fro m R o g e r P u lve rs, H o w a rd S ta n le y P h o to g ra p h y ............................... S o lru n H o aa s S o u n d re c o rd is ts ....................... R ic D o b so n , • (W o rk in g title ) M a rio n C. H ill, P ro d , c o m p a n y ............... B o w e r B ird F ilm s N ig e l B u e s s t P ro d u c e r ..............................................P at Fiske E d ito r ............................................. S o lru n H o aas D ire c to r ................................................P at F iske C o n tin u ity ............................. J u d ith H e w itso n L ig h tin g ............................................. R ic D o b so n , S c rip tw rite r ......................................... P at F iske M a rio n C. H ill P h o to g ra p h y .............................M a rth a A n s a ra S o u n d re c o rd is t ..............L a w rie F itz g e ra ld F o cu s p u lle r .................. K a th ie A rm s tro n g M a k e -u p ................................. J u d ith H e w its o n E d ito r ..............................................J im S te v e n s S till p h o to g ra p h y ......................... R ic D o b s o n , P ro d , a s s is ta n t .......................S a m B ie n s to c k R o g e r P u lv e rs C a m e ra a s s is ta n t ................S a m B ie n s to c k R e s e a rc h .................................. S u e W a rb u rto n A n im a tio n ........................... G e o ffre y C lifto n , S te p h e n F re n ch , N eg. m a tc h in g ......................... J a c k ie G e llin g * J o h n S k ib in s k i, A rtw o rk .............................................P au l R o lp h , S o lru n H o aa s T in a S io n R u n n e r ................................... C a ro le K o s ta n ic h M ix e d at ........................................... C ra w fo rd s B u d g e t ....................................................... $ 3 0 ,5 0 0 L a b o ra to ry .............................................. C in e v e x B u d g e t ........................................................... $ 20 00 L e n g th ................................75 m in s (a p p ro x .)

L e n g th .................................................... 16 m in s G auge ........................................................... 1 6m m S h o o tin g s to c k ................B /W T ri X, P lu s X G auge ...........................................

1 6m m S h o o tin g s to c k ...........................F u ji R e ve rsa l, P ro g re s s . .............................P o s t-p ro d u c tio n K o d a k R e versal S y n o p s is : A h is to ric a l d o c u m e n ta ry on th e N S W B u ild e rs L a b o r e r s ’ F e d e ra tio n fro m P ro g re s s .............................................In re le a s e F irs t re le a s e d ..............D e c e m b e r 11, 1980, th e 194 0s w ith p a r tic u la r e m p h a s is on th e ir S ta te F ilm C e n tre p ro g re s s iv e p o lic ie s , e s p e c ia lly th e G re e n B ans.

FEATURES

BOOTS AND ALL

CINEMA PAPERS November-December — 489

INHERITANCE (w o rk in g title ) P ro d , c o m p a n y ..............A u s tra lia n In s titu te o f A b o rig in a l S tu d ie s F ilm U n it D ist. c o m p a n y ................A u s tra lia n In s titu te o f A b o r ig in a l S tu d ie s F il m U n it P ro d u c e rs ..D a v id a n d J u d ith M a c D o u g a ll D ire c to rs . . . D a v id a n d J u d ith M a c D o u g a ll P h o t o g r a p h y .................... D a vid M a c D o u g a ll S o u n d re c o rd is t ........... J u d ith M a c D o u g a ll E d i t o r s ......... D a vid a n d J u d ith M a c D o u g a ll P ro d , s e c re ta ry ........................... M ic h e le Day P ro d , a c c o u n ta n t ....................

T ib o r V a rg a C a m e ra a s s is ta n t ............C o lin M a c D o u g a ll N a r r a t o r s ......... B. M a s s e y P o o tc h e m u n k a E. P o o tc h e m u n k a I. P o o tc h e m u n k a L a b o ra to ry ........................................... C in e F ilm L ab . lia is o n .................................... M ic h e le Day L e n g th .................................. 60 m in s (a p p ro x .)

G a u g e ........................................................... 1 6m m S h o o tin g s t o c k ................ E a s tm a n c o lo r 7247 P ro g re s s ................................. P o s t-p ro d u c tio n Synopsis: A p o r tr a it o f th re e A b o rig in a l s to c k m e n fro m th re e g e n e ra tio n s of a s in g le fa m ily w h o w o rk on an a ll-A b o r ig in a i c a ttle s ta tio n in th e ir tra d itio n a l c la n c o u n try , s o u th o f A u r u k u n . in n o rth e rn Q u e e n s la n d .

TWO LAWS P r o d u c e r s ..............................C a ro ly n S tra c h a n , A le s s a n d ro C a v a d in i.

J o h n A ve ry, B o r ro lo o la A b o rig in a l C o m m u n ity D ire c to rs .......................B o rro lo o ia A b o rig in a l C o m m u n ity w ith C a ro ly n S tra c h a n , A le s a n d ro C a v a d in i S c r ip t w r it e r s .......................................B o r ro lo o la A b o rig in a l C o m m u n ity P h o t o g r a p h y ................ A le s s a n d ro C a v a d in i S o u n d re c o rd is ts ........... C a ro ly n S tra c h a n .

L in d a M c D in n y E d i t o r s .....................................C a ro ly n S tra c h a n .

A le s s a n d ro C a v a d in i A s s t e d ito rs ................................Isa M c D in n y , L in d a M c D in n y N eg. m a t c h i n g ............................. C h ris R o w e ll L a b o ra to ry ........................................... C in e Film L ab . lia is o n .................................. C al G a rd in e r B u d o e t .......................................................S 70.283

Synopsis: T h e fin a l fe a tu re d o c u m e n ta ry in the " T u rk a n a C o n v e rs a tio n s " trilo g y , c o v e rs th e p e rio d b e fo re film in g The Wedding Camels, an in q u ir y in to h o w p e o p le in a n o m a d ic s o c ie ty v ie w m a rria g e .

L e n g th .................................................. 130 m in s G a u g e ........................................................... 1 6 m m S h o o tin g s t o c k ........................... E a s tm a n c o lo r S c h e d u le d re le a s e ......... S e p te m b e r. 1981 Synopsis: F ilm o f th e B o rro lo o la p e o p le 's s tru g g le fo r th e re c o g n itio n o f A b o rig in a l law .

A WIFE AMONG WIVES P ro d , c o m p a n y ................M a c D o u g a ll F ilm s D ist. c o m p a n y . . E x te n s io n M e d ia C e n te r.

U n iv e rs ity o f C a lifo rn ia . B e rk e le y P ro d u c e rs ..D a v id a n d J u d ith M a c D o u g a ll D ire c to rs . . . D a v id a n d J u d ith M a c D o u g a ll P h o t o g r a p h y ...................... D a vid M a c D o u g a ll S o u n d re c o rd is t ........... J u d ith M a c D o u g a ll E d i t o r s .......... D a vid a n d J u d ith M a c D o u g a ll F ie ld a s s is ta n ts .................... J o s e p h A rip o n .

B re d a L o k ic h a m a E n g lis h tra n s la tio n s . . . M ic h a e l L o k u ru k a .

M a la c h y E kal.

J o s e p h L o tu lia .

A u g u s tin e L o k w a n g , D a vid A m o d o i P ro d u c e d w ith th e s u p p o r t o f ................ T h e J o h n S im o n G u g g e n h e im M e m o ria l F o u n d a tio n .

T h e N a tio n a l E n d o w m e n t fo r th e H u m a n itie s (U S A ).

R ice U n iv e rs ity M e d ia C e n tre . H o u s to n .

T h e N a tio n a l F ilm S c h o o l o f Gt. B rita in .

W ith th e a s s is ta n c e a nd c o -o p e ra tio n of T h e N a tio n a l M u s e u m s of K en ya N eg. m a t c h i n g ................. ' P at S m ith T e le c u ttin g Ltd. T it le s .......................................O p tic a l & G ra p h ic L a b o ra to ry .........................R e ed s C o lo u r Film L a b o ra to rie s Ltd. M o tio n P ic tu re L a b o ra to rie s , Inc. B u d g e t .........................................................$ 2 5 .0 0 0 L e n g th .......................................................70 m in s G a u g e .............................................................1 6m m S h o o tin g s t o c k ................... 725 2 E k ta c h ro m e P ro g re s s ................................... P o s t-p ro d u c tio n S c h e d u le d re le a s e ................O c to b e r, 1981 N ew Y o rk.

M a rg a re t M e a d F ilm F e stiva l

SHORTS

APANGAI VILLAGE P ro d , c o m p a n y

.................... T h e A u s tra lia n M useum P ro d u c e r ..............T h e A u s tra lia n M u s e u m D ire c to r ..................................H o w a rd H u g h e s S c rip tw rite r ........................... H o w a rd H u g h e s P h o to g ra p h y ...............................M a lc o lm H u n t S o u n d re c o rd is t .................. Ian M a c D o n a ld E d ito r ......................................... Ian M a c D o n a ld 2 nd u n it p h o to g ra p h y . . .H o w a r d H u g h e s N eg. m a tc h in g ..............N e g a tiv e M a tc h in g S e rv ic e s S o u n d e d ito r ......................... Ian M a c D o n a ld N a rra to r ...............................................Ivan S m ith M ix e d at .................................. S o u n d on F ilm L a b o ra to ry ........................................... C o lo rfilm L e n g th ................................45 m in s (a p p ro x .)

G auge .........................................................16 m m S h o o tin g s to c k ..............E a s tm a n c o lo r 7 247 P ro g re s s ............................................ P ro d u c tio n S c h e d u le d re le a s e ..............F e b ru a ry 1982 Cast: P e o p le of A p a n g a i V illa g e , E ast S e p ik P ro v in c e , N iu g in i.

Synopsis: T h e p e o p le o f A p a n g a i V illa g e , N iu g in i, a re an a g r ic u ltu ra l c o m m u n ity fo llo w in g a c o m p le x re lig io u s s y s te m b a se d on th e g ro w in g o f y a m s a n d in itia tio n c e re ­ m o n ie s .

AT EDGE P ro d , c o m p a n y

.......................S y n c - o r -S w im D o c u m e n ta rie s ......................... S y n c -o r-S w im D o c u m e n ta rie s P ro d u c e r .................................... S o lru n H o a a s D ire c to r .......................................S o lru n H o a a s S c rip tw rite r ................................S o lru n H o aa s P h o to g ra p h y ..............................S o lru n H o a a s S o u n d re c o rd is t .................. R o g e r P u lv e rs E d ito r ........................................... S o lru n H o a a s A s s o c , p ro d u c e r .................. R o g e r P u lv e rs N eg. m a tc h in g ..................F ilm N eg C u ttin g S e rv ic e s M ix e d a t ...................................F ilm s o u n d tra c k L a b o ra to ry ................................V ic to ria n F ilm L a b o ra to rie s B u d g e t ........................................................... S 6200 L e n g th .................................................... 21 m in s S h o o tin g s to c k ............. E a s tm a n c o lo r 7 24 7 P ro g re s s ..............................................In re le a se S c h e d u le d re le a s e ......... S e p te m b e r 1981, B o u le v a rd B lu e , C a n b e rra Cast: J u d ith W rig h t.

Synopsis: F ilm e d in 1978 ju s t a fte r th e p o e t J u d ith W r ig h t h ad m o v e d to E d g e in the H a lf-M o o n W ild life D is tric t. M o n g a rlo w e , NS W . A t E d g e c o m m u n ic a te s a re la tio n ­ s h ip b e tw e e n th e p o e t a n d h e r b u s h e n v iro n m e n t.

D ist. c o m p a n y

BEYOND THE WALL P ro d , c o m p a n y

......................... N o m a d F ilm s In te rn a tio n a l ........................... N o m a d F ilm s In te rn a tio n a l D ire c to r ......................... R o n a ld B ra n s c o m b e S c rip tw rite r .................. R o n a ld B ra n s c o m b e B ase d on th e o rig in a l id e a b y ......................................... N o m a d F ilm s In te rn a tio n a l P h o to g ra p h y .................................. Ron H a ge n S o u n d re c o rd is t ..............................B ill D o yle E d ito r ........................................... R o b e rt M a rtin E xec, p ro d u c e r ..................D o u g la s S ta n le y S till p h o to g ra p h y ................M a rtin P o lla rd L a b o r a to ry ........................................... C in e v e x L e n g th .......................................................48 m in s G auge ...................................................... 1 6m m S h o o tin g s to c k .......................... F u ji N e g a tiv e P ro g re s s ................................ P o s t-p ro d u c tio n S c h e d u le d re le a s e ........... N o v e m b e r 1981 D ist. c o m p a n y

TH ERES ALWAYS SOMETHING NEW AND EXCITING ATSAMUELS0NS

Synopsis: T h e fir s t o f fo u r film s a b o u t C h in e s e m in o rity g ro u p s . T h is film lo o k s a t th e M o n g o ls a n d th e n o m a d ic e x is te n c e th e y le a d o n th e g r a s s la n d s o f In n e r M o n g o lia .

DIS FLOWCON THING P ro d , c o m p a n y

................M a c D o n a ld H u n t P ro d u c tio n s P ro d u c e r .....................................M a lc o lm H u n t D ire c to r .......................................D a vid O 'B rie n S c rip tw rite r ................................D a vid O 'B rie n B a se d o n th e o rig in a l id e a b y ................................... M a lc o lm H u n t P h o to g ra p h y ...............................M a lc o lm H u n t S o u n d re c o rd is t .................. Ian M a c D o n a ld E d ito r ......................................... Ian M a c D o n a ld E xec, p ro d u c e r .......................F ra n k M u rra y L o c a tio n m a n a g e r .....................J o h n C a sso n P ro d , a s s is ta n t ................................A n n e S w a n 1st a s s t d ir e c to r ............................... P a t D a vis C o n tin u ity .............................................P a t D a vis C a s tin g c o n s u lta n ts ................M & L C a s tin g C a m e ra a s s is ta n t ........... M a u rie A tk in s o n K ey g rip ....................................... S te v e W o o d s B o o m o p e ra to r ............................. P e te r S w a n C o s tu m e d e s ig n e r ..............T h e W a rd ro b e M a k e -u p ....................................P e trin a D e vlin W a rd ro b e .......................................S a lly M u lle r W a rd ro b e a s s is ta n t .................... A n n e S w a n P ro p s .....................................................P at D avis, F ilm P ro p s .

P a c k a rd R e n ta ls.

A s tra H ire N eg. m a tc h in g .................... M a ra ly n D e la n e y M ix e r ....................................... B re tt R o b in s o n N a rra to r ..............................T h o m a s R ic h a rd s S till p h o to g ra p h y .......................... R ay S h a rp e O p tic a ls ......................................................... A c m e C a te rin g ............................................... T h e A le x is M ix e d at ...................................S o u n d O n F ilm L a b o ra to ry ............................................. C in e film L e n g th .......................................................20 m in s G auge ........................................................... 1 6 m m S h o o tin g s to c k ..............E a s tm a n c o lo r 7 24 7 P ro g re s s ................................. P o s t-p ro d u c tio n S c h e d u le d re le a s e ..................O c to b e r 1981 C a s t: K e n W a y n e (A n g ry H a rry C a p o n e lli), A n th o n y W h e e le r (T in y T im T o e c u tte r), A le x a n d e r K o v a c s (R a lp h th e R a z o r), R o b e rt C o lb y (G lo v e s G a ro tti), T h o m a s R ic h a rd s (A rth u r S m ith ).

..TULIP E Tulip Crane In Use Specifications T o ta l w e ig h t c o m p le te o n # 5 0 5 4 P e d e s ta l w ith # 5 0 5 7 F e e t N o c a m e ra o r o p e r a t o r s M in im u m H e ig h t — c o m p le t e o n # 5 0 5 4 P e d e s ta l w ith # 5 0 5 7 F e e t.

M a x im u m H e ig h t — C o m p le te o n # 5 0 5 5 .

P n e u m a tic C o n v e r s io n K it.

T y p ic a l H e ig h t w ith C r a n e C o m p le te o n # 5 0 5 4 P e d e s ta l m o u n te d o n o n e to n tr u c k .

M a x im u m R e c o m m e n d e d L o a d - F r o n t E n d M a x im u m H o r iz o n ta l R e a c h — to t y p ic a l c a m e r a le n s .

M a x im u m P a n D ia m e te r in H o r iz o n ta l M o d e .

M in im u m T u r n in g R a d iu s w ith C a m e ra

The Tulip Unfolding

8 5 0 lb ( 3 8 5 k g ) 2 4 in. (61 c m ) N e g a tiv e to F o o t P la tfo rm .

1 8 6 in. (4 7 3 c m ) to ty p ic a l c a m e r a le n s w it h o u t c a m e ra

rk

r is e rs .

2 2 2 in. ( 5 4 6 c m ) to t y p ic a l c a m e r a le n s w it h o u t c a m e ra ris e rs .

5 5 0 lb. ( 2 4 9 k g )

¿ s'?

1 4 4 in. ( 3 6 6 c m ) 2 8 8 in. (7 3 2 cm.)

4 8 in. (1 21 c m )

P la tfo rm fu lly e le v a te d .

M in im u m T u r n in g R a d iu s w ith C a m e ra P la tfo rm in lo w e s t p o s itio n

9 0 in. ( 2 2 8 c m )

$2 0 0 per day. $600 per week.

9

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490 — November-December CINEMA PAPERS

'A N A V i 5 ! O N

Features: C e rtifie d a n d re g is te re d m e c h a n ic a lly sa fe .

C o m p u te r d e s ig n e d . F o am fille d tu b u la r s tru c tu re . Pan. T ilt a n d S ea t T u rre t D rag C o n tro ls . U n lim ite d p o rta b ility a n d v e rs a tility . T o ta l A c c e s s o ry P a c k a g e . F a s t s e t u p a n d s trik e tim e . P n e u m a tic W h e e ls ; F lo ta tio n T ra c k W h e e ls ; P u s h /P u ll B a r In s ta lla tio n ; H a rd S tu d io W h e e ls ; Feet.

LOS ANGELES, U.S.A.

S y n o p s is : A s tu d y of th e e x p o rt a n d im p o rt tra d e b e tw e e n A u s tra lia a n d E u ro p e , a nd h o w T h e A u s tra lia T o E u ro p e S h ip p in g C o n fe re n c e L in e s o p e ra te th is b u s in e s s .

0UG0NG1 DUGONG1 P ro d , c o m p a n y

.................... T h e A u s tra lia n M useum D ist. c o m p a n y ...............T a s m a n ia n F ilm C o rp o ra tio n P ro d u c e r ..............T h e A u s tra lia n M u s e u m D ir e c to r ................................... H o w a rd H u g h e s S c rip tw rite r ............................ H o w a rd H u g h e s B a se d o n th e o rig in a l id e a by ...............................H o w a rd H u g h e s P h o to g ra p h y .............................. M a lc o lm H u n t S o u n d re c o rd is t .....................S te ve A lc o a te E d ito r ..........................................Ian M a c D o n a ld 2 n d u n it p h o to g ra p h y . . H o w a rd H u g h e s, J o h n F ie ld s N eg. m a tc h in g ..............N e g a tiv e M a tc h in g S e rv ic e s , S y d n e y S o u n d e d ito r ..........................Ian M a c D o n a ld M ix e r ............................................B re t R o b in s o n N a rra to rs ........................... L a w re n c e D u g o n g , N ic h o la s D u g o n g , L in d s a y R o u g h s e y S till p h o to g ra p h y ........... ............. J o h n F ie ld s M ix e d at ................................... S o u n d on F ilm L a b o r a to ry .........................................C o lo rfilm L e n g th ................................ 30 m in s (a p p ro x .)

G auge .........................................................1 6 m m S h o o tin g s to c k ............. E a s tm a n c o lo r 7247 S c h e d u le d re le a s e ........... D e c e m b e r 1981 C a s t: L a w re n c e D u g o n g , N ic h o la s D u g o n g , L in d s a y R o u g h se y, H e n ry P ete r.

S y n o p s is : A b o rig in a ls of M o rn in g to n Isla n d tra d itio n a lly h u n t d u g o n g fo r fo o d . A s h o rt d re a m tim e s to ry o p e n s th e d o c u m e n ta ry a c c o u n t o f a h u n t, w ith th e trib e fe a s tin g on th e m e a t.

A NEW CONCEPT iN BUILDING CONSTRUCTION P ro d , c o m p a n y ..................M a c D o n a ld H u n t P ro d u c tio n s D ist. c o m p a n y ......... F le tc h e r O rg a n iz a tio n P ro d u c e r ......................................M a lc o lm H u n t S c rip tw rite r .......................B o b D e -L a -L a n d e B a se d o n th e o rig in a l id e a by ............................... C ly d e R o b in s o n P h o to g ra p h y ............................. M a lc o lm H u n t S o u n d re c o rd is t .................... S te ve E lco a te E d ito r ......................................Ian M a c D o n a ld E xec, p ro d u c e r ....................C ly d e R o b in s o n A s s o c , p ro d u c e r ........................... Ian F is h e r P ro d , s u p e rv is o rs ........... C ly d e R o b in s o n , Ian G ra h a m P ro d , c o -o rd in a to r ........................ B ill F o o te P ro d , a c c o u n ta n t ................R oss E d w a rd s P ro d , a s s is ta n t ..............................S a lly M u lle r S c rip t a s s is ta n t ...................................Ian Ross N eg. m a tc h in g .................... M a ra ly n D e la n e y M ix e r .......................................... B re tt R o b in s o n N a rra to r ........................................P e te r G w y n n e S till p h o to g ra p h y ......................... R ay S h a rp e T itle d e s ig n e r ............................S u e M a tth e w s M ix e d at ................................... S o u n d on F ilm L a b o ra to ry ........................................... C in e film L e n g th ....................................................... 15 m in s G auge ......................................................... 1 6m m S h o o tin g s to c k ..............E a s tm a n c o lo r 7247 P ro g re s s .............................................. In re le a s e S y n o p s is : A film s tu d y on th e c o n s tru c tio n o f th e A ir p o r t H ilto n H o tel.

EFFACEMENT D ist. c o m p a n y

..........................S y n c -o r-S w im D o c u m e n ta rie s P ro d u c e r .....................................S o lru n H o aa s D ire c to r .......................................S o lru n H o aas S c rip tw rite r ................................S o lru n H o aas P h o to g ra p h y ..............................S o lru n H o aa s S o u n d re c o rd is t .....................S o lru n H o aa s E d ito r ........................................... S o lru n H o aas M ix e d a t .................................... V ic to ria n F ilm L a b o ra to rie s L a b o r a to ry ................................V ic to ria n F ilm L a b o ra to rie s B u d g e t ........................................................... $ 2 0 0 0 L e n g th .................................................... 14 m in s G auge ........................................................... 16m m S h o o tin g s to c k ..............E a s tm a n c o lo r 7247 P ro g re s s ............................................. In re le a s e F irs t re le a s e d .................................... M a y 1980 C a s t: A k lo T a n ig u c h i.

S y n o p s is : A n e x p e rim e n ta l d o c u m e n ta ry on th e te n s io n b e tw e e n a J a p a n e s e Noh m a sk m a k e r a n d th e m a s k . ,

. . . SPILT MILK P ro d u c e r ..................................... J o h n P re s c o tt D ire c to r ........................................J o h n P re s c o tt S o u n d re c o rd is t .........................K ie re n K n o x E d ito r ......................

B o b B la s d a ll C o m p o s e r .................................... G re g H o w a rd C o n tin u ity ........................................ B eth M o h le B o o m o p e ra to r ..................... A n n e O 'H a n lo n L e n g th .......................................................47 m in s G auge ........................................................... 1 6m m P ro g re s s ................................. P o s t-p ro d u c tio n S y n o p s is : P e o p le w ith c e re b ra l p a ls y sp e a k a b o u t p e rs o n a l a s p e c ts of th e ir live s.

SR! LANKA PARADISE P ro d , c o m p a n y ................................... F ilm w e s t D ist. c o m p a n y ................................... A ir L a n k a P ro d u c e r .......................................J o n R. N o b le D ire c to r ......................................... J o n R. N o b le S c rip tw rite r ...........................................Ian B a te y P h o to g ra p h y ................................ J o n R. N o b le E d ito r ..............................................J o n R. N o b le C o m p o s e r .................................. C h ris C o p p in g P ro d , s e c re ta ry .................... M e e n a K u m a r L ig h tin g c a m e ra m a n ........... J o n R. N o b le C a m e ra a s s is ta n t .........................S a rip T a h ir M ix e r ...................................................... K im L o rd O p tic a ls .......................................................... A tla b M ix e d a t ........................................... A u s tra lia n B ro a d c a s tin g C o m m is s io n L a b o r a to ry ....................................................A tla b L e n g th ..................................................13.5 m in s G auge ............................................S u p e r 1 6m m S h o o tin g s to c k .. .7 2 4 7 S in g le P e rfo ra tio n S y n o p s is : A film s h o w in g th e b e a u tifu l s c e n e ry of S ri L a n k a — b e a ch e s, te m p le s , m o u n ta in s — a n d th e p e o p le , c o lo r fu l c e re ­ m o n ie s a n d re lig io n s .

EYE IN THE SKY P ro d , c o m p a n y

.......................N o m a d F ilm s In te rn a tio n a l .........................N o m a d F ilm s In te rn a tio n a l D ire c to r ......................................... J o c k R a n k in S c rip tw rite r ...................................J o c k R a n k in B a se d o n th e o rig in a l id e a b y .................................. N o m a d F ilm s In te rn a tio n a l P h o to g ra p h y ..............................A le x M c P h e e S o u n d re c o rd is t .................... S ea n M e ltz e r E d ito r .................................... G u ye H e n d e rs o n E xec, p ro d u c e r .................. D o u g la s S ta n le y P ro d u c e r 's a s s is ta n t .. . M a ria n n e H o lm e s L a b o r a to ry .................................. C in e v e x Film L a b o ra to rie s L e n g th .................................................... 48 m in s G auge ......................................................... 1 6 m m S h o o tin g s to c k ........................... F u ji N e g a tiv e P ro g re s s ................................P o s t-p ro d u c tio n S c h e d u le d re le a s e ........... N o v e m b e r 1981 S y n o p s is : A film w h ic h lo o k s a t th e d e v e lo p ­ m e n t, p a s t, p re s e n t a nd fu tu re , o f a e ria l s u r­ v e illa n c e as w e ll as th e e ffe c t th e s e "e y e s in th e s k y " h a ve on o n e 's d a y - to -d a y life .

D ist. c o m p a n y

SUN KOS! — RIVER OF GOLD P ro d , c o m p a n y

A MOVING STORY P ro d , c o m p a n y

.................M a c D o n a ld H u n t P ro d u c tio n s ................................M a lc o lm H u nt, S tu a rt G ib s o n S c rip tw rite r ................................S tu a rt G ib s o n P h o to g ra p h y ..............................M a lc o lm H u n t S o u n d re c o rd is t .................. Ian M a c D o n a ld E d ito r ..........................................Ian M a c D o n a ld E xec, p ro d u c e r ........................... B o b F o rs te r A s s o c , p ro d u c e r ......................... V iv D a w e s P ro d , c o -o rd in a to r ..................... B o b F o rs te r P ro d , a c c o u n ta n t ................R oss E d w a rd s P ro d , a s s is ta n t ....................................P at D a vis C a m e ra a s s is ta n t ............. M a u rie A tk in s o n 2 n d u n it p h o to g ra p h y ..................... F ilm w e s t N e g. m a tc h in g .................... M a ra ly n D e la n e y M ix e r .......................................... B re tt R o b in s o n N a rra to r .................. ' ................... P au l R ic k e tts S till p h o to g ra p h y . ........................ R ay S h a rp e O p tic a ls .........................

A cm e T itle d e s ig n e r ......................... V ic to ria C a rte r M ix e d a t .................................. S o u n d o n F ilm L a b o r a to ry ............................................. C in e film L e n g th ...........

23 m in s G auge ........................................................... 1 6 m m S h o o tin g s to c k ..............E a s tm a n c o lo r 7247 P ro g re s s .............................................. In re le a s e P ro d u c e rs

i

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j

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:

......................... N o m a d F ilm s In te rn a tio n a l D ist. c o m p a n y . .......................... N o m a d F ilm s In te rn a tio n a l D ire c to r ................................... D o u g la s S ta n le y S c rip tw rite r .........................F re d e ric k F o lk a rd B a se d o n th e o rig in a l id e a b y .............

N o m a d F ilm s In te rn a tio n a l P h o to g ra p h y ..............................A le x M cP h e e , D a vid O ln e y S o u n d re c o rd is ts .............................Ian R yan, G e o ff W h ite F.ditor .................................... G u ye H e n d e rs o n E xec, p ro d u c e r ......... . . .D o u g la s S ta n le y P ro d , s e c re ta ry .................... M e g a n S e m k ln S o u n d e d ito r ......................... M ic h a e l M in te r E d is tin g a s s is ta n t ........................ G u ye M iile r M ix e r ......................................... D a vid H a rris o n N a rra to r .................................... A rth u r H ig g in s S till p h o to g ra p h y ....................T re v o r P rin d e r T itle d e s ig n e r ....................... S te p h e n P a sco e L a b o r a to ry .................................. C in e v e x F ilm L a b o ra to rie s L e n g th .................................................... 48 m in s G auge .........................................................1 6 m m P ro g re s s ............................................In re le a s e F irs t re le a s e d .................................. A p r il 1981 S y n o p s is : A d o c u m e n ta ry on th e firs t A u s ­ tra lia n H im a la y a n k a y a k e x p e d itio n th a t c o n q u e re d o n e o f th e h ig h e s t a n d m o s t in ­ a c c e s s ib le riv e rs , S u n K osi.

SUPP GRANTS (W o rk in g title ) P ro d , c o m p a n y ............................T ro u t F ilm s D ist. c o m p a n y ..............................T ro u t F ilm s P ro d u c e rs ................................... C h ris W a rn e r M a u re e n M c C a rth y D ire c to r .......................................C h ris W a rn e r S c rip tw rite r ................................C h ris W a rn e r P h o to g ra p h y ................................J a m e s G ra n t S o u n d re c o rd is t ..............L a u rie R o b in s o n E d ito rs ..........................................C h ris W a rn e r, M a u re e n M c C a rth y U n it m a n a g e r ...................M o n iq u e S c h w a rtz C a m e ra a s s is ta n t .................. B ria n B re h e n y G a ffe r .................................... A n d re w W is e m a n C a te rin g ......................................... M a ry F e rrie r L a b o r a to ry ......................................... C o lo rfilm L a b . lia is o n ...................................... B ill G o o le y L e n g th .................................................... 30 m in s G auge .........................................................1 6m m S h o o tin g s to c k ..............E a s tm a n c o lo r 7247 P ro g re s s ............................................ P ro d u c tio n S c h e d u le d re le a s e .......................A p r il 1982 C a st: T h e p a re n ts , s ta ff a n d s tu d e n ts o f S p rin g v a le P rim a ry S c h o o l.

S y n o p s is : A d o c u m e n ta ry a b o u t th e a im s a n d p ra c tic e o f th e S u p p le m e n ta ry G ra n ts P ro g ra m In V ic to ria n s c h o o ls , c e n tre d on th e e x p e r ie n c e o f S p r in g v a le P r im a r y S c h o o l.

TINY MINDS P ro d , c o m p a n y

.......................D o o Dah D o o P ro d u c tio n s D ire c to r ........................................... M ic h a e l H ill S c rip tw rite rs ............................L o u is a G rä b e r.

P a m e la W o o d s P h o to g ra p h y .................................. M ic h a e l H ill E d ito r ................................................M ic h a e l H ill L a b o r a to ry .........................................C o lo rfilm L e n g th .................................................... 13 m in s G auge ........................... S u p e r 8 (tra n s fe rre d to U -m a tic v id e o ) S h o o tin g s to c k ................E k ta c h ro m e 7 244 P ro g re s s ............................................. In re le a s e F irs t re le a s e d .............. S e p te m b e r 4, 1981, E x ile s B o o k s h o p C a s t: L o u is e G rä b e r, P a m e la W o o d s .

S y n o p s is : A c o m ic lo o k at th e c re a tiv e p ro ­ ce s s e s in v o lv e d as tw o y o u n g d e s ig n e rs , P a m e la W o o d s a n d L o u is e G rä b e r, p re ­ p a re fo r th e ir firs t e x h ib itio n .

WARNER !N THE WILD P ro d , c o m p a n y .................. G re e n w a y F ilm s P ro d u c e r ..............................W e n d y C a m p b e ll D ire c to r ........................................... D a vid G ra y S c rip tw rite rs ........................ G e o rg e B la ze vic, D a vid G ra y S o u n d re c o rd is t ................Ian M c L o u g h lin C o m p o s e r .................................. D a ve W a rn e r E xec, p ro d u c e r ......................D a vid H o ffm a n A s s o c , p ro d u c e r .................... G re g N e w b o ld P ro d , m a n a g e r ................ W e n d y C a m p b e ll P ro d , s e c re ta ry ....................S u e O a k e s h o tt P ro d , a c c o u n ta n t ...................J o h n P a le rm o (P e rth ) P ro d , a s s is ta n ts . . . . N e ale D y s te r (M e lb .), G e o rg e K a rp a th a k is (P e rth ) L ig h tin g c a m e ra m e n . . . . H a rry B a rd w e ll, C a rlo B u ra lli C a m e ra o p e ra to rs ...................... M a tt K e lly, P au l W o o d L ig h tin g a s s is ta n t . . . . G ra e m e M a c C lo u d L e g a l a d v is e rs .................. W illia m M c K in le y & Co. M u s ic p e rfo rm e d b y ........... Dave W a rn e r Band, B a n d m ix in g .................. A n d re w M c D o n n e ll B a n d lig h tin g ....................... D e b b ie V in c e n t L a b o ra to ry ................................ V ic to ria n F ilm L a b o ra to rie s B u d g e t ....................................................... $ 6 2 ,5 0 0 L e n g th .................................................... 48 m in s G auge ...........................................................1 6m m S h o o tin g s to c k ...........................E a s tm a n c o lo r P ro g re s s ................................. P o s t-p ro d u c tio n S y n o p s is : A v ie w o f th e N o rth W e s t co a s t, P ilb a ra a n d K im b e rie y re g io n s o f A u s tra lia as D a ve W a rn e r, h is b a n d a n d ro a d c re w s tru g g le , p la y a n d p u s h .c a rs a n d b u se s th r o u g h th e ir 1981 N o rth W e s t to u r in th e tra d itio n o f th e p io n e e r e x p lo re rs .

WOMEN WHO DECIDED D ire c to r .................................... R o s a n n a L ic a ri S o u n d te c h n ic a l a d v is e r ......................... ................T im S e g u lin E d ito r .................................... N a n cy W a h lq u is t P ro d , m a n a g e r ..........................J u s tin S e a rs L ig h tin g c a m e ra m a n ................C h ris E ade C a m e ra o p e ra to r ......... J u lie C u n n in g h a m P ro g re s s ................................P o s t-p ro d u c tio n S y n o p s is : V id e o d o c u m e n ta ry on fe m in is ts w h o d e c id e d to h ave c h ild re n .

WASTING FOR WATER P ro d , c o m p a n y

........................S y n c -o r-S w im D o c u m e n ta rie s ..........................S y n c -o r-S w im D o c u m e n ta rie s P ro d u c e r .................................... S o lru n H o aa s D ir e c to r .......................................S o lru n H o aa s S c rip tw rite r ................................ S o lru n H o a a s P h o to g ra p h y ..............................S o lru n H o aa s S o u n d re c o rd is t .................... S o lru n H o aa s E d ito r ........................................... S o lru n H o aa s A s s o c , p ro d u c e r .................. R o g e r P u lv e rs N eg. m a tc h in g .................. F ilm N eg C u ttin g S e rv ic e s D u b b in g e d ito r .................. D a vid P u ib ro o k M ix e r .........................................D a vid H a rris o n P ro d u c tio n c o n s u lta n t .. P hi! d e M o n tig n ie M ix e d a t ................................ F llm s o u n d tra c k L a b o ra to ry • ............................... V ic to ria n Film L a b o ra to rie s B u d g e t .......................................................$ 1 0 ,0 0 0 L e n g th .................................................... 27 m in s S h o o tin g s to c k ..............E a s tm a n c o lo r 7247 P ro g re s s ............................................. In re le a se F irs t re le a s e d ........................... M a y 25, 1981, J e a n -J e a n T h e a tre , N a ha S y n o p s is : T h e fir s t o f S o lru n H o a a s' film s on H a to m a Isla n d , O k in a w a , J a p a n . A d o c u ­ m e n ta ry o n d a ily life o n a s m a ll d e p o p u ­ la te d is la n d u s in g a d ia ry n a rra tio n a n d an e b b -a n d -flo w s tru c tu re to c a p tu re r e c u r­ rin g e v e n ts a nd im a g e s .

D ist. c o m p a n y

AUSTRALIAN FILM COMMISSION

PROJECT DEVELOPMENT BRANCH Projects approved at Australian Film Commission meeting on August 31, 1981 Script and Production Development investments G u n g a d ln h — G re a t S c o tt P ro d u c tio n s (J a n e S c o tt): c in e m a fe a tu re : 1st d ra ft fu n d in g — $ 1 4 ,9 4 0 B y te — In d e p e n d e n t P ro d u c tio n s (G e n e S c o tt); c in e m a fe a tu re ; tre a tm e n t fu n d in g —

$12,000

T h e L e e G o r d o n S to r y — S te p h e n M a c le a n ;

c in e m a fe a tu re ; 1st d ra ft fu n d in g — $ 6 5 0 0 C le a n S tr a w fo r N o t h in g — R ic h a rd L an e; c in e m a fe a tu re ; 1 s t -d ra ft fu n d in g — $ 9 0 0 0 N e e d le s — D a v id B a k e r, G ild a B a ra c c h i; c in e m a fe a tu re ; 3 rd d ra ft fu n d in g — $ 9 0 0 0

The Elocution ot Benjamin Franklin — M & L P ro je c ts (H ila ry L in s te a d ); c in e m a fe a tu re ; 1st d ra ft fu n d in g — $ 1 6 ,5 0 0 Those Dear Departed — M & L P ro je c ts (H ila ry L in s te a d ); c in e m a fe a tu re ; re v is e d 1st d ra ft fu n d in g — $ 2 0 0 0 The Dunera 3oys — A d a m s P a c k e r F ilm P r o d u c t io n s ( P h illip A d a m s ) ; c in e m a fe a tu re ; a d d itio n a l p ro je c t d e v e lo p m e n t in v e s tm e n t — $ 2 1 ,6 0 0

P r o je c t B ra n c h P r o d u c tio n In v e s tm e n ts The Dunera Boys — A d a m s P a c k e r F ilm P ro d u c tio n s ; c in e m a a p p ro v a l — $ 1 5 3 ,4 0 0

fe a tu re ;

c o n d itio n a l

P r o je c ts a p p ro v e d at A u s tr a lia n F ilm C o m m is s io n m e e tin g on S e p te m b e r

29, 1981 S c rip t a n d P r o d u c tio n D e v e lo p m e n t In v e s tm e n ts Carnage — B e rn a rd V a n ce ; c in e m a fe a tu re ; 2 nd d ra ft fu n d in g — $ 2 4 ,0 0 0 Pinball — F ilm C o n s u lta n ts (S .A .) (G il B re a le y ); c in e m a fe a tu re ; 1st d ra ft fu n d in g — $ 1 4 ,0 0 0 The Joyful Condemned — P e te r Y e ld h a m P r o d u c tio n s ; c in e m a f e a tu r e ; 1 st d r a ft fu n d in g — $ 1 9 ,5 0 0 The Dirty Half M ile — L a n c e P e te rs, D a vid H a n n a y; c in e m a fe a tu re ; 2 n d d ra ft fu n d in g — $ 1 1 ,5 0 0 Turtle Beach — P o ly g o n P ic tu re s (T im R e ad ); c in e m a fe a tu re ; 1st d r a ft/s u r v e y fu n d in g — $ 2 8 ,8 7 7 Betwixt — R u sse ll H a g g ; c in e m a fe a tu re ; 1st d ra ft fu n d in g — S6500 Libby — K a v a n a g h P ro d u c tio n s (B ria n K a v a n a g h ) ; c in e m a fe a tu r e ; 2 n d d r a ft fu n d in g — $ 7 0 0 0 Tracks — R e tra c k s P ro d u c tio n s (D a n n y C o llin s , S te v e M a rk ); c in e m a fe a tu re ; tre a t­ m e n t fu n d in g — $ 85 00 Call Me By My Proper Name — H o lm g a rd P r o d u c t i o n s ( C e c i l H o lm e s , F r a n k G a r d in e r);.c in e m a fe a tu re ; re v is e d 1st d ra ft fu n d in g — $ 2 2 0 0 Tim e’s Raging — L im e lig h t P ro d u c tio n s (J o a n L o n g ); c in e m a fe a tu re ; a d d itio n a l p ro je c t d e v e lo p m e n t in v e s tm e n t — $ 1 9 ,7 0 0 Shark Attack — F re s h w a te r F ilm s (R o g e r W y lie ); te le v is io n d o c u m e n ta ry ; s u rv e y /fin a l d ra ft d e v e lo p m e n t fu n d in g — $ 1 7 ,7 1 5 The Perfect Family Man — S h a rm ill F ilm s (N a ta lie M ille r); c in e m a fe a tu re , a d d itio n a l p ro je c t d e v e lo p m e n t in v e s tm e n t — $ 77 28 Made in Australia — R o b in M o w b ra y ; c in e m a fe a tu re ; 1st d ra ft fu n d in g — $ 8 8 0 0 The Year of Living Dangerously — A y e r P ro d u c tio n s (J im M c E lro y ); c in e m a fe a tu re ; a d d itio n a l p ro je c t d e v e lo p m e n t in v e s tm e n t — $ 3 0 ,6 2 3 The Year of Living Dangerously — f u r th e r a d d itio n a l p ro je c t d e v e lo p m e n t in v e s tm e n t — $ 4 4 ,3 7 7

P r o je c t B ra n c h P a c k a g e D e v e lo p m e n t In v e s tm e n ts H e n ry C ra w fo rd P a c k a g e — H e n ry C r a w ­ fo r d & A s s o c ia te s ; p a c k a g e in v e s tm e n t in th e d e v e lo p m e n t o f th r e e c in e m a fe a tu re p ro je c ts — $ 5 6 ,2 5 0 F ra n k lin P a c k a g e — Q u e s t F ilm s (R ic h a rd F ra n k lin ); a d d itio n a l p a c k a g e d e v e lo p m e n t in v e s tm e n t — $ 7 5 0 0 M a rg a re t F in k F ilm s P a c k a g e — M a rg a re t F in k F ilm s; a d d itio n a l p a c k a g e d e v e lo p ­ m e n t in v e s tm e n t in th e d e v e lo p m e n t o f fo u r c in e m a fe a tu r e p ro je c ts — $ 1 1 4 ,1 8 0

P r o je c t B r a n c h P r o d u c tio n In v e s tm e n ts Monkey Grip — P a v ilio n F ilm s (P a t L o ve ll); c in e m a fe a tu re ; c o n d itio n a l a p p ro v a l p o s t­ ; p ro d u c tio n in v e s tm e n t — $ 7 5 ,0 0 0

CINEM A PAPERS November-December — 491

r

«

Norman Loves Rose — N o rm a n F ilm s (H e n ri S a fra n ); c in e m a fe a tu re ; c o n d itio n a l a p p r o v a l p r o d u c t io n in v e s t m e n t — $ 1 3 4 ,0 0 0 The Same As It Ever Was — A lb e rt Falzo n C re a tio n s ; te le v is io n d o c u m e n ta ry ; c o n d i­ tio n a l a p p ro v a l p o s t-p ro d u c tio n In v e s t­ m e n t — $ 2 1 ,0 0 0 Falcon Island — P IF T /E x c a lib u r N o m in e e s ; te le v is io n s e rie s : c o n d itio n a l a p p ro v a l a d d i­ tio n a l p r o d u c tio n in v e s tm e n t — $ 6 0 ,0 0 0

THE STRUCTURE OF TELEVISION IN BRITAIN P roducer ................................. Eric Halliday Director ...................................Anton Bowler S crip tw riter .................... Julie Jam es-Bailey Presenter ........................ Julie Jam es-Bailey Gauge ...............................1-inch videotape Progress ...............................P re-production Synopsis: D escribes and explains aspects of British com m ercial television.

Completion Overage Loans Final Cut — W ilg a r P ro d u c tio n s (M ik e W illia m s , F ra n k G a rd in e r); c in e m a fe a tu re ; r e - in s t a t e m e n t o f o v e r a g e b a la n c e — $ 7 9 .7 3 .

AUSTRALIAN FILM AND TELEVISION SCHOOL THE ACTOR-DIRECTOR CONNECTION P ro d , c o m p a n y ......................................... A FTS P ro d u c e r ........................................ E ric H a llid a y D ire c to r .................................. C y n th ia C o n n o p P ro d , m a n a g e r ................N a n cy W a h lq u is t P ro g re s s ..................................P re -p ro d u c tio n S y n o p s is : A n e x a m in a tio n o f th e a c to rd ir e c to r re la tio n s h ip .

VIDEOCRITS, APPROACHES TO AUSTRALIAN FILM: THE PERSONAL CINEMA OF CHARLES CHAUVEL P roducer ...................................Eric Halliday Director .........................................Bill Specha S crip tw riter ..................................... Bill Routt Cameras .....................G eorge Petrykowski, Chris Fraser Sound ...................................... Steve W akely Technical director ..................... Bob Forster Video sw itcher ........................ Nell M aloney Assoc, produce r ............. Chris Nicholson Presenter ......................................... Bill Routt Gauge .........................

1-inch videotape Progress .......................................Production Synopsis: A study of the w ork of this fam ous Australian director.

AVRB FILM UNIT

CONTINUITY P ro d , c o m p a n y ......................................... A FTS P ro d u c e r .........................................E ric H a llid a y D ire c to r ; ..............................P e te r T h o m p s o n S c rip tw rite r ......................... C a ro lin e S ta n to n P h o to g ra p h y ........................... S te ve N e w m a n S o u n d re c o rd is t ................ R o ily M c M a n u s E d ito r ...............................................C o lin W a d d y P ro d , m a n a g e r ....................... T e rrie V in c e n t P ro d , a s s is ta n t .................. N a n cy W a h lq u is t 1st a s s t d ire c to r ......................... G illy G ro v e C o n tin u ity ..............................D a p h n e C ro o k s C a m e ra a s s is ta n t ..............R o b e rt T re n d a ll K ey g rip ............................................. T e rry V o g t G a ffe r ..................................................R ex P o lle tti P re s e n te r ..............................C a ro lin e S ta n to n L e n g th . . ..............................................28 m in s G auge ........................................................... 1 6 m m P ro g re s s .............................................. In re le a s e S y n o p s is : D e m o n s tra te s the ro le o f c o n ­ tin u ity in film m a k in g .

AUSTRALIAN BROADCASTING REGULATIONS P ro d u c e r .........................................E ric H a llid a y D ire c to r .........................................A n to n B o w le r S c rip tw rite r ...................... J u lie J a m e s -B a ile y P re s e n te r ........................... J u lie J a m e s -B a ile y G auge .................................. 1 -in c h v id e o ta p e P ro g re s s ................................... P re -p ro d u c tio n S y n o p s is : E x a m in a tio n o f a s p e c ts o f A u s ­ tra lia n te le v is io n .

THE LIFE AND ART OF CHARLIE CHAPLIN P ro d , c o m p a n y ..........................................A FTS D ire c to r .................................. C y n th ia C o n n o p S c rip tw rite r ...................... P ro f. H a rry G e d u ld C a m e ra s .................Y o u v a n n a C h a n th a ra s y , J o h n A g a p ito s , N eil M a lo n e y Sound ............................................. D a vid F u rle y T e c h n ic a l d ire c to r ....................... J im T u m e th F lo o r m a n a g e r ..............G le n y s s S te e d m a n P ro d , a s s is ta n t .................... N a n cy W a h lq u is t P re s e n te r ..................... P ro f. H a rry G e d u ld L e n g th .............................................. 2 x 30 m in s G auge .................................... 1 -in c h v id e o ta p e P ro g re s s ............................................ P ro d u c tio n S y n o p s is : P ro f. G e d u ld is in te rv ie w e d by W a y n e Levy. T h e y tra c e C h a p lin fro m c h ild ­ h o o d , th ro u g h h is c a re e r as a c to r, c o m ­ p o s e r a nd d ire c to r, to h is d e a th .

RADIO — COPYWRITING P ro d u c e r .....................................E ric H a llid a y D ire c to r ....................................... A n to n B o w le r S c rip tw rite rs .....................................L o is B a ird , B yro n Q u ig le y C a m e ra s .....................G e o rg e P e try k o w s k i, C h ris F ra s e r Sound ..........................................S te v e W a k e ly T e c h n ic a l d ir e c to r ...................B o b F o rs te r A s s o c , p ro d u c e r ................. C h ris N ic h o ls o n P re s e n te rs ......................................... L o is B a ird , B y ro n Q u ig le y G auge .................................... 1 -in c h v id e o ta p e P ro g re s s ............................................ P ro d u c tio n S y n o p s is : T ra in in g p ro g ra m on w ritin g fo r c o m m e rc ia l ra d io .

MAINLY MONKEYS P ro d , c o m p a n y .................. A V R B F ilm U n it P ro d u c e r ....................................... L o u is e Jo n a s D ire c to r ......................................... L o u is e Jo n a s S c rip tw rite r ...................... M a re e T e y c h e n n e P h o to g ra p h y .................................... F ra n k Few E d ito r ............................................ R o b e rt M a rtin E xec, p ro d u c e r ............. R o ss R. C a m p b e ll P ro d u c e r's a s s is ta n t . . . M a re e T e y c h e n n e S o u n d e d ito r ............................ D a vid H u g h e s M ix e d at ...........................................................VFL L a b o ra to ry ...................................................... V FL L e n g th .................................................... 12 m in s G auge ...........................................................16m m P ro g re s s ................................ P o s t-p ro d u c tio n S y n o p s is : A n e x te n d e d vis u a l e x a m in a tio n of m o n k e y s a n d o th e r p rim a te s ; in te n d e d fo r use in p rim a ry s c h o o ls , u s in g n a tu ra l s o u n d a nd a m in im a l v o ic e o ver.

MAN’S IMPACT ON THE COASTAL SYSTEM

PATHWAYS TO THE FUTURE

NEW SOUTH WALES FILM CORPORATION

ELIZABETH FARM COTTAGE P ro d , c o m p a n y

...................... M o tio n P ic tu re A s s o c ia te s D ire c to r ...........................................J o h n L e a ke S c rip tw rite r .................................P e te r S m a lle y P h o to g ra p h y ..................................J o h n L e a ke E d ito r ..................................J o h n M a n d e lb e rg E xec, p ro d u c e r ........................P e te r D im o n d L e n g th .................................................... 20 m in s G auge .........................................................1 6m m S h o o tin g s to c k .........................E a s tm a n c o lo r Synopsis: A film e d re c o rd o f th e re s to r a ­ tio n w o rk b e in g c a rrie d o u t on E liza b e th F a rm C o tta g e f o r th e a rc h iv e s o f th e H e rita g e C o u n c il.

GET UP — STAND UP P ro d , c o m p a n y ............. JO T Z P ro d u c tio n s P ro d u c e rs ...................................J u lia O v e rto n , T o m Z u b ry c k i D ire c to r ....................................... T o m Z u b ry c k i S c rip tw rite rs ................................ Don D u n o o n , T o m Z u b ry c k i P h o to g ra p h y ............................ F a b io C a v a d in i S o u n d re c o rd is t ....................... C h ris T illa m E d ito r .................................................. G il S e rin e E xec, p ro d u c e r ........................P e te r D im o n d L e n g th ...................................................... 7 m in s G auge ...........................................................16 m m S h o o tin g s to c k ...........................E a s tm a n c o lo r S y n o p s is : An a n ti-s m o k in g film fo r Y e a rs 7 a nd 8 s tu d e n ts w h ic h d e a ls w ith p e e r g ro u p p re s s u re s .

THE HEALTH CONNECTION ......... F e rry m a n T e le v is io n P ro d u c tio n s P ro d u c e r ........................................E ric F u llilo v e D ire c to r .......................................... E ric F u llilo v e S c rip tw rite r .................................H u g h S tu c k e y P h o to g ra p h y ........................... L a rs G u n d la c h S o u n d re c o rd is t ........................... L eo P o llin i E d ito r ............................J e re m y L in to n -M a n n E xec, p ro d u c e r .......................P e te r D im o n d P ro d , c o -o rd in a to r ..............J a n e t E a stm a n L e n g th .................................................... 17 m in s G auge ...........................................................16m m S h o o tin g s to c k . . . ! ..................E a s tm a n c o lo r S y n o p sis: S h o w s h o w e s s e n t ia l t h e se w e ra g e s y s te m is to am o d e rn life s ty le .

T h e film d e m o n s tra te s th e w a ys in w h ic h the W a te r B o a rd is m a in ta in in g a n d e x te n d in g s e rv ic e s .

SUMMER

HERE AND NOW

................A V R B F ilm U n it, E d u c a tio n D e pt, o f V ic.

D ist. c o m p a n y ........................................... A V R B S c rip tw rite rs .................. M a re e T e y c h e n n e , L o u is e J o n a s E xec, p ro d u c e r .............R oss R. C a m p b e ll P ro d , m a n a g e r ..................R o b M c C u b b in L e n g th .................................................... 10 m in s G auge ...........................................................1 6m m S h o o tin g s to c k ........................... E a s tm a n c o lo r P ro g re s s .................................. P re -p ro d u c tio n S c h e d u le d re le a s e .......................J u n e 1982 Synopsis: A n o v e rv ie w o f o n e s u m m e r’s d ay in v a rio u s p a rts of V ic to ria , e s p e c ia lly h o lid a y a re a s. T h e film c o n tra s ts v a rio u s c o u n try , c ity a n d b e a ch e n v iro n m e n ts . The film is a im e d at in fa n t a nd lo w e r p rim a ry s c h o o l le ve ls, b u t c o u ld be u se d e ffe c tiv e ly in h ig h e r g ra d e s .

492 — November-December CINEMA PAPERS

......................... In d e p e n d e n t P ro d u c tio n s P ro d u c e r .........................................G e n e S c o tt D ire c to r ........................C h ris to p h e r G a rd in e r S c rip tw rite r ...................................R ic B la k e n e y P h o to g ra p h y .................................. P hil D o rlty , G a ry M a u n d e r S o u n d re c o rd is t . . . . D a vid N o rto n -S m ith E d ito r ............................ C h ris to p h e r G a rd in e r E xec, p ro d u c e r ........................P e te r D im o n d L e n g th .................................................... 13 m in s G auge .........................................3A ” v id e o ta p e Synopsis: T h e film s h o w s w o rk e r c o -o p e ra ­ tiv e s in a c tio n , w ith v a rio u s p a r tic ip a n ts d is ­ c u s s in g th e fu n c tio n o f th e s c h e m e .

TWO CAREERS IN ONE S c rip tw rite r ...................................R ic B la k e n e y E xec, p ro d u c e r ........................P e te r D im o n d L e n g th .................................................... 10 m in s Synopsis: A b o u t th e s a tis fa c tio n g a in e d by tra d e s p e o p le w h o te a c h at c o lle g e s of T e c h n ic a l a n d F u rth e r E d u c a tio n .

THE FORCE IS WITH YOU P ro d , c o m p a n y .................................. F llm e a s t P ro d u c e rs ............................. B. a n d J. V a n ce D ire c to r ...................................... Lyn T u n b rid g e S c rip tw rite r ............................... Lyn T u n b rid g e P h o to g ra p h y ................................ G re g H u n te r, K e vin R ig b y S o u n d re c o rd is t ................B ill D u d e n h o ffe r E xec, p ro d u c e r ........................P e te r D im o n d L e n g th ................................................. 14.5 m in s G auge .......................................................... 1 6m m S h o o tin g s to c k ...........................E a s tm a n c o lo r C a s t: J o n E n g lish (B u c k S ta ra n g e r).

S y n o p s is : A s p a c e p a tro l, c o n s is tin g of C a p ta in B u c k S ta ra n g e r a nd his ro b o t a s s is ta n t P o lc o n , in v e s tig a te s p o llu tio n on E a rth a n d c o n s id e r s s o lu tio n s to th e p ro b le m .

P ro d , c o m p a n y ...................A V R B F ilm U n it P ro d u c e r ..................................... D a vid H u g h e s D ire c to r ........................................D a vid H u g h e s S c rip tw rite rs ..................... M a re e T e y c h e n n e , L o u is e Jo n a s E xec, p ro d u c e r ..............R oss R. C a m p b e ll T e c h , a d v is o rs ........... W a lla n c e A n d e rs o n , B a rrie J o n e s L e n g th .................................................... 25 m in s G auge .........................................................1 6m m P ro g re s s ..................................P re -p ro d u c tio n S y n o p s is : A d o c u m e n ta ry d e s ig n e d fo r s e n io r le ve l s tu d e n ts o f g e o g ra p h y . T h e re a re m a n y d e m a n d s m a d e by m a n on th e use o f c o a s ta i a re a s a n d c o n flic ts of in te re s t a ris e . V is u a l e v id e n c e a nd d iffe rin g p o in ts o f v ie w a re p re s e n te d in a n o n -d id a c tic fo rm .

P ro d , c o m p a n y

P ro d , c o m p a n y

P ro d , c o m p a n y

P ro d , c o m p a n y ..............JO T Z . P ro d u c tio n s P ro d u c e rs .................................. J u lia O ve rto n , T o m Z u b ry c k i D ire c to r ........................................T o m Z u b ry c k i S c rip tw rite rs ................

D on D u n o o n , T o m Z u b ry c k i P h o to g ra p h y ............................ F a b io C a v a d in i S o u n d re c o rd is t .......................C h ris T iila m E d ito r ......... ........................................ G il S e rin e E xec, p ro d u c e r .......................P e te r D im o n d L e n g th ..................................................13.5 m in s G auge .................................... .'..................1 6m m S h o o tin g s to c k ........................... E a s tm a n c o lo r Synopsis: A n a n ti-s m o k in g film fo r s tu d e n ts w h ic h c o n tra s ts c o m m o n a ttitu d e s a b o u t s m o k in g a n d s h o w s s tu d e n ts ’ re a c tio n s to s im p le te sts.

SOUTH AUSTRALIAN FILM CORPORATION BEAT THE HEAT P ro d , c o m p a n y ......................... T e le fe a tu re s P ro d u c e r ...........................N ic h o la s C o c k ra m D ire c to r .....................M a rio B. A n d re a c c h io S c rip tw rite r ..............M a rio B. A n d re a c c h io P h o to g ra p h y ........................... K im B a tte rh a m Sound ..............................B ry n d o n W o o d in g , R o b C u tc h e r E xec, p ro d u c e r ....................... Ron S a u n d e rs L e n g th .................................................... 15 m in s G auge .................................................. 1 6 m m /V T C a s t: S tu a rt M c C re e ry , J o E n g la n d , G. T u rn e y -S m ith , K a th e rin e F ish e r.

BRAKING AND BALANCE P ro d , c o m p a n y

.........................R o y W o o d in g P ro d u c tio n S e rv ic e s P ro d u c e r ...................................... R o y W o o d in g D ire c to r ................................................J o h n D ick S c rip tw rite r .........................................J o h n D ick P h o to g ra p h y ..............................R oy W o o d in g Sound ......................................... B ryn W o o d in g E d ito r ........................................... B ry n W o o d in g E xec, p ro d u c e r ....................... Ron S a u n d e rs N a rra to r .................................... R o g e r C a rd w e ll L e n g th .......................................................10 m in s G auge ...................................................1 6 m m /V T C a s t: R o g e r C a rd w e ll, Ian J a m ie s o n .

S y n o p s is : E x a m in a tio n o f th e g e n e ra l p rin ­ c ip le s o f m o to rc y c le rid in g , w ith e m p h a s is on th e sa fe u se o f b ra k e s .

BUSH CORRIDORS P ro d , c o m p a n y ...................................N e w film s P ro d u c e r .......................................J u s tin M iln e D ire c to r ......................................... J u s tin M iln e S c rip tw rite r ...............................H a rry B a rd w e ll P h o to g ra p h y ......................G e o ffre y S im p s o n Sound ................................. B ry n d o n W o o d in g E d ito r ..............................................A n d re w E llis E xec, p ro d u c e r ....................... R on S a u n d e rs L e n g th ....................................................... 12 m in s G auge ................................................... 1 6 m m /V T C a st: Les D a ym a n , B ria n M o o re , A le c W ils o n .

S y n o p s is : D e als w ith th e im p o rta n c e of c le a rin g s c ru b s y s te m a tic a lly , le a v in g a re a s o f n a tu ra l v e g e ta tio n u n c le a re d a nd h a vin g su ch a re a s jo in e d by “ c o rrid o rs " o f s c ru b .

DON’T JUST STAND THERE COUGHING! P ro d , c o m p a n y ............................. S e e th ru film P ro d u c e r .......................................G us H o w a rd D ire c to r ...........................................C ra ig L a h iff S c rip tw rite r ......................................... R o b B ath P h o to g ra p h y ................................G u s H o w a rd Sound ........................................... P e te r B a rk e r E d ito r ..............................................A n d re w E llis E xec, p ro d u c e r .................... Ron S a u n d e rs L e n g th .................................................... 15 m in s G auge ................................................... 1 6 m m /V T C a st: J o h n S a u n d e rs , T e d H o d g e m a n , J a c q u i P h illip s . H e n ry S a lte r. G w e n d a H e ls h a m , C r a ig H o d g k in s o n , J o h n N o b le , R o b in H a rris o n , J o h n F ra n cis.

S y n o p s is : S h o w s th e c a u s e s a n d e ffe c ts o f a ir p o llu tio n , a n d s u g g e s ts re m e d ie s to im p ro v e th e q u a lity o f th e a ir.

THE GREAT ARTESIAN BASIN P ro d , c o m p a n y ..............................F ilm h o u s e D ire c to r ......................................... T im S u lliv a n S c rip tw rite r . . - ....................... H a rry B a rd w e ll P h o to g ra p h y .................................. P e te r S m ith Sound .................................................M ik e P ip e r E d ito r ..............................................T im S u lliv a n E xec, p ro d u c e r .....................Ron S a u n d e rs L e n g th ....................................................... 15 m in s G auge ............................................,1 6 m m /V T S y n o p s is : S h o w s th e s o c ia l a n d p h y s ic a l g e o g ra p h y o f an a rid a re a w h ic h is s u p ­ p o rte d b y a rte s ia n w a te r.

THE JANET GARDINER CASE P ro d , c o m p a n y ..............................F ilm h o u s e P ro d u c e r .......................................T im S u lliv a n D ire c to r ........................................... P e te r S m ith S c rip tw rite r ..............................H a rry B a rd w e ll P h o to g ra p h y .................................. R o ss W u rs t Sound .................................................M ik e P ip e r E d ito r ................................................T im S u lliv a n E xec, p ro d u c e r .....................Ron S a u n d e rs L e n g th ....................................................... 15 m in s G auge .................................................. V id e o ta p e C a s t: P au l S o n k k ila , G e o ffre y B o th , L eo T a y lo r, B a rb a ra W e st.

S y n o p s is : D ra m a tiz e d a c c o u n t o f th e u se o f fo re n s ic s c ie n c e in h e lp in g s o lv e c rim e .

STAYING ALIVE P ro d , c o m p a n y ......... B o s is to P ro d u c tio n s D ire c to r ................................................J o h n D ick S c rip tw rite r .....................................R o b G e o rg e P h o to g ra p h y ................................B ria n B o s is to Sound ...................................................B o b A lle n E d ito r ......................................... J o n A rm s tro n g E xec, p ro d u c e r .....................Ron S a u n d e rs L e n g th ....................................................... 15 m in s G auge ................................................ V id e o ta p e C a s t: M ic h a e l L e s te r, D a vid Ja y.

S y n o p s is : E x p la n a tio n o f th e b a s ic te n e ts on th e s a fe rid in g o f p u sh b ik e s .

THE VISIBLE ARM P ro d , c o m p a n y ..........S te lla P ro d u c tio n s P ro d u c e rs .....................M a rio A n d re a c c h io , Lea h C o c k s D ire c to rs ................ ...................... G u s H o w a rd , M a rio A n d re a c c h io S c rip tw rite r .................................. R o b G e o rg e P h o to g ra p h y ............................ K im B a tte rh a m Sound ........................................... R o b C u tc h e r E d ito r ..............................................A n d re w E llis E xec, p ro d u c e r ....................... Ron S a u n d e rs L e n g th .................................................... 15 m in s G auge ................................................. 1 6 m m /V T S y n o p s is : E x p la n a tio n o f th e ro le o f th e p o lic e in th e A u s tra lia n le g a l sys te m .

WOMEN ARTISTS OF AUSTRALIA P ro d , c o m p a n y ....................C h ry s a lis F ilm s D ist. c o m p a n y .................... S o u th A u s tra lia n F ilm C o rp o r a tio n P ro d u c e r ................................... T e rry J e n n in g s D ire c to r ............................................S c o tt H ic k s R e se a rch ...................... C h ris to b e l M a ttin g le y P h o to g ra p h y ............................ D a vid F o re m a n A d d itio n a l p h o to g ra p h y ..............K e vin L in d S o u n d re c o rd is ts .................. G a ry W ilk in s , T im L lo y d , J a m e s C u rrie , B o le tte H a ll, M a x B o w rin g , P e te r M c K in le y E d ito r ........................................ A n d re w P ro w se E xec, p ro d u c e r .............. L e sle y H a m m o n d P ro d u c e r's a s s is ta n ts .......... R a ch e l B ra n d , S u e R e id C a m e ra a s s is ta n ts

....................J o h n F o ste r, G ra e m e S h e lto n ...................................Lyn F e n n e y, C a rm e n G a la n N eg. m a tc h in g .....................N e g a tiv e C u ttin g S e rv ic e s M u s ic p e r fo rm e d b y .................. D isc M u s ic S o u n d e d ito r ................................C ra ig L a h iff E d itin g a s s is ta n ts .....................Lyn F e nn e y, C a rm e n G alan M ix e r ............................................. J a m e s C u rrie S till p h o to g ra p h y ........................... S c o tt H ic k s M ix e d a t ..............................S o u th A u s tra lia n F ilm C o rp o r a tio n L a b o ra to ry ......................................... C o lo rfilm L ab . lia is o n ................................ K e rry J e n k in s , M e g a n W illia m s L e n g th ................................ 108 m in s (6 film s ) G auge ......................................................... 1 6 m m S h o o tin g s to c k ..............E a s tm a n c o lo r 7 24 7 P ro g re s s .............................................. In re le a s e F irs t re le a s e d ........................... O c to b e r 1981 S y n o p s is : T h e w o rk o f w o m e n as a rtis ts has re c e iv e d s c a n t a tte n tio n u n til re c e n tly .

T h e s e film s se e k to in tro d u c e th e a u d ie n c e to m a n y o f th e w o m e n a rtis ts w o rk in g in A u s tra lia a n d to th e ir w o rk . T h e film s a re a v e ry h u m a n lo o k a t a d iv e rs e g ro u p of p e o p le a n d s o m e o f t h e ir t h o u g h t s , s t r u g g le s , a s p ir a t io n s a n d d is a p p o in t ­ m e n ts . T h e y a re a ls o a b o u t th e e m e rg e n c e o f a n a tio n a l c u ltu re a n d id e n tity . ^

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Thief Keith Connolly

film since Abraham Polonsky’s Force of Evil almost 35 years ago and Row­ land Brown’s Quick Millions 16 years

before that.2 I don’t know' Quick Millions, but find myself in the hall of the auteurist king where Force of Evil is concerned. This was the second of a trilogy written by Polonsky following World War 2 (the others were Body and Soul and I Can Get It For You Wholesale, neither of which he directed). In the words of Richard Corliss, all three scripts “read like manifestos in melodramatic form and reveal characters utterly obsessed by money”.3 Polonsky directed Force of Evil. which he wrote, with the collaboration of the author, from Ira Wolfert’s novel T u c k e r 's P e o p le . In the starkest tradi­ tions of American film noir, Force of Evil scathingly views civic and personal corruption caused by the numbers racket in the New York of the 1940s.

It has been said that, far more than any member of the Hollywood Ten, Polonsky (a subsequent blacklistee) was indeed guilty of one of the charges levelled by that notorious inquisitorial body, the House Un-American Activities Committee, against many Left-wing filmmakers in the 1940s and ’50s. Polonsky put it this way: “There’s a Marxian world view behind my films, not because / plan it that way. That’s what I am.”4 Polonsky has said that he regarded Wolfert’s novel as “an autopsy on capitalism” and shaped the screenplay accordingly. It is highly unlikely that any such purpose motivated Mann, but thematic parallels between the two films are inescapable.

There are. however, differences (other than obvious matters of style and tech­ nical means dividing films made in 1948 and 1981). Force of Evil is unrelent­ ingly didactic in its realism, while Thief is wholly naturalistic. That inner editor­ ial voice, which C. P. Snow cites as

making the essential distinction be­ tween realism and naturalism — he was discussing literature, but the definition seems to me to apply equally well to film — is muted in Mann’s film.

On the other hand. Thief goes further in its contemptuous attitude to the organs of the State — further even that Three Days of the Condor, Serpico and And Justice For All. It regards police corruption as endemic in U.S. society.

The Chicago police virtually ignore the protagonist, a master safebreaker, until he is thrust under their noses by his reluctant association with organized crime. Then the cops’ reaction is indignant and violent, because he has failed to give them a piece of the action.

One other similarity between Force of Evil and Thief is noteworthy: after the release of both films, critical reaction was sharply divided and frequently impercipient. Just as some reviewers who appreciated the dramatic qualities of Polonsky’s film failed to remark on its thematic content (it w as the McCarthy era, remember), so Thief seems to have been widely regarded as nothing more than a stylishly-made gangster film, with little to say about American life. In time, however, it may receive the reappraisal that is its due, as has been the case with Force of Evil, now recognized as a seminal film.

Sarris calls it “one of the great films of the modern American cinema”.5 Thief also shares characteristics with another, more recent gangster film — John Boorman’s disturbing and dis­ orienting Point Blank (1967), in David Thomson’s view “a crucial film in the development of the cinema’s portrait of America as the complex of organized crime”6. Both films feature ex-con pro­ tagonists at odds with the mob. and are quite stunning visually.

So much for the glittering pre­ cedents. But who is Michael Mann and why am I saying such terribly complimentary things about his film"?

3. Cinema, a Critical Dictionary, Seeker & Warburg, London, 1980.

4. David Talbot and Barbara Zheutlin, Creative Differences. South End Press, Boston, 1978.

5. The American Cinema: Directors and Directions, 1929-68. Dutton. New York 1968.

6. A Biographical Dictionary o f the Cinema. Seeker & Warburg, London, 1975,

In one of the key dialogue lines of Francis Coppola’s The Godfather, Tassio (Abe Vigoda), a Mafiosa about to be eliminated for conspiring against the new Don, has a last request: “Tell Michael, it was always business. I always liked him!” That theme runs like a crimson thread through both Godfather films; however heinous the means, the ends are “strictly busi­ ness”.

The same idea infuses Michael Mann’s Thief (also known as Violent Streets), though the Coppola con­ nection is only one of several this visually-startling drama makes with important U.S. crime films.

Thief also examines the theory and practice of crime-as-business. It ex­ plores the expertise of craftsman-like cracksmen, the mercantile finesse of fences, the intricate dealings of the crime industry’s secondary and tert­ iary phases. Above all, it sees organized crime as a grotesque mirror-image of the business world, relating the ethics and behaviour patterns of one to the other.

There is a merger (actually a takeover), coup and counter-coup, all in the best traditions of commercial ex­ ploitation. Occasionally, the mirror cracks and the advocacy of the gun is heard in the equity court of the under­ world.

Although it is also deeply interested in the methods and paraphernalia of crime at the journeyman level, Thief should be seen in the light of Robert Warshow’s dictum that American gangster films do not so much deal with the problem of crime in American life as with the modern, urban experience of the American people.1 Andrew Sarris no doubt took this view when he called Thief the most con­ sciously Marxist American gangster 2. Village Voice, New York, May 13. 1981.

1. “The Gangster as Tragic Hero” , The Immediate Experience. Anchor Books, New York, 1964.

Jessie (Tuesday Weld) describes her unpleasant past to Frank (James Caan). Michael Mann's Thief.

CINEMA PAPERS November-December — 495

Focus Puller

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Thief

The Second Journey (to Uluru)

The growing police interest in Frank is shown to be purely pecuniary. It is aroused only after they witness his first, enforced, meeting with local mob chief Leo (Robert Prosky).

The benignly menacing Leo makes independent operator Frank an offer he can’t refuse. This sequence, Filmed on the edge of the Chicago River, with the lights of the city’s business district winking across the water, artfully relates the crime chiefs expansionist urges to the place where such instincts are part of the natural order.

Against his better judgment, Frank links up with Leo, because he knows he must. For a while everything goes well — apart from some vicious police harassment — Leo arranging for Frank and Jessie to adopt a child and buy a smart suburban villa. But Frank soon realizes that the partnership with Leo is in reality a takeover when most of the proceeds of a particularly arduous and daring jewel robbery are withheld for investment in the organization’s “legit” ventures.

When Frank remonstrates, he is savagely put in his place (“You’d better join a labor union!”), his sidekick Barry Frank meets former gaol-mate and one-time teacher, Okla ( Willie Nelson). Thief.

(James Belushi) is murdered and his family threatened. The gains Frank has made are suddenly rendered worthless, Simply this: on the evidence of Thief, lot of ground to make up because of his because the mob owns him body and Mann is perhaps the most interesting 11 years in jail. soul — or presumes it does. Frank has a writer-director to develop in U.S. Frank feels that, having paid his debt last nihilistic card, open only to those television since Robert Altman. to society, he is in turn owed a who opt out of the system, and one he Trained at the London Film School, considerable debt — and is collecting it has kept up his sleeve since he was Chicago-born Mann directed tele­ as quickly, competently and safely as forced to play it in gaol. He divests vision commercials and documentaries circumstances allow. Besides worldly himself of everything — wife, child, in England from 1965 to 1972 goods, he wants a wife upon whom they home, possessions, businesses — that (including a notable one for NBC, may be endowed, along with child and render him vulnerable. In emotional Insurrection, about Paris, May 1968). home — in short, the whole bourgeois and material nothingness, there is a During this period, he also directed the catastrophe. kind of immunity.

After one false start, Frank mattershort Jaunpuri. He returned to the U.S. So, he dismisses the bewildered in 1972. of-factly acquires the wife, a coffee-bar Jessie, destroys the house, car-lot and In Hollywood, he wrote for tele­ waitress named Jessie (Tuesday Weld), bar (the last three in a tour-de-force of vision, winning an Emmy for Police who shares his need to make up wasted production pyrotechnics) in pre­ Story and creating the VegaS series. years. A sequence in which the two paration for a showdown with Leo. His 1978 tele-feature about gaol life, negotiate a marriage pact, warily This climactic shootout is open to The Jericho Mile, was released theatric­ putting their frayed cards — hopes, several interpretations: it may be taken ally in Australia in 1980. fears, ugly pasts — onto a motorway variously as suicidal, nihilistic, Two years went into the preparation cafe table is a gem of downbeat prag­ individualist (in the Adlerian sense) . . . of Thief, which Mann wrote from the matism. (Later, however, Frank is or a confession that Mann has run out novel, T h e H o m e In v a d e r s, by Frank forced to revoke the deal as being no of ideas. I am inclined to see it as one longer viable.)

Hohimer. more angle of the sinister looking-glass Mann’s documentary training shows In brusque, elemental terms — he world into which the Film has been up in long sequences in Thief (too long talks a stumbling patois of big-city peering. for some tastes, judging by the short American-English — Frank tells Jessie The enigmatic conclusion to this gun shrift Australian audiences have given how he survived bestial treatment in duel and the fact that Frank, like Lee the Film) that detail the techniques of prison. He consciously dehumanized Marvin, deliberately puts his head on the safebreaker. But their very himself to the point where he not only the block, increase the resemblance to thoroughness is consistent with the felt that life counted for nothing, his Point Blank. So do Donald Thorin’s theme — that crime is a continuation of fellow prisoners knew it . . . and feared shots of the city by night, used commerce by other (and not so diverse) and respected him in consequence.

Upon release, the experience also means.

Frank the thief (played by James served to concentrate his mind wonder­ Caan in the most consistently fully on the main chance. persuasive role of his career) is an upYet he is not without sentiment. and-coming safecracker who acquired When the ailing Okla pleads not to be the basics of his calling from a former left to die in prison, Frank undertakes gaol-mate, one-time master cracksman to procure his release. One is Okla (Willie Nelson). Frank knows conditioned by the gangster genre to also, from Okla’s precept and his own take this as a promise to organize a gaol­ post-jail experience, never to steal any­ break, as meticulously planned and thing small . . . in size. His speciality is executed as one of Frank’s robberies, diamonds and he is very good at but that would be inconsistent with this extracting them from supposedly film’s thrust. His answer is entirely in burglar-proof vaults. keeping with the thoroughly business­ Frank then ploughs the profits into like way he now approaches every­ more legitimate operations, such as a thing: he b u y s Okla out. (There is a bar and a used-car lot, after seeing to a mordant bit of byplay when counsel few personal needs, like a diamond ring and judge silently, but blatantly, and expensive sports clothes. bargain with hand signals in open court Frank also carries, in a wallet the price of Okla’s release.) Here, as in bulging with credit cards, a talisman of several other incidents, Mann his life dreams: a collage of snapshots sardonically suggests that one of life’s that include Okla, an anonymous wife essential regulators, market value, is at and child, plus an ‘ideal’ suburban work. villa. Our hero, you see, is really just Just as this scene takes a cynical view another achievement-oriented runner in of jurisprudence, law-enforcement is the modern success race, one who has a viewed as part of the mercantile jungle.

ingeniously to heighten the Film’s audio-visual impact. Limousines hiss along wet streets, overhead lights reflect coldly in buffed duco, all edited to an electronic obbligato by Tangerine Dream. Thorin makes Chicago look grittily businesslike by day, deceptively alluring by night — and the Film shows that both environments are full of hungry predators, operating with varying degrees of legality.

These technical felicities alone are enough to make Thief an interesting film. It is also a significant one — as an introduction to a major directorial talent, for its striking visual art­ iculation and, most importantly in the age of Ronald Reagan, for what it says about America-the-not-so-beautiful.

Thief: Directed by: Michael Mann. Producers: Jerry Bruckheimer, Ronnie Caan. Executive producer: Michael Mann. Associate producer: Richard Brams. Screenplay: Michael Mann.

Director of photography: Donald Thorin. Editor: Dov Hoenig. Production designer: Mel Bourne.

Sound recordist: David Ronne. Music: Tangerine Dream. Cast: James Caan (Frank), Tuesday Weld (Jessie), Willie Nelson (Okla), James Belushi (Barry). Robert Prosky (Leo), Tom Signorelli (Attaglia), Dennis Farina (Carl), Nick Nickeas (Nick), W. R. (Bill). John Santucci (Urizzi), Gavin MacFadyen (Boreksco). Production company: Michael Mann Company-Caan Produc­ tions. Distributor: United Artists. 35mm.

123 mins. U.S. 1981.

The Second Journey (to Uluru) Rod Bishop During July and August of 1979, the Ewing and George Paton Galleries at the University of Melbourne presented a survey exhibition of the film work of Arthur and Corinne Cantrill. Titled “Mid-Stream”, the retrospective com­ prised a selection of work from the 106 films completed by the Cantrills between 1963 and 1979. Among this vast range of experimental work, one theme consistently recurred: the Aus­ tralian landscape as a major subject of cinematic study.

The most significant of the early landscape films is Bouddi (1970). An eight-minute “camera calligraphy” of coastal bush set to traditional Aborigi­ nal dance music, Bouddi defines the parameters of this landscape work.

Studies of texture, rock form, insects,

CINEMA PAPERS November-December - 497

Chariots o f Fire

The Second Journey (to Uluru)

flowers, skies, grasses, bark, tree forms, water, clouds and light can be found in more- than 20 Cantrill films.1 Alone, this body of work represents a his­ torical study of the Australian land­ scape — a subject usually only associ­ ated with the fine art painters.

The Second Journey (to Uluru)

premiered at the 1981 Melbourne Film Festival. In many ways, this film distils and encapsulates the techniques and preoccupations of all their landscape work. Its starting point is a reminis­ cence of 1975, their first major study of the n»onolithic form of Uluru (Ayer’s Rock). That first film (At Uluru) is remembered as a “middle distance” work which held the monolith at length and recorded its form in the vastness of the desert milieu. The luminosity, the clarity and the simplicity of light dis­ tinguished that work, producing a film of first impressions, an initial inquiry into the complexities of Uluru.

In part, The Second Journey is a close-up study of form, texture and vegetation. The monolith is still depicted in the vast, desert environ­ ment, but the motivation for this second study is the exploration of detail — the caves, the animal life, the fauna, the traces of Aboriginal culture.

The film opens with flashing “post­ card” images of Uluru, taken from the first film and shot from a travelling car as it approaches the monolith. The narration records observations of devastated cattle stations, land raped by dust storms and fire, the cancerous growth of the tourist industry and the loss of Aboriginal land claims to Uluru itself.

Structurally, the film presents the results of 14 days of observation, recorded in the mornings, late after­ noons and evenings. Uluru is shown against seven sunrises, its form at first shimmering and then vigorously pul1. Landscape studies by Arthur and Corinne Cantrill: Earth Message (1970, 23 mins), Island Fuse (1971, 11 mins), Looking for the Desert (1971, 11 mins), At Eltham (1974, 24 mins), Three Color Separation Studies — Landscapes (1976, 13 mins), Ocean at Point Lookout (1977, 46 mins), Near Coober Pedy (1977, 15 mins), At Uluru (1977, 80 mins), Katatjuta (1977, 24 mins), Moving Picture Postcards (1978, 16 mins), Heat Shimmer (1978. 13 mins), Hillside at Chauritchi (1978, 6 mins). Near Willington (1978. 6 mins). Meteor Crater/Gosse Bluff (1978, 6 mins), Ocean (1978, 15 mins), Angophora and Sandstone (1979, 15 mins). Coast at Pearl Beach (1979, 11 mins), Notes on the Passage of Time . . . (1979. 14 mins), Warrah (1980. 15 mins), Grain of the Voice (1980. 117 mins), Wilpena (1981, 20 mins) and The Second Journey (to Uluru) (1981, 74 mins).

sating as the fierceness of the day ap­ proaches. The filmmakers are drawn to the side of the monolith, its sheer walls pressing down upon them, its immense form apparently stretching to the horizon in both directions.

The soundtrack is composed of sparse narration and natural sounds but, at times, is completely silent, the camera providing a visual caressing of the nooks, crannies and outcrops of rock, making them appear indis­ tinguishable from the texture of eucalyptus bark. At other times, the soundtrack roars with insect noises, recorded in the echoing hollows of the caves in which the filmmakers shelter from the midday sun.

Overhangs of rock resemble open mouths caught between laughter and anguish; hand-held close-ups of green and purple vegetation on brilliant red sand look like underwater footage of coral reefs. Snake-like trails in the sand are mirrored in the traces of Aborigi­ nal rock painting found on the walls of the caves. This Aboriginal presence pervades: “ . . . where we intrude, they withdraw; where we are, they are not . . . ” Eventually, this study of details produces a hallucinatory loss of scale, the monolith appearing at once both larger and smaller than its actual size.

The seven sunrises that opened the film are complemented by sunsets of pale watercolor pastels and blood-red glows resembling‘mammoth bushfires.

As evening descends, a series of moonrises complete the film: perfect, white spherical shapes in grey skies above burgundy-colored rock. The images flatten out, becoming two-dimen­ sional, their forms and textures dis­ solving into abstraction. Time lapse makes the rising moons appear as vast eggs, their powerful natural forces in dynamic juxtaposition to the outlines of Uluru.

The Cantrills are intent on height­ ening the genesis of our everyday experiences. Like hyper-realist painters, they aim for the gestalt of the visual image and, once isolated, trans­ form it into a fierce and condensed reflection of its former state.

Uluru provides a perfect subject for this transformation. Regarded by Euro­ pean culture as a national resource, “Ayer’s Rock” represents the quin­ tessential picture postcard. Its dominat­ ing outline in the vast Central Desert, invariably photographed with all the sensitivity of a car advertisement, has become an archetypal image for the

Early evening at Uluru: The Second Journey (to Uluru)

498 — November-December CINEMA PAPERS

international and domestic tourist in­ dustries.

The Second Journey is not so much a transcendence of this as a simple quest to visually and aurally commune with the remnants of an ancient people and a vastly more ancient monolith. Uluru radiates a mythical energy in its botanic, geological and animal life. The Cantrills have restored at least some of the respect and integrity echoed in its Aboriginal name.

Phillip Adams once called the Can­ trills “the Burke and Wills of Aus­ tralian cinema” and while appreciating the multiple ironies of his comment (more pertinent today than when he first made it), I can do no better than quote from Andrew Pike’s excellent article which introduced the “Mid­ Stream” exhibition catalogue: “ ... unlike Burke and Wills, the Cantrills will continue to survive in their journey through the wilderness of the Australian film community.

The Cantrills have faced vehement rejection of their work from many quarters, but have forsaken the soft options available to them and re­ mained true to their own convic­ tions. In their consistency, clarity of vision, and rigorous sense of purpose, they can only continue to grow as artists. Their work already consti­ tutes a major and extensive body of film that places them firmly in the forefront of Australian cinema and Australian art generally, a position that must inevitably gain increasing recognition after the mad scramble of the film community for elusive financial gain gives way to a calmer appraisal of just what has been achieved in the 1970s.”2 The Second Journey (to Uluru) — the practice of filmmaking: A film by Arthur and Corinne Can­ trill. Shot on Ektachrome. 16mm. 74 mins. Aus­ tralia. 1981.

Chariots of Fire Les Rabinowicz Hugh Hudson’s feature debut,

Chariots of Fire, is a seriously flawed

but at times engaging film that aspires

2. Andrew Pike, “The Cantrills — The Art of Seeing“, Mid-Stream: A Survey Exhibition of the Filmwork by Arthur and Corinne Cantrill, 1963-1979, published by the Ewing and George Paton Galleries, University of Melbourne, 1979.

to arouse dormant feelings of national pride from its subject, the success of British athletes at the 1924 Paris Olym­ pic games. Based on the lives of two runners, Harold Abrahams and Eric Liddell, Chariots of Fire is like a song in praise of their triumphs. And as a song it tells an endearing story about their lives which, while touching the obsessions and conflicts behind their gold-medal winning performances, drifts gently over these.

A national esprit de corps is an elusive and delicate entity at the best of times, more so when it is subject to the conventions of artifice. So, who can blame Hudson for paring down Colin Welland’s fine screenplay to present a rousing celebration of British grandeur by making the film’s heroes more palatable than seems likely, or by skating around issues that could have been fruitfully explored?

Hudson’s lightness of touch is much in evidence in Ian Charleson’s portrayal of Eric Liddell. The son of Presbyterian missionaries, Liddell is a natural athlete who has already represented Scotland in rugby. He has vowed to join his parents in China after he has made the most of God’s special gifts: his speed.

Liddell’s inspiration is drawn from the following words of encouragement: “Run in God’s name and let the world stand back in wonder.” His devotion extends to delivering a sermon after an athletics meeting on the spot marked by the finishing line, in which he compares faith to running in a race. Liddell is also prepared to make the supreme sacrifice by refusing to run in his Olympic heat which has been scheduled for the Sab­ bath.

Despite all this, and the fact that religion is introduced into the screenplay by way of a comparison to a benign dictatorship, Liddell comes across as a serene, awe-inspiring athlete rather than a religious fanatic.

Much the same can be said for Ben Cross’ portrayal of Harold Abrahams, a Cambridge undergraduate and the son of a Lithuanian Jew. Abrahams is a fierce competitor who runs only to win, which is his way of overcoming feelings of insecurity. Winning, as he explains to his sweetheart during their first meeting, is his weapon against being Jewish. Yet, somehow, Abrahams is presented as an upright and sober Englishman who loves his Gilbert and Sullivan rather than being intense and obsessive.

Chariots o f Fire

The Killing o f A ngel Street

The Killing of Angel Street Keith Connolly

No disparagement» is intended, nor should any be inferred, if I bend a cele­ brated Johnsonism to Fit Donald Crombie’s The Killing of Angel Street: it is not that it is well done, but that it is done at all.

Angel Street is well done, though Crombie’s concern for the film’s accessibility seems to have been mis­ understood in some quarters. But its content is, to say the least, surprising (Dr Johnson would have preferred “astonishing”).

One can only speculate about Cecil Holmes’ private thoughts when he was asked to collaborate on a screenplay in which an Australian communist is sym­ pathetically portrayed as the male lead and the baddies include police, public servants and commercial big-wheels.

Times certainly have changed since Holmes’ mildly left-wing trilogy Three in One was spurned and ignored by Australian distributors and exhibitors in the late 1950s.

In case you haven’t seen Three in One (and how many Australians got the chance?) it is worth noting that the trilogy, based on stories by Henry Lawson, Frank Hardy and an original

by Ralph Peterson, attracted favorable comment overseas, was sold in eastern Europe and cold-shouldered in its own country.

Andrew Pike and Ross Cooper say of

URANIUM

Three in One: Jeff (John Hargreaves), the union leader, explains to Jessica (Elizabeth Alexander) the double-dealing and corruption in ¡and development.

Donald Crombie's The Killing of Angel Street.

What Chariots of Fire lacks in psy­ chological verisimilitude, it makes up for in visual splendor. A battery of art directors have recreated the period with what at times is a remarkable sense of detail; The actors look, dress and run like 1920s athletes; they even dig their starting blocks with tiny trowels. And as a celebration of British culture, the film includes many elegant scenes which pay homage to the cultural in­ stitutions and pastimes of the upper classes: the hallowed halls of Cambridge, the theatre, a freshman’s dinner at high table, rousing speeches of devotion and leadership, and the damp poetry of the Scottish Highlands — all of which are captured by the affec­ tionate glow of David Watkins’ photography.

Such are the seductive delights of all of this that one almost doesn’t realize that Chariots of Fire is resurrecting everything that Lindsay Anderson shot cannonballs through in If, 13 years ago.

And judging by Anderson’s appearance as a Cambridge don, it would seem that Anderson has also forgotten.

Anderson is joined by John Gielgud in this scene, one of the Film’s morememorable ones. It is a dinner-table debate between the two Cambridge dons and A braham s who is reprimanded in barely concealed anti­ semitic tones for violating the college’s athletic spirit by training under a professional coach.

Regrettably, Hudson’s treatment of upper-class anti-semitism is superficial and confused; Chariots of Fire seems to suggest that it is nothing more than a distasteful expression of personal pre­ judice, rather than an insidious form of ostracism based on religion. Elsewhere, the film seems to embrace an otherwise commendable attitude of religious

tolerance with too much enthusiasm.

This is the case at the start, where a sermon takes place that is “to give thanks to the life of Harold Abrahams and to honor the legend”, and which ends at the completion of the film with the congregation rising in hymn.

Unfortunately, Hudson’s problems don’t end here. The depiction of Abrahams’ affaire with his non-Jewish sweetheart as an unproblematic relationship without personal reverberations, and the narration of the story of his efforts to be the fastest run­ ner in the world, without any reference to his father or family, is implausible to say the least.

The most satisfying scene is the con­ frontation between Liddell and the British Olympics committee, which in­ cludes the Prince of Wales. Its members try to persuade Liddell to run on the Sabbath by evoking the divine right of Kings, an argument which doesn’t sit well with Liddell’s Presbyterian conscience. The impasse is finally resolved when Liddell agrees to take the place of another athlete, Lord Andrew Lindsay (Nigel Havers), though only after some amusing ex­ changes which make a mockery of the argument (espoused by some of the most honorable men in Britain), with which Liddell was to have been cajoled into running.

Despite the last-minute hitch and Abrahams’ dressing-room nerves, com­ pounded by his failure in two previous events, he and Liddell predictably win their respective races without having to race against each other.

Liddell’s heroism is joyously celebrated and applauded, but an ex­ traordinary letdown follows Abrahams’ victory. His celebration with his coach resembles a wake — both realize that

their victory cannot be shared with any­ one. This point is beautifully underlined at the Olympic team’s tumultuous welcome on its arrival in Britain when a lonely Abrahams and his sweetheart avoid the welcome and stroll past a news poster announcing that he is the toast of London.

During this last section of the Film, some obvious faults begin to emerge.

The dramatic climax at the Paris Olym­ pics is too long and drawn out. It is very much out of keeping with the buoyant First part of the Film which is carried briskly along by a compelling musical score and some sharp editing. Also, the slow-motion replays are over-used and tend to accentuate the already overdone grimacing. It is as if we must be shown the result of the race over and over again to appreciate its significance.

However, if in the end Chariots of Fire disappoints, it is not because it falls away at a time when it should come together, but because it slinks around some weighty issues which it treats with a naivety akin to the youthful exuberance that it is so eager to celebrate.

Chariots of Fire: Directed by: Hugh Hudson. Pro­ ducer: David Puttnam. Executive producer: Dodi Fayed. Associate producer: James Crawford.

Screenplay: Colin Welland. Director of photog­ raphy: David Watkin. Editor: Terry Rawlings. Art directors: Anna Ridley. Jonathan Amberston, Len Hutingford. Andrew Sanders. Sound recordist: Clive Winter. Music: Vangelis Papathanassiou.

Cast: Ben Cross (Harold), Ian Charleson (Eric), Nigel Havers (Lord Andrew), Nicholas Farrell (Aubrey), Daniel Gerroll (Henry), Cheryl Campbell (Jennie). Alice Krige (Sybil), John Gielgud (Trinity Master). Lindsay Anderson (Caius Master), Nigel Davenport (Birkenhead), Patrick Magee (Caaogan). Production company: Enigma, for Twentieth Century-Fox and Allied Stars. Distributor: Fox Columbia. 35mm.

121 mins. Britain. 1981.

“The Australian Film trade . . . was not ready to acknowledge the achievement and it failed to Find a full commercial release. The major distributors and exhibitors rejected it, perhaps because of uneasiness about Holmes’ left-wing commit­ ment . . . but at the same time, the trade was inhibited by its commit­ ment to British and American interests. Officially voiced opinions were defensive and denigrated the Film and those associated with it: Ron Michaels, the managing direc­ tor of United Artists in Australia, answered a newspaper criticism of the trade’s indifference by asserting that the Film had ‘little box-office appeal’ and that ‘any well-produced Australian Film embodying the neces­ sary qualities which appeal to theatre patrons will readily find both distri­ bution and exhibition outlet’.”'

Michaels was correct in some ways.

When I voiced my wonder about the content of Angel Street to producer Anthony Buckley, he told me: “The first to put money into Angel Street was Greater Union . . . and you couldn’t get a more conserva­ tive, more establishment company. I asked [general manager] David Williams: ‘Why are y o u putting 5250,000 into this film? After all, it’s really anti-establishment.’ He replied, ‘That’s why we like it.

They’ll come and see it’.”

P lu s ca c h a n g e and all that.

But Angel Street is neither politic­ ally nor ideologically propagandist. It may be regarded as being gently didactic, though, in that people are en­ couraged to stick to their guns, pro­ vided they can face being dangled from the top of skyscrapers, harassed, traduced, bashed — even murdered.

In intention, Angel Street is a L R. Cooper and A. Pike, Australian Film 1900- 1977, Ox f o r d Un i v e r s i t y Press/Australian Film Institute, 1980.

CINEMA PAPERS November-December - 499

The Killing o f Angel Street

political thriller. It is based quite openly upon the notorious facts of the Juanita Nielsen case, recalling the Sydney woman who disappeared in 1975 at the height of her involvement in the struggles of King’s Cross residents and their supporters against a largescale development project.

Liz Alexander plays Jessica Simmonds, a Juanita-style character (though the screenplay is at pains to distinguish between the fictitious heroine and the real-life martyr). John Hargreaves’ Jeff Elliot just as obvi­ ously is based on Jack Mundey, though he, too, is shown to be “fiction”, the character being bumped off by the developers’ underworld allies, rather than being expelled from the union. I am reliably informed that the harass­ ment suffered by the film resisters is a pale shadow of the real thing, though to the distant observer it has the ring of verisimilitude.

Jessica, a rather unworldly scientist, has returned from overseas to find her father, retired professor B. C. Simmonds (Alexander Archdale), and the harborside terrace house w'here she grew up at the centre of resistance to the scheme. The old man is clearly having the time of his life (“Why should the young have all the good causes?”), encouraging his working-class neigh­ bors to hang on to their homes.

Then B.C. dies in a mysterious fire that almost certainly wasn't an accident and Jessica becomes his surrogate. In the process, she is brutally introduced to links between organized crime, the police, the developers and highly-placed state government officials.

Jessica is wheedled, threatened, conned and finally abducted by the underworld heavies, employees of a casino operator busily ploughing his illegal profits into more conventionally-legitimate enterprises like the Angel St development. They all but hurl her from a high-rise building, have her gaoled on trumped-up charges, body-searched by Ratched-like ‘police­ women and murder the communist lover she has just dismissed with a flurry of undialectical sensitivity. But. having been drawn into the battle of Angel St without really understanding what is at stake. Jessica becomes com­ mitted to it body and soul.

How and why she does so is the stuff of nicely-attuned, understated charac­ ter development, for w'hich Crombie, the writers and. above all. Liz Alex­ ander deserve great credit. It is the strongest single aspect of a less-thanconsummate film. Alexander’s Jessica stands triumphantly with Helen Morse’s Caddie and Michele Fawdon’s Cathy, other Crombie heroines who grow in stature as they combat a hostile world. The big difference is that Jessica does so on behalf of people with whom she has little in common, whereas the other two fight for personal survival and to keep their children. A common thread, however, is that all three have suffered through broken marriages and. in different ways, establish a new, evolved identity.

One of the problems facing Crombie and writers Michael Craig, Holmes and Evan Jones (listed in order of participa­ tion) was achieving audience belief in events that, in the Australian experi­ ence, are unacceptably bizarre. I w'as reminded of this when a Melbourne colleague, far better informed than the average filmgoer, doubted that the developers would have gone so far as to station menacing thugs as sentinels on the doorsteps of Angel Street’s “stayputs”. As Reg Lye, doing his doughty

Raiders o f the Lost Ark

old-prole act, says: “This is a lovely country, the sun is always shining and things like that don’t happen.”

Besides credence, Angel Street has other problems. Crombie tells what is essentially a dark, grim story in color­ ful, populist tones, the style in which he is most fluent. It worked very well for Caddie and Cathy’s Child, and the same may be said about Angel Street. But because of the more “public” nature of the subject, he has been subjected to critical scoldings about “a soapy sort of social comment” (Meaghan Morris, F in a n c ia l R e v ie w , October 2, 1981) and being “influenced by American cops­ and-robber shows on TV rather than by observation of moral conflicts in Aus­ tralian life” (Neil Jillett, T h e A g e , October 5, 1981). These, and similar, comments do insufficient justice to a gifted director who consistently and conscientiously aims his social-realism at the broadest-possible audience.

Crombie is at fault, however, when Angel Street occasionally lapses into mannered slickness, typified by some Sweeneyish police behaviour and a tendency to telegraph the film’s dramatic punches with anticipatory over-use of Brian May’s rather trans­ parent score. He must also, of course, take ultimate responsibility for defi­ ciencies in the narrative and support­ ing performances. An unfortunate com­ bination of shallow' scripting and un­ convincing acting reduces a couple of sequences between Jessica, her brother (David Downer) and sister-in-law (Caz Lederman) to Sullivans level.

The film’s weaknesses, however, are hugely outweighed by its many strengths. These include a sound factual basis for a thriller-type plot, con­ vincing central performances, direc­ tion nicely balanced between reportage and drama, a suitably-atmospheric harborside location for the main action and Peter James' ingeniously-contrasted’ photography.

Perhaps, inevitably, in a film endeavoring to address “difficult” issues in popular terms, Angel Street leans a mite too heavily on familiar crisis situations and stock figures like Gordon McDougall’s ambivalent tycoon, Allen Bickford’s menacing crook. Norman Kaye's bent public servant and Reg Lye's philosophic old battler, Riley.

Riley, in fact, enunciates what is really the theme, more than once quoting his old mate B.C. (courtesy of Milton): “Not the winning, nor the losing, but the struggle!” This expresses, in romantic guise, an issue seldom raised in Australian feature films: the capacity and. if you like, the duty of Australians to organize and agitate for what they see as their rights, regardless of the perceived chances of success. It is a spirited nega­ tion of the “you-can’t-fight-city-hall” syndrome, “city hall” in this case being a powerful cabal of vested interests, organized crime and corrupt officialdom.

The “little people" of Angel St turn out with a will worthy of Capra.

There's a Capraesque flavor, too, about the quixotic resolve shown by Jessica, in essence as individualist as that of Longfellow' Deeds or John Doe. But the cranky old reactionary lurking beneath Capra’s populist mien would have been horrified by the ultimate catalyst of the Angel Streeters’ victory — a union ban on further demolition.

This in turn raises such piquant questions as: Who’s running the country, the unions or the law-abiding gentlemen pursuing their legal right to

500 — November-December CINEMA PAPERS

develop an inner-city suburb? Do we really want the world to think that, as well as ingenuous soldier-martyrs, we also produce people who have the capacity, the will and the presumption to seek influence over their own destinies?

The Killing of Angel Street: Directed by Donald Crombie. Producer: Anthony Buckley. Screen­ play: Michael Craig. Cecil Holmes, Evan Jones.

Director of photography: Peter James. Editor: Tim Wellburn. Production designer: David Copping.

Sound recordist: John Phillips. Music: Brian May. Cast: Elizabeth Alexander (Jessica). John Har­ greaves (Jeff). Reg Lye (Riley), Alexander Arch­ dale (B.C.). David Downer (Alan),-Caz Lederman (Nancy), Norman Kaye (Mander), Brendon Lunney (Scott). Allen Bickford (Collins). Production company: Forest Home Films. Distributor: GUO. 35mm. 100 mins. Australia. 1981.

Raiders of the Lost Ark R. J. Thompson ‘ ‘H ow Do I Know? I ’m M aking It UpAsIGo”

As every reader of dailies and weeklies west of Zanzibar knows by now. Steven Spielberg and George Lucas’ Raiders of the Lost Ark (1) surfs in on an unbroken flood of glowing, superficial reviews concerned with “fun" and “the ways films used to be”; (2) is making about as much money as Spielberg's Jaws or Lucas’ Star Wars (upwards of U.S. S200 million domestic so far, not counting merchandizing tieins); and (3) is a carefree, non­ intellectual. super-budget return to the meatgrinder soldier-of-fortune programmers of Hollywood’s abundant 1930s.

Jean-Luc Godard once said that the story of a film (its dramatic dynamics) could always be expressed in one sentence, but the plot would take several pages. Raiders may not even have a proper one-sentence story in that sense, but its plot would rival the latest

down from Mt Sinai (described in the film as a laser weapon and “a transmit­ ter to God”).

Time: 1936. First stop: Nepal, to pick up his discarded sweetheart, Marion (Karen Allen), daughter of the mysteriously missing University of Chicago anthropologist who taught Jones everything he knows. (Jones’ field drag, by the way, is modelled on the hat, jacket and pants Howard Hughes usually wore during the 1930s and ’40s, supplemented with a Lash LaRue whip.

Why a whip in a film literally crawling with phallic symbols?)

Then, it is to Egypt where the Nazis are digging. Jones finds the Ark, loses it to the Nazis, regains it, ships to England with it aboard a pirate tramp steamer operated by signifying blacks, loses the Ark again in mid-ocean to a U-boat upon which he barnacles his way 300 nautical miles to a secret Mediterranean subpen, where he loses the show-down: the Nazis open the Ark to be sure they are giving der Führer the McCoy. They are. When the Germans open the lid (shows what happens when you lose faith in the old Norse gods) all hell — make that all Heaven — breaks loose. Indy and Marion save them­ selves by not looking (learned from Robert Aldrich’s Sodom and Gomor­ rah).

Denouement: back in Washington, the Government stores the Ark away in a perfectly-evoked (visually and musically) Citizen Kane store room. ‘ ‘A in ’t H ad So M uch Fun Since The H ogs A te M y B rother ”

The review, as young Mr Lincoln says, is like the old woman's dance: short and sweet. This is an extremely well-made film which reaffirms the faith that Hollvw'ood, in one of its better-publicized”death throes, can con­ tinue producing remarkable works within and stretching its tradition (S.O.B.. Escape from Alcatraz, Bronco Billy. The Long Riders). I haven’t

talked to a n y b o d y yet who didn't like it, and it made me forget my terminal case Anthropology professor Indiana of the flu for 18 hours. Just understand, Jones (Harrison Ford soloing without this is the other end of the spectrum the Millenium Falcon) is engaged by from Tree of Wooden Clogs. the U.S. government to compete with Locating The L ost A rk: “ You C a n ’t Hitler's minions in recovering perhaps the greatest archaeological treasure of Get There From Here ’ ’ all. the Lost Ark of the Covenant, a Raiders certainly provides enough legendary golden chest containing the material for a sexual, a Marxfragments of the original Command­ ist/materialist. a Freudian, a post­ ment tablets Charlton Heston brought Freudian, or a power-of-theM e lw a y s .

Raiders o f the Lost Ark

look/glance analysis (see Veronica Ceng in Film Comment for a good start on the power codes of Jones’ beady eyes), but I am not sure any unusually illuminating results would be forthcom­ ing from these exercises. And such analytic work by its very nature leaves a great deal of excess from the specific film unrecovered (as does any ap­ proach) — and excess is one of the key principles of Raiders.

In the second-run theatres I used to attend, there was a guy who sat in the front row. Every time the key plot twist occurred, he would sit upright, roll his head and yell, “Wha-a-a-at!?” He would never survive a screening of Raiders.

It has been said that Raiders borrows the pace of ’30s/’40s “B” films and serials. Wrong: those films didn’t move nearly as fast. The film is paced like a television commercial, geared to a payoff/jolt/twist every 15 seconds.

This is true in patches in other films, but Raiders retains this rhythm from start to finish. In this way, it is most like a Warner Bros cartoon, a form Spielberg and Lucas have invoked in their earlier work, and in fact the Cairo marketplace sequence involving baskets is a homage to one of Chuck Jones’ Pepe Le Pews.

This idea moves the audience from pace to narrative, which is also cartoon­ like, and equally like comic strips and comic books; even more so than Flash Gordon, Raiders is a film comic strip.

Most films build slowly, speed up, climax, relax and repeat the process, saving the killer crescendo for the end.

Raiders does not. The pre-credit se­ quence begins in media res and es­ tablishes the breathless rhythm. How will they top it? They don’t; they repeat it.

The film is not cumulative and up­ ward building; nor is it episodic. In terms of effect, it is not even sequential.

It is built up with very tiny units which, like a comic strip, don’t template later parts of the narrative; instead, they leave the film open at each moment to go any which way it wants. In this way, Raiders is somewhat like serials and Bs. Another function of its “Anybody get the number of that truck?” momen­ tum is that the film burns more bits, gags and gimmicks (which could also be called narrative events, gestic units or concentrated images) than any dozen good action films combined. Excess.

And virtuosity.

This locates the film in three in­ teresting traditions. First, the kinetic film, an American specialty (though not a monopoly: see Mad Max); Raiders makes a kinetic masterpiece like Walter Hill’s The Warriors seem contemplative by comparison. Such films are devoted to the unbroken con­ densation and articulation of energy; as Manny Farber describes them, from start to finish like a steel engraving organized around a single line.

The second tradition involves developments in the American cinema in the past decade. It is now clear that the newly-emerged crop of outstanding filmmakers is organized into an Eastern team (Brian de Palma, Martin Scorsese, Francis Coppola, Woody Allen, Paul Schrader) and a Western team (Lucas, Spielberg, Clint Eastwood, Hill, John Milius). The Eastern group is explicity interested in films as art, while the Westerners shift the emphasis toward entertainment.

Over the centuries, an intellectual tradition has developed around the con­ cept of art; entertainment, a process comparable to art in complexity and

difficulty, has received much less thought and consequently is more vex­ ing (and challenging, which is one of the reasons the American cinema has been located as a focus for theoretical film thought).

Another formulaic reading of films is in terms of their social and political moment: i.e., Raiders as a post-Carter, Reagan film (never mind how long it has been in development). This EastWest split complicates such work a bit.

The Eastern directors, committed to art, are also explicitly conscious of social and political forces. The Western wing is not, which means its films res­ pond to and transmit such forces in a different way.

The third tradition is that of the B film as opposed to the A film. This tradition corresponds to pulps, comic strips and comic books spread from the 1930s through the 1950s (for a quick, meaty and accurate gloss on this tradi­ tion, see Garrison Keillor’s “Mission to Mandala” , New Yorker, May 25, 1981). The action/adventure format oc­ curs in A and B films, of course, but A films tilt toward deeper characteriza­ tion, dramatization and motivation at the expense of events/action, while the Bs do the reverse. This means action se­ quences in A films are more infrequent, much more carefully choreographed and located so as to carry more dramatic/narrative freight. In these terms, Raiders must be the biggest budget B film ever made.

In an A adventure film, Errol Flynn, Tyrone Power or John Wayne es­ tablishes a direct and privileged relationship with the audience; they have a power and a function separate from but within the film. Harrison Ford’s performance is not in this tradi­ tion. The most important aspect of the performance is Ford’s judgment of reserve: where to stop, what to withhold, never to stray into the characterization traditions of psy­ chological realism. The direct prece­ dents of this performance are complete­ ly B: Richard Arlen, Richard Dix, Richard Barthelmess.

The distinction I am trying to draw is the difference between a John Wayne or James Stewart Western on the one hand, and a Joel McCrea or Randolph Scott on the other, where the latter per­ formances stay strictly within the planes and surfaces of the film itself.

Nor is it the other extreme, the emphasized, suggestive, inner-directed minimalism of Walter Hill’s perfor­ mances.

Except for action sequences, Ford’s performance moves toward the pose, toward two-dimensionality, and toward status. The correlatives of the perfor­ mance’s mise en scene are within the 1950s cycle of drenched Technicolor adventure films by Byron Haskin, Andrew Marton, et al, involving Charlton Heston scrabbling out an Inca golden idol, or Stewart Granger and Rhonda Fleming mining emeralds in Central America, or John Payne and Arlene Dahl cheating the natives out of pearls . . . films with titles like Jívaro!, Mara Maru, Gold of the Condors, Green Fire.

To nail down the distinction, com­ pare Ford in Raiders with Sean Con­ nery’s performances in A adventure films like The Man Who Would Be King or The Wind and The Lion. And it is this strategy, which drastically reorganizes narrative space and op­ tions, which dooms the film’s attempt to pose Karen Allen’s Marion as a Hawks tradition woman: Raiders simp­ ly has no place within its mechanisms

for the leisurely and detailed develop­ ment of character.

R eading R aiders

There is a way in which any film is about cinema. Some films are much more so than others, of course, and Raiders is one of them. Like Mad Max, it is self-sufficient as a narrative; but also like Mad Max, it is incredibly in­ tertextual, an organized network of specific and generic references to film and to other cultural traditions.

References to Spielberg and Lucas films multiply like rabbits.

The most centrally placed of these is a series of scenes beginning with the pre-credit sequence: tightly framed, beautifully photographed shots of a party moving through the jungle. First seen are the leader’s baggy pants, his back, his silhouette — never his face. A treacherous porter moves to shoot him.

Shock close-up of Indiana Jones’ face as he flicks the gun from the traitor’s hand wih his bullwhip. Now that’s how you introduce the hero, his function, his power and his identity.

They find what they seek: a golden idol in a boobytrapped tomb. But the idol has non-human 'powers related to the forces of nature: it fires projectiles, it starts a Roadrunner/Coyote round boulder after Jones, it makes earth­ quakes — and this is only a pagan idol, not the Ark. Competitors steal the treasure from Jones and he barely es­ capes in a seaplane, the plane’s take-off and arcing back over the camera

i

Wanted .

*

perfectly placing the imagery of American adventurers and their ebullient power over space. This is not the didactic myth-power of The Force, nor the benign footcandles of the creatures from Encounters, but its analogue.

The next scene puts Jones in threepiece suit and spectacles for his univer­ sity lecturing and a salute to East­ wood’s Eiger Sanction as a co-ed gives him the look and lowers her lids, upon which is inked “LOVE YOU” (the other Eastwood reference is a betraying monkey who gives Sieg Heil salutes as stylishly as Clyde the orang-utang gives the finger in Any Which Way But Loose, nicely subverting the senti­ mental stereotype provided for animals in American films).

In Egypt. Jones locates the Ark by entering an underground chamber housing a scale model of the ancient city. Fitting a crystalline medallion on to the Staff of Ra. he uses the ancients’ sun astronomy.to cast a light beam on The Spot. This sequence is invested with considerable mystic power.

It should also please Ishmael Reed, the novelist whose running myth is of a struggle between the old, correct black religion of Egypt and Africa, and the usurping, destructive Christian heresy (i.e., the Christian Ark enfolded in the knowledge, power and trappings of the Egyptian religion), an area popularized

by Robert Shea and Robert Anton Wilson in their Illuminatus books.

The conclusion of the quest occurs on a deserted island. The Ark is opened

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Raiders o f the Lost Ark

and its furies released. This is placed in the story and the imagery as a direct reference to the atomic Pandora’s box in Kiss Me Deadly and suggests that The Ark may become the key to America’s forthcoming Manhattan Project, an idea the film cheerfully swallows with its ironic final gesture of anonymous cold storage.

Spielberg and cinematographer Douglas Slocombe keep the image sur­ prisingly tight throughout the film, even when expansive, open-space should seem most likely (as far as I could tell: the Russell Street’s focus-puller seemed to be looking for the Lost Ark too), choosing to hang much of this brown film from Jones’ brickish, five-minuteegg face.

Unlike most recent period films, the music is not a pastiche of 1930s songs but a lush, portentous and symphonic jungle which Ford keeps trying to sand­ paper his way through, using his threeday stubble. It is a virtuoso stunt film, quite capable of citing Yakima Ca­ nutes great Stagecoach step-by-step fall from the horses and under the stagecoach — and of finding a way to top the gag.

It is a well-cast film, including a chief Nazi villain reincarnating Jack Moss’ frog-faced agent from Journey into Fear. And it’s playful. No sooner has the film set Indiana Jones’ iconography (clothes, hat, shadow entry), than it provides a mysterious doppelganger, who just as mysteriously fades out, perhaps being kept in reserve for a later film in the series.

The film doesn’t frost over Jones’ dubious moral operations. In the proper B tradition, the only things that distinguish this monomaniacal, obses­ sed graverobber from the bad guys are that he is a loner, which sets up the proper one-man-against-the-world paranoid ambience and justifies his means and his successes, and his loyalty to Marion, which supplies the necessary lever of vulnerability upon him and which poses alignments and conflicts of desire versus duty.

Now if Lucus can just get John Milius to direct the next Indiana Jones film, everything will be jake!

Raiders of the Lost Ark: Directed by Steven Spielberg. Producer: Frank Marshall. Executive producers: George Lucas, Howard Kazanjian.

Associate producer: Robert Watts. Screenplay: Lawrence Kasdan, from a story by George Lucas and Phillip Kaufman. Director of photography: Douglas Slocombe. Editor: Michael Kahn.

Production designer: Norman Reynolds. Sound design: Ben Burtt. Music: John Williams. Cast: Harrison Ford (Indiana), Karen Allen (Marion).

Paul Freeman (Belloq), Ronald Lacey (Toht).

John Rhys-Davies (Sailah). Denholm Elliott (Marcus), Alfred Molina (Satipo). Wolf Kahler (Dietrich), Anthony Higgins (Gobler), VicTablian (Barranca). Production company: Lucasfllm. for Paramount. Distributor: CIC. 70mm. 115 mins.

U.S. 1981.

Wrong Side of the Road Almos Maksay

The film opens on a monotone: shots of working-class houses iq a non­ descript suburb. A middle-aged station­ wagon pulls into the driveway of one of these houses, its cement-sheet exterior painted a dull pastel color that could be a murky green or an off-target yellow.

A young Aboriginal gets in; then a voice says . . hey! where’s your bass?”, prompting a quick dash back to the house for the instrument. We now know that they are a band.

Wrong Side o f the Road

not lead specifically to the topic of point-of-view, though this issue is related: rather, the question leads us to examine the status of the camera itself.

With the next sequence, we are right members to express their personalities Perhaps the best way to clarify this into a performance number. The music in situations where they feel at ease. point is to mention the other noted has a convincing Reggae sound and Often, these situations also express Aboriginal film which won an award beat. The lead singer intones, “I am a visually the ideological content of the last year, My Survival as an Abori­ black man, and I need to be recog­ songs. ginal. In this film, the camera is nized.” Behind the band is the flag of Such a structure can obviously lead assigned a specific status: that of an the Aboriginal Land Rights Move­ to a blatant, formula-bound exploita­ observer. A space is also constructed ment, with the Rock at Uluru as the tionist product. On the other hand, within the text to accommodate the central motif and overpainted by the however, there is also potential in the observer: the film is largely instruc­ figure of a man with a click-stick in format since a rock band can be seen to tional and since we can see those who either hand. His hands are raised in the represent a group of people in inter­ are being instructed, the visual field Third World posture of political libera­ action with the dominant contem­ presented on the screen is legitimated tion. Young people are dancing in the porary musical culture and. therefore, from within the text as the sight of hall. Police arrive on what they might to reflect the tensions that may exist those receiving instruction. describe as a routine patrol, but between the international ideology that This is suitable for a documentary harassment and provocation quickly the music expresses and the local and there is no conflict in the mind of lead to the first incident of the film. aberrations of a national history that, the audience how it should orient itself This opening gives a good indication in Australia’s case, provides much in relation to what it is seeing on the of the mood and tenor of the film: it scope for criticism. screen. The camera, and therefore the sets out to show what it is like to be The potential topics for debate that audience's sight, is controlled from in young and black in Australia by taking cluster around this film are important front of the lens by the person giving us with two Aboriginal bands, Us Mob and necessary. On the basis of the rich instruction, just as the gaze of those and No Fixed Address. The issues signification it offers, I recommend it receiving instruction is also controlled raised in the film provoke important most strongly. It represents an impor­ by the same person. questions as to how the people appear­ tant further step in achieving a con­ The situation is quite different with ing in the film locate their protest, in temporary Aboriginal consciousness. Wrong Side of the Road. Here the terms of a filmic practice as well as in But all aspects of that step have to be camera is controlled from behind therelation to the social context within closely assessed and evaluated. lens, and from this orientation its func­ which the Aboriginals exist in the The problem I have with this film is tion is not merely to o b se r v e but also to 1980s. It is important that they find an that its expression and its ideology s h o w . Such an orientation belongs to authentic voice and contribute to the seem to be unclear. As far as the the fictional narrative film. In the sense widest possible diversity in Australian expression is concerned, the difficulty that the camera is given a status that culture. arises because the film does not declare recognizably belongs to the fictional Wrong Side of the Road is a signifi­ its status as a document. The con­ narrative mode, it creates tensions cant new film because, given its subject fusion is as a result of the camera set­ because it is in conflict with the docu­ matter, it attempts to bring together ting up a conflict with the material: mentary status assumed by the elements that should add up to a viable both camera and production adopt a material. commercial package. The most impor­ conventional narrative position in rela­ According to the publicity, for tant components are the music and the tion to the characters, as well as the instance, the band members insist that bands themselves. From the point of situations on the screen. Unfor­ the situations shown on the screen are view of a marketable commodity, the tunately, this militates against the incidents from their own lives and those format of the film is seen to conform to documentary pretensions of the of their friends. As if to emphasize a one of the most successful of the new material itself. documentary verity, they retain their genres, the band film. Live stage The question of what governs this names and identities rather than adopt­ numbers are strung onto a narrative conflict, between the formal elements ing fictional character roles. Far from thread which is used to allow the band of the expression and the material, does contributing to a clarification, this only CINEMA PAPERS November-December — 503

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Wrong Side o f the Road

leads to a further complication; the confusion already generated by the crisis between the status of the camera and the material is heightened, because, by refusing to fictionalize their roles, the musicians put themselves in the unfortunate position of having to play themselves, a difficult enough task for even the most skilful actor. Peter Sellers, they say, died of problems generated by an identity crisis resulting from too much playing of himself.

Such a problem never arises in The Rose, for instance, because in this film the situation is quite openly fiction­ alized. We all know that, although for the convenience of the story Bette Midler is pretending to be someone else, what we are watching neverthe­ less represents important aspects of her own life and attitudes, leading to much more authentic “ documentary” material. .

Ultimately, with respect to Wrong Side of the Road, another one of the serious problems that we are forced to confront is related to inadequacies in the acting. This has serious problems for the whole film, since it is not pos­ sible to ignore the fact that the inci­ dents we are viewing are not actual­ ities, but recreations of events acted out for the camera.

The other main issue that needs to be debated concerns the ideological con­ tent of the film. I believe that this debate should also focus on the ambi­ valence in the attitudes of filmmakers and participants, amounting to a reluc­ tance in determining whether the treat­ ment of the material should be docu­ mentary or fictional. If the parameters that are adopted are clearly identified as fictional, then all the difficulties are dissolved: the filmmaker has identified himself as the structuring agent, the initiator of discourse. Writing about the film becomes easy; it is possible without effort to trace the passage of the dis­ course through the framework of oppositions implanted in the text. A brief tracing of some of these lines might be as follows.

The two bands of the film exist in a reality that is defined in its most overt form, by active police harassment. The police don’t hesitate to provoke a con­ frontation, because their main interest is to get an arrest, to claim a victim. In this situation, the members of the bands can do very little. When on the stage, it is futile for them to attempt to calm their audience, because the police will continue their confrontation tactics until they achieve their desired result.

The band members nevertheless try to keep the crowd calm in the early stages

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Ronnie, the bass player from Us Mob. Wrong Side of the Road.

Wrong Side of the Road: Directed by Ned Lander.

Producers: Ned Lander, Graeme Issac. Screen­ of the film, although later, when they cials here are bound by such tight play: Graeme Issac. Ned Lander, in association are stopped on their way to an engage­ regulations that they cannot divulge with cast. Director of photography: Louis Irving.

Editor: John Scott. Production designer: Jan ment to play at a cabaret organized by information merely on request.

Mackay. Sound recordist: Lloyd Carrick. Music: an Aboriginal social club, frayed As he is confronted by frustration No Fixed Address. Us Mob. Cast: Bart Wil­ tempers lead to an outburst of physical after frustration, he is swept further out loughby.

Chris Jones. John Miller and Veronica violence. towards the periphery of the white, Rankine (No Fixed Address): Ronnie Ansell. Peter The arrest of one of the band urban civilization that he knows, Butler, Wally McArthur and Carroll Karpanny Mob): Leila Rankine. Gayle Rankine. members highlights the injustices that towards a harsh geographical interior (Us Brodie. Donna Drover. Production are suffered by Aboriginal people, where enigmas perhaps coexist with Veronica company: INMA Productions. Distributor: 1NMA Productions. 35mm. 80 mins. Australia. stemming from victimization by white 1981. law, because the first impulse of the law is to uphold police action: a bail of $500 has to be paid by a relative before the musician is released, thus aggravating the hardship that they already suffer.

There are further situations in the film that illustrate other facets of this victimization.

The incident just described also serves to throw into focus conflicts that exist in the black community itself.

Many of the older people are antagon­ istic towards the younger generation and voice the same criticisms expressed ★ CINEMATOGRAPHERS by the whites. In the face of such crit­ icism from both sides, what can be done ★ SO U N D RECORDISTS to define a legitimate identity? ★ HELICOPTER PILOTS The lack of any real choice is symbolized by the dilemmas faced by ★ FILM EDITORS Les Stephens in his search to find out who he really is. He goes to the govern­ ment office that holds details of his adoption by a white family. But offi­

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answers. Are tribal lands the places where an Aboriginal can find a true identity, even a member of the modern generation who has gone past the passi­ vity of his elders into rebellion, head­ ing in the direction of perhaps even revolution?

The film abounds in a potential for such discourses, and the few para­ graphs above don’t do justice to the latent richness of thé text. Vet, if I cannot locate the source of a discourse, and it is difficult to do so if I am forced to read the text of Wrong Side of the Road as a documentary, then the force that holds these oppositions apart in a symbolic pattern of antitheses is nulli­ fied: the oppositions are then con­ flated, the structure becomes unstable leading to collapse, and we are left with a dull documentary that omits to say some of the most interesting things.

In a pure documentary situation, can we really talk about Les Stephens’ search for identity in the more abstract sense, if he does not articulate it him­ self? Can we talk about a conflict in the consciousness of the band members between passive resistance and active rebelliousness, if they cannot describe the conflict themselves? ★

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P.O. BOX 1260. CROWS NEST. 2 0 6 5 , CINEMA PAPERS November-December — 505

Legends on the Screen John Tulloch Currency Press/Australian Film institute, 1981, $19.95 Ross Cooper*

I welcome this latest book on Aus­ tralian film history of the 1920s as adding yet another volume to the stead­ ily expanding library on the subject, where for years there was hardly any­ thing for secondary and tertiary Film students. It is well written and intelli­ gible to the informed lay person, or film buff, who will delight in the skilfullyintegrated illustrations and the rich, detailed background to the Australian ‘auteur’ directors of the decade. The story is a gripping one and Tulloch gets on with it without interrupting the flow with too many asides or semiotic jargon.

The scope of the book is covered in the subtitle, “The Narrative Film in Australia 1919-1929”, or “From Ver­ sailles to Wall St” as Gough Whitlam called it at the Melbourne book launch­ ing. The book is structured in three parts, the first dealing with “After the War, the Construction of Peace” , which is short and largely introduc­ tory, and the mid-section, which is the guts of the book, entitled “Producers and Constraints of Production”. Here the basic story is told of who was making what, under what sorts of con­ ditions, including chapters devoted to such auteurs as Raymond Longford, Franklyn Barrett and Beaumont Smith.

The last part takes the Australian “ Bush Legend” seriously and looks to the films for justification in a detailed and highly-sophisticated context analysis of several of the key films of the period.

There are more than 165 pages of illustrations which, when the excellent index of eight pages and the notes of 23 pages are excluded, leaves a basic text of about 250 pages. For less than $20 through the Australian Film Institute, a book of this size (448 pages) is worth buying, and will be an excellent reference source for many people.

The book makes use of the trade press as its main source and possibly falls into the trap of assuming that what is in the trade journal is what really was happening in the decade. Safe and sure perhaps, because it is all in print and doesn’t suffer from the vagaries of personal memory, etc., but how real would such a picture be? It is a bit like a student 50 years from now using C in e m a P a p ers files for the 1970s to find out what really happened in Aus­ tralian film circles — it would be a good starting point, but it would not be the whole story. As Ken Inglis has said in a recent Bicentennial B u lle tin (No. 4 August, 1981, p.2), “Hegemonist theorists tell us, quite rightly, that the press is the propa­ ganda arm of those in power. How can we rely upon it as heavily as pop­ ular culture historians tend to do?

With one part of our minds we mock the attitudes, yet rely upon them as near gospel truth about what ‘people’ thought. Are we, one wonders . . . even getting what journalists thought? Part of the problem is that we’ve had to use newspapers without k n o w in g enough about who owned *Ross Cooper is a film historian and co­ author (with Andrew Pike) of Australian Film 1900-1977.

506 — November-December CINEMA PAPERS

them, wrote for them, still less about who read them. I wonder why we haven’t tried harder to find out?”

I don’t agree with this book’s con­ demnation of E v e ry o n e s as the villain in the piece, supposedly representing the distributors and American mono­ polists, etc., in putting down local film (p. 430). E v e ry o n e s was often gen­ uinely concerned to boost local films, and Gayne Dexter doesn’t deserve the opprobrium he comes in for through­ out the book, reading between the lines, as witness this quote from S h o w m a n (August, 1951): “ I think all the ‘oldsters’ will admit that no trade paper, before or since, has attained the high calibre that Dexter’s E v e ry o n e s did. It was truly independent and did not specially cater to theatre circuits or film exchanges. Everyone got a fair go. It was brilliantly edited too . . . ‘Bob’ Dexter was too gifted, too inde­ pendent and too good for his posi­ tion. All the time he had to meet the power of the film distributor and very often he was reminded that power was only latent . . .”

The article goes on to say that E v e r y ­ o n es had to rely like all trade papers on the advertising the distributors handed out, and they looked on this as a

Raymond Longford’s

The Sentimental Bloke.

subsidy and expected service and support.

Even in 1928 in an article entitled “Who’s the Boss? — Big Circuits, Dis­ tributors or YOU?”, Dexter was sail­ ing close to the wind, and in the early 1930s, after some criticism of the “film war” and a failed American film, Cim­ arron, the distributors brought him to heel by removing their advertising. One of his final editorials in a very slim volume with many blank pages was en­ titled “Little man, what now?”, and E v e r y o n e s eventually folded and Dexter left Australia. When C in e m a P a p e rs first started back at La Trobe University in 1967, I can remember telling the new editors then that they should beware of history repeating itself.

The main point of all this is to high­ light a warning to students and wouldbe researchers of Australian film his­ tory not to take everything they read in trade journals at face value. It needs to be supported, where possible, by refer­ ence to living sources (Franklyn Bar­ rett’s daughter and Raymond Long­ ford’s wife were still alive, last I heard), and other documentary and manu­ script material. This book doesn’t show great evidence of consulting these sources.

Because so many of the key figures have now passed on (Merv Wasson, one of the first to write on Australian film history, was lucky to have met Frank­ lyn Barrett before his death), it makes it very hard to check some of the more outspoken claims — there is no one alive to speak with authority and say whether he is right or wrong. Hence, Tulloch is in a position of ‘writing his­ tory’ for posterity, and what he puts on the period in terms of interpretation and judgment is very likely to stick. For instance, I have a gut-feeling after years of research on some films, trade papers and Royal Commission evidence that Barrett was not as good a director as Longford, and that Southwell was a bit of a shyster, while Beaumont Smith increasingly became a “fish out of water” as the 1920s progressed.

But these “impressions” of mine are no more substantive than Tulloch’s, who has come up with opposite conclu­ sions — good luck to him! Students

Book Reviews

love controversies and differences between historians.

Sylvia Lawson, as overall editor, insisted that the “story of Australian production still be told”; yet while rejecting a previous “crude American imperialism model”, all Tulloch seems to do is to replace it with a more sophisticated American imperialism model.

The book is excellent on the “inva­ sions” by the Americans, and tells the story well. On the whole I would agree with him that Longford, at the Royal Commission, had exaggerated the extent of the “combine” and was a “romantic” and “paranoid”, but I fail to see that it was an impersonal mono­ poly that Tulloch seems to be saying it is, while absolving individuals. I think personalities are important, and it was people, not vague market forces, who decided which films were (or are) to be supported in Australia and which are not. The 1920s were obviously second only to the 1970s in terms of film drama in Australia.

The similarities with the present don’t end there. When Joan Long was making The Passionate Industry she had trouble from individuals in the Commonwealth Film Unit who con­ sidered the film too close to what was happening in Australia at that time in the early 1970s — yet it was about a Royal Commission held nearly 50 years before.

The good thing about Tulloch’s use of the trade press and the many fullpage reproductions of pages from the journals is that it makes accessible much of the information students are going to want in the next few years as they study Australian film tradition.

Here they have a blow by blow, almost week by week, description of what the Picture Show and Everyones were about.

Another good thing about this book is that Tulloch has obviously looked at some of the films (not all — there were many “bad” ones too!), unlike Eric Reade, and he has not found them intel­ lectually beneath him. In fact, I think he goes a trifle too far at times in seeing grand visions and grand symbolism in the films which were often pretty pedes­ trian by world standards. Let’s face it, they were no more than B-grade films by the most generous of estimations — with the exception of The Sentimental Bloke.

It was fashionable among film intel­ lectuals of the 1960s to affect a con­ tempt for our local product, and not bother wasting their time with highpowered sophisticated treatments that they generally reserved at the time for the imported European article. The wheel has come full circle and it is refreshing to see local film historians and film critics taking the films as they are, and applying analysis to them.

Again, this is something that future students will applaud in this book.

I am also delighted that Tulloch seems to support the view that the films of the 1920s illustrated the “Bush Ethos” of Russell Ward. However, it seems as if Tulloch has missed the reassessment of the legend that has gone on in the past two decades, and few would now take the Ward legend unquestioned as it mainly seems to be in this book.

Some small criticisms of the book include no definition in notes of the word “semes”, and I would have pre­ ferred a concluding chapter to draw together what otherwise often seems a series of unconnected monographs capable of being published indivi­

dually, rather than a series of coherent chapters building on a central theme.

Further work that remains to be done includes getting access to the private papers of people such as Norman Dawn (Graham Shirley has already done this). Also, more of the films of the 1920s need to have similar interpreta­ tions. The authors of Australian Film 1900-1977 predicted this last year, after that initial work listed in one place the sources of information about narra­ tive films in Australia.

There is a need for similar books to Legends on the Screen to be written by Tulloch or others on the 1910s, ’30s, AOs and so on. There is still plenty of work for serious researchers waiting to be done. In the meantime, I can only congratulate the AFI and Currency Press, and strongly recommend this book to the reader.

Kim Novak in C am era Larry Kleno T a n tivy/B a rn e s, 1980

Ingrid Bergman: My Story Ingrid B ergm an and Alan Burgess M ichael Joseph, 1980, $25

Brian McFarlane

Novak, on the other hand, often pat­ ronizingly dismissed at the time as a vacuous beauty caught up in the wrong trade, has enjoyed critical rehabilita­ tion for her major performances, a process that seems unlikely to overtake Taylor.

Whereas the strained dramatics of Taylor’s chief roles generally looked like someone trying very hard, Novak’s quiet attentiveness and vulnerable pas­ sivity have worn well, as though she always understood what film acting was about: that' is, more a matter of small effects than of straining every nerve and tissue.

All this is by way of introducing Larry Kleno’s large, glossy volume, Kim Novak in Camera. It deserves notice for two reasons: first, because its subject genuinely merits critical appraisal; second, though Kleno does not in the event deliver such an appraisal, the format he has chosen has a good deal to commend it. As to the latter, it is distinctly more satisfactory a treatment than those Films of .. .

(Laurence Olivier, James Mason, etc.) which merely give credits, brief synopses and a few snippets from reviews for each film. And it is — potentially at least — much more satis­ factory than most of the never-ending stream of star biographies which tell us so little about the films that we wonder why we ever wanted to read the books.

Each film gets a chapter to itself and a key film like Vertigo has 15 well-illus­ trated pages. As Kleno accurately records, “Vertigo moved and over­ whelmed audiences but, at the time of release, was not the critical success it has since become.” Penelope Houson, for instance, reviewing in Sight and Sound (Autumn, 1958), felt that: “Only speed, finally, could sustain the illusion that the plot hangs together — and Hitchcock has never made a thriller more stately and deliberate in tech­ nique.” Derek Conrad, in Films and Filming (September 1958), claimed that, “The rest of this long film does not manage to live up to this [i.e., the first] electrifying three minutes”, while allowing that “Kim Novak shows up better than she has of late.”

Twenty years later, David Thomson unhesitatingly describes “Novak’s con­ tribution to that film [as] one of the major female performances in the cinema” ,1 and John Russell Taylor writes that “Kim Novak did an excel­ lent job — so good it is difficult to imagine Vera Miles or anyone else in the role.” 2 Kleno, however, doesn’t bother to document such changing criti­ cal opinion, and the lack of critical insight is the book’s besetting weakness.

The Vertigo chapter describes Novak’s diligent preparation for the role, the location filming, her romance at the time with Aly Khan, her deal­ ings with Edith Head over costumes, gives a full-account of the film’s plot, interspersed with occasional authorial comment (“Novak was the least self­ conscious and most natural that she had ever seemed to be on camera”), and ends with extracts from reviews in Var­ iety, Hollywood Reporter and other such gossipy-cum-trade sources. This is Kleno’s characteristic approach: its strength is in his obviously detailed knowledge of the films and there is often interest in the reported com­ ments of some of Novak’s co-workers; the weakness is in the critical appraisal in which he either relies on the sources referred to above or on his lush idolatries.

Even with this major deficiency, the book does contrive to give some sense 1. A Biographical Dictionary o f the Cinema. Seeker & Warburg. 1980, p 442.

2. Hitch: The Life and Work o f Alfred Hitchcock, Faber, 1978, p. 242.

Watching The Mirror Crack’d recently, I had ample time to ponder the malice of time as Elizabeth Taylor and Kim Novak went through their paces. Taylor, between the ages of, say, 12 and 25, was surely one of the world’s most beautiful women and looked as if she could never be anything else.

Novak, in those early films, had an un­ doubted slumbrous sensuality about her, but always seemed on the very edge of bovine excess.

Time, however, has been kinder to Novak than to Taylor. Where Taylor ran to fat and raucous vulgarity (some­ times using these native attributes amusingly, as in The Mirror Crack’d), Novak grew more streamlined with the years without any loss of sensual appeal. Try to imagine, for instance, Taylor’s seducing anybody at 46 as Novak convincingly seduced David Bowie in Just a Gigolo.

Further, if Taylor •hardly ever got good reviews after National Velvet (despite two Oscars — for effort Kim Novak in Alfred Hitchcock’s Vertigo. mainly), there seems little reason to modify the contemporary opinions.

CINEMA PAPERS November-December — 507

Book Reviews

of what individual films were like and their place in a career that looks more impressive with hindsight. Despite his florid turn of phrase, Kleno suggests some of the soft animal appeal that Novak brought to Picnic (particularly in the famous dance with William Hol­ den), the healing warmth of Molly, the junkie’s girlfriend in The Man with the Golden Arm, her affecting vulner­ ability in Pal Joey and Middle of the Night, her rising to the challenge of Robert Aldrich’s lurid vision of Holly­ wood in The Legend of Lylah Clare, and, perhaps best of all, her marvel­ lously touching and funny Polly the Pistol in Billy Wilder’s Kiss Me Stupid.

Not many stars could have handled that range of roles so memorably, and there are good things too in Jeanne Eagles where she works honestly at the film’s over-wrought emotions, Bell, Book and Candle in which she is not swamped by a cast of expert comedy

long for it. Ingrid Bergman: My Story, written with Alan Burgess, is a fat volume and a long plod.

Those interested in Bergman’s career will be frustrated at the somewhat sketchy treatment of the films. There is a good deal of chat, some of it instruc­ tive, about how she came to play this or that role (e.g., Maria in Sam Wood’s solemn, toothless For Whom the Bell Tolls), about her relations with some of her directors (Hitchcock, Roberto Ros­ sellini of course, and, finally, at the end of her often wayward career, Ingmar Bergman), and about her periodic returns to the stage. However, there is no serious exploration of how any of the films worked individually or in the context of the whole career, either from Bergman herself (not surprising — the films are only part of the life after all) or from Burgess who might have been expected to offer a more discriminating perspective.

riveting reading in rural Victoria. It was more riveting, in fact, than the combined efforts of Burgess and Berg­ man to make it all seem part of the star’s endless quest for emotional honesty.

What the book does achieve, perhaps inadvertently, is to show how much of the life — the pursuit of the career, the constant nagging guilt about not doing the best for her children — feeds into the late glory of Autumn Sonata. No other performance of hers so resonates with experience — with delight and pain, with the restraint of and sur­ render to emotion. At what seems to be the end of her career, it came as a reve­ lation and as a self-revelation.

Recent Releases Mervyn Binns

H o llyw o o d

P ortrait

John Kobal P e n g u in /A lla n Lane/P enguin, $37.50 (H C ) The H ollyw o o d w ork o f master photographers, in ­ cluding Bull, H uw ell and Richee.

The Great M ovie Quiz Gene M a i is B a rn e s /N o b le /B o o k and F ilm , $5.50 M em ory-teasing questions fo r each film category.

Leg A rt

actors, and in Richard Quine’s sup­ erior melodrama of suburban infidel­ ities, Strangers When We Meet. The Mirror Crack’d, released too late for discussion in this book, suggests that the flair for comedy could be developed further.

The life-story, as distinct from the star career (and she kept it more dis­ tinct than most stars), is told with a solemnity that unhappily makes it all sound a little daft. Kleno faithfully records her regular returns to her Big Sur retreat where, “The doors leading outside are eight feet by four feet, large enough to allow the horses and llama to wander in and out whenever they choose.” Nevertheless, in spite of his insistence on her being a “free spirit” and “an earth person”, Novak still emerges as deserving respect.

It is clear that Novak worked con­ scientiously to achieve what she did in films (almost everyone interviewed tes­ tifies to her “professionalism”) and that she determinedly refused to let film be her whole life. She is worth writing a book about — a better book than this, certainly, but Kleno has at least done his homework and his information is interesting even when his opinions scarcely detain the mind.

If no one would ever have predicted a Life of Kim Novak in the 1950s, every­ one would have expected Ingrid Berg­ man’s professional and private life to have the makings of a best-seller, so that it is surprising to have had to wait so

The Kleno format, at the service of a sharper critical insight and a more rigorous prose style, strikes me as being a very apt one for tracing a profes­ sional career. It might have yielded very interesting results about Berg­ man’s seesawing career, tracing it through the spectacular stardom of the 1940s, the collapse of the early ’50s, the climb back to public and critical accep­ tance in the later ’50s, the gradual tapering off in the ’60s, and the bril­ liant swansong of Autumn Sonata in 1978.

In retrospect, the highlights are fewer than one had imagined — George Cukor’s Gaslight, in which she was very touching as the tormented wife, Hitch­ cock’s Notorious, which gave her a chance — taken — to achieve a sophisticated complexity, Autumn Sonata, and, if people like David Thomson are to be believed about two films I haven’t seen, Hitchcock’s Under Capricorn and Jean Renoir’s Elena et les hommes. Against these five films in 40 years are some minor pleasures (In­ discreet, The Bells of St Mary’s, Murder on the Orient Express) and some dire miscalculations (Joan of Arc, Saratoga Trunk, A Walk in the Spring).

When Bergman, still married to her first husband, Dr Peter Lindstrom, gave birth to Roberto Rossellini’s child, a sense of outrage filled every decent breast. It all seems rather quaint now, but it was the first public scandal I remember — and it certainly made

508 - November-December CINEMA PAPERS

The M an With N o N am e Ian Johnstone P lexu s/T u do r, $11.95 A n illustrated biography o f C lin t Eastwood.

Rex Ingram

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M aster o f the Silent Cinema

Liam O ’ Leary A c a d e m y /Im p , $31.95 (H C ) A biography o f the silent film actor and director, friend and associate o f D. W . G riffith and Erich von S troheim , and discoverer o f V alentino and other famous silent film stars.

C hristopher P. Anderson R ob so n /H utchin so n, $21.95 (H C ) The lives and loves o f Susan H ayw ard. A m oving, pow erful biography.

This Life Sidney P oitier Hodder and S to u g h to n /H o d d e r and S toughton, $5.95 N ew in paperback. S tory o f the firs t black actor to break through the stereotyping and racism o f H ollyw o o d and emerge as a great star.

A bout John Ford Lindsay Anderson P lexus/Tudor, $14.95 A c ritic a l interpretation of, and personal trib u te to, the dire cto r whose career spanned nearly 50 years.

The Films o f Helmuth Costard Jan Dawson N ew Y o rk Z o e tro p e /G a u m o n t, $4.95 A critic a l look at the film s o f Costard.

Critical The A ge o f the American N ovel

M adison S. Lacy and Don M organ C ita d e l/D a v is , $29.95 (H C ) The authors look at the lines o f beauties who pop­ ulated the movie colony.

Claude-Edm onde M agny U n g a r/R . W alls, $15.95 (H C ) The film aesthetic o f fictio n between the tw o wars.

Biographies, Memoirs and Experiences in Filmmaking and Filmographies

Charles Eidsvik H orizon P ress/A P C , $26.95 (H C ) Divided into three parts: H ow film s w o rk ; the cinema in cu ltura l perspective; the Explorations; T h is b o o k a ls o c o n ta in s 139 fa s c in a tin g photographs and drawings.

A n A ctor and His Time

Ingrid Bergman and Cary Grant in Alfred Hitchcock’s Notorious.

Keaton: The Man Who Wouldn't Lie Down Tom Dardis Penguin/P enguin, $5.95 A new biography o f the great comedian innovator o f silent film .

Directors

Popular and General Interest G reat

The Films o f Jane Fonda George H addad-G arcia C ita d e l/D a v is , $29.95 (H C ) The com plete record o f a career which continues to dazzle w ith each new p ortraya l.

A Star, Is a Star, Is a Star!

This colum n lists books released in A u stra lia , as at O ctober 1981, which deal w ith the cinema or related topics. A ll titles are on sale in bookshops.

The publishers and the local d istrib u to rs are listed below the author in each entry. I f no dis­ trib u to r is indicated, the book is im ported (Im p ).

The recommended prices listed are fo r paperbacks, unless otherwise indicated, and are subject to variations between bookshops and states.

The list was com piled by M ervyn R. Binns o f the Space Age Bookstore, M elbourne.

The A r t o f the Photographers

uncannily reflected in a sta rtlin g revelation about his off-screen, p olitica l activities as well as his am orous proclivities.

John Gielgud P enguin/Penguin, $4.95 A fascinating account o f G ielgud’s life, and also a w ell-docum ented record o f the past 50 years o f the B ritish theatre.

John Huston M a c m illa n /M a c m illa n , $19.95 (H C ) The autobiography o f one o f H o llyw o o d ’ s great personalities, and veteran o f numerous film s as d ire cto r and actor, and five m arriages.

—

Gays and Film Edited by Richard Dyer

BFI/Imp, $5.95

An Open Book

Ann M iller

Cineliteracy: Film A m ong the A rts

Tops in Taps

Jim C onnor W a tts /G ro lie r, $12.95 The story o f one o f the most fascinating women in the history o f the theatre. A n authorized p ictoria l history.

The B a rry m o re s H ollyw ood

—

The R o y a l . F a m ily in

James K otsilibas-D avis A rth u r B a rk e r/H o d d e r and S toughton. $24.95 (H C ) The story o f the B arrym ores, th e ir personal lives and careers, w ith com plete film ography.

Bittersweet Susan Strasberg S ig n e t/Im p , $4.95 The m em oirs o f a g irl who had everything — beauty, glam or, talent and heartbreak.

Charmed Lives M ichael Korda Penguin/Penguin, $6.95 A rem arkable account o f the gifted Korda clan.

D orothy Lamour: M y Side o f the Road R ob so n /H utchin so n, $21.95 (H C ) A n autobiography which reveals a surprisingly d ram a tic private life. Illustrated w ith photographs from her personal collection.

Errol Flynn: The Tasmanian Story Don N orm an H urst and M e tc a lf/H u rs t and M e tca lf, $3.95 E rro l F lyn n ’s early years in H obart.

Errol Flynn: The Untold Story Charles H igham G ra n a da /G ord o n and Gotch, $6.50 The swashbuckling image he created on screen is

Three essays which explore a wide variety o f aspects o f gayness in the cinema.

H ow to R ead a Film James M onaco O xford U ni P ress/O U P . $17.95 New p rin tin g o f this excellent book on the art, technology, language, history and theory o f film s and media.

Snow Seen Regina C ornw ell New Y o rk Z o e tro p e /G a u m o n t, $26.95 (H C ) The film s and photographs o f M ichael Snow are studied, the author placing Snow ’s w ork w ith in the fo rm a list tra d itio n articulated by such theorists as M alevich, S khlovsky and Leger.

History of Film Industry and Accounts of Film­ making Legends on the Screen

■

John Tulloch C urrency P re s s /A F I/C a m b rid g e . $19.95 The narrative film in A u stra lia , 1919-1929. A . rich ly-illu stra te d and documented study o f the silent feature film and the social clim ate in which it was made. First in the A u stra lia n Screen Series.

The Rivals o f D. W. Griffith (Alternate Auteurs 1913-1918) New Y o rk Z o e tro p e /G a u m o n t, $7.50 Program selection and catalogue edited by Richard Koszarski. Invaluable to scholars and students o f film h istory.

Reference The Australian M otion Picture Yearbook 1981/82 Edited by Peter Beilby Cinem a P apers/K ingfisher, $19.95 The com plete reference to film s released, being made, film companies, distrib u to rs, directors, the awards and much more. A n essential tool for everybody in the industry, societies and film buffs.

Halliwell's Filmgoer’s Companion 7th Edition G ra n a da /M e th u e n A u st., $44.95 (H C )

Book Reviews

R eel Change: A Guide to Social Issue Films

tempts to discover other possible languages fo r television.

Media and Education Texts

I. G. Edmonds and Reiko Mimura Barnes/Tantivy 8.95 pounds

C obbett Steinberg P enguin/P enguin, $7.95 A ll the film award winners, top box-office film s, histories o f the studios and much more in fo rm a tio n is contained in this excellent reference book.

M ultivision

John Willis' ¡980 Film Annual Screen World

W ho’s Who in American Film N ow

Visual A ids and Photography in Education

James M onaco New Y o rk Z o e tro p e /G a u m o n t, $10.95 M o re than 4700 actors and actresses, directors, w riters, producers and editors, cinematographers, m usicians, designers, special effects and stunt peo­ ple.

M ichael Langford Focal P ress/B utterw orth, $66.00 (H C ) A practical manual on getting the best use out o f e q u ip m e n t. W ith 45 p h o to g ra p h s and 600 diagrams.

Edited by P a tricia Peyton N ew Y o rk Z o e tro p e /G a u m o n t, $9.95

.

R eel Facts John Lewell F o ca l/P itm a n , $35.00 (H C ) The first book which provides a thorough guide to the a rt o f audio-visual.

Scripts From the Life o f the M arionettes A film by In g m a r Bergman P anth eo n /T u d o r, $3.95 , A deeply disturb in g film about the potential violence underlying d aily life.

Kluge Jan Dawson New Y o rk Z o e tro p e /G a u m o n t, $6.95 C om plete script o f Alexandre K lug e ’ s 1974 film , interview w ith Dawson and excerpts from Kluge’ s book o f the same title .

Filmmaking Marketing

and

Acting, Technique and

Special Optical Effects Zoran Perisic F o c a l/B u tte rw o rth , $29.00 (H C ) T h e b o o k p ro v id e s a c o m p re h e n s iv e and thoro ug h ly practical account o f how to produce special optical effects on film .

S top M otion Anim ation Edited by Don D ohler D o h le r/Im p . $6.95 A step-by-step guide.

Television Production fo r Education 2nd Edition Peter Combes and John T iffin Focal P ress/B utterw orth, $23.00 (H C ) A basic book w ith detailed inform a tio n on the whole field o f video recording. A revised and ex­ panded edition.

Freedom Road H ow ard Fast F u tu ra /T u d o r, $3.25

Hoodwink C arl Synnerdahl F u tu ra /T u d o r, $3.95 The book o f the m a jo r new A ustralian feature starring Judy Davis.

Time Bandits Charles Alverson S p a rro w /H o d d e r and Stoughton, $3.50 The book o f the new film starring John Cleese, Sean Connery and others.

The Great Songwriters o f Hollywood Warren Craig Barnes/Tantivy 7.95 pounds

Paramount Pictures & The People Who Made Them

The Quest o f Ben Hur

An Actor and His Time John Gielgud Penguin Books $4.95

The Salamander Morris West Coronet $4.95

Reel Facts

A ustralian Film & Television School Hand­ book 1981 AFTS

Cobbett Steinberg Penguin Books $7.95

Endless Love Scott Spencer Penguin $4.95

T. V. Production Handbook TAB Books Inc.

Media Information Australia

Television A lb e rt H unt Eyre M e th u en /M e th u e n Aust., $9.50 A book about the way television, through massive and consta nt re in fo rc e m e n t, m akes its own language the O N L Y language, and the auth or’ s a t­

Oliver Reed Coronet $4.50

AFTS $4.50

Roger Silverstone Heinemann Books 14.50 pounds Karl Tunberg and Owen Walford Penguin Books $4.95

Reed All About Me

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Women in Drama !Part One

Linda Blagg Continuedfrom p. 45 7 techniques. At the moment, I need all my energies for the actors, to see they are the most im portant element of a film. So I work with techniques I feel most confident with, which makes me conserva­ tive in form. I don’t have the ability to crash through those sorts of barriers.

Anyway, the form varies with the type of film being made and should evolve from what the actors are doing and thinking. Bergman’s next film will have Liv Ullman talking directly into camera for an hour and a half. That’s an experimental film. But he has done it all; I am only just beginning. And I have this old-fashioned idea that before you can experiment, you have to master the basic forms, learn the film grammar of the masters.

experienced crew, I probably wouldn’t have got what I wanted.

When it comes to a project I am working on, I have the same protective jealous feelings a mother has for a newborn baby. I am singularly ambitious in wanting the best of it. But my need to learn from people is just as important; and I learnt a lot from the people I worked with on Just Out of Reach.

What do you feel about the portrayal of women in films?

I have already talked about Australian films. In the U.S. and Britain it’s taken for granted that women are equals. In Altered States, the husband and wife talk to each other on exactly the same intellectual level. In The Four Seasons, the women are all strong characters in their own right. You don’t see anything so sophisticated here. Woody Allen’s films have good female characters.

Have you done any acting?

I have been attending Brian Syron’s classes for the past couple of years and I have learnt a lot about what acting involves. At first, I went there as a writer-director observer to Brian’s advanced classes. But I quickly became impatient with not participating and enrolled in a beginners’ class, which I think has given me a good grounding in the basics of acting.

Brian is a brilliant teacher and I learnt a lot from him.

Are you interested in working with women?

Yes, but I wouldn’t work with women just because they are women. I work with people who have faith in me and with whom I can communicate. I was lucky Ross M atthew s and Russell Boyd believed in me. If I had a less

Di Drew Continuedfrom p. 461 That to me works terribly well and I think that’s on the way to what we ought to be doing in Australia.

There is a particular kind of emo­ tional style Australians have which is unique. People either say one thing and mean something entirely different, or they are so reticent about saying anything they can’t.

Gallipoli came some way towards that. There was such love and care on that screen between those two boys and yet nothing was said. And there was one line when Billy was killed and he just said he was dead.

And because of relationships that had been built between all of those guys at that point, we felt devastat­ ed, and that was terrific.

On the other hand, you have something like Winter of our Dreams, with all that love, care and emotion. But it was very upfront as a script and the director, who was

What about “Nine to Five” and “Private Benjamin”? Both have strong female leads . . .

They have been really popular and that’s good. But it’s hard not to sound patronizing about them, and I have no r i g h t to s ound patronizing. But I thought they were both a bit silly — Walt Disney’s version of feminism.

What recent films have you liked?

I liked Quadrophrenia and Scum.

They had a gritty reality and they were provocative energetic films.

And I am English — I relate strongly to British films. There has been a lot of good American films, too. I liked The Wanderers, The Warriors, Breaking Away, My Bodyguard. I don’t think there has been too many good “youth” films dealing with girls. Times Square also the writer, didn’t allow himself the complexity and levels to enable what he was saying to seep through.

If he had put that at about the fourth layer down, with all sorts of other things happening either side of it, and pruned it back even further than it was, it probably would have worked.

was interesting, but I felt it was a characters in my mind and it helps bit coy and puritanical. enormously. They become flesh and ^ You can learn a lot from these blood; they begin to exist outside of films because what is interesting me. about them is that they are not really complex — in fact, they are Why did you cast Sam Neill in “Just extremely simple. If you look at the Out of Reach”? number of scenes in them, often there are only about five or six The only thing I had seen Sam in major sequences of action and it’s was Roger Donaldson’s Sleeping that simplicity that really interests Dogs; My Brilliant Career hadn’t me: how to convey an idea in a been released at that stage. Sam simple way and with as few scenes seemed right for the role, because I as possible. This is what film art is had to look for the right sort of all about for me — structural chemistry between Sam and Lorna simplicity is the key to all the great Lesley, and he had to provide the works of the cinema. It’s important right sort of contrast to Ian to see just about everything because Gilmour. None of us had any idea that way you find out what works, at the time that Sam was going to or doesn’t work, for an audience. become an international star. He was a wonderful actor to work with.

Would you work overseas?

What would happen if an actor was Absolutely. If I had the oppor­ forced on you? tunity I’d take it because I really feel the need to learn. I’ve always Anybody who is any good is not had a fantasy of becoming an ap­ for hire to producers and funding prentice to someone really great. bodies to prop up the commercial But I’ll just take it as it comes. possibilities of a film. The real I don’t know what my long-term question is why are they interested plans are. I mean, I might be in the film and, through discussion, writing it all out of me; there might you can find out what’s in it for not be much left after this one. I am them in a creative sense. Actors only interested in making films as have a great deal more integrity long as I have something to say. If I than producers and investors give have nothing to say, there is no them credit for. point in making a film.

Have you ever felt like giving up?

How important is casting to you?

Yes. Doesn’t everybody at some It can make or break a film. I stage? The trouble is I can’t think have a very strong feeling about of anything else I am qualified to casting and that’s that you can’t do. The point is I have been making just go for the acting ability, that short films for nearly 10 years, and whatever “message” is in the face is I have been building up to this just as important. You can’t help it. moment of making a feature film. I I don’t think it applies so much in didn’t know I’d ever get this far; but theatre, I wouldn’t know. I am not this film, Runaway, will culminate talking about typecasting. I just what everything else has been can’t help but go for the stature, the leading up to. So, I know this is the face and, most important, the eyes most important thing for me to do, for a particular character. Casting and it will be done. After that, I also helps in writing. I cast my don’t know what will happen. ★

must be recognized before they go under or become embittered. I will find roles for women every time I can. I will encourage writers to find parts for women because I know they can probably be played far better than they are.

There are many men in the bus­ iness who attack me and say, “ How dare you say you are angry because Do you have one thing that you par­ we are making Breaker Morant and ticularly want to see made?

Gallipoli and they are all-male films. Why are you angry about . I want to make a Breaker that?” I am not angry about those Morant for women. I don’t want to films, but I am angry about the fact stand up and hold a banner for that they are all-male films, made actresses in this country, but I think by men for men. Who won the Best it’s being forced more and more on Actress Award at the AFI this directors who care. A year ago I y e a r ? T h e r e w a s n ’t mu c h wouldn’t have said what I am competition. saying now. It’s having worked My ambition would be to have continuously and seeing the kind of grand passion on the screen on a scripts I am being given as opposed grand scale and pull it off. I am fas­ to what I want to write. cinated with putting the epic land­ Given the lack of roles for scape with an intimate emotional women, I am trying to write roles context. I think you can have epic for women, for the kind of actresses proportions with two people who I know exist in this country, who are in some extraordinary human

bind, whatever it might be. Put them on a balcony with the wind blowing and the sea out there and you have epic filmmaking. Gallipoli began to be some of those things because it had some honest per­ formances. It’s put in a grand scale on the screen and you still believed it.

Ultimately, the only yardstick I use about film is the honesty of the performances, and how well that script can be put on that screen. I don’t care how smartly it’s shot and, quite frankly, I couldn’t care if it was in front of a pyramid or Pyr­ mont Bridge. I don’t care what the pictures are if the honesty of what those people are doing and being within that context on that screen is making me believe that’s a good film. Any other things on top of that make it a great film. Thought ought to be the premise under which we start. ★

CINEMA PAPERS November-December — 513

Maurice Murphy

front of the lens at just the wrong time. It is fantastic fantasy.

Realism is for print.

Maurice Murphy Continuedfrom p. 44 7 certain sorts of films, particularly small ones, or even find a crew . . .

Well, that has already happened, hasn’t it? There is competition, crews are booked up and the price of people’s services has gone up. I imagine, though, that it will only last as long as we allow it to last; I don’t find it too worrying.

However, I think you are right that smaller films might be creamed by the bigger Australian entrepreneurs, who are prepared to pay the bigger prices. We are all susceptible to that. But I don’t find it a worry, I must admit. In fact, I find it very strange so many people are negative about the best year in Australian filmmaking. We are part of the Australian enter­ tainment industry. We are catching up in our understanding of that business. For decades this country forgot that human beings like entertainment. Television still hasn’t found that out.

Now, one problem is that we may not have enough people capable of making these enter­ tainments. Most of the film people here were trained in documentary and this could lead to a spate of factual films. But everybody knows audiences don’t go to factual films.

I want audiences to leave Fatty Finn and say they had a good time.

I don’t want them to ponder over

What is your attitude to film critics in this country?

They have been incredibly kind to me, and I think one only hates critics when they don’t like your stuff.

Do critics have an important function?

whether the 1930s was a hard happy to know they are not. You p e r i o d to live t h r o u g h . A don’t want a documentary about a documentary about the 1930s being building burning down; you want the biggest fire, where the most awful is 50 years too late.

I think you can trace the demise ridiculous things happen.

It fascinates me that the tele­ of the film industry in the 1950s from when it got into realism. A vision news isn’t like documentary certain amount of realism is fine, any more; it doesn’t desire to make but when producers and directors things real. They have learned. started to try and make films real, That is why the news is a very audiences disappeared. When they successful program form. I mean, stopped doing that, people came you can’t show a President being back to films. Airport 77, shot. You have to have the cameras Earthquake or Towering Inferno in the wrong position. There has to aren’t real — and you are quite be mystery, like a man running in

However much we say nobody takes any notice of the critics, I think we do. The Australian audience doesn’t read one critic and decide to go to a film, but it does get an overall impression from the newspapers pretty quickly. So you have to make a film that works for the critics as well.

Critics, however, can be influ­ enced in the same way that the Americans have been influenced by the recent Australian successes, and that is by something that is dif­ ferent. If I try to make a copy of Friday the Thirteenth, the critics would probably say how boring it was. And so will the audience, when it goes along to see it.

So, a major goal of yours is to make films that are different from other films?

Yes. I hope I never make anything that’s like1anything else. ★

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Why?

To use an AATON is to want to own one. And when you own one, you want another. Simply because AATON is the best camera in its class. Consider these advantages: Super 16 format for high resolution enlargement to 35mm. Lightweight, mobile, portable operation in virtually every use situation. And the quietest Super 16 camera on the market (23db ± 1db).

These are only a few sound reasons for choosing AATON. There are many more. Ask today.

For in fo rm a tio n a n d a p p o in tm e n ts c o n ta c t: FILMWEST Pty Ltd 75 B e n n e tt S tre e t East P erth 6000 W e s te rn A u s tra lia Tel: 325 1177, 325 1423 C a b le s “ F ilm w e s t” Perth T e le x A A 94150 FILM W A

FILMWEST E

FILMWEST Pte Ltd S u ite 185, R a ffle s H o te l 1-3 B e a c h R o a d S in g a p o r e 0718 Tel: 336 1509, 337 8041 T elex RS 36389 FLMWST C a b le s “ R a flo te T

A le x M c P h e e F ilm w e s t Pty Ltd c l - M e d ia S p e c ia lis ts 71 P a lm e rs to n C re s, S o u th M e lb o u r n e 3205 V ic to r ia Tel: 6 99 9677

importers and distributors of AATON cameras throughout Australia, New Zealand, Singapore and Malaysia.

FUJI INTRODUCES AVERY BRIGHT IDEA.

S to r e b e lo w 1 0 " C (5 0 ° F )

Open only in total darkness

ON CORE

FUJICOLOR NEGATIVE FILM

F U JIC O L O R N E G A TIV E F IL M TUNGSTEN TYPE (3200K)

Fujicolor A250 high-speed tungsten type color negative film is available in both 16mm and 35mm.

Here’s some news that should light up your smile: the world’s first high-speed tungsten type color negative film for motion pictures with an exposure index of 250 is here!

It’s Fujicolor A250.. .and it’s the most sensitive motion picture film available today.

Imagine the possibilities. Now you can capture the soft facial features of a woman in a dim room. Or the misting greys of a gentle rain at dawn. Or even the kaleidescope of colors lurking in an underwater reef. All in natural light. All without coarse grain. All on Fujicolor A250.

So the next time you’re faced with a difficult scene, think of Fujicolor A250.

With an exposure index of 250, it’s sure to brighten your day!

3 5 m m T Y P E 8 5 1 8 *1 6 m m T Y P E 8 5 2 8

FUJICOLOR NEGATIVE FILM Distributed in Australia by

m

HAIMIMEX

Old Pittwator Rd., Brookvale, N.S.W . 2 1 0 0 . Ph: 9 3 8 -0 2 4 0 .

282 Norm anby Rd., Port M elbourne, VIC., 3 2 0 7 . Ph: 64 -1 1 1 1 .

17 Dover Street, Albion, OLD., 4 0 1 6 . Ph: 2 6 2 -7 5 5 5 .

Hlndm arsh Avenue, W elland, S.A., 5 0 0 7 . Ph: 4 6 -9 0 3 1 .

22 Northwood S t , Leedervllle, W .A., 6 0 0 7 . Ph: 3 8 1 -4 6 2 2 .

169 C am pbell Street, Hobart, TAS., 7 0 0 0 . 34-4 2 9 6 .

Industrial Division NAME: .......................................

ADDRESS: ................................

Postcode:

Telepho ne:

IS YOUR H IM A W ORK OF ART? The world’s masterpieces are the result of creative flair, insight and mastery of a medium.

At Custom Video Australia, we are artists in our own medium —from correcting skin tones to even framing the picture.

So if your film is a work of creative art surely we should finish it for you . . . you’ll love the reproduction.

CUSTOMIVTID E O AUSTRALIA IDI Television Centre, Epplng NSW Australia 2121 Telephone (02) 858 7545. Telex: AA 20250

It’s the finishing touch that counts.