Cinema Papers No.67 January 1988

About the blue halo*

Never was there a special It responds to blue and green effects film this special. spectra th at other films - let New 5295 delivers an accuracy alone the hum an eye - are not of perforation to a tolerance half even aware of. th at of anything seen before.

A n d it has T-Grain.

EASTMAN and KODAK are registered trademarks. M 2P7001JW T

Patented tabular grain technology th at makes high speed advantages available in a special effects film for the first time ever.

5295.

From the people who bring you som ething sp edal no m atter w hat kind of m otion picture film you need.

E ditor Philippa Hawker P ublisher Patricia Amad A ssistant E ditor Kathy Bail A rt D irector Mick Earls E ditorial A ssistant/S ubscriptions Sue Illingworth P roofreader Arthur Salton O ffice C at Sylvester C onsulting Editors Fred Harden Brian McFarlane > Founding Publishers Peter Beilby Scott Murray Typesetting by B-P Typesetting R y. Ltd. Printed by York Press Ltd. Distribution by Network Distribution Company. 54 Park Street. Sydney. NSW 2000. , 1 Signed articles represent the views of their author, and not necessarily those of the editor. While every care is taken with manuscripts and materials supplied to the magazine, neither the editor nor the pub­ lishers can accept liability for any loss or damage which may arise. This magazine may not be reproduced in whole or in part without the express permission of the copyright owner. Cinema Papers is published every two months by MTV Publishing Ltd. 43 Charles St. Abbotsford.

Victoria. Australia 3067. Telephone: (03) 429 5511. Telex: AA 30625 Reference ME 230. © Copyright MTV Publishing Limited.

No 67, January 1988 * Recom m ended price only.

Cover: scene from John Duigan's The Year M y Voice Broke

4

BRIEFLY

6

FROM G LASNO ST W ITH LOVE:

Themes in recent Russian cinema DIRECT SPEECH:__________

12 Miller’s guide 17 Duigan’s moral tales 20 Jarmusch’s mongrel dreams 26 GHANA DO IT:

Filmmaking in Ghana

28 NO-FUNDS SITUATION:

Under-represented, under-funded — what now for women in film?

32 BOND AGE GIRLS:

Is there a stereotype?

38 REVIEWS:

Bushfire Moon, Comrades, Full Metal Jacket, Innerspace, Ishtar, I ’ve Heard The Mermaids Singing , Jean De Florette, The Lost Boys, The Pick-Up Artist, Prick Up Your Ears, The Time Guardian, The Year My Voice Broke

52 SHORTS CIRCUIT: Kick Start, Looking For Space Things, How The West Was Lost 54 VIDEO:

Censorship, new releases 58 NEW ZEALAND REPORT:

When in doubt, send a gorilla 60 TECHNICALITIES:

The Showscan must go on

66 PRODUCTION SURVEY:

Who’s making what in Australia 79 CENSORSHIP:

The September and October decisions 80 BACK PAGE:

January and February film buffs diary

CONTRIBUTORS

KEITH GOW

Tony A yres is a filmmaker and freelance film writer based in Melbourne.

The obituary o f K eith Gow in the Sydney Morning Herald in November described him as a

A nnette B ionski is a script editor and writer on film.

“cameraman with a conscience”. H e died on 5 November 1987 aged 66. H is loss leads us to recall a unique life’s work and a deeply significant contribution to Australian documentary.

Keith contributed to the making o f more than 90 Australian film s — among the documentaries were m any dramatised works. H is prolific output as writer, director and editor was evident from the 24 film s he completed in his last six years at Film Australia prior to his retirement. One, The Women Of Utopia, which received standing ovations at the Moscow Film Festival in 1985, was coincidentally broadcast on S B S on 10 November, the night o f his funeral in Sydney.

H e’ll be remembered variously fo r his dry good humour and his determination. Some will recall his incredible recovery after he was hit by a light aircraft which suddenly dipped during take-off as he was film ing it on location in New Guinea.

Others will remember him from his time at Cinesound, the A m pol Film Unit, the A B C , or as senior cameraman and director at Film Australia.

Everyone who knows his work recognises the foregrounding o f a social perspective and those who have worked with him remember in particular the co-operative spirit which ran through his life and work.

During his career at Film Australia he contributed directly to rank-and-file trade union training through work fo r the Trade Union Trading A uthority (TU TA ), while his film on the introduction o f talkies, Now You’re Talking, in the Film Australia series on Australian cinema history, is probably better known to general audiences.

O f particular significance fo r film m akers o f the future, and fo r the labour movement too, was K eith ’s role in the establishment and development o f the Waterside Workers’ Federation (W W F) Film Unit during the height o f the cold war, when particular Australian film m akers and writers were blacklisted here as effectively as they were in the US. K eith’s work went on when others could not because, as he p u t it, “We were protected by a strong, m ilitant trade union. ” H e helped set up the film unit inside the W W F following the establishment o f a M aritim e Industries Theatre and the production o f a 16mm trailer to promote its first production.

During the late 1940s he was introduced to the hand wind Bolex by Bob Mathews when they made They Chose Peace. During this period he,

M arcus B reen is a Melbourne-based journalist, freelance writer and documentary filmmaker.

R affaele C aputo is a freelance writer on film.

S ophie Cunningham reviews films for the Melbourne Times and is a member of the Women’s Film Fund Introspective and Film Fatale.

S arah G uest is a freelance writer and director of the Australian Council for Children's Film and Television.

Fred H arden is a film and television producer, specialising in special effects.

T ra c y H ayw ard is a freelance writer.

M ichael H eim s is a freelance writer on film.

John H ughes is a filmmaker based in -Melbourne. His 1982 documentary Film Work looked at the activities of the Waterside Workers' Film Unit.

Brian J e ffrey is a freelance writer -based in Canberra.

Paul K alina is a freelance film writer based in Melbourne.

K az is a freelance cartoonist, journalist and topiarist.

D aniele Kem p is a broadcaster on 3EA and tutor at Ormond College, University of Melbourne.

B rian M cFarlane is a lecturer in English at the Chisholm Institute and author of Australian Cinema 1970-1985.

A drian M artin is a freelance film critic based in Sydney.

M ark M ordue is a Sydney-based writer.

S co tt M urray is a film director, writer and former editor of Cinema Papers.

John N ico il is a filmmaker and writer on film.

M ike N ico laidi is a freelance writer &nd contributor to Variety.

Tom Ryan lectures in media studies at Swinburne Institute of Technology.

S andra S drau iig is a freelance writer on film C h ris tin a Thom pson is a freelance . writer.

C am pbell Thom son is a freelance Wpter.

--Irene Ulm an is a freelance film writer.

D ebby Verhoeven was the co-director ol the Spoleto Fringe Film and Video Festival 1987, and co-founder of Film Fatale.

Jam es .W hites is editor of New Theatre: Australia.

KEITH GOW: At work at Film Australia with Margot Nash (camera) and John Whitteron (sound recordist)

like m any others, was influenced by an ‘oppositional’ cinema from Eastern Europe, distributed to an eager public through the new film societies which sought to provide an alternative to the commercial American cinema. Friends recall Keith studying these film s fram e by frame, cut by cut, seeking out “what it was that made them work”.

In the mid-fifties Keith, with Norm a Disher, made the beautifully evocative short film , The Forever Living, commemorating the Sydney campaign against the death sentence imposed on Julius and E thel Rosenberg in the US. The classic body o f trade union work, which begins with Pensions For Veterans and includes

Hungry Miles, Three’s A Crowd, Hewers Of Coal and other trade union film s, will be remembered fo r a clear commitment to the interests o f working people and a vigorous and exacting craft.

Controversy frequently surrounded projects in which he was involved; he didn’t shun political responses to political interference and censorship which sought to silence his work.

A fter retiring from Film Australia a couple of years ago he kept on working. A t the time o f his death he was engaged on a film history o f the Waterside Workers’ Federation.

H is work represents memories which are too easily forgotten. There is a generation o f committed Australian documentary which precedes that o f the 1970s. Keith Gow was a film m aker who continued to work through thick and thin, with a commitment to social change and a firm grasp on his documentary method. We are in debt to his inspiration.

■ A FI D istribution Limited has begun actively marketing the Australian Film , Television & Radio S ch ool’s student film s. The A F I has a licence for all A FTR S student productions, but 44 o f the “ strongest, best-realised film s” have been set aside for special prom otion as C ollection Titles.

John Hughes

■ Tait Brady, national exhibition m an­ ager o f the A ustralian Film Institute, has been appointed director o f the M el­ bourne Film Festival. H e com m ences on 11 January 1988. The festival takes place from 17 to 26 June 1988.

■ The winners o f our Warren Beatty com petition, w ho will receive a copy o f the D avid Thom son biography, Warren B ea tty: A L ife A n d A S to ry, courtesy o f H einem ann, are: C .W . L ees, F. R osa, M .C . A m es, Martin R yan, Graham Craig and M alvina Gray. The film in which Beatty appeared with Jean Seberg w as, o f course, L ilith , directed by R obert R ossen.

■ The series o f articles on glam our will now appear in the March issue.

4 — JANUARY CINEMA PAPERS

BERLINER FESTSPIELE GMBH BUDAPESTER STRASSE 50 ■D-1000 BERLIN 30 _____________________________ PHONE: (030) 254 89 0 • CABLE: FILMFEST BERLIN • TELEX: 1 85 255 FEST D - FAX: (030) 254 89111

FEBRUARY 12- 23,1988

Soviet films like Letters Of A Dead Man and Repentance are being hailed as examples of a new cinema of glasnost. IRENE ULMAN looks at the themes that are emerging in recent Soviet cinema, in particular the epic Repentance, a prizewinner at the 1987 Cannes Film Festival.

I

n th e c h a n g in g c lim a te in th e S o v ie t U n io n , c in e m a h a s b e e n r a p id ly a c q u ir in g a n u n p r e c e d e n te d ro le . T h e r e a lis a tio n t h a t r e p r e s s e d s p e e c h is a m a jo r s o u rc e o f s ta g n a t io n h a s o p e n e d u p p o s s ib ilitie s o f e x p re s s io n t h a t s tu n n e d th e S o v ie t U n io n . R u s s ia n c ritic s h a v e c la im e d t h a t c in e m a tu r n e d o u t to b e b e tte r p r e p a r e d f o r c h a n g e t h a n a n y o th e r s p h e re o f th e a r ts . I f c in e m a is in d e e d th e v a n g u a r d o f th e s o c ia l a n d c u ltu r a l c h a n g e in th e c o u n t r y i t ’s p a r tl y b e c a u s e it is, in a se n se , th e v o ic e o f g la s n o s t. T h e e ty m o lo g ic a l r o o t o f g la s n o s t (g la s) m e a n s v o ic e . C in e m a s p e a k s to m illio n s .

S o m e film s h a v e o n ly re c e n tly c o m e o f f th e s h e lf a f te r y e a rs o f o b liv io n . A m o n g th e m a r e R e p e n ta n c e (d ire c te d b y T e n g h iz A b u la d z e in 1983), M y F r ie n d I v a n L a p s h in (A lex e i G h e r m a n , 1983) a n d T h e T h e m e (G le b P a n f ilo v , 1979). T h e re le a s e o f th e s e film s c o in c id e s w ith th e m o m e n t w h e n p e o p le a r e c o m in g to te rm s w ith th e ir p r o b le m a tic h is to ry , a n d g r a p p lin g w ith s u c h c o n c e p ts as in d iv id u a l c o n s c ie n c e a n d g u ilt. I n th is a tm o s p h e r e R e p e n ta n c e h a s a c q u ir e d th e s ta tu s o f a m o d e r n e p ic .

I n a te le v is io n in te r v ie w G le b P a n f ilo v h a s s a id t h a t t h e r e ’s a lw a y s a p o s s ib ility t h a t g la s n o s t m ig h t fa il.

A lth o u g h h o p e a n d e n th u s ia s m a b o u n d , so m e d ir e c to r s w h o h a v e e x p e r ie n c e d d ir e c t r e p r e s s io n w ill ta k e a w h ile to b e lie v e t h a t th e y c a n m a k e film s w ith o u t f e a r.

P a n f i l o v ’s T h e m e s e lf- c o n s c io u s ly b r e a k s in to f o r ­ b id d e n g r o u n d . A s u c c e s s fu l p la y w r ig h t fa c e s th e f a c t t h a t n o n e o f h is w ritin g h a s b e e n sin c e re ; t h a t h is s u b ­ je c ts se rv e to g lo r if y n a t io n a l h e ro e s a n d a re o f n o im p o r ta n c e in r e a l life . H e s e a rc h e s f o r a n e w th e m e b u t is u n a b le to g o b e y o n d th e “ a r t ” o f u n in s p ir e d m y th ­ m a k in g . T h e “ p r o b l e m ” s u b je c t, a m a n e m ig r a tin g to I s ra e l, is i n tr o d u c e d c a r e f u lly . T h e g r a d u a l b u ild - u p o f d e ta il is a n ic e r e n d e r in g o f a t a b o o ( s e lf-c e n s o rs h ip a n d a r tis tic e llip sis a r e s o m e tim e s h a r d to d is tin g u is h ) .

T h e c o n s c io u s p r e o c c u p a t io n w ith th e m e is e c h o e d in

6 - JANUARY CINEMA PAPERS

F o u e tte ( d ire c te d b y V la d im ir V a silie v a n d B o ris Y e r m o ­ la e v , 1986) w h ic h o p e n e d th e S o v ie t film fe s tiv a l in A u s ­ tr a l ia in M a y 1987. T h e c e n tr a l c h a r a c te r is a p r im a b a lle r in a ( Y e k a te r in a M a x im o v a ) , a s y m b o l o f th e in s ti­ tu tio n a lis e d w o rld o f c la s s ic a l d a n c e . H e r d r e a m is to d a n c e in a n e w b a lle t b a s e d o n M ik h a il B u lg a k o v ’s M a s te r A n d M a r g a r ita . A t a n e x e c u tiv e m e e tin g a n a d m in is t r a to r c o m m e n ts w ry ly o n th e b a lle t: “ Y es, b u t w h a t a b o u t th e t h e m e ! ” F ilm s lik e T h e T h e m e a n d F o u e t te r e g is te r a t u r n in g p o in t: a c h a n g e o f c a n o n a n d a d is tu r b a n c e o f c o n v e n tio n h a v e b e c o m e p o s s ib le . A c tio n m a y b e im b u e d w ith p e r s o n a l m e a n in g a n d o f fic ia lly n u r tu r e d t r u th s m a y b e o p e n to p e r s o n a l i n t e r p r e ta t io n .

A le x e i G h e r m a n ’s M y F r ie n d I v a n L a p s h in is a h ig h ly p e r s o n a l v ie w o f life in th e 1930s. P a r t l y b a s e d o n a s h o r t s to r y b y Y u ri G h e r m a n , th e d i r e c t o r ’s f a th e r , it is a n o s ta lg ic d e p ic tio n o f R u s s ia b e f o r e th e c lim a x o f S ta li n ’s p u r g e s o f 1 9 37. B u t i f G h e r m a n th e f a th e r w ro te h is s to rie s in th e s p ir it o f o p tim is m a n d b e lie f in th e B r ig h t F u tu r e , G h e r m a n th e s o n h a s th e k n o w le d g e o f h is to r y w h ic h is s u p e r im p o s e d o n th e o r ig in a l p e r s p e c tiv e o f th e s to r y .

I v a n L a p s h in , th e in s p e c to r o f c r im in a l p o lic e , v o w s to c le a n u p th e c o u n t r y a n d p la n t g a r d e n s f o r all to e n jo y .

H is d e t e r m in a tio n is c h a r a c te r is tic o f th e s o c ie ty t h a t c u ltiv a te s p a t r i o tic e n th u s ia s m . B u t w e k n o w t h a t L a p s h i n ’s p r o f e s s io n a l z e a l a n d u n s c r u p u lo u s e x e rc ise o f p o w e r f o r th e g o o d o f th e c o u n t r y a r e a p r e lu d e to a re ig n o f t e r r o r .

T h e R u s s ia n s c h o la r D m itr y L ik h a c h e v (w h o h a s p r o ­ c la im e d t h a t r e p e n ta n c e is th e d o m in a n t f o r c e o f c h a n g e in R u s s ia to d a y ) s a id t h a t n o in d iv id u a l c a n b e a lto g e th e r in n o c e n t o f w h a t w e n t o n d u r in g S ta li n ’s r u le . T h e p e o p le in th e f ilm a r e ig n o r a n t o f th e “ g r e a te r h is t o r y ” .

B u t in th e 1980s G h e r m a n c a n n o t m a k e L a p s h i n ’s p u r ity c re d ib le w ith o u t m o v in g th e a c tio n b a c k a fe w y e a rs .

T h is sm a ll p o e tic lic en c e u n d e rs c o re s th e m o r a l issu e th a t c o n f r o n ts a d ir e c to r w h o m a y sim p ly w a n t to m a k e a n a u to b io g r a p h ic a l film . T o G h e r m a n th e 1930s r e p re s e n t h is c h ild h o o d . B u t th e a c t o f b r in g in g to g e th e r h is to ry a n d p e r s o n a l m e m o ry c a n tu r n a tr ib u te to th e p e o p le h e lo v es in to a n a c c u s a tio n .

L a p s h in is a lo v in g ly f a ith f u l d o c u m e n t. G h e r m a n lo o k s f o r th e e ssen c e o f th e p e r io d a n d fin d s it in h is o w n m e m o rie s: in sm a ll in c id e n ts , in b a c k g r o u n d d ia lo g u e , sn ip p e ts o f c o n v e r s a tio n . M u sic , m o stly m a rc h e s , re c re a te s th e s p irit o f th e tim e . T h e film is in b la c k a n d w h ite , e x c e p t f o r th e o p e n in g a n d clo sin g m o m e n ts , w h e re th e n a r r a t o r ’s v o ic e re m in d s u s th a t w h a t w e ’re seein g is a m e m o ry : th e s tre e t w e a re lo o k in g a t th r o u g h th e w in d o w ex ists in a n o th e r te m p o r a l d im e n s io n .

T h e re is n o d e fin e d n a r r a tiv e ; th e m o s t im p o r ta n t th in g to G h e r m a n is a tm o s p h e re a n d c h a r a c te r is a tio n .

Iv a n L a p s h in h im s e lf is a fin e illu s tr a tio n o f h u m a n c o m ­ p le x ity , e lu d in g d e f in itio n . T h e c a m e ra fo llo w s h im lik e a n eye. T h e o b s e rv e r is p r o b a b ly th e b o y ( G h e r m a n ’s a u to b io g r a p h ic a l se lf a n d th e v ie w e r’s lin k w ith th e p re se n t) w h o lives sid e b y sid e w ith L a p s h in in a c o m ­ m u n a l fla t. A p e c u lia r fe e lin g o f in tim a c y d e v e lo p s b e tw e e n th e v ie w e r a n d L a p s h in . L a p s h in m a y n o t be lik e d , b u t th e re is a sen se o f a d e e p e r u n d e r s ta n d in g o f th e m a n a n d h is tim e .

W h e n G h e r m a n w as a s k e d w h e th e r he w o u ld c o n sid e r m a k in g a film a b o u t th e p r e s e n t, his a n s w e r w as: “ I w o u ld firs t h a v e to m a k e su re th a t c o n te m p o ra ry p ro b le m s c a n b e ta lk e d a b o u t o u t l o u d . ” G h e r m a n ’s film a b o u t th e th irtie s is in so m e resp e cts strik in g ly sim ila r to V a d im A b d r a s h ito v ’s P lu m b u m , O r T h e D a n g e r o u s G a m e (1986). P lu m b u m is a n e x a m p le o f a n ew k in d o f d ire c tn e s s w h ic h is re fle c te d in its clearly d e fin e d n a r r a tiv e . I t d o e s n o t lo o k to th e p a s t in o rd e r to c o m m e n t o n th e p re s e n t. It is set in to d a y ’s R u ssia . T h e h e ro , o r r a th e r th e a n ti- h e r o , is a 1 4 -y ea r-o ld sc h o o lb o y w h o p o sse sse s e x c e p tio n a l q u a litie s: a d e v o u t e n th u sia sm to rid th e c o u n try o f v a g a b o n d s , d e lin q u e n ts a n d p e tty c rim in a ls , as w ell as a p e c u lia r p h y sic a l c o n d itio n . H e feels n o p a in . H is n a m e is R u s la n C h u tk o (a n ev o c ativ e n a m e to th e R u s s ia n e a r: R u s la n s o u n d s lik e R u ssia; C h u tk o h a s s o m e th in g to d o w ith b o th se n sitiv ity a n d v ig ilan c e). T h e n ic k n a m e h e h a s th o u g h t u p f o r h im s e lf is P lu m b u m : le a d , th e m e ta l. H e p ro v e s so u se fu l to th e c rim in a l p o lic e t h a t th e y u se h im in th e ir clea n -u p c a m p a ig n s .

I t ’s a fin e lin e b e tw e e n life a n d p la y a n d b e tw e e n ro lep la y in g a n d re a l d r a m a . In a scen e b o r d e r in g o n g rim c o m e d y (m a n y scen es d o ) R u s la n c a tc h e s his f a th e r d o in g a b it o f sm u g g lin g as a h o b b y , a n d files a s ta te ­ m e n t o n h im . T h e f a th e r te lls th e b o y th a t p o w e r c o m b in e d w ith m o r a l im m a tu r ity is d a n g e ro u s (th e o n ly o v e rt m o r a l s ta te m e n t in th e film ), a n d P lu m b u m d o es in d e e d e n d tra g ic a lly — a n d u n e x p e c te d ly .

T h e film is w e ll-p a c e d , th e p lo t is tig h t. B u t th e m e ssag e is elu siv e. R u s la n ’s b o y is h fe a tu re s c a n be b o th a p p e a lin g a n d re p e lle n t. M o s tly th e y ’re im p e n e tra b le . By m a k in g th e a u d ie n c e q u e s tio n its e m o tio n a l re sp o n se to th e b o y ’s e n ig m a w h ile in te lle c tu a lly a c k n o w le d g in g th a t h e is a m o r a l c rip p le , A b d r a s h ito v fo rc e s u s to d isc o v er in o u rse lv e s a s o f t s p o t f o r a c h a r is m a tic m o n s te r.

L e tte r s O f A D e a d M a n , K o n s ta n tin L o p u s h a n s k y ’s firs t film (1986), h a s p r o b a b ly th e m o s t c h a n c e s o f a d d re s s in g th e W e s te rn a u d ie n c e s d ire c tly , w ith o u t h a v in g to b r e a k th r o u g h a n u m b e r o f c u ltu r a l a n d h is­ to ric a l b a r r ie r s . I t g o es r ig h t b e y o n d th e p ro b le m s o f p e rio d a n d g e n e r a tio n . H is to r y h a s c o m e to a n e n d in th e a f te r m a th o f a n u c le a r d is a s te r, b u t a n e ld e rly sc ien tist (living in a n u n d e r g r o u n d sh e lte r w ith his d y in g w ife a n d a g r o u p o f co lle a g u e s) w rite s le tte rs to h is so n w h o m h e >

CINEMA PAPERS JANUARY - 7

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w h o h a s w r itte n p o p u la r s c ie n c e f ic tio n to g e th e r w ith h is b r o th e r A r k a d y S tr u g a ts k y ( T a r k o v s k y ’s s c rip tw r ite r in S ta lk e r ). T a r k o v s k y u s e d b la c k a n d w h ite d r e a m s e q u e n c e s as im a g e s o f a p o c a ly p tic p r e m o n itio n s ; L e tte r s is to ta lly e n v e lo p e d in th e s e g lo o m y w a s h e d o u t to n e s . D e s tr u c tio n is n o lo n g e r a m e re t h r e a t. B u t in sp ite o f th is , th e c h i ld r e n ’s d a n c e o f d e a th in th e e n d is n o t e n tire ly d e v o id o f h o p e .

REPENTANCE

REPENTANCE: Ketevan Abuladze and Edisher Giorghibiani

< k n o w s to b e d e a d , tr y in g to p r e te n d to u c h in g ly a n d a b s u r d ly t h a t life is g o in g o n .

T h e film c o n tr a s ts w o rld view s a n d p h ilo s o p h ie s w h ile d e p ic tin g v a r io u s r e a c tio n s to th e c a ta s tr o p h e . It h a s th e c la rity o f a n a n th o lo g y o f h u m a n th o u g h t. A t th is fin a l s ta g e o f c iv ilis a tio n sc ie n c e a n d re lig io n m e e t as th e p r o f e s s o r in sists h e is c lo se to f in d in g th e sc ie n tific f o r m u la t h a t c a n sa v e th e w o rld . H e is b r illia n tly p la y e d b y a c to r a n d d ir e c to r R o la n B y k o v , w h o h a s a s tro n g r e s e m b la n c e to E in s te in . W h e n e v e ry o n e is m o v e d to th e “ c e n tr a l b u n k e r ” w h e re th e r e is a c h a n c e to s ta y alive lo n g e r, th e p r o f e s s o r c h o o s e s to r e m a in b e h in d w ith a g r o u p o f o r p h a n e d c h ild r e n w h o h a v e b e e n le ft o u t o f th e g e n e ra l e v a c u a tio n . W h e th e r h e r e ta in s h is th e o r y o f s u rv iv a l t h r o u g h h o p e is n o t c le a r. B u t j u s t b e f o r e d y in g h e b id s th e c h ild r e n to g o o u t o f th e b u n k e r in to th e o p e n a n d to k e e p o n w a lk in g , n o m a tte r w h a t. T h e la st u n f o r g e tta b le im a g e s h o w s th e c h ild r e n w a lk in g in a sin g le file t h r o u g h th e p o is o n e d s n o w s to r m , h o ld in g o n to e a c h o th e r .

L o p u s h a n s k y w a s T a r k o v s k y ’s a s s is ta n t d ir e c to r in S ta lk e r , b u t w h ile L e tte r s e c h o e s T a r k o v s k y ’s film s, it h a s its o w n sty le . Its m e d iu m is n o t d r e a m s b u t scien ce f a n ta s y . T h e c o - w rite r o f th e s c rip t is B o ris S tru g a ts k y

REPENTANCE: Avandil Makharadze

R e p e n ta n c e h a s b e e n h a ile d as a n e x p o s e o f S ta lin is m .

B u t d ir e c to r T e n g h iz A b u la d z e ’s p r e o c c u p a t io n w ith a p h e n o m e n o n c a lle d “ V a r la m is m ” g o e s f a r b e y o n d o n e p a r ti c u la r p e r s o n a lity c u lt. S ta lin w a s e x p o s e d o n c e b e f o r e , b u t w a s s u b s e q u e n tly b u r ie d in a h e r m e tic a lly se a le d b o x , w h ile th e e m p ir e m o d e lle d in h is im a g e c o n ­ tin u e d to e x ist. I n R e p e n ta n c e , a w o m a n d ig s o u t th e b o d y o f th e t y r a n t V a r la m A r a v id z e w h o h a d k ille d h e r p a r e n ts , a lo n g w ith m a s s e s o f p e o p le , m a n y y e a rs b e f o r e . I n c o u r t sh e c la im s t h a t V a r la m w ill r e m a in aliv e u n til h e is e x h u m e d . H e r w o rd s se e m a b s u r d o n ly b e c a u s e sh e d o e s n o t sp e ll o u t th e o b v io u s . B u t a n in ­ c o m p le te s ta te m e n t is a ll it ta k e s to c r e a te a m e ta p h o r .

F o r A b u la d z e , m e ta p h o r a n d r e a lity a r e n o t t h a t d if f e r e n t. T h e p r e p o s te r o u s s ig h t o f a d i c t a t o r ’s c o r p s e tu r n in g u p in f r o n t o f h is f a m ily m a n s io n b e lo n g s in th e re a lm o f th e a b s u r d . B u t th e a c t o f d is in te r m e n t is b a s e d o n a re a l e v e n t, as is th e s to r y o f a w o m a n w h o lo s t h e r fa m ily in S ta li n ’s p u r g e s a n d la te r e a r n e d h e r liv in g b y b a k in g c a k e s . K n o w in g th is m a k e s it e a s ie r to see t h a t R e p e n ta n c e re v e a ls d o c u m e n te d r e a lity in a p o e tic f o r m .

I f it se e m s o b s c u r e , it is so o n ly in s o f a r as p o e tr y is.

T h e film o p e n s as th e w o m a n , K e te v a n B a ra te li, lo v ­ in g ly a d d s f in is h in g to u c h e s to o n e o f h e r c a k e s m a d e in th e s h a p e o f a c h u r c h . A v is ito r in f o r m s h e r t h a t V a r la m , h e a d o f th e c ity , a g r e a t le a d e r a n d a m a n o f g o o d n e s s , h a s d ie d . S h e lo o k s a t th e b la c k - r im m e d n e w s p a p e r p h o to , th e c a m e r a z o o m s in o n it a n d w e a r e n o w lo o k in g a t th e d e a d m a n ly in g in s ta te , s u r r o u n d e d b y flo w e rs a n d a c o m p a n y o f m o u r n e r s . T h e o p e n in g p r o ­ v id e s a k in d o f f r a m e : w e w ill r e t u r n to th e c a k e -fille d r o o m . T h e a c tio n m o s tly ta k e s p la c e in c o u r t w h e re K e te v a n is tr ie d , b u t in f a c t w e a r e c a r r ie d a w a y b y a f la s h b a c k as sh e b e g in s to n a r r a t e th e s to r y o f h e r p e c u lia r c rim e . T h e s to r y is a b o u t a d ic ta t o r w h o lik e s p la y in g g a m e s : o n e o f th e m is h is c a t a n d m o u s e g a m e w ith S a n d r o B a r a te li, a n a r ti s t lo b b y in g to p r e s e rv e th e t o w n ’s s ix th - c e n tu r y c h u r c h .

T h e o p p o s itio n b e tw e e n V a r la m a n d S a n d r o is e s ta b ­ lis h e d in a f e a t o f c in e m a tic s to r y te llin g . T h e r e is a c h e e r f u l s tr e e t sc e n e , r e m in is c e n t o f F e llin i’s s m a ll- to w n c a rn iv a ls . T h e r e is a b u r n in g e ffig y ; o n lo o k e r s s ta n d a r o u n d , a m a r c h is p la y in g . A m o u s ta c h e d d e m a g o g u e is m a k in g a n e n th u s ia s tic s p e e c h , b u t e m its n o in te llig ib le s o u n d ; V a r la m h a s n o t y e t m a d e h is m a r k a n d h is w o rd s a r e u n im p o r ta n t. W h a t ’s m u c h m o r e f u n to w a tc h is th e b a ttle b e tw e e n a c o u p le o f p lu m b e r s a n d a b r o k e n p ip e w h ic h is s h o w e r in g e v e r y o n e p r e s e n t w ith w a te r .

U m b r e lla s o p e n , b u t th e e f f e c t o f r a in j u s t a d d s to th e fe stiv e a n i m a t io n . T h e c a m e r a fre e ly m o v e s f r o m o n e d e ta il o f th e sc e n e to a n o t h e r , u n til a sm a ll e v e n t ta k e s p la c e .

F a c in g th e s p e c ta c le in th e s tr e e t a y o u n g g irl b lo w s s o a p b u b b le s f r o m a n o p e n w in d o w . I t ’s th e e ig h t- y e a r o ld K e te v a n B a r a te li. H e r p a r e n ts j o i n h e r . H e r f a th e r f irm ly s h u ts th e w in d o w . T h e th r e e r e m a in th e r e , b u t th e a f f r o n t h a s n o t e s c a p e d V a r la m . H is s p e c ta c le s a r e a g la r e as h e lo o k s in th e ir d ir e c tio n . T h e g la n c e w ill fo llo w th e B a ra te lis lik e a c u rs e .

A b u la d z e ’s im a g e s in v ite s tr o n g r e a c tio n s . S a n d r o is u n e q u iv o c a lly a C h r is t f ig u re . A s a p a i n te r h e r e p r e s e n ts t r a d i tio n in th e f o r m o f b o t h re lig io n a n d a r t. H e a ls o >

Agfa-Gevaert congratulate Kennedy Miller, Network te n Australia, the cast and crew of “The Year My Voice Broke”.

Agfa is proud to be associated with this award-winning film. Director John Duigan, and Director of Photography, Geoff Burton, chose AGFA XT 125 and XT 320 film for the production.

AGFA XT 125 is a medium speed colour negative film and XT 320 is a high speed colour negative.

Both are used together w ithout any perceptible difference in photographic quality.

NETWORK TE N AUSTRALIA

AGFA XT 125 AND XT 320. “They reflect die best o f you.”

MELBOURNE 875 0222, SYDNEY 8881444, BRISBANE 352 5522, ADELAIDE 42 5703 AND PERTH 277 9266.

LETTERS OF A DEAD MAN: Rolan Bykov (centre)

< s ta n d s f o r in te g r ity . I n a se n se, b y r e fu s in g to d a n c e to V a r la m ’s tu n e h e sa c rific e s b o th h im s e lf a n d th e c h u rc h h e is tr y in g to sa v e . K e te v a n ’s c re a m c h u rc h e s a re a re m in d e r t h a t h u m a n c o n s tr u c tio n s , ev e n s a c re d o n e s , a r e less im p o r ta n t th a n s p ir itu a l in te g rity . (S im ila rly , in T a r k o v s k y ’s S a c r ific e a little b o y m a k e s a p r e s e n t f o r his f a th e r : a s m a ll re p lic a o f th e ir h o u s e . T h e n e x t d a y th e f a th e r d e s tro y s th e re a l h o u s e . Is it b e c a u s e h e d o e s n ’t w a n t h is s o n to in h e r it th e c o m p ro m is e s h e h a s h a d to m ake?)

O n th e o th e r sid e o f th e s p e c tr u m , V a r la m s ta n d s f o r th e d e a th o f th e in d iv id u a l a n d c u ltu re . H e re c o g n ise s o n ly th e k in d o f h is to ry t h a t m a rc h e s o n in a s tr a ig h t lin e , r e f u s in g to a c k n o w le d g e th e a n c ie n t s y m b o ls th a t p r o v id e h u m a n ity w ith c o n s ta n t p o in ts o f re fe re n c e .

A b u la d z e m a k e s fu ll u se o f th e s e s y m b o ls. H e b le n d s h is to ry a n d m y th , w h ic h d o e s n o t m e a n th a t he m y stifie s. H is u se o f u n iv e rs a lly re c o g n is e d sig n s h a s th e e ffe c t o f d e fin in g a r c h e ty p e s s tr ip p e d o f p a r tic u la r h is­ to r ic a l s p e c ific ity . In th is w a y h e e x p o se s th e m y th th a t th e r e ex ists a q u a lita tiv e d if fe r e n c e b e tw e e n o n e d ic ta to r ­ sh ip a n d a n o th e r . I n m a n y w ay s R e p e n ta n c e is sim ila r to so m e S o u th A m e r ic a n film s, p a r tic u la r ly in its te n d e n c y to w a r d s th e s u r re a l. I t ’s n o t j u s t a q u e s tio n o f sa tire , w h ic h is a f o r m o f c ritic is m . I t ’s a m o r e su b v e rsiv e k in d o f la u g h te r . A s a S o v ie t c ritic p u t it, i t ’s a q u e s tio n o f p o la r is a tio n . R e p e n ta n c e h a s to m a tc h th e scale o f th e th in g it o p p o s e s , y e t o n e o f th e w e a p o n s it u ses is a p r a c ­ tic a l jo k e ( a n d th e j o k e r ’s w e a p o n is a sim p le sp a d e ).

T h is c a r n iv a le s q u e f re e d o m o f e x p re s s io n a p p lie s to A b u la d z e ’s g e n e r o u s u se o f sy m b o lis m . W e m u s t n o t f o rg e t t h a t all th o s e th in g s w e re e x c lu d e d f r o m th e S o v iet w o rld v ie w f o r a lo n g tim e . T h e s y ste m w as s u p p o s e d to b e c o m p le te in its e lf, its id e o lo g ic a l b o r d e r s m a rk in g th e b o u n d a r ie s o f p o s s ib ility . A b u la d z e d o e s in film w h a t M ik h a il B u lg a k o v d id in lite r a tu r e , re v e a lin g o th e r p o in ts o f re f e r e n c e a n d o th e r w o rld s . U s u a lly th is w as d o n e o n ly in th e g u ise o f c h ild r e n ’s lite r a tu r e o r scien ce fic tio n .

S im ila rly , A b u la d z e in v o k e s im a g e s f r o m o th e r film s.

T h e r e a re g lim p se s o f C h a p lin ’s G r e a t D ic ta to r , F ellin i is a f r e q u e n t p re s e n c e (in th e c irc u s m u s ic le itm o tif, a m o n g o th e r th in g s ). In o n e sc e n e , th e d y in g V a r la m w a n ts to s h o o t th e s u n b e c a u s e , h e sa y s, “ w h e n it rises I b le e d to d e a t h ” . H e th e n fa lls a s le e p o n b a r e g r o u n d d re sse d in a s a c k , a n a r c h e ty p a l d e s titu te k in g . O n e th in k s o f b o th L e a r a n d K u ro s a w a a t th e s a m e tim e .

10 — JANUARY CINEMA PAPERS

T h e n u m e r o u s r e f e r e n c e s d o n o t d im in is h th e o rig in ­ a lity o f th e film . F o r th e W e s te r n a u d ie n c e , esp e c ia lly , it o f fe rs th e a d d itio n a l p le a s u r e o f r e c o g n itio n .

T h e film is so v is u a lly s tr ik in g t h a t th e o f te n c lea r m o r a l o v e r to n e s n e v e r b e c o m e th e p r im a r y c o n c e r n . O n e o f th e m o s t m e m o r a b le s e q u e n c e s is N in o B a ra te li’s d r e a m . S h e a n d S a n d r o a r e r u n n in g , fo llo w e d b y V a rla m in a n o p e n c a r , h is a r m o u r e d s o ld ie rs c o m in g f r o m all d ir e c tio n s . T h e y r u n th r o u g h a b a n d o n e d s tre e ts , th r o u g h lo n g f lo o d e d c o r r id o r s a n d o u t in to a n o p e n fie ld . T h e re th e y s ta y , b u r ie d in e a r th u p to th e ir n e c k s . V a r la m is th e r e t o o . S ta n d in g in th e c a r , h is b la c k u n if o r m e d fig u re c u t a g a in s t th e p ie rc in g b lu e sk y , h e lo o k s d o w n o n th e m a n d th e n s u d d e n ly , w ith p e r f e c tly c ru e l tim in g , h e b r e a k s in to a b o m b a s tic V e rd i a r ia . N in o w a k e s u p to a re a lity t h a t is a n e x te n s io n o f h e r n ig h tm a r e . D re a m s a re n o t m e re a s id e s in R e p e n ta n c e .

I n K e te v a n ’s s to r y V a r la m lo o m s la rg e as th e c e n tra l fig u re o f ev il. B u t w h e n th e f la s h b a c k is o v e r a n d w e a re b a c k in th e c o u r tr o o m , w e r e a lis e t h a t V a r la m h im s e lf is n o lo n g e r th e iss u e . H e h a s p a s s e d th e le g a c y o f his c rim e s o n to h is s o n A b e l a n d h is u n s u s p e c tin g g r a n d s o n , a n d w h a t ’s a t s ta k e is w h e th e r th e y a c c e p t o r re je c t it.

I n T a r k o v s k y ’s S a c r ific e , a b o y m u te th r o u g h o u t th e film sa y s: “ I n th e b e g in n in g w a s th e w o r d . W h y is th is, P a p a ? ” H is f a th e r is n o t th e r e to a n s w e r. I f h e w e re , all h e m a y b e a b le to c o m m u n ic a te is h is e n o r m o u s c o n ­ f u s io n a n d a n u n d e f in e d se n se o f g u ilt. I t a p p e a r s th a t th e o ld e r g e n e r a tio n h a s c o m m itte d s o m e k in d o f sin a n d is n o lo n g e r e lig ib le to te a c h th e y o u n g . I n R e p e n ta n c e t o o , s o n s r e je c t th e ir f a th e r s . Is th is n o t th e u ltim a te v io la tio n o f n a t u r a l o r d e r ? B u t in b o t h S a c r ific e a n d R e p e n ta n c e th e v io la tio n h a s a c a th a r tic f u n c tio n : it lib e ra te s .

T h e film e n d s w ith a q u e s tio n m a r k t h a t c o m p lic a te s th e m o r a l f a b le , m a k in g it s o b e rin g ly r e a l in th e S o v iet c o n te x t. It e n c a p s u la te s th e m o m e n t w h e re silen c e is o n th e v e rg e o f b e in g b r o k e n . B u t in th e e n d , A b u la d z e re fu se s to p o in t o u t a d ir e c tio n . H e c h o o s e s th e sta tic s tr u c tu r e o f a n a lle g o ric a l d r e a m w h e re f a n ta s y is u se d to e x te n d th e p o s s ib ilitie s o f th e r e a l. T h e p o s itio n A b u la d z e se ttle s o n is a lso a r e c u r r e n t im a g e in R e p e n ta n c e : a n o p e n w in d o w , b e it in to th e p a s t o r o n to o th e r d im e n s io n s .

R e p e n ta n c e e n d s w ith th e im a g e o f a n o p e n w in d o w in V a r la m S tre e t w ith a v ie w o n to th e w in d in g r o a d th a t u s e d to le a d to a c h u r c h . T h e q u e s tio n is, w h e re d o e s it le a d to n o w ?

REPENTANCE: Mzia Makhviladze

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Ponch Hawkes

12 - JANUARY CINEMA PAPERS

G E O R G E M IL L E R IS A S E L O Q U E N T IN C O N V E R S A T I O N A S H E I S O N FI LM .

H E T A L K S T O TOM RYAN.

eorge Miller speaks energetically about his films, even if he’d prefer to remain silent on the subject. “ I truly hate doing interviews, especially the short ones. You never have time to think seriously about the questions or your answers and, as a result, you find yourself saying things you don’t really mean at all. And, besides, a movie finally isn’t an intellectual process. It’s the variety of emotional levels on which it’s working that have to really matter to you. And there I don’t think that you’re dealing with the rational. I know that’s anti-critic, because critics rely on being able to explain things. But it’s the intuition that’s really in control and many critics can’t touch that part of it.”

Of primary importance to Miller is that his audience should be swept along by the kinetic flow of his images and by the story that emerges from them. “ Right from the start, even going back beyond the planning of Mad Max, I ’ve been in love with the actual plastic form of film. For me, the great master of film was Buster Keaton, and through him I’ve learned that film can be like visual music. He only had the silent medium, but he understood how images could be manipulated. And so, when we came to Mad Max, the first thing that Byron Kennedy and I wanted to do was a chase film. We got a lot from action comedies like Bringing Up Baby and What's Up, Doc? but Keaton was the major source of inspiration for us.”

Miller’s feature films to date — Mad Max (1979), Mad Max 2 (1981), the fourth segment of Twilight Zone — The Movie, called “ Nightmare at 20,000 Feet” (1983), Mad Max Beyond Thunderdome (1985), co-directed with George Ogilvie, and The Witches O f Eastwick (1987) — all explode with the violent eloquence of their making and their matter. Their roots can be found in the slapstick tradition, but their visual force grows from the kind of filmmaking that has become known as “ exploitation” . All of them, to varying degrees, conjure up desperate circumstances that challenge the security and the sanity of their male protagonists, driving them to the edge of madness and sometimes beyond. The worlds that the films create are certainly larger than life, but the dramas they offer centre upon a question that transports their “ fantastic” qualities back to the everyday: on what terms can I survive to see tomorrow?

The films have won wide critical admiration and popular endorsement, but there are some who have been less than enthusiastic about their success. Phillip Adams, Max Harris and a number of others have taken Miller’s films to task for what they perceive as mayhem and mindlessness, discovering a failure of taste and morality instead of a joyous plunge into the realm of the comic strip. Perhaps this is inevitable, given the way in which the films refuse to distance themselves from the frantic excitement of the action that is either visible or, as is more often the case, felt in them.

Miller’s response to the hysteria is surprisingly restrained: “ I’m not naive enough to think that, if you have fairly confronting material, it’s not going to produce a mixed response. I was, in fact, surprised how, in Japan and Europe, and particularly in France, the ‘Mad Max’ films acquired something of the status of high art. We had less lofty ambitions, but that the films have attained some critical approval is nice. >

G

CINEMA PAPERS JANUARY - 13

< Of course, there are always going to be people who’ll see the films simply as exploitation, as the kinds of films that maybe shouldn’t be made. On my wall at home, I have a review of Mad Max by an Indian critic who says, ‘The perpetrators of this film should be taken out into the street and hung.’ ” This review clearly caught Miller’s attention, but he is more interested in the kind of analysis of his work that goes beyond what he sees as “ the primary level” : “ When you prepare a film, you talk about its ideas. You feed your intuition. Then, occasionally, someone comes along and echoes the kind of conversations you had in the planning of the film. It’s happened to me a number of times. It’s like someone has had access to your dreams.

The French critics are good at this and their work on the last two ‘Mad Max’ films has been really interesting. I read a review of Witches in ‘The Globe And Mail’ in Toronto and that seemed to get onto it too.”

But The Witches O f Eastwick has also sustained the divided response to Miller’s films. An essentially comic Daryl Van Horne has replaced the warrior Max and the battleground is fertile New England rather than waste­ land Australia, but questions of taste and excess continue to limit much of the discussion of Miller’s films. And, indeed, Miller concedes that the elaborate special effects do run the risk of overwhelming the more interest­ ing aspects of The Witches O f Eastwick: “ They became my biggest battle.

As the studio got more nervous about what we were doing — and I can understand their nervousness — they kept giving us more and more money for special effects. And I confess that I was a bit of a sucker. Initially I took the bait and had some wonderful fun until, suddenly, I realised I had a battle on my hands, that this shouldn’t finish up a special effects movie.

And so I had to fight to cut out as much of them as I could. I would love to have been able to cut out more, because I do think they trivialise . . . When we had the first test screenings, I know that the studio expected the audi­ ences to reject all the talkie bits and love the action stuff. But the reverse happened and that helped me, to a degree, in my battle to eliminate the effects that were irrelevant.”

Miller does not, however, include the intemperate cherry vomiting parade amongst the effects that he fought to remove. “ That was something I wanted to do and it was there from the start. And, certainly, it was dangerous ground. One of the things that you try to do in cinema, as distinct from television, is take your audience into the experience that your ciphers, the characters, are going through. It’s like my flight simulator theory of the cinema: for the audience, it’s like sitting down and being swept along on some sort of ride, like in Brainstorm. When you’re dealing with vomiting, though, you’re dealing with a very tricky physiological reflex. It can be induced simply by watching someone else do it and there’s no way of predicting how an audience is going to respond. People have dif­ ferent thresholds for that sort of thing. In fact, we had more vomiting in the movie, but very quickly we saw that it was being rejected. So we toned it down. But it is intrinsic to the level of excess which is part of the humorous

WHICH WITCH HAS THE TONI? Michelle Pfeiffer, Cher and Susan Sarandon

14 - JANUARY CINEMA PAPERS

MAX EN FRANCE: French posters for the first two Mad Max movies

tone on which the drama sits. It was meant to be satirical. John Williams’ burlesque music certainly invites us to see it like that. And since, as a narrative obligation, we had to get rid of the Felicia character, I thought it was an interesting and logical way to do it. I guess it’s easier to do in a Monty Python kind of context.”

Yet, despite the film’s exposure to the extensive “ testing” procedures that have always dominated Hollywood’s pitches to its audience, Miller remained uncertain of the kind of response that it would receive on its release. “ We didn’t think of it as a mainstream summer American movie . . . except that it has Jack Nicholson, Cher, and an embarrassingly large budget (which I stopped counting at $30 million, most of which was above the line). But it did come out in the summer and it has been successful. I think that maybe the audience is getting more sophisticated as we baby boomers are getting older and it’s fed up with the kiddie junk it’s been get­ ting for so long. Witches is essentially an ironic fable and the positive reaction it got surprised me because I think that the Americans have very little sense of irony. In fact, that terrified both me and the writer, Michael Cristofer. We have a much more developed sense of irony in Australia, even if some of the local reviews missed that aspect of the film. They saw it how the Warners people saw it. They knew it was supposed to be funny, but they wanted it to be like The Exorcist or Aliens.”

Nevertheless, it could be said that what is interesting about The Exorcist and Aliens is not the special effects but the family dramas that are being played out through them and which are responsible for the place both films occupy in contemporary mythology. In the same way, it can also be said that what is at stake in The Witches O f Eastwick is not to be found on its surfaces. “ What I found compelling about Michael’s screenplay was the undercurrent, the subterranean material. In preparing the film, we went to Geoffrey Russell Burton, a professor of history at the University of Cali­ fornia at Santa Barbara. He’s a medievalist who’s written four volumes on how the devil has appeared in various cultures. We went back to the preChristian era where, every winter, the satyr or Pan figure would visit the Mother Goddesses. He was always a lesser god, even though he was a wellmeaning fellow. His problem was that he was a compulsive and indis­ criminate seducer, declaring his undying love at the same time as he was a terrible flirt. He’d impregnate everything, and then, almost on their whim, the Mother Goddesses would send him away. When he was gone the spring would come and his seed would give flower. As Christianity emerged and became very male-dominated, at the same time as it tended to suppress the Mother Goddesses it also turned this satyr, this sexual creature, into a figure of great terror. They made him into a dark figure with horns and cloven feet. Later, especially during the French Revolution, a lot of litera­ ture and some of the theatre transformed the Christian devil, Satan, into a kind of cultural hero, an anti-monarchist. And then, as resistance grew to the fire and brimstone kind of fervour that surrounded him, he became that foppish figure of fun with the moustache and the cape. It was Burton’s help with this kind of background that led us to create this eighties devil. We made a very conscious decision to resist the kind of devil they had in The Exorcist and to model him on the Pan figure.”

Miller’s fascination with mythology and with the passing down of stories from generation to generation and era to era has long been evident. In Mad Max Beyond Thunderdome, it is closest to the surface of the film as Max is rescued from the moral darkness by the tribe of lost children. Through their stories, they teach him of the continuity of the life cycle, of the way the route to hope for the future is embedded in their stories of their past: “ Every night we does the tell to remember who we was and where we came from.”

The film, which ends with the dedication “ . . . to Byron” , is one about which Miller remains passionate. “ Of the three ‘Mad Max’ films, I love it the most. It’s flawed, but it’s much richer in its ideas than the others. We were so overflowing with ideas at the time that we almost had too much . . .

The best sequences, I think, are the ones around the children’s stories. With them, we were really conscious of the different levels on which we were working. We were attempting to really push it out there, and that’s why I love it so much.”

But there’s also the behind-the-scenes incident that was important to Miller: “ Even though we shot the film at Coober Pedy, we had originally planned to use the Olgas. We had a terrific location manager, George Mannix, who went out and spoke to the Aboriginal elders there. Through a translator, he told them the story of the film and they got very excited.

Many of our simple storytelling motifs were identical to some of the ones in their culture. For me, that’s also very exciting and I wish I’d been there. It proved what people like Joseph Campbell knew — those things are lurking in our collective unconscious, everywhere, in every culture.”

Mad Max Beyond Thunderdome seems to bring the ‘Mad Max’ cycle to an end, and, even though Miller is leaving his options open, it is hard to see another ‘Mad Max’ film going anywhere but backwards. “ I seem to have spent my life making ‘Mad Max’ pictures. After the first one, for a long time I never wanted to consider another one because it had been such a debilitating experience. But I did and Mad Max 2 became an attempt to do 1 right, while Thunderdome was an attempt to do something completely different from 1 and 2, with the lone, wandering, disassociated character as the only connective tissue. I think that with it we were consciously designing an end for the character. I should add that we never saw ourselves making

sequels and I see the films as more of a trilogy than anything else. I had endless discussions with Terry Hayes and George Ogilvie and even with Mel about Max dying at the end of Thunderdome. Interestingly enough, it didn’t quite fit the story. But, in a way, he does die when his part in the story changes, when he loses his power, and, even with him still alive, the story somehow seems finished. Still, that was our feeling after we did the second one. And I suppose that if we came up with something that was really exciting, that was different from the other three, and if we could get the creative juices flowing again, we’d do a fourth. But there are so many different directions we could take at the moment that I can’t see it happening.”

One of those directions found him producing and then working on the promotion for the October release of John Duigan’s The Year My Voice Broke. The film was made for the Sydney-based Kennedy Miller produc­ tion company formed by Miller and Byron Kennedy in 1980. It gathered five AFI awards just prior to its release, despite the Screen Production Association claim that it should have been excluded from competition because it was made as a telemovie. Miller is disappointed by what he sees as an unnecessary controversy, even if the storm never really got out of the tea-cup. “ It’s true that we approved John’s screenplay as part of a package of four films that we’re doing as a ‘Festival of Australian Films’ for the 10 Network for the Bicentenary*. But, from the outset, it also recommended itself very much as a feature film. We decided to shoot it in 35mm rather than 16mm and came to an arrangement with Equity and the actors that, if it worked out, it would get theatrical distribution.”

He’s also concerned to set the record straight about his involvement in the film. “ For me, it was simply a matter of saying to John, ‘Oh, yes!

That’s terrific,’ and letting him go off with a wonderful crew to spend five or six weeks in Braidwood. What they came back with is something that I wish I’d done, and, finally, I care about it more than I do The Witches O f >

*The remainder of the package is: C lean M a c h in e , written by Ken Cameron, Richard Mortlock and Terry Hayes, directed by Ken Cameron. The R id d le O f The S tinson, written by Tony Morphett, directed by Chris Noonan. The D a m ie n P arer Story, written and directed by John Duigan.

CINEVEX PROUD TO BE ASSOCIATED WITH AUSTRALIA’S BEST. CONGRATULATIONS TO ALL THE NOMINEES & WINNERS OF THE 1987 AFI AWARDS FEATURE FILMS.

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CINEMA PAPERS JANUARY - 15

< Eastwick. But I’m embarrassed by the suggestion that I had anything significant to do with it because I didn’t . . . unless you count looking at rushes as significant. What I do hope, though, is that it’s the kind of product that is representative of Kennedy Miller, of the sorts of things we do.”

It’s clear that his partnership with Terry Hayes and Doug Mitchell at Kennedy Miller is not just something that he does to pass the time when he’s not working in Hollywood. “ It’s the ideal filmmaking situation where you work in a truly collaborative way. Doug’s background is in business and he’s mainly involved in that side of the process. He’s set up a computer system and that means that we can get the most immediate feedback and refined information about any production’s progress. But even though he’d never lay claim to it, Doug has a fine instinct for story and ideas. And Terry does just about everything. I think that, in the end, it’s a mistake for any­ one to become expert at one thing to the exclusion of the others. You become unable to recognise the broad evolution of a process. The thing that mainly distinguishes Australian filmmaking from American studio filmmaking, and that I’d like to think distinguishes Kennedy Miller, is that we’re all multi-disciplined filmmakers.”

Miller, in fact, finds his work at Kennedy Miller a liberation from the hard labour of directing. “ It’s much easier producing. Sometimes, it’s just a matter of watching what’s happening, though you can also get intimately involved. On Phil Noyce’s film, Dead Calm* I helped out and had a great time doing some second unit work. It’s a wonderful life, second unit — you have a small guerilla unit of people who really pride themselves on doing more with less and you have time to pull off some terrific shots. And the funny thing is that you find yourself over-covering in order to please the director, hanging on every word he says and desperately needing his approval.”

But Hollywood, on the other hand, has not been a particularly happy experience for Miller, even though he recognises that he’s learned from it. “ It’s essentially a specialised bureaucracy there. It’s a very fragmented, clumsy machine. There’s no organic approach. I think that’s why, by and large, the most interesting films made in America in the last decade or so are always independent, or at least made outside this inner-sanctum Holly­ wood. Unless someone is an extraordinarily brilliant executive, like a Thalberg, the kind who only comes around very rarely, they’re just not big enough or brilliant enough to handle the system. I think that, now, the studios would prefer not to make films, though they love distributing them.

That gives them some guarantee of fiscal control. Production is very mysterious and terrifying to them and that’s why they react in very silly ways sometimes.”

Miller recalls that he approached The Witches O f Eastwick like an inno­ cent. ‘T went from Twilight Zone, which was wonderfully collaborative, terrific fun and very relaxed and open because of Spielberg and the people he has around him, to Witches and to five producers and umpteen studio executives who know little more than fragments of the process. It was almost shocking, in fact, to find how little they knew. And it all became very political, which takes the fun out of filmmaking. The irony is that both films were for the same studio: Warner Bros. The major difference, of course, was the production team. In order to get what you need, you have to spit the dummy, as they say. You can’t be collaborative. The most efficient way to work in America is to fall into the cliche of the autocratic, temperamental brat. I remember Jack Nicholson took me by the hand early on and said, ‘You’ve got to hold them in contempt, George, or they won’t respect you.’ It’s a very common experience. Roger Donaldson said after No Way Out, ‘You know, they mistake politeness for weakness, and if you try to be collaborative it opens the floodgates.’ The only way to cope is to be a real bastard. I’m sure that applies in most bureaucracies, but it’s not a way to make films. Filmmaking has to be tough, otherwise you’re not doing it right. But it doesn’t mean it can’t have its exhilaration and dignity . . . I was sounding-off about the Hollywood problem during the Witches sound mix, and Jerry Stanford, a wonderful sound editor who worked on most of Peckinpah’s films, said, ‘Be careful that your anger doesn’t distort your filmmaking.’ He held the view that Peckinpah’s rebelliousness got to the point where he took on film assignments simply to screw ‘them’ and destroyed himself in the process.”

It’s scarcely surprising that Miller is full of admiration for those who’ve *This forthcoming release is written by Terry Hayes and is based on Charles Williams' novel of the same name which was the source for Orson Welles’ unfinished film, The D e e p .

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been able to make their way successfully through the mire. “ The film­ makers who can work the system are those who started off in the film schools, especially those of the unofficial kind, like the Corman one. When you worked for Roger Corman, you had to do everything, literally every­ thing. One of the most impressive filmmakers I’ve met in America is Jon Davison. He worked on Twilight Zone, Airplane!, Robo Cop . . . He started off in publicity for Corman and learned his way along to become one of the great hands-on line producers. He’s truly a filmmaker, as dis­ tinct from being simply a director or a producer or an executive producer or any of the various kinds who always seem to happen to a film. Maybe he can’t change the system any more than David Puttnam could — it changes only by dint of economic forces — but he knows how to use it to his advantage.”

But Davison’s not the only one who’s won respect from Miller for the way he’s been able to survive the Hollywood nightmare. Jack Nicholson stands out for him, not only as the one who mediated on the set of The Witches O f Eastwick when the going got tough — Miller, in his benign way, discreetly avoids saying much about the reported tensions between him and Cher — but also as a deeply committed filmmaker. “ He sees his job as get­ ting the film made. You know, meeting him was one of the biggest surprises I’ve had in my life because I did him a real disservice going in. I’d expected an erratic, flamboyant, brilliant actor, drugged to the gills, hedonistic, and basically a frivolous man. It was startling how much he was the opposite.

He is very fun-loving, but what struck me was his intelligence. He has a great wisdom and life is anything but frivolous for him. Behind the sense of fun, there’s this ‘You better make a decision about what life’s about and what your place is in it’ about him. He cherishes the adventure; it informs his work. And, unlike many of his contemporaries, as he gets older, he gets more fearless and passionate. There’s no cynicism at all. He’s a gift for a director to work with, such a wonderful acting machine. He equates his working methods most closely with those of the athlete — there’s all that pain of training for the moment of the event where there’s nothing but the performance, where everything is forgotten and you ‘let it be’, where you become entirely free, open, centred. He understands that this can only be earned by all the hard work that comes before, and when he succeeds it’s never by accident. He may not always hit what Greg Luganis, the champion American diver, calls ‘the sweet spot’, but he’s what Luganis sees as the real champion: the one who can just miss the spot, but who’s able to recover and turn that into close to a perfect performance.”

The opportunity to work with people like Nicholson will take Miller back into the maelstrom again. The dream of what could be remains an attrac­ tive one for him. But, somewhat unexpectedly for one so excited by the possibilities of what you can do on the big screen, Miller is enthusiastic about television. “ Before I started work on The Dismissal, I was one of those rather patronising, narrow-minded people: if you really wanted to be serious, you had to do feature films. But what I discovered was that tele­ vision, for all its visual limitations, is where the most interesting ideas tend to be. Something likqMax Headroom, which was an American ABC prime­ time network television experiment, makes the point. Even though it failed, at least they tried. It’s rare to find a feature film doing things like that. But because it’s so competitive on television, they’re forced to make it interest­ ing. You talk to network executives in the States, and they’ll be saying, ‘We don’t want these hackneyed ideas. Bring us something exciting and new.’

You talk to the studio people and they say, ‘Oh, it’s a bit dangerous to make a feature film like that now. Give us the hackneyed ideas; the safer the better.’ And if you look at American series and telemovies, at least until recently, you’ll see that they’ve covered just about every social aberration or disease that you can think of. This ‘serious’ television has been spurred on by shows like Hill Street Blues and St Elsewhere. It’s often very informative and sometimes very powerful and it’s successful on prime­ time. Yet no-one on earth would go to see a movie like Something About Amelia on a Saturday night, unless it had something else to it. It took Ted Danson from Cheers and made him a child molester. In my view at least, television lends itself to this kind of work and to the kind of documentary naturalism that goes with it, though there should be no hard and fast rules.

Movie-making seems to be different in scale, more attuned to fantasy. Film is the flight simulator in the dark, public-dreaming palace, and television is more like a window through which you watch another world from your safe home environment. And while the form is more exciting in the cinema, and even though you can’t invite your audience into an all-consuming experi­ ence on television, the raw subject matter there is more interesting. It’s like spying over your neighbour’s fence at another life.”

'n the early 1970s Dennis Hopper co-wrote and directed a “ spectacular ifailure” called The L ast M ovie. “ The thought was,” he said in a recent interview, “ to deliberately alienate the audience, tell them they’re idiots sitting there watching a movie. Every time I got them involved in the movie as a story, I’d come back and say, ‘Ha. Ha. Ha. You’re only watching a movie.’ ’” While The L ast M ovie died the death of many a radical venture, Hopper lingered on, picking up some 16 years later right where he left off. And to judge by his recent success, the time is finally ripe for black humour and audience alienation, for self-conscious, anti-romantic filmmaking.

But not everyone likes the kind of movies with which Hopper is associated, movies which are frankly decadent, not in the luxurious manner of Ken

I

JOHN DUIGAN’S MORAL TALES

Russell, but in a gritty, postapocalyptic, distinctively American way. To some people’s way of thinking, the glorification of Feck and Frank, or the best of American neo-gothic, is just plain ugly, not to mention mean.

John Duigan, whose recent film, The Year M y Voice Broke, cleaned up at the AFI awards, is one with serious doubts about the “ almost amoral stance” of some of the year’s most controversial films. “ It’s pushed to the point where they’re thumbing their nose at an audience’s moral response to the material,” he tells me. “ They’re saying, ‘If you start judging this material, if you feel squeamish about it or awkward in the face of it, that’s your limitation, that’s your problem.’ I’m thinking of a film like R iv e r’s Edge and also Blue Velvet, but particularly R iv er’s E dge.”

R iv er’s Edge, like The Year M y Voice Broke, is a film >

John Duigan’s The Year My Voice Broke took out the major honours at the 1987 AFI Awards.

CHRISTINA THOMPSON talked to him about nostalgia, adolescence and amorality.

CINEMA PAPERS JANUARY - 17

< about adolescence — but there the resemblance ends. In all other respects the two films could not be more dissimilar, and Duigan makes no secret of his belief that the amorality of River’s Edge is more akin to immorality. “ It appears, on the surface, that it’s starting to make a critique of American society, or certain aspects of American society, saying, ‘It’s come to this, it’s totally amoral, people can find nothing to value at all.’ But then it seems to me to depart from that and start to wallow in this perception,” he says. “ I think that there are some very unpleasant aspects of that film, like the way the camera seems constantly to return and linger over the body of the dead girl. And there is very definitely that sense that the filmmaker draws back when there is any possibility of warmth between some of the characters. That suggests to me an extremely cynical and almost despairing view of the world.”

Before he became a filmmaker, John Duigan did a Master’s degree in philosophy at Melbourne University. Not particularly interested in the philosophy department’s strong suit, logical positivism, he altered the design of the course to meet his own interests in continental philosophy and, above all, ethics. His preoccupation with the latter is, he concedes, evident in his films.

Loene Carmen

In a 1978 interview Duigan said of Mouth To Mouth, “ I certainly hope people will perceive the optimism which is crucial to the film. I wanted to generate a lot of warmth between the characters.” He was trying, he said, “ to involve a fairly wide-ranging audience in the experiences of four sympathetic characters.” 2 Nine years, five movies and a miniseries later, these words describe quite accurately what Duigan is up to in The Year My Voice Broke.

Fourteen-year-old Danny (Noah Taylor) is in love with 15-year-old Freya (Loene Carmen). But Freya is in love with 16-year-old Trevor (Ben Mendelsohn). Danny and Freya have been friends since childhood and she, sympathetic to the hopelessness of his infatuation, tries to knock him back gently. Trevor, for his part, has a hero’s natural inclination to defend the underdog and, despite the tough-guy facade, he’s not incapable of sympathy for the competition.

Like the plot, the “ relationship dynamic” is archetypal. “ On the one hand you’ve got the character of Danny who’s this natural observer of the world, who exists on the fringes, who is ostracised at school because he’s different. He likes poetry, he speculates about hypnotism and telepathy, and all these sorts of things, but he’s a very cerebral character,” explains Duigan. “ And on the other extreme there’s Trevor who’s a much more dynamic, spontaneous, wild character who hurls himself around and doesn’t think about what he’s doing particularly or analyse it at all.” Freya, he concludes, is “ somewhere between the two, finding both men interesting for completely different reasons, her own personality having certain similarities to both and something else again.”

The story, set in the early sixties, has all the ingredients of a classic

18 - JANUARY CINEMA PAPERS

teenage tragedy: adolescent dreams squelched by authority in the form of parents and police, all against the backdrop of a nervy, narrow-minded country town. I asked Duigan if he didn’t think The Year My Voice Broke had noticeable affinities with a whole slew of American films from East O f Eden and Rebel Without A Cause to The Last Picture Show. “ I wasn’t consciously aware of operating in an American style or genre because I’ve always felt that my films were closer to European styles of films than American. And in terms of the pacing of a film like this, and in its more gentle emotionality, it seems to me to be dissimilar to American films that probably have a more strident edge to them.”

Duigan hasn’t got much time for films that are either ‘strident’ in tone or ‘cynical’ in motivation. He does not believe in poking fun at his audience, nor in subjecting them to an all-out assault on their basic humanist values, however tarnished those values may be. Because the fact of the matter is that those are values Duigan shares, that his ethics are those of a liberal humanist.

In many ways, Duigan is a traditionalist; Good and Bad in The Year My Voice Broke fall out in familiar camps. On the one hand there is honesty, charity, strength of character, and on the other, vanity, egotism, meanness or weakness of spirit. The Good is associated with individuality, the Bad with the nastiness of the pack.

To highlight the opposition, each of the Individuals is cast as an Outsider. Danny’s idiosyncracies, Trevor’s rebelliousness, and Freya’s dubious parentage and unseemly behaviour, place each of them beyond the pale. Alienation as an experience figures as centrally for Duigan as it does for, say, David Lynch, but it is something you suffer, not something you inflict.

Duigan says he wanted to examine how people who have not been assimilated into society perceive the world. “ Because I think that they perceive both the society of which they are on the fringes, and also the world in general quite differently. I think there is a sense in which the characters that Noah and Loene play have preserved elements of their childhood longer than most people do. That gives them a sort of breadth and, in a curious way, sophistication or complexity in the way that they perceive things that people whose heads are filled with the multi-various aspects of our culture lose. “ Like, I think there are sections of our heads that go to sleep as we become obsessed with the manufactured elements of reality, so for them, they have what could be described as an almost mystical relationship with their world, in particular with the land, the hill, and the haunted house, and so forth. And this aspect was a very strong starting-off point for me, that area of their reality is to me very real.”

I think it would be far from unfair to describe Duigan as a romantic, though not perhaps, in the field of Australian filmmaking, quite so incorrigible a romantic as Peter Weir. From some points of view, however, romanticism is utterly inappropriate to the world in which we live. This surely is the perception of some independent American filmmakers who may be driven to de-romanticise and ironise their movies by Hollywood’s increasingly hysterical and wildly romantic myth-making.

Romanticism is characterised by a preoccupation with interiority as opposed to social and physical reality, by nostalgia and a tendency to focus behind, ahead or over the horizon, anywhere but here and now in the material world. Certainly The Year My Voice Broke fits the bill. Narrated in the past tense by a grown-up Danny, it has strong elements of the other­ worldly.

One of the finest minor characters is a fringe-dwelling mystic weirdo who lives in a shack by the railroad line. Jonah (Bruce Spence) functions as a kind of spiritual adviser to the troubled kids, telling them strange truths about the way in which rooms record the events which happened in them, about how shadows or echoes of human emotions are imprinted on the physical world forever, and about how, if you are sensitive, you can feel those imprints of the past. “ The points of view that are expressed by Jonah,” says Duigan, “ seem probably quite eccentric. I, in fact, share many of them.”

There’s been a lot of talk about a tendency in recent Australian film to locate the subject away from hard core contemporary realities. Ground Zero, the stiffest competition for this year’s Best Film, has been appreciated particularly for its head-on confrontation with a topical issue.

In America, of course, few enough people would even consider this kind of criticism because rarely in America are films made that have what you might call a ‘social conscience’. One exception might be, ironically, River’s Edge, the film Duigan feels fails to live up to its promises in this regard.

But moral accountability is something Australian artists and critics seem quite comfortable with, and Duigan is no exception. Those “ four sympathetic characters” in Mouth To Mouth, for instance, were in Duigan’s words, “ characters whom the middle-class audience generally reads about as numbers in the unemployment figures, or kids in the juvenile courts.”

The Year My Voice Broke is, comparatively, rather light on social commentary, possibly as a function of its spatial and temporal setting. I asked Duigan how he might feel about the charge that his film was nostalgic and therefore critical only about social realities that were safely distanced from most people’s experience of life. “ To me the temporal setting of the picture is largely irrelevant. I wanted to make a film that had the first-person character looking back and trying to make sense of a very important formative relationship. I simply chose that period because it was the period I grew up in so I knew it well and was able to observe the correct kind of language and I knew the music of the time and so forth. “ But really, as far as I’m concerned most of what it’s about is translateable to now or any recent time. And I don’t think the sociological idiosyncracies that are described in the society are now absent at all. So, if people are critical of the film on that level, to my mind they have completely missed what the film is about.”

And as for the choice of a country setting, Duigan says, “ I’ve made a number of films about urban subjects and the Australian rural reality is just as valid a part of the Australian experience. But also, again, I don’t particularly think that what goes on in the story is especially a rural situation. It’s a lot easier to identify some of the patterns because it’s a society in miniature. But it has a lot in common with urban realities as well.”

Duigan would, in the end, have it both ways. On the one hand a retreat from the material, sociological, historical and economic world into a magic world of lingering childhood and mystical adolescent fantasy. And on the other, an acknowledgment that the desire for such a retreat (and the glamour associated with it) is a product of the very social realities it denies.

In this sense, The Year My Voice Broke is very much a movie about adolescence, perched rather precariously not only between youth and maturity, but between the romantic and realistic ideologies which are associated with those different stages.

Duigan was so singularly unimpressed with the nostalgia question, however, that it prompted me to ask what he thought about Australian film criticism in general. I had overheard him the night before in conversation with a couple of journalists articulating the position that, all in all, it was a pretty shallow business. “ I think that one of the things the film industry suffers from is that it’s fashionable among intellectual circles in Australia to be blindly uncritical of Australian films and generally lump them all together and write them off. I certainly think that there are very few writers who give the same kind of attention or diligence in their analysis of Australian films that they would give to films by people with esoteric-sounding names from Germany or France,” he says.

John Duigan is a very serious fellow. Hopeless romantic that I am, I have great sympathy for the vision which gave us The Year My Voice Broke. But I confess to surprise at his high-minded and rather puritanical response to what seems to me one of the most interesting recent developments in film.

I am reminded, however, of a similar debate between Emile Zola and Anatole France. Zola, the father of Naturalism, was felt by many of his contemporaries to have an ‘obscene’ mind. He chose to portray only the sordid aspects of life; he wallowed, they said, in filth. When La Terre was published in 1887 France responded with the following review: There is in all of us, in the humble as well as the great, an instinct for beauty . . .

M. Zola does not realise this. In man there is an infinite need to love which reflects godliness. M. Zola does not realise this . . . In this world there are some magnificent forms and noble thoughts, as well as pure souls and heroic hearts, but M. Zola does not realise this . . . He does not seem to know that it is the decent things in life which grace it, nor that philosophical irony can be both indulgent and gentle. As for common decency, it can inspire only one of two things in humanity: admiration or pity. M. Zola is worthy of our profound pity.

Duigan’s position on the neo-gothic is not without precedent.

May the debate rage ever on.

1. Dennis Hopper interviewed by Ron Rosenbaum, V a n ity Fair, July 1987.

2. John Duigan interviewed by Scott Murray, C in e m a P a p e rs 16, April-June 1978, pp312-315, p377.

m

M O N G R EL DREAMER?

M ARK M O RD U E T A L K S T O JIM J A R M U S C H

Jarmusch is the guy who came to the party with his shirt inside'out. H e’s gonna be great. H e’s got all these Russian film s coming out under his hat. H e’s very funny; funny like Buster Keaton. I t ’s like Lord Buckley. You have to stay on that line — I think it’s an important neroe ' ^ between comedy and deep, deep sadness. Deep and dark. I t ’s like sitting in a dark room with a glrgs-of scotch in front of you ¡¡jj: that and the guy walking down the street talking to himself — Tom W aits i-D magazine. October, 1986.

t 3 4 , J i m J a r m u s c h ’s v is io n o f a “ s a d a n d b e a u t i || fill w o r l d ” se es h im f irm ly a t th e f o re fr o n t o f a n e w d r e a m tim e f o r a m o r e m a v e ric k A m e r ic a n l c in e m a : a c i n e m a r e d is c o v e r in g ^ k e w w a y s o f s to r y te llin g , n e w f o rm s , a t titu d e s a n d re fle c tio n s , th a t p r o v id e r e lie f f r o m th e m a r k e t- b o u n d s tr a te g ie s o f th e m a in s tr e a m w h e r e th e p o p u l a r im a g in a tio n h a s be©i|§ c a p tu r e d a n d a to m is e d b y f a n ta s m s o f p o w e r a n d su c ce ss.

B r o a d p r o c la m a tio n s o f a N e w A m e r ic a n C in e m a , th o u g h , a r e p e r h a p s to o n e a t a n in g e n u e ’s ra lly in g , call, b u t th e s c a tte r e d sig n s o f life a r e in e v ita b ly e n c o u r a g in g . A w a y f r o m th e T o p G u n s , R a m b o s a n d R o c k y s , th e A m e r ic a n a n ti- h e r o a n d h is c in e m a o f d o u b t, q u e s tio n s a n d , n o w , e v e n tr iu m p h s o f a k in d , sees a p o litic a l s h a k e - u p o f v is io n b e in g g iv e n , att'th© v e r y le a s t, a c h a n c e .

T h is is th e s ig n ific a n c e o f su c c e ss s to rie s lik e B lu e f|Velvet, S h e ’s Gotta H a ve I t a n d D o w n B y L a w . J a r ­ m u s c h ’s im p o r ta n c e in th is c a n o n is t h a t while'» h e is n o t as o v e r tly p o litic a l a s S p ik e L e e , h e is e q u a lly , as o p tim is tic a n d g r o u n d e d in th e p ro c e s s o f s tru g g le ; a n d th o u g h h e la c k s D a v id L y n c h ’s d i s t u r b in g m eta-r p h y s ic a l g r a s p , h is f in e r , p u r e r , i f y o u lik e , se n se o f f a n ta s y is n o t w ith o u t its o w n s u b tly ir o n ic g e s tu re s .

I t ’s also g if te d w ith th e c h a r m o f a r e lu c ta n t f a ith :in ¡ ¡h u m a n ity t h a t e x h ila r a te s w h e r e L y n c h p r e f e r s to d is ­ o r ie n t.

J a r m u s c h is a d ir e c to r w ith a p r o m is e : a p r o m is e b o m o u t o f r e - e x a m in in g th e W orld th r o u g h a b a t te r e d h u m a n i s m t h a t d r a w s n e w s tr e n g th f ro m o ld S tories r e s h a p e d in to a t r u ly c o n t e m p o r a r y f o r m . A n d ip r e c la im in g th e p o te n c y o f s to ry te llin g ,, o f f a n ta s y , h e ta k e s o n th e s te r e o ty p e o f a r t c in e m a a n d its m o r e fu tile d e c o n s tr u c tiv e e x c e s se s, o p tin g to r e c o n s tr u c t a la n g u a g e b a c k in to life f ro m th e a p o c a ly p s e o f m e a n in g u n d e r w h ic h so m u c h E u r o p e a n a n d E u r o ­ p e a n - in f lu e n c e d f ilm m a k in g a p p e a r e d to b e c o l­ la p s in g . A p r o c e s s m ir r o r e d , c o in c id e n ta lly , in W ings OjfSDesire, th e w o r k o f o n e o f h is m a j o r in f lu e n c e s , W ip i W e n d e r s .

In; th is s e n s e i t ’s n o s u r p r is e t h a t J a r m u s c h ’s la te s t e f t# |t , D o w n B y L a w , s h o u ld o p e n in a g r a v e y a r d ,

i

Films must fin d new ways of describing real emotions and real lives without manipulating the audience in the familiar, maudlin ways, and without the recently fashionable elimination of all emotion.

— Jim Jarm usch. Some Notes O n Stranger Than Paradise. 1984.

c r u is in g th r o u g h th e lim b o o f N e w O r le a n s w h e r e a fa ile d D J c a lle d Z a c k ( T o m W a its ) a n d a n e g o tistic a l p im p w ith d e lu s io n s o f g r a n d e u r c a lle d J a c k ( J o h n t L u r ie ) p r e p a r e f o r th e b ig b r e a k s th a t w ill se rv e as A th e ir fin a l s lu m p a g a in s t f o r tu n e . S o m e 100 m in u te s § la te r th e y ’re fre e n o t o n ly f ro m p r is o n , b u t f ro m th e ^ re c a lc itra n t m a s c u lin ity a n d s tu n te d im a g in a tio n s .; th a t h a d b r o u g h t th e m so in e v ita b ly to f a il u r e ’s d o o r.

L ib e r a te d b o th p h y s ic a lly a n d s p ir itu a lly b y th e t h y p e r - a c tiv e in n o c e n c e , lo v e a n d fa ith o f a n a n g e lic ■ ( a g a in th e W e n d e r s c o in c id e n c e ) I ta l ia n to u r is t ca lle d R o b e r to ( R o b e r to B e n ig n i) , a h a p p y e n d i n g is d is ­ c o v e re d as th e y w a lk o ff in to th e fo re s t lig h t, a s tr a ig h t ; tr a c k to e te r n ity t h a t re c o g n is e s a n e s s e n tia l h u m a n | a p a r tn e s s w h ic h n e e d n o t d e n y its e lf th e c o m m u n io n * o f e x p e r ie n c e fello w m e n c a n p a s s in g ly p ro v id e .

I f th a t all s o u n d s te r r ib ly id e a lis tic a n d w e t, d o n ’t b e m is le d . J a r m u s c h ’s d e a d p a n h u m o u r a n d w o rld w e a ry u r b a n i t y a r e s h a r p e n o u g h to a v o id th e la c h r y ­ m o se p itfa lls o f le ttin g d r e a m s d e n y th e d u p lic itie s a n d a m b ig u itie s o f a h a r s h e r , liv e d - in w o rld . W h a t h e re a lly d o e s is c r e a te a f a ir y - ta le fo r a d u lts , a h ip e ig h tie s h y b r id o f The Three Stooges, On The R o a d a n d A lice I n W onderland th a t w ry ly c o m m e n ts o n m o d e m ‘a w a r e n e s s ’.

J a r m u s c h ’s s to r y b e g in s in A k r o n , O h io , a n in d u s ­ tr ia l a r e a in th e M id W e s t, h e a r tla n d o f A m e r ic a n d r e a m s a n d r e la tiv e ly h o m o g e n o u s w h ite m id d le class a s p ir a tio n s ( o n e a n d th e s a m e th in g ? ) . D e v ia tin g f ro m th e m e a n in h is a r tis tic a m b itio n s , J a r m u s c h o rig in a lly , w a n te d to b e c o m e a w r ite r .

T r a v e l lin g in E u r o p e in th e e a r ly s e v e n tie s , p a r ­ tic u la rly h is h e a v y e x p o s u r e to film th r o u g h H e n r i L a n g lo is ’ C i n e m a th e q u e i n P a r is , th e la rg e s t film a r c h iv e in th e w o rld , c h a n g e d th is . I n e v ita b ly , h is w r itin g b e g a n to ta k e o n a n in c re a s in g ly c in e m a tic fo rm . A f te r h e r e t u r n e d to N e w Y o rk in 1975 h e a p p lie d to th e N Y U G r a d u a t e F ilm S c h o o l, s u b m it­ tin g o n ly w r i tin g a n d p h o to g r a p h s , a n d w a s a c c e p te d w ith o u t h a v i n g m a d e a film o f a n y k i n d .

A t t h a t tim e L a s lo B e n e d e k ( d ir e c to r o f The W ild One) w a s d ir e c to r o f th e sc h o o l, a n d h e in t u r n in tr o d u c e d J a r m u s c h in h is t h ir d a n d fin a l y e a r to >

< JIM JA R M U SC H N ic h o la s R a y . J a r m u s c h b e c a m e R a y ’s te a c h in g a s s is ta n t, a fo rm a tiv e p e rio d o f in flu e n c e p o w e rfu lly m a r k e d b y th e fact th a t R a y w as d y in g o f c a n c e r.

R a y ’s la s t film , L ightning Over Water { N ic k ’s M ovie), w as a c o lla b o ra tio n w ith h is a r d e n t a d m ir e r W im W e n d e rs .

W e n d e r s b r o u g h t h is o w n E u r o p e a n c re w ; R a y b ro u g h t J a r ­ m u s c h . T w o d a y s a fte r R a y d ie d in J u n e , 1979, J a r m u s c h s ta rte d o n h is first film , Permanent Vacation, a 1 6 m m 8 0 -m in u te effo rt m a d e in 10 d a y s fo r a b o u t $ 1 5 ,0 0 0 .

D e s c rib e d b y o n e c y n ic a l c ritic as “ a p lo tle ss p o r tr a it o f a te e n a g e d rifte r , h a lf p o s t-p u n k v e rite , h a lf L o w e r E a st S id e to n e - p o e m ” , it w as e v e n tu a lly so ld to G e r m a n te le v isio n a n d d re w a tte n tio n to J a r m u s c h ’s a b ilitie s , e v e n if h e h a d b lo w n h is tu itio n m o n e y to c o m p le te it a n d w o u ld n e v e r g a in h is d e g re e . T h e G e r m a n sale w o u ld also h e lp h im w ith h is w o rk o n Stranger Than Paradise.

T h e G e r m a n c o n n e c tio n to o k o n a m o r e p e rs o n a l lev el w ith th e frie n d s h ip o f W im W e n d e rs a n d h is p r o d u c e r C h ris S ie v e rn ic h ( J a r m u s c h ’s o w n p r o d u c e r , O tto G ro k e n b e rg e r, is M u n ic h -b a s e d , a n d w a s m e t d u r in g a tte m p ts to k e e p th e p r o ­ je c t r u n n in g ) , w h o g a v e J a r m u s c h le ft-o v e r film sto ck fro m The State O f Things w h ic h a llo w e d h im to m a k e th e o p e n in g se q u e n c e o f Stranger Than Paradise. N e ith e r W e n d e rs o r S ie v e r­ n ic h w e re p r e p a r e d to go a n y f u r th e r th a n th is as th e y w e re lo c k e d in to s u p p o r tin g th e m a k in g o f a C h ris P e ttit film a n d g e ttin g fu n d s fo r Paris, Texas.

E n te r P a u l B a rte l (d ire c to r o f E ating R aoul, L u st In The D ust, Deathrace 2 0 0 0 ), w h o lik e d w h a t little h e saw o f th e in c o m p le te Stranger a t a film fe stiv a l a n d le n t J a r m u s c h a n o th e r $ 1 5 ,0 0 0 in te re s t free in o r d e r to k e e p th in g s ro llin g . S h o t in 19 d a y s a n d e d ite d in tw o w eek s o v e r a tw o -y e a r p e rio d fo r a to ta l cost o f $ 1 2 5 ,0 0 0 , th e fu ll-le n g th Stranger Than Paradise to o k th e C a m e r a D ’O r a t C a n n e s in 1984, th e m o s t c o v e te d p riz e in th e w o rld fo r a first fe a tu re film . J i m J a r m u s c h h a d a rriv e d .

B efo re th is h e ’d w o rk e d o n su c h p ro je c ts as E ric M itc h e ll’s Underground U SA (1 9 8 0 ) a n d H o w a rd B r o o k n e r ’s d o c u m e n ­ ta r y , Burroughs (1 9 8 2 ), as a s o u n d re c o rd is t (th e la tte r v irtu a lly a tw o -m a n p ro je c t fo r m u c h o f its d u ra tio n ). H e ’d also p a sse d th r o u g h th e h ig h ly fe rtile N e w Y o rk sc en e o f th e la te 1970s, e x p e rie n c in g a t first h a n d a n d b e c o m in g frie n d s w ith so m e o f th e m u s ic ia n s o f th e e r a lik e P a tti S m ith , T e le v is io n , B lo n d ie a n d T a lk in g H e a d s , as w ell as film m a k e rs lik e E ric M itc h e ll, B e tte G o r d o n , J a m e s N a re s , C h a rlie A h e rn , B e th B a n d S c o tt B , a n d A m o s P o e (w h o se film The Foreigner h e still re g a rd s as “ im p o r ta n t fo r th e s p irit o f th e ti m e ” ). M u c h la te r, a fte r th e success o f Stranger Than Paradise, h e w o u ld c o n n e c t a g a in w ith T a lk in g H e a d s to m a k e th e v id e o fo r ‘T h e L a d y D o n ’t M i n d ’.

R e p u ls e d , h o w e v e r, b y “ th e w h o le c o n c e p t o f ro c k v id e o s ” , h e h a s n o t b o th e r e d e x p lo r in g th a t field . T h e “ M T V d is e a s e ” o f ra p id -fire e d itin g , w ith its a d v e rtis in g c o n sc io u sn e ss a n d s h r u n k e n sen se o f tim e a n d p la c e , is c o m p le te ly a t o d d s w ith J a r m u s c h ’s sen se o f sty le a n d p o litic s, w h ic h im p lic itly re je c ts th e c u ltu re o f sp e e d a n d th e v o rtic is m o f d is tra c tio n fo r a m o re refle c tiv e c o n te n t. A sid e fro m th e m o re o b v io u s E u ro p e a n e x is te n tia l in flu e n c e s in th e p a c e o f h is film m a k in g — slow a n d m in im a l — th e r e ’s also a g e n tle n e ss a n d sen se o f h u m a n s p irit su g g e stiv e o f J a p a n e s e in flu e n c e s a t so m e s e c o n d a ry level.

M o r e sp ecific ally , th e w id e -a n g le c a m e ra w o r k o f Y a s u jiro O z u , a d m ir e d b y b o th J a r m u s c h a n d c in e m a to g r a p h e r R o b b y M u lle r, is c le a rly a p p re c ia te d in th e c o m p o s itio n o f b o th D ow n B y L a w a n d Stranger Than Paradise, w h e re v ie w e rs a re g iv e n th e o p p o r tu n ity to ch o o se w h a t th e y w a n t to e x a m in e , o fte n ta k in g in th e w h o le m ise e n sc en e w ith a g ra d u a l sen se o f its s trip p e d - d o w n ric h e s, r a t h e r th a n b e in g b o m b a r d e d b y closeu p s. I n th a t w a y J a r m u s c h ’s b la c k -a n d -w h ite v is io n a rriv e s a t a p h o to g r a p h ic stilln e ss, a d is tilla tio n o f a c tio n th r o u g h th e a p p re c ia tio n o f o n e m o m e n t u n fo ld in g in to a n o th e r .

I t ’s th is u n h u r r ie d sty le th a t ta k e s a little g e ttin g u s e d to , b u t th e w a it w ith J a r m u s c h is alw a y s w o rth it. I n Stranger Than Paradise it le d u s in to a d o w n b e a t q u e s t fo r fre e d o m a n d c o m ­ m u n ic a tio n , th e m y th o f A m e ric a n d re a m s , th a t saw W illie ( J o h n L u rie ) , E d d ie ( R ic h a r d E d s o n ) a n d E v a (E s z te r B a lin t) fail to re a lise th e ir c o m m o n b o n d till c irc u m s ta n c e s h a d s c a tte re d th e m . I n D ow n B y L ain J a r m u s c h allo w s h is c h a ra c ­ te rs to d e p a r t fro m e a c h o th e r after th e re a lis a tio n . A n d in b o th w e see a d ir e c to r g r ittin g fa n ta s y w ith r e a lity ’s k ic k , s h o w in g u s sto rie s o f p e o p le w h o d is c o v e r th e m se lv e s th r o u g h e x p e ri­ e n c in g a sense o f sto ry .

22 — JANUARY CINEMA PAPERS

What was it about Robby Muller’s style that made you want to use him for D ow n B y L a w ?

W e ll, I ’m a b ig fa n o f R o b b y ’s w o rk . I d o n ’t th in k , th o u g h , th a t h e n e c e ssa rily h a s a s ig n a tu re . I n o th e r w o rd s, h e ’s w o rk e d w ith W im W e n d e rs , h e ’s w o rk e d w ith P e te r B o g d a n o v ic h {They A ll Laughed), h e ’s w o rk e d w ith P e te r L ilie n th a l {The Country Is Calm), h e ’s w o rk e d w ith H a n s G e is s e n d o rfe r {The Glass Cell), as w ell as m a n y o th e r p e o p le . . . B a rb e t S c h ro e d e r {A Question O f Chance), P e te r H a n d k e {The Left-H anded W oman) . . . i t ’s diffi­ cu lt to e x p la in . . . h e d o e s n ’t re a lly lig h t fro m th e o u ts id e in like m o s t p e o p le . H e d o e s n ’t th in k o f tr y in g to lig h t th e c h a ra c ­ te rs a t a d ra m a tic m o m e n t o r lin e . H e lig h ts in s te a d , in a w ay , fro m w h a t h e in te rp re ts th e e m o tio n a l c o n te n t o f a scene to b e, d is c u ssin g it w ith m e — w h ic h I fo u n d r a r e a n d in te re s tin g . I le a r n t a lo t fro m h im . I n A m e ric a th e te n d e n c y h a s b e e n , esp ecially fro m H o lly w o o d p h o to g r a p h e rs — a t le a st it w as

THREE MEN IN A BOAT: Tom Waits, John Lurie and Roberto Benigni get that

fa sh io n a b le in th e la st 10 y e a rs — to p re -fla s h th in g s a n d soften a n d m u te e v e ry th in g . A k in d o f b a c k in g a w a y fro m th e s h a r p ­ n ess o f th e le n s, w h ic h I n e v e r u n d e rs to o d a t all. R o b b y ’s a e sth e tic is th e o p p o site to th a t, I th in k .

Did you discuss making D ow n B y L a w in black-and-white with him, and what is it that attracts you to using it?

N o , I d e c id e d o n th a t as I w as w ritin g th e sc rip t. A s fo r th e a ttra c tio n , I th in k th e re a re so m e p e o p le lik e W o o d y A lle n , for e x a m p le , o r S co rsese, w h o m a k e a n o c c a sio n a l film in b lack a n d -w h ite a n d th e re s t in c o lo u r. I ’d p ro b a b ly like to d o th e re v e rse . I ’m p la n n in g m y n e x t tw o film s — o n e is in c o lo u r a n d

th e o th e r in b la c k a n d -w h ite . So fo r m e i t ’s a c o n sid e ra tio n o f h o w I see th e sto ry m m y m in d w h e n I ’m w ritin g it.

I th in k b la c k -a n d -w h ite is v e ry in te re s tin g a n d more a b stra c t by b e in g m in im a l a n d h a v in g less in fo rm a tio n . It seem s like p eo p le o f m y g e n e ra tio n a n d y o u n g e r g rew u p seein g n ew sreel foo tag e in c o lo u r, so w e asso c ia te c o lo u r w ith reality . W h e re a s m o st o ld e r p e o p le asso c ia te b la c k -a n d -w h ite w ith a k in d o f re a lity . B u t for m e i t ’s n o t as realistic.

A n d th e r e ’s th a t w h o le p e rio d o f classic film n o ir in th e late forties t h a t ’s v e ry u n re a listic . T h a t ’s a style I love. N o t to im ita te , b u t to get lo st in.

Y o u ’re in B e r lin at th e m o m e n t. H a v e y o u fo u n d th e e n v ir o n m e n t th e r e h e lp f u l fo r w h a t y o u ’re w r itin g ?

W ell y e ah . B u t th e film ’s n o t to ta k e p lace h e re . I ju s t cam e to get o u t o f N e w Y o rk fo r a w h ile. B e rlin ’s a s tra n g e city b e cau se

w r itin g b a c k w a r d s , s ta r tin g o f f w ith little d e ta ils , im p r e s ­ sio n s or c h a r a c te r is a tio n s , a n d th a t th e sto r y sp r a n g o u t o f th e m , r a th e r th a n sta r tin g o f f w ith th e sto r y fir st.

Y e a h . T h e sto ry is, in a w ay , se c o n d a ry to m e . A n d th e c h a ra c ­ ters a re m o st im p o rta n t. A n d th e a tm o sp h e re . T h e n th e sto ry su g g ests itself: th e p la y in g o u t o f all th e d e tails I ’ve selected. I t ’s th e n I tell th e sto ry , as o p p o se d to tellin g th e sto ry , th e n filling in all th e d etails.

F ro m h a v in g se e n S tr a n g e r T h a n P a ra d ise a n d D o w n B y L a w , it se e m s to m e th a t p r o c e ss is r e fle c te d in w h a t h a p p e n s to th e c h a r a c te r s to o . I t ’s lik e th e y e x p e r ie n c e a w h o le lo t o f e v e n ts , sm a ll d e ta ils a n d m o re s ig n ific a n t o n e s, a n d b y th e e n d t h e y ’v e c o m e to a sto r y o f so rts.

B u t th a t seem s m o re accessible to m e . M a y b e t h a t’s ju s t o b je c ­ tiv e, b u t it seem s m o re like life. I d o n ’t see life as a v ery s tru c ­ tu re d , b ig d ra m a tic sto ry — i t ’s m o re a co llection o f ev en ts th a t y o u in te rp re t, d e p e n d in g o n c h a n c e a n d y o u r e m o tio n a l state.

Y o u d o n ’t se e m to d e a l w ith e x is te n tia lly to r m e n te d fig u r e s so m u c h as p e o p le w h o a c c e p t, p e r h a p s f a t a lis tic ­ a lly , w h a t ’s h a p p e n in g a r o u n d th e m .

Y e a h . . . b u t th a t gets c o m p lic a te d . Y o u c an find in stan ces o f e x iste n tia l th o u g h t in th ese k in d s o f c h a ra c te rs. B u t at the sam e tim e I th in k o f m y film s as c o m ed ies — th e y ’re dark com edies.

I ’m in te re ste d in th e sense o f h u m o u r a n d e m o tio n a l q u alities o f th e c h a ra c te rs r a th e r th a n th e ex iste n tia l d is ta n c in g w hich seem ed to be v e ry fa s h io n a b le in th e c in e m a o f th e late seventies.

U n fo r tu n a te ly th a t n o tio n o f e x is te n tia l d is ta n c e h as also b e c o m e a to o l o f r e a c tio n . I t ’s le d to a k in d o f u g ly fa ta lis m .

W ell, I ’m v e ry cy n ica l a n y w a y . A n d I th in k w e h av e p re tty m u c h d e stro y e d th is p la n e t, a n d I d o n ’t really u n d e rs ta n d it.

C e rta in so lu tio n s h a v e b e e n o ffered th ro u g h o u t h isto ry — a n d th in k in g — a n d th e y ’ve n o t b e e n ab le to be a p p lied . So I ’m at th e p o in t o f cy n icism w h e re I th in k th a t th e sm all th in g s w hich h a p p e n b e tw e e n p e o p le a re v e ry b e a u tifu l . . . the v ery special th in g s th a t h a p p e n o n th is p la n e t. A n d if w e e x p e rien ce th e m as h u m a n s , at lea st w e ’re still h e re to e x p e rie n c e . B ut in g en eral I d o n ’t h a v e a lo t o f re sp e c t fo r th e w ay g o v e rn m e n ts h av e tre a te d this p la n e t, m y o w n c o u n try in p a rtic u la r.

i t ’s really j u s t a n isla n d in -th e m id d le o f E a st G e rm a n y . W e ’re n o t o n th e b o rd e r o f W e st G e rm a n y , w e ’re inside E ast G e rm a n y in a w alled -in city — i t ’s a s tra n g e a tm o sp h e re . B u t N ew Y o rk is also a k in d o f is la n d , a n d it d o e s n ’t really h a v e a n y th in g to do w ith A m e ric a . I d o n ’t k n o w . . . I love N ew Y o rk , i t ’s m y h o m e , b u t I ju s t n e e d e d to get a w a y fro m th e m ass e n v ir o n ­ m e n t. I like b e in g in o th e r c u ltu re s to o b e c a u se y o u m is in te r­ p re t th in g s a n d so m e h o w it h elp s y o u r im a g in a tio n . I w ro te D ow n B y L a w w h e n I w as in R o m e .

I w a s c u r io u s a b o u t y o u r w o r k p r o c e ss fo r sc r ip ts. Y o u ’v e sa id in th e p a s t th a t , to a n e x te n t , y o u a lm o st a p p r o a c h e d

I n lig h t o f y o u r su c c e sse s a n d a d d e d p r e ssu r e or in te r e st fro m m a jo r film g r o u p s to c o m e o v e r to th e ir sid e , h o w do y o u fe e l a b o u t th a t w h o le p o litic s o f film ?

W ell I ’ve c e rta in ly c h a n g e d since Stranger Than Paradise in th a t I ’m n o t b lin d to th e p o litics o f m a k in g a film , in th a t film s cost a lot o f m o n e y . W h a t I ’m in te re ste d in is d o in g m y ow n w ork, n o t w o rk in g w ith so m e o n e else. A n d th e re fo re it seem s like the b est w ay fo r m e to c o n tin u e is to p ro d u c e m y o w n stuff, w hich is h o w I p la n it to be fo r m y n e x t film , w ith m y p a rtn e r O tto G ro k e n b e rg e r. B u t I h a v e a n o th e r film p la n n e d a fte r the n ext o n e w h ich m a y re q u ire a b ig g e r b u d g e t . . . n o t b ig by A m e ri­ c an sta n d a rd s, b u t m a y b e $3 m illio n .

W ith th a t film , I d o n ’t k n o w . I k eep m y o p tio n s o p en . B ut w h a t I will not d o is b e su b je c t to so m e p ro d u c e r w ho should be r u n n in g a n u n d e rw e a r fa c to ry te llin g m e h o w to cu t m y film o r w ho to cast in it. I ’m n o t a b o u t to c o m p ro m ise th a t stuff. I ’d ra th e r be a m o to rc y c le r e p a irm a n th a n m a k e som e k in d o f film I d o n ’t b eliev e in o r feel g o o d a b o u t.

A t th e sam e tim e I do w a n t to re a c h som e k in d o f au d ien ce, ev en th o u g h I d o n ’t th in k a b o u t th e a u d ie n c e v e ry m u c h w hen s tru c tu rin g th e film s. I do still g et a lo t o f in te re st, a n d th e re are a lot o f possib ilities fo r p ro d u c tio n , b u t I ’m n o t re a d y to c o m ­ p ro m ise to th o se p e o p le a n d th a t e n d s a lo t o f possibilities im m e d ia te ly . T h e y say th e y ’re in te re ste d b u t I d o n ’t really tru st th e m .

W h e n y o u sa y ‘t h e y ’, y o u ’re o b v io u s ly ta lk in g a b o u t H o lly w o o d ?

I ’m ta lk in g a b o u t p e o p le w h o th in k o f film s as p ackages, an d th e re fo re w a n t to c o n tro l h o w th e p a c k a g e is p u t to g eth er.

H o w a liv e , th e n , d o y o u th in k th e A m e r ic a n u n d e r g r o u n d , le f t-o f -fie ld , lo w b u d g e t c in e m a is at th e m o m en t?

W ell I d o n ’t th in k u n d e rg r o u n d film s exist a n y m o re . I f th ey do

CINEMA PAPERS JANUARY — 23

< J I M JA R M U S C H ex ist i t ’s o n th e S u p e r 8 fo rm a t, a n d th e re fo re u n d e rg r o u n d by fo rm a t a lo n e b e c a u se th e y c a n ’t b e sh o w n in th e c o n v e n tio n a l c in e m a . . . T h e te r m in d e p e n d e n t is re la tiv e b e c a u se y o u ’re n o t in d e p e n d e n t u n le ss y o u ’re in d e p e n d e n tly w e a lth y a n d p ro ­ d u c e film s w ith y o u r m o n e y — w h ic h n o -o n e in th e ir rig h t m in d d o es. So y o u ’re n o t in d e p e n d e n t fin a n c ia lly .

I d o n ’t re a lly k n o w w h a t th e sta te is. I m e a n , I see in te re stin g d ire c to rs like S u s a n S e id e lm a n m a k e a fairly la rg e b u d g e t film a n d I d o n ’t see th a t it h a s h u r t h e r style o r w h a t she w a n ts to do.

So it d e p e n d s o n h o w p e o p le w a n t to w o rk . S p ik e L ee h as ju s t m a d e a n ew film fo r C o lu m b ia P ic tu re s . I k n o w h e w as in v o g u e a n d fo rm e rly c o n sid e re d as a n u n d e r g r o u n d d ire c to r.

S a m e fo r A lex C o x .

So I d o n ’t really k n o w o f a n y u n d e r g r o u n d ‘sc e n e ’. I ju s t h o p e th e se so -called in d e p e n d e n t d ire c to rs w a n t to p ro te c t th e ir o w n id eas a n d a re ab le to m a k e film s a n y w a y th e y c a n , e v en in th e stu d io s. A s lo n g as th e ir id e a s a re p ro te c te d . W e ’re at an in te re s tin g stag e rig h t n o w in th a t re g a r d — w e c an see w h a t h a p p e n s to S p ik e L e e a n d h is n e w film . I ’m re a l h a p p y w h e n I see a film like Blue Velvet d o in g w ell in th e S ta te s c o m m e rc ia lly at a tim e w h e n Top Gun is th e m a jo r m o n e y -m a k in g film . T h e th in g is, if id eas a re p ro te c te d th e n life is b re a th e d in to th e A m e ric a n c in e m a . I t ’s essential to p ro te c t th o se id e a s in o rd e r to b re a th e w ith life. I d o n ’t k n o w if th a t w ill h a p p e n o r if those id eas w ill ju s t g et c o m p ro m ise d .

I n y o u r film s y o u le a n to w a r d s u s in g p e o p le w h o a r e n ’t s t r ic tly a c to r s — p e o p le w h o c o m e at a c tin g fr o m a sk e w e d p e r s p e c t iv e , su c h as m u s ic ia n s .

W ell I th in k th a t h elp s b e c a u se I h a v e a n o d d sense o f c o n s tru c t­ in g a film , a n d also o f d ire c tin g . S o, fo r e x a m p le , th e lo n g takes th e m se lv e s allow c e rta in a c to rs w ith o u t a v e ry stro n g m e th o d to b e s tro n g e r b e c a u se th e y ’re a b le to m a in ta in th e ir c h a ra c te r o v e r a lo n g e r p e rio d o f tim e w ith o u t th e ir b e in g c u t-u p ev ery five m in u te s fo r th e c a m e ra p o sitio n s a n d re p e a tin g th e sam e th in g s fro m d iffe re n t a n g les.

T h e r e a re a lo t o f a c to rs w h o a re ju s t a c to rs a n d a re alw ays a c tin g . T h a t ’s s o m e th in g th a t a n n o y s m e — w h e n I see an a c to r ’s m e th o d g o in g o n o u ts id e th e c h a ra c te r, th e n I ’m n o t in ­ v o lv ed w ith th e c h a ra c te r, I ’m in v o lv e d w ith th e m as a n acto r. I th in k th a t c e rta in p e o p le w h o h a v e , so m e h o w , a b ro a d e r sense o f p e rfo rm a n c e , like m u s ic ia n s, o r R o b e rto , w h o is also a c o m e d ia n , a re so m e tim e s a b le to b rin g s o m e th in g to th e style o f a c tin g o r to th e c h a ra c te r th a t a c to rs a r e n ’t. I t ’s n o th in g ag a in st a c to rs, b e c a u se I th in k so m e a c to rs a re re a lly g re a t — so m eo n e like E llen B a rk in fo r e x a m p le . B u t i t ’s ra re . T h e r e a re so m a n y b a d a c to rs, a n d th e style o f a c tin g in A m e ric a n c o m m e rc ia l film s a t th e m o m e n t is n ’t v e ry g o o d a t all.

W e ll i t ’s t e le v is io n a c tin g , i s n ’t it? L o o k in g at A m e r ic a n T V fr o m a n A u s tr a lia n p e r s p e c t iv e , s e e in g w h a t t h e y ’re su p p o s e d to r e p r e s e n t, it se e m s th a t y e a r b y y e a r th e r e a lity a n d m o r a lity b e c o m e le ss a n d le ss r e a l. I t ’s h a r d to b e lie v e th a t a u d ie n c e s c a n a c c e p t th e m at a n y le v e l.

Y e a h , a n d i t ’s g e ttin g w o rse a n d w o rse . I t ’s v e ry sad to th in k

Roberto Benigni

24 — JANUARY CINEMA PAPERS

th a t A m e ric a n T V a u d ie n c e s a re j u s t mesmerised b y so m e th in g th a t is so c o n d e sc e n d in g . A n d t h e r e ’s so m u c h o f it, especially w ith c ab le a n d v id e o as w ell. I n th e S ta te s e v e ry o n e w atch es te le v isio n c o n s ta n tly — th e y d o n ’t re a d b o o k s a n y m o re . T h a t ’s p a rtly w h y th e r e ’s n o u n d e r g r o u n d c in e m a . I t ’s also affected p e o p le p o litic a lly — th in g s a re n o t p o la ris e d a n y m o re . I t ’s all h o m o g e n o u s . A w a sh o f m e d io c rity o v e r e v e ry th in g th a t e m a n a te s fro m te le v isio n .

W e ll t e l e v is i o n is so p h y s ic a lly s m a ll a n d c o n fin e d — it s h o u ld n ’t b e th a t w a y , b u t th e a m b it io n s a n d fa n ta s ie s are s im ila r ly c o n f in e d . W h e r e a s c in e m a is su c h a la r g e a n d to ta l e x p e r ie n c e . T e le v i s io n d im in is h e s th e d r e a m s .

T h a t ’s tru e . W h e n y o u see a m o v ie i t ’s v e ry m a g ic a l, b ecau se y o u ’re w a tc h in g it in a th e a tre , a d a rk e n e d ro o m , w ith o th e r p e o p le . S o m e h o w i t ’s like P la to ’s C a v e . W ith T V e v e ry th in g ’s in te r r u p te d . Y o u r a tte n tio n s p a n is re d u c e d . I like w h a t G o d a rd said o n ce w h e n h e w as a sk e d a b o u t th e d iffe re n c e b e tw een c in e m a a n d te le v isio n . H e re p lie d , “ W h e n y o u w a tc h c in e m a , y o u lo o k up a t th e sc re e n . W h e n y o u w a tc h te le v isio n , y o u look down a t it. ’ ’ Is th a t se n s e o f s o m e th in g fo r e ig n a n d m a g ic a l w h y y o u se e m to b e a ttr a c te d to E u r o p e a n d /o r E u r o p e a n c h a ra cters as a k in d o f p iv o t fo r th e d r e a m s o f th e p e o p le a r o u n d th e m ?

W e ll, n o t specifically . I th in k th a t A m e ric a is a c o u n tr y th a t d o e s n ’t re a lly h a v e its o w n c u ltu re , a n d is m a d e u p o f the v a rio u s c u ltu ra l in flu e n c e s o f th e p e o p le w h o in h a b ite d it. I ’m like a m o n g re l. M y fa m ily is C z e c h , G e r m a n a n d Irish . So I ’m all m ix e d u p . A n d A m e ric a n c u ltu re is m a d e o f th o se stra n g e m ix tu re s . T h a t ’s s o m e th in g w h ic h is v e ry A m e ric a n .

So I ’m d ra w n to E u ro p e a n c h a ra c te rs b e c a u se , in a sense, th e y ’re th e essen ce o f A m e ric a also. A n d I ’m in flu e n c e d b y th e style o f film d ire c to rs fro m E u ro p e o r J a p a n , in a w ay , m o re th a n I a m fro m H o lly w o o d . So I ’m also in th e m id d le o f the A tla n tic flo a tin g a ro u n d so m e w h e re w h e n it co m es to th e th e m e s in m y film s.

I t ’s fu n n y . I feel like I ’ve b e e n e x p o se d to so m e A m e ric a n d ire c to rs o n ly th r o u g h b e in g in E u ro p e . I b e c a m e in te re s te d in S a m u e l F u lle r a n d N ic h o la s R a y th r o u g h G o d a r d a n d W im W e n d e r s ’ w ritin g s. So i t ’s k in d o f a s tra n g e c irc u la r p a tte rn , c o m in g b a c k to d ire c to rs in y o u r o w n c o u n tr y th r o u g h d ire c to rs in E u ro p e .

A n d I h o p e th a t so m e y o u n g e r A m e ric a n d ire c to rs, in a w ay, will m o v e it b a c k a g a in . R e fle c t th o se id e a s a g a in . C re a te a n in te re s tin g c irc u la r p a tte r n . B e c a u se G o d a r d , in a w ay , his m is­ application o f A m e ric a n style in te r m s o f Breathless a n d Alphaville is v e ry fa s c in a tin g . I t ’s like a m is in te rp r e ta tio n th a t b rin g s s o m e th in g n ew .

• Detailed information in the first section of this piece, relating to Jim Jarmusch’s background and early career, came from an extensive interview in Notes From The Pop Underground (ed. Peter Belsito), available through The Last Gasp Of San Francisco, 2180 Bryant St., San Francisco, CA 99110.

John Lurie

D ue to the ever increasing dem ands of the entertainm ent industry, we have been forced to expand into larger and more m odem premises.

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M A K E IT? Filmmaking in Ghana now ranges

from documentary to the latest Herzog extravaganza. MARCUS BREEIM reports.

Francis Kwakye’s face twisted into a wry smile as he gave the story line to the latest film the Ghana Film Industry Corporation (GFIC) had produced.

It was one of six films the Ghanaians produced in 1987, al­ though it is unlikely that many locals will see it. Unlike other films shot in Ghana, this one has been taken to Germany and given the treatment reserved for big produc­ tions. It was the latest exotic adventure from Werner Herzog and Klaus Kinski.

Behind Kwakye, in the huge studio set in the Ghanaian capital of Accra, a trunk containing the last of Herzog’s film waited to be shipped home to Munich. When it returns as a finished film , Kwakye’s face may bear more of a grimace, as did the faces of many Australian Aborigines when they saw the fruits of Herzog’s Austra­ lian sojourn, Where The Green Ants Dream.

Putting together a package of production facilities that can entice foreign filmmakers and their cur­ rency to Ghana is now something of a priority for the GFIC. Herzog’s film, Corporal Verdi, provided a major impetus to this change in the GFIC’s approach to filmmaking, which, before 1986, was restricted to documentary filmmaking alone.

But who could resist Herzog’s story line as described by Kwakye: “ Someone from Brazil comes to Africa where there is a chieftains’ dispute, so the guy from Brazil helped another chief from another tribe train women warriors and defeat the other chief.” Suitably Herzog. Suitably similar to Fitzcarraldo etc. Suitable for a struggling African film industry to enter into as a co-production.

26 — JANUARY CINEMA PAPERS

At present, all movie film pro­ cessed in Ghana is black and white: “ We plan to have a colour laboratory in Ghana,” Kwakye, the corporation’s head recordist said, adding that distribution of Ghana’s films happens mostly through its embassies. (The nearest Ghana embassy to Australia is in Tokyo.)

He spoke enthusiastically of the quality of the studio set, with its air-conditioned comfort, and facili­ ties for creating almost any kind of light, with no extraneous noise.

But like many things in Ghana (and Africa, for that matter), the studio is not used to full potential. “ Generally in Ghana we don’t shoot films in the studio. We shoot outside in the normal environ­ ment,” he said.

Creating something artificially is not an easy thing for Africans in these post-colonial days, as they struggle to find forms of social organisation and government that reflect their own history, rather than that of their past colonial masters. According to Kwakye, the feature films in Ghana are “ mainly stories that are set around the general environm ent of the country. They are (intended) to build up the people’s mind about the country and what we believe” .

He had no hesitation in recalling the history of the GFIC and describ­ ing it as “ a unit for government propaganda documentaries” .

It has fulfilled this role since it was established 30 years ago when Ghana received its independence from Britain. But filmmaking still has its problems. Not only do the Ghanaian filmmakers have to restrict their activities to black and white film, but they also have to share the GFIC’s mixing and recording facilities with Ghana’s

CINEMA IN GHANA: Francis Kwakye, chief sound recordist with the Ghana Film n

recording artists.

The day I visited the GFIC facili­ ties, one of Ghana’s high life groups was putting down the vocal tracks for its next record, using the best sound facilities the GFIC can offer: a 10-year-old four-track studio with its four auxiliary lines. “ It’s small in comparison with Europe,” Kwakye said. “ We need more effects to boost the quality of the recording.”

In an effort to make the facilities available to Ghanaians, the record­ ing facility, for example, is rented for 12,500 cedis (approx. $A80) for six hours. A record takes about three days to make in Ghana.

Despite these obstacles, Ghana has produced some fine films and some less attractive ones as well.

Doing Their Thing, a 1971 docudrama, directed by the now managing director of GFIC, Rev. Chris Hesse, explains the role of traditional and tribal music. It tells

the story of two young people who enjoy the life of the nightclubs which used to flourish in Accra before the fall in world commodity prices decimated and demoralised the economy and much of the crea­ tive activity of the people.

The lead female character, whose father is a well-heeled busi­ nessman, cannot agree with her father’s attitude to her music, which is the modern high life, with imported soul and disco.

Her father sees this music simply as post-colonial ‘stuff’ , while the girl and her boyfriend see it as their links with the modern world. Under direction from her father, the couple go on a tour of rural Ghana and discover traditional music and dance.

Mundane as it sounds, the story line is engrossing, as the film does what many recent Japanese films have done — especially those of Shohei Imamura (The Ballad Of

Film M ake-up lechnology Industry Corporation, outside the GFIC’s theatre in Accra

Narayama) — it describes the con­ flict between the new and the old and then, unlike Japanese cinema, prescribes a synthesis, where a solution to the conflict can be found.

This is the new Africa, the Africa Europeans rarely see or experience and which is scoffed at, paternalised and exploited. in contrast, Fleetwood Mac: The Visitor, a 1982 documentary, shows how co-productions can work against the Ghanaians and their quest for a leading role in an independent, a n ti-im p e ria lis t Africa.

The film shows this ‘super­ group’ working together with Ghanaian musicians in preparation for a huge concert in Accra. It is a film that is especially instructive for musicians, who see Mick Fleetwood, the group’s drummer, trying to orientate African musicians to a western rock’n’roll beat, amidst

the poly-rhythms of Ghanaian drumming and percussion.

The result is a film that again shows up westerners, even with the best intentions, as having little sense of the African reality. The film is shot in colour, indicating that the band provided the film for the GFIC. With only six picture theatres and a few mobile film/movie systems that travel the country, Ghana will find it difficult to main­ tain its film industry, as well as its own African values.

For example, at the Ghana Film Theatre, Kanda-Accra, local people were lining up for a film, the only one advertised in that day’s news­ paper. It was Ashanti, starring Michael Caine, Peter Ustinov, Kabir Bedi, Beverly Johnson, Omar Sharif and Miss Busia as the Senufo girl. The sub-title of the film was "Slave trading lives today’’ .

THE SCHOOL FOR PROFESSIONAL TRAINING IN FILM AND TELEVISION MAKE-UP Training commences with straight corrective make-up for studio lighting through the various stages of character make-ups, beard and hair work. The course also covers racial and old age make-up techniques, basic hairdressing, as well as all studio protocol.

FILM MAKE-UP TECHNOLOGY in conjunction with KEHOE AUSTRALIA J j Importers and suppliers of professional film , television and special effects make-up for the industry. details contact: Josy Knowland 43-47 Trafalgar St. Annandale, NSW, 2038 TELEPHONE: (02) 519 4407

CINEMA PAPERS JANUARY - 27

IT SEEMS likely that an important report on women in the film industry will be shelved.

The Report on Women in Australian Film, Video and Television Production, published jointly In 19871 by the Australian Film Commission (AFC) and the Australian Film, TV & Radio School (AFTRS), is a follow-up to a survey conducted in 19832. The findings of the 1983 survey, like this report, help to counteract the prevailing mythology that women have succeeded in breaking down traditional barriers in the industry.

The recommendations of the report’s authors, Marion Marsh, formerly the affirmative action officer of the AFC, and Chris Pip, a researcher, are based on statistics indicating that “ . . . women are still proportionately under-represented in the industry compared to their representation in the general workforce” , and that there is a “ . . . high level of occupational segregation” In the feature film industry. Some improvements have occurred, but overall these are marginal, and striking inequities persist, particularly in technical areas and what are termed the ‘‘key creative” roles. There are also an important set of preliminary statistics tucked away in the report under the heading of ‘‘ Demographic Details” . These reveal that women in the industry are predominantly of Anglo-Celtic origin. The authors feel that this probably reflects the industry as a whole.

Subsequent to the 1983 survey, administrators of the various training and funding bodies hoped that structural impediments to women would be overcome fairly rapidly through the implementation of specific programs which concentrated on training and skills acquisition. (The most prominent examples are the women’s film units.) Such programs were based on notions

What does the phasing out of the Women’s Film Fund mean for women in the industry? ANNETTE BLONSKI looks at the report whose findings confirm that women are still significantly under-represented and segregated; SOPHIE CUNNINGHAM and DEBBY VERHOEVEN write about some strategies for the future. of social and industrial equity and on development of long-term career paths for women. Contradictions emerging in feminist discourses about the category of ‘ ‘women’s films” , and the conceptual, theoretical or political arguments originally connected with women’s agitation for training, are evaded in this formulation. The result is increasing polarisation of these discourses.

My main purpose here, however, is to look at the report and the neglect, even silence that follows it from the very organisation that commissioned it in the first place — the AFC. The findings of the 1987 report are provocative and deserve wide discussion. The report is a witness to the entrenched and continuing marginalisation of women.

The AFC commissioned the report in 1986, in response to one of the recommendations of its own internal affirmative action program which referred to the question of women’s participation in the industry generally. Based on crew listings from feature film credits in Cinema Papers during the 1985-86 financial year and a survey of women in the Industry, the 1987 report extends the scope of its predecessor by covering women in video and television, as well as film, and by tracing career patterns. Marsh and Pip were assisted by the social researcher, Eva Cox, in the development of the methodology and sampling techniques, and a steering committee met occasionally in an advisory capacity.

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It was important for the credibility of the survey, according to Pip, that the broadest possible sample be obtained. Some difficulties were encountered finding a large enough sample in areas like sound recording and . cinematography. Despite this, and problems involved in the distribution of the questionnaire within television networks, Pip was delighted by the response rate of over 50 per cent of those sampled. She and Marsh had been led to believe that ‘ ‘women wouldn’t be Interested” . Indeed, the pages of the questionnaire were often covered with passionate outpourings in response to the ‘‘feeler questions” and these, of course, couldn’t be classified.

And what of the figures themselves? It was found, for instance, that in 1985-86, women comprised 31.3 per cent of all feature film crews, a percentage that has steadily risen since 1973. This proportion, however, was 8 per cent lower than the Australian workforce as a whole. Women dominated those areas traditionally thought to be ‘female’ , such as make-up and wardrobe, support and administration: While almost all production co­ ordinators and secretaries were women (88.8 per cent and 96.2 per cent respectively), only 23.6 per cent of all producers were women, and 18.9 per cent of all screenwriters were women. Angela Wales of the Australian Writers Guild said, when interviewed, that the figures for writers would be higher in television,

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particularly if script editors were included but, surprisingly, thought that, the figures for writers in feature films were rather higher than she expected. A pitiful 6.8 per cent of directors were women. There has been virtually no improvement in the percentage ;q f'women as directors in the past 12 years.

As for the jobs considered to be ‘male’ , women were excluded. In the same year, there were no female gaffers or location managers, and no female camera operators, although 31 per cent of clapper/loaders were women. As for editing, where in Europe and the US women have a long and illustrious history, only 17.9 per cent of women were editors in Australia, whereas 50 per cent of assistant editors and 61.5 per cent of editing assistants were women.

Marsh and Pip conclude, however, that there is some evidence to support the observation that women involved in training schemes and women’s jlm units have moved into nontraditional areas of employment. But the improvement is clearly very slow.

A number of contributing factors emerge.

One problem is the absence of child-care.

Women with children “ are more likely to experience disrupted employment than childless women and men, or men with dependent children” . In response to this, Marsh and Pip recommend that on-site child­ care should be provided by industry employers such as the ABC, large production houses and training bodies, and on long-term location shoots. They recommend also that child-care costs be exempted from the .fringe benefit tax.

Given Senator Walsh’s widely publicised attacks on child-care, one wonders what kind of support this modest proposal would receive if it ever reached Cabinet,.‘let alone how the film industry will react to the proposals as a whole.

Child-care and child-rearing are problematic for women in all spheres, and are central to contradictions experienced by women confronting gender expectations within both the domestic and industrial sphere. There are other areas of the report which deal with the less tangible, but crucial issues of self­ perception and the attitudes of others. The findings suggest that women continue to suffer systematic discrimination, devaluing of their skills by employers, and a lack of selfconfidence. The vast majority of women were pessimistic about the likelihood “ of achieving their stated aspiration” , yet 92.4 per cent of the women who responded earned their total income from the industry and regarded it as their long-term career.

In their introduction, Marsh and Pip make it clear that the report and its recommendations flow from a specific sample and focus.

Women involved in what they term “ satellite jobs” — administration, marketing and distribution — were not included, nor were women in the cultural sphere such as critics and writers, those involved in cultural organisations like researchers, or teachers of media and film. Both Pip apd Marsh agreed that these areas are important to the larger

question of whether any change will take place to the conceptual basis of filmmaking (what kind of films are made and how), a change that will not necessarily follow from an increase in the proportion of women in the “ key” positions. The report’s restricted focus is reflected in the steering committee where no screenwriter or “ cultural worker” (for want of a better title) was represented.

The force of the report is undeniable, and its recommendations are sensible. The first step in implementing the recommendations, according to Marsh and Pip, is the encouragement of wide industry discussion.

Part of this would involve the employment by the AFC of a consultant to an independent organisation to investigate the findings of the report, and establish a working party of- p industry representatives and other associations, including cultural groups. This would seem a relatively simple matter to initiate and an inevitable consequence of the report’s publication.

In October 1987, concluding an item on the report in its own newsletter, the AFC states that “ structural discrimination . . . on the basis of sex has meant that women have been

less able to bargain effectively for their own career advancement.” It concludes, quoting from the report: “ This situation should alert the industry to the need for vigilance to ensure that present levels of progress for women are not eroded, and equal employment opportunities on the basis of skill and ability become commonplace practice.” 3 And yet, when the report was completed and launched by the Minister for the Arts, Senator Richardson, Marion Marsh had already left the AFC, leaving the position of affirmative action officer vacant. No discussions had taken place on the distribution or follow-up of the report prior to, or to my knowledge, subsequent to her departure. The only firm action so far is the establishment of a national training fund for women in the industry that was announced by the AFTRS at the launch of the report. By throwing responsibility for vigilance onto “ the industry” , is the AFC suggesting that it is not a part of that industry? The AFC has not initiated discussion of the report’s recommendations. Why? The federal government passed the Public Service Reform Act four years ago as part of its policy to eliminate discrimination against >

RECOMMENDATIONS The recommendations are aimed at:' — maintaining the progrès^ women have'made, by ensuring present gains are not eroded; ¡If1broadening the number of entry points and industry experiences available to women so that they càn compete,more' effectively for a-wider range, of jobs; and more jobs at senior levels; V — establishing monitoring mechanisms so the industry/can identify problems and remedy them. jn order to facilitate implementation, and wide industry discussion, the Australian Film Commission .„ *1 shôuld'fund théfemployment of ^consultant attached to an independent organisation, for the purpose of ^further investigatio/i oftheTiridings of this, report,"and 1o establish a working party with représen tative^ from all industry Sectors. This working party should include/êpreséntatives from* FACTS, SPAA, ‘T ’ independent production^ Houses, goVernment,p'rgduction houses,- the/ABC, SBS, industry funding bodies, mdustiy unions, „and other associations' ~ -It’ 'should 'aim'to: „ i f „exâmlne|thê report ahdjfs recommendations, and repoctjto the AFC on proposed steps for ' implementation.

1. The development otaC“Job-fit” program similar to that currently operating in the UK, with union and industry participation, ahd financial support, to integrate women’s'training with their employment;,fl ■£?. Develop' more options for, women’s employment, in line with the Affirmative Action (Equal Opportunity for Women)„Act^l 986.

Those organisations not explicitly covered by this Aqt should, on the basis of industry goodwill, formulate plans for the next'five yeafs which lead to the equal employment of women, and remove '. / system-*discnmination: d%These plans can, incorporate:-;/ f. i. employment opportunities for women into those jobs in which women are under-represented, ii. employment opportunities for women in upper echelon jobs in which women are under!-^répresènted. in." promotion of those Women caught in assistant positions," and specialist training courses for those women thought by employers to be lacking the skills and „expertise to fill targeted jobs. , iv. acceptance by employers of programs tOiredress imbalances and self-checks on employment practice's to ensure' they are not discriminatory. ;3. Monitoring of AFC grant applications is an urgent requirement. The logging of the recipient by gender-type t)f grant, arid^anigunt of grant is necessary in order to ensure that the effects of discontinuation qf funding programs for women are monitored.

4. Affirmative-Action principles andpqljcies should be applied to those applications for funding from the ; ’ JARC which are prepared to assist women in non-traditional employment areas: and which also meet all, othericriteria forffuriding: -5. The provision of, pamphlets in every workplace on sexual harassment, equal employment opportunity, federal and state ^Affirmative Action legislation.

6. Workshops for supervisors and managers in the workplace on the issues of women’s perception of discriminationand treatment, aimed- afencouraging women’s employment and participation, and • ' eliminating discriminatory practices, these should be jointly funded by the AFC and the AFTRS. ^.^Consultation with industry unions and associations to develop strategies appropriate to the film, video and televisiqtMridustry ip'order to discourage-and eliminate discriminatory practices.

8. Provision qf on-sitqtchild care should be a priority of industry employers with substantial numbers of employees, such as the ABC, large production houses and training bodies. Subsidised child care fees ; should also be: provided for employees.

9. Long-term location shoots should include on-site, child care in contract agreements. Child care costs are-exempt from the fringe benefittax^and can be included in package contracts for men and women:

CINEMA PAPERS JANUARY - 29

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women and disadvantaged groups. In 1984 the AFC established an affirmative action working party. In 1985, it initiated an in-house affirmative action program and Marion Marsh was appointed affirmative action officer. In 1986, after research into staffing and hiring within the AFC, a report prepared by her was presented to the Commission4. It Is not freely available. This report deals with the status of women, migrants and the handicapped. A separate report was being prepared on Aborigines.

The AFC’s record has been quite positive and women have been appointed to senior positions. However, the internal report noted, not surprisingly, that women in the AFC tended to cluster, numerically, in support and secretarial roles, particularly in the production division of the AFC (Film Australia). A high degree of sex segregation and segmentation, it noted, also exists in the film industry as a whole. A number of programs and initiatives were recommended for internal reforms within the AFC, but the working party no longer exists to monitor these reforms. No replacement for Marion Marsh was found. The position has been converted to part-time. The personnel manager, Yvonne Ryan, is now required to undertake the duties previously administered by a full-time specialist officer.

No affirmative action officer will be appointed at Film Australia, according to Ryan, until after July 1988 when it will become a wholly-owned

government company. When asked for more detail on current plans for implementation of the “ affirmative action plan” , as it is known, Ryan only commented that all aspects of the plan would be “ re-assessed in the light of what’s happening at Film Australia” .

Was it bad timing or pure coincidence that, as the statistics for the report were being prepared, early in 1987, it was announced that the Women’s Film Fund (WFF) would be wound up by 1990. This decision has been met with a mixture of resignation and alarm.

The reasons for Its abolition after a lengthy review seem to be based on two assumptions.

The first is that women now gain proportionately equal access to funding within the AFC, particularly within the Creative Development Unit. (At the very least one could point to the structural impediments to women in the feature film Industry and I suspect that the figures for the Special Production Fund would be less than encouraging.) The second relates to support for women filmmakers, advice, training and the monitoring role associated with the fund. These duties are to be ‘devolved’ to the affirmative action officer and others within the AFC. The WFF’s manager is the sole project officer with an extensive brief and tiny funds ($190,000 per annum). The findings of the report suggest that the level of monitoring of industry and internal AFC funding activities, provided by an over-worked and under-funded full-time

manager, will be necessary for many years to come. Marsh, when asked about the fund, stated that “ The report (1987) destroyed the myth that we don’t need the Women’s Film Fund . . . or training schemes such as the women’s film units” , because the support offered here “ opened doors and gave women confidence” .

But the much-vaunted plan upon which these actions are based appears to be in suspension, shoved into the closet, along with a myriad of other reports on the state of the industry. It might emerge some time towards the end of 1988 at an independent Film Australia, brief unknown, a bicentenary gift to women, Aborigines and migrants, courtesy of government legislation, but hardly a gift from the heart, and a gift all the same. That still leaves the AFC itself.

The WFF continues for the moment. The current manager, Penny Robins, stated that she used the 1987 report and its recommendations as the basis for the WFF’s more interventionist role. The manager’s responsibilities revolve around the initiation and administration of a range of programs and projects. (For details, see right). This is in addition to the on-going advice and assistance provided by all managers of the WFF who had been appointed because of their background in film production. It is difficult to see how the role of the affirmative action officer, whose responsibility is to oversee the implementation

THE history of the Women’s Film Fund may be characterised as shifting in emphasis from the closed history of Caddie (1976) to the critical histories of Nice Coloured Girls and With Inertia (1987). This move from The Depression of the 1930s to ‘the depression’ of the marginal feminist subculture described in With Inertia can, paradoxically, be viewed with optimism. The fund’s recent encouragement of a broad range of perspectives indicates its ability to respond to the changing constituency of feminism.

The films With Inertia and Nice Coloured Girls indicate a trend towards a plurality of possible feminist representations. Nice Coloured Girls has been described by its maker, Tracey Moffat, as a film that questions not only the history of encounters between white men and Aboriginal women, but which also “ questions the now established genre of the ‘Aboriginal Film’ .”

With Inertia draws out a series of impasses within feminist approaches to representation, and the frustration of the women confronted with these problems. As one of the film ’s makers, Margie Medlin, appropriately put it, “ we thought it was about depression, but if it had gone on for much longer it would have been more about depression” .

Following the Australian Film Commission (AFC) announcement that the fund will be wound down over the next three years, and closed in 1990, supporters of the fund have every reason to be depressed.

Reasons for the winding down of the fund are complex. In part they represent a protest against inadequate funding. Co-ordinators can no longer be expected to work under the pressure that results from administering the

30 - JANUARY CINEMA PAPERS

The Women’s Film Fund — Some Current Initiatives: ; i^ A :proposed series of si&tialf-hour low-budget television dramas j's now in development and draws ‘ ■y. together teams of writers, producers and directors; ^ Instituting^w riter’s workshops and writers-in-residence programs in South Australia, Westerm-Australia and ÿ ^ :0 u e e n s lfnd, with a view to developing ideas ;ând scripts for possible'funding; 3. Subsidies will be providèd, on application, to women who wish to attend* approved technical training short , -courses -bn a limited number of plaèfs; 2|

Establishing, with short-term financial support,„a women’s video workshop at Open Channel in Victoria, -forw om en wanting experience in video production; hopefully to be repeated in N S W f , J g ï

|;Ç "P âÿing for production ¿^teachers’ notes to accompany the Film Victoria production of I Wanna Be, a »C 'te g e h in g 'la p e ab o u t women working .in the technical areas o fth e film industry.

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of legislation and other institutional responsibilities, can absorb the role of the Women’s Film Fund Manager when “ devolution” occurs in 1990. One does not make the other redundant.

The decision to abolish the WFF, seen in the context of the uncertainty surrounding the affirmative action plan within the AFC, suggests a lack of commitment on the part of the AFC, political naivety on the larger question of structural change and a rather futile attempt at cost-cutting. (And who knows, maybe the joke circulating around the industry, that the “ AFC” stands for “ Australian Feminist Commission” , really hurt.)

Equal opportunity and affirmative action programs are bound to be controversial in an industry where the agenda is dominated by

fund with limited support. Other reasons have included the belief that conventional avenues of funding are now more open to women, and that it is appropriate that affirmative action measures be taken by larger institutions such as the AFC. Implicit in this concern is that the existence of the Women’s Film Fund has allowed the film industry to continue to marginalise the women who work within it.

We wish to particularly examine this last criticism of the fund. Does the existence of the Women’s Film Fund effectively marginalise the claims of women on funding institutions?

One response to this criticism is that if larger institutions did not themselves marginalise the Women’s Film Fund the problem would never arise. Since the government and large film bodies do not take affirmative action seriously enough to provide more than $190,000 a year to the fund, can we really expect them to support other affirmative action policies? As Annette Blonski suggests in her article in this issue of Cinema Papers there is already cause to question the AFC’s commitment to affirmative action.

Another response would be to question the terms o f the criticism itself, its understanding of ‘the margin’ . Where is it, and who defines its boundaries? The ‘ marginal’ feminist subculture which is the focus of With Inertia would perceive the Women’s Film Fund as a privileged bureaucracy. In contrast, the makers of films such as Crocodile Dundee would certainly see the fund as on the fringe.

To accept claims of marginalisation is to accept the authority of those who decide where those boundaries lie. We would argue

commercial considerations and concerns about the autonomy of the local industry (eg co­ production agreements, foreign artists etc). In a climate of uncertainty regarding the fundamentals of film financing, notions of equity and social justice, or the fundamental structural bias of the industry, come a poor last.

The current report demonstrates that rapid structural change through short-term programs is the fantasy of well-meaning liberals. Many women working in the industry knew it all along. Despite hopes to the contrary, no comfort can be gained from the statistics.

There are other voices and they are asking other questions, “ terrible” questions. As Liz Jacka observed recently5, what are the options for women filmmakers at the present time?

the boundaries need to be reconsidered, and groups presently defined as marginal should become active in this process.

The Women’s Film Fund has been instrumental in developing a strong network amongst women in the film and video sector.

These networks need to be developed and broadened — the boundaries need to be extended.

A specific example of the way established networks can be strengthened is demonstrated by the activities of a collective formed to organise the Women’s Film Fund ‘Introspective’ held at this year’s Spoleto Fringe Film and Video Festival in Melbourne.

The day of commentary and screenings was one of the best attended events of the festival, indicating a high level of interest in the fund.

During the seminar and later discussion a large number of women expressed their interest in the fund’s future, formalising their concern with the following motion: “ We strongly advocate the continuation of the Women’s Film Fund on the basis of the present large inequalities of women’s participation in all aspects of film, video and television production.” This collective hopes to continue to provide a focus for women who wish to initiate action in response to the winding down of the fund. Further meetings have been organised to discuss what forms such action should take.

A group such as the Women’s Film Fund Collective plays an important role in Strengthening existing networks. However it is important that while such consolidation occurs, broader issues relating to women’s involvement with thé film and video industry hot be forgotten. One possible direction for

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Without skills and experience, and schemes like the women’s film units, women remain marginal to the mainstream industry; but they are equally ‘ghettoised’within ‘women’s cinema’ . If women do enter the mainstream in greater numbers, particularly as directors, Jacka asks, “ How can women’s filmmaking emerge into the mainstream without weakly imitating it, as women feature directors have so far been forced to do, for the most part?”

As for the report, few people have read it or even seen it. You can buy it from the AFC, but it deserves far more than a casual read. The document alone is evidence of a particular kind and so it cannot stand alone. I can only end this piece at the beginning, like so many others, with an exhortation to extended, serious discussion about women’s filmmaking.

1. Marion Marsh & Chris Pip, Report on "Women in Australian Film, Video and Television Production, 1987", published by the Australian Film Commission, in conjunction with the Australian Film, Television and Radio School, 1987. All quotations in the text are from this report, unless otherwise stated. The report is public and can be purchased for $5.00.

2. Penny Ryan, Margaret Eliot, Gil Appleton, "Women in Australian Film Production” Survey, Women’s Film Fund/AFTS, 1983.

3. “Report on Women in Australian Production” , AFC News, October 1987, no 54, p2.

4. Australian Film Commission Report, “Affirmative Action Program/Management Plan for Equal Opportunity” , 1986. Internal report not circulated to the public.

5. Cinema Papers 65, September 1987, p55.

such expansion has been taken up by film Fatale.

Film Fatale formed last year with the general aim of broadening the constituency of feminist cinema. One of Film Fatale’s specific aims is to redress the disparity between the number of films made by women and the decreasing opportunities to actually view these films. As well, they hope to encourage audiences actively to contribute to the programming process.

One of the ways Film Fatale seeks to achieve these aims is by providing a space where women’s films can be exhibited and discussed. Following a successful season in April of this year a series of thematic screenings have been planned at the Glasshouse cinema next February. It is hoped these will provoke a variety of discussions concerning the relationship between cinematic and social experiences, the representation of women on the screen, and their position in the film and video industry.

As well, a series of more informal screenings are planned at a Melbourne video cafe on a fortnightly basis. Women will be encouraged to bring along their own work, and share ideas in a casual but constructive context.

These groups represent two possible responses to continuing hostility towards a developing women’s cinema. In this unsympathetic context the possible demise of the Women’s Film Fund must be seen as cause for ongoing activity, rather than viewed ‘with inertia’ .

• The W om en’s Film Fund Collective and Film Fatale can be contacted at P.O . Box 103, Balaclava, Victoria 3183.

m m éésé é M CINEMA PAPERS JANUARY — 31

In the first part of this article, published in the previous issue, there was a short analysis of how various authors have viewed James Bond’s rise to the status of popular phenomenon. In particular, there was an examination of the contention by writers Tony Bennett and Janet Woollacott1that this was due to Bond’s “ability to co-ordinate. . . a series of ideological and cultural concerns that have been enduringly important in Britain since the 1950s” (p i8). The two issues already looked at are “relations between West and East” and “nation and nationhood”. S C O TT MURRAY examines the third concern, the “relationship between the sexes particularly with regard to the construction of images of masculinity and femininity”.

32 — JANUARY CINEMA PAPERS

here are many myths surrounding the ‘Bond girl’. These range from her physical characteristics2 to her role in the narrative, from the state of her sexuality to her relationship with Bond. It is hard to know why so many myths persist; more particularly, why writers such as Umberto Eco and Bennett and Woollacott should reinforce so many of them.

In The Bond Affair 3, Eco posits a model which he argues fits all the Bond women except Vivienne Michel and Mary Goodnight4. Eco writes:

T

Dominated by the Villain, . . . Fleming’s woman has already been previously conditioned to domination, life for her having assumed the role of the villain. The general scheme is (1) the girl is beautiful and good; (2) has been made frigid and unhappy by severe trials suffered in adolescence; (3) this has conditioned her to the service of the Villain; (4) through meeting Bond she appreciates human nature in all its richness; (5) Bond possesses her but in the end loses her. (p49)

As this model is essentially supported by Bennett and Woollacott, the main points are worth examining here individually.

Bond’s sexual partners are young, hence “girl”.

1

Bennett and Woollacott write, “ It is . . . always a girl [Bond] encounters, never a woman.” (pi 15) Furio Colombo goes even further and uses the term “ girl-child” 5.

Yet, the average age of Bond’s female companions in Fleming is 25.6 She is, then, a woman, not a girl. That Fleming used the latter term almost exclusively, one presumes, was because he felt “ girl” a more erotic description. It is not an option for academics. *

*

*

As to the films, producer Albert R. Broccoli says that Bond’s love/sex interest must be a woman, not a girl, “ Otherwise it becomes rape. Bond’s ladies must give the impression of being experienced with men.” 7 Character ages are rarely given in films, but the average age of those actresses selected for Bond films is about 25.

BOND WOMEN? Sean Connery’s coterie

< The ‘girl’ is “beautiful and good”.

Response to physical beauty is, of course, subjective. However, it is clear that Fleming wished that most of his female characters be viewed as physically attractive. And in his attempts to so render them, Fleming perhaps inadvertently created a physical type to which most of Bond’s romantic interests conform.

That type can be paraphrased as: Dark (not blonde) hair; blue eyes; high cheek bones; small nose; wide, sensuous m outh; clean, sweeping jawline; lightly suntanned skin; little to no m ake-up and jewellery; about 5 ’1" in height; and with “ fine, firm , faultless, splendid, etc., breasts” 8.

As to the adjective “ good” , it is used by Eco to describe an inner goodness that may not at first be apparent, given that some of the Bond women are working for a villain. However, “ good” is an arguably accurate description of all 15 Bond women. *

*

Vesper Lynd and Tatiana Romanova are spies; Domino Vitali is Largo’s mistress; and Pussy Galore, Solitaire, Tiffany Case and Jill Masterton are, to a lessening degree, working for villains. But Domino is quite innocent and ignorant of Largo’s treachery, and Jill’s only crime is to help Goldfinger do a little cheating at cards.

Thus, only Vesper, Tatiana, Solitaire, Pussy and Tiffany can be meaningfully said to be on the ‘wrong’ side; that is, in only five of the 15 cases. *

*

*

The film count is more balanced: in the Connery- and Moore-Bond films, 20 of the women Bond sleeps with are associated with villains; 18 are not (see chart). And two of the 20 are the twin manifestations of Domino (Claudine Auger in Thunderball and Kim Basinger in Never Say Never Again). In each case Domino is unaware of Largo’s usurpation of the moral order.

★

Female beauty on screen is again a subjective issue, but it is different with film in that one watches an actress playing a character and one responds primarily to the actress, rather than the scripted character. With a novel, one imagines a character’s physique, based on the author’s descriptions, and responds to that imagining.

Surprisingly, given the currency of the blonde myth (see note 2), the most common hair shade of the Bond screen women is dark, not fair. Given also the number of actresses, it is perhaps unwise to generalise further.

More important, the films differ from the novels in that several of Bond’s bed companions are in no way “ good” morally.

One thinks of Miss Taro (Zena Marshall), Fiona Volpe (Luciana Paluzzi) and Fatima Blush (Barbara Carrera). When Fleming created a truly evil woman, such as Rosa Klebb, he never put Bond to bed with her. The films take a different position.

The Bond ‘girl’ is a spy or in the service off the villain.

Eco argues this is true of 13 Bond women. But he is clearly wrong: Gala Brand, Honeychile Rider, Tilly Masterton, Ruby Windsor, Tracy di Vicenzo and Kissy Suzuki are at no stage in the service of any villain. In fact, there are at best only seven possible candidates for Eco’s model.

Bond ideologically repositions the ‘girl’, usually via his seduction of her.

This is Eco’s position, though he does not appear to differentiate, as perhaps he ought, between Bond’s mere presence on the scene and his having slept with the woman. Eco writes of how Bond frees the woman from the villain’s domination and, thus, from her unhappy past (p57). In the process, she goes through an ideological transformation: that is, she now sides with Bond instead of the villain.

As for Bennett and Woollacott, I can find no passage which clearly states their position, but it is amply clear that they support Eco on this. For instance, they write of Gala: “ since she is already ‘correctly’ in place both sexually and ideologically, Bond’s services are not required” (pi 16).

Now, as seen above, there are five Bond women on the ‘wrong’ side ideologically.

Vesper, a double agent, sleeps with Bond only near the end of Casino Royale, and after the mission is completed. But she does not have a complete ideological transformation and commits suicide. So, in Eco’s terms, it is a failure for Bond here.

Solitaire, a card reader for the sinister Mr. Big, has already decided to leave before meeting Bond; she has just been waiting for someone to help her escape. And when she decides that should be Bond, she blackmails

B O N D W O M E N IN B O O K S • Casino Royale - V e sp e r L y n d • Live A nd Let D ie - S im o n e (S o lita ire ) L a tre lle • M oonraker - G a la te a (G a la ) B ra n d • D iam onds Are Forever - T iff a n y C ase • From Russia, W ith Love - T a tia n a (T a n ia ) R o m a n o v a • Dr N o - H o n e y c h ile (H o n e y ) R id e r • G oldfinger - Jill M a s te rto n , T illy M a s te rs o n , P u ss y G a lo re • Thunderball - D o m in e tta (D o m in o ) V itale • The Spy W ho Loved M e - V iv ien n e M ich el • On Her M ajesty’s Secret Service - L a C o n te ss a T e re sa (T ra c y ) D i V icen zo , R u b y W in d s o r • You Only Live Twice - K issy S u z u k i • The Man With The Golden Gun - M a ry G o o d n ig h t

34 - JANUARY CINEMA PAPERS

him into aiding her. Thus, her ideological conversion is quite independent of Bond.

Tiffany ideologically abandons her employer after meeting Bond, but well before sleeping with him. However, Fleming makes it clear that she is partially attracted to Bond by the fact he is not a criminal like those she works for and with. It is telling that, when she later suspects Bond of being a crook, she immediately loses interest in him.

Tatiana sleeps with Bond on their first meeting; she has been ordered to do so by SMERSH, just as Bond has been so instructed

by M. Her ideological conversion is post-sex, but Fleming tosses in intriguing hints that Tatiana may have planned a defection to the West before meeting Bond (a result of Klebb’s lesbian attack, perhaps?). However, most of the evidence suggests that her conversion must be put down to Bond’s presence and the sexual magnetism she feels he exudes.

Pussy is Fleming’s notorious lesbian gangster and one of Bond’s most challenging conquests.

But Pussy abandons Goldfinger at the very last moment: that is, after the raid on Fort Knox.

Clearly the decision to desert reflects her sudden realisation that Bond represents a better route to safety than does Goldfinger. One can’t really count this as an ideological transformation. Whatever, the decision was made entirely by Pussy, her contact with Bond to this point having been only minimal and non-sexual. It is thus quite incorrect for Bennett and Woollacott to write: in repositioning Pussy Galore sexually, Bond also repositions her ideologically, detaching her from the service o f the villain and recruiting her in support of his own m ission, (pi 17)

In summary, probably only one woman changes ideological sides after sleeping with Bond; two do so independently of him; one doesn’t at all; and one does after having spent time with Bond, but not having slept with him.

This is scant support indeed for Eco’s theory. *

*

*

Fiona Volpe says to Bond in Thunderball, Jam es Bond, who only has to m ake love to a woman and she starts to hear heavenly choirs singing. She repents and imm ediately returns to the side o f right and virtue.

This may be the perception of Fiona and several critics, but again the evidence doesn’t support it. Of the 18 true associates of villains, eight don’t change sides after having had sex with Bond and three cases are ambiguous.

As well, two others experience ideological conversion before getting the hero into bed.

Of the five women discussed above, the first to be transformed to the screen was Tatiana (Daniela Bianchi). Her ideological conversion is left until the last moment, no doubt for reasons of suspense. When the evil Rosa Klebb (Lotte Lenya) enters the hotel suite, Tania looks as if she has no intention of giving Klebb away to Bond. It is only after she has left the room that she takes the step of siding with Bond (ie, the West). Her attraction to Bond must be regarded as a primary factor in her decision.

Pussy (Honor Blackman) converts after sleeping with Bond on the stable hay. Unlike in the novel, here she is sexually and ideologically repositioned by Bond.

Tiffany (Jill St John) begins on the ‘wrong’ side and ends on the ‘right’, shifted by Bond.

But she is such a twitty character that no-one knows in what direction she will flit off on next.

Solitaire (Jane Seymour) does not appear to have planned to escape from Mr Big/Dr Kananga (Yaphet Kotto) before meeting Bond, though she is clearly scared of her boss. And she changes sides long before sleeping with Bond: in fact, she lies to Mr Big about a tarot reading on Bond’s first visit. It is true she is unsettled by having drawn the Lovers card, but Bond can hardly be held responsible for that.

As to others on the ‘wrong’ side, interesting non-Fleming examples are Fatima Blush, May Day, Anya Amasova and Pola Ivanova.

Fatima ‘seduces’ Bond on a boat, Bond agreeing because he suspects her motives.

Later, Bond kills her with the Q-designed pen, having failed totally to reposition her ideologically.

May Day (Grace Jones) does change sides, and (much) after a session in bed with Bond.

But there is no indication that it was the motivating factor; rather, it is because she has been abandoned by her boss.

Anya Amasova (Barbara Bach) is a Russian agent ordered in a temporary spirit of detente to work with Bond. She is hardly on the ‘wrong’ side, though, because the tone of The Spy Who Loved Me, as with several others, suggests that deep down Russia and Britain are really allies (especially where SPECTRE is concerned). However, Anya has a second purpose in that she wishes to avenge her lover’s death at Bond’s hands. But she weakens in her resolve after having slept with Bond — an ideological success of sorts.

Pola Ivanova (Fiona Fullerton) is another Russian spy who sleeps with Bond in a time of detente, but with double-cross in mind. She fails to cheat him out of a recording, just as he fails to reposition her.

Bond repositions girls of “dislocated” or “deviant” sexuality.

This is a myth maintained by Bennett and Woollacott and, in different terms, by Eco. First, from Bond And Beyond: What, then[,] is the function of ‘the girl’ within the narrative? . . . First, she constitutes a problem of knowledge, a troubling enigma which Bond must resolve. This enigma takes the form of a disturbing ‘out-of-placeness’ in the respect that, to varying degrees and in different ways, ‘the girl’ departs from the requirements of femininity as specified by patriarchal ideology, (pi 15)

Further on the authors write: Once the mystery of ‘the girl’s’ displaced sexuality has been accounted for, the problem she poses is one of action: will Bond successfully respond to the challenge of effecting her sexual readjustment and, thereby, ‘correctly’ realigning her within the patriarchal order? Usually, of course, he does. In thus responding to the challenge posed by ‘the girl’, putting her back into place beneath him (both literally and metaphorically), Bond functions as an agent of the patriarchal order . . . (pi 16)

Of the 15 Bond women, the label of sexual “out-of-placeness” applies meaningfully to only five women.

Pussy Galore was raped at 12 and is a lesbian. She finally sleeps with Bond, as seen above, after having changed to the side of ‘right’ and after Bond’s mission has been >

B O N D W O M E N IN F I L M 1 C O N N E R Y ’ S BOND

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F it «

W O M E N A S S O C IA T E D W IT H V IL L A IN

O TH E R W O M E N

DR. NO

M iss T a r o (Z en a M arsh all)

(E unice G ayson)

(1962)

S y lv ia T r e n ch H o n e y R id e r

(U rsu la A n d ress)

FROM RUSSIA, WITH LOVE

T a tia n a R o m a n o v a

(D an iela B ianchi)

(1963)

S y lv ia T r e n ch V id a (A lice G ur) Zora

(M a rtin e Besw ick)

GOLDFINGER

J i l l M a s te r to n

(1964)

(Shirley E a to n ) P u ssy G a lo r e (H o n o r B lackm an)

THUNDERBALL

D o m in iq u e (D o m in o ) D e r v a l

P a tr ic ia

(1965)

(C lau d in e A uger)

(M olly P eters)

F io n a V o lp e

(L u cian a P aluzzi)

YOU ONLY LIVE TWICE

H e lg a B r a n d t

Aki

(K aren D or)

(A k ik o W a k a b ay a sh i) Kissy (M ie H a m a)

(1967)

DIAMONDS ARE FOREVER

T i ff a n y C a s e

(Jill St Jo h n )

(1971)

NEVER SAY NEVER AGAIN (1983)

F a tim a B lu s h

B a h a m a s girl

(B a rb a ra C a rrera )

(V alerie L eon)

D o m in o

P a tr ic ia

(K im B asinger)

(P ru n e lla Gee)

1 -, j j j V - .

LIVE AND LET DIE (1973)

R o s ie

Ita lia n a gen t

(G lo ria H en d ry )

(M ad elain e S m ith)

.1

S o lita ire

(Ja n e S eym our)

THE MAN WITH THE GOLDEN GUN

A n d rea A nd ers

M a r y G o o d n ig h t

(M a u d A d am s)

(B ritt E k la n d )

THE SPY WHO LOVED ME

B lo n d e o n rug

A r a b girl

(1977)

A n y a A m asova

(1974)

(Sue V anner) (B a rb a ra B ach)

MOONRAKER

C o r in n e D u f o u r

M a n u e la

(1979)

(C o rin n e Clery)

(E m ily B o u lto n ) H o lly G o o d h e a d

(L ois C hiles)

FOR YOUR EYES ONLY

M e lin a H a v e lo c k

(C aro le B o u q u e t)

(1981)

C o n te s s a L is l

(C a ssa n d ra H a rris)

OCTOPUSSY

O c to p u s s y

(1983)

(M a u d A d am s) M agda

(K ristin a W ay b o rn )

A VIEW TO A KILL (1985)

M ay Day

B o a t p ilo t

(G race Jo n es) P o la Iv a n o v a

S ta c e y S u tto n

(F io n a F u llerto n )

(T an y a R o b e rts)

N ote: T h is c h a rt is o n ly o f w om en w ith w h o m B o n d has p re su m ab ly h a d sexual re la tio n s, “ p re su m a b ly ” b ecau se it is n o t alw ays easy to tell. F o r in stan c e, all B o n d is seen to do ‘sexually’ w ith M e lin a H a v elo c k (C a ro le B o u q u e t) is ta k e a n u d e sw im . B u t th e in feren ce o f sexual closeness is clear. B u t w h a t o f L ing (T sai C hin) a t th e beg in n in g o f Y o u O n ly L iv e T w ice? She is seen n a k e d in b ed w ith B o n d , b u t he la te r reveals to A k i (A kiko W ak a b ay a sh i) th a t th ey w ere in te rru p te d by th e security police. It is also revealed th a t L ing is a n a g en t w o rk in g w ith th e B ritish to help fak e B o n d ’s d e a th . T h u s, she is seen in bed by th e police p u re ly fo r fo rm ’s sak e, a n d it is th u s u nlikely, given all th e evidence, th a t a n y th in g sexual h a p p e n e d . L ing has th u s n o t been included.

CINEMA PAPERS JANUARY - 35

<

completed, her boss sucked out into space. She enters Bond’s cabin on the ship which has rescued them: She was wearing nothing but a grey fisherm an’s jersey th at was decent by half an inch . . . She said, ‘People keep on asking if I’d like an alcohol rub and I keep on saying that if anyone’s going to rub me it’s you, and if I ’m going to be rubbed with anything it’s you I ’d like to be rubbed w ith .’ She ended lamely, ‘So here I a m .’ (Goldfinger, p 3 16-7)

Clearly it is Pussy who is making the moves, free from any pressure from Bond. It is she who has independently opted to try heterosexual sex. How then can Bennett and Woollacott claim that Bond has repositioned her sexually? How can they write of “ the challenge of ‘complete conversion’ which he faces in relation to Pussy” (pi 18), or refer to it as a “ task” ? The text does not read that way.

Tiffany Case was also raped, by a gang of hoods when she was 16. She is lonely and scared. And, as mentioned above, she finds Bond attractive as much for his moral rightness as for his sexuality. Tiffany and Bond are much delayed in making love and, despite her being tortured by gangsters straight after, it is a happy sexual relationship that develops. They even discuss marriage, after having lived together for some time, but she finally decides to marry an American Marine Corps Major (British values don’t triumph here). It is odd, then, that Bennett and Woollacott should write,

meet again, but, when they do, both realise they have found an ideal mate. But Tracy is killed after the ceremony and it is Bond who becomes “ dislocated” as he staggers through the first section of You Only Live Twice.

These, then, represent the principal “ dislocated” women. Other possibilities, though ultimately rejected, are Solitaire and Vivienne.

Solitaire is said to be a virgin by Mr. Big (p72), but Bond doubts she has been resistant to men (pi03). And she has no qualms about sleeping with Bond, or even sexually teasing him. But she is delayed in consummating her interest by Bond’s broken finger and then by his being bitten by a barracuda.

Vivienne Michel was orphaned at eight and has had two unhappy love affairs (by 23), one ending in an abortion. Fleming, continuing his bird imagery, has her write, “ . . . I had been a

the m ould in which the Bond girl is cast is not archetypally fem inine. C onstructed to the form ula ‘equal but yet subordinate’, her destiny is not to be a housewife — in Diamonds Are Forever [actually, From Russia, With Love], Tiffany Case flirts with this possibility, but only to reject it . . . (p 123)

One should note here, too, that Bond married Tracy and was accepted by Vesper, but she died before the wedding. Gala marries another.

There is no evidence that the other Bond women remain unmarried, or should wish to.

Honeychile Rider was raped at 12 and is a ‘virgin’ at 20. Fleming may portray her as an innocent, or “ unformed” , but she has no sexual hang-ups. And when she finally meets a suitable partner, she has no hesitation about sleeping with him, although, as in many Fleming novels, consummation is delayed by outside forces.

Tilly Masterton is often viewed as a lesbian (eg, by Bennett and Woollacott), but this is a mis-reading of the text. Fleming has Bond think that, Tilly M asterton was one of those girls whose horm ones had got mixed up . . . Pansies o f both sexes were everywhere, not yet completely hom osexual, but confused, not knowing w hat they were. (Goldfinger, p269)

(The omniscient narrating voice expresses no clear opinion on this.9) But whatever Tilly’s sexual labelling, she is one of the select few not to have slept with Bond. So there is no sexual repositioning here.

Tracy di Vicenzo is promiscuous and possibly in need of psychiatric help; Fleming describes her as “ A girl with a wing, perhaps two, down” {On Her Majesty’s Secret Service, p40). She is Fleming’s most neurotic heroine, partly because of a short, unhappy marriage and the early death of the resultant child. Her first sexual experience with Bond is a loveless one, Tracy ‘repaying’ his expensive chivalry at the gaming table. It is a long time before they

36 - JANUARY CINEMA PAPERS

BOND WOMEN? George Lazenby and h is coterie

bird with a wing down. Now I had been shot in the other.” {The Spy Who Loved Me, p79) Despite these setbacks, Vivienne exhibits no sexual or psychological hang-ups; again, she is just someone waiting for a suitable lover.

Bennett and Woollacott also argue for including Gala Brand. They see her as having a “ resisting frigidity” (pi 15), but revise this opinion on the next page to a “ reserve” . She is certainly not dislocated; anyway, she turns Bond down.

Two other Bennett and Woollacott inclusions are Vesper and Domino, for a “ challenging aggressiveness” (pi 15). I can find no evidence in the texts to support this reading. Rather, Fleming portrays them, as he does almost all his women, as being independently minded.

There is no aggressiveness in their behaviour with men, and Bennett and Woollacott’s ‘negative’ description of Domino10 as being

“ over-masculine” because she drives like a man is not only inaccurate but misses the point that Bond likes women to be good drivers.

In conclusion, it has been seen that Bond encounters five genuinely “ dislocated” women (out of 15!); he sleeps with four and can be convincingly argued to have repositioned only two (Tiffany and Tracy). It is true that, three pages after making their first claims about the function of ‘the girl’ in the narrative, Bennett and Woollacott revise it (“ the task . . . more usually . . . is one of ‘fine tuning’ ” pi 18). But all of the women discussed above, save Tracy, are included under their first definition of narrative function. In short, their theory isn’t supportable.

Equally, while there is an argument to be put for Bond’s being sexually adept, it is quite uncharitable to assume, as Bennett and Woollacott do, that Bond puts the ‘girl’ “ back into place beneath him (both literally and metaphorically)” . There is little evidence of Bond’s sexual technique in the books, and it is disingenuous to claim that he insists on missionary-position sex.

Eco takes a slightly different position to Bennett and Woollacott, arguing that, as quoted earlier: the girl . . . (2) has been m ade frigid and unhappy by severe trials suffered in adolescence; . . . (4) through m eeting Bond she appreciates hum an nature in all its richness . . . (p49)

The problem with this model begins with point (2), simply because there isn’t a “ frigid” woman in all of Fleming. This reduces the model sample to zero.

Eco also writes that, in the m om ent in which the W om an solves the opposition to the Villain by entering into a purificating-purified, saving-saved relationship, she returns to the dom ination o f the negative. (p50)

This isn’t true either, in that, of the 13 women Bond has been sexually involved with, not one returns to the service of the villain, though four die. That is, nine of the 13 women are, at novel’s end, totally free of “ the domination of the negative” .

Given the obvious insupportability of these and many other Eco claims, one has to question his penchant for reducing complex narratives to simplistic schematas. As they are accurate in only an extremely small percentage of cases, they are next to useless as analysis. In short, his writings on Bond do nothing to enhance his reputation as a scholar. *

*

*

The films don’t provide much joy for those looking to test Bennett and Woollacott’s and Eco’s theories, which, of course, were largely written about the books. The films’ scriptwriters have made little attempt to give the Bond women any complexity, and their psychological make-up is rarely hinted at.

Bennett and Woollacott write that in Goldfinger, * neither Tilly nor Pussy are represented as lesbians . . . U nm arked by sexual deviance, [Pussy] is treated with respect by G oldfinger and handles Bond with little trouble. As a consequence, her ideological conversion is a relatively understated affair. (pl57)

But Pussy is quite clearly represented as a lesbian in the film, albeit with a little more understatement than in the novel.11 Unlike in the novel, Bond literally presses Pussy into

trying heterosexual sex, and she emerges from the stables a ‘new woman’.

Tilly (Tania Mallet) is not represented as sexually confused, or lesbian, so there is no chance of Bond’s effecting a sexual repositioning here. Anyway, he fails in his attempts to seduce her.

In Dr. No, Honey (Ursula Andress) does tell Bond of how she had been raped, but there is no evidence of her being a ‘virgin’, or of her being inhibited about sex; the impression is quite the contrary. The casting of Andress is significant in this respect.

Of the Connery-Bond women, Fatima Blush is the only other example of “ dislocation” .

(Tiffany and the two Dominos certainly don’t beg inclusion.) Fatima appears to have put her sexuality totally in the service of evil ends, a case, as it were, not of domination but of self­ realignment. And she certainly doesn’t seem too keen on Bond’s genitals, pointing her gun directly at them. Though Bond does sleep with her, he fails, in Bennett and Woollacott’s terms, to reposition her within the patriarchal order.

Tracy (Diana Rigg) in On Her Majesty's Secret Service is independent, intelligent, scarred by a bad marriage and possibly a touch neurotic. She is, then, a close approximation of her novelistic counterpart. And she does seem happily repositioned by her relationship with Bond (George Lazenby), though one often senses in Rigg’s performance a grim forbearance of her partner’s screen efforts.

Where the film differs significantly from the novel is by having Tracy and Bond begin their affair prior to his visit to Piz Gloria. His sleeping there with Ruby (Angela Scoular) and Nancy (Catherina Von Schell) makes one rather uneasy about his purported love for Tracy.

As to the Moore-Bond women, Solitaire and Octopussy are the possible “ dislocates” .

There is much discussion about Solitaire’s virginity and how she will lose her occult powers once she sleeps with a man. This has led several writers, including Robert Sellers12 and Sally Hibbin13, to claim that she loses her powers when she sleeps with Bond. But such a reading is incorrect: Solitaire fails to notice that Bond has used a rigged pack of tarot cards, and this is before she has slept with him.

Octopussy (Maud Adams) is an interesting case, for though she lives surrounded by women there is no evidence that she is not attracted to men. And after a night with Bond, she behaves not at all like one repositioned.

There is, in fact, an archetypical Bond girl.

I don’t believe so. The 15 Bond women in Fleming may share certain physical characteristics, and a few have had similar traumatic experiences in their youths but they remain unique and individual.

If one must generalise, then one can say they are independently minded, sexually healthy, uncowed by moral conventions and male codes, natural, unaffected and caring. In short, they are remarkable literary creations in a period not known for favourably portraying women happily independent of male support and conventions.

Bennett and Woollacott in effect acknowledge this, but with their usual

disingenuity write: If ‘the Bond girl’ abandons the traditional restraints, and claims, o f a sexuality confined to the m arriage bed, it is often to become m erely the fantasy object o f the male reader, licensed, through Bond, to go whoring by proxy (p i23).

Professor Stephen Knight in his review of Bond A nd Beyond writes: Details o f possibly great significance . . . are raised, teased out and interrelated throughout this thoroughly interesting book.

If the argum ents are sometimes condensed and complex, so they are in any worthwhile area of analysis. The language and approach of this study are here to stay, whatever m ight be thought by those too indolent or incom petent to m aster th em .14

It is a depressing thought.

NOTES 1. Tony Bennett and Janet Woollacott, B o n d A n d B e y o n d : The P o litic a l C a re e r O f A P o p u la r H e ro , Macmillan Education, Basingstoke, 1987.

2. Almost all writers on Fleming, for example, claim that he prefers blonde women. Amis states this in The J a m e s B o n d D o s s ie r, Jonathan Cape, London, 1965, and this view is reiterated by Lt.-Col William (‘Bill’) Tanner in The B o o k O f B o n d O r E ve ry M a n H is O w n 00 7 , Viking, New York, 1965. Yet a study of the novels shows that Fleming has a clear preference for women with black or dark-brown hair. It is curious, then, that this blonde myth should have such currency.

3. Oreste del Buono & Umberto Eco (Eds), The B o n d A ffa ir, Macdonald, London, 1966.

4. Eco essentially confines himself to the Bond novels, as does this article, though he does exclude the “ untypical” The S p y W ho L o v e d M e.

5. Furio Colombo, “ Bond's Women” , The B o n d A ffa ir, p100.

6. Fleming gives nine specific ages; the average is 241/2. There are clues to the ages of five others.

Taken together, the average is 25.

7. Quoted in Peter Haining, J a m e s B o n d : A C e le b ra tio n , Planet, London, 1987, p167.

8. Amis, p55.

9. For an example of the confusion one can get into by falsely equating the views of the omniscient narrating voice with those of Bond see Bennett and Woollacott’s theorising about Bond's erotic desires in D r N o (p120).

10. As for Domino, Fleming is taken to task by Bennett and Woollacott for “ an odd piece of carelessness” in the way he introduces Domino to Bond. They write: Bond reflects: This was his first sniff at the town and already he had caught hold of the girl’ [T h u n d e rb a ll, p116], At this point, Bond has no reason to suppose that Domino is in any way connected with his mission. (pp114-5) Needless to say, Bond does have reason to suppose. Prior to his first glimpsing Domino, he has been told that she is the mistress of his mission’s chief suspect, Largo (p128). Fleming has not been “ careless” , merely inventive in his use of flashforwards to play with linear narrative.

11. Not only are her riding outfit and pant suits stereotypically given to lesbians in 1960s films, there is her all-girl crew, whom she eyes quite lasciviously. Most explicit is the dialogue, ranging from her “ I’m strictly the outdoor type” to Bond’s “ You’re a girl of many parts, Pussy.” This is said while Pussy holds a gun at crutch level and points it straight out at Bond. Not exactly subtle, but amusing in context.

12. Robert Sellers, “ Kiss Kiss Bang Bang: Bond For Beginners” , The F ace, London, July 1987, pp48-58.

13. Sally Hibbin, The O ffic ia l J a m e s B o n d 0 0 7 M o v ie B o o k, Viscount Books, Twickenham, 1987, p65.

14. Stephen Knight, “ James Bond is the hero of the dollar” , The S y d n e y M o rn in g H e ra ld , 18 July 1987, p47.

Corrigenda In the first part of this article, Fleming’s home “ Goldeneye” was mistakenly located by this author on the island of Orcabessa, instead of Jamaica.

Oracabessa, with its additional vowel, is the fishing port near the Fleming house.

The bottom caption on p22 incorrectly refers to a 1985 Pan edition of C a s in o R o y a le . In fact, the captioned image is a detail from the 1955 Pan edition.

The error was made by the editor.

CINEMA PAPERS JANUARY - 37

• Bushfire Moon • Comrades • Full Metal Jacket • Innerspace • Ishtar • I’ve Heard The Mermaids Singing • Jean De Florette • The Lost Boys • The Pick-Up Artist • Prick Up Your Ears • The Time Guardian • The Year My Voice Broke

• BUSHFIRE MOON T h e first Bushfire Moon m ira cle o c c u rre d som e 30 y ears ago w h en a little A m e ri­ can boy called J e f f P eck — th e c re a to r an d w rite r o f th e film — p e n n e d a le tte r (Jeff does n o t ju s t w rite, he “ p en s le tte rs ” ) to W a lt D isn e y tellin g h im th a t his film s w ere te rrific a n d th a t som e d ay he w ould like to w o rk for h im . I n rep ly he receiv ed a n e n c o u ra g in g le tte r a n d an a u to g ra p h e d p h o to as well.

T h e n ex t m ira cle o c c u rre d w h en J e f f P eck, now a d u lt, liv in g h ap p ily in A u s­ tra lia a n d still tre a s u rin g th a t p h o to , gave us o u r ow n A u stra lia n C h ristm a s schm altz in th e fo rm o f Bushfire Moon, a n d sold it to — go o n , guess — W a lt D isney!

T h e film , set in 1891 a n d p ack ed w ith still m o re m iracles, follows w ell-w orn tracks, track s w o rn b y D ick en s, B a rb a ra C a rtla n d a n d a n e te rn ity o f fam ily film s from o u r c u ltu ra l h e ro , W a lt D isn ey .

P a tric k O ’D a y is m a rrie d to E liz a­ b eth , w ho is A m e ric a n , a n d th ey h av e tw o child ren ; S a ra h , w ho is 17 a n d “ b lo sso m in g ” a n d th e eig h t-y ear-o ld N ed . T h e y all live to g e th e r in d ro u g h tin d u c ed p o v erty o n la n d w h ich h as b een com pulso rily a c q u ire d fro m th e ir n e ig h ­ b o u r, th e rich M r W a tso n .

S crooge — I m e a n M r W a tso n — h a v in g lost his wife som e y ears b efo re, is vile to all a n d p artic u la rly vile to P atric k , E liz ab e th , S a ra h a n d N ed w hich seem s a p ity as he h as a p re se n t­ able 18-year-old son called A n g u s a n d , as we know , S a ra h is b lo sso m in g . M o re ­ o ver he (M r W a tso n ) h as a lake a n d they (the O ’D ay s) h av e a d ro u g h t a n d no m o n ey for th e C h ristm a s p rese n ts N ed w an ts so b ad ly . M r W a tso n is B ritish to th e b oo t strap s (o r w an ts to b e), rich, pow erfu l a n d a b u lly, a n d th e O ’D ay s are v irtu o u s, d o w n o n th e ir luck, d o w n ­ tro d d e n a n d p re su m a b ly o f Iris h e x tra c ­ tio n .

O n to th e scene com es M a x Bell, a sw aggie a n d a lovable ro g u e w ho p ro ­ ceeds, w ith th e aid o f a little b lack m ail, to rig h t th e w ro n g , b rin g o u t th e best in every o n e a n d effect a h a p p y en d in g . (A n en d in g w hich d esp ite J e f f P e c k ’s stated rejectio n o f “ sim plistic so lu tio n s in film s” co u ld be p re d ic te d w ith in th e first 10 m in u te s.)

G eo rg e M ille r d irects Bushfire Moon w ith th e p ro fessio n alism th a t o n e w o u ld expect fro m o n e w ho h as The M an From Snowy River to his n a m e , a n d m a n ag e s (m ost o f th e tim e) to m a k e a p lo t w hich lu rch es b etw e en d ra m a tic te n sio n , farce, co rn an d sa tire, all h eav ily e n c ru ste d w ith good old to o th ro t, in to a ro llin g story. T h e A u stra lia n b ac k d ro p s really

a re b re a th ta k in g , th e p ace is fast w ith no tim e w asted in se ttin g th e scene a n d a sm a sh in g b it o f slapstick d e m o n stra te s th a t G eo rg e M ille r can h a n d le co m ed y w ith ease. (T h e su ck lin g p ig w ill p r o b ­ ably tu r n a g e n e ra tio n o f A u stra lia n s in to v e g e ta ria n s.)

T h e p e rio d clo th in g is a b it o d d . T h e v irtu o u s p o o r seem ed o v er-clean a n d o v er-d ressed w hile th e w icked rich w en t rig h t o v er th e top in th e v u lg a rity stakes.

D o u b tless it w as all su p p o sed to a d d u p to so m e th in g b u t it re m in d e d m e p a in ­ fully o f a m a te u r d ram a tic s.

J o h n W a te rs play s P a tric k O ’D a y , giv in g th e p a r t ev ery g ra m o f h is stro n g silent m a scu lin ity . D ee W allace S to n e does h e r ap p le p ie -m o th e rh o o d th in g for th e A m e ric a n m a rk e t (she p rev io u sly a p p e a re d in E . T . ). N a d in e G a r n e r m ak es S a ra h blossom w ith c h a rm . In fact all a re m o re th a n eq u a l to th e d e m a n d s placed u p o n th e m , b u t tw o are o u tsta n d in g .

C h a rles (B ud) T in g w ell as M a x Bell is, as he often is, ex cep tio n al. H e looks at h o m e in his stagey g etu p fro m h is b ig b lack b oots to his C h ip s R a ffe rty h a t a n d th e challenge o f b e in g F a th e r C h ristm a s, a n A u stra lia n Sw aggie a n d a L o v ab le R o g u e ro lled in to o n e is m e t w ith a relax ed a n d am u se d c h a rm . A s alw ays, he can u p sta g e ev e ry o n e, in c lu d in g an e n c h a n tin g d in g o p u p w hose p e rfo rm ­ an ce, as th e d in g o p u p , is to b e co m ­ m e n d ed .

A n d re w F erg u so n as th e eig h t-y earold N ed is also re m a rk a b le . It is n o t a n easy p a rt; N e d d oes n o t resem b le an y eig h t-y ear-o ld A u stra lia n m ale o f m y a c q u a in ta n c e — for o n e th in g h e is p o si­ tively ch a tty w h ereas m o st o f th e eig h ty ear-o ld m ales I k n o w c o m m u n ic a te in th e 16 g ru n ts o f th e c h im p an z ee . B u t for all his v erb a l so p h isticatio n N ed is a re m a rk a b ly n aiv e child co m p a re d to th e so p h isticated T V child o f to d a y . W ith a n infectious zest A n d re w m ak es it all look easy.

I h av e no d o u b t th a t this film w ill ad d to th e kitsch o f a n A u stra lia n C h ristm a s for y ears to com e. I t is w ell m a d e , well acted an d hig h ly co m m ercial. B u t w h e th e r it displays o ld -fash io n ed v irtu e s an d p reju d ices w hich h av e sto o d th e test o f tim e o r w h e th e r its m o ra ls a n d assu m p tio n s are as o u t-o f-d a te as its w a rd ro b e I leave to th e n e x t g e n e ra tio n o f g ra n d m o th e rs.

It is n o t a film m a d e specifically for ch ild ren b u t a film in w h ich c h ild ren p lay th e ir p a rts — p e rh a p s fo r th e a m u se m e n t o f ad u lts. A n y eig h t-y earold can safely tak e his o r h e r g re a t­ g ra n d m o th e r to see it . . . so lo n g as she is n o t cra v in g th e s tim u la tio n o f id eas

a p p ro p riate to the 1990s. I f you h ave the rig h t sort of g re a t-g ra n d m o th e r for this film tak e a large box of tissues, an d see th a t she cleans h e r teeth afterw ards.

Sarah Guest BUSHFIRE MOON: Directed by George Miller. Pro­ ducers: Peter Beilby and Robert Le Tet. Screenplay: Jeff Peck. Director of photography: David Connell.

Editor: Tim Wellburn. Production designer: Otello Stolfo.

Music: Bruce Rowland. Cast: Dee Wallace Stone (Eliza­ beth), John Waters (Patrick), Charles Tingwell (Max Bell), Bill Kerr (Trevor Watson), Nadine Garner (Sarah), Grant Piro (Angus), Andrew Ferguson (Ned). Produc­ tion company: Entertainment Media. Distributor: Village Roadshow. 35mm. 109 minutes. Australia. 1987.

B U S H F IR E M O O N : A n d re w Ferguson

•COMRADES In 1834 six D o rset la b o u re rs w ere arrested , n o t for fo rm in g a F rien d ly Society, w hich w as th e ir rig h t, b u t for the sw earing of illegal oaths. As a result of the tru m p e d -u p charge (glancing reference is m ad e to the K in g ’s b ro th e r an d the O ra n g e L odge, w ith its secret oaths an d m eetin g s), the T o lp u d d le six w ere tra n sp o rte d to A u stralia. T h ey w ere p a rd o n e d two years la ter as a result o f ag itatio n from the L o n d o n -D o rset C o m m ittee an d others.

T h e ir story is rig h tly seen as a la n d ­ m a rk in the tra d e u n io n m o v e m en t an d Bill D o u g las’s film pays au stere trib u te to the solidarity of th e w o rk in g class th en , an d by im p licatio n , u rges such rig o ro u s coherence now . A g ain st a b ac k ­ g ro u n d o f ch an g in g seasons, as low ering skies an d sodden ro ad s give w ay to the lushness of sp rin g a n d th e gold of su m m er harv ests, D o u g las invokes a life of g rin d in g w ork a n d of d esp erate p o verty as well as, say, th e sud d en gaiety of a sailor d an c in g a h o rn p ip e at the village fair. T h a t is, he is careful an d h onest en o u g h n o t to d epict these lives as joyless: they are too ro o ted in hom e an d fam ily an d co m m u n ity for th at.

R arely , th o u g h , has the sheer a rd u o u s­ ness of physical la b o u r b een so co nvinc­ ingly depicted on the screen: th e film takes w ork an d w o rk in g lives w ith absolute seriousness, in w ays th a t recall b oth H a rd y an d B rueghel.

T h e first h alf of this im m ensely long film slowly an d p ain stak in g ly builds up the b ack g ro u n d to the a rre st of the six lab o u rers. T h e re is an in ten se realism , visual an d alm ost tactile, it seem s, in these scenes of h ay m ak in g , o f ca rp en try , of sparse fam ily m eals, b u t u ltim ately it is n ot realism w hich D o u g las is p r i­ m arily after. W h a t in fact he seem s to have sought is a g en u in ely epic qu ality , achieving a B rech tian in te rp lay b etw een rea listic e n a c tm e n t a n d d ista n c in g o b servation. O n e is m oved by the in d iv id u al lives d ram a tise d before one, b u t is con stan tly m ad e aw are o f the elem ent o f illusion so p o ten tly at w ork in th e ir p resen tatio n .

T h e chief m ean s by w hich this is effected is the use o f an itin e ra n t la n tern ist who arrives in T o lp u d d le after seeing the b ru ta l suppression o f an o u tb u rst of m ach in e-sm ash in g by la b o u re rs w hose w ages have been cu t to below subsist­ ence level. T h e la n tern ist, played by a D ouglas reg u la r, A lex N o rto n , tu rn s u p in v arious guises, m ost often in co n n ec­ tion w ith the film ’s insistence on the a p p a ra tu s o f illusion. H e is, for instance, a silhouette artist in colonial N ew S o u th W ales, an o u tb a ck p h o to ­ g rap h e r w hose heliotypes are in a d v e rt­ ently d estroyed, as well as en g ag in g w ith o th er p re-cin e m a optical devices an d p rese n tin g v ario u s th e atric al p e rfo rm ­ ances. As well, th e re are carefully co m ­ posed an d m agically lit shots o f silhou­ etted figures, a fluted glass d o o r w hich reveals th ree d ifferen t im ages, d e p e n d ­ ing on the angle o f view ing, an d an a n im a te d m a p w h ich rec o rd s th e jo u rn e y from E n g la n d to B o tan y Bay. D ouglas h im self has claim ed: “ . . . w h at I w an te d to suggest w as the magic

CINEMA PAPERS JANUARY - 39

< of th in g s, ra th e r th a n ju s t d epict th e m a c c u ra te ly ” . T h e la n te rn ist is so m e­ tim es p a rt of the action (eg, as a police­ m a n ), som etim es a c o m m e n ta to r on it.

In the la tte r role, one o f his functions is to d raw atte n tio n to the fictional, m a g i­ cal elem ents o f the n a rra tiv e process.

D o u g las achieves a real in v o lv em en t w ith th e lives p re se n te d b u t n ev e r lets the v iew er forget th a t th a t is w h at he is: a view er m a n ip u la te d by processes of illu sio n -m aking.

T h e second p a rt o f the film is set in A u stralia an d p u rsu es the fortu n es of the tra n sp o rte d T o lp u d d le M a rty rs. It is still a b s o rb in g b u t it is so in m o re co n ­ v en tio n al w ays. O n e w orks on a chaing an g m a k in g an o u tb a ck ro ad ; one evades seduction by the rich w idow who has concealed new s of his p a rd o n ; one is b o u g h t by a fop; an d so on. It is m ore obviously a m a n v -stra n d e d n a rra tiv e , in d iv id u al p ro tag o n ists rep la cin g the ea rlier sense of a class at bay, and w ith som e p red ic tab le anti-colonialist swipes.

It is also m o re obviously spectacu lar th a n th e B ritish section: this is partly p erh a p s the result of a shift to a bo ld er lan d scap e, b u t is m o re subtly to do w ith the loss o f the delicate balan ce betw een realism an d the display of illusionism w hich has c h a racterise d the film ’s first half. T h e actin g has becom e b older, w ith som ew hat florid cam eos from J a m e s Fox (as the G o v e rn o r), V an essa R e d g ra v e (the widow'), an d A rth u r D ig n am (the fop), an d th o u g h these h ave th e ir p leasures they belong to a d if­ COMRADES: Waste not, want not

ferent tra d itio n from th e m o re n early m in im alist ac tin g styles o f th e D o rset section.

H o w ev er, all this, in th e co n tex t o f the film as a w hole, is n o t m u c h m o re th a n a quibble. F u rth e r, the film ends b ack in L o n d o n w ith a celeb ratio n o f th e re tu rn of the T o lp u d d le M a rty rs, one o f w hom , G eorge L oveless, in close-up on a d a rk e n in g stage, calls on “ every w o rk ­ ing m a n in E n g la n d to shake off th a t supineness . . . th a t leaves th e m in the position of slaves” . A n d he th a n k s the la n te rn ist w ho has “ told th e sto ry to d ay — it w as alm ost as if he h ad b een p rese n t th ro u g h o u t h im self” . T h e film ends uneq u iv o cally on the d id actic no te it has so fre q u en tly stru ck before. N o t ju s t in dialo g u e, b u t in the su d d e n ju x ta ­ positions created by ed itin g (b etw een , for exam ple, the estab lish m en t clergy­ m a n u rg in g “ us to be satisfied w ith o u r lo t” an d the chapel co n g re g atio n sin g ­ ing “ W e ’ll w in the d a y ” ), in the w illin g ­ ness to hold shots so lo n g th a t we b eg in to notice the len g th (the im ages o f the chained m en w hom th e film insists we rem e m b er), in the use of the la n te r n is t’s devices. T h e la n te rn ist m a y tra d e in illu ­ sion b u t, in the en d , it is a versio n of reality he b rin g s to his au diences.

E ven the castin g seem s p a rt of the didactic in te n tio n . T h e heroes an d th e ir fam ilies are p layed by largely u n k n o w n actors: they m ig h t be an y o n e an d th e ir im p o rta n ce is to rep rese n t a class ra th e r th a n indiv id u als. T h e y are su p p o rte d by “ s ta rs” , m ost o f w hom a p p e a r briefly as

o p p resso rs of this class, th e ex cep tio n s b ein g M ich ael H o rd e rn as P itt, a le a d ­ in g m e m b e r o f th e C o m m itte e th a t secures p a rd o n for th e m e n , an d J o h n H a rg re a v e s as th e convict w ho fails to escape, h a v in g b ee n w a rn e d th a t he c a n ’t achieve a n y th in g alone.

D o u g las has m a d e a m a jo r film in Comrades an d , if th e B ritish c in e m a is in d eed to enjoy a ren a issa n ce o f som e k in d , one w ould like to th in k such a film m ig h t be in its fo refro n t. H o w ev er, it is u n c o m p ro m isin g in w ays w hich will p ro b ab ly n o t ease its co m m ercial p ath : its first tw o -th ird s resists th e c o n v e n ­ tio n al lines of n a rra tiv e ; it is p re p a re d to risk slowmess a n d d id acticism , a n d it keeps exp o sin g its ow n a p p a ra tu s. F o r those p re p a re d to stay w ith it, it is also one of th e richest film ex p erien ces o f th e y ear. .

B rian M cFarlane

COMRADES: Directed by Bill Douglas. Producer: Simon Relph. Associate producer: Redmond Morris.

Associate producer (Australia): David Hannay.

Associate producer (post-production): Patrick Cassavetti. Screenplay: Bill Douglas. Director of photography: Gale Tattersall. Editor: Mick Audsley. Production designer: Michael Pickwoad. Art director (Australia): Derrick Chetwyn. Music: Hans Werner Henze, David Graham. Cast: Robin Soans (George Loveless), Imelda Staunton (Betsy Loveless), William Gaminera (James Loveless), Stephen Bateman (Old Tom Stanfield), Philip Davis (Young Stanfield), Jeremy Flynn (Brine), Keith Allen (James Hammett), James Fox (Norfolk), Vanessa Redgrave (Mrs Carlyle), Arthur Dignam (The Fop), John Hargreaves (The Convict), Michael Hordern (Pitt), Alex Norton (The Lanternist, Captain, Sergeant Bell, McCallum. Silhouettist, Diorama Showman, Mad Photo­ grapher, Usher, Witch, Ranger, Wollaston, Tramp). Pro­ duction company: Skreba Films/National Film Finance Corporation/Film Four International. Distributor: Hoyts/Premium. 35mm. 183 minutes. Great Britain.

1987.

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Num ber 1 (January 1974):

Number 18 (October-November

David Williamson, Ray Harryhausen, Peter Weir, Antony Ginnane, Gillian Armstrong, Ken G. Hall, The Cars That Ate Paris.

Num ber 2 (April 1974): Censorship, Frank Moorhouse, Nicolas Roeg, Sandy Harbutt, Film under Allende, Between The Wars, Alvin Purple.

Number 3 (July 1974): Richard Brennan, John Papadopolous, Willis O’Brien, William Friedkin, The True Story Of Eskimo Nell.

Number 10 (September-October 1976): Nagisa Oshima, Philippe Mora, Krzysztof Zanussi, Marco Ferreri, Marco Bellochio, gay cinema.

Number 11 (January 1977): Emile de Antonio, Jill Robb, Samuel Z. Arkoff, Roman Polanski, Saul Bass, The Picture Show Man.

1978) : John Lamond, Sonia Borg, Alain Tanner, Indian cinema, Dimboola, Cathy’s Child.

Number 19 (January-February 1979) : Antony Ginnane, Stanley Hawes, Jeremy Thomas, Andrew Sarris, sponsored documentaries, Blue Fin. Number 20 (March-April 1979): Ken Cameron, Claude Lelouch, Jim Sharman, French cinema, My Brilliant Career.

Number 22 (July-August 1979): Bruce Petty, Luciana Arrighi, Albie Thoms, Stax, Alison’s Birthday.

Number 24 (December 1979-January 1980): Brian Trenchard-Smith, Ian Holmes, Arthur Hiller, Jerzy Toeplitz, Brazilian cinema, Harlequin.

Number 25 (February-March 1980) : David Puttnam, Janet Strickland, Everett de Roche, Peter Faiman, Chain Reaction, Stir.

Number 26 (April-May 1980): Charles H. Joffe, Jerome Heilman, Malcolm Smith, Australian nationalism, Japanese cinema, Peter Weir, Water Under The Bridge.

Number 27 (June-July 1980): Randal Kleiser, Peter Yeldham, Donald Richie, Richard Franklin’s obituary of Alfred Hitchcock, the New Zealand film industry, Grendel Grendel Grendel.

Number 28 (August-September 1980): Bob Godfrey, Diane Kurys, Tim Burns, John O’Shea, Bruce Beresford, Bad Timing, Roadgames.

Number 12 (April 1977): Ken

Loach, Tom Haydon, Donald Sutherland, Bert Deling, Piero Tosi, John Dankworth, John Scott, Days Of Hope, The Getting Of Wisdom.

Num ber 13 (July 1977): Louis Malle, Paul Cox, John Power, Jeannine Seawell, Peter Sykes, Bernardo Bertolucci, In Search Of Anna.

Number 14 (October 1977): Phil Noyce, Matt Carroll, Eric Rohmer, Terry Jackman, John Huston, Luke’s Kingdom, The Last Wave, Blue Fire Lady.

Number 15 (January 1978): Tom Cowan, Francois Truffaut, John Faulkner, Stephen Wallace, the Tavlani brothers, Sri Lankan cinema, The Irishman, The Chant Of Jimmie Blacksmith.

Num ber 16 (April-June 1978): Gunnel Lindblom, John Duigan, Steven Spielberg, Tom Jeffrey, The Africa Project, Swedish cinema, Dawn!, Patrick.

Number 17 (August-September

1978): Bill Bain, Isabelle Huppert, Brian May, Polish cinema, Newsfront, The Night The Prowler.

Number 29 (October-November 1980): Bob Ellis, Uri Windt, Edward Woodward, Lino Brocka, Stephen Wallace, Philippine cinema, Cruising, The Last Outlaw.

Number 36 (February 1982):

Kevin Dobson, Brian Kearney, Sonia Hofmann, Michael Rubbo, Blow Out, Breaker Mo rant, Body Heat, The Man From Snowy River.

Number 37 (April 1982): Stephen MacLean, Jacki Weaver, Carlos Saura, Peter Ustinov, women in drama, Monkey Grip.

Num ber 38 (June 1982): Geoff Burrowes, George Miller, James Ivory, Phil Noyce, Joan Fontaine, Tony Williams, law and insurance, Far East.

Number 39 (August 1982): Helen Morse, Richard Mason, Anja Breien, David Millikan, Derek Granger, Norwegian cinema, National Film Archive, We Of The Never Never.

Num ber 40 (October 1982):

Henri Safran, Michael Ritchie, Pauline Kael, Wendy Hughes, Ray Barrett, My Dinner With Andre, The Return Of Captain Invincible.

Num ber 41 (December 1982): Igor Auzins, Paul Schrader, Peter Tammer, Liliana Cavani, Colin Higgins, The Year Of Living Dangerously.

Number 42 (March 1983): Mel Gibson, John Waters, Ian Pringle, Agnes Varda, copyright, Strikebound, The Man From Snowy River.

Num ber 43 (May-June 1983): Sydney Pollack, Denny Lawrence, Graeme Clifford, The Dismissal, Careful He Might Hear You. Number 44-45 (April 1984): David Stevens, Simon Wincer, Susan Lambert, Street Kids, a personal history of Cinema Papers.

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

Num ber 47 (August 1984):

Richard Lowenstein, Wim Wenders, David Bradbury, Sophia Turkiewicz, Hugh Hudson, Robbery Under Arms.

Num ber 48 (October-November 1984) : Ken Cameron, Michael Pattinson, Jan Sardi, Yoram Gross, Bodyline, The Slim Dusty Movie.

Num ber 49 (December 1984): Alain Resnais, Brian McKenzie, Angela Punch McGregor, Ennio Morricone, Jane Campion, horror films, Niel Lynne.

Num ber 50 (February-March 1985) : Stephen Wallace, Ian Pringle, Walerian Borowczyk, Peter Schreck, Bill Conti, Brian May, The Last Bastion, Bliss.

Num ber 51 (May 1985): Lino Brocka, Harrison Ford, Noni Hazlehurst, Dusan Makavejev, Emoh Ruo, Winners, The Naked Country, Mad Max: Beyond Thunderdome, Robbery Under Arms.

Num ber 52 (July 1985): John Schlesinger, Gillian Armstrong, Alan Parker, soap operas, TV news, film advertising, Don’t Call Me Girlie, For Love Alone, Double Sculls.

Num ber 53 (September 1985): Bryan Brown, Nicolas Roeg, Vincent Ward, Hector Crawford, Emir Kusturica, New Zealand film and television, Return To Eden.

Num ber 54 (November 1985): Graeme Clifford, Bob Weis, John Boorman, Menahem Golan, Wills And Burke, The Great Bookie Robbery, The Lancaster Miller Affair, rock videos.

Num ber 55 (January 1986): James Stewart, Debbie Byrne, Brian Thompson, Paul Verhoeven, Derek Meddings, The Right-Hand Man, Birdsville, tie-in marketing.

Num ber 56 (March 1986): Fred Schepisi, Dennis O’Rourke, Brian Trenchard-Smith, John Hargreaves, stunts, smoke machines, Dead-End Drive-In, The More Things Change, Kangaroo, Tracy.

ISSUES LAB

Number 58 (July 1986): Woody

Allen, Reinhard Hauff, Orson Welles, the Cinematheque Française, The Fringe Dwellers, Great Expectations: The Untold Story and The Last Frontier.

Number 59 (September 1986): Robert Altman, Paul Cox, Lino Brocka, Agnes Varda, the AFI Awards, The Movers.

Number 60 (November 1986):

Australian Television, Franco Zeffirelli, Otello, Nadia Tass, Bill Bennett, Dutch Cinema, Movies

By Microchip.

Number 61 (January 1987): Dogs In Space, Alex Cox, Roman Polanski, Howling III, Philippe Mora, Martin Armiger, film in South Australia.

Number 62 (March 1987): Screen Violence, David Lynch, Cary Grant, The Story Of The Kelly Gang, ASSA conference, Production barometer, film finance.

Number 63 (May 1987): Gillian Armstrong, Antony Ginnane, Chris Haywood, The Sacrifice, Elmore Leonard, Landslides, Troy Kennedy Martin, Pee Wee's Big Adventure, Jilted.

Number 64 (July 1987): Nostalgia, Dennis Hopper, Mel Gibson, Vladimir Osherov, Insatiable, Brian TrenchardSmith, Chartbusters.

Number 65 (September 1987): Angela Carter, Wim Wenders, Jean-Pierre Gorin, Derek Jarman, Gerald L’Ecuyer, Gustav Hasford, Poor Man’s Orange, AFI Awards.

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Number 66 (November 1987): Australian screenwriters, Cinema and China, James Bond, James Clayden, Video, Who’s That Girl, De Laurentiis, New World, The Navigator.

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•JEAN DE FLORETTE In 1986, C la u d e B e rr i’s d i p t y c h , / ^ De Florette a n d M anon Des Sources , w as the cin e m a se n satio n o f th e y e a r in F ra n ce .

T h is a d a p ta tio n o f M a rc e l P a g n o l’s n ovel L ’eau des Collines w as a $ 17 m illion p ro ject, w hich took 36 w eeks o f film ing, a crew o f 500 ex tra s, 15,000 ft of v eg e ta tio n , 12,000 ca rn a tio n s , 2000 ra b b its a n d 12 an c ie n t olive trees — n o t th e u su a l re q u ire m e n ts o f F re n ch cin em a. T h e tw o film s w ere shot sim u l­ tan eo u sly .

B oth Jea n De Florette a n d Manon Des Sources are , for F re n c h au d ien c es, u n ­ m istak a b ly F re n c h . M a rc e l P ag n o l is still w idely rea d , a n d co n sid ered th e best ad v o cate o f his n a tiv e P ro v e n ce , b u t the sto ry goes b ey o n d c u ltu ra l b o u n d a rie s.

It deals w ith th e essential in g re d ie n ts of tra g e d y in th e classical sense.

T h e m o v in g d em ise o f th e idealist in th e face o f g ree d a n d c u n n in g a g a in st a b a c k g ro u n d o f hostility , b o th from the village a n d th e elem en ts, could be rele­ g ated to th e ca te g o ry o f fam ily feud, if it w e re n ’t for th e in te ra c tio n o f forces w hich are b ig g e r th a n the h u m a n ch a racter.

T h e ce n tral th e m e o f Jea n De Florette is th e h u m a n c o n d itio n itself, stru g g lin g w ith tita n ic hostile forces. It concerns th e b attle b etw e en good a n d evil, an d th e h u m a n d im e n sio n is b u t one factor in th is M a n ic h e a n vision. T h e naive, good, a rtic u la te J e a n C a d o re t (G e ra rd D e p a rd ie u ) ta u n ts the gods w ith his q u ix o tic q u est to live off th e la n d , an d his p a n th e istic a d o ra tio n o f n a tu re . H e is a city m a n — he does n o t belong, b ecau se he does n o t u n d e rsta n d . H is k n o w ledge is scientific a n d ra tio n a l, b u t he does n o t know th e la n d o r the elem en ts. J e a n also ca rries a h e re d ita ry b u rd e n . H is m o th e r, now d ea d , left the village u n d e r a cloud.

T h e trag ic tra p is set before he arriv es, w ith th e d e a th o f his relative P iq u e-B o u ffig u e, w hich th e au d ien ce w itnesses as a m u rd e r, o r a t least as m a n sla u g h te r, p e rp e tra te d by P ap et (Y ves M o n ta n d ) in the p resence of U g o lin (D a n ie l A u te u il), b ecause they b o th w a n t his la n d .

J e a n , by claim in g his in h e rita n c e , rep rese n ts n o t only th e in n o c e n t in the w ild ern ess b u t a g en u in e obstacle to P a p e t a n d U g o lin , a n d he u n k n o w in g ly b rin g s b ack fro m th e p ast a feud b etw een fam ilies a n d villages of w hich he seem s to know n o th in g , b u t w hich en su res his ostracism .

T h e m e c h a n ism o f th e tra g e d y is set.

It n eed s only a little p ro d to get the ju g g e rn a u t in m o tio n , a n d J e a n is only too w illing to p ro v id e it w ith his in n o ­ cence, e n th u sia sm , n aiv e a m b itio n , and especially w ith his tru s t in U g o lin . O n ce in m o tio n , th e re is no tu r n in g back, an d we w atch th e tra g e d y u n fo ld to its in ­ ex o rab le o u tc o m e. E v en th e resp ite p ro ­ v id ed b y th e te m p o ra ry success o f the n ew settler does n o t allow us to h o p e, b ecau se o f P a p e t’s co m m en ts r u n n in g

like a le itm o tiv th ro u g h th e film .

L ike v u ltu re s, P a p e t an d U g o lin spy on th e ir p rey , a n d w atch an d ch eer as one m isfo rtu n e afte r a n o th e r befall the u n w a ry J e a n . T h e w hole village is w atch in g also; som e h av e suspicions ab o u t P a p e t, b u t th ey express this a m o n g them selves. T h e o u tsid er has no place a m o n g th em .

T h e re is an o rd e r of th in g s, o f people, a n etw o rk of b elo n g in g to a g ro u p , to a lan d . T h e rela tio n sh ip s are cu rt, fiery, violent so m etim es, b u t ev ery o n e stands for som eth in g . T h e la n d is h a rsh , b u t it is in the o rd e r of th in g s. K n o w led g e of the la n d m e a n s su rv iv al. D efiance m ean s death .

J e a n , w ith his u to p ia n vision, defies the o rd er, w h ere the elem en ts, people an d the la n d , h av e a specific place an d relatio n sh ip s. In tim e, he m u st be crushed.

W e w itness every stage o f his d e stru c ­ tion, th ro u g h a d ra m a tic co m p ressio n of tim e, in th e e x h a u stin g an d rep etitiv e tasks o f fetch in g w ate r — h o p in g ag ain st hope, w atch in g for a sign from the heavens, in w hich he has in v ested so m u c h tru st, a n d re so rtin g to all m easu res o f h u m a n in g e n u ity to avoid the inevitab le d isaster.

As the pace o f h u m a n efforts an d the struggles ag a in st th e b re a k in g spirit becom e m o re in te n se , we see J e a n d rin k in g m o re h eavily, d ig g in g fu ri­

ously th e p a rc h e d e a rth , a n d u sin g d y n am ite to defeat th e rock a n d release the life-giving w ater.

T h e angels o f d e a th , P a p e t an d U g o lin , are w atch in g , co m m e n tin g lucidly on the d e stru c tio n o f J e a n , n o w h ere m o re acu tely th a n in th e scene w here J e a n is d ig g in g a well, a n d looks u p to U g o lin sta n d in g on th e edge, ta lk ­ in g a n d d isc o u ra g in g h im . G e ra rd D e p a rd ie u ’s re n d e rin g of the c h a ra c te r’s v u ln e ra b ility is n o w h ere m o re a p p a re n t th a n his m o v in g sm ile an d im p lo rin g eyes, w hen he still a tte m p ts to convey hope in this final en terp rise ag a in st the elem ents.

T h e final clim ax is rea ch ed w h en the th u n d e rsto rm b rin g s ra in only to th e o th e r side of the m o u n ta in , an d J e a n , overw h elm ed by a n g e r an d failu re, scream s o u t to the h eavens: “ I am a h u n ch b a ck , do you th in k it is easy for m e? T h e re is n o -o n e u p there! N o -o n e !”

It is a defiance to G o d by th e b ro k en h ero , rem in isce n t o f o th e r defiances to o th e r gods b,y th e trag ic heroes o f an tiq u ity .

T h e d en o u e m e n t is ex p ected , as in a G reek trag ed y . J e a n has b een d efeated an d has p aid w ith his life, for d istu rb in g an o rd er, w hich he d id n o t k now was there.

W e feel th a t the story does n o t en d h ere. T h e re is a w itness to th e a n im a l­ istic rejo icin g of th e two accom plices.

J E A N D E F L O R E T T E : D an iel A uteil and G erard D ep a rd ieu

CINEMA PAPERS JANUARY - 41

< M anon, Jean ’s daughter, who by in­ stinct has always distrusted U golin, now understands why her father died. As mother and daughter leave the ill-fated “ Romarins” , the little girl is carrying the burden of a terrible knowledge. We know as we watch the last scene, that the story is not finished.

Jean De Florette is an epic film in the tradition of cinema classique. Bruno Nuytten’s photography uses light as an im ­ pressionist painter would, exploring the whole spectrum of effects; for instance, the contrast between the pitch blackness of U golin’s hut and the dazzling white­ ness outside when his door is burst open, or the diffused light filtering through the foliage, as Papet and Ugolin spy on Jean, or the frightening yellow light during the sandstorm. H e has managed to capture the full colour and density range of Provencal light.

Light is not used only to set a scene, or create a mood, but as an integrated part of the cinematic language. Light changes and gradations are used to com­ press time, as in the blue darkness of dawn in the opening scene, and the subtle transformations in colour as the day rises.

Light is used to build up climaxes, such as the sandstorm, the thunder­ storm, or the implacable brightness of the drought scenes.

Light is used to establish the contrasts between the outside scenes, with trans­ lucent brightness symbolic of the outside personae, and the chiaroscuro of the inside scenes, where the only point of light in the room reflects on the charac­ ters’ faces, as they express their feelings and inner thoughts.

Claude Berri achieves a remarkable balance between the characters in the story. Jean is supposedly the pro­ tagonist, after all the film is named after him, but he shares the focus with Papet and Ugolin. Right through the film there will be point of view shots, as if the spectator were part of Papet and U golin’s spying game. W e, the spec­ tators, see what Papet and Ugolin see, yet we identify with Jean.

W hen Berri was asked in a recent interview why such a classical film had made such an impact on today’s audi­ ence, he replied: “ It’s due to the power of the story. It is a fresco of life. After all it is not just any story, all the ingredients of tragedy are there: greed, land, water.

This genre preceded the Western in firing the imagination of the people. It is timeless, because tragedy is part of hum anity.”

Daniele Kemp

JEAN DE FLORETTE: Directed by Claude Berri. Execu­ tive producer: Pierre Grunstein. Associate producer: Alain Poire. Screenplay: Claude Berri, Gerard Brach.

Director of photography: Bruno Nuytten. Editor: Arlette Langman. Production designer: Bernard Vezat. Music: Jean Claude Petit. Cast: Yves Montand (Cesar Soubeyran, ‘Le Papet’), Gerard Depardieu (Jean de Florette [Cadoret]), Daniel Auteuil (Ugolin Soubeyran, ‘Galignette’), Elisabeth Depardieu (Aimee Cadoret), Ernestine Mazurowna (Manon Cadoret), Marcel Champel (Pique-Bouffigue), Armand Meffre (Philoxene). Pro­ duction company: Ren Productions/Films A2/RAI 2/DD Productions. Distributor: Greater UnionA/illage Road­ show. 35mm. 121 minutes. France. 1986.

42 - JANUARY CINEMA PAPERS

Suddenly, from above, The Lost Boys are upon us. These boys are vampires and they have found a temporary abode within a Multiplex near you. Of course this observation may be of little consequence to certain sections of the moviegoing public, considering that The Lost Boys could be seen as just another horror film, but this feature is a relatively big budget vam­ pire film and therefore occupies a rarely-filled space within the cinema.

So far this decade, the horror film has util­ ised the image of the vampire on only a few notable occasions. On budget alone The Lost Boys could be compared to the 1985 effort from Cannon and Tobe Hooper that is now known as Lifeforce but was once entitled Space Vam­ pires. Although the former title of Space Vam­ pires may demonstrate a connection to science fiction that The Lost Boys doesn’t possess, it is interesting to note that both films were pro­ jects that went through different periods of major re-conceptualisation. Apart from The Hunger, Fright Night or Vamp (with which The Lost Boys shares the work of special effects creator Greg Cannom) the cinematic image of the vampire has remained dormant.

This may lead one to ask whether The Lost Boys could possibly alter any commonly-held precepts of the cinematic vampire. On the short term and perhaps most superficial basis the answer is unequivocally yes. What w e have here now is a vampire film that is designed to look and sound good in every aspect. From the young handsome faces with designer stubble, to their unkempt but ordered hair and cloth­ ing, these mainly adolescent vampires are made up to ooze contemporaneity. Not only do these particular children of the night look stunning but their musical soundtrack is assembled with careful attention to modern pop charts that probably doesn’t fully appreciate the ironic relevance of such lists to

the vampire film. Undead songs for films of the undead. Just note the number of cover ver­ sions of older songs on recent charts: ‘People Are Strange’, provided exclusively for The Lost Boys by Doors fanatic Ian McCullough and his band Echo and the Bunny men, and ‘Good Times’, for example.

These few elements of popular culture are neatly placed within a narrative that never diverts from convention. Basically, the story of The Lost Boys involves a family of three, a recently divorced mother and her two teenage boys (separated by a few years) who travel to the seaside resort of Santa Carla to live with the boys’ grandfather (her father). While settling in, the older boy, Michael (Jason Patric), meets the vampires of the title through a girl called Star (Jami Gertz). Michael spots Star at a rock concert on the boardwalk and she rapidly becomes his love interest and main connection to the lost boys. At the same time Michael becomes a potential recruit for the vampire gang and after dining with the boys on Chinese food and human blood he begins to develop all the traditional symptoms of vam­ pirism. This occurs in front of the younger brother Sam (Corey Haim) who spots Michael’s reflection fading in a mirror. This motivates Sam into the traditional Van Helsing role — that of the fearless vampire killer — with assistance from resident vampire experts Edgar and Alan Frog (Corey Feldman and Jamison Newlander). At this point the film enters the ‘destroy all vampires’ mode that speeds towards the inevitably thrilling but predictable, effects-laden conclusion.

If taken solely as a horror film The Lost Boys may be disappointing to some viewers, even though it can produce a few good scares. If considered alongside such recent examples of the horror film as Evil Dead II and Hellraiser, The Lost Boys becomes a model of quiet

•THE YEAR MY VOICE BROKE

restraint. Its scenes of violence are quickly edited in the manner of a video clip to which the film owes much of its formal structure. The Lost Boys is not a splatter film, or for that matter even a slime film. Its most graphic scene — the destruction of a vampire in a bath full of holy water, stolen from a church by the Frog brothers while a baptism was in progress — takes precious little screen time and is more memorable for the one-liner spoken by one of the Frog brothers, who claims to have just killed a member of Twisted Sister.

The Lost Boys consistently uses humour to offset its horrific aspects and the one-liners rest securely in the hands of the younger cast members. On this level Sam and the Frog brothers refocus the aspects of horror in the film to the point where you wonder if this film is just a teen comedy. In some respects The Lost Boys could be described as a John Hughes film with fangs. Perhaps it is no surprise then that St Elmo’s Fire is a previous work of the director of The Lost Boys, Joel Schumacher.

If you can stand a relatively lame horror film that is more interesting as a comedy then seek out The Lost Boys. Who knows, it may even become known as the first horror film of the eighties for the whole family. That is, if House II hasn’t taken the title.

Michael Helms THE LOST BOYS: Directed by Joel Schumacher. Pro­ ducer: Harvey Bernhard. Executive producer: Richard Donner. Co-executive producers: Mark Damon, John Hyde. Screenplay: Janice Fischer & James Jeremias and Jeffrey Boam. Director of photography: Michael Chapman. Editor: Robert Brown. Art director: Tom Duffield. Vampire prosthetics and effects: Greg Cannom. Cast: Jason Patric (Michael), Corey Haim (Sam), Dianne W iest (Lucy), Barnard Hughes (Grandpa), Edward Herrman (Max), Kiefer Sutherland (David), Jam! Gertz (Star), Corey Feldman (Edgar Frog), Jamison Newlander (Alan Frog). Production company: Richard Donner Productions. Distributor: Village Road­ show. 35mm. 97 minutes. USA. 1987.

In m a n y w ays, The Year M y Voice Broke is as unfash io n ab le a film as one m ig h t expect to see em erg in g from the A u stra ­ lian film in d u stry . F ro m a m o d e rn ist perspective, it is guilty o f all the usu al vices th a t we see in o u r films an d tele­ vision. I t ’s a p erio d piece, it ’s firm ly locked into a m ythical c o u n try setting, an d (h o rro r o f h o rro rs), it’s n atu ralistic.

F ro m a socio-political perspective it ’s also guilty, n o t b ein g ab o u t m istreated m in o rity g ro u p s, n u clea r testin g victim s or the p ro b lem s o f single m o th ers. A n d from the m a rk e tin g p o in t of view, the film h ard ly has legs in a m a rk e t w here p h an to m dingoes, y o u n g E in stein s an d G re a t A u stralian H isto rical E vents are the o rd er of the day.

As A u stralian films an d television m ove to w ard th e ‘b ig ’ th em es of the in te rn a tio n a l m a rk etp lace, J o h n D u ig a n ’s The Year M y Voice Broke m a n ­ ages to b rea th e som e fresh air into a very old story. T h a t it succeeds is a te sta m en t to D u ig a n ’s in c reasin g skill as a w riter an d directo r.

A n arch ety p al A u stralian co u n try tow n, su rro u n d e d by rolling g reen hills, an d com plete w ith the oblig ato ry m a in street, form s th e b ack d ro p for this gentle story. I t ’s all th ere — th e old p u b , the take-aw ay shop, even an old cin em a — an d i t ’s b ath ed in th a t w arm golden glow th a t the early sixties seem s to excite in film p ro d u cers.

It is an old-fashioned film b u t J o h n D u ig an has m a n ag e d to co m bine these elem ents in to a satisfying w hole, a deli­ cate m y th o f an im ag in ed childhood.

T h e story sim ply revolves aro u n d a teenage love trian g le, com plicated by the m y sterio u s secret o f a h a u n te d house.

D a n n y (N o a h T ay lo r) is th e cute-ashell, cool as a ’66 F alcon, in trospective, early sixties te en ag er, u n ab le to realise his passion for th e w ild a n d lu m in o u s F rey a (L o en e C a rm e n in a seductive L olitaesque p erfo rm an ce). F re y a is in tu rn en a m o u re d o f th e school lo u t, T re v o r (B en M e n d elso h n ). T re v o r is n o t a greatly sophisticated y o u th — h e ’s given to stealing cars a n d he has th e u n ­ fo rtu n a te lau g h of som eone w ho is n o t p laying w ith th e full deck. D espite these draw backs, it is T re v o r w ho F rey a is set on an d it is a m easu re o f L oene C a rm e n ’s p erfo rm an ce th a t it allows us to see w hy.

T h e basic p lay in g o u t of this trian g le propels th e film along. W h a t raises Voice above these creaky old cliches is th e w ay in w hich D u ig a n su p erch arg es the atm o sp h ere, d raw in g h eig h ten e d p e r­ form ances from his th ree leads an d p o r­ tray in g the cen tral ch aracters w ith ch arm , w it an d a w ealth o f delicate touches th a t give th e film a special edge.

A story like this is alw ays in d a n g e r of falling in to cute tra p s, b u t D u ig an generally m a n ag es to avoid these an d builds a co n v in cin g p ic tu re o f the

sm o u ld erin g clum siness o f first in fa tu a ­ tion.

D a n n y ’s w orld is a poetic one, in w hich he drifts betw een the w on d ers of h y p n o tism , sex goddesses, space travel an d the co m m o n crisis o f teen ag e co n ­ fidence. H e m ay be a n an cy boy in this co u n try tow n, b u t w h at he does h av e is Style, w hich alth o u g h self-conscious an d clum sy, is en d e arin g .

F rey a is in an o th e r w orld. Slightly older — an d a y ea r in teen ag e te rm s can be like a decade at an y o th e r tim e — she is a rau co u sly b eau tifu l ch aracter, endow ed w ith a n ativ e ch a rm an d a sensuousness th a t alw ays seem s to be in d a n g e r of bo ilin g over.

T o F rey a, th e w ild T re v o r w ith his stu p id ity an d self-destructiveness is a b u rn in g object o f desire. H e r feelings for D a n n y are m erely fra tern al, alth o u g h at tim es h e r ch aritab le kisses m islead D an n y to d istractio n ab o u t h e r in te n ­ tions.

A ro u n d the trian g le, D u ig a n creates a slightly less successful g ro u p o f second­ ary ch aracters, m ostly o f the co n serv a­ tive co u n try type th a t we h av e seen in m a n y o th er A u stralian film s. T h e re is F re y a ’s alcoholic step fath er, nastily played by a very red-faced G ra em e Blundell. A n d stro n g su p p o rt for F rey a also com es from h e r y o u n g er sister G ail (A nja C oleby).

B ruce Spence attem p ts a sta n d -o u t as an eccentric railw ay w o rk er w ho is w ritin g the g reat A u stralian erotic novel while tu rn in g h im self in to an alcoholic.

A lth o u g h p ro v id in g som e com ic relief, the ch aracter is p ro b ab ly o ut of place in the n atu ralistic style o f th e script.

A ten d en cy to overw rite is p ro b ab ly the greatest w eakness o f the script. In th e second h a lf of the film D u ig a n seeks to resolve plot elem ents by tu rn in g the script tow ards m e lo d ram a — n o t in ­ trinsically a b ad th in g b u t, in th e context o f w h at has gone before, n o t necessarily satisfactory. T h e focus o f the film shifts from an exp lo ratio n of th e ch aracters into a k ind o f loose su p e rn a tu ra l guff, b u t this is n e ith e r fully em b ra ce d n o r dism issed o u t of h an d . T h an k fu lly , the tru e cen tre of the story — th e re la tio n ­ ship betw een th e th ree cen tral ch aracters does reassert itself — an d the device used to im plicate the m e n o f th e tow n into a collective guilt fades aw ay back into the tra sh novel d e p a rtm e n t from w hence it cam e.

T h ese script pro b lem s only ta rn ish the surface of the film slightly. T h e electric p erfo rm an ces of the th ree leads ca rry it th ro u g h , as does D u ig a n ’s delicate feel for the rig h t visual an d au ra l sen satio n at the rig h t tim e. T h e o p en in g scenes o f the rolling hills of th e A u stralian co u n try sid e, an d D a n n y ’s ap p e aran c e in the landscape could have b een ex ecuted by m an y less ta len ted directo rs, b u t it is p erh ap s th e ad d itio n al m usical to u c h of ‘T h e L ark A sce n d in g ’ th a t raises this into the sublim e. S im ilarly, th e re is a p o in t in th e film w here D a n n y an d F re y a are talk in g at n ig h t; for a m o m e n t >

CINEMA PAPERS JANUARY - 43

< th ey p ause an d we see th em from above a street light w hich is b ein g b u zzed by a sw arm of insects. It is a delicious m o m e n t, som ehow rem in iscen t of a h u n d re d hot A u stralian nights.

D u ig an has an acu te aw areness of these local touches. P artic u larly in T re v o r ’s ch a racter, we see a k ind of loutish ch arm th a t could som ehow only be A u stralian . T h e ironic touches, the tom foolery, the self-deprecation, the sheer cheek of T re v o r m akes his ch a ra c ­ te r a m illion m iles aw ay from the m ech an ical ch a racterisa tio n s of, say, A

Country Practice.

J o h n D u ig a n is one of A u stra lia ’s m ost prolific w riter/d irec to rs, b u t unlike those w ho have cau g h t the p u b lic ’s im a g in atio n , he has rem a in ed relatively u n k n o w n . D u ig a n ’s films have often suffered from his desire to be socially or politically relevant. The Year My Voice Broke seem s his m ost successful to date, yet is totally devoid of any political or social w heelbarrow ing. P erh ap s D u ig an is m o re at ease w ith this sim ple and effective tale.

J o h n N icoll THE YEAR MY VOICE BROKE: Directed by John Duigan. Producers: Terry Hayes, Doug Mitchell, George Miller. Associate producer: Barbara Gibbs.

Screenplay: John Duigan. Director of photography: Geoff Burton. Production designer: Roger Ford. Editor: Neil Thumpston. Cast: Noah Taylor (Danny), Loene Carmen (Freya), Ben Mendelsohn (Trevor), Graeme Blundell (Nils Olson), Lynette Curran (Anne Olson), Mal­ colm Robertson (Bruce Embling), Judi Farr (Sheila Embling), Tim Robertson (Bob Leishman), Bruce Spence (Jonah), Harold Hopkins (Tom Alcock), Anja Coleby (Gail Olson). Production company: Kennedy Miller. Distributor: Hoyts. 35mm. 105 minutes. Australia.

1987.

-M . I /

' tslak dim.

T H E Y E A R M Y V O IC E B R O K E : Loene C arm e n

44 - JANUARY CINEMA PAPERS

• THE TIME GUARDIAN The Time Guardian, A u s tra lia ’s first a tte m p t at h ig h technology science fiction, is one o f those u n fo rtu n a te fo rm u la films b e tra y e d by a serious m is­ u n d e rsta n d in g o f the g en re. It follows the typical ‘ad v e n tu re film ’ g rap h — a battle in the first five m in u tes, a h a n d ­ som e hero w ho m eets a b eau tifu l girl, w retched villains a n d a fight for survival against tim e. B u t in m e etin g these re q u ire m e n ts it neglects m o re fu n d a ­ m en tal concerns such as a p lausible plot, ch a racter-d e fin in g d ialo g u e, con v in cin g acting an d co h eren t directio n .

T h e pro b lem s sta rt w ith J o h n B axter an d B rian H a n n a n t’s script. T h e o p e n ­ ing voiceover/titles tells us th a t in the afte rm ath of global n u clea r d estru ctio n in the 24th C e n tu ry , one city survives by le arn in g to travel th ro u g h tim e. T h ey are p u rsu e d by th e v illainous J e n -D ik i, a race of cyborgs (p a rt h u m a n /p a rt m achine) w ho, h a v in g no h o m e of th e ir ow n, are b en t u p o n ra n sa ck in g the C ity.

In th e ir p e n u ltim a te b attle, B allard (T o m B u rlin so n ), the good guy/stoical m acho hero , is forced to blow u p one of the C ity ’s legs (it is p ro p p e d u p on four legs). It ca n n o t la n d in the n ex t era, so B allard an d P e tra (C a rrie F isher) are sent as the ad v an ce g u a rd to b u ild a m o u n d of rocks for the C ity to la n d on.

T h ey are b ea m e d in to a p o n d n e a r an outback tow n called M id a s w here they are im m ed iately b efrien d ed by A b o ri­ ginal m en d o in g a co rro b o ree, th en attacked by the J e n -D ik i, w ho h av e fol­ low ed th em . S om ehow they destro y the Je n -D ik i tim e trav el device, w hich causes the J e n -D ik i to give u p fighting an d sit in a n e a rb y cave. P e tra has been w ou n d ed in th e b attle b u t B allard finds fem ale co m p an io n sh ip w ith b eau tifu l geologist, A n n ie L assiter (N ikki C oghill). P e tra b efrien d s A n n ie an d offers h er a m y sterio u s a rm b a n d w hose only function in the plot is to aro u se the slu m b erin g J e n -D ik i, w ho th e n pillage M idas. B allard a n d A n n ie escape to w here the C ity has lan d ed . D espite the su n d e rin g of th e ir tim e trav el device, Je n -D ik i a p p e a r from every nook an d cra n n y , b esieging th e C ity in th e final show dow n. H o w ev er th e re is a w ay to save the day, an d B allard is th e only hope!

Science fiction, like an y o th e r form of n a rra tiv e cin em a, m u st establish an in te rn al consistency in its logic to keep the audien ce satisfied. A p ro b lem w ith The Time Guardian is th a t its plot devices lack subtlety o r co h eren t in te g ra tio n into the d ra m a tic stru c tu re . O n e feels th a t the film w as w ritte n w ith a stopw atch in one h a n d an d the a d v e n tu re film m a n u a l in th e o th e r. S ix ty -th re e m in u tes in to th e film , tim e for som e g ratu ito u s sex! A n n ie im p etu o u sly takes off h e r clothes an d ju m p s in to a p o n d .

T h e film also has an u n fo rtu n a te ten d en cy to su b stitu te co nfusion for in trig u e . T h is is p artly d u e to B rian

T H E T IM E G U A R D IA N : Tom B urlinson

H a n n a n t’s d irectio n . N o t en o u g h a tte n ­ tio n is given to im p o rta n t p lo t p o in ts an d too m u c h tim e is w asted on red h errin g s. T h e au d ien ce suffers from spatial dislocation becau se th e re are an in a d eq u a te n u m b e r of w ide o r estab lish ­ ing shots. A t one m o m e n t the en em y are a few feet aw ay, th e n ex t m o m e n t th ey ap p e ar to be tw o m iles aw ay. T h e lack ­ lu stre actio n sequences p a rtic u la rly suffer from this an d are cu t so aw k ­ w ardly th a t th e J e n -D ik i often a p p e a r to be shooting them selves.

T h e actors w ould h av e b een b e tte r off if they h a d n o t ta k en th e ir d ialo g u e so seriously. T o m B u rlin so n , d e te rm in e d to b rea k o u t o f th e ‘c u te ’ m o u ld , snarls at everyone in d iscrim in ately b u t has pro b lem s fin d in g a fu rth e r d im en sio n .

N ikki C oghill is co m p ete n t, says h e r lines w ith a sm ile an d has th e sin cerity an d conviction of a V o g u e cover. D ea n Stockw ell, as Boss, the C ity ’s le ad e r, n ev e r reco v ered from th e shock o f seeing h im self in his sky-blue ro m p e r suit an d acts like a m a n in a com a, a n d C a rrie F ish er uses h e r role as if it w ere a w a rm ­ u p for h er ow n sit-com .

G eo rg e L id d le ’s p ro d u ctio n design ran g es from im a g in ativ e to ex trem ely tacky. W hile in d iv id u al sci-fi p ro p s are w itty an d well ex ecu ted , (especially th e m a k e-u p on th e Je n -D ik i) th e overall ‘lo o k ’ o f the Film is p atch y a n d far less co n vincing th a n one w ould ex p ect fro m an $8 m illion b u d g et. In p a rtic u la r, a lack o f atten tio n to details is m o st ir r i­ tatin g . A n exam ple o f this is th e fin ish ­ in g on the tow n, M id as. N o n e o f th e surfaces have b een co n vincingly aged, th e costum es are creaseless an d look like they w ere b o u g h t th e d ay b efore, even th e b o o t soles are b ra n d new . All of these details ero d e th e a u th en ticity o f th e set.

T h e only areas w hich com e aw ay u n ­ scathed are technical ones such as th e cin em a to g rap h y , th e special effects, m a k e-u p , an d so u n d . It is a sh am e th a t these u n d e re stim a te d d e p a rtm e n ts will p ro b ab ly n o t get th e a tte n tio n th ey deserve.

Tony Ayres THE TIME GUARDIAN: Directed by Brian Hannant.

Producers: Norman Wilkinson and Robert Lagettie.

Executive producer: Antony I. Ginnane. Screenplay: John Baxter and Brian Hannant. Director of photo­ graphy: Geoff Burton. Editor: Andrew Prowse. Produc­ tion designer: George Liddle. Cast: Tom Burlinson (Ballard), Nikki Coghill (Annie Lassiter), Dean Stockwell (Boss), Carrie Fisher (Petra), Henry Salter (Prenzler), Jo Flemming (Tanel). Production company: International Film Management Limited/Chateau Productions Invest­ ments Limited. Distributor: Filmpac. 35mm. 87 minutes.

Australia. 1987.

• PRICK UP YOUR EARS J o e O rto n w as on the crest o f a w ave — his second play Loot h ad only recently w on the 1967 Evening Standard an d Plays And Players Best P lay of the Y ear — w h en his lover of 15 years, K en n e th H alliw ell, b lu d g e o n ed him to d ea th w ith a h a m m e r. A n exotic gay love story gone w rong; a n d one of the m o re p ro ­ fo u n d losses m o d e rn B ritish th e a tre has h ad to sustain.

I t ’s a su b stan tia l trib u te to those who have m a d e the film o f O r to n ’s life (or d eath ) th a t they have n o t been afraid to be fran k , w ith o u t ever re so rtin g to the sort of sleazy a n d o p p o rtu n istic sensa­ tio n alism to w hich F assb in d er has recen tly been subjected. T h e film is, from this p o in t of view , a m odel of its kind.

I t ’s also w itty an d intelligent. It p o n d ers the ironies a n d co n trad ictio n s of life a n d a rt, yet n ev er la b o u rs these them es. A difficult film to m ake, th ough y o u ’d h a rd ly notice w atch in g the deft tre a tm e n t it has b een given by d irecto r S tep hen F re ars an d his team . A lot of the success rests w ith A lan B e n n e tt’s m asterly screenplay, 10 years in the m ak ing.

O rto n grew u p in b o rin g w orkingclass su b u rb ia in n o rth e rn L eicester (as d id F rears, coincidentally). H is m o th e r p u sh ed him to becom e som ething, b u t going dow n to L o n d o n on a scholarship to L o n d o n ’s R o y a l A c a d e m y o f D ra m a tic A rt w as n o t w h at she expected. H e w as a boy w ith n o th in g m u ch to offer sw inging L o n d o n in its h ey d ay b u t talen t.

N o rm ally th a t is n o t q u ite eno u g h , in a place w here class an d connections still co u n t for a lot. O r to n ’s bold ploy was to tu rn w hat oth ers saw as his sh o rt­ com ings into a d ev a sta tin g arm o u ry of w eapons, w hich tran sfo rm ed w hat could well have b een a p assing w it into the m ost pow erful satirist o f the age.

It was at R A D A th a t O rto n m et H alliw ell, also a stu d e n t, b u t 15 years his senior. T o a n aive y o u n g lad, H a lli­ well h ad a lot to offer, besides the sm all b ed sit they shared for the d u ra tio n of th e ir relatio n sh ip . B oth nobodies w ith fertile im a g in a tio n s, they set to co­ w ritin g novels, d efacing lib ra ry books, an d cre atin g a m u ra l from im ages cut o u t o f these books w hich covered a w hole w all in th e ir tin y room .

T h e y w ent to ja il for stealing an d d efacing the books, ca u g h t in a m a n n e r b efittin g one o f O r to n ’s best scenes.

S uch m o m e n ts are h an d led boldly in the film ; F re ars lifting the style a little h ig h e r th a n the rest o f the film — b rin g ­ in g to life them es a n o th e r film m aker m ig h t h ave b ee n h a p p y m erely to describe.

T h e irs w as for a lo n g tim e a totally enclosed w orld, w here H alliw ell tra d e d ed u c atio n an d a rt for h u m a n contact.

T ro u b le sta rte d w hen J o e ’s w ritin g b eg an to a ttra c t atte n tio n . O r K en an d

J o e ’s, as H alliw ell w ould h ave h ad it — b u t th a t’s n o t how m a n y oth ers saw it.

P eggy R a m sa y , a le ad in g ag en t, spotted the talen t; an d from th a t m o m e n t H a lli­ w ell’s life was red u ced to shadow s. It was this statu s, an d the daily h u m ilia ­ tions w hich w ent w ith it, w hich p ro b ab ly drove H alliw ell to the b rin k an d beyond.

In an in te restin g w riterly stroke, B en n ett reinforces this line o f the story in a subplot. B io g rap h er J o h n L ah r, played by W allace Shaw n (w ith som e wit) has a wife w ho helps o ut b u t is nev er recognised either.

In o th er w ays, B en n ett w orks boldly to reduce the sw irling crow ded w orld of sixties L o n d o n to a few key, cinem atically m an ag eab le people.

In an equally in sp ired stroke, F rears casts G ary O ld m a n as J o e — O ld m a n h aving been so successful in th a t o th er recent ‘real-life’ role, Sid, in Sid And Nancy. I t ’s an o th er su p erb p o rtra y al, cocky, relaxed, always on the edge of im p rov isatio n — w hat a g reat w ay to ca p tu re O rto n ’s subversive w ay of life.

O n e can see w hy A lfred M o lin a m ig h t have been cast in the H alliw ell role. N ot ju s t im posing, he b rin g s w ith h im a sort of E u ro p e an form ality. H alliw ell was form al, different; b u t for som e reason, and all d ue respects to the actor, the strategy d o esn ’t q u ite com e off. S o m e­ th in g m u st have b o u n d these two m en tog eth er — yet, on the screen, one n ev er m anages to find o ut exactly w hat.

P erh ap s they sim ply, in the av oidance of

sleazedom , ju s t d o n ’t to u ch en o u g h .

W hile the film assiduously avoids m o ralisin g , M o lin a ’s E u ro p e a n n e ss seem s to give rise to a situ atio n w here, w ith o u t m u ch else to go by, one so m e­ tim es forgets this is sixties L o n d o n . O n e w ould h ard ly suspect F rears w ould o v er­ look such an issue carelessly, given the tro u b le he w ent to an d success he h ad in show ing a different L o n d o n in his p re ­ vious film, the delightful, pow erful, My

Beautiful Laundrette.

T h is tim e ag ain , th e re ’s th e w it an d w him sy, the eye for detail, the precise intelligence, an d w hat looks v ery m u ch like a gen u in e care for th e subject.

T h e r e ’s also, w ithin the c u rre n t tr a d i­ tion of B ritish realism , m o re eccentric, inventive touches to the film m ak in g itself. Especially the w ay one sud d en ly finds oneself, ju s t occasionally, subtly m oved into w hat looks an d feels very m uch like a scene in one of O r to n ’s ow n plays. A rt eats u p , n o t ju s t life, b u t o th er art too.

Jam es W aites PRICK UP YOUR EARS: Directed by Stephen Frears.

Producer: Andrew Brown. Screenplay: Alan Bennett.

Based on the biography by John Lahr. Director of photography: Oliver Stapleton. Production designer: Hugo Luczyc-Wyhowski. Music: Stanley Myers. Editor: Mike Audsley. Cast: Gary Oldman (Joe Orton), Alfred Molina (Kenneth Halliwell), Vanessa Redgrave (Peggy Ramsay), Wallace Shawn (John Lahr), Lindsay Duncan (Anthea Lahr), Julie Walters (Elsie Orton), James Grant (William Orton), Frances Barber (Leonie Orton), Janet Dale (Mrs Sugden), Dave Atkins (Mr Sugden). Produc­ tion company: Civilhand/Zenith. In association with British Screen/Film Four International. Distributor: CEL. 35mm. 110 minutes. Great Britain. 1987.

P R IC K U P Y O U R E A R S : G ary O ldm an

CINEMA PAPERS JANUARY — 45

INNERSPACE: Martin Short

• INNERSPACE • THE PICK-UP ARTIST T here are a few good reasons for com bining Jo e D a n te ’s Innerspace and Jam es T o b ack ’s The Pick-Up A rtist in the one review . F irstly, b o th are less successful w orks by directors who are always fascinating and have at least once in th eir careers thus far produced b rillian t, unforgettable films ( Gremlins and Fingers respectively). Both projects can be im agined as having once been w ilder, tougher, less com prom ised projects — subject to the same film in d u stry forces th a t elicit The Color O f Money from Scorsese or The Untouchables from De P alm a. A nd loom ing behind each of these new film s, at the d ark h ea rt of com prom ise, is a pow erful, charism atic producer figure — Steven Spielberg for D ante and W arren Beatty for T oback. (B eatty’s nam e does not appear in the credits of The Pick-Up A rtist b u t his decisive role in the p ro duction is colourfully outlined in D avid T hom son’s B eatty biography to be review ed in the next issue.)

Innerspace causes one to seriously w onder w hether there is anything productive in the Spielberg-D ante p artn ersh ip beyond the one-off w onder of Gremlins — a film w hich is, after all, as m uch anti-Spielberg as it is exploitative of his a rt and craft. D ante seems now very m uch the loser, the su bordinate, in this relation. Innerspace is a sad mess — as far from the radical, cheeky, innovative potential of D a n te ’s film m aking as can be im agined. A fter Gremlins, D ante spoke of his w ish to go fu rth er into the ‘w e ird ’, unconventional aspects of film fantasy (see Prevue 60, July-A ugust 1985). D ante aficionados know precisely w hat b ra n d of w eird h e ’s talking about: early M ad m agazine, the W arner B rothers cartoons of T ex Avery or C huck Jones, u n restra in ed J e rry Lewis. Innerspace held out the delicious prom ise of being the ultim ate D ante inferno: a no-holds-barred live-action cartoon about the h u m an body both inside and out, and the transgression of its lim its.

So m uch for high hopes. Innerspace takes over the old Fantastic Voyage

46 - JANUARY CINEMA PAPERS

prem ise of one person in a space craft (D ennis Q uaid) m in iatu rise d inside another person (M a rtin S hort). M aking sense of even the basic fictional prem ise of the film beyond this p o in t poses considerable problem s. It leaps all over the place, try in g out one possible Q uaidShort relatio n and then an other. For the most p art, i t ’s not a film about the body at all — except for one freakish, delirious m om ent of bodily tran sfo rm atio n — b u t more sim ply one about conscience, w ith Q uaid acting here as S h o rt’s ego or id (spurring on his em otional developm ent), and th ere as his superego (hey, d o n ’t look at my girlfrien d like that!). H ow ever, w henever the plot requires it, Q uaid is suddenly able to com pletely program an d m an ip u late S h o rt’s body (pum ping up his ad ren alin level on the com puter b oard).

T hroughout, the film goes to strenuous lengths — and here one m ust surely suspect the h an d of Spielberg — to avoid anything even slightly icky, slim y, anal or erotic inside the landscape of the hum an body: gastric acid is em ployed as the most ‘san itised ’ back d ro p of abjection for the big action scene.

As usual w ith D ante, attem pts at conventional character pathos creak very badly — and this is a film w hich starts on an interm in ab le attem p t to set up Q u aid ’s rough-but-solid-hero status along w ith the general em otional co­ ordinates of the film (fidelity, tru st, integrity, self-discovery, com prom ise . . .). None of this, one w ould like to say, is D a n te ’s business. M aybe he knows it. T he other big m om ent of the film — w hen Q uaid enters his g irlfrien d ’s body via S h o rt’s m outh (huh?) and discovers the foetus of his u n b o rn child — w ould be, if heartfelt, ex traordin ary ; D ante seems to throw it away out of acute em barrassm ent, leaving half the audience scratching its collective head. Innerspace is full of painfully m arginal notations for the film D ante obviously craves to m ake: a laboratory ra b b it nam ed Bugs; a cameo

by Chuck Jo n es; an elaborate b u t w asted gag involving villains reduced to pigm y size. D ante eventually settles for a few nice touches th a t are m ore like F ran k T ashlin th an Tex A very, such as the penultim ate m om ent w hen Short closes three sub-plots in seven w ords. B ut these jokes am ount to cold com fort. M aybe D ante needs to get back w ith form er colleagues: Roger C orm an, Jo h n Sayles, Allan A rkush . . .

The Pick-Up A rtist is an altogether h appier, if som ew hat sim ilarly un certain , affair. T his film started out about six years ago as — believe it or not — a d ram a about “ a m an who w ants to fuck every w om an b u t who still lives w ith his m o th er” . O n rep o rtin g this in 1981, D avid T hom son (in his book Overexposures) rem ark ed th a t “ T oback m ight be the film m aker to reveal how m uch the A m erican m ale longs to screw his m other. W ouldn’t th a t have to be an u n d ergrou n d p ic tu re?” As it tu rn s out,

The Pick-Up A rtist is certain ly no u n d erg ro u n d p ictu re. T he m in d boggles as to the in terv en in g tu rn aro u n d s an d rew rites on th a t in itia l script — a project en tirely in line w ith the to rtu red , narcissistic angst laid out in every o th er T oback film (The Gambler w hich he only w rote, and th en Fingers, Love A n d Money and Exposed). In the film u p for discussion, the m other has m etam orphosed into a g ran d m o th er, an d any sexual tension betw een h er an d the 20-year-old hero is en tirely absent; in fact, the old dear seems to be still h ap p ily p u rsu in g h er ow n, u tte rly in d ep en d en t love life. I f this is a Jam es T oback film , th en T oback m ust be a changed m an.

A ctually, i t ’s h a rd to tell how sincere or how calculatedly ‘m a tu re ’ T o b ack is being b eh in d this film . E v ery obsessive T oback tra it is th ere, somewhere: alcohol, gam bling, vicious com pulsion, psychological double b in d s, d riv en sex.

Y et, instead of b eing com pounded all into the m ain character (who is always a T oback stan d -in ), here the traits are spread aro u n d , shared, w ork ed th ro u g h w ith o u t any p articu larly violent catharsis: the hero (R obert D ow ney, J r ) w om anises, the w om an he meets (M olly Ringw ald) gam bles, h er fath er (D ennis H opper) d rin k s. Som ething of the characteristic T oback m ale-centered, O edipal in trig u e lingers in the plot — H arv ey K eitel as the crim in al ‘fa th e r’ who m ust be transgressed in o rd er th a t the hero w in the w om an-object from his clutches — b u t here, for the first tim e, the w om an is not an object, she has som ething to say an d reciprocate. (A d istin ct advance on Exposed w here T oback m erely foisted his neu ro tic form ation up o n a female h ero .)

I h av e n ’t m entioned th a t The Pick-Up A rtist is a com edy; at least, I th in k i t ’s m eant to be so. T o b ac k ’s h u m o u r has previously always been of the p articu larly grim , d ark k in d ; h ere he jo in s on the tren d of lightw eight films try in g to take teen stars (like R ingw ald) and teen m ovie styles in to a new genre of ‘young ad u lth o o d ’. T ob ack appears ill at ease w ith b o th a hero n ot his ow n age, and the m echanics of light com edy. T his is w here some of the u n certain ties and

T H E P IC K -U P A R T IS T : R o b ert D o w n e y an d M o lly R ingw ald

confusing overlays appear: why must this hero be an obligatory Toback hero with a love for doo-wop music? Many of the ongoing comic premises — such as Downey and his best friend Danny Aiello never stopping to imagine that Hopper is Ringwald’s father — are delivered heavily and somewhat implausibly (Toback is neither a Rob Reiner nor a John Hughes with this material). When Toback tries to flip his typical signature scenes — such as when the failing hero tries to bluff his way out of a tight spot, and fails miserably (see Fingers) — into positive, happy, triumphant moments, it only half works.

Given these problems (and what I feel is the miscasting of Downey, who never quite finds the right tone for the role), there is a lot of good news in The PickUp A rtist. Toback’s filmic style has previously lurched from excessive experiment (the relentless long takes in Exposed) to flat narration (Love A nd Money). H e’s discovered some fine new angles here; in particular a stunningly expressive use of locations (subways, car parks, hotels, Coney Island). When he can bear to tear the same old doo-wop off the soundtrack, Toback invents some startling image-sound rhythms and relations involving (amongst other things) rap and funk music. Themewise, Toback explores with full strength what has always been his most unique interest — the relations of main characters to their taciturn, highly individualised parents — and uncovers an affinity with the most complex ideas of the great 1940s romantic comedies. In this regard The Pick-Up Artist evokes both McCarey — the two principal characters having both to learn something and give up something, finding the mid-point between playing too much and not being able to play enough — and Cukor. What with Molly Ringwald having to move beyond a certain frigid emotional (not sexual) reserve, and the womb-like relationship with a loving (not tyrannical) parent — The Pick-Up Artist is a little like Toback’s version of The Philadelphia Story. You don’t believe me? Well, check it out — and pay strict attention to that grandmother.

A d ria n M a rtin THE PICK-UP ARTIST: Directed by James Toback. Pro­ ducer: David L. MacLeod. Screenplay: James Toback.

Director of photography: Gordon Willis. Editors: David Bretherton, Angelo Corrao. Production designer: Paul Sylbert. Music: Georges Delerue. Cast: Molly Ringwald (Randy Jensen), Robert Downey (Jack Jericho), Dennis Hopper (Flash), Danny Aiello (Phil), Mildred Dunnock (Nellie), Harvey Keitel (Alonzo), Brian Hamill (Mike). Pro­ duction company: Twentieth-Century Fox. Distributor: Fox Columbia. 35mm. 82 minutes. USA. 1987.

INNERSPACE: Directed by Joe Dante. Produced by Michael Finnell. Executive producers: Steven Spielberg, Peter Guber and Jon Peters. Co-executive producers: Frank Marshall and Kathleen Kennedy. Screenplay: Jeffrey Boam and Chip Proser. Director of photo­ graphy: Andrew Laszlo. Editor: Kent Beyda. Production designer: James H. Spencer. Music: Jerry Goldsmith.

Cast: Dennis Quaid (Lt. Tuck Pendelton), Martin Short (Jack Putter), Meg Ryan (Lydia Maxwell), Kevin Mc­ Carthy (Victor Scrimshaw), Fiona Lewis (Dr Margaret Canker), Vernon Wells (Mr Igoe). Production company: Amblin Entertainment/Guber-Peters. Distributor: Village Roadshow. 35mm. 120 minutes. USA. 1987.

I’V E H E A R D T H E M E R M A ID S S IN G IN G : P au le Baillargeon

• I’VE HEARD THE MERMAIDS SINGING In h e r featu re d eb u t, I ’ve Heard The Mermaids Singing, w riter an d d irecto r P atric ia R o z em a in tro d u ces us to Polly (Sheila M c C arth y ). S h e’s q u irk y , a kind o f u rb a n in n o cen t w hose clow nish, inquisitive face an d c h a rm in g naivety rem in d us o f G iu lie tta M asin a.

In a v id eo -tap ed ‘d o cu m en ta ry style’ confession, Polly ad dresses the a u d i­ ence. She in tro d u ces the ch aracters an d n arrate s the events.

Polly describes h erself as a “ gal on the g o ” , b u t envisages a jo u rn e y w ith o u t a destinatio n . She has n e ith e r am b itio n n o r d irectio n an d , despite w o rk in g as a secretary, is n o t the least bit p e rtu rb e d by bein g describ ed as “ o rg an isatio n ally im p a ire d ” . S h e ’s y o u r b u m b lin g h appygo-lucky type w ho prefers can n ed peas to sushi an d w ho w h en asked (in a Ja p a n e se re sta u ra n t) w h at she w ants from life, quips: “ A fo rk ” .

O n bein g in terv iew ed for a secretarial position, Polly agrees to be used ra th e r th a n em ployed. She team s u p w ith G abrielle S t-P eres (P au le B aillargeon), c u ra to r of a tren d y a rt gallery k now n as T h e C h u rc h . M esm erised by G ab rie lle’s elegance, so p h isticatio n an d a p p a re n t intelligence, Polly falls in love — “ n o t kissing an d all th a t s t u f f ’ b u t id o la­ trous awe. A t the gallery Polly w it­ nesses, w ith gleeful fascin atio n , p o m p ­ ous intellectual a rt talk. S h e ’s am u sed at m istak in g “ acu te a w a re n ess” for “ a cute aw a re n ess” . She also observes, th ro u g h a secu rity ca m e ra , th e lesbian relation sh ip b etw een th e C u ra to r an d a y o u n g artist n am ed M a ry J o se p h (A nnM a rie M c D o n ald ).

In o rd e r to escape the relativ e te d iu m of h e r ow n life, Polly slips into an d o ut of a w orld o f “ fa n ta sy ” . In this w orld, w hich is d elin eated by g ra n u la r black

an d w hite footage, Polly flies, w alks on w ater, h ears the m e rm aid s sin g in g an d even asto u n d s G ab rie lle w ith h er esoteric u tteran ces.

A lth o u g h elo q u en t in discussing art, G abrielle frets th a t she is u n ab le to create it. B ut Polly, w hen show n som e of h er w ork, is bow led over, an d in an attem p t to rid G ab rielle o f h er self­ d o u b t, grabs one o f the p ain tin g s an d shows it to a critic. T h e C u r a to r ’s w ork attracts im m ed iate acclaim . In sp ired by the sequence o f events, Polly — a closet p h o to g rap h e r — sends G ab rielle som e of h er p h o to g rap h s u n d e r a p seu d o n y m .

T h e C u ra to r dism isses th e m as “ the trite m ad e flesh” , w ith o u t po ten tial.

Polly is d ev astated . She b u rn s h er p ictu res an d destroys th e cam era. L ater, she discovers th a t the w o m an she has w orshipped is a fra u d , an d h e r in te rest • in p h o to g rap h y re tu rn s.

O n a th em atic level the film b rin g s to the surface, b u t often fails to p u rsu e, a diverse ran g e o f en g ag in g issues.

R o z em a draw s analogies betw een C h ristian ity (religion), H ig h A rt an d the p ro p en sity for idolatry. A rt is revered.

I t ’s hou sed in “ T h e C h u r c h ” . G abrielle S t-P eres (A rch an g el G ab rie l/S t P eter) is the m e sse n g e r/in te rp re te r o f the “ w o rd ” to h u m a n k in d (M a ry Jo se p h )/ the m asses (Polly).

Im plicit in these situ atio n s is an ex a m in atio n of the m echanics o f belief, the status of know ledge. F o r instance, th ere are th ree separable stra ta of b elief th a t altern ate th ro u g h o u t th e film — video address, the black a n d w hite sequences, cen tral n a rra tiv e — b u t n o n e of these is ever allow ed to assum e a h ig h er o r m o re secure statu s o f veracity.

W h en G ab rielle is exposed, w e ’re rem in d ed th a t w h at looks certain is ju s t the p ro d u ct of w hat w e’re p re p a re d to believe. “ W e d o n ’t see th in g s as they are, b u t as we a r e ,” in R o z e m a ’s w ords. >

CINEMA PAPERS JANUARY — 47

< T h e im plications for the activity of criticism itself are clear.

In n u m e ro u s w ays the film is em p h atically gynocentric. As critic, artist an d p h o to g rap h e r, the th ree w om en are vehicles of the film ’s ‘ ‘lo o k ’ ’.

By p o sitio n in g Polly as the n a rra to r rela tin g h e r experience, the au dience adopts h e r p o in t of view. T h e film ic assu m p tio n th a t w om en are the passive recipients of the m ale gaze, th a t the sp ectator is, or should identify w ith a m ale, is u n d e rm in e d .

T h e film fu rth e rm o re o v e rtu rn s an d in v erts p a tria rc h a l d o m in a tio n in n a te in the trad itio n s of R eligion a n d A rt. G abrielle S t-P eres replaces St P eter. M a ry J o se p h suggests an exclusively fem ale id en tity in the rep rese n tatio n o f (holy) family. L esbian sexuality replaces the d o m in an ce of m ale sexuality in h e re n t in the id ea an d rep rese n tatio n of the love of G o d /C h rist etc for “ M a n k in d ” .

T h e film m akes o th e r references to the rep rese n tatio n of w om en in cinem a.

R o z e m a refuses to classify w om en as one dim ensional “ ty p e s” , to locate th e m in N a tu re ra th e r th a n C u ltu re .

W hilst rejecting the p atriarch a l assu m p ­ tio n of heterosexuality, she d ares to clothe lesbianism in stylish E u ro p e a n fashion. B ut in this depiction, R o z e m a is careful n o t to replicate co n ventional titillatin g pleasure system s. She declines to p resen t w om en as isolated, sexualised an d on display, to illustrate lesbianism an d th ereb y reduce it to a spectacle.

T h e style of the film is substantially w him sical, its to n e occasionally offbeat.

T h e p erform ances are skilful a n d the direction, p articu larly astu te in the w ay th a t it delivers com plex issues in an accessible fashion. T h e film som etim es falls into u n necessary ro m an ticism , an d som e m ay find the n am in g s an d m e ta p h o rs co n triv ed . I t ’s a film , how ever, th a t’s likely to b o th engage an d charm .

Sandra Sdraulig I’VE HEARD THE MERMAIDS SINGING: Directed by Patricia Rozema. Executive producer: Don Haig. Pro­ ducers: Patricia Rozema, Alexandra Raffe. Screenplay: Patricia Rozema. Director of photography: Douglas Koch. Editor: Patricia Rozema. Music: Mark Korven.

Cast: Sheila McCarthy (Polly Vandersma), Paule Baillargeon (Gabrielle St-Peres), Ann-Marie McDonald (Mary Joseph), John Evans (Warren), Brenda Kamino (Japanese waitress), Richard Monatte (critic). Pro­ duction company: Vos productions. Distributor: AZ. 35mm. 81 minutes. Canada. 1987.

• ISHTAR In spite of the scorn it has attracted , E lain e M a y ’s Ishtar should be the p rem ise for som e celebration. F o r w ith su b tle in te llig en ce (a n d h ig h risk finance), Ishtar relates back to a ‘le sser’ tra d itio n of H ollyw ood com edy found consistently th ro u g h o u t the thirties, forties an d fifties. In co m p ariso n to the sophisticated, screw ball o r ro m an tic com edies o f the sam e p erio d it is a seem ­ ingly u n w o rth y a n d no d o u b t neglected stra n d o f com edy w hich we can call, w ith a few reserv atio n s, the b u d d y com edy: A b b o tt a n d C ostello, H o p e and

48 - JANUARY CINEMA PAPERS

IS H T A R : H offm an and B ea tty in a sequins s e q u e n ce

C rosby, Lew is an d M a rtin . W h y this neglect has tak en place should n o t be a cause for la m en t b u t an o p p o rtu n ity to speculate w hy this su b g en re is ‘on the b e n c h ’ (w ith the p roviso, o f course, th a t som ethin g can be said ab o u t its com ic u n d erp in n in g s).

B ut such has b een th e state of affairs th a t the b u d d y com edy is n o t only ‘on the b e n c h ’ b u t ap p e ars as an ab e rra tio n w ithin m o re ‘le g itim a te ’ form s of film com edy. T h e com ic genius o f Lew is, for instance, is generally co n sid ered to em erge p o st-1956, an d th erefo re postM a rtin (w ith th e exception of som e T ash lin -d ire cted com edies) w h ere Lew is can be m o re closely ap p re cia ted as the by -p ro d u ct of th e silent com ic. H o p e, if considered at all, could n o t rely on the Road pictu res for com ic acclaim , q u ite the reverse; w hile A b b o tt a n d C ostello barely rate a m e n tio n . T h e re seem s to have been an u ndisclosed law o p era tin g w hich displaces th e b u d d y com edy from the ‘se rio u s’ o f film com edy to the ‘triv ia l’ o f e n te rta in m e n t, w ith th e fact of th e ir serialisatio n ( The Road To . . ./Abbott And Costello M eet. ad d in g to this conception.

If, only for ex p e d ie n cy ’s sake, we cite K a m in sk y ’s tw o d o m in a n t m odes of A m eric an film com edy — “ th e in d iv i­ d ual o u t of k eep in g w ith society” an d “ the m a n versus w o m an m o d e ” — th en we can see th a t w hile th e b u d d y com edy shares in b o th , it belongs to n eith er.

A n d for th e com ic team s m e n tio n e d h ere, it is n ev e r all th a t clear how the b u d d y com edy — the ex ten sio n o f the rad io o r n ig h tclu b ro u tin e — is in te ­ g rated in to film . It is likely th a t the film s’ settings w o u ld h av e b een e la b o ra ­ tions of th e n ig h tc lu b a c t , th e ir (th re a d ­ b are) n a rra tiv e s n o th in g m o re th a n su p ­ ports for a strin g o f o n e-lin ers. A n d i t ’s th erefore likely th a t th e b u d d y com edy w ould h av e b een re g a rd e d as sep arate, m a rg in al a n d /o r p ro v isio n al, b e a rin g little rela tio n to th e d ev e lo p m e n t o f film

. .)

com edy in K a m in sk y ’s sense.

B u t th e b u d d y co m ed y is a h y b rid fo rm , like m o st o th e r com ic form s.

W h a t ten d s to go u n n o tic e d is th a t the n ig h tclu b ro u tin e w as easily assim ilated into film th ro u g h p e c u lia r self-reflexive m ech an ism s, ev en d irec t ad d ress. T h e playfulness o f th e n ig h tc lu b act allow ed for calcu lated playfulness w ith the m e d iu m . T a k e , for ex am p le, Bob H o p e ’s refu sal to e n d The Road To Bali by p u sh in g “ T h e E n d ” off th e screen, a n d his p ro testatio n s — “ C all th e p ro ­ d u c e r” , “ C all th e w rite rs” — a t the sight o f B ing ex itin g th e p ic tu re , n ot only w ith D o ro th y L a m o u r b u t J a n e R ussell as a b o n u s. I f com ic self-reflex ivity has n ev e r b een as d irec t as in this case, it ca n n o t be a b s u rd at least to p ro ­ pose th a t film co m ed y , in m o st of its v arie d guises, strives to in te g ra te its su b ­ je c t m a tte r w ith a n u n d e rs ta n d in g of the m e d iu m an d w h at can be d o n e w ith the m e d iu m , for tran sfe re n ce is n ev e r p u re an d sim ple.

T h is p ro v id es a good e n o u g h p o in t to b egin to talk a b o u t Ishtar , for ev ery th in g is so u p fro n t th a t i t ’s likely to be m issed o r m isin te rp re te d . C e n trin g on th e two co-stars, W a rre n B eatty an d D u stin H o ffm an , a n d th e ir resp ectiv e c h a rac­ ters, L yle R o g e rs a n d C h u c k C lark e, it seem s in ev itab le Ishtar will a t first offend, given th e p rem ise o f tw o u n d e n i­ able w in n ers p la y in g tw o ab ject losers.

A s A n d rew S arris p u ts it in th e Village Voice, H o ffm a n a n d B e atty in d u lg e in an in d ire ct fo rm o f se lf-c o n g ra tu la tio n for h a v in g b ecom e b ig stars th a t m ak es fun o f all th e p o o r w retch es in th e w o rld w ho h a v e n ’t. B u t Ishtar d o e s n ’t ask o f its au d ien ce to believe in B eatty a n d H o ff­ m a n as th e d o w n -a n d -o u t so n g w ritin g te am o f R o g e rs a n d C lark e. I t ’s in c o n ­ ceivable. Ishtar, ra th e r, is n ’t a u th e n tic a ­ tin g , i t ’s h a m m in g ; a n d h a m m in g it u p to th e p o in t w h ere w h a t show s th ro u g h is th e au th e n tic ity o f th e spectacle of w in n ers p la y in g losers.

From this angle then, there aren’t two central characters but four. There is someone called W arren Beatty who bears little relation to Rogers, and som e­ one called Dustin H offm an who equally bears little relation to Clarke. This can be more readily discerned in the con­ scious playing against persona, especi­ ally as regards Beatty: Rogers as awk­ ward and sexually naive runs counter to Beatty as womaniser; while the nick­ name, Hawk, testifying to success with wom en, m ay fit Clarke but not H off­ man (at least in playing against co-star Beatty). Like the audience members who stare with mouths agape at the unbelievability of the team ’s nightclub act, a “ willing suspension of d isb e lie f’ is something Ishtar refuses to engage in; it’s this whole shuffling spectacle of (d is )a u th e n tic a tin g th a t M a y is d efin itely aware of. H en ce, the relevance of the Rogers and Clarke tune which both opens and closes the film — “ Telling the truth can be dangerous business” .

The buddy comedy tends to fall out of favour by the early sixties (although a more or less hardy sort through the seventies was the team of J ack Lemmon and Walter M atthau). But, of course, the new morality o f the sixties gives cause to re-sharpen the romantic comedy along new and more daring lines, leaving the buddy comedy to sever the partnership or, more precisely, shift ground — to the policier, for instance.

It is in this climate that Jerry Lewis’ The N utty Professor (1963) puts the buddy comedy through the wringer, giving insight into the darker ‘chemistry’ between buddies: friendship that also in­ volves rivalry, mistrust and backstabbing.

It is worth m entioning at this time Elaine M ay’s earlier film M ikey A n d Nicky, which uses a recognisable team of sorts, John Cassavetes and Peter Falk.

In a sense, M ikey A n d Nicky could be described as a topsy-turvy buddy comedy which shows what happens when the loser of the team finally gets the upper hand. The two central charac­ ters are small time hoods and long time friends. Cassavetes-Nicky is the winner but out of favour with the m ob, and in hiding; vvhile Falk-Mikey is the loser, the butt of N icky’s pranks, but the one who is setting Nicky up for a hit. W hen M ikey asks Nicky, “ D o you think I ’m fingering you?” , to reassure Nicky of his trust, the sad truth is not so much that he is, but that he is going to go through with it to its bitter conclusion — M ikey barricading the door as Nicky takes the hit on M ikey’s door step.

Bud is always fingering Lou, Bing is always fingering Bob, and Bob is always trying to finger Bing but ends up finger­ ing himself, and Dean fingers Jerry but only to the point where he realises he needs Jerry more than he knew, and more than Jerry needs Dean. M ikey A n d Nicky, in this sense, could be about the straightman getting his come-uppance.

Ishtar, then, comes to us via this same route. But if Ishtar does not manage to

exorcise the figure of the straightman, it does manage to devalue and destabilise this figure.

Ishtar is in this respect three or four moves away from the Hope-Crosby Road pictures (its closest companions), where it doesn’t just invoke them, it resituates their terms. W hen the exotic Isabelle Adjani character (the Dorothy Lamour of Ishtar), with tears in her eyes, admits by the end of the film to loving both m en, there’s been a whole inverted process the straightman (and by associa­ tion the loser) has gone through for her to be able to say that. “ M ost guys live lives of quiet desperation. Not u s,” is something Clarke tells Rogers in cementing their friendship. Both are losers, but between them Clarke is definitely perceived as the straightman, and the dominant figure of the two. There are a number of instances which establish this. A run­ ning gag early on in the film is where, with each and every proposal or sugges­ tion made to the duo, Rogers follows Clarke’s lead by responding with, “ M e to o ” . A nother scene has Clarke attempting to correct R ogers’ pronun­ ciation of “ schmuck” , which he pro­ nounces “ smuck” . And, not only is Clarke the womaniser, he is also the decision-maker — it’s he who assumes the responsibility of deciding whether to take the booking in Morocco over the less lucrative deal in Honduras.

But it’s in the nature of this film to be somehow self-effacing. The sequence which precedes Clarke’s decision is an extraordinary flashback which begins by fading out with Rogers, and concludes by fading in with Clarke. It seems Clarke is always taking the lead, and taking it away from Rogers. The flash­ back, however, reveals an important aspect of their friendship — a scene has Clarke on the ledge of his apartment building in a feeble suicide attempt just after his admission to Rogers that he is really a failure, even with women. Out on the ledge, Rogers physically takes support o f Clarke, but explains, “ D o n ’t you understand it takes a lot of nerve to have nothing at your age? M ost guys would say, ‘The hell with it’. You say, ‘I ’d rather have nothing than setde for less’. ” End of flashback, and Rogers and Clarke are Morocco-bound.

If Clarke is the decision-maker, Rogers is the logician and the one who provides the raison d ’etre. Rogers explains why wom en are readily attracted to Clarke: “ It’s because of your size; ever heard of a tall sports car?” This is theatre of the absurd material, and it’s this kind of nonsense which makes sense, most emphatically for Clarke rather than Rogers, for Clarke must still suffer the indignity of realising he is a loser.

W e can divide Ishtar equally into its New York segment, on the one hand, and, on the other, its Ishtar segment;

and if we can propose that the New York segment is dominated by and belongs to Clarke, then the Ishtar segment must certainly belong to Rogers. A central1 scene occurs after the pair are duped —

by Adjani’s revolutionary group and the CIA — into taking to the desert with a blind camel. The scene repeats the central gag: as the pair stand in the wide expanse of the desert, a CIA helicopter descends for the kill, but when the pair finally realise what’s happening, Clarke, in exasperation, complains about the camel, “ H e ’d rather just sit there and get shot!” . Rogers replies, “ Actually, I kind of admire that.” To which Clarke adds, “ M e to o .” That, in the film ’s subtle manoeuvring, it is actually Rogers who has taken the lead, is further reinforced when he happily exclaims, “ This isn’t living lives of quiet desperation!” as a second CIA assassination attempt is met by the pair armed and fighting back, and this time with Adjani at their side. If both are losers then they’re also both winners; hence the importance and condition of Adjani’s admission to loving both of them is the condition of destabilising Clarke’s confidence — not bringing him down necessarily, but raising him to Rogers’ level. Thus, a film that can say you’re a winner even if you’re a loser isn’t all that bad, even if it took $40 million to say it.

It’s ironic, however, that within the terms outlined, it’s Rogers that buys

IS H T A R : H o ffm a n , B e a tty an d th e blind c a m e l

CINEMA PAPERS JANUARY - 49

< an d leads a b lin d cam el into the desert; b u t th e n ag ain , w hen C lark e collapses in the d esert, a sw arm o f v u ltu re s hovers an d p ran ces a ro u n d h im — an d this for a m a n w hose n ick n am e is H aw k.

Raffaele Caputo ISHTAR: Directed by Elaine May. Producer: Warren Beatty. Associate producers: David L. MacLeod, Nigel Wooll. Screenplay: Elaine May. Director of photo­ graphy: Vittorio Storaro. Editors: Stephen A. Rotter, William Reynolds, Richard Cirincione. Production designer: Paul Sylbert. Music: John Strauss. Cast: Warren Beatty (Lyle Rogers), Dustin Hoffman (Chuck Clarke), Isabelle Adjani (Shirra Assel), Charles Grodln (Jim Harrison), Jack Weston (Marty Freed), Tess Harper (Willa), Carol Kane (Carol). Production company: Columbia Pictures. Distributor: Fox-Columbia. 35mm.

107 minutes. USA. 1987.

• FULL METAL JACKET S tanley K u b ric k ends Full M etal Jacket w ith M ick J a g g e r singing ‘P a in t It B lack’ as the final credits roll. O n ly th en does his them e becom e clear: th a t m en destro y each o th e r w hen they d en y the fem ale in them selves. F ro m the first im age of the new recru its b ein g shorn of h a ir an d in d iv id u ality we w atch the b reak d o w n o f A m eric an boys an d th e ir reco n stru ctio n into killing m achines on “ th e I s la n d ” , the M a rin e C o rp s tra in in g gulag. A t one stage the recru its m arch a ro u n d in th e ir u n d e rw e a r, a rifle in one h a n d an d th e ir genitals grasped in the o th er, ch a n tin g , “ T h is is m y rifle, this is m y gun, one is for killing, one is for f u n .” T h e links betw een sex and b attle have rarely been as explicit.

G u n n e ry S erg ean t H a rtm a n (Lee E rm ey ) drills the plato o n to M a rin e C o rp s songs w hich set up the w hole sexw ar dichotom y: M a m a an d P a p a w ere lying in bed M a m a rolled over this is w hat she said H o C h i M in h is a son of a bitch G o t the blue balls, crabs an d the seven y ear itch.

T h e connection is m ad e visually w hen the film ’s n a rra to r, J o k e r (M atth ew M o d in e) an d fellow re c ru it C ow boy (Arliss H o w ard ) are m o p p in g o u t the toilet block. J o k e r quips, “ I w an t to stick m y tu b e in y o u r sister. W h a t do you take in tra d e ? ” C ow boy: “ W h a t do you g o t?” C u t to bullets h ittin g targ ets on the rifle ran g e. In the second h a lf of the film , J o k e r m eets C ow boy in H u e , an d C ow boy says, “ G ettin g a n y ? ” Jo k e r: “ O n ly y o u r sis te r.” C ow boy: “ W ell b e tte r m y sister th a n m y m o th er. ” T h e clau stro p h o b ic first h o u r of the film has the g an g re n e pallo r o f all total in stitu tio n s — p risons, asylum s, h o sp i­ tals an d m ilita ry tra in in g cam ps are all physically in te rch an g e ab le, lit by b are bulbs an d sm elling o f antiseptic.

T h e sym m etrical second h a lf of the film follows J o k e r into the p u rg ato ry of the T e t offensive, in the b u rn in g city o f H u e . K u b ric k here forsakes the lush an d psychedelic colours of the tropics for w ash ed -out, overcast, grey skies w hich are the sam e d ra in e d colour as the bodies o f the dead.

50 - JANUARY CINEMA PAPERS

Jo k e r, d etach ed a n d sard o n ic, w ears a peace sign an d his h elm et b ears the w ords “ B o rn to k ill” . A n an n o y e d colonel d em an d s an ex p lan a tio n , an d J o k e r tells h im th a t it stan d s for “ the duality of w ar. Y ou know , th e J u n g ia n th in g ” .

T h e d u ality w hich b o th J o k e r an d K u b rick face is th a t w hile co n d e m n in g the b ru ta lity of w ar, th ey are fascinated by it. A w ar p h o to g ra p h e r in V ie tn a m was asked w hy his photos seem ed so glam orous. H e rep lied th a t try in g to take the g la m o u r o u t o f w ar w as like try ­ ing to take the g la m o u r o u t o f sex. T h e cam era is a ttra c te d to actio n , n o t to philosophical arg u m e n ts.

As the d istu rb in g im ages of w ar are also an ad re n alin b u zz, so too the poetic profan ity o f G u n n e ry S erg ean t H a r t­ m a n is b o th b ru ta l a n d fu n n y . H e destroys a re c ru it w ith his invective an d we laugh: “ Y ou clim b obstacles like old people fuck . . . I ’m going to rip y o u r balls off so you c a n ’t co n tam in ate the rest of the h u m a n r a c e .”

W e do n ot see a w o m an in th e first h a lf of the film. T h e only references to w om en are obscene. In the second h a lf we m eet three: two are p ro stitu tes an d one is the sn ip er w ho kills E ig h tb all, D oc an d C ow boy. W e only discover th e sex of this angel of d eath in the p en u ltim a te scene of the film , w hen she is w o u n d ed .

J o k e r shoots h er to p u t h e r o u t o f h er m isery. W e see his face tw isted in orgasm ic rictus as he pulls th e trig g er.

C u t to M a rin e s m a rc h in g p ast the b lazing b ack d ro p of H u e , singing n o t H a r tm a n ’s M a rin e C o rp s ditties b u t the M ickey M o u se C lu b th em e song: “ C om e along an d jo in the fun w ith all the fam ily . . . ” V oiceo v er from Jo k e r: “ M y tho u g h ts d rift back to the great h o m ecom in g fuck w ith M a ry J a n e R o tte n c ru tc h . . . ” By co n c en tra tin g on w ar as E ros denied, defam ed an d deflected, K u b rick has little room to explore the w ider p o li­ tical issues. H e uses interview s w ith a film crew ro v in g d u rin g a lull in the battle to m ake a few points. T h e soldiers spot the cam era an d yell, “ V ie tn a m the m ovie. W e ’ll let the gooks play the In d ia n s .”

J o h n W a y n e is the p o in t of reference, hero of countless S a tu rd a y aftern o o n s at the m ovies. B ut as one of th e black M a rin e s com plains, “ W e get killed for these people an d they d o n ’t ap p reciate i t . ” J o k e r grins at the view ers back hom e and explains, d ea d p an , “ I w an ted to go to exotic S outh E ast A sia a n d m eet in terestin g an d stim u la tin g people an d kill them . I w an ted to be the first kid on m y block to get a con firm ed k ill.”

V ietn am has d are d film m akers to m ake use of its d ra m a . It was the first fully televised w ar, a n d its im ages are etched on the m o d e rn consciousness, b u t a decade after the V ietn am e se arm y defeated the A m eric an w ar m ach in e, film m akers are still try in g to com e to term s w ith the subject. The Deer Hunter Apocalypse Now a n d Platoon all co n tain e d

,

fine sequences b u t w ere u ltim ately d is­ ap p o in tin g . K u b ric k said all th a t needs to be said ab o u t m ilita rism in Paths Of Glory. In Full M etal Jacket his final p a n ­ n in g shot of m a rc h in g m e n takes us b ack to Barry Lyndon a n d th e lines o f soldiers, sh o u ld er to sh o u ld er, m a rc h in g to th e ir d eath s, ran k s u n w av e rin g .

In Full M etal Jacket, the M a rin e s strid e to p erd itio n w ith th e so u n d s o f W a lt D isn ey on th e ir lips an d th e th o u g h t th a t th e d ead know only th a t it is b e tte r to be alive. As th e U S falls to w ard s an o th e r w ar in C e n tra l A m erica, K u b ric k offers only the d esp air of a la tte r-d a y C o n ra d .

Campbell Thom son FULL METAL JACKET: Directed by Stanley Kubrick.

Executive producer: Jan Harlan. Associate producer: Michael Herr. Co-producer: Philip Hobbs. Screenplay: Stanley Kubrick, Michael Herr, Gustav Hasford. Director of photography: Douglas Mllsome. Editor: Martin Hunter. Production designer: Anton Furst. Music: Abigail Mead. Cast: Matthew Modine (Private Joker), Adam Baldwin (Animal Mother), Vincent D’Onofrio (Pri­ vate Pyle), Lee Ermey (Gunnery Sergeant Hartman), Dorian Harewood (Eightball), Arliss Howard (Cowboy), Kevyn Major Howard (Rafterman). Production com­ pany: Warner Bros. Distributor: Village Roadshow.

35mm. 116 minutes. USA. 1987.

• RECENT RELEASES

A Supplementary Guide November:

T h ree For T h e R o ad (Village R oadshow ) M atad o r (H oyts) H otel Colonial (Film pac) T h e Squeeze (Fox C olum bia) Lady Beware (Village R oadshow ) Evil D ead 2 (H oyts) Body Slam (Film pac) C herry 2000 (Village R oadshow ) T he Living D aylights (U IP ) Back T o T h e Beach (U IP ) H earts O f Fire (Village R oadshow ) H am b u rg e r H ill (Film pac) W h o ’s T h a t G irl (Village R oadshow ) T he Last E m p ero r (Fox C olum bia) Big Shots (Village R oadshow ) W ith Love T o T h e Person N ext T o M e (AFI) T he F uneral (R onin) T h e M agic T oyshop (A FI) T he R ight H an d M an (G reater U nion) M an o n Des Sources (G reater U nion) K am ikaze (H o yts/P rem ium )

December: Space Balls (H oyts) Jaw s: T h e R evenge (U IP ) A N ight O n T h e T ow n (Village Roadshow ) T h e Princess B ride (Film pac) H arry & T h e H endersons (U IP ) Revenge O f T h e N erds 2 (Fox C olum bia) D ark Eyes (Film pac) L eonard P art 6 (Fox C olum bia) Planes, T rain s A nd A utom obiles (U IP ) T hrow M o m m a From T h e T ra in (Village Roadshow ) Benji T h e H u n te d (Village R oadshow ) W ish You W ere H ere (G reater U nion) Fatal A ttraction (U IP ) T h e Fam ily (AZ) Sum m er School (U IP ) R ita, Sue A nd Bob T oo (N ew V ision) T he Good F ath er (New V ision) Salvation (New V ision) T am popo (R onin) T he Black C an n o n Incident (R onin) Belly O f A n A rchitect (H oyts/P rem ium ) S uperm an IV (H oyts) M ade In H eaven (Village R oadshow )

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CINEMA PAPERS JANUARY — 51

WE have survived the white man's world and the torment and the horror of it all, WE have survived the white man's world and you know you can't change that.

o w ro te Bart W illo u g h b y , A boriginal m usician and the drivin g force behind the band that sang those w ords, N o Fixed Address. They are w ords that seem appropriate to H o w The West Was Lost, a docum entary that identifies a struggle in the Pilbara, in central W estern Australia, that has seen A boriginal people turn the ir backs on "th e w h ite m an's w o rld " , w h ile using the best that w o rld has to offer.

Indeed, it is this fact, that A borigines to o k industrial action and w ith d re w their labour from cattle stations in 1946, that makes the film a rem arkable testam ent to the people w h o w ere involved in a cam paign fo r hum ane w o rk in g conditions and th e ir ow n dig n ity.

Central to it all was Don M cLeod, a rem arkable w h ite character w h o once to o k a black person to hospital and thus earned the respect of the A borigines. He led the cam paign, cycling hundreds of kilom etres to organise meetings of w orkers in outstations so that strike action w o u ld be co ­ ordinated and consultative or, in a w ord, dem ocratic.

By using re-enactm ents of w alkouts, interview s and voiceover narratives, the film puts a m ajor industrial event into the conscious history of Australia. And this is necessary fo r an Australia that is generally ignorant of history, particularly the history o f rem ote regions and the native inhabitants.

It is a film that tries to do justice to the issue and the people, a people w hose values have little in com m on w ith the d o m in a n t respectability o f middle-class Australian capitalism and w hose history and culture is oral rather than w ritten.

D irector D avid Noakes, w h o has w orked w ith A borigines before on the film Two Laws, was aw are of this tra d itio n , this c o n flic t w ith in a co u n try that really doesn't care — a country w here a film about A borigines is made kno w in g that audiences w ill be m inim al, response m in o r and im pact negligible. Such a film , such a com m itted docum entary, is better described as a cam paign film . But if it is a cam paign, it is one fraught w ith m inefields and these are clearly evident in H o w The West Was Lost.

If A bo riginal c ulture is p rim a rily

S

52 - JANUARY CINEMA PAPERS

HOW THE WEST WAS LOST: Elder Snowy Jittermara and Billy Thomas point out the strike leaders oral, h ow is it to be film ed? H o w is the significance o f objects, w ords, relationships, the gesellschaft of A boriginal life to be presented?

This is som ething that A boriginal film m akers can best present to European Australians. This significance, or subtext, is the disturbing absence in this bold film from the far western reaches o f the continent.

The narrative line in the film is adequate, but m any meanings are left unexplained. Take fo r exam ple, the shots of tribal elders teaching children to w rite in A boriginal dialects: a w o n d e rfu l developm ent, in the face o f State G overnm ent plans to teach o n ly English w ritin g to A boriginal ch ild ren in state run schools. And all this in a school run by A boriginal people fo r themselves.

But w hat is the im pact of teaching A boriginal w ritin g w hen the cu ltu re has previously been oral?

O n another level, w hat is the im pact o f capitalist relations on the A borigines that led to the strike in the first place? Was Don M cLeod really doing the best possible thing by the A borigines and th e ir culture, by passing on to them his skills as a prospector, after they w e n t on strike? (He probably was. The film , by describing the w o rkin g lives of the A borigines, counteracts the prevailing stereotype that A borigines are incapable o f w o rk in a m arket econom y.)

U nfo rtu n a te ly, it is d iffic u lt to see answers to these questions w ith in the film . If they w ere asked and

answers posited, it w o u ld open up the possibility o f m uch deeper analysis o f the events in the film and o f w h a t has happened in this co u n try to A borigines and th e ir history.

Noakes spent a large am ount of tim e w o rkin g w ith the people w h o appeared in the film to reach final cut. He to o k editing m achines to the Pilbara w here a consensus on the con te n t o f the film was reached. This w o u ld be interesting m aterial to show an audience, as part o f the film itself. This negotiating in 'the present' is as im p o rta nt as the storytelling o f the past.

Clearly, it may be said that it is unfair to suggest how a film could have been made. But history is not only a narrative o f the past. It is the historiography as w e ll, that is,

the exposure o f how the story is to ld in the present.

It is possible that the film attem pts to enter into this exposure, w ith its m ulti-faceted approach to the m aterial: w h ite fem ale v o ice o ve r reading im p o rta nt gove rn m e n t docum ents that appear on screen; D on M cLeod's vo ice o ve r together w ith interview ta lkin g head shots; A boriginal people being in terview ed; Super 8 footage from the past, shot by w h ite station personnel; re­ enactm ents o f the events o f 1946; the contrasts betw een the smallscale m in in g of the striking A borigines and the large-scale 'rip and tear' m ethod used by the com panies that to o k over the A bo rig in e s' mines.

But the contrasts betw een all these images are im p licit, rather than exposed or interrogated, and the content, in fact the overall message and cla rity o f the film , suffers as a result.

The fact that Noakes made the film in co-operation w ith the A bo rig in a l people is im p o rta nt and gives the p ro je ct added poignancy.

It gives the A borigines a chance to tell th e ir history in a different w ay from w h ite Australians, using w h ite A ustralian m ethods.

Perhaps the film 's m ajor c o n trib u tio n , th o ugh, is that it raises questions about narrative, historical docu m e n ta ry film m a kin g and the very history it seeks to describe.

A nd the band played: You can't change the rhythm of my soul, You can't tell me what to do, You can't break my bones by putting me down or taking things that belong to me.

All song lyrics by Bart Willoughby, reprinted with permission of Mushroom Music Pty Ltd.

Marcus Breen

HOW THE WEST WAS LOST: The Strelley community re-enacts the 1946 walkout.

wo not-so-nice little old ladies, a would-be biker who still lives with his grandmother, a bar-side Black Marketeer; a bleeding burglar and a gang of bikies, lie, cheat and steal their way through K ick Start, a comedy that restores faith in the sight gag.

The hapless Billy has just wheeled home another decrepit bike that promptly deposits all its oil onto the bedroom carpet. “ Look Gran," he beams. “ Goes like stink!” But Ruby, celebrating another birthday with her crony Lil over the races, cream cake and a few beers, is unimpressed. “ Looks as bad as the last one," she croaks to Lil. “ It never went, and neither did he!" What she really wanted for her birthday was a radio . . .

Out in the alley, in a classic slapstick ruse, a desperate burglar hides $5,000 in the back of a radio and shoves it in a hole in the fence — right between the legs of the bewildered Billy. Gran's birthday doesn't get a look in as Billy passes it to his heart-throb Carol, the local buyer and seller of stolen goods.

She sells it to Ruby; the burglar comes looking for his money and tips off Carol — and then it's on.

Everyone, including the local bikieSi head for Ruby's, for free piss, $5,000 or the last leg; and the loser now is later to win, but with this bunch of losers, that could mean anyone.

The K ick S tart characters never miss a trick, and neither does the comedy. The intricate plot is fastpaced and well-sustained, the slapstick impressively executed.

Some well-known faces of the Melbourne comedy circuit feature: Tim Scally as the gormless but persistent Billy; Jean Kittson as the cool but determined young crook; Dave Swann makes a mean Leader Of The Pack, while Brian Nankervis plays a mean pool cue.

And of course it's a particular treat to watch Sheila Florance and Esme Melville as the cut-throat old swindlers, the smoothest operators of all. It's refreshing for a film that couples bikers with grannies to stick to character realism instead of cute role reversal stereotype.

Mention must be made of the art director, Pippa Green, who transformed a bare Board of Works house in Brunswick (the former occupant had just gone to jail) into a thoroughly convincing grandmother's house, complete with kitten wall-hanging in the kitchen and paper-bag scarecrows in the back garden.

T

Some unobtrusive editing and additional incidental music since the film was first screened at the Swinburne Graduation in 1986 have removed a certain sluggishness that was evident then; and although Charlie Sanford, writer and director, says these changes are minor, they have turned K ick S tart into a terrific short film instead of a good one. t was a boring Sunday morning, explains 10-year-old Jason, and he was just about to go for a walk to see if any Zogdorian Bogbeasts had moved into the neighbourhood, when he spotted Gonzo, the nextdoor neighbour's bull terrier, trotting home alone. This meant Mr Flinders must have fallen asleep somewhere again, and Jason instantly appeared at Mrs Flinders' door to extort the fee of $3 an hour and a Tim Tam to find him.

Literally instantly, as John Armstrong's L o o k in g For Spacethings uses jump-cuts and a zappy soundtrack by Urban Principle to move the action even faster, as Jason and the inept Mr Flinders, go looking for a real live spacething that fell to earth. Jason, ably played by young Jay McCormack, seems to be a shrewd businessman disguised as a child in a bike helmet — he swindles $7.50 an hour out of Mr Flinders for letting him come on an expedition, aided by a special pair of glasses. More impact and colour and movement is provided by Julian Rex's animation. Coloured sparks fly from the wheels of Jason's skateboard when he demonstrates to Nina (“ she hates it when I call her Mum") the effect of leaving it under her pyramid. And Jason, heading through Carlton, has an “ animated” conversation with a girl who explains that a man and a dog not only passed by, but were eaten by a giant Pac-Man. Plot and sub-plot both provide laughs as the "spacey" Nina and Mrs Flinders discover that strapping the pyramid to the Fiat makes it go as fast as a V8, and their own search for Jason and Mr Flinders is forgotten as they drag custom cars around the city. Joy Dunstan, as Mrs Flinders, makes a wonderful transformation from harried Sunday housewife to drag queen.

But sooner or later the spaghetti must be cooked (the best way to describe this film is to pinch its lines), and when the spacething is eventually unearthed, it looks remarkably like a cheese grater.

Tracy H ayw ard

ABC-TV INDEPENDENT DOCUMENTARIES AND THE ABC A B C -T V is ch an gin g the m eth od by w hich it con d ition ally pre-purchases docu m en taries. T he purpose o f the change is to allow as m any o f you r ideas as p ossib le to be considered on their m erits rather than on the basis o f the date o f ap p lication to A B C -T V .

If yo u are planning a d ocu m en tary for co m p letion in 1989 and w ish to apply for a co n d itio n a l pre-purchase, please ensure that treatm ent, bu d gets, C Vs for key personnel and a n ote o f likely delivery date reach m e n o later than 1st February 1988. Final d ecision s w ill be m ade by 31st M arch 1988. T here w ill be a secon d chance later in 1988.

A ddress your m aterial to:

Jonathan Holm es Head TV Documentaries ABC-TV GPO Box 9994 Sydney NSW 2001

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CINEMA PAPERS JANUARY

53

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with

W h a t’s new in video ce n so rsh ip and video releases? PAUL KALIN A looks at th e parlia­ m entary co m m itte e exam ining video ce n sor­ ship, and preview s som e o f th e latest title s in the video stores.

v

a n d th r e e s ta rs o f th e fu tu r e

Mildred Natwick • BETTY LOU KEIM •WARREN BERLINGER •DIANE JERGENS h im b, CHARLES BRACKETT • M t, EDMUND GOULDING • M

* WALLER RELSCH« CHARLES BRACKETT

ARE YOU OLD ENOUGH? Unsuitable for minors, or a minor film?

54 - JANUARY CINEMA PAPERS

SINCE its inception the video market has been constantly affected by the fluctuating moods of censorship.

In 1980, only 47 feature films on video were registered with the Censorship Board, but by the end of 1981 this figure had rocketed to more than 5000 imported video tapes. The free-market nature of the video industry has thrived on the assumption that it can cater for the tastes of the widest possible audience.

While the libertarians point out that the domestic privacy of video viewing should allow adults to make their own decisions about what to watch, the inexpensive and easy accessibility of video has caused much concern about potentially ‘harmful’ material when it can be viewed by children and minors.

In 1983, a system of censorship was proposed that would, in the words of the then-chief censor Janet Strickland, “ ensure maximum freedom for adults to view what they wished in the privacy of their homes — and, at the same time, give guidance to consumers as to what they were buying or hiring — as well as place limits on what could be openly displayed or sold to children.”

The aim was for a uniform and voluntary system that included a further ‘X’ category for sexually explicit non­ violent material, while certain material, such as child pornography, bestiality, and instruction manuals for weapons, would be refused classification.

But by June 1984, the voluntary system was replaced by a compulsory system, while some states made it clear they would not abide by the intended uniform system. The Commonwealth Government set up a Parliamentary Committee on Video Classification in August 1984. This committee has been superseded by a Joint Parliamentary Select

Committee on Video Material, which has been sitting for more than 2 1/2 years and which was, at the time of writing, expected to hand down its report shortly.

The committee is comprised of 11 members, chaired by Dr Richard Klugman (ALP, Victoria), and includes conservatives such as Tasmanian Senators Shirley Walters (Liberal) and Brian Harradine (Independent) on the one hand, and Victorian Labor Senator Olive Zakharov on the other. According to Klugman, the committee has garnered submissions and evidence from various groups all over Australia. “ My own view,” he said, “ is that much evidence has been given by people who don’t know the guidelines [of censorship].”

He points to the difficult distinction between explicit sex and violence in the ‘X’ classification, pointing out the anomaly that the ‘R’ rating does allow for depictions of rape. “ From a rational point of view, it’s difficult to see why violence with implied sex is allowed when it is banned from the explicit act.”

Earlier this year Klugman cast doubt on the validity of evidence submitted by the South Australian Council for Children’s Film and Television. He claimed that the evidence suggesting a high level of young children watching ‘R’ and ‘X’-rated videos was due to boasting on the part of the children.

Though this question of children gaining access to unsuitable material is paramount to the present debate, the oft-made claim of children watching naughty films “ at a friend’s place” has long been recognised as hard to verify.

In Western Australia, legislation has already been introduced to cover one of the areas under scrutiny by the select committee. All ‘R’ rated titles in video libraries must now be seen to be segregated

from other titles. Though it is not necessary to keep these films in a separate room, the law will certainly upset the organisation of libraries in which movies are usually placed according to genre, incorporating ‘FT rated movies. Of 2081 videos submitted to censorship in 1986, 382 garnered ‘R’ certificates, 544 ‘M’, 402 ‘PG’ , 583 ‘G’, 134 ‘X’, while 36 were refused classification.

Janet Strickland, who is presently a consultant to the film and video industry, views this measure — which will presumably make it easier to control access to ‘R’ rated movies — a “ responsible view . . . in line with Government policy” . Joanna Simpson, chief executive of VIDA (Video Industry Distributors Association), is circumspect: “ This is the best situation that could have occurred given the circumstances that prevail,” she said.

During 1987, VIDA embarked on a campaign aimed at reminding both the public and video retailers of censorship and their respective responsibilities.

Kits, comprising stickers, posters and stands with clearly-worded explanations of what each classification means were sent to video shops throughout Australia.

Under prevailing laws it is an offence for a video retailer to lend an ‘R’-rated video to an underage customer. All advertisements for videos must include the censorship rating.

As many libraries — especially the smaller ones — lend tapes in boxes other than the distributor’s, both cassette cases and display boxes must be labelled with the film’s title and rating. Apart from pirated tapes, it is impossible to borrow a legitimate tape in Australia without the viewer’s awareness of its contents and censorship rating.

This pertains to the ‘X’ classification as well, which is only available in shops in the Territories, and through mail­ order services operating in the ACT. John Lark is president of AVIA (Adult Video Industry Association) and manager of one such distribution company. He claims that these tapes are sold directly

JO IN T SELECT COMMITTEE ON VIDEO MATERIAL TERMS OF REFERENCE Thai a joint select committee, to be known as the Joint Select Committee on Video Material, be appointed to inquire into an d . report upon the operation of the Customs (Cinematograph Films) Regulations, Regulation 4A of the Customs (Prohibited: Imports)^Regulations and the ACT Classification of Publications Ordinance 1983 in relation to videotapes and videodiscs' Î and in particular;. (a) the effectiveness of such legislation to adequately control the importation, production, reproduction, sale and hire of : violent,-pornographic or otherwise obscene material;'. (b) whether the present classification system, as applied by thé Film Censorship Board, is adequate as a basis for import | and point of sale controls; (c) whether video retailers are observing the conditions bf sale or hire attached to classified material, particularly in relation . .

-to children under 18 years; (d) whether ‘R’ rated videos should be permitted to be displayed for sale or hire in the same area and side by side w ith‘G ',, / ‘PG ’ and ‘M ’ rated videos and. if not, what restrictions shbuld be imposed on the display of ‘R’ rated material;(e) whether Regulation 4A of the Customs (Prohibited imports) Regulations is adequate in identifying categories of^ prohibited material, and operating effectively in preventing the importation of videotapes/discs falling within the . prohibited categories; (!)

examine the extent to which videotapes/discs containing pornographic and violent material are available to the.conf- J; munity in general; (g) whether children under the age of 18 years are gaining access to videotapes/discs containing violent, pornographic or otherwise obscene material; (h) whether the ACT Classification of Publications Ordinance 1983 should be amended to make it an offence for persons purchasing or hiring videotapes/discs classified above ‘R ’ to allow, suffer or negligently permit children to view s u c h ;7 material; (i) whether the sale, hire, distribution or exhibition of films and videotapes/discs that would, under existing, laws, bë : accorded a classification above ‘R’ should be made unlawful; (j) whether cinemas should be permitted to screen for public exhibition material classified above ‘R’, subject to prohibition. . 7 from entry of persons under the age of 18 years; (k) whether films which would merit a classification above ‘R’ are being produced in Australia and if so whether Australian ' men and women are adequately protected by existing law from pressure to act in such films; and ^ .L, (l) the likely effects upon people, especially children, of exposure to violent, pornographic or otherwise obscene material. J. -

CRIMES OF PASSION: At risk if censorship standards change?

CINEMA PAPERS JANUARY — 55

< to the public, not retailers, members include the Motion and that birthdates, bankcard Picture Distributors Association, VIDA, Village numbers and drivers’ licences are used to check customers’ Roadshow Corporation, ages. As these tapes are Greater Union Organisation often sent COD, identification and Filmpac Holdings. Its must be provided when the submission to the committee tape is collected. Lark says, was made at the height of a “ It is not a small market and concerted media campaign cannot be swept under the that strained to link recent carpet. It’s an industry that atrocities such as the Hoddle needs to be internally policed Street killings to popular and controlled.” This, he movies, in particular Rambo. It maintains, cannot happen if it is prefaced by concern “ that is outlawed. As a timely the Video Committee . . . will example he points to current be swayed by the more legal proceedings against a emotional messages dealer allegedly trafficking in emanating from those minority unclassified tapes who faces groups who believe that a severe penalties of $10,000 more restrictive censorship per tape. regime is the panacea for all According to Dr Paul of society’s ills.”

Wilson, assistant director at The Film/Video Coalition the Australian Institute of has carried out a survey of Criminology, the hire of ‘X’ 2025 adults into public rated videos accounts for a attitudes to censorship mere seven or eight per cent classification, which it claims of the ACT market. He is the most comprehensive of maintains in a newspaper its kind in Australia. Of total report that the hard-core survey respondents, 57 per videos incorporating violence cent want either current were not getting through the censorship to remain system. He is quoted as unchanged or would prefer saying that there was no less censorship; 31 per cent “ convincing criminological or favoured more censorship; psychological evidence” to and 12 per cent had no demonstrate that exposure to opinion. Interestingly, “ Those sexually explicit material in favour of more censorship produced measurable harm to and who were able to society. correctly identify films as being an ‘R’ classification In its submission to the represented only 13 per cent Senate Select Committee, the of all people surveyed.”

Institute of Criminology stated: For her part, Strickland “ It is the view of the opposes increases to levels of Australian Institute of censorship, and believes that Criminology . . . that the ‘X’ material should be available evidence cannot be available in special sections of said to establish in general video shops where its access terms a causative link could be controlled. On the between ‘pornography’ and committee’s recommendations media violence on the one she says: “ I suspect that hand, and sex offences and there will be a reduction of violent offences on the other. violence in the ‘R’ The statistical data are too classification. This may filter frail and the intervening to other classifications.” (She variables too numerous.” believes that more stringent It is generally agreed, labelling and marking of however, that the primary ^cassettes will also be focus at present is on the recommended.) level of violence permitted in The real worry, she admits, films bearing an ‘R’ rating. is that films presently with ‘R’ Recently, Attorney-General ratings could be banned or Lionel Bowen said, “ I think cut to ‘M’. Apart from the the community is probably commercial repercussions this more worried about ‘R’ rated would have for distributors, films than ‘X’ rated films at the Film/Video Coalition’s the moment because there is concern is that films such as more violence in the ‘R’ rated The Deer Hunter, Taxi Driver, films.”

Crimes Of Passion and Straw The committee is being Dogs would be affected. It is a closely monitored by the concern shared by many.

FilmA/ideo Coalition, whose

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TRADITIONALLY, the video industry fires its ‘big guns’ during the Christmas season.

This year it started when CBS-Fox Video shipped more than 31,000 copies of Crocodile Dundee to video outlets in the middle of November. It has already become the biggest selling video in Australia, easily eclipsing the previous record of about 20,000 copies of Top Gun and Back To The Future.

The Australian video rights were negotiated through a deal with 20th Century Fox, which secured foreign theatrical rights to the film — excluding all North American rights, held by Paramount Pictures. Interestingly, the video distributor has already foreshadowed that the megahit will become available as a collectible in 12 months time, though it is highly likely that this will happen ‘unofficially’ as soon as demand In stores drops and

retailers sell their excess copies to customers.

Following its theatrical outing earlier this year, Paul Cox’s Cactus, the saga of the relationship between a blind collector of cacti (played by Robert Menzies) and a partially-blind French woman (Isabelle Huppert) will have a video release through Premiere. The New Zealand film Mr Wrong (Crystal Screen Entertainment) was screened at Cannes in 1985. Director, co-producer and co-writer Gaylene Preston describes the tale of a woman who buys a haunted car as a “ whimsical thriller and a ripping yarn — no sex, no violence: it’s basically about fear and the victim/predator relationship.”

It is Preston’s first feature following a background in drama, Super 8 movies and producing and directing the documentary Making Utu. And finally, on the local front Kaboodle (CBS-Fox) makes a

very hasty segue from television screen to video library. Produced by the Australian Children’s Television Foundation (with the assistance of the ABC, the AFC and Film Victoria), the 32 ‘stories’ comprise locallymade live action shorts and animation, and will be released on six cassettes.

While the season guarantees that the past year’s best known films will be released to video — such as Platoon (RCA-ColumbiaHoyts), Aliens (CBS-Fox),

Children Of A Lesser God, Star Trek IV: The Voyage Home (CIC-Taft), The Color Of Money, Outrageous Fortune (Disney) and Lethal Weapon

(Warner) — the Christmas spirit will also be represented by the sequel Silent Night, Deadly Night 2 (Palace). Now it’s younger brother Ricky’s turn to kill, kill, kill. The film, like its predecessor, is distinguished by a ban from Queensland’s state censorship board. “ This is one Santa story you won’t want to tell your kids,” gleefully boasts the publicity blurb.

Like Re-Animator, From Beyond (Vestron) is based on a story by H.P. Lovecraft and directed by Stuart Gordon. It is described in Monthly Film Bulletin as “ a richly loathsome carnival of invention . . . wriggling wraith from Ghostbusters, a touch of cannibalism from the Living Dead series, a left-over sandworm from Dune, a sprouting decapitation from Alien, together with a fine miscellany of flying jaws, amorphous flesh, and obscene liquids . . .” Joe Bob Briggs, the infamous ‘drive-in movie critic’ from Grapevine, Texas, would probably suggest you check it out.

As usual, there are a number of films that have bypassed the cinema circuit.

The Allnighter (CIC-Taft), in which Bangles singer Susanna Hoffs makes her film debut, is directed, produced and co-written by her mother Tamar Simon Hoffs. Recent and vintage rock’n’roll features prominently in this graduation night party film which harks back to the style of 1960s beach party films.

Daniel Petrie produced and directed Square Dance

(Roadshow) with Rob Lowe, Jane Alexander and Jason Robards. Emilio Estevez makes his directorial debut in Wisdom (Warner), which he also wrote and which he describes as a modern-day Robin Hood tale about a strong-willed petty criminal who “ decides to be a criminal for the people.” Co-starring with Estevez is Demi Moore.

With all these films it would seem that the casting of stars with a marquee value is no guarantee that they get released in local cinemas.

Though nearly a year separates their production, Blake Edwards’ two most recent offerings That’s Life! and Blind Date will arrive simultaneously in video shops.

Described in Variety as a film that is “ personal virtually to the point of being a home movie” , That’s Life! (Vestron) was written by Edwards and his analyst Milton Wexler.

Jack Lemmon plays a despondent architect who, on the eve of his 60th birthday, nervously awaits the results of his wife’s biopsy and contemplates the woes of ageing. With a cast comprised of the director’s friends and family, it was made on a very low budget under the apt original title Crisis. In contrast, Blind Date (RCA-ColumbiaHoyts) sees Edwards at work with a traditional Hollywood score of mismatched romantics and a havoc-filled plot that serves to unite, then separate, the unlikely couple.

Uneven, but occasionally hilarious, Bruce Willis plays the guy who seems to have it all together, with Kim Basinger as the skittish aloof counterpart — until, that is, the tables begin to turn.

Comedienne turned director Elaine May wrote and directed Mikey And Nicky (Seven Keys) in 1976. According to Leonard Maltin, it spent several years in the editing room. Peter Falk, John Cassavetes and Ned Beatty are cast in this story of small-town hoods and their tenuous childhood friendship. Made about the same time and finally due for release is The Tenant (CICTaft). Director and writer Roman Polanski cast himself in this horror film, made during a slump in his career.

Most worthy viewing without commercial interruption is

Nicholas Ray’s sombre and bleak In A Lonely Place (RCAColumbia-Hoyts), a mournful lament on Ray’s troubled relationship with Hollywood.

He cast Humphrey Bogart as the dour screenwriter accused of murder and embroiled in a lusty romance with Gloria Grahame (at the time Ray’s estranged wife), claiming “ I took the gun out of Bogie’s hands.” Thankfully, the film is in its original state, which is more than can be said of The Angel And The Badman and Otto Preminger’s Saint Joan (both CEL), two new casualties of colourisation about to be released on video.

Shot on 35mm, ostensibly for theatrical release, / Live With Me Dad (CBS-Fox) will debut on home video during January. This Crawford Production is directed by Paul Maloney from a script by Peter Pinney, based on the short story by Derry Moran.

The story of a six year old whom the authorities want to separate from his vagrant, heavy-drinking father features Peter Hehir and Haydon Samuels as the father and son, Dennis Miller, Rebecca Gibney, Robyn Ginnes, Gus Mercurio and Esben Storm.

Watch The Shadows Dance

(Crystal Screen Entertainment), produced by James Vernon and Jan Tyrell and directed by Mark Joffe, also debuts. Set 15 years in the future, it concerns a group

of children who invent ‘The Game’, which becomes a true life and deadly-serious encounter.

Other recent and forthcoming arrivals in video libraries worthy of mention are

Extreme Prejudice

(Roadshow), director Walter Hill’s mighty return to form in a raunchy hybrid Western; Bette Gordon’s enquiry into a woman’s ambiguous involvement with pornography in Variety (CEL); Ingmar Bergman’s 1980 German production From The Life Of The Marionettes (Crystal Screen Entertainment) and the recent theatrical hit Mona Lisa (RCA-Columbia-Hoyts) from director Neil Jordan.

Gary Sherman’s 1972 British film Death Line (Vestron) has been recently released. This film — which has also appeared in a bastardised form as Raw Meat — warrants several mentions in Robin Wood’s books Hollywood From Vietnam To Reagan and The American Nightmare. In the former, Wood discusses the film’s account of cannibals preying on travellers in London — the film is set entirely in Russell Square Station — as a metaphor of the war experience in which the younger generation is devoured by the past.

Elsewhere, the film is discussed as the most recent embodiment of the Descent myth.

Mona Lisa

CINEMA PAPERS JANUARY — 57

NEW R

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THE BULL, THE BEAR AND THE GORILLA T h e N ew Z e a la n d film in d u s ­ t r y ’s re a c tio n to th e sto c k m a rk e t u p h e a v a ls o f O c to b e r / N o v e m b e r, w h ich saw th e B ull give w ay to th e B ear, w as to S e n d A G orilla.

T h is first fe a tu re p ro je c t fo r th e P in flic k s C o m p a n y o f p r o ­ d u c e r D o ro th e e P in f o ld b e g a n o n sch e d u le a t O c to b e r ’s e n d , even th o u g h th e in v e s tm e n t c lim ate w as b e g in n in g to freeze o v er, g iven a $ N Z 1 2 b illio n w h ite -o u t o f N ew Z e a la n d s h a re v a lu e s d u rin g th o s e d is tu rb in g ly n e rv o u s in itia l w eeks.

P in f o ld , w h o h a s m o v e d in to in d e p e n d e n t p r o d u c tio n fro m a m a rk e tin g b a c k g ro u n d a t th e N ew Z e a la n d F ilm C o m ­ m is s io n a n d th e G ib s o n G ro u p , is n o t d isclo sin g th e b u d g e t o f h e r “ a n a rc h ic fem m e c o m e d y ” .

B u t th e c o n fid e n c e e v id e n t a m o n g crew a n d c a st d u rin g th e seven -w eek s h o o t w as a sign o f th e se c u rity o f th e p a c k a g e she h a s p u t to g e th e r w ith E n e rg y S o u rc e T e le v isio n (E S T ), th e film c o m m issio n a n d T e le v isio n N ew Z e a la n d .

F o r 75 p e r c e n t o f th e b u d g e t, E S T h a s w o rld rig h ts to th is se c o n d fe a tu re o f M e la n ie R e a d ( T ria l R u n ) , w h o a lso is c re d ite d as w rite r.

T h e in d u s try h a s n o t e m erg ed e n tire ly u n s c a th e d .

W h ile it is g e n e ra lly a g re e d th e p ro d u c tio n a rm o f th e in d u s try is u n lik e ly to be g re a tly a ffe c te d in th e m o n th s a h e a d , loss o f in v e s to rs is

58 - JANUARY CINEMA PAPERS

g iven as re a s o n fo r d e la y o f a new G e o ff M u rp h y film .

P ro d u c e r D o n R e y n o ld s, a n ex ecu tiv e d ire c to r o f M ira g e E n te rta in m e n t C o rp (M E C ), h a d h o p e d to g et M u r p h y ’s T h e P a r a n o id M a n ro llin g o n 7 N o v e m b e r. Ele h a s since set a b o u t d ev isin g a n a lte rn a tiv e p la n in v o lv in g a n o ff s h o re p re ­ sale to fu n d th e p ro je c t.

A lth o u g h he h a d n o new s ta rt d a te a t th e tim e th is c o lu m n w as w ritte n , R e y n o ld s is c o n fid e n t th e p ro d u c tio n w ill g et u n d e r way.

M E C flo a te d in A u g u s t a n d is th e o n ly N ew Z e a la n d film p r o d u c t io n h o u s e p u b lic ly liste d o n th e N ew Z e a la n d sto c k e x c h a n g e . It receiv ed slig h t b u ffe tin g a t o n e p o in t d u rin g th e s to rm y d a y s w h e n a p a rc e l o f 2 5 -c e n t sh a re s w as so ld o f f a t a lo w o f 15 cen ts.

Says R e y n o ld s: “ O u r sh a re s a re in th e h a n d s o f so few p e o p le th a t w e h a v e n o t b e e n h eav ily a f f e c te d .”

M E C c o m p le te d th e m a in s h o o t o f L a rry P a r r ’s A S o ld ie r ’s T a le in n o rth e rn F ra n c e in la te O c to b e r, a n d re p o rts b e st b u sin e ss ev er — “ o v e r $ N Z 1 ,0 0 0 ,00 0 w o rth o f sa le s” — fo r p r o d u c t it w as to u tin g a t th e O c to b e r M ifedin M ila n .

P in f o ld says S e n d A G o rilla will b e re a d y fo r th e C a n n e s m a rk e t in 1988. “ W h o k n o w s w h a t w ill b e h ig h ly su c c e ssfu l? B u t w h a t a ttra c te d m e a b o u t th is s to ry is th a t it m a d e m e la u g h a lo t. It

c o n ta in s c h a ra c te rs a n d sc e n a rio s I c a n re la te to a n d is set in a n a re a o r m ilie u o f a city th a t c o u ld b e a n y w h e re .”

S h o t o n lo c a tio n in a n d a ro u n d W e llin g to n , th e a c tio n co v ers o n e d a y in th e lives o f V ick i, J o y a n d C la ire , w h o w o rk fo r th e S e n d A G o rilla S in g in g T e le g ra m C o m p a n y .

T h e d a y is V a le n tin e ’s D ay .

A s w ell as c o p in g w ith p e r­ so n a l c o m p lic a tio n s o f u tm o s t v a rie ty , th e K iw i c h o rin e s m u s t sing te le g ra m s a t a re c o rd ra te o f o n e ev ery 28 m in u te s in o rd e r to fu lfil th e ir c o n tra c t.

F e a tu re d a c tresses a re P e rry P ie rc y , K a th e rin e M c R a e a n d C a rm e l M c G lo n e . T h e larg e c a st o f c a m e o p e rfo rm e rs in ­ c lu d es J o h n C a lle n a n d L a rn e y Tupu.

W ith a re p u ta tio n as a fe m in ist film m a k e r, d ire c to r R e a d m o v es fro m su sp e n se ( T ria l R u n ) to h ig h -e n e rg y c o m e d y w ith G o rilla . O n e o f h e r a im s is to give a c to rs th e o p p o r t u n it y to ta k e th e ir c h a ra c te rs rig h t to th e ed g e o f ‘s e rio u s ’ c o m e d y s itu a tio n s , stre tc h e d to th e lim it o f c re d i­ b ility , y et b elie v a b le a n d re c o g ­ n isa b le to th e a u d ie n c e .

P in f o ld p o n d e rs w h e n a sk e d th e style o f th e film , a n d th e n m e n tio n s M y B e a u tifu l L a u n d re tte , L e tte r T o B r e z h n e v , a n d th e C a n a d ia n film I ’ve H e a r d T h e M e r m a id s S in g in g .

A sh re w d m a rk e te e r, she believ es it will d o th e k in d o f b u sin e ss — “ as m u c h if n o t m o r e ” — e n jo y e d b y G e o ff M u r p h y ’s T h e Q u ie t E a rth w h ich sh e h a n d le d w h e n w o rk ­ in g fo r G ib so n s. It still re m a in s th e to p g ro ssin g N ew Z e a la n d film to b e re le a se d in th e U n ite d S ta te s.

T h e sh a re m a rk e t sh a k e s a p ­ p e a re d to o ffe r n o o b sta c le to th e ta k e o v e r o f K e rrid g e O d e o n C o rp , o n e o f th e c o u n tr y ’s tw o film e x h ib itio n g ia n ts.

B e fo re th e B lack T u e sd a y o n W a ll S tre e t, o n e o f N ew Z e a la n d ’s y o u n g e st a n d m o st a g g r e s s iv e e n t r e p r e n e u r i a l c o m p a n i e s , P a c e r P a c if ic C o rp , b o u g h t th e 50 p e r c en t B ritis h -b a se d R a n k O rg a n is a ­ tio n in te re st in K O , w ith 3 7 -y e a r -o ld D a v id P h illip s b e c o m in g its new c h a irm a n .

J o h n K e rrid g e , y o u n g e r so n o f th e c o m p a n y ’s fo u n d e r , th e la te S ir R o b e rt, re sig n e d as g ro u p g e n e ra l m a n a g e r fo r film a n d v id e o , a lth o u g h re m a in in g a d ire c to r o n th e b o a rd .

D u rin g th e early w eek s o f p lu n g in g sh a re v a lu e s, P a c e r a n n o u n c e d it w as seek in g th e r e m a in in g K e rrid g e a n d W illiam s fa m ily in te re sts in th e

e n te r ta in m e n t c o n g lo m e ra te , a n d la te r c o n firm e d it h a d re c e iv e d a c c e p ta n c e s b rin g in g its sta k e in th e g ro u p to m o re th a n 93 p e r c e n t. T h e v alu e o f th e g ro u p , as m e a s u re d b y th e ta k e o v e r, is a b o u t $ N Z 150,0 0 0 ,000.

T h e in itia l P a c e r p u rc h a s e s tim u la te d a m a rk e d c h a n g e o f a p p ro a c h a m o n g K O e x ecu ­ ti v e s , s u g g e s tin g a m o r e ag g ressiv e a p p ro a c h to th e d is­ tr ib u tio n a n d e x h ib itio n o f film s b y w h a t th e executives th e m se lv e s a c k n o w le d g e d as “ th e sle e p in g g ia n t” . K O ow ns a n d o p e r a t e s 37 c in e m a s th r o u g h o u t th e c o u n tr y w ith 13 o th e rs o p e ra te d in p a r tn e r ­ sh ip w ith N ew Z e a la n d ’s o th e r m a jo r c h a in , A m a lg a m a te d T h e a tre s.

N ew film d is trib u to r s are a lso e n te rin g th e N ew Z e a la n d m a r k e t w ith A u s tr a lia ’s F ilm p a c H o ld in g s se ttin g u p h e re in a ss o c ia tio n w ith E n d e a v o u r E n te rta in m e n t C o rp , a p r o ­ d u c tio n c o m p a n y th a t in c lu d e s J o h n B a rn e tt, p ro d u c e r o f F o o tr o t F la ts, a m o n g its p r in ­ cip a ls.

T h e s e d e v e lo p m e n ts a r e im p o r ta n t f o r th e p ro d u c tio n sid e o f th e in d u s try a n d new m o v ies lik e S e n d A G orilla.

C o n c e iv a b ly th e y w ill le a d to th e fa s te r d e liv ery o f m o v ies to a u d ie n c e s a n d m o re c o n c e n ­ tr a te d p r o m o ti o n o f N ew Z e a la n d -m a d e film s w ith film g o e rs h e r e a n d , p e r h a p s , a c ro ss th e T a s m a n .

F ilm c o m m is sio n c h a ir m a n D a v id G a sc o ig n e is tr e n c h a n t in his c ritic ism o f th e p a s t tr a c k re c o r d o f th e tw o e x h ib i­ tio n c h a in s a n d th e ir singlem in d e d n e ss in e x h ib itin g o f f ­ sh o re p ro d u c tio n s w ith tr a c k re c o rd s th a t e ffe ctiv ely n e e d n o sp e c ia l p r o m o tio n w ith in N ew Z e a la n d .

H e say s it o fte n h a s b een d if fic u lt to c o n v in c e e ith e r c h a in o f th e m e rits o f e x h ib i­ tin g a p a rtic u la r N ew Z e a la n d film a n d th e sp ecial p r o m o tio n th a t film w ill n e e d to m a k e su re it gets to its a u d ie n c e .

A s a c o n se q u e n c e , th e c o m ­ m issio n in 1988 is to c o n c e n ­ tr a te o n e x h ib itio n a sp e c ts o f th e N ew Zealand film in d u s try , to see w h a t it c a n d o to im p ro v e th e a v a ila b ility o f lo c a l film s to lo c a l audiences.* T h is c o u ld in v o lv e m a k in g su m s o f m o n e y a v a ila b le to p u b lic ise film s m a d e u n d e r its aeg is, as h a p p e n e d la te in 1987 w ith B a rry B a rc la y ’s N g a ti.

In th is c o n te x t, G a sc o ig n e say s, th e c o m m is sio n is a lre a d y ta lk in g w ith th e c h a n g in g g u a rd a t w h a t is to b e c o m e P a c e r K e rrid g e C o rp . L td .

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TECHNI CALI TI ES

THE SHOWSCAN Celebrating Us is a panoramic documentary short made for the first Australian 70mm Showscan system. FRED HARDEN talked to the crew and found out about the fear and loathing, as well as the edlisipction, that came with the project,

BIGGER AND BIGGER Even with the advances in high-definition video systems the image quality obtainable from film is still much greater.

That may be why in the face of these threats to its supremacy the process that is known as ‘cinema’ continues to develop, but it is more likely, I believe, film is only now starting to deliver its full potential. These improvements in equipment and film stocks all affect the content and creative applications of the filmmaking process. In the pursuit of quality and in the godlike attempt to re-create the life outside our darkened auditorium, filmmakers have stretched the size of the screen and the film itself. Big pictures from big negatives have a lot of detail, and the lust for ultimate film image quality has pushed the motion picture into some strange directions. After the hype for the early ‘ultimate’ 70mm systems — Todd-AO, Super Panavision, and the UltraPanavision 70 — had died down, it seemed that we had gone about as far as we could go and still lift the spool onto the projector. There are some 70mm showcase cinemas but 35mm is still the preferred practical projection format.

70MM, IT ’S N O T The practical considerations are important. The widest colour motion picture print stock that Kodak makes in commercial quantity is 70mm.

As a production medium however, the film stock and camera for 70mm isn’t actually 70mm. It is actually 65mm wide, using a fiveperforation pulldown, with perforations vertically spaced as they are on 35mm film (as one concession to the laboratory handling on dual 35/65mm processors). When this is printed onto the projection release print that extra 5mm leaves room for magnetic stereo and surround sound tracks. Showscan uses the extra area for an even higher quality image, and

60 - JANUARY CINEMA PAPERS

syncs the audio from compact disc.

Not content to leave it there, and working with the same physical parameters, there is a part-Australiandesigned system called Imax that uses a special camera with the 65mm film turned on its side and then printed the same way onto 70mm to give a negative 52.63mm high by 70.41mm wide. That’s almost three inches wide and the Imax (or slightly different Omnimax) systems require specially built projectors with custom designed transports to shift that large floppy frame through the gate. The Imax theatres have highly curved surround screens, great for short documentary “ My-godnot-down-the-rollercoaster” type presentations in exhibitions and theme parks.

FASTER AND FASTER Douglas Trumbull has been using 65mm film for special effects work in films from 2001: A S p ace O dyssey and the first S ta r Trek movie through to C lose E n cou nters O f The Third Kind, the masterful B lade R unner, up to his present work. For optical effects work, the large negative helps to maintain finer grain before the final reduction to a 35mm release print.

As well as working with the big 65mm negative, he was involved in experimentation on decreasing the perceived flicker of film projection by

increasing projection speed.

Even the cinema standard 24 frames a second projectors use multi-bladed shutters to flicker each frame twice to push the rate over the point where the brain accepts the images as continuous. With a lot more frames presented on screen something special happens in the eye and brain that smooths out the intermittent light and dark process that is the basis of our art. The images look sharper, grain almost disappears, and motion blur is reduced. Trumbull found an optimum point running at 60 frames a second, and developed his Showscan system.

He patented the process, found financial backing and there are now a number of Showscan theatres across the USA and Canada. The first Australian theatre is scheduled for Sydney and is due for completion in early 1988.

The Sydney company Heliograph Pty Ltd, in association with Look Films, was commissioned to produce the program for its first screening and it was through associate producer Will Davies and cinematographer Peter James that I first heard of the project. As the film and theatre was to be part of the NSW Bicentenary offering there was a lot of “ Yes we can talk about, no we can’t” while shooting was going on.

What did come through were

the stories of quite incredible technical problems.

MAY YO U HAVE AN IN TER ESTIN G LIFE (old Chinese curse) The shooting began with a Showscan-modified 65mm Panavision camera in December 1986 with Peter James as director of photography and Andre Fleuren on second camera.

Having been warned about camera problems by the Canadians who made the Showscan film for the Expo in Vancouver, the company considered they were well covered by assembling a package of two complete camera systems (and later a third body) and enticing top camera technician Rob Hunter from Samuelsons.

The problems began to be noticed immediately. The rushes were initially projected (at 24 fps) in GUO’s new theatre complex in George Street. A camera sharpness problem was detected and Rob Hunter and Samuelsons started the first of many weeks of work on both of the cameras. Because they were covering unrepeatable events such as the Sydney to Hobart yacht race, the production continued with the handicap of a turnaround time of almost 10 days for rushes from the MGM lab in Los Angeles.

By the time they had exhausted all the repair possibilities and found a replacement camera, Peter James was unable to finish the film because of commitments to another production and Andre Fleuren continued as DOP. I had to wait until the end of the shoot to talk to producer/director John Weiley and Andre Fleuren. Although they had finished shooting, editor Nick Holmes found that the problems that had plagued them were not quite over. Just as the article was finished they returned from Vancouver, where the cut workprint was projected in the cinema that will be a model for the Sydney one. After the long haul of the production

ON LOCATION: Showscan at work they had some more positive comments to make and I have added these to a behind-thecamera story that, as the curse says, was “ interesting” .

(And not without its share of local innovation.)

THE SHOWSCAN EXPERIENCE I asked the director John Weiley why Showscan was chosen over the other available big screens systems. “ In the planning stage, an interest was expressed in Showscan and Imax. So I went to the States to check it out and, having seen both, I thought Showscan was better.

The quality is better and I prefer the theatre — it is not as radical as the Imax theatre.

The Imax has a radically raked audience seating arrangement. You have to turn your head to see all the screen, and I found that I didn’t enjoy the experience. I felt that I was too close to the screen. When you look at the Showscan screen it takes up your full field of view, so your eyes are moving constantly

across the screen but your head doesn’t have to move. I feel that it concentrates your attention better.”

As Weiley explained, improving the experience of the viewer is the most important factor in Showscan.

You don’t just talk about the screen, but the whole cinema because it is all designed as one piece. The angle of projector to screen, the relationship of the seats to the screen and the angle of view, are all calculated carefully. It’s a single viewing machine that you sit in and it is all beautifully worked out so that every seat in the house is a good seat.

Learning what does and does not work on the Showscan screen was an important part of the process but it was often overshadowed by working around the physical restrictions. Because of the ‘spectacle’ nature of the large-screen presentations like Showscan, where shows run for a long time before audiences become saturated, there are only a few short programs available for study,

and they did not fit the kind of film that Weiley wanted to make. “ I was very scathing about the early films when I saw them, because cinematically they are unambitious. They start every sequence with what’s basically a studio set up, on a sort of life-raft, then launch off the life-raft for two or three strokes then go back to it. When you look at the film it is basically 50 per cent studio set up from which you depart briefly for the Showscan experience then jump back to the studio.

Someone will say “ Where are we now?” and you go on to the next scene. Mind you when I tried to shoot the bloody thing I developed a great deal more sympathy and understanding! “ We started out,” Weiley continued, “ thinking we had a firm idea of what it was going to be. After a while there was what, on a better day, you’d call ‘feedback’ from the system and that really blew the original intentions to pieces. We found it almost impossible to shoot interiors.

It is hard to believe that anything is impossible nowadays but, for example, you can’t shoot anything with a fluorescent light or video screen in shot. Because of the frame rate, they strobe and flutter badly. We tried to shoot in a currency dealing room in a bank and it was unusable because of all the computer screens in the place, and even then we had to pump an enormous quantity of our own light on it. It’s quite unbelievable, just to do a set up of two girls near a piano you were lighting it as if you were lighting a stadium to get any depth at all. “ And depth is so terribly important because everything has to be in focus, you can’t even use half the techniques that are commonplace in filmmaking. Like having hard focus on someone walking past in the foreground and let the rest of it go. Because Showscan is so sharp whenever anything is out of focus, it’s like your eyes have broken!”

This requirement for absolute focus affected the ^

CINEMA PAPERS JANUARY — 61

^ options available to the director of photography, making things we take for granted in 35mm impossible to do. Andre Fleuren explained that he couldn’t use any diffusion and had limited his effects to grads.

He was concerned that “ because shooting even normal ‘easy’ set ups was so difficult, we worried that we wouldn’t get the shots that everybody expects you to get with 35mm. Because the audience is so spoiled with 35mm, where you can almost get anything you want, they would be upset if they couldn’t have had the same sophistication. But with Showscan, the normal 35mm support systems aren’t there.

Just physically rigging the camera is difficult. If you want to put it on a helicopter you have to make your own mount. The same if you want to put it on a plane, or underwater, everything has to be redesigned. Because the camera is so big you design something as small as you can so that you just fit in to say, the Jet Ranger. Then when we changed cameras, the dimensions were different again.”

CHANGING CAMERAS M IDSTREAM The camera problems and breakdowns were part of the whole Australian Showscan production story. Bolts would shear, screws come loose and the replacement parts always had to come from America.

The major loss of the first months of filming, however, was due to a fault in the Panavision equipment that cannot be explained. As John Weiley said, “ It is a mystery.

The most coherent theory we had was from Rob Hunter from Samuelsons who said that because the camera had a pellicle between the lens elements and the film plane, the pellicle was vibrating in sympathy with the camera and that was somehow scattering the light to the emulsion. “ Everyone has their own description of how it looked, but it was just unsharp. The delay in seeing our rushes didn’t help. It takes about three or four days to get a rushes report from the US lab and they are pretty enigmatic.

It takes about 10 days in all for the rushes to get back here, and because the locations are so scattered for this film you were never in the place where you shot it when 62 - JANUARY CINEMA PAPERS

you got the rushes. You go out, try and see through the viewfinder which is pretty poor anyway. You expose the film and send it away and two weeks later you find out if you’ve shot something. “ It’s a tough way to work and I’ve made documentaries for the BBC for a long time, in some out-of-the-way places.

Often you are trying to shoot film that is responsive to what you’ve already done. You are trying to build it in your head as you go along. In distant places you weren’t seeing rushes but there you could simply assume that the equipment was doing its job, and say, well if we shoot this way it will cut with yesterday or last week. With the equipment we had for the Showscan shoot you couldn’t make that assumption, but you still had to make it.”

The lack of rushes feedback was tough on the DOP as well. As Fleuren said, “ As a cameraman you’re always guessing in a way, and you can’t hold yourself responsible for every little thing in the chain but in 35mm and 16mm the chain is so strong and it hangs together, so that you can reasonably predict the outcome. With the cameras we had the chain just drops out, nothing hangs together.

We were standing way out in the country in front of 200 acres of sunflowers and we had done one shot and the drive belt just snapped. There was no spare belt, so you just had to go home not only having lost what would have been a beautiful shot but worrying about all the earlier stuff you had done while the belt was falling apart.”

Because they had lost so much time and so many unique filming opportunities the decision was made that, despite Panavision’s and the company’s best efforts, they should find another camera. It was not to be such a simple answer to their problems, however. “ As soon as the new camera arrived,” John Weiley reported, “ we headed off to Broken Hill. Peter James was with us at the time and on the first day of shooting with the new camera it broke down three times. We gradually got it to work.”

The functionally poor camera equipment comes, he believes, “ out of the way the Showscan has been developed. Understandably, all the money and effort initially went into the

EDIT OR BUST: Nick Holmes presentation side, because that’s what the backer and the audience are interested in.

They don’t care about the crew on location. When Doug Trumbull was trying to get the system going it was essentially the exhibition side of things he had to conquer to get acceptance. The new projects, sound systems and theatres were very well designed. In Vancouver where a show was running ten hours a day for six months they never lost a screening, it was 100 per cent reliable. But with the production side they were depending on cameras that had originally been designed to run at 24 frames a second and supercharging them to run at 60 and they all hate it.

They scream, bellow, whine and complain, they throw bits at you, anything than rather run at 60 frames.”

Showscan are now having a few purpose-built cameras made. A prototype has been demonstrated and has been pulled apart to copy and build the first four dedicated Showscan cameras. Weiley and Fleuren both agree they wouldn’t attempt to do another film without a purpose-built camera.

The other thing they discovered was that the camera was very noisy. With a laugh Weiley said, “ You can hear it clearly a hundred yards away. We wanted to get a sticker for the camera that said Turns grass into lawn’ and change the name of the system to Victa-Vision! We were shooting on Australia Day and Tom Keneally saw us and came up and said, ‘Good god, what’s going on here, I thought it must be the Bangladesh Broadcasting Corporation’ . . . and here we are at the frontiers of technology!”

TA KIN G S TO C K The filmstock used was the normal Eastmancolor ’47 and ’94, only it’s 65mm wide.

Fleuren explained, straightfaced, that they shot ’47 in broad daylight and ’94 when the sun went behind a cloud.

No-one knows if the difference in the grain will be noticeable on the big screen with the two stocks intercut. Both Peter James and Fleuren commented on what appeared to be an excessive buildup in contrast on the first rushes, and Fleuren was even concerned whether they really were the same emulsions that we all know in 35mm. “ The first results we got were very contrasty,” he said. “ It was a shoot at midday on a beach at Byron Bay sidelit by the sea. A sandy beach with blue sky everywhere and the off-sun side of the face just went so dark. When you see the rushes you think, ‘My god this is terrible’. Even when you filled it, it would go dark. So I had to look into it. I went to Kodak here and in LA, they did tests and told me that it’s all the same. I checked as much as I could the processing at MGM with Colorfilm here — it’s hard to try other processing because only MGM and Tokyo do 70mm. Colorfilm said that they believed the processing was OK but the difference is in the printing. MGM uses a ‘hot’ printing system that is a bit faster than here which should add a bit more contrast, but not the enormous amounts we were getting. “ I resigned myself to the fact that it was the lenses which are Pentax still camera lenses. Still lenses are always more contrasty than specifically designed cine

lenses. Apparently both Cinema Products and Panavision are designing lenses for the system at the moment but until then we will have to put up with the contrast.”

John Weiley is not as worried: ‘‘We feel like we are working blind, and one of the factors is that we’ve never seen the images projected properly with a light source anything like what will be used. So we’ve got no idea really of what it will be like on the big screen, other than the US films which were shot on the same film and lenses and look great.”

(As it happened Weiley was right. The rushes projector gave no indication of how they would look. At their Vancouver screening the images looked terrific.)

SHAKES AND SU PER STITIO N S ‘‘We were told that these were the best lenses,” Fleuren said. ‘They’re the Pentax range of 21/4-inch lenses and range from 24mm to 600mm but we soon realised that we couldn’t use the 300 or the 600 because the camera shakes so much that you can’t get a steady picture. We had to put the camera on a Super Panahead or an O’Connell 300 and we tried a number of times to use the 300mm lens. If you were on sand you could sometimes get away with it but on concrete, forget it! So we used sandbags on the concrete floor and depending on how tight the film is in the magazine you could sometimes accept it. But the very last stuff we shot was on a 45mm lens and it shakes! “ I don’t know why it is.

Maybe it is the wind of the film that sometimes put extra strain on the camera. It was modified to run at 60 frames but sometimes you see the vibration in the viewfinder or you feel it in your head because your eye is right there and you feel your head shaking. You see the crosshairs moving and think, no this is not right, and it always happens when you are shooting something you can’t repeat! The City to Surf, the start of the Sydney to Hobart yacht race, anything that is a ‘oncer’. The camera somehow knows and runs for just two seconds.” Weiley added that, “ We’ve all become very superstitious.”

The length limitations in the choice of magazines were

also a frustration. There were two sizes: the 1000-foot magazine which holds three minutes of film or the 350-foot which gives a minute.

Weiley found that restrictive in many situations such as long tracking shots where “ the 30 seconds you might use may turn up anywhere in say, 10 minutes of action.

You’d roll on an aerial, hit a few bumps and just when the air would smooth out you’d be out of film! This happened also with the special underwater housing we built for the front of the jet ski to shoot in surf. We couldn’t see what we were getting and the guy on the jet ski can only approximate it and with the small mag he had only 60 seconds of film. That 60 seconds might be spent just getting into position. It was really frustrating. “ It spoils you for looking at movies in cinemas and on TV,” he continued. “ I sit there feeling shocked at what they use. How can they use a shot like that! It’s so rough . . .

That shot’s out of focus! And everyone else is just enjoying the movie!”

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HANDLING 70mm Just physically handling such a large width of film was difficult. John Weiley jokes that when they’re asked about what sort of film they’re making they say, “ Oh the film’s very heavy! There’s a lot of compo claims from the assistant editor from lifting the films up onto the bench.”

Each 5000-foot projection reel weighs about 30 kilos and the assistants say that just winding the reel can take skin off their knuckles if they aren’t careful. And they try not to drop it!

Even a normal reel spinning in the camera produced a gyroscopic effect that had major implications for using it in a helicopter. It didn’t want to move out from its position, and the operator had to fight to tilt it the other way.

John Weiley said, “ I used to feel for the loaders because you’ve got a roll of film that weighs nine pounds or so that you are trying to get into a magazine that has a quarterinch tolerance on the edges and you can’t tell that you’ve got the centre right over the spindle. So you have to just drop it with your heart in your mouth knowing that that roll of film cost a thousand bucks! If you drop it the wrong way it dishes and it’s gone because you can’t close the magazine. >

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^

You come back to the production office saying, ‘ I’ve screwed up another one’.”

Because of the width of the film it is very susceptible to bruising, and it scratches easily. Fleuren said, ‘‘And it always scratches in the best spot. On one of the US Showscan films there’s a great shot from a flying fox over Niagara Falls and you just get to the middle and there’s this great tramline of a neg scratch down it. It’s there, in their film.”

There are other problems caused by the sheer size of the film. The width of film across the gate is greater than 35mm, with the only support on the edges, which means that it is also more likely to bend and sag. The sprocket holes carry more strain so they are more likely to break and there is the added strain of travelling at 60 frames a second through the camera. Thirty-five millimetre film by comparison is pretty tough stuff. Fleuren adds ‘‘If you got a fresh 1000 foot of film up to speed, especially with the Panavision, and then you stop but the roll in the magazine doesn’t! It was a real problem with the aerials when the camera wasn’t accessible. You had to keep inching it on to take up the slack or when you started again it would just go whack and split!”

(DIS)ADVANTAGES With all the restrictions placed on them by the system it is surprising to find that they had anything positive to say about the equipment that gave them a creative advantage. John Weiley mentioned that ‘‘there are two things that were against us that we have turned into advantages. The first was when we couldn’t even shoot a normal shot in a rain forest, we just couldn’t get the exposure.” The widest stop on the Pentax lenses was f2.8, and at 60 frames you are loosing stops, but you must still have as much depth as you can, which means a minimum of about f5.6. Faced with not being able to shoot in shadows or much past sunset, they modified a Noris intervalometer which allowed them to expose at up to eight seconds per frame and the result, Weiley said ‘ ‘has ended up giving us something special” . ‘‘The second thing was that we had to give up the convention that the camera

64 - JANUARY CINEMA PAPERS

wasn’t there, that it was an invisible presence. There is nothing less invisible or inaudible than that bloody camera! So we realised that we would just accept that and make it part of the story.

Everybody in the film knows that the camera is there and acknowledges it. And that’s one of the things that is really nice, there’s this real eye contact by the people on the screen with the audience. It’s charming and it’s now an essential part of the style of the film.”

TH E SOUND The sound, Weiley says again, shows up the contrast in the Showscan system. ‘‘The sound reproduction in the theatre is probably the best known to man. It is six digital discrete tracks off Compact Disc and it sounds fantastic. Yet when you are shooting you can’t shoot sound because the camera noise is phenomenal, so we’ve had to create everything. Michael Gissing has recorded everything digitally on PCM and the whole sound path of the film will be digital to the compact disc. Roger Savage is putting it together, and it will sound great. ‘‘It was disturbing for me because with this sort of impressionist documentary you would normally expect to have sound coming out of the people. With the limitations of the machinery we had to find ways like shooting to playback, to get the feeling that you weren’t cut off from the images.”

EDITING W ITH 30-FOO T VISUAL LEVERS There is no 65mm editing equipment. The procedure used to date was to make step-printed 35mm reduction print rushes to convert the 60 frames to 24 frames a second to cut conventionally. This means cuts are not frame accurate and it is hard to judge quality. It was also expensive — so the production devised their own method of projecting the 70mm workprint and recording it with a video camera to produce a time-code-displayed cassette that is cut on a conventional offline system. A computer program then relates the code to the film edge numbers.

Editor Nick Holmes said, ‘‘Cutting on video isn’t my preferred mode but it is the best we can do. At least we

have looked at a fairly big picture from projecting the 70mm rushes. The Americans and the Canadians who worked on 35mm reduction prints couldn’t see the bruising and the imperfections until it was conformed. Even with our shaky projector we can see the technical quality. ‘‘When I came onto the project my concern was how accurate the transfer to tape was. We have sync marks at the beginning and end of each roll and used a computer program that correlates the timecode to edge numbers.

The printout will be in edge numbers to conform the 70mm workprint to the video.

When we tested it we found that the result varied with the tension on the take-up reel, the amount of electricity being used in Balmain that day etc.

The speed varied up to six or seven per cent faster or slower. With so much stuff cut to music, different shots in a sequence would have been out of sync depending on when they were transferred.”

They decided to get Editron’s Graeme Thirkell in to solve the problem. Thirkell fitted a disc to the projector with a hundred holes in it and an optical sensor system that counted the rotations. This was compared to the scan rate of the camera and the voltage going to the projector was altered.

Unfortunately it was too accurate, going out of sync when it drifted just by threethousandths of a second.

Thirkell went back to Melbourne for a re-think and came up with the present system that uses only 10 holes. Now it is accurate to about three-hundredths of a second, which is approximately a fifth of a frame and Holmes says ‘‘it works like a charm” . The 25 frames of PAL video correspond exactly to 60 frames of film a second, with a not too objectionable blurring or flicker on the tape.

Weiley feels that they will be breaking new ground because the existing Showscan films are edited so conservatively with only brief excursions into montage. ‘‘They are not chains of complicated images as this is, with hundreds of shots. We could not get much information from Showscan about what to do or not do in editing and it is a different grammar. We are just making assumptions about it on the video; when we see it

projected we will change things when it’s conformed.

We were aware that when it is enlarged on the big screen there is a leverage effect. The apparent movement is enormous and the speed of movement radically increases on the screen so that you have to override your response looking through the lens or when you are cutting and say, ‘I’ll have to make it slower’.”

According to Holmes, ‘‘I’ve sat and watched the rushes projected so that I’ve got a fair idea of what will work and we’ve got the option to re-cut after assembling the workprint and screening it. When I first started to edit I began cutting much slower to make allowances for the size, but now I’m saying if it doesn’t work on my screen who is to know if it will work on another.

We’re just going for it, if it’s exciting on the TV screen then it’s going to be incredibly exciting on a screen a thousand times bigger!”

It must have been an incredible relief to Weiley to have watched the film projected in Vancouver. He described the result as breathtaking and found that, ‘‘Our experience was very like that of the Canadians. They too cursed the system every day — until they saw the finished product. Then the pain begins to fade and be replaced by something like awe at those huge crystalclear images. The audience don’t know or care that the camera exploded seconds after the shot, and after a while neither do you!”

The Showscan story deserves to be treated in full.

The sound track, projection and theatre are all technically innovative. As I write this I still haven’t seen the result and there is a new concern that the theatre being built in the Darling Harbour complex will not be finished on schedule.

Although we may have to wait a few months to see the results, there is one high tech junkie who is lining up early for a ticket.

Crew for C e leb ra ting Us John Weiley Will Davies Joanne Rooney Murray Francis Peter James Andre Fleuren Bizzi Bodi Ross Erikson Robbie Hunter David Dunkley Michael Gissing Nick Holmes John Benayo John Skarratt

Producer/director Associate producer Production manager Location manager/ 1st assistant director Director of photography Director of photography Unit manager Key grip Focus Clapper loader Sound recordist Editor Helicopter pilot Stills photographer

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F E A TU RE S

SOMETHING GREAT (The Les Darcy Story)

deteriorates, she sees Simon as a way of realising a life-long ambition.

KADAYCHA

Prod, company.......David Hannay Productions Dist. company............ Premiere Film Marketing Prod, company........................Boulevard Films EVIL ANGELS Producers.................................................DavidHannay, Producer..................................... Frank Howson Prod, company.......................Evil Angels Films Charles Hannah Director................................... Richard Franklin Producer.................................... Verity Lambert Director........................................ James Bogle Scriptwriter................................. Frank Howson Director........................................Fred Schepisi Scriptwriter...................................Ian Coughlan Exec, producers.................. Antony I. Ginnane, Scriptwriter................................ Robert Caswell Photography............................................. SteveWindon Peter Boyle THE BACKSTREET GENERAL Based on the book b y ................................ John Bryson Sound recordist............................... Pam Dunne Prod, manager.............................. Daryl Sheen Prod, company...........Avalon Film Corporation Photography.................................... Ian Baker Editor.................................... Andrew Aristedes Publicity......................................

Lionel Midford Producer..................................... Phillip Avalon Sound recordist......................................... GaryWilkins Prod, designer................................ Darrell Lass Length............................................ 120 minutes Scriptwriter............................... Denis Whitburn Editor.............................................................JillBilcock Composer............................ Peter Westheimer Gauge...................................................... 35mm Exec, producer....................................Eric Jury Prod, designers.....................

Wendy Dickson, Exec, producer.....................Tom Broadbridge Synopsis: The true story of the trials and Publicity......................................Lionel Midford George Liddle Line producer................................. Lynn Barker triumphs of Australia’s golden boy of boxing Budget................................................$3 million Composer.................................................Bruce Smeaton Prod, co-ordinator....................... Lesley Parker who fell from grace as a result of World War I’s Length.............................................95 minutes Exec, producers..................... Menahem Golan, Prod, manager...............................Julia Ritchie conscription hysteria and was resurrected as a Gauge...................................................... 35mm Yoram Globus Prod, secretary.......................

Debbie Samuels hero, when he died in Memphis, lonely, Synopsis: The B a c k s tre e t G eneral is based on Production executive.................................. RoyStevens Prod, accountant.................... Elaine Crowther bewildered and reviled at the age of 21. the stage play by Phillip Avalon. The leader of a Prod, co-ordinator............................Sue Jarvis 1st asst director......................... Deuel Droogan small town motorcycle group is conscripted Prod, manager.......................................... CarolHughes 2nd asst director......................................... PaulGrinder VICIOUS into the army. His lifestyle and values are Unit managers...,.Michael Batchelor (Melb.), Continuity..............................................MelanieBrown (Working title) drawn ahead through a series of incidents in Tic Carroll (NT) Casting consultant........................ Carrie Zivetz the war zone.

Prod, company............................David Hannay Asst unit manager.......... Emma Schofield (NT) Focus puller................................................ PaulPandoulis Productions Pty Ltd Location managers........ Tony Leach (Melb.), Clapper/loader.........................Roger Johnston CELIA Dist. company............................. Premiere Film Robin Clifton (NT) Key g rip ..................................................Ian Bird Marketing Ltd Prod, secretary....................................... SerenaGattuso Prod, company................................Seon Film G affer....................................................... AlleynMearns Producers..................................David Hannay, Prod, accountant.....................................JennyVerdon, Boom operator................................. Mark Ward Productions Australia Charles Hannah Catch 1-2-3 Art director................................ Diana Reynolds Dist. company......................................... Hoyts Accounts assts........................................ CelineRobitaille, SPFX make-up/hair................. Deryck de Niese Producer................................................ GordonGlennDirector........................................... Karl Zwicky Scriptwriters................................... Karl Zwicky, AnneTweedale Director........................................................AnnTurner Make-up attachment................................ SarahBailey Paul Hogan 1st asst director.........................................SteveAndrews Wardrobe supervisor................... Fiona Spence Scriptwriter.................................................. AnnTurner Exec, producer......................Tom Broadbridge 2nd asst directors........................................ PhilPatterson, Photography.........................................GeoffreySimpson Standby wardrobe.................................... DinahMitchell Line producer...............................Lynn Barker Toby Pease Sound recordist.........................................LloydCarrick Wardrobe asst............................................. SueCormack Publicity.......................................Lionel Midford 3rd asst director...................................... JanineSchepisi Prod, designer............................................ PetaLawson Standby props........................................RobbieCampbell Length..............................................90 minutes Continuity.................................................. LindaRay Asst standby props............................CatherineMartin Composer........................................ Chris Neal Gauge......................................................35mm Producer’s assistant................................

Hilary May Exec, producer..........................Bryce Menzies Special effects...........................Neville Maxwell Synopsis: A fast-paced youth thriller set at a Director’s assistant.........................Jakki Mann Assoc, producer........................................... IanPringle Sound post-production.... Counterpoint Sound holiday resort where high school student Jason Casting.................................................Forcast, Prod, co-ordinator...................... Sue Stephens Editing assistant.......................Louise Johnson stumbles upon a series of horrific murders.

Rhonda Schepisi Prod, manager......................................... LyndaHouse Still photography......................Brett Cochrane, Extras casting................................. Sue Parker Location managers....................Chris Odgers, Corrie Anacone, Camera operator............................... Ian Jones THE ZONE Spider McCart Clare McLelland Video operator.........................Jim Dunwoodie Prod, accountant................................... MonikaGehrtProd, company.................Media World Pty Ltd Fight co-ordinator............................Grant Page Focus pulle r............................Leigh McKenzie 1st asst director....................................... PhillipJonesProducers..................................................JohnTatoulis, Safety officers........................................ WaynePleece, Clapper/loader................................Peter White 2nd asst director....................................... ChrisOdgers Paul Lennon Colin South 2nd camera asst/Steadicam.....................Geoff Hall Casting.............................. Liz Mullinar Casting Nurse...................................................Julie Tiso Directors....................................................JohnTatoulis, Camera maintenance............ Scott Backhouse Camera operator................................. GeoffreySimpson Best boy................................................. MichaelWood Colin South Key grip.................................................GrahamLitchfield Boom operator........................................... ChrisGoldsmith Runner....................................................DebbieAtkins Scriptwriters...............................................JohnTatoulis, Asst g rip s.............................................. RichardAllardice, Costume designer..................................... RoseChong Unit attachment...................Nicholas Atkinson Peter Bain-Hogg Mark Ramsay, Catering.......................................................KrisFrolich Premiere Film Marketing Photography.........................................GaetanoMartinetti Gary Carden Length............................................................93minutes attachment...................... Nigel Broadbridge Sound recordist.......................... Sean Meltzer Gaffer..............................................Mick Morris Gauge......................................................35mm Publicity....................................................Lionel Midford Assoc, producer......................Peter Bain-Hogg Electrics.....................................................JohnLee Catering.....................................................FoodFetish, Cast: Nicholas Eadie, Rebecca Smart, MaryProd, manager..........................Yvonne Collins Generator operator.....................

Brett Keeping Douglas Beale, anne Fahey.

Length............................................. 90 minutes Boom operator.......................... Mark Wasiutak Richard McDonald Synopsis: Celia is a story of childhood, of Gauge................................................ 35mm/SPBetacam Art directors................................ Dale Duguid, Laboratory................................................. Atlab monsters and dreams, death and love, the Synopsis: A psychological battle between the Brian Edmonds Length.............................................90 minutes burning desire for a pet rabbit and the inability two isolated border guards of “ The Zone” .

Asst art directors................. John Pryce-Jones, Gauge....................................................... 35mm to understand when anti-communist bigotry Phil Drake Shooting stock.........................................Kodak labels best friends as bogeymen.

Art dept co-ordinator............... Wendy Huxford Cast: Zoe Carides, Tom Jennings, Eric Old­ Costume designer...................Bruce Finlayson field, Deborah Kennedy, Fiona Gauntlet, DOT IN SPACE Make-up...................................Noriko Spencer Natalie McCurry, Kerry McKay, Bruce Hughes, Prod, company........................................ YoramGross Hairdresser..............................Cheryl Williams Sara Dakin, Nicholas Ryan, Terry Markwell.

Film Studio Pty Ltd Wardrobe supervisor/standby........ Julie Barton Synopsis: A series of unexplained teenage Producer.................................................YoramGross Costume maker.......................Sandra Cichello murders occur in an exclusive residential Director................................................... YoramGross Standby props............................................ChrisJames development, accompanied by widespread DAISY Scriptwriter.................................................JohnPalmer Standby props asst...............Michael Mercurio reports of disturbing dreams involving Abori­ (Working title) Associate producer............................... SandraGross Props buyers/dressers....................Viv Wilson, ginal rituals and symbols.

Animation director..................................... AtholHenryProd, company..........Executive Producers Ltd Jill Eden, M usic.......................................................... GuyCross in association with Michael Rumpf, LINDA SAFARI Prod, supervisor.................................. JeanetteToms Falcon Films Pty Ltd Brian Dusting Prod, company............................... Soundstage Prod, manager........................Jacki Goodridge Producer................................................PamelaBorain Asst buyer/dresser.................. Ashley Schepisi Australia Limited, Asst editor................................ Stephen Hayes Director............................... Stasch Radwanski Art dept vehicle co-ordinator........Jamie Legge MTV Hungary Publicity.................................................... UshaHarrisScriptwriter............................Anthony Wheeler Draughtspersons................. Phillip Schemnitz, Producer...................................Tibor Meszaros Length............................................................80minutes Photography............................... John McLean Jeff Thorp Co-producer...................................

Gyorgy Gat Gauge.......................................................35mm Sound recordist........................... Don Connolly Construction manager................. Wayne Allan Scriptwriters....................................... A. Coper, Synopsis: Dot finds her way into an American Exec, producer..................... Charles Wolnizer Leading hand...........................Brendan Mullen Gy Gat, spaceship which lands her on a war torn planet Co-producer............................................... PaulBarron Model maker.......................................... HamishHicks R. Rozgonyi of Rounds and Squares.

Prod, supervisor........................................... BillHughes Carpenters................................................. AllanGood, Animator...................................................Janos Katona Prod, co-ordinator............ Lindsay van Niekerk Ian Baxter, Script editor........................................... HannahDownie Unit manager............................................. JohnRapsey Ray Taylor, Based on the novel.....................

L ind a S zafari EMERALD CITY Prod, secretary................................ Alex Tinley Glen Christensen, Photography...................................Jozse Pojak Prod, accountant................... Jacquie Stanley Prod, company.............. Limelight Productions Barry Muir Sound recordist................................... Kim Lord Accounts clerk..............................Maria Italiano in association with the Scenic artist.....................................Ian Richter Editor......................................Marianna Miklos 1st asst director........................................ SteveJodrell NSW Film Corporation Set finishers.................................Tony Piliotis, Composers...................................... R. Szikora, 2nd asst director............................Chris Lynch Producer......................................... Joan Long Gus Lobb, C.S. Bogda'n, 3rd asst director..........................................John Gaudry Director................................... Michael Jenkins Adam Smiyielski G. Berkes.

Continuity............................... Chris O’Connell Scriptwriter............................................... DavidWilliamson Cutting room asst.......................................John Rouch M. Fenyo, Casting.................................... Frog Promotions Based on the play by................................ DavidWilliamson Sound editor........................:...Bruce Lamshed A. Bodna’r, Focus puller............................................... MarkEdgecombe Photography................................. Paul Murphy Assistant editors.............. Heather McDermott, G. Szentmihalyi Sound recordist...........................................BenOsmoClapper/loader........................................WalterRepich James Manche Exec, producer.......................

Robert A. Cocks Key grip...................................Karel Akkerman Editor........................................................... NeilThumpston Travel service.............................EntertainmentTravel Assoc, producer..........................Endre Florian Asst grip......................................... David Cross Prod, designer.......................................... OwenWilliams Transport manager....................................John Chase Prod, supervisor..............................................P.Koltai Gaffer..................................... Philip Golombick Prod, co-ordinator......................... Julia Ritchie Asst transport manager.........Michael McIntyre Prod, managers........................................DavidDownie, Prod, manager..............................Brenda Pam Electrician..................................... Jo Mercurio Transport co-ordinator...........Cameron Barnett Endre Sik 1st asst director......................................... ChrisWebbBoom operator.................................. David Sell Heavy haulage..........................................FrankMangano 1st asst directors...................... Margaret Prior, Art director................................................KelvinSexton Casting consultants...... Alison Barrett Casting Unit driver....................................Brian Gilmore Z. Bonta Camera operator.......................................DavidWilliamson Asst art director...........................................SueVivian Drivers....................................................... AnneJolly,Casting ...Watermelon Valley Productions (WA) Costume designer................................AnthonyJonesCostume designer.................................. DeniseNapier Sharon Anderson Special effects.................. Hungarian Film Lab Still photography............................ Vivian Zink Make-up..................................................MarilynSmitsStill photography......................................VivianZink Musical director.............................................. T.Koesa’k Publicity................................................. ShelleyNellerStandby props......................................Tim Hall Safety officer.................................Arch Roberts Sound editor...................................................S.Kalman Budget............................................ $2,831,738 Special effects....................... Mike Stanbridge Unit nurse (Melb.)...................................... JuneSavage M ixer............................................................... s.Kalman Set construction...................DMG Productions Gauge.......................................................35mm Unit nurse (NT)...........................Maggie McKay Still photography.............................................. I.Bartók Editing assistant.......................... Cindy Evans Synopsis: A scriptwriter and his publisher wife Wrangler................................................ EvanneChesson Tech, adviser...............................................RonSims Stunts co-ordinator.......................Paul Buckley struggle with the temptations of wealth, power Tutor....................................................... RachelEvansPublicity.................................... Glenda Cocks, Still photography.................. David Dare Parker and harbour frontages. A comedy about moral Coach........................................................PeterTulloch P. Szanto Best boy................................................... BarrieRymer dilemmas.

Best boy..................................................... ChrisFleetStudios............MTV Light Entertainment Dept, Catering............................... Mustard Catering Runner..........................................................IfcaDragicevic IPV, Gauge...................................................... 35mm Researchers................................................ SueEllis, ABC, HEAVEN TONIGHT Cast: Jan Adele (Daisy), Sean Scully (Simon), Christina Norman Hollo-Laszlo Studio Hungaroton Producer................................................... FrankHowson Shaunna O’Grady (Joan), Colin McEwan Publicity................. The Rea Francis Company Mixed a t........................ ABC/MTV-Hungaroton Scriptwriters............................Frank Howson, (Vince), Leith Taylor (Susy), Tony Wager (CuthUnit publicist...........................................MarianPageLaboratory.........Hungarian Film Lab Company Alister Webb bert).

Catering..................................................... ChrisSmithBudget.............................................$2.2 million Exec, producer.......................................... PeterBoyleSynopsis: Simon is an accountant, escaping Studios......................... Australian Film Studios Length............................................. go minutes Publicity....................................................LionelMidford the city under mysterious circumstances. On a Laboratory............................................ Clnevex Gauge....................................................... 35mm Length.......................................................... 100minutes property out in the West Australian outback he Length.......................................................... 120minutes Shooting stock............................. Eastmancolor Gauge.......................................................35mm encounters the old and cantankerous Daisy. A Gauge...................................................... 35mm Synopsis: L ind a S afari is a story of intrigue, Synopsis: H eaven Tonight tells the true story strong bond develops between these two Cast: Meryl Streep (Lindy Chamberlain), Sam action, adventure, mystery and romance, com­ o f the Australian rock scene. unlikely characters, and as Daisy's health Neill (Michael Chamberlain). bining humour and heroism, with rock ’n’ roll

PRE-PRODUCTION

F E A T U R E S P R O D U C T I O N

66 - JANUARY CINEMA PAPERS

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A fu ll listin g of the features, telem ovies, d ocu m en taries and sh o rts now in pre-production,

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music for audiences of all ages. The heroine is Linda, a policewoman with “ Interpol” , well known for her “ Tae Kwon Do” and linguistic skills. Several stories operate simultaneously and the protagonist always wins against great odds, without guns, in her fight against organ­ ised international crime and terrorism.

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p ro du ctio n or post-p rod u ction in Australia.

Gauge......................................................35mm Shooting stock........................................Kodak Cast: Lisa Hensley, Miranda Otto, Tim McKenzie, Jeff Truman, Vic Rooney, Tony Blackett, Michael Caton.

Synopsis: A terrifying secret on the 13th floor awaits two young rebels who decide to squat in the prime location with million-dollar views.

Gauge......................................................35mm Shooting stock................. Kodak Eastmancolor Cast: Colin Friels (Tom Stewart), John Waters (Morris Martin), Bruno Lawrence (Ray Birch), Joy Bell (Claudine), Chris Stalker (Allen), Kim Gyngell (Mick), Shane Briant (Stephen Enderby), Caz Lederman (Vivian Enderby), Sandy Gore (Barbara Hemsley), Marise Wipani (Suzie).

Synopsis: A thriller dealing with the murder­ ous pursuit of obsessive love.

Synopsis: A contemporary drama set in Melbourne, Los Angeles and New York. It tells the story of the fictional character Tom Garfield, Australia’s most successful writer, who returns to his homeland after 10 years of Broadway and Hollywood acclaim.

BOUNDARIES OF THE HEART

OUT OF THE BODY Prod, company............Tra La La Films Limited TRUK LAGOON for International Film Management Limited Prod, company...... David Hannay Productions Dist. company.........Hemdale Film Corporation Dist. company........... Premiere Film Marketing Prod, company................ Howard International (The World excluding Australasia), Producers..................................David Hannay, and Taimac SBS (Perth) THE BODYCOUNTERS Hemdale-Ginnane Australia Limited Charles Hannah Dist. company....................New-Century-Vista/ (ZOMBIE BRIGADE) (Australasia) Director......................... Brian Trenchard-Smith Warner Bros.

Producer....................................... Patric Juillet Scriptwriter............................Kenneth G. Ross Producer...................................John R. Bowey Prod, company................ CM Film Productions Director..........................................Lex Marinos Photography.................................... Kevin Lind Director...............................Richard C. Sarafian Dist. company........... Arinya Film Distributors, Scriptwriter............................... Peter Yeldham Sound recordist................................Tim Lloyd Scriptwriters...........................................GeorgeGoldsmith, Cinema Enterprises, Based on the original idea Editor....................................... Brian Kavanagh Rick Redeman, Smart Egg Pictures Prod, designer.............................. Darrell Lass Ken Barnett Producer.............................................. CarmeloMusca by........................................... Peter Yeldham Photography.......................... David Sanderson Exec, producer......................Tom Broadbridge Photography.............................Keith Wagstaff Director...................................... Barrie Pattison Sound recordist......................... Ken Hammond Line producer.............................. Lynn Barker Sound recordist....................... Doug Hampton Scriptwriter.................................Barrie Pattison Editor........................................................PhilipHowe Prod, co-ordinator.......................Lesley Parker Prod, designer............................................. KimBuddee Based on the original idea Prod, designer........................Melody Cooper Prod, manager Exec, producer.........................Sandy Howard by........................................... Barrie Pattison Composer...............................

Sharon Calcraft (pre-production)........................ Julia Ritchie Assoc, producers......................Keith Saggers, Photography.................................Alex McPhee Exec, producer....................Antony I. Ginnane Prod, manager Russell Markowitz Sound recordist.........................................HughCleverley Assoc, producers................... Wendy Hughes, (production)...............................Barbi Taylor Prod, co-ordinator.......................................GailMackinnon Editor.................................... Thai Tang Tieng Norman Kaye Prod, secretary....................... Debbie Samuels Prod, manager......................... Russell Jordan Prod, manager......................................FrancesWalker Line producer.....................................Tim Read Prod, accountant.................... Elaine Crowther Continuity................................ Chris O’Connell Unit manager................................. Doug Smith Prod, co-ordinator.................................SimoneNorth Camera operator....................................KiplingBakerLocation manager.....................................BrianBeaton Accounts asst.............................. Linda Whitely Prod, manager......................................MichaelFuller 1st asst director.......................... Jake Atkinson Focus puller........................ Andrew Rowlands Prod, secretary.............Carolien van der Gaag Unit manager.............................. Frank Manley 2nd asst director......................... Danielle Lass Gaffer.....................................................StewartSorbyProd, assistant....................................... RobbieMcPhee Stunts co-ordinator.........................Grant Page 3rd asst director.......................... Debbie Atkins 1st asst director...................................... GeraldLetts Location manager.......................Liz Kirkham Budget........................................................ $9.8million Casting liaison........................... Lesley Jenkins 2nd asst director......................................... PaulWoodProd, secretary...................................... RachelSymes Prod, accountant................................... DianneBrown Focus puller................................................. RodHindsLength..........................................................100minutes Continuity...................................... Jan Piantoni 1st asst director...................................... RobertKewley Clapper/loader..............................Mitchell Papi Gauge...................................................... Super35mm Focus puller.............................................. StevePeddie Synopsis: Truk Lagoon is an adventure/action Key g rip .........................................Rob Morgan Clapper/loader.....................................VassantRau 2nd asst director........................................ TrishCarney 3rd thriller set in the Philippines and Truk Islands.

Gaffer......................................... Richard Curtis Key g rip .................................................... LeighSandow asst director......................................... JohnGaudry Asst directors’ attachment.... Donna Shepherd A young woman attempts to salvage gold Boom operator.......................... Mark van Kool Asst grip.............................. Doug Kitchingman Continuity.................................Chris O'Connell Art director.................................................MarcRyanbullion and revenge the death of her brother.

2nd unit photography................................ColinHawke Continuity attachment................Use Buckridge SPFX make-up/ Gaffer....................................................... DarrylBinnings Producers’ attachment.............................. JohnBeaton hair supervisor.................... Deryckde Niese Boom operator......................Gavin Cummings Camera operator................... David Sanderson Sound post-production...........John Dennison, Art director................................. Julianne Mills Focus puller..............................................DerryField Tony Vaccher Clapper/loader............................... MarkZagar Editing assistants................... Allen Woodruff, Key grip...................................George Tsoutas Peter McBain Wardrobe asst...........................................TrishRobinson Asst grip........................................Jo Johansen Still photography.................... Corrie Anacone Props....................................Nigel Devenport Gaffer.......................................................Jamie Egan Best boy.................................. Kirk Brommage Props buyer............................................DeniseGowdy POST-PRODUCTION 3rd electrix..................................................BrettRemati Safety report............................George Mannix Runner.................................................. RichardGordon Brute operator...........................................

Craig Bryant Catering................................Mustard Catering Publicity..................................... Lionel Midford Boom operator..................... Graham McKinney Catering....................................................FionaAngel Laboratory...........................................Movielab BODILY HARM Art director............................................

Stephen Mellor Length..............................................90 minutes Prod, company....................................... SmileyFilmsLab. liaison.............................................. KelvinCrumplin Costume designer..................................MelodyCooper Gauge......................................................35mm Budget................................................$855,000 Pty Limited for Make-up....................................................

Karla O’Keefe Length........................................................... 90minutes Shooting stock........................................ Kodak International Film Management Limited Assistant make-up................................ DeannaGirling Cast: Mark Hembrow, Tessa Humphries, Gauge...................................................... 35mm Dist. company.........Hemdale Film Corporation Wardrobe standby..................................... JaneBoalch Helen O’Connor, Carrie Zivetz, Mary Regan, Shooting stock........................................ Kodak (The World excluding Australasia), Props buyer............................................. DimityHuntington Cast: Geoff Gibbs (Mayor Ransom), John Linda Newton, John Clayton, John Lev. Marai Hemdale-Ginnane Australia Limited Standby props......................................Tim Hall Moore (Jimmy),MaggieWilde-West (Madam Gerard, Sally Hudson, Shane Briant.

(Australasia) Art dept attachment.................................... SueVivien Synopsis: Out of the body there can be Rita).

Producer................................ Richard Brennan Set decorator........................................... DimityHuntington Synopsis: Grotesque events occur in an Aus­ danger. David Gaze, an unwitting astral Director..................................................... MarkJoffetralian outback country town when an ill-con­ Set dresser’s asst/ traveller goes one step too far . . . and finds Scriptwriter.......................................... WarwickHind art dept runner......................Anna Borghese sidered development turns the area’s warhimself prime suspect in a series of demonic Based on the original idea Painter/finisher..................... Michael Wilkinson murders. b y .....................................................WarwickHinddead into blood-crazed monsters.

Carpenters................................................. MikeVivien, Photography............................................. ElleryRyan Steve Volich, THE 13th FLOOR Sound recordist....................Andrew Ramage Andy Maddern BOULEVARD OF BROKEN DREAMS Editor.................................... Mark Van Buuren Prod, company...... David Hannay Productions Set construction.......................................DavidBoardman Prod, designer................................Roger Ford Dist. company............Premiere Film Marketing Prod, company........................Boulevard Films Asst editors............................................. AdrianWard, Exec, producers.................. Antony I. Ginnane, Producers.................................................DavidHannay, Dist. company.................... Bravo International Annie Breslin Errol Sullivan Charles Hannah Distributors/Hoyts Dubbing editor.......................... Penn Robinson Assoc, producer........................................ JulieMonton Director...................................................... ChrisRoache Producer...................................................FrankHowson Safety officer...............................................PaulBuckley Prod, manager........................................... JulieForster Scriptwriter................................................ChrisRoache Director.......................................................PinoAmenta Still photography....................................... BrianMcKenzie, Scriptwriter.............................................. FrankHowson Photography............................................ StevePrimeUnit manager............................................ HughJohnston Caroline Johns Location finder.................................Ruth Catlin Based on an original idea Sound recordist...........................................PaulBolger Machinist.........................Lucy Rose Domineilo (Stagewright Pty Ltd) by.......................................................... FrankHowson Editor......................................................... PeterMcBain Electrician.................................................. NoelMcKay Prod, secretary.....................................RowenaTalacko Photography............................................. DavidConnell Supervising editor................... Brian Kavanagh Gardener..................................................... PhilStanley Sound recordist.................................... AndrewRamage Prod, designer.........................................DarrellLass Prod, accountant...........................................JillCoverdale Mechanic.................................................. PeterOrtmueller Asst accountant......................................Donna Mitchell Editor.................................................Phil Reid Exec, producer......................Tom Broadbridge Best boy....................................Greg Fitzgerald 1st asst director......................................... EuanKeddie Prod, designer.............................................. TelStolfoRunner........................................ Tim McCathie Prod, co-ordinator...................................LesleyParker Composer...................................................JohnCapek 2nd asst director.......................................JamieCrooks Prod, manager...........................................Julia Ritchie Publicity.......................... The Write On Group Exec, producer......................................... PeterBoyleUnit publicist.............................................. KateJennings 3rd asst director.............................Sarah Lewis Prod, secretary.......................Debbie Samuels Assoc, producer........................................BarbiTaylor Continuity..........................................Pam Willis Prod, accountant.................... Elaine Crowther Catering...................................................GriffinCaterers Prod, co-ordinator................................. SimoneDole Nurse.....................................................Pat Lee Casting...................................... Michael Lynch Accts assistant.......................................... LindaWhitely Unit manager.............................................JohnSuhrMixed at...............................................Colorfilm Casting consultants.........Forcast Consultants 1st asst director.............................................IanAstridge Location manager.......................................PaulHealey Extras casting.................. Virginia Everingham 2nd asst director...........................Charlie Revai Laboratory.......................................... Colorfilm Prod, accountant...................................BelindaWilliams Continuity...................................................... JoRoffeCamera operator...................David Williamson Budget............................................ $3,500,000 Prod, assistant...........................................LynnHowson Focus puller..................................Tracy Kubler Casting liaison......................................... LesleyJenkins Length........................................................... 94minutes 1st asst director...................... John Powditch Focus puller............................................... MikeKelly Clapper/loader............................................. PhilMurphy Gauge...................................................... 35mm 2nd asst director...................Michael McIntyre Clapper/loader..................................... EdmundMilts Key g rip .....................................................BarryHansen Shooting stock................. Kodak Eastmancolor 3rd asst director.................... Cameron Barnett Asst grip................................................... MartinForster Key grip......................................................ColinTulloch Cast: Wendy Hughes (Stella), John Har­ Continuity.................................................JennyTosi greaves (Andy), Norman Kaye (Bill), Max Gaffer.........................................................DougWoodGaffer.............................................. Simon Lee Script editor.............................................AlisterWebbCullen (Blanco), Julie Nihill (June), John Electricians............................... Peter Bushby, Boom operator...........................................TonyKeesing Casting.......................................................GregAppsClayton (Riley), Michael Siberry (Arthur Pear­ Rob Lowe Art director................................................ PeterDavies Casting consultant........................................ LizMullinar Boom operator......................... Scott Rawlings Art dept asst...............................................GregClarke son), Robert Faggater (Ted Mason), Vivienne Focus puller.............................................. GregRyanGarrett (Freda), Beverley Shaw (Millie).

Art director....................................Laurie Faen Buyer.......................................................... PetaLawson Clapper/loader.............................. Terry Howell Art dept runner..............................Luke Parata Synopsis: A drama set in a small, outback SPFX make-up/ Key g rip .............................................Geoff Full Wardrobe supervisor............ Louise Wakefield hair supervisor.....................Deryck de Niese town where a series of events is triggered by a Gaffer.......................................................... RobYoung Make-up............................... Wendy Sainsbury Make-up attachment..................... Sue Matak school teacher forced to spend a few days in Art director....................................... BernadetteWynack Hairdresser..........................

Jonathan Malone Hairdresser................................ Tony Meredith town when his car breaks down.

Make-up..........................Amanda Rowbottom Standby wardrobe.........................Peter Bevan Wardrobe................................... Rosalea Hood Wardrobe................................Cheryl McCloud Props buyer............................................... TonyHunt Wardrobe buyer........................................PaulaRyan BRAINBLAST Props buyers.............................................

Daryl Mills, Dresser/asst buyer..................................... JuliePuglisi Standby props........................... Alan Manning Brian Dusting Prod, company............Mindless Entertainment Cutter/sewer........................... Loris Perryman Special effects...........................Alan Manning Standby props...........................................

Brian Lang Corporation Props buyers/set dressers......... Donna Brown, Edge numberer................................. Liz Irving Set decorator............................................. TrishKeating Dist. company...................................Toadshow Eugene intas Sound post-production...........John Dennison, Still photography.......................................

Greg Noakes Producer..............................................Stephen Stockwell Standby props........................................... ColinGibson Tony Vaccher Best boy....................................................PeterMoloney Director............................................. Andy Nehi Standby carpenter.................. Will Soeterboek Make-up/wardrobe van.............................MovieMobile Publicity...................................................

Lionel Midford Scriptwriter...........................................StephenStockwell Asst editor..................................... Jenny Hicks Camera vehicle..... Orana Car & Truck Rentals Laboratory.............Victorian Film Laboratories Photography............................................ DebraBeattie Dubbing editor........................ Karin Wittington Safety officers.........................................WaynePleece, Lab. liaison...............................................BruceBraun Sound recordist..........................................SallyGeschmay Dubbing asst..................................Phil Dickson Paul Lennon Budget........................................................$1.9 million Editor.......................................................... PaulRoussakis 2nd dubbing asst........................................ RickLisle Safety report............................George Mannix Length.....................................................95-100minutes Prod, co-ordinator...........................Mim Weger Still photography................. Robert McFarlane Nurse................................................. Julie Tiso Gauge......................................................35mm Prod, manager........................ Felicity Jenning Best boy........................................ Pat O’Farrell Still photography................... Clare McClelland Shooting stock............................Eastmancolor Prod, secretary................................... ChristineAnastassi Runner.................................... Lyn Henderson Best boy................................................StephenCadman Prod, assistants.........................Judith Jabour, Cast.

John Waters (Tom Garfield), Penelope Catering........................................ Janene Luff Runner....................................... Debbie Atkins Paul Scott Stewart (Helen Garfield), Kim Gyngell (Ian Mc­ Mixed at.............................................Soundfirm Unit attachment............................. Vicky Roper Script editor............................................... PauliKarkienen Kenzie), Nicki Pauli (Suzy Daniels), Kevin Miles Laboratory...........................................Colorfilm Publicity.................................................... LionelMidford Lighting.................................................

RichardBladel (Geoff Borman), Ross Thompson (Cameron Lab. liaison.............................

Denise Wolfson Catering..................................................... ColinJacobus Camera operator........................................ GaryPhillips Wright), Andrew McFarlane (Jonathan Lovell).

Budget.............................................$3,400,000 Laboratory......................................................90minutes

F E A T U R E S

CINEMA PAPERS JANUARY - 67

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

FOR THE SUPPLY OF ALL FILM PRODUCTION TRANSPORT CONTACT DAVID SUTTOR ON (02) 439 4590 318 WILLOUGHBY ROAD, NAREMBURN, SYDNEY STATION WAGONS • SEDANS • HI-ACE VANS « 4 X 4 TOYOTA LANDCRUISERS • ACTION VEHICLES

Camera assistant...................... Atlanta Francis Boom operator.................. Malcolm Robertson Music performed b y............... Just A Drummer, John Kennedy's Love Gone Wrong, Craven Fops, Dave Baby, On Edge Publicity.................................Amanda Falconer Catering......................................Ann Shearman Length.............................................. 83 minutes G auge...................................................1" video Cast: Julie Mitchell (Sally), Lisa-Jane Stockwell (Margaret), Cathy Jukes (Liz), Toby Zoates (Kika), James Scanlon (Burgher Meister), Craven Fops (The Mutant Mob), Michael Salmon (Jeff), John Kennedy (Jack), Kathleen Phillips (Ruby), Tony Biggs (Slob), Mark Bracken (Wally).

Synopsis: Sci-fi-horror-comedy-thriller that follows the havoc when two young brain researchers discover a video effect that stimu­ lates opioid peptides, and both the Mob and the CIA want it.

to find his origins and discovers not only his past but the murderers of his father and grand­ father.

PROUD TO BE SUPPLYING: • C rocodile II • Rikki and P ete • Em m a • D irtw ater D ynasty • W illesee’s A ustralia • H ills End

TRAY TOPS • BUSES

Camera operator....................................... PeterMcDonald Standby props............................................PeterMoyes Key g rip ...................................... Adam Shapiro Standby props asst......................................BrynWhitie Special effects co-ord................................ DavidYoung G affer......................................... Adam Shapiro Special fx assts...................................Rick Best, Costume designer.................... ......Jackie Chu Wilson Starr Make-up........................................................ SueStraass CLAIM No. Z84 Graphic designer....................... Alison Windmill Still photography......................................Sergio Malacaria Prod, company...................................... SunrisePicture Animation................................................... PeterMcDonald Display consultant.................Glenn McDermott Company Pty Ltd Length............................................................. 80minutes Scenic a rtist.....................................Bill Malcolm Producer.....................................................NigelBuesst Gauge........................................................Super16mmCarpenters.................................. David Robson, Director....................................................... NigelBuesst Cast: Neil Grant (Adam), Mark Shaw (Steven), Michael Hill, Scriptwriter................................................... AbePogos Gordon McIntyre, Zoe Williams (Trudi), Mark Fisher (Michael), Photography.......................... Vladimir Osherov Paul Whitter, Brian Vicary (Mr Coal), Vanessa Williams Sound recordist............................................RayBosely (Science teacher), Ross Williams (Steven’s Frank Savage, Editor...................................... NubarGhazarian mother), Leone Sperling (Adam's mother), Ari David Scott, Assoc, producer................... Matthew Lovering Bronwyn Parry, Sperling (Bradley).

Prod, manager................................Joanne Bell Robert Anderson Synopsis: A story of friendship. This film looks Prod, secretary..........................................DianeReece into the minds of two students in their last days Model makers...........................Pauline Grebert, Prod, assistant................................ Mark Lane at high school. Adam and Steven perceive their John Searle, 1st asst director................... Matthew Lovering Kim Hilder place in the system in a very esoteric way.

Camera assistant........................ Terry Howells Draughtspersons......................................... SueBaxter, Gaffer......................................................... PeterScott Fiona Scott DANGEROUS GAME Boom operator......................Clayton Jacobson Asst editor..................................Janine Chialvo Prod, com pany..................... Virgo Productions Art director.................................................. Fimo Construction manager..................Hugh Bateup Dist. com pany...................... International Film Asst art director........................................ Vanda Co-construction m anager....................... WalterSperl Marketing (LA) Props buyer............................... Jane Carslake Construction labourer................................ SeanLang BREAKING LOOSE Producers..................................... Judith West, C atering..................................... Roslyn Walker Steel fabricator........................................ WalterBron Basil Appleby Prod, company........................................ AvalonFilmsLaboratory.................................................... VFL Construction dept runner............Jonathon Carl Director......................................................SteveHopkins Producer................................................... Phillip Avalon Length............................................................. 75minutes Set painters...............................................MartinBruveri Director................................................ Rod Hay Gauge....................................................... Super16mmScriptwriter......................................Peter West Matt Connors, Based on the original idea Scriptwriter...........................................Rod Hay Shooting s to ck............................................7291 Peta Black, Photography.......................... Richard Michalak by............................................. Michael Ralph Cast: Jeremy Stanford (Paul), Elizabeth Des Keena Sound recordist............................................BobClayton Photography..................................... Peter Levy Crockett (Gina), Bruce Kerr (David), Chris Sound editor..................................................

LesFiddess Sound recordist............................Phillip Keros Editor............................................................ TedOttonBarry (Carlo), Rowan Woods (Tom), Peter Asst sound effects editor......... Simon Smithers Editor.......................................... Tim Wellburn Composer......................................................JanPreston Hosking (Vince), Leo Regan (Eddie), Cliff Stunts co-ordinator.....................................Peter West Prod, designer......................................Igor Nay Exec, producers................................. Eric Jury, Neate (Bradley), Darryl Emmerson (George).

Asst stunt co-ordinator.................................. Jim Richard Composer.........................................Les Gock James Michael Vernon Synopsis: A dry comedy set in the offices of Stunts performers.....................

Joe Schwaiger, Exec, producer........................................ RobertMercieca Prod, co-ordinator..................................MichaelDavisthe State Compensation Board.

Phil Meacham Asst producer.................Andrew Martin-Weber Prod, manager....................................... Andrew Morse Safety officer...............................Art Thompson Unit manager.....................Stephen Macagnan Prod, manager.......................................... CathyFlannery CONTACT Arm ourer....................................

Robert Coleby Unit manager....................................... RoxanneDelbarre Location manager........................Bevan Childs Still photography........................................... Jim Townle Prod, company............. Tru-Vu Pictures Pty Ltd Location manager.........................................KimAnning Prod, secretary................................. Clare Gale Unit nurse..................................................Cathy Stephe Dist. company........................Ronin Films/ABC Prod, secretary..................... Juliette Van Heyst Prod, accountant....................................MichaelBoon Merchandising co-ordinator........ Nancy Strong Prod, assistant............................................John BlackProducer..................................................... ChrisOliverProd, accountants........................Michele Day, Cat wrangler................................................

Vera Steven Director...................................

Mary Callaghan Jane Corden, 1st asst d irector..........Carolynne Cunningham Best b o y ......................................................SeanConwa Scriptwriter.............................. Mary Callaghan Moneypenny Services 2nd asst director......................Mark Chambers Runner................................... Sacha Rodriguez Photography................................................ RayArgali1st asst director.......................... Keith Heygate 3rd asst director....................... Theresa Parker Art dept runner.............................................BizziBodi Sound recordist............................................ PatFiske2nd asst director.........................................PeterVoeten Continuity.......................................... Sue Wiley Publicity.............................The Write-On Group Editor............................................Tony Stevens 3rd asst director......................................... MariaPhillips Script editor............................. Denis Whitburn Unit publicist.................. Andrew Martin-Weber Prod, designer......................... .-...Kerrie Brown Casting.....................Faith Martin & Associates Continuity....................................................... JoWeeks Catering..................................................

Cafe 87 Composer..............................

Graham Bidstrup Script editor...............................................DavidGroom Camera operator.........................................John Brock Studios...................................................

RaleighPark Prod, manager..............................

Anna Grieve Camera operator........................Bill Hammond Focus puller................................................MarkSullivan Location/unit manager..................Roger Monk Mixed a t................................................ Colorfilm Clapper/loader.............................................PaulSullivan Panaglide/ Laboratory............................................Colorfilm Prod, secretary..................................

Pip Brown 2nd camera operator............. Geoff Wharton Key grip.................................................. GrahamYoung Lab. liaison.............................................. DeniseWolfse Prod, accountant............... Kathy Montgomery, Focus pulle r................................Conrad Slack Asst g rip ................................................... DannyLockett Budget............................................. $4.7 million Wearne &Co. Clapper/loader....................................... RichardBradshaw G affer.........................................................GeoffMaine 1st aast director............................................. IanPageCamera assistant........................................KatePrindiville Length..............................................95 minutes Boom operator...........................Chris Rowland 2nd a9st director.....................

Cristina Pozzan Gauge.................................

35mm (Panavision) Key g rip ...................................................... TonyLarkins Art director................................... Andrew Paul Cast: Continuity..................................................Alison Ely Asst grips................................................... KerryJackson, Miles Buchanan (David Forrest), Marcus Art dept co-ordinator........... Alanah O’Sullivan Graham (Jack Hayward), Steven Grives Focus puller...............................Mandy Walker Rourke Crawford-FI ett Technician......................... Brenda MacKenzie (Patrick Murphy), Sandie Lillingston (Ziggy), G affer.........................................Rick McMullen Make-up/hair assistant............................. NicoleSorbyKey g rip ..................................... Peter Ledgway Kathryn Walker (Kathryn), John Poison (Tony).

G affer........................................ Mark Gilfedder Electricians........................ Darren McLaughlin, Wardrobe supervisor............................... jenny uampoen Synopsis: The terror of confined mayhem con­ Boom operator.............................................. SueKerr Paul Booth, Standby wardrobe.............................Pia Kryger fronts five teenage uni students in a depart­ Art director................................................ KerrieBrown Matthew Inglis Props buyer..........................Rowan McKenzie Asst art director.....................................Amanda Hunt ment store with a psychotic policeman.

Asst props buyer......................................... LukeHobbs Boom operator................................... David Lee Storyboard artist...................... Kate Broadbent Standby props.........................................MarcusErasmus Art director........................................ Ian Allen Hair/make-up...,.......................Annette Adams THE DREAMING Special effects co-ordinator......Neville Maxwell Art dept a sst................................... Paul Gorrie Standby wardrobe.................................... KathyMoyes Set dresser........................................ Judy Kelly Art dept administrator.....................Penny Lang Prod, company............................Genesis Films Standby props/construction ....Mathias Goeber Scenic a rtist................................. Shane Forest Costume designer..................................ColletteDinnigan Pty Limited for Asst editor.........................................JacquelineMunro Brush hand..................................Alex Seaborne Costume co-ordinator............. Shauna Flenady international Film Management Limited Still photography..................................... JamesHealey Labourers............................................ ChristianTrinder, Make-up.................................................MicheleCochran Dist. company........... Goldfarb Distributors Inc. Best boy...................................Paul Narkiewicz Philip Carroll Hairdresser............................................ MicheleCochran (The World excluding Australasia Runner.......................................Thierry Lepers Make-up a s s t...............................................AlexGaleazzi Set construction &The Philippines), Extras casting............................Extras Agency Standby wardrobe......................... Robyn Elliott manager................................ Rob Ricketson Hemdale-Ginnane Australia Limited Publicity............................................Kim Lewis, Wardrobe asst...............................Fiona Nicolls Asst editor.................................. Danny Cooper (Australasia), Andrew Pike Props buyers.................................... Lon Lucini, Mechanic................................... Martin Shields Eastern Film Management Corporation Catering...................... Shoot Through Caterers Miv Brewer Sound/ (The Philippines) Laboratory...........................................Colorfilm post-production.... Roger Savage/Soundfirm Producers...................................................Craig Lahiff, Length.............................................. 90 minutes Dubbing editor.............Nicky Roller/Soundfirm Wayne Groom Gauge....................................................... 35mm Editing asst............................... Stephen Hayes Director................................ Mario Andreacchio Animal handler............................................ DaleAspinCast: Jo Kennedy (Mitch), Nique Needles Scriptwriters...................................Rob George, (Rex), Robert Menzies (Yawn).

Stunts co-ordinator................................... GlennRuehland Stephanie McCarthy, Synopsis: C o n ta c t is a low-rent, pop-cult love Camera rental liaison................... Roger Bailey John Emery story.

Rental car supplier.............David Suttor/Orana Based on the original idea b y ........Craig Lahiff, Safety report..............................George Mannix Wayne Groom CROSSING Set nurse....................................... Wendy Boon Photography.............................................. DavidForema Help us m ake this produc­ Still photography.......................Brett Cochrane Prod, company...........................Serpent Films Sound recordist............................................RobCutche Best b oy......................................................GregAllen Producers..............................Hector Malacaria, tion survey as com plete as Editor....................................................... SureshAyyar Publicity.......................Lionel Midford Publicity Evan Shapiro Prod, designer....................................... MichaelRalph possible. If you have som e­ Unit publicist............................... Lionel Midford Directors................................Hector Malacaria, Exec, producer.................... Antony I. Ginnane thing w hich is about to go Catering.......................... Maree Manifold/MMK Evan Shapiro Prod, co-ordinator..................................... DianeStuart into pre-production, let us Laboratory...........................................Colorfilm Scriptwriters......................... Hector Malacaria, Prod, manager.............................................. RonStigwo Lab. liaison................................Denise Wolfson Evan Shapiro Unit manager............................................ MasonCurtis i ana \w e will m ake sure know Budget.............................................................$2million Sound recordist.............................Mitchell Hart Location m anager...............Christopher Pope it is included. Call Kathy Bail Length...............................................90 minutes Editors................................... Hector Malacaria, Prod, accountant....................................... DavidBarnes Gauge....................................................... 35mm on (03) 429 5511, or w rite to Evan Shapiro Accounts assistant................................. SharonJackso Cast: Peter Phelps, Abigail, Vince Martin, Composer................................. Simon Shapiro 1st asst director............................................ GusHoward her at C inem a P apers, 43 Sandra Lee Patterson, David Ngoobumjarra, Prod, manager........................... Glenn Watson 2nd asst director.....................................LindsaySmith Charles S treet, A bbotsford, Angela Kennedy, Tom Richards, Shane Prod, assistant............................Tracey Steele 3rd asst director.......................................... JeanMoyes Victoria 3067.

Connor, John Clayton, Christopher Greaves, 1st asst director........................ Claudia Boland Continuity............................... Kristin Witcombe Dee Krainz, Sharon Tamlyn, Kate Grusovin.

Casting.................................. Hector Malacaria, Focus puller..................................................... Jo Murph Synopsis: A young man sets off on a journey Evan Shapiro Clapper/loader.....................Lyddy Van Guyen

PRODUCERS

MW W W W W W W W W

68 - JANUARY CINEMA PAPERS

Key grip....................................................... BrianBosisto Budget............................................$1,680,000 Gaffer......................................................RichardCurtis OUTBACK Asst g rip s............................................... GeorgioLiveri,Length............................................ 100 minutes Boom operator........................................... ChrisRoland Prod, company............................................ John Sexton Paul Reinhardt, Gauge....................................................... 35mm Asst art director...................Jennifer Kernke Productions Pty Limited for Marcus Bosisto Shooting stock................................Kodak 5297 Make-up.....................................Brita Kingsbury The Burrowes Film Group Gaffer.......................................Graeme Shelton Cast: Dave Mason (Lilly), Chris De Rose Wardrobe................................................... DinahMitchell Pty Limited and (Greschner), Mike Bishop (Hale), Nick Cave Boom operator............................ Des Kenneally Standby props...........................................DallasWilson International Film Management Limited (Maynard), Bogdan Koca (Waychek), Kevin Art director.......................................Ian Gracie Art dept asst.................................................John Martin Dist. company.........Hemdale Film Corporation Art dept co-ordinator.................................... ToniForsyth Mackey (Glover), Ian Mortimer (Jack), Dave Asst editor..................................................StellaSavvas (The World excluding Australasia), Field (Wenzil).

Costume designer.......................... Ruth Munro Sound editors................................................ LesFiddess, Hemdale-Ginnane Australia Limited Tim Jordan Make-up................................................ LeeanneWhiteSynopsis: G ho sts is the story of Central Indus­ (Australasia) Asst sound editors........................................ RayCooper, Hairdresser........................................... Leeanne Whitetrial Prison — the most modern design in maxi­ Producer.....................................................John Sexton Jenny Hutchinson Wardrobe standby......................................AnitaSeilermum security technology. A "New Genera­ Director............................................... Ian Barry tion” facility. It is the story of the lives of the Props buyer................................................. VickiNiehus Still photography......................................RobertVerkerk Scriptwriter.................................................John Sexton inmates, In particular, of seven major charac­ Asst props buyer........................Keith Bradford Best boy........................................................ KirkBromage Photography............................. Ross Beriyman ters and of the events that lead up to 25 Runner.........................................................NickHodge Standby props............................................ PeterDavies Sound recordist............................... Ben Osmo October — the day of the lockdown.

Publicity..............................

Shelley Nellor, lllustrator/runner...................................... DanielBurns Editor.........................................................

HenryDangar Write-On Group Special effects......................... Jon Armstrong Prod, designer.......................... Owen Paterson Catering........................................ Out To Lunch Speciel effects assistants...........................NikkiPrice, Exec, producers...................

Antony I. Ginnane, INCIDENT AT RAVEN’S GATE Laboratory.................................................. Atlab Roger Lamey Kent Lovell Lab. liaison.......................................... Gary Keir Set construction............................ Chris Budrys Prod, company..........Acquabay Pty Limited for Line producer..................................................SuArmstrong Length.............................................

95 minutes Asst editor..................................... Tania Nehme International Film Management Limited Prod, co-ordinator......................................

VickiPopplewell Gauge........................................................35mm Dubbing e dito r.......................................... GlennMartinDist. company.......Hemdale Ginnane Australia Prod, manager.................................... Grant Hill Shooting stock................

Kodak Dubbing assistant...............Yvonne Van Guyen Limited (Australasia), Unit manager..............................

Neville Mason Cast: Nique Needles (Male), Rosey Jones Edge numberer.......................................Tabitha Burke Hemdale Film Corporation Unit assistant..................................Jane Richter (Female).

Stunts co-ordinator......................................GlenBoswell (The World excluding Australasia) Location manager.....................David Malacari Synopsis: Two kids steal a mailbag for the Safety officer........................................ Micheale Read Producers....................................................MarcRosenberg, 2nd unit location manager........... Mike McLean cheques but are forever affected by the letters Still photography............................ Greg Lamey Rolf de Heer Prod, secretary.....................................AmandaSelling it contains.

Nurse........................................... Monica Pearce Director........................................Rolf de Heer Prod, accountant............ Gemma Rawsthorne, Best boy......................................Keith Johnson Scriptwriters............................................... MarcRosenberg, Moneypenny Services Assistant electrics.................... Thad Robertson Rolf de Heer THE MAN WHO LOST HIS HEAD Assistant accountant......................... Jill Steele Runner.................................................. StephenBurnsAdapted from an original screenplay 1st asst director................................. John Wild Dist. company............................................Ronin Films Catering..............................................Keith Fish by....................................... James M. Vernon 2nd asst director..........................................BrettPopplewell Producer.................................................. JamesClayden Catering assistant.......................... Glenda Fish Photography..........................Richard Michalak 3rd asst director............................... Terry King Director.....................................................JamesClayden Studios.................................................... HendonStudios Sound recordist............................................BobCutcher Continuity........................................

Ann Walton Based on the original idea by....James Clayden Budget.............................................. $2,200,000 Editor............................................Suresh Ayyar Casting....................................... Michael Lynch, Sound recordist..........................................GaryHillberg Length............................................................. 92minutes Prod, designer............................. Judith Russell Rae Davidson Editor.......................................................... GaryHillberg Gauge........................................................ 35mm Composers..................................... Tar Music — Composer....................................................Ollie OlsenCasting consultants...............................Forcast Shooting stock..................Kodak Eastmancolor Graham Tardif, Extras casting............................................... SueEdwards Lighting cameraperson.............James Clayden Cast: Arthur Dignam (Professor Bernard Roman de Cronenburg Camera operator.....................Ross Berryman Music performed by........................ Ollie Olsen Thornton), Penny Cook (Cathy Thornton), Gary Exec, producer..................... Antony I. Ginnane Focus puller................................................BrianBreheny Still photography............................ Bill Henson Sweet (Geoff), Kristina Nehm (Warindji), Law­ Prod, co-ordinator..................................BarbaraRing Clapper/loader..............................

Glenn Cogan Publicity........................................................ KimLewis rence Clifford (Najira), Patrick Frost (Dr Prod, manager........................................ RonaldStigwood Camera dept attachment................. Peter Stott Mixed at..............................................Soundfirm Graham), John Noble (Dr Richards), Leo Taylor Unit/location manager.............................. FrankManley Key grip...............................................

Tony Hall Laboratory..............................................Cinevex Prod, office attachment.............................. ToniForsyth (Alt).

Asst g rip .......................................... Greg Tuohy Length............................................................. 90minutes Synopsis: A contemporary thriller set on a Prod, accountant................................. ElizabethAnderson Gaffer...................................................... LindsayFoote Shooting s to c k ............................................7291 remote island off the southern coast of Aus­ 1st asst director..........Carolynne Cunningham 3rd electrics.............................................. SimonStewart Cast: Phil Motherwell (Walter Hey), Marie Hoy tralia.

2nd asst director.....................Henry Osborne Genny op./4th electrics......................Brett Hull (Ruby How), Peter Green (Colin Bench-Root), 3rd asst director........................................... PaulPhilpott Boom operator........................ Jack Friedman Jan Friedel (Dr Elizabeth Hearing), Greg Continuity.............................................. HeatherOxenham Art director............................................. StewartWay Carroll (Rugo “ Legs” Richards), John Murphy GHOSTS Camera operator....................................AndrewLesnie Asst art director....................................... JamesLynn (Mickey Did), Tom Eckersley (Ben Toe-Near), Focus puller.....................................................JoMurphy (Working title) Art dept co-ordinator....................................SueOugham Daine Hall (Rose Chutney), Val Kirwan (Muriel Clapper/loader.............................................

Rod Bolton Costume designer..................................... TerryRyan Prod, company................Correctional Services Chapp).

Key grip.......................................................BrianBosisto Make-up................................... Felicity Bowring (Film Productions) Inc. Asst g rip s...............................................GeorgioLiveri,Synopsis: The nightmarish adventures of Hairdresser.............................................Ziggy Dist. company..................................... Hemdale artist Walter Hey who wakes up one morning Paul Reinhardt Producer........................................Evan English Wardrobe supervisor..................................KerriBarnett without his head. A bizarre journey into comic Gaffer...................................... Graeme Shelton Director..........................................John Hillcoat Standby wardrobe........................... Kate Green madness.

Boom operator..............................................DesKenneally Scriptwriters......................................Nick Cave, Wardrobe asst........................................ Andrew Short Costume designer.................................Clarissa Patterson Gene Conkie, Machinists........................................... KatherineJohnston, MULLAWAY Make-up/hair..............................................EgonDahm Evan English, Ann Veitch Wardrobe standby..................................... Anita SeilerProd, company........Ukiyo Films (International) John Hillcoat, Props buyers................................................SueMaybury, Props buyer/set dresser...Christopher Webster Pty Limited for Hugo Race Jock McLachlan Standby props...............................Mark Abbott International Film Management Limited Based on the original idea Standby props......................... Leanne Cornish Special effects.......................... Jon Armstrong, Dist. company........ Hemdale Film Corporation by..............................................................JohnHillcoat Special effects..........................Neville Maxwell Sue Richter (The World excluding Australasia), Photography................................................PaulGoldman Storyboard artist............................. Steve Lyons Armourer/wind & Hemdale-Ginnane Australia Limited Sound recordist......................Bronwyn Murphy Set decorator............................ Alethea Deane (Australasia) Editor.......................................................StewartYoung smoke effects..........................................BrianBosisto Set finisher............................... Frank Falconer Art dept co-ordinator................ Fiona Paterson Producer..............................D. Howard Grigsby Prod, designer............................................ ChrisKennedy Brush hand...................................................NickWalker Art dept runner............................

Patrick Mahon Director.....................................Don McLennan Asst to prod, designer............................Victoria Hobday Foreman.............................................. JonathonEnemark Set construction............................ Chris Budrys Scriptwriter..................................Jon Stephens Exec, producer...........................................EvanEnglish Carpenters................................................

SteveHuxtable, Asst editor..................................... Tania Nehme Based on the novel b y.................Bron Nicholls Assoc, producer..................... Michael Hopkins Robert Paton, Sound editor...........................................AndrewPlain Photography........................................ Zbigniew Friedrich Prod, manager....................... Denise Patience Frank Phipps Stunts co-ordinator........................................ VicWilson Sound recordist.......................... Lloyd Carrick Prod, co-ordinator...............................Mick Bell Set construction.................................Phil Worth Supervising editor............................... Zbigniew Friedrich Prod, secretary.....................................CarmellaByrneSpecial effects...............................Daniel Burns Construction runner.......................David Atkins Still photography.............................. Vivian Zink Editor....................................................Nick Lee Prod, accountants....................................JennyDavies, Art dept runner..................................... GeoffreyGuiffre Wrangler....................................Bill Willoughby Prod, designer......................................... Patrick Reardon Michael Colcheedas Asst carpenter.......................................... RobertPodhajsky Best boy...................................................... KeithJohnson Exec, producer..................... Antony I. Ginnane 1st asst director................................ Phil Jones Assistant editors.......................................EmmaHay, Runner.............................................Jean Moyes Prod, co-ordinator................................ ChristineGallagher 2nd asst director..........................................LucyMcLaren Alan Dungey Nurse...........................................Monica Pearce Prod, manager.......................................AndrewWiseman 3rd asst director..........................................NikkiVuillermin Safety co-ordinator/ Catering..............................The Shooting Party Unit manager.............................. Steve Ewings Continuity.................................................... TaraFerrier safety supervisor...................................Rocky McDonald Studios....................................................HendonStudios Location manager........................Steve Ewings Casting........................................................ LucyMcLaren, Horse stunt co-ordinator................Heath Harris Mixed a t................................................. HendonStudios Prod, secretary......................Fran O ’Donoghue Polly Borland, Horse masters...........................................HeathHarris, Laboratory............................................Colorfilm Prod, accountant..................................... RobertThreadgold Steve Hardman Allen Fitzsimmons Lab. liaison..............................................DeniseWolfson 1st asst director........................Bob Donaldson Acting rehearsal director............................... IanWatson Asst to horse masters.............................KristineShugg 2nd asst director................................ Ian Kenny Lighting designer.................................. GraemeWoodBudget............................................ $2,500,000 Strapper......................................Leanne Bruce Length............................................................. 90minutes 3rd asst director.................................... BrendanCampbell Focus puller............................ Steve McDonald Wranglers...............................................LindsayFelton, Continuity...................................Christine Lipari Clapper/loader.......................................... SoniaLeberGauge..................................................Super 35 John Rodney, Shooting stock..................Kodak Eastmancolor Casting........................................................ GregApps Key g rip ................................................Mick Bell Barry Christopherson, Cast: Steven Vidler (Rod Cleary), Celine Griffin Casting consultants....................................... LizMullinar Grip........................................ Michael Madigan Gary Amos (Driver), (Rachel Cleary), Ritchie Singer (Richard Casting Consultants Gaffer...........................................RoryTimoney CaseyTurner, Cleary), Vince Gil (Skinner), Saturday Brander Focus puller................................................ChrisCain Boom operator........................................... SteveVaughan Bruce Kuhner, (Annie), Max Cullen (Taylor), Terry Camilleri Clapper/loader............................. Andrew Scott Set design/construction.........Macgregor Knox, Greg Bennett (Casual) (Hemmings).

Key grip....................................... Peter Kershaw Shane Aumont Wrangler attachment.................Micko O’Byrne Synopsis: Sci-fi action thriller set in the Austra­ Asst g rip ..................................Michael Madigan Make-up................................ Vic Macgillicuddy Wagon m aster.............................Peter Young lian wheatfields.

Gaffer.........................................................DavidParkinson Prosthetics...................................... Nik Doming Still photography......................... Jim Sheldon Boom operator............................................ChrisGoldsmith Hairdresser............................................. GeorgeHuxley Nurse........................................................ NicolaJohnston LETTERS Costume designer................................. Jeannie Cameron Wardrobe...................................... Karen Everett Armourer.....................................

Robert Colby (Working title) Make-up........................................Maggie Kolev Standby wardrobe......................Beverly Jasper Drivers......................................... Alison Coop, Wardrobe standby.................................. MargotMcCartney Prod, company.......................... Seidell Pty Ltd Set dresser..................................................HughMarchant Graeme Hayes, Props buyer.............................................. Marita Mussett Producer ..............................Andrena Finlay Standby prop s............................................DeanSullivan Andrew Mola Standby prop s..............................................TimBrowning Director................................... Denny Lawrence Standby w alls.........................................DamienSalmon Vet................................................ Peter Monroe Set decorator...........................................HarveyMawson Scriptwriter................................. Paul Cockburn Carpenters............................................. DamienSalmon, Best b o y ..................................................... PeterMaloney Art dept runner.............................................MaxThomas Rusty Chillcott Based on the original idea Runner......................................... Lisa Harrison Asst editor....................................Annette Kelly Set construction...................................... AlistairKnox, b y ............................................Paul Cockburn Catering................................ Marika Janavicius Dubbing editor...................................... StephenLambeth Dean Sullivan Photography................................. Steve Arnold Catering asst.......................................Lou Hock Still photography....................... Virginia Rouse Asst editor.......................................... RosemaryJonesSound recordist..............................Bob Clayton Laboratory............................................Colorfilm Dialogue coach.............................................JonStephens Editor....................................... Richard Hindley Musical director................................ Nick Cave Lab. liaison..............................................DeniseWolfson, Best boy...................................................... DarylPearson Prod, designer.................................Jane Norris Music performed b y ......................... Nick Cave, Wayne Dunstan Composer...................................................Chris Neal 2nd electrix............................................... StuartCrombie Mick Harvie, Budget..............................................$7,300,000 R unner.............................................Jack White Blixa Bargeld Exec, producer................................... GrahameJennings Gauge........................................................35mm Studios.........................Australian Film Studios Prod, manager................................Sue Sdeary Sound e dito r..................................Dean Gawen Shooting stock..................Kodak Eastmancolor Unit manager...................Stephen Maccagnan Laboratory..............................................Cinevex Editing assistants...................................... PeterClancy, Cast: Jeff Fahey (Creed), Tushka Bergen Rex Watts Location manager......... Rebel Penfold Russell Lab. liaison..................................................... IanAnderson (Alice), Steven Vidler (Donaghue), Fred M ixer......................................................... RogerSavage Prod, secretary....................................... DebbieSamuels Budget..............................................$3,000,000 Parslow (Richards), Cornelia Frances (Caro­ Prod, accountant........................................... PruDonovan Length............................................................. 94minutes Stunts co-ordinator........................... Bill Stacey line), Michael Winchester (Rupert), Richard 1st asst director..........................Jake Atkinson Gauge........................................................35mm Still photography......................................... PollyBorland, Moir (Thompson), Shane Briant (Allenby), Peter Milne 2nd assistant director.................Stephan Elliot Shooting stock..................Kodak Eastmancolor Drew Forsythe (Iverson), Sandy Gore (Maude).

3rd asst director............Tom Churchill-Brown Cast: Nadine Garner (Mull), Craig Morrison Anim ation..................................................... RobHoward Synopsis: Two men of opposing viewpoints fall Continuity.............................Larraine Quinnell, Dialogue coach.............................................. IanWatson (Steve), Kymara Stowers (Jodie), Bradley Kil­ in love with the same woman in this historical Susan Wiley patrick (Alan), Bill Hunter (Dad), Sue Jones Video adviser..............................................SteveMariner saga set in the Australian outback at the turn of Producer’s assistant................. Alison Henville (Mum), Juno Roxas (Guido), Dominic Sweeney Best b oy..................................................Andrew Marron the century.

Casting....................................................... Chris King (Jim), Mary Coustas (Helen).

Publicity.................................................MirandaBrown, Focus p ulle r..............................................StuartQuin Synopsis: A witty and compassionate story of Capa Productions RIKKY AND PETE Clapper/loader............................Adrien Seffrin Catering.................................... Simone & Cathy a teenage girl coming to terms with her family Key grip....................................... Don Andrews and herself when she learns that her mother is Laboratory.................................................... VFL Prod, company..........................Cascade Films Asst grip...............................

Damon Merryman Lab. liaison.....................................Bruce Braun critically ill.

Australia Pty Ltd

CINEMA PAPERS JANUARY - 69

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Producers.................................. David Parker, Editors........................................................PeterCarrodu Still photography....................................... PeterFigetakis NINETY PERCENT MEN Nadia Tass Chris Brown, Animation............................... Flicks Animation Prod, company.............................. Coora Films Director........................................... NadiaTass Michael Webb Opticals.................. Roger Cowland (Colorfilm) Dist. company.......................... ARHS Vic. Div./ Scriptwriter...................................David Parker Composer................................................NataleTrimarch Best boy........................................ Matt Slattery Coora Films Based on the original idea Camera operators........................Chris Brown, Runner.................................................... TorquilMacneal Producer.................................................. RogerSeccombe by............................................... David Parker Sue Brooks Catering.....................................Carolyn Guise, Director.....................................................RogerSeccombe Photography................................. David Parker Music performed b y ................................ NataleTrimarch Jerry Fetzer Scriptwriter............................................... RogerSeccombe Sound recordist.........................................LloydCarrick Sound editor.............................................Doron Kippon Mixed at............................................... Colorfilm Photography.............................................RogerSeccombe Editor.............................................. Ken Sallows Budget.................................................. $40,000 Laboratory...........................................Colorfilm Sound recordist...................................... RobertKerton Prod, designer...................................JosephineFord Lab. liaison............................................. DeniseWolfson Length.......................................................

40-45 minutes Editor........................................................RogerSeccombe Composers........................................ Phil Judd, Gauge.......................................................Video Budget............................................ $3,000,000 Production liaison.......................... Helen Goltz Eddie Raynor Synopsis: Using archival, original strike foot­ Length.............................................90 minutes Additional photography.................Brian Witte, Exec, producer..........................Biyce Menzies age (filmed by nurses), television and post­ Gauge.......................................................35mm Rob MacLennan, Assoc, producer.........................Timothy White strike footage, this videotape explores the his­ Shooting stock................................ 5295, 5247 Howard Seccombe, Prod, co-ordinator...................... Sue Stephens torical causes of nurses’ frustration which Cast: Robert Hartley (Black Alice), Jeff Duff Jerry Smldt Prod, manager......................................... LyndaHouse resulted in a seven-week strike. It follows the (Secta), Dasha Blahova (Honor), Mark HemAdditional sound................................... HowardSeccombe Production assts................................... EleanorBilston, progress of the strike, making connection with brow (Mai), Elizabeth Richmond (Djard), Roz Sound editor............................................RobertKerton Jody Lawrance the Wason (Hope), Ralph Cotterill (Karzoff), Wayne Still photography..................................... RobertKerton crisis in the health-care system. We con­ Location manager................. Leigh Ammitzboll clude with a real sense of victory only Snell (Ex).

Research assistance...................................RayBruce, Unit asst (Melbourne)...............................RogerSelleck tempered by the need to continue to address Synopsis: A futuristic adventure set to power­ Ian Jenkin Location asst (Broken H ill)..........Dianna Ferry ful heavy metal rock’n’roll music. Fantasy and problems in nursing and the health-care Archive assistance..................... Douglas Kidd, Prod, accountant.................................... MandyCarter, science fiction are bound together by a band of system.

Coora Films Moneypenny Services likeable, old-fashioned heroes.

Laboratory................................................... VFL Accountant................................... Monika Gehrt THE TOP HALF Length..............................................50 minutes 1st asst director......................................... TonyMahood (Working title) Gauge......................................................16mm 2nd asst director................Hamish McSporran Shooting stock................Eastman 7291,7292, Prod, company........................................... ABC 3rd asst director.................................... AndrewMerrifield Agfa XT320 Dist. company............................................. ABC Continuity............................ Karinda Parkinson Exec, producer................ Andrew Lloyd James Synopsis: A celebration for the Bicentenary of Producer's assistant.............................. MaggieBrowne the often unsung contribution of the railway Series producer......................... David Leonard Casting.............................................Nad ia T ass Producer.............................................Tim Clark men and women of Australia to the develop­ Camera operator...........................David Parker ment of our country.

Directors............................................Tim Clark, Focus puller............................... Rex Nicholson BARADINE David Leonard, Ciapper/loader.......................Kathy Chambers David Tunnell Prod, company...................Arcana Productions Camera attachment............................... CorrineWatson PORTRAITS 1st asst directors.........................

Scott Feeney, Key grip................................................ BrendanShanley Producer................................................ MichaelBuckley Prod, company................Taimac SBS (Perth)/ David Tunnell Asst grip.................................................. NevilleCameron Director................................................. MichaelBuckley Lleurac (Paris) Research............................. Jennifer Cummins Scriptwriter............................................ MichaelBuckley Gaffer........................................... Ian Dewhurst Dist. company................................T.F.1/Canal/ Prod, manager...............................Anne Chivas Best Boy......................................................NickPayneSound recordist........................................... SueMcCauley and DEMD Productions Photography.................................. Marc Spicer, Generator operator..................................... TimMorrison Editor......................................................MichaelBuckley Producer....................................Russell Jordan Helen Barrow Boom operator...........................................ChrisGoldsmith Music performed by.................................Arf Arf Director................................................. MichelleDeCoust Camera assts................................... Ron Foley, Laboratory................................................... VFL Art director (Broken H ill)..... Graeme Duesbury Scriptwriter...........................................MichelleDeCoust Brett Joyce Art dept co-ordinator................................... RikeKullack Budget.................................................. $27,000 Photography.............................. Philippe Lallet Sound recordists.............................. Geoff Krix, Costume designer........................................PhilEagles Length............................................. 30 minutes Sound recordist........................................ DougHampton Mario Pellegrino Gauge....................................................... 16mm Make-up................................. Rosalina da Silva Editor.......................................... Roland Smith Editors........................................ Paul Cantwell, Hairdresser................................................. WilliKenrick Synopsis: The content of this film will be Exec, producers.................Francois Le Bayon, John Pleffer Wardrobe asst......................................AmandaRamage based on material shot by the filmmaker’s aunt Ross McDonald Length...................................... 10 x30 minutes Art dept asst (Melbourne).............. Darren Hart in the fifties with a standard 8 film camera.

Assoc, producer........................................ KeithSaggers Synopsis: A series of overland expeditions Further material will be gathered on three Props buyer..........................Andrea Johnston Prod, co-ordinator...................................... Julie Latchem across Northern Australia with bush food and separate trips to Baradine, a timber village in Standby props............................... John Stabb Prod, accountant................................. MienekeMcDonald survival expert Les Hiddins. centred NSW. The film will explore the land­ Special effects.........................................VisualEffects Camera operator........................ Darrell Brown SPFX co-ordinator.....................................PeterStubbs scape, history and mythology of the area.

Budget................................................$352,500 Rigs construction manager...........................IanMcLay Length............................................. 1 x 52 mins, Construction asst......................................AaronBeaucaire EDE-N-TOT 3 x 26 mins, 3 x 7 mins Asst editor............................................. VirginiaMurray Prod, company........................................... IngoKlelnert Gauge.......................................16mm/Betacam Music co-ordinator.................................... ChrisGough, & Hanh Tran Shooting stock................ Kodak Eastman 7242 Studio Management Services Producer..................................................... IngoKlelnert Synopsis: P ortra its is a series of documen­ Sound editors........................................... FrankLipson, Director....................................................... IngoKlelnert taries centred on people who pursue unusual, ANABELLA Craig Carter Scriptwriter..................................................Ingo Kleinert unexpected and creative lifestyles both at work Stunts co-ordinator...................................GlennRuehland (Working title) Photography.................................... Hanh Tran and play. The profiles have attracted the Stunts.......................... New Generation Stunts Prod, company...........Image Sync Productions Sound recordists..................................... JaimeKleinert, Interest of European Television as part of Aus­ Runner (Melbourne).....................Kris Koslovic Producers.................................. Darrel Stokes, Hanh Tran tralia’s Bicentennial.

Publicity........................................Suzie Howie Michael Andre Editors........................................................ IngoKleinert, Catering................................Sweet Seduction/ Directors.................................... Michael Andre, Hanh Tran REFUGEE Timbale (Melbourne), Luis Da Silva Laboratory...................

CFL, Jon Marsh Studio Steve & Margot's (Broken Hill) (Working title) Scriptwriter.................................. Kathryn Bird Length............................................................30minutes Mobile production facilities..........Kevin Bryant Prod, company........................................ AlbertStreetBased on the original idea Gauge......................................................16mm Laboratory........................... Colorfilm/Cinevex Productions in association with by............................................ Michael Andre Shooting stock........................................7291 Budget................................................$4 million Asian Bureau of Australia Photography..............................Darrel Stokes Synopsis: The lifetstyle and thoughts of Ede Length............................................. 95 minutes Producer.......................................... Sue Ostler Editor......................................... Stephen Amis Frank and Tot Doyle — two pioneer sisters Shooting stock............................ Eastmancolor Directors...................................................... SueOstler,Prod, designers......................... Darrel Stokes, living in White Cliffs (an opal mining town in Cast: Stephen Kearney, Nina Landis, Tetchie Lannl Smith Michael Andre NSW) — as portrayed through a conversation Agbayani, Bill Hunter, Bruno Lawrence, Bruce Scriptwriters................................................SueOstler,Composer.................................Barry Campbell with a friend.

Spence.

Louise Crowe Prod, manager.............................Luis Da Silva Synopsis: R ikky A n d P ete Is the story of a Photography...............................Mark Savage Camera operator........................ Stephen Amis JACK DAVIS brother and sister living in chaos in Melbourne Sound recordist........................Paul Harrington Art director....................................Kathryn Bird due to overbearing parents, romantic entangle­ (Working title) Editors.........................................Mark Savage, Make-up.....................................Leanne Prince ments and Pete’s urge to provoke the police.

Prod, company................................. Zest Films Sue Ostler Visual effects design.................. Darrel Stokes, When things get too hot, they head for an out­ Producer....................................................ReneRoelofs Exec, producers.......................... Michael Kelly, Michael Andre back mining town where they embark on a Director......................................................ReneRoelofs Peter Thomas Laboratory....................................................VFL zany but lucrative venture.

Scriptwriters.............................................. KeithChesson, Assoc, producer......................... Louise Crowe Length..............................................15 minutes Rene Roelofs Presenter...................................Anne Deveson Gauge....................................................... 16mm Photography............................................... AlexMcPhee Cast: Abel Gutierres, Moua Shoua, Maria SONS OF STEEL Shooting stock.................................7291,7292 Hour, Nam Van Dinh (Jerome Tram).

Synopsis: The year is 1888. At the moment of Prod, company..............................................JetFilmsSound recordists.......................Hugo de Vries, Otto Horsch Synopsis: R efugee documents the lives of four death, the vengeful Isabelle wills her spirit into Dist. company................................ Cinema 100 Editor...........................................................RodHlbberd people who have come to Australia as her sister’s doll, “ Anabella” . 1988. Jamie, 19, Producer.......................James Michael Vernon Exec, producer..........................................ReneRoelofs refugees. It offers Insight into their struggles of confined to a wheelchair, lives through his Director............................................Gary Keady Prod, manager.............................Carnie Rizzo making a new start in Australia.

The film cap­ sister’s experiences — telepathically shared.

Scriptwriter..................................... Gary Keady Prod, secretary...........................................EllenVerhaar tures the moments of frustration, the humour, In learning to walk again he comes closer to his Photography...............................Joe Pickering Prod, assistant........................................... EllenVerhaar the happiness and the grieving that so many sister and the two are inseparable .. . until she Sound recordist..........................Paul Radcliffe 2nd unit photography ....Diederick F.M. Fokker, refugees experience. discovers “ Anabella” .

Editor................................................... AmandaRobson Niels Van’t Hoff Prod, designer............................Grace Walker Art director................................................. EllenVerhaar Exec, producers.............. Charles Waterstreet, DEATH OF GOD Neg. matching..................................... WarwickDriscoll RUNNING OUT OF PATIENCE — Klaus Sellinger Nursing and the 1986 Nurses’ Strike Prod, company....................Geoff Clifton Films Sound editor................................................ RodHibberd Assoc, producer............................... Penny Wall Producer................................................... GeoffClifton Runner..................................................... CathyChesson Producers...................................Serena Everill, Prod, co-ordinator.................................. MaggieLake Director..................................................... GeoffClifton Laboratory................................. Movielab (WA) Chris Brown Prod, manager............................ Brigitte Zeisig Scriptwriter................................................GeoffClifton Lab. liaison...............................................KelvinCrumplin Directors....................................................ChrisBrown, Unit manager..............................Frank Manley Photography........................Sarah Borsellino, Length............................................ 50 minutes Serena Everill Location manager.....................................ArnieCusto Geoff Clifton Gauge...................................................... 16mm Scriptwriter...............................................AlisonTillson Prod, secretary..................................Fiona Hile Editor........................................................

GeoffClifton Shooting stock............................... 7291,7292 Sound recordist..................................... SerenaEverill Prod, accountant..........................................LeaCollins Composers...................................... Andre Leu, Synopsis: A partly dramatised documentary Accounts asst......................................... TraceyHydeabout the life and work of West Australian Paul Bambury 1st asst director........................................ PeterFitzgerald Laytex artist................................................Izabo Aboriginal spokesman, poet and playwright 2nd asst director........................................ NikkiLong Costume designer................... Justine Pearsall Jack Davis.

3rd asst director........................... Steve Moran Make-up...............................Patricia Besseling Continuity..................................................JudyWhitehead Special effects.......................................... GeoffClifton Focus puller.............................................StuartQuin MATTHEW FLINDERS’ AUSTRALIA Neg. matching................... Clodagh Ashburner (Working title) Ciapper/loader...........................................MarkZager Music performed by......................... Andre Leu, Key grip.................................................. GeorgeTsoutas Prod, company......................................... A to Z Paul Bambury Asst grip....................................... Jo Johanson Communications Pty Ltd Still photography...................... Michel Brouet, Help us m ake this produc­ Gaffer........................................... Craig Bryant Dist. company...........................................A to Z Sandi Wrightson Boom operator.............................................JoeSpinelli Communications Pty Ltd tion survey as com plete as Animation.................................................. GeoffClifton Art director.................................................. RobRobinson Producer......................................... Jack Smith Drama tutor.............................. Margaret Kemp possible. It you have som e­ Costume designer.................................... ProfitPitchDirector.................................Anthony Bowman Mixed at............................. Palmer Lane Studio thing which is about to go Thinking Pty Ltd Scriptwriter.....................Creed Chris O’Hanlon Laboratory........................................... Colorfilm Make-up......................................................BritaKingsbury Photography............................................... AlexMcPheeinto pre-production, let us Lab. liaison.............................. Warren Keevers Hairdresser................................................ BritaKingsbury Exec, producer..................................... AndrewZielinskiknow and we will m ake sure Budget.................................................. $30,000 Wardrobe.................................................JennyMilesProd, manager..................... Jenny Woodwood Length............................................................ 20minutes it is included. Call Kathy Bail Wardrobe asst....................Nlchola Braithwaite Unit manager.....................Adrian Bristow (UK) Gauge....................................................... 16mm Props buyer.............................................. DavidBowden Prod, assistant...................................Elaine Ho on (03) 429 5511, or w rite to Shooting stock................................. 7291,7292 Standby props........................................... HarryZettelLength............................................................48minutes Cast: Lisa Rayson, Ian Houston-Shadwell, Kay her at Cinem a Papers, 43 Special effects.........................................MontyFieguth Gauge.......................................................16mm Roffey.

Charles Street, Abootsfc ford, Asst editor.................................................StellaSawas Synopsis: A television documentary, shot in Synopsis: An expressionistic animated and Neg. matching........Wayne Dunstan (Colorfllm) Victoria 3067.

Australia and Britain, drawn from the letters live-action work. God is murdered by dissatis­ Sound editor................................................PaulRadcliffe and journals of the tragic and romantic life of fied spirits who demand a more democratic Stunts co-ordinator..................................... GuyNorris the man who named Australia. heavenly reign.

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talk, fragments of the Young Woman’s life Photography................................................. RayArgali Art director.....................................Jody Borland DISPOSSESSION come to the surface. Who are foreigners for Sound recordists.................... Malcolm Phillips, Laboratory............................................. Cinevex Prod, company........... Image Sync Productions her, who and what is she for them? At the same Phillip Samartzis Lab. liaison....................................Ian Anderson Producer..................................................MichaelAndre time the Old Man tests her: he is going to Editor.......................................................... PhilipBrophy Director...................................................MichaelAndreGauge........................................................16mm leave, will she follow him, does she love him?

Prod, designer................................Maria Kozic Cast: Gillian Jones (Sally), Noah Taylor (Mick).

Scriptwriter..................................... Kathryn Bird Prod, assistant............................ Melanie Brelis Synopsis: Sex and death in the western Based on the original idea Continuity.......................................................

IanHaig suburbs. by..........................................................MichaelAndre AN ORDINARY WOMAN Camera assistant.....................................MandyWalker Photography............................................. DarrelStokes Producers..................................................... SueBrooks, Key g rip ......................................Scott McQuire Sound recordist.....................................StephenAmis MATISSE — A TRIBUTE TO Alison Tilson Asst grip............................Jonathon Williamson Editor......................................................StephenAmis CARTIER BRESSON Director..........................................................SueBrooks Make-up..........................................Jayne Burns Prod, designer........................................MichaelAndre Scriptwriter................................................ AlisonTilson Prod, company............................................

Ingo Kleinert Wardrobe........................................

Mark Hobbs Composer..................................Barry Campbell Photography........................ Nicolette Freeman & Hanh Tran Props............................................... Maria Kozic Asst director................................... Luis Da Silva Length..............................................................30minutes Producer...................................................... IngoKleinert Special effects............................................

BrianPierce, Visual effects............................................. DarrelStokes, Gauge........................................................16mm Director.........................................................IngoKleinert Steve Myer Michael Andre Synopsis: Through the examination of the life Scriptwriter................................................... IngoKleinert Set decorator..............................Dominic Owen Miniature photography..............................DarrelStokes, or an absolutely ordinary woman, this film Photography......................................Hanh Tran Sound editor...............................................PhilipBrophy Stephen Amis, seeks to raise questions about truth and per­ Sound recordists...................................... Jaime Kleinert, Still photography.................. Annabelle Boykett Luis Da Silva ception in relation to identity.

Hanh Tran Runners..................................................MichaelHelms, Laboratory..................................................... VFL Scott Adcock, Editors..........................................................IngoKleinert, Length..............................................................35minutes Lino Caputo Hanh Tran Gauge........................................................ 16mm THE PHOTOGRAPHER Laboratory.................... CFL, Jon Marsh Studio Catering...................................................... PeterCooley Shooting sto ck.................................. 7291,7294 Prod, company..................................... BaroomaFilmsLaboratory.............................................. Cinevex Length............................................................. 15minutes Cast: Jack White, Joanne Canning, Jayne Producer....................................... Larry O’Shea Gauge........................................................16mm Lab. liaison.................................. Ian Anderson Healey.

Director..........................................Larry O’Shea Shooting s to ck......................................... 7291 Budget....................................................$38,000 Synopsis: Some time in the future — an arti­ Photography...........................Tom Cavdarovski Cast: Udo Sellbach.

Length............................................. 60 minutes ficially established industrial consortium, TRI­ Sound recordist....................................... RobertLudwig Synopsis: A cinematic interpretation inspired Gauge........................................................ 16mm CON, is all but destroyed by a toxic chemical Editors........................................................... VivScanu, by a photograph of Matisse taken by Henri Shooting stock..................................... Fuji 8521 gas leak. Few survive. One man searches for Tom Cavdarovski Cartier-Bresson.

Cast: Phillip Dean (The Man), Jean Kittson survivors, and a rumoured supply installation.

Prod, manager............................................KerryHurley (The Secretary), Lyndal Barry (The Managing He meets a female commander, alone. When 1st asst director...................................... FergusGorrie Editor), Robert Chuter (The Neighbour), Daniel he dies and she is confronted with a rag-tag Continuity.................................................. KarenWright Scharf (The Slob), Jeff Korski (The Other Man), MIDDRIFFINI group of survivors, her destination is clear.

Camera operator............................... Viv Scanu Cheyanne Armitage (The Punk), George Producer................................................ SabrinaSchmid Sound assistants.................................... SharonTabak, Huxley (The Waiter), Chris Barry (Worker #1), Director.................................................. SabrinaSchmid HOME SCENARIO Ian Kitney Lisa Ferguson (Worker #2), Tom Fitzgibbon Scriptwriters............................ Sabrina Schmid, Post-production sound............................ RobertLudwig Prod, company............................. Paisan Films (Worker #3), Daniel Pollock (Worker #4), Debra Gregory Pryor Length............................................................. 20minutes Producers..................................David Thomas, Force (Worker #5).

Based on the original idea Gauge....................................................... Video Arthur D’Aprano Synopsis: Ordinary days in the office — sex, b y ........................................................SabrinaSchmid Cast: Paul Fisher, Sue Hunter, Beverly Hoff­ Director......................................Ettore Siracusa violence, bad language and rotten food. Not an SFX, atmos............................. Jon McCormack mann, Ian Thompson, Ted Simpson.

Scriptwriter................................ Ettore Siracusa exploitation film.

Editor......................................................SabrinaSchmid Synopsis: A story about a small country town Photography.................................Leigh Tilson Composer..............................................Ian Cox photographer who stumbles on a mystery Sound recordist...........................David Thomas SHEDDING SK IN ' Animation/rostrum surrounding a country farmer and his wife. The E ditor........................................ Tony Patterson camera operator.................................SabrinaSchmid Producer.......................................................DaleSadler farmer’s wife has not been seen by the towns­ Laboratory..................................................... VFL Neg matching....................................... WarwickDriscoll Director.........................................................DaleSadler folk for over 20 years but the photographer is Budget....................................................$46,000 Music performed b y.............................. Ian Cox Scriptwriter.................................................. DaleSadler curious to find out why she has not aged and is Length..............................................30 minutes Sound editors......................... Sabrina Schmid, Photography................................Joel Peterson as beautiful as she was in the 1920s when she Gauge........................................................ 16mm David Atkinson Editor............................................................ DaleSadler was an Australian film actress. She never Cast: Santo Cilauro.

Character voices........................Gregory Pryor, Prod, assistants........................................Cathy Fields, speaks to him but instead comes alive in front Synopsis: A photographer takes a look at the Merryn Gates Erich Reichel of his camera and with his direction. The photo­ house of Italian immigrants.

Animation............................................... SabrinaSchmid Continuity...................................................Cathy Chiddy grapher confronts her husband about her but Title designer..........................................SabrinaSchmid Camera assistants....................Craig Addison, she disappears and the old farmer denies her JUST LOOKING Sound recording existence.

Mike Kelly Prod, company............................Open Channel studios..................Film Soundtrack Australia Make-up....................................Zara Fitzgerald Producer....................................Chris Gallagher Mixed a t.............................................. Soundfilm Music performed b y ............ The Birthday Party Director........................................Lou Hubbard Laboratory..............................................Cinevex SALT, SALIVA, SPERM AND SWEAT Still photography................................. Bill Watts Scriptwriter...................................Steve Lawsen Budget................................................... $30,965 Prod, company............................... Dumb Films Title designer..................................Brett Bower Photography......................................... Vladamir Osherov Length...............................................16 minutes Producer....................................................... RodBishop Laboratory...........................................Colorfilm Gauge........................................................ 16mm Sound recordist..........................................Chris Thompson Director.......................................................PhilipBrophy Budget................................................. $14,200 Shooting stock....................................7291 ECN Editor........................................... Michael Webb Scriptwriter................................................. PhilipBrophy Length.................................................6 minutes Prod, designer............................ Kerith Holmes Synopsis: “ Hmmm . . . when you close your Composer........................................Mark Ferrie eyes . . ..’ ’speculates Nobody-Else, thus Prod, manager............................................Chris Gallagher evoking a dream in Rebecca's mind, where unfolds the story of Grosmond, supposedly a Unit m anager.................................. Jock Healy bunyip, and his whacking tail and many teeth.

1st asst director......................................... FionaCochrane Grosmond laments the loss of Middriffini, the Technical director......................Keith Maitland cause of his greatest toothache. Middriffini’s Continuity................................................... FionaCochrane Camera operator........................................ ErikaAddismysterious identity is eventually revealed, and Gaffer.......................................................... PeterScotther spectacular return delights Grosmond. An animated tragicomedy.

Art director..................................Kerith Holmes Make-up.............................. Barbara Harrington Still photography...................................VladamirOsherov OCEAN, OCEAN Catering................................................ Trimbole Catering Prod, company.........................................KieranFinnane/ Mixed a t.............................................. Labsonics Yumi Productions Budget....................................................$43,000 Australia-France co-production made with the Length............................... 20 minutes (approx.) assistance of Australian Film Commission Shooting stock............................................ BVU,video and Centre National de la Cinematographie) Cast: Victoria Rowland, Lynda Gibbson, Jean Producers................................................. KieranFinnane, Kittson, Rosie Tonkin, Andrea St John.

Patrick Genet Synopsis: A crisis in identity, as an actress Director..................................................... KieranFinnane struggles with the pressures of work, social Scriptwriter............................................... KieranFinnane expectations and personal relationships. This Photography............................................GerardGrenier, crisis is enacted through five women playing Jane Castle the same character, as we follow the events of Sound recordist...........................Patrick Genet one day in the central character’s life.

Editor................................... Catherine Murphy Prod, supervisors....................................PatrickGenet, THE LONELY ONES Erwin Chlanda Prod, company............................................Tulla Films Prod, manager.................................Dzu Le Lieu Producer............................... Mark D. Chapman Prod, assistant................................. Pierre-YvesBishoff Director......................................... David Glazier 1st asst director................... Catherine Bourdin Scriptwriter....................................David Glazier 1 0 5 /6 -8 CLA R K E ST., CROW S NEST. NSW. 2065 2nd asst director.........................................FehtiZouaoui Photography.......................................... Stephen Frost Continuity............................ Catherine Bourdin, Sound recordist........................................ KieranKnox Lisa McGregor Editor.....................................Jeanette McGown Camera operators..................... Erwin Chlanda, Prod, manager...................... Stirling McWhirter Gerard Grenier 1st asst director.................... Mark D. Chapman Focus pullers....................... Valerie Pontonnie, Casting consultants................... Elaine Holland Valerie Estivale & Associates Camera assistants Camera assistant....................................... Craig Lucas (trainees)................................................LaurieChlanda, Wardrobe......................................................... JoForsyth Jamie Smith Music performed by.................................PictureMusicKey grips................................. Yorgo Voyastsis, Laboratory...................

Colorfilm Peter Ledgeway i ah liaison...............................Warren Keevers Electrician/gaffer.................................. BertrandMatory Budget....................................................$86,076 Electrician/gaffer a s s t.................. Xavier Cosse Length............................................................. 48 minutes Boom operator......................................... XavierGriette Gauge.........................................................16mm Art directors.............................................. KieranFinnane, Cast: SeanMee (Harry), Rebecca Riggs Sheona White (Lorna).

Make-up..........................................Patou Misiri, Synopsis: A man, recently' released from a 478 Crown Street Sheona White sanatorium, befriends a lonely pregnant girl.

W ardrobe....................................... Patou Misiri, Surry Hills Sheona White LOVER BOY Still photography....................................Patricia Gairaud, Bette Mifsud Prod, com pany...............Loverboy Productions 5 offices in all, can be rented separately from Runners..................................................... Jamie Smith, Producer....................................................DanielScharf Lesley Chlanda $150 p.w. or collectively. Available from December 7th.

Director................................................. GeoffreyWright Laboratory............................................Colorfilm Scriptwriter............................................GeoffreyWright Lab. liaison...............................Warren Keevers Based on the original idea 1. Close to the city 4. Telephone lines connected Length...............................................30 minutes b y .......................................................GeoffreyWright 2. Ideal for pre-production Gauge........................................................ 16mm 5. Full bathroom kitchen and Photography...........................Michael Williams Composer.................................................... JohnWhiteShooting s to ck ............................................ 7291 3. Well furnished dining facilities Cast: Helen Manning (The Young Woman), Assoc, producer.............................................IanPringle Pierre Vial (TheOld Man), Bernard Ballet Prod, manager............................ Elisa Argenzio (Claude), Jacques Bonnaffe (The Young Man).

Prod, accountant......................... Monika Gerht Synopsis: An ageing Frenchman receives Casting............................................... Greg Apps visits from a young foreign woman. As they Casting consultants........... Liz Mullinar Casting

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CINEMA PAPERS JANUARY — 71

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Sound recordist.......................................TraceyTaylor THE AUSTRALIAN TRADE UNION Editor............................................ Robin Archer Editors.........................................................KateBlackadder, Exec.producer.......................................... GeoffBarnes MOVEMENT Prod, manager............................................. AnnFolland Brookes McTavish Prod, company............................................ FilmAustralia Prod, secretary...................... Margaret Crewes Camera operator....................Kate Blackadder Dist. company.............................. Film Australia Prod, accountant........................................JohnRussell Camera assistant................... Amanda Walliss Producer........................................... Janet Bell Marketing & Boom operator.............................................. DeNaiscent Director........................................................TomZubryckipromotions officer................ Francesca Muir Music performed b y................................... JacqMarcus Scriptwriter................................................. TomZubrycki Length................. 2 x 30 minutes/2 x 7 minutes Sound editor............................................... KateBlackadder Exec, producer................................. Janet Bell Synopsis: This program will profile the prob­ Mixer.............................................. John Lesley TO FORGET GHOSTS Prod, manager............................................. NeilCousins lems facing the Australian business person Narrator.................................................BrookesMcTavish Prod, company.................. New Mercury Films Prod, secretary................

Amanda Etherington when exporting to European markets. The Title designer.................................Lyn Mawer Producers..........................................AlexanderBrown, Synopsis: Based on interviews with trade series is a key part of the Austrade strategy to Mixed a t.................................... Dubbs Studios Caroline Grose unionists who played a part in creating the develop an export conscious culture in the Laboratory...........................................CineFilm Directors............................................AlexanderBrown, history of the movement or who are involved in Australian business community.

Budget.................................................... $3,000 Caroline Grose issues of crucial relevance to unions today.

Length............................................. 10 minutes Scriptwriters..................................... AlexanderBrown, The film is being made for the ACTU and Gauge.......................................................16mm Caroline Grose FILM AUSTRALIA’S AUSTRALIA funded by the Australian Bicentennial Cast: Helen Pankhurst (Monnique Lemair), Photography.................................. Bryan Duffy Authority.

Anna Munster (Sylvia Dupont), Maree Delofski Film A u s tra lia ’s A u s tra lia is a series of 12 video Sound recordist.....................Tony McCullough (Marie Montague), Rose Vines (Marcia Allsop). programs for schools with supporting discus­ Editor.................................................... CarolineGroseSynopsis: A comic and yet serious look at the sion notes. It is a co-production between Film THE BIG GIG Prod, manager........................................... SamSpencer Australia and the National Education program fate of theory in the hands of intellectuals. Set Prod, company.............................Film Australia 1st asst director......................................EdwinaHayes at a conference in which SYLVIA is speaking, of the Australian Bicentennial Authority.

Dist. company.............................. Film Australia Continuity...............................................WendyGuthrie the scenario deteriorates from discussion to Producer...................................................... DonMurray Clapper/loader........................................JamesConfos chaos. Deconstruction of the film parallels the ECOLOGY Director........................................................ KarlZwicky Camera assistant...................................... TerryFerguson nonsense of the situation, examining women’s Prod, company............................ Film Australia Scriptwriter................................. Steve Johnson Publicity..........................................June Hayes separation from themselves.

Exec, producer..................................... TristramMiall Dist. company..............................Film Australia Catering.............................................Jan Spratt Prod, manager........................ Virginia Pridham Producer.......................................... Jan Punch Budget.................................................... $3,480 Prod, accountant......................................AlbertWongDirector................................... Judith Adamson Length................................................5 minutes Scriptwriter.............................Judith Adamson Marketing & Gauge.......................................................16mm Exec, producer............................Geoff Barnes promotions officer.............. Debra Mayrhofer Shoqtinq stock.........................................Kodak Prod, manager.............................Ron Hannam Cast: Liddy Clark (Christine Winter).

Studios.........................................Film Australia Unit manager............................................ PeterBrown Synopsis: Christine Winter returns to Australia Mixed at........................................Film Australia Prod, secretary......................Margaret Crewes from a failed marriage in Europe to a father Budget................................................$235,000 Prod, who: doesn’t love her and a brother who Length............................................................20minutes accountant.......................... John Russell Marketing & Gauge...................................................... Video doesn’t know her. She wants something back, promotions officer......................... FrancescaMuir Synopsis: A stylistic parody of youthbut the past is banging on the front door and Length............................................................ 60minutes orientated B-gradescience fiction movies, the truth is slipping out the back.

Synopsis: E co lo g y is the companion program dealing with driving skills of young drivers. It to the N a tu ra l E n viro n m en t program and deals covers a night’s activities of a group of young A.D A .B . with human interaction with the environment, friends on their way to the Big Gig. Visiting TREVOR ISLAND (Working title) land use, land abuse, industry, cities, and aliens observe them, commenting on their pro­ Producer......................................... John Taylor pollution.

Prod. comDany........................... Rim Australia gress and are finally forced to intervene.

Director.......................................................John Taylor Dist. company.............................Film Australia Scriptwriter................................................ JohnTaylor LEARNING Director...................................... Bob Kingsbury CUSTODY Photography.............................................. John Taylor Scriptwriter.................................Bob Kingsbury Prod, company............................ Film Australia Narration recorded by.............. Gary Constable Prod, company.............................Film Australia Photography..........................................Axolotyl Dist. company............................. Film Australia Editor.......................................................... JohnTaylor Dist. company..............................Film Australia Sound recordist.................................... Axolotyl Producer...........................................Jan Punch Prod, designer........................................... JohnTaylor Director............................................Ian Munro Editor.................................................... Axolotyl Director...................................................... GregReading Composers................................David Crosbie, Script development.................................. AnnaGrieve, Exec, producer.......................Geoffrey Barnes Scriptwriters.................................... Jan Punch, John Taylor Ann Charlton Prod, manager....................... Virginia Pridham Greg Reading Musical director..........................................JohnTaylor Photography............................... Joel Peterson Prod, secretary..................... Margaret Crewes Exec, producer............................Geoff Barnes Music performed b y..................David Crosbie, Sound recordist............................. Rob Stadler Prod, accountant.......................... John Russell Prod, manager.............................Ron Hannam John Taylor, Editor....................................... Denise Haslem Marketing & Prod, secretary...................... Margaret Crewes Philip Layton, Exec, producer.............................Tristram Miall promotions officer................ Francesca Muir Prod, accountant......................................... NeilCousins Alan Fowler Assoc, producer.............................Anna Grieve Special fx photography......................... Axolotyl Length............................................................ 60minutes Sound editor.............................................. John Taylor Prod, supervisor............................ Anna Grieve Gauge...................................................... 16mm Studios....................................... Rim Australia Animation.................................................. JohnTaylor Prod, co-ordinator............... Kristin Sanderson Length............................................. 15 minutes Synopsis: The eighth program in the Film Aus­ Studios....................................’Qwiklik’ Studios Prod, manager.................................. Ian Adkins Synopsis: An animation programme commis­ tralia’s Australia series co-produced with the Mixed at.............................................Soundfirm Prod, accountant........................... Albert Wong sioned by A.D.A.B. to show Australians, in an Australian Bicentennial Authority. It deals with Laboratory................................................... VFL entertaining manner, how, where and why Aus­ Prod, accountant......................................DavidTrestrail the social environment and learning about life, Budget..................................................$31,284 tralia has a development assistance pro­ 1st asst director......................................... AnnaGrieve for example, socialisation, celebration, the Length............................................................12minutes 2nd asst director.................. Kristin Sanderson gramme. family, childhood training, formal education.

Gauge.......................................................16mm Casting consultants............................... Forcast Existing Film Australia programs are used.

Shooting stock...........................................7291 Camera assistant.............................Mike Kelly Voice characterisations: Richard Healy (The AIRPORT COMPILATION 2nd unit photography................................ AndyFraser Man), Jane Lewis (The Lady), Danny Nash Wardrobe buyer.............................Kerry Brown Prod, company............................ Film Australia (The Pilot/A Seagull), David Crosbie (A Sea­ Asst editor....................................................ErinSinclair Dist. company............................. Film Australia gull).

Still photography......................................... RozSharpe FULLY ORDAINED MEAT PIE Producer.....................................

Geoff Barnes Synopsis: Trevor and his owners parachute Legal consultant......................................... AnnCharlton Director............................................Stan Dalby Prod, company.............................................FilmAustralia onto a deserted island where the Man decides Marketing & Scriptwriter..................................... Stan Dalby Dist. company..............................................FilmAustralia to run a carpark, the Lady an airport, and promotions officer.............. Debra Mayrhofer Editor...............................................Stan Dalby Producer.......................................... Janet Bell Trevor, to subjugate the local seagulls. All is Laboratory............................................Cinefilm Exec, producer........................... Geoff Barnes Director......................................... Gillian Coote quiet until a plane carrying a load of cars is Lab. liaison............................................... KevinAckroyd Prod, manager.............................Ron Hannam Scriptwriter...................................Gillian Coote forced to land.

Budget................................................$295,000 Prod, secretary......................Margaret Crewes Photography................................................JoelPetersen Length............................................................96minutes Prod, accountant.......................... Neil Cousins Sound recordist......................Bronwyn Murphy Gauge.......................................................16mm WHAT WOMEN WANT Asst editor..................................Clare Williams Exec, producer.................................Janet Bell Shooting stock............................................ECN Length.............................................30 minutes Prod, company.................. Axolotl Productions Prod, manager.......................Virginia Pascoe Cast: Peter Browne (Andrew Byrne), Jude Gauge...................................................... 16mm Producers.......................... Brookes McTavish, Prod, secretary................ Amanda Etherington Stratford (Christine Byrne), Michael Cudlin Synopsis: A program produced for the Depart­ Kate Blackadder Prod, accountant.........................Neil Cousins (Justin Byrne),Sheridan Murphy (Kathy ment of Housing and Construction for general Directors............................ Brookes McTavish, Camera assistants.......................Anne Benzie, Byrne), Susan Leith (Margaret Reeve), Mary departmental and client use compiled from Kate Blackadder Mandy Walker Acres (Mary Duncan), Kim Knuckey (Rod existing material and featuring the new Bris­ Scriptwriter......................... Brookes McTavish Synopsis: The struggle for the ordination of Campbell). bane international airport.

Photography........................... Kate Blackadder women in the Anglican Church.

Synopsis: Using the 'Real Life' documentary style, this drama observes two years in the life of the Byrne family as they become involved in GOING STRONG the complicated legal path that leads to a fully Prod, company............................ Film Australia defended custody hearing in the Family Court.

Producer.................................... Jebby Phillips Director......................................... Mai Tennant Editor.....................................Martha Babineau DJUNGGUWAN AT GURKA’WUY S ha d o w P a n ic: Margot Nash, 16mm, 25 Exec, producer........................... Ron Saunders (PART I & PART II) PROJECTS FUNDED BY AFC minutes, production investment of $80,744.

Assoc, producer............................. Helen Steel G ro w in g Up: Micha Nussinov, 16mm drama, 55 CREATIVE DEVELOPMENT FUND Prod, company............................Film Australia Producer’s assistant............Jenny Middlemiss minutes, production development investment Dist. company.............................Film Australia October 1987 Research........................Donna Norton-Lodge, of $3895.

Producer........................................................IanDunlop Rosalind Gillespie W hat W om en Want. Kate Blackadder and Virgin B easts: Toby Zoates, 16mm animated Director..........................................................IanDunlop Marketing & film, 50 minutes, production investment of Brookes McTavish, 16mm, 12 minutes, post­ Photography.............................................. DeanSemlerpromotions officer.............. Debra Mayrhofer $69,384. production grant of $500.

Sound recordist..................................... RodneySimmons Funding................................... Francesca Muir The Lon e ly O nes: David Glazier and Mark To F o rge t G h o sts: Alexander Broun and Caro­ Editors...........................................................IanDunlop, Length.............................................. 30 minutes Chapman, 16mm drama, 48 minutes, produc­ line Grose, 16mm drama, 20 minutes, produc­ Sharon Bell Cast: Roger Climpson, Hazel Phillips, Tanya tion investment of $65,478.

Exec, producer............................Tristram Miall tion development investment of $3480.

Halesworth, Red Harrison, Chin Yu Williams, 50 Days: Serena Everill and Chris Browne, Shelter. David Caesar, 35mm documentary, 20 Prod, manager.............................................. IanAdkins James Dibble. video documentary, 40 minutes, production Marketing & minutes, production grant of $23,256.

Synopsis: A weekly magazine show aimed at grant of $12,528.

Union S tre e t Wendy Chandler, 35mm ani­ promotions officer................................ DebraMayrhofer the Australian over-50 age group, and telecast A u g u s t 6th: Peter Jordan and John Hughes, mated film, 8 minutes, production grant of Prod, accountant....................................... JohnRussell on SBS and the Seven network.

16mm documentary, 52 minutes, production $24,210.

Editor/director................................ Sharon Bell development investment of $5000.

The D eath O f G o d : Geoff Clifton, 16mm ani­ Budget................................................ $180,000(approx.)

N irvana S t M u rd e rs: Aleksi Veliis, 16mm mated film, 18 minutes, production grant of HELLFIRE PASS Length.........................................2 x 50 minutes drama, 50 minutes, production investment of $24,894.

Synopsis: A clan leader invites Film Australia Prod, company........ ....... Film Australia $134,435.

W hatsabody. Julie Cunningham, 16mm ani­ to record the first ceremony to be held at his Dist. company......... ......ABC (Pre-sale) Tea & P ictures: Susan Weis and Sue Spunner, mated, 15 minutes, production grant of new clan homeland settlement in northeast Producer................. .............. Tim Read 16mm dramatised documentary, 30 minutes, $24,710.

Arnhem Land. The films show the organisation Director................... .... Graham Chase production investment of $90,052.

C rack In The C u rta in : Jinks Dulhunty and Anna and performance of a ceremony in a contem­ Photography........... ..........Kerry Brown The G em ini: Rick Cavaggion, video drama, 30 Grieve, 16mm comedy/drama, 26 minutes, porary setting and explore the significance of Sound recordist....... .Rodney Simmons minutes, production grant of $39,322. production investment of $83,949. the clan homeland movement.

Editor....................... .... Graham Chase B itte r S urrender. Ann Sharley and Francesca B a c kse a t B lu e s: Amanda Dusting and Kate Exec, producer........ ....... Tristram Miall Da Rimini, video documentary, 30 minutes, Gilroy, 16mm, 15 minutes, production grant of Assoc, producer...... .........Calvin Miller EUROPEAN TRADE MARKETS production grant of $23,751. $43,034.

Prod, manager........ ............ Ian Adkins R oeb o u m e Film P ro je c t Frank Rijavec, Peter B roken H ig hw a y. Laurie Mclnnes, 35mm Prod, company............................Film Australia Prod, accountant..... .........Albert Wong Kordyl and Noeline Harrison, 16mm documen­ drama, 90 minutes, production development Dist. company.............................Film Australia Prod, assistant......... ......Meryl Jackson tary, 60 minutes, production development investment for script and technical develop­ Producer......................................... Don Murray Still photography..... .Robert McFartane investment of $5000. ment of $6000.

Director................................................Bob Hill Marketing & Shift. David Maie, 16mm documentary, 50 P .E .N .I.: Roger Monk and Anna Grieve, 16mm Scriptwriter...........................................Bob Hill promotions officer ...Debra Mayrhofer minutes, production development investment drama, 25 minutes, production development Photography.....................Richard Baillie-Mace Budget..................... .............. $180,000 of $3000. investment of $5150.

Sound recordist.......................... George Craig Length..................... ............50 minutes Gauge......................................................16mm Shooting stock...........................................7291 Cast: Brendan Higgins, Toni Scanlan, Paul Ranagan, David Wenham.

Synopsis: A nightmarish account of how one man is finally forced to face and overcome his inadequacies in a moment of rebirth.

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72 - JANUARY CINEMA PAPERS

Gauge........................................................ 16mm Shooting stock.................................... ECN 7292 Synopsis: The events that occurred at Hellfire Pass on the Thai Burma railroad during WWII are being finally recognised in this docu­ mentary. Featuring Sir Edward (‘Weary’) Dunlop, and shot in Thailand and Australia, the film is a tribute to the spirit and ingenuity of the men who lived and died there.

with an original Dolby soundtrack from Gondwanaland featuring didgeridoo player, Charlie McMahon.

ROADS TO XANADU

Synopsis: A video concerning the control of erosion on building and construction sites, along roadways and in other areas where the natural compaction and contour of the soil has been altered by man’s endeavours.

Department of Education — these three com­ munity service announcements for the NSW Premier’s Department promote the integration of disabled children with non-disabled children.

The music backing comes from B. Bacharach/C. Bayer-Sager’s ‘That’s What Friends Are For’.

Prod, company............................ Film Australia MINISTRY OF HOUSING — Dist. company..............................Film Australia STAFF INDUCTION VIDEO Producer........................................ John Merson LIFESTYLE Scriptwriter......................................... Sue Mogg Director........................................ David Roberts Prod, company ....Richard Bradley Productions Exec, producer............................Russell Porter Scriptwriters.................................John Merson, Producer....................................Richard Bradley JUST AUSTRALIAN AEROPLANES Length......................................... 10-12 minutes David Roberts Director...................................... Richard Bradley Synopsis: The aim of the film is to acquaint Prod, company............................. Film Australia Based on the original idea Scriptwriter...................................Roger Hudson recently appointed staff to the Ministry of the Dist. com pany.............................. Film Australia by............................................... John Merson Editor.............................................Adam Baines many and varied branches and functions of the Producer..................................Dick Collingridge Exec, producer.............................Geoff Barnes Camera operator.......................Richard Jeffrey Ministry of Housing as a whole.

Photography................................ John Hosking Prod, manager..............................Ron Hannam Post-production facility ...Twenty-Twenty Vision Sound recordist..............................Howard Spry Prod, secretary......................Margaret Crewes Length................................................ 30minutes OLD PEOPLE’S HOUSING Exec, producer...................................... Tristram Miall Prod, accountant...........................John Russell G auge................................................... 1" video Prod, manager....................................Ian Adkins Scriptwriter....................................... Chris Kirby Marketing & Synopsis: In six discussion-trigger segments, Prod, accountant....................................... AlbertWong promotions officer.................Francesca Muir Exec, producer............................Russell Porter prisoners talk about their attitudes towards Marketing & Length............................... 20 minutes (approx.)

Synopsis: A four-part series for television that adapting to prison, alcohol and drugs, lifestyle, promotions officer............. Debra Mayrhofer takes a new look at the dynamic interchange sexual practices, communicable diseases, and Studios..........................................Film Australia SALINITY between Asia and Europe in the modern world. release from prison. Produced for the NSW Mixed a t........................................ Film Australia The conventional views about the relationship Department of Corrective Services, th is vid e o Prod, com pany........... York Street Productions Budget...................................................$52,305 between science, technology and society, is fo r d is trib u tio n o n ly w ith in the p ris o n sys te m .

Producer.............................................. Rob Scott Length.............................................................. 90minutes which continue to shape our perceptions of D irector............................................... Rob Scott G auge........................................................ Video progress, are scrutinised and re-evaluated.

NEW SOUTH WALES — E ditor...................................................Rob Scott Synopsis: Successor to J u s t A u s tra lia n Trains; The series has been pre-sold to the ABC, Exec, producer............................Russell Porter A CONDUCTED TOUR compiled from 2-3 hours of Film Australia WGBH Boston and the BBC. Camera operator........................ Leigh Tilson Prod, company...........................Luthien Pty Ltd archival footage shot on Australian aeroplanes, Mixed a t.............................................. Labsonics Producers.................................. David O’Brien, including first release dramatic war footage. It TALL SHIPS Laboratory.............................................. Cinevex Michael Gissing features stories on Flying Boats, F111s, Length............. 1 x 30 seconds, 1 x 60 seconds Prod, company..............................................FilmAustralia Director.......................................................DavidO'Brien gliding, the history of the RAAF, the Flying Gauge....................................... 16mm, 1" video Producer...........................................................R.McCauley Scriptwriter................................................. DavidO’Brien Doctor Service and other classic aircraft.

Synopsis: Two community service announce­ Researcher..................................................Judy Menczel Editor......................................Derek Wenderski ments aimed at urban audiences to alert them Exec, producer............................ Tristram Miall Composer...............................Michael Atherton to the dimension of the threat of salinity, and its MEETING THE CHALLENGE Prod, manager...................................Ian Adkins Exec, producer........................................... PeterDimond potential impact on the quality of life in our Prod, secretary.................Beverley Conradsen Prod, company.............................Film Australia Camera operator...........................Peter Davies towns and cities.

Prod, accountant...........................Albert Wong Dist. company.............................. Film Australia Laboratory........................................... CineFilm Marketing & Producer......................................Geoff Barnes Length............................................27 minutes Director............................................................ IanHost promotions o fficer...............Debra Mayrhofer Gauge........................................................16mm Photography................................................ RossKing Budget................................................. $270,704 Synopsis: This film, for the New South Wales Length...............................................55 minutes Sound recordists......................... Howard Spry, Tourism Commission, highlights the variety of Synopsis: A documentary about three young Rod Simmons tourist attractions available and their accessi­ Editor............................................................... IanHost Australians sailing out in two magnificent bility. It is unique in that there is no dialogue; boats, the “ Dar Mlodziezy” from Poland and Exec, producer............................ Geoff Barnes the original music 'tells the story’ as we travel the “ Eagle” from the USA, to Australia. Sail Prod, manager............................. Ron Hannam along the coastline, to the Blue Mountains and training and the Tall Ships Event has been run­ Prod, secretary.....................................MargaretCrewes into the outback regions of the state. A ning in the Northern Hemisphere for many Prod, accountant..........................Neil Cousins Bicentennial project, this film is being released years; our Australian event marks the first time Prod, assistant.............................. Frank Haines worldwide. an event of this magnitude has been staged in Narrator.......................................................DavidFlatman the Southern Hemisphere.

Laboratory.............................................Cinefilm PEPPER TREE LODGE (CADE UNIT) Length.............................................................. 14minutes Prod, com pany..............................Colin Hawke G auge............................................ 16mm/video UNITED KINGDOM TRADE MARKETS ELIZABETH FARM Productions Synopsis: A videotape program produced for Prod, company.............................Film Australia Producer........................................Colin Hawke Prod, company..................Ferryman Television Austrade to be screened to business persons Dist. company..............................Film Australia Director..........................................Colin Hawke showing achievements and what can be Productions Producer.......................................... Don Murray Scriptwriters.................................. Sue Zelinka, achieved in exporting products overseas.

Producer........................................ Eric Fullilove D irector................................................. Bob Hill Richard Fleming Director..........................................................EricFullilove Scriptwriter............................................ Bob Hill Editor.....................................Louise Hawthorne Scriptwriter.....................................

Cathy Miller Photography..................... Richard Baillie-Mace NEW HOUSING TECHNOLOGY Camera operator............................Chris Willing Editor................................................... Jim Davis Sound recordist........................... George Craig G auge................................................... 1" video Lighting cam eraperson................Bruce Hogan Prod, company.............................Film Australia E ditor........................................... Robin Archer Synopsis: Pepper Tree Lodge was the first Laboratory.....................................................CFL Dist. company..............................Film Australia Exec, producer.......................................... GeoffBarnes CADE (Contused and Disturbed Elderly) Unit to Length..............................................................14minutes Producer............................................ Janet Bell Prod, manager.............................................. AnnFolland be built in New South Wales. This program, Director....................................... Paul Humfress Gauge.....................................16mm to 1” video Prod, secretary.......................Margaret Crewes produced for the NSW Department of Health, Exec, producer..................................Janet Bell Synopsis: A celebration of the NSW Heritage Prod, accountant........................................ JohnRussell shows the changes in behaviour of the resi­ Prod, manager........................ Virginia Pridham Act, 1977, this film follows the restoration of Marketing & dents from when they were in a hospital Prod, secretary.................Amanda Etherington Elizabeth Farm Cottage over recent years, promotions officer................ Francesca Muir psychiatric ward to their new, more ‘open’ Prod, accountant...........................Neil Cousins through to its completion. Elizabeth and John Length..................2 x 30 minutes/2 x 7 minutes environment in a group of eight (with the same Marketing & Macarthur built the house 200 years ago: its Synopsis: This program will profile the prob­ staff ratio as previously) at Pepper Tree Lodge. promotions officer................ Francesca Muir history and its significance are outlined. lems facing the Australian business person Synopsis: A fresh look at new housing tech­ when exporting to the United Kingdom SYDNEY URBAN TRANSPORT nology made for television and commissioned INFORMATION MACHINE (1) — markets. The series is a key part of the Aus­ by the Department of Housing and Construc­ Prod, company.............................Moving Ideas DAD’D DAY trade strategy to develop an export conscious tion.

Producer................................... Rodney D’Silva culture in the Australian business community.

Prod, company........Multi Media Presentations Producer........................................................NeilBrownDirector......................................... Steve Lumley Scriptwriter..............................Kathleen Phillips PARLIAMENT HOUSE/ Directors......................................Roger Holden, WINNING WOMEN Editor....................................... Peter Jennings THE BUILDERS Jim Walpole, Prod, company............................ Film Australia Camera operator..........................

Adam Searle Phil Donnison Prod, company............................. Film Australia Dist. company..............................Film Australia Laboratory........................................... Colorfilm Producer......................................Ron Saunders Producer....................................................JanetBell Scriptwriter................................................... NeilBrownLength...........................12 minutes 20 seconds Editor........................................... Roy Andrews Director..............................................Ian Walker Director..................................................... SusanLambert Gauge.....................................16mm to 1" video Lighting cameraperson.............. Roger Holden Scriptwriter........................................ Ian Walker Scriptwriter................................................ SusanLambert Synopsis: For release by the Powerhouse Post-production................................. Pro-Image Photography...................................... Ross King, Photography.............................................. LaurieMclnnes Museum in its Bicentennial Exhibition, this Length................................................................8minutes Kerry Brown Sound recordists................................ Pat Fiske, interactive video traces the history of Sydney’s G auge........................................................Video Sound recordists......................... Howard Spry, Bronwyn Murphy various forms of transport in animation.

Rodney Simmons Editor.................................................................DiPriestSynopsis: This program, produced for the Options to know (or not to know) more about Exec, producer............................Ron Saunders Exec, producer..........................................JanetBell Powerhouse Museum’s Bicentennial Exhibi­ each transport system are built in throughout tion, is a multi-screen video which illustrates Prod, manager.................................. Gerry Letts Unit manager..................................Anna Grieve the program with the viewer being physically the use of computers in our daily lives. A young Prod, secretary.............................Robyn Briais Prod, secretary.................Amanda Etherington involved in making ‘Yes/No’ choices. girl draws attention to the many ways in which Prod, accountant.........................Geoff Appleby Prod, accountant..........................................NeilCousins computers are used, as her father goes about Synopsis: A study of the design and building Marketing & his work. o f the new Parliament House in Canberra promotions o fficer................ Francesca Muir which is to be completed for the Bicentenary Length............................................................. 50minutes celebrations.

INFORMATION MACHINE (2) — Synopsis: A documentary for television, made for the Australian Bicentennial Authority, about PROJECT EARTH the Australian women’s cricket team and their POWER OF THE LIGHTNING Prod, company........Multi Media Presentations attempt to win the Ashes at Lords. As well, BROTHERS Producer........................................................NeilBrown some of the stars of women’s cricket from the Directors...................................... Roger Holden, Prod, company.............................Film Australia 30s recall the great moments from their golden Jim Walpole, Dist. company.............................. Film Australia era of the sport.

Phil Donnison Producer.................................................... JanetBell Scriptwriter................................................... NeilBrown Director........................................ David Roberts Editor........................................... Roy Andrews Scriptwriters............................ Michael Balsom, CHERITH Lighting cameraperson.............. Roger Holden David Lourie Director/writer..........................................ShirleyBarrett Post-production................................. Pro-Image Photography............................... Andrew Fraser Photography............................................JoanneParker Length................................................................8minutes Sound recordist............................Howard Spry S ound....................................................... NeridaCooper Editors........................................... David Lourie, G auge........................................................Video Editor...............................................................PipKarmel Ray Thomas Synopsis: This program, produced for the Prod, manager........................ Fracine Penrose Composer................................... Gondwanaland Powerhouse Museum’s Bicentennial Exhibi­ Asst director................................................. PrueAdams tion, is a multi-screen fantasy about an extra­ Exec, producer.......................................... JanetBell Camera operator..........................Edmund Milts terrestrial who visits planet earth to check on Prod, manager..........................Virginia Pascoe Form at....................................... 16mm, 22 mins the situation regarding progress in the use of Prod, secretary................. Amanda Etherington Synopsis: Not being able to speak in tongues Prod, accountant........................ Neil Cousins computers. It takes a look at the social effect of can be embarrassing at the very best of times.

Camera assistant........................ Rodney Hinds a computer dating service.

GREEN ENGINEERING But if you’re the only member of the congrega­ Music performed b y ...................Gondwanaland Prod, company.... .South Pacific Video tion who can’t and your father is a dynamic Director of post-production......Michael Balsom INTEGRATING DISABLED CHILDREN .... Stephen Cozens Revivalist preacher like Pastor Howard Spong Mixer............................................................GeoffStitt Director................

Prod, com pany........................ Tram Broadcast Scriptwriter.......... ..............lain McKay — well, it’s even more distressing. And that's Narrator............................................Ernie Dingo Producer....................................... Beth Jackson ......Paul Harrington Sound recordist.... just one of Cherith’s problems.

Length..............................................8.5 minutes Editor............ John Cameron (Tram Broadcast) .........Wendy Clarke Editor....................

Synopsis: A short exploring the magnificent Length........................................ 3 x 30 seconds .........Russell Porter Exec, producer.... rock paintings associated with the mythology EDEN: WOODCHIP WASTELAND? G auge................................................... 1" video Prod, co-ordinator. .........Wendy Clarke of the Lightning Brothers, north of Katherine in Director/producer/ Synopsis: A compilation of footage provided Narrator................ ..........

Doug Murray the Northern Territory. Ceremonies relating to presenter/editor.......................Gordon Taylor by television channels and 'Integration’ — a Length.................. .............. 10 minutes these paintings, which have not been per­ Photography............................ Sarah Borsellino program previously produced for the NSW .........BVU Betacam Gauge................... formed for forty years, have been recorded,

GOVERNMENT FILM PRODUCTION

NEW SO U TH WALES FILM C O R P O R A T IO N

1987 STUDENT PRODUCTIONS

GOVERNMENT FILM PRODUCTION

FILM

VICTORIA

CINEMA PAPERS JANUARY — 73

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Sound..............................................Steve Best, Paul Bolger, G. Taylor Format....................................... Video, 30 mins Synopsis: The woodchipping scheme at Eden is arguably the best managed forestry opera­ tion in all of Australia. It is a model for Austra­ lian forestry. But it is also a model for the problems of Australian forestry. The program examines how the environment is being affected by woodchipping, as well as the poli­ tical and economic implications of the project.

EYES OF A CHILD Director/sound.................. Spiros Mavrangelos Photography..............................Joanne Parker Format...................................... 16mm, 25 mins Synopsis: A group of adults try to let out the child inside them during a clowning and Feldenkrais workshop.

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Format...................................... 16mm, 17 mins Synopsis: Bob goes ’round in circles. He gets critical looks from his daughter, his reason for living. He gets cheerful looks from Angela, who awakens his old dreams of playing saxophone.

These lead to him getting rid of his job in com­ puters.

RABBIT ON THE MOON Director/writer/producer........Monica Pellizzari Photography............................Brendan Young Editor....................................... Annette Davey Sound............................... Spiros Mavrangelos Design..................................... Gaye Chapman Composer..................................... Giorgio Zinzii Format.....................................16mm, 20 mins Synopsis: Fairytale about a northern Italian girl growing up in suburbia.

A SOLDIER’S TALE

Synopsis: A retrenched TV executive teams up with a gang of teenage graffiti artists. Mel­ bourne television will never be the same again.

his pet bandicoot, Oppenheimer, discover a UFO on the roof of their father’s electrical store in Port Melbourne.

BAD ATTITUDE

LA LUNE

Director........................................ George Evatt W riter........................................... George Evatt Format........................... Video, colour, 19 mins Synopsis: At dusk, Harry arrives in town. He is a stranger. He meets and befriends Jack, a man he thinks is OK. That night Jack shows Harry around.

Director.......................................Ann Shenfield Writer.......................................... Ann Shenfield Format....................... 16mm, animation, 7 mins Cast: A girl cannot stop herself from falling asleep. A pig sings. The story of a dream that’s frightened of waking up.

BENEATH A RAINBOWED SEA

Director........................................... Julie Harris Writer.............................................. Julie Harris Format.......................... 16mm, colour, 13 mins Synopsis: Max is at Men’s Group grappling modern relationships, while Sal and Rita are having their own discussion group at the super­ market. Inspired, Sal seeks Max out; one way or another she has got to find out where this relationship is going — with or without Max and his sensitive man politics.

Director...................................... David Hannan Writer......................................... David Hannan Format........................... Video, colour, 20 mins Synopsis: Michael and Sarah each want their individual freedom and time to know each other. Neither want children and traumatic con­ flicts arise when they resolve to have their child adopted and stand firmly by their decision.

MY BOYFRIEND MAX

Producer.................. William Fitzwater/AFTRS Director...................................... Richard Jasek Director/photography/ Writers........................................... Peter Neale, editor............................. Spiros Mavrangelos Richard Jasek THE BIG ICE Sound................................George Panagouris NUN Editor....................................... William Maunier Director................................ David Richardson Location assts........................... Students of the Sound............................... Spiros Mavrangelos Director................................. Christopher Undy W riter....................................David Richardson Hellenic Film School Design...................................... Tom Lingwood W riter...................................

Christopher Undy Format.......................... 16mm, colour, 20 mins Format...................................... Video, 20 mins Format...................................... Video, 48 mins Format.......................... 16mm, colour, 20 mins Synopsis: A suspense film centred around Synopsis: Shot in Greece, this documentary Synopsis: A blue-screen television adaptation Synopsis: Raised in a convent by the living Dick, an angry young gun fanatic who has just looks at the Greek lifestyle and suggests of the music-drama by Igor Stravinsky, symbols of sexual repression, Arthur leads a broken up with his girlfriend. reasons for people leaving for Australia. updated and retold for the 1980s. Joe, a soldier solitary adult life with only dark recollections for returning from a war, encounters the Devil who companionship. As his one childhood friend, BOSS BOY MAN BITES DOG persuades him to sell his soul — an unwise Carmilla represents Arthur’s fondest and most Director..................................... George Viscas transaction. shocking memories.

Producers.............................................. Varcha Sidwell, Writer.........................................George Viscas Penny McDonald Format..........................16mm, colour, 28 mins TROUT Director/writer................................................. V.Sidwell PARTY GAMES Synopsis: The story of two Greek boys: Yanni, Photography............................................. ScottPreston Director/writer...................Johannes Ambrose Director....................................Terrence Doran a 14-year-old boy who accepts his national Sound................................................Rick Price Photography..........................Gilles Chamerois W riter....................................... Terrence Doran background, even though feeling its pressure; Editor.............................................................LizGoldfinch Editor..................................................... JoannaSurucic Format.................. Video, b&w/colour, 22 mins and Boss, an 18-year-old Greek who cannot Sound m ix...............................................RobertSullivan Sound.........................................................GinaRoncoli Synopsis: Is mateship bigger than love? At a accept his background. Boss takes it out on Format....................................16mm, 18.5 mins Format.......................................16mm, 60 mins New Year’s Eve party two friends compete, younger Greeks at school, including Yanni, Synopsis: An opal mining town attracts people Synopsis: A relationship develops between a with Lindy as the prize. But sometimes winners with the help of his Aussie gang. with broken lives and mottled pasts, not to man and a woman in a bath of pineapple juice lose. mention sheep rustlers. When these rustlers on Christmas day after the woman has had a end up in court, a bizarre twist to “ man bites CABARET’S THE LIFE miscarriage. Set in a desert, the man becomes PLEASURE DOMES dog” sends ripples throughout the opal fields. a trout, the woman a vampire.

Director............................. Bettina Spivakovsky Director...................................... Maggie Fooke Writer................................ Bettina Spivakovsky Writer..........................................Maggie Fooke MARA Format........................... Video, colour, 25 mins UNTIL THE DAY BREAKS Format.......................16mm, animation, 6 mins Synopsis: In the world of entertainment and Director/writer........................................Varcha Sidwell Director/writer/photography........Edmund Milts Synopsis: A reflective essay on the imposition cabaret, Danny Larry Isaac Mordachai Horo­ Photography......................... Peter Rasmussen Editor........................................... Liz Goldfinch of meretricious Images upon landscape. witz is a superstar who takes on legendary pro­ Sound..................................................... RobertSullivan Sound........................................Mark Blackwell portions after his controversial disappearance Editor.........................................................PeterLeovicDesign.......................................... Mike Bridges PORPHYRIA’S LOVER at Elwood beach. Hailed by his contem­ Format.........................................35mm, 7 mins Prod, manager.................. Bronwyn Thompson Director..........................................Peter Bartley poraries, loved by his Mother, C a b a re t’s The Synopsis: A woman experiences the mascu­ Camera operator......................Joanne Parker Life (a biographical documentary) asks the W riter............................................Peter Bartley line side of herself through fantasy.

Composer......................... Louise Richardson question . . . whatever happened to Danny?

Format..........................16mm, colour, 30 mins Format..................................... 35mm, 20 mins Synopsis: A situation of unrequited love MARY IS YOUR TICKET TO HEAVEN Synopsis: The relationship between a farmer causes Eric to manipulate his own macabre CLIMBING and his wife Is affected by the death of their Director/writer............................ Pieter Aquilia victory.

A story of deception and revenge. only son. The story is set in the 1930s in the Director........................................... Paul Moder Photography...............................Edmund Milts wheatbelt of NSW. Writer.............................................. Paul Moder Sound..............................................Paul Bolger THE PUZZLE Format.......................... 16mm, colour, 20 mins Editor.................................................... BrendanDuhigg VELO NERO (BLACK VEIL) Synopsis: Two boys discover that callous Director.......................................... Paul Gehrig Design...........................................Eleanor Lee ambition has no place in friendship . . . or even W riter............................................. Paul Gehrig Asst director...............................Shirley Barrett Director/writer/producer....... Monica Pellizzari in war.

Format.......................16mm, animation, 5 mins Camera operator..........................Kriv ¿tenders Photography............................ Brendan Young Synopsis: A traditionally animated character Format....................................... 16 mm, 15 mins Editor.....................................Sarah Borsellino becomes confused by the discovery of the Synopsis: A black comedy about a family CONNIES Sound.......................................... Victor Gentile three-dimensional computer-generated world obsessed by the Virgin Mary.

Format..................................... 16mm, 12 mins Director........................................Justin Brickie and the puzzle that It offers.

Synopsis: An Italo-Australlan youth questions Writer........................................... Justin Brickie MEETING THE COSMIC his identity after an encounter with a traditional Format..........................16mm, colour, 10 mins THE SANTA CLASS TEST Italian.

ULTRAVIOLENT Synopsis: Roy is a conductor, a “ Connie” .

This Is his first day on the job.

Director.............................................Peter Long Director/photography/ WITH MY HOUSE ON MY BACK Writer................................................Peter Long special FX...............................................ScottPreston Format.......................... 16mm, colour, 20 mins A CRAVEN Sound...............................................Kate Gunn Directors....................................Gordon Taylor, Editor......................................................... PeterBorosh David Caesar _ Director..................................................... AnneAlgarSynopsis: Ho, Ho, Ho, forgive me if I say this Format.......................................16mm, 20 mins Photography.............................. David Caesar W riter.........................................................AnneAlgarwithout enthusiasm, but we’re not really paid to laugh. We’re professionals. Don’t be deceived Synopsis: What does the day have in store?

Sound......................................... Gordon Taylor Format.......................16mm, animation, 6 mins by the talk about goodwill. From the short story Will a UFO crash through your window? Will Editor................................................Mark Perry Synopsis: Jenny Craven gives up.

by Peter Murphy. you shoot a delivery man? Perhaps your house Format....................................16mm, 28.5 mins will explode. Some days it pays to stay in bed!

Synopsis: Operation Raleigh, a British-based FITTING IN THE SEANNACHIE Meeting the Cosmic Ultraviolent! A special FX organisation, takes young people on adven­ Director..................................................... PhilipWatts tures around the world. The film follows one comedy.

Writer........................................................ PhilipWattsDirector........................................ Lynn Hegarty group as they spend a month In the wilderness Writer........................................... Lynn Hegarty Format.......................... 16mm, colour, 15 mins MINGA: A PRIMITIVE CULTURE of South West Tasmania. They cope with Format.......................... 16mm, colour, 28 mins Synopsis: Simon tries to settle into a new incessant rain, snow, terrible food and working Director/sound....................................... GordonTaylor Synopsis: Peg, an eccentric Irish woman and town, but runs into trouble with Blacky and his in a harsh environment. The film is one of a sixPhotography.............................................DavidCaesar her disillusioned great-niece, Joanna, journey friends. “ Just go along with them,” advises part series to be shown on BBC-TV. Format.........................................16mm, 8 mins into Peg’s past, in search of, amongst other Raymond, the school wimp, but Simon is deter­ Synopsis: The Aboriginal people (Anungu) things ,ra madness they can live with . mined not to. who inhabit the land around Uluru have a name in their language for tourists. They call them SHOOBY DOOBY DAGTIME GRUBBY DUFFLE Minga, which literally means "small black Director..............................Rebecca Chapman ants” . The film looks at tourism at Uluru, and Director...................................Cameron Clarke W riter.................................Rebecca Chapman W riter..................................... Cameron Clarke how “ the rock” has become a symbol for "the Format.......................... 16mm, colour, 20 mins dead heart” . White Australians’ insecurity in Format............................. 16mm, b&w, 18 mins Synopsis: The story of Eric, a Dag, as he sings this vast land means they feel the need to con­ Synopsis: He was Dutch, but spoke Yugo­ his way to stardom and tries to win the girl of quer that symbol by climbing it. slavian fluently. his dreams.

FACES OF THE GREEKS

1987 STUDENT PRODUCTIONS

MY FIRST SLUMBER PARTY

S W I N B U R N E

Directors................................................. ShirleyBarrett, Edmund Milts ALPHA DRIVE Writer.................................................. S. Barrett Photography.............................. Joanne Parker Director........................................... Rod Clifton Editor........................................................... KymVaitiekus W riter...............................................Rod Clifton Sound...............................................Kate Gunn Format.......................16mm, animation, 4 mins Sound m ix .....................................Gary Bryson Synopsis: A young boy in an isolated country Prod, manager...........................Yvonne Meyer house has an orchestral encounter with a Asst director............................... Pieter Aquilia possessive alien life form.

Camera operator........................ Edmund Milts Form at.......................................16mm, 15 mins ANGEL CITY Synopsis: Teena will never forget her first Director........................................Joshua Reed slumber party, and little wonder . . . It’s not W riter...........................................

Joshua Reed every teenage get-together that your boyfriend Format..........................16mm, colour, 20 mins gets his head ripped off and your best friend Synopsis: This afternoon John was a model drops dead of “ shock". Still, one thing is cer­ citizen. But tonight he’s been battered and tain. Teena won’t be eating hamburgers again smashed and now he’s after blood . . . he’s in a big hurry. only thirteen.

PLAY IT BY EAR Director.................................. Gilles Chamerois Photography...................................John Maruff Sound....................................... Nerida Cooper, Mark Blackwell

74 — JANUARY CINEMA PAPERS

ART IS SERIOUS FUN Director............................................ Hans Knox Writer............................................... Hans Knox Format........................... Video, colour, 16 mins

HOME SWEET HOME Director...................................Simone Lindhout W riter.....................................Simone Lindhout Format.......................16mm, animation, 6 mins Synopsis: Due to land redevelopment an elderly couple are relocated from their old weatherboard home to a high-rise estate.

HSIN-CHIN-SHANI (NEW GOLD MOUNTAIN) Director.......................................... Ziyin Wang W riter..............................................Ziyin Wang Format.......................... 16mm, colour, 30 mins Synopsis: The story of the first year in Aus­ tralia for Mimi, a Chinese student who faces culture shock, and financial and language problems. Will she overcome them to start a new life here or succumb to these pressures?

J.F.OH! Director...................................Glen Melenhorst W riter......................................Glen Melenhorst Format.......................16mm, animation, 5 mins Synopsis: Adrian, an 11-year-old genius and

SHUT-IN Director........................................... Cam Eason Writer...............................................Cam Eason Format.......................... 16mm, colour, 10 mins Synopsis: A touching tale of poor, old Mr Bart­ lett and his sweet young babysitter.

SWEET FODDER Director........................................ Ronan Walsh Writer........................................... Ronan Walsh Format.......................... 16mm, colour, 13 mins Synopsis: It's a very strange world and nobody is quite sane.

THE SWIRL Director....................................Simon Gauntlett Writer....................................... Simon Gauntlett Format............... Super 8, colour/b&w, 20 mins Synopsis: You have to sort of let go and put yourself in these funny situations. So you just set yourself thinking in a certain way, feeling like you’re really open and vulnerable, and giving yourself to someone when you’re prob­ ably not.

SYMBIOSIS SAMBA Director.................................... Stuart Ramsden Writer........................................Stuart Ramsden Format....................... 16mm, animation, 5 mins Synopsis: The film portrays symbolic relation­ ships within and between species of life forms and the endless play between this life and the elemental forces of nature.

TAX Director............................................. Jeff Jaffers W rite r............................................... Jeff Jaffers Form at...........................16mm, colour, 33 mins Synopsis: Young Felix gets a job as a clerk in the Tax Office. He experiences the idiosyncracies of the Public Service and rises to the absolute heights of mediocrity.

THROWING IN THE TOWEL Director........................................Claire Calzoni W riter........................................... Claire Calzoni Format............................Video, colour, 18 mins Synopsis: A failing relationship between a man and a woman is finally resolved when they drive back to Sydney from Melbourne.

TO THE SEA Director....................................Erica Jakubassa W riter.......................................Erica Jakubassa Format............................Video, colour, 12 mins Synopsis: A journey of body, mind and spirit.

WHEN THE GOING GETS TOUGH, THE TOUGH GO SHOPPING Director.......................................John Lowndes W riter..........................................John Lowndes Form at...........................16mm, colour, 20 mins Synopsis: A fast-moving rags to riches comedy in which too poor single mothers find themselves grappling with crims, police and officialdom.

WILD NOISE Director.................................... Brian Alexander W riter........................................Brian Alexander Format............................Video, colour, 20 mins Synopsis: David is like a coiled spring en­ meshed in conflict — the gang — the rules— his conscience. He is fascinated with fish, with freedom, but trapped by the city and its standards.

A WOMAN’S PRIVILEGE Director...............................................Peter Ivan Writer.................................................. Peter Ivan Form at...........................16mm, colour, 19 mins Synopsis: A brilliant microsurgeon finds the perfect blend of body and mind in a female — even if they are from separate women.

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HEADFIRST Producer....................................John Cumming Writing, directing and production collective..................Fran Bosch, Sarie Briggs, Joanne Hampton, Grant Hobson, Vicki Holmes, Miriam Krohn, Peter Lawrence, Roland Linssen, Ugo Mantelli, Mathew McRae, Debbie Rose, Vicki Toll Form at.......................................16mm, 30 mins Synopsis: Subtitled “ People on the street think we are mad or bad or stupid” this is a dramatised portrayal of life for people with head injuries. Developed in association with the self-help group Headway Victoria, the film features a cast of the people upon whose experiences it is based.

COAL MINES OF WONTHAGGI Director............................................ Jeffrey Bird Writer................................................Jeffrey Bird Photography.............................. Ivan Narandja Sound.........................................Michael Tonta, Justin Johnson Form at....................................... 16mm, 30 mins Synopsis: A documentary on the State coal mine of Wonthaggi. The film attempts to stimu­ late interest in the history and comradeship of the Wonthaggi miners. It consists of under­ ground footage, interviews and stills.

HEAR ME OUT Director.......................................... Peter Gough W riters.......................................... Peter Gough, Nik Bradley, Simon Rose Photography............................Peter Lawrence, Joanne Hampton Music......................................... George Bogner

Scriptwriter.....................................John Palmer Prod, accountant........................Andrew Young Based on the novel b y ............. Rudyard Kipling Casting........................................................... JoyCraste Composer..................................................... GuyGrossCamera operators.......................................GaryPage, Assoc, producer...................................... SandraGross Tanya Viskitch Prod, co-ordinator.................................JeanetteTomsStoryboard...................

Glen Lovett Prod, manager........................

Jacki Goodridge Tim ing................................. ..............Jean Tych HERE SHE COMES Asst e ditor................................. Stephen Hayes Length............................................ ..50 minutes Director....................................................Silvano Apolito Animation director........................ Ray Nowland Gauge.................................................. .16mm Writer....................................................... Silvana Apolito Publicity..................................................... UshaHarris Shooting s to c k .........................................J7291 Photography...........................................SilvanaApolito Gauge....................................................... 35mm Synopsis: Set in the time of the War of the Sound......................................................Silvana Apolito Synopsis: A modern day teenage version of Roses our hero Dick Shelton discovers the real Form at......................... 16mm, colour, 4-5 mins Rudyard Kipling’s Ju n gle B o o k in which the identity of the Black Arrow.

Synopsis: A parody on the subcultural exist­ animals are hip and Mowgli drives a convert­ ence of today’s ‘pubescent’ woman. ible. Pilot for a television series.

THE FLYING DOCTORS Format.............................. 16mm, b&w, 19 mins Synopsis: A deaf boy, obsessed with knives, retreats into his depression, with horrifying results.

Prod, company............... Crawford Productions (Series) Pty Ltd Producer................................. Oscar Whitbread Directors.................................. Brendan Maher, Prod, company.........................Golden Dolphin Chris Langman, Productions Colin Budds, Dist. company............................Energy Source Paul Moloney, Television Limited Catherine Miller, Producer.................................Robert J. Loader Mark Defriest Director.................................. Chris Thomson Scriptwriters............................ Denise Morgan, Scriptwriter.................................. David Phillips Shane Brennan, Photography................................ Russell Boyd Tony Morphett, Editor.......................................... Lindsay Frazer Leon Saunders, Prod, designer..........................Larry Eastwood TAPDANCING THE GOLDFISH SMILE Luis Bayonas, Exec, producers..................... Peter Sainsbury, Peter Kinloch, Director............................................. Tony Hood Alan Bateman Peter Hepworth, Writer.................................................Tony Hood Prod, supervisor...................... Steve Knapman Michael Joshua Photography................................. Bruno Doring Prod, manager...........................Narelle Barsby Photography............................................... BrettAnderson, Sound........................................... Kid Coulton Prod, accountant........... Moneypenny Services Ron Hagen Format..............................16mm, b&w, 14 mins 2nd unit photography................................SteveWindon Sound recordists.......................Malcolm Rose, Synopsis: Barry and Elliot, surveillance Length...................................... 2 x 120 minutes John McKerrow officers with the Department of Social Security, Gauge........................................................ 16mm Editors......................................Lindsay Parker, find observation turns to introspection.

Synopsis: A dramatisation of the events sur­ Bill Murphy rounding the sinking of the Greenpeace vessel Exec, producers.......................................HectorCrawford, the Rainbow Warrior, in Auckland harbour in Ian Crawford, July 1985, by agents of the French Govern­ Terry Stapleton ment.

Prod, supervisor.........................................Vince Smits Prod, co-ordinator....................................... GinaBlack RAW SILK Prod, manager........................................... ChrisPage Prod, company..................... Television House Unit managers........................... Andrew Oliver, Dist. company............................................. NineNetwork Robert Visser Producer....................................... John Young Location manager..................... Maurice Burns Director............................................... Greg Dee Prod, secretary...........................................

CarolMatthews Scriptwriter................................. Keith Aberdein ACT OF BETRAYAL Prod, accountant..........................................JeffShenker Executive producers.....................John Young, 1st asst directors.............. Richard Clendinnen, Prod, company..................ABC Forest Studios/ Lyn Bayonas Stewart Wright, Griffen Prod. (UK) Budget................................................. $400,000 Ray Hennessy Dist. company.............................................. TVS(UK) Length.............................................................90minutes Producers.................................................... RayAlehin, 2nd asst directors................................... AureliaGinevra, Gauge........................................... Betacam SP Peter Nathan Nick Evans Cast: David Argue, Tina Bursill.

Continuity.......................................Tara Ferrier, Director....................... Lawrence Gordon Clark Synopsis: R a w S ilk features the diametrically Carmel Torcasio Scriptwriters................................................ NickEvans, opposed pursuits of the ‘silk’ barrister, Kate Casting.......................................................... JanPontifex Michael Chaplin Bradbury (Tina Bursill) and the ‘raw’ street Photography...............................................PeterHendry Focus pullers..............................................CraigBarden, smart solicitor, Perry (David Argue). The Rosie Cass Editor..............................................................LynSolly radical young lawyer Perry is framed on a Prod, designer........................................ MarcusNorth Clapper/loaders.................... Garry Bottomley, brutal murder charge. Perry defends himself Ian Phillips Prod, supervisor.......................................DennisKiely against the brilliant female barrister, Kate Key grips.....................................................CraigDusting, Casting.................................................. JenniferAllen Bradbury. Sparks fly and emotions run high as Kerry Boyle Budget............................................. $3,500,000 the truth is revealed.

Asst g rip s........................................ Leigh Tate, Length...................................... 2 x 120 minutes Wayne Mitchell Gauge....................................................... 16mm REALMS OF GOLD Synopsis: A contemporary thriller.

Gaffers............................................................ BillJones, Gary Plunkett Prod, company.......................TeliEsyn/Cardiff/ Kingcraft Australia Boom operator.................................Colin Swan DOT AND THE KANGAROO Dist. company.......................... J.C. Williamson Art director............................................. Andrew Reese TV SHOW and S4C Asst art director............................................. LenBarrett Prod, company......................................... YoramGrossProducers...............................Richard Meyrick, Costume designer..................................... ClareGriffin Filmstudio Pty Ltd TeliEsyn Make-up.................................Viv Rushbrooke, Producer.................................................. YoramGrossDirector........................................... Paul Turner Brad Smith Director.................................................... YoramGrossScriptwriter..............................Howard Griffiths Hairdressers.................................................LisaJones, Scriptwriter...............................Marcia Hatfield Exec, producers......................Terry Ohlsson, Sue Kelly Assoc, producer......................................SandraGross Dilwyn Jones Wardrobe supervisor........................ Keely Ellis Length......................................13 x 30 minutes Length............................................. 90 minutes Wardrobe standby.......................Anna Baulch, Gauge..............................................................1"videoSynopsis: A fast-moving ‘factional’ tale of a Rachel Nott Synopsis: Pilot for a 13-part television series Welsh minister, his brother and his sister-inProps buyer................................... Rolland Pike featuring a combination of animation and livelaw, who become involved in the great gold Standby props................................... Paul Kiely action. rush of early colonial Australia.

Set decorators............................Souli Livaditis, Darren Jones, FUTURETROUPERS Leigh Eichler, Darcy Chene, Prod, company.............................Brilliant Films Brad King Producer..................................... Brian Douglas Set construction..........................

Gordon White Director........................................Brian Douglas Sound editor........................................Geoff Hill Scriptwriter.................................. Brian Douglas Editing assistant.................Catherine Angelico Script editor......................... Patrick Edgeworth M ixer........................................ Andrew Jobson Publicity.......................................Lionel Midford Best boys.................................... Con Mancuso, Length......................................... 6 x 60 minutes Peter Ryan G auge...................................................1" video Runner............................................ Andrew Bull AROUND THE WORLD IN 80 DAYS Synopsis: In the near future an out-of-work Catering................................

Sweet Seductions theatre troupe inadvertently prevents the Prod, company........................... Burbank Films Studios......................................GTV Channel 9 piracy of Australia’s power source by a most Producer..........................................Roz Phillips Mixed a t............. Crawford Productions Pty Ltd devious and deadly organisation.

Scriptwriter.................................... Leonard Lee Laboratory..............................................Cinevex Based on the novel b y .................. Jules Verne Length...................................... 24 x 47 minutes Editors.......................................Peter Jennings, THE GEMINI Gauge........................................................ 16mm Caroline Neave Shooting s to c k ............................................7291 Prod, company................................Light Image Exec, producer..............................Tom Stacey Cast: Robert Grubb (Dr Geoffrey Standish), Liz Producers................................ Rick Cavaggion, Prod, co-ordinator........................... Joy Craste Burch (Dr Chris Randall), Leonore Smith (Kate Martin Gordon Prod, manager................................. Roddy Lee Wellings), Bruce Barry (George Baxter), Pat Director.........................................................SueRichter Prod, accountant................................... Andrew Young Evison (Violet Carnegie), Rebecca Gibney Scriptwriter................................................... SueRichter Casting............................................. Joy Craste (Emma Plimpton), Maurie Fields (Vic Buckley), An original idea by...........................Gestures — Camera operators........................... Gary Page, Val Jellay (Nancy Buckley), Peter O’Brien Theatre of the Deaf (South Australia) Tanya Viskitch (Sam Patterson), George Kakiniaris (D.J.).

Editor............................................................. SueRichter Storyboard.................................................SteveLumley Synopsis: A Royal Flying Doctor service is Prod, manager............................Martin Gordon Tim ing............................................. Jean Tych located in the outback town of Coopers Prod, secretary.........................Marjorie Stroud Length..............................................50 minutes Crossing. The two doctors, Geoff Standish and Prod, accountant...................... John Brinkman Gauge....................................................... 16mm Chris Randall, not only contend with the & Associates Shooting s to c k......................................... 7291 medical challenges, but also with the small Lighting cameraperson............................. BruceReady Synopsis: The classic tale of Philias Fogg community in which they live.

Camera operator.......................................BruceReady whose bet took him and his reluctant servant Budget................................................... $80,000 Passepartout around the world in 80 days.

Length............................................................. 27 minutes HEY DAD (Series 4) Gauge..................................Betacam, 1" video BLACK ARROW Prod, company...........Gary Reilly Productions Cast: ‘Gestures — Theatre of the Deaf (SA).

Prod, company...................................... BurbankFilmsDist. com pany............Pre-sale Seven Network Synopsis: A story of deaf friends. Communica­ Producer........................................... Gary Reilly Producer........................................................RozPhillips tions within the deaf community are explored Director........................................................SallyBrady Scriptwriter...................................................PaulLeadon as a series of dilemmas unfold for one of the Scriptwriters................................................GaryReilly, Based on the novel girls.

John Flanagan b y .............................Robert Louis Stevenson Editor..........................................................GarryBurns Editors.......................................Peter Jennings, JUNGLE BOOK Prod, designer........................... Ken Goodman Caroline Neave Composer.....................................Mike Perjanik Exec, producer...............................Tom Stacey Prod. company..........Yoram Gross Film Studio Exec, producer...........................Alan Bateman Producer...................................... Yoram Gross Prod, co-ordinator.......................... Joy Craste Tech, director................................................ PatBarter Director........................................ Yoram Gross Prod, manager.................................. Roddy Lee

PALINDROME

Director.....................................Helen O’Keeffe Writers...................................... David Coulton, Helen O’Keeffe Photography................................ David Coulton Sound....................................... Helen O'Keeffe Form at......................................16mm, 12 mins Synopsis: “ Life’s a Palindrome” says the Poet. He has his art, the Fool has his fun and the Girl provides the plot. A comical/pastoral celluloid romp.

THE RAINBOW WARRIOR CONSPIRACY

T E L E VI S I 0 N

PRE-PRODUCTION

T E L E V I S I O N P R O D U C T I O N

CINEMA PAPERS JANUARY - 75

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Hairdresser........................... Michele Johnston Director............................................ John Gauci (Mike Young), Annie Jones (Jane Harris).

Wardrobe supervisor.................. Jean Turnbull Scriptwriters................................. Mary Wright, Synopsis: Love ’em or hate ’em, but every­ Wardrobe assts........................... Andrea Hood, Allan Hopgood, one’s got ’em: neighbours. Ramsay S tre e t.. .

Courtney Gibson (Jnr) John Wood, the stage for an exciting drama serial. . . draw­ Cutters..................................................... SherylPilkington, Brian Wright ing back the curtain to reveal the intrigue and Helen Mather Photography........................................Clive Sell passions of Australian families . .. and their Standby wardrobe..........................Laura Jocic Sound recordist.........................................PhillipStirling neighbours.

Property master..................................Bill Booth Editor....................................................... StevenColyer Props buyer...................................Max Bartlett Prod, designer..........................................CaroleHarvey RAFFERTY’S RULES Standby props........................ Robert Moxham Prod, supervisor...........................Frank Brown HOME AND AWAY Prod, company...........................ATN-7 Sydney Prod, co-ordinator...................................TraceeMcCabe Special effects.........................Steve Courtney, Producer....................................Posie Jacobs Prod, company......................Amalgamated TV Neville Maxwell Prod, accountants............. Dianne Denneman, Directors............................. Graham Thorburn, McLean Patterson Dist. company............Pre-sale Seven Network Scenic a rtist..................................Peter Collias Mike Smith, Producer...................................... John Holmes 1st asst director............................................ SigEimutis Brush hands............................................. AdamBromhead, Kevin Dobson Directors...................................... Ric Pellizzeri, Astrid Munday 2nd asst director...................... Andrew Mitchell Scriptwriters...................................David Allen, Richard Sarrell, 3rd asst director.....................................RuebanThomas Carpenters................................................ RudySudmeyer, John Upton, Mark Piper, Darren Phillips, Continuity.....................................................SalliEnglende Tim Gooding, Chris Adshead Lighting asst............................Anthony Tulloch Barry Child, David Marsh, Deryck Titherley, Scriptwriters....................................Bevan Lee, Camera operator...............................Phil Cross Nicholas Langton, Anne Brooksbank, Gerry Marr, Camera assistant............................... LawrenceBalmer Chris Roache, Alison Nisselle, Key grips.................................................... BarryBrown, Tony Read, John Misto, Dave Worthington Ken Connor, Phil Gibbs, Sue Castrique, Tony Hall Peter Lynch Story editor....................................... Bevan Lee Chris Peacock, Asst grips........................... Arthur Manousakis, Editor.........................................................LindaLeeman Set construction............................ Lips Studios Ken Ross, Ian Porter, Prod, designer............................................. KenMcCann Construction supervisor............... John Moore Justin Fleming Greg Tuohy Composer...................................................MikePerjanic Construction manager.................. Kevin Kilday Prod, designer...........................Bernard Hides Gaffer.......................................................... TonyReade Exec, producer...........................Alan Bateman Sound supervisor.................... Michael Thomas Composer.................................. Mike Perjanik Generator operator...................................BruceTowers Prod, manager......................... Lisa Fitzpatrick Effects editor............................................... DeriHadler Exec- producer...........................AlanSateman Make-up......................................Patricia Payne Script editors............................Greg Haddrick, Stunts co-ordinator/safety....... Bernard Ledger, Prod, co-ordinator...Natalie Wentworth-Shields Wardrobe....................................................RoseChong Greg Stevens, Grant Page Wardrobe supervisor............................... JessieFountain Al Webb Wrangler...............................................GrahamWare,Script editors......................... Denny Lawrence, Louise Home Props.............................................. Adele Flere Tech, director.....................Kerry Ellen Scarrett Evanna Brand Asst designer....................... Michael Anderson Art director..................................Judith Harvey Length........................................5 x 30 minutes Best boy........................................ Ian Bosman Sound asst....................................................RayPhillips Gauge.................................................. 1" video Runner................................................Ross Bell Gauge...................................................... Video Tutor................................... Robert Muddyman Cast: John Wood, Catherine Wilkin, Simon Cast: Roger Oakley, Vanessa Downing, Sheila Publicity............................................ Channel 9 Still photography......................... Tibor Hegedis Chilvers, Arky Michael, Andrew McFarlane.

Catering.................................................... FeastCatering Kennelly, Frank Lloyd, Alex Papps, Adam Tech, adviser.............................................. JohnParker Synopsis: The trials and tribulations of Studios.......................................... Max Studios Willits, Sharyn Hodgson.

Length...................................... 20 x 30 minutes Mixed at.......................................................FilmAustralia Synopsis: A weekly serial about Tom and stipendiary court magistrate Michael Aloysius Gauge.................................................. Betacam Rafferty.

Laboratory................................................. Atlab Pippa Fletcher and foster children living in the Synopsis: The series tells the story of two Tape post-production house...............Omnicon holiday township of Summer Bay. young girls coming to a large country town to Budget....................................................$9,215million RICHMOND HILL continue their education. Set in the 1920s, Length...................................... 13 x 60 minutes Prod, company.........Grundy Television Pty Ltd MICHAEL WILLESEE’S each episode will pertain to their adventures Gauge........................16mm shoot-1" tape edit Producer.......................................... Philip East AUSTRALIANS and misadventures told in a humorous and Shooting stock................................. 7291,7292 Directors................................... Garry Conway, active manner. The concept of the venture Presenter...............................................MichaelWillesee Prod, company.............................. Roadshow, Russell Webb, gives us the opportunity for fun and entertain­ Coote & Carroll Pty Ltd, Cast: John Ewart (John Norton), Rachel Ward Rod Hardy, ment built around a cast of delightful Trans Media Productions Pty Ltd, (Vivian Bullwinkel), Lorna Lesley (Mary MacAlister Smart, characters.

Film Australia Killop), Linda Cropper (Lola Montez), Robert Mark Piper, Willox (Jack Simpson), Peter Phelps (Les Dist. company................................ Roadshow, Julian Pringle WESTWARD HO Coote & Carroll Pty Ltd, Darcy), Odile Le Clezio (Lottie Lyell), Christo­ Scriptwriters.......................................... Various pher Stollery (Errol Flynn), Scott Burgess Trans Media Productions Pty Ltd Prod, company........................... Burbank Films Script editors................................ Rick Maier, (Clyde Fenton), Helen Mutkins (Betty Producers............................. Pamela Vanneck, Producer........................................Roz Phillips Mary Dagmer Davies Ron Saunders Cuthbert).

Scriptwriter....................................Paul Leadon Story editor............................................. DeniseMorgan Directors.........................................Gil Breaiey, Synopsis: M ich a e l W illesee's A u s tra lia n s is a Based on the novel by............Charles Kingsley Based on the original idea b y ........Reg Watson Kevin Dobson, drama series of monumental events, unsung Editors...................................... Peter Jennings, Sound recordists.......................Mick O’Brien, Rod Hardy, heroes and buried surprises of history from Caroline Neave Jeff Rudder Mark Callan, Australia's penal beginnings to the present Exec, producer........................................... TomStacey Editor............................... The Editing Machine Ian Gilmour, day.

Prod, co-ordinator........................................ JoyCraste Prod, designer........................................RobbiePerkins Michael Carson, Prod, manager..................................Roddy Lee Composer (theme)........................Ashley Irwin Ben Lewin, Prod, accountant...................................AndrewYoung Exec, producer............................................ RegWatson Kathy Mueller, Casting..........................................................Joy Craste Prod, co-ordinator....................... Robyn McKay John Power, Camera operators......................................GaryPage, NEIGHBOURS Prod, manager..................................... EmanuelMatsos Henri Safran, Tanya Viskitch 1st asst directors.......................Ross Hamilton, Prod, company.....................Grundy Television George Whaley, Stoiyboard................................................ SteveLyons Megan Downes, Pty Ltd George Olgivie Tim ing........................................................ JeanTych Eddie Prylinski Producer......................................Marie Trevor Scriptwriters............................. Tony Morphett, Length............................................................ 50minutes oontinurty........................Stephanie Richards, Directors...................................... Tony Osicka, Anne Whitehead, Gauge.......................................................16mm Pip Spilsbury, Andrew Friedman, Roger McDonald, Shooting stock.........................................7291 Caitlin Kirkpatrick Steve Mann, John Upton, Synopsis: Amyas sails the high seas to rescue Casting........................................................ SueManger Kendal Flanagan John Misto, beautiful Rose from the evil clutches of Don Camera operators.........................

David Levy, Scriptwriters...........................................Various Anne Brooksbank, Guzman.

Clive Walker, Based on the original idea Peter Schreck, Steve Gray, by................................................Reg Watson Geoffrey Atherden, WTND IN THE WILLOWS Ian Gordon, Sound recordists..........................Keith Harper, Denise Morgan, Wayne Styles Peter Say, Prod, company..................................... BurbankFilms Warwick Hind Sound supervisor.................... Stephen Smith Grant Vogler, Producer.......................................................RozPhillips Script executive.......................... Sue Masters Casting asst............................. Kirstin Truskett Bruce Findlay Scriptwriter............................................LeonardLee Business affairs..............................Kim Vecera Lighting supervisor........................ Gary Moore Prod, designer...........................................SteveKeller Based on the novel b y .........Kenneth Grahame Photography...................................Jan Kenny, Composer (theme)..................................... TonyHatchLighting......................................... Tom Carey, Editors........................................... P. Jennings, Martin McGrath Adrian Obern Exec, producer............................. Reg Watson Caroline Neave Sound recordist............................. Noel Quinn Art director.....................Stephen Jones-Evans Assoc, producer ............................Peter Askew Exec, producer........................................... TomStacey Editors..........................................Keryy Regan, Prod, co-ordinator...................... Jayne Russell Costume designer.......................Ron Williams Prod, co-ordinator........................................ JoyCraste David Jaeger, Make-up...................................... Peggy Arnold Prod, manager............................................ DaleArthur Prod, manager................................ Roddy Lee Aileen Soloweij, Directors' assts.................................. MarianneGray,Hairdressers.....................Warren Hanneman, Prod, accountant...................................AndrewYoung Stuart Armstrong Linda Wilson, Gail Edmonds Casting..........................................................JoyCraste Prod, designer............................... Ross Major Marcus Georgiades Wardrobe........................................ Pip Haines, Camera operators...........................Gary Page, Composers.....................................Peter Best, Script supervisor.........................................RayKolle Amanda Groom Tanya Viskitch Mario Millo, Script editors....................................... YsabelleDean,Props buyer............................. Pam Millbourne Storyboard...................................Steve Lumley William Motzing, Wayne Doyie Standby props.................. Graham Blackmore, Timing.......................................Gairden Cooke Simon Walker, Casting......................................................... JanRuss Lee Bulgin, Length.............................................50 minutes Chris Neal Casting asst............................................... Jane Daniels Robert Rasa Gauge...................................................... 16mm Exec, producers...................................MatthewCarroll, Camera operators......................Joe Battaglia, Set dressers............................. Martin Perkins, Shooting stock........................................ 7291 Greg Coote, Ken Mulholland, Colin Robertson Synopsis: The classic tale of Toad and his Robin Hughes, Ross Crabtree, Music editor...............................Gary Hardman adventures with his friends Ratty and Mole.

Michael Willesee Jeff Biggs, Vision switcher......................... Eve Donovan Prod, supervisor........................ Adrienne Read Mark Collins, Tech, directors...........................Michael Lilley, Prod, managers........................................... SueWild, Mark Allen Mark Stoneham Lynda Wilkinson Floor managers........................................... RayLindsay, Runner....................................... Janelle Grace Prod, co-ordinators.............................. VanessaBrown, Bob Villinger, Publicity........................................ Network Ten Annette Patterson Peter Hinde, Catering......................................Taste Buddies Location manager...................... Patricia Blunt Alan Williamson Studios............................................ Channel 10 Unit manager..................................Mark Nixon Lighting supervisors.............. Stuart De Young, Post-production..................................Omnicom Prod, accountant.... Paul Hopkins, Catch 1,2,3 Lyden Matheson, Cast: Robert Alexander (Frank Hackett), Paula 1st asst directors................. Adrian Pickersgill, Rod Harbour Duncan (Janet Bryant), Tim Elston (Warren Corrie Soeterboek Hairdressers......................... David Henderson, Bryant), Marc Gray (Andrew Ryan), Ross 2nd asst director.............................Ken Moffat David Vawser Higgins (Dan Costello), Maggie Kirkpatrick (Ivy THE ALIEN YEARS 3rd asst director........................................ AdamSpencer Wardrobe................................Mandy Sedewie, Hackett), Amanda Muggleton (Connie Ryan), Continuity................................................... SianFatouros, Julianne Jonas Prod, company........... .ABC/Resolution Film Dina Panozzo (Jill Webster), Ashley Paske Kristin Voumard Props buyer................................. Mark Grivas Pty Ltd (Marty Bryant), Gwen Plumb ('Munv Foote), Producer’s assistant............................ CarolineBonham Standby props.................. Richard Williamson, Dist. company............ ..... Revcom Australia Felicity Soper (Susan Miller), Emily Symons Sue Birjac Casting............................ Maizels & Associates Producer.................... ................ Ray Alehin (Anne Costello).

Focus puller......................... Calum McFarlane Music editor........................................... WarrenPearson Director....................... ....... Donald Crombie Synopsis: This new Australian serial bares the Clapper/loader.........................................AlisonMaxwell Off-line editing..................The Editing Machine Scriptwriter................ ..........Peter Yeldham private lives of the residents of an outer-city Vision switcher......................................... JennyWilliams Key grip.................................. Brett McDowell Photography.............. ............ Peter Hendry area and involves people from every walk of Asst grip..................................................... John Tate Technical directors................................ HowardSimons, Sound recordist.......... ..............Peter Barber life. They all have secrets — romantic and Peter Merino, Gaffer........................................................DerekJones Editors........................ ....... Tony Kavanagh, dramatic. Richmond Hill tells the stories of a Barry Shaw, Boom operator........................... Victor Gentile Lyn Solly community.

Peter Coe Art director................................................... KimDarby Prod, designer........... ............ Quentin Hole Catering...................................... Helen Louers Asst art director.............................Jane Murphy Composer................... .........Bruce Smeaton SUGAR AND SPICE Post-production...................ATV-10 Melbourne Art dept co-ordinator...............Cathrine Couper Exec, producers......... ............ Sandra Levy, Prod, company....................LJ Productions Ltd Cast: Anne Charleston (Madge Mitchell), Kylie Art dept runners........................................DekeDvrece, Geoffrey Daniels Dist. company....................Revcom Television/ Minogue (Charlene Mitchell), Jason Donovan Daniel Morphett Assoc, producer......... ..........Peter Yeldham LJ Merchandising Prod, supervisor.........

Costume designer......................................RossMajor(Scott Robinson), Alan Dale (Jim Robinson), ..............Dennis Kiely Producers.................................... Frank Brown, Anne Haddy (Helen Daniels), Stefan Dennis Make-up/hair supervisor.......... Lesley Rouvray Unit location manager. ................Val Windon John Gauci, (Paul Robinson), Elaine Smith (Daphne Make-up................................. Sherry Hubbard, Prod, secretary.......... ....Kerrie Wainwaring Louise Hall Clarke), Paul Keane (Des Clarke), Guy Pearce Adele Wilcox Budget officer............ ............ Cynthia Kelly

Length...................................... 22 x 30 minutes Gauge...................................................... Video Cast: Robert Hughes, Julie McGregor, Simone Buchanan, Sarah Monahan, Christopher Truswell.

Synopsis: A situation comedy based on a widowed father trying to raise his children with the help of the family’s crazy cousin.

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76 - JANUARY CINEMA PAPERS

Sound recordist.............................. Ross Linton 1st asst director.....................Russell Whiteoak Carpenters............................... David Stenning, Draftsperson........................... Alky Avramides Editor......................................... Wayne Le Clos 2nd asst director........................Steve Stannard Roger Biggs, Scenic artist......................................Bill Undery Prod, designer................................ Neil Angwin Continuity.....................................Emma Peach David Robson, Scenic painter.............................Simon Clayton Exec, producers.........................Rob Chapman, Casting........................................ Jennifer Allen Gary Cameron, Carpenters................................. John Granger, Antony I. Ginnane Casting a s s t......................... Maureen Charlton Tim Higgins, Larry Sandy, Prod, co-ordinator.........................Lizzie Hagan Camera operator.......................................RogerLanser Peter Miller, Warwick Miller, Focus puller.................................. Robert Foster Prod, manager.............................................SallyAyre-Smith Danny Rollston, Colin Paine Clapper/loader.....................Chantal Abouchar Unit manager....................... Christopher Jones Paul Whitter Construction manager (location)........Bill Howe Location manager.........................Maude Heath Key grip...................................John Huntingford Nurse...................................... Sandie Strudwick Set construction (Sydney)................Lips Studio Prod, secretary........................Sam Thompson G affer................................... Tim Murray-Jones Tutors.............................................................. JoKennedy, Asst editor.............................Alison McClymont Electricians............................................ Richard Grant,Prod, accountant.................... Michele d'Arcey, Karen Sanders Musical director..........................................MarkMoffatt Catch 1-2-3 Ken Pettigrew Sound editor...........................................MichaelJonesSecurity.......................................... Luke Hobbs, 1st asst director...................................... MichaelBourchler Boom operator............................................ MarkBowyer Tasi Svega Audio post-prod..................................Soundfirm 2nd asst director.........................Peter Kearney Costume designer........................Wendy Chuck Safety officers.........................................ClaudeLambert, Safety co-ordinator................. Claude Lambert 3rd asst director..............Toby Churchill-Brown M ake-up......................................................... JiriPavlin, Ric Anderson Still photography..................... Brian McKenzie C ontinuity.................................Alison Goodwin Jenni Boehm Publicity................................... Write-On Group Best b o y ..............................John Briden-Brown Story consultant....................... Geoffrey Dutton W ardrobe...............................................MirandaBrock, Unit publicist............................... Sherry Stumm Runner....................................... Lindie Menken Producer’s secretary...................Angelina Sifis Wendy Falconer C atering........................ Kevin Varnes Catering Publicity...........................The Write On Group, C asting............................................Liz Mullinar Props............................................ Peter Branch, Laboratory............................................Colorfilm Shelley Neller Casting Consultants Nicole Mitchell, Lab. liaison............................... Denise Wolfson Catering....................................... Out To Lunch, Extras’ casting.... ....................... Judith Cruden Peter Fitzgerald Budget..............................................$2,600,000 David & Cassie Vaile Focus puller................................Darrin Keough Props buyers............................................MervinAsher, Length......................................... 6 x 30 minutes Studios (Sydney)................................... PyramidStudios Clapper/loader........................... Kathryn Milliss Tony Cronin Gauge........................................................ 16mm Mixed at..............................................Soundfirm Key grip...................................................... BruceBarber Special effects/armourer........................... PeterLeggett Shooting stock..........................................Kodak Laboratory.....................................................CFL Designers................................................MarcusNorth,Asst grip....................................................... GaryShearsmith Cast: Madge Ryan (Miss Godwin), John Noble Rushes sy n c ................................Kut The Kaper Gaffer...............................................................IanPlummer Col Rudder (Mr Ben Fiddler), Maree D’Arcy (Mrs Fiddler), Tape house...........................................Videolab 3rd electrics/ Neg. matching............................ Pamela Toose Clayton Williamson (Adrian Fiddler), Jason Budget....................................................... $3.75 million gene operator.........................................SteveHarris Sound editors....................... Lawrie Silverstrin, Degiorgio (Paul Mace), Emma Fowler (Gussie Length............................. 2 x 2 television hours Boom operator......................... Catherine Gross Sandi Eyles Mace), Katherine Cullen (Frances McDonald), Shooting s to c k ..........................................16mm Art d irector......................................Robert Dein Mixer............................................................ MarkWalker Caitlin Procter (Maisie Johnson), Haydon Cast: Kris McQuade (Elsie), Melissa Docker Art dept co-ordinator........................................DiHenry Stunts co-ordinators............. Rocky McDonald, Samuels (Harvey Collins), Keith Eisenhuth (Dusty), Anne Louise Lambert (Kate), Joseph Art dept assistant.........................Simon Dobbin Guy Norris (Butch Buchanan).

Spano (Franco), Todd Boyce (Bluey), Ollie Hall Costume designer................... Graham Purcell Still photography......................................... GaryJohnston Synopsis: An action adventure story in which a (Tiny), John Jarrett (Jacko), Harold Hopkins Costume supervisor...............................HeatherMcLaren Horsemaster...............................Graham Ware storm isolates a group of children from their Art dept runner........................................... PeterLitton(Whacker), Patrick Ward (Chook), Peta Publicity...................................... Georgie Brown families and devastates the small town of Hills Toppano (Gina).

Make-up......................................................... VivMepham Catering..................................... A & B Catering End. The children are forced to face adversity Synopsis: The sequel to F ie lds O f Fire is set in Hairdresser.................................................. JoanPetch Studios................................ABC Forest Studios and hardship and confront the problem of the cane growing country of Northern Queens­ Standby wardrobe...................Devina Maxwell Mixed a t...............................ABC Forest Studios survival. land in the late 1940s with the main characters Model maker............................................. JewellGreen Laboratory............................................ Colorfilm Props buyers......................................... BlossomFlint,from the first series adjusting to post-war life.

Budget.............................................. $5,800,000 Some of the Italian cane-cutters consolidate Annette Reid INDEPENDENT COMPANY Length........................................ 6 x 50 minutes (most through hard work, but some through the Standby props......................... George Zammitt Gauge........................................................ 35mm Prod, com pany......................................... MediaWorld Carpenters.............................................MichaelRout,black market). The result is on-going friction Shooting stock..............................Eastmancolor Producers....................................John Tatoulis, between the increasing migrant population Jeffrey Broadfield, Cast: John Hargreaves (William), Victoria Colin South (particularly the Italian community) and their Con Mustard, Longley (Elizabeth), Jane Harders (Edith), Kim Director....................................................... ColinSouth suspicious Australian counterparts.

Geoffrey Hinsby Krejus (Martha), Christoph Waltz (Stefan), Tom Scriptwriters.............................................. PhillipDalkin, Set construction........................................DannyBurnett Jennings (Harry), Nick Tate (North), Jonathan Colin South Editing assistant.......................... Wayne Hayes Sweet (McVeigh), John Allen (Lucas), Alfred Based on the book b y .......Sir Bernard Callinan Dubbing editor............................................ ZsoltKollanyi HILLS END Bell (Harpur), Klaus Schulz (Gerhardt).

Photography..............................................LeighTilson W rangler................................................ GrahamWareProd, company..........

Synopsis: Set at the turn of the century, this .Revcom Productions Sound recordist..........................................SeanMeltzer Best boy......................................................GrantAtkinson series is about the daughter of a Sydney poli­ Pty Ltd Editor......................................................MichaelCollins Runner.................................... John McDonald tician who elopes with a young German Dist. company........... .Revcom Productions Composer............................. Tassos loannides Catering.......................................................John Faithfull migrant to the Barossa Valley to start a vine­ Pty Ltd Exec, producer............. Anne Basser (SBS-TV) Budget............................................. $5,589,567 yard.

Producer..................... ..................Noel Price Prod, manager....................................... YvonneCollins Length....................................... 2 x 120 minutes Director...................... ...................... Di Drew Prod, secretary.....................Tania Paternostro Gauge........................................................ 35mm ALL THE WAY Scriptwriter................. ..........Noel Robinson Director's assistant.............. Sonya Pemberton Shooting stock................. Kodak Eastmancolor Based on the novel by. ..............Ivan Southall Prod, company..................................... CrawfordProductions 2nd unit photography.................................SteveFlounders Synopsis: Based on the story of Emma Eliza Photography.............. ......Danny Batterham Producer................................................BrendonLunney Boom operator......................................... PatrickSlater Coe, an American-Samoan woman who set up Sound: recordist.......... .........Sid Butterworth Directors.........................................................RicPellizzeri, Make-up.....................................................

KerynCarter a huge trading empire in the South Pacific last Editor......................... ........Pippa Anderson Chris Adshead, Wardrobe................................................ JeanneOmlor century.

Prod, designer........... ..........Brian Thomson Brendan Maher Props......................................................... DavidVassiliou Exec, producer........... ............ Geoff Daniels Photography...................................Barry Wilson Special effects............................. Paul Williams Assoc, producer........ .... Sandra Alexander Dialogue coach............................................. Joe Consables Prod, designer................................................ RoBruen-Cook Prod, manager........... ............ Anne Brunlng Translations............................................. SadaoSeno, Exec, producers.......................................HectorCrawford, Prod, co-ordinator...... ............ Ffion Murphy FIELDS OF FIRE — THE SEQUEL Ian Crawford, Rick Tanaka Unit manager.............

Richard Montgomery Ian Stapleton Wrangler......................................................MarcGracie Prod, company.................Palm Beach Pictures Prod, secretary........... .............. Anni Gruner Runner.................................................... MichaelNasser Prod, supervisor............................. Vince Smits (FOF) Pty Limited Prod, accountant........ ..........Jon Goldsmith, Length...............................................60 minutes Prod, co-ordinator............................. Sue Evans Dist. company........Zenith Productions Limited Catch 1-2-3 Gauge......................................16mm/Betacam Prod, manager............................. Ewan Burnett & The Nine Network Prod, assistant........... ..........Katriona Butler Shooting stock......................................... Kodak Studio cameraperson.................................JohnMacdowell Producers.......................................David Elfick, 1st asst director.......... .......Michael Faranda Cast: Steve Hutchison (Callinan), Craig Alex­ Gaffer................................................ Laurie Fish Irene Korol 2nd asst director........ ............ Robin Newell ander (Baldwin), Richard Aspel (Calvert), David Costume designer........................ Clare Griffen Directors.........................................David Elfick, 3rd asst director.......... ........... Naomi Enfield Wilson (Chapman), Red Symons (Ross), Neil Set construction......................... Gordon White Rob Marchand Continuity................... .............. Nikki Moors Gladwin (Dunkley), Steve Kearney (Parker), Length.........................................6 x 4 7 minutes Scriptwriter............................................. PatriciaJohnson Casting consultants.... ................Liz Mullinar Wilkie Collins (Leggatt), Gary Adams (Laidlaw).

G auge........................................................Video Storyline by.................................... David Elfick, Camera operator........ ..... Danny Batterham Synopsis: The 2/2 Independent Company was Cast: Rowena Wallace, Dennis Miller, Maggie Rob Marchand Focus pullers............ ......Christopher Cole, a 350-strong guerilla unit which contained Millar, Dominic McDonald, Peter Sumner, Photography..........................Frank Hammond Martin Turner about 15,000 Japanese in eastern Timor in Martin Sacks, Joy Smithers, Diana Davidson, Sound recordist............................. Paul Brincat Clapper/loader........... ...........

David Scandol 1942. In d e p e n d e n t C o m p a n y is a documentaryLisa Hensley, Jacqui McKenzie, Ben Mendel­ Editor......................................Stuart Armstrong Key g rip ..................... ............ Dave Nicholls drama which traces the story of the unit’s sur­ sohn.

Prod, designer..............................Ron Highfield Asst g rip..................... ............ Toby Copping vival during this period.

Synopsis: Pilot for a six-part drama series for Composer.......................................Mark Moffatt Gaffer....................... . ..................Pat Hagen Channel Nine. A combination of the thriller/ Exec, producer...................Margaret Matheson Boom operator........... .....................Sue Kerr mystery genre and a warm, very human story NO TIME FOR GAMES Prod, co-ordinator........................Sharon Miller Art director................. ....Nicholas McCallum of three sisters who struggle as mothers to hold Prod, manager...........................................PerryStapleton Prod, com pany.........Albert Street Productions Costume designer..... ................Jennie Tate their families together. Set in Australia during Unit manager.................................................PhilUrquhart Producers................................... Stephen Luby, Make-up..................... ........Annie Heathcote the decade that changed things forever — the Location managers.......................................PhilUrquhart Hairdresser...............

Charles Watt ........Annie Heathcote turbulent sixties.

Marianne Witzig (on location) Directors.................................................CharlesWatt, Wardrobe standby..... ............ Margo Wilson Prod, secretary..........................................BasiaPlachecki Stephen Luby Wardrobe asst........... ............ Tony Assness Sydney co-ordinator....................................NinaStevenson DAD AND DAVE Scriptwriter............................................ StephenLuby Props buyers............. ............Lisa Atkinson, Prod, accountant.........Rosemary Stephenson, Photography............................................... MarkSavage Mark Dawson, Prod, company......................................... YoramGross Moneypenny Services Sound recordist........................ Paul Harrington David McKay, Film Studio Asst accountant.............. Jennifer des Champs Editor.......................................................... MarkSavage Sandra Marshall Producer....................................... Yoram Gross 1st asst director............................. Bob Howard Standby props............ ...................Grant Lee Exec, producer............................ Peter Thomas Director..........................................Yoram Gross 2nd asst director............................................ IanKenny Special effects............

Prod, assistants........................................... SueOstler, .........Steve Courtney Scriptwriter..................................... John Palmer 3rd asst director...........................................Guy Campbell Set dresser.................. ............

Glen Johnson Duncan Wade Based on the novel by.....................Steele Rudd Scenic artist................ ..........David Tuckwell Directors' assistant....................... Lanni Smith Composer......................................................GuyGrossContinuity.................................................Jackie Sullivan Producers assistant.................................

Basia Plachecki Construction manager. ................Geoff Howe Camera assistant........................................Colin Savage Assoc, producer...................................... SandraGross Casting...................................... Christine King Asst editor................... ........Stephanie Flack Presenter....................................... Daryl Cotton Prod, supervisor.........................Jeanette T oms Storyboard a rtist......................................

Robert Alcock Sound e dito r.............. ........Ashley Grenville Cast: Tibor Gyapjas (Danny), Janine Hirst Prod, manager.........................Jacki Goodridge Focus pullers.............................................. RossEmery, Stunts co-ordinator.... ........... Bernie Ledger (Linda), Elizabeth Crockett (Jacki), David Asst editor................................. Stephen Hayes Peter Terakes Stunts......................... ........... Bernie Ledger Beresh (Chris).

Director of animation................... Paul McAdam Clapper/loader........................................

Katrina Crook Still photography......... .............

Jim Townley, Synopsis: N o Tim e F o r G am e s is a TV docuPublicity........................................... Usha Harris Key g rip .......................................................RossErickson Brian McKenzie drama about juvenile crime and rehabilitation.

Gauge........................................................35mm Asst g rip .............................Darrin Ballangarry Wrangler..................... .................

Dale Aspin Four young actors play roles based on real life Synopsis: Pilot for a 13-part television series Gaffer......................................................... PeterO’Brien Best boy...................... ...............Craig Sykes case histories: stories of crime, prostitution and featuring the outback adventures of Dad and Generator operator...................

Tom Robinson Runner........................ ........Sebastian Thaw imprisonment — but also stories about hope Dave and the rest of the Rudd clan in Art dept runner...........

Boom operator............................. Paul Gleeson ...............David Joyce for a better future. animation.

Art dept attachm ent.... ..............Angus Tattle Art department manager.............Kate Highfield Draughtsmen.............. ........... Peter Bartlett, Asst art director/ SISTERLY LOVE EMMA props buyer........................................ RichardHobbs Ian Empson Prod, company ...Australian Screen Associates Prod, com pany......................Anro Productions Mural artist................... ............ Ross Wallace Costume designer..................................... HelenHooper Pty Limited for Producer.......................................Peter du Cane Greens.........................

Make-up.................................Violette Fontaine ..........Gregg Thomas Director.........................................Mark de Friest Multi Films Investments Limited Painters.......................

Hairdresser.................................... Pascal Satet .......PeterMcGregor, Scriptwriters........................Jeremy Higgins, Dist. company....................... Fries Distribution Costume supervisor...................................... LynAskew Andrea Overall, Ray Harding Company, Inc./ Martin Bruveris Costume construction.............Elizabeth Neate, Photography...................................................

IanPugsley International Film Management Ltd Construction runner Mel Dinkes, ............ Ches Halicky Exec, producer...................................... Carmelo Musca Anne McArthy (The World excluding Australasia), Assoc, producer.........................................KevinHume Standby wardrobe.......................................TerriLamera Anro Productions Pty Limited Script editor................................................ HelenSteele (Australasia) Props..................................... David T rethewey Length..............................................................72minutes Asst props buyer.......................................... SamRickard Producers...................................Ann Chapman, Cast: Joan Sydney, Maggie King, Martin Ross Matthews Standby props...........................................DallasWilsonPlease help us keep this survey Vaughan.

Director......................................... John Banas Asst standby props................James McTeigue accurate. Phone Kathy Bail on Synopsis: A light drama about two sisters who Scriptwriters.............................. Rob Chapman, Special effects...................................Brian Cox, (03) 429 5511 w ith any errors or had lived apart for about 20 years and come Ann Chapman David Hardie, together again. om issions.

Photography.................................. Geoff Burton Dave Young

CINEMA PAPERS JANUARY - 77

P R O D U C T I O N U R V Y

Set decorators................... Sandra Carrington, Prod, secretary........................................ PennyAttfield SPIT MacPHEE Asst set dresser......................... Stuart Hickson Richard Kennett Prod, accountant.................................... RobinaOsborne Sound editors............................... Julie Wright, Prod, company...... Revcom Production Pty Ltd 1st asst director......................................... ChrisWebbScenic artist........................Paul Brocklebank Erika Moss, Dist. company......... Revcom Television Pty Ltd Carpenter.................

ABC Workshop, Gore Hill 2nd asst director......................................

Henry Osborne Des Horne Producer............................................Noel Price Set construction....... ABC Workshop, Gore Hill 3rd asst director................................. Catherine Bishop Editing assistants................. Margaret Benson, Director..........................................Marcus Cole Asst editor.................................................

CathyFoster Continuity.......................................................Jo Weeks Heidi Kenessy Scriptwriter.................................... Moya Wood Script editor................................................. SueSmithMusical director..................... William Motzing Sound editing a ssts....................................PaulHayes, Based on the novel by............................. JamesAldridge Casting................

Hilary Linstead & Associates Music performed Jonathan Champ, Photography.............................. Julian Penney Lighting cameraperson..........................JeffreyDarlingby.......West Australian Symphony Orchestra Stuart Miller, Sound recordist........................................... PhilTipene Sound editor............................... Glenn Heaton Focus puller..............................................GarryPhillips Eric White Editor..........................................Kerry Reagan Clapper/loader..........................

Tracey Griffiths Sound effects................................. Tony Pople Mixers.......................................................

Steve Hope, Prod, designer............................ David Copping Mixer........................................... Glenn Heaton Key g rip ...................................................

Simon Quaife Peter Purcell Exec, producer.......................................... GeoffDaniels Asst grip.....................................................

Gary Lincoln Narrator....................................... Kevin Golsby Stunts Assoc, producer................. Sandra Alexander Gaffer........................................Michael Adcock Still photography.......................................BarryGaunt co-ordinator........Douglas 'Rocky' McDonald Prod, manager.......................... Paula Bennett Electrician........................Darren McLaughlan Graphics........................................................ BillSykes, Stunts....................................The Stunt Agency Prod, co-ordinator......................Edwina Nicolls Alan Hondow Boom operator...................................David Lee Still photography.........................Martin Webby Unit manager....... Christiaan Hoppenbrouwers Costume designer....................................

Anna French Title designer.............................. Annie Connor Graphics........................................

Ann Connor Location manager......................Chris Williams Designer’s asst.......................................... DixieBettsTech, adviser.............................. Hec McMillan Generator................................................... JohnClarke Prod, secretary............................................AnniGruner Make-up.................................................. DebbieLancer Best boy.................................................. Cecille Publicity.................................................GeòrgieBrown Prod, accountant..........................Tnerese Tran Hairdresser.......................Katherine Parkinson Research................................ Dana Chrastina, Catering..................................The Katering Co. Prod, assistant...........................Katriona Butler Wardrobe..................................................

Fiona Nicholls Kristen Dunphy Studios...................................... ABC, Gore Hill 1st asst director..............................Stuart Wood Wardrobe asst............................................ LucyMoran Film researcher.........................Wendy Benson Mixed at..................................... ABC, Gore Hill 2nd asst director............................... John Titley Standby props.....................Karan Monkhouse Unit publicist.............................Georgie Brown Laboratory..........................................Colorfilm Continuity..................................................... KayHennessy Asst editor................................................SimonJames Catering......................................A & B Catering Length....................................... 8 x 50 minutes Casting...............................Liz Mullinar Casting Sound editor................................Andrew Plain Studios.................................. ABC TV, Gore Hill Gauge...................................................... 16mm Lighting cameraperson............................ JulianPenney Editing assistant..........................Simon James Mixed a t ................................ ABC TV, Gore Hill Cast: Derrick O’Connor (Frank “ Stringer” Focus puller................................................SallyEccleston Sound assts............................ Sally Fitzpatrick, Budget.........................................................$3.6million Buchanan), Nicholas Papademetriou (Yannis), Clapper/loader....................................... DuncanTaylor Erin Sinclair Length.........................................8 x 52 minutes Susan Lyons (Laura), Lynette Curran (Valerie).

Key g rip ........................................Geoffrey Full Mixers....................................................... PeterPenton, Gauge.................................................. 1" video Synopsis: Burnt-out war correspondent comes Asst g rip................................................. AndrewGlasser Phil Heywood Cast: Ed Devereaux (Chifley), Simon Chilvers to Sydney seeking a simple life, but becomes Gaffer.................................................... GrahamMulder Runner.......................................Tim Callaghan (Herbert V. Evatt), John Bonney (Robert caught up with a young Greek taxi driver/would Boom operator................................ David White Art dept runner...........................Robert Bayliss Menzies), Valerie Bader (Mary Alice Evatt), Art director.............................................. DerrickChetwyn be rock star/would be anything there’s a dollar Publicist......................................... Suzie Howie Tracy Mann (Tess Ross), Joan Bruce (Pattie Costume designer.................................... AnnieBenjamin Catering.........................................Robert Jang Menzies), Malcolm Robertson (Idris Williams), Make-up......................................................TrishGlover Nurse...................................Jan Louise Fowler Harold Hopkins (Edgar Ross), Nick Tate (Les Hairdresser................................................. PaulWilliams TOUCH THE SUN — DEVIL’S HILL Mixed at...............................................

Colorfilm Haylen), Gary Files (Fred Daly).

Wardrobe............................ Lucinda McGuigan Series prod, company..........ACTF Productions Laboratory...........................................Colorfilm Synopsis: A miniseries which chronicles, Standby wardrobe................................... BarbraZussino Prod, company................

Syme Entertainment Lab. liaison.............................................

Denise Wolfson through the personalities and issues of the Seamstress.............................................. RandaSaada Pty Ltd Budget............................................. $1,105,855 time, the near destruction of the Federal Labor Asst art director/ Producer.............................................

Jill Robb Length............................................................

96 minutes Party led by Chifley and Evatt. Beginning in props buyer........................................... HelenMacaskill Director......................................... Esben Storm Gauge.......................................................16mm 1945 with the party in power it ends in 1955 Asst props buyer..................................... MurrayGosson Scriptwriter.................................

David Phillips Shooting stock.........................................Kodak with the party split and the Liberal leader Standby props..........................................JamesCox Prod, manager........................Elizabeth Symes Cast: Justine Clarke (Kate), Lyndel Rowe Set construction.........................................John Parker Menzies as Prime Minister.

(Anne M cLelland), Alan Cassell (Bob Synopsis: Sam comes from the city, but when Construction......................... Andrew Gardiner McLelland), Myra Nobiet (Gran), Shane his mother is ill and his father away working he Stunts co-ordinator.................................ClaudeLambert A WALTZ THROUGH THE HILLS Tickner (Robbie), Lorna Lesley (Glenys), Greg Best boy................................................. RichardBurr is sent to stay with his cousin Badge's family Mathieson (Martin Sacks), Rebekah Elmaon their remote farm in Tasmania’s rugged Prod, company........................Barron Films Ltd Runner......................................... Nick Atkinson loglou (May Mathieson), Mouche Phillips south-west.

Badge can’t stand his cousin’s Dist. company..........................Barron Films Ltd Publicity............................................... Write-OnPublicity disdain for the bush, but the glorified tales of (Sarah), Claudia Karvan (Amanda).

Producers...................................... Paul Barron, Catering......................................................KaosCatering city life make him wonder if he should spend Synopsis: Kate McLelland lives a privileged Roz Berrystone Laboratory........................................... Colorfilm his life in the wilderness. When the two boys life in the eastern suburbs until the day she dis­ Director.........................................Frank Arnold Lab. liaison............................................. DeniseWolfson have to go and look for a missing heifer in the covers that she is adopted.

P rin ce ss K ate is the Scriptwriter.................................................John Goldsmith Length........................................ 8 x 30 minutes bush, they become separated from the others story of her search for her real mother and the Based on the novel by............... Gerald Glaskin Uauge.......................................................16mm and find they have to work together if they are relationship she develops as a result of her Photography.............................

John McLean Shooting stock.................................7291,7292 to retrieve the heifer and get back to the farm new knowledge.

Sound recordist........................................... BobHayes Cast: Sir John Mills (Fyfe MacPhee), Phillip safely.

Editor................................................. Geoff Hall Hancock (Spit MacPhee), Elspeth Ballantyne Prod, designer........................................HerbertPinter (Grace Tree), John Bach (Jack Tree), Linda THE TRUE BELIEVERS Composers............................................... GarryMcDonald, TOUCH THE SUN — THE GIFT Cropper (Betty Arbuckle), Ray Meagher (Frank Laurie Stone Arbuckle), C hristopher Pearman (Ben Prod, company........Roadshow Coote & Carroll Series prod, company..........ACTF Productions Exec, producer............................ Paul Barron Arbuckle).

Prod, company................................ IlluminationFilmsDist. company.........Roadshow Coote & Carroll Prod, co-ordinator.......................................Toni Lush Synopsis: The story of Spit MacPhee centres Exec, producers............................ Matt Carroll, Dist. company................. Australian Children’s Prod, manager.............................................DebCopland on the moral and religious attitudes of the Aus­ Sandra Levy Television Foundation Unit manager...........................................Simon Hawkins tralian country town of St Helens in the 1930s.

Director..............................................Peter Fisk Producer.........................Tony Llewellyn-Jones Location manager......................................RoseWise The town is polarised by various factions who Director................................................Paul Cox Scriptwriters...................................... Bob Ellis, seek to become young Spit's benefactors Prod, secretary......................................

Sharryn Scott Stephen Ramsey Scriptwriters................................................PaulCox, when he becomes an orphan, an issue which is Prod, accountant....................................RichardSpear Sound recordist............................ Wayne Kealy Jeff Peck 1st asst director........................................Stuart Freeman finally resolved in court.

Editor........................................ Graham Tickle Photography.............................. Nino Martinetti 2nd asst director........................................ChrisLynch Prod, designer.........................Geoff Wedlock Sound recordist.........................Russell Hurley STRINGER 3rd asst director.................. Peter J. Armstrong Composer................................William Motzing Editor......................................... Russell Hurley Continuity..............................Larraine Quinnell Line producer......................Stephen O’Rourke Prod, company...... ABC/McCann International Prod, designer.............................................PaulAmmitzboll Focus puller..........................Marc Edgecombe Dist. company........ABC/McCann International Prod. exec, for RCC................... Bernard Terry Exec, producer.......................... Patricia Edgar Clapper/loader.............................................. NicSadler Technical producer.................... Bruce Liebau Producer.....................................................JohnEdwards Assoc, producer........................ Geoff Daniels Key grip...................................................... KarelAkkerman Directors................................................... KathyMueller, Prod, supervisor............................ SanthanaK.NaiduProd, managers.......................... Judy Murphy, Asst grip.................................................... DavidCross David Young Chris Thomson, Prod, manager........................Susie Campbell 2nd unit photography.............................. SimonAkkerman Unit manager.......................................... AdrianCannon Ken Cameron Prod, assistant........................Georgina Naidu Gaffer............................................................PhilGolombick Prod, secretary.............Francoise Fombertaux Scriptwriters.............. Billy Marshall-Stoneking, Prod, secretary......................................... KerryHurley Lighting technician...................................... TimDuffy Steve Wright, Prod, accountants...................... Judy Murphy, Prod, accountant....................................AntonyShepherd Asst lighting technician.................................. JoMercurio David Young, Christopher Lee 1st asst director......................... Fiona Eagger Boom operator.................................. David Sell Catch 1-2-3 Photography................................... Jeff Malouf Continuity...................................................... JoMcLennan Asst art directors..................................MatthewNelson, Prod, assistants..................Elizabeth Steptoe, Sound recordist.............................. Guntis Sics Camera operator....................................... NinoMartinetti Alex Dixon George Kightly Editors...................................................MichaelHoney, Focus puller................................Roman Baska Costume designer..........................Noel Howell 1st asst director................ Scott Hartford-Davis Bill Russo Clapper/loader......................................... KathyChambers Make-up/hairdresser.....................Karen Sims 2nd asst directors......................... Wendy Gray, Prod, designers..................... Murray Picknett, Key grip........................................................ KenConnor Standby wardrobe........................................LisaGalea Tony Tilse Janet Patterson 2nd unit photography........................... BrendanLavelle Props buyer...............................................HeinzBoeck Composer................................................ MartinArmiger Gaffer......................................................... MikeMato2nd unit director.............................Kate Woods Asst Continuity........................................... ElizabethSteptoe props buyer........................................AldisBernsteins Exec, producer...........................................JohnEdwards Boom operator........................................ RobertLudwig Standby p rops...........................................PeterMarlow Script editor.................................................

Sue Masters Prod, manager.......................................... CarolChirlian Make-up...................................................JayneBurns Special effects...........................Neville Maxwell Casting...................................... Jennifer Allen, Wardrobe................................ Michele Leonard Unit managers........................................ ClintonWhite, Carpenters...............................................

RogerStaples, Kate Woods Terry Bayliss Set dresser............................................ RichardStringer John Wilmot Casting assistant.......................................IreneGaskell Prod, secretary.......................................... JanePepper Publicity..........................Suzie Howie Publicity Set construction......................................Charlie Staples Camera operators.....................

Peter Robson, Costing clerk..........................................AnnetteGover Catering..................................Sweet Seduction Asst editor...................................... Julie Grant Murray Tokin, 1st asst directors.................................... WayneBarry,Mixed a t.................................................HendonStudios Sound editors...........................................

Peter Pritchard, Richard Bond, Gary Stephens Laboratory.............................Cinevex/Movielab David Fosdick Tony Connolly 2nd asst directors.................................... LanceMellor, Lab. liaison....... Ian Anderson/Kelvin Crumplin Stunts co-ordinator...................Zev Eleftheriou Vision mixers...............................Bruce Wilson Karin Kreicers Length............................................................96minutes Stunts.......................................Rob Grenough (Steve Harrington & Continuity.............................. Rhonda McAvoy, Gauge.......................................................16mm Still photography......................... Skip Watkins Rod Wardell OB’s) Anthea Dean Shooting stock.........................................Kodak Dialogue coach.......................................ConnieMercurio C C U ............................................... Alf Samperi Casting................................................. JenniferAllenCast: Alexis Anthopoulos (Christos), Rena Unit nurse............................ Ziggy Edgecombe Vision control................................. Ted Turner Casting assistant.......................................IreneGaskell Frangioudakis (Helen), Con Laras (Con), Runner.............................................. Julie Sims Engineering............................... Russell Wood Nicholas Hatjiandreou (Nikos), Vicki Serbos Lighting cameraperson...................Jeff Malouf Publicity........................................Tessa Boyer Key grip...................................... John Verboort (Sophia), Ken James (Clive Miller), Francis Bell Focus puller............................................... GaryRussell Catering................................................ MustardCatering Asst g rip s......................................Willy Dolan, (Tom Bull), Peter Flemingham (Peter), Barry Clapper/loader.................. Andrew McClymont Studios..........................Sound Stage Australia Slav Kovalenko Dickins (Bus driver), Margaret Ford (Vera), Bill 2nd unit camera asst......................Paul Doney Laboratory.......................................... Movielab Lighting assts.....................................Nic Verzi, Grips........................................................... AlanTrevena, McClusky (George).

Lab. liaison............................................... KelvinCrumplin Les Lukas Paul Lawrence Budget........................................ $1.825 million Boom operators..........................

Ross Wilson, 2nd unit photography................................. PaulCostello TOUCH THE SUN — Length............................................113 minutes Michael Robinson, Gaffer....................................................... MartinPerrott Gauge.......................................................16mm PRINCESS KATE Steve Bailey Electricians..................................Pierre Drion, Shooting stock.............. Kodak Eastmancolour Tim Harris Designers............................... Gregor McLean, Series prod, company......... ACTF Productions Cast: Dan O’Herlihy (Tom Caseley), Ernie Boom operator............................... Scott Taylor Julie Belle Prod, company...........................Unthank Films Dingo (Frank Smith), Andre Jansen (Andy Asst designers...................................... AndrewHarris, Asst designer..................................Cathy Silm Dist. company....................Revcom Television Dean), Tina Kemp (Sammy Dean), Geoffrey Lisa Elvy Design asst...............................................KarenLand Producer................................................ AntoniaBarnard Atkins (Bert Thompson), Maggie Wilde-West Costume designer................................. Jolanta Nejman Costume designer.................................. LouiseFanning Director......................................George Ogilvie (Molly Thompson), Michael Carman (Rawling), Costume asst........................................... AnnieMarshall Make-up....................................... Suzie Clemo Scriptwriters........................Kristin Williamson, Robert Faggetter (Dave Brown), Ken Colbung Make-up...............................................ChristineEhlert, Wardrobe................................................... ElsieRushton, David Williamson (Danny Wandi), Mawuyul Yanthalawuy (Mary Barry Lumley Hanna Fiserova Photography..............................Jeffrey Darling Smith).

Wardrobe........................................ Ron Dutton Wardrobe assts.....................................SuzanaCiko, Sound recordist................................Phil Keros Synopsis: The Story is set in 1954; Andy and Wardrobe assts......................Lindy Ainsworth, Susan Palmer Editor......................................................DeniseHaratzis Sammy (two young children) live in a small Mani Wichman Props........................................................... RoyEagleton, Prod, designer............................... Fiona Reilly country town. They become orphaned and dis­ Props.................................................. Don Page Peter Moroney, Composer......................................... Chris Neal cover they will be placed in separate orphan­ Props buyers.......................Paddy MacDonald, Russell Burton Exec, producer......................Dr Patricia Edgar ages. To avoid this, they decide to run away to Susan Glavich Props buyers............................... Colin Bailey, Prod, manager.....................Susan Pemberton England to join their grandparents. On the way, Ian Andrewartha Standby props............................. Chris Ryman, Unit manager....................... Roxanne Delbarre they are befriended by a young Aboriginal man Alan Willis Set dressers.................................Julie Puglisi, Location managers................................GeorgeMannix, — Frank — who helps them to reach their goal.

Tim Tulk Special effects................................ John Neale Henry Osborne

78 - JANUARY CINEMA PAPERS

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

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

Medium

High

Justified

Gratuitous

i / / /

f f f f

/ I 1 1

m m m m

h h h h

/ i i i

9 9 9 9

Producer

SEPTEMBER

Purpose

Frequent

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

V (V io le nce )...... .......................

L (L a n q ua q e ).... .......................

O (O the r)........... .......................

Title

Explicitness/lntensity

Infrequent

Country

1987

Films Registered Without Deletions • G (For General Exhibition) Dot Goes To Hollywood: Y. Gross, Australia, 2002.39m, Yoram Gross Film Studios Link Up Diary (16mm): D. Macdougall, Aus­ tralia, 921.48m, Ronin Films Snakes And Ladders (16mm): T. Fitzsimons/M. Goldman, Australia, 625.29m, Ronin Films

• PG (Parental Guidance) Backstage: G. Burrowes, Australia, 2578.42m, Hoyts Distribution, L(i-l-g) S(i-l-g) Back To The Beach: F. Mancuso, USA, 2468.70m, United International Pictures, O fa d u lt c o n c e p ts ) L(i-l-g) Batteries Not Included: R. Schwary, USA, 2989.00m, United International Pictures, L(i-t-g) Consiel De Famille: M. Ray, France, 2770.43m, Hoyts Distribution, O fa d u lt c o n ­ ce p ts, s e x u a l a llu sio n s) Ernest Goes To Camp: S. Williams, USA, 2496.13m, Village Roadshow Corporation, V(i-l-g) Innerspace: M. Finnell, USA, 3264.17m, Village Roadshow Corporation, L(i-l-g) Vfi-l-g) O fse xu a l a llu sio n s) I’ve Heard The Mermaids Singing: P. Rozema/A. Raffe, Canada, 2276.69m, AZ Films, O fa d u lt co n c e p ts ) Lfi-l-j) Lionheart: S. O’Toole/T. Shire, Hungary, 2770.43m, Village Roadshow Corporation, Vfi-

H)

Masters Of The Universe: M. Golan/Y. Globus, USA, 2880.00m, Hoyts Distribution, Vff-l-g) L fi-l-g) Monster In The Closet: D. Levy/P. Bergquest, USA, 2468.70m, Taft Hardie Group, L fi-l-g) O fm ild h orro r) My Sweet Little Village: J. Suster, Czechoslo­ vakia, 2743.00m, Hoyts Distribution, Lfi-l-j) O fa d u lt co n c e p ts ) North Shore: W. Finnegan, USA, 2605.85m, United International Pictures, Vfi-m -j) Lfi-l-g) P ee Wee’s Big Adventure: R. Shapiro/R. Abramson, USA, 2496.00m, Newvision Film Distributors, O fa d u lt co n c e p ts ) Porky’s Meatballs (said to be main title not shown in English): L. Kuk, Hong Kong, 2578.42m, Chinatown Cinema, Lfi-l-g ) Vfi-l-g) O fse xu a l allu sio n s, d ru g refe re n ce s) Superman IV: The Quest For Peace: M. Golan/Y. Globus, USA/Hong Kong, 2523.56m, Hoyts Distribution, Vfi-m -j) Time Guardian, The: N. Wilkinson/R. Lagettie, Australia, 2386.41m, Filmpac Holdings, Vff-l-g) Lff-l-g ) To Sleep So As To Dream: K. Hayashi/T. Ichiso, Japan, 2194.40m, Ronin Films, Vfi-l-j)

• M (For Mature Audience) Adventures In Babysitting: D. Hill/L. Obst, USA, 2797.86m, Village Roadshow, Lfi-m -g ) Australian Made: J. McLean, Australia, 2416.00m, Hoyts Distribution, Lfi-m -g ) A utum n’s Tale, An (said to be main title not shown in English): J. Sham, Hong Kong, 2660.71m, Chinatown Cinema, L fi-m -g ) Big To w n, The: M. Ransohoff, USA, 3017.30m, Hoyts Distribution, S fi-m -g ) Vfi-m -j) Caravaggio: S. Radclyffe, USA, 2468.00m, Hoyts Distribution, O fa d u lt co n c e p ts ) L fi-m -j) Vfi-m -j) Chinese Ghost Story, A: T. Hark, Hong Kong, 2578.42m, Chinatown Cinema, V fi-m -g ) O fh orro r)

Submitted length (m)

Cop Of The Town: P. Yang, Hong Kong, 2441.27m, Chinatown Cinema, Vfi-m -g) Dancing In The Dark: A. Kramreither, Canada, 2688.14m, Seven Keys, O fa d u lt them e) S fi-m -j) Everlasting Secret Family, The: M. Thornhill, Australia, 2468.70m, Filmpac Holdings, O fa d u lt co n ce p ts) Flaming Brothers: In-Gear Film Prod., Hong Kong, 2523.56m, Golden Reel Films, V fi-m -g) Hello Mary Lou, Prom Night II: P. Simpson, Canada, 2633.00m, Village Roadshow Cor­ poration, O fh orro r) L fi-m -g) Hot Pursuit: P. David/T. Parvan, USA, 2468.70m, Filmpac Holdings, O fd ru g use) Vfi-m-j) Indian Summer: L. Hardie-Brown/M. Swindale, UK/India, 2660.71m, Taft Hardie, S fi-m -g) Innocent Interloper, The: G. Lai, Hong Kong, 2688.14m, Chinatown Cinema, V fi-m -g) Kamikaze: L. Besson, France, 2358.98m, Hoyts Distribution, Vfi-m -g) Lfi-m -g ) Made In USA: C. Roven, USA, 2276.69m, Filmpac Holdings, S fi-m -g) Lff-m -g ) No Way Out: Ziskin/Garland, USA, 3099.59m, Village Roadshow Corporation, Vfi-m -g) S fi-m -j) Lfi-m -j) Orders From Forbidden City (said to be main title not shown in English): Not shown in Eng­ lish, China, 2468.70m, Golden Reel, Vfi-m -g) Playing Away: V. Amarnani, UK, 2770.43m, Seven Keys, Lff-m -j) O fd ru g use) Project A II: L. Ho, Hong Kong, 2715.57m, Chinatown Cinema, V fi-m -g) Rita, Sue & Bob Too: S. Lieberson, UK, 2550.99m, Newvision Film Distributors, Sfi-m -j) Lff-m -j) O fa d u lt co n c e p ts ) Robocop (edited version) (a): A. Schmidt, USA, 2797.86m, Village Roadshow Corpora­ tion, V ff-m -g) O fd ru g use) Running From The Guns: G. Burrowes, Aus­ tralia, 2386.41m, Hoyts Distribution, Vfi-m -g) L fi-m -g) Shadey: O. Plaschkes, UK, 2825.29m, New­ vision Film Distributors, Vfi-m -j) Sfi-m -j) O fa d u lt co n ce p ts) Streets Of Gold: J. Roth/H. Ufland, USA, 2523.56m, Filmpac Holdings, L fi-m -g ) Vfi-m -j) That Enchanting Night (said to be main title not shown in English): Golden Way/Paragon Films, Hong Kong, 2496.13m, Chinatown Cinema, O fa d u lt co n c e p ts ) Warm Nights On A Slow Moving Train: R. Dimsey/P. Juillet, Australia, 2468.00m, Film­ pac Holdings, S fi-m -j) O fd ru g use, a d u lt co n -

Applicant

Reason fo r Decision

OCTOBER

1987

Films Registered Without Deletions • G (For General Exhibition) How The West Was Lost (16mm): H. Williams/D. Noakes, Australia, 778.87m, Aus­ tralian Film Commission Last Train To Tansui (16mm): Not shown, Taiwan, 1086.03m, Chinese Cultural Centre

• PG (Parental Guidance) Love And Sword (16mm): Not shown, Tai­ wan, 987.30m, Chinese Cultural Centre, Vff-l-g) Lfi-l-g) Made In Heaven: R. Gideon/B. Evans/D. Blocker, USA, 2715.57m, Village Roadshow Corporation, S fi-l-j) Lfi-l-g) My Grandfather (16mm): Ke Jiunn-Shyong, Taiwan, 921.48m, Chinese Cultural Centre, O fa d u lt co n ce p ts) Nice Girls Don’t Explode: D. Curtis/J. Wells, USA, 2194.40m, Village Roadshow Corpora­ tion, O fse xu a l allu sio n s) Rite Of Passage (aka Dust In The Wind): Central Motion Pictures, Taiwan, 2880.00m, Chinese Cultural Centre, O fa d u lt co n ce p ts) Lfi-l-g) Time To Live And The Time to Die, The: Central Motion Pictures, Taiwan, 3648.19m, Ronin Films, O fa d u lt co n c e p ts ) Trouble Couples: R. Wing/A. Tam, Hong Kong, 2386.41m, Chinatown Cinema, Lfi-l-g) O fa d u lt co n ce p ts)

• M (For Mature Audience) Association Des Malfaiteurs: C. Zidi, France, 2852.72m, Filmpac Holdings, L fi-m -j) O fse xu a l allu sio n s) Barfly: B. Schroeder/F. Ross/T. Luddy, USA, 2660.71m, Hoyts Distribution, O fa lco h o l a buse) Vfi-m -j) Lff-m -g) Bellman & True: M. Wearing/C. Neame, UK, 3319.00m, Communications and Entertain­ ment, L fi-m -j) Vfi-m -j) O fa d u lt co n ce p ts)

Best Seller: C. De Haven, USA, 2523.56m, Village Roadshow Corporation, V fi-m -g ) Lfi-m -g ) O fa d u lt co n c e p ts ) Cherry 2000: E. Pressman/C. Chubb, USA, 2688.14m, Village Roadshow Corporation, V fi-m -g) Lfi-m -g ) O fse xu a l a llu sio n s) Death In The Family, A (16mm): J. Wallace, New Zealand, 526.56m, Ronin Films, O fa d u lt them e) Des Teufels Paradise: V. Tschechowa/V. Glowna/B. Arnold, West Germany, 2550.99m, Communications and Entertainment, Sfi-m -j) Vfi-m-j) Easy Money: D. Poon, Hong Kong, 2633.28m, Chinatown Cinema, Vfi-m -j) O fa d u lt co n c e p ts ) Five Corners: F. Murray/T. Bill, UK, 2578.42m, Communications and Entertainment, Vfi-m -j) Lfi-m -j) Julia And Julia: Rai Radiotelevisione Italiana, Italy, 2688.14m, Hoyts Distribution, Sfi-m -j) Vfi-m-j) Lady In Black: D. Shek, Hong Kong, 2550.99m, Chinatown Cinema, O fa d u lt c o n ­ ce p ts) Vfi-m -g) Man On Fire: A. Millchan, Italy/France, 2441.27m, Communications and Entertain­ ment, V ff-m -g) Lfi-m -g ) Pick-Up A rtist, The: D. Macleod, USA, 2221.83m, Fox Columbia Film Distributors, O fse xu a l allu sio n s) Private Life: R. Tang, Hong Kong, 2441.27m, Kwang Tai Mok, O fa d u lt co n c e p ts ) Vfi-m -g) Scenes From The Goldmines: D. Eisenberg, USA, 2852.72m, Filmpac Holdings, Lff-m -g ) O fd ru g use) Sherman’s March (16mm): R. McElwee, USA, 733.26m, AFI Distribution, Lfi-m -g ) Slam Dance: R. Harvey/B. Opper, USA/UK, 2715.57m, Hoyts Distribution, Vfi-m -j) Lfi-m -g) O fa d u lt co n ce p ts) Someone To Watch Over Me: T. De Ganay/H. Schneider, USA, 2825.29m, Fox Columbia Film Distributors, Vfi-m -j) Lfi-m -g ) White Water Summer: M. Tarlov, USA/New Zealand, 2386.41m, Fox Columbia Film Distri­ butors, L fi-m -g ) V fi-m -g) With Love To The Person Next To Me (16mm): J. Cruthers, Australia, 1042.00m, Aus­ tralian Film Institute, O fa d u lt co n c e p ts ) Lff-m -g )

• R (For Restricted Exhibition) Lady Beware: L. Taylor-Mortorff/T. Scotti, USA, 2962.44m, Village Roadshow Corpora­ tion, O fc o n c e p t o f s e x u a l m e n a ce ) V fi-m -g) Principal, The: T. Brodek, USA, 2935.01m, Fox Columbia Film Distributors, Lff-m -g) Vfi-m -g) Retribution: G. Magar, USA, 2989.87m, Hoyts Distribution, Vfi-m -g) Take Care — Your Majesty!: Run Run Shaw Bros., Hong Kong, 2358.98m, Chinatown Cinema, S fi-m -g) O fe xp lo ita tiv e n u d ity )

Films Registered with Deletions Nil

Films Refused Registration Nil

CQptS)

Who’s That Girl: R. Heller/B. Williams, USA, 2550.99m, Village Roadshow Corporation, O fa n ti-s o c ia l b eh a vio ur) Year My Voice Broke, The: T. Hayes/D. Mitchell/G. Miller, Australia, 2797.86m, Hoyts Distribution, O fa d u lt co n c e p ts ) L fi-m -j) (a) Edited by importer to obtain this classifica­ tion.

• R (For Restricted Exhibition) Final Test, The: Paragon Films, Hong Kong, 2441,27m, Chinatown Cinema, V ff-m -g) Robocop: A. Schmidt, USA, 2797.86m, Village Roadshow Corporation, Vfi-m -g) Salvation: Beth B./M. Shamberg, USA, 2166.97m, Newvision Film Distributors, S fi-m -g) Lff-m -g)

Films Registered With Deletions

Film S tu d io for Hire

Avalon Film Corporation 31 Mitchell Street North Sydney

Nil

Films Refused Registration Nil

Films Board of Review

Available now for hire from December 1st Daily or Weekly rates Phone: Farah (02) 663 5019

Nil

CINEMA PAPERS JANUARY - 79

BRIAN JEFFREY presents our indispensable

FILM BUFF’S J

A

N

LJ

1902: G.R. Aldo (Aldo Grazi­ ati), distinguished studio cameraman of Italian cinema (La Terra Trema, 1948; Umberto D, 1952), born Scorze, near Treviso, Italy 1934: NSW Government

A

R

B

Y

1880: Mack Sennett (Michael producer/director 17 Sinnott), who made the early films of

Chaplin, Keaton, Langdon and Arbuckle, and created the Keystone Kops, born, Richmond, Canada

1980: The British Consul

1929: First musical with an

premieres, Grauman’s Chinese Theatre, Hollywood

1910: First film made in Holly­ wood, D.W. Griffith’s In Old California, begins production

The Emerald Forest, 1985; Hope And Glory, 1987), born,

versal Studios, only months before the director’s death 1955: Clyde Bruckman,

rector closely associ­ 4 writer/di ated with Buster Keaton (The

General, 1927), suicides in a

'itsSSSI

S

Hollywood restaurant

born, England

1897: Mae Busch, actress in

director of photography (Wel­ come To Hard Times, 1967; Little Big Man, 1970), born, Yonkers, NY

SS

1911: Butterfly McQueen McQueen), black 8 (Thelma actress memorable as Prissy

in Gone With The Wind, born Tampa, Florida

I

1985: Anton Karas, com­ poser of haunting Harry Lime theme for The Third Man, dies, Vienna 1929: Actor Rod Taylor born,

1

1927: Harold Lloyd’s The Kid

the lioness used to portray her famous counterpart in Born Free (1965)

costume designer 14 sional (Gigi, 1958; My Fair Lady, 1964), born, London

1892: Rex Ingram, director

(The Four Horsemen Of The 15 Apocalypse, 1921; The Garden Of Allah, 1927), born, Dublin

-•

- ' -v-;

1927: The billygoat

race

hampton, Qld

born, Rio de Janeiro, Brazil

Govind

shandra,

1912) dies, neglected and a pauper, Bombay

1907: Larry ‘Buster’ Crabbe Lindon Crabbe), 17 (Clarence Olympic gold medal winner

who later played Tarzan on screen but is perhaps best remembered as Flash Gordon in the 1936 serial, born, Oakland, California 1964: Actor Matt Dillon born “ Rochelle, New York 18 New 1887: Paul Terry,|j animafounder of 19 tor/producer, Terrytoon Studios whose

ceeded Gordon Scott as the screen’s 13th Tarzan, born, Chicago 1931: James Dean (James

9 cinematographer, notably on

Japan

1913: Jimmy Van Heusen

Chester Babcock), 26 (Edward composer who scored such

musicals as the Crosby-Hope Road series, The Bells Of St Mary’s (1945) and Thor­ oughly Modern Millie (1967), born, Syracuse, New York

Oliver!, 1968), born, London

1908: Paul Misraki, com­

1958; Godard’s Alphaville, 1965), born, Istanbul

1923: Paddy Chayefsky (Sid­

ney Chayefsky), screenwriter 29 (Marty, 1955; Network, 1976), born, the Bronx, NY

the set piece of his epic Gandhi, the assassinated leader’s funeral in New Delhi

technic, London

released in New York by MGM

Ken G. Hall, director Silence Of Dean Mait­ 22 (The land, 1934; Tall Timbers, 1901:.

1937; Gone To The Dogs, 1939), born, Sydney

1985: Harry F. Perry, veteran

1984: Ditra Flame, legendary ‘Lady in Black’ who made 23 Wings (1927), which won the annual pilgrimages to

first Academy Award for Best Picture, dies, Hollywood

1898: Bertolt Brecht, influ­ playwright who did 10 ential some uncredited screen­

Rudolph Valentino’s grave to leave a single red rose, dies, San Jacinto, California

1890: Marjorie Main (Mary Tomlinson), memorable as 24 writing in Hollywood, notably Ma in the Ma and Pa Kettle

on Fritz Lang’s Hangmen Also Die { 1943), born, Augs­ burg, Germany

1985: Henry Hathaway,

(Niagara, 1952; 11 director North To Alaska, 1960; True

films, born, Acton, Indiana 1908: Kazuo Miyagawa, of photography 25 director (Rashomon, 1950; Yojimbo,

1961), born, Kyoto, Japan

Grit, 1969), dies, Hollywood

1925: Louis Feuillade,' pioneer director of French 26 1953: Carl Froelich, pioneer cinema (Les Vampires series,

German cinema, head of 12 ofReichsfilmkammer during Nazi regime, dies, Berlin

13

27 London 1906: Felix E. Feist, direcof RKO’s Pete Smith 28 tor/writer Specialties, The Passing

1944: Alan Parker, director

born, New York City

Wall, 1982)r born, Islington,

London

15

1915-16), dies, Nice

1932: Elizabeth Taylor born,

1976: Actor Sal Mineo stabbed to death outside his apartment building, Holly­ wood '

Express, 1978; 14 (Midnight Fame, 1979; Pink Floyd: The

1931: World premiere of

City Lights, Los 30 Chaplin’s Angeles Theatre

stable of characters includes Mighty Mouse and Heckle and Jeckle, born, San Mateo, California

1 9 1 9 : Jock Mahoney 1926: Greta Garbo’s first O’ Mahoney), 7 (Jacques American film, The Torrent, 21 former stuntman who suc­

Los Angeles

original Three Stooges, dies, 24 from the effects of a stroke,

1981: On the 33rd anniver­ documentary 3Ï sary of the actual event, 16 Australian maker (Pearls And Savages, Richard Attenborough directs

1921) and cinematographer

Neuilly-sur-Seine, France

Dean) born, Marion, 8 Byron Indiana

1962: Frank Hurley, pioneer

(The Silence Of Dean Mait­ land, 1934), dies, Sydney

1936; Carne’s Les Enfants Du Paradis, 1945), born,

1975: Larry Fine, one of the

1922: Albert Lamorisse, 28 poser (for Vadim's And God (The Red Balloon, Created Woman, 1956; 13 director 1956), born, Paris Chabrol’s The Cousins, 1904: Cecil Beaton, occa­

1944: Dhundiraj

Y

1897: Alberto Cavalcanti, 1896: First film screened filmmaker 6 documentary 2 0 before a paying audience in (Went The Day Well?, 1942), Britain, at Regent Street Poly­

1920:

Jean Harlow and Wallace Beery

R

some 500 films (A Trip To The Moon, 1902), dies, Paris

11 Sydney MGM releases Dinner John Box, art director Eight, starring Marie 27 (Lawrence Of Arabia, 1962; 12 AtDressier, John Barrymore, Doctor Zhivago, 1965;;, 1933:

A

staged for Tal Ordell’s 5 scene The Kid Stakes (1927), Rock­

1970: Eiji Tsuburaya, Japan­ ese special effects technician 25 and creator of Godzilla, dies, 1936: Actor John Gilbert

of heart failure, Los 9 dies, Angeles

U

Von Stroheim’s Foolish Wives (1922), and a regular in Laurel and Hardy comedies from 1930, born, Melbourne, Australia

22 Brother, released 1987: Paignton Zoo in south­ Majestic Theatre, Melbourne east England announces the 23 death from old age of ‘Elsa’, 1925: Harry Stradling Jr,

1926: Charles Chauvel’s The Moth Of Moonbi premieres,

1900: Jacques Prevert, (Renoir’s La 4 screenwriter Crime De Monsieur Lange,

20 Keystone Kops films, star of

1942: Warner Brothers studio it will film Casa1938: Georges Melies, 5 announces blanca ^ with Ronald 21 pioneer director who made

Reagan, Ann Sheridan and Dennis Morgan in the lead roles

1889: Carl Theodor Dreyer, director (The Passion Of Joan Of Arc, 1928), born, Copen­ hagen, Denmark

Shepperton, England

1942: Michael Crawford knights Alfred Hitch­ 3 General cock on a sound stage at Uni­ Dumble-Smith), 19 (Michael

R

a founder of the score, MGM’s The 1 original 16 Phalke, Indian cinema (Rajah HariBroadway Melody,

1 9 3 3 : John Boorman, inquiry into film in­ 2 opens (Deliverance, 1972; dustry, with particular focus 18 director

on the desirability of an Aus­ tralian quota

B

1899: Georges Auric, prolific composer whose work can be heard in many films (Coc­ teau’s Orphee, 1951;, Crich­ ton’s The Lavender Hill Mob, 1951^2 Huston’s Moulin Rouge, 1952; Preminger’s Bonjour Tristesse, 1957), born, Lodeve, France

Parade, and other .shorts,

1896: William A(ugustus) director (Wings,, 29 Wellman, 1927; The Ox-Bow Incident,

1943; The High And The Mighty, 1954), born, Brook­ line, Massachusetts

ATL/

812/ A K & A

Your Fine Work isn’t Complete until the L ab h as Done its Job Well.

When it's all said, shot and done, your footage deserves to be processed by a laboratory that recognizes the talent, skill and hard work in each shot; a laboratory that regards your film as more than just a roll of emulsion, more likely, exposed emotions.

edhb

cMisIrdiA

We U nderstand.

Television Centre, Epping, N.S.W. 2121. Telephone (02) 858 7500. Facsimile (02) 858 7888. Telex AA7091 7.

HIRO NARITA. Director of Photography Amerika.

"The filming of Amerika involved a broad spectrum of photographic situations and challenges-everything from the cold, m isty landscapes of Nebraskan farms, the huge stately interiors of such sets as the H ouse of Representatives, to the vibrant lig h ts of a crow ded nightclub. Each dem anded a unique visu al atm osphere to enhance the story. AGFA XT 320's w ide latitude helped m e achieve that.

I was able to use bolder, sim pler lighting w ithout sacrificing shadow d etail or im age sharpness. N igh t exteriors, w h ich w ere demanded by a good portion of the film , were exceptional.

The negative truly amazed m e for its capacity to hold detail w hile tolerating such m om ents of extrem e brightness as passing headlights or explosions.

As a Director of Photography *7 m u st k n o w th a t w h at I see in front of the camera is w h at I'll get on the screen. AGFA XT 320 w ith its improved color reproduction and sharpness assured m e of that. I counted on XT 320 and all of the 1,500,000 feet I exposed delivered consistently day after day roll after roll."

AMERIKA is a CAPITAL CITIES/ABC, IN C . - ABC NETWORK DIVISION ENTERTAINM ENT presen tation of an ABC CIRCLE FILMS production. D irected and execu tive pro­ duced by DONALD WRYE.

AGFA XT 125 & XT 320: They reflect the best of you.

A G FA MELBOURNE 875 0222, SIDNEY 888 1444, BRISBANE 352 5522, ADELAIDE 42 5703 AND PERTH 277 9266

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