Cinema Papers No.90 October 1992 by UOW Library

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OCTOBER 1992 NUMBER 90 INCORPORATING FILMVIEWS

C O N T E N T S 3

BRIEFLY

GILLIAN ARMSTRONG: THE LAST DAYS OF CHEZ NOUS INTERVIEW BY RAFFAELE CAPUTO

10 COVER: VICKI (KERRY FOX) IN

CULTURAL DIFFERENCE AND ETHNICITY IN AUSTRALIAN CINEMA

GILLIAN ARMSTRONG’S ’S THE LAST DAYS OF CHEZ NOUS.

JOHN CONOMOS

SEE ARTICLE P. 4.

16 EDITOR

GIORGIO MANGIAMELE INTERVIEW BY GRAEME CUTTS

Scott Murray A D M I N I S T R A T I V E

MANAGER

PAT GILLESPIE

Debra Sharp TECHNI CAL

EDITOR

Fred Harden EDI TORI AL

RIDLEY SCOTT: 1492: CONQUEST OF PARADISE INTERVIEW BY ANA MARIA BAHIANA

ASSI STANT

Raffaele Caputo

THE NEW BREED OF ETHNIC FILMMAKERS

VIEWS JIM MCELROY

MTV

BOARD

DI RECTORS

John Jo st [Chairm an], Patricia Amad, Ross Dimsey, Natalie Miller, Robert Parsons, Chris Stewart

YEAR OF THE GUN OR DREAMING A DREAM DREAMED IN ROMA SCOTT MURRAY

LEGAL

ADVI SER

Dan Pearce Holding Redlich, Solicitors ADVERTI SI NG

Debra Sharp

STEPHAN ELLIOTT: FRAUDS INTERVIEW BY LANI HANNAH

FILM REVIEWS DAHONG DENGLONG GAOGAO GUA (RAISE THE RED LANTERN) RAYMOND YOUNIS

S U BS CRI PT I O NS

DEADLY KARL QUINN

Raffaele Caputo

THE LAST DAYS OF CHEZ NOUS RAFFAELE CAPUTO FOUNDI NG

PUBLI SHERS

PATRIOT GAMES KARL QUINN

Peter Beilby, Scott Murray, Philippe Mora

STAN AND GEORGE’S NEW LIFE JAN EPSTEIN

DESIGN

TOTALLY CLIPS MARCUS BREEN

Ian Robertson

58 DISK

PROCESSING

RAFFAELE CAPUTO, RAYMOND YOUNIS

Witchtype

PRINTING

MELBOURNE AND SYDNEY FILM FESTIVAL REPORTS

BOOKS RECEIVED

SOUNDTRACKS

Jenkin Buxton DI ST RI BUT I ON

IVAN HUTCHINSON

Network Distribution

TECHNICALITIES FRED HARDEN

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CINEMA PAPERS IS PUBLISHED WITH FINANCIAL ASSISTANCE FROM THE AUSTRALIAN FILM COMMISSION

PRODUCTION SURVEY

ELEATIC ELEVEN

AND FILM VICTORIA

C O N T R I B U T O R S

MTV PUBLISHING LIMITED A.C.N. 006 258 699 Signed articles represent the views of the authors and not necessarily that of the editor and publisher. While every care is taken with manuscripts and materials supplied to the magazine, neither the editor nor the publisher can accept liability for any loss or damage which may arise. This magazine may not be reproduced in whole or part without the express permission of the copyright owners. Cinema Papers is published (approximately) every two months by MTV Publishing Limited, 43 Charles Street, Abbotsford, Victoria, Australia 3067. Telephone (03) 429 5511. Fax (03) 427 9255. Reference ME ME 230.

MARCUS BREEN is a freelance writer on film and music; JOHN CONOMOS lectures at the College of Fine Arts, University of NSW; GRAEME CU TTS is a film historian and a contributer to The Australian Film Reader, JAN EPSTEIN is the film reviewer for The Melbourne Report', PAT GILLESPIE is a freelance writer and publicist; LANI HANNAH is a freelance writer on film; IVAN HUTCHINSON is the film reviewer for The Herald-Sun and presents movies on Channel 7; JIM McELROY is one of Australia’s most experienced film producers; KARL QUINN is a freelance writer on film; RAYMOND YOUNIS is a lecturer at the University of Sydney and a passionate lover of films.

CL LZ

AFC NEW S

FFC N E W S

The funding announced in the Budget is a

The Government has given the Australian Film

Christopher Lovell has been appointed Chair of

recipe for stability over the next four years. The Government’s support, while reducing overthat

Commission $17,019 million for the 1992-93

the Australian Film Finance Corporation (FFC).

financial year. This is a slight increase on last

The Minister for the Arts and Territories, Wendy

year’s $16.6 million. The Government has also

Fatin, announced the appointment of Lovell and

agreed to fund the AFC through 1995-96 to a

other members of the board on 19 August. Fatin

similar level. As well, the Government has com

also released the report of the review of film

mitted itself to continuing the AFC’s Special

financing through the FFC undertaken earlier

Production Fund in its current form, although

this year.

support for the fund was to have ceased at the

Lovell has extensive experience in the film

end of 1991-92. Funding for the next four years

industry and is a partner in Holding Redlich, a

will be $7.4 million each year (indexed), which

Melbourne legal firm with a substantial practice

will maintain funding at current levels.

in film, media and entertainment. He has repre

time, will none the less, together with private sector participation and the FFC’s earnings from the films in which it invests, underwrite stable production levels. Morris said: The FFC is delighted that the Government has shown its strong support for the film and televi sion industry by providing $61.9 million to the Corporation for investment in Australian film production.

The AFC’s Chief Executive, Cathy Robinson,

sented producers on more than 50 film and

said the AFC was extremely pleased with its

television projects and is a Director of Film

We also welcome the Government’s forward commitment of funds which will enable us to

level of funding.

Victoria. He has served on the Board of the FFC

plan ahead with certainty for four years. This is

since it was established in 1988. The new directors of the Corporation are: Producer Tim White, who has been involved in Dear Sir

the production of such well-known Australian

Morris said that the decrease in planned FFC

In the piece on Australian Films at Cannes

films as Malcolm, The Big Steal and Spotswood.

funding over the next four years was consistent

in the August 1992 issue of Cinema Papers, Jan Epstein refers to the fact that I was “apparently moved” to comment (re Romper

Director Fred Schepisi, whose feature films

with the Governm ent’s approach and direction

here and overseas include The Devil’s Play ground, The Chant of Jimmie Blacksmith,

to the FFC to develop an industry which will

Stomper) “that the film shouldn’t have been made”. As I’ve already made clear to the film’s producer, Daniel Scharf, and distributor, Alan Finney of Roadshow, I have been concerned at unsubstantiated reports of what I am supposed to have said, in private

Roxanne, Evil Angels, The Russia House and Plenty. He is now in post-production on Mr Baseball. Sandra Levy, an independent film and tel

enues earned from the FFC’s previous invest

Levy played an important role in the production

relevant feature films, television mini-series and children’s programmes and documenta

and have already expressed these in my review in Variety. I’m quite happy to be criti

of the Dragon.

shouldn’t have been made.

The Government’s allocation together with rev ments in films will ensure that the industry can go on producing a diverse slate of culturally

conversation, in Cannes about this film. I have strong reservations about the film,

the record. And I have NOT said the film

become increasingly less reliant on Govern ment funds.

evision producer. As Head of Television Drama at the Australian Broadcasting Corporation, of drama such as GPand Come in Spinner. More recently, she produced the mini-series, Children

cised for what I’ve said on the record; but not for what I may, or may not, have said off

ries. Morris said he was pleased that the budget

John Morris, the Chief Executive Officer of

secured for the industry through the FFC would

the FFC, has also been appointed a director. As

also enable the FFC’s Film Fund to go ahead.

he currently participates in an advisory capacity

“The Fourth Film Fund will seek to have a mix

in the Board’s deliberations, the Government

ture of budgets between $2.5 million and $3.5

believes it is appropriate to formalize his role in

million with a selection of up to four projects”, he

Sincerely,

this way. It is normal practice for chief executive

said.

David Stratton

officers of Commonwealth agencies to be mem bers of their respective boards. Fatin:

Jan Epstein replies: In view of David Stratton’s letter, I accept his word about his position on Romper Stomper and apologize for reporting him inaccurately. It is a small but important point to note that my attribution was qualified by the phrase “apparently moved to say”. Whatever Mr Stratton said or did not say in Cannes about Romper Stomper, the fact remains that the comment reported in my article was cited virtually whenever Romper Stomper was mentioned in my presence, both in Cannes and subsequently back in Australia. Given the position of influence that Mr Stratton holds in the film world in this country,

The appointment of the directors who are ac

balance of skills on the Board.

buoyant economic circumstances. I congratu

Fatin said the main outcome of the FFC review was this year’s Budget allocation of $61.9

late the Corporation on this achievement. At the same time, there will always be room

million for the Corporation in 1992-93:

for improvement in any new organization. The

This is significantly higher than the previous forward estimate of $35 million forthis year and demonstrates the Government’s recognition of the vital cultural role of the industry. Total funding for the Government’s film programme this year is more than $105 million. Fatin said the Government has also approved forward estimates for $57m, $54m and $50m in the following years:

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PAPERS

be announced shortly. Fatin: The FFC review found that as well as supporting

negative view of the film deserved to be

were quoted to me.

Morris noted that further details of the Fund, including the opening date for applications, would

tive filmmakers was among a series of recom mendations of the review of the Corporation. These appointments will ensure the necessary

my feeling was that this widely-reported reported and countered. Indeed, I reported the less denigratory of the comments that

essential for a commercially-based film indus try because it can take two or three years to develop film projects.

This compares very well with the $35m for » 1992-93 foreshadowed in the forward estimates.

a vital cultural industry, the Corporation was meeting its financial targets, determined in more

review identified a number of reforms needed by the FFC, particularly the nature of its liaison with the industry. The FFC has already taken a number of steps to improve its relationship with the in dustry. For example, it has offered regular meetings with the key industry groups and now publishes a quarterly newsletter. The Minister paid tribute to the work of the former Chair of the FFC, Jim Spigelman QC, and to the retiring directors, Jack Thompson and Ron Brown.

Carlos Saurä LEONOR

AUSTRALIAN FILM FINANCE CORPORATION DECISIONS

GOULDTHORPE

arlos Saurá’s latest film, Sevillanas, is a

18 June

rather short (55 mins) but fitting homage to

TELEVISION

the ancienttradition of theflam enco art of dance,

BLACK RIVER (58 minutes) Lucas Prod-

music and song which originated in Seville. So it

ukzions. Producers: Kevin Lucas, Aanya Whitehead. Director: Kevin Lucas. Writers: Andrew Schultz (composer); Julianne Schultz

was not by coincidence that the opening night of this musical coincided with that of the April Fair, when visitors from all over Spain and the world

(libretto); Kevin Lucas (adaptation). Musicdrama about black deaths in custody, set in outback Australia. Based on the award-winn

join the locals in performing, during several days and from dusk to dawn, the dance which is the subject of Saurá’s film.

ing opera with music recorded by the Metro

Girls in bright regional dresses and carrying

politan Opera Company and the Seymour

armfuls of carnations waited for the famous director’s arrival and that of his cast, in the foyer

Group, and featuring Aboriginal singer-per former Maroochy Barambah, Black River will

of “EXPO CINEMA” , an open-air venue with a

be released, during the United Nations’ Inter

1,200 seat capacity and a giant 228 sq.m screen,

national Y^arof Indigenous Peoples in 1993.

built specially for the Universal Exhibition. There

DO CU M EN TA R IES

were also hundreds of friends and admirers of

CARLOS SAURA W ITH HIS M USICAL DIRECTOR

the popular filmmaker, eager to see his twentysecond film.

M A N O L O SANLUCAR A N D PART OF HIS CAST.

KAVISHA AND THE JOYS OF THE WOMEN (TV hour) Electric Pictures and Realworld Pic

spontaneous applause and shouts of “olé”

tures. Producers: Andrew Ogilvie, Franco di

The opening night was considered “an his

throughout the film. It was a magical night, the

Chiera. Director: Franco di Chiera. Script

torical event” by performers, media and public

summer air filled with the scent of carnations

writer: Franco di Chiera. West Australian

alike, not only because of the coincidence in

which everyone carried, sitting under a perfectly

dates, but also because the occasion was an

clear sky, and, yes, there was a moon. But to all

singer-songwriter Kavisha Mazella sets out to document the folk music of the older genera tion of Italian immigrants who came to Aus tralia in the 1950s. Inspired by the songs her

encounter of what is seen as two separate

this we have to add the special magic which

spheres: the popular/traditional of flamenco

Saurá gives to his creations and evident in films

dance and the somehow elitist modern/techno-

such as Cría Cuervos {To Raise Ravens, 1975),

logical that, rightly or wrongly, EXPO has come to represent.

Bodas de Sangre {Blood Wedding, 1981), Car

grandmother used to sing, Kavisha has formed a choir called “The Joys of The Woman".

men (1983), et al. Here too, the stylish way in

SUCH IS LIFE (TV hour) Mayfan. Producers:

In reality, this is not so clear-cut, as EXPO

which the camera explores the movements of

has also served as a focus and inspiration for

the dancers, the contrast of colour, the expres

Graeme Isaac, Graham Chase. Director: Martha Ansara. Scriptwriter: Martha Ansara.

many high-standard artistic and cultural events,

sion of the bodies and faces, creates a spectacle of great aesthetic quality.

This film is about tattoos and the people who wear them.

other hand, flamenco, as a “live tradition”, has

An unforgettable sequence of shots is where

Since the May Board meeting, the FFC also

evolved from its grass-roots level to more

Lola Flores dances in front of several mirrors,

elaborate and modern forms, resulting in a dance

her reflection seeming to engage in a separate

entered into contract negotiations with the producers on this project.

which, in its many styles, can be both popular and elegant.

dance of its own. The artist, speaking of Saurá’s

M I N I- S E R I E S

brilliance as a director, said that “even the way

BLINKY b il l (26 x 24 mins) Yoram Gross Film

This, Saurá, a well-known and respected

he arranges the lights is inspirational” . Indeed,

filmm aker in Spain and overseas, and self-pro

the lighting is an important element in the film as

Studios. Executive producers: Sandra Gross, Tim Brooke-Hunt. Producer: Yoram Gross. Director: Yoram Gross. Scriptwriters: John Palmer, Yoram Gross. This mini-series tells the story of Blinky Bill and his friends rebuilding

out of which Sevillanas is certainly one. On the

claimed lover of flamenco, set out to demon

it emphasizes changes in sequence, giving a

strate of the Sevillana, the most popular dance

temporal dimension and also particular aspects

in this tradition. At a press conference before the

of the dances, creating contrasts against a mostly

screening, Saurá said that the Sevillana, the Andalusian regional dance, “was popular in the

white and plain background which has become an imprint of Saurá’s style.

true sense of the word, because, unlike dances

There are other treats in this film apart from

from other regions of Spain, it is one people

their village, Greenpatch, after its destruction by humans. The main characters, like Blinky, Nutsy and Mrs Koala, are taken directly from

the visual, such as outstanding music by guitarist

the original Dorothy Wall children’s stories.

dance much more often than at specific celebra

Paco de Lucía, Manolo Sanlúcar and Camarón

Since the April meeting the FFC also entered

tions or occasions” .

de la Isla, plus a collection of the best singers

into contract negotiations with the producers on this project.

The film shows the nuances of the dance commencing with an older couple at the April

and dancers that a budget of several million pesetas can put together.

Fair celebrations, performing a happy and light,

Manolo Sanlúcar, who is also musical director,

yet graceful, version of the Sevillana, repre

said that Saurá had avoided superficiality in

Productions in association with the Australian

senting the more popular, folkloric form and

search of the true art of the Sevillana. It is also

continues to show the development of the dance.

apparent in the film that Saurá has applied his

Broadcasting Corporation. Executive produc ers: Michael Wearing (UK); Jill Robb (Aus tralia). Producer: Michael Wearing (UK). Co

We see, among others, the intense and fiery

own artistic flair, after exhaustive research into

versions influenced by gypsy traditions, a peo

the different styles of the dance, to portray it

ple who, together with an amazing capacity to

justly, as the most widespread flamenco dance

express joy, can demonstrate th rough flamenco

and one whose practice extends well beyond

the anger and despair of a race which has

Andalusia to the rest of Spain and to other

suffered many persecutions and continues to be

countries of the world.

marginalized.

M I N I- S E R I E S STARK ( 3 X 1 TV hour) BBC-Cascade Ash

producers: David Parker, Timothy White (Australia). Associate producer: Eve Ash (Australia). Director: NadiaTass. Scriptwriter: Ben Elton. An eco comedy-thriller based on Elton’s million-selling novel about a corrupt

After the screening, there was a taste of the

consortium of wealthy business entrepreneurs

In spite of its variations, the Sevillana has

warm hospitality of Andalusians at its Pavillion

com e to re p re s e n t the very e sse n ce of

where Lola Flores regaled those present with a

who plan to go to the moon after poisoning the earth with toxic waste.

Andalusian identity. This Saurá was able to

further demonstration of the dance which brought

capture and the audience recognized it with

grace and colour to EXPO ’92.

CONTINUES

CINEMA

P A G E 65

PAPERS

• 3

BCHJt t H: 'V E M A f '

two film s made overseas — M rs S offel an d F ires W it h in

Gillian Armstrong is back karbourside L a st Da ys

Ch e z N o u s .

on a screenplay by novelist Helen T h e L ast D a y s

Ch e z N ous tells

of the complex lives of those living in a hectic Sydney household. Beth (Lisa Harrow), a writer, invites her sister, Vicki (Kerry Fox), to move in and join her husband, JP (Bruno Ganz), a lodger, Tim (Kiri Paramore), and Beth’s daughter from a previous marriage, Annie (Miranda Otto). Is this the fi/ndl straw ? Could if be “chez nous ”?

I B t : DIRECTOR GILLIAN ARM STRONG D UR IN G THE FILMING O F THE LAST D A YS O F CHEZ N O U S . INSET: VICKI (KERRY F O X ), JP (BR U NO G A N Z ) A N D BETH (U S A H AR R O W ). THE LAST D AYS O F CHEZ N O U S.

Gillian Armstrong

Your career is dotted with low- and big-budget features and documentaries. The unusual aspect o f this for an Australian director who has made films in the U.S. is the consistent alterna tion between these m odes o f filmmaking. I suppose it is unusual. It certainly has n o t been anything planned. I believe the reason it h a p p e n ed has been my m otivation for accepting any film I have really fallen in love with. If I have a passion for the script, w hether it is big-budget or small, th at is my m ain m otivation for m aking the film. It is also a lifestyle decision. Maybe o th e r directors a re n o t m others, w hich perhaps m akes a difference. Personally, I like living h ere and like w orking with Australian crews an d casts. I never w anted to n o t com e back an d I ’ve always felt th at I ’ve actually continued to live h ere even w hen I was away. 1 have always considered being away m ore like being o n location while m aking afilm . In bringing up two children, I try to live mostly in this country because I w ant them to be b ro u g h t u p Austr alian. H ow did you get involved in The Last Days of Chez Nous? T h e producer, Ja n C hapm an, who I have actually known for quite a long tim e —she has been a star p ro d u ce r at th e ABC—developed the screenplay with H elen G arner. She established a relationship with H elen w hen she approached h e r to write h e r first screenplay, 2 Friends, which J a n p ro d u ced for the ABC. H elen cam e back to Ja n with the idea for this project, an d I believe they w orked on it for a couple o f years before they h a d a screenplay. J a n th e n ap p ro ach ed m e to see if I w ould be interested in doing it. T h a t was ju st about the tim e I was leaving Australia to do Fires W ithin for MGM Pathe. Did you have much involvement in developing the script? 6

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Yes. I h a d an initial m eeting with H elen before I left, which was reallyjust talking ab o u t the script an d w hat she w anted to say, and discussing two areas I n e e d e d to clarify in my m ind. At th a t point, we decided n o t to work o n it betw een two countries, b u t to wait until I cam e back. W hen I retu rn ed , we h a d an intensive tim e together, working with Ja n as well. J a n always felt very strongly a b o u t the script, and H elen w orked very fast. It was a very productive tim e, o n e o f those situations w here we were all really in tu n e with each other. H elen was really fabulous to work with. If anything, you som etim es h a d to h o ld h e r back. We w ould have to say, “No, no, we are ju st asking, d o n ’t ju st cut it o r w hatever.” H elen probably did a n o th e r two drafts after this point, a n d th e n we did final polishing in rehearsals. Youhave done three major film s—My Brilliant Career, H ightideand Chez Nous—where the strength o f the film is drawn from a creative combination o f producer, director and writer. D o you think you always work best in that collaborative fashion? 'Wm Yes. A nd I ’ve also w orked in th a t collaborative way with Stephen ; M cLean a n d David Elfick o n Star Struck, Scott R u d en an d R on ' N eism an on Mrs Soffel, a n d Wallis Nicita, L auren Lloyd a n d Cyn thia Cidre on Fires Within, w hich was first called “Little H avana.” I work very closely with writers a n d I ’ve actually e n d e d u p being close friends with th em because it becom es such an intim ate ; relationship. If you are really being h o n e st with th e m aterial, it4si|| such a deep thing. You are talking a b o u t w hat your beliefs a r e » w hat you care ab out in h u m an beings, a n d care a b o u t in w hat you ,1 are seeing a n d saying o n the screen. I actually love w orking on 1 scripts with writers. I find it quite an inspiring time.

" I do think the beginning of any film is the screenplay and Helen Garner certainly is a wonderful writer. it was a joy for me to have such rich, intelligent writing to start with. 99

But the Fires Within collaborative effort does not seem to appear on the screen. No, it is n o t on screen because the film was cut by MGM Pathe. I w ouldn’t call th at a Gillian A rm strong film. U nfortunately it was very difficult for m e legally to rem ove my nam e from the film. It is n o t my film: they recu t it for five m onths an d there were even changes d o n e after I left the country. In m ost o f your other films, there is a central character whose desire is the driving force o f the story. In Chez Nous, that central force is dispersed across four or five characters. This is certainly a major difference between Chez Nous and what you have done in the past. Yes, although in Star Struck th ere were two central c h a ra c te rs-th e kids who w anted to p u t o n the show - a n d Mrs Soffelvjas as m uch the story o f Mel G ibson’s character, Ed Biddle, as it was about D iane K eaton’s. F o rm e, it was n o t only why did she fall in love with him , b u t why did h e fall in love with her? Finally, I think, the m ain character in ChezNousis Beth. But the beauty o f the writing is th at H elen has w ritten a situation w here you see it from everyone’s p o in t o f view: it’s n o t black an d white; th ere is n o h e ro a n d n o villain. T h a t’s the sophistication o f h e r writing: th e p eople are very real. As in real life, situations are m uch m ore com plicated. T herefore, you u n d e rsta n d an d see the p o in t ofview of all th e key characters. A nd, yes, you d o n ’tju stg o with one and blam e an o th er; you can see w here they are all at fault. T h a t s the in te n tio n a n d I h o p e it com es through. It’s full o f grey areas. Two scenes in particular illustrate this. O ne is when JP and Beth com e out o f the tunnel with shopping bags in hand. They are play fighting, similar to the pillow fight in My Brilliant Career, butitends

LEFT TO RIGHT: JP, A T HOME IN "CHEZ N O U S ". BETH A ND VICKI MAKE UP A NNIE (M IRANDA O TTO ). ANNIE. THE L A S T D A Y S O F C H E Z N O U S .

up pretty aggressive. The other scene is when Beth and JP are throwing stones at the house, again playful, but you are uncertain o f what has gone on. Never th o u g h t o f th at in regard to Brilliant Career, b u t yeah, it’s there. T h e shopping bag scene was always w ritten so th at it did change from a bit o f horsing a ro u n d to real anger com ing out. It gets nasty; the g ro u n d has kind o f shifted from u n d e r you. She hit him once ju st a little bit too hard, th en he gets back at h e r a bit harder, which she d id n ’t expect, so it goes from actually quite a warm scene betw een them , w here they are really talking quite openly, an d it twists an d ends at the edge. As for the o th er scene, we were aware th at the au d ien ce’d had so m uch em otion at th at p o in t th at it is a shock to suddenly see Beth an d JP together. It was in ten d ed as a tim e ju m p . In the editing, we p u t in the fade-to-black at the last-minute. I realized people were n o t coping with the tim e ju m p , even though I had always shot it hop in g th at you w ould have the tim e to m ake a bridge. I cut to the exterior o f the house an d th en com e slowly off the cliff, w here you are m ean t to h e a r the stones, an d I reveal them before th ere is any dialogue. But I realized th at people have been so affected by w hat has gone before th at it is a shock to seeJP and Beth back together again. I know there is an em otional bum p th ere for the audience, an d it’s pardy because the o th e r stuff has w orked so strongly. B ut people setde into it once JP starts talking ab out the relationship being all over. We tried to m ake th at bridge go on even longer, b u t th en it actually felt like the film h a d ended. We probably should have CINEMA

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• 7

U S A H AR R O W , DOP GEOFFREY SIM PSO N , CLAPPER-LOADER ADRIEN SEFFRIN, GILLIAN A R M STR O N G , GAFFER REG GARSIDE, GRIP M AR K RAMSEY A N D FIRST A SSISTANT DIRECTOR M ARK TURNBULL.

The way you use the space inside the house makes the walls seem to be non-existent. You know the charac ters have their own individual room s but, at the same time, you don’t show where one space is situated in relation to another.

w ritten a n o th e r scene. A visual bridge is n o t en o u g h . If I h a d h e ld o n to th e sh o t o f th e “chez n o u s” house a n d th e rocks any longer, th e audience w ould have started w aiting for the credits to roll; it c o u ld n ’t have b e e n d o n e filmicly. Even now, tho u g h , I d o n ’t know w hat sort o f scene H elen could have w ritten to give the audience a b re a th e r before they can cope with seeing JP a n d B eth to g eth e r again. Though, isn’t the scene about the fact that the relationship isn’t over, that it’s still a grey area? Certainly, th e in te n tio n o f th e scene is th a t the characters are finally talking to each other, a n d th a t if only they h a d said these things earlier they m ig h t have actually m ade th eir m arriage work. Now it’s too late because everything has b e e n sm ashed. I actually find th a t scene th e m ost m oving in the film because you wish they could stay together. T hey’re finally getting along a n d talking honestly to each other, b u t circum stances have ch an g ed a n d you know th ere is n o going back. Part o f the shock in seeing them together works in the way other scenes work: namely, there is a series o f patterns where things seem to cancel each other out. N ot only are there m oments where there are sudden outbursts o f anger, but there are also unex pected m om ents o f gaiety and tenderness. Yes, th ere certainly are m om ents th a t H e le n has w ritten an d p lan te d w here th ere are connections a n d som ething goes w rong, m om ents w here th ere could have b e e n a com m unication be tw een th e characters a n d it goes awry. O f the two wom en, you could say Beth is much m ore mature and confident. Vicki, in contrast, is naïve; she doesn’t know her own ground. Yet, by the end o f the film, Beth turns out to be the naïve character, which is not a heavy criticism. It is like the rôles get reversed. It’s n o t a criticism at all. T h e rôles do g et reversed; they w ere m ea n t to. B eth has always b e e n th e controlling force in th a t household. T h a t’s why it’s called Chez Nous. Everything is c e n tred in th e house and, w hen she leaves it, everything com es apart. W hat she learns is th a t in som e ways the others do n o t n e e d h er. A nd they realize th a t them selves, especially Vicki, w ho learns to stand o n h e r own two feet. It is interestingbecause when Vicki returns from her trip overseas, and it is a return from a failed relationship, Beth sets o f f to the outback to resolve a relationship and it is successful, but then this also turns the other way. Yeah, she gains a fath e r a n d loses a lover. T h a t fe th e irony o f the situation. 8

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T h e key th in g I was w orking w ith was th e insideoutside thing, th e way you can see outside fro m b o th ways [from th e fro n t a n d th e back o f th e h o u s e ]. T h e inside was designed a n d th e colours w ere chosen to really b rin g the p e o p le forw ard. [P roduc tion designer] J a n e t P aterson w orked o u t well th e colour schem es o f th e house a n d th e w ardrobe o f the people; even th e ir h a ir co lo u r was m e a n t to stand forw ard. Everything was actually quite vibrant a n d the walls o f th e h ouse do sort o f disap p ear in th a t way. A part from th e upstairs a n d dow nstairs — th e bedroom s are upstairs a n d th e rest o f th e living area is downstairs —we w ere no tp articu larly careful a b o u t show ing w here everything was. B ut they h a d th eir own litde nests a n d you do see Vicki’s ro o m at th e beginning. Apart from Vicki’s room at the beginning, the only tim e you specifically notice a room is at the end, when JP and Vicki have their own apartment. Yes. You seeJP dow n a hallway carrying ab o x . H e walks o u t th e gate th ro u g h a doorway. I t’s the new house a n d a com pletely d ifferent space. B ut itwas no tp articu larly p la n n e d th aty o u knew exactly w here everyone was in the “chez n o u s” house. Actually, th e re ’s a b it o f cheating going o n a n d m aybe I partly w anted to confuse peo p le because I d id n ’t w ant th em to realize th a t o n e o f th e room s [the b athroom ] was ch eated in a n o th e r location. [Laughs.] Apart from the space, another defining elem ent o f the relation ships is the concentration on little details and objects as indicators o f what is going on emotionally. It’s m ostly stuff o f m inute, dom estic details a n d it is in H e le n ’s writing. B ut objects do resonate a b o u t m u ch larger things. S om eone actually w rote ajoke abouthow w e couldsell this film to a Hollywood studio by saying, ‘W ell, the big clim actic scene is a b o u t w ho o p e n e d JP ’s b rie . ” B ut in w atching th e film, you actually u n d e rsta n d th a t it’s b o th funny a n d sad. I ’ve w atched th a t scene with audiences a n d you can b o th laugh a n d recognize ourselves behaving like that. T h e stress over very small things says q u ite a lo t a b o u t larger m atters. H ow do you place The Last Days of Chez Nous in relation to your other film s? You h o p e each o n e gets b e tte r th a n th e last. It’s a process. You learn o n every film a n d you h o p e your skills as a story-teller im prove film by film. B u tI do th in k th e b eg in n in g o f any film is the screenplay a n d H elen certainly is a w onderful writer. It was a jo y fo r m e to have such rich, intelligent w riting to start with. What projects are next for Gillian Armstrong? I am w orking o n a couple o f things, b u t I am n o t too sure w hich will com e n e x t because I am w aiting o n peo p le to raise th e m oney. Oscar and Lucinda is one, a n d I ’m w orking w ith L au ra Jo n e s on ad ap tin g th e P eter Carey novel. R obin D alton is p ro d u c in g this one. H e p ro d u c e d M adame Sousatzka. S an d ra Levy has g o t a n o th e r film o f m ine, an a d ap tatio n o f Elizabeth Jolley’s The WelL I have also a n English-A m erican p ro duction, a com edy with Tracey U lm an. I ’m going to enjoy that; I th in k she ’s w onderful. ■

THE BOULEVARD GROUP

The Quiet Achievements . . . .

■==.

During the past four years we have undertaken the production of 12 feature films. We have successfully sold these films to such companies as Paramount, Miramax, Disney, Skouras, American Broadcasting C orporation, W arner Brothers, RCA-Columbia, J&M Entertainment, Academy, August Entertainment, Filmstar, Hoyts and numerous theatrical, video and television sub-distributors in over 50 countries. Our product is now screening in the United States of America, United Kingdom, Germany, Japan, Spain, Austria, Switzerland, Brazil, Argentina, Paraguay, Uruguay, Finland, Iceland, Norway, Sweden, Poland, USSR, Singapore, Andorra, New Zealand, Israel, Hungary, Chile, Columbia, Mexico, Greece, Cyprus, Belgium, Luxembourg, The Netherlands, South Africa, Turkey, Denmark, South Korea, Taiwan, P hilippines, Puerto Rico, G ibraltar, Thailand, Portugal, Venezuela, Malaysia, Panama, Peru, Yugoslavia, Hong Kong, Canada and, of course, Australia. Film Festivals from London to Cairo, Berlin to Washington, Quebec to Essen have applauded our productions. We have been honoured with International and local awards, including 11 nominations and 3 major Australian Film Institute awards. We have provided employment for over 1000 crew members, 1000 cast members, 3000 extras, 200 musicians and 3000 suppliers. Major Australian and international recording artists such as John Farnham, Randy Newman, Tom Waits, Stephen Cummings, The Cars, Wendy Matthews, Dan Hill, Renee Geyer, Marc Jordan, Beeb Birtles, Kim Gyngell, Guy Pearce, Venetta Fields, John Waters, John Paul Young, Ollie Olsen, Warren Zevon, Richie Havens and Bill Miller have participated on our soundtrack albums. Boulevard soundtracks are distributed worldwide through such companies as Festival Records and Sony Music. Our Head Office may be in Melbourne, but our market is the world. P.S. Forgive us, we normally don’t like to blow our own trumpet. Melbourne 110-114 Errol Street, North Melbourne Vic 3051 Phone: 61 3 329 2399 Fax: 61 3 328 3762 Sydney 14 Moore Park Road, Centennial Park NSW 2060 Phone: 61 2 332 4900 Fax: 61 2 361 5761

The Boulevard G roup___ From Down Under To AN Over.

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i Li

L J nyone interested in examining

Australian cinema in terms of cultural difference, ethnicity and migrants faces a multitude of intricate aesthetic, herm eneutic and historiographical issues that have been barely made visible in the relevant critical literature. T here is also a tem ptation to transfer (in an unproblem atic m an ner) some o f the m ore fam iliar concepts o f post-m odernism an d post-colonial theory to the study o f the p ertin en t Australian films in the hope that the post-structuralist agendas and theoretical per spectives will prove sensitive to an adequate and supple treatm ent of cultural “otherness”. To discuss Australian cinem atic representations of non-AngloCeltic m igrant groups, their cultures and languages, one is obliged to do so in a hesitant, speculative m anner, realizing the extrem ely conditional character of such a relatively un ch arted theoretical venture. This is especially so w hen dealing with “E u ro p ean ” and “Asian ” m inority groups, and their settlem ent in Australia since the arrival o f the First Fleet. However, “E uropean” and “Asian” are term s which are too loosely used and too simplistic. They are in need o f deconstruction as they conceal the elaborate behavioural and cultural differences o f m inority individuals who are conveniently lum ped together in m onocultural generic positions. Thus, when we are looking at m ulticultural cinem a, to what films, textual practices and problem atics are we actually referring?1 Films m ade by filmmakers of a non-Anglo-Celtic background? Films m ade by filmmakers who were b o m overseas? Do we also include films m ade by filmmakers who do come from an AngloCeltic background? A nd what kinds of films do we select here: institutional, educational and docum entary films? Narrative fea tures and shorts? A vant-garde/experim ental films? Let us for the m om ent, then, probe the (in)visible spaces of articulations representing biculturalism, m igrants and xenopho bia in all the above-m entioned categories of Australian cinem a, which I believe constitute the appropriate topography of cinem atic concerns for our inquiry. W hat we are required to do is to read the relevant films via cultural difference. This m eans looking at cultural

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LEFT: HARRY W A TT'S GROUND-BREAKING EXPLORATION O F M IGR ANT ISSUES, EUREKA STOCKADE (1949). BELOW: STEFANI, A UKRAIN IAN M IG R A N T, IN RON M ASLYN W ILLIAMS' MIKE A N D STEFANI (1952). FACING PAGE: TO P , GIOR GIO MANGIAMELE DURING THE FILMING OF N IN ETY-N IN E PER CENT (1962). A N D , ITA U A N IM M IGRANT N IN O CULOTTA (WALTER

CHIARI) IN MICHAEL POWELL'S THEY'RE A WEIRD M O B (1966).

difference in term s o f class, gender, race a n d post-coloniality. It also m eans reading cultural difference in term s o f identity, m igration, pleasure a n d landscape (a vital analytic central to any fundam ental exam ination o f the post-war m igration experience in Australian c in em a). Thus, in a post-colonial society like ours, we n e e d to analyze our relevantfilm s, to re n d e r visible the cultural a n d ethnic antecedents, ideas, feelings, habits, m em ories a n d values o f Australians who have b e e n fo r a long tim e u n rep resen ted . T h e question we are obliged to negotiate is: H ow do we re-read the fam iliar canonic a n d the lesser-celebrated films in relation to these com plex issues? This includes n o t only the m any films which are defined by th eir pervasive Anglo-Australian m onoculturalism (the list is endless), b u t also films w hich are notable for th eir progressive them es a n d styles sensitive to the depiction o f m igrants. T h e latter includes such critical works as H arry W att’s g ro u n d breaking Eureka Stockade (1949) - a film th a t em bodies m any in sightful observations a b o u t th e m igrant experience in 19th-century colonial Australia in th e context o f a R epublican discourse - the dram atized docum entary sYiortDouble Trouble (1953), representing th e insensitive hostility shown by Australians to non-English mi grants, a n d the lyrical heroic im age a n d sou n d configurations o f The Cane Cutters (H ugh M clnnes, 1948), w here m igrant cane cut ters are illustrated as hard-w orking people crucial to A ustralia’s post-war “nation-building” drive.2 All th ree films provide a stark contrast to the x en ophobic rhetoric evidenced in the “voice-ofG od” com m entary in the 1947 docum entary, Land Short o f People, a film em blem atic o f m any m o re d u rin g th a t epoch w hich arg u ed for closer “pu rist” cultural a n d colonial links betw een E ngland an d Australia. O n e should n o t overlook R on Maslyn W illiams’ neo-realist influenced dram atized docum entary, M ike and Stefani (1952),which focuses on two displaced U krainian refugees who are taken to separate G erm an labour cam ps an d th e n are re-united at a refugee cam p u n d e rg o in g a long process o f resettlem ent in Australia. Both experience despair a n d loneliness, a n d the Kafkaesque conditions o f being in terro g ated by im m igration officers a n d exhaustively exam ined by m edical officers. T h e harshness o f the co u p le’s w orld is aptly in carn ated in two extraordinary p h o to g rap h s (located in C atherine P an ich ’s book Sanctuary ?, 1988) taken by a concealed cam era at A m berg in G erm any in 1948 showing a young couple (just like Mike a n d Stefani) being interviewed by officers o f th e A ustralian D ep artm en t o f Im m igration a n d a m iddle-aged lady being inoculated as p a rt o f h e r m edical exam ination.3 T h e pan o p tican m orality o f these basic situations, o f being assessed as a ho p efu l im m igrant to A ustralia in th e 1940s a n d ’50s, 12

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is fo re g ro u n d ed in th e recen tF ilm A ustralia docu m entary o n the W hite A ustralia Policy, Admission Impossible, w here we are shown how A ustralian im m igration doctors w ere tra in ed to look o u t fo r any “A sian” sym ptom s such as skin colour a n d “O rien ta l” eyes. A nyone w ho is engaged in rea d in g A ustralian cinem a in term s o f its m ultiple rep resen tatio n s o f the non-Anglo-Celtic m ig ran t since the 1920s will be co n fro n ted by a glaring absence in th e dawn ing study o f such a them e: H ow do we com e to term s with the works o f two film m akers w hich are fou n d atio n al in any such inquiry? I refe r to th e invaluable (b u t relatively unknow n a n d u n d e r rated) films o f Giorgio M angiam ele in the 1950s a n d ’60s, a n d those o f Ayten Kuyululu in th e 1970s. B oth film m akers in th e ir respective œuvres have created films w hich bristle w ith diacritical insights into the O rientalist strictures o f Anglo-Celtic, h egem onic culture w hich has (an d still does) shape the critical a n d textual agendas o f m ainstream A ustralian cinem a. B oth film m akers are m andatory figures to be negotiated in any theoretical exam inations o f o u r films a n d o f th eir m anifold representations o f bicultural conflict, (m ulti) cultural difference, m igrants a n d racism. W hat we are c o n fro n ted with h e re is how o rth o d o x histories o f A ustralian cinem a have so far erased th e conceptual a n d textual w orth o f M angiam ele’s a n d R uyululu’s films because they pose m any unsettling questions a b o u t Anglo-Australian colonialism a n d o u r related cultural, pedagogic a n d theoretical fram ew orks o f rep resen tin g cultural otherness. T h e ir films, with th eir low-budget p ro d u ctio n values, are char acterized by a m ark ed degree o f hybridization in th e ir them atic interests, perform ative registers a n d stylistic visuals. T hey are trans generic in th eir outlook, full o f bicultural displacem ent, black h u m o u r, irony (usually a privileged featu re o f th e colonizer’s discourse o f containing, labelling a n d hom ogenizing the m arginal, th e plural, in th e territorial hegem ony to assert cultural authority) a n d heterogeneity. T hey are also critical o f A ustralian liberal hum anism with its em phases o f centre, closure, hom ogeneity, totality a n d unity. T herefore, w hat is quite a p p a re n t w ith M angiam ele’s an d Kuyululu’s films is th a t they re p re se n t an e lo q u e n t critique o f how film history constitutes, on th e m ost basic level o f rep resentation, in the w ords o f Salm an Rushdie, “a n interview with w inners”.4 F u rth erm o re, the tokenistic tre a tm e n t they have received so far in

stan d ard accounts o f A ustralian cinem a (a tb e st), o r rejection in the sense o f b ein g even acknow ledged at all, suggests w hat co ntem po rary post-structuralist th o u g h t has to say a b o u t the fictionality involved in constructing (film) history. In d eed , etymologically speaking, the A ncient Greeks regarded history as storytelling. So, in the invaluable films o f M angiam ele’s, such as his 1962 work, Ninety-Nine Per Cent - a film significant on m any conceptual, cultural a n d stylistic levels - we already see the articulation o f the film m aker’s desire (first begun in 1953 with The Contract) to create a counter-cinem a of post-colonial them es and h etero g en eo u s textual stratagem s. Ninety-Nine Per Cent is a work th at poses m any interesting ques tions a b o u t dislocation, identity a n d m igration. Its witty black h u m o u r a n d sharp observations a b o u t a m igrant widower search ing for a wife to look after his young son has m uch to offer ab out the pro tag o n ist’s d e c en tre d subjectivity situated in his u rb an cul tural setting. We witness m any m isadventures an d tensions th at he experiences as h e en co u n ters (tim e a n d again) Anglo-Celtic colo nialism. Specifically, the fu n d am en tal value of a film like Ninety-Nine Per Cent is th a t is typifies (like o th e r salient exam ples of m ulticultural cinem a) a healthy, sceptical response to orthodoxy a n d dogm a; it rep re sen ts an incisive critique o f the narro w m in d ed n ess of m onoculturalism articulated from the site of m arginality or contra p u n tal existence. W hat has b e e n said ab out M angiam ele’s work also holds (in the broadestsense o f the term ) forK uyululu’s harrow ing exam inations o f Turkish m igrants living in Sydney in A H andful o f D ust ( 1973) and The Golden Cage (1975). Kuyululu’s prim ary aesthetic an d stylistic configurations centre on the alienation an d m arginal conflict h e r subjects experience because o f th eir bicultural identity in post colonial Australia. T he d ire c to r’s bold an d tragic them atic outlook signifies a radical questioning o f the underlying centrist and h om ogeneous basic assum ptions an d values about cultural differ ence as expressed in Australian cinem a till then. C entral to bo th film m akers’ work is th eir key focus on the crosscultural tensions in carn ated in the post-war m igration experience a n d the related em phasis th at the stereotypical beliefs of AngloCeltic m onoculturalism are structured on the idea (to cite T rin h M inh-ha) th at the colonizer “discovers, with m uch reluctance, he is ju s t a n o th e r am ong o th ers”.5 W hat needs to be appreciated is th at this essay is being w ritten with the objective of op en in g u p new spaces o f critical possibilities in addressing som e of the conceptual an d textual problem atics and texts th a t are arguably critical o f the m ost elem entary analysis of this topic. It is a tricky terrain o f cultural, cinem atic an d theoretical considerations (that are intricately intertw ined with each other) to negotiate, one th at behoves the in q u irer to problem atize his own theoretical activity as som eone who does n o t stand outside o f his culture, space a n d society. O ne is constantly faced w hen discussing m ulticultural cinem a with the realization th at post-m odern theory itself, with its globalizing abstractions (em anating initially from E urocentric sources), can be insensitive to the cultural, historical an d textual characteristics o f bicultural m arginality an d m igration. In its own way, post-m odern theory has its own m aster narratives w ritten a n d im p o rted from the centre, thereby colonizing the m arginal. How does o n e theorize adequately the cinem atic representa tions o f non-Anglo-Celtic m inority groups a n d m igration in gen eral w ithout resorting to schem atic, reductive simplicities? For instance, seeing all post-war m igrants as “canon fo d d e r” for Austra lia’s industrialization push in the 1950s o r ignoring the enorm ous cultural differences betw een m inority groups themselves? A n o th er pressing question th at needs attention is: How can we speak o f the m ulticultural plural w ithout being critically aware o f the m any class, psychological an d social tensions th at exist within m inority g ro u p s-m ig ra n ts from the same ethnic category com pet

ing am ongst themselves, etc.? Gayatari Spivak cautions us th at n o t everything can be conveniently classified as “Black against W hite, as there is Black against Black, Brown against Brown, an d so o n .”6 T h e n th ere is the central problem atic of finding a critical vocabulary supple enough to convey the elaborate cultural, histori cal an d sociological features o f w hat it m eans to be a m igrant settler in a country which has over the years shifted its im m igration policy from one o f assimilation, w here the new arrival is defined rath er narrowly a n d hom ogenized within the cultural and institutional discourses o f m onoculturalism (the m igrant is constructed as “the sa m e ” as his o r h e r A nglo-A ustralian c o n te m p o ra rie s ), to m ulticulturalism , w here Australia is seen as being a culturally diverse country. CINEMA

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Seldom have o u r films in the past (both narrative and d o c u m e n ta ry ) p a id m u c h critical attention to represent ing the ontological traum as of m igrating to this country and the related necessity that many m igrants u n dergo w hen they are forced to reinvent them selves in a strange country in term s th at suggest the post colonial contradictions and nom adic m arginality in h eren t in the m igration experience. T here are films which en deavour (with varying success) to portray the contrapuntal violence of m igration, b u t the majority o f films (especially those o f the renaissance decade o f the 1970s and early ’80s especially the num erous examples that belong to the so-called AFC an d socialist-realist genres, and the countless educational ‘trigger’ shorts and docum entaries of the period) represent m igrants and their problem s in liberal hum anistic term s.7W hat we enco u n ter is a cinem a th at aspires to construct a cultural anthropological language which has a tendency to gloss over the m any ambivalences and ruptures o f m igration. Rarely do we have films which focus in a non-binary, non-linear m an n er the ongoing m ultifaceted process o f m igrant identity and bicultural dislocation. Relatedly, by what aesthetic and cultural criteria can we speak of o u r past cinem atic representations of post-war m igration that underline the m igrant’s negotiation of the Australian landscape, its Anglo-Celtic colonizers an d their customs, rituals and values? O n arrival, the E uropean im m igrant enco u n tered the taxonom ic hom ogeneity of “A ustralianness” inscribed in the actions o f imm i gration officers who would convert an im m igrant’s surnam e if itwas too long to pronounce. This was a com m on situation in our m igration history, which is graphically represented in Sophia Turkiewicz’s Silver City (1984). In the 1950 dram atized docum entary, No Strangers Here, in a sequence which has been quoted in several recen t com pilation docum entaries, we see an Anglo-Celtic doctor reassure his Baltic nurse com panion (as he gestures with his h and the wide open landscape of rolling hills and plains) that Australia is his and h er country. W hen she speaks enthusiastically of how she likes his country, he corrects h e r with the reply “O ur country, Christina”. It is a sequence that neatly encapsulates the film ’s assimilationist position on migrants. T hough No Strangers Here is one o f the m ore “progressive” texts o f its time, w hat are we to make of Christina’s future settlem ent in this country? Is identity and m igration easily absorbed into Austral ian m ainstream culture or will she en counter in the future delayed intense reactions from being severed from h e r original hom e? A nd what o f h e r own responses to the sights, smells and sounds of the landscape itself: is this an o th er possible source of cultural disloca tion an d so forth? As a post-colonial subject, how did Christina react to seeing the Australian landscape for the first time? Was it similar to Jim Sakkas’ protagonist, Ilias, from the sam e-nam ed novel of 1988? Standing on the deck of a sea liner, Ilias sees Australian landscape in the following term s (as described by the novel’s anonym ous n a rra to r): So, the land was flat. That m eant nothing. This country, on the other side of the world - the little he knew of it - held a fascination, almost mythical. At its centre, he was told, there was a desert, and blacks were here before the Europeans came. H e’d seen pictures of kangaroos and emus and other curious animals. People spoke English, but what it was really like, was anyone’s guess. What a 14

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person like he would make of it - or what this land would make of him - only the gods knew.8 A sense o f place is crucial (as Paul C arter has recently cogently argued9) to the way we attribute m eaning an d significance to our lives. W hat we n e e d to grasp h ere is how o u r m igrants m ade sense of their own experiences in a foreign country, n o t only through visual perception, speech (this would include creating your own fractured language as N .O .’s brilliant perform ance poetry illus trates), m any searching an d suspicious gazes an d silences that would (and do) take place betw een the colonizer an d the colo nized, but, m ost significantly, th rough touching your habitat with your body. This is som ething valued by a film m aker such as Laleen Jayam anne in h e r rem arkable avant-garde film A Song of Ceylon (1985), one o f the few Australian works that contains m any engag ing form al and theoretical ideas about the body, gesture an d postcoloniality. It is critically aware of the problem atical complexities in creating a cinem a that is interested in questions o f colonialism, dislocation and racism. A nother film which has m uch to offer on this them e by way of its conceptual architecture, as well as its stylized anti-naturalistic mise-en-scene and rich visuals, is Tracy M offatt’s Night Cries: A Rural Tragedy (1989). Both films are appreciative of the necessity to construct nondidactic argum ents, and visual and sonic stylistics which can per suade the spectator to start com ing to term s with such a compli cated and changing subject as post-colonial subjectivity in a country like Australia. T he film m aker is obliged to create a cinem a which contests the ethnic stereotypes of past Australian cinem a and, at the same time, be m indful of creating a cinem a which is cinem atically self-reflex-

ABOVE: AYTEN KUYULULU DURING THE FILMING OF HER FILM ABOUT TW O TURKISH MIGRANTS IN AUSTRALIA, THE G O LD EN C A G E (1975). BELOW: A CROSS-CULTURAL LOVE AFFAIRE: THE GREEK KOSTAS (TAKIS EMMANUEL) AND THE ANGLO-CELTIC CAROL (W ENDY HUGHES). PAUL COX'S KOSTAS (1979). AND, ITALIANS SLAUGHTER A PIG IN BRIAN MeKENZIE'S W IN TER H A R V E S T (1979).

ABOVE: LEFT, N IN A (GOSIA DOBROWOLSKA), A POLISH WAR REFUGEE, AND JULIAN (IVAR KANTS), A FELLOW POLE, MEET IN AUSTRALIA IN SOPHIA TURKIEWICZ'S S IL V E R C ITY (1984).

ive. T oo often films th at espouse m ulticultural them es are stiff with the sloganeering zeal o f soap-box oratory. This was m uch the case for the 1970s an d early ’80s. Thus, films which are concerned with the challenging task o f finding new ways, new languages, to say com plex things about m igration are req u ired w hen wishing to (in the fitting words o f Salman Rushdie) “give voice to the voiceless, you’ve got to find a language [...] Use the w rong language and you’re dum b an d b lin d ”.10 In past films, like the last two ju st m en tio n ed or the astonishing collaborative effort o f The Occupant (Michael Karris, P eter Lyssiotis and Ettore Siracusa, 1984) with its powerfully-written voice-over, we perceive a fo reg ro u n d ed attem pt to find new textual strategies to say these difficult things about the silent unto ld stories em anating from the (in)visible m arginal subject. T herefore, w hen we m ap ou t the relevant cinem atic topogra phy depicting representations o f m igrants, identity and oppres sion, we have to be m indful o f exam ining these representations in those films (as I indicated earlier on) th at were m ade in the past by filmmakers from an Anglo-Celtic background as m uch as those from a European or Asian one. T he form er films have very worthwhile assumptions, sub-texts and values which speak o f the m igration experience an d dem an d a close textual analysis. No one has a m ortgage on m ulticultural cinem a as some of us may believe. So we n e e d to be conscious of a film like Devrim (1984) as m uch as They Are a Weird, Mob (Michael Powell, 1966), Paul Cox’s sympa thetic Kostas (1979), as m uch as the notorious silent Birth of White Australia (Phil K W alsh, 1928), Amgelo Gigliotti a n d Brian McKenzie’s notew orthy Winter’s Harvest {1979) as m uch as March to Nationhood (1939). T here are m any exam ples th at one can draw upon from the past seven decades o f Australian cinem a, particu larly the m ore recen t exam ples from filmm akers who, because of their own ethnic status in post-war Australia, are able to articulate com pelling im age a n d sound configurations which try to portray cultural m inority groups an d th eir ongoing difficulties o f adapta tion, alienation an d settlem ent. These filmm akers include Ettore Siracusa, Kay Pavlou, M ichael Karris, Lex M arinos, Teck Tan, M onica Pellizzari, Aleksi Vellis, Luigi Acquisto, A nna Kannava, Franco di C hiera an d Fabbio Cavadini. These are only a few nam es th at com e readily to m ind when talking about the m ore recen t generations o f filmm akers who are conscious o f shaping m ulticultural cinem a in Australia. O f course, many o th e r cultural instititutions such as SBS TV, Film Australia, ABC TV, the Office o f M ulticultural Affairs an d the Australia Council, plus the federal an d state funding agencies, are starting to becom e aware of the aesthetic and cultural im portance of helping to forge such a cinem a. H istorians like L eonard Janiszewski, scriptwriters such as Petro Alexiou and A nna M aria D ell’oso, and directors o f photography such as Effy Alexakis, are contributing in their own particular way to this kind o f em erging cinem a.

RIGHT, WHITE MOTHER (AGNES HARDWICK) AND BLACK DAUGHTER (MARCIA LANGTON) IN TRACEY MOFFATT'S N IG H T C R IE S : A R U R A L T R A G E D Y (1989).

In conclusion, as we can see, there are m any critical, historical an d textual problem atics that are raised w hen one is exam ining the way Australian cinem a has depicted non-Anglo m igrants for the past sixty odd years. It seems quite clear th at these identified problem atics are still in need o f adequate theoretical ventilation. M ore to the point, there appears to be a substantial gap betw een m o d em film theory, post-colonial theory and cu rren t m anifesta tions in m ainstream Australian cinem a in the area o f representing post-war m igration, identity, etc. M ore work is need ed in the sphere o f reflexive film m aking that knows the value of n o t being “dum b and b lin d ” as defined by Rushdie. T here is a m om ent in The Occupant where Lyssiotis’ father is seen p runing a tree. H e is frozen for a fleeting second as he looks directly at the camera. T he accom panying voice-over informs the spectator that he knows that he is dying from cancer. W ithout sentim entalizing the situation, Lyssiotis and his collaborators have given us one of the m ost haunting images in recent Australian cinem a. T he gaze o f Lyssiotis’father em bodies the aspirations, h u rt and poignancy of the m igrant’s lot in this country as in any other. Itis an image thatwill search you o u tin the quieter m om ents ofyour solitude. ■1 1. The term “multicultural cinema” is a problematic one in that it can incorporate films which exhibit migrants in dubious assimilationist, folkloric and humanistic terms. Nevertheless, given this main qualification and until a more satisfactory term is constructed, I shall use this present one. 2. The term “nation building” belongs to Albert Moran. See his essay, “Nation Building The Post-War Documentary in Australia (1945-1953)”, in Continuum, vol. 1, no. 1, 1987, pp 57-79. 3. Cf Catherine Panich’s valuable oral history on post-war immigration Sanctuary?, Allen 8c Unwin, Sydney, 1988. 4. Salman Rushdie quoted in Sneja Gunewand Kateryna O. Longley (eds), Striking Chords, Sydney, Allen & Unwin, 1992, p. xv. I am indebted to many of the arguments put forth by a number of different authors on multiculturalism, etc. 5. Trinh Minh-ha’s quote is cited in Kateryna O. Longley’s article “Fifth World” in Gunew and Longley, ibid., p. 22. 6. For Spivak’s quote see Longley, ibid., p 21. 7. For a detailed characterization of the AFC and social-realist genres consult Elizabethjacka, ‘The Aesthetic Force Field 1: The AFC Genre and the Socialist Realist Film in the 80s” in Part 2 of Susan Dermody and Elizabethjacka (ed.), The Imaginary Industry, AFTRS Publications, North Ryde, 1988, pp. 88-97. 8. Jim Sakkas, Ilias, Sydney, Allen & Unwin, 1988, p. 2. 9. Paul Carter, “Lines of Communication: Meaning in the migrant environment”, in Gunew and Longley, op cit., pp. 9-18. 10. Salman Rushdie, “Songs Doesn’t Know the Score”, in Kobena Mercer (ed.), BlackFilm Black Cinema, ICA Documents 7, London, 1988, p. 16. See also Stuart Hall’s reply to Rusdie on p. 17. CINEMA

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“When the world produces an artist who is capable of transferring to the screen a new conception in photography, the least the film industry can do is to render him recognition.” INTERNATIONAL PRESS BULLETIN, LOS AN G ELES

OCTOBER 1 9 6 5 (N O .3 )

io rg io M a n g i a m e l e is o n e of t h e f o r g o t t e n d ir e c t o r s of t h e A u s t r a l i a n c i n e m a . In t h e 1 9 5 0 s a n d 1 9 6 0 s , a t a t i m e w h e n t h e A u s t r a l i a n film in d u s t r y w a s n e a r m o r ib u n d , M a n g i a m e l e w r o t e , f in a n c e d a n d d ir e c t e d s e v e r a l s h o r t a n d l o n g f e a tu re s , in c l u d in g II Contratio ( The Contract , 1 9 5 3 ) , The Spag( 1 9 6 1 ) , Ninety-Nine Per Cent ( 1 9 6 3 ) , d a y ( 1 9 6 5 ) a n d Beyond Reason

(1 9 7 0 ). D e s p i t e M a n g i a m e l e ’s p io n e e r in g e fforts, he w a s c o m p le te ly b y p a s s e d by th e 1 9 7 0 s a n d ’8 0 s r e n a is s a n c e . E v e n film h is t o ria n s h a v e m a n a g e d t o o v e r lo o k t h e f a c t t h a t C / a y w a s t h e first A u s t r a l i a n film t o be s e l e c t e d for C o m p e t i t i o n a t C a n n e s ( s e e b o x ) . T h e t w o q u a litie s w h i c h m o s t ty p ify M a n g i a m e l e ’s w o r k a re th e p h o t o g r a p h ic s t y l e ( M a n g i a m e l e w a s a h ig h ly -r e g a r d e d s tills p h o t o g r a p h e r ) a n d his c o n c e r n for m i g r a n t is s u e s . T h e la t t e r is n o t s u r p r i s in g as M a n g i a m e l e w a s a m i g r a n t h im s e lf. B o r n in Ita ly in 1 9 2 6 , M a n g i a m e l e s t u d ie d F in e A r t s and C i n e m a in C a t a n i a , S ic ilia , F ilm T e c h n i q u e a t t h e Polizia S c ie n t if ic a , R o m a , a n d J o u r n a lis m in t h e F a c u lty of J o u r n a lis m “ P r o - D e o ” , U n iv e r s i t y of R o m a . H e e m i g r a t e d t o A u s t r a l ia in 1 9 5 2 , a n d in 1 9 5 7 b e c a m e a n a tu r a liz e d c itiz e n . M a n g i a m e l e s e t up a p h o t o g r a p h ic s t u d io in R a t h d o w n e S t r e e t , C a r lt o n . It a ls o d o u b le d as his film s t u d io . In t h is in t e r v ie w , M a n g i a m e l e b e g in s by d e s c r i b i n g his first A u s t r a l ia n f e a tu re .

FACING PAGE, CLOCKWISE FROM TOP LEFT: JOSEPH PINO AS THE OLDER BROTHER IN MANGIAMELE'S THE BRO TH ERS. THE YOUNGER BROTHER

(ETTORE SIRACUSA) IN THE BRO TH ERS. MATHEW GRAVINA AS THE BOY IN MANGIAMELE'S THE SP A G . STREET SCENE FROM THE SPA G .

t 90 m inutes long, The Contract was am ong the first o f the post-war A ustralian features.1This [silent] film was based v o n the fact th at m igrants were em ployed by the Australian g o vernm ent on a two-year contract. After that, they were free to go back. I w anted to portray the struggle o f those first m igrants; after all, I was one myself. W hen we arrived in Australia the crisis started: th ere was no work, anywhere. T h e governm ent d id n ’t give a dam n a n d d id n ’t fulfil its contract. So I decided to m ake a film with real social m eaning aboutfive m igrants who h a d difficulty feeding themselves. My n e x t film I m ade with students at a cinem a school in Russell Street, M elbourne. T h e school h ad been se tu p to train actors and aspiring film m akers, b u t h a d ru n into difficulties. I fo u n d o u t a b o u t it an d took it over. I arran g ed for M argaret D obson, a very fam ous actress at the tim e, a n d Bob Clarke, also an actor, to teach acting. I th en shot som e film of the students to give th em the chance to see themselves on the screen, to see th eir facial expressions a n d to encourage selfcriticism. In the e n d I p u t it altogether an d called it Unwanted. It is ab o u t a fath er who d o e sn ’t w ant a m igrant to m arry his daughter. This school d id n ’t last long because the re n t was very high. So, I suggested we go andw orkin my studio. O u t o f that came TheBrothers (1958), the story ab out two brothers. T h e older b ro th e r has taken five h u n d re d p ounds from the place w here he was working. H e has to replace it before the boss arrives from Sydney, b u t he h asn ’t got the m oney any m ore. T h e younger boy was played by E ttore Siracusa, who later becam e my assistant.

So, it too was a story about the Italian community within Australia? Yes. T h e re are m igrants involved in a lot o f my early films, because th at was a start for m e. T h a t was my social world, my contact with th e new. What was it like being an Italian migrant in Australia in the 1950s? Very bad; very bad. I rem em b er th at “d ag o ” and things like th at w ere w ritten in graffiti style in the condensation o n the window o f my studio. What other films did you make about this migrant experience? Well, o f course, it was developing. Every story was different. T h e n e x t film was The Spag {1962). It’s a n o th e r face o f the same problem . We were n o t liked an d we knew this. Was the story based on incidents you had actually seen in the community? No, b u t they were all possible: the atm osphere, the feelings o f the times, o f boys going a ro u n d searching for I d o n ’t know what, knocking on a d o o r an d th en bashing the m an w ho answers. T h ere was no reason; they d id n ’t know each other; “H e ’sjust a m ig ran t.” H ow did you finance The Spag? W ith my m oney. It w on an award a n d was shown around, although n o t comm ercially. It was shown in schools everywhere. T he State Film C entre included it in “Vicflix”, the travelling film festival for T8

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V ictoria’s 150 th birthday celebrations. For the story perhaps. It was o n e of those stories. “Giorgio Mangiamele’s film The Spagis important because it is one of the first films made in Victoria by a migrant about the migrant experience. Although Giorgio insists it is an Austral ian film, the manner in which it is shot and the storyline give it a strong Italian Neo-Realist flavour.” Vicflix programme, 1984/85 H ow long did The Spag take to make? Two to th ree m onths, shooting on w eekends a n d at night. Every thing was at h a n d in my studio, an d I knew exactly w hat I w anted. What did The Spag lead to? Ninety-Nine Per Cent (1963). B ut in betw een those two films I had w orked with Tim Burstall. H e h ad seen TheSpagand liked the quality. So he asked m e to do the cam era w ork for th e The Adventures of Sebastian the Fox series. Sebastian was a string p u p p e t m oving in a real environm ent. T h ere w ere a b o u t 12 episodes. I also w orked on two o f the series on art th a t h e m ade: The Crucifixion: Bas Reliefs in Silver by M atcham Skipperand On Three Moon Creek: Australian Paintings by Gilfamieson. T h e n I m ade Ninety-Nine Per Cent. This was a story I w rote myself, again co n cerning the m igrant experience. An Italian wants a wife. H e has a child, b u t the m o th e r is dead. So he goes to a m arriage agency. H e is asked “W hat do you want?” “A wife”, he replies. H e is a bit comic, b u t at the same tim e very hum an. T h e actor was Jo sep h Pino, who died som etim e last year. Was the idea for Ninety-Nine Per Gent based on fact? No, n o t on my actual experiences, b u t again it was a possibility within the m igrant situation. I may have h e a rd a b o u t this sort of thing. But, in any case, I d o n ’t th in k th a t one has to copy fact or reality to m ake a film. What sort o f exhibition did Ninety-Nine Per Cent get} It was shown in the city the first tim e at T h e Savoy. L ater I h e a rd that the ow ner o f T h e Savoy w anted to let it ru n for a long tim e b u t h a d been w arned by som eone n o t to take the film. It also gained an H o n o u rab le M ention in the A ustralian Film Awards. P art o f the post-production work was d o n e at th e A cadem y Film P roduction studios. A fter th at R on M ason, the owner, asked m e to m ake a film for him . It was called Boys in the Age o f Machines (1964). It was a sort o f inform ational dram atized docum entary a b o u t apprenticeships. How did Clay (1965), your next film, come about? Again, it’s my story. Places a n d th eir events always suggest th em selves to m e. T h e re m ig h tb e subconscious origins, o f course. Ith a d all the characteristics o f a dream , the way it was p resented, from the first fram e to the last. T he story is th at som ebody is ru n n in g away from the police. It m ight have som ething to do with m igrants a n d stories I h a d heard. I d o n ’t know.

see w hat I can d o .” A fter a few days, I was told th at n o th in g could be done. N o they d o n ’t w ant to give any m oney. T hey d o n ’t want to help. We d o n ’t go to Cannes. Why should we go to Cannes? At th at tim e, the governm ent obviously d id n ’t w ant to encourage a local film industry. “ [...] Australian poetry [...] the film o f Mangiamele, for its aesthetic research, can be com pared to the Mexican film, Tarahumara [Luis Alcoriza]. The whole work is carried on its visual impact. One feels, from one sequence to the other, the effort o f the filmmaker very m uch involved, an effort which elevates him as an exponent of the ‘Fine Arts’.” Nice-Matin, Cannes, 22 May 1965 W hat was the reception at Cannes like fo r the film?

H ow long did it take to write? N ot very long. I d o n ’t believe in long draining things. Only ignorance could force people to isTite m ore an d m ore an d m ore, an d th en everything’s lost: the spirit, the beauty, the feeling. W hen you write, you ju st write. It never takes especially long because you are developing som ething. A nd as you develop it, the ideas com e. W riting a story7is a beautiful adventure. “ [•••] visually it’s frequently a poem brought to life with some breathtakingly poignant and arty shots.” Variety, New York, 14 December 1964. n fo was m ade in 35mm, black and white. H ow did you finance it? Well, we m ade a co-operative. Everyone paid some m oney. I m ortgaged my house, etc. It took three m onths to make. W here was it shown? We h ad the p rem iere at T he Palais in Sti Kilda. T here were thousands o f people. I showed it later for one or two weeks, w hen I cam e back from France, at die same place. Why w ere you in France? Clay was invited to the Cannes Film Festival. It was the first Australian film accepted at Cannes. D id the governm ent give you any assistance? No, nobody did. I contacted C anberra and said that I need ed help to get the actors to France, an d also pay for the trip. I was told, “I ’ll ABOVE: TOP, FRAME ENLARGEMENT FROM MANGIAMELE'S N IN ETY-N IN E PER CENT, WITH BOB CLARKE AND JOSEPH PINO. AND, MARGOT (JANINE LEBEDEW) IN MANGIAMELE'S CLAY. RIGHT: FOUR IMAGES FROM CLAY, WITH GEORGE DIXON AS NICK AND JANINE LEBEDEW AS MARGOT.

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T h e reception was very7, very7good. At one stage Rex H arrison, who was one o f the ju ro rs 2, said to m e, “It’s such a really beautiful film.” H e liked it very m uch, as did a lot o f p eople there. But, o f course, w hen we first arrived they asked, “W h e re ’s the g o vernm ent repre sentative?” And, o f course, th ere w asn’t one. Fortunately, a very7good friend o f m ine, P eter Oyston, was in E urope at the time. H e was able to persuade Sir R onald Walker, who was th en Australian A m bassador to France, to quickly attend the C annes Film Festival as the governm ent representative. He feted us, the film Clay an d the occasion. H e was a fine m an.

LEFT: TIM BURSTALL'S THE A D V EN TU RES O F S E B A S T IA N THE F O X , WHICH WAS SHOT BY

MANGIAMELE. BELOW: MARION (MAGGIE COPELAND) AND RICHARD (OLLIE VEN SKEVICS) IN MANGIAMELE'S BEYO N D R EA SO N . AND, THE PREMIERE OF BEYO N D R EA SO N : GEORGE DIXON, MANGIAMELE,

MAGGIE COPELAND, LOUISE HALL, AND RAY FELLOWS.

“Giorgio Mangiamele has painted in his visual poem the story of an impossible love.” La Cinématographie Française, Paris, 29 May 1965 Was anybody else interested in it? Well, th ere was a chance to have the film distributed by an E nglishm an straight after Cannes. However, Clay h a d b e e n invited to the E d in b u rg h Film Festival, so after th a t it w ould be available. U nfortunately, th ere was som e sort o f a mix-up at Australia H ouse, w here it was sent after E dinburgh. T he film could n o t be found, a n d the film was n o t available in tim e. A nd th at was the e n d o f that. W hile th ere, I was offered a jo b with Pathé in France, b u t because I h a d family a n d friends and, I thought, a possible future in Australia, I tu rn e d down the offer. “Mangiamele is one o f the world’s master craftsmen in the art o f film, a man who really knows how to use the camera to tell a story and whose photography is a joy.” The Advocate, 15 December 1964 You came back to Australia in 1965. What happened then? I tried to g et contacts, to sell my work, myself, my ideas. Clay was shown at the M elbourne a n d Sydney Film Festivals. But nobody was particularly interested. A lthough the ABC d id buy a n d show it, this was d u e largely to S enator H an n an , w ho h a d b e e n at the first

screening at T h e Palais. Clay is based on con p o s itio n , sh o w in g th th o u g h ts a n d th e stor cin em ato g rap h ically . I film th e re ’s a timing: ev< rything has to be ju st righ Clay is a visual film. T her^ are only twenty lines o f dialogue in it. T h e com position, the m ovem ents o f the people, m ake an im pact. T h e light was like sound itself, creating a m ood. I really p u t my h e a rt into it. Everyone dream s a dream at som e point. You see, I w anted Clay to go into an im p o rtan t festival. I th o u g h t o f Venice, b u t Venice h a d ju st closed, and C annes was still open. O nly a few films from Australia have ever b e e n accepted at Cannes. I was the very first one. I o p e n e d the d o o r for the others. “By all accounts Clay is a film of singular visual beauty.” The Australian, 28 April 1965 “[...] there is poetry in the treatment, tact and sensitiveness in the direction.” The Australian, 10 June 1965 (in a report from Cannes). You came back and started making another film? Yes, Beyond Reason (1970). It’s a film I like very m uch. It’s n o t like Clay, it’s m ore verbal. It is a psychological situation w here people are confined with the possibility o f atom ic d a n g er from outside. T h ere are th ree doctors a n d the resta re m ental patients. So th e re ’s a situation of danger. It was distributed by Colum bia. N othing cam e o f it really. It was shown a few times, b u t n o th in g was done. After that you went to N ew Guinea in 1969. CINEMA

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Yes. I m ade five films for the PN G Office o f Inform ation. I was in contact with Som are a n d all the intellectuals there. I h a d a PN G cam eram an who h a d train ed in Australia. I first m ade a film a b o u t the silkworm, PNG joins the Silk Industry, because they w anted to develop a silkworm industry. They were surprised w hen they first saw the film because I successfully used extrem e close-ups o f the worm s creating the silk. A n o th e r was a b o u t crocodiles called The Caring Crocodile. I was free to actually look for any subject I w anted. I ju s t h a d to p resen t

C LA Y AND CANNES Film historians have tra ditionally stated that the first Australian film se lected for Competition at C annes was Fred Schepisi’s The Chant of Jim mieBlacksmith in 1978. In fact, Giorgio Mangiamele’s Claywas the first, having been selected in 1965. Hisfeaturewas one o f 29 features shown from 19 countries. When the Cannes Festival began in 1946, all films were shown as part o f the Competition. As Cannes historians Cari Beauchamp and Henri Béhar write, “Countries were asked to submit feature-length films in proportion to their total production [...] Invitations were extended from the government o f France to the appropriate government agen cies in other countries.”1234 Australia did not have things anywhere near together in the 1960s, so Mangiamele had to go it alone. In 1972, the rules changed and films were no longer nominated by countries (though a misunderstanding still exists among some sections o f the press that the AFC selects Australian films for Cannes). In 1986, films no longer were even listed by country. All nationalistic borders had been dissolved, though there is still a limit on the number o f French films in Competition. After the pioneering success o f Clayin 1965 came Ted Kotcheffis “Wake in Fright” in 1971 (shown under the title OutBack). Though most local critics have somewhat illogically refused to call this an Australian film, Cannes showed it as the official Australian film in Competi tion. Then, o f course, came The Chant ofJimmie Blacksmith. It is time film historians and media publications, includ ing Cinema Papers, acknowledged Clay its rightful place in Australian cinema history. S.M. ABOVE: MARGOT AND NICK IN C LA Y, THE FIRST AUSTRALIAN FILM TO BE SELECTED FOR COMPETITION AT CANNES. AND, REX HARRISON AT CANNES IN 1965, THE YEAR HE SERVED ON THE JURY.

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my case. T h en there was Living M useum, a n d South Pa cific Festival o f Arts. All o f these w ere do cu m en ta ries. Finally, th ere was Sapos, a feature film in Pidgin. I was in PN G for three years. T h e co n tract fin ished, an d I w anted to go back to A ustralia to see if the situation was differ ent. You came back to Australia in 1972. In the twenty years since then, what have you been doing? I have b een w ithout work m ost o f the tim e. What about the Australian Film Commission and Film Victoria? Have you tried to get funding from them? O f course I ’ve tried. B ut they continually reject my projects. My conviction is I have b e e n discrim inated against. T hirty years o f it, an d all this started because o f C annes.3 T hings were fine w hen I m ade the litde film The Spag, b u t as soon as I started som ething bigger, discrim ination seem ed to set in. It may sou n d a litde bit strange, an d it w ould sound strange to m e also if it h a d n ’t h a p p e n e d to m e. I p rese n t beautiful stories, stories w hich I believe in. A nd they reject them . Stories th a t take tim e a n d effort to write! Have you got a script that you are trying to fund? Yes. B utagain, ith a s b e e n recendy rejected by Film V ictoria a n d the A ustralian Film Com m ission. ■ 1. In Australian Film 1900-1977: A Guide toFeature Film Production (Oxford University Press in association with The Australian Film Institute, Mel bourne, 1980), Andrew Pike and Ross Cooper list 18 features from 1946 to 1953. Several of these were overseas-financed films made by foreign directors. The Contract is not included. 2. The full jury was André Maurois (Honorary President), Olivia de Havilland (Acting President), Max Aub, Michel Aubriant, Rex Harrison, Goffredo Lombardo, François Reichenbach, Alain Robbe-Grillet, Constantin Mikhailovitch Simonov, Edmond Tenoudji, Jerzy Toeplitz. The Palme d ’Or went to Richard Lester’s The Knack.... And How to Get It, the Special Jury Prize to Masaki Kobayashi’s Kwaidanznd Best Director to Liviu Giulei for Padurea Spînzuratilor ( The Forest of the Hanged). 3. Ed.: The damage the cultural cringe has had on some Austral ian filmmakers’ careers is much greater that many readers would realize. Mangiamele is not alone in having received interna tional recognition only to re turn to Australia and be rebuffed. To give a recent, and partly personal, example: in 1986, six Austra lian filmmakers had features in major events at Cannes. Of these, according to all the major polls, three directors did very well with the critics: Jane Campion, Bill Bennett and this author. On their return to Australia, all three approached the AFC for script development. All three were rejected. Campion, who had just won the Palme d ’Or for her short Peel, was turned down for Sweetiel Those scripts chosen in preference, submitted by filmmakers who had received no international recognition, have mostly not been made. 4. Cari Beauchamp and Henri Béhar, Hollywood on the Riviera: The Inside Story of the Cannes Film Festival, Morrow, New York, 1992, p. 68.

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“In th e b ro a d e s t s e n s e , w h e n p e o p le s a y ‘e th n ic ’, th e th in g s th e y a s s o c ia te w ith it a re a lie n p e o p le , a lie n c u ltu re s an d c h a rity , b e c a u s e th e s e p e o p le need h e lp . In a film s e n s e , it in v o lv e s s e rio u s m a tte rs th a t m a y n o t be s u ita b le fo r m a in s tre a m a u d ie n c e s . T h e m in u te y o u m e n tio n th a t y o u a re m akin g an e th n ic film o r o n e a b o u te th n ic is s u e s , I n o tic e th a t p ro d u c e rs ’ e y e s g la ze o v e r. ‘It’s n o t c o m m e rc ia l. Y ou b e tte r go an d fin d g o v e rn m e n t fu n d in g ’, th e y s a y . W h a t I w o u ld lik e to d o is m a ke th e b o u n d a rie s le s s n a rro w . E th n ic is p a rt o f us. W e are n o t a lie n s . T o d o th is y o u need to re v e a l a b it m o re a b o u t y o u rs e lf, an d p e r h a p s be a b le to lau g h a t y o u rs e lf a n d to s h o w p ain a n d jo y a n d m a ke th e c h a ra c te rs re al. E v e ry o n e can re la te to th o s e e m o tio n s if th e y a re a llo w e d a c c e s s to th e m .” P A U L IN E C H A N , F IL M M A K E R ( H A N G - U P )

DIRECTOR FRANCO DI CHIERA

DIRECTOR ALEKSI VELLIS

DIRECTOR M ONICA PEUIZZA RI

For some independent filmmakers, “ethnic” is m erely a tool (such as a character description) or technique (such as subtitling, dual languages or use o f cultural m ythology) used to enhance the narrative. Narrative values and themes are universal and transcend the stylistics o f a film.

more damaging than representation that may be arguably stereotyped. Self-recognition is so impor tant and should never be underestim ated. T he film m akers interviewed for this article have com e from various m igrant backgrounds and have draw n u p o n th eir personal experiences to explore issues o f racism, cultural conflicts, assimilation and m igrant isolation. T h eir reasons for doing so have varied. Filmmak ers like T eck Tan, who has w ritten a n d directed several short films, dram as an d docum entaries about aspects o f Chinese-Australian life, find personal ex periences a rich source o f inspiration. Tan: I think it is easier to write about your own culture, especially when you are starting out in the industry. While I do enjoy making films about my own culture, they are not the only films I intend to make.

ABOVE: FRANCO DI CHIERA (FRONT LEFT) WITH HIS UNCLE GIUSEPPE MERCURI (CENTRE), THE SUBJECT OF DI CHIERA'S THE A R TIST , THE P E A SA N T . LEFT: DOP SIMON SMITH AND DI CHIERA ON LOCATION IN ITALY FOR THE A R T IS T , THE P E A SA N T .

In in d e p e n d e n t film m aker circles, describing a film as “e th n ic ” is akin to adm inistering a kiss o f death. Beer-swilling, fat-gutted Aussie yobbos have been the fo d d er for m any an Australian com edy sketch and film character, as has the bronzed Aussie adventure m an with a quirky sense of hum our, á la CrocodileDundee. But while the Aussie heroes, such as Max in M ad M ax an d Mick D undee, have won over audiences with their valour, h u m o u r a n d spunk, their “e th n ic ” counterparts have usually been viewed in fairly racist terms, often cast as villains, downbeats, ig n orant and on the fringe. W hich poses the question; How do film m akers break away from these traditions? Program m es like Acropolis Now an d Wags Out o f Work have utilized ethnic stereotypes in comedy, proving that “m ulticultural” can, in fact, entertain audiences an d rate well. In som e respects, these program m es have liberated ethnics from som e of the negative typecasting. Some film m akers, however, believe program m es like Acropolis A W have d o n e m ore dam age to the im age o f m igrants, by portraying them as thick as two planks, m otorheads a n d boy crazy. O thers, like film m aker Franco di C hiera ( The Artist, The Peasant), disagree, claim ing it is better to expose general audiences to these stereotypes because in the long term it paves the way for acceptance and exploration o f o th er ethnic qualities. Says Di Chiera: The fact that Acropolis Nowis there will open doors in the long run. The absence of any representation is m uch 26

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In My Tiger’s Eyes, T an explores a young Chinese boy’s struggle with two different cultures, while growing up in Australia d u rin g the Menzies era. W hile m any o f the scenes betw een the traditional Irish-Australian neighbours, the O ’Hallorans, and the Chinese family are hum orous, there is an u n d e rc u rre n t of dis-ease. Both cultures fail to relate, the Chinese family passively resisting integration by trying to recreate a little C hina within Australia an d the Irish-Australian couple being overtly foreignphobic . T he young boy is caught betw een b o th cultures, fascinated by the O ’H allorans, who feed him wafers an d ice-cream, and confused by his own family, who continue to preserve traditions such as eating blackened fish an d boiled chook wings. This is sum m ed up by a line in the film, “Dim sim versus the m eat pie”which is m ore digestible? For som e in d e p e n d e n t film m akers, “e th n ic ” is m erely a tool (such as a character description) or technique (such as subtitling, BELOW: ROBERT AH LOUEY (ADAM GUNGOR) IN TECK TA N 'S M Y T IG E R 'S E Y E S .

LEFT: BOADIE (MARK LITTLE) A ND LUKE (BEN MENDELSOHN). ALEKSI VELLIS' NIRVANA STREET MURDER. BELOW jPENNY (TAMARA SAULW1CK) AND BOADIE. NIRVANA STREET MURDER. BOTTOM: M ONICA PEUJZZARI'S VELO NERO.

dual languages o r use o f cultural mythology) used to en h an ce the narrative. Narrative values and them es are universal an d transcend the stylistics of a film. In o th e r words, the film m aker considers the c o n te n t first, stylistics, o f which ethnic is a com ponent, second. Aleksi Vellis, d irector o f Nirvana Street Murder, says: The big thing I try to avoid is to typecast. You get a type of character in ethnic cinema that has a problem, or in SBS dramas you get characters who personify a problem in society, like the m igrant who can’t speak English or can’t deal with the boss at work or has a bad back and therefore can’t work properly. O r you get a kid that is caught between two cultures. In other words, characters who have been form ulated to serve a problem, rather than ju st be people-in a dram a for entertainm ent. * Vellis has actively tried to disassociate him self from the ethnic “dilem m as” prevalent in m any docum entaries, dram as, sh o rt films an d features. H e m aintains that all the characters in Nirvana Street Murder are “people first, ethnic characters sec o n d ”: I set outwith Nirvana StreetMurdemot to have two different types of characters. Everyone is nuts. None of the Greeks have bad back problems or language problems or cultural problems. They are dickheads like everybody else. For film m aker M onica Pellizzari, exploring cultural conflicts have m ea n t battling with film authorities an d ultim ately being typecast as an ethnic film m aker. She was discouraged by the A ustralian Film Television 8c Radio School to pursue h e r first film, Velo Nero, which was eventu ally m ade o n a shoestring b u d g et o f less than $ 2,000.

T he film tells the story o f a G reek widow, unable to speak English, who falls down in the street a n d is h elped by a young m an o f Australian-ethnic background. Says Pellizzari: I wanted to make a film about losing one’s identity through peer pressure and the isolation of being a m igrant widow. At the time of making the film, I was accused of being counter-racist by some of the film school staff and I couldn’t understand what the hell they were talking about. CINEMA

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ABOVE: THE MOTHER (NICOLETTA BORIS) IN PELLIZZARrS N O N O , N O N N O I. LEFT, GIUSEPPINA

(AURELIA ENEIDE) IN PELLIZZARI'S RABBIT O N THE M O O N .

Film m aker E ttore Siracusa believes th a t using subtides in a film “h eig h ten s the alienation A nglos have tow ards m igrants a n d m igrants feel in A nglo c u ltu re ”. Siracusa has used m ig ra n t m em o ries a n d subtitling in m any o f his films to ex p lo re th e c o n c e p t o f e th n ic space. Says Siracusa: All my films have certain concerns about how one relates to the experiences of m igration to Australia, and questions how young people identify with the cultures of their parents.

Pellizzari’s n e x t film, Rabbit on the Moon, attracted sim ilar re sistance from th e AFTRS. T h e film p o ignandy deals w ith an Italian girl whose p e t rab b it is killed a n d eaten by h e r family. Pellizzari spoke to a n u m b e r o f m igrants p rio r to m aking the film a n d discovered th a t they all h a d h a d a p e t th a t d ied w hen they w ere six o r seven, w hich th e family th e n ate. A p art from exploring th e c h ild ’s “rev en g e” (p u ttin g d irt in a b o o t), th e film exposes the rift betw een Italian a n d A ustralian cultures d em o n stra ted in eve ryday scenes such as in th e schoolyard w here th e litde girl is teased by a scruffy Aussie boy a b o u t h e r ‘fu n n y ’ mortadella sandwiches. T h ro u g h vignettes, Pellizzari reveals th e tensions in h e re n t in each cu ltu re a n d evokes sym pathy for th e m ig ra n t family. In Rabbit on the Moon, Pellizzari also explores the differences w ithin h e r own Italian culture: i.e., th e differences a n d rivalry betw een N o rth e rn e rs a n d S outherners. Pellizzari was u n d e r a g re a t deal o f pressure fro m th e AFTRS to c u t som e scenes consid e re d too “e th n ic ”.

Still Life specifically deals w ith the th em e o f displacem ent, focusing o n elderly m igrants. The Occupant explores w hat Siracusa describes as “m em ory th e a tre ”, looking a t old p h o to g ra p h s w hich trigger recollections o f grow ing up. T h e sam e th em e is e x p a n d e d in Italians at Home, a show ’n ’ tell series o f recollections a n d halfh e a rd conversations. Italians at Home opens w ith a m an looking at stereotype im ages a n d evokes th e enigm a: w hat does th e sp ectato r do o r see in the im ages. It attem pts to draw th e spectator in to a view o f Italianness a n d to locate these im ages w ith o th e r sto red im ages th e viewer has o f m igrants a n d th e ir culture. Siracusa tries to show th a t Italianness is a com b in atio n o f th e history o f th e m ig ra n t a n d th e m ig ra n t’s history in Australia. O n apolitical level, film m akers such a sT e c k T a n m ain tain th a t it is ultim ately the m e d ia ’s responsibility to b rea k dow n negative e th n ic stereotypes. O th e rs like Di C hiera suggest an alternative:

T here was also a big battle at the film school because no one would fund m e to subtitle the film. It wasn’t until Paul Cox saw the film and wrote a letter to the director of the film school saying you m ust support this girl, that som eone finally m anaged to work out who would fund the film.

T he Australian Broadcasting Tribunal and the Federation of Com m ercial Television Stations have never really addressed the problem . We have guidelines for safety and sexism. W hat about stereotyping? W hat about establishing ABT guidelines on what is Australian?

Pellizzari w on best d irecto r a t the 1988A ustralian Film Institute Awards for th e film, b u t later discovered:

If th e p u rp o se b e h in d e th n ic cin em a is to b ro a d e n th e m ythol ogy o f th e country, th e n it n eed s to develop in a less straitjacketed way. ABT guidelines m ay prove to b e m o re restrictive th a n th e clichés th a t already exist; b u t m aybe guidelines a re th e only way p ro d u ce rs a n d film authorities com e to term s w ith th e new b re e d o f e th n ic film m akers. ■

Mylife went downhill after that. No one would employ me. For two years I did n o t work and eventually I m ade No No, Nonno!. I steered clear from the style of Rabbit on the Moon so I could dem onstrate that I had a comic range. 28

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Ridley Scott

t may seem ra th e r o d d th a t Hollywood d id n ’t realize w hat a cinem atic o p p ortunity the 500th anniversary o f C olum bus’ arrival in A m erica was until two in d e p e n d e n t productions virtually g rab b ed a t each o th e r’s throats for the privilege o f doing i t B ut th a t is exactly w hat h a p p e n e d back in early 1991, w hen the father-and-son p ro d u cin g d u o o f Ilya a n d A lexander Salkind (of Superman fam e) a n d d irector Ridley Scott a n n o u n c ed d ifferent visions o f the m an a n d his already controversial deeds. Som e flam e-throw ing at the 1991 C annes Film Festival, a lawsuit (m oved by the Salkinds against Scott, w ho they claim ed was th e ir initial directorial choice) a n d som e stirring in the Spanish press (divided betw een th e two projects) followed in quick succes sion. T h e Salkinds’ project, titled Columbus: The Discovery a n d fi n a n c ed in p a rt by th e Spanish gov ern m en t’s Fifth C entennial Com m ission, w ent o n to be a m uch-troubled (and financially b an k ru p t) p o p version o f C olum bus’ travels, treated very m uch like an aggrandized television movie. Scott’s film, n am ed 1492: Conquest of Paradise to avoid fu rth e r lawsuits, a n d su p p o rted by th e Spanish M inistry o f C ulture, is som ething else. Its springboard is a carefully-researched script by F ren ch jo u rn a list Roslyne Bosch. W hile p rep a rin g a story on S pain’s p lan for th e 500th anniversary, Bosch (at th a t p o in t a staff w riter fo r th e newsweekly Le Point) stum bled u p o n a wealth o f m aterial a b o u t the visionary Genovese m ariner. It w asn’t w hat she discovered th a t fascinated her; rath er, it was the vastness o f C olum bus’ mystery th a t did. “People think, ‘Ah, Colum bus, a le g e n d ’”, Bosch said to th e Los Angeles Times. ‘T h e y d id n ’t th in k o f him as a person. B ut h e was obviously an extraordinary person, a com plex p erso n like all o f us.” Bosch w ent o n to write a précis o f w hat w ould be th e 1492 script: C olum bus’ m any journeys, the existential as well as m ari tim e ones, as n a rra te d by o n e o f his illegitim ate sons. T h ro u g h a literary agent, th e d raft rea c h e d Alain G oldm an, the 30-year-old p resid e n t o f th e F rench film com pany MK2, who paid h e r to develop it into a full screenplay. W ith B osch’s script a n d Ridley Scott’s co m m itm en t to direct, G oldm an p ro ce e d e d to knock o n Hollywood’s doors, initially with n o luck. A $45 m illion p e rio d piece seem ed utterly unpalatable to th e m ajorstudios, even with th e 500th anniversary loom ing o n the horizon. T h e feet th a t G érard D epardieu h ad already attached him self to th e p ro ject to play Colum bus, a n d th a t th e film boasted a first-class cast (A rm and Assante, Tcheky Karyo, A ngela M olina, F rank Langella and, at the eleventh h o u r, Sigourney W eaver as Q u e e n Isabella o f S pain), apparently d id n ’t help. G oldm an finally financed th e pro ject by pre-selling its foreign rights, a strategy th a t’s becom ing com m on practice in these recession-plagued, cash-tied tim es, a n d principal p h o tography beg an in late 1991 in Seville a n d G ranada, Spain. T hanks to the e n d o rse m en t fro m th e M inistry o f C ulture, Scott a n d his crew w ere able to film o n such centuries-old locations as th e Alcazar in Seville a n d th e C onvent o f San Esteban in Salam anca. From th ere the p ro d u ctio n m oved to C osta Rica, chosen after m o n th s o f exhaustive scouting to portray th e pristine New W orld th a t C olum bus e n c o u n te re d at th e e n d o f his jo u rn ey . In Costa Rica, th e cast was jo in e d by 170 Indians from fo u r Costa Rican tribes, a n d six W au n an a Indians fro m C olom bia, assigned to play th e ir ancestors. As Scott describes, it w asn’t th e tense, accusation-

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LEFT: CHRISTOPHER COLUMBUS (GÉRARD DEPARDIEU) WITH THE INDIANS. BELOW: LEFT, COLUMBUS AND HIS LOVER (ANGELA M O U N O ). RIGHT, TCHEKY KARYO AS ONE OF COLUMBUS' CREW. 1492: CONQUEST OF PARADISE.

rid d e n e n c o u n te r o n e m ig h t im agine, b u t a rich, exciting expe rience. Says A lejandrino Moya, the W aunana In d ian w ho plays C hief G uarionex, o n e o f th e tribesm en th a t C olum bus b ro u g h t with him back to Spain, “I feel th a t th e peo p le we are portraying are b o th noble a n d dignified. I w ould have b e e n p ro u d to have b e e n p a rt o f his trib e.” 1492 stays clear o f the rec e n t revisionist wave th a t has all b u t reversed C h ristopher C olum bus’ status as a h e ro o f h um ankind. As Scott discusses in this interview1, his C olum bus is a m an o f his tim e, who should n o t a n d c a n n o t be analyzed a n d ju d g e d by today’s historical standards. His w asn’t a glorious, idealized w orld - B osch’s script deals with slavery, religious persecution a n d the bloody expulsion o f the M oors from S p ain —b u t an e ra struggling to b reak free from ignorance, sickness a n d misery, in w hich a m an like Colum bus, n o t b o m into th e landow ning aristocracy, could, for the first tim e in aeons, afford to have dream s o f w ealth a n d greatness. “C olum bus w asn’t sure w here h e was going to lan d o r w h eth er h e w ould even la n d ”, Scott says. “W hat h e fo u n d was an Earthly Paradise which becam e his H ell.”

What attracted you to this project, especially considering it repre sents such a thematic and stylistic departure from your last film, Thelma & Louise? I was looking for a p erio d film. In a way, I was re tu rn in g to my first film, The Duellists, w hich h a d given m e trem en d o u s satisfaction — reconstructing the p erio d a n d exploring p erio d behaviour an d attitudes. My last th ree m ovies—Someone to Watch Over Me, Black Rain a n d Thelma & Louise—have all h a d extrem e contem porary points o f view. I n e e d e d new g ro u n d to break; w hat b e tte r th an this largerthan-life character whose efforts ch an g ed the w orld forever. Ithas often beensaid—evenbyyouand 1492 s writer, Roslyne Bosch —that Columbus, the man, is still a mystery. Was that a concern o f yours while preparing for and shooting this picture? Was it necessary for you to fill in the blanks, so to speak, or did you work with the mystery itself? Very little still exists o f first-hand inform ation personal o r otherwise - o f C olum bus’ tru e nature. T h e script was a carefully draw n assessm ent betw een the know n facts a n d the “exaggerated tru th ”. It was a m atter o f trying to fill in betw een the fines: we did n o t w ork with the mystery. H ow much impact did you have in the final shaping o f the script? I usually have a fair degree o f in p u t a t the earliest stages o f a script —form ulating the direction o f the story a n d th en , at th e final stages, w hen a lo t o f w ork is d o n e going th ro u g h th e screenplay, b eat by beat, fine by line. I’m the o n e w ho finally has to m ake it. By definition o f that, I am obliged to becom e the “devil’s advo cate”: I n e e d to convince m yself before I can m ake anything.

1. The interview was conducted by Bahiana in Los Angeles with Scott in London by submitting written questions, to which Scott later responded. Naturally, this m ethod (all that could be arranged at short notice) m eant Bahiana was unable to follow up answers with a new question. In some cases, the questions have been edited to encourage flow. CINEMA

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Ridley Scott BELOW: A VIEW OF THE SPANISH COURT'S GARDEN WITH QUEEN ISABELLA (SIGOURNEY WEAVER) CENTRE. ARMAND ASSANTE ON HORSEBACK. GÉRARD DEPARDIEU AND ARMAND ASSANTE. FACING PAGE: THE SPANISH ROYAL FAMILY. 7492: C O N Q U EST O F P A R A D IS E.

What areas o f Columbus’ personality and o f the socio-political background o f his travels did you fe e l were paramount to your vision o f his story? C olum bus’ personality was fo rm e d clearly by th e tim es h e was b o m into, a n d by his travels a n d experiences o f th e follow ing years, th ro u g h his c h ild h o o d a n d early m an h o o d . Clearly the socio-political b a c k g ro u n d plays an en o rm o u s p a rt in fo rm in g his ch aracter a n d his views, like it does to all o f us today. In th a t respect, peo p le d o n ’t ch an g e m uch: they are the p ro d u c t o f th eir own environm ents. H ow do you see “his tim es” and their uniqueness? Was Columbus, in your opinion, not only a product o f his era but also a catalyst o f the im m ense changes that were soon to come? C olum bus was o n e o f those fo rtu n ates (or u n fo rtu n ates) w ho are a h e ad o f th eir tim e. Historically, they have h a d to pay a price for th eir “forw ard th in k in g ”. His co n tem p o raries w ere L eo n a rd o da Vinci, M ichelangelo, T hom as M ore ... all m en em erg in g o u t o f darkness into light, all creators o f this m o vem ent tow ard a renais sance. You have been quoted as not being very patient with the recent revisionist upsurge that tries to blame Columbus for every single evil that befell America. Could you elaborate on your point o f view regarding his historical rôle as displayed in your film , and your opinion on this blame-assignment campaign? T aking into acco u n t all I have said before, it is a pointless exercise to criticize him for his m eth o d s a n d results in th e 15th century. H e was a p ro d u c t o f his times: w hat was co n sid ered “n o rm a l” behav io u r th en , “socio-political” o r otherw ise, c a n n o t be ju d g e d by today’s standards. H e h a d n o t h a d th e b en efit o f th e follow ing 500 years o f “colonization”, with all its brutality, to b e th e h u m an ist he may have b e e n by today’s standards. Besides, we do n o t see m u ch evidence o f us having le a rn e d anything by o u r p re se n t p erfo rm ance, e ith e r last century o r this one. If anything, it seem s to be getting worse — except th e w orld does now seem to have a h u m an itarian overview, so th a t we all h o p e a n d believe so m eth in g will be d o n e a n d th ere will be c o n tr o l.... Will there? Was it especially difficult finding locations for this film , consider ing the widespread developm ent in Europe and the Caribbean? It was extrem ely difficult to fin d a p p ro p riate locations w hich w ould afford m e all th e elem ents I re q u ire d fo r C o lu m b u s’ experiences in th e Indies. W e lo catio n -h u n ted in M exico, the D om inican R epublic, C uba a n d C olom bia before finally settling for Costa Rica. I was told th a t Costa Rica could be c o m p a red as th e “Sw itzerland o f th e M iddle A m ericas”, a stable political society, ecologically unspoiled, with a H ispanic com m unity an d , m ost im p o rtan t, with a fairly large p o p u latio n o f the original in h ab it ants, w ho proved invaluable in the m aking o f th e film. You are an extrem ely visual director. What were your stylistic choices for the look o f 1492? “Reality”. W ould you com m ent on the casting? What qualities does Gérard Depardieu bring to your Columbus? Was he always your first choice? G érard D ep ard ieu was my first a n d only choice fo r C olum bus. His natu ral ch aracter seem s to dovetail in to my p e rc e p tio n o f w ho 34

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" Gérard Depardieu was my first and only choice for Columbus. His natural character seems to dovetail into my perception of who Columbus may have been: a strong, physical man, driven by his emotions and instinct; a strong orator with the personality to persuade men to follow him. "

C olum bus m ay have b een: a strong, physical m an, driven by his e m o tio n s a n d instinct, a stro n g o ra to r w ith th e personality to p ersu a d e m e n to follow him . H ow was the experience o f working with Indians as extras and supporting actors? Was there any special training or preparation required? W orkingw ith th e In d ian s from Costa Rica a n d C olom b ia w ho w ere playing individual parts was, at first, as nerve-racking fo r m e as it was fo r th em —co m m u n ica tion b e in g o u r biggest pro b lem , n o t to m e n tio n th e task o f coaxing p erfo rm an ces fro m th em , b o th as a m ass g ro u p a n d as individuals. B ut w hat h a p p e n e d was thrilling. W ith th e h e lp o f C laudia G om ez from C olom bia, they b ecam e m arvellously u n in h ib ite d ac tors w ho never h e ld back - ever - a n d p o rtray ed som e o f th e m ost a u th e n tic In d ian s I have seen on screen. W ere there any hard feelings considering the recent Indian protests against the 500th anniversary? W e never, ever, e x p e rie n c e d any difficulties from In d ia n society, only su p p o rt. T hey w ere fascinated w ith w hat they w ere d o in g a n d seem ed satisfied th a t they w ere b e in g p o rtray ed accurately. Apparently, this project was a rather difficult one to finance - not only because it was necessarily costly, but also because m ost studios resist the idea o f “period” films. Why do you think this is so? H istorical films have always b e e n difficult to m o u n t because o f th e in h e re n t resistance to th e cost a n d by m o d e m audiences who seem to be m o re c o n c e rn e d w ith escapism th a n realism today und erstan d ab ly . B ut h a v e n ’t they always p re fe rre d that? A fter all, movies a re essentially a form o f e n te rta in m e n t, n o t education. B ut it’d b e g o o d if they can occasionally do both: Dances with Wolves, Amadeus, Dangerous Liaisons. T h e fin an cin g o f this p ro je c t really did n o t seem to take any m o re tim e th a n th e process th a t o n e w ould probably go th ro u g h o n a large historical project. T h e only difference, a p a rt from having absolute creative control, is that, as an in d e p e n d e n t, you have n o o n e to “w atch over y o u ” financially. So you have to be rig h t in all “cases” th ro u g h o u t th e p ro d u c tio n a n d y o u m u s t‘deliver” on tim e. Has the 500th anniversary o f Colum bus’ voyages helped the project in any way? T h e 500th anniversary, o f course, h e lp e d th ro u g h bu ild in g “aw areness” fo r this project, a lth o u g h last year th e studios surpris ingly h a d n o t really tak en th e celeb ratio n in to a c co u n t as a useful p ro m o tio n factor. This film has the endorsem ent o f the Spanish Ministry o f Culture. What is the extent o f this endorsement? D id it facilitate the production in any way? Was it a concern o f yours in terms o f m aintaining creative autonom y on the project? C ertainly in Spain we h a d e n o rm o u s financial aid fro m the M inistry o f C ulture, w hich was p la n n in g th e celeb ratio n th re e years ago. T h e re was n o real p ro b le m w ith th e M inistry in term s o f accuracy o f th e story o th e r th a n m in o r requests. I guess we w ere w ell-rehearsed.

It was reported last year that you would work on a definitive director’s cut o f Blade Runner for release som etim e in 1992. Is this really going to happen? And, if so, what will we see? Yes, we are re-releasing Blade Runner in early S ep tem b er in A m erica with my version o f the story. I felt th e released cut was over-explanatory. T h e D eckard (H arrison Ford) voice-over be cam e a disturbing factor. T h e happily ever-after e n d in g was always silly a n d really w orked against the natu re o fth e “beast”. BladeRunner is a film noir, w here the hap p iest e n d in g o n e can h o p e for is at least philosophical a n d may even leave you w o n d erin g as to th e fate of the two characters - certainly a bitter-sw eet ending. What are your feelings and ideas regarding what happened to the film in the early 1980s and the re-em ergence o f a “director’s cut” in 1991? T h e film in th e ’80s was received with m ixed feelings. Mosdy, audiences w ere devastated by the n e a r fu tu re that-we p re se n te d (accurate o r otherw ise). V ideo a n d laserdisc sales proved th a t th ere was an over-riding curiosity for the film, so th a t p eo p le w ere able to re-exam ine th e film. W h en a d ire c to r’s cut was show n in L.A. in ’91, the a tte n d an c e was terrific. T h e rest followed. W hatw illbeyour nextproject? Ithas been reported that you were interested in doing a film about the Brazilian Indian leader, Payakan. Is that still in the works? Have the recent allegations against Payakan2 hindered the project or changed your m ind about it? I have n o t d e c id e d yet. How ever, I am still in terested in m aking a film aboutP ayakan, a n d his frien d sh ip a n d accom plishm ents with D r D arrell Possy. T h e re c e n t allegations against Payakan have n o t h in d e re d my enthusiasm for th e story. It is still a story th a t holds a g rea t deal o f im p o rta n c e for m e a n d sh o u ld be told. g 2. Payakan has been accused of the assault, rape and battery of a young white woman in Brazil. He is scheduled to go to trial in October. CINEMA

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In this occasional column, prominent industry professionals will comment on relevant issues. First up is Jim McElroy, one of Australia’s most successful producers. After years of working with brother Hal at McElroy & McElroy, Jim has decided to go it alone. Here he indicates the thinking behind such a move and the concepts that will guide him in the future.

J im M e INDEPENDENCE

I have spent five years in a corporate structure an d m ore than twenty years in a partnership. My feelings at becom ing an inde p e n d e n t p ro d u cer again are b oth elation an d fear. Happily, I can say th at to be back as an in d ep e n d e n t p ro d u cer is w here I w ant to be. I am responsible only to myself. Now, rew ard for m e exactly equals the effort I apply. T he professional separation from my b ro th e r is a consequence o f all o f this. After twenty years there is som e pain, b u t th at is only natural. I feel as though I have m atured som ew hat in the process. O ne o f the real benefits of becom ing an in d ep e n d e n t is being able to work from hom e. Office blocks are ghasdy an d are likely to be an anachronism in the future. T h ere is a distinct plus to spending m ore tim e with my w onderful wife an d son. I can satisfactorily work from o u r country property as well. At this tim e it suits us to work in Sydney. THE

PAST,

THE

FUTURE

Having given the past twenty years of my career some analysis, two facts em erge. I was h a p p ier'in the first ten an d h ad great success. This is, o f course, due largely to the fact th at I was working with a w onderful director. In the first ten years, I was in a professional relationship th at was very rew arding, w hereas in the last ten years I did n o t form truly positive relationships so im p o rtan t in the realization o f films. I believe a successful affinity with the director is the p ro d u c e r’s m ost im p o rtan t obligation. My goal for the n e x t ten years is to recapture those first great years, to form relationships with a small n u m b er o f film m akers an d do w hat I can to see their visions realized. I will also find them es th at appeal to m e. I will find people with original ideas, with w hom I will work to realize a shared vision. In m any ways, I feel strengthened by my dep artu re from a corporate life. T h e way I am now w orking is very m uch how it used to be, back in those early days o f the industry. Indeed, th e industry as a whole is retu rn in g to those days; it’s back to basics. 36

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T h ere are a few observations I w ant to m ake o n this business. Some o f my views may offend; this is n o t intentional. It is b e tte r to be fo rthright an d p rep a re d to accept the consequences. THE

AUDIENCE

My convictions in this area have been growing for the past two or so years. I am no longer o f the view th at the U.S. is w here we m ust succeed o r in d eed can succeed, except in a particular way. T en years ago, for a Hollywood picture the dom estic m arket i.e., N orth A m erica - rep resen ted 60 p e r cent o f the total m arket, nowadays it is 40 to 50 p e r cent. In ten years it will be 25 to 30 p e r cent. W hat this m eans is the gradual dom ination o f the world m arket by the A m erican studios. At the same tim e, foreign films in the U.S. receive less a n d less exposure. Make no mistake, Australian films in this context are foreign. Serious audiences are being starved of good films by nefarious distributors, to a p o in t w here foreign films are simply n o t available to m ost audiences. At the same tim e, the A m erican audience has becom e parochial to a shocking degree. They are fed on a diet of, often im m oral, “spectacle” films th at have the same recurring them es - som ething akin to w hat the Rom ans enjoyed: Christians being fed to th e lions. In m any ways, Hollywood, in its obsessive chase for the alm ighty dollar, has becom e a sickening place, representing w hat is worst in America. Hollywood is also responsible for skim m ing o u r industry o f its cream , a n d they have been doing it for at least the last ten years. O u r top writers, actors a n d directors are n o t available to us. T he lure of the A m erican studio is ju s t too strong. C inem a is gradually em erging into two distinct form s. T h e re is the g ran d event “Hollywood circus” type o f film. In the future, picture theatres may be rem odelled for an o p en in g o f a film. Perhaps Disney will build a series o f colosseums a ro u n d the globe! T h e n th ere will be the a rt gallery sort o f cinem a, which Australia

a n d the rest o f the w orld’s industries will supply. A chieving reasonable d istribution rem ains th e o n e m ajor p roblem for our- industry b o th in A ustralia a n d overseas. E urope, facing the sam e difficulties as we in the U.S., is m uch m ore likely to accept o u r films. T h a t m ark et is exp an d in g greatly, especially in television. In A ustralian exhibition, th ere is a virtual duopoly in Village an d Hoyts (I include G reater U nion with Village) an d a very small in d e p e n d e n t circuit. In distribution, we have basically a one-stop shop in Roadshow. H oyts’ priorities are n o t focused o n A ustralian films. T h e b ran ch offices o f the m ajors do n o t have a pro-A ustralian stance a n d the sm aller distributors struggle against these giants. In television, prices for movies are h alf w hat they used to be. T h e answer to these problem s, ap art from the obvious o f m aking com m ercial films, can only be low ering costs in production. O u r industry’s fu tu re lies in smaller, m ore personal, dare I say it, m ore A ustralian films. If I am n o t to say A ustralian, I certainly m ean films th a t have a different p o in t o f view o r style th an the “Hollywood circus” films. If you like, I h av ejo in ed the “M elb o u rn e” school, b u t n o t at the risk o f losing audiences in the rest o f the world. O u r stories m ust have a relevance internationally, a n d we m ust be able to benefit from the free flow o f ideas a n d p eople in this global industry. To achieve successful distribution in the U.S., th ere can be a n o th e r approach. Given th at A m erican distributors an d audiences do n o t have a particular desire to see o u r films, we should attem p t success in Australia an d E urope first, th en carry into the U.S. As an analogy, the A m ericans did n o t invent h o t dogs, ham burgers or pizzas. They m erely recognized the potential an d p ro d u ced the slicker, n o t necessarily better, versions an d knew how to m arket them . I m ust m en tio n the ascendency o f video in today’s world. Most o f us grew u p before the invention o f video. We still favour theatrical exposure whilst forgetting th at the real revenue for a picture lies in video. F o ra p ro d u ce r with a picture seeking a release, it may be the m ost commercially-viable option to go direct to video. A cinem a release is absurdly expensive, particularly in the U.S., and is no lon g er the m ajor source o f revenue for a film. Video out stripped theatrical a n u m b er o f years ago. In the not-to-distant future, video and pay television will be far an d above the m ost significant m ethods o f exhibition. T h a t is if only o u r governm ent has, by th at tim e, allowed us access to it. GOVERNMENTS M ost if n o t all countries th at have film industries have public su p p o rt in o n e way o r another. It is entirely appropriate th at o u r industry be assisted by o u r governm ent. T he benefits o f public assistance are very tangible to see, tourism being the m ost obvious. It seem s to m e th at o u r attitude to the governm ent should be even-handed, notfavouring one party over the other. Both political parties have assisted the industry in m any ways over the years. T h e film bureaucracies have grown enorm ously in the past twenty years. It is a fact o f life th at disgruntled elem ents in the industry will criticize the various com m issions a n d offices, some of it legitim ate. It is im p o rta n t to rem em b er th at it is the film m akers who m ake the films, n o t the organs o f governm ent. Equally, film m akers m ust accept th ere is n o autom atic en titlem ent to public m onies. T h e c u rre n t Film Finance C orporation is o n e o f the best o f some nin e bodies o r boards I have dealt with since the governm ent becam e involved in th e industry. T h e com m ercial im perative at the FFC is appropriate, b u t I believe the b oard should show less preoccupation with the U.S., for the reasons o u tlined above.

have won. It is a well-functioning, b rig h t a n d dedicated organiza tion. It is because the executive is so to g eth er th at they have h ad so m uch success. I believe passionately in the free exchange o f ideas a n d people, an d subm it th at the executive hard-line stance on im portations belongs in a n o th e r era. W ith the global com m unications revolution of the past ten years, the barricades dividing countries are down. We see Yugosla via a n d o th e r countries aggressive attem pts to re-erect these barri cades. At o u r level, we should not. R am pant nationalism can be a very sinister force. Som e o f o u r actors an d actresses, w hom themselves are working in o th e r countries, are shrill in th eir protests against im portation. These are perform ances in hypocrisy, at an “O scar”-winning level. AGENTS

W hat I am ab o u t to say is a generalization. However, I believe it is true o f a n u m b er o f agents. It boils down to an issue o f an “us against th e m ” syndrom e. Agents h ere seem to take a narrow view of m axim izing their clients’ interests with often no th o u g h t to the w ider interests o f the picture. In saying this, I am n o t advocating th at agents becom e “charities”, ra th e r th at they should w iden th eir thinking. In the literary agent area, with notable exceptions, this is particularly true. For instance, the notion th at an a u th o r o r w riter is w orth a fixed percentage of a bu d g et is in ap p ro p riate in the m ajority o f cases. It is a fact o f life th at som e writers ju st h a p p e n to be b etter than others. T he Hollywood system, in this regard, is better. In any negotiation, th e fees earned, an d the success o r otherwise o f the w riters’ previous film o r book, is the true m arket test. A djustm ents are then m ade to take account o f the proposed bu d g et for the picture. Surely th at is the com m ercial basis for a negotiation. I have w ondered over the years why th ere seems to be no knowledge of, or interest in, the concept o f packaging. As I have indicated earlier, I am no big fan o f Hollywood o r its practices. Agents in A m erica are as responsible as m ost others for these practices and have an excess o f power. W hat they do bring, however, is an interest in a film beyond the interests o f ju st their client. They b ring to a negotiation a wider approach. PRODUCERS

We are u n talented, greedy, lazy, insensitive, disorganized an d all those o th er sins. We are also the ones, ten o r twenty years down the track, still w orking on o u r films. We are the ones whose role has little recognition o r u n d erstan d in g by the critics and, therefore, the public. Finally, we are the ones who m ortgage o u r houses so a film can get up. Yet, I still love the job! P art o f o u r role as film m akers is to inform , as well as entertain, the public. Recently, I read som e ideas th at a colleague in the industry has aired publicly. T hese thoughts were quite sim ple b u t strikingly imaginative. J o h n Cornell subm itted th at th ere is a solution to A ustralia’s cu rre n t problem s: for A ustralia to declare itself, and m ake itself, environm entally the cleanest country in the world. As a country th at is the w orld’s largest island, we have a u nique opportunity to achieve this. A ustralia’s problem s would dim inish with this solution. It is so bold an d visionary th a t it could work. However, it would require a national will. To conclude, I am working now with a director with a strong vision w hom I like a n d respect. I will do all I can to help in the realization o f th at vision. I am learning n o t to b o th er with people w ho d o n ’t re tu rn calls an d I have finally learn t how to use a com puter!

UNIONS

Actors Equity is, o f course, th e m ajor u n io n in the industry. W ith the am algam ation recently, I ju st h o p e th ere is peace in the future. In o n e sense, Equity o r its executive deserves everything they

Jim M cElroy is currently p rep arin g a fe a tu re title d Traps. F rom a sc r ee n p la y by R o b ert C arter, th e film w ill b e d ir ec ted by P au lin e Chan. P h otograp h y com m e n c e s at the en d o f 1992. CINEMA

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everal m onths before his death, Pier Paolo Pasolini wrote: In the early 1960s, owing to the pollution of the atmosphere, and especially in the countryside because of the pollution of our waterways (the blue rivers and limpid springs), glow worms began to vanish. The phenom enon was sudden and devas tating. In a couple of years there were no more glow-worms.1 Pasolini saw this disappearance as a m etaphoric w atershed in the lengthy and c o rru p t rule o f the Christian Democrats: In the period of transition - during the extinction of the glow-worm - the Christian Democrat leaders suddenly changed their idiom, adopted a radically new language [...] in the endeavour, till now apparently successful, to maintain power at all costs [...] It was impossible for the Italians to react worse than they have to such a historical trauma. They have become in a few years (especially in the center and the south) a degenerate, ridiculous, monstrous, criminal people.2 A nd, ju s t as A ntonio Gramsci h ad w ritten elsewhere, a great variety o f m orbid symptoms ap p eared 3, the m ost dram atic being the appearance o f the Brigate Rosse (Red Brigades) in all its pluralistic an d perverse manifestations. These children ofFoucault4

were a secret b a n d o f Stalinist revolutionaries (som e train ed in Czechoslovakia a n d Bulgaria5) who tried in 1978 to stop the C hristian D em ocrats’ aligning with the C om m unist Party in its most, cynical attem p t yet at keeping power. (The unholy alliance with the C hurch an d Mafia was now decades old.) For m any W esterners, 1978 is a faded m em ory - a palim psest of a tim e w hen the Red Brigades k id n ap p ed the wealthy for ransom , th en killed th em anyway; w hen banks w ere.robbed in the nam e o f revolution; w hen university intellectuals n o t only gave tacit su p p o rt to, b u t openly encouraged, terrorism o f the left and right; w hen Aldo M oro was k id n ap p ed by the R ed Brigades and left to ro t by his C hristian D em ocrat party which cared only for political expediency. T he key text on this nightm arish cauldron is L eonardo Sciascia’s L :'Affaire Moro ( The Moro Affair) , an analysis so politically sensitive it h a d to be first published in France. Sciascia carefully decon structs the letters M oro sent from captivity a n d w hich were published (in censored form ) in th e Italian new spapers.6 O f those novels w hich tackle this period, G iam paolo R ugarli’s La Troga ( The Crux7) takes an extrem ely dark a n d com ic view, with its alm ost surreal im aginification o f an Italia, a Rom a, in anarchic

turm oil. G iam paolo is quite blu n t, too, in accusing th e Christian D em ocrats, if n o t o f backing the R ed Brigades, o f a t least cashing in on a n d e n co u rag in g terrorism so th a t they could b rin g in selfserving political m easures to preserve ‘dem ocracy’. As Conti, the c o rru p t p rosecutor, says to the no b le Inspector Pantieri: In this world everything’s invented. Everything’s at the mercy of the imagination, of the chaotic, the arbitrary. Politicians invent your politics, designers invent your clothes, engineers your machines, writers your novels, and banks your high interest rates ... and we dream up culprits.8 This is o n e reason why the p erio d a n d its consequences m ake so rich a lode fo r th e narrative arts, including such films as G iuseppe F e rra ra ’s 7ZCaso Moro ( TheMoro Affair), D ino Risi’s Caro Papa a n d G ianni A m elio’s Colpire al Cuore (Blow to the Heart) . Now, surprisingly, an ‘A m erican ’ film has bravely tackled the Italia o f 1978: J o h n F ra n k en h e im e r’s Year o f the Gun, based o n the novel by M ichael Mewshaw a n d scripted by David A m brose. W hile this som bre film has echoes o f o th e r F ran k en h eim er work, particularly The M anchurian Candidateand SevenDaysinMay, it is in m any ways an oddity.

W hat m any people will react to first is how old-fashioned a thriller it seems. In fact, it is strikingly like those thrillers m ad e in the mid-to-late 1970s. As Year of the Gun is also set th en , it begs the question o f w h eth er F ran k en h eim er deliberately rec a p tu re d th at style o f film m aking o r w h eth er h e is ju s t a dinosaur w ho c a n n o t keep u p with the times. T h e answer is essentially irrelevant, b u t the absence o f m o d e m techniques, techniques F ran k en h eim er has used in o th e r re c e n t films, a n d the presence o f such jarringly oldfashioned stylistics as a youth ru n n in g in slow m otion to over pow er his to rm en to r, may suggest a deliberateness o n the direc to r’s part. C oupled with this old-fashioned cinem atic style is som e quite brilliant p erio d reconstruction. A urelio C rugnola has g one ju st for the essentials: a few p eriod cars, accurate if n o t over-stated clothes, clever use o f ex tan t locations a n d a m u te d colour schem e. At times, th ere are som e m o d e m cars in shot, a n d th e o d d p e rio d infelicity, b u t they do n o t m atter: this is a film w hich captures, in look a n d tone, the late 1970s in a way few others ever have. T h e rio t scenes, too, with th eir impressive verisim ilitude, ad d greatly to the atm osphere. Year of the Gun is also a European-style film a n d avoids all sorts

Year of the Gun

o f A m erican g en re conveniences, including black-and-white char acterizations. T h e ‘villains’, generally speaking, are as sym patheti cally portrayed as th e ‘good guys’. W hen, for exam ple, Lia (Valeria Go lin o ), a beautiful an d wealthy w om an, is revealed to be a senior m em b e r o f the R ed Brigades, F ra n k en h e im e r does n o t ask the aud ien ce to reverse its response to h er, ra th e r to try a n d u n d e r stand a largely unex p lain ab le situation. Also unlike m u ch A m erican cinem a, F ra n k e n h e im e r’s film assum es th e au d ien ce has som e know ledge o f its particu lar sub jec t. T h e m any u n answ ered issues a n d p lo t points will certainly leave som e feeling a to u ch uneasy, b u t this is deliberate. T h e a rro g a n t stance o f m ost com m ercial cinem a - th a t everything can be explained, categorized a n d m ad e e a sy - is notably ab sen t h ere, as it sh o u ld be in so com plex a situation. (Even th e ever-astute L e o n a rd o Sciascia h a d to e n d u p posing as m any questions as h e could answer.) T o act otherw ise is to r e n d e r less m eaningful any analysis o f th e tim e, ju s t as, say, th e H itler-as-m adm an theory neatly avoids all th e to u g h questions a b o u t G erm any’s ro le in W orld W arH . 40

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Year of the Gun is a film w hich forces o n e to th in k to solve its m any riddles a n d unsolved issues. For exam ple, o n e m ay well ask w here th e R ed Brigades go t th e ir w eapons. Obviously, th e re was only o n e place: th e M afia (as has since b e e n d o c u m e n te d ). Now if the M afia was in b e d with th e C hristian D em ocrats, a n d th e R ed Brigades w ith th e M afia ... T h e M afia c o n n e ctio n is n o t explicit in Year o f the Gun b u t ever p r e s e n t W hen L ia’s m aid, presum ably o n th e o rd ers o f h e r estran g ed h u sb an d , Lucio (R oberto P osse), has two thugs bash u p David, o n e m ay assum e th e m aid has u sed his M afia connections. T hus, L ucio’s th re a t th a t h e will o n e day kill Lia takes an o d d reso n an ce w hen th e R ed B rigades do it fo r him . A fter all, w hat does th a t bizarre scene m ea n w here L ia re tu m s to sleep w ith L ucio after having p a in te d h e r n ipples re d w ith lipstick, th u s leaving th e m ark o f th e B rigades o n th e skin o f a M afia son? F ra n k en h e im e r does n o t try to explain these scenes - after all, o n e cannot. H e also does n o t exam ine th e c o rru p tio n w ithin th e Italian State. B ut it is a n overw helm ing p resen ce in his film , as is th a t o f R om a, w ith its particular, d a rk soul. T h e c an cer th a t has

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NUMBER 1 (JANUARY 1974):

NUMBER 22 (JULY/AUG 1979)

NUMBER 4 2 (MARCH 1983)

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

Bruce Petty', Luciana Arrighi, Albie Thoms, Stax, Alison’s Birthday

Mel Gibson, John Waters, Ian Pringle, Agnes Varda, copyright, Strikebound, The Man From Snowy River.

NUMBER 2 (APRIL 1974):

Brian Trenchard-Smith, Ian Holmes, Arthur Hiller, Jerzy Toeplitz, Brazilian cinema, Harlequin.

Censorship, Frank Moorhouse, Nicolas Roeg, Sandy H arbutt, Film under Allende, Between The Wars, Alvin Purple NUMBER 3 (JULY 1974):

Richard Brennan, John Papadopolous, Willis O ’Brien, William Friedkin, The True Story O f Eskimo Nell.

NUMBER 24 (DEC/JAN 1980)

NUMBER 25 (FEB/MARCH 1980)

David Puttnam, Janet Strickland, Everett de Roche, Peter Faiman, Chain Reaction, Stir. NUMBER 2 6 (APRIL/MAY 1980)

Nagisa Oshima, Philippe Mora, Krzysztof Zanussi, Marco Ferreri, Marco Belloochio, gay cinema.

Charles H. Joffe, Jerome Heilman, Malcolm Smith, Australian nationalism, Japanese cinema, Peter Weir, Water Under The Bridge.

NUMBER 11 (JANUARY 1977)

NUMBER 2 7 (JUNE-JULY 1980)

Emile De Antonio, Jill Robb, Samuel Z. Arkoff, Roman Polanski, Saul Bass, The Picture Show Man.

Randal Kleiser, Peter Yeldham, Donald Richie, obituary' o f Hitchcock, NZ film industry, Grendel Grendel Grendel.

NUMBER 12 (APRIL 1977)

NUMBER 28 (AUG/SEPT 1980)

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

Bob Godfrey, Diane Kurys, Tim Burns, John O ’Shea, Bruce Beresford, Bad Timing, Roadgames.

NUMBER 13 (JULY 1977)

Bob Ellis, Uri Windt, Edward Woodward, Lino Brocka, Stephen Wallace, Philippine cinema, Cruising, The Last Outlaw.

NUMBER 10 (SEPT/OCT 1976)

Louis Malle, Paul Cox, John Power, Jeanine Seawell, Peter Sykes, Bernardo Bertolucci, In Search O f Anna.

NUMBER 4 3 (MAY/JUNE 1983)

Sydney Pollack, Denny Lawrence, Graeme Clifford, The Dismissal, Careful He Might Hear You.

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, Truffaut, John Faulkner, 'Stephen Wallace, the Taviani brothers, Sri Lankan film, Chant O f Jim m ie Blacksmith.

NUMBER 58 (JULY 1986)

David Stevens, Simon Wincer, Susan Lambert, a personal history o f Cinema Papers, Street Kids.

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

NUMBER 4 6 (JULY 1984)

Paul Cox, Russell Mulcahy, Alan J. Pakula, Robert Duvall, Jeremy Irons, Eureka Stockade, Waterfront, The Boy In The Bush,A Woman Suffers, Street Hero. NUMBER 4 7 (AUGUST 1984)

Richard Lowenstein, Wim Wenders, David Bradbury, Sophia Turkiewicz, Hugh Hudson, Robbery Under Arms. NUMBER 4 8 (O CT/NO V 1984)

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

NUMBER 29 (OCT/NOV 1980) NUMBER 4 9 (DECEMBER 1984)

Alain Resnais, Brian McKenzie, Angela Punch McGregor, Ennio Morricone, Jane Campion, horror films, Niel Lynne. Stephen Wallace, Ian Pringle, Walerian Borowczyk, Peter Schreck, Bill Conti, Brian May, The Last Bastion, Bliss.

NUMBER 3 7 (APRIL 1982)

NUMBER 51 (MAY 1985)

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

Lino Brocka, Harrison Ford, Noni Hazlehurst, Dusan Makavejev, Emoh Ruo, Winners, The Naked Country, Mad Max: Beyond Thunderdome, Robbery Under Arms.

NUMBER 38 (JUNE 1982)

Gunnel Lindblom, John Duigan, Steven Spielberg, Tom Jeffrey, The Africa Project, Swedish cinema, Dawn!, Patrick.

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

NUMBER 17 (AUG/SEPT 1978)

Bill Bain, Isabelle H uppert, Brian May, Polish cinema, Newsfront, The Night The Prowler. NUMBER 18 (OCT/NO V 1978)

John Lamond, Sonia Borg, Alain Tanner, Indian cinema, Dimboola, Cathy’s Child. NUMBER 19 (JAN/FEB 1979)

Antony Ginnane, Stanley Hawes, Jeremy Thomas, Andrew Sarris, sponsored documentaries, Blue Fin. NUMBER 2 0 (MARCH-APRIL 1979)

Ken Cameron, Claude Lelouch, Jim Sharman, French film, My Brilliant Career.

NUMBER 5 0 (FEB/MARCH 1985)

Kevin Dobson, Brian Kearney, Sonia Hofrnann, Michael Rubbo, Blow Out, Breaker Morant, Body Heat, The Man From Snowy River.

NUMBER 16 ( APR1L-JUNE 1978)

NUMBER 3 9 (AUGUST 1982)

Helen Morse, Richard Mason, Anja Breien, David Millikan, Derek Granger, Norwegian cinema, National Film Archive, We O f The Never Never. NUMBER 4 0 (OCTOBER 1982)

Henri Safran, Michael Ritchie, Pauline Kael, Wendy Hughes, Ray Barrett, My Dinner With Andre, The Return O f Captain Invincible. NUMBER 41 (DECEMBER 1982)

Igor Auzins, Paul Schrader, Peter Tammer, Liliana Cavani, Colin Higgins, The Tear O f Living Dangerously.

NUMBER 56 (MARCH 1986)

Fred Schepisi, Dennis O ’Rourke, Brian Trenchard-Smith, John Hargreaves, DeadEnd Drive-In, The More Things Change, Kangaroo, Tracy.

NUMBER 4 4 -4 5 (APRIL 1984)

NUMBER 3 6 (FEBRUARY 1982) NUMBER 14 (OCTOBER 1977)

Thompson, Paul Verhoeven, Derek Meddings, tie-in marketing, The RightH and Man, Birdsville.

NUMBER 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. NUMBER 53 (SEPTEMBER 1985)

Bryan Brown, Nicolas Roeg, Vincent Ward, H ector Crawford, Emir Kusturica, New Zealand film and television, Return To Eden. NUMBER 54 (NOVEMBER 1985)

Graeme Clifford, Bob Weis, John Boorman, Menahem Golan, rock videos, Wills A n d Burke, The Great Bookie Robbery, The Lancaster Miller Affair. NUMBER 55 (JANUARY 1986)

James Stewart, Debbie Byrne, Brian

NUMBER 59 (SEPTEMBER 1986)

Robert Altman, Paul Cox, Lino Brocka, Agnes Varda, The AFI Awards, The Movers. NUMBER 6 0 (NOVEMBER 1986)

Australian Television, Franco Zeffirelli, Nadia Tass, Bill Bennett, Dutch Cinema, Movies By Microchip, Otello. NUMBER 61 (JANUARY 1987)

Alex Cox, Roman Polanski, Philippe Mora, Martin Armiger, film in South Australia, Dogs In Space, Howling III. NUMBER 6 2 (MARCH 1987)

Screen Violence, David Lynch, Cary Grant, ASSA conference, production barometer, film finance, The Story O f The Kelly Gang. NUMBER 6 3 (MAY 1987)

Gillian Armstrong, Antony Ginnane, Chris Haywood, Elmore Leonard, Troy Kennedy Martin, The Sacrifice, Landslides, Pee Wee’s Big Adventure, Jilted. NUMBER 6 4 (JULY 1987)

Nostalgia, Dennis Hopper, Mel Gibson, Vladimir Osherov, Brian TrenchardSmith, Chartbusters, Insatiable. NUMBER 65 (SEPTEMBER 1987)

Angela Carter, Wim Wenders, Jean-Pierre Gorin, Derek Jarman, Gerald L’Ecuyer, Gustav Hasford, AFI Awards, Poor M an’s Orange. NUMBER 6 6 (NOVEMBER 1987)

Australian Screenwriters, Cinema and China, James Bond, James Clayden, Video, De Laurentiis, New World, The Navigator, Who’s That Girl. NUMBER 6 7 (JANUARY 1988)

John Duigan, George Miller, Jim Jarmusch, Soviet cinema- Part I, women in film, shooting in 70mm, filmmaking in Ghana, The Tear My Voice Broke, Send A Gorilla.

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NUMBER 81 (DECEMBER 1990)

Martha Ansara, Channel 4, Soviet Cinema, Jim McBride, Glamour, Ghosts O f The Civil Dead, Feathers, Ocean, Ocean.

Ian Pringle Isabelle Eberhardt, Jane Campion A n Angel A t My Table, Martin Scorsese Goodfellas, Alan J. Pakula Presumed Innocent

NUMBER 69 (MAY 1988)

Cannes ’88, film composers, sex, death and family films, Vincent Ward, David Parker, Ian Bradley, Pleasure Domes. NUMBER 7 0 (NOVEMBER 1988)

Film Australia, Gillian Armstrong, Fred Schepisi, Wes Craven, John Waters, A1 Clark, Shame Screenplay Part I. NUMBER 71 (JANUARY 1989)

Yahoo Serious, David Cronenberg, 1988 in Retrospect, Film Sound , Last Temp tation of Christ, Salt Saliva Sperm eri Sweat NUMBER 72 (MARCH 1989)

Charles Dickens’ Little Dorrit, Australian Sci-Fi movies, Survey: 1988 Mini-Series, Aromarama, Ann Turner’s Celia, Fellini’s La dolce vita, Women and Westerns NUMBER 73 (MAY 1989)

Cannes ’89, Dead Calm, Franco Nero, Jane Campion, Ian Pringle’s The Prisoner of St. Petersburg, Frank Pierson, Pay TV. NUMBER 74 (JULY 1989)

The Delinquents, Australians in Hollywood, Chinese Cinema, Philippe Mora, Yuri Sokol, Twins, True Believers, Ghosts... of the Civil Dead, Shame screenplay. NUMBER 75 (SEPTEMBER 1989)

Sally Bongers, The Teen Movie, Animated, Edens Lost, Mary Lambert and Pet Sematary, Martin Scorsese and Paul Schrader, Ed Pressman. NUMBER 76 (NOVEMBER 1989)

Simon Wincer, Quigley Down Under, Kennedy Miller, Terry Hayes, Bangkok Hilton, John Duigan, Flirting, Romero, Dennis Hopper and Kiefer Sutherland, Frank Howson, Ron Cobb. NUMBER 77 (JANUARY 1990)

Special John Farrow profile, Blood Oath, Dennis Whitburn and Brian Williams, Don McLennan and Breakaway, “Crocodile” Dundee overseas. NUMBER 78 (MARCH 1990)

George Ogilvie’s The Crossing, Ray Argali’s Return Home, Peter Greenaway and The Cook...etc, Michel Ciment, Bangkok Hilton and Barlow and Chambers NUMBER 80 (AUGUST 1990)

Cannes report, Fred Schepisi career interview, Peter Weir and Greencard, Pauline Chan, Gus Van Sant and Drugstore Cowboy, German Stories.

S a n d s , W o m en o f the W ave; R o ss G ib s o n , F o r m a tiv e Landscapes; D e b i E n k e r , Cross-over a n d C olla b o ra tio n : K e n n e d y M ille r, S c o tt M u rr a y , George M ille r , S c o tt

NUMBER 82 (MARCH 1991)

Francis Ford Coppola The Godfather Part III, Barbet Schroeder Reversal of Fortune, Bruce Beresford’s Black Robe, Ramond Hollis Longford, Backsliding, Bill Bennetts, Sergio Corbucci obituary. NUMBER 83 (MAY 1991)

M u rr a y , T erry Hayes; G ra e m e T u r n e r , M ix i n g F a c t a n d F iction; M ic h a e l L e ig h , C u rio u se r a n d C uriouser; A d r ia n M a r tin , N u r t u r i n g the N e x t W ave. T h e B a ck o f B eyond C a ta lo g u e is la v ish ly illu s

Australia at Cannes, Gillian Armstrong: The Last Days at Chez Nous, Joathan Demme: The Silence of the Lambs, Flynn, Dead To The World, Marke Joffe’s Spotswood, Anthony Hopkins

t r a t e d w ith m o re t h a n 1 3 0 p h o to g r a p h s , in d e x e d , a n d h a s fu ll c re d it lis tin g s f o r s o m e 8 0 film s.

NUMBER 84 (AUGUST 1991)

James Cameron: Terminator 2: Judgment Day, Dennis O ’Rourke: The Good Woman of Bangkok, Susan Dermody: Breathing Under Water, Cannes report, FFC. NUMBER 85 (NOVEMBER 1991)

Jocelyn Moorhouse: Proof; Blake Edwards: Switch; Callie Khouri: Thelma & Louise-, Independent Exhibition and Distribution in Australia, FFC Part II. NUMBER 86 (JANUARY 1992)

Overview of Australian film: Romper Stomper, The Nostradamus Kid, Greenkeeping, E ightballplus Kathryn Bigelow, HDTV and Super 16. NUMBER 87 (MARCH 1992)

Multi-Cultural Cinema, Steven Spielberg and Hook, George Negus filming The Red Unknown, Richard Lowenstein Say a Little Prayer, Jewish Cinema. NUMBER 88 (MAY-JUNE 1992)

Cannes ’92, Baz Luhrmann’s Strictly Ballroom, Ann Turner’s Hammers over the Anvil, Kathy Mueller’s Daydream Believer, Wim Wenders’ Until the End of the World, Satyajit Ray. NUMBER 89 (AUGUST 1992)

Full report Cannes ’92 including Australian films, David Lynch Press Conference, Vitali Kanievski interview, Gianni Arnelio interview, Christopher Lambert in Fortress, Film-Literature Connections, Teen Movies Debate.

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Leonardo Sciascia: "Why does the Moro affair give that impression of something already written, something inhabiting a sphere of intangible literary perfection, something that can only be faithfully rewritten and, white being rewritten, be totally altered without altering anything?”

c o n tin u e d since th e fall o f E m pire, in a city th a t devours th e p ro d u c e a n d talents o f o th ers b u t p ro d u ce s little itself, is m ost brilliantly c a p tu re d in shots o f d a rk alleys w here cats n o lo n g er d a re to prow l a n d w here everyone is prey to th e d an g ers o f th e passing m otorcyclist. F ra n k e n h e im e r does n o t show th e lighter, p re ttie r side o f R om a, b u t to m any his portrayal o f th e city’s soul will strike h o m e. In to this city re tu rn s David R ay b o u m e (A ndrew M cCarthy) fro m a trip to N ew York, w here, it tu rn s out, h e has signed a p u b lish in g d eal to w rite a novel. David has chosen as his topic the R ed B rigades, having n o real in te re st in th e m b u t th in k in g it a highly co m m ercial subject (his decision a fitting m e ta p h o r for an A anerican rea c tio n to a E u ro p e a n situation, especially by o n e w ho gave u p revolutionary d ream s w ith th e closure o f th e 1960s). B ut fiction overtakes reality w h en th e u n fin ish ed m anuscript, w hich im agines R ed Brigadists k id n ap p in g M oro so th a t they can b a rte r fo r th e ir le a d e r’s release fro m gaol, is seized by th e Brigades. P a ra n o ia ru n s free a n d lives are m ad e to evaporate. N o Brigadist can ac ce p t th a t a study o f terro rism could lead o n e to accurately im ag in e th e fu tu re . N o, th e re m u st have b e e n leaks, betrayals. L e o n a rd o Sciascia: Why does the Moro affair give that impression of something already written, something inhabiting a sphere of intangible literary perfec tion, som ething that can only be faithfully rewritten and, while being rewritten, be totally altered without altering anything? There are so many reasons, not all of them comprehensible. Yet it can be said that [...] the Moro affair takes place unrealistically in a real historical and contextual climate. [...] Moro and his vicissitudes seem to have em erged from a certain literary genre.9

by b e in g sym pathetic to th e B rigades. F o r h im it is a m a tte r o f giving intellectual g u idance, n o t taking d ire c t action, an o p tio n h a rd to u n d e rs ta n d fro m this d e c ad e b u t o n e m u c h tak en by intellectuals all over th e w orld in th e 1970s. Why, w h en all o f history has p ro v ed th e m w rong, d id these te n u re d m em b e rs o f th e m iddle class feel violent revolution w ould lead to a finer, m o re eq uitable society has never b e e n clear. A t least th e w orking class co u ld claim it h a d m o n etary a n d social prerogatives to sp u r it on. In The Crux, In sp e c to r P antieri says, ‘J o in in g a political party is n o t a n indissoluble m arria g e ”, b u t fo r m any jo in in g th e R ed B rigades it was, as Italo a n d Lia find at th e ir deaths. It says m u ch fo r th e confusion o f m iddle-class youth, disillusioned as it was w ith a cruel a n d autocratic State, th a t som e sh o u ld seek m ea n in g in an even m o re cruel a n d m o re autocratic clique. F ra n k e n h e im e r’s observations a b o u t th e R ed B rigades are particularly astute; details tell all. O n e exam ple is w hen th re e Brigadists arrive u n a n n o u n c e d at Ita lo ’s a p a rtm e n t d e m a n d in g refuge. T h e fem ale m e m b e r en ters Ita lo ’s b e d ro o m (w ithout knocking, o f course) a n d goes to his adjacen t b a th ro o m . Leaving th e d o o r wide o p e n , she pulls dow n h e r p an ts a n d sits o n the toilet in fro n t o f him . T his defiance o f bourgeois codes o f beh av io u r (why sh o u ld u rin a tio n be h id d e n FACING PAGE: AU SO N ATTEMPTS TO READ DAVID'S PROPHETIC NO V EL BELOW: LIA (VALERIA GOLINO), A BOURGEOIS W O M AN PLAYING A RED BRIGADES GAME. Y E A R O F THE G U N .

Sciascia h a d him self p re d ic te d such an event in his 1974 com ic novel, Todo M odd0, w hich also includes an a c c o u n t o f th e P2 M asonic lo dge years b e fo re it was publicly exposed. F ra n k e n h e im e r does n o t p u sh this as far as Sciascia, b u t h e too (with M ewshaw) has conceived o f th e M oro affair as so m eth in g th a t has already b e e n w ritten. O n e n e e d n o t have D avid’s b o o k re a d a lo u d to know som e details m u st inevitably b e different, b u t o n e can b e sure n o th in g is really altered. A n d F ra n k e n h e im e r’s aw areness o f this parallel is d e m o n stra te d on a n o th e r level: acto r M attiaS bragia (G iovanni) plays a ro le already played, having b e e n cast as a R ed B rigadist in th e 1976 R Caso Moro. O f course, p ro p h ec y is n o t w hat David h a d in m ind: like F. Scott Fitzgerald, all h e w an ted to d o was p e n a best-seller a n d w ith th e p ro ce e d s s u p p o rt his love, Lia, w ho wishes to flee R om a a n d a b ro k e n m arriag e to th e sinister Lucio. B ut th a t is how it sh o u ld b e - o u t o f a “ce rtain literary g e n re ”, in b o th novelistic a n d o ccu p atio n al senses. W h at David also does n o t know, fo r h e is A m erican a n d believes reality is th a t w hich can b e g lea n e d fro m th e press, is th a t Lia is p a rt o f th e R ed B rigades herself. She is in d u lg in g a m iddleclass fantasy fo r revolution w ith o u t g ettin g h e r h a n d s dirty. F or h e r, rev o lu tio n is secret m eetin g s in V en etian palaces a n d p re te n d in g h e r com fortable b o u rg eo is life is play-acting a n d n o t th e realization o f p e rso n a l desire. In som e ways, L ia’s co n fu sed p lig h t m irro rs th a t o f m any Ita lia n in te lle c tu a ls, su ch as P ro fesso r Italo B ianchi (Jo h n Pankow 11), L ia’s cousin a n d a frie n d o f D avid’s. Italo believes h e can fin d release to his fru stratio n s over th e c o rru p t politics o f Italia CINEMA

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of the Gun

fro m view as so m eth in g dirty?) is n o t ju s t revolutionary b u t childish, like a child wilfully sw earing in fro n t o f a p a re n t. Equally, a sim ple physical act becom es a pow er gam e, fo r sh o u ld Italo expose his bourgeois-ness by blushing, h e could be d e n o u n c e d as a class tra ito r a n d executed. Two m o re exam ples com e w hen the th re e terrorists p re p a re to d e p a rt th e flat. As they g et u p to leave, they a b a n d o n th e ir messy d in n e r o n th e c a rp e t floor. N o a tte m p t is m ad e to tidy u p because neatness, n o d o u b t, is a bourgeois tyranny. T h e n , o n e o f th e m ale terrorists eyes enviously a valuable silver cigarette case. W h en h e sees Italo w atching him , h e defiandy puts th e case is his pocket: fo r Italo to com plain w ould b e to reveal he believed in capitalist possession (or, worse still, in a tta c h m e n t to objects ac co rd e d with fam ilial n o stalg ia). Again, his fate w ould be sealed. But, o f course, all th e m ale terro rist is really b e in g is n o th in g m o re th a n a petty th ie f w ho covets w hat is n o t his. H ow c o n v en ien t th a t th e R ed B rigades sh o u ld have devised a political philosophy w hich in d u lg e d a n d ju stified such em otions as envy a n d jealousy. T hese th re e incidents take only seconds o f screen tim e b u t carry m u ch m o re reso n an ce th a n F ra n k e n h e im e r’s scenes o f p e o p le pontificating, such as w h en Italo tries to justify his political views to David - a confession occasioned only because Italo h a d b e e n o rd e re d to steal D avid’s novel, to dirty his hands. F ra n k e n h e im e r m ig h t b e accused by som e o f un d erp lay in g Ita lo ’s m oral dilem m a. B ut the scene w here Italo is o rd e re d to beco m e a thief, a n d his su b seq u e n t q u ie t gasp o f h o rro r, conveys precisely th a t sense o f a n irreversible crossing fro m theory to practice. M ost p e o p le will never be fo rced to take sides a n d risk such u n co n scio n ab le pressure, so F ra n k e n h e im e r’s restra in t is c o m m e n d ab le . O n e im p o rta n t sub-plot, a n d a telling allegory o n th e R ed Brigades, is th e fate o f Italo ’s boyfriend. B o m in to a wealthy a n d pow erful family, h e, like so m any others, tu rn s against his fa th e r a n d seeks revenge, h e re m onetary. H e does a deal w ith th e R ed Brigades to be ‘k id n a p p e d ’ a n d h e ld fo r ransom . B ut after being b u n d le d into a car at R om a University (w here cu d dling students blithely ig n o re th e violence a ro u n d th e m ), things go w rong. T h e Brigadists drive fo r too lo n g a n d th e ir car has a leaky exhaust. T h e boy is suffocated a n d th e Brigadists, ever th e pragm atists, sh o o t h im in th e h e a d to m ake it look like an execution: after all, the m o re d eath s th e R ed Brigades can claim, th e g rea ter chance they have o f m aking th e p o p u lace fear them . A n d to do that, th e B rigades n e e d s th e s u p p o rt/c o llu sio n o f th e m edia. T his th e n brings in th e pivotal c h aracter o f Alison King (S haron S to n e ), a freelance p h o to g ra p h e r w ith a knack o f b ein g a t h a n d w here acts o f terrorism take place (in th e R om a o f 1978 a not-so-difficult fe a t). F ra n k e n h e im e r is clearly p reo c c u p ie d w ith the role th e m ed ia plays in political upheaval. Since th e R ed B rigades n e e d publicity in th e ir p ro p a g a n d a war, a jo u m a list like Alison is a key pawn. T h a t is why, quite believably, she is theatrically sp ared ex ecution by th e Brigadists a n d in stead o rd e re d to take p h o to s o f th e newlyb u tc h e re d “class en em y ”, Lia. A t th e e n d o f th e film, in a telling co d a a d d e d by th e d ire c to r (it is n o t in the script o r th e b o o k ), Alison explains by television hook-up fro m B eirut th a t jo u rn alists d o n ’t m ake th e news, they ju s t re p o rt it. T his response is in referen ce to D avid’s having b e e n 42

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q u e stio n e d over w h e th e r his best-selling novel o n th e R ed Bri gades (which includes A lison’s p h o to g ra p h s) has a id e d terrorism . B ut A lison is b e in g e ith e r naive o r disingenuous, fo r th e m ed ia clearly does in flu en ce political events, ju s t as D avid’s u n p u b lish e d novel led p a ra n o id Brigadists to ‘cleanse’ th e ir ranks a n d m u rd e r innocents. Suspicion easily equates w ith guilt a n d th e m ed ia revels in according suspicion. T h e re is a b itte r irony, too, fo r Alison is speaking fro m B eirut w here bom bings a n d executions w ere a rra n g e d fo r th e ‘b e n e fit’ o f A m erican cam era crews a n d journalists. W hat th e e n d in g also m akes clear, a n d this is so m eth in g u n u su al in an A m erican film, is th a t foreigners really have n o business gettin g involved in o th e r countries, especially ones whose in te rn al traum as they do n o t u n d e rsta n d . T his is a key issue at the m o m e n t fo r th e rest o f a u n ified E urope: by em b racin g Italia, E u ro p e has also em b ra ce d th e Mafia. T h e endless w aiting fo r th e Italian State a n d C h u rc h to do so m eth in g a b o u t it has led to th e realization th a t they in te n d n o such thing. All they do is sen d th e o d d sacrificial victim so u th to P alerm o, w ith inevitable results. T h e M afia has effectively proved it can kill anyone it wishes with im punity. T h a t th o u g h t scares E urope, b u t w hat can it do? T h e viper is already too established in th e nest. T h e “year o f th e g u n ’’has stre tc h e d a n d m eta m o rp h o z e d in to decades, a n d th e ch an ce o f th e glow-worms re tu rn in g grows slim m er every day. ■1 1. Quoted in Leonardo Sciascia, The Mcrro Affair and The Mystery ofMajorana, translated by Sacha Rabinovitch, Carcanet, London, 1987, p. 16Jo h n Sheply in his translation of Enzo Siciliana’s Vita di Pasolini (Pasolini: A Biography, Random House, New York, 1982) renders the insect as “fire-fly” not “glow worm” (p. 378). 2. The first paragraph is from Sciascia, ibid, p. 17; the second from Siciliana, ibid, p. 379. Both extracts are from the same article, ‘The Power Vacuum in Italy”, otherwise known as the “glow-worm” article. 3. “The crisis consists precisely in the fact that the old is dying and the new cannot be born; in this interregnum a great variety of morbid symptoms appears.” Antonio Gramsci, Prison Notebooks. 4. Sciascia, ibid, p. 19: “And in particular we must acknowledge the specific ethics of this enemy, of thesejailers, an ethic that could be defined as ajailer’s ethic - derived from a direct or second-hand knowledge of Foucault and his followers (although more rough and ready instances of such ethics or attitudes have been seen in the Southern underworld, whether political or not).” 5. See Sciascia’s minority report to the Parliamentary Commission of Inquiry into the via Fani Crime, the Kidnapping and Murder of Aldo Moro, the Policy and Objectives Pursued by Terrorists, in The Moro Affair, ibid, p. 117, etc. 6. Following on from Sciascia, and giving a self-described “alien’’perspective, is Robert Katz’s Days of Wrath: The Ordeal of Aldo Moro: The Kidnapping, The Execution, TheAftermath, Doubleday, New York, 1980. Katz was co-writer of the film adaptation of his book, R Caso Moro (Giuseppe Ferrara, 1986). 7. The Crux, translated by N. S. Thompson, Collins Harvill, London, 1990. 8. The Crux, ibid, p. 87. 9. Sciascia, ibid, p. 25. 10. Todo Modo, translated as One Way orAnother by Adrienne Foulke, Harper 8c Row, New York, 1977. 11. Though Pankow gives a suitable performance, it is a pity Frankenheimer has bowed to financing pressures and not cast an Italian as Italo. The rest of the cast is fine. Sharon Stone (Alison King) does not have the chance to extend herself as she so brilliantly does in Basic Instinct, but brings a lot of presence to a smallish role. As for Andrew McCarthy, who has been criticized for not being a convincing hero (exactly the point, needless to say), he is perfect as the immature American way out of his depth in Europe.

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R O LAND CO P P IN G (PHIL CO LLINS),

,Â«'v'

A VILLAIN W ITH A P EN C H AN T FOR DICE.

mif*!

STEPHAN JELLIOTT'S FRAUDS. INSET: WRITER-DIRECTOR STEPHAN ELLIOTT.

Stephan Elliott

Fraudshas b e e n m ad e in collaboration with L aten t Im age, a p ro d u ctio n com pany fo rm ed by Rebel Penfold-Russell, A n d ren a Finlay a n d Stuart Q uin at the e n d o f the 10BA period. T o g e th er they su p p o rted Elliott in p ro d u cin g Frauds. D escribed as a black comedy, Frauds is a b o u t a yuppie couple whose attem pts a t h oaxing the robbery o f th eir house for the insurance claim lead to som e devastating consequences, n o t the least o f which being the m ayhem inflicted by th e freelance insurance investigator, R oland C opping, played by Phil Collins. Frauds also stars H ugo W eaving an d Jo sep h in e Byrnes as J o n a th a n a n d B eth W heats. R oland C opping is a m ost eccentric, sadistic villain who seem s to have m entally never grow n past th e age of eight. T h e film deals with the ensuing com bat th a t takes place betw een the W heats a n d Roland, a n d the transform ations o f the couple a n d th eir values as a result o f the conflict. T h e film touches on m any them es: childhood, m aterial desires a n d morality. It is a very unique-looking film; it was prim arily shot with very wide-angle lenses a n d with som e striking colour them es. Elliott already has plans for a new feature d u e to start shooting later this year, again in collaboration with L atent Im age. H e prom ises this to be even m ore bizarre th an Frauds.*I

Have you always wanted to be a director? I was o n e o f those awful, pim ple-faced, audio-visual kids at school w ho ra n a ro u n d with a cam era a n d annoyed the fuck o u t o f everybody. T h e decision to be a film m aker cam e from a very early age. T h ere isn ’t anything else Tve w anted to do b u t this. Now th a t I’m here, it’s n o t quite as glam orous as I thought. H ow did you break into the industry? I left school a n d w ent to N o rth Sydney T echnical College a n d did film editing there. I p ulled o u t o f the course after a year. Why did you choose editing? E diting is the way there. E diting is direction, direction is editing. C am era is a different sphere a n d you d o n ’t find a lot o f cam eram an-directors, b u t you fin d a lo t o f editor-directors. I realized th a t was the way to go. I w orked as an assistant editor at In d e p e n d e n t Productions for a few years, before deciding I ’d lea rn ed w hat I h a d to learn. T h e decision th en was to move o u t o n to the floor an d I got a jo b as a dishw asher o n Silver City. W hen the th ird assistant d irector w ent down sick, I v olunteered to take over for the day a n d th a t’s w hen I started assistant directing. Did you ever feel that Frauds was too big a production for you as a first-time director? Frauds did n o t start o u t as a big film. I basically h a d a principal cast o f th ree an d it was set in two houses. T h a t’s really w hat it was. But th e n it began to grow and, as th e rewrites began to hap p en , I realized th at it was intellectually a lot bigger th a n I h a d p lanned. I began to realize th at th ere was a lot m ore going on betw een the lines. So I began to analyze w hat I was writing, w hich I h a d n ’t d o n e before, a n d I w ent back to the core o f the film. I t’s n o t really a b o u t insurance fraud, it’s really a b o u t n o t w anting to grow up. W e h a d very little luck getting th e film u p in this country; we th o u g h t we were flogging a dead horse! T h e n we took it overseas a n d the response was p h e n o m e nal. W e started getting o u r first foreign read ers’ reports a n d we realized th a t we w ere on to som ething quite big. From th ere it began to snowball. Did the story com e from an incident in your life? Frauds evolved from a childhood in cid en t involving som e relatives whose house was legitim ately robbed. But, from childhood, I c o u ld n ’t quite believe why they w ere so happy a b o u t having th eir house robbed. It took m any years to realize they h a d “overclaim ed”, so to speak. 46

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à£

try Mack film It is going to of fond a lot o f pooplOm ¡Frauds is stop doing what ovoryono olso wants you to do fo." «

W hat was even m ore frightening a b o u t overclaim ing was that, while they h a d b ro k en the law, they were very p ro u d o f themselves. A nd nearly everyone I knew associated with them , who knew a b o u t it, was congratulating them . T h a t is w hen I realized th at we h a d probably society’s first socially-acceptable crim e. Can you describe the major characters o f the film? T h ere are th ree characters. R oland C opping is a com plete state o f anarchy. H e is the villain, rep resen tin g everything th at is bad. H e has n o m orals a n d th a t m akes him probably the m ost free character in the film. O n the o th e r side, we have Beth, w ho is over-m oralled. She is a control freak an d h e r entire life is spent keeping everybody happy. In the m iddle, you have Jo n a th a n , w ho is the p en d u lu m . T h e film actually follows J o n a th a n as he falls from one to the other. What is the power behind Roland’s use o f dice? R oland m akes decisions by the dice. T h e re ’s a line in th e film: “C hoice is a w onderful thing, b u t too m uch o f it can lead to hesitation a n d h e who hesitates loses his parking space.” I think grown-ups get cluttered with too m any choices. They get too political. T h ere are too m any decisions and, with every decision, th ere are 20 o r 30 o th e r things to think about. I think th at leads to com prom ise a n d I th in k th a t’s very ad u lt a n d very boring. C hildren d o n ’t think like that. C hildren think yes or no. They love som ething o r they hate som ething. Roland is like that. H e has a dice w hich h e puts choices on, b u t he only ever puts two choices down: odds h e does som ething, evens he d o esn ’t. T he great thing ab out R oland is th at once o r twice in the film, w hen th e dice rolls against him , he actually does w hat he wants anyway, like children do. So, while he says he lives by the dice, at the e n d o f the day, ju s t like all kids, if h e really wants to do som ething, he ju st bloody well does it. H ow did Phil Collins becom e involved in the project? I was thinking o f casting locally, b u t w hen we realized th at we h a d a h o t script on o u r hands we began to think big. So with an o p en platter, som eone said, ‘W h o would you really like to cast as your central villain? ” Phil Collins was my first choice. Why? I saw Phil in an episode o f Miami Vzoeaboutfour years ago. H e played a guest villain. It wasn ’t a very good show b u t Phil was ra th e r outstanding in a strange sort o f way. T h a t’s w hen I realized th at this guy could actually act. How did you manage to get Collins interested? A n d re n a ’s husband, A1 Clark, used to be with Virgin in the early days; h e basically organized an introduction p h o n e call. Also, my w ardrobe designer for th e film , Fiona Spence, was o n to u r with Phil Collins at th e tim e, which w asjust an am azing coincidence. We th o u g h titw as “pie in the sky” tim e, b u t shortly after we g o tav ery positive response. Given Collins’ limited acting experience, how did you find him as Roland? Most people said, “O h God, w hat are you em ploying a rock star for?” M ost people d o n ’t realize th at Phil was an actor long before h e was a m usician; m usic got in the way. H e ’s very conscious o f his public im age an d works very h a rd to m aintain it. T he m an is a natural; he can act all right; in fact, he can act the socks off m ost o f the trained actors th at I ’ve ever w orked with. Phil also has less to lose in th at h e ’s already successful a n d h e has th e m oney. A t the same tim e, he has a lot to lose in th at publicly he can be to m to shreds a n d h e knows that. T h e knives are o u t for him already, b u t I think he is going to shock a lot o f people o u t there. N o m ore M ister Nice Guy. RIGHT: ROLAND A N D BETH W HEATS (JOSEPHINE BYRNES), A "C O N TR O L FREAK". A N D , J O N A T H A N W HEATS (H U G O W E A V IN G ) A N D ROLAND. F R A U D S .

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LEFT: H U G O W E A V IN G , JOSEPHINE BYRNES, FOCUS PULLER K ATH R YN MILLISS A N D CAMERA OPERATOR D AVID W ILLIA M S O N . FAC IN G PAGE: BYRNES, ELLIOTT, W E A V IN G A N D COLLINS.

There is a strong them e throughout the film o f the desire for material wealth. What are your personal feelings on this desire?

H ow much do you identify with Roland? Very m u ch so. R oland is a 45-year-old who wants to be eight, which is w here the film starts. We exam ine the event w hich actually stops him from growing up. T h a t’s very m uch like m e. I got to a p o in t at the e n d o f 10BA w hen I decided to m ake this leap to directing. I triedvery h a rd to do everything everybody expected a n d get a good jo b a n d a car a n d a m ortgage. B ut I stood up one day w hen I was a b o u t 24-years-old an d said, “I d o n ’t think I w ant to do this any m ore. I d o n ’t w ant to be grown u p .” So I m ade a film a b o u t it! Did you feel that Hugo Weaving and Josephine Byrnes had the same understanding as you o f their characters? They h a d to tap into different things. W hat I was looking for with J o n a th a n was a child stuck in a m a n ’s body. I did som e very interesting exercises d u rin g the screen tests. I w ould do som e im provising an d give the g ro u n d rule th at the actors were to react as children would. W hat I discovered ab o u t H ugo is th a t h e ’s a great big kid. H e was one of the last p eople I screen tested an d he cam e th ro u g h with flying colours. H e u nderstands how a child thinks a n d h e is quite p ro u d of it. Jo sep h in e h a d a m uch h a rd e r rôle. She h a d to play a tough w om an th at I d o n ’t necessarily know is in her. She h a d to learn th at a n d it took a long while a n d a lot o f effort to tap into it. B ut once she h a d a han d le on it, she really enjoyed it. H ow do you see wom en as being portrayed in film and how is Beth a reaction to that? W om en ’s rôles in cinem a are changing an d dangerously so. T h ere are a lot o f things in w om en which are ju s t b o rn w ithin th em an d I think we are trying to railroad these. I know a lot o f w om en who are feeling very pressured. T h e re are basic instinct things they have they think they sh o u ld n ’t have. W hat’s h a p p e n in g as we move into the 1990s is th at you have Sigourney W eaver in Aliens a n d L inda H am ilton in the two Ter minator movies a n d they are playing m en. They are vicious killers w ho ru n a ro u n d with big guns a n d blow the living shit o u t o f everything. I know everybody isju m p in g a ro u n d saying, “Isn ’t this fabulous”, b u t I d o n ’t know if it’s so n atural an d I d o n ’t know if w om en are really like that. W hen people see Frauds, they trill notice th a t B e th ’s n o t like that. S he’s very strong a n d she assumes a lot of a m a n ’s rôle. But, at the same tim e, she actually becom es m ore in tu n e by the e n d o f the picture as to who she is . Maybe she d o e sn ’t have to be the m an a n d th a t’s quite im p o rta n t to the film. B eth ’s grow th is very interesting. I started with o n e o f those m e n /w o m e n at the b eginning o f th e film, a n d I think, by the en d o f it, she actually learns to let go, to start becom ing a little bit m ore o f a wom an. 48

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I th in k w estern society is incredibly screwed u p a t the m o m e n t with those goals. I know th at on th e surface the film is very m u ch trying to achieve those goals. B ut the subtext o f it, with w hat R oland represents, is anarchy. We have a yuppie couple to w hom m oney is every thing a n d we have a m an w ho is d e te rm in e d to strip this couple o f everything they own. We begin to realize th a t it’s n o t actually th e m oney h e wants; h e ’s actually teaching these people th a t their m aterialistic goals are garbage. In the end, w hen they are stripped o f everything, they realize w hat they are actually about. They d o n ’t evolve u n til they lose everything. T h e n they start to re-evaluate. So what is the moral o f Frauds? Frauds is am oral. It is a very black film. It is going to offend a lot o f people. T h e tru e m essage b e h in d Frauds is stop doin g w hat every o n e else wants you to do a n d do w hat you w ant to do. B ut if we all lived like that, we w o u ld n ’t have a planet; we w o u ld n ’t have a society. Why did you choose to “internationalize” the film in terms o f character, setting, etc.? Frauds is n o t set anywhere a n d I th in k we are going to have a lot of problem s with th a t because it’s n o t going to look like an “A ustral ia n ” film. It d o esn ’t look like an A m erican film, either. It is set in now here land. T h a t’s a problem I h a d with the 10BA system, th a t you m ust m ake an “A ustralian” film. W hat is an A ustralian film? W e are n o t old en o u g h to have o u r own heritage yet; we d o n ’t actually know who we are. Iju stw an ted to m ake afilm , so I m ade a film for w estern culture. T h a t is, it is set anywhere th ere are m ortgage p roblem s or insurance problem s o r m oney problem s. T h ere are th ree lead characters: o n e is A m erican, o n e is English a n d the o th e r is A ustralian. We never see a city skyline, we never see a car w hich points to w here we are, you never see ro ad signs. T h e film is setin now here land a n d l ’ll probably keep m aking films like that. Did you always have a strong idea o f the “look” o f the film? T h e look was very m uch in my head. I have a love o f wide lenses; I th in k they are terrific. In o rd e r to get Frauds up, b ein g a no-nam e director, I n e e d e d som e exam ples o f my work. So L a ten t Im age fin an ced two sh o rt films for m e. They are very fast, very quick a n d very technical. W ithin that, I chose my lenses a n d colour a n d I did it exactly as I th o u g h t Frauds w ould look. H ow did your collaboration with G eoff Burton and Brian Thom son help achieve this look? Geoffrey was w onderful. I n e e d e d the balance o f a rock. H e tau g h t m e a lot o f w hat you really can a n d c a n ’t do, b u t at the sam e tim e I p u sh ed G eoff tow ard doing things th a t he h a d never d o n e before. I m ean, we w ere shooting close-ups on 14m m lenses. You e n d up with these g reat gargoyle-like faces w hich are g reat fun a n d fit the style o f the film. As these characters go crazy, th eir faces get stranger a n d stranger.

Stephan Elliott

B rian T h o m so n also did th e m ost tre m en d o u s jo b . B rian has definitely b u rn e d a few bridges in this country. H e has a tendency to go o n e step too far a n d on several o th e r projects h e took those steps o n th e w rong subject m atte r and, with that, go t a terrible rep u tatio n . W h en I actually m e t th e m an, I realized h e was th e spark I was looking fo r. I w anted this film to go o n e step beyond w hat is w ritten a n d B rian took w hat I h a d as a base a n d m agnified it. H e cam e up with w hat is truly som e bizarre a rt direction, b u t it suits the subject m atte r o f the film. H e has d o n e a truly rem arkable jo b a n d I h o p e he co n tin u es along the ro a d h e ’s going on. H e wants to direct one day a n d I certainly h o p e th a t h e does, because I th ink h e ’ll m ake a truly u n iq u e film. D id you find gaining credibility with the cast and crew difficult for a young first-time director? D uring p re-p ro d u ctio n it was very h ard . Everybody assum es th at if you are young, you d o n ’t know w hat you are talking about. It took a b o u t th re e days for the crew to realize th a t I knew exactly w hat I was talking about. In fact, I was so organized th at people began to back off. T h e n I beg an to gain the trust o f the crew an d they were all fine. What do feel are the qualities needed to make a good director? In C annes last year I g o t for the first tim e to m ee t a few idols, directors I ’d know n a b o u t for years. T hey w ere all such qu iet p eople. T hey w ere so gentle, so nice a n d so h o n est a n d polite, all the things th a t I ’m not! I was having conversations with these guys a n d I beg an to think, “Is this w hat a directo r is supposed to be? ”, an d it really beg an to worry m e. T h e n th ere was a screening in C om petition o f Hearts ofDarkness: A Filmmaker’s Apocalypse. I w an d ered o u t o f th a t with a big smile o n my face after th e sight o f C oppola w renching M otorolas from assistant directors a n d firing people. I th o u g h t, “Yeah, th ere is ro o m fo r aggression in directin g .” W hat I feel a b o u t directing is th a t you have to h ead a ship; you have to keep it m oving. I ’ve w orked with e n o u g h directors w hojust scratch th e ir heads a n d n o o n e knows w hat is going on. You ju st w atch m oney going o u t the window. I t’s so undisciplined. I think discipline is th e key to m aking good films. Do you think there is a danger in the writer directing the film?

I find no p ro b lem w hatsoever in w riter-directors as long as they are good writers a n d as long as they are g oo d directors. B ut they are the only ones who know that. A ctors asked m e questions on th e floor and, because th e script cam e o u t o f m e, because it’s all my own m orals a n d my own thoughts, I never h a d any problem s. I t’s n o t like I ’m trying to direct som eone else’s work. I ’ve w orked with a lot o f directors who are h ire d guns a n d they com e in n o t truly u n d e rsta n d in g w hat’s going on. You can see rig h t away th at they d o n ’t. Did you find casting Frauds a difficult process? M urder! People w ere saying th a t th ere are so m any fu n things a b o u t p re-production a n d casting is o n e o f them . B ut casting was o n e o f the m ost difficult experiences o f my life. I saw h u n d re d s a n d h u n d re d s o f people, an d I ’m annoyed at the level o f perfo rm an ce in this country. I saw som e truly terrible actors a n d they are people who s h o u ld n ’t be acting. Who are your influences in film? I ’m a young film m aker an d I ’m very influenced by a lot o f m o d e m film m akers. I ’m beg in n in g to learn a bit a b o u t who those m o d e m film m akers were influenced by an d finding my influences back there. I grew u p on Steven Spielberg a n d I ad o re the way he m akes pictures: big, slick, A m erican, w onderful stuff. H e m akes very big flashy pictures b u t th eir m orals are very safe, b o rd erin g on boring. Frauds has a very ‘Spielbergian ’ look a b o u t it, b u t it has a very, very, very black heart. T h e o th e r a n d probably biggest m ental influence on m e is Coppola. I was 15 w hen I snuck in with a fake ID to see Apocalypse Now. I was com pletely devastated; I walked o u t o f the film shaking. Do you have any plans for future projects? We w ent to C annes in 1991 a n d got Frauds m n n in g . At the same time, I took a tiny p ro ject w hich I w rote in less th an 10 days. It was ajo k e project called Priscilla - Queen o f the Desert, w hich is Thelma & Louisein drag. It’s very silly a n d I d id n ’t th in k we h a d a h o p e in hell, b u t boy, oh boy, did we tap into som ething! A t som e stages, it was getting m ore response th an Frauds a n d the n e x t th in g we knew it h a d started to snowball. Priscilla is due to go before the cam eras in S eptem ber o f this year. It’s going to be a m ajor ex p e rim e n t - stereo m ix an d anam orphic, all for u n d e r $2 m illion, with o n e o r two quite well-known stars who are going to do it for scale because they see the com plete outrageousness o f the situation.W hat I’m hoping to do with Priscillais shock the pants off everybody. We are going to go o u t into the desert with these drag queens an d basically see w hat happens. What do you think o f the current state o f the industry in Australia? I th in k the industry is a bit o f a crux at the m om ent. I d o n ’t really know w here it is going. I ’d love to stay in this country, b u t I w ent th ro u g h hell a n d high w ater to get this film up a n d it cost m e a lot. I d o n ’t know if I can keep doing that. T h e real su p p o rt cam e internationally and, if th at is w here I have to go to m ake films, th e n I will. I d o n ’t w ant to have to keep fighting; I ju s t w ant to m ake movies. ■ CINEMA

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• 49

I L

V I E

DAHONG DENGLONG GAO GAO GUA (R A IS E TH E RED LA N TE R N ); DEADLY; TH E LA ST DAYS OF C H E Z NOUS; P A TR IO T G A M E S ; S T A N A N D G E O R G E ’S N E W L I F E ; AND , T O T A L L Y C L I P S

SONGLIAN (G O N G U ), ONE OF THE WIVES IN Z H A N G YIM O U'S D A H O N G D EN G LO N G G A O G A O G UA [R A IS E THE RED LA N T E R N ).

DAHONG DENGLONG GAOGAO GUA (RAISE THE RED LANTERN) RAYMOND

YOUNIS

class-divisions and suspicions prevail. Some are “born” to be servants, and customs dictate where and when and what one can eat. When the husband decides to spend the night with

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PAPERS

H ■ sn’t that a w om an’s fate, to be a rich man’s

one of his wives (there are four in all), red

I concubine?” With these words, the central

lanterns are raised along the passageway to

issues of Zhang Yim ou’s Dahong Denglong

her chamber. The chosen one also enjoys cer

Gaogao Gua (Raise the Red Lantern) are an

tain privileges, but m arital infidelity on the part

ticipated or made clear. Songlian (Gong Li), the

of any of the wives is brutally punished.

young woman who utters these words, is forced

In Autumn, a season of death and degen

to leave university after six months because of

eration to so many, Songlian becomes aware of

her father’s death. Her mother, like so many

the husband’s philandering and of the low es

contemporaries, is preoccupied with money,

teem in which daughters are held. She also

and in such a society the daughter must be

learns of the adulterous relationship between

obedient. So she trudges off, crest-fallen and

the third wife and the fam ily doctor. She is not

suitcase-in-hand, in the direction of an uniden

yet aware of the nature of the punishm ent for

tified property from where no concubine re

such departures from accepted customs and

turns. Songlian is constantly placed in the cen

rigid codes of fidelity. (Of course, the film sug

tre of the frame - this is clearly her story. It is Summer in an unidentified part of China.

gests that there is one law for the husband and another for the wives.)

Here, “educated girls” are rare and old customs,

Winter, snow and cold lead to Songlian’s

realization that in such a custom -dominated

Overall, however, this is an impressive

script is credited to Storm, with Moir and Ranald

system, people (read “concubines” which should

achievement. The final scenes are presented

Allan as co-writers) have obviously attempted

read “wives” ) are treated like “cats and dogs” .

imaginatively and effectively in order to empha

to set up Bourke as an agent for bringing toler

Though, to be sure, the rest of the film does not

size once again the pervasive image of a laby

ance and understanding to the film ’s (predom i

support such a claim, and in fact suggests that

rinth, a place of subjection, where the exits are

nantly white) audience. His journey is intended

this is something of an overstatem ent, the fun

inaccessible orforbidden, and where one could

to prefigure and guide ours; ittakes him from the

damental point about the loss of certain liberties

either wander endlessly through the fam iliar

m etaphoric and literal darkness of inner-city

and the subjection to the whims of the ‘m aster’

corridors, the measured paths, and be the sub

complacency and ignorance, in which “junkies”

is quite cogent. By the next Summer, the situ

ject of harsh authority and scheming, or be

and “boongs” have the same value - none - to

ation is gravely serious.

consumed.

the glaring, often unpleasant, but nonetheless illuminating light of the outback, in which the

The rigidity of the concubine-scheme and the seem ingly timeless adherence to antiquated customs are effectively highlighted in the formal

DAHONG DENGLONG GAOGAO GUA [Raise the Red Lantern] Directed by Zhang Yim ou. Producer: Chui Fu-Sheng [Qiu Fusheng]. E xecutive producers: Hou

Aboriginal people are to be understood as having a dignity which the alcohol and tedium can obscure but not erase. To some extent the

strategy of repetition. A number of scenes and

H siao-H sien [Hou X iaoxian], Zhang W enze. S crip t

images recur. The wives stand at the doorways

w rite r: Ni Zhen, based on a sh o rt sto ry by Su Tong.

device works, but Bourke is never really under

and wait for the husband’s decision to be re

D ire ctor of photography: Zhao Fei. A rt directors: Cao

scrutiny in the eyes of the viewer.

vealed; the lanterns are raised and lowered,

Jiuping, Dong Huam iao. Costum e designer: Huang

feet are massaged, meals consumed (some what grudgingly at times).

Lihau. Editor: Du Yuan. C om poser: Zhao Jiping. Cast:

establishes Bourke as a victim of circumstance.

Gong Li (S onglian), Ma Jingw u (Chen Zuoquian), He

We know he didn’t see the girl step out from the

Presumably to relieve the tedium, the wives - three of them anyway - scheme, manipulate

Caifei (M eishan), Cao Cuifeng (Zhouyun), Jin Shuyuan (Yuru), Kong Lin (Y an’er), Ding W eim in (M o th e rS o ng ), Cui Zhigang (D octor Gao), Chu Xiao (Feipu), Cao

The opening sequence of the film clearly

shadows into his line of fire, we never doubt his word. Yet, for the device of Bourke as trans

and dissemble. Songlian is the victim on most

Z hengyin (Old Servant). Era International in a sso cia

forming angel to be fully effective, there has to

occasions, though for someone with a univer

tion with China Film C o-production C orporation. A u s

be a moment when we suspect that he is - like

sity education she seems to be the last to find

tralian d istributor: Prem ium . 35 mm. 125 m ins. Hong

Michael Douglas’ character Nick Curran in Ba

out what is happening. The conflicts, quarrels,

Kong. 1991.

sic Instinct- a power-hungry creep who gets off

DEADLY

standers. Without this element of doubt, the

on “accidentally” blowing away innocent by

disagreem ents and jealousies gain force by contrast with the classical formalism of the imagery, the seemingly tranquil exteriors, the

humanizing force of Bourke’s experience in

calm surfaces and quiet enclosures, and linking

Yabbabri is diminished, and so, in consequence,

passageways. Indeed, the cam era, after the opening

n spite of its promotion as a thriller, Deadly is

is its effect upon the audience.

essentially a run-of-the-mill good cop/bad

scenes, remains within the complex, and the

cop story, albeit with two notable twists. The

BELOW: THE R O O-SHOOT FROM ESBEN STORM'S D EA D LY , WITH

subtext of the prison is clear in metaphorical

first twist lies in the fact that the

VERNON (BILL HUNTER), ARCHIE (BRUCE VENABLES) AND FRIENDS.

and in literal terms. Long, lingering, static shots

“good” cop has to prove that he

in real time create a rhythm that is quite beguiling

is not in fact a “bad” cop; the

and heighten the sense that here is a world

second, and more significant,

which is self-enclosed, which functions accord

twist is that the site of this test

ing to its own laws and codes, and is not subject

of virtue is an inquest into the

to conventional ideas of justice or justification.

death of an Aboriginal man

The husband drifts in and out and, once again,

while in police custody.

the wives seem to be powerless to resist his will.

This scenario clearly offers

Also, the fact that he is not shown in close-up

considerable potential for an

(whereas the film begins with an extended close-

invigorating exploration of the

up of Songlian) adds to his sinister and elusive

clash of cultures between black

character. We see no sympathy, no empathy,

and Anglo-Celtic white Austra

no compassion in him.

lia, but, for a variety of reasons,

The film ’s strengths are the confident and

the overall result is less than

sure direction, the magisterial images, the vivid

satisfying. Perhaps the most

costume design - once again the strategy of

glaring problem lies in the

providing sym m etrical and ordered images

characterization of the good

emphasizes the growing anguish of Songlian

cop, Tony Bourke (Jerom e

and the disintegration of her personality - the art direction, photography and the fine perform

Ehlers), a detective relegated to desk duty after the acciden

ances by the four women, as well as the ques

tal shooting of a junkie during

tioning of a system which is based upon sup

the night-time chase and gun

pression and an u ncritica l acceptance of

battle which opens the film.

anachronistic values. But there are numerous

Cleared of negligence by a

weaknesses, too. The emphasis on the female

commission of enquiry, he is

characters leads to the underdevelopment of

given the chance to redeem

two male characters, the flute-playing son and

himself and regain his detective

the doctor. One is little more than a shadow; the

status by the Deputy Police

other’s end seems to be overlooked. The melodramatic element, thankfully, has

Commissioner (Tony Barry). All he has to do is conduct a sim i

been controlled (as it is not in Ju Dou), but there

lar enquiry in the remote town

is really some overstatem ent in a number of

of Yabbabri, the clear intention

crucial scenes. And at just over two hours, the

of which is to find the resident

film is really too long: a number of points are laboured or repeated without anything new be

wrongdoing.

ing added to the argument; others are simply too obvious or too obviously simple.

police officers innocent of any Director Esben Storm and producer Richard M oir (the CINEMA

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■ 51

Jerome Ehlers’ performance doesn’t help

and white communities is thrown into confusion

ered-around-the-Hill’s hoist moments, Deadly is

matters, either. Although he is at times convinc

by the prevalence of characters of mixed par

just another film which fails to achieve a satis factory meeting of good intentions and good

ing, his screen presence is suffused with a

entage, and one of the film’s best scenes focuses

smug half-grin which conveys an unpleasant

precisely on the impact that questions of par

craft. Sad though it is to say, Michael Apted’s

whiff of the sleazy to his character.

entage have had on the history of black-white

American Thunderheart - which is like Deadly

relations in this country. The history of mas

in so many ways, though still not w ithout flaws

them - revolves around the growing attraction

sacres and theft that underlie the “settlement” of

- comes much closer to showing what such a

of Bourke to a local Aboriginal woman, Daphne

Australia are richly and disturbingly evoked

meeting might look like.

(Lydia Miller). She is resistant to, but obviously

using the motif of a statue of Major Mitchell,

DEA D LY D irected by Esben Storm . P roducer: Richard

intrigued by, his overtures, but it is only in the

explorer. The film is laden with images and

M oir. Line producer: A n to n ia Barnard. S crip tw riter:

film ’s dying moments that it becomes clear that

snippets at the “other” history of Australia, the

Esben S to rm . D ire c to r of p h o to g ra p h y : G e o ffre y

Bourke is not just trying to get laid, the confu

one which acknowledges that the red on the

Sim pson. P roduction designer: Peta Lawson. C os

sion having arisen from the fact that Ehlers

Aboriginal flag stands forthe blood of the people,

tum e designer: T erry Ryan. Editor: Ralph S trasser.

carries that same smirk on his face when deal

and it is from these that the film draws most of

C om poser: G raem e Revell. C ast: Jerom e Ehlers (Tony

ing with each of the three women in Yabbabri

its strength.

An important sub-plot - and the film is full of

Bourke), Frank G a lla ch e r (M ic k T h o rn to n ), Lydia M iller (D aphne), John M oore (Eddie), Caz Lederm an (Irene),

with whom he could conceivably connect. Of

But perhaps the most telling moment in the

course, this indeterminacy might be a deliber

film, to this writer at least, is one of little conse

A ustralian distributor: Hoyts. 35 mm. 99 m ins. Australia.

ate ploy on the part of the filmmakers, an at

quence to the story as a whole. It involves

1991.

tempt to up the ambiguity stakes (is Bourke a

Thornton taking Bourke into the bush for a spot

good cop, or ju$t a sleazy one?), but again that

of roo-shooting. As Bourke fixes a kangaroo in

opening sequence is counter-productive in hav

his sights, Thornton stands at his ear, whisper

ing already positioned our man as ambiguous

ing instructions, “Let her have it. You know she

only in the eyes of the Force. To the audience,

wants it.” The link between so many unpalat

his motivation must be honourable, because we

able layers of the Australian male psyche - the

already know he is innocent. I am dwelling on this distinction between

Alan David Lee (Barry Blainey). M oirstorm Production.

THE LAST DAYS OF CHEZ NOUS RAFFAELE

CAPUTO

ne of the early images of The Last Days of Chez Nous is a close-up of a heart-shaped

desire to kill, the sexism that justifies rape in

cake with the words “Welcome Home” iced on

terms of “she was asking for it” , the male bond

top. The camera sits on the close-up for a

what we (the audience) know, and what they

ing that takes shape through rituals of violence

second or two before a knife abruptly enters the

(the diegetic Police Force) think, because this is

- is drawn so deftly in this scene that, if it had

frame and carves a nice chunk out of it. This

where the “thriller” element of the film comes

informed the rest of the film, Deadly may well

image becomes a m ajor motif fo rthe film. It is an

apart. There is no tension established for us,

have been a masterpiece of understated analy

image that is raw, and has no pretensions about

and so the unravelling of the narrative becomes

sis. But precisely because the details remain

what this film is going to deal with, or from where

a drawn-out exercise in predictability. None

only details, while the story goes along its me

it is coming: obviously, the affaires of the heart

theless, Deadly is not a bad film. Lydia Miller is

andering way towards its melodramatic end,

and the pain involved.

fine in her role as Daphne, and Frank Gallacher,

resolving every sub-plot within its final gath

as Yabbabri’s police sergeant Thornton^ does a superb job in establishing sympathy for a char acter who is increasingly revealed as pretty despicable. But John Moore’s performance as the dead man’s brother, Eddie, is, in spite of the loud proclamations to the contrary, patchy, and it is here that the chief difficulty in reviewing a film like Deadly arises. One suspects there is a touch of reverse discrimination around some of the discussion of the film, that liberal critics and reviewers have been so mindful of the dearth of Aboriginal performers and stories onscreen that they have tactically avoided dealing with the film ’s and the perform ers’ weaknesses. While one has a cer tain sympathy with this, such provisional dis honesty can only be detrimental in the long run. An average film like Deadly, which unasham edly sets out to appeal to a mainstream audience but which fails to pull it off, should be treated as an honourable near-miss, not as a revelation. To not acknowledge its mistakes would lead to the assumption that if this is as good as films about Aborigines can be, then forget it. Not only would future attempts to deal with Aboriginal issues be shelved, but the possibility of funding com m ercially much more risky Aboriginalcrewed, -directed and -produced films would be all but foreclosed. Still, Deadly is not without its merits, al though these reside mostly in the details. It has the bravery to detail the alcoholism which de stroys Aboriginal communities in Australia, and then to both extend that depiction to white communities and to provide exceptions. The assumed clarity of distinction between black 52

• CINEMA

PAPERS

The Last Days o f Chez Nous has a real

nuggetty-type quality about it: a small, compact

erected through the emotional cracks put under

film which uncovers a m otherload of sweet and

pressure by the tug and tow of minute details.

sour nerve endings involving a rather quirky

Chez Nous gets into niggly and prickly ar

PATRIOT GAMES KARL QUI NN

group of ch aracte rs. Like m ost of G illian

eas of interpersonal relationships. JP ’s anger at

Arm strong’s films, narrative coherence tends to

Beth for taking a slice of his Camembert before

play second fiddle to the emotional incongrui

it had reached the desired maturation is a good

translation when he signed up to direct Patriot

ties of the central character. But with Chez Nous,

example. Just as the gaiety at Vicki’s arrival

Games; he also took on the book’s author, Tom

although there is a strong sense that the film is

seems to erupt suddenly, so too is JP ’s anger a

Clancy. Clancy, who claims to be the top-selling

driven along by the rem iniscences of one

harsh outburst - and surprising, for as Beth

author in the world, is a man of some clout in

character in particular, the dramatic and em o

says, “ It’s only cheese.” But the ‘big cheese’ in

Hollywood, thanks to the box-office success of

tional patterns are dispersed and shaped by an

this context stands for a lot more than the

John M cTiernan’s film of his book The Hunt for

ensemble of characters. If nothing else, the

peculiar object or detail in question.

xpatriate director Phillip Noyce took on considerably more than a novel-to-film

Red October. That film saw the first screen

central focus of the film resides with how inter

Beth’s slicing of the cheese reinvokes the

appearance of C lancy’s CIA-operative hero,

personal relationships develop and change, and

earlierscene with the cake, and is thus indicative

Jack Ryan (played by Alec Baldwin), and in

get chiselled out of a peculiar environm ent or setting.

of the emotional state existing between two

Patriot Games Harrison Ford takes on the same

people. Like the cheese, the relationship be

rôle for the first of an expected three times.

In this case, the setting is an inner-city, part

tween Beth and JP is still to reach some point of

But it was not the casting of Ford that

family, part share dwelling in which Beth (Lisa

maturation; cutting into it pre-empts a set of

bugged Clancy so much as Noyce’s recasting of

Harrow), a w riter of good repute, lives with her

circum stances to come.

Ryan, from gung-ho Company man with a

daughter, Annie (Miranda Otto), and her French

There are a series of interchangeable asso

mission to troubled ex-Company man with a

lover, JP (Bruno Ganz). The household crew

ciations which tend to slowly make their way to

conscience. Little of this characterization actually

also Includes ayoung lodgerby the name of Tim

the surface of the film. For example, Vicki’s

makes it to the screen, thanks to Clancy’s fax-

(Kiri Paramore), and is only complete when

return home is a result of a failed relationship

war upon Noyce and the production offices of

Beth’s youngersister, Vicki (Kerry Fox), returns

while travelling overseas; Beth travels to the

Paramount studios1, and it is difficult to see

home from a prolonged overseas trip.

outback with herfather (Bill Hunter) to resolve a

where the “extreme right-wing view” which Noyce

There are a num ber of interesting things to

long-existing emotional feud between them. But

attributes to Clancy has been replaced by the

be said about the spatial aspects of the house,

then, while Beth’s relationship with her father

“left-wing, liberal, fellow -travelling” view which

and how characters are seen within the space(s).

improves, that with JP is breaking down; and as

Clancy accused Noyce of trying to sneak into

For one thing, characters are rarely seen on

Beth is travelling with her father, Vicki and JP

the film. Patriot Games is still, in spite of the best

their own in any one part of the house; they are

become intensely involved with one another. In

efforts of the director, a nasty little right-wing

always with someone else. One major exception

this respect, the characters can hardly ever be

film in which all national struggles are depicted

is in the film ’s opening when Vicki arrives to an

clear or sure of the paths they take or roles they

as aberrations from the rule of the global protec

empty house with the heart-shaped cake as her

play. At times, it is as though the two female

tor, the CIA.

only welcome. After she takes a slice of the

characters experience role reversals: Vicki’s

The film opens with Jack Ryan and family in

cake, she eventually makes her way to her

travels are a failure; Beth’s a success. But not

London, where Ryan — now a lecturer at the

bedroom, where she then pulls a photograph of

quite, for if Beth’s travels can be seen as suc

Naval Academy in Maryland - is delivering a

a young man off the wall and rips it to pieces. It

ceeding in her relationship with her father, it

paper on the capabilities and instabilities of the

is only at this point that others burst onto the

also highlights the failure of her relationship

form er Soviet nuclear submarine fleet. Walking

scene in a flurry of greetings. The quiet em pti

with JP. Again, things are never black and

to join his wife, Cathy (Anne Archer), and young

ness of the house is suddenly filled with gaiety,

white.

daughter, Sally (Thora Birch), Ryan becomes

and so too is the emptiness of V icki’s heart. The

One extraordinary scene occurs after Beth

involved in deterring a terrorist attack on a

association made between the cake and the

smashes up the bathroom when JP has told her

minor m em berof the Royal Family, Lord Holmes

young man in the photograph, and the em pti

how serious his relationship has become with

(James Fox). In the process, he kills one of the

ness of her home, speaks of Vicki’s emotional

Vicki. Beth and J Pare seen in long-shot throwing

terrorists.

state, which can then be suddenly inverted.

stones at an abandoned house, as though they

The dead man leaves behind a brother,

Following on from here, while there is a

are a couple of kids. For a moment or two there

Sean M iller (Sean Bean), who becomes ob

sense that each character inhabits his or her

is confusion with the audience as to what is

sessed with exacting revenge upon Ryan.

own space (as with Vicki’s bedroom in the

actually going on. This pleasant and playful

M iller’s motivation is purely personal, not po

opening sequence), there is hardly ever any

litical, though the two modes converge fortui

visual dem arcation of the different interior

scene does not gell with the intensity of Beth’s destruction of the bathroom. JP soon answers

tously when Lord Holmes pays a visit to Ryan’s

spaces, of where individual rooms are situated

the audience’s question: “Who would think we

American home in orderto present an award for

in relation to one another, or of a space that can

are a couple splitting up?” .

having saved his life. This happy congruence

be defined as personal or in the possession of

Armstrong has succeeded in shaping for

presents Miller and his comrades with the op

any one character. Conversely, from the out

The Last Days o f Chez Nous an odd, com pli

portunity to assassinate both men and to score

side, the house is clearly demarcated: it is small

cated balance of symmetrical and unsymmetri-

the first-ever terrorist attack on American soil.

and narrow, bordered by other dwellings on

cal actions and events in order to juice the

In spite of the simple and m oralistic sto

either side, the street out front and the lane at

emotional grey areas without cheapening the

ryline, there is a good deal happening in Patriot

back. In other words, there is a way of living

dramatic situations.

within the house that is certainly at odds with the mores, customs and modes of behaviour of the

THE LAST DAYS OF CHEZ NOUS D irected by G illian A rm strong. Producer: Jan C hapm an. A sso cia te pro

Games at a m etaphoric level, contributing somewhat to an unsettling of this simplicity. Noyce sees the Ryan character as standing for

ducer: M ark T urn b u ll. S crip tw riter: Helen G arner. Di

America in general, a “naïve watchdog of the

The dram atic situations explored, however,

rector of photography: G eoffrey S im pson. Production

world, who will plunge headlong and blind into

are never always this black and white. If, on the

designer: Ja n e t P atterson. C ostum e designer: Ja n e t

an ancient tribal conflict somewhere on the

one hand, the walls inside are fo rth e characters

Patterson. Editor: N icholas B eaum an. C om poser: Paul

other side of the world because he thinks he is

invisible, emblem atic of the freedom and inti

G rabow sky. Cast: Lisa H arrow (Beth), B runo G anz

right” . As the U.S. continues to pay the eco

outside world, of other dwellings.

macy shared by the group, there is also the strong sensation of barriers being slowing

(JP), Kerry Fox (Vicki), M iranda O tto (Annie), Kiri P aram ore (Tim ), Bill H u n te r (B e th ’s F ath e r), Lex M arinos (Angelo), M ickey C am ille ri (S ally), Lynne M urphy (B e th ’s M other). A Jan C hapm an Production.

LEFT: BETH {LISA HARROW) W ITH HER FATHER (BILL HUNTER) IN

A u stra lia n d istribu to r: Hoyts. 35 mm. 96 m ins. A u s

GILLIAN ARM STRONG'S THE L A S T D A Y S O F C H E Z N O U S .

tralia. 1992.

nomic and social price for its watchdog rôle in Kuwait, there is an obvious significance in the fact that retribution for Ryan’s naïve engage ment in a foreign conflict is played out on home turf. CINEMA

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• 53

ABOVE: JACK RYAN (HARRISON FORD) RUNS TO HIS WIFE, CATHY (ANNE ARCHER), AND DAUGHTER, SALLY (THORA BIRCH). PHILLIP NOYCE'S P A T R IO T G A M E S .

One might also argue that despite the open

this desire to retreat from the political process.

Yet the ambiguities of Ryan and his rôle in

Central to this elevation of the family is a

the terror unfolding around him are barely

reduction of all nationalist struggles to the sta

touched on elsewhere in the film. The very fact

tus of the same - namely terrorism. In one

of his own cultural identity - his full name is

crucial scene, Jack Ryan is forced to decide

John Patrick Ryan - raises fascinating possibili

ing discussion of Soviet submarine firepower in

how much he wants to eliminate the threatto his

ties for clashes of interest which are never

this film, The Hunt for Red October effectively

family; he opts to use the CIA’s methods. Using

marked the end of the Cold War espionage film.

satellite technology, photographs are relayed

explored. Similarly, Richard Harris’ appearance as an American-based fundraiser for the Sinn

With that not-so-ancient animosity of East-West

to headquarters showing training camps for

Fein serves only to further reduce the legitimacy

put to rest, Hollywood obviously needs a new

various nationalist/terrorist organizations in the

of the Republican cause, not to flesh it out.

site of conflict, and Patriot Games offers that:

Libyan desert. IRA, Shining Path, PLO: the

True, the terrorists are eventually identified by

the family. More specifically, the white, upper-

names are rattled off, and linked in the minds of

middle-class American family.

the audience with Libya, and hence with Amer

Ryan as an “extrem ist” faction, expelled by the IRA. But by the time this happens, the equation

However, it would be naive to argue that

ica’s - and, by implication, the world’s - con

of the IRA with extremist violence is so thoroughly

Patriot Games marks the turning point in Hol

demnation. No attempt is made to distinguish

active that any possibility of a more complex

lywood’s conception of the epic struggle. In contemporary terms, this focus on the family as

the politics of these and other diverse groups, and, as troops are sent in to destroy the IRA

reading of the situation (and given Am erica’s

at once sacrosanct (father-mother-child as Holy

base, the thermal video image on screen has all the human weight of an arcade video game.

legitimate) has been precluded.

Trinity) and under attack has been happening at least since Fatai Attraction. But what is signifi

But paradoxically, this scene is perhaps the

Irish heritage, a little more complexity might be It is difficult to know how much of this is the fault of Noyce, and how much is to be blamed on

cant in this latest manifestation of the family-

best in the film, and the only moment in which

his raw material. Certainly, Dead Calm proved

under-siege theme is the way in which the

one feels Noyce has been able to sneak his own

that Noyce was adept at stripping a film bare and masterfully handling the conventions of the

psychopath is supplanted by the psychopathy

perspective past the censorious eyes of Clancy

of the political. While there is a good argument

and the Clancy-struck executives at Paramount.

thriller, but in Patriot Games it is as if there were

for reading Alex (Glenn Close) as a metaphor

What is most noticeable about the scene is the

too much going on for anything to make much

for the AIDS virus in Fatai Attraction, that identification remains implicit within the narra

spareness with which it is directed: Ryan turns

sense. Politics aside, the film seems to be trying

his head away from the images on-screen,

too hard to impress, and the dénouement be

tive of the film. In Patriot Games, by contrast,

obviously aware for the first time of the human

comes a pastiche of a whole swag of recent

the narrative is explicitly concerned with the

cost of the decision he has made while immersed

films, from Silence o f the Lambs, through

way in which the political - albeit in the physical

in the technology and abstractions of CIA

Scorsese’s Cape Fear, and even taking in Ken

form of the Sean Miller p sycho pa th -h as forced

headquarters. For a brief moment, Ryan is hu

neth Branagh’s Dead Again. Of course, the

itself back into the Ryan fam ily’s life, in spite of

manized; he becomes more than the mere

similarities may owe more to chance than de

their best efforts to remove themselves from the

“unwilling” respondentto dilemmas “forced” upon

sign, as Noyce has claimed. But the fact re

hyper-real world of politics as construed by the

him by the outside world. For the few seconds of

mains that the conclusion is so full of trickery

CIA. Even the location of the family house, at

that look, Ryan is proactive and responsible for

and devices, yet so lacking in irony, that it can’t

the edge of the U.S., as it were, serves to stress

the carnage he has brought into his world.

help looking as if the director was just bursting

• CINEMA

PAPERS

to try out all these ideas, and didn’t know when

which succeeds because his characters, w ith

larly Chubb as the socially-gauche Stan, and

he would next have a chance to do so. The

out contrivance or sentim entality, and against

Forsyth (in her first film role) as the intelligent,

re s u lt-p o litic a lly , them atically, and v is u a lly -is

all the odds, win a place for them selves in a

more self-assured George. Their acting is sub

muddled rather than confident; as such, Patriot

world which scarcely acknowledges their exist ence.

tle and touching.

Games offers a rather telling portrait of America in the post-Cold W ar era, albeit by default. 1. T he in fo rm a tio n regarding C la n cy’s op p osition to N o yce ’s tre a tm e n t com es from an in te rvie w w ith Phillip

McKenzie reserves his broadest strokes for

Stanley Harris (Paul Chubb), a forty-year-

Stan’s bizarre parents: his ill-natured, pyjama-

old man living with his parents and working in

clad father locked into his obsession, the

his father’s barber shop, desperately wishes to

weather, and his batty, hymn-singing mother

lead a life of his own. The opportunity comes

(Margaret Ford). Both Bluthal and Ford reinforce

ve rsion of th is in te rvie w app ea re d in EG ( The Age,

when one day his eccentric father (John Bluthal),

the film ’s off-beat appeal with fine support per

M elbourne) on 7 A u g u s t I992.

an amateur m eteorologist who makes his prog

formances. George’s mother and brother are

nostications each day from his bed, shows his

strange, too, though less clearly defined.

Noyce by the w rite r and R affaele C aputo. An edited

PATRIOT GAMES D irected by P hillip Noyce. P ro d u c ers: M ace Neufeld, R obert Rehm e. E xecutive p ro ducer: C h a rles H. M aguire. S crip tw riters: W. Peter I lift, Doug S tew art, based on the novel by Tom C lancy.

son an advertisement in the paper for a job as a

Nonetheless, McKenzie is careful not to let

clerk at the W eather Bureau. Stan applies for

the film slip into farce. What he presents to his

the job, and at the Bureau he is befriended by

audience is sympathetic dark comedy which is

D ire ctor of p h otography: Donald M. M cA lpine. P ro d u c

George (Julie Forsyth), a kind country girl who

rooted in reality, and quite distinct from the cruel

tion de sig n er: Joseph N em ec III. C ostum e designer:

is intent on making a new life for herself in the

irony and satire of the Hum phries’ kind. When

N orm a M oriceau. Editors: Neil T ra vis, W illiam Hoy.

city. At first, Stan is all at sea in his new job, but

Stan goes on radio and recites his idiosyncratic

C om poser: Jam es Horner. C ast: H arrison Ford (Jack

with George’s help he soon adjusts, and even

aphorism “whatever the weather, w e’ll weather

Ryan), A nne A rch e r (C athy Ryan), P atrick Bergen

achieves modest success reading the weather

the weather - whether we like it or not” , an

(Kevin O ’ Donell), Sean Bean (Sean M iller), T hora

reports for a radio station.

adage which trips from his tongue as readily as

Birch (S ally Ryan), Jam es Fox (Lord Holm es), Sam uel L. Jackson (R obby), Polly W a lke r (A nnette), J.E. Free

A tthe same time as their relationship devel

another’s “Hail Mary”, it serves a secular cate

ops, and they marry, the atmosphere in the

chism, an old-fashioned maxim that reflects his

R ichard H arris (P addy O ’Neill). P aram ount release of

office deteriorates. Bureaucrats in dark suits

philosophy of life, and McKenzie’s nostalgia for

a Mace Neufeld & Robert Rehm e Production. Australian

make mysterious visits to the office for unclear

a vanishing Australia. Stan’s recitation does not

d istrib u to r: UIP. 35 mm. 116 m ins. U.S. 1992.

reasons, and discrepancies begin to appear in

diminish him. Rather, it reinforces his moral

man (M arty C antor), Jam es Earl Jones (Adm iral Greer),

STAN AND GEORGE’S NEW LIFE JAN

EPSTEIN

the reports received by George from weather

strength and doggedness and his adherence to

stations which were previously reliable. Stan

values.

only has to look out of the window to know that

This nostalgia forsimpler, more honesttimes

his forecasts are wrong. When George is fired

expresses itself in two ways. His primary theme

rian McKenzie is uncompromisingly on the

one day for bringing these discrepancies to the

is Stan and George, a belief in the resilience of

side of underdogs and battlers, whether

attention of their increasingly harassed and

decent, ordinary folk to regroup after chaos (the

they drive taxis and live in run-down flats (With

distracted boss (Roy Baldwin), the climate at

disintegration of family life). The other is un

Love to the Person N ext to Me), live in the

home plummets. More people lose their jobs,

ashamedly Luddite with his opposition to the

backstreets of Brunswick and have mild intel

and, as Stan begins to fearthe loss of his too, he

dehumanizing effects of technological change

lectual impairment (On the Waves o f the A d ri

becomes more and more resentful of George’s

(alienation and retrenchments in the W eather

atic), or work in the W eather Bureau, the setting

suspicions of a conspiracy. The outlook, sud

for his latest film, Stan and G eorge’s New Life.

denly, seems gloomy.

Bureau as satellite technology replaces manual recording of data).

McKenzie has an affinity with disempow-

In keeping with the narrative structure he

However, when McKenzie drifts from a study

ered outsiders, and an instinct to record their

has d e v e lo p e d w ith

his d o c u m e n ta rie s ,

of character to a drama about ideas he half

experience. His films are marked by a talent for

McKenzie dwells lovingly and at length on his

switches genre and his touch is less sure. The

shaping a narrative from their lives and he

characters, delineating their peculiarities and

narrative becomes episodic, the plot confused

documents this experience with great affection

their ordinariness with all the attention to detail

and a contrived coincidence serves little purpose

and respect. This is his approach to Stan and

of a keen social historian. He is helped by

otherthan to highlight its own artificiality. Fortu

George’s New Life, a warm and joyful comedy

striking performances from his actors, particu

nately, this lapse remains overshadowed by the success of the human drama, and not since Nigel Buesst’s Compo has the Australian Public Service, in this case the W eather Bureau, been captured so entertainingly and precisely. Stan and G eorge’s New Life is charmingly odd and individualistic, a combtnation of social commentary and Australian whimsy that high lights McKenzie’s originality as a filmmaker. It reflects nothing but credit on one of Australia’s finest directors of photography, Ray Argali, as well. STAN AND GEORGE’S NEW LIFE Directed by Brian McKenzie. Producer: M argot McDonald. Scriptwriters: Brian McKenzie, Deborah Cox. Director of photography: Ray Argali. Production designer: Daryl Mills. Costume designer: Rose Chong. Editor: Edward M cQueen-Mason. Composer: Michael Atkinson. Cast: Paul Chubb (Stanley Harris), Julie Forsyth (George), John Bluthal (Stan Snr.), Margaret Ford (Sheila Harris), Roy Baldwin (Thomas Stearns), Bruce Alexander (Geoffrey), Iris Shand (Roma), Jack Perry (Gordon), Robert Menzies (Gerald). Lea Films. Australian distributor: AFI/Fineline. 35 mm. 104 mins. Australia. 1991. LEFT: STAN (PAUL CHUBB) AND HIS PARENTS (MARGARET FORD AND JO H N BLUTHAL). BRIAN MCKENZIE'S S T A N A N D G E O R G E 'S N E W LIFE.

CINEMA

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• 55

TOTALLY CLIPS

LEFT: KYLIE M IN O GUE, ONE OF THE FEATURED ARTISTS IN THE AFI'S MUSIC VIDEO

MARCUS

BREEN

COMPILATION, T O T A L L Y C LIP S.

n the middle of a mildly-warming

Melbourne spring in 1 9 8 2 ,1stood

in the boardroom of M ushroom

ration into the video represent a

Records and watched in amazement the Hunters & Collectors video film

cheeky, provocative move by the »

filmmaker.

clip of “Talking to a Stranger” . Di

Sim ilarly, the appearance of

rected by Richard Lowenstein, this

INXS’s lead singer, Michael Hut

anguished feral filmmaking, with its

chence, suggests some of the in-

desert characters flitting about in

tertextuality of pop/rock video im

the sand dunes at Rye back-beach,

ages feeding off each other and all

was like a breath of pure oxygen.

other available film and video im

In 1982, post-punk power was a

agery for their content. This post

force in M elbourne’s music and

modern interpretation of video im

Hunters & Collectors picked up the

agery is increasingly the source of

attitude that gave punk its veracity.

considerable academic discussion.

Better still, Lowenstein absorbed it

This final example - taken and

and led the way, together with Ray

read as a text, largely out of the

Argali, Russell Mulcahy, John E.

context of regular music video con

Hughes and Paul Goodman. Argali

sumption - suggests that video can

and Lowenstein and some other graduates of early I980s Swinburne

and does have a disturbing edge I

that has not been reduced to a mar

Film and Television School made a name for the school with this early work.

keting tool to assist the sale of of video images in contemporary film and televi

records. Indeed, the programme would have

Another Swinburne graduate, Gillian Arm

sion that this collection of film clips seems so

been considerably more interesting to watch if

strong, as far as I know did not make film clips,

sterile. With little to distinguish the imagery here

some of the videos that caught the attention of

but made Star Struck, the pop celebration of

from the daily visual offerings available on tel

the Nine Network’s recent Sex series had been

Sydney entertainment fantasy.

evision, with one or two exceptions, there is

used. In one episode of this television series

The contrasts are instructive (and certainly

nothing to suggest that video is anything more

music videos which used sex as an exploitative

not intended to denigrate Arm strong’s very dif

than an effective marketing mechanism for

tool for selling music were considered. More of

ferent auteurism). Coming out of Melbourne’s

record companies.

this uncompromising commercial art would have

unventilated inner-city music venues in the late

Of course, this programme and the study of

enhanced this programme, if only for its repre

1970s and early ’80s, it was not surprising that

video film clips in general suffers from the limi

sentation of an anxious teen spirit that can still

Lowenstein made Dogs in Space while Ray

tations of the construction of the collection.

be stirred in that strange cauldron of art and

Argali made Return Home and John Hillcoatand

Lowenstein’s clips, especially his INXS w orks-

commerce.

Evan English (Rich Kids), whose music videos

“Need You Tonight” (1987) - still challenge

do not appear in this collection, made G hosts...

visual convention. But the appeal of such a clip,

TOTALLY CLIPS D ire c to rs : R ich a rd L o w e n s te in

o f the Civil Dead. All these films borrowed

along with most of the others in this programme,

(H unters & C ollectors, “T alking to a S tra n ge r” , W hite

heavily from the genres that erupted into public

is their historical place.

through the television broadcast of music vid eos.

But there is an orthodoxy of selection, based around Melbourne and Sydney bands of the

Label, 1982/IN X S, “ Need You T o n ig h t” , T ruism , 1987); Lucinda C lu tte rb u ck (M achinations, “ Pressure W ay” , M ushroom , 1983); Je ff J a ffe rs (M ax Q, “M onday N ight by S a te llite ” , T ruism , 1990); Paul G oodm an (The

Totally Clips gives no indication that any of

early 1980s - Hunters & Collectors, The Birth

this happens or matters. It sits like a one-legged

day Party, The Models, Mental as Anything,

C am illeri, “W alk on By” , M ushroom , 1983/K ylie M in-

seagull, alone and virtually meaningless. No

INXS, M id n ig h tO il-th a ts k e w s the programme

ogue, “ B etter the Devil You Know, M ushroom , 1990);

body introduces the programme, which was

towards the rising stars. Harsher, more chal

Ray A rg a li (The M odels, “ Local a n d /o r G e n e ra l” ,

strung to ge th erfo rth e Australian Fiim Institute,

lenging examples of film - and video-making

M ushroom, 1981/M idnightO il, “ P o w e ra n d th e Passion” ,

in a curatorial vacuum. Presumably, the AFI

seem to have been banished.

Sony, 1983); C laudia Castle (M idnight Oil, “ Blue Sky

and those responsible for putting the material

This historical forgery is extremely unfortu

together believed that a string of arty rock music

nate, because it is in the work of video film-clip

videos stretching over 90 minutes would some

makers that the transgressive energy of revolt

how interest an audience.

that helped rock and roll make its political mark is located.

The organizers seem to have read no litera ture on the subject, or have any idea about how

Birthday Party, “ Nick the S trip p e r” , EMI, 1981/Joe

M ine” , Sony, 1990); Russell M ulcahy (Icehouse, “ Hey Little G irl” , Regular, 1983); Rob W ellington (The M od els, “ Big on Love” , M ushroom , 1984), A ndrew de G root (H unters & C ollectors, “ Is There Anybody in T h e re ” , W hite Label, 1986); John E. Hughes (M ental as A n y thing, “ Let’s C ook” , Regular, 1983); S ally Bongers (H unters & C ollectors, “T he W ay You Live” , W hite

videos are consumed by music fans, the public,

The exception to this criticism is the final video directed by Troy Davies of Ecco Homo’s

or especially teenagers. For example, Ann E.

1989 single “Motorcycle Baby” . The video cap

“ Man W ith a G olden A rm ” , Polygram , 1988); M acG re

Kaplan has suggested that music video - as

tures the eye because its opening disclaimer

presented on the continuous 24-hour MTV (U.S.)

proclaims: “Warning. This video may cause

Label, 1990); Salik Silverstein (Bachelors From Prague, gor Knox (Not Drow ning, W aving, “ K e rry’s Q ueen” , P&C NDW, 1987); Paul E lliot (H unters & C ollectors, “W hen the R iver Runs Dry” , W hite Label, 1989); T ony

- represents a ‘plenitude’ of images, sounds

offence to people who cannot handle their own

M ahoney (Dave G raney and the W hite Buffaloes,

and illusions that are variously selected and

sexuality.” Michael Hutchence appears as a

“ Robert Ford on S tage” , Fire (U.K.), 1990); A lex Proyas (Crowded House, “ D on’t Dream It’s O ver” , EMI, 1986);

rejected, foregrounded and backgrounded by

heroic sex symbol on a large black motorcycle,

an audience. Communication studies research

while a plethora of images coalesce into an

M ichael “ B offa” W illiam s, (Stephen Cum m ings, “Speak

which is beginning to filter through the aca

impulsive surge.

w ith Frankness” , Polydor, 1986); A ndrew D om inic

demic journals on music videos confirms this

For a split second, one image reveals the

trend. The AFI, which has an educational role,

band’s singer having the top of her dress torn

(S traig h tja cke t Fits, “ Down in S p lendour” , M ushroom , 1991); T roy Davies (Ecco Hom o, “ M otorcycle Baby” , Rooart, 1989). T ota lly C lips w as based on an original

would be wise to be informed of such knowledge

away by the pressure of water pouring from a

and perhaps incorporate some of it into a pro

hose, to reveal her breasts. Only by slowing the

Thom as. Produced by The A u stra lia n Film Institute for

gramme like Totally Clips.

video player almost to a stop was the image

the 1992 A u stra lia n Film F estival. A u stra lia n d is trib u

decipherable. But its almost subliminal incorpo

tor: AFI. 90 m ins. A ustralia. 1992.

Perhaps it is inevitable given the plenitude 56

• CINEMA

PAPERS

idea by V enetia M cM ahon. R esearch producer: Sally

The 1991/92 Australian Catalogue of New Films and Videos

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Out Now This up-to-date and thoroughly comprehensive 400 page Catalogue lists all the films and videos that are available for purchase, rental or borrowing thoughout Australia. The Catalogue lists A ll titles - educational, features, management training, health, promotional, documen taries, shorts etc. Each entry has the following information: Title Producer Cast Running Time Gauge/Format Synopsis

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it ’ s a v a il a b l e on film o r v id e o t h e n it ’ s in t h is

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Return To: Australian Catalogue, PO Box 204, Albert Park Vic 3206 Tel: (03) 531 2086 Fax: (03) 537 2325 CINEMA

PAPERS

• 57

snowball reaction to the hype pro d u ced at its w o rld p re m iè re in Cannes. W here The Mambo Kings indulges itself with so many plot m ovements, this film suffers from a sim ple, pared-down plot. It centres on Scott Hastings (Paul Mercurio) as he attem pts to invigorate the old, tradition-bound ballroom dance by introducing his own new dance style. Setting his sights for the Australian Ballroom Dance Federation Cham pi onship, he is torn between the desire to dance his own steps (with a strong possibility of losing if he does so) or a sure-fire win if he plays by the Federation’s rules. Most of S cott’s co lleag u es, and his m o th er (P at Thom son) and Federation president (Bill Hunter) in particular, are against new dance steps and try to persuade Scott otherwise. For his new rou tines, however, Scott is helped along by Fran

THE 41st MELBOURNE FILM FESTIVAL

(Tara Morice), a meek, am ateur dancer of Spanish descent, who lives with her grand m other and very strict father in an oppressive

R A F F A E L E

C A P U T O

neighbourhood. Fran’s father used to be a flam enco dancer, and stands as a counter

not uncommon (or unwelcome) feature

duction design of The Mambo Kings, as well

point to S cott’s feeling for and understanding

of recent years of the Melbourne Film

as infectious Afro-Cubart jazz rhythms, may

of dance.

□

Festival is the diverse and often unruly streams manage to keep audiences interested, but the

These seem to open up dram atic tensions

of international cinema on show, where em

film shows problems in econom ically adapt

based on generational and cultural differences

phasis on any one national cinema or theme is

ing the novel, The Mambo Kings Play Songs of

which should have a bearing on where, how

avoided. This year was really no different,

Love, by Oscar Hijuelos.

and why two people can dance with each

though one of the independent, perversely

Two Cuban brothers, Nestor (Antonio Ban

other. In this way, Strictly Ballroom is som e

m iddle-ground highlights of the 41st Festival,

deras) and Cesar Castillo (Armand Assante),

w h a t re m in is c e n t of p ic tu re s like Em ile

S hinyaTsukam oto’s Tetsuo2: The B ody Ham

are musicians forced to trek from Havana to

A rdolino’s Dirty Dancing, and also evokes the

mer, turns out best at characterizing the cur

New York, supposedly in search of streets

Hollywood musical of the 1940s, but does not

rent state of affairs than any attention-grabbing,

paved with gold promised by the nightclub

really understand the com plexity in com bin

fanfare film like The Mambo Kings or Strictly

circuit. The central plot, however, gets lost as

ing the musical and dram atic form s of expres

Ballroom. The Melbourne Film Festival should

too many sub-plots involving emotional tri

sion of its predecessors. Most of the charac

have Tetsuo 2 as its ambassador in the years

angles invade the differing personalities of

ters are played for too many laughs (they tend

to come, for the Festival has successfully

the two brothers. Various characters seem to

to look and act like caricatures of caricatures)

turned itself into a curiously hybrid monster

just drop in and out, and as a result character

and much of the dram atic possibilities are left

compelled to search out as many target audi

motivations often become frayed at the edges.

in abeyance; so too the way dance and music

ences as there are films.

Strictly Ballroom, on the other hand, is

ABOVE: BAZ LUHRM ANN'S S T R IC T L Y B A L L R O O M . BELOW:

The engaging aspect of this hybrid quality

incredibly overrated as a musical feat. Much

MIMI (GABRIELLE ROSE} A ND BUBBA (M AURY CHAYKIN) IN

is that, while the Festival is perceived and

of the hoop-la about the film tends to be a

A TO M EG O YAN 'S THE A D JU S T E R .

experienced as a whole, it is really held to gether by an underground series of anachro nistic, possible festivals. There even appeared to have been two opening nights. The Mambo

Kings officially attempted to put patrons into the festive swing, but the task actually seemed to have been taken over by the Australian première of Strictly Ballroom alm ost a week later. With director Arne Gilm acher and star Armand Assante in attendance, The Mambo

Kings got the full glitz treatm ent; however, it is a sad case w h en ^ h e bubbly Latino atm os phere of the opening night party eclipses the film ’s same attempt at this atmosphere. Strictly

Ballroom was not accompanied by a full-fron tal glitzy assault, but did garner all the ap plause and a good deal of chatter in the foyer. Many felt Strictly Ballroom should have opened the Festival. Opening night considerations aside, nei ther film can be said to rate high as cinem atic contributions to the musical. The striking pro 58

• CINEMA

PAPERS

can be used to close over sexual, social and

V incent also meets Marguerite (Alexandra

‘Beat’ comes from his act as one-half of a

cultural differences.

London), the d octor’s daughter, who soon

vaudeville team known as ‘The Two B eats’. Yet

It is a good thing the fanfare film s neither

becom es his model and lover.

make nor break the Festival as a cultural event.

Most of the story’s action takes place in

it could also be indicative of the rhythm ic visual and aural patterns Takeshi’s films oper ate by.

Films by Festival regulars Atom Egoyan, Wim

this small village, and Pialat is more intent on

W enders and John Sayles (all Festival guests

capturing the creative personality by study

Ano natsu, ichiban shizuka um i{A Scene at

of previous years) w ere on hand.

ing the interior and exterior environm ents

the Sea) is the third feature film by Takeshi,

The Adjustor does not progress further

which in turn become the subject of his art. To

and compares in style but not story material to

from Egoyan’s previous efforts, and only con

this end, scenes are often drawn out (Theo’s

his previous two films: sparse dialogue, off-

firm s th e shallow ness of his method in trying

wife taking a bath) and se

to connect the different textures of im ages to

quences long and detailed

em otionless voyeurism as a statem ent on

(Vincent, Theo and Margue

contem porary society.

rite’s visit to a Paris nightclub

Meanwhile, W enders’ science-fiction opus,

and brothel). There is minimal

Until the End of the World, is too am bituous

editing and very little camera

(“the ultim ate road-m ovie”, as he described it)

m ovem ent to take time away

to have the them e of obsession successfully

from studying the space of

travel along with its globe-trotting images.

the screen as though it were

For all the visionary ideals hoped for, the

a painting.

visual splendour of their film s tend to aim lessly divert audiences. John S ayles’ City of Hope is also an am

W here the governing ele ment of P ialat’s film is screen space, for Jacques Rivette’s

bitious film , yet the cam era’s trek through

La Belle Noiseuse, not sur

num erous locations around a com m unity in

prisingly, the elem ent is time.

New York, the various characters it unearths

Edouard Frenhofer (Michel

and the dram atic situations it captures man

P icco li), a fam ous though

age to sustain the dark sense of community

inactive artist, resumes work

for which the film aims.

on an abandoned painting,

Unlike last year, the French film s came in

“ La Belle N oiseuse”, after

surprisingly strong with Jacques R ivette’s La

m e e tin g

Belle Noiseuse, Maurice Pialat’s Van Gogh and

anuelle Beart). The four-hour

M a ria n n e (E m m -

Chantal A ckerm an’s Nuit et Jo u r ( Night and

stretch of La Belle Noiseuse

Day) heading the list. The latter is actually a

is an essential story elem ent

French-Belgium -Sw iss co-production and is

that unfolds painting as an

a very direct, often hum orous, reflection on

activity which both affects

love when Julie (G uiliane Londez), in love with

and parallelsthe relationship

taxi driver Jack (Thom as Langmann), also

between artist and model with

falls for Jack’s fellow driver, Joseph (François

their respective relations with

Negret). The film seems to be taking tongue-

w ife Liz (Jane Birkin) and

and-cheek jabs at a tense situation. A fem ale

lover Nicholas (David Bur-

voice-over puts into words much of the em o

sztein). More so, the parallel

tions the characters are experiencing, and it is

between Frenhofer’s return to

som etim es incongruent with the actions of

the abandoned painting and

the threesom e. But it is the pared-down set

Rivette’s return to the form of

ting of the story and the sparse, sometime

earlier film s like L ’Am ourfou

m onotonal, dialogue which give the film its

is strongly apparent.

em otional charge. Some of the action - Jack’s

In Sight and Sound (April

pulling down a wall in the apartm ent he shares

1 9 9 2 ), T h o m a s

with Julie, for instance - results from what is

pushes the parallel even fur

E ls a e s s e r

left unsaid, or what is inexplicably sensed

ther, suggestive of the perva

between the characters.

sive value of a signature, of

P ialat’s film opens with am plified sounds

auteurism : the painting re

of brush strokes as the credits emerge over a

v e a le d to th e a rt d e a le r,

close-up of a brush heavy with bluish, thick

Porbus (Gilles Arbona), is a

paint that sweeps across a canvas in slow

painting Frenhofer completes

m otion. The credit sequence suggests the

in one evening after having the original, com

indissoluble nature that exists between the

pleted work holed up in the wall (apart from a

creative personality and the creation. Com

glimpse of an obscure red detail, the audience

parisons with Vincente M innelli’s Lust for Life

also does not see the finished, original “La

and Paul Cox’s Vincent: The Life and Death of

Belle N oiseuse”).

Vincent Van Gogh are bound to surface, but

As in last year’s Festival, however, the

ABOVE: TODD GRAF AND VINCENT SPANO IN JO H N SAYLES' CITY OF HOPE. A ND, TAKESHI K ITANO 'S 3-4 X JUGATSO (BOILING POINT).

centre action, elliptical unfolding of events.

Sono otoko kyobo ni tsuke (Violent Cop or

Van Gogh holds back on using painting as an

strongest component of the 41 st was the Asian

Warning! This Man is Wild) opens with a static

activity which reflects an artistic tem pera

programme. Chen Kaige’s Bian Zhou Bian

lo n g -ta k e of th e cop, A zum a (p layed by

ment. Instead, brush and palette are replaced

Chang ( Life on a String) should be given spe

Takeshi), as he approaches the camera, each

by the camera.

cial mention for evocation of a divided China

stride of his legs is timed to a beat on the

V incent Van Gogh (Jacques Dutronc) ar

through its im pressive and magical pictorial

soundtrack. Violent Cop works mostly around

rives in a small country village where he has

sense. [See interview with producer Don

Takeshi’s deadpan persona and popularity

an appointm ent with Dr Gachet (Gerard Sety),

Ranvaud in the next issue.]

developed over the years as a television per

who has been recom m ended to Vincent by

But honours truly go to the spotlight on the

sonality. It also owes a lotto American policiers

brother Theo (Bernard Le Coq). This is where

film s of actor-director Takeshi ‘Beat’ Kitano.

and, although the style is very direct, it is less CINEMA

PAPERS

• 59

frenetic. With minimal camera movement and editing, the film is both cool and goofy at the same time.

3-4 x Jugatso ( Boiling Point) comes next, and it is the best of the three featured. The Japanese title refers to a baseball score, and makes better sense than the film ’s English title: although the film has incredibly violent incidents, there is hardly ever a moment where any of the characters reach a boiling point. A clumsy, junior league baseballer, Masaki (Ono Mashiko), clashes with local yakuzas when he accidentally breaks a gangster’s arm, which progressively leads to a showdown be tween the yakuzas and Masaki (with a couple of his baseball friends helping out). There is a dream-like quality to the action. A good deal occurs off-frame and violence seems to be performed incidentally. When Masaki drives a petrol tanker into the yakuza headquarters, taking his own life along with the mobsters, the film closes with the teenager stepping out of the toilet at the baseball field. Masaki has in fact imagined the ‘film ’ while sitting on the can, and could be something of

R A Y M O N D

Y O U N I S

an ironic statement on what the audience has watched for the past 98 minutes - a load of crap. With films like Takeshi’s, the Melbourne Film Festival is continuing in a healthy way.

À WARDS

t was not always a festal period or a ritual

A number of feature films managed to be

of celebration. Indeed, strange murmur-

innovative, thought-provoking and immensely

ings were often heard around the stalls about

satisfying. Europa (aka: Zentropa) has been

the somewhat disappointing range of films on

much praised and rightly so. It is a pity, though,

show at the 39th Sydney Film Festival. But one

that the director has made himself appear to

GRAND PRIX - THE CITY OF MELBOURNE AWARD FOR

wonders where the disappointed cinemago-

be both imprudent and indiscreet. The film is a

The Writing in the Sand (Amber Col

ers were when the highlights, of which there

technical tour de force, with a somewhat pes

lective, UK); THE ERWIN RADO AWARD FOR BEST

were more than a few, were on. Those who

simistic view of history. Though flawed, its

AUSTRALIAN FILM (SPONSORED BY FILM VICTORIA)

dutifully congregated at the screening of films

utilization of some of the possibilities of film

Blackman’s Houses (Steve Thomas), Long Shadows (Paul Winkler); th e kino a w a rd for

by the directors who are most ‘fashionable’,

language is both distinctive and imaginative.

and most often invoked in the coffee-sodden

The audience responded enthusiastically and

Did You Do the Napkin

atmosphere of the annexes, ante-rooms and

it was voted the outstanding film by the film

for

hallways, probably did not find the highlights

critics.

Possession (Phil Mulloy,

there. For these directors provided neither the

best film

b e s t e x p e r im e n ta l film

Tops? (Lisa Doyle, Canada); the kino aw ard b e s t a n im a t e d film

UK); THE KINO AWARD FOR BEST DOCUMENTARY FILM

Usiyxccie Moj Krzyk Drygas, Poland);

(Hear My Cry, Maciej

the kino a w a rd for best fic

fireworks nor the revelations.

Rivette’s film, in a sense, is not at all sur prising. Much has been made of its length, as

But there was much to praise: Lars Von

much was made of the length of landmark

Trier’s Europa, the (in)famous loser at Cannes

films such as Heimat (Edgar Reitz, 1983) and

to Joel Coen’s Barton Fink] the retrospective

Berlin-Alexanderplatz (Rainer Werner Fass

Wireless Nights

of Japanese post-war films; Jacques Rivette’s

binder, 1980). In fact, this is one of Rivette’s

(Melissa Juhanson), Sexy Girls, Sexy Appli

resounding return to form in La Belle Noiseuse]

shorter films - L ’Am our fou (1968) is longer,

ances (Emma-Kate Croghan).

Fridrik T. Fridiksson’s awe-inspiring Born

for example, and Out One (1971), not seen in

The Jury also awarded special commenda

Natturunnar (Children of Nature)] and a num

Australia, is three times as long.

tion to Bruce W eber’s Backyard Movie (U.S.),

ber of ‘sleepers’, such as Theo Angelopoulos’

Rivette seems to be seeking a new com

Stavros Andonis Efthymiou’s The Road to Alice

To Meteoro Vima Tou Pelergou (The Sus

mitment to the humanistic cinema typified by

(Australia), Stephan Schwartz’s The Lake (UK),

pended Step of the Stork) and Edward Yang’s

tio n film

Revolver (Chester Dent, UK);

a w a r d for best s tu d e n t film

th e kino

Catherine Birmingham’s Drive (Australia) and

Guling Jie Shaonian Sha Ren Shijian (A

Daryl Dellora’s Mr Neal is Entitled to be an

Brighter Summer Day). There were also some

Agitator (Australia).

searching documentaries, such as Frederick

In addition to the official awards by the

W iseman’s TiticutFollies, Robin Anderson and

Jury, a further four awards were presented at

Bob Connolly’s Black Harvest, Joe Berlinger

the closing night ceremony.

and Bruce Sinofsky’s Brother’s Keeper and

THE ANZAS-CSIRO SCIENCE AWARD FOR AN OUT

Maciej Drygas’ Usiyxccie Moj Krzyk (Hear My

STANDING FILM OR VIDEO DEALING WITH A SCIENCE-

Cry), and some memorable shorts, including

RELATED s u b je c t Planet Under Pressure: Acid

Tony Twigg’s A Passion Play, Jeff Balsmeyer’s

Assault ( D. Chamberlain, Canada);

PRIZE TO A FOREIGN FILM SHOWING PAR

The Room and Mike Leigh’s A Sense of His tory, together with such original animation as

Lelong Court

Bill Plympton’s The Tune and Marv Newland’s

(Short Lelong, Richard Andry, France); o.c.i.c.

PinkKomkommer. One could name many more.

tr ib u tio n

TICULAR

d is tr ib u tio n p o t e n t ia l

th e a fi d is

ECUMENICAL AWARD TO AN AUSTRALIAN SHORT FILM PROMOTING POSITIVE HUMAN VALUES Wireless

N ights ; th e Au str a lia n c e r t if ic a t e of m e r it

p s y c h o lo g ic a l s o c iet y

MASTROIANNI) AND THE W O M AN (JEANNE MOREAU) IN THEO

Damned in the USA (Paul

ANGELOPOULOS' TO METEORO VIMA TO U PELERGOU (THE

Yule, UK). 60

• CINEMA

ABOVE: JACK (THOMAS LANGM ANN) IN CHANTAL ACKERMAN'S N U IT ET JOUR. RIGHT: THE MAN (MARCELLO

• PAPERS

SUSPENDED STEP OF THE STORK).

Jean Renoir and Eric Rohmer, both of whom

to be buried. Though the

he worked with in the 1960s. He is also seek

begin nin g and end are

ing a greater sense of unity and coherence in

m asterfully directed, the

his work, two aspects which he attributes to

middle sections do drag,

the ‘classical trad itio n ’ in cinema.

at times. But the resolu

This film is not just about the artistic

tion is quite mesmerizing.

process and the production of a masterpiece.

A number of images

It is a m ulti-layered film which insightfully

and the transitio n s be

explores relationships and their transform a

tween these are strangely

tions, uncompromisingly depicts the upheaval

beautiful and evocative:

and fear, and uncertainty and desolation, that

Stella’s death on the beach

are part of the creative process and the attain

and Thorgeir’s dragging

ment of a type of truth, not just on the canvas

the body over the fields to

but in the lives of the major characters. In this

the grave which he has

sense, Rivette seems to be challenging the

prepared in the shadow of

expectations that the results, whatever they

the church, the blood on

may be, will be forthcom ing without one’s

his feet as he walks over

having to do much thinking.

the stones. And the final

The film is also crucial for two other rea

sequence has a rapt qual

sons. First, it suggests that it is the humanity

ity, a poetic and irreal

of the creator that must be given precedence

am bience, that is quite

over the sense of truth in art, at least in the

u n fo rg e tta b le and th a t

short term, and especially when that truth is a

gives these moments the

source of pain, even horror. Second, the film

full force of an epiphany.

is committed to an idea of truth (as something

A ngelopoulos’ film is,

stable and determ inate though difficult to at

quite simply, masterful. It

tain), which is quite challenging given the

is concerned with asylum-

vagaries of an age when post-structuralism

s eekers and th e ir d is

and post-modernism have become so modish.

placement, as well as the

In this sense, the film is polemical and it raises

lack of co-operation by the

a number of justifiable points - not just about

authorities.

that ancient idea of the quest but also about

Those who are fam il

the attainability of the goal and the experience

iar with A ngelopoulos’ films will not have

ABOVE: MURDER DEFENDANT DELBERT WARD IN JOE

of some sort of epiphany, either on a deeply

been surprised by thequality of the filmmaking.

BERLINGER AND BRUCE SINOFSKY'S BROTHER'S KEEPER.

personal level or on the level of the artwork.

Like Andrei Tarkovsky, with whom he has

Even if the means does not always justify the

many affinities, Angelopoulos has always

ends, the film is nevertheless full of insights,

privileged ambience and atmosphere. He uses

brilliant package. Its “affection” for those who

refreshingly uncompromising in the pursuit

long takes, real time, slow pans and cranes,

are creative and refuse to be strait-jacketed,

of its aims and ultim ately poignant, compas

much stillness and silence and anti-naturalis

and for those who preserve ethnic customs,

sionate and convincing.

tic imagery, and generally avoids close-ups to

habits and eccentricities, is admirable. The

Much of the same could be said about

create an all-enveloping rhythm. The film is

dynamic use of montage, the imaginative use

for its popularity, too. The film comes in a

Children of Nature and The Suspended Step

characteristically unhurried and reflective, so

of colour and light, the effective employment

of the Stork, both of which deal with the idea

it will not be to everyone’s taste. But it is (also

of slow-motion, the hyper-kinetic use of the

of the quest and the myth of the return, but in

characteristically) thoughtful and penetrating,

camera, and the delight in the body and its

quite different ways. Fridriksson’s film focuses

especially when it deals with complex issues

dynamic forms in space suggest that Baz

on the mistreatment of an elderly man, Thorgeir

such as lives that must be led on the threshold

Luhrmann is a figure to watch.

(G is li H a lld o rs s o n ), and w o m an , S te lla

between two worlds, which are equally inac

The film ’s insistence on the surmounting

(Sigridur Hagalin), in a nursing home. They

cessible and unyielding; with the paradox of

of fear and the pursuit of artistic expression is

reaffirm their freedom and dignity, and decide

identities (which recede or shift even as one is

quite unequivocal and convincing. But there

to return to the ‘old land’, where Stella longs

attempting to understand them); with the my

are too many banal episodes and the romantic

thology of the border and the tragedy of the

interest in particular is utterly predictable. To

inhabitants suspended there in a condition of

use a musical analogy, there often is not much

homelessness, abandonment, despair.

between largo and allegro{molto vivace). Also,

It is a bleak and melancholy film, with

a number of scenes are overblown and over

recurrent, mist-shrouded landscapes and the

stated, not always in ways that serve the point.

harsh, grey light of winter, but it has a stark,

Significantly, these problems occur in the sec

terrible beauty. Though much of it is despair

tion between the dance sequences.

ing in tone, it is rich in nuance, especially in its

To be sure, the use of dance as a metaphor

ultimate suggestion that living on the margin

is not new, either - Cimino used it to dramatic

between two closed domains, living in that

effect in Heaven’s Gate and, more notably,

region where the step is suspended and where

Ettore Scola explored it with elegance and

time seems to disappear, is but another name

insight in Le Bal. But Luhrmann has used it to

for a journey towards a destination that is

fashion a dazzling whirligig of a film that,

either insubstantial or inaccessible. It is diffi

despite its flaws, manages to be distinctively

cult, in retrospect, to think of a more profound

Australian and yet universal in its themes as

film at the festival.

well. The director’s love for the subject and the

Alas, when one considers such depths of thought and feeling in a film, Strictly Ball

exultation in the medium make it an attractive film indeed.

room’s weaknesses cannot but become evi

One ought also mention the retrospective

dent, though one can understand the reasons

on Japanese films of the 1940s and ’50s. This CINEMA

PAPERS

• 61

was a bold step on the part of the Festival

couldn’t love yo u ”, though just how one can

things, sadly, that belong to the past.

director, for it is easy to forget that the post

One can bicker about one or two of the

love two members of the opposite sex equally

war Japanese cinema has given us some of the

choices in the retrospective: for example, why

in an affaire is not explored - not surprising

most enduring landmarks in the medium. Here,

not include a Kenji Mizoguchi m asterpiece

given the nature of the problem.

we had the opportunity to see film s which are

from this era, especially since we see so few of

The film is also seriously weakened by a

rarely seen, if at all, in Australia. And there was

his film s here, or a rarer film by Kinugasa or

m uddle-headed screen p lay and num erous

much to praise, from Heinosuke Gosho’s la

Setsuo Kobayashi? But, overall, the retro

contradictory ideas and words. This is not

ment over the eclipse of traditional values and

spective was enorm ously rewarding and, as

always intentional: for exam ple, Julie insists

the pursuit of m aterialism (“W here did hum an

one would expect, Donald Richie’s comments

that one can never be sure, can never know,

ity go?”) and wealth in Osaka no Yado (An Inn

were illuminating.

and yet it is clear on m any occasions that Julip

at Osaka) and Yasujiro Ozu’s Nagaya Shinshi-

Among the many im pressive docum enta

is sure of many things and knows that what

Roku (Record of a Tenement Gentleman) to the

ries, none was more disturbing or rem arkable

she is saying is true. Equally, Julie, we are

work of the ‘new’ directors such as Kon Ichi

than F re d e ric k W is e m a n ’s Titicut Follies

told, “fills their [the two cabbies] silence”;

kawa, Mikio Naruse and Kinuyo Tanaka.

(though Hear My Cry, with its closing images

though why it should require her to do this ang

Record of a Tenement Gentleman is not

of Ryszard Siwiec burning to death in protest

why the film m aker feels that the lives of thp

major Ozu but here again are the characteristic

against the restrictions on freedom, was quite

two men, who, according to other aspects Of

concerns and that distinctive style: the low,

unforgettable). W isem an’s film is a scathing

the film are very different, should be reduced

fixed camera (giving the point of view of a

exposé of the treatm ent of the mentally ill,

to this common denom inator, are not ad

Japanese observer sitting on a tatami, the still

made in 1966 and subsequently banned. The

dressed.

point of reflection and repose), the avoidance

reason? Invasion of privacy! Though Wiseman

of fades, tracks and pans, the emphasis on the

claims that consent had been given, it is diffi

Kaige’s grandiosely conceived Life on a String

shomin-geki or low m iddle-classes (who had

cult to see how some of the patients could

are the major problems. The film is clearly

have given this. (The issue of

intended to be an allegory. Unfortunately, at

responsibility and awareness

its foundation, there are hackneyed ideas: for

of c o n s e q u e n c e s a re not

example, life is a “gam e” which we are told,

raised in the film .)

with no great insight, “some play well, some

The approach to mental

don’t”. And this is characteristic: the film

illness is shown to be regi

strains after profundity and only succeeds in

mented, authoritarian and in

appearing, for the most part, banal and rather

sensitive. There is constant

simple-minded (witness, for example, the song

joking and singing, though

that is supposed to separate two arm ies). This

much of this seems to be in

is a pity because the framing and the use of

spired by the presence of the

landscape is quite breathtaking.

cam era (an o th er issue not

Though Kaige may be right to emphasize

raised). There are no recrea

the need for a new faith and optimism (sug

tional facilities, no com fort

gested in the old m an’s insistence that his

a b le room s and peace is

follower should persist with music in the hope

a c h ie v e d

o n ly

that sight will be restored), the script contains

through solitary confinem ent

too much stilted dialogue (at least, it seems so

(or . a state that closely re

in translation) and his faith in human nature

s e m b le s

seem s

th is ).

A nd

th e

‘guards’, for that is what they

JACQUES RIVETTE'S LA BELLE NOISEUSE.

seems, in the context of this film, to be som e what naive.

appear to be, sing, joke and

As one looks at the programme of film s in

dance, even as the suffering,

general one wonders about a num ber of film s

the helplessness, the indig

- for example, the new films by Krzysztof

nity and the rage persist. U Z (JANE BIRKIN) AND EDOUARD (MICHEL PICCOLI) IN

Likewise, the ideas and screenplay in Chen

Kieslow ski and V olker Schlondorff, Derek

It would be very difficult to choose be

Jarman and Terence Davies, Atom Egoyan,

tween this film and Robin Anderson and Bob

Hector Babenco and Akira Kurosawa; films

C on n olly’s Black Harvest. The latter is a

such as Mediterraneo and Vitore Erice’s ac

searching study of a man who finds that he

claimed E l Sol del Membrillo (The Quince Tree

been dom inant in Japanese life) and on the

cannot alter the old ways in the life of a clan,

Sun), not to mention the reconstructed ver

single parent as well as the dissolution of the

cannot convince the people of the necessity

sions of Orson W elles’ Othello and Orson

fam ily. Characteristically, too, Ozu is con

for law and order, nor ignore the fact of his and

Welles’ Don Quixote and a num ber of A ustral

cerned here with revealing character through

their insignificance in relation to international

ian film s - that are conspicuous by their ab

emotional and psychological growth. In this

trade. The film is deeply saddening and force

sence. Of course, one cannot have it all, for

case, a young lost boy re-awakens the human

ful, especially since the man in question, Joe

one reason or another. But such film s would

ity of a widow and allows her to free herself

Leahy, despite his honourable intentions, finds

make a carefully prepared and stim ulating

from her selfishness and solitude.

that he cannot live in his homeland or in his

festival such as the 39th Sydney Film Festival even more exciting, im pressive and vital.

One of the greatest surprises of the retro

chosen land, Australia. One hopes that Jo e’s

spective was Tanaka’s Tsukiwa Noborinu ( The

story in Australia (and elsew here) w ill bQ

Moon Has Risen). She had worked as an ac

documented.

D E N D Y A W A R D S FO R

tress with both Mizoguchi and Ozu, and clearly

Two of the greatest disappointm ents were

benefited from their perfectionism and acute

much-heralded films, Chantal Ackerman’s Nuit

powers of observation. The film is a charming

et Jo u r (Night and Day) and Chen Kaige’s Bian

g e n e r a l c a t e g o r y Cat’s

and sensitively-directed exploration of the

Zhou Bian Chang ( Life oh a String). The first is

fic t io n

tension between tradition and modern life

marred frequently and seriously by reflections

a n im a t io n

d o c u m e n ta r y

I A U S TR A L IA N S H O R T FILM S

Cradle (Liz Hughes);

Flitters (Chris Tuckfield);

(represented by Tokyo). It suggests that the

which seem to be intelligible but on a closer

form er cannot but be changed or decline, just

look are seen to be nonsensical. For example,

n ic a ffa ir s c o m m is s io n a w a r d

as it em phasizes and celebrates gestures of

Julie (Guiliane Londez), who loves two cab

p r ize

generosity that are clearly seen to be relics,

drivers, says to one, “If I loved you more, I

• CINEMA

PAPERS

yoram gross

AWARD Shelf Life (Andrew Horne);

Maria (Barbara Chobocky);

Cat’s Cradle.

e th

Maria; s ta tr a v e l

B O O K S COMPILED

VARIETY: 1991-THE YEAR IN REVIEW

R BY

RAFFAELE

Marilyn J. Matelski, Focal Press, Boston-London, 1992, 230 pp., pb, rrp $55.

CAPUTO

The second of V arietÿs “The Year in Review” series condenses and critiques the most sig SCREEN STUDIES CATALOGUE

nificant mass communication trends of the past

Elizabeth Malkmus and RoyArm es, Zed Books,

National Library of Australia, Canberra, 1992,8

year. A valuable resource book for industry

London, 1991,264pp., rrp hb $69.95, pb $25.00.

volumes, pb, rrp $40. Single volume price $7.

professionals.

In what is perhaps the first detailed and serious

This is a new and enlarged eight-volume edition

MOTION PICTURE AND VIDEO LIGHTING

study of Arab and African filmm aking to appear

to accommodate the increasing number of titles

Blain Brown, Focal Press, Boston-London,

in English, the authors begin with an account of

and indexes of the Film and Video Lending

1992, 210 pp., pb, rrp $105.

the colonial history of the two continents and its

Collection. The volumes divide the collection

PROFESSIONAL LIGHTING HANDBOOK (2nd Edi

importance to the emergence of filmmaking.

into: American feature length and short fiction;

tion) Verne and Sylvia E. Carlson, Focal Press,

They then look at indigenous filmmaking prac

International feature length and short fiction;

Boston-London, 1991, 224 pp., hb, $75.00

tices which developed after independence was

Australian, British, Canadian and New Zealand

These books are strictly targeted for established

achieved in the 1950s, and examine the condi

feature length and short fiction; Experimental

and would-be professionals, and are thoroughly

tions under which films are produced today.

film and video art; Animation; Documentary;

exhaustive of the technique and theory of light

Parts 2 and 3 of the book are concerned with

Film and television study; and Title and Pers

ing, covering all levels from student filmmaking

specific issues, such as the problems of narra

onality index. More than 4,500 films and videos

to big-budget feature production. Professional

tion and representation in Arab film, and the

are listed to provide an overview of the history,

Lighting H an db oo ks especially concerned with

dialectic of image and voice in African cinema.

art and sociology of world cinema and television.

mastering the equipment.

MY BRILLIANT CAREER: THE SCREENPLAY

ELVIS WORLD

THE DAY OF THE DOG

Eleanor Witcombe, University of Queensland

Jane and Michael Stern, Bloomsbury, London,

A rchie Weller, Allen & Unwin, Sydney, 1992,

Press, 1992, 57 pp., pb, rrp $18.95.

1991, 211 pp., pb, $29.95.

167pp., pb, rrp $14.95.

This book is a loving appreciation ofPresley as

First published in 1981, when it won a West

an object of myth production. Although often

Australian literature award, W eller’s novel has

humorous, the authors provide a comprehensive

now been filmed by director James Ricketson. It

The screenplays of two award-winning Austral

study of ‘how and w hy’ Elvis became firmly

tells of a young Aboriginal ex-convict torn be

ian films by women directors. M y Brilliant Career

embedded in popular consciousness.

tween the bad influence of his friends, the love of

ARAB AND AFRICAN FILM MAKING

PROOF: THE SCREENPLAY

Jocelyn Moorhouse, University of Queensland Press, 1992, 55 pp., pb, rrp $18.95.

(1979), an adaptation of Miles Franklin’s classic

The chapter on Elvis’ screen career is not an

novel, won six AFI Awards. P ro o fs 991) won two

in-depth study, but worth a few glimpses for the

AFI awards and was shown at Cannes in 1991.

iconic value of the celluloid Elvis.

SOUNDTRACKS NEW

a young woman and the threat of gaol if he returns to his old ways.

FRO M T H E C R EA T O R O F JEAN DE FLORETTE' AND

MANON DE SOURCES'

& U N U S U A L S O U N D T R A C K R E C O R D IN G S FR O M OUR LARGE R A N G E

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READINGS

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OTHER S T O R E S 366 LYGON STREET CARLTON 347 7473 269 GLENFERRIE ROAD MALVERN 509 1952 710 GLENFERRIE ROAD HAWTHORN 8191917 M A IL ORDER • P 0 B O X 482 S O U TH Y A R R A VIC. 3141

TWO ORIGINAL SOUNDTRACKS ON ONE CD

MUSIC COMPOSED, ARRANGED AND CONDUCTED BY VLADIMIR COSMA (COMPOSER OF DIVA) AVAILABLE ON CD THROUGH GOOD MUSIC RETAILERS

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CINEMA

PAPERS

* 63

S O U N D T R A C K S IVAN

HUTCHINSON

here was a time not so long ago when movie soundtracks were hard to come by, unless

they happened to be a soundtrack composed entirely of pop tunes. The advent of CDs may not be responsible for the turnaround, but since the arrival on the scene of these small, expensive discs, the trickle of soundtrack releases has increased to something closer to a flood. Why do you buy a soundtrack, especially a soundtrack from a dramatic movie in which the music is generally background atmosphere? The easy answer is because you like the movie and have a vague feeling that, separated from the visuals, there is something in the score that will repay further hearings. Sometimes this turns out to be true, some times not. Of the ten CDs about to be reviewed, the most disappointing musically is the one for the film I liked best, one of the most attractive for a film I cared little about. Let us start with The Player (Varese Sarabande USD-5366). The score for Robert Altman’s clever movie is credited to Thomas Newman who has provided a miscellany of interesting sounds which, since they have little inter-con nection or development, have little to commend them once the novelty has worn off. It is a “bitsy” CD as well, most of the 19 tracks being too short to make much impression. Track II (“Tema para Jobim”) is over four minutes, and is pure elevator music, written, according to the cover, by “Jerry” Mulligan which may or may not be a misprint. A warning: don’t have the volume up when you play Track 4, the main title music. I did and the opening crash of sound had two sleeping cats doing standing jumps worthy of Sylvester in W arners’ cartoons. Fried Green Tomatoes (MCAD-10461) is another Thomas Newman score, but only two of the 12 tracks are his work. The rest consists of various tunes, most of which hardly bringthe film back to mind, although one, Terry Kirkman’s song “Cherish” , is heard in the movie enough to be associated with it. Patti La Belle does an earthy, suggestive

the movie.

Me”), gets it off to a good start, and Elton John’s “Runaway Train” pounds along on Track 2.

“Barbeque Bess” , there’s a Bob Dylan song, “I’ll

The same can be said for Beauty and the

Remember You” , and others which suggest the

Beast (Walt Disney 60618-2). The disc’s 15

These out of the way, a large orchestra takes

tracks are straight from the soundtrack and do

over with the emphasis on strings and some ad-

The Mambo Kings (Elektra 7559-612240-2)

full justice to the Broadway-sounding score of

libbing from unnamed musicians on sax and

brings back the past with a vengeance: clusters

Alan Menken and the late Howard Ashman.

muted trumpet. The music is jagged and menac

of brass and Latin rhythms to the fore and songs

There is excellent singing, some wit, sparkling

ing on Track 5 (“Darryl Dies”), while Track 6

authentically played and sung by such as Tito

orchestration and the title tune, as sung first by

(“Riggs and Rog”), with some lovely guitar and

Puente and Celia Cruz. Linda Ronstadt does

Angela Lansbury (as Mrs. Potts) and then as

sax sailing away over a polite rhythm section,

“Perfidio” and “Quiereme Mucho”, there’s a Latin

duetted over the end titles by Celine Dior and

sounds like perfect late-night smooching music.

version of “Tea For Two” , and the pretty love

Peabo Bryon, is a very attractive tune indeed. It

The Hand that Rocks the Cradle (Hollywood

song from the movie, “Beautiful Maria of My

all sounds a bit too sophisticated for Disney, but

HR-61304-2) has a clever score by Graeme

Soul”, written by Robert Kraft, the film ’s music

it is a highly professional effort.

South, but not necessarily this movie.

Revell which uses a number of variations on, of

producer and Arne Glimcher, the film ’s director,

Lethal Weapon 3 (Reprise 7599-266989-2)

is heard twice, once with the vocal by Antonio

won’t be remembered for its music, but as a disc

“Pirates of Penzance” , to supply some of the

Banderas. This is not necessarily to everyone’s

it has some pleasures. The opening track, per

frisson necessary for this tale of a homicidal

taste, but undeniably a memento for admirers of

formed by Sting with Eric Clapton (“It’s Probably

Nanny. (The husband in the movie is a G & S fan

• CINEMA

PAPERS

all things, Sullivan’s “Poor W and’ring One” from

FILM FINANCE CORPORATION FUNDING DECISIONS C O N T I N U E D

in case you’re wondering why Revell latched onto the tune.) Far and Aw ay (MCAD-10628) is lush John

29 July 1992

PAGE

the Rathnow Circus back in Australia, he has a chance to create his own ‘suitcase’ style of

FEATURES e b b t id e

FROM

(95 mins) Genesis Films. Executive

Williams, a disc I may have enjoyed even more

producers: Craig Lahiff, Paul Davies, Helen

for its skill, craftsmanship, and melody if it had

circus that is unique to his own character and experience.

Leake. Producer: Craig Lahiff. Director: Craig

DO CU ME N TA RI E S

accompanied a genuine epic instead of the pint-

Lah iff.

Peter

THE LAST MAN HANGED (TV hour) Bill Bennett

size, teenage romance it did. As it is, it seems a

Goldsworthy, Warwick Hind. Lawyer Jeff War ren takes on a compensation case against a

Lewis FitzGerald. Scriptwriter: Lewis FitzGerald.

chemical company and becomes enmeshed in a web of lies and corruption. His love affair with

Dramatized documentary about the hanging of condemned murderer Ronald Ryan at Pentridge

the mysterious Ellen Fielding implicates him in the murder of her husband, Harry, whose com

Gaol in 1967 - the last man hanged in Australia. The documentary uses a mixture of re-creation,

pany has carried outthe secret dumping of toxic waste, which leads to a number of deaths. t h e c u s t o d ia n (105 mins) J. D. Productions.

from the point of view of a journalist who at

waste of a good score. Apart from a massive orchestra, the disc features “The Chieftans” on a couple of tracks and Enya is heard on Track 18 (“Book Of Days”). Another disc many will enjoy is Howards End (Nimbus 5339), a score by Richard Robbins which is quite beautifully orchestrated by Robert Stewart. To go with this story set in Edwardian England, Robbins has composed a restrained, elegant score which actually sounds on disc even better than it did on film where it occasion ally seemed intrusive. Robbins has used Percy Grainger’s “Bridal Lullaby” in the score, and if you like the Main Title track, in which the piece is delicately played by pianist Martin Jones, you’ll enjoy the whole. The movie is mainly pastoral in style, though there are a couple of tracks (“Tango at Simpsonsin-the-Strand” and the end credits which uses Grainger’s “Mock Morris”) where the change of tempo is welcome. Both of the last two discs have tracks long enough for the music to de velop and take hold. Black Robe (Varese Sarabande VSD-53349)

S c rip tw rite rs :

Bob

E llis,

Executive producers: Gary Hamilton, Michael Caulfield. Producer: Adrienne Read. Co-pro ducers: John Dingwall, Dimitra Meleti. Director: John Dingwall. Scriptwriter: John Dingwall. An honest cop, Quinlan, decides he can no longer turn a blind eye to the corruption in the police force. Quinlan’s closest friend, Detective Ser geant Frank Church, is involved in organized crime and most senior policemen in the city are on the take, right up to the Commissioner. De pressed and with his marriage on the rocks, Quinlan must come to terms with himself. He will bring down the whole house of cards by posing as a corrupt cop. In an unexpected twist, a woman called Jilly sees through his deception and Quinlan finds love. M INI -SERI ES

(4 x 1 hour) South Australian

features the late Georges Delerue’s simple, but

THE

haunting music for this worthy Canadian-Aus-

Film Corporation. Executive producers: Valerie Hardy (SAFC), Ross Dimsey (London Films).

tralian co-production. The emphasis here is on strings with solos from recorder and cor anglais. The tracks are a bit shortbreathed, and the more energetic parts of the score - Tracks 4 and 13 for example - are heavy on the drums and sound less effective. Track 21 (“Libera Me”), the longest one, is

battlers

Producer: Gus Howard. Director: George Ogilvie. Adapted for the screen by Peter Yeldham from Kylie Tennant’s prize-winning 1941 novel, The Battlers concerns the itinerants living a hand-tomouth existence on the back roads of rural Australia after the great depression. The love

Productions. Producer: Bill Bennett. Director:

interview and archival material to tell the story tended the event. This journalist was Keith Willey, the uncle of writer-director Lewis FitzGerald. t h e l a s t c ir c u s (TV hour) Last Circus. Execu tive producer: Chris Jeremy (Prime Television). Production consultant: Derek Pola. Producer: Wal Missingham. Scriptwriter: Derek Pola. Di rector: Alan Hayes. A history of circus perform ance in Australia since 1847 using vintage film footage. It looks at the evolution of the circus in the face of today’s high-tech entertainment al ternatives and at the human side of the circus, the performers. The film also examines the animal liberation debate and how it has affected traditional circus acts. ROAD TO ADVENTURE ( 2 x 1 TV hour) Sorena.

Producers: John Mabey, Rhonda Mabey. Direc tor: John Mabey. Scriptwriter: Dion Boehme. Each of these one-hour specials takes us on a journey with storyteller Jack Absalom, who shows how Australians can enjoy adventure while travelling in comfort and safety. The first programme deals with caravanning and the second with camping. Since the June Board meeting the FFC also entered into contract negotiations with the pro ducers on this project:

particularly fine and features a boy soprano

story of Snow and Dancy is a celebration of the human spirit through hardship and survival.

(Christopher Taplin) and a chorus as well as

SKY TRACKERS (26 x 30-minutes) ACTF Pro

rectors/Scriptwriters: David Bradbury, Helen

orchestra. The playing and engineering is first-

ductions. Executive Producer: Patricia Edgar. Producers: Patricia Edgar, Margot McDonald.

Stickley-Thompson. This documentary, narrated by Peter Garrett, takes up the battle to save Shoalwater Bay in Queensland from the threat of sandmining and tourist resort development.

rate and it is a pleasure to add that the score was recorded in Sydney. Finally, music from Tous les Matins du Monde (Valois V4640), director Alain Corneau’s film with Gérard Depardieu (of course!) and set, by the look of it, in 17th-Century France. The disc features the music of Lully, Couperin and others, and is exceptionally beautiful. The music is underthe director of Jordi Savall, who has composed some original music as well as arranged other pieces performed by the Con cert des Nations, a baroque orchestra he formed in 1989. A master of the bass viol (a precursor of the cello), Savall is featured on the disc, and this is playing of a high order. By the way, only the last disc has satisfactory notes with it. On some of the others, you’d think the music was composed by the actors.

Scriptwriters: Jeff Peck, Tony Morphett. Mike, Veronica and Maggie are scientists’ children

DOCUMENTARY THE LAST FRONTIER (45 mins) Producers/Di-

who live in Tidbinbilla, a space tracking station in the heart of an Australian wilderness park.

Two local Aboriginal people and a 74-year-old

The stories in this children’s series revolve around two families, the life of this tight-knit

Shoalwater Bay to capture this jewel of a wilder ness area and bring it to national attention.

environmentalist accompanied the film crew to

community, the station’s links to the international science community, and the discovery of the universe and self. CLOWNING AROUND ENCORE (18 X 30 minutes). Barron Films (Television). Executive Producer: Paul Barron. Producers: Paul Barron, Julie Monton. Director: George Whaley. Scriptwriters: Tony Cavanagh, John Coulter. Sim is now a clown at the Winter Circus in Paris. Ambitious and determined to become a great clown, Sim becomes intrigued with the ‘modern’ circus rou tines pioneered by Circus Oz and Cirque du Soleil. When Sim suddenly inherits a share in CINEMA

PAPERS

• 65

Introduction

Tu rn in g the

By the tim e you read this, the prem ier A ustralian film and video trad e event fo r the

We now know the name the Eastman Kodak

y ear will have happened. If y o u ’ve read you r SM PTE special edition of Encore, then

Company will use for the line of high-resolution electronic intermediate products it has been

you w ill know that vid eo has gone digital and the difference betw een you r com puter

developing here in Melbourne and in the U.S. It

and y o u r video gear is only m oney. Yet again y o u ’ll be forced to upgrade, but yet

was announced first at the ShowBiz EXPO in

again you w ill get better equipm ent fo r you r m oney.

-Los Angeles in July, where Kodak also showed

For a techno buff like me, the lust for it all was enorm ous but a tin y voice

examples of scenes composited with a proto

(rem em b er those tin y voices? ) asked, “W hy d o esn ’t it look as good as film ? ” And

type model of the CINEON Digital Film System. Almost at the same time was a demonstration of

then a big edito rial voice says, “ It’s okay to talk to y o u rs elf but tell us about the new

the system at the International Broadcasting

stu ff fo r film m a k e rs .” So, the next issue w ill have a “ Film ’s B ack” special w ith all

Convention (IBC) in Amsterdam and the com

the film relevant equ ip m en t and inform ation.

puter graphic event of the year Siggraph ’92.

The price of quality.

(We’ll see details at SMPTE ’92 which is taking place as we go to the printers with this issue.)

A u stralia alw ays seem ed to have the m ost sensible approach to the video vs.

Kodak also announced plans for the open

film con fro n tatio n. W hile the subject of heated debate overseas, here it w as all a

ing in 1993 of a permanent Digital Film Center

no n -even t and vid eo was em braced w ith open arm s and w allets. As soon as we took control of the telecin e transfers away from the stations and tran sferred our own film

at a new facility it is constructing in Hollywood adjacent to its current Burbank site. A few of the key management people have

to tape, the dem and fo r better quality w as answ ered with the firs t giant leap. As soon

been giving interviews which tell us a little more

as we saw how flex ib le and fast we could cut our program m es and com m ercials on

about the system. I’ve collected some of the

vid eo , w e saw ano th er step forw ard in com pu ter con tro llers for vid eo post. But we

more pertinent comments here.

alw ays had the belief that fo r im age quality film won hands down and, if you c o u ld n ’t

The One and Only

afford to shoot film , then you had to accept the trad e -o ff to vid eo resolution.

“The Cineon Digital Film System bridges the gap between the art of filmmaking and the efficiency of computer technology. This is the

At the sam e tim e, the low est com m on den o m in ato r fo r distribu tio n becam e VHS and fo r a lot of jobs it d id n ’t really m atter that the im age quality w as d ifferent. W ith o u t vid eo cam eras, we w ould all be a lot poorer - in business as w ell as in

only digital intermediate system that has dem

in fo rm atio n . W e em braced th e changes in tech no lo g y as they happened and there

onstrated it can produce film resolution im ages” , says Don Miskowich, Marketing Man

is no going back. I’m certainly not going back to a non -linear vid eo tap e o ff-lin e

ager, Advanced Technology Products for Kodak

again even if it is half the price of a com puter-based edit.

Motion Picture and Television Imaging. “It fea tures very fast film scanning and recording

Som ething sneaky has happened though to 16mm w hich was the m ost obvious loser again st the em brace of Betacam vid eo gear. U nless I’m reading the fig u res w rong, it appears that m ore people are choosing to shoot 16m m film in m arginal

capabilities. The workstation will allowfilmmakers to preview images in real-time and work with digital pictures in an interactive mode.”

budget situ ation s, and that the Super 16 m essage abo u t upward com patib ility to

Miskowich also notes that Kodak has li

HDTV and w idescreen form ats is at least being paid lip -service. From som e quotes

censed patents and compositing algorithms from

th a t have happened around me in the past few w eeks, the extra cost of film , processing and telecin e of th e n egative w ith a conventional video p o st-production

Ultimatte Corporation. “During the past 2 0 years, Ultimatte Corporation has perfected the use of software for electronic image compositing at

is being considered by clients who w ould have dism issed film as an extravag an ce

NTSC, PAL and HDTV resolutions. However,

o n ly a y ear ago.

this is the first time the image compositing

It m ust be p o ssible to m ake a rule of thum b about th e percentage cost of film versus tape. From my experience, fo r a production with actors, studio and set costs,

technology they have perfected will be avail able at film resolution” , he says. “We believe

it w ould be qu ite low. Of s im ila r in terest w as the fig u re quoted fo r the cost for

this will give filmmakers an enormous amount of creative freedom. They will have increased

d irecto r Ron Howard to sho o t 65m m instead of 35m m fo r F a r a n d A w ay, featu ring

flexibility while being able to create electronic

Tom C ru ise and N icole K idm an, of betw een one and tw o per cent extra. The tim e has com e to take the cost of q u ality seriously. 66

• CINEMA

PAPERS

composites in days instead, of weeks.” Kodak plans to open a Digital Film Center in Burbank on 25 September. The Center will serve as a

Cineon

BELOW: COMPONENT RENDERING: KODAK HIGH-RESOLUTION ELECTRONIC INTERMEDIATE SYSTEM

test site for the Cineon Digital Film System. Says Miskowich:

producers, writers, directors - so that they’ll understand

Our goal is to provide visual effects practitio ners with convenient access to this advanced technology during this critical stage of devel

the implications.” It was a problem similar to this that

opment. It will also give us practical experience and diverse feedback from a wide range of filmmakers. That information will be invaluable forfine-tuning features and capabilities of the Cineon Digital Film System before a produc tion model -is brought to the marketplace in 1993.

Quantel’s Harry faced when first introduced. It has taken

If you haven’t caught up with the basics of the system, it incorporates hardware and soft ware components, including a film scanner, an image-computing workstation equipped with a transputer-based image processing accelerator, and a laserfilm recorder. In addition, the system employs industry-standard computer peripheral interfaces and a software-based open architec ture system. It can scan film into digital data for image processing, electronic painting and digital compositing at the Sun workstation. The digital pictures can then be recorded back onto a highresolution colour intermediate film with a gas laser recorder without compromising any of the image quality on the original negative. The “no compromise” bit is the really exciting break through. Kodak has taken the position that its EXR fine grain stocks have to be the benchmark in quality. Anything less than that is not ac ceptable. To get that quality requires a lot of data, up to 40 MB of data to digitally represent all the image information on a single frame of 35 mm colour negative film. That provides 10 bits of information per pixel in each of three colour channels. This leaves headroom for image manipulation. Performance of the scanner and recorder is still being fine-tuned, but the goal is for three-seconds-per-frame input and output, according to Miskowich. The system will also operate at one-quarter and one-half resolu tions, which are comparable to NTSC/PAL and

the video systems such as

years for the right kind of commercials to be written to take full advantage of its ca pabilities. Cineon faces a similar task. The system, Miskowich said, has been “getting a great response from cine matographers”. Allen Daviau (who won an ASC award for Cinematography on Bugsy) was quoted in

blue-screen shot. The foreground is an exterior

Variety saying that if the Cineon system lives up

filmed in daylight against a portable blue-screen background. A blonde actress walks into a phone booth and makes a call.

to its promise to provide all the flexibility that a Rank Telecine machine does in transferring films to the video format, but at full-film resolu tion, it “will be a real dream” . The concept of starting out with film and then doing morphing or special effects at a

The portable screen is coated with ordinary blue paint rather than the ultra-precise material that would typically be needed for this type of a composite scene.

digital workstation and, in the final phase, allow

When shown at Amsterdam, C. Bradley

ing a cinematographer to do electronic colour

Hunt from the European Sales division described the shot as

correction, essentially means the cinematogra pher will “be able to do an electronic answer print and then go back to film ” , a revolutionary concept, Daviau said. “One challenge for the cinematographer for the next decade will be seeking out his or her role in the future of the film-video interface.” Variety also quoted cinematograher Steven Poster: When we can originate on film, correct elec tronically and output back on film, life will be complete. Kodak is thinking of it now as just for special effects use, but cinematographers I’ve talked to, and myself included, see the day when it will be used as an entire finishing medium.

Now for the Demonstration

a worst-case scenario. The blue screen was lit by daylight with no particular attention given to controlling the illumination on the screen. It was a very overcast day with‘the sun periodi cally poking through the clouds and intermit tently over-exposing the film. There are re flections on the glass booth, and the woman’s blonde hair is very transparent and wispy. Both the foreground and background picture elements were photographed on 50D Eastman EXR colour negative film 5245 using the Academy standard aperture 1.85:1 aspect ratio. The film elements were scanned on the Cineon digital film scanner and converted into digital data for image compositing at the Cineon digital film workstation. Then the resulting digital im ages were recorded onto Eastman EXR colour

The demonstration film that is being shown has

intermediate film 5244 using the Cineon digital

several film composite scenes, one of which

film recorder, producing a digital duplicate

the aim was “to make this technology more

involves the first use of Ultimatte System-6

negative. The image quality of this digital dupe

approachable to people in the production com

software. One of the scenes is a particularly difficult

is a virtual match to the original camera nega tives. Hunt:

HDTV image quality, respectively. Miskowich said at the ShowBiz Expo that

munity who aren’t special effects experts -

CINEMA

PAPERS

• 67

T e c h n ic a litie s : Tu rn in g the C ineon

What makes this such an elegant demonstra tion is that ordinarily more elaborate attention

motion picture film and retouch the dirt and scratches, and then repair damaged frames with cloned sections from preceding frames,

to detail would be required for photographing the foreground picture element. However, with

provides a powerful tool for the studios or

the interactivity and variety of compositing

archivists.

tools available at the workstation, the com

Miskowich also described scene salvage:

posited picture elem ents can be made

There is a great deal of interest in this technol

seamless with image quality sufficient for transparent intercutting with live-action foot age.

ogy for restoring and preserving images and soundtracks. The most valuable assets most producers own are theirfilms. The film libraries

The centrepiece of the Kodak exhibit at

in Hollywood alone are worth billions of dollars.

Siggraph was a 35 mm film titled Sea o f Truth

Unfortunately, film, ortapeforthat matter, can be damaged by accidents, negligence or

which profiles exam ples of high-resolution composites made with the prototype digital film

minaries, including director Wayne Isham, vis

simply by the ravages of time. The Cineon digital film system can be used to restore damaged frames to their original form. For example, image information from undamaged

system. The demonstration footage is aug mented with commentaries by film industry lu ual effects practitioner Harrison Ellenshaw, and

frames can be scanned into digital format,

cinematographers Laszlo Kovacs, Dean Cundey

and the information can be cloned to repair

and Fred Elmes.

damaged frames.

The Ultimatte

Hunt says:

One of the key features of the Cineon digital film

The facility when it opens in September will be

workstation software is the incorporation of Ui-

used as a beta test site for the Cineon digital film system. We plan to make the system

tim atte blue-screen compositing technology,

accessible to a wide range of customers from

says Hunt.

around the world in order to gain insight into the performance of the system,. This will

Kodak licensed patents and compositing al gorithms from Ultimatte Corporation because it is the leader in the field of blue-screen video compositing. We are capitalizing on the

provide us with the information we need for fine-tuning features and capabilities before the Cineon system is brought to the market

knowledge they have gained over the past 20

place in 1993. The Digital Film Center also

years in perfecting blue-screen video com positing technology.

has the advantages of being able to supply high-quality digital film scanning and film re cording services to customers who may not

Recently, Ultimatte developed a new gen eration of software, the Ultimatte System 6,

have the volume of work necessary to justify the cost of owning their own film peripheral equipment. In the Digital Film Center, custom

which gives actors the freedom to move in, around and through objects in the background, instead of just being filmed against the blue-

ers will also have the chance to test drive a

screen background. This has the potential to

workstation before purchasing one.

make these blue-screen elements much more

Based on the demand we see in Europe

dynam ic. “ Now film m a ke rs w ill have the

and on the experience we gain with the Bur bank facility, we may consider opening a similar Digital Film Center somewhere in Eu rope.

interactivity of m anipulating a variety of matte parameters and the image quality which can be achieved only in a high-resolution digital film system ” , says Hunt.

As for an Australian or Pacific area centre, don’t hold your breath.

Hunt also notes that use of the Cineon digital film workstation eliminates some of the more tim e-consum ing steps associated with optical compositing. Ultimately, this will com press the time needed for compositing images by an order of magnitude, he predicts. The ability of the Cineon system to interac tively create film composites and special effects in a few days instead of weeks opens up many

matches the first generation camera negative. Although the creation of visual effects for both feature films and cinema commercials is the primary business for the Cineon system, there is also a large market to exploit in scene

Ed Jones for President Kodak announced that Ed Jones will be presi dent of Cinesite, Inc., when it opens. Jones spent the past 13 years at Industrial Light & Magic Company. After studying filmm aking and television at Montana State University, he started

salvage. The ability to shoot scenes and then

his career at ILM as a lab technician. He was the

This should be of great interest to video fa

take out wires, contrails, telephone poles, or any other small objects not belonging in a

optical photography supervisor responsible for

cilities houses involved with the posting of TV spots which end up as cinema commercials.

scene could be a great time and cost saving for a production company. This is especially

action images in Who Fram ed Roger R abbit

The Cineon workstation can be used to post a

important when it would be extremely expen sive to reshoot the scene.

recent years, Jones has been director of post production at ILM, where he was involved with

We are also involved in discussing with

their ground-breaking com puter graphics and

new markets and applications. Hunt:

TV commercial with the image being downsampled to D-1 video resolution for preview and for TV distribution. The high-resolution digital film data of the posted commercial can 68

then also be laser-recorded out to intermedi ate film to produce a cinema version that

< CINEMA

PAPERS

customers who want to do film restoration on the system. Being able to take a damaged

overseeing compositing of animation and livewhich earned him an Academ y Award. During

digital imagery. Jones:

The goal of Cinesite, Inc., is to provide easy access to as many filmmakers as possible to this high-quality digital system. We are en couraging them to experiment, including us ing it on small post-production and visual effects projects. This will give them a head start on determining how they can best take advantage of the emerging digital technolo gies. It will also give us insights and informa tion for fine-tuning the Cineon digital film sys tem before Kodak brings it to the marketplace in 1993. Furthermore, the Cineon digital film sys tem employs industry-standard peripheral interfaces and a software-based open archi tecture system. We are working with SMPTE to get an agreement on a digital picture file format which will ensure easy exchange of data from workstation to workstation and fa

True Colours

came up with the idea of using this technology

Image processing also covers a wide range of possibilities. You can manipulate contrast, colours, saturation, sharpness and even the apparent shape of images. Furthermore, you can isolate areas inside of a frame to make these alterations. For example, you can belat edly decide to change the colour of someone’s eyes. This capability can be used as a prob lem-solving tool, and it can also be a powerful

to make scenes shot in daylight look like night by altering the colour of the sky and painting in appropriate ambient light. That could elimi nate a lot of the time and costs associated with lighting big exterior night scenes.

Just the Blues Digital image compositing should make the greatest immediate impact. Image compositing

extension of the art form. One cinematogra

is almost as old as the industry. At the turn of

pher described it as giving a composer the

the century, image compositing was done in

ability to conduct his own symphony and have

the camera as a way of putting people in

a second chance at interpreting how the music should be played.

places and environments where it wasn’t practical or possible to film them with the

There are visionaries who will think of

actors present. In those cases, they shot the

a pp lications which haven’t entered our

film with the actors, rewound it, and later

dreams. For example, one cinematographer

made double exposures.

cility to facility. We believe we are servjng an industry need while providing opportunities for other vendors to develop complementing hardware and software products. Our goal is to make this technology widely accessible. We plan to sell both entire systems and indi

The Details to Date During developm ent, details of the Cineon system were very sketchy. For those interested the following is the most recent information released, in an interview with Don M iskowich.

vidual components. We will also operate one or more Digital Film Centers, depending on

The scanner uses a proprietary CCD sensor designed and m anufactured by Kodak. It has

demand, to ensure that the industry has ready

three linear arrays each with 4096-pixel photosites covered with red, green and blue filters.

access to buying scanning, recording and 'workstation services.

The filters are optim ized to match the dyes in contem porary colour negative films. A xenon

tvliskowich described the three main areas

scanner em ploys unique signal processing electronics and a proprietary transport design

of how Kodak see the system being used:

using fram e-indexed pin registration and film surface positioning. These features are

painting, image processing and compositing.

important for accom plishing seam less com positing of picture elements.

He described them as follows.

Paint Magic Painting includes things like guide wire re moval. For example, in Hook very heavy ca bles were used on Robin Williams in the flying scenes. That gave him more freedom of action.

Can you describe the com ponents of the Cineon digital film system?

light source and integrating filte r are used to provide high-powered diffuse illum ination. The

W hat about the Cineon w orkstation? It incorporates a SUN m icroprocessor platform and the UNIX operating system. The workstation can be used in a stand-alone or workstation environm ent. It provides previewing capabilities on a video monitor. Kodak has developed a transputer-based image processing accelerator, an integrated Distributed Frame Store which provides the bandwidth to rapidly access images and high-speed image m anipulation in an interactive environm ent. Software

It was also safer. The film was scanned into digital format, and painting techniques were

developed fo rth e w orkstation uses concepts and symbols that are fa m iliarto people who are

used to eliminate the guide wires. Appropriate

interactivity with selectable windows and rapid updates of processed images.

backgrounds had to be inserted into the spaces left by removing the cables. Then, they had to

and painting. In addition, images can be exported to and imported from other software

working at film optical houses and video post-production facilities. The w orkstation provides Image processing tools can be used for colour grading, resizing, filtering, repositioning

record the digital pictures back onto film. Guide

packages. I have already discussed applications for the electronic image com positing

wires are also used with miniatures and

software we have licensed from Ultimatte Corporation.

models. Painting will also be used to repair scratches, other artifacts and damaged film. It will also be used for salvaging scenes which might otherwise have to be scrapped or re-shot. For example, if a scene for a 1900 period movie is accidentally filmed with a jet

How are images stored? We use a parallel disk array interfaced to the processor through a high-speed SCSI-2 data bus. On-line disk storage is increased by adding disk drives to the array using industry standard peripherals, including the Exabyte 8 mm data recorder, and AM PEX DST digital cassette recorders which can support data transfer rates in excess of 15 M B-per-second.

contrail or telephone pole in the background

That leaves the film recorder. How do you get back to film?

... in fact, it doesn’t have to be an accident.

The recorder uses three visible gas lasers; blue light is provided by an argon gas laser; green

There are times when a director or cinematog rapher sees a problem, but keeps shooting anyway. Maybe it’s a magic moment when

and red lights are provided by helium neon lasers. Unique lenses and beam -shaping optics have been optim ized for this application. The transport system is-based on the same fram eindexed pin-registration and film surface positioning designs used by the scanner.

something spontaneous is happening. Or, perhaps it is a very expensive shot involving

You mentioned that the Cineon system is designed for use with more than one 35 mm

hundreds of extras that would be prohibitively

form at. Can you be more specific?

expensive to repeat. They are beginning to

The system is currently designed to accom modate Super 35, Academ y Aperture, Cinem as

recognize that there are problems they will be

cope and VistaVision formats.

able to ‘fix in digital’.

CINEMA

PAPERS

• 69

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Travelling mattes were Invented some

simply isn’t practical with optical technology.

synthetic environments, creatures and char

time during the 1920s. Basically, photogra

Having said all of that, I think the most

acters, and live-action footage which can be

phy of foregrounds and backgrounds was done

significant impact will come from speeding up

lopated easily and transported for compositing.

separately and later optically composited onto

the process of making composites so it be

This is just a first step. But it is a giant step.

another roll of film. Eventually, the industry

comes more practical and affordable. I be

came up with the idea of using a blue-screen

lieve there are scripts waiting to become

Ultim atte are all tradem arks. The Cinesite Digital Film

backing for filming actors, objects, miniatures

movies when digital compositing technology

Center will be located at 303 Glenoaks Boulevard in

and models in the foreground. The backing

becomes more widely accessible.

Burbank, California.

made it easier to separate the action from the

You’ll have the ability to correct anoma lies atthe digital workstation. That will simplify

background. Hold-back mattes were made as a tool for optical compositing.

FOOTNOTE: Eastman, Kodak, EXR and Cineon and

COLOUR CODING

requirements for photographing picture ele

Early in my career, in 1975, I worked for

ments for composite scenes. Blue-screen

The next film magazine you use may have a

Robert Abel & Associates, who did innovative work with the compositing of multiple images

photography requires considerable expertise

new racing stripe.

and the use of specialized background mate rials. For example, if a subject with a shiny

for commercials by combining live-action photography with film from a computer-con

This might as well be an all-Kodak news issue. But apparently responding to custom er

surface, like a metal belt buckle, gets too

requests, you will find that the tape that seals

trolled animation camera. Abel thought of a

close to the blue-screen, it can capture a

the next Kodak film can you unload will be

30-second commercial as 900 individual pic tures. It wasn’t unusual for us to make 100

reflection of the colour. This is referred to as

colour coded. In 16, 35 and 65mm form ats the

blue-spill. Blue-spill is difficulttoget rid of with

colours that will signify the different emulsions

passes of a commercial with a camera adding a new layer of visual information each time.

conventional optical compositing technology. However, it can easily be eliminated at a

are:

The most famous of those spots was ‘the butterfly lady’ which was produced for 7-Up.

Cineon digital workstation. The bottom line is

MAUVE for Eastman EXR 200T GREEN for Eastman EXR 100T

Of course, it was a very slow and time-con

that there will be a lot more flexibility and creative latitude in the creation of blue-screen

suming process with a lot of risk involved. If

picture elements.

you discovered a problem, on the 95th or 98th pass, you had to restart from scratch.

It’s hard not to have some of the visionary

As far back as then, I had this dream of using digital technology for compositing im ages at film resolution. Cineon invites expan

Not a silly idea that, especially when swapp

with the observation that: I’m certain we will learn more regarding what is needed and how this technology will be applied after the Digital Film Center is open.

image quality; or simply by doing very rich

There are long-term possibilities for develop ing digital image libraries containing first-gen

multiple layering of live-action images that

eration quality stock footage, including both

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this. Miskowich is no exception. He concludes

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• 71

T e c h n ic a litie s : M y F a v o u rite Tool —Z a p ! —If m y F a v o u r ite T o o l

(e re a tin g w h a t M a x H e a d ro o m d u b b e d a ‘B lip v e r t ’),

is th e o n e m o s t u s e d d u rin g

it e m p o w e r s th e m w ith in c r e d ib le m in d -n u m b in g

le is u r e tim e , th e n I r e lu c

p o te n tia l. T h e y re q u ire o n ly m in im a l a tte n tio n s p a n s

ta n t ly a d m it it w o u ld h a v e to

a n d s a tia te th e v ie w e r to s a tu r a tio n p o i n t ... “ M o re is

b e th e r e m o te c o n tro l o n m y

b e t t e r ” — S o u n d c y n ic a l?

V C R . It ’s a lo v e -h a te r e la t io n s h ip ... in th e o r y it o ffe rs

B u t th is is g e ttin g to o s e r io u s ... F o r m e — Z A P ! --------------------------

P O S T S C R I P T

--------------------------

m e r e lie f — fro m g e ttin g o u t o f m y c h a ir — a n d its e xists e n c e a llo w s m e to e x e c u te d e c is io n s w h ic h w o u ld

f ilte r e d b a c k to u s h e r e a t V F L , I w o u ld lik e to c la r ify

o th e rw is e n o t be im p o rta n t e n o u g h to o v e rc o m e th e

o u r p o s itio n . W e a re v e r y m u c h a n o n g o in g b u s i

a p a th y a ‘C o m fy C h a ir ’ in d u c e s . I c a n a v o id th e m o s t

n e s s , h a v in g ju s t m o v e d b a c k in to o u r fu lly re n o v a te d

c o r r o s iv e a d s (a n d H in c h , a n d V iz a r d ), o r s e le c t th e

p re m is e s . W e h a v e re d u c e d s ta ffin g le v e ls b e c a u s e

m u te p o s itio n to a v o id b e in g b la s te d fro m m y c h a ir

o f th e le s s e r w o r k lo a d (in th is re c e s s io n w e h a d to

b y th o s e fu lly -m o d u la te d jin g le s . A d e v ic e to re lie v e

h a v e ), b u t a re s till o ffe rin g o v e r n ig h t ru s h e s a n d th e

s tre s s ? A h , b u t th e tr a p is th e lu re o f th e Z A P !

c le a n e s t p r o c e s s in g a v a ila b le . M u c h o f o u r e q u ip

‘Z a p p in g ’ o r ‘G r a z in g ’ is a s o rt o f v is u a l g r a tific a

In r e s p o n s e to s o m e d is tu r b in g r u m o u r s th a t h a v e

m e n t h a s b e e n re n e w e d a n d o u r p r ic in g is m o re

tio n fix a tio n w h e re in o n e t r ie s to a b s o rb a s m u c h

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in g a b ra n c h o f a S y d n e y -b a s e d c o m p a n y . W e d o

p ro g ra m m e s s im u lta n e o u s ly . ( L e t ’s n o t m is s a th in g

n e e d s u p p o r t fro m V ic to r ia n f ilm m a k e r s a n d I w o u ld

h e re , f o lk s !) T h is p h e n o m e n o n is r iv a lle d o n ly b y

lik e to a p p e a l to a ll film m a k e r s s h o o tin g jn V ic to r ia

th e v ie w in g o f p ro g ra m m e s o n fa s t-fo r w a r d s c a n

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q u a lity a n d s e r v ic e w e o ffe r a re th e b e s t a v a ila b le —

k n o w n to (h u )m a n k in d ! W h e n th is s c a n te c h n iq u e is

w e ’ re h e re to s ta y !

a p p lie d

p r e -r e c o r d e d

ads

o r m u s ic v id e o s

PETER W ATSO N JNR, VIC TO R IA N FILM L A B O R A TO R IES

I _______________________________________________________

FRAMEWORKS provides the cutting edge. You provide the creative edge. At Frameworks we believe editing is a craft. And a craftsman can only give his or her best with the right tools. Six months ago AVID was a great tool for commercials but not quite the right tool for drama, features, telemovies or series. Now with a list of credits including over 15 features and telemovies plus over 500 installations world wide, AVID has proved itself. AVID's picture quality has surpassed all traditional and competitive digital non-linear editing systems. The result is that feature films, dramas or extended documentaries can be edited with flat-bed clarity and simplicity, at computer speed and flexibility. Frameworks was the first in Australia with AVID and is the most experienced facility in digital non-linear technology. We can provide you with all the training, technical and production support you require.

• CINEMA

PAPERS

If you haven't seen AVID in the last 3 months contact Stephen Smith at Frameworks. We promise you that Director, DOP, Editor, and Sound Editor will be as excited as the Producer over AVID - but for different reasons. Creative Technology You Command

2 RIDGE STREET, NORTH SYDNEY 2 0 6 0 PHONE. (02) 9 5 4 -0 9 0 4 FAX. (02) 9 5 4 -9 0 1 7

U C T! ON

S U R V E Y

IN F O R M A T IO N IS C O R R E C T AND A D JU D G E D AS OF 1/9 /1 992

NOTE: Production Survey forms now adhere to a revised format. C in e m a P a p e rs regrets it cannot accept information received in a different format, as it regretfully does not have the staff to re-process the information.

GINO Prod, company Dist. company Budget Pre-production Production Post-production

SHIMMER

Filmside Productions Southern Star $2.5 million Nov 1992... Jan 1993 ... March 1993...

Principal Credits

FEATURES PRE-PRODUCTION

Director Producer Scriptwriters

Jackie McKimmie Ross Matthews Vince Sorrenti Larry Buttrose

BODY MELT Prod, company Pre-production

Body Melt July-O ct 1992

Principal Credits Director Producers

Philip Brophy Rod Bishop Daniel Scharf Lars Michalak Philip Brophy Rod Bishop Ray Argali John Schiefelbein Maria Kozic Anna Borghesi Philip Brophy

Asst, producer Scriptwriters DOP Sound recordist Prod, designer Costume designer Composer

Planning and Development Script editor Casting

Annette Blonski Greg Apps

Other Credits Casting Prod, supervisor Finance

Liz Muliinar Sally Ayre-Smith AFC FFC Southern Star Southern Star Victoria Buchan

Camera Crew Camera operator Focus puller Clapper-loader Key grip Gaffer Best boy

Jennifer Meaney Kattina Bowell Warik Lawrence Stuart Crombie Rory Timini Battista Remati

On-set Crew 1st asst director 2nd asst director Continuity Make-up Special fx make-up Special fx make-up asst Special fx Stunts co-ordinator

Euan Keddie Tony Gilbert Kristin Voumard Christine Miller Bob McCarron Sonja Smuk Peter Stubbs Chris Peters

Art Department Art director

Peta Lawson

Post-production Lars Michalak Craig Carter Cinevex Ian Anderson 35 mm

Post-prod, supervisor Sound editor Laboratory Lab liaison Gauge

AFC Film Victoria

Cast:[No details supplied] Synopsis: [No details supplied] COPS AND ROBBERS Prod, company Production

Total Film & Television Isambard Productions 12/10/92 ...

Assoc, producer Exec, producers Scriptwriter DOP Prod, designer Costume designer Composer

[No other details supplied]

MAKE IT QUICK Prod, company

Visual FX Australia

Principal Credits Director Producers

Shane Winter Joanne George Shane Winter Shane Winter Ian Holder 35 mm

Exec, producer Scriptwriter Gauge Cast: [No details supplied] Synopsis: The story of Ronald Ryan: the man, his escape, his trial and eventual death by hanging, a death which caused a social and political furore. The execution of Ronald Ryan put an end to hanging in Australia, but even now there are rumours of a conspiracy and the debate still rages.

Dist. company Pre-production Production

Murray Reece Tony Winley Philip Gerlach Tom Parkinson Timothy Bean Scriptwriter Steve Arnold DOP David McKay Prod, designer Brenda Pam Prod, manager Sales New Zealand Film Commission Total Film & Television Cast: Rima Te Wiata, Mark Wright Synopsis: A bankrupt man bungles his suicide attempt and embarks on a career of crime in this action-packed cops and robbers comedy in volving murder, mayhem and marriage.

Director Producers

Exec, producers

Scriptwriters DOP Finance

Prod, supervisor Sally Ayre-Smith Prod, co-ordinator Fiona King Prod, secretary Silla Childs Prod, assistant Daniel Heather Prod, accountant Lyn Jones Accounts asst Kerin Begaud Producer’s asst Michelle Courts 1st asst director Chris Webb 2nd asst director Geoffrey Guiffre 3rd asst director Lucy Goodman Location manager Henry Osborne Unit manager Bob Graham Continuity Pam Wills Cast: Jacqueline Bisset (Holly Soames), Masaya Kato (Jin Okazki), John Bach (Frank McPhee), Sally Warwick (Belinda), Justin Lewis (Josh), Gary Day (Goodwin), Barry Quin (Julian Roberts), Victoria Longley (Carver), Gary Sweet (Luke Blair), Richard Roxburgh (Harrison), Gabrielle Hammond (Prosecutor). [No further details supplied]

DAWN OF THE DMF’S

Rosa Colosimo Productions Angelika Films loti. May 92 ... 12/10/92 ...

Prod, company Budget

Jim Kaufman Rosa Colosimo Will Spencer Leo Pescarolo Arthur Syin Ron Cohen Rosa Colosimo Will Spencer Dion Beebe FFC Ellepi Films (Italy) Filmline (Canada) Dan Q (Japan) 35 mm 90 mins

Scriptwriter DOP Sound recordist Editor Prod, designer Composer

Gauge Length Cast: [No details supplied] Synopsis: Martin Lemer, a brilliant archaeolo gist, gets caught up in a bizarre murderpact with a beautiful Italian sculptress. Drawn in by her seductive powers he finds himself in a torrid sensual world of murder, deceit and passion.

Ian Barry John Sexton Andrew Warren Kazuo Nakamura Susumu Kondo Hiroyuki Ikeda Victor Glynn Alan Bateman

Other Credits

Black on Black $30,000

Principal Credits Director Producers

John Sexton Productions Channel Ten Network Portman Entertainment (UK) Sogovision (Japan)

Principal Credits

RED RAIN Prod, company

Principal Credits Director Producer Exec, producers

CRIME BROKER

Village Roadshow Dean Semler Robyn Burke Michael Lake Doug Yellin Maxwell Grant Graham Burke Gregory Coote Maxwell Grant Andrew Lesnie Martin O’Neill Susan Bowden David Hirschfelder

GROSS MISCONDUCT '

Principal Credits Director Producer Co-producers

Adam Szchech Special fx make-up Lloyd Finnemore Special fx Caaren Engelhardt Wardrobe Gauge Super 8 Master on video Beta SP Cast: Greg Christie (The Soldier), David Whiteley (The Businessman), Chris Summers (The Punk), Bemie Rhodes (Agent No. 1), Sharon Murakami (Madam Director), Martin Egan (Dr Ezakiah Yoyo), Ian Cann (General B Bender), Greg Pryor (Professor H Schraube-Locker), Rick Chandler (Ed Jobber) Synopsis: 1950s style science fiction, paranoia comedy. Aliens invade planet Earth with the plan of turning the entire population into incoherent, babbling Ediots. A soldier, businessman and punk are set the task of saving the human race from extinction.

FEATURES PRODUCTION Prod, companies

Government Agency Investment Production

Principal Credits

THE KANGAROO KID Prod, company

Avalon Film Corporation February 1993

Producer Phillip Avalon Assoc, producer Dennis Kiely Scriptwriter Phillip Avalon DOP Martin McGrath Prod, designer Richard Hobbs Script editor Brian A. Williams Finance Private Gauge Super 35 mm Length 92 mins Cast: [No details supplied] Synopsis: A political thriller set on the Gold Coast.

Inti, sales agent Inti, distributor Publicity Cast: [No details supplied] Synopsis: A contemporary comedy.

Production Crew Prod, manager Yvonne Collins Location manager Chris Odgers; Prod, accountant Bernadette Breitkreuz Insurer Steeves Lumley1 Completion guarantor First Australian Completion Bond Co. Legal services Holding Redlich

Prod, company Production

Chris Summers Darrell Martin Chris Summers Chris Summers Darrell Martin Rick Chandler Chris Summers Stephen Radie Ian Kitney

Other Credits Production asst Unit runner Prod, secretaries

Camera operator Clapper-loader Grip Gaffer 1st asst director Continuity Boom operator Make-up

John Heinz Syd Manson Helen Rabel Sharon Bliss Grace Piscioneri Michael Kamperman Michael Kamperman Jason Raftopoulos Jason Raftopoulos Aaran Creece Keltia Lindsay Richard Goffin Helena Sawchak Fiona Adams

Prod, company Dist. company Pre-production Production Post-production

PRO Films (No.1) PRO Filmworks 15/6/92 ... 27/7/92 ... 14/9/92...

Principal Credits Director Producers

George Miller David Hannay Richard Sheffield-MacClure Exec, producer Richard Becker Assoc, producer Rocky Bester Scriptwriters Lance Peters Gerard Maguire Based on the play Assault With a Deadly Weapon Written by Lance Peters DOP David Connell Sound recordist Andrew Ramage Editor Henry Dangar Prod, designer Jon Dowding Costume designer Aphrodite Kondos

Planning and Research Casting consultants Extras casting

Maura Faye Jan Pontifex Cameron Harris

Production Crew Prod, manager Prod, co-ordinator Prod, secretary Location manager Unit manager Asst unit manager Production runner Prod, accountant Completion guarantor

Brenda Pam Sue Edwards Wendy Walker Ralph Price Maurice Bums Mick Stevens Matthew Bennett Michele D’Arcy Film Finances

Camera Crew Camera operator Focus puller Clapper-loader Key grip Asst grips Gaffer Best boy Asst electrics Generator operator

Ian Jones Greg Ryan Ian McMillan Geoff Full David Shaw Dick Tummel Lex Martin Travis Walker Adam Williams

On-set Crew 1st asst director 2nd asst director 3rd asst director Continuity Boom operator Make-up Hairdresser Still photography Unit publicist Catering

Brian Giddens Monica Pearce Karen Mahood Jenny Tosi Steve “Red” Hagerty Amanda Rowbottom Zeljka Stanin Skip Watkins Anna Wheatley Steven Marcus

Art Department Art director Art dept runner Props buyers Props dressers Standby props

Ken Hazelwood Alexander Grant Georgina Campbell Victoria Rowell Georgina Campbell Victoria Rowell Chris James

Wardrobe Wardrobe co-ord. Standby wardrobe CINEMA

Margot Lindsay Bronwyn Doughty PAPERS

• 73

Post-production Asst editor Edge numberer Sound transfers by Laboratory

Basia Ozerski Leigh Elmes Soundfirm Cinevex Atlab 35 mm Kodak

Gauge Shooting stock

Government Agency Investment Production

FFC

Marketing Inti, sales agent

PRO Filmworks

Cast: Jimmy Smits (JustinThome), Naomi Watts (Jennifer Carter), Sarah Chadwick (Laura Thome), Adrian Wright (Kenneth Carter), Leveme McDonnell (Miriam McMahon), Alan Fletcher (Henry Landers), Beverley Dunn (Judge Barlow), Paul Sonkkila (Rowland Curtis), Ross Williams (Guilderman), Nicholas Bell (Detective Matthews). Synopsis: University Professor, Justin Thome, adored by his students is the envy of his peers. But a young girl’s fantasy turns to obsession and threatens to destroy everything he holds dear, his freedom, his family and his career.

RECKLESS KELLY Prod, company Dist. company

Serious Entertainment Village Roadshow (Greater Union Dist.)

Principal Credits Director Producers Co-producer Line producer Exec, producer Scriptwriter DOP Sound recordist Editor Prod, designer Costume designer

Yahoo Serious Warwick Ross Yahoo Serious Lulu Serious Tim Sanders Graham Burke Yahoo Serious Kevin Hayward Tim Lloyd Robert Gibson Graham ‘Grace’ Walker Sally Campbell

Planning and Development Casting co-ord. Casting

Judith Cruden Alison Barrett (Australia) Janet Hirschenson Roger Mussendon Casting (U.S.) Extras casting Judith Cruden

Hair artist Hair attachment Special fx co-ord Special fx manager Mechanical fx co-ord FX model co-ord Special fx dept, co-ord Pyro fx

Kirtsen Vesey Kelly Taylor Steve Courtley David Roach Monty Fieguth John Murch Tom Davies Pauline Grebert Ray Fowler Model technician Pauline Grebert Mechanical fx Albie Hastings Blair Maxwell Rodney Burke Keron Hansen Conrad Rothman FX Labour Stuart McNaughton (Pt Stephens) FX bike wrangler Lyall Beckman FX buyer Kylie Gaskin Model maker Sue Maybury Cablemaker Walter van Veenendaal Stunt co-ordinator Rocky McDonald Safety officer Bemie Ledger Safety report Grant Page Nurse Annie O’Halloran Stills photographer Vivien Zink Caterers Kollage Katerers: Kerry Fetzer Sylvian Vincent Jamie de Haan

Art Department Art director Asst art director Art dept co-ord Art dept administrator Set dressers

Props buyers Standby props Props asst Armourer Armourer machinist Vehicle co-ord

Wardrobe Wardrobe supervisor Asst designer Wardrobe buyer Standby wardrobe

Production Crew Prod, manager Prod, co-ordinator Producer’s asst Director's asst Prod, secretary Location manager Location scout Unit manager Unit assts

Julia Ritchie Rowena Talacko Kerry Sloane Tanya Jackson Maureen Bums Ken Moffat Michael Davis Tic Carroll Will Milne Alison Robb (Pt Stephens) Drivers (Sydney) Joe Wilkinson Jeremy Hutchinson Production runners Scott Gray Lyn Henderson Financial controller Lea Collins Prod, accountant Dianne Brown Accounts asst Donna Wallace

Camera Crew Camera operator Focus puller Clapper-loader Camera asst Video split Attachment Key grip Rigging grip Grip Asst grip Gaffer Electricians Asst electrics Generator operator

John Mahaffie Colin Deane Frank Hruby Tonti Connolly Simeon Bryan Simeon Bryan George Tsoutas Rourke Crawford-Flett Ian McAlpine Jo Johanson Craig Bryant Alan Dunstan Gary Hill Matt Inglis Tim Slattery

On-set Crew 1st asst director 2nd asst director 3rd asst director Continuity Boom operator Make-up

Hairdresser

• CINEMA

Keith Haygate P J Voeten Trudi Latour Alison Goodwin Mark van Kool Wendy de Waal Kirsten Vesey Kelly Taylor Wendy de Waal

PAPERS

Ian Gracie Michelle McGahey Brenda Vincent Kevin Wright Tim Ferner Kerrie Brown Michael Tolerton Faith Robinson Andrew Short Colin Gibson Chris Darvall John Bowring Richard Hurst Tim Parry

Wardrobe asst Cutters Machinists

Armour maker Asst armourer Armour painter

Margot Wilson Lisa Meagher Lyn Askew Suzy Carter Lyn Askew Gary Jones Marcia Lidden Cheryl Pike Helen Head Sally Molineaux Celinda Alvarado Warren Beaton Guido Helmstetter Eric Todd

Animals Animal trainer Animal handler Animal wrangler

Evanna Chesson Cody Harris Murray Chesson

Construction Dept Scenic artist Construct, manager Leading hand Carpenters

Set finishers

Painters Construct, runner Greensman T rades assts

Bill Malcolm John Rann Andrew Chauvel Mark Oliver Cameron Craig Jon Stiles Errol Glassenbury Peter Coy Gordon Finney Garth Croft Chris Goddard Nick Walker Martin Bruveris Andrew Mulvey Nick Goddard Peter Forbes Gregg Thomas David Sams Andy Strutt

temporary issues with Ned Kelly as a modernday international bank robber who rides a pow erful, home-made motorbike.

THE SILVER BRUMBY Prod, company Dist. company

Principal Credits Director Producers

John Tatoulis Colin J. South John Tatoulis Brian Burgess William T. Marshall John Tatoulis Jon Stephens Elyne Mitchell The Silver Brumby Elyne Mitchell Mark Gilfedder Phillip Chambers

Line producer Exec, producer Scriptwriters

Based on the novel Written by DOP Prod, designer

Other Credits Prod, manager Yvonne Collins Prod, accountant Judy Malmgren 1st asst director Stephen Saks Camera operator Harry Panagiotidis 2nd unit DOP Peter Zakharov Horsemaster Evanne Chesson Length 90 mins Gauge 35mm Cast: Russell Crowe (The Man), Caroline Goodall (Elyne Mitchell), Ami Daemion (Indi). Synopsis: The story of the trials and triumphs of Thowra, the magnificent silver stallion, as he contends with the alpine elements, the battle for supremacy of the Cascade herd of brumbies, and Man. [No further details supplied]

STRANGERS IN CLOSE PROXIMITY Prod, company

Blue Goose Films

Planning and Development Script consultants Casting director Dialogue coach Tutor

Director Producer Line producer Exec, producer Scriptwriter DOP Sound recordist Editors Art director Composer

David Kersten David Kersten Julianne Lawson Michael O’Neill David Kersten Alex Catchpoole Kelly McGrory Mark Swan Julianne Lawson Trojan Theatre

Other Credits Casting consultants Jan Uhr Prod, supervisor Defrim Isai Prod, manager Joy Bloomfield Prod, assistant Greg Jackson Camera operator Ewen Wallace Clapper-loader Simone Blanton Camera type Sony 537 Key grip Ricky Schamburg Gaffer Ricky Schamburg 1st asst director Joy Bloomfield 2nd asst director Samantha Watson 3rd asst director Margaret Beattie Continuity Simone Blanton Make-up Robyn Manogue Asst hairdresser Leisa Petersen Special fx co-ord. Mark Swan Special fx asst James Rogers Tech, adviser Mark Swan Still photography David Barker Runner Phil Holland Cast: [No details supplied] Synopsis: [No details supplied]

Tessa Duder Linda Seger Liz Mullane Shirley Duke Linda Thompson

Production Crew Prod, managers

Tammie Painting Bill Harmon (Isambard) Susan Parker Prod, co-ordinator Producer’s assts Janine Gould Helen Ogston Location manager Liz DiFiore Add. locations Lisa Kissin Unit manager Bill Barclay Unit asst Edna Stirling Prod, asst Melissa Wilkaire Unit runner Kent Belcher Prod, runner John Hawkins Auditor G & S Management Services Prod, accountants Andrea Mynott Sue Terry Jillian Steele Moneypenny Services Legal services Lyndon Sayer-Jones Susan Larsen Completion guarantor Film Finances

Camera Crew Focus puller Clapper-loader Camera trainee Camera equipment Key grip Asst grips Jon Tack Gaffer Best boys

Principal Credits Generator operator

Peter McCaffrey Lee AlliSort Pia Emdry Lemac Tony Keddy Kevin Riley Ed Sims Joseph Bidois Neil Taylor

On-set Crew 1st asst director 2nd asst director 3rd asst directors

Simon Ambridge Paul Grinder Jane Cressvyell Emma Johns Continuity Alison Middleton Boom operator Myk Farmer Make-up supervisor Jane Peterson Make-up Jane Petersen Fran HoIJey Swimming consultant Sandra Blewit MBE Swimming coaches Jack Lyons Dean Greenwood Still photography Ken George Unit publicity Fiona Searspn, Dennis Davidson Assoc. Catering Ian Hunter

Art Department Art director Art dept co-ord. Art dept asst Art dept runner Art dept trainee Set dresser Props buyer Standby props

Jill Cormack Susan Parker Graham Aston Amanda Molloy Joanna Duder Adriana T uscia Grant VeSey Caroline Usher

Wardrobe Wardrobe mistress Standby wardrobe Costume asst Cutter Machinist

Maureen Matthews Emma Harre Tracey Collins Erin O’Neill Rosemary GoUgh

Construction Dept

FEATURES POST-PRODUCTION

ALEX Prod, company

Post-production

Dist. company

Asst editors

Principal Credits

Maureen Rodbard-Bean Philiipa Harvey Edge numberer Maureen Rodbard-Bean Inti. dist. Warner Bros Cast: Yahoo Serious (Ned Kelly), Melora Hardin, Alexei Sayle, Hugo Weaving, Bob Maza, Anthony Ackroyd, Adam Bowen, Russell Cheek, Steve Cox. [No other details supplied] Synopsis: Adventure comedy based on con-

Media World Features Village Roadshow Skouras Pictures

Dave Madigan Tony Kavanagh Kim Sinclair Sara Beale Todd Hunter

Sound recordist Editor Prod, designer Costume designer Composer

Director IProducers ILine producer Assoc, producer Scriptwriter Based on the novel by IDOP

Construct, manager Construct, asst Carpenter

Neil Kirkland John Hawkins Mike Maxwell

Post-production

Total.Film & Television Isambard Productions Total Film & Television

Asst editors

Megan Simpson Tom Parkinson Philip Gerlach Tony Winley Alan Withrington Ken Catran Tessa Duder Donald Duncan

Sound assts

Sound editors

Mixers Additional music Sound track record Projectionist

Nicole La Macchia Andrea Towers Ashley Grenville Helen Brown Andrew Cunningham April Ward Phil Heywood Martin Oswin Johanna Pigott Total Music through Polygram Doug Harley

Opticals Titles Title design Laboratory

Roger Cowland Optical & Graphic Michelle French Simon Wicks Jan Thornton Denise Wolfson Atlab Neg cutter Karen Psaltis Grader Wayne Hopkins Shooting stock Kodak Length 90 mins Cast: Lauren Jackson (Alex), Chris Haywood (Mr Jack), Catherine Goldbold (Maggie), Josh Picker (Andy), Elizabeth Hawthorne (Mrs Benton), Bruce Phillips (Mr Archer), May Lloyd (Mrs Archer), Patrick Smith (Mr Benton), Rima Te Wiata (Female Commentator), Mark Wright (Male Commentator), Grant Tilly (Mr Upjohn). Synopsis: A young New Zealand woman’s quest, against setbacks, intense rivalry and personal tragedy, to win selection for the 1960 Olympic Games.

Construct, manager Carpenter

Bill Howe Jamie Howe

Post-production Asst editor Sound transfers by Laboratory Lab liaison Film gauge Screen ratio Shooting stock

Leigh Elmes Soundfirm Atlab Bruce Williamson 35mm 9:1 B&W Anamorphic Kodak 5231 & 5222 Cast: Aden Young (Angel), Dennis Miller (Max), Claudia Karvan (Catherine), Bill Hunter (Wilson), . Norman Kaye (Elias Kidd), David Field (Tatts), William Mclnnes (Roger), Stephen Davies (Jack), Peter Settle (Night Manager), Kris McQuade (Woman). Synopsis: A young merchant seaman, in fulfill ing the dying wish of an old sea friend, finds himself drawn into the unknown territory of the old man’s life and embroiled in the dark history of the town. A mystery drama set in a decaying Coastal Queensland.

BEYOND THE RIM [See previous issue for details] [See issue 88 for details]

BROKEN HIGHWAY Black Ray Films $1.35 million 13/4/92 - 22/5/92 25/5/92 - 10/7/92 10/7/92 ...

Principal Credits Laurie Mclnnes Richard Mason Julie Forster Laurie Mclnnes Steve Mason Paul Brincat Garry Hillberg Lesley Crawford David Faulkner

Planning and Development Casting consultants

Liz Mullinar

Prod, company Budget Pre-production Production Post-production

Di Net Films $250,000 1991 10/2/91 - 20/3/92 Mar - Aug 1992

Principal Credits Director Producer Scriptwriter advisers

Based on the novel Written by DOP Sound recordist Editor Art director Composer

Di Nettlefold Di Nettlefold John Honey Terry Whitebeach Leonie Scrivener Neil Luxmore Three Cornered Island Dorothy Halkerston Peter Donnelly Paul Clark Matthew Tucker Di Nettlefold John Ertler

Planning and Development

Prod, manager Julie Forster Prod, co-ordinator Jenny Cornwell Director’s asst Gabrielle Mason Prod, secretary Sharon Gerussi Location manager Chris Strewe Unit manager Gareth Calverley Prod, assistant Guy Parmenter Prod, accountant Eric Sankey Insurer Film Insurance Underwriting Completion guarantor First Australian Completion Legal services Holmans

Shooting schedule by

Camera Crew Steve Mason Mike Kelly Mark Muggeridge Kurt Olsen Damian Ritchie Jack Meyerink Ian Mathieson Paul Klicin

Production Crew Prod, supervisor Prod, manager Prod, co-ord. Producer’s asst Prod, secretary Location manager Transport manager Unit manager Asst unit manager Prod, assistant Financial controller Prod, accountant Insurer Legal services Travel co-ord.

Chris Gallagher Chris Gallagher Chris Gallagher Chris Gallagher Chris Gallagher Stephen Ewings Stephen Ewings Stephen Ewings Brett Blackburn Helen Gallagher Chris Gallagher Chris Gallagher Steeves Lumley Scott Breheny Lynne Kay-Hall Ansett Australia Alan Lovell Freight co-ord. Australia Post Express Courier

Camera Crew

On-set Crew 1st asst director 2nd asst director 3rd asst director Continuity Boom operator Make-up Hairdresser Stunts co-ordinator Still photography Unit publicist Catering

Bruce Redman Gordon Fitch Angella McPherson Jenny Quigley Craig Walmsley Christine Miller Christine Miller Danny Baldwin Elise Lockwood Meredith King Gracie’s Catering

Camera operator Focus puller Clapper-loader Camera asst Camera type

Lisa Thompson Warren Stewart Nic Brunner Emma Rudkin John Anderson

1st asst director Continuity Boom operator Make-up Safety officer

Meg Gordon Justine Dunn

Construction Dept Scenic artists

Unit nurse Catering Asst, caterer

Wardrobe Wardrobe supervisor

Rowena Hall

Chris Goddard Gavin Smith

Construct, manager

Kornelius Vanderslink Rebecca May Oliver Streeton VFL

Draughtsmen Standby props Armourer Model maker

Wardrobe Wardrobe supervisor Standby wardrobe

Exec, producer Scriptwriter DOP Sound recordist Editor Prod, designer Costume designer Composer

Stephan Elliott Andrena Finlay Stuart Quin Rebel Penfold-Russell Stephan Elliott Geoff Burton Ross Linton Frans Vandenberg Brian Thomson Fiona Spence Guy Gross

Planning and Development Casting Dialogue Coach Storyboard

Graham Ware

Goose wrangler'

Construction Dept Scenic artist Painter 2nd painter Construct, manager Carpenters

Prod, manager Prod, co-ordinator Prod, secretary Director’s asst Mr Collins' asst Location managers

Sandra Alexander Deborah Samuels Esther Rodewald Sally Browning Danny Gillen David Joyce Lori Flekser Unit manager Will Milne Grayden Le Breton Production runner Grayden Le Breton Unit runner Jenny Parson Prod, accountant Jardine’s Australia Insurer Completion guarantor Motion Picture Guarantors Paula Paizes Legal services Blake Dawson Waldron

Camera Crew

Post-production Asst editor 2nd asst editor Editing rooms Studio Laboratory Gauge Shooting stock

Stella Savvas Priscilla Thorley Spectrum Films Mentmore House Atlab 35mm Kodak Eastman Colour

FFC liaison

Moya Iceton

Marketing J & M Films Inti, sales agent Cast: Phil Collins, Hugo Weaving, Josephine Byrnes. Synopsis: A surrealistic black comedy of an insurance investigation that goes haywire. A seemingly defenceless couple are ensnared in a nightmare game of fraud and blackmail by an insurance investigator extraordinaire. The only chance they have to retain their sanity is to fight back, thus beginning a chilling, hair-raising ad venture.

FORTRESS [See previous issue for details]

LIVING COLOR [See previous issue for details]

NO WORRIES Prod, company

Camera operator Focus puller Clapper-loader Camera equipment Camera truck Key grip Asst grip Gaffer Best boy Generator

David Williamson Kathryn Milliss Lani Hannah Samuelsons Kathryn Milliss Simon Quaife Paul Smith Ian Plummer Grant Atkinson Flowers Film Lighting Viking Generators Robbie Burr Gennie operator MU/WR van Ric Petro Greenroom Artists’ Van Empire Production Services Keith Heygate John Martin Sue Wiley Jack Friedman Wendy Freeman Rebecca Simon Wendy Freeman David Young Bemie Ledger Sue Andrews Jim Townley Fiona Searson, DDA Marike Janavicius Marikes Catering Co.

Art Department Art director Asst art director

Greens dept

Eric Todd Frank Falconer Greg Commerford Danny Burnett Dean Steiner Brad Dunlop Nigel Boyle Tom Parsons John Rega Yvonne Gudgeon Greg Thomas Loretia Shelton

Government Agency Investment

Alison Barrett Alison Barrett Casting Carrie Zivetz Dan Potra

Production Crew

1st asst director 2nd asst director Continuity Boom operator Make-up Make-up asst Hairdresser Special fx co-ord Stunts co-ordinator Unit nurse Stills photographer Unit publicist Catering

Kerry Thompson Mary Lou da Rosa

Animals

Principal Credits

Post-production Asst editor Edge numberer Sound transfers by

Set dressers

Latent Image Productions

On-set Crew Stephen Ewings Audrey Hutchison Perry Dwyer Ceri Breheny Steve Lidcombe Hobart City Council Ceri Breheny Roz Bucirde Michael Brown

Construction Department

Wardrobe Wardrobe supervisor Wardrobe asst

Peter Donnelly Paul di Benedetto Rowena Hall Paul di Benedetto Arri SR

On-set Crew

Art Department Art director Art dept runner Set dresser Props buyer Standby props

Stephen Ewings

Frances McDonald Andrew Howard Genevieve Blanchet Dan Potra Ro Bruen-Cook Kathy Moyes John Pryce-Jones Peter Savage Grant Lee Robert Coleby Carson Andreas

Art dept co-ord Art dept runner Art dept assts

FRAUDS

Director Producers

DE VILS’ TAS MANIA

Production Crew

Camera operator Focus puller Clapper-loader Key grip Asst grip Gaffer Best boy Generator operator

EXCHANGE LIFEGUARDS [See previous issue for details]

COME BY CHANCE

BLINKY BILL

Director Producer Line producer Scriptwriter DÔP Sound recordist Editor Prod, designer Composer

John Ertler VFL Mark Freeman Loise Cheslett Grader Meg Koering Shooting stock Eastman Colour Cast: David Burnett (Jack deVils), Robyn Murray (Mary), Helen Mutkins (Julia), Same Nettleford (Dale), Charlotte Hurburgh (Eliza), Linzee Arnold (Burgess), Peter Salmon (Mosquito), Philip Sabine (Greenless), Graham Cory (Grandpa), Steve Worley (Uncle Bob). Synopsis: The fate and adventures of Jack de Vils and his mate Dale, who have escaped from the local prison farm and are determined by Mary, Julia and Eliza. Set on the Eastern coast of Tasmania and combining history and myth to form an adventure in the bush.

Prod, company

[See previous issue for details]

Prod, company Budget Pre-production Production Post-production

Musical director Laboratory Lab liaisons

Robert Dein Angus Tattle

Dist. company Pre-production Production Post-production

Palm Beach Pictures Initial Film & Television Southern Star Group Channel Four 6/1/92 - 15/2/92 17/2/92 -16/4/92 21/4/92-18/11/92

Principal Credits Director Producers Line producer Exec, producer Assoc, producer Scriptwriter Based on the novel Written by DOP Sound recordist Editor Prod, designer Costume designer

David Elfick David Elfick Eric Fellner John Winter Kim Williams Nina Stevenson David Holman No Worries David Holman Steve Windon Guntis Sics Louise Innés Michael Bridges Clarrissa Patterson

Planning and Development Casting Extras casting Dialogue coach Storyboard artist

Christine King Lucy Goodman Dean Carey Robert Alcock

Production Crew Prod, manager Prod, co-ordinators Producer’s asst Location manager Unit manager

CINEMA

Anne Brüning Basia Plachecki Julie Sims Lucy Chapman Maude Heath Will Matthews

PAPERS

• 75

Asst unit manager Unit assts

Dennis Huim Noelene Maxwell Russell Jeutral Production runner Simon Cox Prod, accountant Lyn Jones Accounts asst Lyndal Magnusseson Insurer Hammond Jewell Completion guarantor Film Finances Legal services Allen, Allen & Hemsley Base-office liaison Elli Bradbury

Camera Crew Camera operator Focus puller Clapper-loader Key grip Asst grips

Mark Spicer Steve McDonald Annie Benzie Ray Brown Ian Bird Warren Grieef Ken Pettigrew Gary Hill Jonathan Hughes

Gaffer Best boy Electrician

On-set Crew 1st asst director Chris Webb 2nd asst director Maria Phillips 3rd asst director Geoffrey Guiff re Continuity Daphne Paris Boom operator Fiona McBain Make-up Lesley Rouvray Hairdresser Jan Zeigenbein Special fx co-ord Steve Courtley Special fx Allied Explosive Technology Stunts co-ordinator Zev Eleptheriou Safety officer Zev Eleptheriou Unit nurse Jacquie Ramsay Stills photographer Brian McKenzie Unit publicist Victoria Buchan Catering Kollage Katering

Art Department Art director Art dept co-ord Art dept runner Set dresser Props buyers Standby props Armourer Action vehicle co-ord

Jenny Carseldine Amanda Selling Tim Disney Mark Dawson Bill Booth Mark Dawson James Cox Robert Colby Peter Cashman

Wardrobe Wardrobe supervisor Standby wardrobe Wardrobe asst

Jane Johnson Gabrielle Dunn Jacqueline Saaine

Animals Animal handler Animal wrangler

Stephen Bilson Noonbarra Kelpie Stud Evanne Cheeson

Construction Dept Scenic artist Construct, manager Carpenters

Sound editor Lab liaison Gauge Screen ratio Shooting stock

David Gurosvin Andrew Upton Karen Whittington Ian Russell 35mm 185. Kodak

Government Agency Investment Development

AFC

Cast: Amy Terelinck (Matilda), Geoff Morrell (Ben Bell), Susan Lyons (Ellen Bell), Geraldine James (Ann Marie O’Dwyer), John Hargreaves (Clive Ryan), Steven Vidler (Gary Hay), Bob Baines (Mr Drew), Ray Barrett (Old Burkey), Harold Hopkins (John Burke), Judy McIntosh (Mrs Gregg). Synopsis: In the midst of the drought and recession of 1992, 10-year-old Matilda and her family are forced off their property in Western New South Wales, and move to Sydney. There they are ‘foreigners’.

Principal Credits Director Producer Scriptwriter DOP Sound recordist Editor Production designer Costume designers

Script editors Script assts Casting consultants Extras casting Drama coach Tutor

Prod, manager Catherine “Tatts” Bishop Prod, co-ord Jackie Mann Prod, accountant Juanita Parker Thredgold Accounting Services Accounts asst Sharon Young Location manager Michael McIntyre Unit manager Simon Hawkins Unit assts Phil Taylor Nicole McLaughlin Production runner Carl Conti Insurer Tony Leonard Steeves Lumley Completion guarantor Sue Milliken Film Finances Legal services Philip J. Luca Travel co-ord. Greg Helmers Travel Too

Camera Crew Steadicam operator Harry Panagiotidis Steadicam asst David Lindsay Focus puller Robin Plunkett Clapper loader Bryn Whitie Add. & fx photography Paul Elliott 2nd unit camera asst Geoff Hall Camera equipment Samuelson Film Group Key grip Ian “Pear Head” Benallack Grip Arthur Manousakis Gaffer Rory Timoney 2nd electrics Steve Price 3rd electrics Battista Remati 1st asst director 2nd asst director 3rd asst director Continuity Boom operator Make-up Make-up asst Hairdresser Stand-in Special fx

Toby Pease Emma Schofield Mathew Bennett Jan Piantoni Craig Beggs Vivienne MacGillicuddy Neill Timms Vivienne MacGillicuddy Piers Klugman (Seymour) Steve Roberts Robert Sandeman New York Production & Design Motion control camera Ray Strong Chimera head Noel Crombie Sally Mills Stunts co-ord Mark Hennessy Safety officer Eddie McShortall Still photography Jennifer Mitchell Tutor Lynne Klugman Catering Michele Gibson Sweet Seduction Rehab, advisor Denise Frith Traffic stopper Warwick Fry M/U-W/R vehicle Empire Tutor vehicle Reel Wheels Unit publicist Fiona Searson (DDA)

Art Department Art director Art dept co-ord Art dept runner Art dept trainee Props buyers

SAY A LITTLE PRAYER (formerly Came

CINEMA

Walter Donohue Paul Harris Lynn-Maree Milbum Jocelyn Moorhouse Liz Mullinar Casting Kelly O’Shea Kaarin Fairfax Lynne Klugman

Production Crew

PIANO LESSON

PAPERS

Props dresser Standby props

Hugh Bateman Victoria Hobday Paul Macek Rebecca O’Brien Georgina Campbell Murray Gossan Georgina Campbell Murray Gossan

Wardrobe Wardrobe supervisor Standby wardrobe

Costumes asst Machinist Cutter

Jacqui Everett Cathy Herreen

Anna Borghesi Catriona Brennan Catriona Brennan

Animals Horse master

Richard Lowenstein Carol Hughes Richard Lowenstein Graeme Wood Lloyd Carrick Jill Bilcock Chris Kennedy Lynn-Maree Milbum Jacqui Everett

Planning and Development

Director Jane Campion Producer Jan Chapman Scriptwriter Jane Campion Cast: Holly Hunter, Sam Neill. Synopsis: A mute woman’s love for her piano and another man provokes the jealousy of her husband. Set in Victorian times on a remote part of New Zealand’s coastline. [No further details supplied.]

Flying Films 14/10/91 ... Beyond Inti. Group

On-set Crew Richard Baldwin Bob Patón Brett Bartlett Alan Armytage

Post-production Asst editors

Back to Show You I Could Fly) Prod, company Production Dist. company

Evanne Chesson

Construction Dept Construct, manager Carpenters Set finisher Wings design Wings construction

Walter Sperl Robin “Syd” Hartley Colin Gearman Peter Swan McGregor Knox Alexander Knox Edward Parrot

Post-production

Susan Weis 1st asst director Lloyd James Make-up Marcus Struzina Still photography Geoffrey Swanston Catering Tao Weis Runner Wain Fimeri Asst art director Cinevex Laboratory AAV Video transfer by AFC Development Production AFC Cast: Nick Lathouris (Walter Benjamin), with Mark Rogers, Louise Smith, Margaret Cameron. Synopsis: One Way Street approaches the life and work of German-Jewish philosopher Walter Benjamin (1892 -1940) from the perspective of the present. It provides an introduction to the work and the historical context from which it emerged and moments of the life Walter Benjamin lived.

1st asst editor Jane Moran 2nd asst editor Nick Cole Edge numbering Film Sync Sound transfers Soundfirm Sound design Craig Carter Sound editor Craig Carter Sound editing system Sountracker Sound post-production Soundfirm Liaison Helen Field Music co-ordinator Christine Woodruff Original music by Not Drowning, Waving Mixers Roger Savage Bruce Emery Foley Paul Pirola Steve Burgess Gerry Long Gareth Vanderhope Opticals Kevin Williams Titles Optical & Graphic Laboratory Vic Film Lab Neg cutting Vic Negative Cutting Service Stock Kodak Rushes screening Film Soundtrack Stills processing Color Factory (col) Di Keller (b&w) Polaroid stock Vanbar Photographies Publicity DDA Finance FFC Inti, sales Beyond Films Cast: Fiona Rutelle (Angie), Sudi de Winter (Seymour), Lynne Murphy (Thelma), Mickey Camilleri (Seymour’s Mum), Rebecca Smart (Lynne), Jill Forster (Mrs Easterbrook), Greg Carroll (Jake), Ben Mendelsohn (Nursery Boss), Phyll Bartlett (Op Shop Lady), Pepe Trevor (Shop As sistant), Roger Neave (Mr Easterbrook). Synopsis: A skinny, introverted eleven-yearold meets the young effervescent but drugaddicted Angie and enters her fantasy world. It is a relationship that offers strength to each, and through the highs and lows of a long hot summer they both gradually learn to face the truth about each other and themselves.

were killed during the Pol Pot regime. This is the story of the rebuilding of the Cambodian Royal Ballet told by a teacher and her pupil.

RECENTLY COMPLETED See previous issues for details on: MAP OF THE HUMAN HEART THE NUN AND THE BANDIT SHOTGUN WEDDING

For details of the following see previous issues: WILD TREASURE - THE GULF OF THAILAND INCIDENT

DOCUMENTARIES

SHORTS

Production company Production Post-production

John Hughes April 1992 May-July 1992

Principal Credits Director Producer Scriptwriters DOPs Sound recordists Editor Art director Composer

John Hughes John Hughes Paul Davies John Hughes Nicolette Friedman Erica Addis Lloyd Carrick Gretchen Thomburn Uri Mizrami Laurel Frank Martin Friedel

THE TENTH DANCER Prod, company

Singing Nomads Productions 3/4/92 -10/5/92 11/5/92- Nov 1992

Production Post-production

Principal Credits Director Producer Exec, producers

Sally Ingleton Sally Ingleton Denise Patience Harry Bardwell Alan Bookbinder Jenni Meaney Paul Finlay Ken Sallows

DOP Sound recordist Editor

Other Credits Prod, manager Asst editor Sound editor Still photography Legal services

Lucy MacLaren Ronnie Reinhard Dean Gawen Ponch Hawkes Bryce Menzies, Roth Warren Cinevex Kodak Oliver Streeton Eugene Wilson ABC BBC 52 mins 16mm

Laboratory Shooting stock Edge numbering Sound transfers Pre-sale Length Gauge

Government Agency Investment Development

AFC Film Victoria FFC

Production

Cast: [No details supplied] Synopsis: Ninety percent.of Cambodia’s artists

Prod, company Pre-production Production Post-production

Principal Credits Director Exec, producer Scriptwriter DOP Sound recordist Editor Prod, designer

Ross Gibson Fiona Eagger Tabitha Davies Tao Weiss Bryce Menzies Robin Plunkett Adrian Kortus Steve Price

Priscilla Cameron Anne Smallwood Priscilla Cameron David Barker Jeff Graham Julie Sommerfeldt Jo Miller

Planning and Development Shooting schedule by

Other Credits Script editor Prod, manager Prod, assistant Production runner Legal services Focus puller Key grip Gaffer

Nice Guy Productions Old College of Art 2/4/92-11/5/92 11/5/92 - 29/5/92 1/6/92 - 18/9/92

Budgeted by

Tony de Pasquale Michelle Warner Tony de Pasquale

Production Crew Prod, manager Location manager Prod, assistant

Tony de Pasquale Reza Borhani-Shidani Ellen Foley

Camera Crew Camera operator

Mark Buckley

Clapper-loader Camera assistant Camera type

David Cordell Fiona Gunn Arriflex 16BL

On-set Crew

PRESUMPTIONS Prod, company

Still photography

Wing and a Prayer Productions

Budget

1st asst director Continuity Boom operator Still photography Catering

Michelle Warner Brett Barton James Lees Rowena Mollica Tony de Pasquale

Post-production Asst editor Rowena Zande Laboratory VFL Shooting stock Kodak Eastmancolor Cast: [No details supplied] Synopsis: Your mother has always told you to go out with nice guys, right? She was wrong. When Monnie agrees to have dinner with nice guy Ross, she finds that all her preconceptions about him are really misconceptions. Nice Guy... But\s a quirky, brutally honest look at the mating game.

THE OTHER ROOM Prod, company Dist. company Budget Pre-production Production Post-production

Cinema Entertainment Cinema Entertainment $28,000 Mar - May 1992 July 1992 Aug - Oct 1992

Principal Credits Director Producer Scriptwriter DOP Sound recordist Prod, designer

Pantelis Roussakis Pantelis Roussakis Pantelis Roussakis James Confos Sam Petty Pantelis Roussakis

Other Credits Producer’s asst Production runner Focus pullers

Jon Robinson Jonathan Love Peter Borosh Peter Certy Clapper-loaders Peter Borosh Peter Certy Camera assts Peter Borosh Peter Certy Key grip Steve Gray Asst grips Gary 1st asst director Robert Boyd Make-up Kate Lemm Still photography Ian Wilkinson Catering Voula Goudis Laboratory Movielab Lab liaison Martin Hoyle Gauge 35 mm Screen ratio 1:1.85 Shooting stock 5296 Inti, distributor Cinema Entertainment Cast: John Jarman (The Man), Ruth Notter (The Woman). Synopsis: A psychological drama, two people trapped in cyclic and oppressive lifestyles. They have no possibility of escape. An analogy of modern life and relationships.

PALE BLACK Budget Post-production

$26,306 1/6/92 -10/8/92

$30,000

Principal Credits Director Producer Scriptwriter Based on the story Written by DOP Sound recordist Editor Prod, designer

Peter Anstee Peter Anstee Peter Anstee Presumptions Simon Frost Simon Frost Robin Zorns Dimity Gregson Amber Lewington

Planning and Development Researchers

Peter Anstee Simon Frost Peter Anstee Peter Anstee Niobe Syme Peter Anstee Peter Anstee

Casting Dialogue coaches Shooting schedule by Budgeted by

Production Crew Prod, Prod, Prod, Prod,

manager co-ordinator secretary assistants

Paymaster Insurer

Peter Anstee Niobe Syme Samantha Chalker Fausziah Ibrahim Teresa Sain Peter Anstee Dry Shand Dobson

Camera Crew Camera operator Clapper-loader Camera asst Gaffer Asst electrics

Steven MacDonald Y. K. Chan Andrew Bremner Anthony Wood Tim Jessup

On-set Crew 1st asst director Michael Bond Continuity Rose Ferrell Special fx make-up David Rutherford Still photography Marco Moma Unit publicist Niobe Syme Catering Felicity Newman Greenpeas Vegetarian Restaurant Runner Hayley Reilly

Art Department Art director Set dresser

Simon Frost Kevin Zsilinszky

Animals Cockroach trainer Cockroach wrangler

Clara Kotai Clara Kotai

Post-production Sound editor Post-sync supervisor Shooting stock

Rob Muir Rob Muir Kodak 7222 B&W

Government Agency Investment Production

Short Drama Fund, West Australian Film Council

Marketing Publicity Niobe Syme Poster designer Simon Frost Cast: Storm Thomas (Bob), Clinton Morgan (Taxi Driver). Synopsis: A highly stylized comedy that re minds us that expectations are not always fulfilled.

Enver Samuel Jan Bidas First aid Giancarlo Mazzella Catering Emma Nicholson Art dept asst Fran Tinley Wardrobe person Megan Jackson Editing asst Toni Raynes Laboratory Cinevex Film gauge 16mm Screen ratio 1:1.85 Shooting stock Kodak 7296 Cast: Emily Bott (Antonella), David Vallon (Mr Langley), Elwyn Edwards (Stuart Manley), Craig Williams (Danny), Tiffany Evans (Mrs Manley), Lionel Farrell (Preacher), Dave Burly, Angelique Malcolm, Lile Hammond (Models), Marlon Forrester (Sweetbreeze Jackson). Synopsis: Antonella toils unhappily as a make up artist in a funeral home while she dreams of plying her trade in the glamorous world of inter national modelling. Just when her life seems stuck in a rut, she receives a visitation from one of her “clients”, who has a burning love for the blues and an extremely strange request that only Antonella can grant.

WATER Prod, company Pre-production Production Post-production

Water Productions Qld College of Art 2/4/92 - 1/6/92 1/6/92 - 20/6/92 20/6/92- 18/9/92

Principal Credits Director Exec, producer Scriptwriter DOP Sound recordist Editor Prod, designer

Ellen Foley Anne Smallwood Jeff Graham David Cordell Jeff Graham Fiona Gunn Brett Barton

Production Crew Prod, manager Prod, assts

Production runner

Murray Fahey Anneka Baughan Antonia Fredman Valera Griffin Steven Nicolkes

Camera Crew Camera operator Focus puller Clapper-loader Gaffers Asst electrics

Chantal Abouchar Michele Duval Grant Hilliard Andrew Robertson Tony Mandel Peter Chittlebrough

On-set Crew Liz Doran Bettina Bent Wenona Byme Carmel Martin Jenny Carter

1st asst director 2nd asst director Continuity Make-up Still photography

Art Department Art director

Jo Weatherby

Post-production Sound editor Greg Hodge Mixer Greg Hodge Cast: Georgia Troy Bames (Guest), Jenny Vuletic (Host), Andrew Baldwin (Reporter). Synopsis: Jumping the Gun is a seven minute film starting the morning after the affair of the night before. The affair involves two women. It explores the fears and hopes of the “guesf who has just woken up to find herself in unfamiliar surroundings. While her “hosf still sleeps she creates in her mind the possible outcomes of a relationship with her new partner. It is a light hearted love story.

For details of the following see previous issue: DEAR MARY

Other Credits

FILM AUSTRALIA

Casting Shooting schedule by

Sue Manger Casting James Lees Rowena Zande Budgeted by Rowena Zande Prod, manager Rowena Zande Location manager Tony de Pasquale Prod, assistant Michelle Warner Camera operator Reza Borhani-Shidani Clapper-loader Julie Sommerfeldt Camera asst Mark Buckley Camera type Arriflex 16BL 1st asst director James Lees Continuity David Barker Boom operator Priscilla Cameron Still photography Glenn Campbell Catering Tony de Pasquale Runner Jo Miller Laboratory VFL Lab liaison Louise Shooting stock Kodak Eastmancolor 7296 Cast: [No details supplied] Synopsis: Amongst the noise of the city, Luke meets Katrina and succumbs to her mercurial moods. An exploration of first love with a twist.

For details of the following see previous issues: THE COLOURED CAMPAIGN DIAMONDS ARE A GIRL’S BEST FRIEND ON THE NOSE

NSW FILM & TELEVISION OFFICE For details of the following see previous issues: CITY WEST DEFENSIVE DRIVING DISABILITY AWARENESS TRIGGERS EEO FREE FOR ALL FORUM HOUSING FOR ALL PROCEDURES IN RELATION TO BRIBES ROAD SAFETY: CORRECT USE OF INFANT AND CHILD RESTRAINTS TWO WAY TRAFFIC URGENT ASSISTANCE REQUIRED

Principal Credits Director Producer Scriptwriter DOP Editors

Marie Craven Marie Craven Marie Craven Marie Craven Chris Windmill Marie Craven

Other Credits Script editor Insurer Legal services Titles Laboratories

Lab liaison

Gauge

Adrian Martin Hammond Jewell Andrew Sullivan Minter Ellison Terence Hogan Cinevex Film Plus (Super 8) Interformat, USA (Blowup) VFL (16mm) Michael Hinton, Interformat Mark Freeman, VFL Super 8 & 16mm

Government Agency Investment AFC Production AFC Marketing Cast: Louise Fox (The Voice). Synopsis: An invisible woman examines the lurid and mundane spaces of her interior world.

SWEETBREEZE Prod, company

Sweetbreeze Films

Principal Credits Director Producer Scriptwriter DOP Sound recordist Editor Art directors Composer

Malla C. Nunn Mark Lazarus Malla C. Nunn Stephen G. Scott Doug Hampton Aubrey L.C. Tredget Lucy Oliver Clayton Jauncey Mark Lazarus

Other Credits Script editor Prod, manager Prod, assistants Camera asst Camera trainee Gaffer Best boy 1st asst director 2nd asst director Continuity Boom operator Make-up

Pieter Aquilia Mark Lazarus Justine Smith Tara McGovern Andrew Thom Brenda Guy Bessel-Browne David Carroll Claire Calzoni Giancarlo Mazzella Kim Dunstan David Lynn Megan Jackson

For details of following see previous issue: HEAD ABOVE WATER HOT CURRY COWBOY THE KISS URBAN MYTH

TELEVISION PRODUCTION CLUEDO (series) Prod, company Production

Crawfords Australia June-Aug 92

Principal Credits

A u s t r a l ia n f il m t e l e v is io n & RADIO SCHOOL

Directors

Paul Maloney Oscar Whitbread Producer John Taft JUMPING THE GUN Line producer David Taft Prod, company AFTRS Exec, producer Terry Ohlsson Pre-production 6/7/92... Develop, producer Don Samulenok Production 3/8/92 - 7/8/92 Art director Andrew Reese Post-production 10/8/92 - 23/10/92 Prod, manager Geoff Morrow Principal Credits Publicity Susan Elizabeth Wood Director JaneSchneider Lyn Elford Producer MurrayFahey[No further details supplied] Scriptwriter HilaryBeaton Cast: Jane Badler, George Mallaby, Peter DOP Chantal Abouchar Sumner, Nicola Pauli, Joy Westmore, Lyn Elford, Editor LindaGahanAndrew Daddo, Frank Gallacher, Ian McFadyen. Prod, designer JoWeatherby Synopsis: Cluedo combines the drama and Planning and Development deadly intrigue of a murder mystery with the Casting JoySeargeant humour and excitement of a game show. Extras casting Kerry Allen

CINEMA

PAPERS

• 77

THE MIRACULOUS MELLOPS - SEQUEL Prod, company Dist. company Budget

(mini-series) Millenium Pictures Film Australia $3.19 million

Principal Credits Director Producer Co-producer Line producer Exec, producer Scriptwriters

DOP Prod, designer Costume designer

Karl Zwicky Posie Graeme-Evans Andrew Blaxland Terrie Vincent Ian Fairweather Anthony Ellis Ray Harding John Hugginson Peter Kinloch Maureen Ann Moran Sharyn Rosenberg Alister Webb David Scandol Andrew Blaxland Margarite Tassone

Boom operators Make-up Special fx supervisor Special fx asst Tech advisor Publicity Catering

Art Department

Standby props Action vehicle co-ord.

Wardrobe Wardrobe co-ord’s

Prod, company Production Post-production

ABC Melbourne 24/8/92 - 29/11/92 30/11/92-20/12/92

Principal Credits Directors

Producer Producer’s asst Exec, producer Scriptwriters

Sound recordist Editors Prod, designer Art directors Costume designer Composer

Michael Carson Julian McSwiney Kate Woods Mark Callan Bill Hughes Susan Haworth Jill Robb Graham Hartley Annie Beach Jan Sardi Alison Niselle Michael Harvey Deborah Parsons John Beanland Gary Watson Chris Branagan Sally Shepherd Steven Crosby Dale Mark Clare Griffin Paul Grabowsky

Planning and Development Researcher Script editor Story editor Casting Casting consultants Extras casting

Clare McGrath Jutta Goetze Tony McDonald Prototype Casting Greg Apps Tess Hill Kelly O’Shea

Production Crew Prod, manager Prod, co-ordinator Prod, secretary Location manager Unit manager Production runner Prod, accountant Accounts asst

Marion Pearce Jenny Barty Kim Sullivan Anne Bartlett Darrin Oakley Soren Pedersen John Leatham Jan Edwards

Camera Crew Senior cameraman Cameraman Key grip Grip Electrician

John Tuttle Frank Petrowitz Max Gaffney Brian Shirvington Leo Carroll

On-set Crew 1st asst directors

2nd asst directors 3rd asst director Continuity

CINEMA

Ross Alsop Ali Ali Neil Proud Jennie Harrison Ade Djajamthardja Neale Dyster Aideen Stevensen

PAPERS

George Raniti Mary Pembertom Mark Reynolds Andrew Best Brent McDonald Alinta Davidson Rod Beaumont Dave Norman Rob Walters

Props buyers

Other Credits

Ian Dewhurst Lex Martin

Gaffer Best boy

On-set Crew Phil Jones Monica Pierce Jo Weeks Kirsten Veysey Cheryl Williams Jennifer Mitchell Steve Marcus Deborah Hanson

1st asst director 2nd asst director Continuity Make-up Hairdresser Still photography Catering Catering asst Art director Set designer Graphic designer Art dept runner Set decorator Asst trainee Props buyers Props dresser

Deborah Eastwood Michelle McGahey Suki Ibbetsoni Paul Angus Dimity HuntingtonI Stianti GudgeonI Richard Hobbs Marita Mussetl Richard Hobbs

Wardrobe

Wardrobe admin asst

John O’Shea Julie Krueger Diane Home

Wardrobe supervisor

Herb Stevens John Trebilco

Post-production

Construction Dept Construct, manager Scenic artist

Post-production Post-production super. Audio post-prod.

Ken Tyler Steve Witherow Greg Brereton Gauge SP Betacam Cast: PeterCummins (Superintendent Wallace), Peter McCauley (Inspector Lew Murdoch), Stuart McCreery (Snr Sergeant Adrian Moon), Simon Westaway (Sergeant Peter Faithful), Jennifer Jarman-Walker (Snr Detective Cath Darby), David Bradshaw (Snr Detective Andrew Saunders, “Fluff), David Roberts (Snr Detective^Russell Howie), Vikki Blanche (Snr Detec tive Chris Faithful), Sean Scully (Ian Cochrane), Susie Edmonds (Carol Cochrane). Synopsis: The major crime squad’s investiga tion of a series of aggravated burglaries leads to an unexpected discovery.

STARK (series) Prod, company

Cascade Ash Productions 20/7/92 ... 5/10/92 ... 21/12/92 ...

Pre-production Production Post-production

Principal Credits Director Producer Co-producers Exec, producers Assoc, producer Original screenplay Based on the novel Written by DOP Sound recordist Editor Prod, designer Costume designer

Nadia Tass Michael Wearing (UK) David Parker Timothy White Michael Wearing (UK) Jill Robb Eve Ash Ben Elton Stark Ben Elton David Parker Lloyd Carrick Ken Sallows Larry Eastwood Kerri Barnett

Planning and Development Casting Casting consultants Extras casting

Greg Apps Prototype casting Camilla Gold

Production Crew Prod, manager Prod, co-ordinator Producer’s assts

Bernadette O’Mahony Amanda Crittenden Aida Innocente Judith Hughes Prod, secretary Susan Combey Location managers Neil McCart (Melbourne) Tony Mahood (Desert) Leigh Ammitzboll Unit manager Production runner Russell Boyd Prod, accountancy Moneypenny Services Prod, accountant Sophie Siomos Completion guarantor Film Finances Legal services Roth Warren Greg Helmers Travel & freight T raveltoo

Camera Crew Camera operator Focus puller Key grip

David Parker Kathy Chambers Ray Brown

Make-up asst Stunts co-ord.

Art Department Ken James Denise Goudy Darryl Mills Marcus Erasmus Richie Dean

Art director Set dresser Props buyer Standby props Standby dresser

Wardrobe Rachel Nott Kelly Ellis Gabriel Dunn Clair Smith Gloria Allen

Standby wardrobe Wardrobe asst Seamstress

Construction Peter McNee

Construct, manager

Post-production

Hugh Bateupi Melbourne Film Studios

Laboratory Gauge

Cinevex Super 16 mm

Alan Ryan

Post-prod, supervisor

Marketing Susan Elizabeth Wood

Publicity Sandy Cicello>

Construction Dept Construct, manager Studios

Amanda Rowbottom Zelja Stanin Peta Hastings New Generation Stunts

Make-up/Hair

Wardrobe supervisors

Art Department

Design asst Art dept co-ordinator Set dressers

Script editor Greg Haddrick Accountant Jill Coverdale Art director John Pryce-Jones Finance FFC Presale Network 10 Dist. guarantee Film Finances Gauge SP Betacam Length 10 x 30 mins Studio Hoyts Television Studios Cast: Sally Warwick, Troy Beckwith, Davud Walters, Bill Conn, Julie Godfrey, Max Phipps, Kim Walsh, Drew Forsythe. Synopsis: Miracles and mayhem continue.

PHOENIX (series II)

Frances McLean Grant Graham Cornish Neville Kelly Ian Loughlin Jacqueline Bhavnani Terry Barrow John McCulloch Gordon Davie Marian Page Debbie Withers Sweet Seduction

Cast: [No details supplied] Synopsis: After winning the government lottery for the 27th time in a row, Father finds questions being asked of his honesty. What to do? Escape, of course, and so begins the story of this strange family from the planet Zyrgon as they travel half way across the galaxy, turn left and land on earth.

Government Agency Investment Production

FFC Film Victoria

Marketing inti, sales agent BBC Enterprises Fiona Searson, DDA Publicity Cast: Ben Elton (CD), Colin Friels (Sly Morgan), Jacqueline McKenzie (Rachel), Deborra-Lee Furness (Chrissie). Synopsis: An eco comedy-thriller based on Ben Elton’s novel Stark.

KELLY 2 (mini-series) Prod, company Dist. companies

Budget Pre-production Production Post-production

Westbridge Prods Tele Images Atlantis Releasing Westbridge Entertainment $3.5 million 19/8/91 -14/10/91 14/10/91 -24/1/92 14/10/91 -29/6/92

Principal Credits Directors

•

TELEVISION POST-PRODUCTION

Line producer Exec, producer Scriptwriters

HALFWAY ACROSS THE GALAXY AND TURN LEFT (series) Prod, company Production

Crawfords Australia 9/9/91 - 28/2/92

Principal Credits Directors Producer Exec, producer Develop, producer Scriptwriter Based on the novel Written by DOP Sound recordists Editor Prod, designer Costume designer

Rod Hardy Paul Moloney Jan Mamell Terry Ohlsson Peter Herbert John Reeves Halfway Across the Galaxy and Turn Left Robin Klein David Connell John Phillips Andrew Ramage Denise Haratzis Dale Duguid Sally Grigsby

Planning and Development Script editor Casting

Graeme Fanner Jan Pontifex

Production Crew Prod, manager Prod, co-ord. Prod, secretary Location manager Transport manager Unit manager Production runner Prod, accountant

Pam Tummel Wendy Walker Sandi Revelins Maurice Bums Peter Allen Tim Scott Justin Hughes Patti Pulbrook

Camera Crew Clapper-loader Camera assistant Key grip Asst grips Gaffer Best boy Generator operator

Peter Stott Greg Ryan Warren Grieef Aaron Walker Paul Smith Dick Tummel Darryl Pearson Adam Williams

On-set Crew 1st asst directors 2nd asst director 3rd asst director Continuity Boom operator

DOP Sound recordist Editors Prod, designer Composers

Chris Langman Mike Smith Ray Hennessy Jonathan M. Shift David Phillips Peter Hepworth Peter Kinloch Alison Nisselle Shane Brennan Shiela Sibley Denise Morgan Judith Colquhoun Brett Anderson John Wilkinson Ray Daley Philip Watts Georgie Greenhijl Garry McDonald Laurie Stone

Planning and Development Story editor Script editor Casting

Galia Hardy Jenny Sharp Jo Rippon

Production Crew Prod, manager Prod, co-ord. Producer’s asst Prod, secretary Location manager Transport managers Unit manager Financial controller Insurer Completion guarantor Legal services

Gina Black Susie Evans Coyla Hegarty Helen Boicovitis Greg Ellis Reel Wheels Conte Movie Trailers Steve Brett Jennifer Clevers Hammond Jewel) Film Finances Barker Gosling

Camera Crew Focus puller Clapper-loader 2nd unit focus Camera type Key grip Asst grips Gaffer Best boy Electrician

Terry Howells Warik Lawrance Gary Bottomley Arri SR Joel Witherden Craig Dusting Laurie Fish Roy Pritchett Michael Hughes

On-set Crew Stuart Wood Phil Jones Christian Robinson Damien Grant Anne West Stephen Vaughan

1st asst directors 2nd asst directprs 3rd asst director Continuity

Robert Kewley Richard Clendinnen Maria Phillips Rosemary Morton Gene Van Dam Kay Hennessy

Boom operator Make-up Make-up asst Special fx Stunts co-ord. Stunts Safety officer Still photography Unit publicist Catering

Paul “Crusty” Kiely Ray Phillips Angela Conte Michelle Johnstone Film Trix New Generation Stunts Chris Peters Chris Anderson Chris Peters Ponch Hawkes Anthea Collin Band Aide

Prod, accountants Insurer Completion guarantor Driver

Camera Crew Camera operators

Camera asst Technical producers

Ait Department Art dept runner Set dressers

Peter Ramsey Adele Flere Guy Cottrell Angela Christa Chris James

Props buyer Standby props

Wardrobe Wardrobe supervisor Standby wardrobe

Marion Boyce Mandy Sedawie

Animals Animal trainers

Michael Garcia Paul Van Vliet

Post-production

Government Agency investment Development Production

Film Victoria FFC

Marketing Inti. dist.

Tele Images Atlantis Releasing Westbridge Entertainment Cast: Max the dog (Kelly the dog), Chanmaine Gorman (Jo Patterson), AlexanderKemp (Danny Foster), Anthony Hawkins (Mike Patterson), Gil Tijcker (Frank Patterson), Ailsa Piper (Maggie Patterson), Katy Brinson (Dr Robyn Foster), Matthew Ketteringham (Chris Patterson), Mickey (Jpnior), Jo Spano (Brian Horton). Synopsis: The continuing story of three young children growing up in Fern Cove and their adventures with a retired police dog. An action, adventure romp. •

LIFT OFF (series) Pifod. company Budget Production Post-production

Australian Children’s Television Foundation $10.3 million ... 27/3/92 30/3/92-12/7/92

Principal Credits Steve Jodrell Mario Andreaachio Mandy Smith Colin Budds Paul Nichola Patricia Edgar Producer Patricia Edgar Exec, producer Margot McDonald Line producers Rob Pemberton (ABC) Ewan Burnett Assoc, producers Susie Campbell (Animation) Jaems Grant DQP Ian Cregan Sound recordist Tim Lewis Editors Edward McQueen- Mason Tel Stolto Prod, designer Rose Chong Costume designer Directors

Planning and Development Senior script consultant Casting Extras casting Djalogue coaches i

Jeff Peck Liz Mullinar Casting Camilla Gold Julie Forsyth Josi Robson

Production Crew Pfod. managers l

Ppd. co-ords Prod, secretaries Location manager Location searcher Unit manager Production runner

Technical director Technical asst 2nd unit DOP 2nd unit camera asst Key grip Asst grip Rigger Gaffer Best boy Lighting directors Lighting assts

Post-prod, supervisor Ray Daley Edge numberer Post Sound transfers by Post Recording studio The Music Department Laboratory Cinevex Film gauge 16 mm Shooting stock Kodak Off-line facilities Post

Electrician

Roger McAlpine Greg Wilden Karen Johnson Andrew Schmidt Peter Falk Michael Bramley Peter Simondson Campbell Miller Max Gaffney Ian Warburton Peter Nearhos Peter De Haan Tim Porter Max Gaffney Andrew Topp Darryn Fox Michael Bramley Graham Brumley Mick Cleary Kevin Pearce Mick Cleary

On-set Crew 1st asst directors

Paul Healey John Wild Phil Jones Ross Allsop David Clarke 2nd asst directors Marcus Hunt Martin Green (ABC) 3rd asst director Andrew Power Continuity Carmel Torcasio Karinda Parkinson Aideen Stevenson (ABC) Andrea Fitzpatrick (ABC) Vision operator Eric Burt Vision mixer Chris Edwards Tape operator John May Boom operators Tony Dickinson (ABC) Graham Cornish (ABC) Audio operators John Beanland (ABC) Chris Doyle Audio assts Neville Kelly (ABC) Catrina McDonald (ABC) Make-up Nik Doming Anna Karpinski Nik Doming Hairdressers Anna Karpinski Asst hairdresser Laura Morris Special fx Peter Stubbs Nurse/chaperone Glad Fish Still photography Greg Noakes Howie & Taylor Unit publicity Keith Fish Catering Sheila Buzza Director’s attachment Megan Manning

Art Department Art directors Art dept co-ord Art dept runner Set dressers

Props buyers Standby props

Head puppeteer Puppet builder Puppet makers Add. puppet maker Puppet maintenance Puppet doctor

Yvonne Collins Mervyn Magee (ABC) Amanda Crittenden Serena Gattuso Liz Grant Claire Walsh Neil McCart John Wild Leigh Ammitzboll Steph Stewart

Moneypenny Services Sophie Siomos Steeves Lumley Film Finances Craig Lambert (ABC)

Bemie Wynack Dale Mark Rob Walters Michelle Venutti Marita Mussett Phil Chambers Michael Keane (ABC) Mark Reynolds (ABC) Murray Kelly Kris Kozlovic (ABC) Fiona Greville Brian Lang Alf Camilieri Peter Wilson Rod Primrose Rob Matson Richard Mueck Michael Logan Rob Matson Richard Mueck Paul Myers

Wardrobe Wardrobe supervisor Standby wardrobe Wardrobe assts

Wardrobe runner Machinists

Goncetta Raff Rachel Nott Bernice Devereaux Monica O’Brien Gail Mayes Dalys Lamson Cappi Ireland Blair Broadhurst Maureen Ryan

Post-production Ken Tyler (ABC) Post-prod, co-ord Ralph Strasser Supervising editor Asst editor Christina de Podolinsky Christina de Stock footage co-ord. Podolinsky The Joinery Editing facilities Steve Witherow (ABC) Sound mixers Ian Battersby (ABC) John Wilkinson (ABC) Chris Neal Music consultant Music educationalist Christoph Maubach Music co-ord David Chesire Visual fx director Paul Nichola Visual fx prod. man. Peter Bain-Hogg Vis. fx ‘EC’fantasies art Maree Woolley ‘Lotis’ interior fx co-ord Michael Bladen ‘Patches’ animator Glenn Mellenhorst Visual fx runner Julian Dimsey Animation consultant Peter Viska Cast: Mark Mitchell (Mr Fish), Paul Cheyne (Nipper), Erin Pratten (Poss), Maria Nguyen (Kim), Madeline Blackweil (Jenny), David Sandford (Ted), Heber Yerien (Turbo), Robert Peschel (Max), Aru Kadogo (Swap), Aku Bielicki (Little Aku). Synopsis: Lift Off is a children’s television programme aimed at three to eight year-olds. It will consist of 26 one-hour programmes which can be split into half-hour episodes, and will be screened weekly during and after school on the ABC from May 1992. It will use actors, puppets and animation and each episode will be based around a broad theme.

MASTERPIECE PROFILES (series) SBS Television Don Featherstone Productions Episode 1. Eric Rolls Don Featherstone Director Producer Don Featherstone Exec, producer Barbara Mariotti (SBS) Researcher Steve Warne Scriptwriter Steve Warne DOP Preston Clothier Sound recordist Dave Glasser Editor Denise Hunter Prod, manager Denise Hume SP Betacam Gauge Cast: [Not applicable]. Synopsis: A farmer, writer and historian whose books cover a whole range of issues from the environment to the human spirit. His latest book, due to be published soon, is the first major history of the Chinese in Australia. Prod, company

Steve Warne Researcher Steve Warne Scriptwriter Steve Newman DOP Denise Hume Prod, manager SP Betacam Gauge Cast: [Not applicable]. Synopsis: One of Australia’s leading feature filmmakers over the past couple of decades. SEE JACK RUN (tele-feature) A.F.M.S. Productions Prod, company $97,000 Budget 2/8/91 ... Pre-production 6/8/91 ... Production 15/4/92 ... Post-production

Principal Credits Stephen Amis Roger Gough Christine Collins Darrel Stokes Martin Hunter Christopher Hewitt Stephen Amis Robert Gough Who Cares Gillian Wadds Darrel Stokes Penny Gutteridge Robert Murphy Kim Bounds Sally Shepherd Barry Campbell

Director Producer Line producer Assoc, producers

Scriptwriters Based on the play Written by DOP Sound recordist Editor Prod, designers 'Composer

Planning and Development Gene Geoffrey

Script editor

Production Crew Producer’s asst Prod, assistant Insurer Legal services

David Barrington Matt Cameron B.R.A Insurance Sophie Siomos Golvan Arts Management

Camera Crew 'Camera assistant Aerial photography IKey grip Asst grips < Gaffers Best boy 'On-set Crew 1st asst director 2nd asst director Boom operator Make-up Tech, advisers

Joanne Donahoe Daniel Webb Dean Stevenson Tony Love Ben Milward Bason Andrew Davis Luis Da Silva Chris Gutteridge Gene Geoffrey Martin Hunter Terry Mackerall Fionna Munday Lisa Baxter Peter Tammer Mark Davis

Post-production Episode 2. Ernie Dingo Director Don Featherstone Producer Don Featherstone Exec, producer Barbara Mariotti (SBS) Steve Warne Researcher Scriptwriter Steve Warne DOP Pieter de Vries Graham Wyse Sound recordist Editor Melanie Stanford Prod, manager Denise Hume Gauge SP Betacam Cast: [Not applicable]. Synopsis: The actor/performer who has had an immense impact in the arts and significant crosscultural impact on the whole community.

Asst editor Aubrey T rudget Music performed by The Combustion Mixed at Sound Firm Gauge SP Betacam Video transfers by Interscreen 'Off-line facilities Open Channel Cast: Trent Mooney (Brian), Molly Brumm (Jan), Ellis Ebell (Colin), Elissa Holloway (Karen), Peter Docker (Steven), Kathy Thomaidis (Maria), John McCullough (Moss), Barbera Hughes (Desmond), John Flaus (MrGreeves), and Ezme Melville. Synopsis: Urban teenage drama dealing with illiteracy, poverty and romance on both sides of the tracks.

Episode 3. Robert Klippel Director Don Featherstone Producer Don Featherstone Exec, producer Barbara Mariotti (SBS) Researcher Steve Warne Scriptwriter Steve Warne DOP Steve Newman Melanie Sandford Editor Prod, manager Denise Hume SP Betacam Gauge Cast: [Not applicable]. Synopsis: Undoubtedly the most significant sculptor in Australia. He pioneered the theory of 'inner structure’ in sculpture.

Episode 4. Fred Schepisi Director Producer Exec, producer

See previous issues for details on: THE BOYS FROM THE BUSH (series II) LATE FOR SCHOOL

THE LEAVING OF LIVERPOOL NEIGHBOURS

FOR IN CLUSIO N IN THE PRODUCTION SU RVEY ;

CONTACT CINEMA P A P E R S ON ( 0 3 ) 4 2 9 5 5 1 1

Don Featherstone Don Featherstone Barbara Mariotti (SBS)

CINEMA

PAPERS

• 79

Eleven C r i t i c s ’ Best and Worst

LEAT C ELEVEN A PANEL OF ELEVEN FILM R EVIEW ER S HAS R A TED A S ELEC TIO N O F TH E L A TE S T RELEASES ON A S C A LE O F 0 TO 10, TH E L A TTE R BEING TH E OPTIM UM RATING (A DASH M EANS N O T SEEN). TH E CRITICS AR E: BILL COLLINS (CHANNEL 10; THE DAILY MIRROR, S YD N EY); S A N D R A HALL ( THE BULLETIN, S YD N EY); PAUL HARRIS (“EG ” THE AGE, 3RRR); IVAN HUTCHINSON (SEVEN N ETW O R K ; HERALD-SUN, M ELBOURNE); S TA N JA M ES {THE ADELAIDE ADVERTISER); NEIL JIL L E T T

{THE AGE); ADRIAN M ARTIN {BUSINESS REVIEW WEEKLY, M ELBOURNE; “S C R EEN ”, 3RN); S C O TT M URRAY; TOM RYAN (3L0; THE SUNDAY AGE, M ELBOURNE);

BILL COLLINS

SANDRA HALL

PAUL HARRIS

IVAN HUTCHINSON

STAN JAMES

NEIL JILLETT

ADRIAN MARTIN

SCOTT MURRAY

TOM RYAN

DAVID STRATTON

EVAN WILLIAMS

AVERAGE

DAVID S TR A TTO N ( VARIETY; SBS, SYD N EY); AN D EVAN W ILLIAM S {THE AUSTRALIAN, S YD N EY).

BLOODLUST R ic h a r d W o ls te n c r o f t, J o n H e w itt

DAYDREAM BELIEVER K a th y M u e l le r

5.5

DEADLY E s b e n S to r m

LA DOUBLE VIE DE VERONIQUE K rz y s z to f K ie s lo w s k i

9.5

FATAL BOND V in c e M o n t o n

THE FAVOUR THE WATCH AND THE VERY BIG FISH B e n L e w in

5 .4

LA D ISCRÈTE C h r is tia n V i n c e n t

5.6

LAST DAYS OF CH EZ NOUS G illia n A r m s tr o n g

6.5

LET HIM HAVE IT I a n R o b e r ts o n

6.3

M EDITERRANEO G a b r i e le S a lv a to re s

5.3

NIGHT ON EARTH J i m J a r m u s c h

6.1

PA RIS TROUT S t e p h e n G y lle n h a a l

5.6

PATRIOT GAM ES P h i lli p N o y c e

5.9

THE PLAYBOYS G illie s M a c K in n o n

POISON IVY K a tt S h e a R u b e n

5.6

A RAGE IN HARLEM B ill D u k e

THE RAPTURE M ic h a e l T o l k i n

4.1

SA LM O N BERRIES P e r c y A ld o n

4.1

SHADOW S AND FOG W o o d y A lle n

4.4

STAN AND G EORG E’S NEW LIFE B r i a n M a c K e n z ie

5.8

STRICTLY BALLROOM B a z L u h r m a n n

8.1

THUNDERHEART M ic h a e l A p t e d

5 .4

5.2

5.8

4.1

FILM TITLE D ir e c t o r

VO YA G E R

V olker S ch lo n d o rff

W A Y N E ’S W O R LD

P en elo p e Spheeris

W H ITE MEN C A N ’T JU M P Y E A R OF TH E GUN J o h n

CINEMA

PAPERS

R on Shelton F ran k e n h eim er

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“I shot w hite on w hite in ‘The Doctor? There were w hite costum es on w hite sets w ith su b tly different w hite tones. When an actor wore a dark su it, th e blacks w erefentastlc. in th a t sit uation, w e werefeto J iv e stops overexposed on die w hites, b u t there w as s till a crisp im age w ith no burnouts orfla res. You could see details in th e brightest highlights and deeped: shadows. The skin tones were consistent. That w as our m abtjhtm e q fref erence. Every scrip t dqftnes its own look. There are very fe w lim itations today. You can g e t blacks so dense th e im age m erges w ith the curtains or w alls sur rounding the screen. That expands the fra m e q f the picture to the edges q fyo u r peripheral vision *

John Seale earned Oscar nominations for “Witness” and “Rain Man * Other notable credits include “Dead Poet's Society” “Gorillas in the Mist ” “Children o f a Lesser God " “The Mosquito Coast.” and “Stakeout.” M otion Picture Film s