CineCinema Papers April-May 1980

incorporating television

Producing Woody Allen Nationalism in Australian Cinema Water under the Bridge Japanese Cinema PETER WEIR 24 PACE SPECIAL

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April-May 1980

Issue 26 $

44Film manages to get that extra the little 10 bit ot magic that makes a ll the difference!’

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“There are two myths regarding film vs tape. Firstly, film is more expensive. Secondly, film is slower. expensi It is my experience that the cost of a tape production falls somewhere between a 35 mm and a 16 mm film production. As for meeting those exceptional tight onair deadlines, at The Film House, with good pre-planning and lab co-ordination we can turn a com­ mercial around in less than a week.

“Certainly, tape has the advantage of instant replay but film manages to get that extra 10%-th e little bit of magic that makes all the difference. Film people generally tend to be a little more creative than tape operators. Possibly due to the high technological aspects of tape.

Also, without that instant replay you have to be sure you’ve got it, so you always tend to over-reach your ultimate creative standards.

“We always shoot with Eastman stock from Kodak and we generally finish on tape master. There are certain tricks you can perform on tape that can add to a production originated on film. I think, par­ ticularly in this area, there will always be a happy marriage of the two mediums.”

R o b e rt Le Tet M anaging D ire c to r -T h e F ilm H ouse Pty. Ltd.

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K O D A K (Australasia) PTY. LTD. M otion Picture and A udiovisual M arkets Division

Film Australians come from all over the industry.

An average year for us at Film Australia sees the production of around 100 films and audio-visuals.

As you can imagine, we couldn’t handle that volume of work or maintain our high standards without drawing upon the wide range of film ­ making talent available in the Australian industry today.

Directors, cameramen, grips, writers, composers and artists — in fact everybody who gets into the act, both in front of the camera and behind.

AUSTRALIAN FILM COMMISSION

With the help of freelance Film Australians, we’ve completed important films such as, Let the Balloon Go, Who’s Handicapped?, War Without Weapons and award winners Hospitals Don’t Burn Down and Leisure.

When you next view a Film Australia production, remember that it’s also the production of Australians who work in film. Right across the industry.

FILM AUSTRALIA

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21 PIER STREET SY D N E Y . 2000

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\ 27th Sydney Film Festival State Theatre June 13-28

The World’s New Films Address: Box 4934, GPO Sydney 2001 Australia Cables: ‘SYDFEST SYDNEY’ Telex: AA 22969 Telephone: (02) 660 3909

ZEISS West Germany

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telecine equipment Sydney (Head Office): 114 Pyrmont Bridge Road Camperdown, N.S.W. 2050 Telephone 516 1333 (4 lines) Telex 27465 Telegrams "Zelssoptlc” Sydney

CARL ZEISS PTY. LTD. Melbourne: 396 Neerim Road Carnegie 3163 Telephone 568 3355 Telex 34461

Brisbane: 269 Stanley Street South Brisbane, Qld. 4101 Telephone 44 7696 Telex 41602

Adelaide: 21 King William Road Unley, S.A. 5061 Telephone 272 1100 Telex 82989

Perth: 31 Malcolm Street Perth, W.A. 6000 Telephone 321 8559 Telex 92921

New Zealand: 4 Frankmore Avenue Johnsonville, Wellington 4, N.Z. Telephone 78 4751 Telex 31487

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Motion Picture Processors to the world 35 Missenden Rd. Camperdown, N.S.W. Telephone: (02)5161066

Articles and Interviews Charles H. Joffe: Interview David Teitelbaum Nationalism in Australian Cinema Anne B. Hutton Jerome Heilman: Interview Tom Ryan Japanese Cinema Ian A. Stocks Malcolm Smith: Interview Peter Beilby, Scott Murray Swinburne College of Technology Basil Gilbert

90 96 102

106

112 147

Features Water Under the Bridge Production Report: 121

The Quarter Forum: Film and Politics Ken Mogg International Production Round-up Terry Bourke Film Censorship Listings Production Preview: The Earthling Production Survey Box-office Listings

88

101

Peter Weir Monograph: Insert

116 118 119 129 137

Index Volume 6 Issues 21, 22, 23 and 24

Centre pages

Australian Directors Monograph Series The Films of Peter Weir Brian McFarlane

Japanese Cinema: A Perspective: 106

Insert

Production Report Water Under the Bridge: Igor Auzins

122

Producing Woody Allen Interview: 90

Film Reviews Frontline Barbara Alysen Harlequin Jack Clancy The Little Convict Antoinette Starkiewicz Kramer Vs Kramer and Manhattan Scott Murray

139 140

141 141

Book Reviews Kramer Vs Kramer Reviewed: 141

Four Hitchcock books Ken Mogg Film Art: An Introduction Tom Ryan Recent Releases Mervyn R. Binns

Managing Editor: Scott Murray. Editorial Board: Peter Beilby, Scott Murray. Contributing Editors: Antony I. Ginnane, Tom Ryan, Basil Gilbert, Ian Baillieu. Design and Layout: Keith Robertson, Andrew Pecze. Business Consultant: Robert Le Tet. Office Administration: Nimity James.

Secretary: Lisa Matthews. London Correspondent: Jan Dawson. Los Angeles Correspondent: David Teitelbaum.

Advertising: Sue Adler, Sydney (02) 31 1221; Peggy Nicholls, Melbourne (03) 820 1097 or (03) 329 5983. Printing: Progress Press Pty Ltd, 2 Keys Rd, Moorabbin, 3189. Telephone: (03)95 9600. Typesetting: Affairs Computer Typesetting, 7-17 Geddes St, Mulgrave, 3170.

Telephone: (03) 561 2111. Distributors: NSW, Vic., Qld, WA, SA — Consolidated Press Pty Ltd, 168 Castlereagh St, Sydney, 2000. Telephone: (02) 2 0666. ACT, Tas. — Cinema Papers Pty Ltd. Britain — Motion Picture Bookshop, National Film Theatre, South Bank, London, SE1, 8XT. •Recommended price only.

144 144 145

Australian Nationalism Examined: 96

Cinema Papers is produced with financial assistance from the Australian Film Commission.

Articles represent the views of their authors and not necessarily those of the editors. While every care is taken with manuscripts and materials supplied for this magazine, neither the Editors nor the Publishers accept any liability for loss or damage which may arise. This magazine may not be reproduced in whole or in part without the permission of the copyright owner. Cinema Papers is published every two months by Cinema Papers Pty Ltd, Head Office, 644 Victoria St, North Melbourne, Victoria', Australia, 3051. Telephone (03)329 5983. © Copyright Cinema Papers Pty Ltd, Number 26, April-May, 1980.

Front cover: Bryan Brown as China Jackson in Stephen Wallace’s Stir.

Cinema Papers, April-May—87

ÜF¡ ELECTIONS The results of the recent Australian Film Institute elections were announced at the 20th annual general meeting on March 22.

The new board of directors Is: John Flaus, Patrick Gordon, Senator David Hamer, Ian Macrae, Scott Murray, David Roe and Alble Thoms. All five re-standing board members were elected, while the retiring Barry Jones MHR and Ina Bertrand were replaced by Senator Hamer and Albie Thoms.

Senator Hamer has been a senator for Vic­ toria since July 1978. He is also a member of Parliament’s National Education and the Arts Liaison Committee and is federal president of the Arts Council of Australia. Alble Thoms is in independent filmmaker (Palm Beach and Marinetti, among others) and is an author on film.

As the 1979 election results provoked some controversy over an alleged Mel­ bourne loading (six of the seven board members were Melbourne residents), the AFI has decided to release state voting break-downs. Those eligible to yote in September 1979 were: New South Wales 285 Queensland 21 South Australia 27 Victoria 395 Western Australia 90 Overseas 5 Those eligible for the March 1980 election were: New South Wales 385 Queensland 19 South Australia 38 Tasmania 14 Victoria 428 Western Australia 77 Overseas 2 In the 1979 election, Victorian voters comprised only 48 per cent of the total electorate, yet 71.4 per cent of those elected to the board were Victorians. Clearly, the Mel­ bourne candidates were popular on a nation­ wide, not state, basis. The same is true In the 1980 election: Victoria and New South Wales had nearly the same number of voters but Victoria produced five, as opposed to two, board members.

EQUITY CONTROVERSY Controvery erupted recently over a section of the newly-proclaimed Actors Feature Film Award, 1979, resulting in an unsuccessful appeal to the Arbitration Commission by producer Antony I. Glnnane.

For his new production, Survivor, Glnnane wished to bring In four overseas actors: Robert Powell, Joseph Cotten, Samantha Eggar' and Susan George. Actors and An­ nouncers Equity Association of Australia felt differently, however, and effectively blocked Eggar and George. To do so, they quoted section 31 A(b) of the A ward which states that "The producer shall seek approval from the union for the importation of overseas actors for work in film. Such actors must be of international distinction and merit.”

Equity felt George and Eggar failed to meet this requirement. Glnnane protested and filed an appeal.

Ginnane planned to show that George and Eggar were of the required standing, but was not given the chance. The Arbitration Com­ missioner ruled that he had no power to In­ tervene in the dispute and that the wording of 31A(b), while not clear, implied that it was Actors Equity which should decide what con­ stitutes “ international standing” .

The dispute raises fundamental issues on the use of overseas stars. No one, for exam­ ple, can reasonably claim Eggar and George are not of international standing: both are among those actors listed in Leslie H a r­ well's The Filmgoer’s Companion-, during the week before the hearing two Susan George films were on Melbourne television (Mandingo and Dirty Mary, Crazy Larry), as was The Seven Percent Solution (with Samantha Eggar); and there was a cinema preview of Eggar's new film, The Brood.

As well, Robin Wood, a film critic regarded by some as of equal standing with F. R. Leavis, wrote a lengthy article on Mandingo for Film Comment, where he unequivocably affirmed his belief in George's greatness as an actress.

88—Cinema Papers, April-May

The issue, therefore, is not what con­ stitutes "international standing” , but whether Actors Equity should be able to use section 31 A(b) to exclude from Australia anyone they so choose — and not have to answer to anyone for their decision.

Interestingly, producers were given the chance in 1979 to state their feelings about the then proposed Award, but this section was not seriously challenged. One of the reasons given for this was that the producers felt the clause covering the use of foreign ac­ tors was restrictive enough, and, conse­ quently, they had virtual carte blanche to im­ port whom they chose.

The relevant clause is 310(b), which states an additional 25 per cent has to be added to each actor's pay (except juveniles) if a foreign actor is used in the film. And, for every additional imported artist, there is another 12.5 per cent loading. This Is for a film "with total Australian creative control, overseas actor(s) and (if applicable) comple­ tion guarantee.” (This is called Category B.) If the film is “ subject to creative control with some overseas a c to r(s ) a n d /o r overseas production personnel or company receiv­ ing production or presentation credits other than producer and having (if ap­ p lic a b le ) an A u s tra lia n c o m p le tio n guarantee” , the rate is 40 per cent, with additional 12.5 per cent loadings. (This is Category C.) So, in the case of a Category B film like Survivor, had all four foreign stars been ap­ proved, an actor’s minimum weekly salary would have increased from $224.60 to $364.96. By its actions, however, Equity has shown it is concerned with more than just salaries, and that it is not willing to trade bigger pay packets fo r a dim inished representation by Australian actors in a local film.

Discussions on this matter are being held, and the industry awaits a result which will have a major effect on Australian films of the future.

Following the receipt of funds, the project got underway in January 1977. Since that time, 31 interviews have been completed, with four to follow. The interviewers include historians, archivists, film academics and filmmakers. To date, 16 of the interviews have been recorded by Graham Shirley, who was employed for six months from July 1979 to co-ordinate the project, conduct Inter­ views and bring the scheme as close to com­ pletion as possible. Fellow interviewers have been Ina Bertrand, Andrew Pike, Joan Long, Ray Edmondson, Alan Anderson, Ross Cooper, Hugh Mclnnes, John Hughes, David Stratton and Chris Long.

Most of the interviewees began their careers in the late 1920s or early 1930s, and are either retired or approaching retirement.

Five began their film career in the early silent period, one as early as 1911.

In most cases, the careers covered shadow the fortunes, misfortunes and changing nature of the Australian film in­ dustry from the 1930s to the 1970s. The film industry has traditionally given rise to the Jack-of-all-trades, and a high proportion of the interviewees moved, by necessity, into more areas than their counterparts In the U.S. or Britain. For that reason, many of the interview subjects have had an across-theboard experience of the film industry that few Australian filmmakers of the future may be able to match.

The Oral History Project should prove a valuable resource to future historians, film­ makers and archivists. Users will have a choice between listening to tapes, reading transcripts and, in a third of the cases, view­ ing film segments.

Depending on the clearance signed by the interviewee, the user will be able to quote from the material, incorporate it Into broad­ casts and compilation films, or simply use it for background research.

It is hoped that general recognition of the value of these 35 Interviews will lead to a con­ tinuation of the scheme, focusing on the views and recollections of contemporary filmmakers, as well as those retired.

CINEMA AUSTRALIA 1896-1956 SILVER STREAKS An Australian film retrospective is In cir­ culation overseas. Prepared with the as­ sistance of the Department of Foreign Af­ fairs, and the support of many organizations and individuals within the film industry, the retrospective consists of new prints of 12 features and more than 20 shorts selected from the National Film Archive, Canberra.

There is also an exhibition of stills and posters.

The retrospective opened at the National Film Centre, Tokyo, on March 6, and is to be followed by a June season in London and a two-year circuit of European capitals under the auspices of the International Federation of Film Archives.

Ray Edmondson, director of the National Film Library, says he believes the retro­ spective “will play an Important international role in adding the perspective of the past to an awareness of the present output of one of the world’s oldest film producing countries” .

FILM PIONEERS ORAL HISTORY PROJECT The Film Pioneers Oral History Project is a joint venture between the Australian Film Commission (which funds the project), the Australian Film and Television School (which supplies equipment and administrative resources) and the National Film Archive of the National Library of Australia (which houses the material collected). 3M Australia Pty Ltd have supplied sound stock free of charge, and Colorfilm Pty Ltd have provided free laboratory work, except for the stock cost for composite release prints.

First moves to launch this project were made in early 1975, at a committee meeting convened by the AFC. The AFC granted funds for 35 audio interviews with Australian film pioneers, with about a third of these to be also filmed. Names were chosen on the basis of age and the importance of their con­ tribution to the film Industry. None of those chosen had been Interviewed extensively before.

A corollary of the extraordinary increase in silver prices, from U.S.$5.60 an ounce In 1979 to U.S.$42 in early 1980, has been a leap in film stock prices. (Photographic film uses a base of sliver particles to form an im­ age.) In Australia, the cost of Eastman nega­ tive has risen 35 per cent and print stock by 45 per cent. This is on top of a 15 per cent rise in January.

If the color Increases seem dramatic, con­ sider black and white which has leapt 70 per cent. Lab costs on black and white are already out of proportion with color, and the stock increase is turning black and white Into a luxury no one, save Woody Allen, can af­ ford.

The main effect of these print stock in­ creases on the industry is in distribution where executives will have to rethink major saturation releases. Films that have pre­ viously had a blanket release may now have piecemeal showings, re-cycling a limited number of prints. This will Inevitably lead to print deterioration and customer dissatis­ faction.

CRUISING The most controversial film to be released for some time is William Friedkln’s Cruising.

Starring Al Pacino, the film involves a cop who pretends he is homosexual and in­ filtrates the gay scene in the hope of solving a murder.

When first released at the Sack Cinema 57 in Boston, more than 500 gay protesters picketed the cinema. Similar demonstra­ tions have been seen wherever the film has opened. Activist Jim Walker commented: “We are concerned that the film will result In more violence against gay people.”

Under mounting pressure, Friedkin has agreed to add a prologue stating: "This film is not intended as an indictment of the homo­ sexual world. It is set in one small segment of that world, which is not meant to be representative of the whole.” But this pro­ logue is not expected to cool matters.

Distributors of the film have also been feel­ ing the pressure. Though only “ R” -rated (i.e., those under 17 must be accompanied by a parent or adult guardian), some exhibitors feel it should be rated “ X". The scenes of homosexual rape and beatings are con­ sidered shocking, even though they are not explicit. United Artist Theatres have posted signs outside their cinemas showing the film which read: “ In the opinion of the manage­ ment this picture should be rated ‘X’. No one under 18 will be admitted.” Other cinema chains across the U.S. are refusing to even handle it.

Even the bureaucrats have entered the fray: Robin McCormick, special assistant to the Mayor of Boston on gay community af­ fairs, for example, tried to stop the film from showing in certain areas of the city; he was unsuccessful. Then, in Chicago, the Motion Picture Review Board approved screening of the film for general audiences, meaning even young children could see it.

One side effect of all the fuss is that the MPAA is using it as fuel to toughen its classifications. A recent example Is Going Steady, which gained an “R” on the basis of one swear word. To avoid an estimated big drop in the box-office, the film was re-cut.

This, and other cases, is leading to a more conscious policy of tailoring films for a specific rating. Too much money is at stake to take any risks with the MPAA and Its decisions

EXCERPTS: ANNUAL REPORTS 1. New South Wales Film Corporation The 1978/79 annual report of the New South Wales Film Corporation has been tabled. In the introduction, the report states that 1978/79 was: "an exciting year." It “saw the release of Newsfront and the completion of filming of My Brilliant Career . . . " “ But 1978-79 was also a year of challenge for the NSWFC fo r . . . the nature of the Australian film industry underwent profound changes . . . It became clear that local filmgoers are now treating Austra­ lian films as one of many leisure choices available and not, as in some previous years, as special events to be seen almost automatically. If an Australian film was suf­ ficiently well-made and popular In theme, Australians would go to see it; if not, most would seek their entertainm ent else­ where.

"As a result, the NSWFC is evolving new policies and strategies to meet this and future challenges. “ Most importantly, the NSWFC is plac­ ing a greater emphasis on the script­ development stage of filmmaking. In 1978­ 79, the NSWFC advanced $155,872 (less $20,828 transferred to investments) In script and project development, com­ pared to $18,630 in 1977-78. The 1979-80 figure will increase by a factor of three or four.”

These sentiments mirror much of what was said by Jack Lee in the 1978-79 South Australian Film Corporation annual report, as does the following passage: "Another major challenge which the Australian industry has had to face In the last year lies In the need to open up more overseas markets for our motion pictures.

Most middle-of-the-road Australian films cannot recoup their budgets on the Aus­ tralian market. “ The Australian population represents only six per cent of the U.S. and Canadian markets, while Australian production costs are in the order of 30 per cent of costs (excluding Hollywood-style super-star salaries) in those countries. “ Despite the success of some Austra­ lian features overseas, the NSWFC acknowledges and supports the efforts of Australian-based producers and produc­ tion companies to package projects with greater international potential.”

Further on it says: “ In partnership with producers and Its consultants, the NSWFC attracted from the private sector almost $1 million In Investments and distribution advance guarantees. To secure and protect this private Investment, the NSWFC took a se­ cond position on returns rather than recouping its own Investment at the same

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By filling in the form on the reverse side you can secure a copy post paid.

THE QUARTER

time as the private sector. Thus, as a deliberate policy, the NSWFC took the high risk position in a high risk industry on most projects. The board of directors is currently reviewing this policy.”

During 1978/79, income was $1,246,768 ($428,050 in 1977/78), and expenditure $1,709,577 ($421,332), giving a deficit of $462,809 ($6,718). In reference to the deficit, the report states that: “The NSWFC adopts commercial ac­ counting procedures and consequently amortises its investment over a three-year period, writing down half the investment in the initial year of release. The deficit of $462,809 in 1978-79 is accounted for by the writing down or amortisation of invest­ ments by $681,350.”

The balance sheet of the NSWFC, as at June 30, 1979, shows total funds of $3,425,429, of which $2,370,662 is repre­ sented by investment in the film industry.

Apart from all the NSWFC’s feature films activities (including maintaining the Austra­ lian Films Office Inc. in Los Angeles, sup­ porting the Australian Film Awards and launching several overseas marketing exer­ cises), there is the Government Documen­ tary Division. During 1978/79 it managed and administered about 30 projects to a gross value of $212,000.

2. Tasmanian Film Corporation Under a drawing of the Tasmanian Devil, which is captioned “ Don’t let the size fool you” , is printed the conclusion to the Tas­ manian Film Corporation 1978/79 annual report: “ The first 22 months of the TFC’s opera­ tions have really been a period of shake­ down and establishment. The TFC is ex­ tremely pleased with the progress made towards establishing a solid base for the film industry in Tasmania. Our studio com­ plex is of an international standard and a real asset to the state. The quality of production is improving all the time, as is the expertise of our local filmmakers and actors.”

During 1978/79 the TFC recorded a loss of $59,355 (compared to $58,588 in the nine months of operation in 1977/78). Income was $1,110,175 (of which $830,502 came from motion film production and $164,910 from still photographic work) and expenditure was $1,169,530 (after deduction of the $84,511 capitalized to feature films).

Significantly, $43,222 of the loss is at­ tributed to the Marketing Section. An ex­ panding operation, which did yield $62,557 in revenue, it is expected to take two to three years to break even.

Another initiative of the TFC was the pilot filmmakers attachment scheme. Funded by the Australian Film Commission to the amount of $48,000, the scheme, started in March 1979, attaches four filmmakers to the TFC for one year. Each filmmaker receives a weekly stipend and $5000 to produce a film(s) of his or her choice.

Also raised in the report was the Tas­ manian Film Corporation Amendment Act

1979, which was passed on July 12, 1979.

This act: “ 1. Amends Section 14(7) (c) of the Prin­ cipal Act to allow funds set aside in ac­ cordance with Section 14 to be used for making payments in reduction of the capital indebtedness of the TFC to the state and to other tenders.

2. Amends Section 16 (2) of the Principal Act to authorize the Treasurer to guarantee the repayment by the TFC to tenders of principal moneys to a maximum of $2,000,000.”

(An interview with the director of the TFC, Malcolm Smith, appears on pp. 112-15 and 155 of this issue.)

3. Australian Film Institute The Australian Film Institute 1978/79 an­ nual report shows that income for the period was $788,796, of which $288,750 (36.6 per cent) was received as a subsidy from the AFC. Excess of expenditure over income

CENSORSHIP

gained an “ Ft” and an S(i-I). Apart from the Board failing to determine whether the sex was gratuitous or justified, the rating is iden­ tical to the above-listed films. Now a similar code covers three classifications.

One could go on detailing the many incon­ sistent ratings, but there are more fun­ damental questions. Why does the Board consider sex, violence and language as the only indiscretions worth singling out in its ex­ planatory key? What about films advocating repression of human rights, or presenting exploitation, on a personal or political level, as something desirous?

A second issue is the process whereby the Board decides what is justified and what is gratuitous. For example, it could be easily argued that a shot of people having inter­ course is justified in a sex comedy, but not in a war drama. But does the Board consider a sex comedy gratuitous in itself?

Thirdly, there is the breaking down of explicitness into “ low", “ medium” and "high” .

An application of these categories to every­ day life shows how silly they are: e.g., “ That was a medium intensity dinner party” or “ I think Bill’s treatment of Marjorie has reached a high intensity of personal cruelty, but, to be fair, these outbursts are infrequent and justified." Stupid, of course, but if such labels are inappropriate to real life, why should they be any more appropriate to filmed life?

after extraordinary items was $31,481. Ac­ cumulated funds, as of June 30, 1979, were $211,610.

Rentals received by the Vincent Library totalled $91,563, of which $76,862 (84 per cent) was returned to the filmmakers and copyright holders. Print sales came to $8700.

Admittances at the Longford, the AFI’s Melbourne cinema, totalled $52,031, which compared to the $17,976 from the State (Hobart) and $48,482 from the Opera House (Sydney).

CALIGULA OPENS After years of delays, court actions and public squabbling, the $17 million Caligula has finally opened.

Due to its explicit sexual nature, no major distributor was approached to handle the film in the U.S. and it was independently

released in New York on February 1. Analysis Film Releasing, which is successfully handl­ ing the U.S. release of My Brilliant Career, is distributing the film in the rest of the country.

As for the credits, Gore Vidal's name has been deleted from the title, as has his name for screenplay. It now reads, “ Adapted from an original screenplay by Gore Vidal” .

Tinto Brass is not listed as director (there is no director’s credit), but he is credited with “ principal photography” . This credit is followed by one stating "editing by the production” .

Bob Guccione, publisher of Penthouse which financed the film, is listed as having directed and photographed, with Giancarlo Lui, “ additional scenes” .

Guccione is quick to denounce the “ hard­ core pornography” tag several critics have landed on the film. He claims the film is “ a landmark cinematic event that combines the film industry’s two extremes: the high­ budget, artisticaliy-crafted establishment at one end, and the more freewheeling ‘other side’ of the industry that takes advantage of our hard-fought liberties” . Anyway, he adds, “there is only about six minutes of actual graphic sex in the film” .

Guccione, not wishing to toe the MPAA line and self-impose an “ X” certificate, has advertised the film as being open only to adults over 18 years. This was not enough to satisfy the censorship lobby, however, which, headed by the Morality in Media group, filed suit to have the film declared obscene and confiscated. The action was thrown out by the New York court. But under the Supreme Court’s Miller decision, which makes cen­ sorship a local issue, the film can be charged with obscenity by local courts. As in Aus­ tralia, there is no final, federal decision.

APPOINTMENTS Geoffrey Gardiner, a form er director (policy) of the Department of Veterans’ Af­ fairs, Canberra, has been appointed director of the Melbourne Film Festival. Gardiner takes over from Erwin Rado, who was direc­ tor for 25 years.

Damien Benson is the new business manager at the Australian Film Institute.

Benson was previously a lecturer in ac­ counting at the Royal Melbourne Institute of Technology.

Four new appointments were recently an­ nounced by the Australian Film and Tele­ vision School: Eric Halliday becomes head of training resources, Byron Quigley, project of­ ficer for radio training, Pamela Vanneck, a member of the production management workshop and Sandra Hall, editor of Media Briefs.

Bill Gavin, who joined Hoyts Australia after working as managing director of GTO Films in London, is to return to Britain. Gavin has been appointed director of sales for ITC International.

Scene from Frank Hurley's documentary, Pearls and Savages, which has been re-constructed by the National Library, Canberra.

OBITUARY

In a recent interview, the Commonwealth Chief Censor, Lady Duckmanton (Janet Strickland), detailed changes to the film cen­ sorship listings, whereby codefied reasons for a decision would be given. Despite claims that these changes would clarify the cen­ sorship process, the reverse has happened.

The system is inconsistent, confusing and cosmetic in purpose.

At the top of the new listings is an “ ex­ planatory key” (see below).

After each film title, a “ reason for decision” is printed, using the above symbols. Thus, the “ NFtC '-rated II cappotto (The Overcoat) receives S(i-l-j), meaning the film contains sex of an infrequent, low intensity and justified nature.

By scanning the listing (p. 118), one should be able to determine what motivates the Censorship Board to give a particular clas­ sification. For example, no “ NRC” -rated film is found to have any gratuitous sex, bad language or violence. Also, the explicitness/intensity level never rises above low.

The “ M” classification is not so clear-cut and inconsistencies abound. Take, for exam­ ple, Love Swindler: this is rated “ M” , but it has the same code — S(i, l-j) — as the “ NFiC” -rated The Overcoat.

Another example is The Mistress. This

Another recent censorship issue has been

......... ......... ......... .........

Two film s to meet with censorship problems are Yves Yersin's Les petites fugues (The Little Escapes) and David Blyth’s Angel Mine. Les petites fugues was classified “ R” because of a brief, though not v is u a lly e x p lic it , se x s c e n e . L a d y Duckmanton defended the decision by say­ ing that it was not the visuals that were the problem, but that the girl has a gasping orgasm. Unable to afford the cost and lengthy delay of an appeal, the distributor, Le Clezio Films, decided to cut the scene. The new version was then classified “ M” .

Angel Mine, a New Zealand short, was rated “ R” after the deletion of a sequence.

Blyth claims, however, that the cut was made without his approval. This raises the difficult issue of whether a distributor should be allowed to make cuts in a film to satisfy the c e n so rsh ip ru lin g s of in d iv id u a l countries. In many distribution contracts these rights are clearly spelt out; in others, not at all.

In the case of Les petites fugues, the dis­ tributor secured the director's permission before proceeding. This, however, seems to be the exception, not the rule.

Purpose

Explicitness/lntensity

Frequency

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

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

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

O (Other) ....................

Lady D u c k m a n to n ’s re q u e s t to the Remuneration Tribunal for salary increases for the nine members of the Board. Lady Duckmanton, who criticized her own salary, is earning $28,678 a year.

Infrequent

Frequent

Low

Medium

i i i i

f f f f

I I I I

m m m m

High h. h h h

Justified

Gratuitous

)

g g g g

j j j

CASEY ROBINSON On December 6, 1979, Casey Robinson died of cancer in a Sydney hospital. His name is less well known than the titles of the films he wrote and was entirely overlooked by the shamelessly inadequate Oxford Com­ panion to Film.

It was not until the past few years that his contributions to a generation of Hollywood films have won the serious critical attention that they deserve. As a scriptwriter, of course, he had become accustomed to the fact of obscurity. And since he did not lay claim to deserve anything beyond the status of a competent craftsman, the neglect did not hurt too much.

His satisfaction could be found in the knowledge of the popular success of films made from his screenplays: King’s Row, Now, Voyager, Dark Victory, The Old Maid, While the City Sleeps, and many more.

While she scarcely seemed to notice it, Australia hosted the last few years of Casey's life. Occasionally, he received invitations to speak to groups about his life and work, and this he did with charm, humour and concern, always aware of his obligations to his audi­ ence.

His professional activity briefly resurfaced with the disaster of Scobie Malone, which he produced and co-wrote, and which effective­ ly closed his career, though he refused to believe it. He inhabited his retirement with the constant hope that he could get another project off the ground, and he pursued that goal with his customary energy.

His passing, at the age of 76, occurred without the fanfare and eulogies that have accompanied the deaths of many of those with whom he worked in the prime of his creative years. It was the way he wanted to go. His memory deserves respect.

Tom Ryan

Cinema Papers, April-May—89

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Woody Allen is more than a cult figure; he is a very suc­ cessful one. While much is being written and said about the man, and his film s, little attention has been focused on Charles H. Joffe, his manager and producer. But Joffe’s role in Woody A llen’s success is considerable: he handles all his financial matters and negotiated the arrangement with United Artists giving his client total creative control.

Woody Allen is not Joffe’s only client, however.

Rollins & Joffe, which he founded with Jack Rollins 25 years ago, handles 10 of the big names in comedy, including Dick Cavett, Robin W illiams and Billy Crystal.

Joffe, who sees him self as a manager first and a pro­ ducer by circumstance, believes in putting long-term career interests ahead of a quick profit. He speaks proudly of being able to follow creative, rather than busi­ ness, considerations.

Joffe had just returned from the set of Woody A llen’s new, and untitled, film when he spoke to Cinema Papers’ Los Angeles correspondent, David Teitelbaum.

When did your association with Woody Allen begin?

It was about 20 years ago. He was a joke writer and someone suggested that he write something for Mike Nichols and Elaine May, whom we were handling. So, he came to see us and I found him a shy little kid. But he was as funny as hell, and we have been together ever since.

finitely a struggling performer.

How has your working relationship with him changed over the years?

He has matured, so the relation­ ship has changed, in that what he wants from us now is not the same as he wanted before, and vice-versa.

Woody has grown to a point where his own identity is so well estab­ lished that he doesn’t have to rely Did you realize then how big he on us anywhere near as much. would become?

Is he the same person when he is dir­ The talent was always there, ecting a film as he is portrayed on though when he started he was de­ screen?

Cinema Papers, April-May—91

CHARLES H. JOFFE

No, he is not funny at all. It’s a deadly serious set; there is no joke­ making.

Away from the set, is he more like what he is on the screen?

Yes. He is shy, awkward in groups and generally uncomfort­ able. When he is with friends, how­ ever, he can be himself because he trusts that they will understand him. Rarely with strangers will he try to be funny.

After all this time, do you think you understand him?

I understand most of him. My God, after 20 years together I would have to.

Ours is a management firm that works on a very strong creative level. We only have 10 clients and we build up close relationships.

Nobody has left our management for years and years; that is a pretty good record. Billy Crystal has been with us six years, Robert Klein 12, Martin Mull six, Dick Cavett about 18, Tom Posten 24 and “ Mork” (Robin Williams) since the day he started.

Has being a manager helped you as a producer?

No question about it.

Is there ever a conflict between the two?

I am going through this with a client at the moment, and I have decided not to produce his work.

Generally, we don’t produce a client’s work if we feel outside voices won’t negatively affect their work. Take Mork, for example, who is in Malta at the moment doing Popeye.

Did you see Jules Feiffer’s script for “Popeye”?

Yes, and I thought it was wonderful. Robert Altman (the dir­ ector) has promised to stay close to the script; it is not an improvizational film. We have absolute high hopes for the film. Larry, who is one of my partners, called me from Malta yesterday and said all the footage was very high.

So, your heart is in the manage­ ment side; you do the production side because it helps protect your clients . . .

persona is established and you stay who you are. I deal a little differ­ ently with each client, though, because they want you to be dif­ ferent.

We are very hard on our clients, and that is why the relationships last for so long. They know we are not going to tell them they are good when they’re not, or that a script is good if it isn’t.

What was the first Woody Allen film you did at U.A.?

Usually, yes. Occasionally I do a film that has nothing to do with any of my clients.

Why did you go to United Artists when you started producing for Woody Allen?

Bananas. The only condition they put on it was that we do the film for x number of dollars.

You have to deal with studio execu­ tives, directors, writers, agents — the whole gamut. Do you have dif­ ferent ways of dealing with these people?

A man named David Dicker was there and he gave Woody and me the opportunity to do films with the least of interference. It was an attit­ ude of “Hey, we trust you, go do your film” .

Have any other studios tried to tempt you away?

No, I am who I am. After 25 years of dealing with all these Is it true Woody Allen takes a cut in people you have mentioned, one’s salary to maintain that freedom?

92—Cinema Papers, April-May

Yes. Money isn’t important to Woody, but the film is. U.A. doesn’t even have script approval, which is quite amazing. We just de­ scribe an idea to them. We might, as a courtesy, show the script to some of our friends there, but never for approval.

Every one of them. They would like a bidding war to go on to get Woody. Right now, his contract is up at U.A. Is he going to renew it?

Director and writer Woody Allen, who is produced and managed by Charles H. Joffe.

Robin Williams, of Mork and Mindy, who is one of Joffe’s clients. Williams is currently filming Popeye in Malta.

CHARLES H. JOFFE

serious. I hope he does more.

How did the studio react when they heard he was making a serious film?

They thought it was time.

How accurately can you gauge the success of a film? Are you often sur­ prised?

No, not at all. I know Woody and I can gauge if something is good. I also know whether it is going to expand Woody’s audi­ ence. I am a little better in my gues­ ses than the people at U.A. when they see a film for the first time.

Does Woody Allen make his films for an audience?

that the European market has now opened up. Of course he likes that — he is a realist. One doesn’t want to write and put it in a desk drawer.

But he hasn’t sold out to build his audience.

Were you surprised when “Annie Hall” won the Academy Award?

Yes, because the competition was tremendous, from Star Wars to Turning Point. I just thought it was terrific we were nominated.

I hadn’t prepared anything to say and I didn’t even remember, as I walked off the stage, what I had said; I was so numb.

When I was a child I used to stare at the set, or listen to the radio, and think, “Gee, will I ever be able to accomplish that?” . Now it’s not so important, i understand a lot more about it, and I can understand why Woody didn’t want to participate in it.

Woody doesn’t believe films should compete. He feels there is no logical basis by which to compare Annie Hall and Star Wars.

Do you think the awards should be put in categories, like musical or science fiction?

Then it would get like the Grammys, where everything is so broken down that they lose their importance.

The Academy Awards are sensa­ tional hype for our business, but for the artist it is confusing. For instance, this year Norma Rae is nominated as the best picture of the year, and Sally Field for best performance by an actress. But Marty Ritt, who directed it and who got the performance out of the actress, isn’t nominated. How is that explained?

Were you surprised “Manhattan” received so few nominations?

Top: Mary (Diane Keaton) and Isaac (Woody Allen) laugh about “ negative capability” in Allen’s Manhattan. Above: Woody Allen in a scene from Annie Hall, which Joffe produced.

It is a little bit different.

Which film has been the biggest commercial success so far?

Never. He doesn’t give five seconds thought to an audience. He just hopes he is right.

There are people in this business whose goal is to have a big box­ office success. But you don’t think of them as making artistic films.

They are just going for the biggest numbers they can get. That is not Woody’s concern. He is not inter­ ested in money. He is interested in his work, and he hopes his work will reach a large audience.

If Woody really wanted to double his audience he would do a film with five beautiful naked girls.

But he is not interested.

It will end up being Manhattan.

Annie Hall is second to that, and it We haven’t made a decision. had the advantage of winning an What would be a typical Woody Academy Award.

Allen budget?

And the biggest failure?

Up until Manhattan, the most we There have been none that have have ever done a film for was $4,100,000, which was for lost money. The ones that made Manhattan. But because the cost of the least money are Interiors and living has gone up, and all the union Bananas. negotiations, that $4 million would now be $6 million. The film we are It was reported that Woody Allen doing at the moment is about $8 or expected “Interiors” to be a com­ So, the appreciation of his work by the people doesn’t affect him? $9 million. Two years ago, we could mercial failure . . . have done it for about $6 million.

He likes the fact that people None of us would have been sur­ Has it a similar theme to “Annie prised. But we all thought it was admire his films, that critics have right for him to do something been very supportive of him and Hall” and “Manhattan”?

Yes. I expected the film would be nominated as best picture, and I thought Woody would be nomin­ ated as best director because he was the choice of the Directors’ Guild of America. Also, the New York Film Critics named him best director of the year.

How much does an Academy Award mean in cash terms?

It varies with every film. I don’t know how much The Deerhunter was helped by it.

What about “Annie Hall”?

I would guess it has added about $5 million in rentals in the U.S. That would have meant $10 to $12 million more in box-office.

Do you think an Academy Award has a bigger effect in the U.S. or in a foreign market?

Again, it depends on the film. I believe the award paved the way for Cinema Papers, April-May—93

Woody to become an international star, and got him exposed in several difficult areas in the U.S. Did the Academy Award give you any added legitimacy?

Renata (Diane Keaton) and Frederick (Richard Jordan) in Woody Allen’s first all­ serious feature. Interiors.

and people react to personal films in a personal way.

Yes. It made it easier for me to approach people, because the Is his new film personal? agents could then say, “Well, you know he has won an Academy All his films are. The style and Award'5. Directors and stars, whom content are a little different, but it I might have had a hard time ap­ still came out of Woody. proaching, became accessible.

When is that due for release?

Do you think Woody Allen’s films have had a social impact?

October or November.

No, other than that Diane Keaton created a style after Annie Hall.

Do you believe any films have an impact on social values?

Absolutely. I think The China Syndrome made a lot of people aware in a “we better look at this” sense.

What happened with Annie Hall was that a lot of people probably came away with a better under­ standing of breaking up with loved ones. But I don’t think it changed anything. It was a personal film, 94—Cinema Papers, ApriPMay

Is Woody Allen involved with the marketing?

He is involved in every facet on his films. I don’t make unilateral decisions on these things. We bring our plans to U.A. and work things out together.

We had long discussions with U.A. to get them to understand how we wanted our films adver­ tised. You look at the posters of Annie Hall and Manhattan, they don’t portend comedy, do they?

Why doesn’t Woody Allen like his films being shown on television?

He doesn’t like commercials interrupting the film and he doesn’t like them being edited. And, for the most part, commercial television requires that.

Annie Hall has been released on television, but we controlled that.

There were no edits and few com­ mercials. I wanted it shown because

Garbage takes over: Woody Allen and Diane Keaton in Manhattan.

I wanted the masses to see Woody in a different form. I thought it would expose him to a lot of people who would remember the early Woody Allen films.

CHARLES H. JOFFE

direction of the film industry?

Over the next 10 or 15 years the market place will change. There will be less theatres but, if cable takes on the importance that it appears to be doing, the use of video discs and tapes increases, the m a r k e t place will re m a in important.

Above: Arthur (E. G. Marshall) bids good­ bye to his estranged wife Eve (Geraldine Page) in Interiors. Right: The wife (Meryl Streep) who left Isaac for another woman.

Manhattan.

Do you see cable television as important to the film industry?

Television has always been a big source of income, and cable tele­ vision is now becoming sizeable.

Some films in the future are going to rely on television to recoup their money, and every film company has the right to sell them.

We have made a deal with Woody Allen films where U.A. doesn’t have that right; I won’t allow it in his deal.

This, of course, takes away a big source of income, but I am dealing with an artist who is not concerned about dollars.

■ For how much was “Annie Hall” sold to television?

About $6 million. They ran it once a year for two or three years.

What other projects are you work­ ing on?

I have Steve Gordon, who I think is the best comedy writer next to Woody, and he wants a chance to direct. So, we are setting some­ thing up and Dudley Moore is going to be in it.

I recently tried an experimental film called House of God, with Tim Mathis, Charlie Habe and Beth

Sonstrom. I don’t know how that is going to be.

Are you optimistic about the general

I know that Letterman is going to do his own show for an hour and a half a day on NBC in daytime.

So, I don’t believe they are thinking of moving him to The Johnny Carson Show, if they are committing him to a firm 26 weeks with options.

That could be a test run to see how he handles a regular hour and a half

Among the people you manage, there are perhaps five potential Johnny Carson replacements. Is I don’t think they are looking at there any conflict? that; I think they are looking to fill their needs. We haven’t talked No, our clients don’t compete. about it with NBC. Obviously, they The interests in their careers are are not willing to talk about, or different. I don’t think Marty Mull even mention, a replacement for wants to sit in Johnny Carson’s Johnny. chair. He is starring in a film for Paramount, and it is going to be a Do you ever feel you are over­ very big film, called The Serial. If extending yourself with too many that film is successful, he might clients, or too many projects? have a pretty good film career.

We never take on more than 10 But there is still room for a conflict clients; that is a rule for the four of us. Sometimes I feel I have taken on too many projects, but, when Sure, but that is talked out very that period passes, I am okay. carefully with every client, in terms of where they want to go and what Do you feel you need the pressure? their interests are.

Sometimes, two clients come up No. I don’t let business interfere for the same part, but you can’t with my lifestyle. I am home at help that. Fortunately, we have night and I don’t give up my week­ built a relationship with our clients ends unless it is an emergency. I where there is no distrust. In the keep a pretty good balance. interest of all our clients, I wouldn’t sacrifice one for another. If NBC Do you have any unfulfilled aspira­ wanted David Letterman and not tions in show business?

Martin Mull, or vice-versa, they know I wouldn’t sell one out for the If I can get through day by day other. and enjoy each day, that is it. ★

i

Anne B. Hutton

regenerated film industry, two basic trends emerged — the ocker comedy and the period film — and both can be related to the traditions of Australian culture and the beliefs of Aus­ tralian nationalism.

A film such as Newsfront, in its ability for self-criticism and innovation, seemed to indicate that a period of transition in the Australian cinema was at hand. Many people expected that films would immediately go on to better things, but every period has an area of overlap. Some signs can be discerned of a continuation towards modernity: the films that reflect the real multi­ ethnic and social minority make-up of Aus­ tralian society (though still not entirely cogni­ sant of the complexities of the people they might portray) have made a significant breakthrough in that themes have at last surfaced from the underground tradition of social awareness to reach a large audience.

Feature film production during the 1970s was first the product of a piece of legislation, rather than an urgency or natural inclination by in­ dividuals to produce their films, come what may.

Before the Australian Film Development Cor­ poration Bill was introduced in 1970, there was a nascent underground film culture that has con­ tinued and grown in strength over this period. It produces personal films, and films that reveal little fear of the cinema superstructure. Feature films, on the other hand, tend to be regarded as the pinnacle of one’s cinema career, and seem designed to be a part of the national identity, rather than as a vehicle for experiment or per­ sonal expression.

The feature film industry has, therefore, chosen to align itself to the causes of popular culture, to promote the possibilities of mass consciousness (and its obverse of social control).

It is a directive cinema, consistently dogged by The National Self-Image the notions of its ultimate prototype — the and the Aesthetic of the American film.

Against this, the industry’s legislated cause — Period Film “ significant Australian content” — has struggled towards definition. This criteria has brought with it all the connotations of classic “Nationalism is an ideological creation rather Australian nationalism, ideas and images more than an instinct or a natural law. To be applicable to the turn of the century than the era schematic: I am suggesting that the ethic of nuclear reactors.

Nationalism, in its association with the con­ creators imposed this doctrine upon their cepts of progress or modernization through the portrayal o f Australia, rather than that empiric vehicle of popular culture, can be seen to express study o f Australia inspired their nationalism.’’

Michael Roe, “ An Historic Survey of Australian three stages of growth: “tradition, transition and Nationalism” , Victorian Historical Magazine. modernity” .1 In the early years of our I. Anthony D. Smith, Theories o f Nationalism, Duck­ worth, London, 1971, p. 89.

Opposite: Ken Hannam’s Sunday Too Far Away.

The films that were produced during the first few years of the AFDC were predominantly set within a contemporary framework, yet the ma­ jority dealt in terms of comedy or fantasy, not in terms of polemic or issues, argument or beliefs.

The few films that followed the stream of con­ temporary realism, initiated by the Common­ wealth Film Unit’s first feature, Three to Go, were patently unsuccessful in comparison with the popularity of the ocker formula and sex­ ploitation films.

The hypothesis is that the bureaucratic restric­ tions on feature production (commercial viability and significant Australian content) and the manifest contradictions within Australian society and politics (the influence of the U.S. coloring the manner and ability of Australians to define Australian) ended in filmmakers at­ tempting to establish “safe” narrative formulas.

The Vietnam issue was not only a catalyst in the Labor victory of 1972, but was also a part of a new era of social awareness in Australia, with the Labor Party initiating many visionary “ Public Sector” schemes. Yet the amount of controversy over the rate of social and political change that such policies represented meant that during these years the image of Australian society was in a constant state of flux. The stability of the consensus self-image of classic nationalism — white, mono-ethnic, rural, working-class and masculine (even if mythical or erroneous) — was particularly threatened by political attention at last being given to the numerous ethnic and social minorities that com­ posed Australian society.

Equally then, with cinema, the criteria of “ significant Australian content” (though justifiable in the sense of trying to establish a Cinema Papers, April-May—97

NATIONALISM IN AUSTRALIAN CINEMA

national cinema and to stem the flow of cultural derivativeness) was just as hard to construe. A new resolution of the dilemma of this criteria became period film s, with a large element of nostalgia — that is, if unable to define what Aus­ tralia is, it can be solved by restating the myths of what it has been (see Table 1).

Though this new emergence of nationalism was given impetus by the pride and dilemma engendered by the Labor years, it has been an almost continual ideological presence in literary and historic argument since its inception at the turn of the century. The difference lies in the sophistication of the argument and the inten­ sity of its social pervasiveness.2 A scholarly debate in Meanjin will not affect the collective consciousness in the same way as social change or an ethic being espoused by popular culture.3 Conversely, the level of awareness, or intensity, of the majority of these period films represent a fairly primitive nationalism, operating mainly as an aesthetic, without a congruent fluency in the ideology from whence it comes.

This is as much tempered by “commercial viability” or audience considerations as it is a signal about the intensity of the convictions of some of Australia’s filmmakers. Yet the situa­ tion is complicated within the Australian cinema by the lack of any real film tradition and, therefore, no continuous or consistent represen­ tations of national identity. The resurrection of the Australian silent film era by archivists (and its national values) presents a somewhat per­ verted continuum. Hence it would be logical that feature films, in an effort to capture the popular imagination, would reflect the status quo more often than challenge it.4 Significantly the first, and much underrated, period film, Between Wars (1974), was a finan­ cial failure. With an original script by Frank Moorhouse5 and directed by Michael Thornhill, it was probably the first Australian feature film since 1970 that not only involved a significant “level of argument” ,6 but also had a certain timely relevance. The film traces the career of an Australian doctor from World Wars 1 to 2, and is set against the background of Australian social and political change, employing an amount of analogous imagery between the two. The clarity of the film’s arguments tend to be somewhat ob­ scured by the not always successful attempts at an “alienation technique” or a coldly objective directing style. .

In 1975 a new approach to the period film was seen in two financial and critical successes, Sun­ day Too Far Away and Picnic at Hanging Rock.

These films initiated a style of “textual” films, in which the “level of argument” , apparent in a film like Between Wars, is honed away. The major emphasis, and successful appeal, is in the level of imagery (drawing heavily on nostalgia for classic national themes and images), with even the “level of incident” sometimes sub2. Much of the interpretation of nationalism is done as em­ piric study of the national character, particularly the emphasis and abhorrence of suburbia by the new critics (see Tim Rowse, Australian Liberalism and National Character, Kibble Books, Melbourne, 1978) which bore little relation with the popular self-image, or proof that there was anything like it.

3. See C. W. Bigsby, Approaches to Popular Culture, Edward Arnold, London, 1978, particularly section three.

4. This has been vindicated by observation and interpreta­ tion of these films, and is a central problem in the cons­ tant use of the narrative structure, which sets certain limits upon the approaches to filmmaking.

5. Moorhouse has written a number of “ controversial” (both style and content) novels, such as The Americans Baby. Futility and Other Animals. The Electrical Ex­ perience and Conference-ville. In comparison with the reserve of Between Wars, these seem to indicate that Moorhouse had certain standards to conform to — the two styles of writing are markedly different.

6 . Peter Harcourt, Six European Directors: Essays on the Meaning o f Film S tyle, Penguin, London, 1975, pp. 26­ 35.

98—Cinema Papers, April-May

Arthur Dignam and Judy Lynne in Michael Thornhill’s period film. Between Wars.

TA B L E 1 : PERIOD FILMS APPROXIMATE BUDGET

DATE FILM

DIRECTOR

SCREENPLAY

SOURCE

1974 1975

Michael Thornhill Ken Hannam

Frank Moorhouse John Dingwell

Original Original

$320,000 $300,000

Peter Weir

Cliff Green

Philippe Mora

Philippe Mora

1976

Caddie

Don Crombie

Joan Long

1976

Fred Schepisi

Fred Schepisi

1976 1977

The Devil’s Playground Break of Day The Getting of Wisdom

Novel by Joan Lindsay Novel by Margaret Carnegie Novel by “ Caddie” (pseudonym) Original

$300,000

1976

Between Wars Sunday Too Far Away Picnic at Hanging Rock Mad Dog Morgan

Ken Hannam Bruce Beresford

Cliff Green Eleanor Witcombe

$617,000 $500,000

1977

The Mango Tree

Kevin Dobson

Michael Pate

1977

The Picture Show Man The Irishman

John Power

Joan Long

Don Crombie

Don Crombie

Original Novel by Henry Handel Richardson Novel by Ronald McKie Novel by L. Penn Novel by E. O’Connor Novel by Peter Yeldman Novel by Thomas Keneally Original by Bob Ellis Novel by Miles Franklin Original Novel by William Nagle

1975

1978

Peter Yeldman

1978

Tom Jeffrey Weekend of Shadows Fred Schepisi The Chant of Jimmie Blacksmith Phil Noyce Newsfront

1979

My Brilliant Career

Gillian Armstrong Eleanor Witcombe

1979 1979

Dawn!

The Odd Angry Shot

Ken Hannam Tom Jeffrey

1978 1978

Fred Schepisi Phil Noyce

Joy Cavill Tom Jeffrey

$474,000 $500,000 $320,000

$650,000 $552,000 $700,000 $500,000 $1,200,000 $505,000 $830,000 $762,000 $600,000

FILMS NOT STRICTLY “PERIOD” — narrative tends to transcend its era DATE

FILM

DIRECTOR

1971 1973

Shirley Thompson Versus the Aliens Libido

1975 1975 1976 1977 1979

The True Story of Eskimo Nell Inn of the Damned Eliza Fraser Journey Among Women The Night The Prowler

Jim Sharman John B. Murray, Tim Burstall, Fred Schepisi, David Baker Richard Franklin Terry Bourke Tim Burstall Tom Cowan Jim Sharman

The distinction drawn between period films and “ costume dramas” is not necessarily a qualitative one. For example, Jim Sharman’s films only use the boundaries of era to convey a framework and then transcends it to make a rather timeless film. Shirley Thompson becomes almost science fiction, its 1950s background becomes futuristic and The Night The Prowler (screenplay by Patrick White) is only loosely connected to the 1960s setting, the sense of middle-class family repression and constriction was something even White experienced as a youth. It tends to be very much a film of alienation,and timelessness.

In a similar vein, Journey Among Women is a feminist statement and projection, even though it is set several hundred years in the past.

The choice to make Eliza Fraser a light-hearted “sex romp” and comedy tends to fulfil the real connota­ tions of “ costume drama” , a period dressed piece with a contemporary approach.

NATIONALISM IN AUSTRALIAN CINEMA

appear to be objectified representations, in which one is rarely led to question the selective nature of the view of society that film represents).

These textual films (textual in the sense of having little interactive qualification or com­ ment upon their images) have many direct iconic references to the style and content of the Heidel­ berg School of Australian painters (those other great nationalists).8 Yet, as often as one could il­ lustrate their pictorial sources, period films have also been closely linked with a reflective of the themes and concerns of Australian literature.

Actually only two of these films (see Table 2) were made as direct translations of the Aus­ tralian classics to film; Henry Handel Richard­ son’s The Getting o f Wisdom (1910) and Miles Franklin’s My Brilliant Career (published 1901).9 Out of the large number of period films 8 . The connection between the Heidelberg School and

The flirtatious pillow fight between Sybylla (Judy Davis) and Harry (Sam Neil) in Gillian Armstrong’s My Brilliant Career.

servient to the aesthetic. The final contortion of this imbalance appeared in the frequent resort of superimposing a final caption at the end of a number of period films to explain the fate of characters or events raised within the plot.7 Period films could be said to reveal a cathartic element in Australian popular culture, or that the affirmation of traditional nationalist values is the external sign of a society in transition. Just as formative Australian nationalism in the 1880s and 1890s was based upon a large element of late Victorian sentimentality about the fading pioneer ethos as it faced a new era of urbaniza­ tion, period films in the 1970s have been nostalgic for a less complicated past. This variety of nationalism, just as that found in the sentimentality of many films of the Australian silent screen, provides a celluloid memento of loss. Many of these films of the 1970s have reas­ serted the exclusivist national characterization (the mono-ethnic social setting relates to the “ White A ustralia” context of formative nationalism), with a flattering and importunate quality of narrative (where the level of argument is minimized, and the images are unqualified and

nationalism has largely been perpetuated by Australian art history. One can trace this to the general acceptance of the pioneering study by William Moore, The Story o f Australian A rt, Melbourne, 1934, which is based upon the supposition that Australian Art begins with the Heidelberg School. This is also a part of the role that such a journal as Art in Australia (est. 1916) played in popularizing these artists and particularly emphasizing the myth that it all began in the 1880s.

9. In the case of the works by Miles Franklin and Henry Handel Richardson, directors have shown a preference for the novella-sized works. Nobody has attempted The Fortunes o f Richard Mahony or the Brent o f Bin Bin series. As for the other novels, Thomas Keneally’s The Chant o f Jimmie Blacksmith has some claims to greatness, but is still flawed; other novels range down to

that have been made, only six of these have been shot from original screenplays. The rest are all adaptations of novels, which collectively repre­ sent a spectrum of literary ability.

The decision to film a novel is obviously made on a judgment about the quality of the imagery in the writing. Yet, often it seems as if little qualitative analysis is given to the values that many of these books imply (often by the simple process of exclusion). This raises two points.

First, that it seems symptomatic, with fewer filmmakers writing their own material or doing adaptations, of a lack of genuine motivation towards communication through film: i.e., the absence of a strong level of argument in so many of these films. Secondly, there is the problem of transposing the written work into films. These two problems are linked by the fundamental differences between the nature of the two mediums.10 the level of pulp fiction. Perhaps the decision was to film works with which few people would have the hampering idea of it being a classic. It may well reflect a poverty of cinematic fiction.

10. It is interesting to read in Dirk Bogarde’s second volume of autobiography — Snakes and Ladders, Chatto and Windus, 1978 — of his experiences making Death in Venice with Luchino Visconti. They had no script but shot straight from the novel, both of them having read it more than a hundred times. If a director of a film is doing an adaptation of a novel, such familiarity (though perhaps excessive as mentioned above) must exist for the fullest realization of nuance and detail. See Table 1 for the number of directors who have written the screen­ plays.

7. The best example of this can be found in Sunday Too Far Away. Ostensibly about the events that led up to the shearers' strike of 1956, called over the removal of the prosperity bonus because of a drop in the price of wool, the film does nothing to analyse the motives of the strike, but becomes entirely involved in the immediate events and images of the narrative. The final caption reads: “ The strike lasted nine months; it wasn’t the money so much as the bloody insult!”

Don Crombie’s The Irishman, a film with working-class themes. Simon Burke (left), Michael Craig and Robyn Nevin.

Table 2: Period Films and Their Relationship to Nationalist Themes Films with rural themes (suggested by James McCauley to represent a pantheist survival; the repetition of the bush motif as spiritual centre and sustenance) include: Picnic at Hanging Rock, Sunday Too Far Away, Mad Dog Morgan, Break of Day, The Irishman, The Picture Show Man, The Mango Tree, The Chant of Jimmie Blacksmith, Weekend of Shadows, My Brilliant Career.

Films with working-class themes or egalitarian-based class consciousness include: Sunday Too Far Away, Mad Dog Morgan, The Picture Show Man, The Irishman, The Getting of Wisdom, Weekend of Shadows, My Brilliant Career, Newsfront, Caddie, Dawn!, Between Wars.

Films which aren’t male-dominated include: Picnic at Hanging Rock, Caddie, The Getting of Wisdom, My Brilliant Career, Dawn!. Nationalism is usually seen in terms of masculinity, but all these films involve other

The closing sequence (before the final caption) from Sunday Too Far Away.

nationalist values.

Films that are more than Anglo-Saxon or white dominated include: Mad Dog Morgan (has an Aboriginal friend), Caddie (has a Greek lover), The Chant of Jimmie Blacksmith (has an Aboriginal protagonist). Only two of the films have made any comment on this state of affairs: the first and the last. Caddie has only one scene that reveals ethnic differences (at a Greek party) and Caddie finds out that Greeks know how to enjoy themselves. None of the barriers that are often found between the two communities are even hinted at.

Cinema Papers, April-May—99

NATIONALISM IN AUSTRALIAN CINEMA

For instance, a major difference between literature and film is that the written word exists in time and Film exists in space." Film cannot reveal thoughts, as they can be written in a book.

The director can give us external signs to imply the thoughts of the characters (or they can be completely transposed into dialogue) but one can never know them. This is the essential am­ biguity of narrative film. In this case, with so many of the narratives concerned with the con­ flict between an individual/s and the institution (either social, moral or religious: e.g., Mad Dog Morgan and the law, or Caddie and marriage), the fundamental problem (with original scripts as well) is how to reveal those conflicts, which often exist only as private thoughts.

This posed no problem to Peter Weir in Picnic at Hanging Rock, because the main characters, as originally written by Joan Lindsay, were veiled in mystery and ambiguity. Lindsay’s novel, though essentially a trivial work, provided a marvellous vehicle for film. Weir, in his overt reverence for Alfred Hitchcock, revels in the sensations of unease, and the supernatural quality of the novel suits an emotional and un­ cerebral style of filmmaking.

The opposite of this situation is The Mango Tree, Kevin Dobson’s adaptation of Ronald McKie’s overly ambitious epic about life in a Queensland country town in the years around World War 1. Set against the supposed maturity of the main character (a well-off, but mawkish youth) and his introduction to life, death, love, lust, etc., there are a few cameo-part gems, but the overall effects are very scattered. This was a particular problem in the scripting and casting of the youth (Christopher Pate) who was given inanities to utter and kept a fixed expression of amazement, no matter what he confronted.

Hence, we could never know what he thought, or if he was maturing.

The question of World War 1, and Australia’s call to arms, was mainly a vehicle for the “ Australianization” of one character (played by Robert Helpmann), an outcast from his wealthy British family. He is made to declaim in a speech at a patriotic rally all the reasons why we should be proud of our country (there is no analysis of his position or the private thoughts that made him reach his nationalistic conclusion).

Another example of the inevitable shift in emphasis between the change from novel to film can be found in The Getting of Wisdom and My Brilliant Career. Both have a woman as the protagonist and both stick closely to the major events of their original, but the films tend to minimize the central feminist themes (albeit in nascent form) of women rebelling against the role that society and their era demanded of them. Instead, both films emphasize the more recognizably Australian preoccupation with class, those democratic and egalitarian beliefs of nationalism.

Henry Handel Richardson’s Laura, in the film version, is a poor girl at an expensive school made to feel shame for her humble origins. She is the ill-mannered country yokel, who “saves” herself socially by being a gifted pianist, which no amount of class barrier can deny; her talent transcends the class problem. Yet in the novel, she is also the girl who yearns to run and do “ unfeminine” things, symbolized in the film by her final run through the park the day she leaves school. But this can only give a small indication of the depth of repression that had irked her all those years.

Franklin’s My Brilliant Career was written in an adulatory imitation of Henry Lawson, with constant references to the greats — Paterson and Gordon — and with all the unconscious II. D. R. Burns, The Directions o f Australian Fiction, Cas­ sell. 1975, p. 16.

100—Cinema Papers, April-May

marks of her era (written at the age 16): e.g., references to the undesirable Chinese, and a burning desire to become one of the true Australians, the rural workers, the people who made Australia “great” . All this is related in the form of society’s desirable role — marriage — against which is Sybylla’s desire for something more than just marriage — a literary career.

(The irony is that Richardson as well as Franklin had to write under male pseudonyms.) The film does not make its points as strongly as the novel; It is rather a cleaned-up love story with a twist: she says “No.” It makes very strong use of the class theme instead, with beautiful contrasts in the art direction between the wealthy grazing land and the land of the real Australians (Law­ son’s heroes) — arid, rugged and menacing.

Interestingly, most of the films about women (except Picnic which was more or less a collec­ tive view of them) follow the Lawson tradition12 — that a woman can become the subject of a story if she takes on and copes with the male role. Obviously, then, this dictum also has af­ finities with the film Caddie.

Caddie, the story of a woman who leaves her husband (because he’s having an affaire), takes 12. D. R. Burns.

Geraldine Fitzgerald (Grandma) and Christopher Pate (Jairnie) in a scene from Kevin Dobson’s film adapta­ tion of The Mango Tree.

the children and goes to work as a barmaid to support her family during the Depression years, actually gives a stronger sense of the discrimina­ tion by society against the lone mother than either of the other two films. But Caddie, too, has a cleaned-up commercialism (though the source was hardly more inspiring), so while these films touch upon current feminist concerns they end up destroying them by introducing commer­ cial palliatives.

Period films, then, have been concerned with, and hampered by, their source material. The novel and film offer totally different modes of representation of conceptual consciousness.

These films, dominated by the literary tradition of the narrative, can only register the external events of plot from point to point in space. The use of film techniques and certain styles can give indications of the internal world of the characters within a narrative; but period films, in their consistent use of naturalistic style (with few exceptions), have been devoid of the stamp of personal consciousness of the filmmaker.

The choices to create the microcosmic pasts that are illustrative of basic traditional Australian values, without a congruent Continued on p. 152

Phillip Hinton as John and Helen Morse as Caddie during the break-up sequence. Don Crombie’s Caddie.

a ‘‘There is a two-way movement in philosophy, a movement towards the building of elaborate theories, and a move back again towards the considera­ tion of simple and obvious facts. McTaggart says that time is unreal, Moore replies that he has just had his breakfast.

Both these aspects of philosophy are necessary to it.”

Iris Murdoch1 "We are a little free.”

Richard Wagner2 "My aesthetics have been my politics all along. ” Andrew Sarris3 Adrian Martin’s lucid statement of his personal response to the “ Film and Politics” series organized by 3RRR last year should be applauded.4 It throws into helpful relief a range of ideologies presented by the speakers and it raises some important questions about a new book, Politics and Cinema, by the embat­ tled Andrew Sarris. Even so, there are parts of Martin’s article where I think he is being just as polemical as Sarris can be, and if I seek to defend Sarris it is in order to try and recover a few “simple and obvious facts” about the way we un­ derstand films.

To illustrate some points, I want to refer to the theme of “self against society” in the later work of Stanley Kubrick.

It must be emphasized that if “Sarris still has his old auteurist axe to grind” , he has been a most eloquent spokesman.

So much so, that one might speculate whether Adrian Martin would have come to learn about such American auteurs as his article endorses (Douglas Sirk, Vincente Minnelli, Richard Fleischer) without Sarris’ confrontation of the American critical establishment, which began 15 years ago.

More to the point, Martin believes that Sarris’ “ underlying critical method is ex­ tremely underdeveloped” . No mention is made of what Sarris himself calls his “relatively pluralistic aesthetic in which the very diversity of artistic styles is counted a blessing” .5 In fact, Martin’s concept of “critical method” is something of a vulgarism which immediately places him at cross purposes with his subject.

Would anyone wish to talk of, say, Jean Renoir’s under-developed (or over­ developed) “artistic method”?

Again, it is Sarris who quotes Renoir’s rueful remark that he had made La Grande Illusion (Grand Illusion) in 1936 as his statement against war, and in 1939 Europe went to war. It seems that writers who invoke “critical method” sometimes forget how small a place films occupy in most people’s lives, conscious or uncon­ scious.

To claim, as Martin does, that “ politics is inside every part of our experience of any film — our looking, hearing, enjoy­ ing, thinking” , is to propagate a serious distortion. For one thing, what we ex­ perience in any film is more than balanced by what we experience outside It. Let’s call this reality-testing. For another thing, to speak of the film ex­ perience as “political” is to say neither more nor less, so far as I can judge, than 1. The Sovereignty of Good, Routledge and Kegan Paul, p.1.

2. Quoted by Anthony Burgess, author of A Clockwork Orange.

3. “ My Criticism, My Politics” , American Film, Vol. 3, No. 4, p. 54. Sarris' article forms the basis of the first chapter in his book, Politics and Cinema.

4. “ Films and Politics” , Cinema Papers, February-March 1980. Quotations in the text and not footnoted here are from Adrian Martin’s article.

5. Sarris, p. 54.

Ken Mogg replies to Adrian Martin’s “Film and Politics’’ (Cinema Papers, No. 25)

“ The anti-B.F. Skinner thesis” of Stanley Kubrick’s A Clockwork Orange.

that an individual’s entire life history is “ political” . And even that is dubious. Just how, for example, are sleeping and dreaming political experiences?

Actually, Martin seems keen to deny what might be called an individual's sub­ jective self. He would define the self as “the sum of many and varied deter­ minations that have nothing to do with the individual’s choice or action” . Does he realize what an extreme position he is adopting? Most psychologists would place the truth-of-the-matter somewhere between the polarities of B. F. Skinner’s b ehaviourism and Carl R ogers’ humanism. For my part, my sympathies lie with the humanist camp, but I acknowledge the powerful role of social forces.

And here, in passing, I should point out that Martin rightly criticizes my con­ tribution to the ‘Film and Politics’ broad­ casts where I apparently indicated the message of Luchino Visconti's The Damned to be the humanist one “that the individual can transcend politics (in this case, Nazism) and find him self” .

Whatever my admiration for the religious faith of certain Nazi victims (especially Dietrich Bonhoeffer, author of Letters and Papers from Prison, I certainly would not wish to ascribe such a viewpoint to this sombre film. Indeed, I confess to finding it a particularly daunting work whose ‘found hell’ is even less accessible than the ‘lost paradise’ of its companionpiece, Death in Venice.

I have been advocating a commonsense, non-polemical reading of films (very possibly remembering Renoir’s pleasure at finding himself in accord with that most tolerant of religions, Hin­ duism). I have to make a further criticism.

Martin quotes with approval an observa­ tion by academic Lesley Stern which might equally have come from, say, Roland Barthes: “ . . . it cannot be assumed that there is a true

reality which can be captured . . . Any ac­ tivity of subverting commonsense notions of reality requires a dismantling, breaking apart, of the homogenized discourse of patriarchal linguistic structures.”

I think Iris Murdoch would see a fallacy here. Commonsense isn’t so common and reality isn’t so unknowable. I am re m in d e d of B a rth e s ’ essay in Mythologies on the famous Dominici murder case in France where the ‘educated’ judge is taken to task for presuming to converse without scruples with the accused, a 76 year-old ‘illiterate’ peasant farmer. (“ O wonderful self­ assurance of classical education, in which shepherds, without embarrass­ ment, converse with judges!”6) Whatever Barthes' point about the unfairness of institutionalized language, the fact is that Gaston Dominici was guilty of murder; he was found guilty by the majority vote of a French jury.

It is also Barthes who elsewhere in Mythologies waves aside such “ universal facts” as birth and death (though omit­ ting to mention joy and suffering), sup­ posing that “ if one removes history from them, there is nothing more to be said about them.”7 Whereas, despite Martin’s stricture to Sarris that “ no artist can stand outside history in search of ‘beauty and truth’ ” , much responsible art moves precisely in that direction, towards a realized universality. To cite an extreme instance, there is the work of James Joyce in literature.

In film, I doubt that anyone has suc­ ceeded as brilliantly in coming close to the deliberately ‘timeless’ as Stanley Kubrick with his costume drama Barry Lyndon.

In a new book, A Cinema of Lone­ liness, Robert Kolder writes: ‘‘More p ro fo u n d ly than A Clockwork Orange, Barry Lyndon examines the easy 6. Mythologies, Paladin, p. 44.

7. op. cit., p. 101.

cliches of ‘individual freedom’ and societal necessities. Barry, somewhat like Alex, suf­ fers from an attempt to exert his own vitality within a social structure too rigid to support it.” 8

I would suggest that such suffering constitutes a “ universal truth” whose filmed statement conceals a minimum of vested interests. In fact, perhaps the only one I can honestly acknowledge is Kubrick’s ego — and how splendidly he has showcased that. Beauty and truth, aesthetics and meaning, act as powerful signifiers of each other in a way which in­ dicates K u b rick’s advanced s e lf­ integration. A minor instance is the scene one afternoon in which Barry finds Nora Brady flirting with his rival, Captain Quin, and the dying sunlight signals the demise of Barry’s hopes of ever winning Nora for himself.9 Throughout the film, Kubrick’s control of lighting and sound is marvellously acute, but it also exactly matches the stages in Barry’s ‘progress’. And because the film is about human frailty in all its aspects, even the preciselyrecorded economic facts find their ul­ timate point of reference literally in Barry’s person.

I cite Kubrick’s film at length basically because of what I see as its scrupulous fidelity to the self as recorder and partial instigator of experience, which suggests to me a legitimate possibility. (True, Ryan O’Neal plays Barry with an exaggerated passivity, perhaps to register the character as more sinned against than sinning. Whereas Alex in A Clockwork Orange is given by Malcolm McDowell a special robustness, no doubt to highlight Kubrick’s anti-B. F. Skinner thesis.)

Of course, Adrian Martin favors the work of an altogether different film­ maker, Nagisa Oshima. I have at this point no wish to contest his choice. All power to what Sarris calls “the music of individual voices” .10 What I would like to note in conclusion is the reading given another of Martin’s favorite films, Richard Fleischer’s Mandingo, in the British magazine, Movie."

Mandingo was made in the same year (1975) as Barry Lyndon, and seems to have received a drubbing from the British as well as American press for what they called its “absurd cinematic cliches and phony history” . (It is set in a slave-breeding plantation in Louisiana, circa 1840.) ~ Make no mistake, I side with Martin on this one to the extent of considering Mandingo an excellent film. It strikes me as having much in common with Barry Lyndon which, come to think of it, wasn’t too well received by some sections of the press either. Notably, both films revolve around young men (Ryan O’Neal, Perry King) whose nobler motives are brutally negated by their respective patriarchal societies.

What I find most disturbing about the 20-page defence of Mandingo in Movie is that it is given over to an exegesis of the film’s essentially Marcusian dynamics with no reference at all to the superb visuals and only one brief acknowledg­ ment of the engaging Maurice Jarre score. If this represents the measure of the magazine's “critical method” , then perhaps it is no wonder that they should turn a blind eye (and a deaf ear) to Kubrick. For, as I have tried to indicate, the authentic individuality of Barry Lyndon is its politics and its aesthetics.

There is no gap.

8. A Cinema of Loneliness. Oxford University Press, p. 137.

9. I owe this example to Gene Phillips, Stanley Kubrick: A Film Odyssey, Popular Library, p. 261.

10. Sarris, p. 54.

11. Movie. No. 22.

Cinema Papers, April-May—I0l

102â&#x20AC;&#x201D;Cinema Papers, April-May

JEROME H ELLM AN Tom Ryan The opening shot of Promises In The Dark looks down a highway in the mid-West of the U.S. and establishes a motif which is perhaps the most frequent of all in recent American cinema: the road. A subsequent series of shots introduces the film’s central character, Dr Alexandra Ken­ dall (Marsha Mason), and to a sense of claustro­ phobia which persists throughout the film.

Enclosed in her car, flicking the radio from station to station, her face and her gestures speaking of frustration, the impression is of a woman trapped. The deliberate manner of her driving suggests a belief that she is under threat, the extended glance at a couple embracing in a passing car providing a clue to the nature of that threat. Her eye contact with the female of the couple forces her to look away, as if she has seen something that she shouldn’t.

The idea of the journey, introduced here, re­ mains implicit throughout the film, as Dr Ken­ dall finds herself forced into situations which will allow her no room to withdraw. Her battle with them takes her, from a self-imposed isola­ tion, to the tentative beginnings of a new contact with the living.

From the enclosed safety of her car, to the protective armour of her professional status, and to the desperate clutteredness of her apartment — all of them signifying a retreat in the way she uses them — she is drawn into the world of the vulnerable by her contact with Buffy Koenig (Kathleen Beller), a 17 year-old girl stricken with a terminal cancer, with Buffy’s parents (Susan Clark and Ned Beatty) and with Dr Jim Sandman (Michael Brandon), the chief radiologist at the hospital where she works.

Her initial relinquishment of the sort of in­ volvement that >vill impinge upon her sense of security is challenged by Buffy’s and Jim’s separate demands that she should become in­ volved in their lives. Her attempt to pass Buffy’s case to her male superior at the hospital is sub­ verted by Buffy’s trust in her, and her refusal of anything but a professional relationship with Jim is cast aside by his rejection of the terms of contact she has laid down.

In a familiar irony, she finds that the work she had thought would protect her from emo­ tional danger is, in fact, carrying the seeds of that danger.

Inevitably, and unfortunately, discussion of Promises In The Dark has concentrated on the film’s closing moments, when Dr Kendall switches off the life-support system that has been

keeping Buffy alive, an act which presents an ethical dilemma, for while it is consistent with Buffy’s request to her it contravenes the decision of Buffy’s parents.

The film, thankfully, and strategically, avoids centring on the debate, at least in any explicit fashion, for any attempt to pursue such broad is­ sues would only be at the expense of the par­ ticular and personal terms of the drama it has depicted.

Its closure at the point of this act, and its presentation of it as a key moment in Dr Ken­ dall’s moral journey, in my view, ought to refer one back to the film’s central narrative move­ ment. And that has to do with the processes of her growth towards self-discovery, towards a recognition of her human frailty, and an accep­ tance of it and the danger that it entails for her.

The film is directed by Jerome Heilman, whose career as a producer spans 16 years: The World Of Henry Orient (1964), A Fine Madness (1966), Midnight Cowboy (1969), The Day Of The Locust (1975), Coming Home (1978) and Promises In The Dark. It is a most impressive debut as a director, to be admired for its emotional restraint, for its richly detailed characterizations, and for the splendid collection of performances from its cast. stimulating time and it developed a lot of exciting young talent, including people who are today in the vanguard of the film industry and theatre.

Things stayed that way until the shift in emphasis from live drama to tape and film. The economic impact of television made itself felt, and inevitably it became a more com m ercial and re s tric tiv e medium.

You started your production career working in live television in New York, producing programs like “The Kaiser Aluminum Hour”, “Philco” and “Playhouse 90”. Do you think of that now as a con­ structive beginning?

Yes. In those early days, television in the U.S. wasn’t as big a commercial enterprise as it is now, and there was a great deal of creative freedom. It attracted a lot of young people from colleges, who had been part of drama depart­ ments around the country and then worked in regional theatres. They moved to New York and had an opportunity that has not existed since in the U.S. The writers found a wide open market and presented subject matter which, by today’s standards, would be considered questionable and controversial. It was a very

The pressure of having to go live to air must have been demanding . . .

Dr Alexandra Kendall (Marsha Mason) attends to Buffy (Kathleen Beller) who is connected to a life-support system. Jerome Heilman’s Promises in the Dark.

It was just like an opening night in the theatre. The complexities of staging a show — the three-camera system, and the necessity of just doing it once — c re a te d a tremendous edge. There was a great deal of the best kind of creative tension involved, and you would often have a disastrous rehearsal and then a performance with Cinema Papers, April-May— 103

JEROME HELLMAN

Sally (Jane Fonda) and Bob (Bruce Dern) in Hal Ashby’s Coming Home, which Heilman produced.

everyone absolutely terrified.

What sort of rehearsal time were you allowed on a program like “Playhouse 90“?

The Playhouse 90s rehearsed for almost two weeks, while a normal one-hour show would rehearse for the better part of a week. The performance would then be aired on the last day of rehearsal.

Are there any productions you worked on which you recall with particular pleasure?

During most of that time, I was working as an agent and packager.

My function had much more to do with putting the elements together, selling them and observing the process I am describing, than it did with functioning creatively within it. I guess the closest I came to that was with The Kaiser Aluminum Hour, where I participated as the executive producer and worked on a rotating basis with three directors: George Roy Hill, Franklin Shaffner and Fiedler Cook.

So, forgetting any judgments a b o u t q u a l i t y , The Kaiser Aluminum Hour shows were the ones I have the strongest feelings about. They were really the start of my producing career, as opposed to my role as an orchestrator and entrepreneur.

You have produced six films since 1964, directing one of them. While one might not ask this question of a playwright or a novelist, why so few projects?

I don’t know. It seems to be an outgrowth of my process, in the sense that I don’t have any ambition of duplicating my past experiences. My objectives, when I got out of packaging and gave up my business as an agent, were very personal, and what motivated 104—Cinema Papers, April-May

process and for people whose talents I admire. And, from having observed how directors work for so many y ears, I was able to collaborate without confusing myself about my role. I feel reasonably safe in saying that each of them would say, if asked, that it was an u n t h r e a t e n i n g collaboration. As a result, I could participate on every level — not in a c o n f r o n t a t i o n a l kind of relationship, but in a mutually supportive one.

I was able to remain very close to the productions and, I think, had a significant influence on every level: working on the script, casting the film, discussing the work in progress, looking at dailies, and working right through the cuts, from first to last. Certainly, on the la s t c o u p le of film s w ith Schlesinger, I would say I had a very intimate involvement.

Is the creative process a system of osmosis, rather than you exercising me more than anything else was the some sort of paternal control? desire to do things that on one level Absolutely. I think that is a very or another reflected my sensibility.

The simple truth is that it has legitimate form of collaboration, taken me a very long time in each and I welcome it with people I w-ork case to find things that I really care with. I don’t think the best results about, and which I can somehow are achieved by pounding tables and shouting people down. push through the system.

All these films deal, in one way or an o th er, with contem porary problems, particularly those facing individual characters who attempt to come to terms with their own space in the world. Has this been a conscious design on your part?

I think it is an unconscious design, in that I am governed by what interests me the most and what I feel most connected to dramatically. Part of it may simply be a result of my own conditioning.

I don’t have any background in theatre, so my grasp and my command of it is probably limited.

My progress as a producer, to an extent, has been a direct result of personal experience. I am drawn to the things that, experientially, I feel I can bring the most to.

Some critics have claimed “Coming Home” goes soft on the Vietnam war and the opposition to it. What is your reaction to that sort of criticism?

It is hard criticism to deal with.

The reality is that we chose to make a film about one specific aspect of the war: namely, to deal with it in terms of its effect on people. It was a choice that was made at the outset. We weren’t attempting an Apocalypse Now or The Deerhunter: i.e., a great examination of the events and the violence and so on in direct terms.

The film was, in fact, an outgrowth of Jane Fonda’s reaction to her exposure at a spinal cord

hospital in Long Beach, Cali­ fornia. Jane felt very strongly about those men, who were in wheel­ chairs and who were complaining bitterly about the conditions they found in the U.S.: their feelings were communicated to me when she approached me about taking on the film.

All of those involved in the film felt that it was legitimate to try to deal with that segment of the experience, and to do it as honestly as we were able. We felt under no obligation to try to take on everything. So in those terms, I am not stung by the criticism. I feel there is room for a dozen films about Vietnam, like one about the im p a c t of the w ar on the Vietnamese people. I didn’t see any of that in Apocalypse Now and I certainly didn’t see it in The Deerhunter.

On a subject as large as Vietnam, there is room for any number of films which collectively will make up a mosaic, and which will present various perspectives on what the reality of those events was.

In dramatic terms, are you happy with the way things are resolved in the film? I am speaking in particular about the suicide of Bob (Bruce Dern) . . .

1 have reservations about the end of the film, though not specifically about Bob’s suicide. I think we had structural problems with the last third of the film and these began with the confrontation between Sally (Jane Fonda), Bob and Luke (Jon Voight). These problems were never quite solved, and that carries right through to the final sequence, where Bob commits suicide.

Objectively, that’s how I feel about the film at this time. But it is certainly a film that I love, and I am really proud to have been involved in making it.

Why did you decide to direct “Promises in the Dark”, rather than produce it for someone else?

You have worked with four directors: George Roy Hill, Irving Kershner, John Schlesinger and Hal Ashby. What part did you play once the productions were under way?

If you asked the directors involved, they would probably say each film was a very close collaboration. George was a very good friend and client, and we had years of work experience behind us before we made The World of Henry Orient. George trusted me, and, as a result, allowed me full access to his process.

I think a characteristic of all those relationships was that there was never any confusion about where functions, responsibilities and authority began and ended. I really had, and still have, a tremendous respect for the creative

Buffy and her boyfriend. Promises in the Dark.

JEROME HELLMAN

death. It involved interviews with the family and was a beautiful film.

I had my key crew watch that film with me.

Then there was another which was quite extraordinary. It was several films, really, and was about a young doctor who was an ecologist. In the course of his research he had unwittingly swallowed the chemicals that gave him cancer of the oesophagus. So he had to live with the reality of not only having diagnosed his own illness, but of having probably given himself the disease. It was incredible.

I also tried to expose my actors and crew to research at hospitals and cancer patients.

A conjunction of reasons, really.

By the time I did Coming Home, I felt myself starting to fret at the limitations of my involvement. It was my fifth film, and, while it was difficult and complicated in a lot of ways, it wasn’t a new experience.

The problems, by and large, were problems that were familiar; so were the solutions. I didn’t feel directly and personally challenged in the same way I had by my earlier work. I felt that whatever happened in the future I just had to go out and do it myself. So, that was the beginning.

Was the idea brought to you, or did you work on it from the beginning?

The original concept was brought to me by Loring Mandel, a writer.

He is one of my oldest friends and clients, and wrote several of The Kaiser Aluminum shows. He had the idea for some time and had got a commission to do a draft of the script. But when he had turned it in, the people he was working with had backed off, feeling it was too touchy. So he sent it to me, as a friend, asking me to evaluate it.

At the time I received it, I had already decided that what I wanted to do next was direct. I read Loring’s script, which is markedly different than the final film, though the most important significant elements were all there, and it attracted me. It was awfully dark, but it certainly engaged my feelings.

Also, during this period, I had had a direct personal experience with the illness — my sister died of cancer — and I didn’t feel I had had the chance to work it out completely, being in the midst of making a film. I let Loring know this and suggested that if he were willing to take a chance with me as a director, as well as a producer, then I would take over the property and go back to the planning board and try to reconstruct the script.

The concept belongs to what might be called a well-worn genre, going back to “Dark Victory”, if not earlier, and right through to “Love Story”. Did you feel you were running a risk, with the box-office and with the critics, by tackling this subject again?

No. My concern was always getting it done. I was doing so many things for the first time, and pushing to get something made that I myself would be responsible for.

It was a totally involving and engaging experience, and I was always occupied on the most pragmatic level. My concerns were: “ My God, can I raise the money?”, “Can I cast it in a way that I will really be excited about?” and “Am I going to direct it?” It was a terrifying experience and there was no time for any second guessing.

I think there was also a self­ preserving instinct. If I had stopped to think about people actually looking at the bloody thing, I might have been overwhelmed. So, I virtually put my head in the sand and just went on about the job.

You must have seen a lot of films that deal with the subject . . .

What I did was to assiduously avoid seeing films that dealt with the same subject matter. For my s o u rc e m a t e r i a l I w ent to documentary or educational films — those that had been made by dying patients. They formed the background and the support system for the work. Some were very beautiful.

One was made by the friends of a young poet who was dying of leukaemia, and it was beautifully done and very moving. Another, made over a very long period, was about a young girl who was an enormously gifted pianist. One watched her through all the stages of her illness, and through to her

The media in Australia, even before the film’s release, seems to be identifying it as a controversial film, simply because it raises the issue of euthanasia. Do you see that issue as a pivotal one for the film, or as just one aspect of a broader drama, such as the journey that is implied in the opening sequence?

Both. I would like to address myself first to the question of euthanasia. It is a very broad term and covers a lot of complex issues that I wasn’t attempting to deal with in the film. The obvious questions about euthanasia are: For what?, For whom?, Under what circumstances? and By whose direction? That really wasn’t what the film was about. I was dealing with a specific set of circumstances through which I was trying to examine the responsibility of a doctor towards a patient.

This is in a clearly defined medical situation, where the doctor’s responsibility to the patient’s wishes, and the patient’s desire for independent choice and autonomy, is in conflict with some abstract medical code which more and more in the U.S. prescribes that people who are terminally ill, even if it is from old age, are denied the opportunity to choose how they die. They are pushed into institutions and are hooked up to machinery and kept alive at tremendous cost and anguish, whether or not that is what they want. Now that’s what I was focusing on, not the broad issue of euthanasia.

On the other hand, I also wanted to suggest that living and dying are part of a continual experience. I was trying to illustrate that .Alexandra, who was cut off and protected, had her feelings buried at the outset, and that through this experience or journey with Buffy she was able to put her priorities back in focus.

By living through this experience, she had to let go of self-pity and depression, and all those things which we tend to lay on ourselves.

We don’t appreciate how fantastic it is to be alive and well, and to have the opportunity to begin over again repeatedly.

So, I was trying to trace the two kinds of journeys in a sense: Alexandra’s movement from non­ involvement to a full and breath­ taking kind of life involvement, and Buffy’s having to come to terms with the fact that, like it or not, she has to surrender life and has to do so in a way that will leave her feeling good about herself.

Given that “Promises in the Dark” belongs to a potentially “weepie” genre, it is remarkable that you have shunned what are best called “easy tears”. Do you see this as a possible reason for the commercial failure of the film in the U.S.?

Yes, I am sure of it. It is awfully tough for me to be entirely objective because when a film is rejected, for whatever reason, it hurts like crazy. But I have heard from so many people who have seen it, and who really admire and respect the film, that they had to drag themselves to see it. They just didn’t want to look at it, and the more they heard about it, and its attempt to deal directly with the subject matter and not sugar-coat it, the less they felt inspired to run out and line up in the street.

That last shot of Alexandra and the expression on her face, when she has switched off the life-support system, and the fade to black are not only stunning but uplifting . . .

I am glad you felt that. The response of people who have seen the film has been splendid, and has somewhat counterbalanced my disappointment at it not being more widely received. These are the risks we take.

It has already been sold to tele­ vision, so you do have a ready-made audience coming up . . .

Yes and the CBS network felt that the film would attract a much broader audience than the theatrical experience suggested.

They felt that at home, with its sense of security and privacy, the feelings the film generates might be easier for people to deal with. There is more of a history of that kind of subject matter on television, although it is not dealt with in quite this way.

One can imagine it working in much the same way as “Scenes from a Marriage”, when it was in its original six-part version for tele­ vision. People sat around after­ wards for hours and talked to each other about it . . .

I would love nothing more. I really don’t care how people see it, or where. I have an immense investment in having people see it, as I am sure you can understand, and while ideally I would like it seen the way I conceived it — and it Concluded on p. 151 Cinema Papers. April-May— 105

MM A HISTIBRIGAI PERSPECTIVE Japanese Cinema is comparable with the best of European and American filmmaking, both in the range and significance of its films and the stature of its directors.

To investigate the film industry and culture at first-hand, director and writer Ian A. Stocks recently visited Japan (with assistance from the Australia Japan Foundation). Here is his report.

The First major response to Japanese film began in the 1950s with Akira Kurosawa’s Rashomon (1950), followed by a whole-hearted acceptance of the work of Kurosawa, Kon Ichikawa, and a lesser rash of exotica. Unfor­ tunately, interest in Japanese film tends to stop there, neither looking back at the glories of the 1930s, nor forward to the inheritors of that “Golden Age” , to directors like Nagisa Oshima (in all his work), Shohei Imamura (almost un­ known outside Japan), Masahiro Shinoda and others. It is rather like looking at a precious stone without having any regard to the setting.

This article, therefore, will attempt to show Japanese cinema in historical and aesthetic con­ text, placing less than usual reliance on Films already well-known in the West.

The Beginning Japanese cinema inherited many assets, and quite a few limitations, from the culture from which it sprang. The assets were a rich, dramatic and theatrical tradition which made full use of expansive styles and sets, and used dramatic ex­ position based on character development. The novel was not a major force in 20th Century Japan, so film development was unhindered by a reliance on text and plot. Stories for the stage were very firmly based on performance and character.

Another asset was the print method of art work distribution, developed to its highest degree in the Edo period and which provided a useful inspiration to Film production. The Japanese woodblock print was an art form in multiple, which was produced for, and patronized by, a public with highly-developed standards. It showed its power in the depiction of everyday life — in its celebration of the forms and patterns of a burgeoning urban society. So, for the early Filmmakers, it was natural for them to take daily life as a subject. Historical stories, expressed in the same effervescent collo­ quialisms, drawn from Kabuki theatre plots, also adapted well to Film.

Early inhibitions inherited from the theatre in­ cluded the resistance to female actors (early films were made with onnagata — female imper­ sonators) and the power of the benshi (the on­ stage narrator who explained every detail of the plot and psychology of the Kabuki play). It was quite some time before these limitations were decisively overcome.

At the time social realism started to grow in Japan, other, more sinister, forces were taking hold on the society. Expansionist militarism, the Opposite, and clockwise from top left: Akira Kurosawa’s Rashomon, Shiro T o y o d a ’s Twilight Year, Kenji Mizoguchi’s Life of Oharu, Yasujiro Ozu’s Equinox Flower, Mizoguchi’s New Tales of the Taira Clan, Teinosuke Kinugasa’s Gate of Hell.

revival of the cult of bushido (“the way of the warrior”) in a darker form, and an almost hysterical desire to prove Japanese equality, if not superiority, to a disinterested West, all drew the nation closer to war. Surprisingly, little of this mentality permeated the cinema.

Even Japanese war documentaries have a detached, almost lyrical quality, as if the makers were amazed by Japanese achievements in this area. Only in the chambara (sword theatre) or later samurai films do we see this cutting edge of the Japanese psyche, the highly-developed mar­ tial arts and the extreme and almost unthinking violence that is a product of conditioned responses and dedicated training. And only in the samurai film is the bushido ethic celebrated, re-asserted as an integral part of Japanese man­ hood.

Forgotten History Directors like Y asujiro Ozu, Kenji Mizoguchi, Mikio Naruse, Shiro Toyoda and Heinosuke Gosho dominate the pre- and post­ war history of Japanese cinema, but only a few representative films of these directors have been screened for Western audiences. Interestingly, some of these directors were still making films as recently as 1977; one was Toyoda, who began as an assistant in 1925 and made his directorial debut in 1929. Kokotsu no hito (Twilight Year), which he completed in 1977, is a funny and deep­ ly moving black comedy about an old man who finds himself rejected by his son, as his health and control of his mind and bodily functions start to run amok. Only the devotion of his daughter-in-law saves him. Toyoda’s style is sympathetic and coherent, with no sign of hardening arteries.

Similarly, Teinosuke Kinugasa, a much more uneven filmmaker, but director of Jigokumon (Gate of Hell, 1953), the color film which marked the entry of Japanese films into the West, started work in 1917 as a female imper­ sonator in films and spent more than 50 years directing films.

Mizoguchi, the undisputed master of the Japanese film, known with great affection as “the woman’s director” as a tribute to his gift of bringing believable women characters to the screen and dispensing with onnagata, made his debut in 1922. In 1952, four years before his death, he made what many consider his finest work, the profound Saikaku ichidai onna (Life of Oharu), which traces the life of a 50 year-old prostitute which began with an unhappy love affaire.

The film forcefully exposes the subjugation of women in Japan, while preserving the shreds of human dignity left to Oharu — the right to refuse her son’s offer of refuge. Precise and con­ sidered, the film moves with a dream-like reverie

which serves as a complete encapsulation of life, which, after being lived, is only memories and dreams.

Mizoguchi’s films, from the early Gion no shimai (Sisters of the Gion, 1936) to the later color epics Yokihi (Princess Yang Kwei Fei, 1955) and Shin heike monogatari (New Tales of the Taira Clan, 1955), possess an epic sweep and grandeur equalled only by Kurosawa at his best.

Long sweeping pans, with crowds moving on a fixed arc to the camera, are a Mizoguchi trademark which aptly catches his dynamic view of human history and endeavour.

Certainly, as Noel Burch points out in his ex­ cellent book To the Distant Observer, the 1920s and ’30s saw the growth in Japan of a truly ex­ ceptional national cinema, which, although it absorbed and adapted influences of the West, went far in its analysis of these forms.

The names of Ozu and Mizoguchi are well known in Western film circles, and spoken of with some reverence, but little is appreciated of the other great masters: Naruse, Gosho, and Ishida. Many of their films have vanished, but others are gradually being re-discovered.

Inevitably, a study of Japanese cinema must bring one closer to a re-evaluation of Western filmmaking. In content alone, Japanese cinema throws up many challenges: its concentration on personality and morality, and its Fixation on the problems of home and duty, obligation and honor expose many weaknesses in the Western film.

Until recently, few American films had managed an insightful depiction of the home en­ vironment. Indeed, it was hardly considered a fit subject for film. Instead, the American hero is usually a rebel, out on his own against the world.

Even in the Finer works of Italian and French cinema, although penetrating observations are often made, the concern is for the social context rather than the bonds of family.

It is interesting to compare a recent American film, Five Easy Pieces (1970), directed by Bob Rafaelson, with Higanabana (Equinox Flower, 1958), a late Ozu work.

In Five Easy Pieces, Robert Dupea (Jack Nicholson) sets off for his family home with a girlfriend, Rayette (Karen Black), from an un­ acceptable background. Robert comes from a musical family and can play well, but has rebelled against his projected career and drop­ ped out. Once Robert arrives, the film con­ centrates on the reactions of the family, which seems to have no common goal, fellow feelings or mutual obligations — only a mysterious need to be together for a short time. Acceptance is not practised, nor is it encouraged. Arguments break out, the girlfriend is humiliated, and Robert adds to the chaos by sleeping with his sister-in-law. Encounters are brief, inconclusive, and the film ends arbitrarily.

How different is Ozu’s treatment of family relationships in Equinox Flower. The film shows a father’s efforts to control a wayward daughter, Cinema Papers. April-May— 107

JAPANESE CINEMA

whom he has to defeat in a Fight — does Sugata find his own piece of mind and. there­ fore, excellence in judo.

Zen concepts and images abound. Sugata spends one night clinging to a pole in the teacher’s garden pond to prove his dedication; he is ‘enlightened’ by the opening of a lotus flower in the morning.

Sugata — like many of Kurosawa’s films — is studio bound, and only the mastery of black and white composition and texture saves it from claustrophobia.

Two years later, Kurosawa made Tora no o o fumo otokotachi (They Who Step on the Tiger’s Tail, 1945), which reflects the restrictions of wartime Japan. But, like all his films, it shows the acceptance of failure as well as success, and for this reason was quite popular after the war wrhen it was finally released by the American Oc­ cupation censors.

As with many jidai-geki (period films), it has a clear relevance to the state of society at the time of production. In particular, it summons an episode in Japanese history: that of the escape of the Lord Yoshitune with his faithful servant Benkei, the fabled warrior. Benkei leads Yoshitune and his retainers, who are disguised Post-war Era I: as priests, as they try to escape patrols out for Impact on the West Yoshitune’s blood.

Finally, to get through the last border outpost to freedom, Yoshitune is disguised as a porter.

Probably the most popular Japanese film­ Even so, their deception is almost discovered, maker, and the only one to gain complete accep­ and when Benkei sees that the commanding of­ tance in the West, is Akira Kurosawa, who ficer is about to unmask his lord, he grabs a stick began his career in the 1940s, while the Pacific and beats Yoshitune. This is enough to allay War was in progress. Since then, his career has the suspicions of the soldiers, if not the com­ found international acceptance, and he now oc­ manding officer, and Yoshitune is allowed to cupies a similar position internationally as that travel on. of Sweden’s Ingmar Bergman. At best, This situation must have had many reverbera­ Kurosawa’s films are dynamic, well wrought and tions to the post-war scene in Japan, when the visually superb evocations of era and place; at Emperor, formerly deified as a living God, was worst, they are mere spectacle, overblown and forced to demand his people’s surrender and to pretentious. His early films are probably the denounce his divinity. Whether this allegory was best, being more closely related to the truths of ever accepted by the Japanese of that generation Japanese culture. is unknown, but the whole exercise was success­ Sanshiro sugata 1 (Judo Saga 1, 1943) is a ful. in that the Japanese emperor system of study of Sugata, a young martial arts student in government was allowed to continue. At least, the Meiji era (that of the modernization of the Emperor was never tried as a war criminal, Japan under the Emperor Meiji), who finds as many Western leaders hoped. himself attracted to the then new cult of judo, In any case, Kurosawa’s credentials were which was beginning to offer competition to ju­ clearly established, and he continued with a jitsu. Sugata joins an older teacher who is under great number of films. Rashomon, with its im­ attack, finds his own strength, but then has to mense success overseas, and its supposed struggle with his arrogance and desire of victory. ‘Japanese-ness’, firmly established him as one of Only through the love of a woman — the the country’s greatest talents. Yet, Rashomon is daughter of one of the opposing ju-jitsu masters far from being a typical Japanese film. As

who has rejected an arranged marriage and runs away with a young engineer. The father enlists his friends, who try to temper his rage, but even they melt away, and he is left to face the crisis alone.

He then goes with his long-suffering wife to a seaside resort, but even there peace is impos­ sible: graduating students hold a party until late in the night, and the old couple cannot sleep.

Finally, his wife convinces him to make the lone­ ly train trip to see his daughter. There, he ac­ cepts the situation, and, as the film ends, the father finds some solace singing old army songs with his buddies.

The observation in the film is impeccable, the pace slow and considered, and the story convinc­ ing. Added to this is Ozu’s particular style: an absence of panning and zooming, a selectivity that keeps the camera at all times below the eyelevel of the characters, and a fastidiousness in the matter of reaction and response. The result is the quality of great art. Against such commit­ ment and formalization, most Western films seem overdramatized and chaotic.

A Japanese soldier becomes a Buddhist priest in Kon Ichikawa’s Harp of Burma.

Kurosawa’s later films increasingly showed, it owes a vast debt to the Western, especially to John Ford.

One is constantly aware in Kurosawa’s film of the dynamics of composition and confrontation, the Ford trademark of shooting through a partially-obscured doorway or trees, framew'ithin-a-frame compositions, the relative shallowness of the characters and the clear delineation between ‘good’ and ‘bad’ characters.

Personal choice in a Kurosawa film is slight: the individual has a duty, usually to fight, and after the battle there is the same Fordian sense of regret.

Kurosawa's career can be seen to have followed a parabola of rise, extreme success and decline. The apex was Shichinin no samurai (Seven Samurai, 1954), a film of great strengths.

It was the most expensive film ever made in Japan, a calculated tour de force. Later films, like the obscure Dodeska De’n (1971) and the lush but torpid Dersu Uzala (1975), show a senti­ mentality and lack of directorial edge that verges on the distressing. Kurosawa is like the boxer who has gone soft; his decline is tragic.

Below left: Akira Kurosawa’s first feature, Judo Saga 1.

Below right: Kurosawa’s Seven Samurai.

JAPANESE CINEMA

Fires on the Plain, Kon Ichikawa’s despairing account of the brutalizing effects of war.

A vastly different proposition is the work of Kon Ichikawa, often regarded as a potential peer to Kurosawa, but to me his superior.

Ichikawa’s films have a depth of insight which is rare in cinema, whether from East or West. In most of his films, he mastered that essential of the true work of art: the interweaving and suggestion of human frailty and indecision before the survival; instinct takes over.

From his earliest days, Ichikawa tackled dif­ ficult subjects, like the endless pain and sadness of Biruma no tategoto (Harp of Burma, 1956) to the desperate, almost sub-human actions of Nobi (Fires on the Plain, 1959). In a wonder of perspective, and a mystery of mise en scene that is not dependent on camera tricks or fast editing, he shows cinematic genius. More importantly, his films breathe: they are of the outdoors, of the nuances of rain and mist, sweat and decay. His talent is highlighted in the neglected Yukinojo henge (An Actor’s Revenge, 1963), where an onnagata manages to track down his parents’ killers and avenge their deaths. The perfor­ mance, by noted matinee star Kazuo Hasegama, is brilliant; he suggests the practised deceptions of the onnagata as well as bringing home the desire for blood, all the more shocking in its sup­ pression.

In a way, the triumph of An Actor’s Revenge is that it is a film without a subtext; one is just there as the drama continues. Opportunities pre­ sent themselves and are let go until the shocking denouement, remarkable only because of the perseverance of this half-man, half-woman.

In this mastery, Ichikawa’s films resemble the best of Ozu’s work, reflecting the essential Japanese tradition of mono no aware — of see­ ing the world for what it is, and living in that world. Whereas Kurosawa uses this ideal for what it is, Ichikawa pursues it through all the tiny avenues of a character’s mind, exposing not a slogan, but a spiritual fact.

Like the work of Ozu, Ichikawa’s camera re­ tains a discreet reserve, which is not formalistic but rather like the stance of a detached, yet sym­ pathetic observer. Consequently, he gives insight into characters, without artifice or editorializ­ ing.

Often working with his wife as scriptwriter, Ichikawa’s output has been prolific and diverse.

In 1959, for example, he made the prodigious Fires on the Plain, a bitter study of war and its dehumanizing aspects, based on the novel by Shoel Ooka; Kagi (The Key), a black comedy on the declining sexual capabilities of an old man;

and two other films of less enduring merit.1With the decline of the feature film industry, he was not averse to television and directed 26 episodes of Genji monogatari (The Tale of Genji, 1966).

Ichikawa’s most recent film to gain release in the West, Matatabi (The Wanderers, 1973), is a valiant attempt to reconstruct traditional Japan through the eyes of ‘youth’ characters.

Some would-be samurai travel through Japan trying to make a living, but they lack the style and the skill to carry it off. Along the way they are joined by a half-idiot girl who trusts them implicitly, but they are unable to support even themselves and the girl is sold off as a prostitute.

The hero dies ingloriously when he falls and breaks his skull.

Despite the attempts to relate this film to modern Japanese youth (the hero is played by a leading pop star), and despite the richness of the visuals and its detailed characterization, The Wanderers seems like an echo from a lost era, a doomed initiative. Ichikawa said in an interview “ the, reason why there are so many jidai-geki made is that the Japanese fdmmakers seem somewhat unable to grasp contemporary is­ sues” .

Ichikawa is still making films, but of a par­ ticularly Japanese mould and in a style not calculated to win audiences in the West. I was lucky to see him at work when I visited the Toho Studio. What I saw was a tall, elderly but healthy-looking man in a white cap, standing with a cigarette between his teeth as his crew prepared for another set-up. The technicians worked with blinding speed, seemingly rehears­ ing, lighting and dressing the set at one time.

Finally, the shot, a complex dolly through a doorway, was ready and Ichikawa had a look at it. He made a few suggestions, watched through the viewfinder as the actors did their lines, then stood back. It was somehow encouraging to see such a master approaching his work with calm and decision.

Post-war Era II: Social Criticism One film to make a strong and immediate im­ pression on its first airing in Australia was Masaki Kobayashi’s three-part Ningen no joken (No Greater Love; Road to Eternity; A Soldier’s Prayer, 1959-61), which was screened in a 1978 National Film Theatre season. Despite, or 1. Sayonara konniehiwa (Goodbye Good Day), Keisatsu-kan to boryuka-dan (Police and Small Gangsters).

rather because of, the length, this film drew large audiences who watched with fascination the evolution of the Japanese anti-war film.

The hero, Kaji (Tsyua Nakadai), finds himself working in a large plant in Manchuria which uses forced Chinese labor. He attempts to do something to alleviate their conditions, but is drafted into the army. Finally, after the Soviet declaration of war, the Japanese forces are wiped out and the hero flees into the snow, still seeking his lost wife.

Ningen no joken differs from the war films of Ichikawa, say, in that Kaji is of a more Western mould; he shows individualism and is refreshingly free of the accepted mannerisms of the stiff bow and the grim suppression of feeling.

Kaji is emotional, almost womanly in his con­ cerns. He cringes at the slightest violence, and finds it hard to lash out at the many injustices he sees. But we never really find what holds him back, unless it is his own stunned incompre­ hension at what human behaviour becomes in large groups under stress.

Various scenes stand out, such as those of the kempei tai (the military police) terrorizing soldiers or executing some laborers. This latter scene shows the degradation of the bushido ethic: an executioner prepares his sword for lop­ ping heads by wetting it (“so the fat doesn’t stick to it”) and then hands it over to the local policeman who makes a mess of it. The scene has a picnic quality, yet exposes a very seamy side of the Japanese character.

Kobavashi takes a big risk in exposing his country’s war crimes so definitively, especially since this honesty has rarely been seen elsewhere in the West. The film which closely approaches Ningen no joken in its expose of passions in war is Gillo Pontecorvo’s Battle of Algiers, an Italian epic of the Algerian war of independence. If one looks to American films for depiction of war crimes, one can only think of Little Big Man, which shows brutalities against Indians in historical period. Of course, this violence also relates to the Vietnam war, expressing in code the shock to the American psyche dealt by the My Lai massacres. But Ningen no joken is not in code, and it clearly states the various Japanese attitudes to a bitter war.

Kaji is not a coward, as it turns out, and in the final battle with Soviet tanks, he and his men fight with great bravery. Later, there is a wonderful scene when Kaji goes through a Below: Kaji (Tatsuya Nakadai) in a scene from the third episode of Masaki Kobayashi’s Ningen no joken (The Human Condition).

JAPANESE CINEMA

miniature war crimes trial as he tries to defend himself before the Soviet commission. But he is betrayed by a turncoat interpreter and Kaji, who has spent most of his time anticipating and dis­ cussing a socialist victory, is made out to be a war criminal.

Ningen no joken does have its flaws — there is a certain staginess about the production, maybe due to economies in production, maybe just an aspect of Kobayashi’s style — but, in the grasp of its narrative and the honesty of its statement, it surpasses most other war films.

Kobayashi has made many films, a few of which have made their way to the West. Kaidan (Kwaidan, 1964), a series of ghost stories based on the stories of Lafcadio Hearn, used color, the widescreen format and a most unusual soundtrack to evoke the recesses of superstition and fearful acceptance of the supernatural that is integral to Japanese traditional life.

Two other films, Joi-uchi (Rebellion, 1967) and Seppuku (Harakiri, 1962), expose the mainstay of Japanese feudalism: the cult of obedience to superiors, and the nobility of selfinflicted death. Kobayashi is a true radical in style and content, and his films merit close atten­ tion.

Post-war Era 911: New Wave

in the closing stages of the Pacific War, and returned to Japan in 1972. In fact, Okinawa was the only part of the Japanese homeland that was ever invaded, and the suicidal battles there, with companies fighting to the last man and Japanese civilians committing suicide en masse, by jump­ ing off the cliffs into the sea, earned it a special ' ice in Japanese history.

The exploration of this subject, which brings ) the differences in cultural tradition between - 'e two areas (Okinawa is a matriarchy, Japan nv. linally a patriarchy), is explored through the story of Sunaoko, a young Japanese girl who travels with her aunt to Okinawa to try and con­ tact her lost half-brother. She meets him within minutes of arriving (he works as a tourist spruiker at the airport, offering lessons in Okinawan) but does not recognize him. Other characters make an appearance, such as Sakurada, an ex-soldier who travels to the island to relive the violence and excitement of the war, and who also hopes for a meeting with the man who will kill him.

Through a masterly use of the landscape of the island, Oshima weaves a story that is a political drama in the broadest sense, even down to his specific references to Japanese history and its expression through character. The deliberate use of harsh lighting, the murkiness and graininess of the 16mm original add to, rather than detract from, the film’s message.

Another filmmaker who has fought for As in many initiatives, the Japanese are not national concerns as a fit subject for film is averse to picking up overseas trends. So, by Shohei Imamura, who is in many ways Oshi1963, they had new wave films in production, ma’s alter ego. Imamura’s first film to gain most notably early Oshima films. Oshima is a attention in the West was Jinruigaku nuumon study in himself, and has been covered widely as (The Pornographer, 1966), a bitter-sweet study a result of sensational films like L’empire des of some men who make 8mm porn films for a sens (Empire of the Senses, 1976), but he has a living. Shot in black and white, it broke with long history as a filmmaker and his dynamic many of the formal elements of Japanese film, political concerns have always been to the taking a much more meandering storyline and forefront. Only recently has some of his more expressing the growing self-awareness of moody, considered work become available in Japanese youth.

Australia.

Imamura’s work has been steady and prolific Most significant is Natsu no imoto (Dear up to the mid-1970s, but his master work, which Summer Sister, 1972), which was brought to has been almost unseen in the West, except for Australia by the Australia Japan Foundation in short seasons in Germany, is Kuragejima (Tales 1978 and has had a limited number of screen­ from a Southern Island, 1968). This massive, ings in 35mm version. On the surface a direct, often turgid but visually and emotionally roughly-made low-budget film, it is, in fact, a riveting film is Imamura’s high point as a direc­ strongly unified work which stands to be ranked tor. as one of the great films of the ’70s.

Kuragejima is ostensibly a study of mythical The film deals with the question of the status of Okinawa, long a Japanese possession, Below: A porno filmmaker in Shohei Imamura’s The Porno­ alienated after bitter battles with the Americans grapher.

Nagisa Oshima's Dear Summer Sister, which explores the differing cultural traditions of Okinawa and Japan.

society, with a kinship system based on old prin­ ciples and practices that date almost to prehistoric times, embracing madness, shamanism and unusual rituals. The reality is tenuously applied by the arrival of a ‘New Japanese’, Kanya, a water engineer concerned with development of the island. But in his con-­ tact with the islanders and their primitive culture he quickly degenerates into a near-animal state.

Imamura, although his film is set in the southern islands, makes a subtle allegorical point about Japan itself, pointing out how isolationist tradition creates a society dependent on ritual that is the enemy of culture and reason.

Not that Imamura says that these new imports are good; in fact, the whole film has a wistful quality as the island is dragged towards “progress” . Rather, in the best tradition of mono no aware, Imamura states the problem and the outcome in broad and dramatic terms, and the whole process advances regardless.

Kuragejima is a massive film, in scope and production, but was not a financial success, and it is hardly surprising that the Nikkatsu studio (see box) was forced out of such art film produc­ tion within a couple of years. Imamura has retired from active feature production, and now runs a private film school in Yokohama. His other work includes a number of documentaries for television, dealing with the search for lost soldiers in the Pacific.

Lastly, in what appears to be the enduring films of the Japanese New Wave, is the extra­ ordinary work of Masahiro Shinoda, a young director who made his debut in 1960 with youth films for Shochiku. An arts graduate, his brilliant exploration of film is best seen in Shinju ten no amijima (Double Suicide, 1969), a film version of the classic Bunraku play, Double Suicides at Amajima. Instead of merely dramatizing the play and translating it into film terms, Shinoda has exploited the character of film and play, integrating elements of theatre and graphic design to create an experience of great wonder.

When watching Kabuki theatre the Wes­ terner is often initially disconcerted by, seeing the kuroko (state assistants dressed in black) appear during the action to help an actor with a change of costume on stage, or hand him an es­ sential prop. Eventually, in the convention of Japanese theatre, these kuroko remain invisible.

But in the film version of the play, Shinoda has retained the kuroko, so that at crucial moments the action is helped along, even created by, these

Top right: The lovers, Koharu and Jihei, in Masahiro Shinoda's Double Suicide. Top left: Shinoda’s story of a blind singer, Melody in Grey.

20 per cent by 1961. The decline has been steady and yakuxa films (gangster films) are left to pick and irreversible as other pursuits drain the up the left-overs. These are, sadly, just as disap­ leisure spending of the population. And, as pointing as their foreign counterparts. Still, they hooded figures, anonymous but menacing. Once Japan has a figure of 228 television sets per 1000 do offer a chance for young actors and directors again, the incorporation of traditional forms in a people, the future continues to look bleak. to enter the industry, and the occasional one Unfortunately, as the audience shrinks, so does have some interest. Nikkatsu’s “romantic new context makes a powerful statement on the does the number of discriminating cinemagoers, porno” series, made to reasonable standards on mores of Japanese culture.

The plot of Double Suicide deals with the to a point where they can no longer be serviced. budgets o f-580,000 and up, have shown some penalties of going against the social codes. Jihei, So, apart from a few local efforts at large-scale promise and justify the exercise by their release a paper merchant, falls in love with the geisha production, it is the international blockbusters on to the growing video-cassette market. They Koharu, but as his business suffers he is unable which score the market, and local productions Concluded on p. 153 to buy her out. His brother tries to break the relationship by disguising himself as a lover of Koharu’s, and they even get Jihei to sign an oath not to see her again; but, finally, Jihei’s wife reveals that Koharu is not unfaithful to him, and insists that Jihei sell or pawn all they have, in­ As in most Japanese business, the film production industry is dominated by a few larger cluding her dowry, to free Koharu and therefore companies, film zaibatsu, with a large .gap down to the smaller independent production save his honor. But the wife’s father arrives and groups. In comparison with the U.S., however, there is one significant difference: there is no drags her home. anti-trust legislation in Japan, so every element of production is contained under one umbrella Then, through a series of tricks, each — from the labs to the cinemas, from the talent agencies to the ticket printing machines. humiliating to Jihei, the two lovers escape and Toho, for example, the largest company in Japanese films, operates 234 theatres throughout cross a series of bridges, each step taking them the country. In one area in Tokyo, Yurakcho, just across from the Imperial Palace, Toho closer to suicide. Helped by the hooded kuroko, operates 10 top-class film theatres and six stage theatres. It has a vast studio complex out of Jihei stabs Koharu and then hangs himself. town, with many sound stages, its own labs and sound department, plus a huge special effects Their downfall is inevitable, the final confronta­ tank. It makes television programs, runs 92 restaurants, deals in property, runs entertainment tion with a sealed society from which escape was centres, and also manufactures and releases records. In addition, it owns and operates golf not possible. courses, tennis courts, dance halls and sauna baths.

The art direction succeeds brilliantly in This is the company responsible for most of Kurosawa’s output, for many of the films of ‘modernizing’ the settings, using huge blow-ups Ozu, Naruse, Mizoguchi, and others. Other major Japanese companies include Faei (from of prints and designs, so that it is clear from the 1941), Nikkatsu (since 1912; the oldest film company in Japan), Shochiku (1920), which was beginning that the world they occupy is a mental launched as an adjunct to theatre production, and Toei (1951), as well as many breakaway and not physical one. Shinoda’s mastery of the pic­ director- and actor-financed production houses. torial elements, and his always precise angles Each major house was based on a particular style, aimed at a certain section of the vast and composition, are apt without appearing cinema-going audiences of the ’50s and the ’60s. For example, Nikkatsu specialized in dramas tricky. of lower-class life, Shochiku favored an ‘American’ style, with a slightly left bias, Toho the Hanare goze orin (Melody in Grey, 1977), a jidai-geki (period film) and serious drama, but even this recipe did not spare some from dis­ more recent film by Shinoda entered for the aster. Toho was crippled by labor strikes just after World War 2, and took a long time to 1978 Asian Film Festival, takes a more conven­ recover. A breakaway studio, Shin Toho (New Toho), produced one of Ichikawa’s early films. tional approach to its story. But it is still excep­ Nikkatsu got into serious financial trouble in the late ’60s and had to cease production, and has tional for its clear progression and nuance of only recently got back into limited production with its range o f ‘romantic pornography’ films character. It tells of a blind woman singer who — fairly mild sex stories in everyday settings. makes her living by playing in villages A visit to Toho Studios reminded me of one of the large British studios like Pinewood. A throughout pre-western Japan. Notable in the large, sprawling lot, with big sound stages built inside aircraft hangar-type structures. Outside film is a very highly developed sense of place and was the debris of past productions: large props, disassembled sets and just plain garbage. It a fine eye for human emotion. was raining, and the whole place was quiet, but work was going on in the large and drafty sound building, and over on a back stage Ichikawa was directing a specialized local film/ Sadly, the Japanese New Wave is in decline.

I found the studio less detailed than a British one, the security quite lax and the stages not Imamura has made only one film since the early quite soundproof. However, production seemed faster and the crews worked far more co­ 1970s; Shinoda is still directing, but on a operatively than on British sets. reduced scale; and Oshima is reliant principally Elsewhere the stages were dark, used for storing goods or unwanted props. A cold wind on European money for his productions. Like swept across the damp studio lots, the huge special effects tank was empty and paint peeled off cinema in most countries, the economics of the matte projection wall behind it. production can no longer be covered after the In the editing department, Kurosawa’s room was just as he had left it, with the simple tools cost of distribution is deducted from ever that he used to cut his great films: a board, studded with nails to hang film on, a bullseye diminishing returns. viewer and a pair of scissors. It was hard to believe that such monumental works were Total film admissions in 1957 were produced with such minimal means. But nearly 30 years have passed, and so have the great 1,098,882,000 — i.e., 10 admissions per head of days of cinema. population — but had already dropped a drastic

Company Structure

Cinema Papers, April-May—111

Malco £%

•

Sm i Tasmania was the first state to get into the film business. Norman Laird, a film producer, was so inspired by the work of John Grierson, whom he had met in New Zealand, that in 1946 he talked the Lands Department into setting up a small film division.

This division underwent several changes, becoming a department in the 1960s. By 1977, it had a staff of 39, all employed under the Public Service Act, and including people in the microfilm and still photo-, graphic areas. Unfortunately, the bureaucracy and the structure overtook the filmmaking capacity.

Whose initiative was it to rectify the situation?

Bill Nielsen, who was the Labor Premier at the time, had sent a team across to have a look at the South Australian Film Corporation in 1975. He was sufficiently impressed that there were other ways of doing things within a bureaucratic structure, and got Gil Brealey, the founder directorchairman of the SAFC, to do a report into the department of film production. The Government acted very quickly on this report and the Tasmanian Film Corporation was established on September 5, 1977.

What was your first priority as director of the TFC? To ensure that my creative staff were not employed as public servants. That was the major battle we fought and won. If we had not had the right to hire and fire, then it might as well have been kept as a government department.

Do you think public servant requirements have hindered the other state government film bodies?

Absolutely. You can see it in the Peat Marwick and Mitchell report on the Australian Film Com­ mission, which recommended the AFC move away from the public service structure. This is one of the things holding Film Australia back. It is dragging the ABC down, and has had a harmful effect on the w h o le o f A u s t r a l i a — in government life and not only on the film industry.

112—Cinema Papers, April-May

o u t p u t . N ow we h a v e an international standard studio containing four editing rooms, a sound stage, a video centre, two viewing theatres, a sound mixing suite, photographic darkrooms and a portrait studio.

Malcolm Smith, director of the Tasmanian Film Corporation, talks to Peter Beilby and Scott Murray about the TFC’s establishment, and the role it is playing in film production in the state.

Why is it so harmful?

equipment or to invest in the high risk ventures of feature films, If you have a job and are totally children’s television series, or secure in it, there is no reason for whatever. you to work harder or faster; there In 1979/80, we borrowed SI is no need to continually prove million; $300,000 worth of that has yourself. In the time I have worked come from loan funds. The other within government services, I have $700,000 has come from traditional met a lot of hard-working people. sources such as banks. So, we have But, in general, there is no to pay back interest and make incentive. The structure has a capital repayments. That makes us look at our money very carefully. cushioning and deadening effect.

The TFC has always tried to be Some corporations even claim to be profit-oriented. We have large hamstrung by regulations over overheads and have always said salaries: i.e., that they cannot that it is going to be a long time employ the best person because of before the TFC starts making profits. In fact, the only way at salary restrictions . . . present that we can see ourselves I believe that has been the case making a profit is if we hit the with the Victorian Film Corpora­ jackpot with feature films. tion, and I understand they are trying to change it.

Apart from staff, what were your other priorities?

Apart from staff levels, what My prime concern was to get the problems did you have in getting the place running as an exciting film TFC off the ground? production house. That meant We have always been in a changing attitudes, making better different situation to that of the films, improving people’s skills and other corporations, in that we are finding a good enough team to not a merchant bank. Each year we make those films. My second have a guarantee of income to objective was to boost the TFC’s make government films, but we facilities. It had been in terrible receive no moneys other than that. premises for years, which had a We have to borrow money to buy very bad effect on morale and

To what extent were you bound to employ local people?

My philosophy has always been to employ local people wherever possible. But I have also recognized that not all the skills are available in Tasmania. In those cases I have tried to bring in people who not only have skills, but are very good at passing on those skills to others.

In some cases we have also sent our people interstate to gain experience.

What skills was Tasmania lacking?

As f a r as th e old F ilm Department goes, scriptwriting, producing and sound. The only area that we were really strong in was camerawork. All the other areas needed upgrading.

Was there much filmmaking activity in Tasmania besides that generated by the D epartm ent of Film Production?

Very little apart from the ABC and the two commercial television stations. Alistair Matheson, who ran Impala Films, a Hobart p ro d u c tio n co m p a n y , m ade commercials and the occasional documentary.

Tasmania is a very small market, with only 400,000 people. Apart from the television stations, who also make their own commercials, using television crews, we were the only game in town. What has since happened is that several camera­ men and producers have left the TF C and set up th e ir own businesses, making documentaries and commercials, or acting as free­ lance cameramen. What we are starting to see is the emergence of peripheral supports for an industry.

Someone last month, for example, set up the first casting agency in Tasmania.

Did you plan on this sort of expansion?

MALCOLM SMITH

positive factor is that the money we earn is recyclable; it doesn’t go back to the Treasury.

Yes. I believe very much in the growth of an industry in Tasmania, and I don’t want the TFC to be a bureaucratic structure that controls everything. So, wherever we can, we use freelance people.

The TFC set up a special marketing office in Sydney to handle your documentaries; how successful has that been?

As the TFC is not given a set budget a year, how does it finance a film for a government department?

In Tasmania, as in South Aus­ tralia, there is central funding.

Each year, the state government, through the Premier’s Department, sets aside an amount for film and still photographic film (this year it is $686,000). In January every year, the government departments are asked what films they want made during that year. Then, once the 50 or whatever requests for films have come in, a government film c o m m i t t e e d e c i d e s w hich departments will have films made in a priority order. Then we make the films until the money runs out.

Apart from state government d e p a r tm e n ts , th e re are the government instrumentalities, like the Hydro Electric Commission.

These bodies, which receive funds outside of the Treasury, are com­ pelled under the Act to come to the TFC to have their films made, or their still photographs taken. But they have to fund these projects out of their budgets.

Do you get any money from the state government to pay for rent or wages?

No. We don’t get any subsidy to cover those things.

Which makes the TFC different from the other corporations . . .

Yes. The only thing we-received was a grant of $58,000 to cover our first year’s deficit. That was because we didn't receive any establishment grants, which was one of the things recommended in the Brealey Report.

increasingly so. When I did the same sort of thing in South Aus­ tralia, I found it took three years for the SAFC to draw in major sponsors like General Motors­ Holden and Mayne Nickless.

I am following the same pattern here and going to companies saying that we can make films effectively and economically in Tasmania, and that they should consider us as their production house. We also have a marketing organization and can distribute films to the markets they want to reach.

Why should a state film corporation want to move into the public sector and compete with private production companies?

There are many major industrial companies in Australia that do not make documentary films. If we can educate them to recognize the value of documentary films, then we are helping the industry, because we are bringing in more money and The TFC has also made documen­ introducing new sponsors. And, taries for commercial companies in say, if I get a film to make for Tasmania and interstate. How Uncle Ben’s Pet Care, that means a lot of local freelance technicians are successful has this been? employed. From an overall Aus­ tralian standpoint, we are widening M o d e r a te ly , but I hope our market.

Very. I have always felt that the marketing and selling of short films in Australia is a neglected area.

Feature films are the glamour area and the one that takes up a lot of energy. Short films always fall into the shadow.

We felt it was important that the marketing office be established in Sydney, because it is one of the centres of filmmaking and there are a lot of major clients there.

The marketing office enables the films we make, and the others we handle, to be aggressively sold. We are acting as the exclusive agent for the New South Wales Film Corporation, the Victorian Film Corporation, the Perth Institute of Do you budget these sort of films as Film and Television, the Australia an independent production company Council and several independent would? film producers, like Paul Winkler.

The office also feeds back Yes, we have total costing. We information to me as to what films budget for wages, equipment, raw need to be made. stock, overhead and profit.

You also represent the films of Film Is there any difference in the way Australia . . . you would estimate costs for a documentary to be produced for a Yes, but not exclusively. We government department and one for handle only some of their product. a commercial company?

Apparently, the TFC has funded Yes, we apply a larger overhead films made outside Tasmania, such cost to government films. The as “ Frontline” . . . philosophy behind that is that the Government has asked the TFC to When 1 saw the film, which stars be here, to retain a certain number an ex-Tasmanian cameraman. I felt of staff and to maintain certain it was one of the best Vietnam war facilities. We consider it right and films ever made. So the TFC gave proper, therefore, that they bear a Dave Bradbury a loan to help him greater overhead charge. meet certain shortages. Basically, we will look at anything if it is Is there sufficient profit in presented as an exciting and viable documentaries to make them a proposition. viable operation?

One of the stated aims of the SAFC We will always be struggling. was to make itself redundant within Our main hope is feature films. We five to 10 years. Is that something are not going to move into a viable you hope to do with the TFC? situation for quite some time, given our position in the state, its size and I would like to see the TFC selfall the problems entailed with that. destruct in 10 or 15 years, and the But we are trying to be profit- emergence of a private industry orientated in all we do. The one based in Tasmania. In practical Cinema Papers, April-May— 113

MALCOLM SMITH

terms, however, it is likely that the TFC will need to be around much longer, even if it is acting solely in the role of a catalyst, securing moneys and investments, and getting documentary films made.

I would like to move more towards the South Australian situation of being able to put work out to the local industry. But we have had different problems, which have meant a concentration on being our own production house and we will need the support of the government for quite some time.

Over the past two years, we have made a major investment in one inch broadcast quality video equipment. We now have a fully operational, small but sophisticated video operation based on Ampex VP R2s and P hilips VDK14 cameras.

We are producing some of our sponsored documentaries on tape, as well as television programs and commercials. Now we also hope to concentrate on building a varied selection of soft-ware material for the home video disc revolution which I see on the horizon. We believe that the book publishing business, as such, will be moving into the video film area, and people will be taking discs and such programs into their homes.

The reason we are exploring in this area is that we believe a state like Tasmania should concentrate on cottage-based industries. Each state has its own peculiar problems, and, in Tasmania, we see the need to work in the area of children’s television, for which there is a great demand in Australia.

We are trying to interest the television networks in a children’s series (Fatty and George), for which we have already made a pilot.

The Australian industry tends to focus on the feature films, which is the high risk area, whereas we see a future for ourselves as producers of television programs, which is a much safer market once you find the product and can interest the television stations in it. Also, once you get a series going, you can provide a continuity of work for crews and actors. A feature is a one-off affair, and the crew disperses after six weeks.

We feel that we shouldn’t do 114—Cinema Papers, April-May

Above: Simon Burke as a neglected teenager in the TFC’s Slippery Slide. Top right: Anna Ralph as Joanna and Mawuyul Yanthalawuy as Manganinnie in Manganinnie.

Bottom right: scene from Fatty and George.

more than one feature film a year, two at most, and that the other areas should be the more stable growth areas.

Why do you think Tasmania can service the needs for children’s programs? Is that an area in which you have special expertise?

We don’t have special expertise but our pilot for Fatty and George is regarded by the Australian Broadcasting Tribunal’s children’s com m ittee as the best local children’s program they have seen.

We entrepreneured the idea, wrote the script, produced it and hope to go into production in early 1980.

What other children’s areas are you looking into?

We have just completed another pilot for children’s television based on puppets called The Joe Blake Show.

I think Tasmania can develop the puppet and animation areas, although they need specific skills.

Given our weather problems, they would suit a studio-based, cottage industry type of production.

Is that why you are dealing with animator Yoram Gross?

Those were our reasons for dealing with Yoram Gross when the TFC was set up. Recently, however, we bought an option on a property developed by Yoram called Save the Lady, but I did that because I thought it was one of the best family feature scripts I had read in the past two years.

Yoram Gross was actually the first producer I approached over Manganinnie, because it looked as though the elements lent themselves to an animated film. It is quite interesting that Manganinnie has turned out to be live-action, and that we have overcome those elements.

Manganinnie Manganinnie was initiated because I was very excited when I read the unpublished manuscript by Beth Roberts; it seemed to have the makings of a wonderful film. I believe, as the old Hollywood tradition has it, that filmmaking is about gut feelings: i.e., hoping that whatever pleases you will also please an audience.

When I showed the idea to the TFC board and a diverse group of people, everyone felt the same

emotional strength in the property.

That gave me the enthusiasm to push on and develop it.

What type of film did you see it as during those early stages?

I have always seen it as an exciting and positive film about the dignity of human relationships — very much the Storm Boy market. I have always hoped that the film would have the quality and values of Dersu Uzala.

How did you find the manuscript?

The author came to us. The Aus­ tralia Council had given her a grant to develop the manuscript into a screenplay, and she had hired Ted Ogden to do it. As so much of the book is about the Aboriginal, Manganinnie, Ted decided to tell the story from many viewpoints — the bushranger’s, the soldiers’, that of the family involved — and only now and again did the Aboriginal woman appear. But it seemed to me that the only way one could get the strength of that story across was to tell it from the viewpoint of the two leads, Manganinnie and Jo Jo. So we went back to the original and developed it from there.

MALCOLM SMITH

trying to get a few name actors?

Above: Manganinnie. Below: the new TFC headquarters in Hobart. Bottom left: the sound studio (45m x 14.5m).

We did try to get an international name to play Anna’s father, in the hope it would get us a sale in the U.S. The role would take a week to shoot, so we allowed 550,000. We were looking at Alan Bates, and that type of person, but we found we couldn’t afford him. And the sort of names we were getting for $50,000, I haven’t even heard of.

So, we decided to go with an Australian. This meant we didn’t have to pay all the equity loading and so on. As it is, we are delighted with Philip Hinton.

The title has undergone a few changes. Is there a reservation about the commercial appeal of “Manganinnie” as a title?

But Williams was immediately sold on it, as was John Reid, and GUO came in with a major investment. I then found it relatively easy to get the local television stations, Channel 6 and Channel 9, and Tasm ania Drive-In Theatres Initially. But the big risks were Holdings to invest in this first whether we would find the right Tasmanian production.

We did that without any financial Aboriginal and the right girl, and whether there would be enough plot tric k s , w ithout leverage or to hold the film together. All I can anything, because people believed say after seeing three-quarters of in the product. It was a question of the rushes is that I am convinced we the property selling itself. have a classical film which will How did the project develop? excite audiences.

As the Aboriginal woman speaks only a little English in the film, communication is largely through gesture. Is this something that worried you from a commercial viewpoint?

Were these problems an obstacle in the fund-raising?

I gave the project to John Honey, who is a staff producer, to see through and develop. We also employed Ken Keslo, who was in his third year at the Australian Film and Television School, to write the property. Gil Brealey was also involved in the original writing with Ken and John.

I always felt it would be hard to raise finance for Manganinnie because it could not easily be identified as a commercial project.

It would be like the SAFC going out to sell Storm Boy. They had many knock-backs, but they believed in the film, and eventually Was Honey always going to direct? it was made and turned into an No; we hoped he would be the enormous success.

Where we were very lucky was producer. But John proved himself that the first person we took Mang­ to be such a fine director on the aninnie to was David Williams of short films he made for us, that we Greater Union. We had already decided to go with him. That’s been dealing with the AFC, and it when we brought in Gilda Baracchi was very much behind the project. as producer.

We knew of the reputation she had during her two years in the U.S., and also considered her to be intelligent and sympathetic.

Did you have any reaction from the investors over using so many first time out people, like Baracchi and Honey?

Yes. In fact, we originally wanted a Tasmanian cameraman, but the investors insisted that we get more people with feature experience. That’s why Brealey is acting as an executive producer and why Garry Hansen is director of photography.

“Manganinnie” has a low budget for a film primarily shot on location.

Has it been costed as you would a documentary?

No, as a commercial venture. We had certain overheads counted in for the TFC, but that is normal commercial practice. When you have investors, your budget has to be absolutely kosher. It is a tight budget, but it has proved to be a fairly spot-on one.

Your above-the-line costs are prob­ ably a lot lower than they would be on most features. Did you entertain

The investors had reservations on whether Manganinnie would be a strong marketing name outside Tasmania. What does it mean? Can people spell it? For that reason, we looked for a name that would describe the film better and draw in the male-adult audience. The title we came up with was Darkening Flame. But it was not well received and the investors made the decision to go back to Manganinnie. It could be that Manganinnie does not work outside Australia, and we may have to look for a name change.

When will you have a release print?

In April or May; we are looking for a release in July.

Are you taking the film to the Cannes Film Festival?

We don't know, but we are certainly not going to rush the film for Cannes. We will get it ready when it best suits the film.

However, we could do what Tony Ginnane has done and take a 20minute show reel there.

What other features does the TFC have in preparation?

There is Gland Time, which is a comedy set in a meatworks. I see it as a sort of sympathetic comedy of Concluded on p. 153 Cinema Papers. April-May— 115

Compiled by Terry Bourke

S to r y , by Charles Higham (to be released by Doubleday Press in April).

Jerry Schatzberg (Seduction of Joe Tynan) is mixing Honeysuckle Rose for Warner Bros, before starting The Duke of Deception, the first feature for CBS Theatrical Films; Wim Wenders directs Hammett for producer Fred Roos with Francis Ford C oppola executive producer; Walter Hill has wrapped The t o ld

UNITED STATES

It seems Hollywood and scores of cities elsewhere in the U.S. know no bounds when it comes to snowballing film productions. As of mid-March, 42 features were shooting in the U.S. and another 13 U.S.-financed films were on foreign locations. Estimated value of the 55 features is in excess of $230 million.

(A year ago the figures were 30 films worth around $98 million.)

Obviously, an increase in tele-features is not the big threat to cinema product it was five to 10 years ago. Up until March 25, 18 tele-features had gone into pro­ duction since January 1. Last year in the same period 24 tele-features were under way.

Leading the uptempo is the world's biggest and busiest producer, Ray Stark, who has 10 major films worth $90 million for 1980 release ($60 million will be spent on advertising and promotion). Stark has eight films in production, 16 being developed, five television pilots to shoot in the next four months and five tele­ features for shooting between now and September.

Stark’s first 1980 release, The Electric Horseman (Robert Redford, Jane Fonda, directed by Sidney Pollack), has grossed $23 million in 983 theatres during its first three weeks. Yet to premiere are Neil Simon's Chapter Two (directed by Robert Moore), To Elvis With Love (Gus Trikonis), The Hunter (Buzz Kuiik), Smokey and the Bandit 10-4 (Hal Need­ ham), Somewhere in Time (Jeannot Szwarc), The Perfect Circle (Claudia Weill), Neil Simon’s Seems Like Old Times (Jay Sandrich), The Competition (Joel Oliansky) and Wrong is Right (Richard Brooks).

Randal Kleiser (who recently directed the remake of Blue Lagoon in Fiji with an Australian crew and Richard Franklin as executive producer), will direct the screen version of Annie for Stark. Buzz Kuiik has been signed for Fast Freddie and His Brother John and Long Gone; Frank Pierson (A Star is Born) will do Desperado; Harry Hurwitz, Larceny, Inc.; Martin Ritt, Men of Bronze; Jean Claude Tramont, Colette.

Martin Scorsese is still editing Raging Bull (starring Robert de Niro), which will

premiere in October. It was to have had a massive across-the-nation release in early May. Colin Higgins (Foul Play) has Jane Fonda and Lily Tomlin in Nine to Five, which he also co-wrote; Blake Edwards is shooting S.O.B. with wife Julie Andrews and William Holden; Stanley Kramer has set April 28 as the start-date for the $16 million The Survivor (scripted by Abby Mann); Hal Ashby teams with Jon Voight again (after Coming Home) in Looking to Get Out; Ken. Shapiro is directing Modern Problems; Buck Henry, First Family; Eric Karson, The Octagon (formerly Cry Vengeance).

Bob Clark (earning exceptional acco­ lades for his direction of Murder by Decree) has finally started Tribute (U.S. financed) with Jack Lemmon and Lee Remick after Canadian unions tried to stop Remick getting a work permit.

George Edwards (The Attic) is producerdirector of Camp Delinquent; James B. Harris, Fast Walking for Lorimar; John G. Alvidsen (Rocky, Save the Tiger), The Formula (Marlon Brando); Barry Brown, The Fire Sermon.

ll6—Cinema Papers, Aprii-May

Long Riders.

Ongoing shooting: Jerry Jameson, Raise the Titanic; John Schlesinger, Konky Tonk Freeway; Joseph Sargent, Coast to Coast; Vernon Zimmerman, Fade to Black; Richard Donner, Inside Moves; Gary Sherman, Dead and Buried; Worth Keeler, Lady Grey: Super­ star; John Irvin, Dogs of War (Norman

Jewison executive producer); Michael Ritchie, Divine Madness; Boaz Davidson, Seed of Innocence; Alan Roberts, The Happy Hooker Goes to Hollywood.

Poster fo r R obert G reenw ald’s Xanadu, starring Olivia Newton-John and Gene Kelly.

Cancellations include producer David Begleman’s Olympiad (because of the Russian invasion of Afghanistan and pro­ jected U.S. boycott of the Moscow Olym­ pics), and the third shark epic Jaws 3, People 0 (producer Richard Zanuck quotes “artistic differences” ).

Jaws scriptwriter Carl Gottlieb debuts as director on The Caveman, starring Ringo Starr and Barbara Bach. Out of the water, that lovable mutt Benji is into his third film, Oh Heavenly Dog, with Chevy Chase and Omar Sharif also starring for producer-director Joe Camp.

Robert Benton (Kramer Vs Kramer) is preparing Stab for MGM; Robert Red­ ford is into final post-production on Or­ dinary People, his first effort as director (Donald Sutherland stars); Clive Donner, The Curse of The Dragon Queen; Frank­ lin Schaffner is still in Budapest on The Sphinx; Martin Davidson's Captain Avenger has been re-titled Hero at Large.

Sidney Lumet is preparing the screen version of the Broadway hit Deathtrap; Peter Yates (Breaking Away) is readying Janitor for Twentieth Century-Fox; Richard Jeffries, Red Tide (on Greek locations, Hollywood interiors).

Michael Lindsay-Hogg, British direc­ tor, and Michael Pate’s initial choice to direct The Mango Tree, is preparing Kingfisher for Brut Prods.

Other directorial assignments: Gary Weis, Wholly Moses; Thomas Chong Cheech and Chong’s Next Movie; Allan Moyle, Times Square (for Robert Stigwood); James Toback, Love and Money; Howard Avedis, Valentine; Vincent McEveety, Herbie Goes Bananas; Robert Clouse, Battlecreek Brawl; John Landis, The Blues Brothers; Richard Lang, A Change of Seasons; William Sachs, Galaxina; David Greene, Hard Country; Sidney Furie, The Jazz Singer (with Neil Diamond); Gilbert Cates, Oh God, Oh God; Bob Rafelson, The Postman Always Rings Twice; Howard Zieff, Private Ben­ jamin; Ulu Grosbard, True Confessions; Robert Zemeckis, Used Cars; Scott Mansfield, Who Fell Asleep; Michael " Wadleigh, The Wolfen; Woody Allen, A Woody Allen Film.

Bruce Malmuth has replaced Gary Nelson as director on Attack (starring Sylvester Stallone); Australian director Philippe Mora has secured the rights to the upcoming book, E r r o l F ly n n : T h e U n ­

MGM's new production boss, David Begelman, has announced John Derek will produce and direct Tarzan, the Ape Man, with Bo Derek (10) as Jane. No Tarzan signed yet. Over at Universal, Burt Reynolds and Dolly Parton have signed for The Best Little Whorehouse in Texas, with Peter Masterton directing.

Brian de Palma’s Home Movies, made with the cinema students at Sarah Law­ rence College, and featuring Kirk Douglas, is to get national release mid­ May. BRITAIN

Only the presence of major films which started shooting last year and have resumed in January kept the British studios busy in the first quarter of 1980.

Superman 2: The Adventure Con­ tinues (Richard Donner and Richard Lester), Flash Gordon (Mike Hodges), Reds (Warren Beatty) and The Sea Wolves (Andrew McLaglen) are still

before the cameras, with the latter still on location in India and not expected to be in London for studio work until early May. Franklin Schaffner is in Budapest on The Sphinx, but will utilise London studios for several weeks, and post­ production will be centred in the British capital.

Guy Hamilton has Elizabeth Taylor and Angela Lansbury in Agatha Christie’s Miss Marple caper The Mirror Crack’d; Mathew Chapman is directing Dread;

Paul Annett, Second to the Right and On Till Morning (Brian West — Wake in Fright — is director of photography); Chris Slatter, My School Project, at Chamberlain Studios.

American director Robert Altman is lensing Popeye with Robin Williams and Shelley Duval in Malta, and has flown in a mainly British crew. David Lynch is directing The Elephant Man, with John Hurt and Anthony Hopkins.

Peter Frazer Jones is directing George and Mildred, based on the long-running television comedy series; Ridley Scott (Alien) has set up London offices to prepare for next year’s start on Dune for Dino de Laurentiis; producer Ismail Merchant and director James Ivory (The Europeans) are shooting Jane Austen in the U.S. for London Weekend Tele­ vision, but the film may get cinema screenings in selected territories.

HTV West and Columbia Pictures Television are more than pleased with progress on the big-budgeted The Curse of King Tutankhamumu’s Tomb, now on location in Egypt with Harry Andrews and Eva Marie Saint in the lead roles. Direc­ tor is Philip Leacock, who was in Austra­ lia for Adam’s Woman (filmed as Return of the Boomerang) in 1971. Now there is a suggestion the film may go into cinema release before its planned television showings.

Jeremy Thomas (produced Mad Dog Morgan with director Philippe Mora) and Polish filmmaker Jerzy Skolomowski (The Shout) are teaming again with Vic­ tor Post, a thriller to be shot in Boston, U.S. Ken Russell expects to start pre­ production in mid-June on The Monster of Loch Ness, now that John Byrum has completed a shooting script.

Noah’s Ark Fiims-EMI Films have an­ nounced a $17 million budget for the his­ torical action-drama The Wonderful Adventures of Paul Bunyan.

CANADA After a year of whirlwind production there is an early air of concern among Canadian filmmakers as 1980 gets under way.

With a record 49 features last year worth $125 million, and some outstand­ ing successes (Meatballs, Running, Silent Partner, Murder by Decree) the Canadians started overhauling Britain as the world’s second-biggest English language film producer.

General tempo of production is slightly down in the first three months of 1980, and there are widespread grumblings about the quality of many films of 1979, including the majority which involved Canadian Film Development Corpora­ tion funds.

Directors' Guild of Canada spokes­ man Bob Barclay says too many of the films utilising government funds were “of dubious quality” . Barclay says: “We’ve been spending big moneys on B product, when we should have realized A product.

If this syndrome takes over, we’re in big trouble. The CFDC has taught everyone how to talk about the sizzle and not about the steak.”

Biggest film off the ramps this year is Tribute, based on the award-winning Broadway play. Jack Lemmon stars, with Lee Remick and Robby Benson co­ starring. The Canadian Actors Guild op­ posed Remick’s signing and several weeks of threats and disputes followed.

When the U.S. financiers threatened to move production back to the U.S. differ­

INTERNATIONAL PRODUCTION ROUND-UP

ences were soon solved. Canadian Bob Clark is directing.

John Huston has wrapped Phobia with Paul Michael Glaser and John Colicos; Max Fischer will use Canadian and Dutch locations for The Lucky Star, with Rod Steiger and Louise Fletcher; Rafael Zielinski is producing-directing Babe in Montreal with Buddy Hackett; producer David Perlmutter has signed Michael Lebowitz to direct Misdeal.

Big budgets are planned for Daryl Duke on Birds of Prey ($10 million, with locations also in Britain and France), and SS-GB, based on Len Deighton's best­ selling thriller, and to be directed by Peter Carter (Klondike Fever).

In Toronto, Eric Till is directing Alan Arkin in Proper Channels; Rex Bromfield, Tulips (Gabe Kaplan, Bernadette Peters).

French director Louis Malle has re­ turned to Paris after completing Mon­ treal locations for the French-Canadian co-production Atlantic City, starring Burt Lancaster.

Emmy Award winner Bill Davis (1972 Julie Andrews Special, 1975 John Denver Special) debuts with Luke’s Summer, story of a 16 year-old boy’s first love.

FRANCE

Domestic production is off to a good start in 1980 with seven features before the cameras and another 11 scheduled before mid-year, but main interest in France has centred on Chinese per­ mission for pre-production to begin on Man’s Fate, with Costa-Gavras directing.

Originally a 1968 project for Fred Zinnemann and Carlo Ponti (MGM), the Andre Malraux classic concerns the Rus­ sian attack on Shanghai in the late ’20s.

Han Suyin wrote the Zinnemann script, but American Lawrence Haubens has written the new version which will be a French-Sino co-production, with Jac­ ques Bar, Sidney Beckerman (Blood­ line) and China’s Zhao Wei producing on a $14.8 million budget.

Final clearances followed two days of talks between President Valery Giscard d’Estaing and Party Chairman Hua Kuofeng in Paris.

Casting will begin mid-May, and shooting is scheduled for 30 weeks com­ mencing in iate-August.

Zinnemann’s film was cancelled by the new MGM management three days before studio shooting was to begin in London. Stars signed were Peter Finch, Max Von Sydow, Eiji Okada, Liv Ullmann and David Niven.

Claudio Guzman is directing The Hostage Tower in Paris, based on Alistair McLean’s new novel as terrorists take over the Eiffel Tower. Peter Fonda stars.

Piers Haggard will get director’s credit on the much-troubled Peter Sellers’ movie The Fiendish Plot of Dr Fu Manchu, being produced by Zev Braun.

Peter Medak was the original director, then Sellers took over, and later called in Haggard. The shooting crew have now left Paris and headed for final work in London.

Producer Michael Gruskoff has signed Jean Jacques Annaud (1976 Oscar for Black and White in Color) to direct Twen­ tieth Century-Fox’s Quest for Fire in London, Paris and Kenya. Budget is $7 million.

Roger Coggio is to direct American Encore for French-American Films Inc.; Leoden Malpha directs Monique Silven in A Wicked Way; Georges Lupina, Mother’s Child; Luis Fuanolda, Destiny of Love; Marette Tupil-Paulo, Dangerous Tide.

ITALY

With nearly 20 provincial and three city court cases on distribution, exhibition and censorship to be settled, many Italian producers have not announced definite plans for 1980.

MOZART- LOSEY

DON .

G IO m N N I

Chow, who recently signed American Ron Dandrea, of the American Bank mo­ tion picture finance bureau, still operates out of Hong Kong but is opening branch offices in London, Paris and Los Angeles.

When he left Shaw Brothers in 1967, after a decade as studio boss, he said he would build a major production company stretching across the globe.

Producer of Bruce Lee’s kung-fu hits, Chow graduated to U.S. co-productions with Enter the Dragon and The Boys in C Company. Over the New Year Chow wrapped Blood Beach in Hollywood, his first film made entirely in the U.S. He also produced Roger Vadim’s Night Games in The Philippines.

After Arctic Rampage, Chow moves to the $20 million Jon Cleary action-drama High Road to China, on which Brian G. Hutton (W here Eagles Dare) has replaced John Huston. Roger Moore and Bo Derek will star.

NIUGINI

Production plans offer little hope of equalling last year’s domestic output of 68. In the first quarter of last year, 18 films were under way; this year only seven have gone before the cameras.

Several m ajor producers have decided to seek co-partners in “outside deals’’, where foreign locations can be utilised with some Italian cast and crew.

One bright spot is that Dario Agento’s new suspense-thriller, Inferno, is likely to rocket into box-office calculations early May. Argento’s Suspiria was one of Italy’s biggest successes in 1977/78.

Mario Vicario has started shooting The Astrakan Coat; Luigi Comencini, Every­ body Loved Him Very Much; Mario Siciliano, Erotic Family; Luigi Canaste, Rather Him Than the Devil; Gia Retolini,

Niugini has made a positive attempt to get into foreign film markets with the

completion of its first cinema feature Marabe, produced and directed by Aus­ tralian Alan Harkness.

Marabe has been shot over 14 weeks on a $150,000 budget with a small crew and in some of the country’s toughest locations.

Harkness, with the government’s Information Office, had three Austra­ lians on the crew, but the rest were locally-trained technicians, including director of photography Roger Ralai, one of the first three locals accredited to the Niugini Office of Information.

Harkness, who worked with Tim Bur­ stall and Roger Mirams early in his career, and was an editor of the 1966/67 series Riptide with Ty Hardin, says Marabe proves features can be made in Niugini with the end result satisfying even overseas buyers.

“We don’t expect widespread accep­ tance in the more demanding markets, but we feel Marabe is likely to provide the breakthrough for local product,” he said when in Sydney supervising final sound­ track work on the two-hour action­ drama.

Harkness was loud in praise for the cast and crew of Marabe, which included three Australians: sound recordist Lloyd Coleman, Lee Bennett (make-up) and Margo McKenzie (script supervisor).

Lead actors were Anton Sil and Gunmdu Kagl, with Anita Toro the leading lady.

Hot on the heels of Marabe is another film, the contemporary drama Fourth Child, directed by expatriate Jim Davis, starring David Harro, Bernadette Sokola and Nell Ham. Albert Toro, from the National Theatre of Niugini, is writing an action-drama to be shot in the North Solomons and backed by the island’s copper mining conglomerates.

Save the Man, Save the World.

In the uneasy atmosphere of exhibition problems, Italy’s Minister of Entertain­ ment, Bernardo D’Azezzo, and top members of the Italian Screenwriters’ Association have made strong pleas for the government to give consideration to quotas being set for American imported films, industry chiefs claim the U.S. input negates chances for many Italian films to be put into more lucrative cinemas across the country. .

JAPAN

Writer-director Susumu Hani is in Kenya shooting A Tale of Africa, starring James Stewart. With Japan-U.S. finance, the film will be offered to major distri­ butors in the U.S. Shochiku Films report their latest production, The Call of the Distant Mountain (directed by Yoji Yamada), will be finished in time for an early May release, and pin high hopes on a major box-office success.

Toho, the biggest studio and exhibitor in Japan, has announced plans for an animated feature, Doraemon, about the robot cat with a computerized mind, already a big success in books and com­ ic strips.

Kiriro Urayama is to direct the screen version of the best-selling novel Children of the Sun, written by Kenjiro Haitani.

Japanese production has had a slow start until mid-March, but should pick up in May and June.

HONG KONG

Golden Harvest chief, Raymond Chow, has made good his threat to blitz movie mogul Run Run Shaw as Asia’s biggest producer and set up production to the tune of $90 million over the next 18 months.

Foremost in the Chow package is the $16 million epic Arctic Rampage, to be directed by Robert Aldrich, and starring Lee Marvin, Charles Bronson and Telly Savalas.

Top:

Alan Harkness, producer-director of Marabe. Above: Director Alan Harkness and director of photography Roger Ralai set up a wharf chase for Marabe.

Cinema Papers, April-May—ll7

FILM CENSORSHIP LISTINGS Reprinted from Australian Governm ent G azette Published by the Australian Government Publishing Service

January 29

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

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

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

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

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

O (Other) ....................

......... ......... ......... .........

Low

Frequent

Infrequent

For Mature Audiences (M) Cuba: Holmby Film Corp., UK/Spaln (3261.67 m) Do Jasoos: Dimple Films, India (3850.00 m) The Five Venoms: Shaw Bros, Hong Kond (2798.00 m) Heart Beat: Orion, U.S.A. (2984.02 m) The Iron Fist of Kwantung: J. K. Jong, Hong Kong (2352.68 m) Las Truchas (A Dainty Dish of Trout): Aranaano Films, Spain (2700.23 m) Le Dossier 51: Elefilm-SFP-Maran, France (3011.90 m) L’Eredita Ferramonti: Flag, Italy (3208.20 m) Man’s Fight with Snake, Fox and Ghost: Not shown, Hong Kong (2432,88 m) Night Hawks: Four Corner Films, U.K, (3101.26 m) Peculiar Boxing, Tricks and Master: Yin Hai Film Co., Hong Kong (2537.81 m) Qald: Not shown, India (3600.00 m) Saint Jack: New World Pictures, U.S.A. (3151.34 m) Sea Killer: R. De Laurentiis, U.S.A. (2482.03 m) Seven Spirit Pagoda: Canford Enterprises, Hong Kong (2342.59 m) Showdown at the Equator: Dragon Nation Film Co., Hong Kong (2620.03 m) Spring Comes Again: Dragon Nation Film Co., Hong Kong (2352.10 m) A Strange Tale of Strange People: Not shown, Hong Kong (2573.70 m)

j j

I !

Gratuitous g g

g g

j j

Title

Producer

Country

Submitted Length (m) Applicant

Apo Pou Pane Gia Tin Havouza The Back of Beyond Ek Huns Ka Jora (Pair of Swans) Fado (1 6mm) Good Morning (1 6mm) lu Mi Nao (Solomons Islands Regain Independence) (1 6mm) Jesus Khatabala King of Music (1 6mm) Mystery Island (16mm) O Leao Da Estrela (16mm)

Carajopoulos J. Heyer B. Bening P. Queiroga Leb Commerce Co. Clnema Prod.

Greece Australia India Portugal Lebanon

2539.82 1810.38 2800.00 1150.00 11 43.00

Lyra Films Normella Pictures S.K.D. Film Dist. Pty Ltd Manuel Ferreira Da Silva N. Avramides

Film Australia Genesis Project Armenfllm Studio Leb Commerce & Clnema Prod.

Andromeda Prods Pty Ltd A. Duarte

Australia Israel/USA USSR Lebanon Australia Portugal

1014.00 3179.23 1844.71 1702.80 789.84 1 200.00

Film Australia Warner Bros (AusL) Pty. Ltd. Ararad Enterprises Pty. Ltd. N. Avramides Gene W. Scott Manuel Ferreira Da Silva

Reason for Decision

NOT RECOMMENDED FOR CHILDREN “NRC” (2) FILMS REGISTERED WITHOUT ELIMINATIONS Title

Producer

Country

Submitted Length (m ) Applicant

Black & White in Color The Buddy Holly Story Das Zweite Erwachen Der Christa Klages Gaaloni Mogriman (They Made Me a Criminal) (1 6mm) Going in Style Hamedo (1 6mm) II Cappotto ( I he Overcoat) I'm for the Hippopotamus I Sing, I Cry .

Janlksen Vuosl (The Year of the Hare)

Reggane Films F. Bauer Bioskop Films

France USA W. Germany

2482.03 31 23.46 2566.56

Roadshow Dist. Pty Ltd Roadshow Dist. Pty Ltd Ronin Films Pty Ltd

S (i-l-j), V (i-l-j) L (i-m-j) V (i-l-j), S (I-l-j)

Dollar Film Warner Bros Dollar Film Faro Film R. Palacci C. Ling Kang Filminor

Egypt USA Egypt Italy Italy Hong Kong Finland

1249.00 2673.50 1219.00 2688.00 2956.13 2325.94 2994.32

Fares Radio & TV Warner Bros (Aust.) Pty Ltd Fares Radio & TV N.E.T.A. Roadshow Dist. Pty Ltd Martin Louey N.S. Prods Pty Ltd

Katadonis (Unknown Soldier) Kramer Vs Kramer Master & Slaves (1 6mm) My Sad Life (1 6mm) On Peut Le Dire Sans Se Facher (English subtitled version [a]) The Runner Stumbles The Sailor’s Return A Sorrowful Wedding S.O.S. Titanic Sterne (Stars) The War of the Sexes

Not shown S. Jaffe Prods Leb Commerce & Cinema Prod.

Sabah

Greece USA Lebanon Egypt

2468.00 2844.58 1459.80 1422.60

Apollon Films Fox Columbia Film Dist. Pty Ltd N. Avramides N. Avramides

V (i-l-j) V (i-l-j), L (i-l-j) V (I-l-j) S (i-l-j) V (f-l) O (emotional tension) V (i-l-j), L (i-l-j), O (marital problems) V (¡-I) O (adult theme) V (f-l-j) O (emotional distress)

R. Coggio Melvin Simon Prod.

Euston Films C. Chi Chia EMI Defa Prince Motion Pic. Co.

France USA UK Hong Kong UK E. Germany Hong Kong

2459.00 2967.58 3067.68 2593.29 3318.67 2537.81 2677.25

Seven Keys Films Pty Ltd Roadshow Dist. Pty Ltd Effie Holdings Pty Ltd JS& WCInt. Film Co. GUO Film Dist. Pty Ltd Aust./GDR Friendship Soc. JS & WC Int. Film Co.

S (i-l). V (i-l-j), L(i-I) O (adult theme) V (I-l-j) V (I-l-j) V (i-l-j) O (emotional distress) V (i-l-j)

Reason for Decision

(a) English dubbed version titled “Take It Easy" shown on July 1979 List.

FOR MATURE AUDIENCES “M” (3) FILMS REGISTERED WITHOUT ELIMINATIONS

For Restricted Exhibition (R) Lay Out: Wang Feng, Hong Kong (2780.44 m) Pleasures of a Woman: Not shown, U.S.A. (1630.83 m) Quadrophenia: Curbishley-Balrd, U.K. (3261.67 m) Spiteful Woman: Chi Lee Films, Hong Kong (2733.02

m m m m

I

For General Exhibition (G)

Not Recommended for Children (NRC)

Justified

h h h h

FOR GENERAL EXHIBITION “G” (1 ) FILMS REGISTERED WITHOUT ELIMINATIONS

FILMS REGISTERED WITHOUT ELIMINATIONS

The Black Hole: Disney, U.S.A. (2620.03 m) El Shack Ya Habibe: (16 mm) United Films, Egypt (1371.00 m) In Search of Historic Jesus: Sunn Classic Pictures, U.S.A. (2513.09 m) Stronger than Days (Provided): (16 mm) Leb Commerce & Cinema Prod., Lebanon (1202.00 m) The Voyage of Emperor Chlen Lung: M. Fong, Hong Kong (2649.36 m)

High

JANUARY 1980

DECEMBER 1979

The Eighth Day: A. B. Svensk Filmindustri, Sweden (2649.36 m) An Ideal Couple: Sun Yuen Film Co., Hong Kong (3261.67 m) Many Classic Moments: (16 mm) J. Sherman, U.S.A. (943.42 m) M. Hulot’s Holiday: (16 mm) Fred Oram Prod., France (946.90 m) The Reef: J. Heyer, Australia (2063.00 m) Star Trek — The Motion Picture: Paramount, U.S.A. (3597.55 m)

Medium

I

f f f f

i i i i

Purpose

Explicitness/lntensity

Frequency

Title

Producer

Country

Submitted Length (m) Applicant

FILMS REGISTERED WITH ELIMINATIONS

Birth of the Beatles The Cool World (16mm)

T. Bishop F. Wiseman

UK USA

2900.35 1162.82

Roadshow Dist. Pty Ltd National Library of Australia

For Restricted Exhibition (R)

Eraser head Existio Otra Humanidad (We Are Not Alone In the Universe) (16mm)

Libra Films

USA

2454.14

D. Mlchelmore & Assoc.

V (l-m), S (I-l-j) V (i-m-j), L (f-m-j), O (drugs) O (grotesque elements)

Irles & Gonzales

Spain

932.45

Carlos Panetta

O (explicit autopsy and

Valhalla Films Cinema Int'l Corp. Pty Ltd Apollon Films French Embassy Cinema Int’l Corp. Pty Ltd AusL/GDR Friendship Soc. JS& WC Int'l Film Co. JS & WC Int’l Film Co. Joseph Silk-Hung Leung Joseph Silk-Hung Leung

L (i-h-j) L (f-m), O (sexual innuendo) S (i-l-j), V (i-m-j) O (adult themes) L (f-m-j) S (i-l), O (adult theme) V (f-m) S (i-l-j) V (f-m) V (i-l-j), S (i-l-j).

O (drugs) (i-l-j) V (i-m-j), L (I-h-j) V (i-m-j) V (f-m-g) V (f-l-j)

m)

Personals: (Reconstructed version) (a) H. Winters, U.S.A. (1865.00 m) Eliminations: 11 metres (24 seconds) Reason: Indecency (a) Previously shown on September, 1979 List

FILMS REFUSED REGISTRATION Train Station Pick-ups: Not shown, W. Germany (2628.60 m) Reason: Indecency Dawn of the Dead: (Reconstructed soft version) (a) R. Rubenstein/Laurel Group, U.S.A. (3338.50 m) Reason: Excessive violence (a) Previously shown on November, 1979 List

FILMS BOARD OF REVIEW Stone: (a) Hedon Productions, Australia (2900.00 m) Decision reviewed: (R) registration by the Film Censorship Board Decision of the Board: Uphold the decision of the Film Censorship Board. (a) Previously shown on November, 1979 List

I 18—Cinema Papers, April-May

Fried Shoes, Cooked Diamonds (16mm) The Jerk

Carmine Cinematograflca D. Plcker/W. McEuen

Italy USA

625.29 2539.82

Kpouazlepa Tou Tpomou (Holiday) La Chinoise (1 6mm) The Last Married Couple In America The Legend of Paul & Paula The Lost Kung Fu Secrets Love Swindler Magnificent Fist Money on the Way

K. Kefalas Anouchka Films Universal Defa C. Wen-Ho R. Shaw Y. San Pao C. Chi Ho

Greece France USA E. Germany Hong Kong Hong Kong Hong Kong Hong Kong

2500.00 987.30 2788.80 2860.64 2635.00 2620.03 2352.68 2482.03

The Onion Field Rasif No. 5 and Dock No. 58 (1 6mm) Shaotin Iron Claws Valley of Death (1 6mm) When a Stranger Calls (a)

W. Coblenz Dollar Film Not shown Leb Commerce & Cinema Prod.

Simon Film Prods

USA Egypt Hong Kong Lebanon USA

3458.12 11 27.00 2454.1 4 - 1001.90 2620.03

(a) See also under “ Films Board of Review” .

Reason for Decisipn

Filmways A’sian Dist. Pty Ltd Fares Radio & TV JS & W C Int'l Film Co. N. Avramides Roadshow Dist. Pty Ltd

C O H C lu d O d

O D

ß .

1 5 1

Compiled by Phil Taylor and Pam Cupper

INDEX: VOLUME SIX INDEX KEY: 1. Film titles appear in bold type. Magazine, play and book titles appear in italics. 2. The following appear after index items (where applicable) d — director; p — producer; c — cinematographer; e — editor; t — technician; m — musician; ac — actor/actress; sc — scriptwriter; sa — sales agent. 3. The following appear after page numbers (where applicable) a — article; i — interview; f — filmography; st — still; cr — production credits; r — review; br — book/magazine; monograph; review.

CO NTRIBUTOR S INDEX

GOLDLUST, John

AOLER, Susan Dimboola 384 (r) Luciana Arrighi 421-424 (i, st) 26th Sydney Film Festival 1979 538-539 (r)

ALTMAN, DENNIS The Life of Brian 659-660 (r)

ALYSEN, Barbara Cathy’s Child 467 (r) Australian Women Filmmakers: Part 4 — Jeni Thornley and Martha Ansara 497­ 499 (a) 26th Sydney Film Festival 1979 539, 580

(r)

Just Out of Reach, Morris Loves Jack, Conman Harry and the Others 662-663

(r)

Guide for the Australian Film Producer: Income Tax Provisions and Procedures 440-441, 475, 478 (a) Guide for the Australian Film Producer: An Introduction to Film Merchandising 541 (a)

'

The Structure and Size of the Film and Television Industry, 356-358, 402 (a) Australian Television: Why it is the way it is 510-515, 584, 597 (a)

BAILLIEU, Ian Guide for the Australian Film Producer: Censorship in Australia 362-363, 398­ 399 (a) Guide for the Australian Film Producer: Income Tax Provisions and Procedures 440-441, 475, 478 (a) Guide for the Australian Film Producer: An Introduction to Film Merchandising 541 (a)

BEILBY, Peter Michael Pate (ac, d) 346-349, 401 (i, st) Byron Kennedy (p) 366-368 (i, st) George Miller (d) 369-371 (i, st) John Sturzaker (p) 446-448, 479 (i) Ian Coughlan (d) 449-451 (i) Robert Bruning (ac, p) 516-519 (i, st) David Stevens (sc, d) 548-551, 575 (i, st) Simon Wincer (d) 638-642 (i, st) Jane Scott (p) 643-645 (i, st) Bernard Hides (t) 646-647, 680 (i, st)

BINNS, Mervyn R, Recent Releases 389, 391, 470-471, 575, 671 (br)

BISHOP, Rod

Albie Thoms (p, d) 428-431, 471-472 (i, st)

BOURKE, Terry International Production Round-Up 380­ 381, 442-443, 543, 581, 634, 679

BOYD, Barbara

Guide for the Australian Film Producer: Censorship in Australia 362-363, 398­ 399 (a) Guide for the Australian Film Producer: Income Tax Provisions and Procedures 440-441, 475, 478 (a) Guide for the Australian Film Producer: An Introduction to Film Merchandising 541 (a)

HAFIZJI, Jimi

7th International Film Festival of India, Delhi 1979 350 (r)

HARE, Denise HARVEY, Michael Selling Newsfront 436-439, 477 (a)

HEWETT, Dorothy Tim 567-568 (r)

HOAAS, Solrun Nagisa Oshima (d) 500-501, 579 (i, st, f) Sachiko Hidari (ac, d) 502-503, 579 (i, st)

JACKA, Liz

The Grundy Organization: An Interview with Ian Holmes, President 612-615, 676 (i, st)

KUTTNA, Mari 29th Berlin International Film Festival 1979 433-435 (r)

LANGER, John

Don Lane’s Electronic Side-Show 604­ 607 (a)

LANSELL, Ross David Hemmings (ac, p, d) 351-355 (i, st,

f)

McFARLANE, Brian Snapshot 385-386 (r) My Brilliant Career 564-565 (r) Alien 667 (r) N o B e d o f R o s e s (Joan Fontaine) 669 (br) B y M y s e lf (Lauren Bacall) 669, 671 (br) M o m m ie D e a r e s t (Christina Crawford) 671 (br)

MACKIE, Fiona

Albie Thoms (p, d), 428-431, 471-472 (i, st)

MARTIN, Adrian T h e A u s t r a lia n J o u r n a l o f S c r e e n T h e o r y

In Search of Anna 385 (r) Stax (TV) 418-420, 476 (a)

573, 575 (br)

MAYER, Geoff

BRENNAN, Richard Fedora 568-569 (r) Brian Trenchard-Smith (d) 598-603, 674 (i. st, f) T h e B u s i n e s s o f F il m m a k in g G e t t in g in t o F ilm 470 (br)

GORR, Leon

The Money Movers 467, 469 (r)

BAILEY, Julie James

BUESST, Nigel

Don Lane’s Electronic Side-Show 604­ 607 (a)

470 (br)

CLANCY, Jack The King of the Two Day Wonder 465, 467 (r) The Plumber (TV) 569, 571 (r) Escape from Alcatraz 665 (r)

CONNOLLY, Keith Vietnam on Film (a) 334-338 (a) Kostas 463-464 (r) 28th Melbourne Film Festival 1979 534­ 536 (r) The Last of the Knucklemen 563-564 (r)

DAWSON, Jan Cannes '79: Post-Aquarian Apocalypse 504-507, 583 (r) Edinburgh International Film Festival 1979 616-617 (r)

DERMODY, Susan The Odd Angry Shot 387, 391 (r)

DONNACHIE, E. M.

French Cinema in Crisis: Part 2 343-345, 396-397 (a)

EDGAR, Dr Patricia ‘C’ Television 530-531, 587 (a)

FRANKLIN, Richard H it c h (John H it c h c o c k

Russell Taylor) and (Francois Truffaut with Helen G. Scott — updated edition) 389 (br)

GAME, Ann

The Grundy Organization: An Interview with Ian Holmes, President 612-615, 676 (i, st)

GERDES, Dr Peter R. Jerzy Toeplitz 630-633 (i, st)

GILBERT, Basil Film Study Resources Guide 395, 400 (a); 473, 476 (a) Film and Television Training in Australia: Part One — The Australian Film and Television School 425-427, 478 (a)

GINNANE, Antony I. Guide for the Australian Film Producer: Censorship in Australia 362-363, 398­ 399 (a)

Mad Max 383 (r) Thirst 571 (r)

MORAN, Albert Crawford Productions: A Brief History 520-525 (a)

MORRIS, Meaghan DawnI 386-387 (r) The Journalist 464-465 (r) 26th Sydney Film Festival 1979 537-538 (r) Days of Heaven 565, 567 (r) Rapunzel, Let Down Your Hair 663, 665 (r)

MURRAY, Scott

Michael Pate (ac, d) 346-349, 401 (i, st) Byron Kennedy (p) 366-368 (i, st) George Miller (d) 369-371 (i, st) John Sturzaker (p) 446-448, 479 (i) Ian Coughlan (d) 449-451 (i) Tim Burstall (d) 490-496, 576-577 (i, st, f) Yves Yersin (d) 508-509 (i, st, f) Robert Bruning (ac, p) 516-519 (i, st) Jane Scott (p) 643-645 (i, st) Simon Wincer (d) 638-642 (i, st) Bernard Hides (t) 646-647 , 680 (i, st)

PAGE, Peter

Adelaide International Film Festival 1979 626-629 (r)

PURDON, Noel

Adelaide International Film Festival 1979 626-629 (r) Palm Beach 660 (r)

ROHDIE, Sam

Arthur and Corinne Cantrill (d’s) 359-361, 400, 403 (i, st, f)

ROSS, Dasha Brazilian Cinema: A Crisis of Direction 608-611 (a)

RYAN, Tom Blood Relatives 660-662 (r)

STARKIEWICZ, Antoinette Bruce Petty (d) 414-417 (i, st)

STITT, Alexander An Animated Progress Report On: Grendel, Grendel, Grendel 339-341 (a)

SYKES, Bobbi

My Survival as an Aboriginal and Robin Campbell — Old Fellow Now 568 (r)

TEITELBAUM, David Arthur Hiller (d) 618-621 (i, st)

WALSH, Brian Community Television 622-625, 678, 680 (a)

WESTFIELD, Peter George Miller (TVd) 527-529 (i, st)

GENERAL INDEX ABC — see Australian Broadcasting Commission ACT — see Action for Children's Television AFI — see Australian Film Institute AFTVS — see Australian Film and Television School ATN-7 446, 479 ATV-0 523-524 AVP — see Australian Video Project Abba (TV) 541 Action Films, Brian Trenchard Smith on directing, 603, 674 Action for Children's Television 623 Actors and Acting 348, 370-371, 386, 431, 471, 472, 503, 549, 550, 551, 576, 579, 614, 639, 669, 671, 674 Actors’ and Announcers' Equity Association of Australia 412-413, 513, 514 Adams, Brooke (ac) 565 (st) Adams, Phillip (p) 417, 427 (st), 680 Adamson, Ron (e) 426 (st) Addenda and Corrigenda 489, 597 Adventures of Al Munch, The (TV) 521 Adventures of Barry McKenzie, The 549 Advertising 343, 358, 399, 438, 446-477, 512, 530, 531, 541, 605, 607, 674 Aesthetics 359, 360, 361,400, 403, 430-431 Against the Wind (TV) 527, 528, 529 (+ st), 640 A g e , T h e (Melbourne) 550 Ai no borei 501, 539 Ai no corrida 500 (st), 501, 579 (st) Alambrista! 534, 535 (st) Albero degli zoccoli, L’ 507, 626 Albert — warum? 434 Albert — Why? — see Albert — warum?

Alexander, Elizabeth (ac) 464 (st), 465 (st) Alexandria . . . Why? — see Iskindiria .. .

Leh? Alfred the Great 354 (st) Ali, Muzaffar (d) 350 Alien 667 (r) Alison’s Birthday 375 (cr), 445-451, 455 (cr), 479, 554 (cr) All-Union State Institute of Cinematography (USSR), The 425 Alle ou la cuisse, L’ 344 (st) Allegro barbaro 583, 626 Allen, Woody (ac, d, sc) 505-506 Alternative, The (TV) 447, 517, 518 (st), 519 Altman, Robert (d) 538, 620 Alvin Purple 464, 493, 494-495, 549 Alvin Rides Again 495 American Film Festival 412 American Film Theatre 621 Americanization of Emily, The 619 Amulet of Ogun, The — see Amuletto do Ogun Amuletto do Ogun 610 And Here Comes Bucknuckle (TV) 560 (cr) Anderson, Kevin (d) 465, 467 Andrade, Oswald de 609 Animals of Australia 557 (cr) Animation 332, 339-341, 400, 414-417, 476, 488, 557, 628, 652 Ansara, Martha (c) 497-499 Ansett, Reg 514 .

Anthology Film Archives (New York) 429 Antonioni, Michelangelo (d) 351 Apocalypse Now 334, 442, 504-505 Apollo Drive-Ins 381 Archer, Diane (ac) 615 (st) Architecture — A Performing Art 392 (cr), 655 (cr) Archives 332, 429, 473, 489, 611 Arkin, Alan (ac) 619, 621 (st) Arkush, Allan (d) 617 Armstrong Audio Visual 368, 412 Armstrong, Gillian (d) 424, 426 (st), 564, 565, 596, 644, 674 Arnold, John (ac) 673 (st) Aronson, Linda (sc) 463 Arrighi, Luciana 421-424 (i, st), 596 Art Direction 421, 646-647, 680 Arven 538 As We Were 617 Asia — Threat or Opportunity? 652 (cr) Ask the Leyland Brothers (TV) 624 Aspects of the Law on Film — Copyright, Seminar on 489 Assault on Precinct 13 538 Astor, Mary (ac) 669 At Eltham 359, 361 (st) At Uluru 360 (st) Atkinson, Ray (sa) 489, 602 Atrocious Tales of Love and Revenge — see Giallo Napoieano Aussies All 557 (cr), 653 (cr) Austarama Television Ltd. 514, 515 Australasian Radio Productions 521 Australian Broadcasting Commission 356­ 357, 429-430, 491, 495, 511, 512, 513, 584, 624, 625, 678, 680 Australian Broadcasting Commission Act 511 Australian Broadcasting Company 511 Australian Broadcasting Control Board 511, 512, 513, 514, 515, 584, 585 Australian Broadcasting Information Office 585 Australian Broadcasting Tribunal 332, 357, 362, 413, 418, 511, 525, 530, 531, 585, 587. 597, 678 Australian Broadcasting Tribunal — Children's Program Committee 418,

Issue 2 1, pp. 325-404. Issue 22, pp. 405-480. Issue 23, pp. 481-588. Issue 24, pp. 589-684.

530-531, 587 Australian Communist Party 512 Australian Consolidated Press 607 Australian Federation of Commercial Broadcasters 511 Australian Film and Television School 333, 356; 425-427; 478 (a); 473, 476, 498, 515, 584, 624, 631, 633 Australian Film and Television School Act 1973-76 427 Australian Film Commission 332, 333, 349, 358, 366, 368, 379, 412, 413, 430, 431, 436, 461,472, 478, 488, 489, 493, 499, 518, 560-561, 576, 584, 596, 601, 613, 615, 624, 644, 645, 654-655, 674, 676 Australian Film Development Corporation 332, 430, 431, 494, 496, 515 Australian Film Industry early animation discovered, 332; need for a review of the Australian Film Commission, 332; need for help from international stars and finance, 354; structure and size of, 356-358, 402 (a); censorship in, 362-363, 398-399 (a); list of government film-funding 1975-78, 412; an opinion about film crews, 424; ‘commercial’ and ‘experimental’ films, 472; need for representatives to attend Festivals other than Cannes, 435; legal definition of ‘an Australian film ’, 475, 478; co-productions with Greece, 443; list of study materials about, 473, 476; peak of promotion reached at Cannes, 488; alleged failure of the Australian F ilm C o m m is s io n to send representatives to Moscow, 489; m e rge r of AFI and NFTA, 489; d is trib u to rs and 'the ide a ’ of an Australian film industry, 493; and c o m e d ie s , 4 95 ; and c h a n g in g emphasis regarding subject matter, 577; Martha Ansara comments on, 499; FEGA forum s on, 597; indigenous versus international production, 674; la c k o f e x p e r tis e in o v e rs e a s marketing, 676; Jerzy Toeplitz on critics, 632-633.

Australian Film Institute 488, 489, 498, 597, 662 Australian Film Institute Awards 488, 596 Australian History 416 A u s t r a lia n J o u r n a l o f S c r e e n T h e o r y , T h e

573, 575 (br) Australian Littering Quest. The 461 (cr) Australian National Catholic Film Office 596 Australian Numerical Meteorology Research Centre, The 377 (cr) A u s t r a lia n P la y b o y 607 Australian Video Project 623, 624 Australian Writers' Guild 425 Auteur Theory 397, 504, 523, 524, 525, 549, 617, 665 Autism, Who Cares? 459 (cr), 557 (cr), 653 (cr) Automated Mariner, The 676 (cr) Auzins, Igor (d) 550 Avoriaz Film Festival 332 Awards 350, 412, 416, 417, 433-434, 435, 439 (st), 488, 489, 497, 498, 503. 504, 519, 565, 568, 580, 596, 602, 610, 633, 638. 662 BBC — see British Broadcasting Corporation BBC-2 623 Baader-Meinhof Gang 506 Bacall. Lauren (ac) 669, 671 Backroads 499 Badlands 505, 507 Bailey, Bert (ac) 489 (st) Bailey, Julie James 678 Bajecni muzi s klikou 538 Baker, Lesley (ac) 560 (st), 615 (st) Baker, Suzanne (p) 416 (st) Ball, Vincent (ac) 448 (st) Band on the Run 652-653 (cr) Barefoot Doctors 392 (cr) Barker, Don (sc) 522 (st) Baron, The — see Siaegten Barrato. Bruno 611 Barraud. Fabienne (ac) 509 (st) Barravento 610 Barren Lives — see Vidas secas Barry, Bruce (ac) 525 (st) Barry, Matthew (ac) 381 (st) Barthes, Roland 496, 567 Bass Strait Highway 676 (cr) Bassoni, Camillo (c) 536 Batasan Committee Report (Philippines) 443 Bates, Florence (ac) 669 (st) Battey, Don (p) 614 Battle of Broken Hill, The 375 (cr), 455 (cr), 553 (cr) Battle of Crete, The 443 Battye. Don (p) 524 Baxter’s Beauties of 1933 — see Movie Movie Bayly, Lorraine (ac) 520 (st), 550 Beck, Ron (p) 524 Beckett. Ronald (p) 425 Beckley, Tony (ac) 354 (st) Bed, The 494 Beg, Steal or Borrow 653 (cr) Begging the Ring 580 Behi, Rida (sc, d) 535 Behind Convent Walls — see Interno di un convento Benegal, Shyam (d) 350 Bennett, Colin 493, 496 Bennett,Edward (d) 629 Bennett, Marsha 426-427 Beresford. Bruce (d) 577, 645, 660 Berlin Film Festival 1979 433-435 (r), 489, 503, 507 Bernini. Vittorio (c) 464 Berri. Claude (d) 537 Berta. Renato (c) 435 Bertrand. Ina 597 Best, Alison (ac) 641 (st) Best Each Way 457 (cr) Beyond Hell’s Gate 655 (cr) Bez znieczulenia 583 Big H 653 (cr) Big Screen Scene. The (TV) 674 Biji, Jacob (d) 627 Bilbao 580 Bilcock and Copping Productions 493 Bimbo 580 Binner. Fritz (ac) 434 (st) Binns, Leslie (t) 564

Birth — see For a Child Called Michael Bisley, Steve (ac) 383 (st) Black and White Like Day and Night — see Schwarz und weiss wie tage und nachte Black God, White Devil — see Deus e o diablo na terra do sol Black Hole. The 603 Black Jack 616 (st, r) 626 Black Sunday 601 Blackwood, Christian (d) 628 Blagg, Linda (d) 662 Blankety Blanks (TV) 510 (st), 614 (st) Blasting For Beginners 461 (cr) Blech, Hans Christian (ac) 435 (st) Blindfold — see Ojos vendados, Los Blindfolded — see Ojos vendados. Los Block, David 597 Blood Money 376 (cr), 455 (cr), 553-554 (cr) Blood Relatives 660-662 (r) Blue Collar 534 Blue Fin 387, 479 Blue Lagoon (remake) 332, 455 (cr), 649 (cr) Bluestone Boys, The (TV) 524 (st), 525 (Fig. 3) Bluey (TV) 523 (st), 524, 525 (Fig. 3) Blundell, Graeme (ac) 495 (st) Blunderball 430 (st) Bluto 430 Bobby Dazzler (TV) 524 (st), 525 (Fig. 3) Bobker, Lee quoted, 470 Bogart. Humphrey (ac) 669 (st), 671 Bolero 430, 580, 660 Bond. Alan 646 Bondi 596 Boner, Robert (p) 508 Bonner, Tony (ac) 525 (st) Book and the Briefcase, The 376 (cr) Book Reviews 389, 391, 470-471, 573, 575, 669, 671 Borg, Sonia (sc) 524 Born to Lead 557 (cr) Bottleneck — see Lingorgo una storia impossible Bottom, Jo (ac) 577 Bouddi 359, 361 (st), 400 Bourke, Terry (p, d) 597 Bowen Park 561 (cr) Bowie. David (m, ac) 351 (st), 352 (st), 353, 639 Box. The (TV) 523 (st), 524, 525 (Fig. 3), 549 Box Flat 651 (cr) Box-office 332, 343, 345n, 401, 413, 439, 472. 477, 489, 494, 495n, 519, 551,576, 596, 609 Box-office Grosses 373, 453, 545, 657 Boy on the Wing, A 457 (cr), 555 (cr) Boyd, Barbara 438 Boyd, Don (d) 617 Boyd, Russell (c) 596 Boyer, Sir Richard 512-513, 514, 585 Boys in Company C, The 336, 337 (st), 581 Brackett, Charles (sc, p) 569 Braddon, Russell 496 Bradford, Andrew (ac) 352 (st) Brain Death 461 (cr) Brakel, Nouchka van (d) 627 Braly, Malcolm (sc) 534 Brando. Marlon (ac) 510 (st) Branice. Ligia (ac) 635 (st) Bravo Maestro 627 Brazil 608-611 (a) Brazilian Film Festival (1977) 610, 611 Breaker Morant 375 (cr), 455 (cr), 479, 542 (st, cr), 553 (st), 554 (cr), 649-650 (cr) Breien. Anja (d) 538 Bridges, James (d) 506 Brion, Philippe 344 Brisson, Pierre 412 Britain 351. 353, 380-381, 442, 543, 617, 634, 659 British Broadcasting Corporation 511, 549, 575, 617, 623 British Film Institute Production Board 617, 629 Britton. Aileen (ac) 423 (st) Britton, Andrew 573 Broadcast Exchange of Australian 521 Broadcasting and Television Act 1942-1978 (Australia) 362, 624 Broadcasting Information Office — see Australian Broadcasting Information Office Brocka, Lino (d) 537, 629 Bronswick Affair, The 580 Bronte Sisters 507 Brook. Richard (d) 627 Brooke. Bunney (ac) 386 (st) Brown, Bryan (ac) 335 (st), 387 (st), 431,467 (st), 471, 472, 542 (st), 660 Brown, Les 623n Brown, Lou (ac) 447 (st), 450 (st) Browne, Leslie (ac) 380 (st) Bruning, Robert (ac, p) 385 (st), 516-519 (i, st) Buchner, Georg 583 Buckley, Anthony (p) 596 Build and Destroy 557 (cr) Bunch of Flowers, The 652 (cr) Buñuel, Luis (d) 573, 626 Burgess. Ned (c) 539 Burke, Graham 436, 437, 495-496, 596 Burns, Carol (ac) 614, 615 (st) Burns. Tim (d) 660 Burstall, Dan (c) 564 Burstall, Tim (d) 490-496, 576-577 (i, st, f); 563, 564, 660 Bush Bunch, The (TV) 459 (cr) Bush Mama 534 Bushman, The 628 B u s in e s s o f F il m m a k in g , T h e 470 (br) . . . But Not By Chance 557 (cr)

By Hook or By Crook (TV) 654 (cr) B y M y s e lf 669. 671 (br)

‘C Classification 413. 530-531, 587, 615, 678 CBN-8 624 CRTV 623 Caddie 580. 596 C a h ie r s d u C in e m a 575 Cahill. Sally (ac) 615 (st) Calibrating Spray Equipment 561 (cr) Calic, Zoran (d) 627. 628 Callaghan. Ann (t) 419 (st) Cambridge. Arthur (t) 371 Camelot 354 (st) Campbell. Robin 568 — also see Robin Campbell — Old Fellow Now Campbell-Jones, Robyn 436, 437. 438

Cinema Papers Index Volume Six— 1

INDEX VOLUME 6

Canada 353. 355, 381, 543, 634 Canadian Film Development Corporation 381. 634 Cannes Film Festival 332. 333, 401. 412, 437. 438, 477. 488, 500, 501; 504-507, 583 (r); 508, 509. 565, 581 Cantrill. Arthur and Corinne (d's) 359-361, 400. 403 (i. st. f) Capital. The 655 (cr) Caravan Park 426 (st) Cardin. George (ac) 448 (st) Caro Papa 507 Carpenter. John (d) 538 Carr. Gordon 488, 489 Carrick. Lloyd (t) 420 (st) C a s a g r a n d e 610 Cash and Company (TV) 527, 529 Cass, Dr. Moss 584 Cassell. Alan (ac) 467 (st) Cassidy. Jon 678. 680 Catch 22 387 Cathy’s Child 376 (cr), 467 (r), 488. 596. 660 Cavalier. Alain (d) 537 Celine and Julie Go Boating — see Celine et Julie vont en bateau Celine et Julie vont en bateau 573 Censorship 333, 362-363. 393. 398-399, 413, 432. 489, 500, 501. 533, 580, 597, 609. 610. 611. 635, 679, 680 Centennial Park 392 (cr) Centre d ’Etudes de I'Opinion 343n Centrefold 641 Cerebral Destruction — see Destrucao cerabral Ceremony, The 501 Cet objet obscur de desir 573 Chabrol, Claude (d) 660. 661, 662 Chahine. Youssef (d) 434. 537 “ Challenge for Change” (Canada) 623 Challenging Years 457 (cr), 555 (cr) Chamberlain. Richard (ac) 332 (st), 348 Change of Life 580 Changeling. The 381 Changes 676 (cr) Chant of Jimmie Blacksmith. The 332, 438.

448. 488. 597 ' Chapman, Graham (ac) 659 (st) Chase, The (8mm) 598_ Chase That bream 65b (cr) Chez Nous 538 Children and Safety 379 (cr), 561 (cr) Children and Television — see Report from the Senate Standing Committee, “ Children and Television" Children and the Law 379 (cr), 561 (cr) Children's Program Committee — see Australian Broadcasting Tribunal — Children's Program Committee Children’s Television 418-420, 476. 530­ 531, 587 China 488-489 China Film Corporation 488 China Syndrome, The 506 Chitegu chinte 350 Chow, Raymond (p) 442-443, 581, 599 Christie. Julie (ac) 433 Christine’s Island 333 Chuquiago 534-535 Cigarettes and Matches 651 (cr) Cimino. Michael (d) 337-338 Cinema, Australian — list of study materials available, 473, 476 Cinema du Reel Festival (Paris) 412 Cinema Machine. The — see Macchina cinema, La C in e m a N o v o movement in Brazil 609, 610, 611 C in e m a P a p e r s 573 Cinematography 361, 367-368, 417, 450­ 451, 497, 498, 529, 602, 640, 647 Clancy, Laurie 573 Clayburgh, Jill (ac) 381 (st) Clayton, Patrick (d) 442 Cleese, John (ac) 659 Clifford, Colleen (ac) 614 (st) Clog Tree, The — see Albero degli zoccoli, L’ Clouds of Glory (TV) 629 C l u b , T h e 577 Club, The 649 (cr) Cluster Housing 461 (cr) Coast Town Kids, The (TV) 654 (cr) Coffey, Essie (d) 489, 497 (st), 499, 568 Coleman, Peter 427 (st) Colizzi. Giuseppe (d) 381 C o lle c t o r , T h e 580 Collins, Bill 489 Collins, Bill (Compere) 512 (st) Colorfilm 371 Columbia Pictures 492, 493 Comedy in Six Unnatural Acts, A 433 Comencini, Luigi (d) 507 Comic Art 457 (cr) Coming Home 334-335, 337, 338 Commonwealth Film Unit 491 Commonwealth Government Task Force National Communication Satellite System Report (July, 1978) 585 Communion solonnelle. La 345 (st) Community Television — see Television Como era gostoso o meu Frances 608 (st), 609, 610 Conman Harry and the Others 457 (cr), 662-663 (r) Concerto For Ads and Heads 457 (cr) Conjurer, The 392 (cr) Consider Your Verdict (TV) 521-522, 523 (st), 524, 525 (Fig. 3) Consolidated Press 513 Contemporary Comedy Competition (NSW) 333 Contouri, Chantal (ac) 642 (st) Controlling Interest 628 Convention Tasmania 379 (cr) Coober Pedy 360 (st) Coolidge, Martha (d) 580 Coote. Greg 436, 439 Cop Shop (TV) 524, 525 (Fig. 3) Copping, Rob (c) 597 Coppola, Francis Ford (sc, d) 504-505 Copyright Law 441, 475, 478, 489 Cosandey, Roland 509n Comic Art 457 (cr) Costigan, James (sc) 442 (st) Costume Design 422, 680 Coughlan, Ian (d) 449-451 (i) Country Editor, The 377 (cr), 459 (cr), 559 (cr)

Cove. Michael (sc) 601 Cowan. Tom (c) 426 (st), 498 Cowland. Roger (t) 371 Cox. Paul (d) 463. 464 Crawford, Broderick (ac) 639 Crawford, Christina 671 Crawford, Dorothy (p) 521, 522 Crawford. Hector (p) 521,522, 523 (st), 524, 528. 550 (st) Crawford, Henry (p) 524, 548, 575, 597 Crawford. Ian (p) 522, 528 Crawford, Joan (ac) 671 (+ st) Crawford Productions 520-525 (a), 527, 528. 529. 547-551 p a s s im , 575 Craypot Sonata 651 (cr) C r e a t iv e D if f e r e n c e s , quoted 338 Creed. Barbara 573 Crin Blanc 491 Crisp. Colin 575 Critics 333, 351. 352, 360, 387, 396, 431, 467. 493, 496. 497, 498. 506. 514, 550, 568, 573. 580, 596. 623, 631. 632, 633.

665 Crombie. Donald (d) 426 (st), 467 Crommie. Karen and David (d’s) 628 Cronin, Paul (ac) 520 (st), 523 (st), 549 (st) Crowther. Bosley 631-632 Cruel Passion 432 (st) Crying Woman. The — see Femme qui pleure. La Cuddington. Chris 488 Cullen. Max (ac) 673 (st) Curiosity Show (TV) 530 (st) Customs (Cinematograph Films) Regulations 333, 362-363. 399 Czlowiek z Marmaru 535 Dad and Dave Come to Town 489 (+ st) Dallen, Zale (d) 580 Daly, Bob 419 (st), 420 (st) Danger Freaks (TV) 599 David 434 David Perry 429 Davis. Bette (ac) 669 Davis, Judy (ac) 422 (st), 423 (st), 424 (st), 564 (st), 565 Dawni 385-387 (r), 479 Dawson, Ned (t) 596 Day, Gary (ac) 522 (st) Day Like Tomorrow. A 497 Dayan. Josee (d) 628 Days of Heaven 505, 565. 567 (r) De Broca. Philippe (d) 381 De Havilland, Olivia (ac) 669 De Niro, Robert (ac) 335 (st), 413 (st) De Palma, Brian (d) 617 De Roche. Everett (sc) 385, 638, 641 De Rosa. Dore (ac) 509 (st) Dear Papa — see Caro Papa Death of a Shipyard 377 (cr) Death Wish 383 Deathcheaters (TV) 601, 602, 603 Deer Hunter. The 335 (st), 336 (st), 338, 393 (st), 433. 505, 674 Deficit Financing 517 Delvaux, Andre (d) 627 Deneen. David (d) 416 (st) Dern. Bruce (ac) 335 (st), 337 (st) Dernier milliardaire, Le 632 Desire 651 (cr) Destrucao cerabral 611 Deus e o diablo na terra do sol 609 Development of Energy Resources 461 (cr) Deville, Michael (d) 536, 537 Di Cavalcanti 610 (st) Diamond, I.A.L. (sc) 569 Dick Smith, Explorer 676 (cr) Dien Bien Phu 381 Dignam, Arthur (ac) 340, 341 (st) Dimboola 376 (cr), 384 (r) Dimsey, Ross (d) 596, 597 Directors and Directing 347-349, 351-355, 369-371, 401, 428-431, 449-451, 471­ 472, 490-496, 497-499, 500-503, 508­ 509. 527-529, 548-551, 575, 576-577, 579, 598-603, 618-621, 638-642, 674 Dirty Business 651 (cr) Disappearance, The 355 Discovery 4 459 (cr), 653 (cr) Distance — see Dooratwa Distribution 348-349 , 368 , 395, 400 , 401, 436, 438, 439, 472, 492, 493, 494, 519, 597, 601, 609, 611 Division 4 (TV) 522 (st), 523, 524, 525 (Fig. 3) Dobbin, Claire 420 (st) Dobie, Alan (ac) 354 (st) Dobrowolski, Walter (ac) 465 (st) Documentary 377, 457, 459, 491,493, 499, 508, 548, 557, 559, 568, 579, 580, 599, 602, 617, 628, 652-653, 663 Doillon. Jacques (d) 507, 537, 628 Dolebiudgers, The (TV) 559 (cr) Don Lane Show, Thie (TV) 597; 604-607 (a) Donen, Stanley (d) 538 Donner, Wolf 433 Donovan, Syd 391 Donovan, Terry (ac) 469 (st) Don’t Be Too Polite Girls 499 Dooratwa 433 Dossier 51, Le 536, 537 Double, The — see Kagemusha Douglas, Bill (d) 434 Dourif, Brad (ac) 506 Down Under Downunder!?!? 457 (cr), 555 (cr), 651 (cr) Drama Is 459 (cr) Dreyfus, George (m) 491 Dritte Generation, bie 506-507 Drolesse. La 507, 628 Drynan, Jeanie (ac) 493 (st), 602 D u e llis t s , T h e 667 Duigan, John (d) 384 Duncan, Carmen (ac) 639 (st), 647 (st) Durack. Senator Peter 597 Dwyer, Kerry (ac, d) 580 Dyer, Bob 514 (st) Dynamite Hands — see Movie Movie Earth Message 360, 361 (st), 400 Earthling. The 553 (cr), 649 (cr) Eastwood, Clint (ac, d) 380, 665 (st) Eat the Rich 653 (cr) Eboli 507 Ecce bom bo 538 Eddey, Paul (d) 518, 550

2—Cinema Papers Index Volume Six

Edeline. Jean-Charles 397 Edgar, Dr Patricia 530, 531, 584, 587 Edgeworth, Patrick 527 Edinburgh International Film Festival 1979 616-617 (r) Editors and Editing 349. 352, 368, 528, 598, 603. 641 Edmondson, Ray 332. 597 Educational Technology 461 (cr) Een vrouw tussen bond en wolf 627 Effects 617 Effenterre. Bertrand von (d) 508 Eggby, David (c) 367 (st) Eguino. Antonio (d) 534-535 Egypt 443 Ehe der Maria Braun. Die 434, 536, 538 Eikon 361 (st) Eleven Powers. The 653 (cr) Elfick. David (p) 431 (st), 436, 438, 439, 447 Eliza Fraser 447, 492. 576-577, 596 Ellenstein, Paul 536 Ellicott. Robert 597 Ellis. Bob (sc) 436. 437 Eitham Films 492 Eltham Senior Films 493 Embrafilme (Brazil) 611 Emmanuel. Takis (ac) 463 (st), 464 (st) Emperor. The — see Kejsaren Empire of Passion — see Ai no borei Empire of the Senses — see Ai no corrida End Play 496, 519. 576 English. Jon (m. ac) 529 (st) Enid Lorimer 653 (cr) Enlistment 655 (cr) Entrepreneurial Migrants 461 (cr) Environment/Pollution Series 461 (cr) Erica Minor 508 Ernesto 536 Escape from Alcatraz 665 (r) Ethnic Television Review Panel 678 Europeans. The 507 Evans. Dr Geoffrey 584 Evatt. Clive 514 Evictions 651 (cr) Evison, Pat (ac) 567 (st), 596 Exhibitors and Exhibition 343, 348-349, 363, 396. 398, 493, 600, 601, 609 Exits 650 (cr) Exorcist. The 413 Experimental Film Fund 515 Export Action Series 521 FACTS — see Federation of Australian Commercial Television Stations FCC — see Federal Communications Commission (U.S.A.) FEGA — see Film Editors Guild of Australia FIAPF — see Federation Internationale des Associations de Productions des Films FIPRESCl — see Federation International de la Presse Cinématographique FJ Holden. The 398 FTPAA — see Film and Television Producers' Association of Australia FVAA — see Film and Video Association of Australia Fabri, Zoltán (d) 536 Face of Greekness. A 555 (cr) Faiman. Peter (p) 597, 605 Falcon Island (TV) 377 (cr) Falk. Peter (ac) 618 (st), 619, 621 (st) Fall Line 457 (cr) Far Road The — see Toi ipponno michi Farias. Robert 611 Farnham, Johnny (m. ac) 524 (st) Fassbinder, Rainer Werner (d) 434, 506­ 507, 536, 538 Fat City 506 Fatty and George (TV) 530 (st) Fawdon, Michelle (ac) 467 (st), 596 Fayman. William (p) 571 Federal Communications Commission (U.S.A.) 623 Federal Parliamentary System, The 655 (cr) Federation International de la Presse Cinématographique 433-434 Federation Internationale des Associations de Productions des Films 412 Federation of Australian Commercial Television Stations 530, 531, 587, 613 Federation of Australian Radio Broadcasters 511 Fedora 350; 568-569 (r) Fellini. Federico (d) 507 ‘Femflicks' Festival (Sydney) 427, 665 Feminism 427, 433, 497-499, 501, 503, 565, 568, 579, 580, 616, 625, 627, 628, 662, 663, 665 Femme qui pleure, La 537 Ferrier. Noel (ac) 576 (st) Festivals 332, 350, 396. 412, 427, 433-435, 489. 499, 504-507, 534-536, 537-539, 580. 593, 602, 610. 611, 616-617, 626­ 629 Feyers 596 Field, Sally (ac) 412 (st), 505 Fields, Maurie (ac) 524 (st) ‘5th Network' Independent Video Conference (Toronto) 623 Files, Cary (ac) 469 (st) Film — a definition 363, 398 Film and Television Producers' Association of Australia 412-413 Film and Television Production Association of Australia 597 Film and Television School — see Australian Film and Television School Film and Video Association of Australia 597 Film Australia 392, 492, 601, 602, 655 Film Budgeting 348, 349, 352, 353, 354, 355, 366, 417, 492, 493, 494, 508, 519, 576, 600, 601, 602, 643, 644, 645 Film Censorship Board 333, 362-363, 393, 398-399, 432, 533. 580, 597. 635, 680 Film Censorship Listings Reprinted from the Australian Government Gazette _ 393, 432, 533, 580, 635, 680 F ilm C o m m e n t 568 Film Criticism Forum (Sydney, 1979) 580 Film Editors Guild of Australia 597 Film Education 395, 400, 402, 425-427, 473, 476, 478, 573, 575, 611, 624 Film for Discussion 497 Film Hire: 16mm 395. 400 Film History, Books on 473; writing 631-633 Film Industry Action Committee 584 Film Merchandising 541

Film Music 340, 400, 504. 541, 564, 600 Film School — see Australian Film and Television School Film Study Resources Guide 395, 400, 473, 476 F ilm n e w s 467 Filmographies, David Hemmings, 355; Arthur and Corinne Cantrill, 403; Tim Burstall, 577; Nagisa Oshima, 579; Yves Yersin. 509; Brian Trenchard Smith, 674 Films Board of Review 362-363, 393, 432, 533. 580, 635 Films Review Act (Queensland) 398 Filmways Australia 597 Filth 493 Final Cut 596, 650 (cr) Fink. Margaret (p) 596 (st) Finney, Alan 495 Fisher, Jackie (ac) 476 (st) Fisk. Ernest 511 Fitz-Gerald, Lewis (ac) 542 (st) Five Bells 392 (cr) Flaherty Seminar (New York) 489, 497, 498 Flaus. John (ac) 471-472, 597. 660 Flint, Michael 354. 355 Florence. Sheila (ac) 614 (st) Following in Father's Footsteps 561 (cr) Fonda, Jane (ac) 337 (st), 506, 581 Fontaine, Joan (ac) 669 Foolish Years, The 627-628 For a Child Called Michael (previously Birth) 459 (cr), 653 (cr) For Valor (TV) 603 Foreigner 602 Forest and Dove 651 (cr) Forman, Milos (d) 504 Forsyth. Bill (d) 616 Foster. David (ac) 567 (st) Foster. Jill (ac) 494 (st) Foster. Jodie (ac) 413 (st) Foster. John 489 4000 Frames 400 Fourteen. The 352. 353 (st) Fowles. John 580 France 343-345, 396-397 (a); 353, 381, 507, 543. 679 Francis. Rea 597 Franco. General 536 Franklin. Miles 564, 565 Franklin. Richard (d) 332, 641 Fraser. Dawn 386 Fraser. John (p) 600 Freedman, Phil (sc) 524 Freshwater Fishing in Victoria 379 (cr), 561 (cr), 676 (cr) Frevideo 625. 678 Freyer. Gilberto 610 Friday the 13th 634, 649 (cr) Friends of East Timor (TV) 678 Fringe Dwellers (TV) 678 From A Distance I See This Country 434 From Pregnancy to Birth 392 (cr) From the Ocean to the Sky 377 (cr) Fuji, Tatsuya (ac) 500 (st) GTK (TV) 429-430 GTV-9 513, 550-551. 597, 613, 614 Gabor. Pal (d) 433 Gagliardo, Giovanna (d) 433, 627 Galaxy in the Sea 392 (cr) Galbally, Frank 678 Gallacher, Frank (ac) 548 (st) Gaman 350 Ganz, Bruno (ac) 435, 538. 627 (st) Garbo. Greta (ac) 569 Gasinskaya, Lillian 489 Gates of Heaven 539 Gay N e w s 659 Gemini Productions 517 Geradi. Roberto (d) 536 Gerima. Haile (d) 534 Germany. West 352-353, 433-435, 506-507, 583 Getting Back to Nothing 493 G e t t in g I n t o F ilm 470 (br) Getting the Message 653 (cr) Geyle, Peter 631, 632 Ghatashraddha 535 Giallo Napoleano 381 Gibiin, Belinda (ac) 451 (st) Gibson Committee — see Joint Parliamentary Committee on Wireless Broadcasting (1942) Gibson, Mel (ac) 348 (st), 349 (st), 383 (st), 401 (st), 567 (st), 596 Gierke, Henning von (t) 434 Gilling, Rebecca (ac) 600 (st) Gilmore, William S. (p) 442 (st) Ginnane. Antony I. (p) 333, 529, 571, 637, 638, 640. 641, 643, 644 (st), 680 Gippsland Lakes 379 (cr), 561 (cr), 676 (cr) Girai, Sergio (d) 535 Girlfriends 663 Girls will BE girls (TV) 625 Gittings, Brian 413 Giving Up Is Breaking My Heart 653 (cr) G la d y s C o o p e r 669 Glasgow Youth Theatre 616 Gleeson, Jamie (ac) 615 (st) Glimpses 379 (cr), 461 (cr), 561 (cr) Glucksman, Andre 536 Go Tell the Spartans 335, 336, 338 (st) Godfather II 338 Godfathers, The (TV) 517, 518-519 (st) Gold, Jack — quoted, 14 Goldberg, Spelling (p) 517 Golden Harvest Film Company 442, 599 Golden Soak (TV) 459 (cr) Goldfields Playback (TV) 625, 678 Gone to Ground (TV) 517, 518 (st) Gonis, Steven 420 (st) Good Neighbour, The — see Kedves szomszed, A Goodbye Girl, The 438 Goodbye, Johnny Ray 596 Goonawarra Project 561 (cr), 676 (cr) Gordon, Pat 597 Gordon, Vic (ac) 523 (st) Goretta, Claude (d) 508 Gorman, Reg (ac) 549 (st) Gorton. John 425, 427 (st), 493 Goscombe, Felicity 614 Grace Gibson Productions 521 Grandi, Roberto 624 Grandma Rose, Elise Mae and Lotte 651 (cr)

Greater Union Organisation Pty, Ltd. 497, 498. 580, 596, 600, 601 Greece 443 Green. Fred 585 Green Berets, The 336. 337 Green Report — see Report on the Structure of the Australian Broadcasting System and Associated Matters (September 1976) Gregg. John (ac) 510 (st) Gregor. Ulrich 433 Grendel, Grendel, Grendel 339-341, 375 (cr). 553 (cr) Grey Panther Media Task Force 623 Griffiths, Howard (sc) 524 Grlic, Rajko (d) 627 Grosvenor, Dennis (ac) 522 (st) Grundy Organization 517. 518. 521, 524, 541. 553, 575. 612-615, 676 Grundy Presentations 614 Grundy. Reg (p) 488. 517. 518, 613 Guerra. Rui (d) 611 Gues. Sarah 678 Guide for the Australian Film Producer 362­ 363. 398-399. 440-441. 475, 478, 541 Gurdjieff. J. V. 627 Gyngell. Bruce 332, 587, 598

HSV-7 418. 419, 420. 513. 522, 678 Hackforth-Jones, Penne (ac) 465 Hagelback, Josta (d) 435 Hagg. Russell 527, 638 Hair 504 Hall. Ken G. (d) 416 (st), 489, 495 Halldorf, Jan (d) 538 Hamill, Mark (ac) 442 (st) Hamilton, Ross 426 (st) Hammer 449 Hammond. Happy' (ac) 510 (st) Hamnett. Oliyia (ac) 550 (st) Hani. Susumu (d) 503 Hankin. Larry (ac) 665 (st) Hanlon jun.. Tommy 510 (st) Hanna Barbera (Australia) 488 Hannay. David 450. 517. 581 Hansen. Gary (c) 641, 647, 680 Hanson. John (sc, d) 534 Happy Show. The (TV) 510 (st), 513 (st), 584 (st) Hardcore 534 Harder They Come. The 610 Harders. Julie 597 (st) Hardy, Rod (d) 571 Hare. Denise 665 Hargreaves, John (ac) 338 (st). 387 (st), 528 (st). 580, 663 (st) Harlequin 455 (cr), 553 (cr), 596 (st), 637­ 647. 650 (cr). 680 Harris. Bruce 587 Harris. Mike quoted 497, 600 Harrold. Kathryn (ac) 621 (st) Harry Hooton 359, 360 (st). 361 (st). 400 Harvest, 3000 Years 534 Hauff. Reinhard (d) 435, 538 Haunting of Hewie Dowker. The (TV) 451 Hawke. Bob 524 (st) Hayes’. Clifford (e) 596 Hayward. Brooke 669 H a y w ir e 669 Heading. Rex 587 Hearts and Minds 416 Hector Crawford Productions 521 Hefner. Hugh 607 Hegarty, Tom (sc) 524, 575 Hehir, Peter (ac) 529 (st), 577 Heidelberg School 660 Hemingway, Mariel (ac) 506 (st) Hemmings. David (ac) 333; 351-355 (i, st, f); 596 (st, 639, 640 (st) Hendren, “ Patsy" 332 (st) Hennessy, Ray (d) 419 (st), 420 Henning-Jensen, Astrid (d) 435 Henry, Jim 489 H e r a ld , T h e (Melbourne) 514 Herralde. Gonzalo (d) 536 Herzog, Werner (d) 434 Hewett. Colleen (m) 606 (st) Hexagon 494, 576, 577 Hibberd. Jack (sc) 384 Hidari, Sachiko (ac, d) 502-503, 579 (i, st) Hides, Bernard (t) 641, 644, 645; 646-647, 680 (i, st) Hift, Fred 380 High Country 528-529 (st) High Rolling 577, 596, 660 Higham, Charles 431, 669 Hill, Leon 412 Hiller. Arthur (d) 618-621 (i, st) H is t o ir e g e n e r a l d u c in e m a 631 H is t o r ia s z t u k i f i l m o w e j 631, 632, 633 History of Australia, A 459 (cr), 557 (cr) History of Music 461 (cr) H is t o r y o f t h e C in e m a — see H is t o r ia s z t u k i f il m o w e j

History of the Cinema series 580 (br) 389 (br) Hitchcock, Sir Alfred (d) 389, 631, 669 Hitchcock, Pat 389 (st) Hitchcock, Paul (p) 581 Hoffman, Sonia (d) 580, 662 Hogan’s Heroes (TV) 387 Holden, William (ac) 568, 569 Hollywood, view of war, 338; productions in New Zealand, 581; status of traditional cinema today, 573; genre fads, 620.

H o lly w o o d a n d A f t e r 631, 633 Hollywood’s Musical Moods 628 Holmberg, Sten (c) 435 Holt, Harold 510 (st) Home Movies 617 Homestead Films 527 Homicide (TV) 522 (st), 523, 524, 525 (Fig. 3). 527, 550 ' Homosexuality 433, 549, 674 Hong Kong 442-443, 581 Hoogeveen, Carla (ac) 518 (st) Hopgood, Alan (sc) 494, 577 Hopkins, Harold (sc) 517 Horror 449, 450, 571, 667 Horses 655 (cr) Hospital 619 Hospitals Don’t Burn Down 601-602 Hotel Story (TV) 524, 525 (Fig. 3) Housing 392 (cr) How Tasty was my Little Frenchman — see Como era gostoso o meu Frances

H it c h 389 H it c h c o c k

Issue 21, pp. 325-404, Issue 22, pp. 405-480. Issue 23, pp. 481-588. Issue 24, pp. 589-684.

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Australian Directors

2

The Films of Peter Weir “I am appalled by the threat a n d danger o f life. ” Ivy C o m p to n - B u r n e tt, A Family and a Fortune “I think there are signs that strange things happen, though they do not always emerge. ” Ivy C o m p to n - B u r n e tt, “ A C o n v e r s a tio n ” 1 A t f i r s t g l a n c e , t h e r e m a y s e e m little b a s i s f o r c o m p a r is o n b e tw e e n th e w o rk o f P e te r W e ir a n d th a t o f Ivy C o m p to n - B u r n e tt; b e tw e e n , t h a t is, a r g u a b l y t h e l i v e l ie s t y o u n g f i l m m a k e r in 1 9 7 0 s A u s t r a l i a a n d t h e g r e a t E n g l i s h n o v e l i s t w h o d i e d a t 85 in 1 9 6 9 , a n d w h o p r o ­ d u c e d a g r i m l y w itty n o v e l o f f a m i l y life b i e n ­ n ia lly f o r m o r e t h a n 4 0 y e a r s . A n d w h e r e a s D a m e I v y s e t h e r t a le s o f t h e v i c i o u s p o w e r s t r u g g l e a n d h o r r o r t h a t lie b e n e a t h t h e s u r ­ f a c e s o f e v e r y d a y life in a n a l m o s t u n v a r y i n g E n g lish c o u n try h o u s e , W e ir h as ra n g e d m o re w i d e l y in l o c a t i n g t h e a l a r m i n g d i s t u r b a n c e s at w o rk at th e e d g e s o f th e s u p p o s e d ly n o r m a l.

W h a t th e s e tw o a rtists, s e p a ra te d by tw o g e n e r a t i o n s a n d w o r k i n g in d i f f e r e n t m e d i a , s h a r e is a s h a r p a n d w itty p e r c e p t i o n o f t h e d isp arity th a t so o fte n ex ists b e tw e e n th e w ay th in g s s e e m a n d th e w ay th e y are. T h e y are b o t h a w a r e t h a t t h e a r e a o f d i s p a r i t y is f r e ­ q u en tly m ain ta in e d at th e cost o f su p p re ssio n s a n d c o rru p tio n s o f th e tr u th , an d at th e s u b ­ d u i n g o f a s p e c t s o f t h e s e l f in t h e i n t e r e s t s o f p re serv in g a m a n ag e ab le m u n d a n e n e s s .

F u r t h e r , t h e y b o t h r e s p o n d a l e r t ly to “ t h e t h r e a t a n d d a n g e r ” t h a t s o o f t e n s e e m a b o u t to o v e r tu r n th e re s p e c ta b le , th e accep tab ly c o r ­ r u p t ; in a w o r d , to t h e f o r c e s t h a t a r e t h e r e in m e n a n d w o m e n , a n d w h i c h a s h i f t in c i r c u m ­ s t a n c e s m a y b r i n g t o lig h t in a l a r m i n g w a y s.

P e r h a p s e v e n m o r e a l a r m i n g is t h e a p p r e ­ h e n s io n th e y s h a re th a t “ stra n g e th in g s h a p p e n t h o u g h t h e y d o n o t a lw a y s e m e r g e ” . A c r i m i ­ n a l i n t e n t i o n , o r i n d e e d a c t, m a y b e a t w o r k in s u b t e r r a n e a n w a y s in a C o m p t o n - B u r n e t t n o v e l w ith o u t b e in g b r o u g h t to p u b lic n o tic e a n d w i t h o u t p u n i s h m e n t . A p a r ty o f s c h o o l g i r l s d i s a p p e a r s a t H a n g i n g R o c k a n d t h e r e s u l t is m y s t i f y i n g , r a t h e r t h a n tr a g ic ; life a n d t i m e a n d sp ac e s im p ly clo se o v e r t h e m , o ffe rin g n o an sw ers.

I n a n e a r l i e r a r ti c le I w r o t e o f W e i r ’s “ b e l i e f 1.

“ A Conversation Between I. Com pton-Burnett and M. Jourdain” , Orion, A Miscellany (London, 1945), reprinted in Charles B urkhart’s The Art o f Ivy Com­ pton-Burnett (London, Gollancz, 1972, p. 28.)

Director Peter Weir and actor Richard Chamberlain during the shooting of The Last Wave.

3

Australian Directors

Travelling to Homesdale Hunting Lodge: Kate Fitzpatrick, James Leer, Doreen W'arburton and Barry Donnelly.Homesdale. th a t h o rrify in g th in g s ex ist fro m w h ich th e re m a y b e n o e a s y e s c a p e ” .2 T h i s is t r u e o f t h e v i s i o n o f b o t h t h e s e a r t i s t s , a n d it is t r u e p a r tl y b e c a u s e th e s e “ h o rrify in g th i n g s ” a re ro o te d in t h e d a r k e s t p o s s i b i l i t i e s o f h u m a n n a t u r e . In W e i r ’s c a s e — a n d t h i s is w h e r e I s h a ll l e a v e t h e i n t r o d u c t o r y c o m p a r i s o n — h e g o e s , as I v y C o m p to n -B u rn e tt d o es n o t, b ey o n d th e p o ssi­ b ilitie s o f h u m a n n a t u r e t o c o n t e m p l a t i o n o f th e irra tio n a l a n d o f th e s u p e r n a tu ra l.

T h is m ay s e e m a r o u n d a b o u t w ay o f in tr o ­ d u cin g th e d irec to r w h o , n o w th at th e m o s t e x c i t i n g d e c a d e o f A u s t r a l i a n f i l m m a k i n g is n e a r l y f i n i s h e d , h a s e m e r g e d as t h e n e a r e s t a p p r o a c h to a g e n u i n e auteur. H e is a n a r t i s t w h o s e p e r s o n a l s t a m p is o n all h e d o e s , a n d t h i s m a k e s h i m w o r t h t a l k i n g a b o u t in c o m ­ p a r is o n w ith o th e r d is tin g u is h e d artists. If n o n e o f h i s f ilm s to d a t e is a w h o l l y a c h i e v e d w o r k , t h e y a r e all c l e a r ly t h e w o r k o f t h e s a m e m a n , a n d t h a t m a n is n o t m e r e l y a c o m p e t e n t c r a f t s ­ m a n b u t an a rtist w ith a v is io n a n d a g ro w in g u n d e r s ta n d in g o f h o w th is v isio n m ay b e r e a l i z e d in t e r m s o f film .

P e te r W e ir h as c o m e in to c o m m e r c ia l film ­ m a k i n g v ia a s e r i e s o f e x p e r i m e n t a l s h o r t f ilm s (in c lu d in g s o m e fo r th e C o m m o n w e a l t h F ilm U n i t ) , b e g i n n i n g in 1 9 6 7 w i t h Count V im ’ s Last Exercise. R i c h a r d B r e n n a n , in a n a r ti c le i n C in em a P a p ers ,3 r e c a l l s t h e r e c e p t i o n r e c e i v e d b y W e i r ’s 1 9 6 9 f i l m Michael, p a r t o f a t r i l o g y o n t h e t h e m e o f y o u t h , Three to Go. W e i r ’s Michael “ w a s , lik e it o r n o t , t h e e m b o d i m e n t in p e o p l e ’s m i n d s o f t h e s e r i e s a n d o f t h e g r e a t le a p f o r w a r d w h i c h t h e U n i t 2.

3.

4

The New Australian Cinema, N elson/C inem a Papers, 1980, p. 64.

"P ete r Weir Profile” , Cinema Papers, No. 1, p. 16.

w a s t a k i n g ” . A d e c a d e l a t e r , Michael l o o k s lik e a sim p listic e x a m i n a ti o n o f y o u th f u l r e b e l ­ l i o n a n d a n e q u a l l y s i m p l i s t i c r e p u d i a t i o n o f its v a lu e s , as t h e e p o n y m o u s h e r o b r e a k s in t u r n w i t h h is m i d d l e - c l a s s f a m i l y a n d h i s n e w h i p p i e f r i e n d s . T h e r e a r e t o u c h e s o f w it in its t r e a t ­ m e n t o f t h e m e d i a ’s r o l e in t h e l a t e ’6 0 s s c e n e ( y o u n g p e o p l e in t h e s t r e e t a r e t o l d t o “ l o o k a g g r e s s i v e . . . b u t a b o v e all b e y o u r s e l f ’ f o r t h e t e l e v i s i o n c a m e r a s ) , b u t its t e c h n i q u e , w h i c h m u s t h a v e l o o k e d liv e ly a n d i n v e n t i v e t h e n , n o w s e e m s g r a tu ito u s ly flash y . O n e s e e s w h y B r e n n a n , w h i l e a c k n o w l e d g i n g W e i r ’s “ t r e m e n d o u s s u r f a c e f l a i r ” , still “ h a d n a g g i n g d o u b t s o n w h e t h e r h e c o u ld d isc ip lin e a n d c h a n n e l th e p ro d ig io u s ta le n ts ” .

W e i r ’s m a j o r f i l m s o f t h e ’7 0 s — The Cars That Ate Paris ( 1 9 7 4 ) , Picnic at Hanging Rock ( 1 9 7 5 ) , The Last Wave ( 1 9 7 7 ) , a n d t h e t e l e - f e a t u r e The Plumber ( 1 9 7 9 ) — s u g g e s t t h a t h e c o u l d . “ P r o d i g i o u s ” is a n e x t r a v a g a n t w o r d p e r h a p s , b u t t h e r e is still p l e n t y o f t i m e f o r W e i r t o p e r s u a d e u s t h a t it is j u s t i f i e d a n d e n o u g h e v id e n c e fo r a h o p e fu l p ro g n o stic a tio n .

The Films of Peter Weir B e f o r e Cars, W e i r ’s f i r s t f ilm t o a c h i e v e m a jo r c o m m e r c ia l r e le a s e a n d his first f e a tu r e , t h e f ilm f o r w h i c h h e is b e s t k n o w n is Homesdale ( 1 9 7 1 ) , w h i c h h a s h a d i n t e r m i t t e n t s c r e e n i n g s t h r o u g h t h e d e c a d e . It is i n t e r e s t i n g c h i e f l y f o r t h e w a y s i n w h i c h it f o r e s h a d o w s t h e a c h ie v e m e n t s o f t h e t h r e e film s th a t fo llo w ed .

L i k e t h e m , its v i e w o f life is d a r k , a p p r e h e n ­ siv e , o fte n iro n ic a n d s h o t th r o u g h w ith th e g r i m w it t h a t g i v e s a d i s t i n c t i v e f l a v o r t o Cars a n d The Plumber p a r t i c u l a r l y , b u t is still p r e ­ s e n t in Picnic a n d The Last Wave. L i k e t h e m , t o o , it is c o n c e r n e d w i t h o b s e r v i n g p e o p l e in p o ten tially d a n g e ro u s s itu a tio n s th a t grow p a r t l y o u t o f t h e i r o w n p e r s o n a l i t i e s a n d p a r tl y o u t o f u n p re d ic ta b ly a n d in d e fin a b ly t h r e a t e n ­ in g milieux.

T h e m ild M r M a lfre y p re -fig u re s A r t h u r W a l d o , t h e p r o t a g o n i s t o f Cars, in h i s b e i n g c a u g h t u p in a n d b y a n o p p r e s s i v e e n v i r o n ­ Revolution in the streets of Sydney. Michael, Weir’s episode of Three to Go.

The manager of Homesdale (James Dellit), left, with an associate (Rosta Akon). Homesdale. m e n t , t h o u g h M a l f r e y ’s p a s s i v i t y in t h e e n d p r o v e s m o r e c o m p l e t e t h a n A r t h u r ’s. I n o t h e r w a y s , h e a ls o a n t i c i p a t e s M i c h a e l F i t z h u b e r t in Picnic, D a v i d B u r t o n in The Last Wave a n d Jill C o w p e r in The Plumber: t h r e e p e o p l e w h o s e a p p a r e n t l y b l a n d o b s e r v e r s h i p o f life is c a lle d t o a c c o u n t b y m a t t e r s b e y o n d r a t i o n a l c o n t r o l . Homesdale, in c o m m o n w i t h all t h e s e l a t e r f ilm s — t h o u g h it is m u c h c r u d e r in e x e c u t i o n — e s t a b l i s h e s a f i r m s e n s e o f p la c e , o f s e ttin g s e n ig m a tic a n d in cip ien tly m e n a c in g to t h e c h a ra c te rs p ick in g th e ir w ay t h r o u g h th em .

H o m e sd a le H u n tin g L o d g e, “ a n ew e x p e ri­ m e n t in t o g e t h e r n e s s ” , a p p e a r s to b e a n i s l a n d re tr e a t, w ith t h e o u t e r a p p e a ra n c e o f a b la n d ly w h ite g u est h o u s e , p re sid e d o v e r by an u n c t u o u s l y t o o t h y m a n a g e r ( J a m e s D e ll i t ) a n d v a rio u s w h ite -c o a te d a tte n d a n ts (w a rd e n s ? ).

F o l l o w i n g t h e j o lly s i n g i n g o f We are the Boys o f H om esdale o n t h e s o u n d t r a c k , t h e c a m e r a c u t s to th e im p a s s iv e faces o f th e g u e s ts a rriv in g by fe rry , th e tim id n e w c o m e r M alfrey ( G e o ff M a l o n e ) d o m i n a t e d in c l o s e - u p b y K e v i n (G r a h a m e B o n d ), p a rt-tim e b u tc h e r, p a rt-tim e p o p s ta r . H o m e s d a l e o f f e r s its s o m e w h a t e s o t e r i c a l l y c h o s e n g u e s t s a n o p p o r t u n i t y to i n d u l g e t h e i r p r i v a t e f a n t a s i e s c h ie f ly b y m e a n s o f a tre a su re h u n t an d a re v u e u n d e r th e rig o ro u s eye o f th e m a n a g e r w h o fro w n s o n r e l a t i o n s h i p s b e t w e e n g u e s t s ( “ I d o n ’t lik e co u p les h e r e ” ), p re s u m a b ly b e c a u se th e y offer a th r e a t to his a u th o rity .

W e i r ’s b l a c k c o m e d y is t h e r e in t h e t o t a l c o n ­ c e p t ( M a l f r e y t u r n s m u r d e r e r a n d is t a k e n o n a s a s t a f f m e m b e r ) t h o u g h its e x e c u t i o n f a l t e r s , s o m e t i m e s t h r o u g h s la c k p a c in g , s o m e t i m e s t h r o u g h u n d u e sp ellin g o u t o f in te n tio n s .

G e n e r a l l y it w o r k s b e s t in its p a r o d y i n g o f

5

Australian Directors t h e r a p e u t i c t r e a t m e n t s : in t h e g u e s t s ’ c o s t u m e c h a n g e s as th e y act o u t o t h e r a s p e c ts o f t h e m ­ s e l v e s ; in t h e m a n a g e r ’s w a y s o f k e e p i n g t h e g u e s t s in p la c e ( “ m o r e o f a v i s u a l j o k e , I s u p ­ p o s e ” , h e a d d s w h e n s o m e o n e ’s s t o r y fa lls fla t; “ v e r y s i m i l a r r e a l l y , k i l li n g a n a n i m a l a n d k i l l ­ i n g a n a u d i e n c e ” , h e r e f l e c t s t o K e v i n ) ; in t h e g u e s t s ’ p l a c i n g o f l i tt l e p e r s o n a l t o u c h e s in t h e i r d r e a r y r o o m s ; a n d b e s t o f all in t h e “ s e r ­ v ic e ” b e fo re th e tr e a s u r e h u n t b eg in s.

T h e m a n a g e r e x h o r t s t h e m to p ra y fo r “ c o u ra g e , s tr e n g th a n d fo r titu d e . . . a n d fo r th o se w h o h av e g o n e b e fo re ” , b efo re sen d in g th e m “ o ff in to th e b u s h — th e g re at b u s h o f life , w i t h i n d i v i d u a l m a p s l e a d i n g t o i n d i v i d u a l t r e a s u r e s .” H a v in g earlier p ro m is e d th e m th a t “ H o m e s d a l e w ill h e l p y o u ; h e l p y o u t o f a c e t h e t r u t h ” a n d m a k i n g t h i s s o u n d lik e a s o u r c e o f te rro r, th e m a n a g e r sen d s th e m off on th e h u n t in w h i c h n a t u r e is i m b u e d w i t h a s e n s e o f th re a t an d d anger. v M a l f r e y , c a u g h t in a t r a p a n d s u s p e n d e d o v e r a r i v e r , is d e a l t w i t h s e v e r e l y b y t h e m a n a g e r : “ I d o n ’t w a n t t o h a v e t o c a n e y o u . . . b u t y o u ’r e j u s t n o t p u l l i n g y o u r w e i g h t . Y o u w e r e s m o k i n g o n t h e t r e a s u r e h u n t . W h a t a m I to w r i t e in y o u r r e p o r t ? . . . L a c k o f t e a m s m a n sh ip ? T h e o d d o n e o u t ? ” W e ir satirizes h e re , w i th o u t m a k in g t h e m less u n s e ttlin g , th e o p p re s s iv e fo rc e s th a t a re at w o rk e n d e m ic a lly i n h i s f i l m s , a n d M a l f r e y ’s s u b m i s s i o n is r e i n ­ f o r c e d in a c l e v e r o v e r h e a d s h o t a s h e m o u n t s t h e s ta irs to h is r o o m .

T h e r e v u e s e q u e n c e is l e s s s u r e l y h a n d l e d , in tim in g a n d p a ro d ic in te n tio n . M alfrey , ta u n te d b y t h e m a n a g e r to “ d o y o u r w o r s t ” , trie s to s i n g N ym phs a n d Shepherds , is t h e n s e t u p o n b y

Kevin (Grahame Bond) reacts to a tender Miss Greenoake (Kate Fitzpatrick). Homesdale.

6

th e o th e r g u e s ts (a n g le d c a m e ra s s o m e w h a t o b v i o u s l y c r e a t i n g c h a o s ) , a n d is u p b r a i d e d b y t h e m a n a g e r f o r h i s s u b v e r s i v e n e s s . T h e r e is a p ro p e r s e n s e o f s h o c k at th e re v e la tio n th a t K e v i n h a s b e e n d e c a p i t a t e d , b u t it h a r d l y l i v e s u p t o t h e p r o m i s e e x c i t e d b y t h e f i l m ’s e a r l y h o m a g e t o t h e Psycho s h o w e r s c e n e .

A t t h e t i m e o f m a k i n g Homesdale, W e i r still h a d a g o o d d e a l to le a r n a b o u t c r e a tin g a m o m e n t o f h o r r o r , b u t h e w a s a lre a d y clea rly i n t e r e s t e d in t h e i m m i n e n c e o f “ t h r e a t a n d d a n g e r ” in h u m a n l i v e s , w h e t h e r t i m i d l ik e M a l f r e y ’s o r b r a s h lik e K e v i n ’s.

T o c o m e t o Homesdale, a s I d i d , a f t e r s e e i n g t h e t h r e e c o m m e r c i a l l y - r e l e a s e d f i l m s , is t o f e e l o n e s e l f in t h e p r e s e n c e o f a g i f t e d a m a t e u r w i t h m o r e id e a s a n d m o r e d a r k jo k e s a n d in s ig h ts t h a n h e c a n p r o p e r l y o r g a n i z e . B u t t h e t a l e n t is a l r e a d y i n d i s p u t a b l e . W e i r is n o t c o n c e r n e d h e r e w ith s tra ig h tfo rw a rd re a lism ( th o u g h later f i l m s s h o w h e is a b l e t o a c h i e v e t h i s ) , b u t w i t h t h e c i n e m a ’s c a p a c i t y f o r t e a s i n g r e a l i t y o u t o f t h e p la y o f f a n t a s t i c n o t i o n s '. H e a l r e a d y k n o w s a g o o d d ea l a b o u t h o w to u s e t h e c a m e r a to c re a te a h o rrify in g m o m e n t o r a g rim jo k e , a n d it is c l e a r h o w h i s b a c k g r o u n d in e x p e r i m e n t a l f i l m m a k i n g w ill m a k e i t s e l f f e lt in t h e m o r e fo rm a l d e m a n d s o f th e fu ll-len g th featu re.

Homesdale w a s a s i g n o f t h i n g s t o c o m e , a n d t h o s e w h o a d m i r e d its n e r v e — a n d v e r v e — in 1 9 7 1 m u s t h a v e f e lt v i n d i c a t e d b y t h e i m a g i n a ­ tiv e c o n f id e n c e w h ic h W e ir b r o u g h t to his s u b s e q u e n t film s.

The Cars That Ate Paris, W e i r ’s d a r k e s t f i l m , is a l e s s a m b i t i o u s p r o j e c t t h a n Picnic o r The Last Wave: it is e s s e n t i a l l y a s i n g l e b l a c k j o k e , a n d it is n o t i n t e r e s t e d in t h e k i n d s o f m e t a ­ p h y sic a l t e r r ito r y v e n t u r e d u p o n in t h e tw o l a t e r f i l m s . B u t i f it is l e s s a m b i t i o u s , it is a l s o m o r e c o h e r e n t a n d its n a r r a t i v e g r a s p is s u r e r w i t h i n t h e l i m i t s o f A r t h u r W a l d o ’s e x p e r i e n c e o f P a r i s , t h e r e p u l s i v e li tt l e t o w n t h a t l i v e s o f f m o t o r a c c i d e n t s ; t h a t is, o n t h e l e a v i n g s o f a m a t e r i a l i s t i c s o c i e t y . N e v e r t h e l e s s , its t h e m e is s till, a t l e a s t in p a r t , t h e c e n t r a l i n s e c u r i t y a n d u n s a f e t y o f life.

P aris, s e e n f r o m a b o v e , s e e m s to n e s tle c o s ily a n d s e r e n e l y a m o n g g r e e n h i l ls ; b u t it is, as A r t h u r le a rn s , v icio u sly c o r r u p t at e v e ry le v e l a n d v irtu a lly a d e a th - t r a p fo r t h o s e w h o t r y t o e n t e r o r l e a v e it. It c a n b e c o m p a r e d w i t h Picnic’s s o l i d ly V i c t o r i a n u p p e r - c l a s s g i r l s ’ s c h o o l w h i c h is m u c h l e s s d e c o r o u s t h a n it a p p e a r s , a n d w h ic h d is in te g r a te s as t h e r e s u lts o f t h e ill-fated p icn ic b e c o m e k n o w n , o r w ith D a v i d B u r t o n ’s a p p a r e n t l y s e c u r e m i d d l e - c l a s s

The Films of Peter Weir

w m

The Mayor (John Meillon), backed up by a local, takes a tough stance against the car-mad town youths. The Cars That Ate Paris.

h o m e in s u b u r b a n , p r o f e s s i o n a l S y d n e y in The Last Wave, a b u l w a r k w h i c h p r o v e s q u i t e i n ­ a d e q u a t e t o t h e s t r a i n s p l a c e d o n it.

I n all t h e s e f i l m s , t h e o r d i n a r y g r a s p o n life t h a t s e e m s t o s u s t a i n t h e p r o t a g o n i s t s is t h r o w n in to psy ch ic a n d e m o tio n a l d is o rd e r. If t h i s is l e a s t s u b t l y d o n e in t h e c a s e o f W a l d o , it is a l s o d o n e in a w a y w h i c h is d r a m a t i c a l l y s a t i s f y i n g a t t h e t i m e , s o t h a t c e r t a i n h o l e s in t h e s c r i p t a r e n o t a p p a r e n t u n t i l l a t e r . Cars is s a t i s f y i n g b e c a u s e it i n t e g r a t e s its e l e m e n t s — its n a r r a t i v e s w i f t n e s s , its s h a r p o b s e r v a t i o n o f f a c e s a n d p l a c e s , its a w a r e n e s s t h a t a p p a r e n t o r d in a r in e s s b arely m a s k s v io le n c e a n d te rr o r — s o a s t o m a k e u s p r i v y t o t h e h o r r o r w h i c h is a t t h e h e a r t o f W e i r ’s v i s i o n .

W h e n A r t h u r W a ld o (T e rry C a m ille ri) r e ­ c o v e r s f r o m t h e a c c id e n t t h a t k ille d h is b r o t h e r a n d w re c k e d th e ir car a n d c a ra v a n , ju s t o u t o f P a r i s , h e is w e l c o m e d t o t h e t o w n b y t h e M a y o r ( J o h n M e illo n ) w h o ta k e s h im to h is h o m e .

T h e r e is a n i c e l y c r y p t i c s c e n e a t d i n n e r ,

in te n sify in g th e ea rlier su g g e stio n s at th e h o s ­ p ita l a n d in t h e s t r e e t t h a t all is n o t w h a t it s e e m s in P a r i s . W e i r t h e n c u t s t o a b r i l l i a n t l y h a n d l e d s e q u e n c e w h e r e a n a c c i d e n t v i c t i m is d e a l t w i t h in t h e h o s p i t a l w h i l e h i s c a r is b e i n g d is m a n tle d by o d d ly -u n ifo rm e d w o rk e rs a n d t h e lo c a l i d i o t l e e r s o v e r h i s t r o p h y . T h e v i c t i m is s t r i p p e d o f h i s b e l o n g i n g s ; a d rill is a p p l i e d t o h i s b r a i n ; t h e c a r is s e t f i r e t o w h i l e f a c e s , i n c l u d i n g t h e M a y o r ’s, w a t c h f r o m t h e w i n ­ dow .

In t h e fo llo w in g s e q u e n c e , A r t h u r d e c id e s to le a v e t o w n , w a tc h e d a g a in by c u r io u s ey e s.

W h ile w a itin g at t h e r u n - d o w n b u s s ta tio n , h e is a s k e d t o s t e p d o w n t o t h e C o u n c i l C h a m b e r s fo r a fe w w o r d s w ith t h e M a y o r w h o tells h im , “ Y o u ’r e b a s i c a l ly n o r m a l . . . b u t y o u m a y n o t sta y t h a t w a y ” , a n d d ra w s h is a t t e n t i o n to th e “ v e g g i e s ” in t h e B e l l e v u e W a r d o f t h e h o s p i t a l — o t h e r a c c i d e n t v i c t i m s w h o d o n ’t e v e n k n o w th eir n am es.

A r t h u r ’s c o n f i d e n c e is c o n v i n c i n g l y u n d e r ­

7

Australian Directors m i n e d b y t h e k n o w l e d g e o f “ tw o liv e s o n h is c o n s c i e n c e ” ( h i s b r o t h e r ’s a n d t h a t o f a n o l d m a n h e a c c id e n ta lly k ille d a y e a r b e f o r e ) , b y h is in a b ility to p e r s u a d e a n y o n e t h a t h e w as d a z z le d by lig h ts o n t h e n ig h t o f h is a c c id e n t, a n d b y t h e s e n s e o f t h e w h o l e t o w n ’s b e i n g t e r r i f y i n g l y c a u g h t u p in t h e a c c i d e n t t r a d e . I n o n e u n o b t r u s i v e s h o t , a n o ld lad y t r a d e s a s h in in g h u b c a p fo r c lo th e s. In c h u r c h , th e c l e r g y m a n s p e a k s o f h is tw o h o b b ie s : t h e p a st “ m a n i f e s t in l o v e l y o l d t o w n s l i k e P a r i s ” , a n d t h e f u t u r e , w h i c h is w i t h t h e y o u n g a n d t h e f o r th c o m in g car g y m k h a n a .

W h e n th e M a y o r p u rs u e s A r th u r in to th e co u n try sid e on a su n n y S u n d ay a fte rn o o n , o n e g ets a q u in te s s e n tia l W e ir im ag e: a d e c e p tiv e ly s l e e p y l i ttle t o w n s u r r o u n d e d b y c o m f o r t a b l e h ills . P a r t o f t h e f i l m ’s h o r r o r is in its c l a u s t r o ­ p h o b i a : o n e l o n g s t o b e r e a s s u r e d t h a t t h e r e is w h o l e s o m e life o u t t h e r e , b u t W e i r , t r u e t o w h a t s e e m s h is b e lie f t h a t t h e r e a r e s o m e te rr o rs fro m w h ich th e r e m a y be n o easy e s c a p e , d o e s n ’t a l l o w t h e a u d i e n c e s u c h c o m ­ fo rt. W h e n th e M a y o r c a tc h e s u p w ith A r th u r h e e x p la in s, w ith a la rm in g b la n d n e s s , th a t t h e r e is s o m e t h i n g m i s s i n g in h i s f a m i l y — a s o n — a n d th a t h e w a n ts A r t h u r to s e ttle p e rm a n e n tly an d “ b e c o m e part o f m y fam ily ” . ( H e h a s a t w i t c h y w i f e c a ll e d B e t h a n d t w o ad o p ted d a u g h te rs w h o w ere o rp h a n e d w h e n t h e i r p a r e n t s w e r e k i l le d in a n a c c i d e n t . ) “ O n e t h i n g c l o s e f a m i l i e s d o n ’t d o . . . t h e y d o n ’t t a l k to o u t s i d e r s lik e T e d M u l r a y ” , t h e c le r g y m a n , w h o m A r t h u r h a d w a n t e d t o c o n f i d e in a n d w h o is l a t e r b r o u g h t in d e a d .

T h e f i l m m o v e s in a s e r i e s o f f l u e n t l y c o n s t r u c t e d s e q u e n c e s w h i c h s h o w a fla ir f o r n a r ra tiv e r h y th m a n d to n a l v a rie ty th a t W e ir h a s n o t s u r p a s s e d in h i s l a t e r f i l m s . W h a t is s o e x h i l a r a t i n g a b o u t t h e f i l m is t h e w a y it s p i k e s its m o u n t i n g h o r r o r w i t h b l a c k c o m e d y . T h e w i t is t h e r e in t h e o d d l i n e , l ik e t h e c l e r g y m a n ’s w o r d s at t h e f u n e r a l , “ G o s h , L o r d , s o m e t i m e s y o u w o r k in w a y s t h a t a r e i n c o m p r e h e n s i b l e ” , o r in t h e c a l l o u s t a l k o f t h e “ m i d n i g h t c h o r u s ” o f th e h o sp ital “ v e g g ie s” . B ut m o re im p o r­ t a n t l y , it is w o r k e d i n t o t h e t e x t u r e o f c r u c i a l s e q u e n c e s lik e t h a t o f t h e m o r n i n g s e r v i c e a t c h u r c h d u r i n g w h i c h b e a t - u p c a r s c ir c le t h e c a r w r e c k t h a t a c ts a s a m o n u m e n t t o t h e t o w n ’s c e n tre . T h e c ra sh a n d b a n g o f th e s e cars c o m ­ p e t e w i t h Im m ortal, Invisible, G od only one in t h e c h u r c h . T h e c l e r g y m a n ’s p o s i t i o n is t e a s ­ in g l y e n i g m a t i c ; o n e d o e s n ’t k n o w w h e r e he s t a n d s u n t i l h i s b o d y is b r o u g h t in.

I n t h e f i l m ’s f i n a l s e q u e n c e — t h e m a y o r a l f a n c y d r e s s b a ll a n d t h e a t t a c k o f t h e s p i k e d

8

Dr Midland (Kevin Miles) and the Mayor examine a ‘successful’ car wreck. The Cars That Ate Paris. m o n s te r-c a rs — c o m e d y a n d h o rr o r jo stle for o u r re sp o n se s, th e o n e h e ig h te n in g th e o th er.

T h e M ay o r has w a rn e d a re lu c ta n t A rth u r th at “ N o b o d y le a v e s P aris. N o o n e . N o w y o u g et i n t o t h o s e c l o t h e s . Y o u ’r e g o i n g t o t h e b a l l . ” T h e film t h e n c u ts to t h e g a lv a n iz e d ir o n T o w n H a ll , w h e r e t h e “ v e g g i e s ” in m a s k s a r e w h e e l e d in a n d s t a g e - m a n a g e d b y t h e a p p a l l i n g l y g e n i a l d o c t o r . T h e M a y o r , in a b s u r d b e a r d as o n e o f P a r is ’ f o u n d i n g f a th e r s , m a k e s a s p e e c h a b o u t t h e t o w n ’s f u t u r e ( “ H a v e y o u th e s tr e n g th to tra v e l t h e s h o r t d i s t a n c e ? ” ), a n d e n d s by le a d in g t h e P a ris s c h o o l w a r cry.

T h e a u th e n tic s o u n d o f th e c o u n try to w n d a n c e b a n d flo a ts o u ts id e to b e d r o w n e d b y t h e arriv al o f th e cars, b e n t o n re p risal fo r b u r n in g th e car o f o n e o f th e gang. T h e sp ik es o n th e lead in g car clim b in to th e fra m e fro m th e b o t t o m rig h t c o r n e r , in a b rillia n tly - a n g le d s h o t , t h e n fill t h e s c r e e n . T h e o r g y o f d e s t r u c ­ t i o n w h i c h f o l l o w s is d i r e c t e d w i t h a f i n e e y e f o r c l a r i ty a n d h o r r o r : t h e M a y o r a t t a c k s t h e c a r s w i t h a p o l e ; s o m e o n e e l s e is c a u g h t o n t h e s p i k e s o f a c a r w h i l e t r y i n g t o s p e a r it; a n d A r t h u r , fo r c e d to b e c o m e p a rt o f th e m a y h e m , re g a in s his c o n f id e n c e by s q u a s h in g a car a n d k i l l i n g its “ y o b b o ” d r i v e r . A r t h u r d r i v e s o u t as t r a p s a r e b e i n g la id t o s t o p e x i t f r o m t h e r u i n e d to w n ; h is fa c e , h a l f - o b s c u r e d by t h e d a r k n e s s , is s m i l i n g t r i u m p h a n t l y a s h e h e a d s f o r . . . w h a t ? I t is a d a r k i n s i g h t , i n d e e d , t h a t t o c o p e w i t h life it m a y b e n e c e s s a r y t o e x e r c i s e o n e ’s b a s e s t, m o s t m u r d e r o u s in stin c ts.

L ik e m o s t A u s tra lia n d ire c to rs , W e ir h a s n o t y e t s h o w n h i m s e l f m a r k e d l y a n a c t o r ’s d i r e c ­ t o r , a n d t h e r e is s o m e f a ir ly r u d i m e n t a r y c h a r a c te r iz a tio n h e r e fo r w h ic h h is o w n sc rip t m u s t b e a r s o m e re sp o n sib ility . N e v e r th e le s s ,

The Films of Peter Weir M e i l l o n ’s d e c e p t i v e l y p l a t i t u d i n o u s f a m i l y - m a n M a y o r a n d C a m i l l e r i ’s s e n s i t i v e , s u f f e r i n g A r t h u r are s u b s ta n tia l p e r fo rm a n c e s , a n d carry m u c h o f t h e f i l m ’s w e i g h t o f m e a n i n g — t h a t is, i n t h e i r r e s p e c t i v e s u g g e s t i o n s o f t h e p o t e n ­ tia l f o r v i o l e n c e a n d h o r r o r b e h i n d b l a n d l y o r d i n a r y fa c a d e s. If t h e o t h e r a c to r s h a v e less s c o p e to d e v e lo p c h a r a c te r s , th e y a re e ffe c tiv e i n t h e i r c o n t r i b u t i o n t o t h e f i l m ’s s u g g e s t i o n o f a r o t t e n l i tt l e t o w n , o f a m i n d l e s s , d a n g e r o u s c u p i d i t y a t w o r k , a n d J o h n M c L e a n ’s c a m e r a u s e s t h e P a n a v i s i o n s c r e e n t o r e i n f o r c e o n e ’s s e n s e o f a h o rrify in g ly e n c lo s e d c o m m u n ity .

Q u e s t i o n s l i k e W h y is A r t h u r p e r m i t t e d t o s u r v i v e w i t h o u t b e in g r e d u c e d to a “ v e g g ie ” ? an d W h y has th e re n e v e r b een any in v estig a­ tio n o f t h e P a ris r o a d to ll? a r e w o rr y in g as o n e t h i n k s b a c k o n t h e f i l m o r s e e s it m o r e t h a n o n c e . B u t o n first v ie w in g , at le a st, th e g rim f a n t a s y s e t in t h e s e e d y r e a l i s m o f P a r i s ( a n d t h i s is v e r y a c c u r a t e l y r e n d e r e d ) t a k e s a f i r m h o l d o n o n e ’s i m a g i n a t i v e r e c e p t i v e n e s s . Cars is m o r e t h a n a p r o m i s i n g f ir s t f e a t u r e ; in it, W e ir re v e a ls a th o ro u g h ly c o m p re h e n s iv e

g ra s p o f h is m a te r ia l, a t a u t n e s s a n d c o h e r e n c e t h a t h a v e n o t b e e n c o m m o n in A u s t r a l i a ’s r e c e n t film s.

C e r t a i n l y t h e m o s t p o p u l a r o f W e i r ’s f i l m s t o d a t e w i t h t h e p u b l i c a n d t h e c r itic s is Picnic at Hanging Rock. O n r e - v i e w i n g , t h e f ilm still a p p e a r s as v isu a lly s t u n n i n g as o n e h a d r e m e m b e r e d , b u t its i d e a s a n d t h e i r d r a m a t i c re a liz a tio n s e e m c o n s id e r a b ly less im p r e s s iv e .

B e f o r e t h e c r e d i t s b e g i n t h e r e is a b o l d s t a t e ­ m e n t o f th e “ fa c ts ” o f th e case, e n d in g w ith th e sen ten c e: “ D u rin g th e a fte rn o o n , several m e m b e r s o f th e p a rty d is a p p e a re d w ith o u t t r a c e . ” T h i s f o r e w o r d is a l m o s t l ik e W e i r ’s t h u m b i n g h i s n o s e a t a n y t h i n g as v u l g a r as n a r r a t i v e i n t e r e s t , a s t h o u g h h i s f i l m will h a v e m o r e i m p o r t a n t t h i n g s o n its m i n d . I n t h e e v e n t , I b e lie v e h e m u f f s t h e c h a n c e o f te llin g a n a b s o r b i n g s t o r y in f a v o r o f p r o v o c a t i v e s u g ­ g e stio n s o f s m o th e r e d se x u a lity an d a d e t e r ­ m i n e d l y m e t a p h y s i c a l a p p r o a c h t o m a t t e r s lik e tim e an d d ream s.

I f t h i s s o u n d s r a t h e r g r u d g i n g , it s h o u l d b e

Confrontation in the main street of Paris. The Cars That Ate Paris.

9

Australian Directors m a d e c l e a r t h a t W e i r ’s f i l m s do h a v e i d e a s , a n d o f t e n i n t e r e s t i n g o n e s . T h e c r itic a l q u e s t i o n is w h e th e r h e can in te g ra te th e m co n v in cin g ly i n t o t h e t e x t u r e o f t h e f ilm as a w h o l e — in t h e b e h a v i o u r a n d r e l a t i o n s h i p s o f h i s c h a r a c t e r s in t h e s i t u a t i o n s in w h i c h h e h a s p l a c e d t h e m — o r w h e t h e r th e y a re s o m e w h a t arb itra rily i m p o s e d o n t h e f i l m ’s s t r u c t u r e . I n t h e t a u t l y m a d e t e l e - f e a t u r e , The Plumber, h e c o m e s c l o s e r to t h i s k i n d o f i n t e g r a t i o n t h a n in e i t h e r Picnic o r The Last Wave, in b o t h o f w h i c h t h e r e is t o o m u c h n u d g i n g a t a n d u n d e r l i n i n g o f t h e “ s ig n ific a n c e ” o f t h e a c tio n .

Picnic c e r t a i n l y h a s a m o s t e v o c a t i v e o p e n ­ in g . A b i r d call is h e a r d o v e r a p a le w a s h o f tre e s a n d m ist fro m w h ich th e m o n o lith o f H a n g in g R o c k e m e r g e s , at first d is ta n t a n d t h e n c l o s e u p , a lw a y s o m i n o u s , in t h e w a y t h a t J o h n F o rd m a k e s g re a t ro c k faces th r e a te n in g a n d m y s t e r i o u s in The Searchers. A s c h o o l ­ g i r l ’s v o i c e is t h e n h e a r d i n t o n i n g “ W h a t w e see, an d w hat we se e m , are b u t a d re am . A d re a m w ith in a d re a m . . a n d , as t h e v o i c e g i v e s w a y t o G h e o r g h e Z a m p h i r ’s h a u n t i n g Flute de P an , t h e b r o o d i n g r o c k f a c e is r e p l a c e d b y a n e x q u i s i t e g i r l ’s f a c e o n a p illo w . S u d d e n l y g irls a r e w a s h i n g , d r e s s i n g in w h i t e , r e a d i n g t h e i r S t V a l e n t i n e ’s D a y c a r d s , t h e i r s u p ­ p re sse d sex u a l lo n g in g s g iv en ro m a n tic fo cu s in t h e b a n a l v e r s e s o f t h e c a r d s . O n e g irl, fa t E d i t h ( C h r i s t i n e S c h u l l e r ) , is m e r e l y c o u n t i n g h e r c a r d s as p o s s e s s i o n s ; t h e i r r o m a n c e is l o s t o n h e r . A n d s h e w ill l a t e r r e s i s t t h e p u ll o f t h e R o c k a n d r e t u r n s c r e a m in g to t h e re s t o f th e s c h o o l p a r ty .

T h e s e t w o m o t i f s — t h e R o c k , w i t h its s e n s e o f ag e le ss k n o w le d g e , a n d a d o le s c e n t s e x u a l y e a rn in g — are th e re fro m th e start, a n d th e f ilm m a k e s t h e a u d i e n c e k e e p t h e m in m i n d t o g e t h e r . W h a t e v e r h a p p e n s t o t h e g irls a n d th e te a c h e r, w h o d isap p ea r o n th e R o c k , th e f ilm i n s i s t s o n a n o b s c u r e s e x u a l c o n n e c t i o n .

T h e t h r e e g irls w h o d i s a p p e a r , l e a v i n g E d i t h b e h i n d , s e e m a l m o s t to f l o a t t h r o u g h t h e t r e e s , as if t o t h e e m b r a c e o f a l o v e r . T h e y o u n g E n g lish a risto crat, M ich ael F itz h u b e rt ( D o m i­ n ic G u a r d ) , a n d t h e A u s t r a l i a n g r o o m , A l b e r t (Jo h n Ja rrett), w ho o b se rv e th e m , re sp o n d — th e o n e w ith q u iv e rin g s e n sitiv ity , t h e o th e r w ith c r u d e re a lis m — to th e s e x u a l c h a lle n g e o f t h e fle e tin g im a g e . W h e n th e po lice s e r g e a n t, B u m p h e r (W y n R o b e rts ), q u e s tio n s M ich ael a b o u t w h y h e f o l l o w e d t h e g ir ls , h e a s k s , “ A s t h e g irls w e r e j u m p i n g t h e c r e e k , w h a t w e r e y o u t h i n k i n g o f ? ” It is c l e a r w h a t he h a s in m in d .

L a t e r , E d i t h p r u d i s h l y r e c a l l s t h a t as s h e w a s

io

The Films of Peter Weir ru sh in g d o w n fro m th e R ock sh e p assed th e m is s in g te a c h e r , M iss M c C ra w (V iv e a n G r a y ) , r u n n i n g u p w ith o u t h e r d re s s. M iss M c C ra w h ad b ee n th e m o st th o ro u g h ly d re sse d o f th e p a r t y in s e v e r e b r o w n c o s t u m e a n d h a t , u n l i k e t h e r e s t in f ilm y w h i t e . It is as t h o u g h t h e e x p e rie n c e o f th e R ock has re le ased h e r fro m th e in h ib itio n s o f re sp ectab ility .

W h e n o n e o f t h e g ir ls , I r m a ( K a r e n R o b ­ s o n ) , is f o u n d b y M i c h a e l , M r s A p p l e y a r d (R achel R o b e rts ), th e h e a d m istre ss, asks th e d o c to r w h e th e r she had b ee n “ m o le s te d ” , b u t t h e d o c t o r a s s u r e s h e r t h a t “ S h e is q u i t e i n t a c t ' 1, a n d m u t t e r s t h e c o m m e n t t w ic e a g a in — to t h e s e r g e a n t a n d t o t h e F i t z ­ h u b e r t s ’ h o u s e k e e p e r . T h e m a id at C o lo n e l F i t z h u b e r t ’s h o m e , w h e r e I r m a is c o n v a l e s ­ c i n g , c o n f i d e s to t h e h o u s e k e e p e r t h a t I r m a was w e arin g n o co rset w h e n fo u n d , an d th e h o u s e k e e p e r te lls h e r s h e w a s q u i t e r i g h t t o s u p p r e s s th is in fo rm a tio n .

T h e c l i m a x to t h i s p e r s i s t e n t c o n n e c t i o n o f s e x u a lity a n d th e e x p e rie n c e o f th e R o c k c o m e s in t h e s c e n e in w h i c h t h e r e c o v e r e d I r m a v is its t h e s c h o o l g y m to s a y g o o d b y e to h e r f e llo w p u p ils . S h e is c la d in l o n g c r i m s o n c lo a k a n d c r i m s o n h a t , a s t r i k i n g F igure as s h e a p p e a r s in t h e d o o r w a y , f l a n k e d in t h e f r a m e b y t h e t w o r o w s o f g irls d o i n g p o s t u r e e x e r ­ c is e s . W h a t e v e r h a s h a p p e n e d t o I r m a — a n d s h e h a s r e f u s e d to tell M i c h a e l w h a t h a p p e n e d o n t h e R o c k — it h a s c h a n g e d h e r f r o m r o m a n ­ tic s c h o o l g i r l to a s s u r e d w o m a n . T h e g irls s e n se a n ew k n o w led g e a b o u t h e r an d crow d a r o u n d h y s t e r i c a l ly , d e m a n d i n g e x p l a n a t i o n s .

M iss L u m le y (K risty C h ild ) , th e g y m m is tr e s s , w a t c h e s slyly; s h e w a n t s to k n o w t o o , b u t I r m a , a l a r m e d at t h e o n s l a u g h t , c a n te ll n o t h i n g .

B u t o n c e all- t h e s e c o n n e c t i o n s h a v e b e e n n o t e d o n e is left a s k i n g , W h y ? Is it W e i r ’s i n t e n t i o n to u s e J o a n L i n d s a y ’s n o v e l m e r e l y as t h e b a s i s f o r a s t u d y o f c e r t a i n a s p e c t s o f a d o l e s c e n t s e x u a l i t y 9 C e r t a i n l y t h i s e l e m e n t is p e r v a s i v e in t h e film as it is n o t in t h e n o v e l .

T h e R o c k , v i e w e d in t h i s w a y , m a y p e r h a p s b e s e e n as a s y m b o l o f a n c i e n t k n o w i n g n e s s as c o m p a r e d w ith th e su p erficial le a rn in g a n d a c c o m p lis h m e n ts th e s c h o o l offers. A g a in , t h e R o c k , b y b e i n g s o w h o l l y its e lf , o r g a n i c a n d p rim itiv e , u n lik e th e re c e n tly -e re c te d s to n e pile o f t h e s c h o o l , e x c i t e s a l o o s e n i n g o f t h e m o r a l c o r s e t s : it is a l l u r i n g a n d t e r r i f y i n g , t e m p t i n g t h e g irls to b e h a v e i n s t i n c t i v e l y , ra th e r th a n re sp e c ta b ly , an d ex a c tin g an Left: Edith (Christine Schuller) and Miss McCraw (Vivean Gray), with her geometry book, at the foot of the Rock. Picnic at Hanging Rock II

Australian Directors

a w e s o m e p rice fo r th e ir s u c c u m b in g to s u c h a tem p tatio n .

R u s s e l l B o y d ’s c a m e r a a g a i n a n d a g a i n c a tc h e s th e th r e a t a n d m a s s iv e in scru tab ility o f t h e R o c k ’s f a c e s , c o n t r a s t i n g t h e s e w i t h t h e lu s h n e s s o f t h e s u r r o u n d i n g foliag e a n d th e s o ft b illo w in g w h ite n e s s o f t h e g irls ’ d re s s e s . ( H e d o e s e q u a l l y w e ll in c a p t u r i n g — n o d o u b t W e i r ’s i n t e n t i o n — t h e o p p r e s s i v e V i c t o r i a n facade an d in terio rs o f th e o th e r m o n o lith set d o w n in t h e b u s h , A p p l e y a r d C o l l e g e , w h o s e i n c o n g r u i t y in t h e s c e n e is e s t a b l i s h e d a t f ir s t b y t h e o d d l y e x o t i c p a l m t r e e s t h a t f l a n k it.)

S t r i k i n g o v e r h e a d s h o t s o f t h e g ir ls c l i m b i n g th r o u g h n a rro w p asses o n th e ro c k s re in fo rc e t h e t h r e a t a n d e n t i c e m e n t it o f f e r s , a n d t h e p ierc in g flu te n o te s o f th e s o u n d tr a c k c o n sp ire w i t h t h e c a m e r a ’s a r t i c u l a t i o n o f s o m e n a m e ­ less d re a d .

I f t h e r e is t o o m u c h l i n g e r i n g o v e r t h e b e a u ty o f M iran d a (A n n e L a m b e rt) tu rn in g h e r h e a d in t h e s u n o r o f I r m a g r a c e f u l l y 12

w a v in g h e r a r m s , t h e r e a r e also g e n u i n e l y e r o tic t o u c h e s — fo r in s ta n c e , in t h e r e m o v a l o f s t o c k i n g s a n d b o o t s a s t h e g ir ls b e g i n t h e i r e x p lo ra tio n o f th e R ock. M rs A p p ley ard has to ld th e m , “ Y o u m a y r e m o v e y o u r g lo v es once you h av e passed th ro u g h W o o d e n d ” , in a d v e r t e n t ly h in tin g at t h e lo ss o f i n h ib itio n t h a t w ill f o l l o w a t t h e R o c k its e lf . H e r w a r n i n g ab o u t th e d an g ers o f th e R ock passes u n ­ h e e d e d ; s o d o e s E d i t h ’s l a t e r c o m p l a i n t t h a t “ I t ’s n a s t y h e r e . ’ ’ T h e film w o r k s b e s t as a s o m e w h a t lu s h ly p o etic s tu d y o f s u p p re s s e d a n d b u r g e o n in g s e x u a l i t y . T h e s t e a l t h y g i g g l e s o f t h e g ir ls a t t h e c o l l e g e ; t h e o r p h a n e d S a r a ’s ( M a r g a r e t N e l s o n ) c r u s h o n t h a t “ B o t ti c e l li A n g e l ” , M ira n d a ; th e p re tty F re n c h m is tre s s (H e le n M o r s e ) w h o u s e s p o w d e r b e c a u s e s h e f i n d s it “ b e c o m i n g ” ; M i c h a e l ’s o b s e s s i o n w i t h t h e g ir ls h e h a s s e e n o n t h e R o c k ; e v e n M r s A p p l e y a r d ’s y e a r n i n g f o r h e r “ u t t e r l y d e p e n d ­ a b l e h u s b a n d ” : all t h e s e p o i n t t o t h e f i l m ’s

The Films of Peter Weir i n t e l l i g e n t i n t e r e s t in t h e s e x u a l i n s t i n c t a n d its m a n i f e s t a t i o n s in a g e n e r a l l y o p p r e s s i v e e n v i r o n m e n t . O n l y a m o n g t h e s e r v a n t s (a s i m p l i s t i c b u t p o s s i b l y a c c u r a t e t o u c h ) is t h e r e a n o p e n l y a c k n o w l e d g e d i n t e r e s t in s e x : A l b e r t i m a g i n e s t h e g i r l s ’ le g s in t e r m s M i c h a e l fin d s c r u d e ; M in n ie , th e s c h o o l m a id (Jacki W e a v e r ) , is s e e n in b e d w i t h h e r b o y f r i e n d , T o m th e g a rd e n e r (A n th o n y L le w e lly n -Jo n e s), a n d te lls h i m , “ I f e e l s o r r y f o r t h e m k i d s . ” T h i s , i n c i d e n t a l l y , is o n e o f t h e f e w m o m e n t s w h e n t h e f ilm s h o w s a g e n u i n e c o m p a s s i o n f o r a n y o f its c h a r a c t e r s .

B u t if t h e s e x u a l m o t i f r e p r e s e n t s t h e f i l m ’s m o s t c o h e r e n t l y p u r s u e d i n t e r e s t , g iv e o r t a k e t h e e n i g m a t i c r o l e o f t h e R o c k in all t h i s , t h e a u d i e n c e is le f t w i t h a n u m b e r o f o t h e r d i s ­ satisfy in g e le m e n ts . W h a t, fo r in sta n c e , are w e to m a k e o f th e s itu a tio n o f th e o r p h a n S ara?

B e c a u s e h e r g u a r d i a n h a s n o t p a id h e r f e e s , M rs A p p le y a rd d e c id e s s h e m u s t “ m a k e o th e r a r r a n g e m e n t s ” f o r h e r . N o t s u r p r i s i n g in o r d i n a r y c i r c u m s t a n c e s , b u t s u r e l y it is o d d th a t s h e s h o u ld p u r s u e th is m a tte r w h e n th e s c h o o l is c r u m b l i n g a r o u n d h e r as t h e a f t e r ­ m a t h o f t h e p ic n ic . A g a i n , t h e s u g g e s t i o n t h a t S a r a is t h e s i s t e r o f A l b e r t ( b o t h ta lk o f a s i b ­ lin g t h e y l o s t t o u c h w i t h a f t e r l e a v i n g t h e o r p h a n a g e ) is a c u r i o u s l y u n d e v e l o p e d t a n g e n t t o t h e f i l m ’s m a i n a c t i o n , a n d S a r a ’s d e a t h s e e m s m e re ly g ra tu ito u s.

W h a t s i g n i f i c a n c e d o e s o n e a t t a c h to t h e f i l m ’s a d u m b r a t i o n s o f c l a s s - c o n s c i o u s n e s s : in t h e t o w n ’s a t t i t u d e t o t h e s c h o o l (little b o y s r u n s h o u t i n g a f t e r t h e d r a g as it t a k e s t h e s c h o o l p a r ty t h r o u g h W o o d e n d ) ; in T o m ’s c l a s s - b a s e d r e s i s t a n c e t o M i n n i e ’s s y m p a t h y

f o r “ t h e m k i d s ” ; in t h e f o s s i l i z e d F i t z h u b e r t s w h o s e p ic n ic s c e n e is c r itic a lly p la c e d as a still life b y c o n t r a s t w i t h t h e s c h o o l ’s n o i s y p a r ty ; a n d , e s p e c ia lly , in t h e e x c h a n g e s b e t w e e n M i c h a e l a n d A l b e r t ? T h e s e l a t t e r fa irly o b v i ­ o u s l y p o i n t u p d i f f e r e n t a p p r o a c h e s to t h e m a tte r o f sex a n d to th e w h o le e p iso d e o f th e R o c k , b u t it is n o t c le a r w h e r e t h e film s t a n d s in r e l a t i o n to e i t h e r o f t h e m .

M r s A p p l e y a r d ’s c o lla p s e u n d e r t h e s t r a i n o f t h e g i r l s ’ d i s a p p e a r a n c e a n d t h e lo s s o f t h e t e a c h e r s h e h a d r e li e d o n m i g h t h a v e p r o v i d e d t h e m e a n s f o r p u l l in g t o g e t h e r i n t e r e s t in t h e f i l m ’s m a i n e v e n t s . R a c h e l R o b e r t s p la y s h e r w i t h a g r i m g e n t i l it y t h a t is v e r y o p p r e s s i v e — h e r b a c k g r o u n d o f B o u r n e m o u t h h o l i d a y s is c le a r ly s o c ia lly i n f e r i o r t o t h a t o f m o s t o f t h e g irls a n d s h e m a i n t a i n s h e r c o n t r o l b y a n i r o n e x e r c i s e o f t h e will t h a t is c o m p e l l i n g to observe.

T h e c a m e r a f r e q u e n t l y s t r e s s e s h e r h e a v il y r e p r e s s i v e d o m i n a n c e as w h e n , o n t h e t o p o f t h e s c h o o l s t e p s , s h e w a r n s t h e girls o f t h e d an g ers o f th e R ock, or w h en sh e h o v ers th re a te n in g ly o v e r S ara w h o h as n o t learn t th e p r e s c r i b e d p o e m (b y “ M r s F e lic ia H e y m a n s . . . o n e o f t h e F in e st o f o u r E n g l i s h p o e t s ” ) , b u t h a s w r i t t e n o n e h e r s e l f . T h e f i l m ’s t r e a t ­ m e n t o f M r s A p p l e y a r d , o f t e n lo cally v e r y t e l l ­ in g , is in t h e e n d t o o s c r a p p y f o r t h e fin a l a n n o u n c e m e n t o f h e r d e a th , at th e fo o t o f H a n g i n g R o c k , to h a v e t h e i m p a c t it m i g h t h av e had.

T h e n t h e r e is t h e q u e s t i o n o f t h e f i l m ’s m e t a p h y s i c a l p r e o c c u p a t i o n s w h i c h it w e a r s o n its e x q u i s i t e s l e e v e , r a t h e r t h a n l o c a t i n g t h e m m o r e c e n tr a l l y . “ W h a t w e s e e , a n d w h a t w e

The Saint Valentine’s Day breakfast at Appleyard College. Picnic at Hanging Rock.

Irma (Karen Robson), who returns from the Rock a woman, not a girl. Picnic at Hanging Rock 13

Australian Directors s e e m , are b u t a d re a m . A d re a m w ith in a d r e a m ” . T h i s is t h e o p e n i n g s e n t e n c e o n t h e s o u n d t r a c k ; it s e t s u p e x p e c t a t i o n s t h a t t h e r e s t o f t h e film d o e s little t o g ra tify . P e r h a p s w e a s s u m e th at th e ep iso d e o f th e R o ck (stra n g e t h i n g s h a p p e n i n g , if n o t e m e r g i n g ) is m e r e l y a d r e a m w i t h i n t h e l a r g e r d r e a m o f life its e lf , b u t t h e n o t i o n is t o o r o m a n t i c a l l y v a g u e to e n g a g e th e m in d .

T h e s a m e m i g h t b e s a i d f o r M i r a n d a ’s g n o m ic u tte ra n c e th at “ E v e ry th in g b eg in s — a n d e n d s — at ex actly th e rig h t tim e a n d p l a c e . ” T h i s b it o f a p h o r i s t i c t o s h p r e c e d e s t h e m u c h m o r e sh a rp ly c in e m a tic in sig h t c a u g h t by M i s s M c C r a w ’s w o r r i e d l o o k i n g u p f r o m t h e a s c e r t a i n a b l e t r u t h s o f t h e g e o m e t r y t e x t s h e is r e a d i n g to t h e R o c k w h i c h y ie ld s n o a n s w e r s .

I r m a , m u c h la t e r p o n d e r i n g t h e e n d o f t h e s u m m e r , q u o t e s M i r a n d a ’s w o r d s a b o u t t h e r i g h t t i m e a n d p la c e as t h o u g h t h e y m e a n t s o m e t h i n g . I f t h e y d o , t h e film d o e s n o t m a k e u s p r iv y to t h a t m e a n i n g .

C l if f G r e e n ’s s c r e e n p l a y is o f t e n s h r e w d l y r i g h t , e s p e c ia lly in its d e a l i n g s w i t h M r s A p p l e ­ y a r d , b u t , in t h e e n d , it is u n d i s c r i m i n a t i n g . It d o e s n o t f o c u s s h a r p l y e n o u g h o n t h e f a c ts o f t h e d i s a p p e a r a n c e ; it d o e s n o t c o m p e l a t t e n t i o n firm ly o n w h a t exactly h a p p e n e d at H a n g in g R o c k . N o t t h a t t h e a u d i e n c e r e q u i r e s h i m to o f f e r a n a n s w e r to t h e r i d d l e , b u t t h a t t h e n a tu r e o f rid d le a n d a fte r-e ffe c ts s h o u ld b e k e p t m o r e c le a r ly b e f o r e it.

T h e f i l m ’s g r a s p o f n a r r a t i v e , as d i s t i n c t f r o m its i n t i m a t i o n s o f d r e a d a m o n g t h e s u m m e r l u s h n e s s a n d s t i l l n e s s , is v e r y u n c e r t a i n . W h e n S erg ean t B u m p h e r appears an d th e in v estig a­ t i o n b e g i n s , t h e film t a k e s a n e w n a r r a t i v e t u r n a n d t o n e , t h e e f f e c t o f w h i c h is n o t d r a m a t i c c o n t r a s t b u t i n c o n g r u i t y in r e l a t i o n t o w h a t h a s g o n e b e fo re . T h e details o f t h e s e a rc h a re p e r ­ f u n c t o r i l y h a n d l e d a n d t h is c a n ’t b e j u s t i f i e d b y d r a w i n g a p a r a lle l w i t h M i c h e l a n g e l o A n t o ­ n i o n i ’s L’avventura. Picnic at t h i s s t a g e n e e d s th e in tere st th a t th e search m ig h t p ro v id e an d t h e s c r e e n p l a y a llo w s t h i s to b e d i s s i p a t e d b y p e rip h e ra l m a tte rs , n o t o fferin g an e q u iv a le n t t o A n t o n i o n i ’s g r o w i n g p r e o c c u p a t i o n w i t h t h e re la tio n sh ip b e tw e e n th e se a rc h e rs.

T h e film b u i l d s u p a n i m p r e s s i v e — e v e n ta n talizin g — a tm o s p h e r e , b u t d o e s so at th e c o s t o f p u r s u i n g a little m o r e r u t h l e s s l y w h a t is ce rtain ly a v e ry fa scin atin g sto ry . D a v id A n s e n , r e v i e w i n g t h e film in Newsweek, is r i g h t to

Left: Sara (Margaret Nelson), the orphan, during the breakfast.

Picnic at Hanging Rock.

14

The Films of Peter Weir

In a dream sequence, Chris Lee (Gulpilil) appears holding the sacred stone. The Last Wave.

“We are witnessing nature at work.” Violent rain hits an outback school. The Last Wave.

c l a i m , a f te r p r a is i n g W e i r ’s “ l a n g u i d , s u n d a p p l e d i m a g e s ” , t h a t “ t h e r e ’s s o m e t h i n g h o llo w at th e c o re , an u n e a r n e d s e n s e o f i m ­ p o r t a n c e , a r e l i a n c e o n m e r e w o r d to s u g g e s t m y s t ic a l d e p t h s ” .4 N e v e r t h e l e s s , d e s p i t e h is f a il u r e to i n t e g r a t e all t h e e l e m e n t s o f h is f ilm , W e i r still s h o w s in Picnic a h e a r t e n i n g c a p a c ity to go b e y o n d th e lite ra l-m in d e d realism o f m o s t A u stra lia n c i n e m a o f t h e ’70s. H e a l r e a d y k n o w s h o w to r e a l i z e im a g is tic a lly s u c h f u n d a m e n t a l d i c h o ­ t o m i e s as n a t u r e v s c i v i liz a tio n , t h e re a l v s t h e i d e a l , t h e i n s t i n c t v s t h e will. H e is n o t a f r a id to d a n g l e i d e a s e v e n if h e is n o t y e t r i g o r o u s e n o u g h in p u r s u i n g t h e m . I n r e t r o s p e c t , it m a y s e e m t h e e x c i t e m e n t t h a t g r e e t e d Picnic in 19 7 5 h a d le ss t o d o w i t h a c tu a l a c h i e v e m e n t t h a n w i t h its r e v e l a t i o n o f a n i m a g i n a t i v e p o t e n t i a l r a r e to t h e p o i n t o f u n i q u e n e s s in t h e A u s t r a l i a n f ilm i n d u s t r y .

W h a t e v e r its l a p s e s , Picnic is n o t p a r o c h i a l ; it is t h e w o r k o f a m a n w ith a v i s i o n o f life, a v i s i o n in w h i c h d a n g e r o u s f o r c e s a r e a lw a y s m e n a c i n g lif e ’s o r d e r l y s u r f a c e s , s u r f a c e s t h a t c a n b e m a d e t o r e f le c t f r i g h t e n i n g d e p t h s .

t h e c e n t r e — w h i c h will b e a c e n t r a l m o t i f t h r o u g h o u t t h e r e s t o f t h e film .

T h e c a m e r a t h e n c u t s to a p a r c h e d s c e n e in a c e n tra l A u s tra lia n to w n s h ip w h e re , u n d e r a c l o u d l e s s s k y , a g r o u p o f A b o r i g i n a l s s its s u r ­ r o u n d e d by a s q u a l i d h e a p o f p o s s e s s i o n s a n d s o m e c h i l d r e n play c r ic k e t in t h e h e a t. A c h ild d r i n k s a v id ly f r o m a h o s e . S u d d e n l y , w i t h o u t w a r n i n g , r a in , t h e n h a il, b u r s t s f r o m t h e e m p t y s k y . T h e e x c i t e d c h i l d r e n h u d d l e in t h e s c h o o l h o u s e a n d , as h u g e h a i l s t o n e s s h a t t e r t h e w i n d o w s a n d c h i l d r e n a r e c u t , t h e t e a c h e r te lls t h e m p ro s ily : “ W e a r e w i t n e s s i n g n a t u r e at w o rk .”

T h e n e x t c u t ( a n d t h e f i l m ’s “ p u n c t u a t i o n ” a t t h i s s t a g e is as a r b i t r a r y a n d m y s t if y in g as I m e a n t o s u g g e s t ) is to S y d n e y , w h e r e t h e c a m e r a c lo s e s in o n a n A b o r i g i n a l d r i n k i n g at a fo u n ta in . A s D a v id B u rto n (R ich ard C h a m ­ b e r l a i n ) , a c o m p a n y la w y e r , le a v e s t h e c a r p a r k a t t a c h e d to h is o ff ic e b u i l d i n g , t h e a t t e n d a n t g iv e s h i m a y e llo w p e p p e r f o r h is w ife a n d h e c o m m e n t s o n t h e o d d i t y o f its c o lo r .

O u t in t h e s t r e e t s , t h e s c e n e is a n o i s y m u d d l e o f c a r s , u m b r e l l a s , p e o p l e s h o u t i n g in a c h a o s t e s t i f y i n g to m a n ’s in c a p a c ity to d e a l w ith a f r e a k o f n a t u r e . O n t h e c a r r a d io , D a v i d h e a r s th a t “ an u n u su ally w id esp read lo w -p ressu re t r o u g h m o v i n g u p f r o m t h e s o u t h e r n p o la r i c e ” is t h e c a u s e o f t h e d o w n p o u r , a n d t h e a u d i e n c e r e g i s t e r s t h i s as a s c ie n tif ic a t t e m p t to e x p l a i n a n d d e m y s t i f y t h e u n u s u a l . A s t h e film g o e s o n , D a v i d ’s d i l e m m a is i n c r e a s i n g l y a m a t t e r o f t h e r a t i o n a l m a n ’s f a il u r e to f in d s a tis f y in g a n s w e r s to t h e b i z a r r e . W e i r h a s e s t a b l i s h e d e a r ly w h a t t h e f i l m ’s c e n t r a l p r e -

T h e f ir s t t h i r d o f T h e L a s t W a v e is as f i n e as a n y t h i n g W e i r h a s d o n e . It is c r y p tic , a l l u s i v e a n d d e m a n d i n g in t h e r e s o n a n c e s it s e t s u p .

B e h i n d t h e c r e d i t s a n A b o r i g i n a l is p a i n t i n g o n t h e r o o f o f a c a v e w h i c h o p e n s lik e a la r g e m o u t h : a b la c k h a n d , p r o t r u d i n g f r o m a W e s t e r n c o a t s l e e v e , c o m p l e t e s a c u r i o u s s ig n — t h r e e c o n c e n t r i c c ir c le s w i t h f o u r d o t s in

4. David Ansen, “ Rocky Horror” , Newsweek, July 5, 1979.

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Australian Directors

Billy (Athol Compton) at the pub, aware that his pursuers have come for him. The Last Wave. o c c u p a t i o n will b e : t h e b r e a k d o w n o f m a n ’s r e s o u r c e s in a r e a s w h e r e r a t i o n a l i t y c a n n o t s e r v e h i m . O r as R i c h a r d S c h ic k e l in r e v i e w i n g Picnic h a s w r i t t e n : “ T h e r e is s o m e t h i n g e ls e W e i r w a n t s t o s a y — t h a t in s o c i e t y , a s e n s e o f o r d e r is a v e r y f r a g ile t h i n g . I f p e o p l e d o n o t a llo w f o r t h e i n e x p l i c a b l e , t h e n t h e y will c o l ­ l a p s e o f s h o c k w h e n c h a n c e m a k e s its i n e v i t ­ ab le a p p e a ra n c e .” 5 A s D a v id r e tu r n s to th e s e e m in g safety a n d s a n i t y o f h is s u b u r b a n h o m e , w i t h h i s p l e a s a n t w ife A n n i e ( O liv ia H a m n e t t ) a n d t w o c h i l d r e n , h e — a n d t h e a u d i e n c e — s e e m s to h a v e g a in e d a re fu g e fr o m th e u n p re d ic ta b ilitie s o f n a t u r e . T h e f a m ily s its to e a t a n d all is c o s y u n til a s o u n d o f r u n n in g w a te r in sid e t h e h o u s e is h e a r d . I n t h i s b la c k little j o k e o f W e i r ’s ( r e c a ll i n g t h e t o n e o f C a r s ) t h e r i v u l e t o n t h e s t a i r s p r o v e s to b e o n l y t h e r e s u l t o f t h e b a t h ’s h a v in g o v e rflo w e d , b o th c h ild re n n a tu ra lly d e n y in g re sp o n sib ility fo r th e accid en t. D a v id is, h o w e v e r , o d d l y d r a w n b y t h e r a in a n d d r e a m s h e s e e s t h r o u g h t h e w i n d o w a b la c k f i g u r e s t a n d i n g in t h e r a in .

T h e s c e n e j u m p s to a b a r b e c u e at th e h o m e o f D a v i d ’s c l e r g y m a n s t e p - f a t h e r ( F r e d e r i c k P arslo w ). T h e c a m e ra re co rd s th e c h u rc h s e r e n e l y s e t a g a i n s t s e a a n d c le a r s k y , t h e n p a n s a c r o s s a w i d e la w n t o t h e b a r b e c u e w h e r e e v e r y o n e is r e l a x e d e x c e p t D a v i d , w o r r i e d at t h e t e l e p h o n e . W h e n h e te lls h is s t e p - f a t h e r a b o u t t h e b a d d r e a m s t h a t h a v e la te ly c o s t h i m s l e e p , h is s t e p - f a t h e r r e c a lls to h i m h is c h i l d ­ h o o d d re a m s a b o u t p eo p le “ w h o c o m e an d steal y o u r b o d y w h ile y o u s le e p ” . A n n ie ,

5. Richard Schickel, “ Vanishing Point” , Time, April 23, 1979.

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m e a n w h i l e , p ia y s w i t h t h e i r d a u g h t e r in t h e sp ra y o f t h e law n s p rin k le r. T h e sp ra y , a g a in st t h e clear sk y , d is s o lv e s in to d a r k s t o r m c lo u d s , l i g h t n i n g a n d d r i v i n g r a i n , u s h e r i n g in t h e fin a l e p i s o d e o f t h i s o p e n i n g m o v e m e n t o f t h e film .

T h e c a m e r a lig h ts b r ie f ly o n a D a n g e r s ig n a n d t r a c k s a f te r a n A b o r i g i n a l y o u t h , Billy (A th o l C o m p to n ) , stealin g sa c re d s to n e s fr o m t r i b a l g r o u n d s b e n e a t h t h e city s e w e r s . T h i s i r o n i c j u x t a p o s i t i o n — t h e ‘b e n e f i t s ’ o f c i v i l iz a ­ t i o n i m p o s e d o n s a c r e d g r o u n d s — is u n ­ o b tru s iv e ly a n d ex actly m a d e . T h e c a m e r a c u ts t o Billy d r u n k in a p u b , s u d d e n l y a w a r e t h a t h is p u rs u e rs h a v e c o m e fo r h im . F r o m h e re , th e film m o v e s s w iftly t h r o u g h t h e h u n t i n g d o w n o f B illy t o a d a r k s t r e e t w h e r e a n o l d A b o r i g i n a l , in a c a r , p o i n t s t h e b o n e o f d e a t h at h im .

It is w o r t h d e s c r i b i n g t h e s e s e q u e n c e s in s o m e d e t a i l b e c a u s e e v e r y t h i n g in t h e m is d o n e so sh a rp ly , w ith s u c h a s o p h is tic a te d ey e fo r detail a n d s u c h r ig o ro u s c o n c e r n fo r re le v a n c e .

T h e abrupt changes of scene n ev erth eless c re a te a p o w e rfu lly s u s ta in e d n a r ra tiv e r h y t h m a n d a te x tu r e o f m e s h in g allu siv en ess. T h a t th e f ilm is s o c o m p l e t e l y a b s o r b i n g t o t h i s p o i n t is p a r tl y d u e t o W e i r ’s Finely d i s c r i m i n a t i n g se n se o f w hat h e n ee d s fro m each ep iso d e an d o f h is v e r y c o n t r o l l e d p a c in g w i t h i n a n d b e ­ t w e e n e p i s o d e s . A s w e ll, t h e s c r e e n p l a y ( W e i r is c o - a u t h o r w i t h T o n y M o r p h e t t a n d P e t r u P o p e s c u ) to t h i s p o i n t is l i t e r a t e a n d q u i e t l y w i t t y , a n d s t r i k e s a b a l a n c e b e t w e e n s p e c if ic , in d iv id u a liz in g to u c h e s a n d s u g g e s tio n s o f s o m e w id er d islo catio n , an d c a m e ra m a n B oyd lig h ts all t h i s s o as to e m p h a s i z e t h e h i n t s a n d t h r e a t s i n h e r e n t in t h e s c r ip t.

C o m p a r e d w i t h t h i s s p l e n d i d f ir s t t h i r d , t h e r e s t o f t h e f ilm is o n l y i n t e r m i t t e n t l y h o l d i n g .

T h e s c re e n p la y c red it, “ B ased o n a n id e a by P e t e r W e i r ” , is p e r h a p s t h e c l u e t o w h y . T h e “ i d e a ” , I t a k e it, is D a v i d B u r t o n ’s g r o w i n g b e l i e f t h a t h e h a s a s p e c ia l a f f in ity w i t h t h e tr i b a l A b o r i g i n a l s w h o k ille d B illy, a n d w h o s e d e fe n c e h e u n d e rta k e s . A s h e learn s o f th e A b o r i g i n a l s ’ a p p r o a c h t o c y c le s o f t i m e , h e b e g i n s t o b e l i e v e t h a t h e is a d e s c e n d a n t o f a n a n c ie n t race w h ic h , a c c o rd in g to A b o rig in a l t r a d i t i o n , i n h a b i t e d A u s t r a l i a in p r e - h i s t o r i c t i m e s . H is i n c r e a s i n g s e n s e o f a l i e n a t i o n f r o m h is m i d d l e - c l a s s life is i n t e n s i f i e d b y h i s s t e p ­ f a t h e r t e l l in g h i m t h a t , as a c h i l d , h e h a d p r e ­ d i c t e d h is m o t h e r ’s d e a t h .

In t h e f i l m ’s la s t e p i s o d e , C h r i s ( G u l p i l i l) ta k e s h im to t h e s a c re d trib al g r o u n d s w h e r e D a v i d s e e s h is o w n l i k e n e s s in a s t o n e fa c e a n d i n t e r p r e t s t h e w a ll p a i n t i n g t o m e a n t h a t t h e

The Films of Peter Weir p r e s e n t c y c le o f t i m e w ill e n d w i t h a g i a n t w a v e .

In a n o u tlin e lik e th is I a m a w a re t h a t th e i d e a s o u n d s f a in t l y silly. I n f a c t it h a s p e r ­ s u a s i v e i n n e r lo g ic o f g o o d f a n t a s y a n d if W e i r h a d a d d r e s s e d h i m s e l f m o r e s i n g l e m i n d e d l y to w o r k i n g o u t its d e t a i l s , t h e f ilm m i g h t h a v e m a i n t a i n e d t h e p r o m i s e o f its o p e n i n g s e q u e n c e . In w ays s o m e t i m e s r e m i n i s c e n t o f N i c o l a s R o e g ’s Don’t Look Now, t h e f i l m ’s m o s t m o v i n g a n d d a r i n g e l e m e n t is t h e b r e a k ­ d o w n o f t h e r a t i o n a l m a n ’s b e l i e f in a n d h o l d o n t h e c e r t a i n t i e s a n d g u i d e l i n e s o f h i s life.

C h a m b e r l a i n ’s e s s e n t i a l l y A n g l o - S a x o n b l a n d ­ n e s s is c o n v i n c i n g l y m o d i f i e d b y h is g r o w i n g f e a r s a n d b y h is f a s c i n a t i o n w i t h t h e n o n ­ r a t i o n a l f o r c e s t h a t b e a r o n m e n ’s liv e s — e v e n o n t h e liv e s o f s u p p o s e d l y c iv iliz e d m a n .

H o w e v e r , t h e f ilm d o e s n o t m o v e in q u i t e t h i s c l e a r - c u t w a y , a n d l o s e s s o m e o f its i m p e t u s as a r e s u l t . T h e tr ia l o f t h e A b o r i g i n a l s a n d t h e c r o s s - e x a m i n a t i o n s l e a d i n g u p to it p a s s f o r c o m p a r a t i v e l y little . It m i g h t h a v e b e e n e x p e c t e d t h a t W e i r w o u l d u s e t h e tr ia l to

fo c u s m u c h m o r e sh a rp ly t h a n h e d o e s th e a t t e m p t to m e a s u r e , b y o n e s e t o f la w s , b e h a v io u r th a t d e riv e s fro m an u tte rly dif­ fe re n t co d e. T h e r e are g o o d in d iv id u a l m o m e n t s , o f c o u r s e : D a v i d ’s q u e s t i o n i n g o f t h e A b o r i g i n a l y o u t h s a b o u t h o w Billy d i e d , w ith th e c a m e ra p a n n in g a r o u n d th e ir faces w h i c h c le a r ly c o n c e a l a t r u t h t h e y c a n n o t / w i l l n o t artic u la te ; t h e m e a n in g le s s n e s s o f C h r i s ’ c o u r t r o o m o a t h , “ S o h e l p m e G o d ” ; a n d h is r e f u s a l at t h e c r u c ia l m o m e n t t o c o - o p e r a t e w i t h D a v i d as t h i s w o u l d m e a n r e v e a l i n g t h e i r tr i b a l c u s t o m s .

B ut su c h ac c u ra te ly a c h ie v e d m o m e n t s are o f f s e t b y t h e f i l m ’s v a g u e l i b e r a l i s m in its t r e a t ­ m e n t o f th e A borig in als. T h e co lleag u e (P e te r C a r r o l l ) f r o m L e g a l A id w h o i n v o l v e s D a v i d in t h e c a s e ( a n d i t ’s n o t c le a r w h y D a v i d s h o u l d h a v e s t r u c k h i m as t h e m a n f o r t h e j o b ) t a l k s o f d isp e llin g a “ few r o m a n t i c n o t i o n s ” a b o u t A b o rig in a ls , claim in g th a t t h e r e a re n o trib al A b o r i g i n a l s in t h e city: “ W e ’v e k i l le d t h e i r so n g s , d a n c e s a n d law s.” L a te r h e ac cu ses

White, middle-class David Burton (Richard Chamberlain) with his client Chris Lee. The Last Wave.

17

Australian Directors D a v id o f a “ m id d le -c la ss p a tro n iz in g a t t i tu d e ” to w a r d s th e b lack s w h e n h e , M ic h a e l, d e c id e s t o p u ll o u t o f t h e c a s e b e c a u s e h e d o e s n ’t b e l i e v e t h e “ tr i b a l p e o p l e ” s tu f f . T h e film n e e d s t o s h a r p e n t h e p o i n t I a s s u m e it is m a k i n g h e r e : t h a t is, t h a t w e l l - m e a n i n g h u m a n i t a r i a n i s m is as lik e ly as c o o l r a t i o n a l i s m t o b e u n s u s c e p t i b l e to t h e p r o f o u n d e s t t r u t h s a b o u t t h o s e it a i m s to h e l p .

T h i s w o u l d h a v e g i v e n a m o r e i r o n i c v a l u e to th e s u b s e q u e n t sc e n e w ith th e a n th ro p o lo g is t ( t h e e x c e l l e n t V i v e a n G r a y , a g a in ) w h o e x ­ p la in s t o D a v i d t h e c o n n e c t i o n o f t h e s a c r e d s to n e w ith th e D r e a m tim e , “ m o r e real th a n r e a l i ty i t s e l f ’. T h i s s c i e n t i s t ’s f a c tu a l a c c o u n t r e s o n a te s w ith a n u n d e r s ta n d in g th a t e lu d e s th e Legal A id m a n . S h e k n o w s th a t s o m e p e o p le (M u lk ru l, “ a ra c e o f spirits f r o m t h e ris ­ in g s u n ” ) h a v e m o r e c o n t a c t w i t h t h e D r e a m ­ t im e th a n o th e r s a n d e n d s by say in g , “ F ra n k ly I t h i n k n o n e o f u s [i.e., w h i t e s ] h a s t h e s p i r i ­ t u a l p o w e r . ” T h i s is a c k n o w l e d g m e n t o f t h e s u p e rio r p ercep tio n o f w h ich th e A b o rig in al m i n d is c a p a b l e , a n d u n w i t t i n g l y i r o n i c b e c a u s e s h e is u n a w a r e o f D a v i d ’s g r o w i n g s e n s e o f h is o w n a f f in ity w i t h t h e D r e a m t i m e . T h i s s c e n e , p l a c e d b e t w e e n t h a t o f D a v i d ’s q u a r r e l w i t h h is L egal A id fr ie n d a n d th a t o f th e m o u n t in g fear o f D a v i d ’s w if e w h o h a s s e e n a b la c k m a n in t h e g a r d e n , h a s a t h e m a t i c c e n t r a l i t y in t h e f ilm t h a t is b e l i e d b y its t o o l o w - k e y t r e a t m e n t . O n e f e e ls t h a t m o r e s h o u l d b e m a d e o f t h e c o n t r a s t b e t w e e n D r W h i t b u r n ’s c a lm b u t e m o t i o n a l l y to n e d a p p ro a c h a n d th e tw o k in d s o f i n c o m p r e ­ h e n s i o n t h a t f l a n k it.

T h e f i l m ’s c e n t r a l s e c t i o n u n m i s t a k a b l y sa g s.

It s u f f e r s f r o m u n d u e e x p l i c i t n e s s o n t h e o n e h a n d a n d irritatin g o b liq u e n e s s o n th e o th e r.

T h e e x p l i c i t n e s s j a r s in c o m m e n t s lik e A n n i e ’s w h e n s h e is w a it i n g f o r C h r i s t o c o m e to d i n n e r : “ I ’m a f o u r t h g e n e r a t i o n A u s t r a l i a n a n d I ’v e n e v e r m e t a n A b o r i g i n a l b e f o r e ” , u n d e rlin in g th e cu ltu ral c h a sm th a t h e r h u s ­ b a n d m u s t b r i d g e ; in t h e c l i c h e d w r i t i n g t h a t a n n o u n c e s h e r g ro w in g fear an d e s tr a n g e m e n t f r o m D a v i d ( “ I c a n ’t t a l k to y o u a n y m o r e . I d o n ’t k n o w y o u a n y m o r e ” ); a n d e s p e c ia lly in D a v i d ’s v is it t o h i s s t e p - f a t h e r , a c l e r g y m a n . “ I ’v e l o s t t h e w o r l d t h a t m e a n t a n y t h i n g ” , D a v i d l a m e n t s , a n d a t t a c k s h is s t e p - f a t h e r ’s f a it h b e c a u s e it “ e x p l a i n s a w a y m y s t e r i e s ” .

O n e o f W e i r ’s s t r e n g t h s is h i s c a p a c ity f o r a c c e p t i n g m y s t e r i e s b u t , if h e d o e s n o t tr y to ex p la in t h e m , o r to ro b t h e m o f th e ir e s s e n tia l s tra n g e n e s s , h e ce rtain ly d o e s s e e m in te re s te d in i l l u m i n a t i n g t h e m .

I n t h i s h e is a g o o d d e a l le s s s u c c e s s f u l .

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D a v i d ’s e f f o r t s to u n d e r s t a n d t r i b a l l a w s a n d b eliefs; th e c o n n e c tio n s b e tw e e n h is a n c e s try a n d h is u n d e r s t a n d i n g o f t r i b a l secrets^; h is trac k in g d o w n o f C h arlie, th e o ld e r A b o rig in al w h o s e t o t e m i c i d e n t i f i c a t i o n is t h a t o f a n o w l , to a d ism a l r o o m in g h o u s e a n d t h e s u b s e q u e n t i n c a n t a t i o n s t h a t le a d to D a v i d ’s a c c e p t a n c e o f h is r o l e as “ M u l k r u l ” : t h e s e p r o d u c e a n a r r a ­ t i v e e f f e c t t h a t is n o t s o m u c h m y s t e r i o u s as m e re ly c o n fu sin g .

P e r h a p s t h e s c r e e n p l a y is a t f a u lt h e r e .

D e s p i t e C h a m b e r l a i n ’s c a r e f u l , i n t e l l i g e n t p e r ­ f o r m a n c e , o n e s im p ly d o e s n o t k n o w e n o u g h a b o u t D a v i d to f e e l a s y m p a t h e t i c e n g a g e m e n t in h is c r is is , a n d t h i s is a n e m o t i o n a l w e a k n e s s in t h e film . M o r e t h a n t h i s , t h o u g h , I b e l i e v e W e i r ’s w e a k n e s s is t h a t h e l e t s t h i s c e n t r a l s e c ­ t i o n o f t h e f ilm r u n o f f a f t e r t o o m a n y t a n g e n t s , as h e d o e s in t h e l a t t e r p a r t o f Picnic. H e d o e s n o t f o c u s c le a r ly a n d f i r m l y e n o u g h o n t h e b r e a k i n g d o w n o f D a v i d ’s r a t i o n a l c o n c e p t s a n d h is g r a d u a l a c c e p t a n c e o f o t h e r w a y s o f a p p ro ach in g e x p e rien ce . T h e stru g g le b e tw e e n h is r a t i o n a l r e s p o n s e s a n d t h e d e e p e r u r g e s h e b e g i n s to f e e l w i t h i n h i m n e e d a m o r e p o i n t e d d r a m a t i z a t i o n t h a n t h e y g e t.

A s I h a v e s u g g e s te d , W e ir re lie s to o m u c h o n m y s t i c a n d c r y p tic frissons a n d o n b o l d s t a t e m e n t s a b o u t b e l i e f s a n d la w s. A s a n auteur h e is as r e c o g n i z a b l e by h i s f a u l t s a s b y h is s t r e n g t h s .

U n l i k e Picnic, h o w e v e r , The Last Wave d o e s p u ll i t s e l f t o g e t h e r f o r its f in a l m o v e m e n t .

F o l l o w i n g t h e tria l ( t h e o u t c o m e o f w h i c h is n o n e to o clea r), D a v id goes lo o k in g fo r C h arlie w h o s e r o o m is n o w d e s e r t e d , a n d t h e p e r ­ v a siv e w a te r im a g e ry b e c o m e s m o r e in s is te n t,

Dr Whitburn (Vivean Gray) explains to David the meaning of the sacred stone. The Last Wave.

The Films of Peter Weir l i n k e d n o w w i t h m e n a c i n g u n d e r w a t e r e f f e c ts o n t h e s o u n d t r a c k . D a v i d ’s o w n s u b u r b a n h o u s e is w r e c k e d b y t h e s t o r m as a n o w l (C h a rlie ) w a tc h e s . C h ris s u d d e n ly a p p e a rs at h i s d o o r w i t h t h e s a c r e d s t o n e ( m a r k e d lik e t h e c a v e - p a i n t i n g in t h e o p e n i n g s c e n e ) a n d h e t a k e s D a v i d t o t h e e e r i l y b e a u t i f u l t r ib a l g ro u n d s — u n d e rg ro u n d caves reached th r o u g h th e sew e rs. In m o u n tin g e x c ite m e n t D a v id e x a m in e s t h e w a ll-p a in tin g s w h ic h , w ith t h e p r o p h e t i c gift h e n o w a c c e p t s , h e i n t e r p r e t s a s f o r e t e l l i n g t h e e n d o f a n o t h e r t i m e c y c le b y m e a n s o f a t id a l w a v e .

T h e r e is r e a l t e r r o r a n d t e n s i o n in t h is se q u e n c e , an a w a re n e ss in d e e d o f “ stran g e th in g s ” e m e rg in g , a n d th e d ark sp o ts o n th e w a l l - p a i n t i n g r e c a ll t h e “ b la c k r a i n ” w h i c h w in d s c r e e n w ip ers h a d e a rlier s triv e n in e ffe c ­ tu ally to d ea l w ith . C h ris h a s v a n is h e d a n d C h a r l i e , w h o h a s f e a r e d w h e r e D a v i d ’s s e a r c h is l e a d i n g h i m , a p p e a r s a n d g r a p p l e s w i t h D a v i d . P r e s u m a b l y ( a n d t h e f ilm is n o t c le a r a b o u t t h i s ) C h a r l i e is k ille d a n d D a v i d , a f te r l o s i n g h i s t o r c h , g r o p e s h is w a y o u t a b o v e gro u n d .

T h e film e n d s , en ig m a tic a lly , w ith D a v id o n a b e a c h as a h u g e w a v e a p p r o a c h e s . H e h a s f o u g h t h is w ay b ac k f r o m s u b t e r r a n e a n re g io n s ( p s y c h ic as w e ll as p h y s i c a l ) t o fa c e t h e a p o c a ly p tic v i s i o n o f d e s t r u c t i o n t h a t h is M u l k r u l a f f i n it i e s h a v e e n a b l e d h i m t o p r e d ic t .

It is a s t r i k i n g f i n a l e , if n o t e m o t i o n a l l y o r i n t e l l e c t u a l l y w h o l l y s a t i s f y i n g , a n d it d o e s carry a p e rs u a s iv e s e n s e , n o t o f d e n o u e m e n t, b u t o f h o r r o r still t o c o m e .

T h e r e is a m o r e p o w e r f u l c i n e m a t i c i n t e l l i ­ g e n c e a t w o r k in The Last Wave t h a n in

Picnic. H a v i n g s a c r if ic e d t h e f l u e n t , r i g o r o u s n a r r a t i v e l i n e s o f Cars f o r s o m e t h i n g a t o n c e m o r e a d v e n t u r o u s a n d le s s c o n t r o l l e d in Picnic a n d f a lle n v i c t i m t o C r e e p i n g B e a u t y a n d H ig h e r T h o u g h t, W e ir h as certain ly g ain ed g r o u n d i n The Last Wave. H is c a p a c ity to c r e a t e a n u n s e t t l i n g a t m o s p h e r e is, in t h e b e s t s e c t i o n s o f The Last Wave, a t t h e s e r v i c e o f a n e c o n o m ic a l a n d h ig h ly c h a rg e d n a rra tiv e .

I h a v e c o m p a r e d h im w ith R o e g (W eir s h a r e s , t o o , h is f a s c i n a t i o n w i t h t h e e l o q u e n t A b o r i g i n a l a c t o r G u l p i l il , f ir s t s e e n in Walk­ about); a t h is b e s t — t h a t is, a t h is m o s t u n ­ n e r v in g — h e can w ith s ta n d c o m p a r is o n w ith t h e H i t c h c o c k o f The Birds. T h e i n t e l l e c t u a l f r a m e w o r k o f t h e f ilm is m o r e i n t e r e s t i n g t h a n it is in Picnic, a n d , d e s p i t e t h e u r g e t o e x p l i c i t ­ n e s s w h ich h e s h a re s w ith A u s tra lia n n o v e lis ts , W e i r s h o w s a n i n c r e a s i n g c a p a c ity t o r e n d e r h is i d e a s in d r a m a t i c a c t i o n a n d t e l l in g im a g i s ti c p attern s.

David watches his torch float away as he makes his way out of the sewers. The Last Wave.

Jill Cowper (Judy Morris), right, confesses to Meg (Candy Ray­ mond) her fears about the plumber. The Plumber.

I n The Plumber, W e i r p u r s u e s f u r t h e r h is i n t e r e s t in t h e w a y t h e e d u c a t e d m i n d , d e ­ t a c h e d b y its e d u c a t i o n f r o m t h e s p r i n g s o f its i n s t i n c t i v e life, r e s p o n d s w h e n e x p o s e d to m o r e p rim itiv e th re a ts. M ax , th e p lu m b e r o f t h e ti tl e , o f f e r s s o m e o f t h e s a m e k i n d s o f c h a lle n g e to th e e d u c a te d m in d th a t th e R o c k a n d t h e s e c r e t s o f D r e a m t i m e l o r e d o in t h e t w o p r e c e d i n g f ilm s .

The Plumber is a m u c h le s s a m b i t i o u s w o r k t h a n Picnic o r The Last Wave, a n d is in s o m e w a y s m o r e s a t i s f a c t o r y . It is t e r s e , t i g h tl y s c r i p t e d (b y W e i r ) , i n t e l l i g e n t in its e x a m i n a ­ t i o n o f t h e a c a d e m i c m i d d l e c la s s c o n f r o n t e d b y c r u d e , t e a s i n g a m b i v a l e n c e , a n d r e s o r t i n g to

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Australian Directors

Jill listens anxiously as Max (Ivar Kants) demonstrates his admiration for Bob Dylan. The Plumber. m e t h o d s it w o u l d o r d i n a r i l y d e s p i s e t o m a i n ­ t a i n its c o n t r o l . U n l i k e t h e tw o e a r l i e r f ilm s , The Plumber r e s i s t s la r g e a b s t r a c t i o n s , e x c e p t i n s o f a r as t h e y a r e f i r m l y e m b o d i e d in its c e n t r a l d r a m a t i c s i t u a t i o n , a n d is in c o n s e ­ q u e n c e a m u c h t i d i e r , m o r e c o h e r e n t w o r k , its i d e a s u n d e r m o r e r i g o r o u s d is c ip lin e .

It r a is e s , t h e r e f o r e , t h e critic a l q u e s t i o n o f w h e t h e r t o v a l u e m o r e t h e a r tis tic e n t e r p r i s e t h a t k n o w s e x a c t l y w h e r e it is h e a d e d a n d arriv es th e re , or th e m o re a d v e n tu r o u s w ork t h a t is i n e v i t a b l y f l a w e d , a bit u n w i e l d y , b u t a ls o r i c h e r in t e x t u r e . I d o n ’t w is h t o a n s w e r t h i s q u e s t i o n , b u t to d r a w a t t e n t i o n to t h e d i v e r s i t y o f W e i r ’s i n t e r e s t s a n d m e t h o d s , to h i s r e a d i n e s s to w o r k o n l a r g e r a n d s m a l l e r c a n v a s e s . I f it is e a s i e r f o r h i m t o b e s u c c e s s f u l w i t h Cars a n d The Plumber, t h e k i n d s o f f a i l u r e s t h a t a r e p a r t o f Picnic a n d The Last Wave m a y u l t i m a t e l y p r o v e m o r e r e w a r d i n g .

T h e v e ry s e n s e o f th e ir in c o m p le te ly re alized i n t e n t i o n s p e r h a p s t a n t a l i z e s critic a l s p e c u l a ­ t i o n m o r e t h a n t h e t r i m n e s s e s o f t h e o t h e r tw o f ilm s .

N o t t h a t The Plumber is w i t h o u t b l e m i s h e s ; it s u f f e r s s o m e o f t h e s a m e k i n d s o f b a s ic c r e d i b i li t y p r o b l e m s t h a t a r e w o r r y i n g in Cars.

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W h y , fo r in s ta n c e , d o e s th e n ice y o u n g a c a d e m i c w ife , g e t t i n g o n w i t h h e r M A t h e s i s in a n t h r o p o l o g y , s i m p ly n o t r e f u s e to a d m i t t h e p l u m b e r w i t h o u t s o m e t o k e n o f h i s bona fid e s o r , h a v i n g let h i m t u r n t h e b a t h r o o m i n t o a scaffo ld in g ju n g le , g et th e u n iv e rs ity m a i n t e n ­ a n c e d e p a r t m e n t to i n s p e c t w h a t h e is u p t o ?

H o w e v e r, g ra n te d th a t M a x (Iv ar K a n ts) d o e s ta lk h is w a y i n t o t h e fla t ( o n e in a h u g e i m p e r s o n a l b l o c k ) , t h e f ilm g o e s v e r y c o n v i n ­ c in g ly a b o u t its b u s i n e s s o f u n s e t t l i n g t h e p o i s e d Jill C o w p e r ( J u d y M o r r i s ) b y t h e k i n d o f t h r e a t M a x ’s a p p a llin g ly g e n i a l / d a n g e r o u s p re s e n c e re p re s e n ts . T h e c e n tra lly te a s in g c o n ­ c e p t is in t h e i r o n i c j u x t a p o s i t i o n o f J ill’s c o o lly d e ta c h e d s tu d y o f p rim itiv e N iu g in i h ig h ­ l a n d e r s a n d h e r r a p id e m o t i o n a l d i s i n t e g r a t i o n in t h e f a c e o f M a x ’s p o t e n t i a l l y t h r e a t e n i n g p r i ­ m i t i v i s m . T h e c o n c e p t w o u l d b e m o r e c le a r c u t , a n d c o n s e q u e n t l y le s s t e a s i n g , if t h e a u d ie n c e c o u ld b e s u r e th a t M a x w as really a t h r e a t to J ill’s s c h o l a r l y c o m p o s u r e , o r e v e n t h a t h e w a s re a lly a p l u m b e r . A p a r a lle l c o m ­ p lic a tin g e l e m e n t in Jill is t h a t o n e c a n ’t b e s u r e h o w fa r h e r c o m p o s u r e is a m a t t e r o f i m m e r ­ s i o n in h e r a c a d e m i c p u r s u i t s ; h o w fa r a m a t t e r o f h e r h u s b a n d ’s w o r k - o b s e s s e d n e g l e c t o f h e r .

The Films of Peter Weir “ Y o u r p i p e s — if y o u ’ll p a r d o n t h e e x p r e s ­ s i o n — a r e b u g g e r e d ” , M a x te lls Jill, a f t e r a b r ie f in s p e c tio n , w ith a leer th a t m a y o r m a y n o t b e s e x u a l k n o w i n g n e s s . A n d l a t e r , a f te r o b s e r v i n g a j a r o f N e t t l e H a ir T o n i c in t h e b a t h r o o m , h e a s k s , “ Is y o u r h u s b a n d l o s i n g h is h a i r ? I t ’s all t o d o w ith h o r m o n e s . I n t e l l e c ­ t u a l t y p e s o f t e n l o s e t h e i r h a i r . ” M a x s e e m s to b e im p ly in g th a t h e sees th e C o w p e r s ’ m a rria g e is in a b a d w ay.

H e f u r t h e r d e n i g r a t e s t h e a c a d e m i c lif e s ty le b y d r a w i n g a t t e n t i o n t o t h e N i u g i n i a r tif a c ts s t r e w n a r o u n d t h e fla t — “ T h i s b o o n g s t u f f b r i n g s a g o o d b it o f c o i n t h e s e d a y s ” — a n d by a l e e r i n g r e f e r e n c e to a f e r tility s y m b o l . W h a t ­ e v e r M a x is, w h e t h e r h e is a b u lly w h o m i g h t h a v e r a p e in m i n d , o r w h e t h e r h e is j u s t a h a r m l e s s f r e a k , h e is i n a d v e r t e n t l y r i g h t a b o u t th e C ow pers.

B r ia n C o w p e r ( R o b e r t C o l e b y ) is t o o c o n ­ c e r n e d w i t h i m p r e s s i n g s o m e v is itin g W o r l d H e a l t h O r g a n i z a t i o n s c i e n t i s t s , in A d e l a i d e to i n s p e c t h is r e s e a r c h a n d p o s s i b ly t o r e c o m ­ m e n d h i m f o r a p o s t in G e n e v a , to t a k e s e r i o u s l y J ill’s a n x i e t i e s a b o u t M a x . T h e a u d i e n c e is p r e p a r e d f o r B r i a n ’s s e l f - a b s o r p t i o n in t h e o p e n i n g s c e n e . A s Jill r e c a lls a n e x p e r i e n c e in N i u g i n i w ith a f r i g h t e n i n g n a t i v e ( “ I k n e w I m u s t k e e p p e r f e c t l y s t ill” — a n i r o n i c f o r e s h a d o w i n g o f h e r a t t i t u d e to M a x ) , B rian ta k e s n o m o r e th a n p e r fu n c to ry in te re s t a n d fa cetio u sly s u g g e sts s h e s h o u ld u s e th e a n e c d o t e in h e r M A a n d t u r n it i n t o a b e s t ­ s e l l e r . S h e is u n u s e d to t h e d i r e c t a p p r a is a l s h e g e t s f r o m M a x : “ Y o u ’r e r e a l d e c e n t . M i n d y o u , y o u ’r e a b it o n t h e n e u r o t i c s i d e if y o u d o n ’t m i n d m e s a y i n g s o . ” M a x ’s r a u c o u s , b l a t a n t a p p r o a c h is n e a t l y c o n t r a s t e d w i t h B r i a n ’s s c ie n tif ic t a lk w i t h h is c o l l e a g u e s a b o u t c o n t r a c e p t i o n a n d f e r tility r i t e s a m o n g t h e n a t i v e s . H e is t o o b u s y w i t h w o r k a n d h is v i s i to r s e v e n to f i n d t i m e to c h e c k o u t M a x ’s c r e d e n t i a l s w i t h t h e m a i n t e n a n c e d e p a r t m e n t . M e a n w h i l e , M a x is b e l t i n g o n t h e w i n d o w a s Jill t r i e s t o i m m e r s e h e r s e l f in p r i m i ­ t i v e m u s i c ; w h e n s h e d o e s n ’t le t h i m in , h e s i m p l y c l i m b s t h r o u g h t h e b a t h r o o m c e ilin g .

O n h i s t h i r d v is it h e b r i n g s h is g u i t a r ( h e is a f o l k s i n g e r w h o a d m i r e s B o b D y l a n ’s u n c o m p r o m i s i n g ly ric s , h e s a y s ) a n d J ill’s p r i ­ m i t i v e m u s i c is n o w in c o m p e t i t i o n w i t h h is.

Is h e r e a lly s e t t i n g o u t to u n d e r m i n e h e r c o n f i d e n c e in t h e c o o l e x e r c i s e o f t h e i n t e l l e c t ?

Is it in r e s p o n s e t o h e r p e r c e p t i o n o f t h e t h r e a t h e o f f e r s t h a t s h e p u t s h i m d o w n , in f r o n t o f h e r frie n d M e g (C a n d y R a y m o n d ) , by c o r r e c t­ in g h i s g r a m m a r ? D o e s h e l e a v e t h e b a t h r o o m

in a h i d e o u s m e s s to h u m i l i a t e h e r — a n d h e r h u s b a n d — o n t h e e v e n i n g w h e n B r ia n is b rin g in g th e o v e r s e a s v isito rs h o m e to d in n e r ?

W e i r m a i n t a i n s a liv e ly a m b i v a l e n c e a b o u t M a x a n d , i n d e e d , Jill, u n t i l o n e is n o t s u r e w h e t h e r h e is c u n n i n g o r s h e is n e u r o t i c . By t h e e n d o f t h e film h e h a s r e d u c e d h e r to s c r e a m ­ i n g a t h i m , a n d s h e c o n f e s s e s t o B r i a n , w h ile t h e y d i n e o u t t o c e l e b r a t e h is G e n e v a j o b , t h a t s h e w as lo sin g c o n tro l.

W e i r is i n t e r e s t e d in p u s h i n g r a t i o n a l c o n t r o l to t h e v ery e d g e , to e x p lo re ju s t h o w m u c h s t r e s s it c a n s t a n d b e f o r e b r e a k i n g . W h e n t h e sh o d d ily -re p a ire d b a th r o o m flo o d s o n th e f o u r t h m o r n i n g , M a x r e a p p e a r s , a n d t h e r e is a s u g g e s t i o n t h a t Jill m a y n e v e r a g a in b e fu lly r e s t o r e d t o h e r e a r ly c o m p o s u r e . P e r h a p s , w i t h o u t b e i n g c o n s c i o u s o f it, s h e h a s w a n t e d to r e s p o n d to M a x ’s s e x u a l c h a ll e n g e . P e r h a p s p a r t o f h e r r e a lly a g r e e s w i t h M e g w h o s a y s , “ Y o u ’v e g o t to a d m i t , i f y o u g e t a re a lly s p u n k y g u y r o u n d t h e h o u s e all d a y it c a n b e a bit o f a t u r n - o n . ” T h e f ilm is fin a lly a c r itic is m o f t h e b l a n d l y s t e r i l e a c a d e m i c life, t h o u g h t h e l a t t e r is n o t s e t u p as a t a r g e t f o r s i m p li s t i c s a t i r e . O n e d o e s b e l i e v e in t h e w o r k B r ia n a n d Jill a r e d o i n g ; t h e i r a b s o r p t i o n in it is c o n v i n c i n g . T h e b a s is o f t h e c r it i c i s m is t w o - f o ld : f ir s t, s u c h a b s o r p t i o n h a s t e n d e d t o c u t t h e m o f f f r o m t h e life o f t h e i r

Brian (Robert Coleby) and Jill Cowper, representatives of the academic middle class. The Plumber.

21

Australian Directors

The Cowpers entertain visiting WHO scientists, while their bathroom lies under siege. The Plumber.

in stin c ts w h ich h a v e b e e n e d u c a te d in to n o n ­ d i s t u r b i n g d o r m a n c y ; a n d , s e c o n d , it l e a d s Jill t o d e b a s e h e r i n t e l le c t i n t o c u n n i n g t o d e s t r o y M ax.

In an u n u s u a l o v e r h e a d s h o t (a n d D a v id S a n d e r s o n ’s c a m e r a w o r k is e s s e n t i a l l y d i s c r e e t t h r o u g h o u t ) t h e p o lic e a r e s e e n c l o s in g in o n t h e p l u m b e r as h e a r r i v e s in t h e c a r p a r k o n t h e fifth d ay . T h e a u d i e n c e is, in f a c t, o b s e r v i n g t h e s c e n e f r o m J ill’s s u p e r i o r p o s i t i o n o n t h e t o p - s t o r e y b a l c o n y o f h e r b lo c k o f fla ts, as t h e p o lic e r e c o v e r h e r w a tc h f r o m w h e r e s h e h a s p l a n t e d it in M a x ’s v a n . H e c a n o n ly s c r e a m a t h e r , “ Y o u b l o o d y b i t c h ” , w h ile s h e l o o k s o n w i t h w h a t is left o f h e r c o n t r o l , f o r t h e m o m e n t a lo o f ly s e c u r e .

T h i s last s c e n e h a s t h e e f f e c t o f c o n f u s i n g a u d i e n c e s y m p a t h i e s . M a x ’s o u t b u r s t s e e m s t h e r e s u l t o f o p e n i n s t i n c t i v e life b e i n g p u t d o w n by t h e c u n n i n g o f t h e e d u c a t e d . Jill s e e m s to h a v e o v e r - r e a c t e d to h is b l u n d e r i n g c h a lle n g e a n d ce rtain ly th e p lan tin g o f th e w a t c h is a g e n u i n e l y n a s t y - m i n d e d w a y o f g e t ­ ti n g rid o f h i m . ( T h e b u s i n e s s o f t h e m i s s i n g w a tc h is t h e le a s t c o n v i n c i n g t h i n g in t h e f ilm , in J ill’s c r y p tic a t t i t u d e t o it a n d as w e ll as in B r i a n ’s a n g e r at h o w m u c h it h a s c o s t h i m . ) B u t t w o t h i n g s w o r k a g a in s t t h i s s h i f t o f s y m p a t h y t o M a x : f ir s t, t h e r e c o l l e c t i o n o f h is o b s e r v i n g Jill a n d B r ia n , u n s e e n , t h r o u g h t h e w i n d o w o n th e b alco n y o n th e s e c o n d e v e n in g ; a n d , s e c ­ o n d , th e c o m p o sitio n o f a sh o t on th e fo u rth m o r n i n g w h e n M a x ’s l e a t h e r - g l o v e d h a n d a p p e a r s a t t h e o p e n w i n d o w o f h is v a n , a t t h e b o t t o m left o f t h e s c r e e n , as if, a g a in u n s e e n , h e is w a it i n g f o r B r i a n ’s d e p a r t u r e .

T h e film l e a v e s t h e a u d i e n c e w i t h t h i s t e a s ­

22

in g a m b i v a l e n c e u n r e s o l v e d , a n d it is p a r t o f its p u r p o s e . t h a t it s h o u l d n o t b e r e s o l v e d .

W h a t e v e r M a x is u p t o , J ill’s r e p o n s e t o h i m h as s h o w n th e in a d e q u a c y o f th e in te lle c tu a l m i d d l e - c l a s s a p p r o a c h w h e n it c o m e s to d e a l ­ in g , a t f i r s t - h a n d , w i t h m u c h r a w e r m a t e r i a l t h a n it is u s e d to . M a x m a y o r m a y n o t b e a t h u g , b u t B ria n a n d J ill’s life — its p r e o c c u p a ­ t i o n s a n d t h e i r r e l a t i o n s h i p — is e x p o s e d as j e j u n e f o r all t h e i r i n t e l l e c t u a l s t r i v i n g a n d c a s u a lly G r a c i o u s L iv in g .

W h a t e l s e is c e r t a i n is t h a t , in h i s s t u d y o f Jill, W e i r h a s a g a in f o u n d m i d d l e - c l a s s d e f e n c e s i n a d e q u a t e in t h e fa c e o f m o r e b a s ic u r g e s a n d f e a r s . E q u a l l y , it c o u l d b e a r g u e d t h a t , t h r o u g h M a x , t h e film e x p l o r e s t h e i n a d e ­ q u a c y o f t h e w o r k i n g c l a s s e s in f a ilin g t o u n d e r ­ s ta n d a n d co p e w ith a m o r e s o p h is tic a te d s e t o f s ig n a ls .

T o t h o s e e x p e c t i n g W e i r to m o v e f u r t h e r in t h e d i r e c t i o n o f a p o c a l y p t ic v i s i o n , The Plumber m a y s e e m a d i s a p p o i n t m e n t ; I p r e f e r t o s e e it as h e a r t e n i n g e v i d e n c e o f h is c a p a c ity to w o r k in a m u c h t i g h t e r f r a m e w o r k . H is c o n t r o l o v e r t h e d e ta ils o f m ise-en-scene a n d h is a c t o r s (all t h r e e l e a d s g iv e e x c e l l e n t p e r ­ f o r m a n c e s ) e n a b l e s h i m t o m a k e h is t h e o r e t i ­ cal p o i n t s in t e r m s o f f i r m l y r e a l i z e d d r a m a t i c s i t u a t i o n . H e s h o w s t h a t h e c a n d i s t u r b by f o c u s i n g a t t e n t i o n o n t h e fa c ts o f e v e r y d a y life a n d by s h o w i n g t h a t t h i s “ e v e r y d a y li f e ” is a lw a y s s u s c e p t i b l e to t h e “ t h r e a t a n d d a n g e r ” o f u n e x p e c te d forces. T h e s e m ay be th e forces w i t h i n t h e a u d i e n c e w h i c h it s u p p r e s s e s o r t h e y m a y b e o b j e c t i f i e d in a n i n t r u d i n g M a x .

A s th e e u p h o ria s u rro u n d in g th e b u rg e o n ­ in g A u s t r a l i a n c i n e m a o f t h e ’ 70s r e c e d e s , a n d t h e f ilm s a r e s u b j e c t e d to a t o u g h e r s c r u t i n y t h a n h a s so f a r b e e n t h e c a s e , I s u s p e c t t h a t n o t m a n y o f t h e m will r e v e a l m u c h s t a y i n g p o w e r . F r e d S c h e p i s i ’s The Devil’s Play­ ground ( 1 9 7 6 ) a n d The Chant of Jimmie Blacksmith ( 1 9 7 8 ) , b o t h r e s p o n s i b l e , i n t e l l i ­ g e n t f i l m s , P h illip N o y c e ’s .lik e a b le Newsfront ( 1 9 7 8 ) , a n d G i l l ia n A r f n s t r o n g ’s My Brilliant Career ( 1 9 7 9 ) , lo c a t i n g c o n t e m p o r a r y r e l e ­ v a n c e in a n e x q u i s i t e e v o c a t i o n o f t h e p a s t , s h o u l d h o l d u p . A b o v e t h e m all t h o u g h , I b e l i e v e P e t e r W e i r ’s oeuvre will b e t h e c h i e f c la im o f t h e ’7 0 s t o a p la c e in film h i s t o r y . H e m a y c o n t i n u e t o m a k e m i s t a k e s , b u t t h e y will b e t h e m i s t a k e s o f a d i r e c t o r w i t h i d e a s to s p a r e , a n d a r e li s h f o r t h e m e d i u m in w h i c h h e h a s c h o s e n to e x p r e s s a n d e x p l o r e t h e m .

The Films of Peter Weir

Filmography Shorts 1967 Count Vim’s Last Exercise, 16mm, black and white, 5 mins.

1968 The Life and Flight of the Reverend Buckshotte, 16mm, black and white, 33 mins.

1969 Three to Go (Michael episode only) 1970 Stirring the Pool, 16mm, Eastmancolor, 10 mins. *1971 Homesdale, 16mm, black and white, 50 mins.

1972 Three Directions in Australian Pop Music, 16mm, Eastmancolor, 10 mins. .

1972 Incredible Floridas, 35mm, Eastmancolor, 12 mins.

1973 Whatever Happened to Green Valley?, 16mm, East­ mancolor, 50 mins.

Television 1977 Luke’s Kingdom. Weir directed two episodes.

Features 1974

The Cars That Ate Paris. Producers: Jim McElroy, Hal McElroy. Director: Peter Weir. Scriptwriters: Peter Weir, Keith Gow, Piers Davies. Based on short story by Peter Weir. Photography: John McLean. Sound recordist: Ken Hammond. Editor: Wayne Le Clos. Production designer: David Copping. Composer: Bruce Smeaton. Production manager: Tom Hogan. Production secretary: Pom Oliver.

Production accountant: Pauline Ryan. 1st assistant director: Hal McElroy. 2nd assistant director: Ross Matthews. 3rd assistant director: Chris Noonan. Continuity: Gilda Barac­ chi. Camera operators: Peter James, Richard Wallis. Focus puller: David Burr. Clapper/loader: Jimmy Allen. Key grip: Graeme Mardell. Gaffer: Tony Tegg. Third electrics: Mick Morris. Boom operator: Mike Middland. Make-up: Liz Mitchie. Wardrobe: Ron Williams. Set decorator: Neil Angwin. Sound editor: Sara Bennett. Editing assistant: Tom Pokorney. Stunts co-ordinator: Peter Armstrong. Action vehicles: Alf Blight. Best boy: Robbie Young. Mixed at United Sound. Length: 91 mins. Gauge: 35mm Panavision.

Shooting stock: Eastmancolor. First released: 1974. Cast: Arthur (Terry Camilleri), Mayor (John Meillon), Beth (Melissa Jaffa), Dr Midland (Kevin Miles), Metcalfe (Max Gillies), Gorman (Peter Armstrong), Tringham (Edward Howell), Charlie (Bruce Spence), A1 Smedley (Derek Barnes), Clive Smedley (Charlie Metcalfe), Daryl (Chris Heywood), Les (Tim Robertson), Rev. Mowbray (Max Phipps), Con Lexux (Frank Saba), Max Mudge (Joe Burrows), Arthur’s brother (Rick Scully).

1975

Picnic at Hanging Rock. Producers: Hal McElroy, Jim McElroy. Executive producer: Patricia Lovell. Executive producer for the SAFC: John Graves. Director1: Peter Weir.

Scriptwriter: Cliff Green. Based on the novel by Joan Lindsay. Photography: Russell Boyd. Sound recordist: Don Connolly. Editor: Max Lemon. Composer and arranger: Bruce Smeaton, pan pipe by Gheorghe Zamphir, and 2nd Movement of Beethoven’s 5th Piano Concerto. Artistic ad­ viser to the director: Martin Sharp. Production secretary: Pom Oliver. Production accountant: Joan McIntosh. SAFC accountant: Phil Smythe. Production assistant: Steve Knapman. 1st assistant director: Mark Egerton. 2nd assis­ tant director: Kim Dalton. 3rd assistant director: Ian Jamieson. Continuity: Gilda Baracchi. Script consultant: Sidney Stebel. SAFC’s producer’s secretary: Jill Wishart.

Casting consultants: M & L Casting Consultants. Camera

operator: John Seale. Focus puller: David Williamson.

Clapper/loader: David Foreman. Key grip: Georgie Dryden. Assistant grip: Phil Warner. Nature photography: David Sanderson. Gaffer: Tony Tegg. Electrics: Geoffrey Simpson. Boom operator: Joe Spinelli. Art director: David Copping. Assistant art director: Chris Webster. Assistant to art department: Neil Angwin. Costume designer: Judy Dorsman. Associate designer: Endby Stites. Assistant designer: Mary Smith. Make-up: Jose Perez. Assistant make-up: Elizabeth Mitchie. Props buyer: Graham Walker.

Standby props: Monte Fieguth. Set construction: Bill Howe.

Assistant editor: Andre Fleurin. Neg. matching: Margaret Cardin. Sound editor: Greg Bell. Editing assistants: Sherry Bell. Still photography: David Kynoch. Opticals: Optical and Graphics. Wrangler: Tom Downer. Assistant wrangler: Gordon Rayner. Best boy: Trevor Toune. Studios: SAFC. Mixed at United Sound. Laboratory: Colorfilm (Aus­ tralia). Length: 115 mins. Gauge: 35mm. Shooting stock: Eastmancolor. Cast: Mrs Appleyard (Rachel Roberts), Michael Fitzhubert (Dominic Guard), Diane de Portiers (Helen Morse), Miss McGraw (Vivean Gray), Minnie (Jacki Weaver), Miss Lumley (Kirsty Child), Tom (Anthony Llewellyn-Jones), Mr Whitehead (Frank Gunnell), Miranda (Anne Lambert), Irma (Karen Robson), Marion (Jane Vallis), Edith (Christine Schuller), Sara (Margaret Nelson), Rosamund (Ingrid Mason), Blanche (Jenny Lovell), Juliana (Janet Murray), Sergeant Bumpher (Wyn Roberts), Mrs Bumpher (Kay Taylor), Constable Jones (Garry Mc­ Donald), Ben Hussey (Martin Vaughan), Dr McKenzie (Jack Fegan), Colonel Fitzhubert (Peter Collingwood), Mrs Fitzhubert (Olga Dickie), Albert Crundell (John Jarrett).

1977 The Last Wave. Producers: Hal McElroy, Jim McElroy.

Director: Peter Weir. Scriptwriters: Peter Weir, Tony Morphett, Petru Popescu. Based on the original idea by Peter Weir. Photography: Russell Boyd. Sound recordist: Don Connolly. Production manager: Ross Matthews. Loca­ tion manager: Bev Davidson. Production secretary: Su Armstrong. Production accountant: Penny Carl. Production assistants: Rod McMorran, Philip Hearnshaw. 1st assistant director: John Robertson. 2nd assistant director: Ian Jamie­ son. 3rd assistant director: Penny Chapman. Continuity: Gilda Baracchi. Producer’s secretary: Fiona Gosse. Casting consultants: M & L Casting Consultants. Camera operator: John Seale. Focus puller: David Williamson. Clap­ per/loader: David Foreman. Key Grip: Merv McLaughlin.

Assistant grip: Michael White. Additional photography: Ron Taylor, George Grennough, Klaus Jaritz. Gaffer: Tony Tegg. Electricians: Keith Johnson, Mick Morris, Paul Moyes. Boom operator: David Cooper. Art director: Neil Angwin. Costume designer: Annie Bleakley. Make-up: Jose Perez. Assistant make-up: Lloyd James. Hairdresser: Jose Perez. Standby wardrobe: Daro Gunzberg. Props buyers: John Carroll (NSW), Clark Munro, Kevin Brewer (SA).

Standby props: Ken James. Special effects: Monte Fieguth, Bob Hilditch. Assistant special effects: Dennis Smith. Set decorator: Bill Malcolm. Set maker: Phil Worth. Carpenter: Ken Hazlewood. Set construction: Greg Brown (NSW), Herbert Pinter (SA). Assistant editors: Peter Fletcher, Justin Milne. Sound editor: Greg Bell. Assistant sound editor: Helen Brown. Still photography: David Kynoch. Op­ ticals: Optical & Graphics. Best boy.-Alan Dunstan. Run­ ner: Mark Patterson. Publicity: Brian Trenchard Smith.

Catering: Frank Manley. Mixed at Atlab. Laboratory: Atlab. Color consultant: James Parsons. Length: 106 mins.

Gauge: 35mm Panavision. Shooting stock: Eastmancolor.

First released: 1977. Cast: David Burton (Richard Chamberlain), Annie Burton (Olivia Hamnett), Chris Lee (Gulpilil), Rev. Burton (Frederick Parslow), Dr Whitburn (Vivean Gray), Charlie (Nandjiwarra Amagula, MBE), Gerry Lee (Walter Amagula), Larry (Roy Bara), Lindsey

23

Australian Directors (Cedrick Lalara), Jacko (Morris Lalara), Michael Zeadler (Peter Carroll), Billy Corman (Athol Compton), Judge (Hedley Cullen), Andrew Potter (Michael Duffield), Morgue doctor (Wallas Eaton), Babysitter (Jo England), Policeman (John Frawley), Zeadler’s secretary (Jennifer de Greenlaw), Prosecutor (Richard Henderson), School­ teacher (Penny Leach), Morgue clerk (Merv Lilley), Guido (John Meagher), Don Fishburn (Malcolm Robertson), Carl (Greg Rowe), Sophie Burton (Katrina Sedgwick), Grace Burton (Ingrid Weir).

1979 The Plumber. Producer: Matt Carroll. Director: Peter Weir.

Scriptwriter: Peter Weir. Photography: David Sanderson.

Sound recordist: Ken Hammond. Editor: G. Turney-Smith.

Production designer: Wendy Weir. Composer: Gerry Tolland. Unit manager: Penny Chapman. Production secretary: Barbara Ring. 1st assistant director: Pat Clayton.

2nd assistant director: Scott Hicks. 3rd assistant director: Kevin McKie. Continuity: Moya Iceton. Casting con­ sultants: Alison Barrett, S.A. Casting. Camera operator: Peter Moss. Focus puller: David Foreman. Key grip: Merv McLaughlin. Assistant grip: Michael White. Gaffer: Miles Moulson. Electrician: Keith Johnson. Boom operator: Jim Currie. Art directors: Herbert Pinter, Ken James. Make-up: Viv Mepham. Wardrobe: Ruth de la Lande. Standby props: Anni Browning. Assistant editor: Steve Harris. Mixer: Rod Pascoe. Still photography: David Kynoch. Titles: Optical & Graphic. Story editor: Harold Lander. Medical adviser Dr Jim Kirkland. Length: 76 mins. Gauge: 16mm. Shooting stock: Eastmancolor. First released: 1979. Cast: Jill Cowper (Judy Morris), Max (Ivar Kants), Brian Cowper (Robert Coleby), Meg (Candy Raymond), Dept, head (Henri Szeps).

24

INDEX VOLUME 6

Howard. Sandy 492 Howard, Trevor (ac) 576 Howson, Peter 426 Hoyts Theatres Ltd. 332, 494, 597, 601 Hu, King (d) 537 Hughes, Bill (d) 517 Hughes, Wendy (ac) 423 (st), 463 (st), 495 (st), 518 (st), 564 (st), 565 Hullabaloo Over Geòrgie and Bonnie’s Pictures (TV) 507, 538, 583 Human Face of China Series, The 392 (cr), 489, 539 Humphries, Barry (ac, sc) 493 Hungarian Rhapsody (Parts I and II) — see Magyar rapszodia and Allegro barbaro Hungarians. The — see Magyarok Hunold, Rainer (ac) 352 (st) Hunter (TV) 523, 525 (Fig. 3) Hunter and the Hunted, The 557 (cr), 653 (cr) Hunter, Bill (ac) 673 (st) Hurricane 679 Hyena’s Sun 535

IMT — see In Melbourne Tonight (TV) I Am Fijian 653 (cr) I Ching on a Double Bed 555 (cr) I Found Joe Barton — see Adventures of Al Munch, The I Like to Go Fast Down the Slippery Dip 651 (cr) I Never Saw Him Again 427 I See I See 596 I tembelides tis eforis kiladas 538 I Think I Can . . . I Knew I Could 459 (cr), 559 (cr) Idlers of the Fertile Valley, The — see I tembelides tis eforis kiladas Igana. Hisashi (ac) 502 (st) Iglesia. Elroy de la (d) 539, 580 Illusions 381 Impressions of a Colony 676 (cr) Imprinting in Ducklings 559 (cr) In a Wild Moment — see Moment d’egarement, Un In a Year With Thirteen Moons — see In einem jahr mit 13 monden In einem jahr mit 13 monden 434, 538 In-Laws. The 618-619 (st), 620, 621 (st) In Melbourne Tonight (TV) 510 (st), 512 (st), 585 (st), 605, 614 In Search of a Landscape 377 (cr) In Search of Anna 384 (st), 385 (r), 456 (cr), 596, 597, 644, 674 In the Forest 538, 629 in Their Crooked Machines 376 (cr), 457 (cr) Income Tax Assessment Act (1936) 440.

441. 475, 478 Independent Exhibition 360, 662 Independent Production 361,400, 403, 489, 515, 517-519, 520-525, 527, 547-551, 575. 611, 617, 624, 634, 662, 663 India 350, 433, 443 Indians Are Still Far Away. The 508 Indonesia 443 Inogbu, Turker (p) 581 Insiang 537, 629 Inside Looking In 376 (cr) Inside Looking Out 463 Instituto Nacional do Cinema — see Embrafilme International Production Round-up 380­ 381. 442-443, 543, 581, 634, 679 Interno di un convento 635 (st) Invasion of the Body Snatchers, The 620 Ireland 443 Irishman, The 577, 596 Irola, Judy (c) 534 is There Anybody There? (TV) 517, 519 Iskindiria . . . Leh? 434, 537 Island Fuse 361 (st) Island of Nevawuz, The 376 (cr), 457 (cr) Island Shunters 596 Israel 443, 679 Italy 353, 381, 543, 581, 679 It’s a Nice Feeling to be the Winner 559 (cr) It’s Different Today 392 (cr) • It’s Harder Than You Think 653 (cr) Ivory, James (d) 507, 538, 583

Jackman, Terry 332 Jacob, Gilles 344 James, Colin 597 Jancso, Miklos (d) 583, 626 Japan 442, 500-503, 579 Japanese National Railway Workers’ Union 503 Jarman, Derek (d) 616 Jarratt, John (ac) 387 (st) Jason, Kate (ac) 560 (st) Jeffrey, Tom (d) 336, 337 Jhabvala, Ruth Prawer (sc) 507 John Powell Productions Pty. Ltd. 597 John Sullivan Story, The (TV) 547, 548, 550-551, 559 (cr), 575 Johnny Guitar 671 Johnson, Peter (p) 602 Johnston, Albert 412, 580 Join the Queue (TV) 625 Joint Parliamentary ComTnittee on Wireless Broadcasting — 1942 511 Jones, Barry 514 (st), 597, 633 (st) Jones, Ian (d) 5 24+ n, 547, 548, 640 Journalist, The 375 (cr), 456 (cr, st), 464­ 465 (r), 554 (cr), 596, 597 Junoon 350 Just A Gigolo 351 (st), 352, 353 Just Out of Reach (formerly Portrait of a Diarist) 376 (cr), 457 (cr), 555 (cr), 596, 662 (r)

K.O. (TV) 531 (st) Kagemusha 442 Kane Po. Hung (ac) 600 (st) Kants, Ivar (ac) 539 (st), 569 (st) Kaplan, Jonathan (d) 617 Karl Marx 416-417 Kasaravalli, Glrish (d) 535 Kashmir Apples 461 (cr) Katatjuta 360 Kaufman, Tina 498 Keane, Lynda (ac) 488 (st)

Keaton, Diane (ac) 506 Kedves szomszed. A 583 Kejsaren 435 Keller. Marthe (ac) 569 Kellogg, Phil (p) 581 Kelly, Ned 492 Kendal, Jennifer (ac) 350 Kennedy, Byron (p) 366-368 (i, st), 383, 596 Kennedy, Deborah (ac) 401 (st) Kennedy, Gerard (ac) 519 (st), 522 (st) Kennedy, Graham (ac) 387 (st), 391, 510 (st), 512 (st), 585 (st), 606, 614 (st) Kennedy, Patricia (ac) 423 (st), 615 (st) Kenny, Jan 499 Kevin is Fine 651 (cr) Kezdi-Kovacs, Zsolt (d) 583 King, Alan (d) 598 King of the Two Day Wonder, The 456 (cr), 465, 467 (r) King, Stephen (sc) 369 Kingdom of Naples. The 536 King's Men (TV) 524 Kinneying Process 522 Kinski. Klaus (ac) 434, 583 Klondike Fever 381 Knef, Hildegarde (ac) 569 Knife in the Head, A — see Messer im kopf Korea 443 Kostas 375 (cr), 455-456 (cr), 463-464 (r), 534. 554 (cr) Kress. Wolfgang 426 (st) Krlstal. Bob 518n Kung Fu Killers (TV) 599, 601 Kurosawa, Akira (d) 442 Kurts. Alwyn (ac) 348 (st), 524 (st), 567 (st), 596

Lady For A Day (TV) 512 (st) Lamond, John (d) 577 Land in Trance — see Terra em transa Land Use 379 (cr) Lander, Harold (sc) 425 Landry. Aude (ac) 661 (st) Lane, Don (ac) 604 (st), 605-607 (a. st) Lane. Richard (sc) 425 Lansing. Robert (ac) 674 Lanzuraun, Claude 628 Last Goodbye, The 555 (cr) Last of the Australians, The (TV) 524 (st), 525 (Fig. 3) L a s t o f th e K n u c k le m e n , T h e 563, 577 Last of the Knucklemen, The 375 (cr), 456 (cr. st), 489, 533 (st), 555 (cr), 563-564 (r), 577, 596, 597 Last Wave. The 332, 350, 569, 674 Last Wilderness. The 676 (cr) Laurence, Michael (sc, ac) 517, 519 (st) Laurie, Piper (ac) 348, 349 (st), 567 (st) Laurie, Robyn (d) 580 Law Breakers. The 679 Leab, Dr Daniel 597 Lean, David (d) 581, 679 Leavis. F. R. — Quoted 496 Lecat, Jean-Philippe 397 Lee, Bruce (ac) 599 Lee, Elaine (ac) 518 (st) Lee, Margo (ac) 567 (st) Legend of the Mountain, The — see Shanchung Chuang-chi Legge, Jackie (ac) 420 (st) Lehman, Howard 467 Lehman, Val (ac) 560 (st), 615 (st) Lehmann, Friedhel (ac) 352 (st) Leisure 417 (st) Lelouch. Claude (d) 352, 381 Lemon Popsicle 432 (st) Leone, Sergio (d) 443 Leonski 455 (cr), 553 (cr) Letter From an Unknown Woman 669 Letter to a Friend 596 Levine, Craig 420 (st) Levy, Bernard-Henri 536 Libido 494 Licences, Australian Radio and Television 511, 584, 678 Life and Death of Frieda Khalo, The 628 Life. Be In It 379 (cr), 561 (cr) Life Games 379 (cr), 561 (cr) Life of Brian, The 659-660 (r) Life of Charu, The 503n L ite o n F ilm , A 669 Life Story of Baal, The 629 Lifeboat 631-632 Lifeclass 555 (cr) Ligabue 536 Lilienthal, Peter (d) 434 Limb, Bobby (ac, p) 517 Lind, Kevin (c) 451 Lindsay, Fiona (ac) 634 (st) Lingorgo una storia impossible 507 Lipsky, Oldrich (d) 538 Litter 379 (cr) Littin, Miguel (d) 626 Little Boy Lost 597 Little Convict, The 650 (cr) Litvinoff, David (ac) 431 (st) Loach, Ken (d) 616, 626 Local Colour 628, 629 Locarno Film Festival (1977) 609 Locusts and Wild Honey (TV) 654 (cr) London Women’s Film Group 663 L o n e ly L ife , A 669 Long Arm, The 679 Long Arm, The (TV) 524 Long Day’s Dying, The 354 (st) Long, Joan (p) 427 (st) Long Weekend 479 Lorang’s Way 412 Loren, Sophia (ac) 620 (st) Love Epidemic, The 599 Love in Flight 435 Love Story 619, 620 (st), 621 Lovell, Alan 665 Lovell, Patricia (d) 596, 597 Low Flying 376 (cr), 457 (cr) Lowery, Alan 426 (st), 427 (st) Luck of the Draw, The 457 (cr), 461 (st), 489n, 555, 557 (cr) Luck, Peter (p) 488 Luna, Blgas (d) 580 Luna. La 381 (st) Lyssy, Rolf (d) 538 M*A*S*H (TV) 387 MAVAM — see Melbourne Access Video

and Media Co-operative M.P., The 539, 580 MPAA — see Motion Picture Association of America McAlpine, Don (c) 564, 565, 596 McBain. Ed 661 n Macchina cinema, La 434 McClelland, Douglas 584 McCrae, Margie (ac) 447 (st), 451 (st) McCullough, Colleen 347, 568 McDonald. Bruce 596 McDonald, Gary (ac) 371 McElroy, Hal (p) 488 McElroy, Jim (p) 602 McFarlane, Andrew (ac) 550 (st), 551 MacGraw, Ali (ac) 620 (st) ‘McGuffin, ’A — definition of, 389n McGuinness, P. P. 387, 498, 580 Machine Cinema, The — See Macchina cinema, La Mackay-Payne, Bronwyn (ac) 386 (st), 387 McLennan, Don (d) 673 McMahon, Lady Sonia 607 (st) McManus, Mark (ac) 492 (st), 493 (st) McManus, Tom 518n McQuade, Kris (ac) 495 (st), 580, 662 McQuaid, John 615 (st) Macrae, Ian (d) 597 Mad Dog Morgan 448 Mad Max 365-371 (i, st); 376 (cr), 383 (r), 412. 488, 492, 577, 596 Magazine for the Handicapped (TV) 625 Magic Arts. The 416, 417 Maguire. Gerard (ac) 488 (st), 614 (st) Magyar rapszodia 583, 626 Magyarok 350, 536 Maidens 498, 499 Malcolm. Derek 580 Mailck. Terrence (d) 505, 565, 567 Mallaby. George (ac) 496 (st) Mallet, Laurent (ac) 661 (st) Malone, James — quoted, 587 Mama’s Gone a’Hunting (TV) 517. 519 Man About the House (TV Pilot) 521 Man From Hong Kong, The 560, 561, 562, 599 M a n in I r o n 492 Man in the Glass Booth, The 619, 621 Man of La Mancha 620 (st), 621 Man of Marble — see Czlowiek z marmaru Man of the Earth 651 (cr) Man on the Edge of the Freeway 447, 455 (cr), 553 (cr), 649 (cr) ' Man with the Axe, The — see Parashuram Mancuso. Nick (ac) 621 (st) Mander, Jerry 623 Manganinnie 333, 649 (cr) Manhattan 505-506 Manhattan Cables 623 Mann, Collette (ac) 615 (st) Mann. Tracey (ac) 673 (st) Manz. Linda (ac) 505 (st) Map Reading 461 (cr), 561 (cr) Margaret Barr 596 Marine Resources 379 (cr), 561 (cr) Mariner Films 575 Marinetti 429. 431 (st) Marketing 333, 348, 349, 355, 368, 401,436­ 439. 477, 479, 489, 495, 508, 519, 541, 581, 597, 601. 613, 638, 676 Marriage of Maria Braun. The — see Ehe der Maria Braun, Die Martin, Vince (ac) 519 (st) Martin-Jones, John 427 (st) Martin et Lea 537 Marx — see Karl Marx Mass Communications Conference (November, 1969) — see Report from Mass Communications Conference (November, 1969) Maternale 433 (st), 627 Matlock Police (TV) 523 (st), 524, 525 (Fig. 3) Matsuda. Eika (ac) 500 (st), 579 (st) Maunder. Paul (sc, d) 634 Mauro, Humberto 609 May, Brian (m) 371, 571, 596 Mayer, Geoff 575 Mayo. Alfredo (ac) 536 Meatball 581 Medium Cool 338 Meet Me in St. Louis 573 Meetings With Remarkable Men 627 Melba (Radio) 521 Melbourne Access Video and Media Co­ operative 418, 624 Melbourne Film Festival 412; 534-536 (r) Memo Melbourne 379 (cr), 561 (cr) Mental Health 461 (cr), 561 (cr) Menzies. Sir- Robert Gordon 512 Merchandising — see Film Merchandising Mercurio, Gus (ac) 637 (st) Messer im kopf 435, 538, 539 (st) Messidor 435, 508, 537 M e t r o 573 Metzger, Alan (c) 534 Mexico 443 Mick 653 (cr) Middle-Age Spread 581 Mike’s Blood 651 (cr) Mikhalov-Kontchalovskl, Andrew (d) 583 Miller, George (d) 367 (st), 368; 369-371 (i, st); 383, 596 Miller, George (TVd) 527-529 (i, st) Mind-Made 461 (cr) Mining and Construction 676 (cr) M i n is t e r ’s M a g ic ia n , T h e 638 Minister’s Magician, The 375 (cr) — see Harlequin Miriams, Roger 615 (st) Mitchell. James 597 Moir, Richard (ac) 384 (st) Moment d’egarement, Un 537 M o m m ie D e a r e s t 671 (br) Monday Conference (TV) 510 (st) Money Movers, The 387; 467, 469 (r); 488 Monkeygrip 553 (cr), 649 (cr) Monton, Vince (c) 571 Monty Python’s Flying Circus (TV) 659 Moore, Robert 510 (st) Mora, Philippe (d) 332, 380, 436 Moran, Albert 575 Moraz, Patricia (d) 508 Moretti. Nanni (d) 538 Morgan, Alec (d) 568 Morgan. David 587 Morley, Sheridan 669 Morphett, Tony (sc) 547, 551

Issue 21, pp. 325-404. Issue 22, pp. 405-480. Issue 23, pp. 481-588. Issue 24, pp. 589-684.

Morris, Errol (d) 539 Morris, Judy (ac) 539, 569 (st) Morris Loves Jack 580, 596, 662 (r), 663 (st) Morris. Meaghan 580 Morte e vida severina 609, 611 Moscow Film Festival 489 Moses. Sir Charles 512 Moss, Peter (c) 645 (st) Motion Picture Association of America 584 Motor Cycle Safety 379 (cr) Mouth to Mouth 573 Movie Company, The 601 Movie Movie 538 Moving Statics 361 (st) M r . B ig , T h e B ig F a t P ig 493 Mrs Harding Teaches Resourcefully 561 (cr) Mullinar. Rod (ac) 355 (st), 522 (st) Mulloy, Phil (d) 538. 629 Mulvey, Laura 573 Murder of Pedralbes, The 536 Murder Squad (TV) 524 Muret, Claude (sc) 509 Murphy. Bri (c) 470 Murphy, Margaret (d) 628 Murphy. Robynne 426 (st) Murray, John (d) 493-494, 523 Murray, Scott (e) 597 ‘Music for fhe People’ 522 (st) My Ain Folk 434 M y B r ill ia n t C a r e e r 564 My Brilliant Career 375 (cr), 421-424, 456 (cr), 488, 554-555 (cr), 564-565 (r), 596, 644. 650 (cr), 674 My Brother David (TV) 629 My Childhood 434 My Survival as an Aboriginal 489, 497, 498­ 499, 559 (cr), 568 (r), 580 My Way Home 434 Myers, David (c) 628

NBMC — see National Black Media Coalition NFTA — see National Film Theatre of Australia Naked Bunyip. The 493, 494 Namatjira, Albert 514 (st) Nash, Margot (d) 580 National Black Media Coalition 623 National Film Archive 332, 473, 489, 491 National Film Institute (Mozambique) 611 National Film Theatre of Australia 489, 597 National Graduate Diploma Scheme (Australia) 478 National Library of Australia 332. 473, 489, 597 National Screen Service 598 Natura morta 651 (cr) Navy Aviation 655 (cr) Need For a Navy 392 (cr) Neel, Alice 628 Neill. Sam (ac) 423 (st), 564 (st), 565 New Age of Animation 628 New South Wales Film Corporation 332, 333, 401, 436, 477, 488, 596, 597, 602, 645 N e w Y o r k T im e s , T h e 514 New Zealand 581, 634 New Zealand Film Commission 581, 679 News from Nowhere 580 Newsboy 651 (cr) Newsfront 412; 436-439, 477 (a); 573, 577, 580 Newton, Bert (ac) 510 (st), 512 (st), 604 (st), 605-607 Newton-John, Olivia (ac) 584 (st) Next of Kin — see Arven Nice Neighbour, The — see Kedves szomszed, A Nichols. Ross (c) 602 Nick Carter in Prague 538 Night and Fog Over Japan 501 Night Hair Child 413 Night the Prowler, The 580 Night Paths — see Wege in der nacht Nightwing 620 Nilsson. Rob (sc, d) 534 1900 338 Niven, David (ac) 669 N o B e d o f R o s e s 669 (br) Nocita, Salvatore (d) 536 Non-Compliance — The Hidden Health Hazard 459 (cr) Noonan, Christopher 426 (st) Norma Rae 412 (st), 505 N o r m a n a n d A h m u d 493 Norris, Terry (ac) 524 (st) North By Northwest 389 North West Coast 379 (cr) Northern Lights 534 Nosaka, Akiyuki 501 Nosferatu 434 Not a Pretty Picture 580 Noticiari de Barcelona 433 Nous irons tous au paradis 345 (st) Novak, Kim (ac) 351 (st), 353 (st) Now and Then 651 (cr) Now You’re Talking 580 Noyce. Phil (d) 426 (st), 436, 472, 498, 499 Number 96 (TV) 524, 549, 614 (st) Nykvist, Sven (c, p) 443 OCIC — see Organisation Catholique Internationale du Cinema OCP — see Open Channel Productions Obsession (d. Brian de Palma) 389 Obsession — see Junoon Ocana 433 Occupation in 26 Pictures — see Okupacija u 26 slika Ocean at Point Lookout 360 (st) Odd Angry Shot, The 336-337, 338 (st), 387, 391 (r), 413, 488, 647 O'Donnell, Vince (t) 419 (st), 476 Ojos vendados, Los 539, 580 Okking. Jens (ac) 538 Okupacija u 26 slika 583 Oldfield, Eric (ac) 447 (st), 518 (st) Old Memories — see Vieja memoria, La Oliver’s Story 620 Olivier, Sir Laurence (ac) 669 (st) Olmi, Ermanno (d) 507, 626 On the Outside 676 (cr) On the Yard 534 One Flew Over the Cuckoo’s Nest 621

One Hundred Entertainers 392 (cr) One, Two, Three, Up 455 (cr), 553 (cr), 649 (cr) O’Neal, Ryan (ac) 620 (st) Open Channel Productions 418-420, 476 Ophuls. Max (d) 669 Oracle. The (TV) 461 (cr), 510 (st) Oranges and Lemons 377 (cr) Orchestra Rehearsal — see Prova cTorchestra Organisation Catholique Internationale du Cinema 596 Oshima, Naglsa (d) 500-501, 579 (i, st, f); 539 Other Cinema 359-361, 400, 403, 429 O’Toole, Peter (ac) 620 (st) Otton. Ken (t) 419 (st) Our Muiti-Cultural Society 655 (cr) Over the Edge 617 Overton. Julia 478 Oxide Street Junction 457 (cr) PACT — see Public Action for Community Television Campaign PBAA — see Public Broadcasting Association of Australia PDGA 494 Pacific Banana 553 (cr), 577, 649 (cr) Packer, Clyde (p) 517, 598 Packer. Kerry 607 Paddington Town Hall Centre Ltd. 678 Page, Grant (t) 368 (st), 596. 599, 601 (st), 603 (st) Pakistan 600, 601 Palin, Michael (ac) 659 (st) Palm Beach 428 (st), 430, 431, 471, 472, 489, 539, 660 (r) Panayotopoulos, Nikos (d) 538 Panda', ‘Princess (ac) 585 (st) ' Papadopoulos. John 426 (st) Paradise (TV) 517 Paramount 519 Parashuram 350 Pardy, Keith (t) 489 Parent/Teacher Communication 461 (cr) Paris Belongs To Us 472 Pascall. Geraldine 391 Pate, Michael (ac, d) 346-349 (i, st) Paton, G. W. 512 Patrick 332, 371, 389n, 519. 638 Patrol Boat (TV) 377 (cr) Patterson, Tony (e) 368, 596 Payrole 580 Pearson, Bill (ac) 522 (st) Penelope 619 P e n t h o u s e 489 People's Republic of China — see China Perfect Couple, A 538 Perkins, Bill 425 P e r s o n a l V ie w o f P o s t - w a r F ilm , A — see T a ik e n - t e k i s e n g o e iz o r o n

Pet Care 561 (cr) Petaia, Velese (ac) 634 (st) Peter Luck Productions 488 Petersen 492, 495- 496 Peterson, Wolfgang (d) 627 Petit, Christopher (d) 616 Petites Anglaises, Les 345n Petites fugues. Les 508, 509 Petty, Bruce (d) 414-417 (i, st) Peyser, Penny (ac) 621 (st) Philip Morris Foundation 396 Philippines 443, 617 Pichi Richi Railway 461 (cr) Pick a Box (TV) 514 (st) Picnic at Hanging Rock 332, 350, 371,421, 448, 580 Picture Previews: Breaker Morant 542; Sam 673 Picture Show Man, The 577 Pictures 581 Pilkington Committee (Britain) 623 Pinkney, John (sc) 571 Pitfalls in House-Building 561 (cr) Play Hookey in the Snow 651 (cr) Plevnik, Vera (ac) 548 (st), 550 (st) Pluhar, Erika (ac) 352 (st) Plumber, The (TV) 538-539, 569, 571 (r) Point Omega 651-652 (cr) Poland 631 Polish Film School 632, 633 Poole, Milicent 531 Popeye (TV) 488 ‘Pornochanchadas’ — defined, 609 Pornography 363; Child, 413 Port Phillip Pilot Service, The 379 (cr) Porter, Hal (sc) 494 Portrait of a Diarist — see Just Out of Reach Post, Ted (d) 336 Powell, Robert (ac) 352 (st), 637 (st), 638, 644 (st) Powers. John (sc) 493 Preston, Mike (ac) 577 (st) Pretty Baby 398 Preventive Dentistry 399 (cr) Preson Film 575, 615, 665 Prisoner (TV) 377, 379 (cr), 488, 489, 525, 560 (cr, st), 613, 614 (st), 615, 654 (cr), 674 Prisoners 499 Private Files of J. Edgar Hoover. The 628 (st) Prize, The 492 (st) Probyn, Brian (c) 499 Producers and Producing 348-349, 362­ 363. 366-368, 398-399, 401, 440-441, 446-448, 475, 478. 479, 495, 508, 517­ 519, 521-525, 541, 551, 576, 581, 643­ 645. 674 Producers Guild of Australia 425 Production Design 421-424 Production Reports: Mad Max 365-371; Alison’s Birthday 445-451, 479; The Sullivans (TV) and The John Sullivan Story (TV) 547-551, 575; Harlequin 637-647, 680.

Production Surveys 375-377, 379, 392, 399, 455-457, 459, 461, 553-555. 557. 559­ 561, 649-655, 676 Professional Training of Film and Television Scriptwriters, Producers and Directors (1968), Sydney Seminar on 425 Promotion of Mr. Smith, The 553 (cr), 649 (cr) Prophecies of Nostradamus. The (TV) 559 (cr)

Cinema Papers Index Volume Six—3

INDEX VOLUME 6

Protection of Children Act 1978 (Britain) 413 Prova d’orchestra (TV) 507 Prowse, Richard 333, 597 Psycho 389n Psychologist Public Relations 392 (cr) Public Action for Community Television Campaign 625 Public Broadcasting Association of Australia 625, 678 P u n c h 415 Pussy Pumps Up 557 (cr) Pyramid Films 602 Qingyu, Han 489 Quadrophenia 617 Quarter, The 332-333, 412-413, 488-489, 596-597 Queensland Films Board of Review 398 Queensland Films Review Act (1974) 363, 398 Queensland State Film Corporation 596 Quick Follow That Star 652 (cr) Quietly Shouting 459 (cr) Quota Requirements for Australian Television 515

R & R Murders 676 RSL — see Returned Servicemen’s League Ra Tat Ta 652 (cr) Raccolto d’inverno — see Winter’s Harvest Race — see Raza Race for the Yankee Zephyr, The 333, 354­ 355 Race, the Spirit of Franco — see Raza, el espiritu de Franco Rackman, Steve (ac) 577 (st) Radio 511, 521, 624 Radio On Radnitz, Robert (p) 581 Rado, Erwin 412 Rae, Charlotte (ac) 504 (st) Ramachandra, S. (c) 535 Rancheador 629 Rancher, The — see Rancheador Rappaport, Mark (d) 628, 629 Rapunzel Let Down Your Hair 433; 663, 665 (r) Raw Deal 401 Ray, Satyajit (d) 433 Raymond, Glenda (m) 521 Raza 536 Raza, el espiritu de Franco 536 Rebecca 669 (st) Recognition 652 (cr) Red Bells 443 Red Cross 461 (cr) Reed, Rex 333, 427 (st), 573 Reflex 581 Refn, Anders (d) 538 Reg Grundy Organization — see Grundy Organization Remick, Lee (ac) 507 Report and Recommendations to the Postmaster-General pursuant to the Television Act of 1953 and the Television Regulations of Applications for Licences for Commercial Television Stations in the Sydney area and the Melbourne area, (1955) 513, 514 Report from Mass Communications Conference (November, 1969) 515 Report from the Senate Standing Committee, “ Children and Television” (1978) 585, 615 Report of the Advisory Committee on Program Standards (February, 1976) 584 Report of the Senate Select Committee on the Encouragement of Australian Production for Television (1963) 515 Report on National Communications Satellite System — see Commonwealth Government Task Force National Communication Satellite System Report on Tariff Revision Motion Picture Films and Television Programs (June, 1973) 332, 494, 515, 584 Report on the Structure of the Australian Broadcasting System and Associated Matters (September, 1976) 585 Restless Corpse, The — see Chitegu chinte Restless Years, The (TV) 549, 575, 614, 615 (st) Returned Servicemen's League 513 Rhodes, Lucille (d) 628 Ribeiro, Maria (ac) 610 (st) Ribowski, Malka (d) 628 Richards, Malcolm (c) 420 (st) Ricketson, James 426 (st) Riddles of the Sphinx, The 663, 665 Ride On Stranger (TV) 459 (cr), 489n, 560 (cr) Rime of the Ancient Mariner, The (TV) 629 Rio 40 Graus 609, 610 Riomfalvy, Paul 332, 333 Riot in Cell Block 11 665 Risi, Dino (d) 507 Ritt, Martin (d) 505 Ritual, A — see Ghatashraddha Rivette, Jacques (d) 573 Road Safety and Town Planning 655 (cr) Roadshow Distributors 436-437, 438, 439, 494, 495, 599 Robb, Jill 412, 597 Robertson, Tim (ac) 384 (st) Robin Campbell — Old Fellow Now 499 (st), 559 (cr), 568 (r) Robin, Michel (ac) 509 (st) Rocha, Glauber (d) 609, 610 (st) Rock ‘n’ Roll High School 617 Roddam, Franc (d) 617 Rodl, Josef (d) 434 Roe, David 597 Roh, Young Suh 443 Rohdie, Sam 573 Rohmer, Eric (d) 573, 575 Rome, Sydne (ac) 352 (st) Romeril, John (sc) 493 Romero, Eddie (d) 617 Ronay, Esther (d) 663, 665 Roots (TV) 510 (st) Roots of Blood 629 Rosi, Francesco (d) 507 Ross, Herbert (d) 380 (st)

Ross, Howard (ac) 635 (st) Rothman, Conrad (t) 640 Rouben Mamoulian Award 498, 499, 580, 662 Rough Treatment — see Bez znieczulenia Routt, William 573 Royal Commission on Television (1953) 512-513, 514, 585 Royal Commission on Wireless (Australia) 1927 511 Rozsa. Miklos (m) 628 Rubbo. Michael (d) 536, 538 Running Scared 351, 352 Russell, Ken (d) 629 Russians, The — People of the Cities 399 (cr). 489, 539, 596 Ryan (TV) 522 (st), 524, 525 (Fig. 3) Ryan. Pat (p) 492 Ryan, Tom 573 SAS — 10 514 SBS — see Special Broadcasting Service SOS Titanic 442 (st) Sadoul. Georges 631 Safety in the Forest Safety in the Slaughter House 399 (cr) Sam 455 (cr), 554 (cr, st), 650 (cr), 673 (cr, st) Samperi, Salvatore (d) 536 Samuel, Joanne (ac) 447 (st), 450 (st) San Francisco Film Festival 499 Santos, Nelson Pereira dos (d) 609, 610, 611 Sarah 457 (cr), 649 (cr) Sartre, Jean-Paul 628 Sathyu, M. S. (d) 350 Sato, Junya (d) 442 Saturday Night Fever 541 Saturn 3 443 (st) Saunders, Ronald 426 (st) Saura, Carlos (d) 539, 580 Savage, John (ac) 335 (st) Savage, Roger (t) 596 S c a r le t t O 'H a r a ’s Y o u n g e r S is t e r 669 Scenic Route 628, 629 Schell, Maria (ac) 352 (st) Schepisi, Fred (d) 332, 380, 493 Schickel. Richard 568 Schickele, David (d) 628 Schlesinger jun., Arthur 334 Schlondorff, Volker (d) 583 Schlumberger, Emmanuel 343 Schon, Donald 623, 680 Schrader, Paul (d) 534 Schroeter, Werner (d) 536 Schundler, Rudolf (ac) 352 (st) Schwarz und weiss wie tage und nachte 627 Schweizermacher, Die 538 Schygulla, Hana (ac) 434 (st), 536 Scott, George C. (ac) 619 Scott, Helen G. 389 Scott, Jane (p) 639; 643-645 (i, st) Scott, John (e) 438 Scott, Ridley (d) 667 Scum 617 Searchers, The 383 Seawatch 655 (er) Seawell, Jeannine (sa) 401 Sebastian the Fox (TV) 491 Second Awakening of Christa Klages, The — see Zweite erwachen der Christa Klages Secret Place, A 559 (cr) Secret Valley (TV) 654 (cr) Seeing Red season 581 Self-Regulation Report 530, 585 Sembene. Ousmane 350 Semier, Dean 596 Sen, Mrinal (d) 350 Senior, Anna 596 Senior Films 492 Serie noire 507 Set Design 422, 424, 496, 564, 576, 640, 645, 646, 647, 680 Sgro, Giovanni 678 Shaikh, Ghulam (ac) 350 (st) Shan-chung Chuang-chi 537 Shanghai Family 392 (cr) Shapiro, Susan (d) 663, 665 Shaw, Sir Run Run (p) 442, 581 She and He 503 Sheen, Martin (ac) 505 Shelton, Lindsay 581, 679 Shifting 399 (cr) Shipping 461 (cr), 561 (cr) Shirley, Graham 426 (st) Shirl’s Neighborhood (TV) 413, 530 (st), 560 (cr), 678 Showboat 1988 629 Shrine 561 (cr), 676 (cr) Siaegten 538 Siberiade 583 Sidney, John (ac) 642 (st) Siege of Sydney, The 601 Siegel, Don (p, d) 665 Silllphant, Stirling (sc) 676 Silva, Henry (ac) 571 (st) Silver, Ralph D. (d) 534 Simone de Beauvoir 628 Sisson, Rosemary Anne (sc) 575 S ix G u n s a n d S o c ie t y 575 Size 10 412 Skiing’s Different 399 (cr) Skin Deep 581 Skip Tracer 580 Sklovsky, Dr Grisha 678, 680 S k y H ig h (song) 600 Skyways (TV) 525 (st), 560 (cr) Slack Vanguard 457 (cr), 557 (cr), 652 (cr) Slave Hunter 535 Slippery Slide 461 (cr), 561 (cr), 676 (cr) Smart, Alister (d) 517 Smeaton, Bruce (m) 340, 564 Smith, Brian Trenchard 332, 380; 598-603, 674 (i, st, f) Smoke 561 (cr), 676 (cr) Smokey and the Bandit 383 Snapshot 376 (cr), 385-386 (r), 456 (cr), 488. 519 (st), 638, 641-642 Snowy — Mountains For Four Seasons, The 459 (cr) .

So You Want to be a Centrefold? (TV) 489 Society for Education in Film and Television, The 425 Softly Fell the Rain — see Blood Money Solar Energy 377 (cr)

4—Cinema Papers Index Volume Six

success of Prisoner in the U.S., 488; Solo One (TV) 524, 525 (Fig. 3), 549 extension of This Fabulous Century Solomon Islands Independence 399 (cr) series on the Seven Network, 488; in Solzhenitsyn’s Children Are Making a Lot China, 489; marketing in the U.S. and of Noise in Paris 536, 538 Europe, 489; End Play as a possible Some of Our Airmen .. . Are No Longer tele-feature, 576; list of tele-features by Missing 377 (cr), 459 (cr), 559 (cr) Nagisa Oshima, 579; origins of FrenchSomeone Left the Cake Out in the Rain 375 Swiss cinema in, 508; Australian, 510­ (cr), 553 (cr) 515, 584-585 (a); series and tele­ Something For Everyone 392 (cr) feature production in Australia, 517Son of the Ocean 392 (cr) SI 9; Crawford Productions: a brief Sons for the Return Home 581, 634 (st) history, 520-525 (a); George Miller on Sons of Matthew 349 directing in, 527-529 (i, st); Production Sorcery 602-603 Report on Pilots, 654; series production Sound 368, 371, 430, 541 credits, 377, 379, 459, 461, 559-560, Sound of Music, The 541 n 654 South Australian Film Corporation 461, 577 Television News 439 South Australian Telecasters Ltd. 514 Tempest, The 616, 617 (st) Southern Television Corporation 587 Tenda dos milagres 610-611 Soutter, Michel (d) 508 Tent of Miracles — see Tenda dos milagres Soviet Style 655 (cr) Terra em transa 609 Spain 433, 443, 679 Terrible Ten, The (TV) 512 (st) Spain, Mark (ac) 637 (st) Thank You 653 (cr) Spasm 493 Special Broadcasting Service 585, 624, 625, That Obscure Object of Desire — see Cet objet obscur de desir 678 ^ That Sinking Feeling 616 Special Delivery 580 They Are Their Own Gifts 628 Special Effects 640, 667 Things We Want to Keep, The 655 (cr) Spellbound 628 Third Generation, The — see Dritte Spence. Bruce (ac) 384 (st), 493 (st), 581 generation, Die Spiral. The — see Spiralia Third Person Plural 660 Spiralia 535-536 Thirst 351, 355 (st), 375 (cr), 456 (cr), 488, Spires, Alan (p) 597 529, 555 (cr, st), 571 (r), 650 (cr) Spoor, Will (ac) 361 (st) This Fabulous Century (TV) 488, 560 (cr) Sporting Chance, A 676 (cr) Thompson, A( 436 Spurt of Blood, The 430 (st) Thompson, Jack (ac) 464 (st), 495 (st), 496 Stack, Judi (p) 419, 420 (st), 542 (st) Stairway to the Moon 653 (cr) Thoms, Albie (p, d) 428-431,471-472 (i, st), Staley, Tony 678 489, 539, 660 Stallion of the Sea 377 (cr), 457 (cr), 557 Thorn Birds, The 581 (cr) Standing Conference on Broadcasting 623 Thornhill, Michael (d) 596 (st) Thornley, Jeni (ac, d) 497-499 (a) Stapleton, Terry (p) 522 (st), 524 .Thornton, Sigrid (ac) 385 (st), 386, 519 (st), Star-Spangled Illusions 559 (cr) 642 Star Wars 371 Those Magnificent Men and Their Cranking Star Warss II 442 (st) Machines — see bajecni muzi s klikou "Start” 631 Those Wonderful Movie Cranks — see State Your Case (TV) 625 bajecni muzi s klikou Stax (TV) 413; 418-420, 476 (a, st); 459, 461 Through the Rip 561 (cr), 676 (cr) (cr), 531 (st), 678 Thunderballs 557 (cr, st) Steiger, Rod (ac) 619 Tim 347-349, 376 (cr), 401, 456 (cr), 488, Stern, Lesley 575 567-568 (r), 596, 660 Stevens, David (sc, d) 548-551, 575 (i, st); Time Warp 603 597 Timeless Land (TV) 654 (cr) Still Life 498 Tin Drum 583 Stocker. David 426 (st) Tingwell, Charles “ Bud;; 469 (st), 522 (st) Storey, David (sc) 492 Tiro 627 Stork 492, 493-494 To Fight the Wild — see To Fight the Wind Storm, Esben (d) 385, 596 To Fight the Wind 377 (cr), 457, 459 (cr), Storm Boy 448, 479, 488 557 (cr) Stratton, David 412, 538 Toby the Little Convict 488 Stretch, Brendon (d) 580 Toeplitz, Jerzy 426, 427 (st), 596, 630-633 (i, Strick. Joseph (p, d) 426 (st) Strickland, Janet 332, 362, 363, 597 (st), 678 Toi ipponno michi 502 (st), 503, 579 Stuart Wagstaffs Heritage (TV) 559 (cr) Tom Roberts 652 (cr) Stuckey, Hugh (sc) 614 Toque de queda 433 Stunt Rock 602, 603 (st) Torna, La 433 Stuntmen. The (TV) 599 Town Like Alice, A 575, 597 Sturzaker, John (p) 446-448, 479 (i) Trailers 598, 601, 674 Sullavan, Margaret (ac) 669 Training of Vera, The 433 Sullivans, The (TV) 510 (st), 520 (st), 524, Tree of Wooden Clogs, The — see Albero 525 (Fig. 3), 527, 528, 529, 547, 548, degli zoccoll, L’ 549. 550, 560 (cr), 597 Trevino. Jesus Salvador (d) 629 S u n (Sydney) 511 Trotta, Margarethe von (d) 626, 627 Sun of the Hyenas — see Hyena’s Sun Sunday Too Far Away 387, 391, 517, 563, True Blue Show (TV) 517 Truffaut. Francois (d) 389 577 Trugat, Desmir (ac) 581 Sunny Side Up (TV) 512 (st) Tuggle, Richard (sc) 665 Sunset Boulevard 569 Tulloch, John 573, 575 Sunshine City 429, 431 (st), 660 Turkey 581 Super 8mm 624 Turkish Film Producers' Association 581 Superman and the Bride (TV) 629 Turnbull, David (ac) 492 (st) Surfing Films 472, 493, 660 Twegg, John (c) 420 (st) Surfing Roundabout 431 Twentieth Century-Fox 332, 395, 597, 600 Sutherland, Donald (ac) 661 20,000 Years in Sing Sing 575 Sweden 443 Two of Me, The 550 Swissmakers. The — see Two Steps Behind 376 (cr), 457 (cr) Schweizermacher, Die 2000 Weeks 492, 493, 494, 495, 496 Switzerland 508 Sydney Film Festival 412, 437, 489, 498, 501, 537-539, 580 Sydney Filmmakers Co-operative 472, 581, Ubu Films 472, 660 662, 663 Uchida, Tomu (d) 503 Udsen, Bodil (ac) 538 Sydney Harbour Bridge 596 Umboh, Wim 615 (st) Sydney Women’s Film Group Unions and Film Production 412-413, 515, Sykes, Peter (d) 443 584, 602 Syncs, Sprockets and Stills (TV) 625 Unions and Television Production 515 Szabo, Laszlo (ac) 583 United States of America 353, 380, 442, 543, 634 TAPE 549, 614 Universal Telecasters 514 TCN-9 513 Ustinov, Peter (ac) 340 3RRR-FM 607n TVT-6 584 ‘TV — Make it Austrlaian’ campaign 515 VFL — see Victorian Film Laboratories Taffner, D, L. 601 VGIK — see All-Union State Institute of Cinematography, The (USSR) T a ik e n t e k i s e n g o e iz o r o n 579 Tainsh, Douglas (sc) 524 Valenti, Jack 584 Take Hart (TV) 531 (st) Valley of Dreams 443, 615 (st), 676 Tandy, Steven (ac) 529 (st) Ventura, Lino (ac) 397 Tanner, Alain (d) 435, 508, 537 Vertical Features Remake 617 Vertigo 389, 569 Tapestry Workshop 379 (cr), 561 (cr) Veteran Affairs Department 602 Tariff Board Inquiry (1973) — see Report on Vianna, Zelito (p) 609 Tariff Revision Motion Picture Films and Television Programs, June 1973 Victoria 583 Tasmanian Film Corporation 333, 379, 461, Victoria Police Department 523 530, 561, 676 Victorian Film Laboratories 492 Taviani, Paolo and Vittorio (d’s) 381 Victorian State Film Corporation 379, 412, 494, 561, 597, 676 Taxation and Film Production 354, 355; 440-441, 475, 478 (a); 495, 581, 611 V id a s s e c a s 609 Taxi Driver 413 Vidas secas 609 Taxi Mauve, Un 396 (st) Videotape 363, 398, 420, 451,476, 514, 522, Taylor, John Russell 389 523, 528, 550, 623 T e a c h e r 581 Video Tape Corporation 598 Techine, Andre (d) 507 Video Village (TV) 521 Teenage Drink/Driving 461 (cr) Vie devant, La 345 (st) Teenager 435 Vieja memoria, La 433 Tele-features 446, 447, 448, 479, 488, 517, Vietnam, Films on the War in 334-338, 387, 518, 519, 550-551, 559-560, 569, 571, 391, 416, 433, 504-505, 603, 674 575, 676 View From the Bridge, A 676 (cr) Television 332; in France, 343-344, 349, Vincent Committee — see Report of the 401; in Australia, 356-358, 402 (a); and Senate Select Committee on the violence, 369; Government funding Encouragement of Australian figures 412; ‘6 ’ Classification 413; 530­ Production for Television (1963) 531, 587 (a); production of Stax, 418­ Violence 366, 367, 369, 370, 383, 551, 575 420, 476 (a, st); Film and Television Viva el Presidente 626, 627 (st) School, 425-427, 478 (a); Albie Thoms Voight, John (ac) 337, 581 on, 429-430; production of tele­ Volonte, Gian Maria (ac) 507 features at ATN-7, 446-448, 479; Volska, Anna (ac) 518 (st)

st)

_

Volunteer Task Force (TV) 678 Voxpop 557 (cr), 625 WAFC — see Western Australian Film Council Wagerup Weekend 652 (cr) Wagstaff, Stuart (ac) 510 (st), 559 Wajda, Andrzej (d) 535, 583 Walk Through H„ A 617 Walken, Christopher (ac) 335 (st) Walker. Alexander 333, 352, 573 Wallace, Steven (d) 662 Walt Disney Productions 541, 601, 603 Wang Yu, Jimmy (d, sc) 600 (st) War Without Weapons 399 (cr), 655 (cr) Ward. Roger (ac, sc) 581, 600 (st), 603, 679 Ward, Tony (ac) 510 (st) Wardrope, Alan 489 Warner. David (ac) 621 (st) Warriors, The 369, 538 Water Safety 399 (cr) Water Under the Bridge (TV) 412, 461 (cr), 560 (cr) Waters, John (ac) 496 (st), 542 (st) Watership Down 393 (st) Watson. Reg (p) 614 Wattamolla 652 (cr) Watts, Ken 489 Waving Girl, The 580 Wayne, John (ac, d) 336 Ways of Seeing 580 We Aim to Please 580 We Built Some Great Ships 459 (cr), 559 (cr) Weaver, Jackie (ac) 493 (st) Wedding Day (TV) 521 Wedgewood-Benn, Anthony 623n Wege in der nacht 617 Weir, Peter (d) 332, 380, 427n, 538-539, 569, 571 Weis, Bob (p) 418, 420, 476 Weissner, Hilde (ac) 352 (st) Wenders, Wim (d) 617 West Coaster ‘78 459 (cr) Western Australian Film Council 596, 645 Wetlands Problem, The 559 (cr) Wexler, Haskell (c, d) 338 White, Orange, Green 361 White Waves 652 (cr) Whitford, Peter (ac) 423 (st) Whitlam, Gough 426, 427 (st) Who Owns Schools? (And what are they doing about it?) 377 (cr), 459 (cr) Why Wilderness 559 (cr) Widerberg, Bo (d) 583 Wild Ass of a Man (TV) 559-560 (cr) Wild White Stallion, The — see Crin blanc Wilder. Billy (d) 568, 569 Wildlife Patrol 399 (cr) Wiigard Productions 596 Wilkins, Gary (t) 596 Williams, David 597 Williams, Mike (p) 596 Williams, Raymond 605 Williams, Tony (d, c) 581 Williams, Treat (ac) 504 (st) Williamson, David (sc) 493, 494, 496, 576 Willis, Gordon (c) 505 Willis, Lord (Ted) 425 Wincer, Simon (d) 385, 386, 527 (st), 638­ 642 (i, st), 646, 647 Windsurfer 652 (cr) Winham, Francine (d) 663, 665 Winkler, Angela (ac) 435 Winkler, Henry (ac) 413 (st) Winning (1979) 561 (cr), 676 (cr) Winterchildren 435 Winter’s Harvest 653 (cr) Wise Blood 506 Witcombe, Eleanor (sc) 564, 596 Within a Cloister — see Interno di un convento Without Anaesthetic — see Bez znieczulenia Woman in a Twitight Garden — see Een vrouw tussen hond en wolf Woman Like Eve, A 627 Women and Sport 561 (cr) Woman and Work Film, The 653 (cr) Women in Film Production 359-361, 400, 403, 421-424, 433, 442, 470, 478, 497­ 499, 502-503, 522, 579, 580, 581, 643­ 645, 663, 665 Women in the Workforce 379 (cr) Women’s Film Forum (Sydney, 1979) 580, 665 . . .

Women’s Film Fund 499 Women’s Film Workshop 497-498 W o m e n 's W e e k ly 437 Women vision Festival (Sydney, 1973) 497 Wood, Robin 389 Wood. Ross (c) 499 Woodham, Bob (t) 599 Woodward, Edward (ac) 542 (st) Working Up 653 (cr) Workshop (TV) 625 World of Kung Fu, The (TV) 599, 601 World on a Wire (TV) 506 Woyzeck 583 Wran, Neville 332, 333, 596-597, 601 Wreck of the Batavia, The 645 Wright, Brian (sc) 551 Writers and Writing 337, 347, 348, 417, 491, 524, 528, 541, 548-550, 618, 619, 621, 638, 639 Written on the Wind 671 Wrong Hands, The 377 (cr) Wronsky 455 (cr), 554 (cr) Yemm, Norman (ac) 529 (st) Yersin, Yves (d) 508-509 (i, st, f) York, Susannah (ac) 576 (st) You Can Have Your Say 399 (cr) Young Doctors, The (TV) 614 (st) Young Ramsey (TV) 524, 525 (Fig. 3), 527, 528 (st), 529, 560 (cr), 597, 654 (cr) Young, Robert M. (d) 534, 535 Z Men, The 649 (cr) Zafranovic, Lordan (d) 583 Zanussi, Krzysztof (d) 535-536, 617 Zapasiewicz, Zbigniew (ac) 583 (st) Zsadanyi, Istvan 583 Zsombolyai, Janoz (c) 583 Zweite erwachen der Christa Klages, Das 626-627

Issue 2l, pp. 325-404. Issue 22, pp. 405-480. Issue 23, pp. 481-588. Issue 24, pp. 589-684.

Jean-Marc le Pochoux

SCORING “THE EARTHLING” R e c o r d i n g f i l m m u s i c in A u s t r a l i a h a s f o r m a n y y e a r s been a fa irly h it a n d m iss a ffa ir, th e fe a tu re s o f th e e a rly 1970s h a v in g m u s ic v irtu a lly laid on to p o f th e im a g e .

O th e r th a n fa d in g u p a n d d o w n d u rin g th e m ix to in clu d e s o u n d e ffe c ts, th e r e w a s little a t t e m p t a t d r a m a t i c o rc h estratio n .

I m p l e m e n t a t i o n o f th e c l i c k - tr a c k s y s te m , w h ic h giv es t h e c o n d u c t o r a p r e c i s e t i m i n g w h i l e h e is r e c o r d i n g t h e m u s i c , w a s a m a j o r b r e a k t h r o u g h . B u t c o m p o s e r s s till w o rk e d w ith o u t a v isu al re fe re n c e . B ria n M a y re c tifie d th is to a d e g r e e w h e n s c o r in g P a t r i c k b y u s in g a te le v is io n set to m o n i t o r th e im a g e . W h i l e a s ig n if ic a n t i m p r o v e ­ m e n t , t h e d i r e c t o r c o u l d s till o n l y s e e h o w t h e m u s i c m a tc h e d th e im a g e d u rin g a re p la y .

T h is lim ita tio n h a s n o w b ee n o v e rc o m e by th e sy ste m re c e n tly in sta lle d a t A lla n E a to n S o u n d R e c o r d in g S t u d i o s in M e l b o u r n e . F o r t h e f i r s t t i m e in A u s t r a l i a , a f ilm s c o r e c a n b e r e c o r d e d in s y n c t o a n i m a g e o n a c i n e m a - s i z e s c r e e n . T h e f i r s t f e a t u r e t o u s e t h i s f a c i l i t y is P e t e r C o l l i n s o n ’s The Earthling.

T o p le f t: C o m p o s e r B r u c e S m e a t o n c o n d u c t s h is o rc h estra, m a d e up o f m e m b e rs o f th e M e lb o u rn e S y m p h o n y O r c h e s t r a , w h i l e a s c e n e f r o m The Earthling is p ro je c te d on to th e screen . T o p rig h t: D ir e c to r P e te r C o l l i n s o n w a i t s in t h e m i x i n g b o o t h d u r i n g a b r e a k in r e c o r d i n g . L e f t: C o l l i n s o n ( c e n t r e ) s u g g e s t s a c h a n g e t o S m e a to n (rig h t). B e c a u s e th e d ir e c to r sees th e im a g e a n d h e a rs th e re c o rd in g s im u lta n e o u s ly h e ca n m a k e c h a n g e s on th e sp o t. In th e clim a x , fo r e x a m p le , C o llin s o n m o v e d th e m u s ic fo u r b a rs fo r w a rd to sig n al, r a th e r th a n r e ­ in fo rc e, th e a c tio n . B o tto m : P r o d u c e r E llio t S c h ic k w a tc h e s th e s trin g s e c tio n fr o m b e h in d th e m ix in g c o n so le .

Cinema Papers, April-May—119

ASSOCIATE PROGRAMMER/PRODUCER

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A new position has been created at a leading TV station fo ra person skilled in either programming or production, who has the ability and enthusiasm to combine both areas.

This position has two main functions: 1. As Associate Programmer, working with the Program Director in developing the Station’s programming strategy.

2. As Associate Producer, creating and producing Aust­ ralian productions consistent with the Station’s pro­ gramming philosophy.

This executive position is creative and challenging and extends across the major areas of TV. The successful applicant will be in direct contact with the General Managerand the opportunities for advancement are only limited by the applicant’s ability.

An excellent remuneration package will be negotiated for this position.

Applications will be acknowledged and forwarded to our client unless you give us contrary instructions. Please send a detailed resume quoting 1140 to:

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PRODUCTION REPORT

“Water Under the Bridge” is a television adaptation, by Eleanor Witcombe and Michael Jenkins, of Sumner Locke Elliot’s novel of the same name. Starring Robyn Nevin, David Cameron, Judy Davis, Jacki Weaver, Chris Milne, Rod Mulliner and Linda Wilkinson, this nine-part series, directed

by Igor Auzins and produced by John McRae, will be released by the Ten Network later this year.

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Cinema Papers, April-May—121

IGOR AUZINS DIRECTOR At what point did you become in­ volved in “ Water Under the Bridge”?

About four months before shoot­ ing started, the producer, John McRae, asked me if I was inter­ ested in directing the entire series. I said I was.

Was it ever intended to use more than one director?

Igor Auzins’ background is in television, having worked as a director at Crawford Productions in Melbourne. There he directed the award-winning episode of “ Homicide” entitled “ Stop-over” .

Leaving Crawfords to go freelance, Auzins has worked in television commercials and has directed one feature, “ High Rolling” , in 1977.

In the following interview, conducted by Peter Beilby and Scott M urray, Auzins discusses his involvement on “ Water Under the Bridge” .

Yes, but that was when the series had a different producer. John McRae never intended to use more than one.

Do you think one director is prefer­ able?

Yes, because you can attempt to develop a style throughout the series and take more risks with characterization.

Using only one director on an in­ definite series is clearly impossible, but on a short-run series it is essen­ tial.

V

It was something that happened automatically. Neil and Shasta are the main characters in terms of the number of pages, or minutes of time in the series, but Robyn Nevin is so stunningly wonderful as Shasta that she rivets the audience every moment she is on screen. You even feel the lack of her when she is off screen. So, Shasta became the central character by the strength of Robyn’s ability as an actress.

I am not suggesting, by the way, that David Cameron isn’t terrific; I can’t imagine anyone else playing Neil. '' ' ’ ' '

Yes, but it was rejected because the writers quickly realized that the importance of the series was not the narrative but the sub-text material.

The mother-son relationship is central to the novel, and they quite correctly saw and pursued that..

I hope the lasting memory of the series will be that of a fairly horrific examination of a mother-son relationship, over the years in which a son decides to leave home.

The major problem is that every­ body involved — the directors, the cast and the crew — plays it safe.

They do only what has to be done, which is quite unsatisfactory.

How advanced were the scripts when you joined the production?

There is a tendency for long-running series to become bland after a time, is that why more shorter-run series are now being conceived: “A Town Like Alice”, “The Last Outlaw”, etc. . . .

The first drafts hadn’t been com­ pleted. I was involved in editing those drafts right through to the finish.

Director Igor Auzins (right) with 1st assistant director Tom Burstall (left) and director of photography Dan Burstall.

The money men looked at the budget and said that makes nine. I whom we should have chosen; they think it would have broken up both have strengths and weak­ nesses. It is also doubtful whether better into 10 . one person could have delivered on How have the writing tasks been time. allocated?

Ha« the whole hovel been covered?

Eleanor Witcombe has written five episodes and Michael Jenkins No. During production we four. They tended to write in blocks: Eleanor wrote episodes one, deleted everything that happened two and three; Michael four, five, aftef Shasta (Robyn Nevin) is put six and seven; and Eleanor eight into the home. We found the and nine. They each took a section scripted episodes were running overtime, and we chose to delete the of the story and covered it. contemporary segment.

Would there have been any advant­ age in having only one scriptwriter?

How do you feel about it being Yes, but I am not quite sure dropped?

122—Cinema Papers, April-May

Whose decision was it to concen­ trate on Shasta?

In some of the more successful Aus­ tralian series, like “The Sullivans”, there are perhaps seven or eight characters who share the screen time. Was that an approach you considered?

What are the problems in using more than one director on a long-run series?

Why has the novel been broken into nine episodes?

to Neil 15 years later.

It will probably make the series more satisfactory to those who haven’t read the novel. If we had been able to have 10 episodes and devote more than seven minutes or so to that section, I would not have wanted it dropped. But as it was only an epilogue tagged onto an episode 1 was quite glad.

You don’t see it as a necessary con­ clusion to the novel?

To the novel, yes, but not neces­ sarily to the series. This is because the emphasis of the series has shifted slightly from Neil (David Cameron) to Shasta. Once she is gone, I am quite sure the audience won’t want to know what happened

The economic circumstances would tend to mitigate against short series. They are obviously much more expensive to set up and have the cost amortized over a reasonable length of time.

Long-running series do tend to become bland. I can’t think of one that has intended to examine any sort of human truths. They are all based on a narrative progression.

They go from week to week giving a version of what happened, not why it happened or how it affected people.

David Stevens, who has directed episodes of “The Sullivans”, argues that moral imperatives are closely scrutinized in each episode . . .

That may be the intention, but it doesn’t telecast very well.

PRODUCTION REPORT

The novel of “Water Under the Several elements of the novel are Bridge” makes various social arguably melodramatic, like the com m ents: e .g ., about the poor boy/rich girl, or Don’s death a indifference of the civilians towards day or so before the end of the war. soldiers. Can you, in the series, Have you been wary of these things? develop many of these themes?

The poor boy/rich girl aspect Yes, but not all the points isn’t given the prominence it has in the novel makes, clearly. You have the novel. On balance, I think to concentrate on a limited range of Neil’s excursions into Maggie and aspects of the novel. We have Carrie are given more or less equal tended to concentrate on the reality prominence. of the human relationships, rather As for Don’s death, it is treated than the reality of a social context. I much the same as it is in the novel. suppose that becomes necessary Why should we be the first tele­ simply for budgetary reasons. To vision makers to avoid melo­ examine social contexts you have to drama? show them, and to put social events on screen is a fairly expensive Have any scenes been written that procedure. aren’t in the novel?

Are there any sections of the book No. that are not being used, or charac­ ters that have been deleted?

What is the time span of the series?

Yes, Mary Coles and her letters have been deleted. Also, Archie’s 1918 to 1950. The flashback involvement finishes with the end of material explains Shasta’s World War 2, so we don’t see him backgroundthat becomes do that nice scene with the 17 year- and not a flashback. episode one old maiden, which is a shame.

Really, all the major characters are used. The Flagg sisters are Two areas one would have to be probably a little less pathetic than careful of for television are the sex they are in the novel, and their scenes and some of the dialogue. predicament is probably a little less Have you felt constrained? truthfully handled. Because of the The sex scenes, as always, are concentration the audience will hopefully place on Shasta, the handled tastefully and with a sisters tend to become a little bit of maximum of clothing. I really can’t recall dialogue in the novel which is a relief.

potentially offensive.

There are a few “fucks” . . .

Well, they have obviously been deleted. But the intention is always explicitly stated. Carrie and Neil still go down to the beach to count the condoms, and they do that without using words that cannot be used on television in Australia or, hopefully, elsewhere.

How do you decide what is acceptable?

Showing naked bodies is, to a certain extent, acceptable. But we haven’t shown any naked bodies because we haven’t found it necessary. For us, the key has been that the intention and feeling of the scene should remain the same.

With how much vigor have you gone about being accurate with dialogue and costumes?

Considerable. We have probably made least concessions to dia­ logue.

People constantly tell me that certain words or expressions weren’t in use in 1942 and were first used in May 1943. I never believe them. Those wisdoms have come out of programs like The Sullivans.

This time span would obviously have presented difficulties in terms of casting, make-up and wardrobe . . .

We avoided these difficulties to an extent by making sure that all the characters who are supposed to be of the same age are of the same age.

The bulk of the series is in the 1930s and Neil is in his late teens and early twenties. We chose an actor who is over 30, but the rest of the cast are the same age so they all look similar. We simply tell the audience that they are 2 0 , which is a

long-standing tradition. The mis­ take is to mix ages within a cast group.

Why would you cast someone who is over 30 for a 20 year-old role?

It is more credible to age a character of a middle or medium age than age a young person. I don’t think Liddy Clark looked convincing as whatever she was supposed to be in Ride on Stranger.

She was too young. Likewise, a 20 year-old actor playing Neil when he is 40 would have been laughable, whereas David Cameron can quite happily play Neil when he is 20.

What control did you have in the casting?

I cast the entire series. John very sensibly knows that it is the director who has to work with the cast.

What was the basis of your casting?

I tried to cast actors who worked in the same way, who held the same theories and approaches to acting, and could therefore work well together.

What is that approach?

Actors who can become emotion­ ally involved in the characters. I can’t categorize all the cast and say they all take a “method” approach.

But a good number do. As to those who don’t, they have learned other ways of doing things.

Which Australian series do you think has been the most successful in bringing together a homogeneous group of actors?

The first series of Prisoner.

George Miller said that when he cast “Mad Max” he consciously avoided easily recognizable actors Cinema Papers, April-May—123

PRODUCTION REPORT

because they brought with them a physical characteristics. But it’s certain persona . . . more important to match the emotional characteristics. If you Yes. I think it is counter-produc­ happen to get both, then fine. tive to use people who have an identifiable personality.

Australian features are often cast on a marketing basis. Is this also true Does that mean you were prepared of television? to punt with unknowns?

The attempts to manipulate the Our actors may be television un­ market with name performers knowns, but many are highly have failed largely. The current experienced stage actors. Robyn greatest success, My Brilliant Nevin, for example, is little known Career, had two entirely unknown on television, but she is considered performers. one of the best actresses in Aus­ tralia.

Ignoring casting, did you tailor any aspects of the production for Can you afford to go with more marketing reasons? unknown names in television than on No. We set out to make a good a feature? and truthful series, closely related Actually, I think you have to the novel, where hum an greater freedom with a feature emotions are truthful and well because you are not responsible to a expressed, and with as much buyer. If it wants to, a network production value as we could get. can exert a fair amount of pressure Hopefully, that will encourage on a television producer. This viewers, and sales. didn’t happen to us fortunately, and John McRae had total creative con­ The picking up of “ Against the trol. He was obliged, as a matter of Wind” for distribution in the U.S. nicety, to refer major casting deci­ has been regarded as a major break­ sions to the network, but they through. Several television produc­ didn't make intrusive suggestions. tions are now being tailored for the overseas market place. Was this a How much were you influenced by consideration on “Water Under the physcial characteristics when cast­ Bridge”? ing characters?

No. I think it is counter-produc­ If one had an infinite choice of tive to take account of such actors, one would try to match the considerations. I can’t find evidence

of tailoring for a foreign market ever working, or ever being thought to be worth while. There are feature producers who tailor to foreign markets, and the industry generally considers that their product isn’t particularly good. I don’t think Tim Burstall’s attempts to tailor for the foreign market worked, and I don’t think Fred Schepisi’s did either.

From my point of view, there is enough to occupy one’s mind without thinking about a hypo­ thetical foreign market one hasn’t researched, doesn’t understand and probably hasn’t even visited. One’s task is to do one’s best with the script, the performers and the crew.

That is probably where it should end.

Do you believe Australians should only use Australian source material for a Film or television program? For example, is there any reason why Australia shouldn’t be adapting German or Greek novels?

Yes, because the Germans and Greeks would do German and Greek novels better. You only have to look at the BBC’s attempts at Russian novels to find out why one shouldn't try.

Clearly there are problems re­ creating Greece in a BBC studio.

But there are sensibilities and sensi­ tivities in foreign novels that can be taken and adapted to an Aus­

tralia situation. Australian liter­ ature has a fairly narrow emotional and intellectual range, and confining oneself to what is Australian could limit what will ever come out of this country . . .

If one feels confident that one can adapt a foreign story, and do so truthfully and realistically, then I have no objection whatever. But I think it’s enormously difficult and these efforts generally have a false feel about them. The BBC versions of War and Peace and Anna Karenin were not truthful represen­ tations of the people or the novels.

Your continued use of the word “truthful” suggests you see cinema and television as having obligations to realism . . .

Fantasy isn’t an area that appeals to me as a director. For me, it is important to try to represent human truth on the screen.

Also geographical and historical truth, if you feel British actors look ridiculous in Russian uniforms. But surely they can also create a human truth . . .

One would think you ought to be able to, but they didn’t.

Is that the fault of them being British?

Yes. They didn’t understand the situations and they postured and gestured throughout them. They never seemed to feel the situations were real.

I suppose it is for much the same reason that we can’t make films for the Asian market — the Japanese in particular.

Yet “Mad Max” is on its way to making $6 million in Japan and “The Man From Hong Kong” holds the box-office record in Karachi. . .

Well, Mad Max is the only Aus­ tralian film that has done any good in Japan, obviously. What I was actually referring to were co­ productions, such as the proposed films on the Cowra prison break.

HÉNtK

THE PRODUCTION What is the shooting period on “Water Under the Bridge”?

Twenty weeks. Spread over nine episodes, this gives one a little more than two weeks an episode, which is quite generous. The shooting was preceded by 16 weeks of pre­ production, which was generous but necessary.

Was there a rehearsal period?

Filming at Leura station in the Blue Mountains.

124—Cinema Papers, April-May

Yes, three weeks with all the major cast. We went through what we felt was important in the novel and what was important in the

PRODUCTION REPORT

The buildings don’t look identical, but short of building something . . .

What studios are you working in?

The studio, or room, is Arm­ strong’s Studio D. Construction is done some miles away at a basement owned by The Age, which also owns Armstrong’s.

The floor of the studio is prob­ ably a little worse than that of a parking lot. It is also severely restrictive in terms of height.

What about lighting and sound?

scripts. You could call it a group encounter session. We locked our­ selves away in rooms with various combinations of people: sometimes the entire group, sometimes just one or two.

I didn’t think there would be any purpose in attempting to rehearse the scenes as such, as it would be five months before they were shot.

It was more important to define our intentions and approach.

quite a lot. I don’t think I could maintain the same speed on loca­ tion; the distractions are much greater and the usable time is much less.

How many of the exterior locations were done in Sydney?

All except the major exterior location of Rockwell Cres. which we shot in Parkville. That was a practical necessity because it is How much re-writing came out of almost impossible to find unaltered, empty sections of Sydney, whereas that period? it is a little easier in Melbourne.

Only a little; lines here and there.

We are also re-writing a little on the floor during the shooting. As we go along, we become more con­ fident of ourselves and re-write even more.

The problem with sound is that you can hear recordings in Studio A downstairs. We constantly had to fight with Armstrong’s personnel to have the Little River Band stopped, and that sort of thing. They claim they are going to re-work it and eliminate that problem.

Dan Burstall, who is shooting the series, tends to use very little light, so we were fortunate there. If he had wanted to use more lighting, it just wouldn’t have been possible.

The studio has a usable height of about 10 feet.

Is the series being shot on video and film?

No, all film.

Using video in a studio means a director can employ multi-camera set-ups. Is this an advantage?

It is vitally important in, say, Crawfords’ preferred style of production, which is intercutting

medium close-ups. We don’t have an intercutting medium close-up type of series. We have tried to con­ struct it with a little more flow.

Is there an Auzins visual style?

My view of the novel is that a recip ien t’s reaction to given information is often more impor­ tant than the narrative. So, I have undertaken, as far as possible, to show that reaction. This has meant that much of the shooting is not single shots; you tend to see more than one person in a frame.

So you detail a reaction by moving the camera in on someone and then back to a two-shot, rather than by cutting?

Yes. Hence, it is difficult for the editor to make a cut . . .

Absolutely.

Where did you gain your con­ fidence in editors?

Sydney, Adelaide.

Melbourne

and

What is about Australian editing that you dislike?

It is a feeling created between producers and editors. I have worked with too many producers who only give the director a token first cut, and too many editors who know that they may as well not do anything on the first cut because the

Do you block out scenes on the set or the night before?

On the set. With the exception of one scene, we have never rushed through a shoot; we have always had enough time.

This is partly due to my approach, which tries to ensure that the actors’ performances will end up on screen. I have tried to plot, clock and shoot scenes in a way that makes the actors’ performances the most important element, and some­ thing the editing process can’t or won’t transform or disfigure too much. But I am continually surprised at how resourceful editors can be.

Do you think shooting a 60-minute program in 13 days is a reasonable speed?

It is with a studio shoot, but not on location.

What percentage of “Water Under the Bridge” is in the studio?

Probably 60 per cent, which is Cinema Papers, April-May— 125

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PRODUCTION REPORT

producer will come in and ‘save’ the film later. But it wouldn’t have happened on this series; the editor and the producer don’t work like that.

But what is it about the editing technique that you think is weak?

I can only reference things to the way I like to work, obviously. I think they cut too much. They assume that the cutting is solely res­ ponsible for detailing an event or a mood. They aren’t prepared to see it happen within the frame without a cut to heighten things.

One technique John Ford often employed was to choreograph a lot of action within the frame: for example, the classic scene in “The Searchers” where Ward Bond bursts in the door and interrupts the breakfast. Yet this technique is something one doesn’t often Find in Australian films or television. Is it because it is difficult to do?

No. In fact, a lot of Water Under the Bridge is done in single shots with movement within the frame.

Is it demanding of actors to choreo­ graph their movements?

It is demanding on actors, but more in terms of making the emotional flow of a scene work.

Their performance can’t be saved later by cutting and the actors have to be confident, as does the director, that what is happening in front of cameras will work later.

There is no alternative.

Yes. Maggie and Brandywine is another episode; Geraldine and Ben another. Other stories, of course, are followed through as well.

than three or four years were spanned on any one day., or by any one performer. The next day, though, might be 20 years later.

To what degree did you shoot out of sequence?

When is “Water Under the Bridge” being released?

Completely. We treated the series as a nine-hour project, and shot by locations or sets. The first set was Shasta’s Rockwell Cres. digs, which took two weeks.

August or September. The original plan was to run episodes one and two on the opening night, and then one a week after that. But it’s a net work decision and anything can happen.

What is the post-production period?

Ten weeks. The editor (Edward McQueen-Mason) is almost up to date and is rough-cutting more or less the material we are now shoot­ ing day by day.

It is a large job for one editor . . .

It is much the same as having one director. It did take him a few days to understand what we were trying to do, but that was probably because I didn’t speak to him a lot.

In his early cutting, he found some fairly ingenious ways to do things that we were studiously avoiding, but he gave t hat up as we progressed.

One criticism often levelled at Aus­ tralian films is that scenes are too short. Given that the novel is full of many quick scenes, did you see that as a possible danger area?

Did this create problems in terms of ageing characters and sets?

Yes, but it is better for the director and the actors. The actor can remember exactly how he felt and what he did on the first day, which is maybe two years earlier than the second day. This way he can develop his ageing and his performance more subtly.

No, because the series isn’t constructed in the same way as the novel. The novel intertwines periods and events more than we do.

The directors, producer and several actors of “The Pallisers” suggested that the series failed primarily because it was shot out of sequence.

Susan Hampshire, for example, would go from being 18 in the morn­ ing to 52 at lunch and back to 37 in the afternoon, just to maximize the use of the set . . .

So you have taken all the scenes of, say, the rise and fall of Neil and Carrie’s relationship and made that one episode?

We made some allowance for this problem in the scheduling. We tried to make sure that no more

Do you feel that a television series slips through your fingers more easily than a feature?

Yes, but that is a contractural fact of life. The network has bought the pr ogr am and they have expertise in marketing. They don’t really seek producer or director involvement.

Having made a feature and worked for television, do you see any advantages in doing television?

One of the greatest advantages is that one has more time to present the same idea. The dramatic development is slower and can be more careful and more interesting, probably.

Do you feel restricted by the small screen?

Yes, though more by the shape

than the size. It is a big battle to make television anything other than a medium close-up visual presenta­ tion.

We have tried to compose variations to the medium close-up.

There are situations where I have played various levels of activity between foreground and back­ ground. We have also abandoned the conventional wisdom that there is a safe area within the 16mm framework for television. We have used the entire frame, so some of the picture might not go to air.

What’s next?

I have been working for some time on two feature scripts. One is a story loosely based on a draft resister named Michael Mattison.

Keith Thompson is writing that and it is being funded by the Victorian Film Corporation.

The other is Mrs Gunn’s novel, We o f the Never Never, which Peter Schreck is writing for the New South Wales Film Corpora­ tion. Hopefully, I can arrange one of these for later this year.

What about more television?

If something comes up which interests me. I will consider it; otherwise. I will return to commer­ cials. I find the discipline quite different, and though I am not entirely sure I am very good at them I get enough work. ★ Cinema Papers. April-May— 127

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FEATURES PRE-PRODUCTION THE BACKSTREET GENERAL Prod, company Dlst. company

............. Avalon Films ............. InterTropic Film Distributors Producer .............................. Phillip Avalon Scriptwriter ................. Barry Donnelly Based on the original idea by .....................................Phillip Avalon Editor .......................................Allan Trott Assoc, producer . . . . Helmut Dantine Casting ................................ Robert Walker Music performed by . . . . Gary Keady, John Vallins Publicity ........................... Carlie Deans Laboratory ........................................ Atlab Budget ..................................... $1.5 million Length ........................................ 110 mins.

Gauge ........................................... 35 mm Shooting stock ................ Eastmancolor Synopsis: A young man Involved with a war becomes psychologically disorientated.

BUSHFIRE Producers

.......................

McElroy and McElroy Scriptwriter .................David Ambrose Based on the original idea by ........................................ K. Denton

GOOD VIBRATIONS Producer ...........................Phillip Avalon Scriptwriter .................Denis Whitburn Budget ..................................... $600,000

RACE TO THE YANKEE ZEPHYR Prod, company ..............................F.G. Film Productions P ro d u c e r........................ Antony I. Ginnane Director ............................ Richard Franklin S c rip tw rite r.......................Everett de Roche Based on the original idea by .........................Everett de Roche C om p o se r..................................... Brian May Exec, producer ................. William Fayman Prod, secretary .......................Jenny Barty Prod, accountant ............. Michael Roseby Producer's assistant ....... Sylvia Van Wyk Unit publicist ...................Lynette Thorburn Laboratory ....................................Colorfilm Length ......................................... 100 mins.

Gauge ................................................ 35 mm Shooting sto c k ....................... Eastmancolor Scheduled release .....................Foreign — Cannes 1981 Domestic — June 1981 S y n o p s is : C o m p e tin g g r o u p s of adventurers race across the country to a crashed DC3, The Yankee Zephyr, and its $50 million cargo.

ROADGAMES Producer/director . . . Richard Franklin Co-producer ....................... Barbi Taylor Scriptwriter ............. Everett de Roche Based on the original idea by ...........................Everett de Roche, Richard Franklin Photography .................Vincent Monton Sound recordist ....................Paul Clark

Synopsis: A horror thriller about events that Progress ..............................

Production Costume designer ......... Norma Moriceau follow a catastrophic accident at WALDO, Make-up ............................. Cheryl Williams Scheduled release . . . . January, 1981 an atom ic waste repository in Central Cast: Robert Powell (Keller), Peter Sumner Hairdresser...........................Cheryl Williams Australia. Larry, an ex-racing driver, and his (Tewson), Denzil Howson (Rogan), Ralph Wardrobe ................................ Sue Bowden wife. Carmel, meet Heinrich, a doomed Cotterill (Slater).

Props b u y e r......................Owen Patterson physicist, and through him becom e Standby p ro p s ..................George Zammit innocently enmeshed in a conspiracy which For com plete details of the following Choreography ............................ Dina Mann threatens their lives and the security of the features see Issue 25: Set d eco ra to r........................... Ned McCann nation.

Grendel Grendel Grendel Scenic a r tis t...............................Bill Malcolm Sarah Carpenter ................................ Hans Theile THE EARTHLING Set construction ...................... Kim Hilder, Phil Worth Prod, company . Earthling Productions Asst editor ............................Andrew Jones Producer .................................Elliot Schick Neg. m a tc h in g ............................... Colorfilm For complete details of the following Director ....................... Peter Collinson No. of shots .............................................800 features see Issue 25: Scriptwriter ......................

LannyCotier POST-PRODUCTION Musical directors ................Graham Bond, The Bagman Photography .......................Don McAlpine Rory O’Donohue Drakoola Sound recordist ........ Don Connolly Music performed by ......... Graham Bond.

The Factor Composer ....................Bruce Smeaton Rory O'Donohue The Man Who Wasn’t There Editor ........................... Mick Beauman Sound editor ............................ Bob Gibson Monkeygrip Art director ................. Bernard Hides CHAIN REACTION Stunts co-ordinator .................. Max Aspin Exec, producer . . . Stephen Sharmat (previously The Man at the Edge of S tu n ts ...........................................Max Aspin Prod, supervisor ................... John Weiley Still photography.................. Mike Giddens the Freeway) Prod, co-ordinator .................Jenny Day O p tic a ls ...........................................Colorfilm Prod, manager ................ Su Armstrong Prod, company ...................... Palm Beach Dialogue coach ........................ Dina Mann PRODUCTION Unit manager ............. Greg Ricketson Pictures Wrangler ................................... Dale Aspin Location manager . . . . John Warran R unner................................Marshall Crosby Dist. company ...................Hoyts Theatres Transport manager . . . . Ralph Clark Catering . . . . Cecil B. De Meals on Wheels P ro d u c e r................................... David Elfick Asst transport manager . . Jack Skycer S tudios......................................... Spectrum Director .......................................... Ian Barry Prod, secretary . . . .

Kathy Flannery Laboratory ..................................... Colorfilm S criptw rite r......................................Ian Barry Prod, accountant . . . . Trisha Ghent Based on the original idea Lab. lia is o n ................................................BillGooley THE CLUB Bookkeepers .................... Cathy Barber, by ................................................Ian Barry B u d g e t....................................... $350.000.00 Lea Collins Prod, company . . . South Australian Length .............................................90 mins. Photography............................ Russell Boyd 1st asst director ............. Mark Egerton Film Corporation Sound recordist ...................Lloyd Carrick Gauge ...............................................35 mm 2nd asst director . . . .

Steve Andrews Dist. company ....................... Roadshow Shooting s to c k ........................Eastmancolor E d ito r..................................... Tim Wellburn 3rd asst director ............. Chris Williams Producer ..............................Matt Carroll Progress ......................................Production Assoc, producers ............. George Miller, 2nd unit asst director David Le Maistre Director ....................

Bruce Beresford Ross Matthews Schedule release ........... December, 1980 Continuity ...........................Jill Freeman Scriptwriter ............. David Williamson Cast: Ben Oxenbould (Fatty Finn), Bert Prod, manager ....................... Lynn Gailey Producer's assistant . . .

Su Armstrong Based on the play Newton (Mr Finn), Noni Hazlehurst (Mrs Unit m a nager.................Philip Hearnshaw Casting consultants . . M & L Casting by ...........................David Williamson Finn). Gerard Kennedy (Tiger Murphy), Prod, secretary .................. Mandy Forster Camera operator . . . . Dean Semler Photography ...................... Don McAlpine Greg Kelly (Bruiser Murphy), Lorraine Bavly Prod, accountant .................. Penny Carl Focus pullers ....................David Burr, Sound recordist .................. Gary Wilkins (Maggie McGrath), Henri Szeps (Mr Zilch). Prod, assistants ............. Louise Ferrier, Peter Menzies Jnr Editor ....................... William Anderson Kathy Trubott, Frank Wilson (Lord Mayor), Peter Carroll Clapper/loader . . . .

Richard Merrman Art director ................... DavidCopping ( T e a c h e r ) , R o s s H ig g in s ( R a d io David Trethewey Camera assistants ............. John Seale, Assoc, producer ................... Moya Iceton Announcer).

1st asst director ................Ross Matthews Frank Hammond Prod, secretary ................. Barbara King 2nd asst director ............. Chris Maudson Synopsis: Times were rough, clothes were Key grip ....................... Graeme Mardell Prod, accountant . . . Harley Manners hand me downs, fun was what you made 2nd unit d ire c to r.............................. GeorgeMiller Asst grips ................

Grahame Litchfield, 1st asst director .................... Scott Hicks yourself; guts, cunning and itching powder Continuity ................................Sian Hughes Rob Ricketson 2nd asst d ir e c t o r ............................... ChrisWilliams triumphed over Chinese burns, nugget on Casting consultants . . . Mitch Consultancy Camera grip .............

Merv McLaughlin Continuity ...................

ThereseO'Leary your bum and the tough son of the local Camera operator .................. Nixon Binney 2nd unit camera assistants Andre Fleuren, Casting ................................. Alison Barrett S.P. bookie.

Focus p u lle r..........................................PeterRogers Benjamin Schick Focus puller .......................

David Burr Clapper/loader .................. Laurie Mclnnes Gaffer ................................. Rob Young C la p p e r/lo a d e r...................

PaulNichola Key g r ip ...........................................Ian Park Electrician .......................

Colin Williams Key grip ............................. BrentCollins Asst grip ..................................Stuart Green NIGHTMARES Directors batman . . . Marshall Crosby Asst grip/s .................Geoff Richardson Special fx photographyGeorge Greenough Gene operator . . . .

David Parkinson Gaffer .................................... RobYoung G a ffe r................................Brian Bansgrove Producer/director . . . . John Lamond Boom o p e r a t o r ....................Joe Spinelll Boom o p e r a t o r ............................... MarkWasiutak E lectricians............................................. PaulGantner.

Costume designer . . . Judith Dorsman .................Colin Eggleston Make-up ..................................Judy Lovell Scriptwriter Paul Moyes Make-up ..................................Judy Lovell Gauge ............................................ 35mm Wardrobe .................Ruth de La Lande Boom operators .............Andrew Duncan.

Hairdresser ........................... Judy Lovell ......................................... 90 mins.

Props buyer ................................Jill Eden Length Chris Goldsmith Wardrobe ............. Robyn Schuurmans Synopsis: A thriller.

Standby props ...................... KenJames Art d ire c to r........................ Graham Walker Props ................................. John Carroll Set decorator .............................Jill Eden Asst art directors ....................Lissa Coote.

Props buyer ....................... John Carroll Asst editor .......................Jeanine Chlalvo Sally Campbell Standby props .................... Ken James Still p h o to g ra p h y .................................. Jim Townley Costume designer ......... Norma Moriceau SURVIVOR Set decorator ................. Terry Larsen Best boy .............................Peter Maloney Make-up ...............Lesley Lamont-Fisher Scenic artists ................. Bill Malcolm, Runner ................................ John Wharton Prod, company .................Tuesday Film Ward, assistant .............Camilla Rountree Ned McCann Unit publicist ....................Barbara Harper Productions-Riaci Investments Standby p ro p s .................Tobias Sheppard Carpenter ...........................Ian McGrath Catering ......................... Jem’sCatering for F. G. Film Productions Special e ffe c ts.................................... ReeceRobinson Campsite carpenters . . . Errol Mason, Mixed at ........................................ Atlab Producer ....................Antony I. Ginnane Set construction ........................... Bill Howe Stuart Mason Laboratory ..................................... Atlab Director ....................David Hemmings Asst editor ........................... Vicki Ambrose Asst editor ............. Frans Vandenburg Lab. liaison ......................... Jim Parsons Scriptwriter .................... David Ambrose Neg. m a tch in g ...................................... Atlab Dubbing editor ....................

Bob Cotter Length .......................................... 90 mins.

Based on the novel Sound editor ......................... Tim Wellburn Asst dubbing editor . . . Phillip Cotter by .............................. James Herbert Stunts co-ordinator ................... Max Aspin Gauge ........................................... 35 mm Greenman ...........................Don Murphy Photography ...........................

John Seale Shooting stock . . . . . . Eastmancolor S tu n ts.................David Bracks, Bob Hicks Assts greenmen . . . .

David McCann, .......................Tim Lloyd Still photography.................................. ColinBeard Scheduled release . . . Christmas, 1980 Sound recordist Editor .............................. Tony Patterson Unit publicist ..................... Hugh McGowan Peter Forbes Cast: Graham Kennedy (Ted Parker), Jack Edge numberer ....................Rick Lisle Prod, designer .............

Bernard Hides Thompson (Laurie Holden), Alan Cassell & Associates Composer ..............................Brian May Campsite co-ordinators .

John Shipton, (Gerry), Frank Wilson (Jock Riley), John C atering..................................... Ray Fowler Exec, producer . . . . William Fayman Mixed at ................................................Atlab Anthony Chartres Howard (Geoff), Harold Hopkins (Danny), Animal co-ordinators . . Ray Winslade, Margaret Doyle (Susy), Collingwood Foot­ Assoc, producer ......................Jane Scott Laboratory ............................................Atlab Warren Lloyd, Prod, manager ......................... Jane Scott Lab. lia is o n ........................ Glenda Bartlett ball Club.

Keith Harris, ................. Tim Sanders B u d g e t.............................................$450,000 Synopsis: A probe Into the confrontations Unit manager Evanne Harris Prod, secretary ................... Jenny Barty Length .............................................90 mins. and power struggles of Australian Rules Still p h o to g ra p h y ............. Tom Townley Prod, accountant . . . Richard Harper Gauge ...............................................35 mm b a ckro o m boys. A ta u t film a bo u t Driver ................................. Doug Sayer 1st asst director .................Mark Egerton Shooting sto c k ........................Eastmancolor organizational power politics, laced with Tutor .............................. Shane Sullivan Steve Andrews David Williamson’s incisive dialogue and 2nd asst director . . . .

Release date .............................. May. 1980 3rd asst director . . . .

Marshall Crosby Nurses ................................. Alan Bailey, humour.

Cast: Stephen Bisley (Larry), Arna-Maria Continuity ................... CarolineStanton Winchester (Carmel), Ross Thompson Vivienne Riches Producer’s assistant . . Sylvia Van Wyk (Heinrich), Ralph Cotterill (Gray), Hugh Best boy .......................

Peter Moloney Casting ..............................Michael Lynch Runners .......................

Peter Kearney, K e a ys-B yrn e (E agle), R ich a rd M o ir FATTY FINN Camera operator ................. Peter Moss (Piggott). Lorna Lesley (Gloria), Patrick Nick Reynolds, Focus puller ............................ Jan Kenny Ward (Oates), Laurie Moran (McSweeney), Sue Clark Prod, company ................... Children’s Film C la p p e r/lo a d e r.................Daro Gunzburg Bill McCluskey (Ralph).

Art department runner . Peter Glencroft Corporation Key grip .......................... Ross Erickson P ro d u ce r..................................Brian Rosen Asst grip .......................... Robin Morgan Director ............................ Maurice Murphy Gaffer .................................... Mick Morris S criptw rite rs..................................Bob Ellis Boom o p e r a to r Jack Friedman Chris McGill Art director ................. Bernard Hides Based on the original idea Asst art director . . Virginia Bieneman b y ...............................................Bob Ellis Costume designer ............. Terry Ryan Photography............................. John Seale Make-up ................................. Jill Porter Sound recordist ........................ Tim Lloyd Hairdresser .........................

Sash Lamey E d ito r....................................... Bob Gibson Ward, assistant . . . Heather McLaren Prod, designer........................ Lissa Coote Props buyer .................... Owen Paterson C om posers.......................................Graham Bond, Standby props ......................John Carroll Rory O’Donohue Special effects .....................Chris Murray Exec, producer ....................... John Sexton Set decorator .................Owen Paterson Prod, manager .....................Su Armstrong Scenic artist ........................Billy Malcolm Unit M a nager........................................ GregRicketson Set construction ............. Herbert Pinter Prod, secretary .....................Keri McGarry Sound editor .................... Tony Patterson Prod, accountant ................. Vivian Falloon Editing assistants . . . Carmen Galan 1st asst director ....................Mark Egerton M i x e r ................................. Peter Fenton 2nd asst d ire cto r..................................SteveAndrews Runner ..............................Janene Knight 3rd asst d ire c to r...............Marshall Crosby Publicity ........................... Thorburn-Steer Continuity ......................... Caroline Stanton Unit publicist .................Lynette Thorburn C asting..................................................AlisonBarrett Catering ................................... Ross Colli, Lighting cameraman ...............John Seale Helen Tripp Camera operator .....................John Seale S t u d io s .................South Australian Film Focus p u lle r..............................David Burr Corporation Clapper/loader ........... Richard Merryman Mixed at ..............................United Sound Key g r ip ................................Ross Erickson Laboratory .............................. Colorfilm 2nd unit photography ........... Tony Wilson Lab. liaison .......................

Bill Gooley G a ffe r....................................... Mick Morris Length ..........................................93 mins.

Boom operator ................... Jack Friedman Gauge ........................................... 35 mm Art d ire c to r.............................. Lissa Coote Shooting stock .................... Eastmancolor The Earthling Asst art director ................. Sally Campbell

Editor . . . . Edward McQueen-Mason Prod, designer .................John Dowdlng Composer ..............................Brian May Exec, producer . . . Bernard Schwartz Prod, manager .............

Barbara Gibbs Costume designer . . Aphrodite Jansen Length .....................................110 mins.

Gauge ........................................... 35 mm Shooting stock .................Eastmancolor Synopsis: Pat Quid is on a line-haul from Melbourne to Perth when he realizes one of his fellow travellers is a murderer.

.

PRODUCERS, DIRECTORS AND P R O D U C T IO N COMPANIES

Cinema Papers, April-May—129

Publicity .............................. David White Sydney liaison . . . .

Brianne Kearney Sydney office runner . Michael Weiley Catering ...........................John FaithfuII Catering assistants . . . Susie Faithfull, Narell Brown Asst chef .............................. Ray Fowler Laboratory ..............................

Colorfilm Length ..................................... 100 mins.

Gauge ............................................35 mm Cast: William Holden (Foley), Ricky Shroder (Shawn).

Synopsis: A story of survival: an old, dying man finds a child lost in the bush and teaches him to survive.

Perryman (Mother), Ken Shorter (Alan), Michele Fawdon (Margo), Leonard Teale (The Minister), Jude Kuring (Meredith), Rod M u llin a r (Jack), C hris Heywood (The Salesman).

Synopsis: The focus is on a modern woman turning 30. Overall the film concerns, hopefully and humorously, the rising cost of emotional freedom in modern times, and the mixed bag of qualities that go to make up the Australian male.

TOUCH AND GO (p re v io u s ly F rid a y th e 13th)

Special fx photography

Peter Galley, Brendon Stretch, Peter Howard Special effects .............

Jim McDonner Asst editors .................... Pam Barnetta, Mary Callaghan Neg. matching . . . .

Negative Cutting Services Music performed by . . . Flying Lizards, Black Chrome, Randy Newman, F. Fellini, Suicide, Mental as Anything Sound editor ................. Chris Cordaux Mixer ............................. Laurie Fitzgerald Narrator ..................................Philip Jack, 2JJ Still photography . . . . Sandy Edwards Opticals .............................. Brian Jones, Mastercolor, Color Film Video.

Paddington Western Access Title designer ........................... Roy Giles Tech, adviser ................... Jim McDonnell Mixed at ...................... Laurie Fitzgerald Laboratory .............................. Colorfilm Lab. liaison .......................

Bill Gooley Budget ............................................$30,000 Length .......................................... 76 mins.

Gauge ........................................... 16 mm Shooting stock .................... Eastmancolor Cast: Michael Callaghan (Ray Unit), Sandy Edwards (Paula Or). Joy Burns (Elsie Joan Unit), Mary Burns (Mary Unit), Letham B urns (Letham U nit), George S utton (Devac), Synopsis: The film's major narrative links political terrorism in Australia with the worldwide development of nuclear power.

This film seeks to expose attempts by the State and co rp o ra te a pparatuses to provoke activists of the left into acts of in­ dividual terrorism.

Prod, company . . . . Mutiny Pictures Dist. company . GUO Film Distributors Producer .............................. John Pellatt Prod, company . . . . Tasmanian Film Director ............................. Peter Maxwell Corporation Scriptwriter ................... PeterYeldham Dlst. company ..................................GUO Original story by ............... Peter Maxwell, Producer .......................

Gilda Baracchl Peter Yeldham Director .............................. John Honey Photography ....................... John McLean Photography .................... Gary Hansen Sound' recordist ...................Brian Morris Sound recordist . . . John Schlefelbein Editors ................................. Sara Bennett.

Prod, designer ....................... Neil Angwin Paul Maxwell Exec, producers .................... Gil Brealey, Prod, designer ................ DavidCopping Malcolm Smith Composer ...........................Jon English Prod, manager . . . .

Pamela Vanneck Exec, producers . . . .

Peter Maxwell, Prod, secretary ............... Carol Williams Peter Yeldham Prod, accountant . . . Joan Macintosh Prod, manager . . . .

Michael McKeag Asst, accountant .............

Robert Gunn Location manager ............. Tim Sanders 1st asst director . . . .

Robert Hynard Prod, secretary ....................Susi Parker 2nd asst director . . . .

Ross Hamilton Prod, accountant ..................Lea Collins 3rd asst director . . . . Daphne Crooks Prod, assistant ...................... Nigel Abbott Continuity .............................. Linda Ray 1st asst director .................Ken Ambrose Focus puller ....................... PaulMurphy 2nd asst director . . . . Ken Richardson Clapper/loader . . . . Gerald Thompson Continuity . . . Margaret-Rose Stringer Key grip ....................... Noel McDonald Producer's assistant. . . Vivien Hobbs Asst grips .................... Gary Clements, Camera operator .................Kevin Lind John Jaslukowlcz Focus puller ....................Russell Dorlty Gaffer ................................. Mick Morris Clapper/loader . . . Richard Merryman Boom o p e r a t o r ....................David Cooper Key grip ....................... Paul Thompson Make-up ....................... Cherly Williams Asst grip ....................... Walter Williams Hairdresser .................Cherly Williams 2nd unit camera operator . Louis Irving Wardrobe .................... Graham Purcell Gaffer ...........................Frank Heffernan Props .....................................Harry Zettel Electrician ...........................Ron McClung FINAL CUT Editor ....................... Mike Woolverldge Boom o p e r a t o r ............. Andrew Duncan Prod, company . . Wilgar Productions Dubbing editor ................... Peter Burgess Art director .................Lindsay Hewson Dist. company ................................. GUO Editing'assistant ................

PosyJacobs Make-up ................................. Jill Porter Producer ...........................Mike Williams M i x e r '.....................................United Sound Hairdresser .................... Jenny Brown Director ........................... Ross Dimsey Still photography . . . Jacquie Gardner Wardrobe .............................. Kate Duffy Scriptwriter ................Jonathon Dawson Best boy .............................. Reg Garside Ward, assistant ...........................Sugar Based on the original idea Runner ................................ Peter Schmidt Props .......................

Derrick Chetwyn by ............................. Jonathon Dawson Length ...........................................90 mins.

Standby props . . . Karen Monkhouse Photography ....................Ron Johanson Gauge ........................................... 35 mm Asst editors .....................Duncan Taylor, Sound' recordist .............

John Rowley Cast: Mawuyul Yanthalawuy (Manganinnie), Jane Hanckel Editor ...........................Tony Patterson Anna Ralph (Joanna Waterman), Phillip Neg. matching . . . .

Margaret Cardin Prod, designer .................James Penny Hinton (Edward Waterman), Elaine Mangan Music performed by. . . . Jon English Composer ....................Howard Davidson ( M a r g a r e t W a te rm a n ), B u r u m i n y Sound editors ....................Paul Maxwell, Assoc, producer . . . .

Frank Gardiner Dhamarrandji (Meenopeekameena), Reg Sara Bennett Prod, manager ................... Terrle Vincent Evans (Quinn), Jonathan Elliott (Simon 1 M i x e r ............................................... PeterFenton Prod, secretary ....................Llyn Miller W aterm an). Tim othy Latham (W illiam 2nd Mixer ....................

Gethin Creagh Prod, accountant ............. Judy Frazer W a te rm a n ). B a rry P ierce (C a p ta in ), Stunts ....................... Peter Armstong's 1st asst director .................Scott Hicks Tony Tapp (Porteous).

Stunt Team 2nd asst d ir e c t o r .............

Bill Fegelson Synopsis: The story of Manganinnie. a lone Still p h o to g ra p h y ............. Chic Stringer Continuity ........................... Julie Bates Aboriginal woman separated from her tribe Best boy ...........................Ric McMullen Casting consultants Mitch Consultancy during the Black Drive in Tasmania in the Publicity . Carlie Deans Focus puller .................... Henry Pierce 1830s. In her search for her people.

Catering .......................

Jems Catering C la p p e r/lo a d e r........................ Gary Wade Manganinnie finds Joanna, a settler's child, Production facilities , , Spectrum Films Key grip ...........................Jack Lester whom she adopts to her tribe. Joanna Mixed at ..............................United Sound Gaffer .................... Graham Rutherford learns to survive in the hostile bush and is Laboratory .............................. Colorfilm Electrician .......................... Lyle Binney initiated Into the mysteries of the Dream­ Lab. liaison .......................

Bill Gooley Asst electrician ..................Max Bowring time, Gauge ........................................... 35 mm Art director ....................... Philip Warner Shooting stock .................... Eastmancolor Costume designer . , Camilla Rountree Progress .......................... Post-production MAYBE THIS TIME ......................Margaret Lingham Cast: Wendy Hughes (Eva), Chantal Con­ Make-up (previously Letters to a Friend) Wardrobe ....................

Helen Weathered touri (Fiona), Carmen Duncan (Mlllicent), Props ................................. Philip Warner Prod, company . . . Cherrywood Film Jon English (Frank). John Bluthal (Anatole), Productions Special effects ...................

Frank Lennon Jeanie Drvnan (Gina), Liddy Clark (Helen).

Set decorator ............. James Wharton Dist. company . Roadshow Distributors Christine Amor (Sue). Brian Blain (George), Music performed by . Howard Davidson Producer .......................... Brian Kavanagh Barbara Stephens (Julia. Headmistress). , Peter Armstrong Director .............................. Chris McGill Synopsis: A comedy-thriller with a pre­ Stunts co-ordinator .......................... PeterArmstrong Scriptwriters ............. Anne Brooksbank, dominantly female cast. A group of at­ Stunts Bob Ellis tractive young women take to crime to Still p h o to g ra p h y ........................ Ian Poole Animation .......................

Max Bannah Photography .................... Russell Boyd provide financial support for a school for Title designer ................. Max Bannah Sound' recordist .... Lloyd Carrick underprivileged children. A series of mixBest boy .............................. Alan Glossop Editor .............................Wayne Le Closs ups causes the women to lose the loot, their Runners ....................... Peter Mountjoy.

Prod, designer .................Chris Webster dignity, but not their freedom.

Lindsay Colbourne Prod, manager ...................... Sue Milliken Catering ....................... Barbara Harris Location manager . . . . Ralph Storey For details of the following features see Is­ Mixed at ........................................

Atlab Prod, secretary Carolynne Cunningham sue 25: Laboratory ..................................... Atlab Prod, accountant .............

Lyn Barker Breaker Morant Length ..........................................

98 mins.

1st asst director . . . . Elisabeth Knight Exits Gauge ........................................... 35 mm 2nd asst director . . . .

Steve Andrews Fly to the Wolf Shooting stock .................... Eastmancolor Continuity .................... Adrienne Reed Hard Knocks (previously Sam) Cast David Clendinning (Dominic), Louis Camera operator . . . .

Nixon Binney Z-Force (previously The Z-Men) Brown (Chris). Jennifer Cluff (Sarah).

Focus puller .................... Peter Rogers Narelle Johnson (Yvette). Thaddeus Smith C la p p e r/lo a d e r........Laurie Mclnnes (Mick). Deanne Carsas (Julie/Lyn), Amanda Key grip ............................. Ross Erickson Mactaggart (Reporter).

Asst'grip .......................Graham Litchfield Synopsis: A thriller about a showbusiness Gaffer ...........................

Miles Moulson AWAITING RELEASE tycoon with a shady background, and a Electrician ...........................Gordon Nutt young documentary filmmaker and his Boom o p e r a t o r ................................... ChrisGoldsmith girlfriend who are making a film about him.

Costume designer ........Anna Senior They believe the tycoon has been making Make-up . .................... Deryck De Niese "snuff" films, and try to get a confession Hairdresser ........................ Liz Mitchie about the films. He invites them to his luxury Props buyer .................... Jenny Green AGAINST THE GRAIN penthouse for a weekend of partying and Standbv props ...................... John Carroll Prod, company . . . . Nightshift Films filming, and indulges in mind games until Asst editor ............................. Ken Sallows Director .................................

Tim Burns the party ends in disaster.

Neq. matching . . . .

Margaret Cardin Scriptwriters ............................ Tim Burns.

Mixer . . . ' ....................... United Sound Michael Callaghan Best bov .................................. Pav Govind STIR Photography ........................... Louis Irving Runner ' ................................................. TonyWinley (p re v io u s ly The Promotion of Mr Sound recordists ............... Dasha Ross, Publicity . . Brooks White Organization Smith) Laurie Fitzgerald Catering ............................. Penny Kentish Editors ..............................

Peter Gailey, Prod, company .............

Smiley Films Mixed at .............................. United Sound Mellissa Woods, Dist, company .............................. Hoyts Laboratory' ..............................

Colorfilm Chris Cordaux Producer .................... Richard Brennan Lab. liaison ........................ Bill Gooley Assoc, producer . . . . Michael Zerman' Director .................... Stephen Wallace Length ..................................... 100 mins.

Chris Maudson Prod, co-ordinator .

Scriptwriter ..........................Bob Jewson Gauge ............................................35 mm .

Digby Duncan Prod, accountant .

Sound recordist ................ GaryWilkins Shooting stock .................... Eastmancolor . Stuart Green Prod, assistant , . .

Editor .............................. Henry Dangar Scheduled release ..............................1980 . . Louis Irving Lighting cameraman Prod, designer .................Lee Whitmore Cast: Judy M orris (Fran). Bill Hunter Brendon Stretch 2nd unit photography Composer ...................... CameronAllen (Stephen). Mike Preston (Paddy), Jill

MANGANINNIE

130—Cinema Papers, April-May

Cast: Robert Powell (Gregory Wolfe), David Prod, manager .............

Barbara Gibbs Hemmings (Nick Rast), Carmen Duncan Unit manager .............

Barbara Gibbs (Sandra Rast). Broderick Crawford (Doc Prod, secretary ............. Barbara Ring Wheelan), Gus Mercurlo (Mr Bergier).

Prod, accountant . . . . Digby Duncan Synopsis: A 1980 version of the Rasputin 1st asst director ............. Mark Turnbull legend.

2nd asst directors . . . Chris Maudson.

Arron Mansfield 3rd asst director .................Jenny Miles Continuity ................. Caroline Stanton THE LITTLE CONVICT Casting ........................... M & L Casting Prod, company .....................Yoram Gross Casting consultants . . M & L Casting Film Studio Lighting cameraman , , . Geoff Burton Dist. company .......................... Roadshow Camera operator . . . .

Geoff Burton Producer/director ................. Yoram Gross Focus puller .................David Foreman Screenplay ............................ John Palmer C la p p e r/lo a d e r.............................Gil Leahy Based on the original story Key grip ........................... Brent Collins by ........................................Yoram Gross 2nd unit photography . Vincent Monton Sound recordists .......................Phil Judd, Gaffer .......................

Brian Bansgrove Laurie Napier, E le c tric ia n s ............................. Paul Moyes, David McConnachie Paul Gantner Editor ............................................. Rod Hay Boom o p e r a t o r ............. Mark Waslutak Composer .................................. Bob Young Art director .............................Kim Hilder Assoc, producer ..................Sandra Gross Make-up .............................Monica Brown Prod, managers ................. Yolanta Pillich Hairdresser ...................... Monica Brown (animation), Wardrobe ...........................Edie Kurzer Richard Meikle (live-action) Ward, assistant . . . Leslie McLennan Prod, secretary .....................Meg Rowed Props buyer ................. Anni Browning Prod.

Standby props .................... Clark Munro accountant . . . . Christina Burton-Gibbs Special effects ....................Chris Murray, Casting .................................Richard Meikle Rob Morgan Casting consultants .. Mitch Consultancy Set c o n s tr u c tio n ............................. HerbertPinter Lighting cameraman ....... Madd Lighting Asst editor .......................Cathie Sheehan Camera operators .............. Brian Probyn, Edge numberer . . . .

Carmen Galan Chris Ashbrook, Stunts co-ordinator . Peter Armstrong Frank Hammond (live-action) Still p h o to g ra p h y .................................MikeGlddens Jenny Ochse, Catering ..............................Keith Heygate Bob Evans, S tu d io s '.............................. Gladstone Gaol Graham Sharpe, Laboratory ..................................... Atlab Ted Northover (animation) Lab, liaison ......................... Jim Parsons Camera assistants ............... Paul Murphy, Budget ..................................... $485,000 Length ........................................ 100 mins.

Mathew Thane, Richard Michalak, Gauge ........................................... 35 mm Shooting stock .................... Eastmancolor Christy Smith, Scheduled release Foreign — Cannes.

Peter Menzles jun.

1980 Animation director ............. Paul McAdam Domestic — July, 1980 Character design ................. Athol Henry, Cast: Bryan Brown (China), Max Phipps Paul McAdam (Norton), Dennis Miller (Redford), Gary Make-up ............................Josy Knowland, Waddell (Dave), Michael Gaw (Andrew).

Patricia Cunliffe Phil M otherw ell (A lby), Ray M arshall Hairdresser ......................... Josy Knowland (Chalmers), Ted Robshaw (Patrldge), Syd Wardrobe ..........................Judith Dorsman Heylen (Old Bob), Robert (Tex) Morton (The Props ...................................Jan Carruthers Governor).

Background layouts ...............Athol Henry, Synopsis: A prison drama where the build­ Amber Vellanl up of tension between ‘crims’ and 'screws' Asst editor ..............................Prue Byram. leads to a large-scale confrontation.

Phillip Colville Neg, matching ................. Margaret Cardin Songs performed by ............... Rolf Harris Sound editor ................................ Rod Hay Still photography .................Yoram Gross Animation ................................Athol Henry, IN RELEASE John Hill, Cynthia Leech, Wal Logue, Paul McAdam, Ray Nowland.

Vivien Ray, HARLEQUIN Irena Slapczynskl, Prod, company F. G. Film Productions Kay Watts for Far Flight Investments Opticals ........... Yoram Gross Film Studio Producer ....................Antony I. Glnnane Title designer .......................Amber Vellani Director ............................. Simon Wlncer Publicity ......................Village Roadshow Scriptwriter ............. Everett de Roche Studios .............Yoram Gross Film Studio Additional dialogue . . . . Jon George, Mixed at .............................................. Atlab Neill Hicks Laboratory .................................... Colorfilm Based on the original idea Budget ........................................... $423,467 by ...........................Everett de Roche Length ........................................... 80 mins.

Photography .................... Gary Hansen Gauge ............................................. 35 mm Sound recordist .............

Gary Wilkins Shooting stock ...................... Eastmancolor Editor ................................. Adrian Carr Relase date ............. December 20. 1979 Composer .............................. Brian May To be first released ....... Village cinemas Exec, producer . . . . William Fayman throughout Australia Assoc, producer ......................Jane Scott Cast: Rolf Harris and animated characters.

Prod, co-ordinator ................ Jenny Barty Synopsis: The story of 13 year-old Toby, the Prod, manager ......................... Jane Scott youngest convict to be deported to Austra­ Draftsperson . . . .

Virginia Bieneman lia from England, his friendship with WahProd, accountant ............. Lyn Barker roonga. an Aboriginal boy, and a pet koala, 1st asst director . . . Michael McKeag Yo-Yo. 2nd asst d ir e c t o r .................Grant Harris 3rd asst director .................Jenny Miles Continuity ................. Caroline Stanton Producer's assistant . , Sylvia Van Wyk Casting consultants . Marvin Paige and Associates (USA) Camera operator ................. Peter Moss Focus puller ...........................Jan Kenny C la p p e r/lo a d e r.................Jeremy Robbins Key grip ...........................Ross Erickson BALMAIN DADDY Asst grip ...........................Robin Morgan Gaffer .................................... Mick Morris Director .................... Sophia Turkiewicz Boom o p e r a t o r ............. Mark Wasuitak Scriptwriters . . . .

Frank Moorhouse.

Art director ................. Bernard Hides Sophia Turkiewicz Make-up .......................

Lois Hohenfels Based on 2 short stories Hairdresser .................Cheryl Williams by ...........................Frank Moorhouse Wardrobe ........................... te rry Ryan Progress ....................... Pre-production Ward, assistant ............. Vicki Rowland Synopsis: A young woman faces up to her Props buyer ................... Owen Patterson h u s b a n d 's p e rp le x in g p s y c h o lo g ic a l Standby props ......................Clark Munro manoeuvres about parenthood.

Special effects , . Conrad C. Rothmann Special effects assistant . Chris Murray BUCKLEY’S CHANCE Set construction . . . .

Steve Courtley Prod, company . . Australian Film and Dubbing editor ....................Adrian Carr Television School Best boy ................................ Reg Garside Producer .................... Anthony Buckley Runner .............................. Daro Gunzberg Director ........................... Mick Rodger Unit publicist ................. Lynette Thorburn Scriptwriter ....................

Mick Rodger Catering ....................................Cecil B de Photography ....................... Tom Cowan Meals on Wheels Sound recordist . . . .

Roly McManus Mixed at .............................. United Sound Editor ...........................Catherine Millar Laboratory .............................. Colorfilm Art director .................

David Copping Lab. liaison .......................

Bill Gooley Composer .......................

Martin Frledl Length ........................................ 94 mins.

Exec, producer . . .

Anthony Buckley Gauge ............................................35 mm Assoc, producer ................. Julie Overton Shooting stock .................Eastmancolor Prod, manager . . . Jacqueline Ireland First released ............. March 20, 1980 1st asst director ................Oliver Howers Perth Cine Centre.

SHORTS

2nd asst director . . Corrie Soeterboek 3rd asst director . . . .

Chris McGuire Continuity ................. Therese O'Leary Camera operator ............. Tom Cowan Clapper/loader . . . . Marian Redmond Key grip .................................... Bob Short Gaffer .............................. Ron McClung Boom o p e r a t o r ........................ Ian Bone Make-up ............. Lesley Lamont Fisher Hairdresser . . . Lesley Lamont Fisher Wardrobe ....................... Joan Brennan Make-up assistant . . . Brita Kingsbury Standby props . . . .

Derrick Chetwyn Props assistant ............. Julie O'Flynn Asst editor ....................... Annette Kelly Runner .............................

ChrisMcGuire Length ...........................................20 mins.

Gauge ............................................16 mm Shooting stock .................... Eastmancolor Progress ....................

Awaiting release Cast: Tim Robertson (Buckley), Redmond Phillips (Chairman), Alex Hay (Minister), Peter Carroll (doctor), Paul Chubb (Fer­ dinand), Lynette Curran (doctor's wife), Lillian Crombie (Aboriginal wife), Wally Blakeney (Aboriginal elder), Heath Harris (pursuer)

BY NIGHT Prod, company

. . . .

Australian Film and Television School Director ....................... Rex Cramphorn Scriptwriters .................... Louis Nowra, Rex Cramphorn Photography ....................... Peter James Sound redordist . . . .

Roly McManus Editor .............................. Wayne le Clos Composer .................... Sarah de Jong Exec, producer . . . Anthony Buckley Assoc, producer ............. Julie Overton Prod, co-ordinator ............. Ricky Mandl Prod, manager ............... SteveConnard 1st asst director . . . .

Steve Connard 2nd asst d ir e c t o r ............. Julie O'Flynn Continuity .............................. Linda Ray Camera operator . . . . Andre Fleuren Focus puller .................... Andre Fleuren Clapper/loader . . . .

Andrew McLean, Alec Ceschi Key grip ................................... Terry Vogt Asst grip .................... James Kesterman Gaffer ..................................Ron McClund Gene operators . . Graham McLachlan, Bruce Gailley Boom o p e r a t o r .......................... IanBone Make-up .............................. Judy Lovell Props .............................. Steve Teather Editing assistant ............. Libby Barrett Catering .............................. Sue Faithfull Length .......................................... 20 mins.

Gauge ........................................... 16 mm Shooting stock .................... Eastmancolor Progress .......................... Post-production Cast: Kate Fitzpatrick (Catherine), Ralph C o tte rill (A rth u r), Andrew M cFarlane (John), Max Cullen (mechanic), Carol Skin­ ner (woman in roadhouse), Patrick Phillips (boy in diner), Louis Nowra (waiter, extra policeman).

CITYSCOPE Producer/director ..... Matt Butler Photography ....................... Matt Butler Editor ................................. Matt Butler Prod, manager ....................Mike Jacob Technical assistance. . .

Mike Jacob Camera assistant . . . Sam Bienstock Key grip ............................Sam Bienstock Length .......................................... 20 mins.

Gauge ............................................. 35 mm Shooting stock .................... Eastmancolor Progress ..............................

Production Synopsis: A multi-panel treatment of dif­ ferent aspects of Sydney, using a range of camera techniques.

THE COMING Prod, company ................ Valhalla Films Director ..................................Craig Lahiff Scriptwriters ....................

John Emery, Craig Lahiff Photography ....................... Peter Smith Sound recordist .................Rod Pascoe Editor ..............................Andrew Prowse Prod, manager ................. Mardi Kennedy Prod, assistant ....................... Tom Pett 1st asst director . . . .

Simon Bennets Camera assistant . . . Graham Shelton Make-up .............................. Sash Lamey Length .......................................... 50 mins.

Gauge ..............................................16 mm Shooting stock .................... Eastmancolor Progress ..............................

Production Cast: Rod Mullinar (David Doherty).

Synopsis: Technology is breaking down.

Communications are failing. Is it just a tem­ porary disturbance caused by unusual solar activity? A man struggles to come to terms with his fear and anxiety that something is about to happen.

COUNTRY EDITOR Prod, company . . . Rob Brow Productions P ro d u c e r............................ Peter Johnston Director ....................................... Rob Brow Scriptwriters .......................... Geoff Taylor, Noel Field Photography............................ Peter Sykes Sound recordist ................. Ian Jenkinson E d ito r ....................................Insync Editing C o m p o s e r....................................... Cobbers

Prod, co-ordinator ............. Robert Kewley Prod, secretary ......................................Nola Music performed by .................... Cobbers Laboratory .............................................. VFL Length ............................................. 30 mins.

Synopsis: A week in the life of a country newspaper editor.

DANCING Prod, company

. . . .

Australian Film and Television School Producer ................................. David Elfick Director ...........................George Whaley Scriptwriter ............. Angelo Loukakis Photography ...................... DeanSemler Sound recordist . . . .

Steven Dobson Editor ..................................Bill Anderson Art director ................... AnniBrowning Exec, producer . . . .Anthony Buckley Assoc, producer ................. Julie Overton Prod, manager ....................Kim Anning Location manager . . . . Janene Knight Prod, assistant . . . .

Frances Macken 1st asst director ...................Gerald Letts 2nd asst d ir e c t o r ............... Janene Knight Continuity .............................. Linda Ray Camera operator .................Louis Irving C la p p e r/lo a d e r................. Steven Dobson Key grip ............................. Ross Erickson Asst grip ................................. Terry Vogt Gaffer .................... George Harrington Boom o p e r a t o r ................Andrew Duncan Asst art directors . . . . Sue Manigan, Peta Lawson Make-up ................................. Liz Michie Wardrobe .......................... Louise Ferrier Editing assistant .................Cathy Phillips Best boy ................................. Ian Bosman Runner .................................Ron Ferguson Catering .............................Lisa Hennessy Length .......................................... 20 mins.

Gauge ........................................... 16 mm Shooting stock .................... Eastmancolor Progress .................... Awaiting release Cast: C hris Vavassis (S piro), Sophia Haskas (C hrysanthi), Tyler C opping (Nicko), Scott McGregor (Kevin), Angelo Pappas (Con), George Vavassis (Michael), Tess Mallos (Katina), Vivian Garret (Girl 1), Josephine Oliveri (Girl 2), Geoffrey Rush (Truck Driver). '

DOWNWARDLY MOBILE Prod, company ................. Slick Films Producer .........................Roger Hudson Director ................................. Philip Bull Scriptwriters .................Roger Hudson, Philip Bull Photography .......................

Peter Gray Sound recordist . . . . John Whitteron Producer’s assistant . . Sylvie Le Clezio Gaffer ...........................Sam Bienstock Electrician ....................Sam Bienstock Budget ...............................................$8200 Length .......................................... 17 mins.

Gauge ........................................... 16 mm Shooting stock .................... Eastmancolor Progress ................................. In release Cast: Martin Vaughan, Bill Lyle, Kerry Robinson, Ian Gilmoure, Michael Ross, Grant Dodwell.

Synopsis: Two rubbish collectors attempt to better themselves, only to find that for them life is always downwardly mobile.

GETTING OUT Prod, company ....................Temil Film Producer/director ................ Henry Tafay Scriptwriter .......................... Henry Tefay Based on the original idea by ....................................... Henry Tefay Photography ................. Stephen Miller Sound recordist ................ Merilyn Byers Editor .................................... Chris Oliver Composer .................... Stephen Miller Budget ...............................................$6954 Length .......................................... 21 mins.

Gauge ........................................... 16 mm Shooting stock .................... Eastmancolor Progress .............................. Production Scheduled release .............

April, 1980

THE GIRL WHO MET SIMONE DE BEAUVOIR IN PARIS

Make-up ..............................

Liz Mitchie Wardrobe .................Lesley McLennan Editing assistant . . Annabelle Sheehan Catering ...........................Lisa Hennessy Laboratory ..................................... Atlab Budget ............................................$16,000 Length ........................................22 mins.

Gauge ........................................... 16 mm Shooting stock .................... Eastmancolor Progress .......................... Post-production Cast: Tony Llewellyn Jones, Judy Morris, Anna Volska, John Clayton, Peter Carroll, Nancy Hayes, John Sheerin, Katrina Foster, Brandon Bourke.

THE INHABITANT Producer ........................... Peter Dallow Co-directors ................Richard Goodwin, John Drews, Peter Dallow Scriptwriters ................Richard Goodwin, John Drews, Peter Dallow Photography .................... Peter Dallow Sound recordist ....................John Drews Editor ..............................

Peter Dallow Prod, designer . . . . Richard Goodwin Composer ..............................John Drews Art director .................Richard Goodwin Music performed by . . . . John Drews Animation ....................Kim Humphries Laboratory .............................. Colorfilm Budget ...............................................$4643 Length .......................................... 10 mins.

Gauge ........................................... 16 mm Shooting stock .................... Eastmancolor Progress .......................... Post-production Scheduled release .............

April, 1980 Synopsis: A short film which observes the relationship between an enigmatic old man and the central business district of Sydney, in which he dwells.

THE JOGGER Prod, company ................ Valhalla Films Producer ....................... Terry Jennings Director ..............................Craig Lahiff Photography ....................... Peter Smith Sound recordist .................Rod Pascoe Editor .......................... Andrew Prowse Prod, manager ............. Mardi Kennedy 1st asst director . . . . Simon Bennets Camera assistant . . . Graham Shelton Mixer .................................... Rod Pascoe Length .......................................... 10 mins.

Gauge ........................................... 35 mm Shooting stock .................... Eastmancolor Progress ....................Awaiting Release Ca*t: John Saunders as the jogger.

Synopsis: The adventures of a super­ jogger.

JOSEPH Prod, company . . . ARC Productions Producer/director . . . .

Rolland Pike Scriptwriter ...........................Jacqui Fine Photography ....................

Rolland Pike Sound recordist . . . . Andrew Screen Editor .............................. Rolland Pike Continuity ....................Dana McKenzie Clapper/loader . . . . Clayton Simmons Key grip ........................... Raymond Palin Asst grip .................... Philip Robertson Boom o p e r a to r ....................Rodney Clark Make-up ....................... Dana McKenzie Set decorator . . . . Denise McKenzie Carpenter ....................Andrew Screen Music performed by . . Anthony Wilson Still photography . . . Philip Robertson Title designer . . . .

Richard Durance Wrangler ................................. Ron King Budget ...............................................$1200 Length ...........................................25 mins.

Gauge ................................... Super 8 mm Shooting stock .................... Eastmancolor Progress .......................... Post-production Cast: Darren Adey (Joseph Baler), Murial Kempster (Mrs Smyth), Lucy Vincent (Lillie Baler), Des Memory (Mr Baler), Niel Burns (the driver), Sandra Dew (Mrs Thoms).

Megan Lavander (Kate Green), Geoff Brow­ ing (Mr Green).

Synopsis: It is 1912. Joseph is not happy with his home and school life, so he decides to run away. In his travels, he meets Mrs Thoms, a widow, and Kate Green, the lonely daughter of a farmer.

Prod, company . . . .

Australian Film JUST AN ORDINARY LIFE and Television School Prod, company . . . West Film Video Producer ...................... RichardBrennan Producers ....................... Linda Waters, Director ........................ Richard Wherrett Jan McDonald Scriptwriter ............. Frank Moorhouse Director ................................... Jane Oehr Based on the short story Scriptwriter .............................Jane Oehr by ...........................Frank Moorhouse Based on the play Sound recordist ................. Lloyd Carrick by .................................................... West Editor ........................... Stewart Young Photography ................Malcolm Richards Art director .................... Chris Maudson Sound recordist ...................John Franks Exec, producer . . . Anthony Buckley Editor ................................ Rod Adamson Assoc, producer ................. Julie Overton Composer .........................Greg Sneddon Prod, manager ................ Barbara Gibbs Prod, manager ....................... Lyne Helms 1st asst director . . . . Arch Nicholson Continuity .........................

Anthea Dean 2nd asst director . . . . Daro Gunzburg Lighting cameraman . Malcolm Richards Continuity ................. Caroline Stanton Focus puller . . . .

Shelagh McCarthy Lighting cameraman . . . Geoff Burton Clapper/loader . . . . Marion Redmond Camera operator . . . .

Geoff Burton Boom o p e r a t o r .......................

Ian Bone Focus puller ...............................Gil Leahy Art . . . .

Peter Summerfield C la p p e r/lo a d e r....................................... GilLeahy director Asst art director . . . .

Peter Guilfoyle Camera assistant ................. Gil Leahy Laboratory ............................................ VFL Key grip ..................................Paul Moyes Length .......................................... 24 mins.

Gaffer .......................

Brian Bansgrove Gauge ........................................... 16 mm Boom o p e r a t o r ............. Chris Goldsmith

Shooting stock ............... Eastmancolor Progress ....................... Post-production Cast: Merle Swinney (Roma Moore).

Synopsis: Roma Moore is a housewife in her mid-50s. She stays at home, but doesn't like to admit it. Staying at home has become a habit, even phobia. One day she believes she is being interviewed about her life, and begins to explore it more thoroughly with surprising results.

PLANE TALE Prod, company

...................... Plane Tale Productions Producer/director ............... RobertBull Scriptwriter ........................... Robert Bull Based on the original idea by ..................................... Robert Bull Photography ....................... Paul Costello.

Peter Strain Ian McLoughlin Editor .................Kerstine Hill Harrison Prod, manager . . . .

Susan Campbell Prod, accountant . . Susan Campbell Prod, assistant .......................... Ron Choo 1st asst director . . George Karpathakis Continuity ......................... LizGoldfinch Script adviser .....................Don Meloche Casting ................................. Robert Bull Camera operator . . . .

Paul Costello Camera assistant . . . . Sally Bongers Key grip ............................. DonMeloche Asst grip ....................... Laurie Silvestrin Gaffer ................................. Carlo Buralli Boom o p e r a t o r ............. Sarah Howroyd Art director .......................

Jo Hobson Wardrobe ........................... Jo Hobson Props .................................

Jo Hobson Asst editor ...........................Frank Rijavec Neg. matching . . . .

Elizabeth Rapsey Sound editor . . . Kerstine Hill Harrison Editing assistant .................Frank Rijavec Mixer ..............................Ian McLoughlin Still photography . Kerstine Hill Harrison Budget ............................................... $5600 Length ........................................20 mins.

Gauge ..............................................16 mm Shooting stock .................... Eastmancolor Progress .......................... Post-production Scheduled release ................ June,1980 Cast: Elizabeth Moxham (Kitty), Julia Moody (June).

Synopsis: A young girl's dream of flying which she shares with an older woman and a toy koala — a loyal friend who participates in her vision of piloting a jet airliner. This film stresses the positive side of dreaming, with a gentle magic and love.

THE QUICK BROWN FOX

Props .............................. Julie O'Flynn Musical director . . .

John Neeme Runner . . .

Daro Gunzburg Length ..................................20 mins.

Gauge ........................................... 16 mm Shooting stock . . .

Eastmancolor P r o g r e s s ....................Awaiting release Cast: Julie Hudspeth (Prue), Ron Haddrick (Kite), Noni Hazlehurst (Alison), Michael Kent (Seth). Bill Hunter (Wallaby, bank rob­ ber), Dennis Miller (Captain Poynton), Karol Lopez (Smokey Torch). Peter Rowley (Brian, robber, wharfie), Paul Makin (Star), Max Aspm (wharfie, driver).

SERPENTINE Prod, company

. Creative Development Branch, AFC Tasmanian Film Corporation Producer/director .................Jono Wall Scriptwriter ............. John Patterson Based on the original idea by ........................................... Jono Wall Photography ................... Joel Peterson Sound recordist . . . . S. Stokes Editor ....................... . Jono Wall Prod, assistant Martin Wohlgemuth Producer's assistant . . Becky Sweeney Lighting camerapersons . Carmel Sears.

Cathy Chinnery Camera operator . . .

Joel Peterson Camera assistant . Lorraine Binnington Elecrician ........................ John Smyth Hairdresser .................Sparks Morgan Music performed by . . . .

Lee Hilyard Sound editor .........................S. Stokes Mixer ........................................ Ian Cugley Still p h o to g ra p h y ................. Laurie Fraser Opticals . . . . . . . . Mark Hinton Mechanic ............................ Jekyll Smyth Publicity .................Hobart Film Makers Co-Operative Catering .................................. Tina Fraser Studios .............

Cash Country Cinema Mixed at .......................... Tasmanian Film Corporation Laboratory ....................... Master Color Budget ............................................... $6000 Length .......................................... 25 mins.

Gauge ..............................................16 mm Shooting stock .................... Eastmancolor Progress ..............................

Production Cast: JekyllSmyth (prospector), Beth Rooke (mine secretary).

Synopsis: A short film studying the character and bush knowledge of West Coast Tasmanian prospector Jekyll Smyth.

Dist. company

. . .

SKYLAUGH Prod, companies

Student Attachment Scheme and the Tasmanian Film Corporation Producer . Michele McCrea Director Gerald Thompson Scriptwriter Gerald Thompson Based on the original dea by . ...

Gerald Thompson Photography . . Joel Peterson Sound recordist David Crocombe Editor . . .

Gerald Thompson Exec, producer . Barry Pierce Prod, manager Caroline Florance Prod, accountant Robyn Tolot Prod, assistant Gaye Arnold 1 st asst director Christine Schlüter Maureen Carey Continuity . .

Camera assistant David Hudspeth Boom operator . . Julian Allan Art director John McCnnchie Asst art directors David Llewellyn, Michele McCrea Costume designer Michele McCrea Make-up Miche a McCrea Wardrobe Jenny Cullen Special effects Steve Boxail Carpenter .

Glenn Hunter Set construction Steve Coss Laboratory . . . VFL Budget S7000 Length . .

35 mins.

Gauge . . . 1 6 mm Shooting stock Fuji, Eastmancolor Progress . . .

Post-production Cast: Andrew Seyfned (Paul). Gwen Nettlefoid (Janice). David Pidd (Johnno), John McConchte (Alien 1 ). Dave Llewellyn (Alien THE SEARCH FOR HARRY ALLWAY 2), Mark Boyd (Martin), Reg O’Neil (father), Jan M o rn s (m o th e r), Paui S c h lu te r Prod, company . . . .

Australian Film (mechanic).

David Shepherd (Hoon 1). and Television School Synopsis: A cosmic comedy of human foily P r o d u c e r .............................................DavidHannay in which we follow the bumbling career of Director ..............................Aarne Neeme Scriptwriter AlexBuzo earnest, ineffectual Paui in his paradoxical Photography . .

DeanSemler search for meaningful experience. His fer­ vent. puritanical idealism blinds him to the Sound recordist .............

Bob Hayes reality of other people and the world around Editor ............................. Catherine Millar him, thus barring him from the attainment of Art director ........................ Sally Cairney those very ideals.

Exec, producer . . Anthony Buckley Assoc, producer ................ Julia Overton Prod, manager . . . Jacqueline Ireland TAKE THE PLUNGE 1st asst director . . . . Arch Nicholson Prod, company . . Swinburne Institute 2nd asst director . .

Daro Gunzburg of Technology Camera operator. . . . Andre Fleuren Dist. company Reel Women Camera assistant. . . . Jason Holland Producer/director .............

Claire Jager Key grip .................Merve McLaughlin Scriptwriter ....................... Claire Jager Video tape camera Sound recordist .................Jacqui Fine operator ............................Mike Woolier Editor ....................... ...

Claire Jager Video tape equipment Continuity .................... . Jenny Meaney supervisor .................John Saunders Camera operator . . . .

Natalie Green Electrician ............. Graham McLagnlan Camera assistant . . . Carole Sklan, Make-up . . . .

Lesley Lamond-Fisher Alison Tilson Prod, company

. . . .

Australian Film and Television School Producer ...........................Natalie Miller Director .................Malcolm Robertson Scriptwriter ....................Alan Hopgood Photography ............. Malcolm Richards Sound recordist ............. John Rowley Editor ........................... Tony Paterson Exec, producer . . . Anthony Buckley Assoc, producer .................Julie Overton Prod, manager .............

Robert Kewley Prod, secretary . . . Elizabeth Watson Prod, assistant ....................... Tessie Hill 1st asst director . . . .

Robert Kewley Continuity ..........................

Julie Bates Camera assistant ................... Phil Cross Key grip .................Richard Lowenstein Gaffer ..............................Gary Plunkett Boom operator .................... Greg Steele Make-up ....................... Kirsten Veysey Wardrobe .................. Aphrodite Kondos Props ......................... Aphrodite Kondos Set decorator . . . . Aphrodite Kondos Runners ................................. Ian Lang, Ian Fowler Length .......................................... 20 mins.

Gauge ........................................... 16 mm Shooting stock .................... Eastmancolor Progress . . .

Awaiting release Cast: Gary Day (Paul). Gerda Nicholson (Mrs Flynn), Pat Bishop (Miss Trent), Alan Hopgood (Marley Powers), Ray Lawler (Mr Herbert). Jamie Wallis (postman). John Heywood (Ted), Peter Felmingham (prison guard). Adele Lewin (Pauline). Tanya Uren (Sally).

Cinema Papers, April-May— I3l

m

Gaffer ........................Steve Macdonald Budget ............................................... 5700 Length ..................................... 7 Vi mins.

Shooting stock .................Eastmancolor Progress ..................................In release Voices: Virginia Fraser, Sue Ford.

Cast: Kerry Dwyer, Rose Costello.

Synopsis: Another day for a cleaning woman and the ‘lady of the house'. Each woman comes to a realization of her posi­ tion within her environment.

THE WEDDING Prod, company

. . . .

Australian Film and Television School Director .............................. Kerry Dwyer Scriptwriter ....................... Gail Prince Based on the original idea by ..................................... Kerry Dwyer Photography .................... Geoff Burton Sound recordist .................... Pat Fiske Script editor .................... Ken Cameron Editor ........................... Denise Haslem Art director ....................... Sue Parker Exec, producer . . . Anthony Buckley Assoc, producer ................. Julie Overton Prod, manager .....................Sabina Wynn 1st asst director .................... Erika Addis 2nd asst d ir e c t o r .............

Alison Tilson Continuity ...........................Jill Freeman Camera operator . . . .

Geoff Burton Camera assistant . . Marian Redmond Key grip ...........................Lester Bishop Gaffer ...........................Sam Bienstock Boom operator . . . .

Peter Hammond Asst art directors . Michele Mackenzie, Jackie Sommerich Make-up ...........................Peggy Carter Music arranged by . . . Sarah de Jong Editing assistant . . . Elizabeth Stroud Length ...........................................20 mins.

Gauge ............................................16 mm Shooting stock .....................Eastmancolor Progress ....................

Awaiting release Cast: Robert Meldrum (Kaspar), Geoffrey Rush (Bruno), John Clayton (Aaron), Bill M c C lu s k y ( M a x ) , L o u is W ls h a r t (shopkeeper), Jude Juring (landlady), Noni H a z le h u rs t (th e b rid e ), Ron D ru ry (musician), Louis Nowra (musician), Fred Pemberton (musician), Richard Wilson (musician).

Sound editor .................... Robert Wyatt Mixer ..................................Narja Kaspar Animation ....................... Robert Wyatt Opticals .................................. Colorfilm Mixed at .................Murray Film Sound Laboratory .................................. Cinecolor Budget ............................................... $6500 Length ....................................... 18 mins.

Gauge ............................................16 mm Shooting stock .................... Eastmancolor Progress .......................... Post-production Scheduled release .................May, 1980 Cast: Jenny Ma. Synopsis: An avant-garde animation and special effects film using complex images and sound effects derived from the sub­ urban environment in older inner Brisbane suburbs.

For details of the following films see Issue 25: Grendel Grendel Grendel Pussy Pumps Up Sarah Whatsabody

D O C U M E N T A R IE S FEATURES

..Student Attachment Scheme and the Tasmanian Film Corporation Director ....................... Michele McCrea Scriptwriter .................Michele McCrea Based on the original idea by ................................ Michele McCrea Photography ............. Gerald Thompson Editor ...........................Michele McCrea Composer .............................. Ian Cegley Exec, producer . . . Anne Whitehead Costume designer . . . Michele McCrea Asst editor .................Gerald Thompson Laboratory ............................................ VFL Budget ............................................... $1500 Length ........................................ 20 mins.

Gauge ............................................16 mm Shooting stock ............................. Fujicolor Progress .......................... Post-production Cast: Janet Price (Clown), Jed (Wizard), Cy (Child), Joel Peterson.

Synopsis: A clown’s attempts to escape lead her back to where she started.

For details of the following films see Issue 25: And Sometimes I tee Like I’m Only 18 Box Flat Couples (A Trilogy) Desire Dirty Business Employing Strategy Evictions He Caught a Crooked Lizard The Last Goodbye Man of His Time Something Beginning With Art Tom Roberts White Waves

ANIMATION THE LITTLE CONVICT See details in Features (under In Release) this issue.

SUBURBAN WINDOWS Producer/director . . . .

Robert Wyatt Scriptwriter ...................... RobertWyatt Based on the original idea by .................................... RobertWyatt Photography ...................... RobertWyatt Sound recordist . . Murray Film Sound Editor ................................ RobertWyatt Lighting cameraman . . . Robert Wyatt Camera assistants .................Jenny Ma, Marissa Carob, Gary Phillips Special fx photography . Robert Wyatt Special effects ................... RobertWyatt

132—Cinema Papers, April-May

THE DANGEROUS SUMMER Prod, company . . . . McElroy and McElroy P ro d u c e r.....................................Jane Scott D ire c to r.................Brian Trenchard-Smith S c riptw rite r...................... Ann Brooksbank Photography.............................. John Seale Sound recordist ...................... Tim Lloyd E d ito r........................................... Alan Lake Exec, producer ...................... Jim McElroy Prod, secretary .......................Fiona Gosse Prod, assistant........................ Fiona Gosse 1st asst director .................Ross Mathews Clapper/loader ...................... David Knaus Camera assistant ......................Jan Kenny Key g r ip ................................Jeff O'Donnell G a ffe r....................................... Craig Bryant Special e ffe c ts ...................... Chris Murray Bushfire control officer .. . Phil Koperberg Accommodation ....T h e Carrington Hotel Car H ire ...................Kings Cross Rentacar Truck h ir e ...................Hertz Truck Rentals Laboratory ..................................... Colorfilm Length .............................................25 mins.

Progress ............................ Pre-production

MICK Prod, company

.....................Geoff Beak Productions Producer .................................. Geoff Beak Scriptwriter ............................Geoff Beak Length ...........................................90 mins.

Progress ........................ Pre-production Scheduled release ............................. 1980 Synopsis: A documentary drama on a would-be battler who finds the ground con­ tinually cut under his feet.

WINTER Prod, companies

Budget ............................................ $46,000 Length ........................................ 50 mins.

Gauge ........................................... 16 mm Shooting stock .................... Eastmancolor Progress ..............................

Production Scheduled release ................. late 1980 Synopsis: A d o c u m e n ta ry s h o rt in ­ vestigating the expansion of coal mining and associated industrial development in the Upper Hunter region of NSW. Issues raised include the effects of increased min­ ing on employment, the rural industry and the environment.

SHORTS

THE ANGEL AND THE RAT Prod, company . . . .

Insomnia Films Director ....................... Steve MacDonald Scriptwriter ................ Steve MacDonald Photography . . . . Richard Lowenstein Sound recordist .................Jacqui Fine Editor .......................... Steve MacDonald Continuity ....................... Jenny Meany Camera assistant . . . .

Carole Sklan Key grip ...........................Claire Jaeger Boom o p e r a t o r .................Dave Stranger Catering ................................. Slack Tart Catering Co. Laboratory ..................................... Cinevex Budget ................................................. $800 Length ........................................ 18 mins.

Gauge ........................................... 16 mm Shooting stock .................... Eastmancolor Progress ................................. In release First released . . . .

December, 1979 C ast: S m iley, V icki M cKenzie, David Schulberg, Carol P-T, Dave Robb, Jools, Madelon Wilkins, Dave Stranger, Midnight Fontaine, Sue Purves.

Synopsis: A documentary which examines the work, ideas and lifestyle of a Melbourne sculptor, and the relationship between sculpture, dance and society.

AUSS1ES ALL Prod, company . . . . AVEC Film Unit Dist. company ................ AVEC Film Unit Producer/director . . . . Barbara Boyd Scriptwriter .................... Barbara Boyd Photography .....................Mike Brayshaw Sound recordist ............. Ian Jenkinson Editor .............................. Barbara Boyd Exec, producer . . . Ross R. Campbell Prod, manager ................. Sacha Wood Camera assistant . . . Dennis Nichollc Sound editor .................Kevin Anderson Shooting stock .................... Eastmancolor Progress .......................... Post-production Synopsis: A depiction of the interactions and ironies inherent in Australia as a multi­ cultural society.

COAL Prod, company ...........................Galfilms Producers ....................... Gillian Leahy, Ian Milliss Director ........................... Gillian Leahy Scriptwriters .................... Gillian Leahy, Ian Milliss Photography ....................... Ned Lander Sound recordist .................... Pat Fiske Editor ..................................Jim Stevens Prod, manager ...................John Cruthers Laboratory ..............................

Colorfilm

EVERY LITTLE TWINGE Prod, company

. . . .

Australian Film and Televison School for the National Heart Foundation of Australia Producer/director . . Virginia Westbury Scriptwriter ................ Virginia Westbury Based on the original idea by ..............................Virginia Westbury Photography . . . .

Shalagh McCarthy Sound recordist .................... Ian Bone Editor .................... Shalagh McCarthy Composer ....................... Simon Walker Exec, producer ............. Basil Appleby Prod, manager .............

Kate Westbury Camera assistant . . Marion Redmond 2nd unit photography . John Whitteron Asst editor .............................Gary Woods Mixer ........................................ Ian Bone Still p h o to g ra p h y .............

Alan Hughes Title designer ....................

Wal Logue Mixed at ............................Australian Film and Television School Laboratory ..................................... Atlab Budget ............................................$29,000 Length .......................................... 24 mins.

Gauge ........................

16 mm Shooting stock .................... Eastmancolor Progress .......................... Post-production Scheduled release . . . . April 13, 1980 S ynopsis: A docu m e n ta ry about the emotional trauma of a heart attack.

KEEPING UP WITH THE JONESES Prod, company Rob Brow Productions Dist. company ....................Film Australia Producer ........................... Peter Johnston Director .....................................Rob Brow Scriptwriter ..............................Noel Field Based on the original Idea by .......................................... Nola Brow Photography .......................... Peter Sykes Sound recordist .............

Geoff Wilson Editor .............................. David Hipkins Composer .................................... C o b b e r s Unit manager ................... Warwick Field Prod, secretary .......................Nola Brow Lighting cameraman . . . . Peter Sykes Camera assistant . . . Robert Murray Key grip .................................Colin Chase Gaffer .................................Lindsay Foote Neg. matching .............................. Vic Neg Music performed by ................... C o b b e r s Laboratory ............................................VFL Length .......................................... 25 mins.

Gauge ..............................................16 mm Shooting stock .................... Eastmancolor Cast: Nancy and Jonah Jones and people of the Mallee.

Synopsis: Nancy and Johah Jones live on the Mallee Track. He is a pig-breeder and producer and she is mother of four young children. They are heavily Involved in various arts for children and adults in a prosperous, yet culturally Isolated area. The film deals with their very busy lives as farmers, parents, teachers and art consul­ tants.

Music performed by ............. Chris Neal Editing assistant .................... Inga Wille M i x e r ....................

John Leslie Narrator .................Matthew O’Sullivan Opticals ........................................

Atlab Mixed at ....................... Dubbs and Co. Laboratory ..................................... Atlab Lab. liaison ............. Bruce Williamson Budget ............................................$52,000 Length .......................................... 50 mins.

Gauge ........................................... 16 mm Shooting stock .................... Eastmancolor First released ................... January 1980, Channel 9, Sydney S ynopsis: A coverage of the Repco Reliability Trial in August, 1979.

BACCOLTA D’INVERNO (WINTER’S HARVEST) Producers

.................... Angelo Gigliotti, Brian McKenzie Director ....................... Brian McKenzie Photography .................Brian McKenzie, Wolfgang Kress Sound recordist . . . . .

Mark Tarpey Gaffer ........................... Gregory Harris Budget ...............................................$9000 Length ........................................35 mins.

Gauge ........................................... 16 mm Progress ..................................In release Synopsis: A documentary account of a community of Italian families who have made an intere stin g c o m bin a tion of southern Italian provincial custom and Western consumer culture.

STAIRWAY TO THE MOON Prod, company

................... Circle Circle Productions Producers ......................Graham Varney, Phil Snow Director .......................... Graham Varney Scriptwriter ....................Holden Roberts Sound recordist ....................... Phil Snow Editor ............................. Graham Varney Composer ...........................Ken Walther Lighting cameraman . . Roger Dowling Camera assistant . . . Andrew Rowlins 2nd unit photography . Denis Robinson Neg. matching ....................Chris Rowell " Productions Musical director .................Ken Walther Mixer ..................................... Eddie Mills Asst mixer ....................... Derek Morris Narrator .............................. Rick Rodgers Opticals .......................... Acme Opticals Laboratory ............. ■. . . . Film Lab 7 Lab. liaison ....................

David Dukes Length .......................................... 44 mins.

Gauge ........................................... 16 mm Shooting stock .................... Eastmancolor Progress .................... Awaiting release Synopsis: A documentary on the pearling industry, past and present, operating out of Broome, Western Australia.

UNION MADE Producer/director . . . .

John Hughes Scriptwriter ....................John Hughes Photography .................... Margot Nash Sound recordist . . . . John Whitteron Editor .............................. Chris Warner Exec, producers ................... KeithGow, Norma Disher, Jock Levy Prod, manager ............................. Phil Bull Unit manager ............................. Phil Bull Camera assistant . . . .

Glenys Page Editing assistant ....................... Viv Carrol Still p h o to g ra p h y ................

Barbara Hall Laboratories ...........................Kine Lab, Colorfilm Budget ............................................$17,000 Length ........................................50 mins.

Gauge ..............................................16 mm Shooting stock .................... Eastmancolor Progress .......................... Post-production Cast: Norma Disher, Keith Gow, Jock Levy.

Synopsis: During the height of the Cold War the Waterside Workers Federation Film Unit produced a series of films for several trade unions on political and industrial issues.

Independent filmmakers are working with them to develop critical dialogue from one generation of concerned film workers with another.

SECRET VALLEY Prod, company . Grundy Organization Dist. company . . Grundy Organization Producer Roger Mlrams Director ...........................Howard Rubie Scriptwriter .................... Terry Bourke Photography .................... Paul Onorato Sound recordist ........................ Phil Judd Editors .......................................Alan Lake, Ron Williams Art director ................. David Copping Prod, supervisor ............. Michael Lake Prod, m a n a g e r ............. Michael Midlam Prod, secretary . . . .

Cathy Flannery Prod, accountant ............... Roy Leeman 1st asst directors .................Mark Piper, Kate Westbury 2nd asst d ir e c t o r ................. Paul Jones 2nd unit director ............. Terry Bourke Continuity .................Barbara Burleigh, Anthea Dean Casting .............................. Kerry Spence Focus puller .......................Steve Dobson 2nd unit photography Frank Hammond Gaffer ..............................

Derek Jones Boom o p e r a t o r ................. Rick Creaser Make-up .......................

Pat Hutchence Wardrobe .............................. Carol Berry Props ........................... Annie Browing Props buyer ................. Annie Browing Standby props .................... Ken James Runner ................................ Kevin Scanlon Catering .............................. Ray Fowler Mixed at .............................. United Sound Laboratory ..................................... Atlab Length .........................................100 mins.

Gauge ............................................16 mm Shooting stock ...................................... Fuji Progress .......................... Post-production Cast: Michael McGlinchey (Mike), Miles Buchanan (M iles), S im one B uchanan (Simone), Samantha Ashby (Samantha), Toby Churchill-Brown (Toby), Helen Haskas (Helena), Mark Spain (Beaver), Marianne Howard (Marianne), Kelly Dingwall (Spider); Warwick Poulsen (Wombat).

Synopsis: A group of school children turn a ghost town into a weekend holiday camp for city children to save an old man from being evicted from his property. " For details of the following film see Issue 25: The Coast Town Kids

TELEVISION

FEATURES

BILLY WEST

PILOTS

Prod, company

............. Survival Films International ............................. Bill Leimbach, David Gulpilil Scriptwriters .................Norman Ingram, David Gulpilil Based on the original idea by ................................. David Gulpilil, Bill Leimbach Photography .................... Ray Henman Composer ...................... Buffy St. Marie Exec, producer . . . . Jeanne Mulcahy Assoc, producer . . . .

Anthony Wallis Directors

THE LAST GREAT RALLY Prod, company ..........................Flimwest Dist. company ............................. Filmwest Producer ...........................Frank Zuppar Scriptwriter .................... Candy Baker Editor ...........................Michael Balson Composer .............................. Chris Neal Prod, manager . . . Film Crew Facilities Neg. matching . . . . Negative Thinking Musical director .................... Chris Neal

Photography .......................... Gary Moore Sound recordist ....... Harry Hawes Editor ..................................... Phil Reid Art director .............

Beverley Teague Prod, supervisor ............. Michael Lake Prod, manager .............

Barbara Gibbs Prod, secretary . . . Antonia Barnard Prod, accountant ............. Roy Leeman 1st asst director . . . . Elizabeth Knight 2nd asst d ir e c t o r ........ Soren Jensen Continuity ................................. Jo Weeks Casting ..................................Kerry Spence Camera operator ..........

Phil Austin Camera assistants . . . .

Scott Smeal, Jim Walpole Key grip ...........................Paul Thompson Gaffer .............................John Cummings Boom o p e r a t o r ................... Simon Becker Make-up ................................ Viv Mepham Hairdresser .................... Gail Edmonds Wardrobe ....................... ’. Helen Evans Props buyer ................... Peter Glencross Standby props ...................... Clark Munro Mixers ...........................David Harrison, Rod Koetsveld Stunts co-ordinator . Peter Armstrong Still p h o to g r a p h y ....................Jeff Neild Best boy .................................Brett Hogan Catering ........................................

Jems Mixed at .......................... AAV Australia Laboratory ........................................... ECV Length ........................................ 60 mins.

Progress .......................... Post-production Cast: Robert Coleby (Dr Chris Lane), Mel Gibson (Rick Munro), Barry Crocker (Mr Smith), Anne Haddy (Alice Wells), Maggie Dence (landlady), BrianHarrison (Sam Wells), Jon Ewing (Willetts), Kris McQuade (Kate Randal), Michele Fawdon (Susan Morrison), Linda Newton (Jenny Harper).

Synopsis: A film about the lives of a prison's occupants and the effect of the im prison­ ment of a friend or a relative on the people outside.

PUNISHMENT Prod, company . Grundy Organization Dist. company . . Grundy Organization Producer ...........................Alan Coleman Director ..............................

Rod Hardy Scriptwriters ....................

Reg Watson, Alan Coleman

Prod, manager .................Neil Mathews Music performed by . . Buffy St. Marie Budget ..................................... $375,000 Length ........................................ 90 mins.

Gauge ............................................16 mm Shooting stock .................... Eastmancoior Progress ....................... Pre-production Scheduled release . . December, 1980 Cast: David Gulpilil, Butty St. Marie.

S y n o p s is : A lo v e s t o r y a n d an anthropological, cultural exchange, it is the story of a cattle baron who drives his herd of special stock into Arnhem Land in 1898.

Short of trained jackeroos, his success or failure depends on local Aboriginal labor.

For details of the following films see Issue 25: .

Big Toys Coraiie Landsdowne Says No Dead Man’s Float Slippery Slide A Toast to Melba

Sound editor .................Glenda Hambly Editing assistants . . . . Liz Goldfinch, George Karpathakis Stunts co-ordinator . . . .

Peter West Still photography . . . .

Stephen Smith Dialogue coach ............. Kathy Watters Runner ........................... Phil Monaghan Budget ..................................... $320,000 Length ........................................24 mins Gauge ........................................... 16 mm Shooting stock .................... Eastmancoior Progress ..............................

Production Cast: Francesca Shoesmith (Kate Ellery), Greg Duffy (Paul Ellery), Justin Hollyock (Jock Dixon), Bevan Lee (Vim), Alan Cassell (Brady), Maurie Ogden (Frank Ellery), Michael Loney (Constable Harris), Joan Sydney (Mrs Yates), Merrin Canning (Miss Fitzgerald), Alan Fletcher (Alan).

Synopsis: The final eight episodes of a 13part television drama serial for children.

These episodes continue with the three children, Kate, Jock and Paul, solving the mystery of strange happenings in the night.

JNP Productions, script development for a first draft (restatement of previous offer) of Paul and Francesca — $8350.

Jack Marcaird, script development for a second draft of Awakening — 54000.

Ugo Marlotti, script development for a first draft of Spaghetti for Breakfast — $6000.

Jim M cE lroy and Peter W eir, s c rip t development for a third draft and survey of The Year of Living Dangerously — $67,960.

Phil Noyce and David Williamson, script development for a treatment of 2130 — $

LUCINDA BRAYFORD

. . . Alice Productions for the Seven Network Producer .......................... Henry Crawford Director ...........................David Stevens Scriptwriters . . Rosemary Anne Sisson, Tom Hegarty Based on the novel by ..................................... Nevil Shuite Photography .................... Russell Boyd Editor ................................. Tim Wellburn Composer ....................... Bruce Smeaton Prod, manager ....................Lynn Gailey Transport unit manager . . John Chase Prod, secretary . . . .

Mandy Forster Business manager ............. Penny Carl Prod, assistant ....................... Jenny Miles 1st asst director ............. Mark Turnbull 2nd asst director . . . .

Chris Maudson Continuity ..............................Jo Weeks Casting ........................... M & L Casting Consultants C la p p e r /lo a d e r............. Kim Batterham Key grip ................................

RayBrown Gaffer .......................

Brian Bansgrove Electrician ....................... Paul Gantner Art director .................Larry Eastwood Asst art directors . . . Sally Campbell, Clarke Munro Make-up ............................. Rochelle Ford Hairdresser ....................Cheryl Williams Wardrobe ....................... Ron Williams Ward, assistant ................... RhilEagles Standby props .......................... Barry Hall Construction manager . . Brian Hocking Asst editor .................... Vicki Ambrose Sound editors ............. Peter Burgess, Dean Gawen Editing assistants . . . Shirley Kennard Dialogue coach ....................... Azhar Nik Runner .............................. Stuart Green Catering .................... Cecil B. De Meals on Wheels Laboratory .................................. Atiab Budget .......................................$1,300,000 Length ................................. 6 x 50 mins.

Gauge ..............................................16 mm Shooting stock .................... Eastmancoior Progress ..............................

Production Cast: HelenMorse (Jean Paget), Bryan Brown (Joe Harmon).

Synopsis: A World War 2 romance.

FALCON ISLAND Prod, company . . Excalibur Nominees Producer ................................. Judith West Directors .......................

Peter Maxwell, David Rapsey Scriptwriter ................. Joan Ambrose Based on the original idea by .............................. Joan Ambrose Photography .............................Kevin Lind Sound recordist ................. Don Connolly Editors .......................................Geoff Hall, Kerstine Hill-Hamilton Composer ....................... Greg Schultz Exec, producer .................Paul Barron Prod, manager ....................Betty Barnard Prod, secretary ................. Dixie Betts Prod, accountant . . . Joan Greenwell 1st asst director ............. James Parker 2nd asst director . Chris Hoppenbrouers 3rd asst director . . . . James Richards Continuity .............................. Lyn Hyann Casting ................................. Judith West Camera operator . . Peter Lettenmaier Focus puller .....................Jeremy Robins C la p p e r/lo a d e r.................... Robert Bull, Paul Costello Key grip ....................... Karel Akkerman Asst grip .................................

Phil Rich 2 nd unit photography underwater .............

Hugh Edwards Gaffer .............................. Darryl Binning Boom o p e r a t o r ...................... Phil Croal Make-up .................... Linda Sanderson Wardrobe .................Linda Sanderson Ward, assistant . . Sue-Ellen Rawlings Props buyer ....................... Dick Bristow Standby props .................... Dick Bristow

Lucinda Brayford

Prod, designer .................George Liddle Prod, accountant .................Patti Scott Composer ....................Bruce Smeaton 1st asst director ............. Tom Burstall Prod, co-ordinator . . Jennifer Couston 2nd asst d ir e c t o r ............. Stuart Beatty Prod, managers ............... DennisKiely, 3rd asst director . . . .

Andrew Morse Michael Baynham Continuity .................... Shirley Ballard Unit manager ....................... Val Windon Focus puller ............. Peter Van Santen Prod, secretary ............... Debbie Davies C la p p e r/lo a d e r......................... Chris Cain PRISONER 1st asst director ................

Ray Brown Key grip ......................... Paul Ammitzboll 2nd asst d ir e c t o r ...................Tim Higgins, Asst grip .......................

Peter Kershaw Prod, company The Grundy Organization .............................. Brian Adams Dave Tunnell Gaffer Dist. company ........................Network 10 Continuity ........................Carolyn Gould, Boom o p e r a to r ........................ Ray Phillips Producer ................................... Philip East Julie Nelson Art director .......................Logan Brewer Directors ................................. Rod Hardy, Casting .................................Jennifer Allen Asst art director ................

Roe Bruen Marcus Cole, Camera operator .............

Mike Ewers Costume designer . . . Bruce Finlayson Leigh Spence.

Focus puller ....................... Roger Lanser Make-up ...........................Bob McCarron, Gary Conway C la p p e r/lo a d e r............................... RussellBacon Sally Gordon Scriptwriters ....................Sheila Sibley, Key grip ................................ Andy Glavln Hairdresser ...................Anne Pospischil Denise Morgan, Asst grip ..............................

Alan Trevena Ward, assistant . . . . Julie Constable Ray Kolle, 2nd unit photography . John Shinerock Props buyer Nlchoiaas Van Roosendael John Upton, Gaffer ..............................Jack Kendrick Asst props buyer . . . Paddy Reardon Margaret McClusky, Electrician ....................... Martin Perrott Standby props ................. Sue Armstrong Dave Worthington, Boom o p e r a t o r .................... Nick Wood Choreography .......................... Tony Bart Ian Bradley, Asst art directors ................Col Rudder, Scenic artist ....................... Karen Trott John Wood, Freya Hadley Asst, scenic artist ............. Ann Barlow George Mallaby Costume designer . . . Judy Atherdon Set construction ............. Rowan Flude Based on the original idea Make-up ....................................Val Smith, Asst editor ...................... Mark McAulisse by ....................................... Reg Watson Norman Blanchard, Still p h o to g ra p h y ..................................RayHand Sound recordists ................Gary Hayes, Christina Ehlert Laboratory .....................................Clnevex Rob Saunders, Wardrobe .......................

Elsie Rushton, Length ................................... 9 x 47 mins.

Dave Keates Barry Lumby Gauge F IL M A U S T R A L IA ............................................. 16 mm Editors .................................... Keith Elliott, Props buyers . , .

Paddy MacDonald, Shooting stock .................... Eastmancoior David Jaeger Adrian Cannon Progress ..........................Post-production Prod, designer ....................... Ian Costello Standby props ....................... Don Page, C ast: Robyn N evin (S h asta ), David Composer ...........................Allan Caswell Igor Lazareff, Cameron (Neil), Judy Davis (Carrie), Jacki Exec, producer .................... Ian Bradley Laurie Fisher Weaver (Maggie), Chris Milne (Ben), Rod Prod, co-ordinator . . . Fay Rousseaux THE CAPITAL Special effects ................ Peter Leggett Mullinar (Don), Linden Wilkinson (lla), Jan Prod, manager ....................Valerie Unwin Associate designer . . . Ken Muggleston Hamilton (Geraldine), Rowena Wallace Prod, company .................Cameracraft Prod, assistant ............. Fay Rousseaux Set dresser . . . .

Robert Hutchinson (Honor), John Howard (Archie).

Dist. company .................Film Australia 1st asst director ................. Bob Gillow Carpenter ....................... Austin Nolan Synopsis: The story of a group of people Producer .......................

Peter Johnson Casting .....................................Maura Fay Set construction .................Laurie Dorn whose lives, through time and circum­ Director ............................. Greg Parry Camera operators ............. Peter Hind, stance, are entwined in several ways — Asst editors ....................... Mark Darcy, Scriptwriter ....................Michael Falloon Ken Mulholland, Peter Townend, from love to murder.

Photography ....................... Jim Gilbert Noel Penn (studio), Adrienne Overall Editor ................................. Kevin Franzi Joe Battaglia, Neg. matching .............

Rosemary Dodd For details of the following series see issue Length .......................................... 20 mins.

Steve Mann (location) Music performed by Melbourne Symphony 25: Gauge ........................................... 35 mm Boom o p e r a to r Paul Covington Shooting stock .................Eastmancoior Orchestra The Last Outlaw Make-up ............. Vivienne Rushbrook, Sound editor ...................Tony Kavanagh, Sam’s Luck Progress ....................

Awaiting release Adrienne Lee John Hollands Too Many Spears Scheduled release ............ April, 1980 Hairdresser ............. Gilbert Broadway Editing assistant . . . . Sandy Huggins Trial by Marriage Synopsis: A short film on our national Wardrobe ................ Jennifer Carmen, Mixer ................................. Peter Barber Young Ramsay capital which looks at the very real pictorial Jan Petersen Asst mixer ....................... Philip Tipene attributes of Canberra and its environs.

Props .......................... Stephen Walsh Still p h o to g ra p h y ................Martin Webby Asst editor ....................Peter Barbedos Wrangler ...........................Graham Ware Musical director . . . . William Motzing THE COMMANDER AND HIS STAFF Mechanic .......................... John Clarke Music performed by . Australian Screen Prod, company .................Film Australia Publicity ....................... Virginia Sargent Music Dist. company ....................Film Australia Catering ............... Alexandra Receptions Sound editor .................... Greg Gurney Producer .......................

Peter Johnson S t u d io s .................Forest Studios (ABC) Still p h o to g ra p h y ....................Ray Hand Director ....................... Michael Falloon Mixed at . . . . Frenchs Forest Studios Publicity ................. Felicity Goscombe Scriptwriter .................Michael Falloon Laboratory ..............................

Colorfilm Catering ....................Anne Dechaineux Photography .................Peter Viskovich Lab. liaison .......................

Bill Gooley Studios . . Channel “ 10” — Nunawading Sound recordist . . .

Rodney Simmons Length ...................................

8 x 60 mins.

Length ................................. 2 x 60 mins.

Editor ...........................Michael Norton Shooting stock .................... Eastmancoior PROJECT DEVELOPMENT Progress .....................................In release Camera assistant . . . .

James Ward Progress .............................. Production First released ............. February, 1979, BRANCH Length ........................................ 50 mins.

Cast: Michael Craig, Nicola Pagett, Angela National 0-10 Network Projects approved at the AFC meeting in Gauge ...........................................

16 mm Punch McGregor, Ray Barrett, Genevieve Cast: Val Lehman (Bea), Patsy King (Erica), February, 1980: Shooting stock .................Eastmancoior Picot, Chris Haywood, Patrick Dickson, Colette Mann (Doreen), Elspeth Ballantyne Progress ................................in release Script Development Peter Cousens, Peter Collingwood, Brian (Meg), G erard M aguire (Jim ), Sheila ....................... March, 1980 Hinselwood.

Florance (Lizzie), Fiona Spence (Vera), Abraxas Films, script development for a First release Synopsis: A dram atized docum entary Synopsis: The series spans New South Amanda Muggleton (Chrissie), Monica third draft of Sky — $6500. showing the chain of command In an Army Wales from 1788-1811, depicting the lives John Beaton, script development for a first Maughan (Pat), George Mallaby (Paul).

Corps in battle. of a group of convicts and settlers, against Synopsis: A drama on life in a contem­ draft of The Prisoner and the Farmer’s Wife the background of Governor Phillip’s at­ — $5000. porary Australian women’s prison.

COPING tempts to understand the Aboriginals and Nancy Cash, script development for a the conflicts with the military.

THE TIMELESS LAND second draft and pre-production of Daddy’s Prod, company ............. Film Australia Little Girl — $14,500.

Dist. company ............. Australian Film Prod, company ABC WATER UNDER THE BRIDGE Jim Davis, script development for a revised Commission Dist. company ....................................ABC first draft of The Observer — $4600.

Producer .......................

Malcolm Otton Prod, company . Shotton Productions Producer ..............................

Ray Alehin Fable Film Productions, script develop­ Director ....................

Philip Robertson Producer ................................John McRae Directors .......................... Rob Steward, ment for a final draft of The Black Planet — Scriptwriter .............

Philip Robertson Director .................................. Igor Auzins Michael Carson $2400.

Photography .................

Andrew Fraser Scriptwriters . . . .

Eleanor Witcombe Scriptwriter ................. Peter Yeldham F-Stop Productions, script development for Sound recordist . . . Rodney Simmons Michael Jenkins Based on the novels T h e T im e le s s L a n d , a first draft of The Sonneberg Crossing — Editor ..............................

Tim Wellburn Based on the novel S to r m o f T im e , Camera assistant . . . Peter Viskovich by ....................... Sumner Locke Elliott $4950.

N o B a r r ie r , Graeme Glifford, script development for a Narrator .................... Philip Robertson Photography ....................... Dan Burstall

by Eleanor Dark revised draft, survey and research of The Length ........................................

93 mins.

Sound recordist ....................

Phil Stirling Photography ....................Peter Hendry, Return to Coopers Creek — $20,000.

Gauge ............................................16 mm Editor . . . . Edward McQueen Mason Julian Penney Frank Hardy, script development for a third Shooting stock ....................

Eastmancoior Exec, producer . . . Andrew Wiltshire Sound recordist . . . . Syd Butterworth draft of The Last Big Bet — $10,000.

Progress ................................in release Assoc, producer . . . . Jenny Campbell Editors ............. Richard Francis-Bruce, Interceptor Productions, script develop­ First released .................... March, 1980 Prod, co-ordinator ............. Clare Griffin Neil Thumpston, ment for a second draft of The Interceptor Synopsis: A sociological study of life at Prod, secretary . . . Evelyn Maurirere Helena Harris — $3500.

Leinster, a remote new mining town in

AUSTRALIAN FILM COMMISSION

.

A TOWN LIKE ALICE Prod, company

Prod, company .................................ABC Exec, producer . . . Oscar Whitbread Director .............................. John Gauci Scriptwriter .......................

Cliff Green Based on the novel by . . . Martin Boyd Length ................................. 4 x 60 mins.

Progress .......................... Post-production Cast: Wendy Hughes (Lucinda Brayford), Sam Neill (Tony Duff), Barry Quin (Hugo Brayford), Edmund Pegge (Pat Lanfranc), Carol Burns (Julie Vaine), Stephen Oldfield (Stephen Brayford).

.

SERIES

2000 .

Pavilion Films, script development for a third draft of Eddie and the Breakthrough - $20,400.

R & R Film Productions, script develop­ ment for a television documentary script of Take the Printout and Run — $3000.

S torm bringer Film Productions, script development for a screenplay and pre­ production of Against All Odds — $20,079.

Survival Films International, script develop­ ment for a first draft and pre-production of Billy West — $27,000.

War Horses Productions, script develop­ ment for first, second and third drafts of The War Horses — $4038.

Production Investments AAV-Australia Productions, production investment for Silent Reach — $256,156.

Quest Films, production investment for Roadgames — $350,000.

Venture Films A u stra lia , p ro d u c tio n investment for Scratch — $8000.

Ross Wood Productions, pre-production investment for One, Two, Three Up — $9152.

Package Development Investments Forest Home Films, package development investment — $150,600.

Pavilion Films, package developm ent investment — $12,624.

Samson Productions, package develop­ ment investment — $7600.

Project Branch Loans AAV-Australia Productions, com pletion guarantee for Silent Reach — S147.600.

Alice Productions, bridging loan for A Town Like Alice — $100,000.

Alice Productions, completion Guarantee, television — additional, for A Town Like Alice — $16,500.

Quest Films, completion guarantee for Roadgames — $242,250.

Cinema Papers, April-May— 133

Cambridge Film Productions Pty Ltd 288 Coventry Street,

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Corbett Cambridge Productions Pty Ltd Telephone: (03) 690 2964 Producers of high quality commercials

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35mm&16mm Negative Cutting

CHRISROWELLPRODUCTIONS 139 Penshurst Street, ^Willoughby, NSW 2068 Telephone (02) 411 2255^

Cine Service uà: compact ideo__ ® FILM TO VIDEO TRANSFERS from Standard 8mm, Super 8mm, 16mm or 35mm to 3A U-Matic, VHS, Betamax, Philips VCR • SLIDES TO VIDEO • VIDEO TO VIDEO TRANSFERS • KINE RECORDING • QUALITY FILM DUPLICATING AND REDUCTION PRINTING, ALL GAUGES • THEATRETTE FOR HIRE with full video, 16mm, 35mm or 8mm projection available 235 moray st. sth. melbourne 3205 p.o. box 328 phone (0 3 ) 699 6999

/b & 2 >

Western Australia. The film, a third in the “ Three Communities" series, looks at the problems of life through the eyes of four women who are involved in the Country Women’s Association, and the pressures of isolation, transience and loneliness are revealed.

businessmen and women. Sponsored by the Department of Industry and Commerce.

PLEASE DON’T LEAVE ME

Prod, company ............. Film Australia Dist. company .................Film Australia Producer ...........................Robin Hughes Director .................... Stephen Ramsey A CYCLONE WARNING Photography .................... Tony Wilson, Dean Semler Prod, company .................Film Australia Dist. company ....................Film Australia Sound recordists .................Jeff Doring, Producer .......................

Peter Johnson Brian Morris, Tim Lloyd Director ....................... Brian McDuffie Editor .............................. Nick Torrens Scriptwriter .......................Jermey Rabie P h o to g ra p h y ....................................... KerryBrown Camera assistant . . Michael Rubetzki Length ........................................42 mins.

Sound recordist ................Rod Simmons Progress .....................................In release Editor ................................

LouisAnivitti Release date . . . . November 20, 1979 Camera assistant . . . .

James Ward Synopsis: A documentary which contrasts Length .......................................20 mins. the emotional experiences of three children Gauge ............................................16 mm in hospital. There Is no commentary and the Shooting stock .................Eastmancolor audience is asked to make its own judg­ Progress ....................... Post-production ment about the need for parent care and Scheduled release .................May, 1980 staff sensitivity in situations where children Synopsis: A short film illustrating what to do suffer emotional problems. when a cyclone is Imminent.

FIRE POWER

RUGBY

Prod, company .................Film Australia Dist. company ....................Film Australia Producer ..........................

PeterJohnson Director .............................. Roy Bissell Photography .................Peter Viskovlch, Andy Frazer, Kerry Brown Sound recordist ................Rod Simmons Editor .............................. Louis Anivitti Camera assistant . . . .

James Ward Gauge ........................................... 16 mm Shooting stock .................Eastmancolor Progress .............................. Production Scheduled release .................Late, 1980 Synopsis: A film about some of the weapons In use by our Armed Services in the 1980s. Produced for the Australian Army.

Dist. company ....................Film Australia Producer .......................

Peter Johnson Scriptwriters .....................Peter Johnson, David Barrow, Michael Robertson Length ...........................................25 mins.

Gauge ........................................... 16 mm Shooting stock .................... Eastmancolor Progress .............................. Production Scheduled release . . . . October, 1980 Synopsis: A film on Rugby Union in Australia.

GYMNASTICS Prod, company Dist. companies

................ Film Australia .................Film Australia and Shell Producer ..........................

PeterJohnson Director ...........................David Barrow Scriptwriter .................... David Barrow Length ........................................ 20 mins.

Gauge ........................................... 16 mm Shooting stock .................... Eastmancolor Progress ....................... Pre-production Scheduled release . . September, 1980 Synopsis: A short film to promote and publicize the sport of gymnastics.

HOCKEY Prod, company Dist. companies

............. Film Australia ............. Film Australia and Shell Producer ..........................

PeterJohnson Scriptwriter ....................Oliver Howes Length .......................................... 20 mins.

Gauge ........................................... 16 mm Shooting stock .................... Eastmancolor Progress ....................... Pre-production Scheduled release . . September, 1980 Synopsis: A short film to promote and publicize the game of hockey.

THE NEVER NEVER LAND Prod, company . Kingcroft Productions Dist. company ....................Film Australia Producer ..........................

PeterJohnson Directors ........................... Harry Booth, Terry Ohlsson Scriptwriter .......................... Harry Booth Sound recordist ....................John Marsh Editor ....................................... Bill Stacey Length ...........................................25 mins.

Shooting stock .................... Eastmancolor Progress ..............................

Production Scheduled release ............. June, 1980 Synopsis: A montage of Australia and its lifestyle using the words of Henry Lawson to describe this unique continent.

THE NORTHERN TERRITORY Prod, company .................Film Australia Dist. company ....................Film Australia Producer ..........................

PeterJohnson Director .............................David Roberts Scriptwriter ...................... David Roberts Editor .............................. Nick Torrens Length .......................................... 20 mins.

Shooting stock .................... Eastmancolor Progress ........................ Pre-production Scheduled release . . September, 1980 Synopsis: A short film to promote the N orthern T e rrito ry to A u stra lia n and overseas audiences.

PLAIN SAILING Prod, company ............. Film Australia Dist. company .................Film Australia Producer ...........................Robin Hughes Director ...........................Martin Cohen Scriptwriter ........................... Bob Ellis Photography ....................... Kerry Brown Sound recordist ............. Rod Simmons Editor .....................................Greg Bell Camera assistant .................... Jim Ward Length .......................................... 20 mins.

Cast: Alywn Kurts.

Synopsis: A short teaching film for small

SEA EAGLES Prod, company .................Film Australia Dist. company ....................Film Australia Producer ..........................

PeterJohnson Director .......................... David Barrow Scriptwriter ....................David Barrow Photography ...................... John Hosking, Ross King Sound recordist ................. Max Hensser Editor .................................Peter Fletcher Camera assistant ................ Tony Gailey Length .......................................... 15 mins.

Gauge ........................................... 16 mm Shooting stock .................... Eastmancolor Progress .....................................In release First released ..................February, 1980 Synopsis: A documentary to promote naval aviation as a career in the R.A.N.

SEAWATCH Prod, c o m p a n ie s .................Kingcroft and Film Australia Dist. company ....................Film Australia Producer .......................

Peter Johnson Directors ................................ BillStacey, Terry Ohlsson Scriptwriter .............................Geoff Pike Editor .......................................Bill Stacey Mixer ....................................... John Marsh Length .......................................... 20 mins.

Shooting stock .................... Eastmancolor Progress .....................................In release First released ...................... March, 1980 Synopsis: A short film to explain why Australia needs a navy.

SO YOU WANT TO OWN A PONY Prod, company

................... BobTalbot and Associates Dist. company ....................Film Australia Producer .......................

Peter Johnson Director ................................ BobTalbot Scriptwriter .........................

BobTalbot Photography ................. Keith Wagstaff Editor .............................. David Pulbrook Length .......................................... 15 mins.

Gauge ........................................... 16 mm Shooting stock .................... Eastmancolor Progress .....................................In release First released ...................... March, 1980 Synopsis: A documentary on the problems and joys associated with the ownership of a child's first horse.

STREETS ARE FOR SHARING Prod, company ............. Film Australia Dist. company .................Film Australia Producer .......................

Peter Johnson Director ...........................Greg Reading Scriptwriter ....................Greg Reading Photography ...........................Ross King Sound recordist . . . .

Ken Hammond Editor .............................. Martin Downs Camera assistant . Wolfgang Knochell Length .......................................... 20 mins.

Gauge ........................................... 16 mm Shooting stock .................... Eastmancolor Progress .......................... Post-production Scheduled release ................... May, 1980 Synopsis: A s h o rt film a b o u t th e relationship of town planning with the problems of road safety.

THE WORKING SERIES Prod, company ............. Film Australia Dist. company .................Film Australia Producer ...........................Robin Hughes Directors ................................. Curtis Levy, Macek Rubetzki, Su Doring,

Gilly Coote, Stephen Ramsey ...........................Paul Tait, Andrew Fraser Sound recordist . . Rowland McManis Editors .............................. Sara Bennett, Nick Torrens Length ................................. 7 x 1 5 mins.

Progress ............................... In release First released . . . . February 20, 1980 Synopsis: A series designed to encourage discussion of the place of work In people's lives.

Photography

NEWSOUTH WALES FILMCORPORATION GIVING UP IS BREAKING MY HEART

and

ITS HARDER THAN YOU THINK

mation on the activities of the Land Com­ mission in providing home estates and keeping costs low for home-buyers. Spon­ sored by the Land Commission of New South Wales.

MACARTHUR PROMOTIONAL FILM Prod, company

. . Michael Robertson Film Productions Producer/director . Michael Robertson Scriptwriter ....................

Ian Freeman Photography ............. Frank Hammond Editor .....................................Alan Lake Exec, producer ............. Richard Davis Unit manager .................Julie Kennedy Prod, assistant .................John Edwards Laboratory ..................................... Atlab Budget ............................................$47,565 Length .......................................... 15 mins.

Gauge ........................................... 35 mm Shooting stock .................... Eastmancolor Scheduled release . . . .

August, 1980 Synopsis: A short film on the Macarthur Growth Centre, emphasizing the industrial and commercial aspects of the area, and p ro v id in g g e n e ra l in fo rm a tio n and background on the development of three new cities.

Prod, company

.......................Red Heart TAFE TODAY — BUILDS Pictures TOMORROW Producer ..............................Daniela Torsh Director ....................... Susan Lambert Prod, company . Gadonya Productions Scriptwriter .................Susan Lambert Producer .......................... John McNally Photography ............................ Jan Kenny Scriptwriter ....................John McNally Sound recordist .................... Pat Fiske Exec, producer ............. Richard Davis Editor ....................... Ronda Macgregor Mixing studio ............. Dubbs and Co. Exec, producer ............. Richard Davis Laboratory ..................................... Atlab Prod, m a n a g e r ............................... DanielaTorsh Budget ............................................$16,123 Prod, secretary . . Christina Fitzgerald Length .......................................... 10 mins.

Prod, assistant ............. Carol Kostanich Gauge ........................................... 16 mm Camera assistant .

Shalagh McCarthy Shooting stock .................... Eastmancolor Set decorator ..........................Carol Ruff Progress .............................. Production Musical director .................. Tony Burkys Synopsis: A short film promoting the cor­ Graphics ....................................Carol Ruff porate image of Technical and Further Mixed at ..............................United Sound Education in New South Wales and adver­ Laboratory .............................. Colorfilm tising the Information Centre and the TAFE Budget ............................................$52,162 Information Network. Sponsored by the Length .......................................... 17 mins, Department of Technical and Further 25 mins. Education.

Gauge ............................................. 16 mm Shooting stock .................... Eastmancolor VICTIMS OF SEXUAL ASSAULT First released ............. February, 1980 .................... Iris Films Synopsis: A professional training film and a Prod, company . .

Elizabeth McRae community education film for the Reduction Producer/director ............. Elizabeth McRae of Drug Usage during Pregnancy program. Scriptwriter Photography .................

Martha Ansara Sponsored by the Health Commission of ............. Jo Horsburgh New South Wales — Division of Drug and Sound recordist Editor .......................

Richard Mordaunt Alcohol Services.

Exec, producer ................ Richard Davis Assoc, producer . . Barbara Chobocky A GOOD MOVE Prod, managers . . Barbara Chobocky.

Prod, company . . . Alfred Road Films Carol Kostanich Producer/director . . . Richard Mason Camera assistants .................Chris Eade, Scriptwriter ............. Anne Brooksbank Susan Lambert, Photography ....................Steven Mason Wendy Brady Sound recordist .................... Ez Giddy Mixed at .......................... Palm Studios Editor ..............................Rod Adamson Laboratory ..................................... Atlab Exec, producer ............. Richard Davis Budget ............................................$32,500 Unit manager ............. Colin Townsend Length ........................................20 mins.

Prod, assistant ............. Belinda Mason Gauge ........................................... 16 mm Camera assistant ...................Rod Hinds Shooting stock .................... Eastmancolor Electrician ....................Warren Mearns Scheduled release .............

April, 1980 Boom o p e r a to r .................... Wayne Giddy Synopsis: A short film designed to change Mixed at ....................... Dubbs and Co. society's unsympathetic and hostile at­ Laboratory ..................................... Atlab titudes towards victims of sexual assault Budget ........................................... $30,705 and rape, and to modify the shame and guilt Length .......................................... 20 mins. which victims suffer. It shows how the crime Gauge ........................................... 16 mm affects the lives of women, and challenges Shooting stock .................... Eastmancolor the audience to examine their beliefs and Scheduled release .............

April, 1980 feelings about rape. Sponsored by the Synopsis: A short film highlighting the ad­ Women's Co-ordination unit. vantages of decentralizing business and in­ dustry. Five businessmen discuss the WHAT IS DISCRIMINATION reasons for decentralizing their businesses .................. John Sexton and the effects of their "good move". Spon­ Prod, company Productions sored by the Department of Decentraliza­ Producer ................................John Sexton tion.

Exec, producer ................ Richard Davis Mixed at ....................... Dubbs and Co. H.Q. PACIFIC — THE SYDNEY Laboratory .............................. Colorfilm OPTION Budget ...............................................$7950 Scriptwriter ............. Anthony Morphett Length ................................. 2 x 30 secs.

Exec, producer ................ Richard Davis Gauge ........................................... 16 mm Length .......................................... 20 mins. Progress .............................. Production Gauge ........................................... 16 mm Synopsis: A short series about discrimina­ Shooting stock .................... Eastmancolor tion. Two vignettes show instances of dis­ Progress ....................... Pre-production crimination, and give a short statement of Synopsis: A short film spotlighting Sydney’s the law relating to discrimination in New advantages in terms of finance, industry, South Wales. transport and energy, as well as lifestyle and political stability. Sponsored by the Department of Mineral Resources and Development.

LANDCOM PRESENTATION . . . .

Corporate Film and Television Productions Producer ...............................Martin Taylor Director ................................ Mike Balson Scriptwriter ........................ Brian Ahearn Photography .................... Ray Henman Editor ....................................Mike Balson Exec, producer ................ Richard Davis Prod, manager .......................Sue Newton Mixed at ..................................... Gemini Laboratory ..................................... Atlab Budget ........................................$14,980 Length ........................................ 10 mins.

Gauge ........................................... 16 mm Scheduled release . . . March 21, 1980 Synopsis: A sales-oriented short film to promote Landcom estates and give infor­

SOUTH AUSTRALIAN FILM CORPORATION

Prod, company

A CRY FOR HELP Scriptwriter ....................... Rob George Exec, producer ................. Bruce Moir Length ........................................50 mins.

Gauge ........................................... 16 mm Synopsis: A short film to correct the mis­ conceptions that people have on psychiatric hospitals. Sponsored by the Department of Mental Health.

ATTITUDINAL BEHAVIOUR SERIES Prod, company

. . . .

Chrysalis Films

Producer ........................Terry Jennings Scriptwriters .............................John Dick, Rob George Exec, producer ................. Bruce Moir Length ...............................24 x 2 mins.

Gauge ..............................................16 mm Synopsis: A series of short film s on b ehavioural s itu a tio n s , designed fo r specialist audiences. Sponsored by the Department of Mental Health.

THE AUSTRALIAN MEAT INDUSTRY Prod, company . . Bosisto Productions Scriptwriter .................Andrew Prowse Exec, producer ................. Bruce Moir Length ........................................ 14 mins.

Gauge ..............................................16 mm Synopsis: A trade/export promotion film on the Australian meat industry. Sponsored by the Australian Meat and Livestock Corpora­ tion.

BRAIN DEATH Prod, company ....................

Newfilms Director .................................Justin Milne Scriptwriter ................. Terry Jennings Editor ................................... Andrew Ellis Exec, producer ................. Bruce Moir Camera operator . . Geoffrey Simpson Length ...........................................15 mins.

Gauge ..............................................16 mm Synopsis: A teaching film for hospital staff.

Sponsored by the Royal Adelaide Hospital.

THE CARE WE TAKE Prod, company ....................... Filmhouse Producer ...........................Geoff Michels Director .............................. Tim Sullivan Scriptwriter .................... Ron Saunders Editor ................................. Tim Sullivan Exec, producer ................. Bruce Moir Length ............................................15 mins Gauge ..............................................16 mm Synopsis: Anexport promotion film for the Australian Barley Board. Sponsored by the Australian Barley Board.

CHILDREN OF AID Producer ...........................Brian Hannant Scriptwriter ....................Brian Hannant Exec, producer ................. Bruce Moir Camera operator . . . David Foreman Length ..................................... 8 x 4 mins.

Gauge ..............................................16 mm Synopsis: A series of short films showing ch ild re n in Asia. S ponsored by the A u s tra lia n D e v e lo p m e n t A s s is ta n c e Bureau.

DESIGN FOR LIVING Prod, company

................. Slater Film Productions Scriptwriter . . . . Christopher Bishop Sound recordist ............. James Currie Editor ...........................Andrew Prowse Exec, producer . . . Lesley Hammond Camera operator . . . David Foreman Length ........................................15 mins.

Gauge ........................................... 16 mm Synopsis: A short film for secondary stu­ dents on the need for good design — in everyday objects in particular. Sponsored by the Education Department of South Australia.

DEVELOPMENT OF ENERGY RESOURCES Scriptwriter ..............................John Dick Exec, producer ................... Bruce Moir Length ........................................50 mins.

Gauge ........................................... 16 mm Synopsis: An information film for the public.

Sponsored by the Department of Mines and Energy.

ENTERPRISE IN STEAM Prod, company ............. Brian Bosisto Exec, producer ................... BruceMoir Camera operator . . . .

Brian Bosisto Length ........................................ 14 mins.

Gauge ........................................... 35 mm Synopsis: A theatrical short showing the reconstruction of the historical Pichi Richi Railway.

FOREST DREAMS Prod, company ....................

Newfilms Scriptwriter ....................... Peter Clarke Sound recordist . . . Grapevine Studio Editor .................................... Justin Milne Exec, producer . . . Lesley Hammond Camera operator . . Geoffrey Simpson Length ...........................................15 mins.

Gauge ........................................... 35 mm Synopsis: A short film designed to increase the public’s awareness on the beauty of trees and their contribution to the environ­ ment.

INJURY IN SPORT Prod, company ....................

Newfilms Producer/director ................ Justin Milne Scriptwriter .................Terry Jennings Editor ....................................Andrew Ellis Exec, producer ................... Bruce Moir

Concluded on p. 154

Cinema Papers, April-May— 135

ROBERT MARTIN

“if you need a fast commercial... or a short doco cut overnight. . . we’ll make sure it hits the lab on time . . . ”

FILM EDITOR ... with own completely independent post-production facility for the 16mm filmmaker. Editing rooms and theatrette available separately for hire . . .

Contact Macclesfield Productions at: Telephone (03) 699 6185 (03) 699 4216

20 Thomson Street South Melbourne Vic. 3205 Post Office Box 79

-A

% P

«

'Ü i

niU fi

VICTORIAN NEGATIVE CUTTING SERVICE P/L

FROM FEATURED PLAYER THROUGH TO ‘SPECIAL’ EXTRAS (and all stops in between!)

388 Clarendon St, Sth Melbourne, Vic.

SUITE 2 60 9 ST KILDA ROAD, MELBOURNE (03) 529 1595

(03) 690 4273

MUSIC FOR FILMS New Soundtracks in Stock

Tasmanian Film C orporation

NOSFERATU (Popol Vuh) $10.50. BLACK HOLE (John Barry) $6.99. LA CAGE AUX FOLLES (M orricone) $10.99. TEN (Mancini, Ravel) $7.99. MANHATTAN (Gershwin) $8.99. MAGICAL MUSIC OF WALT DISNEY (4 record box with booklet) $33.99. DAYS OF HEAVEN (M orricone) $9.99. SUMMER HOLIDAY (a forgotten MGM musical) $10.99. YOLANDA AND THE THIEF and YOU’LL NEVER GET RICH (Fred Astaire) $10.99. ROCKETSHIP XM (Grofe) $9.99.

KING’S ROW (Korngold — a digital recording with G erhardt and the National Philharm onic; pressed in Japan) $23.99. HITLER (Hans J. Salter) $10.99.

Mail orders welcome; add $1.20 post/packing

□ □ □ □

Film and Video Producers 16/35 Production facilities Broadcast quality video Still Photographers and audio visuals □ Studio and equipment hire

---------R EADING S RECO RDS & B O O K S ---------132d Toorak Road, SOUTH YARRA. Telephone (03) 267 1885 We

are o p e n 7 days a w eek

18-19 Horne Street Elsternwick Vic 3158 P.O. Box 238

Phone: (03) 528 1904

Special Introductory Offer 1-3 BOWEN ROAD, MOONAH, TASMANIA 7009, PHONE: 30 8033 TELEGRAMS: TASFILM, HOBART

for EASTMANCOLOR — process and workprint combined. $2 0 per 100 ft — in processes ECN2 and ECP2.

Less 10% for 30 days.

• Black and White Processing • Ektachrome Processing • ‘A’ and ‘B’ Roll Printing, Answer Prints and Release Prints

• Super 8 Duplicating - Super 8 Blow Ups to 16mm • 6 Plate Flat Bed Editing Table available For Hire

BOX-OFFICE CROSSES My Brilliant Career

Distributor

TITLE

Oth

The Mango T re e / The Irishman

GUO

Australian Total

Total

Total S Y D .2

MLB.

PTH

(8*)

(8*)

(8*)

GUO 215,282 128,130 107,248

Palm Beach

PERIOD 21.10.79 to 5.1.80

PERIOD 6.1.79 to 1.3.80

(5)

(3)

21,821

3,391

ADL

BRI.

(2*)

(4*)

33,207

92,074

$

Rank

575,941

1

25,312

2

SYD.

MLB.

(1 1 *)3

(11*)

278,595 145,018

PTH

ADL

BRI.

$

Rank

(3*)

460,536

36,923

1

(4)

11,583

11,583

3

1 2 8 ,1 3 0

1 2 2 ,2 2 2

3 3 ,2 0 7

9 2 ,0 7 4

6 1 2 ,8 3 6

3 6 1 .6 6 3

Foreign Total0

3 ,6 1 9 ,5 1 2

2 ,6 8 5 ,2 8 1

1 ,8 2 0 ,7 8 1

9 5 8 ,0 8 0

8 2 1 ,0 7 2

9 ,9 0 4 ,7 2 6

3 ,3 7 6 ,0 2 5

Grand Total

3 ,8 5 6 ,6 1 5

2 ,8 1 3 ,4 1 1

1 ,9 4 3 ,0 0 3

9 9 1 ,2 8 7

9 1 3 ,1 4 6

1 0 ,5 1 7 ,5 6 2

3 ,7 3 7 ,6 8 8

* Figures exclude N/A figures.

• • Box-office grosses of individual films have been, supplied to

C in e m a P a p e rs by the Australian Film Commission. o This figure represents the total box-office gross of all foreign films shown during the period in the area specified.

'C ontinuing into next period NB Fiaures in narenthesis above the arosses reoresent weeks in release If more than one fiqure appears the film has been released m m o ^

1 4 7 ,1 7 0

8 4 ,7 9 2

7 ,5 5 9

4 9 ,0 8 5

6 5 0 ,2 6 9

2 .7 1 3 ,0 9 2

1 ,3 5 4 ,3 9 2

7 2 9 .6 7 4

6 9 3 ,6 7 6

8 ,8 6 6 ,8 5 9

2 ,8 6 0 ,2 6 2

1 ,4 3 9 ,1 8 4

7 3 7 ,2 3 3

7 4 2 ,7 6 1

9 ,5 1 7 ,1 2 8

) Australian theatrical distributor only. RS — Roadshow; GUO — Greater Union Organization Film Distributors; HTS — Hoyts Theatres; FOX — 20th Century Fox; UA — United Artists; CIC — Cinema International Corporation; FW — Filmways Australasian Distributors; 7K — 7 Keys Film Distributors; COL - Columbia Pictures; REG - Regent Film Distributors; CCG - Cinema Centre Group; AFC - Australian Film Commission; SAFC - South Australian Film Corporation; MCA - Music Corporation of America; S - Sharmill Films; OTH - Other. (2) Fl9ures are draw" from caPital citV and inner suburba" flrst ralaase hardt°P s o n ly . <3>Split fi9^ e s Indicate a multiple cinema release.

;

BOX-OFFICE GROSSES

2 3 7 ,1 0 3

A film distributor’ s lot isn’ t always a happy one, especially when it comes to viewing documentary after documentary. Here, however, are some recent documentaries which have something to say and say it in a fresh and interesting way:

COMMITTEE OF REVIEW OF THE

AUSTRALIAN BROADCASTING COMMISSION

G lenn’s Story: the true and dramatic story of a juvenile delinquent.

Infernal Triangle: the Hill tribes of Laos, Cambodia and Thailand

The Commonwealth Government has appointed a Committee of Review to hold an independent inquiry which will, inter alia, consider and report to the Government on the services, policies and performance of the Australian Broadcasting Commission under Its present statutory charter, and recommend appropriate future objectives, functions, statutory powers arvd policies of the Commission under the Broadcasting and Television Act 1942. The full terms of reference and further details on the establishment of the Committee may be obtained from the Secretary from the address below.

The Committee is to report by March 1981.

In accordance with the conditions of its establishment the Committee invites submissions from all sectors of the community and proposes to follow some of these up in public hearings which will be conducted when it visits the capital cities and different areas of Australia. It would be of assistance to the Committee if any written submissions were lodged with its Secretary as soon as possible. Confidential submissions will be accepted by the Committee and will not be published or communicated to third parties without the agreement of the author. The Committee wishes to thank those groups and individuals who prepared submissions in response to advertise­ ments placed in December 1979.

The address to which communications and submissions should be directed Is: The Secretary,

Committee of Review of the Australian Broadcasting Commission, GPO Box 38, Sydney, NSW 2001 Phone: (02) 358 6388

and their exploitation by the opium traders.

Life W asn’t M eant to be Radioactive: the painting of an alternate energy mural.

Oranges and Lemons: the education of Aboriginal children in a country town.

Sangham — Aid to Liberation: the organizing of untouchables into production co-operatives against landlord opposition.

Tools o f Change — Introduction to Appropriate Technology:

the technology that is appropriate for each society.

W orking Up: there are many documentaries on women in the work force. This one is, unlike many of the others, interesting, informed and very well made.

Our other documentaries are on Antarctica, schizophrenia, motor car workers, Sincelejo and bullfighting, Chile, Cuba, filmmakers, Lithuania, Vietnam, Japan, living together, Minamata disease, and Uruguay. All are documentaries on i6mm.

Cine Action Pty Ltd, 263 Adderley St, West Melbourne Vic. 3003 Telephone: (03) 329 5422 Write or ring for our free cata logue.

A. T. DIX, Chairman

We have feature film s on 1 6 and 35m m as well.

MELBOURNE FILM FESTIVAL Australia’s first and finest. Presenting more than fifty features and one hundred short films.

Titles for 1980 include Vengeance Is Mine (Imamura, Japan); La Luna (Bertolucci, Italy); Les Rendez-vous D’Anna (Akerman, Belgium); Raining in the Mountain (King Hu, Hong Kong); Healthy Lust and Fun (Bellmunt, Spain); Squire’s Love (Bolliger, Switzerland); Shadows of a Hot Summer (Vlacil, Czechoslovakia); Love on the Run (Truffaut, France); A Scream From Silence (Poirier, Canada); Kosatsu (Shindo, Japan).

Ring for further information (03) 347 9538.

Counter Sales: 53 Cardigan Street, Carlton South, Vic. 3053

Frontline Barbara Alysen The fatal shooting of ABC journalist Tony Joyce in Zambia and an American reporter in Nicaragua, together with Aus­ tralia’s belated recognition of the murder of five of its newsmen by Indonesian forces invading East Timor, tell the grim story of the cost of the pictures on our television news. Unprotected in combat zones, despite their supposed neutrality, and preyed upon by martial regimes, journalists are now at greater risk in most parts of the world than any other professional group, except soldiers. In Vietnam, the mortality rate among journalists was a discouraging one in five.

N e il D a v i s , a T a s m a n i a n - b o r n cameraman-reporter, survived frontline reporting in Vietnam for 11 years (1964­ 1975), a feat made more extraordinary by the additional risks he often took to get what he considered the best footage. For most of that period, Davis worked for a British-based television syndicate, Viznews.

In 1976, freelance journalist, David Brad­ bury, collected $4500 from the Australian War Memorial and set out to make a film about Vietnam war correspondents. Almost everyone consulted during early research directed him to Neil Davis.

Bradbury, who had no filmmaking experi­ ence, t a l k e d th e A u s t r a l i a n F ilm C om m issio n ’s Creative Development Branch into loaning him the maximum available from its production fund and flew to Thailand to interview Davis. Afterwards, he sifted through archival footage at Viznews in London, and NBC, CBS and the Department of Defence in the U.S., for examples of Davis’ work, and for other shots that would illustrate his words. The result, Frontline, is a painstakingly thorough examination of U.S. and Allied involve­ ment in Vietnam, as much as a comment on any one man’s reporting of that war.

Vietnam was the first war fully covered by

the electronic media. Reporters were relatively free from government censorship though not, as Frontline makes clear, from network interference. Nonetheless, the constant barrage of carnage fed to western television viewers contributed to Allied ambivalence about the morality of inter­ vention in Vietnam and fuelled the peace movement’s cause.

Television coverage created a conundrum: the same pictures that helped convince Americans that their involvement in South­

Filming the action. Frontline.

east Asia was fruitless at best, and immoral at worst, also conditioned viewers to the war’s brutality. The realism of television news coverage led to the perpetration of lies in subsequent depictions of the war, with directors like Michael Cimino and Francis Coppola forced to reach beyond the truth for a visual overkill that could still shock goreinured viewers.

Davis touches on the morality of Filming news. There were times, he says, when he wanted to step out from behind the camera and take a side; there were times when he did. He also talks with rare authority about the development of the Vietnam war and of television’s contribution to its progress.

Mostly, however, Davis concentrates on what he filmed and how, rather than why.

He saw his charter as the presentation of “truth” , and he let very little stand in the way of his presenting it. As a result, much of what happened to Davis in Vietnam ranks with the best-concocted adventure stories.

At one point Davis managed to get the Americans to hold off their B52 bombing raids of a Vietcong area for three days, so that he could cross the battle lines and report on life in a liberated zone. He was frequently shot at and once seriously wounded in action.

Later, as the fall of Saigon became inevitable, and most correspondents fled, Davis reasoned that the danger would be transient and that the liberation would make great footage. So he made his way to the presidential palace with a camera and an excuse: “ Welcome comrades. I’ve come to film the liberation” , in carefully-rehearsed Vietnamese.

On most of his more orthodox assign­ ments, Davis chose to travel with the South Vietnamese rather than the American

David Bradbury’s Frontline, telling the story of bringing pictures to the television screen.

troops. He saw that the South Vietnamese had a reason to fight and were, most often, to be found in the thick of the action. He came to feel that the Americans were, by contrast, ill-motivated and shoddilydirected. In this sense, Frontline is a much stronger anti-war statement than any of the feature films that use the war as their back­ drop; it not only suggests that American involvement was immoral, it also paints it as poorly conceived and executed.

The strength of this film is the precision with which the archival footage is matched to Davis’ recollection of events, and the fact that his exploits make a documentary which is pacy and compelling. The narration that ties the film together is clear and informa­ tive, avoiding the twin pitfalls of being either didactic or sensational.

Against this are two weaknesses: the first is that like most war films it gives the impression that the conflict was between soldiers, rather than between governments.

An analysis of the diplomatic manoeuvres that shaped the course of the Vietnam war would undoubtedly have been outside the scope of the film — Davis was a combat, not a political, correspondent. But a reminder about the scope of the war and the American government's role and motivations could have been included.

The second weakness is that it is unclear just whose side Davis is on. After 11 years in combat zones he must have had some feelings about each side’s cause, yet his ambivalence about who he supported looks less like journalistic ethics than it does

Cinema Papers, April-May— 139

FRONTLINE

i n d i f f e r e n c e . B r a d b u r y say s D av is sympathized with the Vietcong, but the film gives little indication of this.

But these are small quibbles with a film which is primarily biographical and which manages to go far beyond the individual to examine a greatly misrepresented part of our recent history.

Frontline: Directed by: David Bradbury. Producer: David Bradbury. Associate Producer: Bob Connol­ ly. Research: David Bradbury. Director of photography: David Perry. Editor: Stewart Young.

Distributor: Sydney Filmmakers’ Co-operative.

16mm. 56 min. Australia. 1979.

HARLEQUIN Jack Clancy A film which begins with a sequence in which a leading political figure goes skin­ diving and fails to surface, while his security men stand around on the beach watching and then panicking, seems likely to be con­ cerned with Australian politics and Aus­ tralian life generally. But that opening reference to the drowning of former Aus­ tralian Prime Minister Harold Holt is pretty well the last specific reference to Australia in Simon Wincer’s Harlequin.

Although shot in Perth, by an Australian production company, it goes to some pains to avoid being seen as an Australian film.

Politicians are senators or governors, and while local light is evident in the exteriors, local color is avoided. Overseas actors, Robert Powell, David Hemmings and

140—Cinema Papers, April-May

HARLEQUIN

Broderick Crawford, give the film an inter­ national look, and it probably only remains for the shots of motor cars to be reversed for Harlequin to be indistinguishable from an American product.

Harlequin seems designed principally for an international market, and interviews with the director, writer and associate producer' leave no doubt that making money is the primary, if not the only, concern. Thus Everett de Roche’s original treatment, based on the Rasputin story, has the leading character as a priest, but marketing con­ siderations forced a change. De Roche’s reaction was: “ How I feel doesn’t matter.

The producer pays his money, which gives him the right to use the script for dunny paper if he wants.” Encouraging. And direc­ tor Simon Wincer, referring to “the film that Everett and I wanted to make” , says, “ . . . we were not financing the film and the financiers have a say.”

Even permitting this, the unhappy fact re­ mains that Harlequin is a silly film. Despite a gallant attempt by Robert Powell, who brings something of a presence to the Rasputin-like figure of Gregory Wolfe, the whole notion of translating the story of Rasputin and his influence on the family of Czar Nicholas II to a modern setting strikes me as dubious.

It is hard to see what might have been ex­ plored or analysed, or suggested; harder still to imagine the kind of “ thriller” which could have been taken even half seriously. In the event, the film doesn’t achieve much on either level, with its attempts at seriousness coming out as ludicrously pretentious and its thriller level as decidedly unthrilling.

The mysterious figure who suddenly ap­ pears, accompanied by equally mysterious 1. C in e m a P a p e r s Nos. 24 and 25.

portents, cures the child suffering from leukaemia and remains to exert some sort of spell over the boy’s family, can be, like Rasputin, the object of faith, veneration and awe, or suspicion and hostility. When he manages, with the aid of a very busy special effects man, to play tricks which defy rational explanation, when he carries on like a combination of showman, faith healer, popular philosopher, circus clown and magi­ cian. he should be, for the audience, an in­ vading force of the extra-rational into the harshly pragmatic world of politics. Yet, he doesn’t have that effect.

Despite so much of contem porary Western culture’s flight into the irrational, from the nonsensical game-playing of astrologers, to cults, occultists and magical fantasies of all sorts, the presence of

Gregory Wolfe (Robert Powell) tells Alex (Mark Spain) about the wonders of flight. An anxious Mr Bergier (Gus Mercurio) looks on. Harlequin.

Gregory is never felt as more than an oddity.

And despite attempts, in the script, to make connections between the illusions traded by the democratic political process and the magical tricks of Gregory — Nick (David Hemmings) being “groomed by magicians” and the professional politico asking “ Whose magic are you going to believe?” — there is no real engaging of the issues, because

Below: Senator Nick Rast (David Hemmings) sits disapprovingly as his wife Sandra (Carmen Duncan) returns with Gregory. Harlequin.

THE LITTLE CONVICT

neither side of the equation is convincing in its own right.

Too much is left unexplained by Gregory’s tricks, and the view of the political profes­ sional — “ A combination of illusion and hypnosis, nothing that a professional with the right props wouldn’t attempt” — doesn’t account for everything.

The special effects themselves are tricks which are finally a form of cheating at the audience's expense. And the view of political life, trivial and cliched, is equally unsatisfac­ tory, despite the presence of an aged Broderick Crawford looking like Willie Stark 40 years later. When the senator’s wife (Carmen Duncan) tells him that he is “ as in­ effectual in government as he is in bed”, one feels the film groaning as it reaches after significance, and comes up only with cliche.

What is finally disappointing about a film like this is that the justification of “ the market” , the determinedly commercial basis for its production, becomes an excuse. No one pretends that films should not set out to make money: commercial success is neces­ sary for filmmakers to live and for investors to keep investing. But commercial require­ ments need not reduce the level of aspiration to such a low point as is evident in so much of Australian filmmaking. It is the poverty of aspiration and ambition that is so dis­ heartening.

Australian cinema has produced its talent and its moderate successes, and no one really expects to find Bernardo Bertolucci ready to emerge from behind the next Panavision camera. But perhaps Bertolucci’s words might be borne in mind by Australian film­ makers, even those who so defiantly proclaim their commercial ambitions. “The cinema,” he says, “becomes a way of weighing reality; that is, it becomes an in­ strument for understanding the world. And I think this is true for both creator and viewer.” And yet for Bertolucci, as for any other filmmaker, audiences are important: “ . . . as far as the public is concerned, the only sure thing I know is that I seem to be seeking an even larger one.”

There is a place for the Australian inter­ national film, and no one can object to com­ mercial ambitions, but ambitions of other kinds are not incompatible. Australian cinema needs them.

Harlequin: Directed by: Simon Wincer. Producer: Antony I. Ginnane. Executive producer: William Fayman. Associate producer: Jane Scott.

Screenplay: Everett de Roche. Additional dialogue: Jon George, Neill Hicks. Director of photography: Garry Hansen. Editor: Adrian Carr.

Music: Brian May. Art director: Bernard Hides.

Sound recordist: Gary Wilkins. Cast: Robert Powell (Gregory Wolfe), David Hemmings (Nick Rast), Carmen Duncan (Sandra Rast). Broderick Crawford (Doc Wheelan), Gus Mercurio (Mr Bergier), Alex (Mark Spain), Alison Best (maid).

Production company: F.G. Film Productions.

Distributor: Roadshow. 35mm. 94 min. Australia.

1980.

The Little Convict Antoinette Starkiewicz Animation at its best can be seen as cinema at its purest. Anything is possible — the usual laws of realism, reason, gravity and relativity do not apply.

The scope of the medium is as limitless as the im agination itself, which is not necessarily the case with live-action. Live­ action, though limited to what can be seen by the human eye, is nevertheless a familiar, and therefore understandable, language to us.

Perhaps for this reason, successful combinations of live-action and animation are rare. One fine example is George Sidney’s Anchors Aweigh (1945). Here,

KRAMER VS KRAMER and MANHATTAN,

A live-action Rolf Harris looks on as Governor Lightfoot and Augusta have a domestic tiff.

Yoram Gross’ The Little Convict.

cartoon characters Tom and Jerry excitedly ape the virtuoso steps of the live-action Gene Kelly. The effect of such an impossible, yet perfectly adroit, dancing trio is pure magic.

The fusion of the two realities achieves something more than the sum of its parts.

With Yoram Gross’ The Little Convict, this, unhappily, is not the case. Gross has restrained the possibilities of animation into a mundane narrative. For the most part, one cannot understand why he has used anim ation, as he hardly explores its possibilities; he may as well have used live­ action to tell the story.

The story is of Toby, the child convict, and his friends: of their struggles in building the colony of New South Wales; of injustice, bravery, camaraderie; and finally a successful bid for freedom. It could be great stuff, but not when told by benevolent Old Grandpa, played in live-action by Rolf Harris. His interfering presence and facile moralizing are often at odds with animated characters in the plot. The lively cartoon characters could have told their story very well without his help.

Perhaps Grandpa pops up with such regularity to ensure the international marketability of the film. But surely one can do better than a live-action Rolf Harris for export as Australia’s answer to Mickey Mouse.

Yoram Gross can give us Disneyesque magic, however, as in the all too short sequence of YoYo, the dancing Koala.

Shades of the Dance of the Hours sequence from Disney’s Fantasia, here.

My young companion at the screening was delighted with this flicker of fantasy in an otherwise flat landscape of a film. The beauty of the wide Australian sky glimmered briefly and died, painted over with the unimaginative tones of British Paint’s NuVynl. Those flat greens and ochres are best

left to sober interior decoration; imaginative animation requires a richer palette.

The true color of the film is provided by the anim ated characters themselves. The personalities are finely drawn: Dipper, the old pickpocket; the effete officer; and the grande English Dame. Then there is young Polly, the sad acquiescent convict girl.

Tugging my sleeve, my female companion asked me: “ Why does she cry all the time?

And why doesn’t she ride horses and things like the boys?” (Look out Mr Gross, it appears feminists are getting younger.) Polly would have had to have been a lot tougher to survive the harshness of convict life; she would have perished within the first few minutes of Journey Among Women.

If The Little Convict fails to excite all the way through, though, it is redeemed to an extent by its good intentions. Throughout there is a sustained, if rather didactic, humanitarian feeling.

The Little Convict: Directed by: Yoram Gross.

Producer: Yoram Gross. Screenplay: John Palmer.

Lighting: Madd Lighting. Editor: Rod Hay. Animation director: Paul McAdam. Sound recor­ dists: Phil Judd, Laurie Napier, David McConnachie. Cast: Rolf Harris (Old Grandpa). Produc­ tion company: Yoram Gross Film Studio.

Distributor: Roadshow. 35mm. 80 min. Australia.

1979.

Kramer Vs Kramer and

Manhattan Scott Murray Kramer Vs Kramer is a film about a modern social problem: divorced parents fighting for custody of a child. By demonstrating a preference for people over issues, it is also a refreshing one.

Joanna Kramer (Meryl Streep) leaves her husband Ted (Dustin Hoffman) and son

Billy (Justin Henry) after eight years of marriage. She had given up a career to be a mother, a sacrifice not acknowledged by Ted, who becomes increasingly absorbed in his work. Joanna’s departure is a desperate attempt to find herself as a person.

Left with the responsibility of bringing up the child, Ted tries to divide his time be­ tween work and parenthood. He finds this highly frustrating and begins to constrict his son’s life, repeating what he had done to Joanna. This time, however, Ted senses his error, corrects it and moves on to form a deep-felt relationship with Billy.

To this point, the film is cautiously un­ sentimental. director Robert Benton extract­ ing humour from Ted’s early attempts at domesticity (“ You like your French toast crunchy, don't you?” he explains when Billy complains about the amount of egg-shell in the mixture). But while the parent/child bond develops, T e d ’s work situation declines.

The film opens with Ted learning of his promotion to a major contract (he works in advertising). But, by devoting so much time to his son, he begins to undermine his posi­ tion and is ultimately “ let go” . He then secures a job at a rival firm, though at a con­ siderably lower salary. Instead of this being viewed as a downward slide, however, it is shown as a triumph of devotion for others over the work ethic. And when Ted spoils his case in court by admitting he neglected his career to care for Billy, one is firmly on his side.

One could claim here that Joanna is drawn a little unsympathetically at first, but one’s sympathies do shift throughout the film. I. for one, align strongly alongside her at the film’s close — or. more correctly, with both of them. Benton shows that sympathiz­ ing with one doesn’t necessarily mean siding against the other.

When Joanna tells Ted that she is not tak­ ing Billy, one is greatly relieved: the film’s thrust, after all. is towards hoping Ted will keep the child. But in making her sacrifice, Joanna reveals a depth that has hardly been

Cinema Papers, April-May— 141

KRAMER VS KRAMER and MANHATTAN

: « ä II

.

hinted at before. I n fact, one suspects she has done something Ted may not have the capacity to do. In an instant, Ted’s ‘victory’ is put in perspective, and his position as the sole good guy is undermined.

It is a marvellously subtle scene, and beautifully rounded out with Ted’s recogni­ tion of Joanna’s courage when he trusts her to go up and visit Billy alone. Ted, over a close-up of a red-eyed and bedraggled Joan­ na, remarks that she looks terrific; he isn’t being facetious.

One remarkable aspect of the film is that Ted and Joanna’s scenes together are so rich. An earlier, and equally good, sequence is when they meet briefly in the cafe. Joanna tells Ted she has returned to New York after a stay in California, where she has found herself and a therapist (two Woody Allentype jokes that are slightly out of place), and that she is concerned about her son. Ted replies by telling of how he felt responsible for Billy’s accident when he fell from a climbing frame in a playground.

This embarrassed offer of affection is recalled later in the court case by Joanna’s lawyer. One is immediately overwhelmed by her betrayal. Powerfully, Benton suggests how a life can be ruined by a momentary

142—Cinema Papers, April-May

deception, even on the small scale of a remembered snippet of dialogue.

Later, one learns that Joanna didn’t mean the remark to be used; she has thoughtfully waited for Ted after the case to tell him, thereby showing her recognition of its potent cruelty.

In the court scene, as in others, Benton is not averse to playing up the emotion of a situation. Joanna and Ted both make heart­ felt and affecting appeals to the judge, and elsewhere each is given the opportunity to demonstrate their love for the child. One ex­ ample is when Ted rushes Billy to the hospital after the accident. Ushered out of the operating room. Ted is told by the doctor that there is no reason for him to remain. “ Yes there is,’’ he replies, “he’s my son.”

That such a scene can work is due largely to the brilliance of Dustin Hoffman, Meryl Streep and Justin Henry. Benton wisely underplays his hand (though his technique does falter at times) and allows his cast to sensitively explore each scene to its fullest.

(They are also greatly aided by Nestor Almendros’ moody lighting.)

The acting is so good, in fact, that one is tempted to compare one actor with another, but that is like choosing between Ted and

Ted Kramer (Dustin Hoffman) and the son (Justin Henry) he fights so desperately to keep. Robert Benton’s Kramer Vs Kramer.

Joanna, silly because one grows to care for both these people as they strive to make the most of their vulnerable and oft-threatened lives.

Individuals comprise the world. They are also a vital part of fine cinema.

Another recent “ New York” film is Woody Allen’s Manhattan. A marvellous combination of humour and seriousness, it stands, with Interiors, as one of the major American films of the 1970s.

Isaac Davis (Woody Allen) is a television comedy writer who quits his job to write a novel about New York. He is a man who “ romanticizes Manhattan out of all propor­ tion” but also sees it as “ a metaphor for the decay of Western Civilization” . The dich­ otomy of man loving that which destroys him is nicely established.

Realizing the impact of his decision — he can no longer afford to keep his apartment or pick up checks at meals — Isaac feels un­ settled. His friends, however, are unanimous in praising his decision; Isaac has done what

they, and thousands of aspiring writers, would like to do, but don’t because they “ baulk at the necessary sacrifices” .

Yale (Michael Murphy) talks of writing a biography of O'Niell, starting up a maga­ zine and moving to Connecticut — one knows he will not achieve any of these goals.

Mary (Diane Keaton) fritters away her time scribbling literary reviews, doing novelizations of film scripts and endlessly verbaliz­ ing about art and film, instead of writing her novel.

Manhattan, in fact, is littered with unful­ filled literary ambition. This impression is reinforced by the locations Allen uses, from the art section of Rizzoli’s bookshop to the book-lined studies of Mary and Yale. The characters live in a world of words, and are ultimately dwarfed by it.

Allen blames this on over-education.

Instead of being open and responsive to emotions, his characters intellectualize and verbalize their feelings. Thus, Isaac says to Mary, “ Your self-esteem is like a notch below Kafka’s” , or, when Yale and Mary break up, she tells him he is “ authoritative like the Pope or the computer in 2001".

Nothing is simple, unreferenced.

In Ingmar Bergman’s The Seventh Seal, it is the unquestioning peasant family that sur­ vives the plague. The intellectuals all perish, stricken by doubts about what it all means.

Allen’s recent films make a similar point.

One thinks of the personal agonizing in Interiors where too much intellect has made happiness unattainable. There is the way the children despise Pearl (Maureen Stapleton), who is easily the happiest and warmest of the characters. Equally, there is the way Joey (Marybeth Hurt) is disgusted by her father’s ‘decline’ from respectable lawyer, and sup­ porter of his wife’s artistic activities, to someone who would rather sunbake on a Greek island than visit the temples.

One reason Allen’s characters are so enmeshed in intellectual pretentions is their fear of disapproval. In Interiors, Joey’s troubled search for a creative outlet is an at­ tempt to feel the equal of her husband Mike (Sam Waterson), mother (Geraldine Page) and sister Renata (Diane Keaton). But there is no reason Joey should have to be their in­ tellectual equal and. if only she could admit this to herself and realize that the person she is most like is Pearl, happiness may be attainable. Instead, she tortures herself and her emotions. (In one of Allen’s most touching scenes, Joey leans over in bed to kiss Mike while he lies ‘safely’ asleep.)

In Manhattan, this over-intellectualizing is equally detailed, from the smart con­ versation at gallery openings to chats over dinner. Allen is particularly explicit in the characterization of Mary who vacuously talks of such things as “ negative capability” (when referring to a steel cube). But the character Allen is toughest on is Isaac. Mary and Yale at least become involved and, if they make a mess of things, it is because they have made an effort. Isaac brings on disaster by holding himself back.

After two unsuccessful marriages, Isaac becomes involved with 17 year-old Tracy (Mariel Hemingway). But despite her open love for him, and his fondness for her, Isaac is unwilling to give a commitment. The ex­ cuse he uses is that she is too young, too im­ mature.

The device Isaac uses to keep his distance, and not only from Tracy, is his constant joking. While often funny, his oneliners are merely a way of pushing away that which he doesn't wish to confront. Mary’s assault on all the things he values most (Bergman, etc) is therefore met by him sending up her pronunciation of Van Gogh.

Or. in reply to Tracy’s imploring “ What will become of us?” , he carelessly replies, “ We shall always have Paris.”

The most telling example, however, is the disturbing scene in the drugstore where Isaac breaks off with Tracy. Crying, she turns to

KRAMER VS KRAMER and MANHATTAN

look at him. Isaac embarrassedly mutters, “ Don’t stare at me with those big eyes; you look like a kid from Biafra.”

Tracy’s love for Isaac is the film’s most uncomplicated emotion (uncomplicated because she lacks the education of the others). She feels no embarrassment over the age difference (Isaac is 42) and is refresh­ ingly direct: “ We have laughs together.

Your concerns are my concerns. We have great sex.” But even beneath the emotional honesty of Tracy is the fear of rejection.

During the same drugstore scene, Tracy says, “ I can’t believe that you met someone you like better than me.” (This mirrors Isaac’s remark to his ex-wife, when referring to her lover, that “ I can’t understand why you preferred her to me.”)

It is perhaps worth mentioning here the reaction of several American feminist film critics who see Allen as preferring the ‘in­ nocent’ Tracy to the older woman. Such a view, however, strikes me as misguided as Isaac’s “ You’re only 17. You’re still a kid.”

In many important ways, Tracy is more mature than the others. Sure, she has yet to face the unprotected world outside high school, and she may well end up as resigned and saddened as Emily (Anne Byrne), but as Tracy says, “ Everyone gets corrupted. You should have a little faith in people.”

One danger in writing about Manhattan is giving the impression that the film is un­ remittingly bleak. Much of what Allen is saying is disturbing, but the telling is always witty and amusing. After Interiors, which many people found too stark, Allen has hit on the right tone, a balance of seriousness and fun.

Allen has also realized that characters

must breathe life and not be subservient to the issues. His people dazzle one in their changeability, their frailty, their strength.

Mary and Yale may fritter away their talents, Jill (Meryl Streep) may coldly ex­ pose the secrets of her marriage and Jeremiah (Wallace Shawn) may turn out to be nobody’s stereotype of a sexual stud, but they are all lovable. And this is how it should be. As Yale rightly tells an outraged Isaac: “ Don’t turn this into one of your big moral issues. I’m not a saint . . . We’rejust people, human beings” .

Kramer Vs Kramer: Directed by: Robert Benton.

Producer: Stanley Jaffe. Associate producer: Richard C. Fischoff. Screenplay: Robert Benton.

Director of photography: Nestor Almendros.

Editor: Jerry Greenburg. Music: Henry Purcell, adapted by John Kander. Antonio Vivaldi, adapted

by Herb Harris. Production designer: Paul Sylbert.

Cast: Dustin Hoffman (Ted Kramer), Meryl Streep (Joanna Kramer), Jane Alexander (Margaret Phelps), Justin Henry (Billy Kramer), Howard Duff (John Shaunessy). Production com­ pany: Stanley Jaffe Productions. Distributor: Fox­ Columbia. 35mm. 105 min. U.S. 1979.

Manhattan: Directed by: Woody Allen. Producer: Charles H. Joffe. Executive producer: Robert Greenhut. Screenplay: Woody Allen, Marshall Brickman. Director of photography: Gordon Willis. Editor: Susan E. Morse. Music: George Gershwin. Production designer: Mel Bourne.

Sound: James Sabet. Cast: Woody Allen (Isaac Davis), Diane Keaton (Mary Wilke), Michael Murphy (Yale), Mariel Hemingway (Tracy), Meryl Streep (Jill), Anne Byrne (Emily), Karen Ludwig (Connie), Michael O’ Donoghuf (Denis), Wallace Shawn (Jeremiah), Bella Abzug (Guest of honor). Production company:: Jack Rollins and Charles H. Joffe. Distributor: United Artists.

35mm. 106 min. U.S. 1979.

Above: Living in a world of words: Isaac (Woody Allen) and Yale (Michael Murphy) debate a point in the art section of Rizzoli’s bookshop. Woody Allen’s Manhattan. Below: The drugstore sequence, after Tracy (Marie! Hemingway) has given Isaac the harmonica and before Isaac tells her he has found someone else.

Manhattan.

Cinema Papers, April-May—143

Hitchcock’s British Films Maurice Yacowar Archon Press

Hitchcock: The First Fortyfour Films Eric Rohmer and Claude Chabrol Translated by Stanley Hochman Ungar Film Library

Hitchcock Francois Truffaut Updated edition Paladin

Hitchcock’s Films Robin Wood Third edition, revised and enlarged Barnes/Tantivy

Ken Mogg “It is to these 'dam ned' characters (ambiguously lost souls or devils) that Hitchcock's strongest interest gravitates, giving us some o f the most vividly realized performances in his films; one looks in vain fo r any com pensating in tim a tio n o f Heaven.’’

Robin Wood, H itchcock’s Films Robin Wood is referring specifically to Uncle Charlie in Shadow of a Doubt, Bruno in Strangers on a Train, and Norman Bates in Psycho. Had his book encompassed Hitchcock's British period, he might have added to his list the character Drew from The Lodger. For although that film seems finally to clear Drew of its grisly ‘Avenger’ murders (when Joe, a detective, exclaims “ My God! He is innocent!” ), its ending is distinctly ambiguous.

As newly-weds. Drew and Daisy embrace before a window, a neon sign flashes its message of “ Tonight golden curls” , which earlier heralded the successive deaths of the Avenger’s blonde victims! An audience can scarcely be confident that the film is merely drawing a witty parallel between murder and sex. And. in a Hitchcock film, a police­ man’s estimation doesn’t carry much weight.

In Shadow of a Doubt, the police hound an innocent man to his death and then conclude that he was guilty, while in Psycho (whose insane murderer Norman Bates seems to me in direct descent from Drew) Norman and Sheriff Chambers have got along “just fine” for years.

I’ll indicate below a possible slighting by Wood of Hitchcock’s ‘uncertainty prin­ ciple’ and how this accounts for his bald statement in Film Comment (JanuaryFebruarv 1977) that “ there can be no Heaven corresponding to Hitchcock’s Hell.” 1 Even so. Wood’s classic book shows an overall inspiration lacking in- Maurice Yacow'ar’s account of the 20-odd British 1. In the same article he sounds like Norman O. Brown: “ Every vision of Heaven that is not merely negative is rooted in a concept of the liberation of the instincts, the Resurrection of the Body, which Hitchcock must always deny.”

144—Cinema Papers, April-May

films. For example, Yacowar calls the neon sign at the end of The Lodger “a peripheral detail” , explaining that Drew and Daisy “ have risen above the Avenger and his victims, his obsession and their trivialities, and [that] the camera cuts the sign out altogether by moving in on the lovers” .

Unfortunately, such a conventional reading of a film made the same year (1926) as G. W. Pabst’s Secrets of a Soul and the staging in London of Cyril Campion’s Freudian melodrama The Lash must over­ look a key scene. This is the flashback to the coming-out ball of Drew’s sister during which an unknown hand switches off the lights and the girl is killed. Yacowar fails to note: (1) that brother and sister are dancing together; and (2) that the brief period of darkness would not allow time for the person who throws the switch to reach the girl. It seems almost inescapable that Drew killed his sister.

I suspect that Drew heads a long line of psychopaths for whom adult sexuality is a closed world. He kills his sister at her coming-out ball for the same complex reasons (jealousy being perhaps the least of them) that Uncle Charlie kills ‘Merry Widows’ and Norman Bates knifes Marion Crane in her shower.

Further, when Drew promises his mother on her death-bed that he will avenge his sister’s death, he is placed in a position as untenable as that of the later motheridentifying murderers. That is, these tormented young men kill in order to protect the sanctity of their mother-ideal. Their crime conforms to what Freud called the ‘Holy Mary’ complex, just as the basis of that complex in a broader Oedipal current explains Hitchcock’s pre-occupation with blonde heroines and his cherished ambition to film J. M. Barrie's Mary Rose. For an account of the latter the reader may refer to the interview with Hitchcock by Francois Truffaut, now published in Paladin (pp. 383­ 5).

Also, readers of Truffaut’s pithy new introduction will note his remark about how “ all the love scenes were filmed as murder'scenes, and all the murder scenes w'ere filmed as love scenes” , which seems to imply in Hitchcock a combination of Freud and his favourite aphorism from Oscar Wilde, “ Each man kills the thing he loves.”

Whose hand in The Lodger throws the switch at the coming-out ball? And who is the man whom the police arrest as the murderer? Perhaps the short answer is that both figures represent unknown or only guessed-at parts of the one psyche, doppelgangers who multiply the split in the film’s central consciousness. (In the 1956 The Wrong Man there are several such ‘doubles’ and the accused hero clearly is legally innocent.) The thing is that the viewer feels himself a participant, marking the first major use of Hitchcock’s ‘subjective’ tech­ nique and with it the formulation of a meta­ physic of “ the exchange” so ably traced by Eric Rohmer and Claude Chabrol.

Of Blackmail (1929), they notice how “ victims and victimizers alternate from sequence to sequence: the victimizer becom es the victim , the victim the victimizer” . Their sustained emphasis on Hitchcock’s Catholic background is again a ' more suggestive approach than Yacowar’s occasionally plodding comparison of the films with the original novels and shooting scripts.

As for Robin Wood. 1 could wish that he had attended more to the films’ ambiguities and to Hitchcock’s detachment from them.

For if Hitchcock sees the director of a fiction film as God. the viewer occupies a dual position. In another often-quoted metaphor he hunts with the hounds and runs with the hare.

In Under Capricorn (1949) the film sets up a rich antinomy between the ‘lost paradise’ of Ireland (Lady Henrietta used to “ ride at a fence as if the Kingdom of Heaven were on the other side” ) and the penal colony of New South Wales, where a new society is struggling to emerge.

Though viewer and characters may appear to come away from the film with limited gains, this is not the whole matter. The filmas-experience may be the “ intimation of Heaven” which Wood seeks. For a start, the built-in uncertainty can exhort us to ‘attend’ in a religious sense, as when Detective Graham observes outside the church in Shadow of a Doubt, “The World sometimes needs a lot of watching.”

But I am also reminded of The Birds (about which Wood now- expresses doubts) and in this context the poem Am ong School Children by W. B. Yeats. After setting its scene of a modern schoolroom, the poem takes a decidedly pessimistic look at the Ancients, then ends on a deliberate note of artifice by asking. “ How can we know the dancer from the dance?” It represents a magnificent squaring-up to despair and is its own clear reward.

In contrast. Wood is troubled by Hitch­ cock's “ artificial” achievement in The Birds, citing “ the perfunctory treatment of the children" and “ the reduction of the concepts of education and childhood — the human future — to the automatic reiteration of an inane jingle” . What I find significant is that Wood comments neither on the film’s align­ ment of this artless jingle with a Freudian death instinct (for which the birds are certainly a symbol), nor on the surely important point that one of the children afterwards participates in the film’s climax.

For Hitchcock, as for Yeats, art and value attend each other. I have to conclude that Wood’s new' introduction has the feel of a tired pedagogue about it.

Film Art: An Introduction David Bordwell and Kristin Thompson Addison-Wesley Publishing Company, Inc., 1979

Tom Ryan The act of viewing a film would seem to require little apart from a reasonable salary and a quota of intelligence. About $5 will secure a contract that even the most hostile (or disinterested) usher or usherette cannot refuse, regardless of one’s disposition. And, for anything up to three hours, viewers are free to engage their hearts and minds with those sounds and images that constitute the film they have chosen to see.

As consumers, filmgoers may choose to use what they have bought, in whatever way they please — to capture some information about foreign lands and customs, to provide them with a stimulus for tears or laughter, to disturb or offend them, to enlighten them, and to fill in their time. An innocent enough activity, unlikely to cause them any serious harm, unless they encounter a maniac with a chain-saw or decide to converse in the vicinity of anyone, like me, who has been trained to kill with a glare.

Yet, there is another way in which filmgoers may choose to engage upon the activity of viewing a film. That is the subject of Film A rt: An Introduction, which attem pts to explore films as formal constructions, as cultural objects whose realities are systems of representation and rules of narrative rather than those of the world through which the public has moved to

BOOK REVIEWS

the cinema. The point is obvious enough and one can “join in the fun” of a film without ever stopping to reflect upon either “ representation” or “ narrative” .

Nevertheless, it is possible to refine one’s appreciation of particular films and to identify certain cultural presuppositions in them by extending one’s experience of film beyond that of the consumer who casts it from memory if it displeases, or recommends it if it doesn’t.

There is no reason why a consideration of these issues needs to be limited to those who have surrendered themselves to a formal course of film study. A book such as Film Art: An Introduction is immediately access­ ible to any interested party who chooses to read it and who has ever seen a film. Its position is constantly clear and sensibly argued, its 10 chapters providing ready in­ sights on the processes of film form, inviting readers to share its appreciation of the com­ plexities of film and gently pointing them towards a recognition that “the meanings in a film are ultimately ideological, that is, they spring from systems of culturally specific beliefs about the world.” (p. 35.)

It leads readers away from the appropria­ tion of notions of “ realism” as criteria of value, demanding that they attend to questions of formal organization, to the relationships between the parts of a film and to the internal systems which they create: “ It is better . . . to examine the functions of mise-en-scene than to dismiss this or that element that happens not to match our conception of realism.” (p. 76.)

The latter point is well illustrated in the authors’ explanation and discussion of “the shot” (Chapter 5), “the relation of shot to shot” (Chapter 6) and “sound” (Chapter 7), leading from analyses of particular images (usually reproduced on the relevant page) to examinations of their place within the sequences and the entire films from which they are drawn.

The treatment of graphic and rhythmic relations between the shots of the first sea­ gull attack in The Birds is especially illuminating and might provide a useful touchstone for those who have found critical enthusiasm for films like Mad Max and When a Stranger Calls beyond their comprehension. And the introductory comments about the graphic and rhythmic possibilities of alternatives to continuity editing, dealing generally with the working methods of Sergei Eisenstein, Yasujiro Ozu, Jacques Tati and Stan Brakhage, provide a positive starting-point for anyone grappling with films that do not adhere to the con­ ventional styles of film editing: “The systems of filmmakers Jacques Tati and Yasujiro Ozu are based on what we might call 360" space. Instead of an axis of action that dictates that the camera be placed within an imaginary semi-circle, these filmmakers work as if the action were not a line, but a point at the centre of a circle and as if the camera could be placed at any point on the circum­ ference.” (p. 177.)

The intelligent exploitation of the various properties of film exists, of course, within ideology. But that need not be seen as prohibiting the possibility of change, dooming all films to be the prisoners of a rigid position — unless, of course, one sees film form and ideology as coherent, fixed and self-sufficient.

The determinist who insists that meanings are the product of an inflexible relationship between a signifier and a signified, a relationship under the control of an ideology, is just as blinkered in his or her perceptions as the viewer who believes that a film can reproduce reality. Both positions provide the safety of a certainty, but ignore the mobility of signifiers and the contra­ dictory elements which constitute any ideology.

The route to grappling with the issues

involved here begins simply with a recognition of the fact of film form, and the attention given to this by Bordwell and Thompson’s book provides an essential foundation for the process.

Given this, it is unfortunate that the “ sample analyses” (Chapter 9) are so dreary, using this important section of the book simply to underline the theoretical points to which it has, quite properly, been committed, rather than providing examples of the way in which an awareness of those can launch one into exciting critical analyses of particular films.

Only intermittently does one get the sense that the authors are concerned with the films under scrutiny, their probings of the form and structure of those films being limited to a description of their basic organising principles and a placing of them in the various traditions to which they belong. The result is an avoidance of areas of con­ troversy, and a useful sketching of the programs of the films, but it is quite without the excitement that accompanies a skilfullywritten reading given by an alert critical mind to a work only completed in terms of its production.

One could effectively clarify the point by comparing the pedestrian reading given to Meet Me in St Louis with Andrew Britton’s stimulating analysis, “ Smith, or the Ambiguities” , in The Australian Journal o f Screen Theory, No. 3.

This reservation aside, it seems to me that this book is the most useful text available to provide the student or the casually interested reader with an introduction to the complexities of film analysis.

It raises key questions in a fashion unlikely to alienate even those hostile to the intrusion of a more specialized language into the study of film. It then offers, at the end of each chapter, more advanced reading in the various areas of its concern, simultaneously providing a broad chart of the movement of thought in those areas over the past few decades and occasionally beyond. Its readers will take from it an awareness that will only heighten their experience of viewing a film.

Recent Releases This column lists books released in Australia between December 1979 and February 1980 which deal with the cinema or related topics. All titles are on sale in bookshops.

The publishers and the local distributors are listed below the author in each entry. If no distribu­ tion is indicated, the book is imported (Imp.). The recommended retail prices listed are for paper­ backs. unless otherwise indicated, and are subject to variations between bookshops and states.

This list was compiled by Mervyn R. Binns of the Space Age Bookstore. Melbourne.

Popular and General interest T h e G r e a t C o w b o y S t a r s o f M o v ie s a n d T e le v is io n

Lee O. Miller Arlington/Imp.. S17.95 (HC) A tribute to 43 great cowboy stars, illustrated with I 50 photographs.

T h e H e r o in e o r th e H o r s e

Thomas Burnett Swan Barns-Tantivy/Imp.. S20.95 (HC) Leading ladies in Republic’s films.

H o l ly w o o d A lb u m 2

Arleen Keylin Arno/Imp'.. S9.95 (HC) Fascinating accounts of the lives of some stellar film personalities, with more than 200 photographs and a filmography.

T h e H o l l y w o o d G r e a ts

Barry Norman Hodder and Stoughton/Hodder and Stoughton, S19.95 (HC) Based on the new BBC series on the great stars of the 1930s and AOs. M o re M o rle y

Robert Morley Coronet/Hodder and Stoughton, S3.25 Humorous anecdotes by the British actor.

M o r l e y M a r v e ls

Robert Morley Coronet/Hodder and Stoughton, S3.25 Some of his wittiest pieces on strikes, public speak­ ing, embassy lunches, and much more.

S ta r S ta ts

Kenneth S. Marx PSS/Tudor Distributors, S6.95 A computer print-out with information Hollywood’ s stars, past and present.

■ of

T o o Y o u n g T o D ie: T h e S ta r s th e W o r ld T r a g ic a l­ ly L o s t

Patricia Fox Sherwood Octopus/Macmillan Australia, S9.95 The lives of 31 of the world's greatest names in showbusiness who died at the height of their careers.

T h e W a r n e r B r o th e r s S t o r y

Clive Hirschhorn Octopus/Macmillan Australia, S24.95 (HC) The complete illustrated history of Warner Brothers’ great Hollywood studios, describing every film produced by them. A companion volume to T h e M G M S t o r y .

Biographies, Memoirs and Experiences in Filmmaking and Filmographies C h a rle s L a u g h to n : A n I n t im a t e B io g r a p h y

Charles Higham Coronet/Hodder and Stoughton. S4.95 The frank and moving story of the star of Mutiny on the Bounty and The Hunchback of Notre Dame.

Illustrated.

E r r o l F ly n n

Michael Freedland Arthur Baker/Hodder and Stoughton, 519.50 (HC) The real Errol Flynn story told objectively with the benefit of extensive new interviews with people who knew him personally.

'E v e n in g A ll: T h e A u to b io g r a p h y o f J a c k W a r n e r

Star/Rical-Kennard, S3.50 Warner records his 40 years in showbusiness, the countless films, the radio programs and the Royal Command performances.

F o r e v e r, S o p h ia

Alan Levy Magnum/Ricai-Kennard. S5.50 The fascinating inside story of Sophia Loren, told for the first lime.

F r o n t a n d C e n te r

John Houseman Simon and Schuster/Ruth Walls, S19.95 (HC) Houseman continues the story of his fascinating life. A unique look at life in Hollyv'ood and the theatre, with 48 pages of photographs.

W a n d erer

Sterling Hayden Futura/Tudor Distributor. S4.50 The veteran American actor tells of his lifestyle after retiring from acting.

Directors The A m e ric a n

Vein

Wickins and Vahimagi Talisman/Imp.. SI2.60 A pioneering reference book on film in television listing more than 280 directors who have made films for television.

F e llin i

Liliana Betti Little Brown/Imp.. SI 1.95 (HC) A behind-the-scenes look into the professional and personal life of Federico Fellini.

H itc h c o c k — T h e F ir s t F o r ty F o u r F ilm s

Erich Rohmer and Claude Chabrol Ungar/Ruth Walls. S7 The book considered by many as the key Hitchcock critique.

Joh n F ord

Andrew Sinclair Allen and Unwin/Allen and Unwin Australia, 519.95 (HC) Brings to life Ford's vivid personality, and many other aspects of his character. Includes com­ prehensive filmography.

Critical A m e r ic a n H i s t o r y / A m e r i c a n F ilm

John E. O'Connor and Martin A. Jackson Ungar/Ruth Walls. S8.40 Fourteen historians put their skills to the analysis of individual films for deeper insight into American institutions, values and lifestyles. Ideal for students and general reading.

(A Journal of Feminism and Film Theory) Vol 3/4 Camera Obscura Collective/Imp.. S7.50 A critical coverage of women in films.

C a m era

O b sc u ra

A C in e m a o f L o n e lin e s s (Penn. Kubrick. Coppola,

Scorsese, Altman) Robert Phillip Kolker Oxford/OUP, 524 (HC) A study on how major filmmakers have been in­ fluenced by the French New Wave and by direc­ tors such as John Ford and Orson Welles".

Rachel Low Alien and Unwin/Allen and Unwin, 524.50 (HC) A detailed account of people involved in the documentation movement. Covers how documen­ tary styles evolved, developed, changed and even­ tually split into two distinct schools of film­ making. " I m a g e " o n th e A r t a n d E v o lu tio n o f th e F ilm

Marshall Deutelbaum Dover/Tudor Distributors, S12.50 Photographs and articles from the magazine of the International Museum of Photography, including 263 illustrations.

L a n d m a r k F ilm s : T h e C in e m a a n d O u r C e n tu r y

William Wolf Paddington Press/A. H. Reed. 517.95 (HC) The book contains descriptions of some of the most popular films from 1915 through to the pre­ sent day. and includes interviews with some of the most prominent people involved in film today.

T h e R is e a n d F a ll o f B r itis h D o c u m e n ta r y

Elizabeth Sussex Cambridge University Press/Cambridge Univer­ sity Press. 523.50 (HC) The story of the film movement founded by John Grierson. Puts all previous studies of documentary into a new perspective.

Reference F ilm S t u d y C o lle c tio n s

Nancy Allen Ungar/Ruth Walls. 519.60 (HC) An invaluable guide to finding and using the voluminous film study material. Ideal for librarians, scholars, film journalists.

H a ll ¡ w e ll’s F ilm G u id e

Leslie Haiti well Granada/Methuen Australia, S14.95 The popular reference book giving brief criticisms of hundreds of films.

I n te r n a tio n a l I n d e x to F ilm P e r io d ic a ls 1 9 7 7 : A n A n n o t a t e d G u id e

Frances Thorpe Macmillan/Macmillan Australia. S69 (HC) An authoritative guide to all significant articles and essays published during 1977 in the world’s 80 most important film magazines.

M o v in g P ic tu r e s

Eileen Sheahan Barnes-Tantivy/Imp.. 56.20 An annotated guide to selected film literature with suggestions for the study of film.

Scripts T h e A d v e n t u r e s o f R o b in H o o d

Rudy Behlmer Wisconsin/Imp., 56.20 With 24 photographs and the script for a'major jousting scene that was never filmed.

T h e T r e a s u re o f th e S ie r r a M a d r e

Tino Baiio Wisconsin/Imp., S6.20 The original John Huston screenplay with frame enlargements to illustrate points of interest. Com­ pares the screenplay with the film.

Filmmaking, Technique and Marketing M a k in g M o n e y M a k in g M o v ie s

Sheldon Trombert F. Watts/Grolier Society. S9.95 The independent filmmaker’s handbook.

Television and Media M a k in g a T e le v is io n P la y

Cecil P. Taylor Oriel/Cambridge University Press. S13.I0 (HC) A complete guide from conception to BBC produc­ tion.

R a d io P o w e r : A H i s t o r y o f 3 Z Z

Joan Dugdale Hyland House/Kingfisher. S15.95 (HC) The true story of a radio station which gave freedom of speech to listeners, and the subsequent results.

Non-cinema Associated Titles A u s tr a lia n S ta g e A lb u m s

Brian Carroll Macmillan/Macmillan. 516.95 (HC) T r a in in g an A c t o r

Penguin/Penguin Australia. S14.95 The book demonstrates the Stanislavski system — the key to spontaneous behaviour on stage.

Film Novels E sca p e f r o m A lc a tr a z

J. Campbell Bruce Futura/Tudor Distributor. S2.95 T h e O m e g a F a c to r

Jack Gerson BBC/Pitman. S2.95

F ilm in S w e d e n : I n g m a r B e r g m a n a n d S o c ie ty

S ta r tin g O v e r

Maria Bergom-Larsson Barnes-Tantivy/Imp., 512.75 (HC) Third in the series of important monographs which will eventually cover all aspects of the Swedish cinema, past and present.

Dan Wakefield Granada/Gordon and Gotch. S3.95

History of Film Industry and Accounts of Film­ making D o c u m e n ta r y a n d E d u c a tio n a l F ilm s o f th e 1 9 3 0 s

T im e A f t e r T im e

Karl Alexander Granada/Gordon and Gotch. 54.25 W in te r K ills

Richard Condon Penguin/Penguin Australia, 53.95

★

Cinema Papers, April-May— 145

CINEMA BOOKS 8

PA E AGE GOGHS 8

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We have a very comprehensive range of publications on the cinema — everything from biographies, scripts and popular pictorials, to critical, historical and educational texts.

Lists of new titles are available regularly.

We are open 7 days a week.

edited by Peter Noble

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Reviews Reports from Film Festivals News of Films in Production Technical Developments Available weekly Send for free specimen copy to: Christine Fairbairn, Screen International, Film House, 142 Wardour Street, London W.1

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INTERNATIONAL INDEX TO FILM PERIODICALS 1978 An annual guide to film literature essential for film students and librarians Published annually since 1972 this Index covers the articles that appeared during each year in more than l 00 of the world’s most important film journals. The 1978 volume contains over l 0,000 entries.

The volume is divided into three main categories: general subjects (including sociology of film, production, history, aesthetics, etc.); films (every film reviewed or written about during the year): and biography factors, directors, etc.).

Entries include: author’s name; title of article; periodical citation; details of illustrations, filmographies etc.; and a description of the contents of the article.

The Index is compiled by some 35 film archives through­ out the world, most of whom are members of the International Federation of Film Archives (FIAF).

1978 660 pages $63.00 (Standing order $52) Please add $4.00 postage and handling.

George Lugg Library, AFI, PO Box 165, Carlton South, Vic. 3053.

FILMVIEWS is a new film user’s quar­ terly, which has grown out of the longestablished Federation News.

FILMVIEWS is essential reading for any­ one who selects, handles, or shows films regularly, especially 16mm.

FILMVIEWS is produced by the Federa­ tion of Victorian Film Societies. It con­ tains information on new film s, film availability, film reviews, film library news, short film information and many special articles.

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Film and Television Training in A ustralia :Part 2

S W IN B U R N E CO LLEG E O F TE C H N O LO G Y Armstrong, who graduated from Swinburne in 1971, said that, at the time, the College had little contact with what was happening in the ac­ tual Film industry and that it was hard for graduates to get work in Melbourne. This seems to have been greatly improved in the past few years.

Like the early years of the AFTS, Swin­ burne’s film and television diploma suffered birth-pains that seem to accompany all creative courses closely linked to a knowledge of a com­ plex technology.

Basil Gilbert The previous article in this series on institu­ tions providing film and television training in Australia dealt with the Australian Film and Television School at North Ryde, Sydney,1 the largest of the Australian schools. This article deals with a small department in the Swinburne College of Technology; small in terms of budget (around $250,000 a year), studios, workshops, technical equipment, and staff (six full-time members).

Swinburne was the first institution in Aus­ tralia to provide full-time education for the Film and television industries, and its output of graduates ranks favorably in terms of numbers with its expensive Sydney cousin.

The Three-Year Diploma

Beginnings The earliest of Melbourne’s institutes for the workers, the Working Men’s College, Mel­ bourne (now the Royal Melbourne Institute of Technology), was established in 1882. The idea spread to the suburbs with the formation of the Eastern Suburbs Technical School in 1908, to teach “ carpentry, plumbing and blacksmithing” . Today, these activities are only a part of what is now the Swinburne College of Technology. The tertiary section of the College alone takes almost 5000 full and part-time stu­ dents.

The film school at Swinburne is not complete­ ly ‘independent’, as is the case with the AFTS; it is an autonomous department within the Faculty of Art, which also includes a Depart­ ment of Graphic Design. This department has courses in photography, design, drawing, technical illustration, history of arts, print tech­ nology, etc.; and it was within this art depart­ ment that the idea of introducing a course for film and television began.

The year was 1966: the Australian film revival had yet to begin and television was celebrating its 11th anniversary. Brian Robinson, now head of the Film and Television Department at Swin­ burne, was then employed as an instructor in the graphic design section at the school.

In surveying the employment statistics he noticed that eight of the 12 members of the graphic design staff of Melbourne television sta­ tion ABV-2 were former students of Swinburne.

Robinson suggested that instruction in television techniques be added to the advertising design and illustration studies courses. Soon after, he proposed the introduction of a new diploma course, specializing in film and television in­ struction.

As a graphics instructor, Robinson was neither a product of the film industry (which did not exist as a uniquely Australian phenomenon), nor a trainee from television; but he was ac­

quainted with film production. In co-operation with Phillip Adams, he was at work on Jack and Jill: A Postscript, a 66-minute low-budget feature which won a Silver Award at the Aus­ tralian Film Awards in 1969.

The previous year, Robinson had proposed a syllabus and a budget for a diploma of art in film and television to the chief art inspector, Mr Mid­ dleton, and it had received informal approval.

Later, the Victorian Education Department gave its formal approval. The College estimated es­ tablishment costs of about $36,000 and, in its submission to the Victorian Institute of Colleges, requested $23,400 for the 1967-1969 triennium.

The new course was not a full three-year diploma entirely devoted to film or television (that was to come in 1971), but a two-year program which replaced the last two years of the Diploma in Graphic Design. The school argued, logically enough, that film and television are fundamentally visual arts, and that a ‘fine artist’ could, with suitable training, make a resourceful use of his or her art skills.

A counter argument, of course, is that a film­ maker is also a skilled creative technician, with extensive hands-on-equipment experience. A shortage of adequate equipment and trained technicians was to be a major handicap in the Swinburne structure, especially in the early years. Gillian Armstrong noted this fact in a re­ cent interview for Filmnews.2 She said that the early course “ actually involved very little Film­ making because they had no money, equipment, or stock” , but added, “ I think it was a good creative basis, because we did a lot of photography, and a lot of scriptwriting, and in the final year we got to make a film.”

1. Cinema Papers, No. 22, pp. 425-27, 478.

2. Filmnews. October 1979, pp. 10-13.

Brian Robinson, head of the Film and Television Depart­ ment at Swinburne.

In 1971, the film and television diploma became a three-year course requiring the Matriculation Certificate (now the Higher School Certificate) as a pre-requisite; the aspir­ ing entrant was required to pass a number of further tests to gain admission to the course. In 1971,25 places were available to the hundreds of students who applied for the course. Applicants had to submit a story for a short film, stressing visual and audio possibilities. This was assessed by the College staff, and the 70 ‘best’ applicants were requested to attend the College for further testing. These tests were supervised by the Aus­ tralian Council for Educational Research, which also advised on their suitability.

Since 1973, the number of places available for students wishing to take the three-year diploma in film and television has been reduced to 16. In 1978, more than 300 applications were received from students wishing to participate in the selec­ tion tests. Apart from the brief story outline, ap­ plicants have to provide a visual sequence of nine images (photographs or drawings) which can be arranged in a narrative sequence, moving from the general to the particular and being resolved at the end with an unexpected dramatic twist.

Thus, the first test is basically designed to judge creative writing and visualizing skills, while the second test sets the problem of providing a self-explanatory storyboard for a film sequence with no verbal support.

The suppliers of the best 50 of these double tests are then invited to the College for further tests. These include film criticism, information editing, and sound and image association.

Following the assessment of these tests by two assessors, 30 Finalists are interviewed and given an opportunity to provide further evidence of their suitability for the course before a selection panel consisting of all members of the lecturing staff. Of the 30 Finalists, 16 are selected to fill the first year quota. In 1978, two of the 16 students were women; the average age was 18.8 years.

Teaching Methods Generally, the first year of the three-year diploma concentrates on television, the second Cinema Papers, April-May— 147

SWINBURNE COLLEGE OF TECHNOLOGY

Director Michael Blanden on the set.

Andrew de Groot behind the camera.

Students set up for an outdoor shoot.

148—Cinema Papers, April-May

The unemployed hang out in a back lane in Port Melbourne.

Richard Lowenstein’s Evictions.

year on film, and the third year on the area where the student has shown the most aptitude and interest.

Practical work and lecture attendance take up three days in the week, and the other two are devoted to preparation: planning productions, writing scripts, researching for essays, and so on.

Mondays and Tuesdays are presentation days, Wednesdays are for lecture attendance and film screenings, and Thursdays and Fridays are devoted to the assigned projects. This system prevails throughout the three-year course.

Full details of the assigned projects and lec­ tures are provided in the annual Handbook of the College, and the following information is drawn from Handbook ’79.

First-year assigned projects include still photography, video production, film production (editing exercises and projects); lectures in History of Arts (more correctly designated history of film); and scriptwriting in the areas of the various genres of television writing: news, current affairs, documentary, comedy, commer­ cials and drama.

The studies and activities for the second year include film technology (directing, acting, lighting, camera operating, sound recording, sound mixing and track laying, negative matching); film production (short individual ex­ ercises); television technology (more advanced studies in television theory); television produc­ tion (work in the experimental workshop, stag­ ing and videotaping short dramatic excerpts).

History of Arts 2 and Scriptwriting 2 continue the work in these areas of the first year.

The dominant aspect of the third year is en­ titled Assigned Project 3. This requires 20 hours practical work a week for two semesters. The student is concerned with completing eight units from the following options: scriptwriting; light­ ing/ camera/ titles; continuity/ editing/ negmatching; producing; sound recording/mixing; art direction/graphics/stills.

Students are encouraged to function as a

Natalie Green at the animation stand.

Setting up a smash sequence for Breakdown.

crew, but it is possible for individuals to begin to specialize with regard to the options offered. The more ‘theoretical’ subjects are History of Arts 3, which requires a 5000-word essay on a ‘school’ of filmmaking or a distinguished director, and Methods of Production 3, which is tested by a 2000-word essay on an aspect of contemporary film or television production, related to a program of lectures.

The Swinburne Diploma of Film and Televi­ sion is wide-ranging and not as specialized a course of instruction as that available at the AFTS, where the students are ‘streamed’ into a workshop of their choice: sound recording, cinematography, editing, or production.

Nevertheless, there can be advantages in the student with a breadth of knowledge and ex­ perience, especially when working in the areas of production or teaching. The majority of 1978’s Swinburne graduates have found employment in the film or television industries — two are con­ tinuing their studies or work in the U.S., and one has been accepted by AFTS.

The Graduate Diploma Since 1976 there has been an additional course in the Department of Film and Television at Swinburne, a one-year Graduate Diploma in Applied Film and Television. In the submission to the Victoria Institute of Colleges in March 1975, the proposed diploma had three stated aims and objectives: 1. to provide a practical production course in film and television, including animation, for applied commercial, industrial and educational pur­ poses; 2. to promote the objective use of these media so that information may be communicated to a defined audience, and/or that specific informa­ tion be communicated to a general audience; and 3. that the course would serve areas such as com-

The Swinburne screening room.

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SWINBURNE COLLEGE OF TECHNOLOGY

Applicants to the one-year course were re­ quired to possess a degree or diploma, and had to submit a “ statement of intent” giving reasons why they wanted to undertake the course. Cer­ tain exceptions were made for mature entry ap­ plicants. Unlike the comprehensive three-year diploma, applicants for the graduate course had to select an elective in one of three practical specializations: film, television or animation.

The course is 21 hours a week for two semesters, and assessment is continuous. Each of the three streams has a similar basic struc­ ture: students are introduced to writing and production skills in the First semester and then undertake individual productions in the second semester. In the case of the individual produc­ tions, each student is responsible for the script, direction and editing.

The First semester studies on script develop­ ment deal with the nature of the medium (film, television, or animation), critical and creative theory, and the selection of a topic, an audience and a purpose. After a series of short exercises, a script is written for production in the second semester. The First semester also includes lec­ tures, demonstrations and practical exercises in production techniques, leading to technical proFiciency in the medium.

The second semester is devoted to production, with each student, assisted by a student crew if necessary, directing his or her script. This ac­ tivity is spread over a 16-week period at 21 hours a week. The Finished products are then presented to audiences and their effectiveness assessed.

To give an idea of the content of the produc­ tion techniques segment of the Film course, the following are some of the aspects dealt with in lectures, demonstrations and practical exercises: Crew roles and responsibilities, lens characteristics, Film stocks, exposure and color temperature

Century parochialism” which was “detrimental to the growth and development of ideas” .

The College replied in 1979 by requiring aspir­ ing students to sign a nine-point document giv­ ing the school complete control of the exhibition, distribution and sale of work produced by stu­ dents as part of the curriculum (para. 2) as well as giving the institution the ownership of the copyright of all curriculum productions (para.

The Graduate Diploma is a crash-course in 8), but permitting the students to get a copy of practical instruction and not all students Find the their program while still enrolled at the College pace comfortable. Yet, the success rate is high (para. 6). The other paragraphs are of a similar and employment opportunities are good, even if tenor.

Similar problems occurred at the AFTS, and the jobs offered are sometimes on the periphery of the film and television industry. The value to one can appreciate that the rights of performers, tertiary and secondary teachers of Film and video musicians and technicians, who may be production or animation would be quite con­ generously providing their services at reduced rates (or even free) to help a beginner learn his or siderable. her trade, must be protected. So must the private companies involved with the production of Student Unrest shorts which might be regarded as being in com­ petition with Films produced largely from public funds.

During the early years of the establishment of Nevertheless, it can be most dispiriting for the three-year Film and television diploma, and one’s creative work to be assigned as a white more recently with the introduction of the elephant to a bureaucratic shelf, or allowed only Graduate Diploma, there have been demonstra­ limited circulation when, and if, a governmental tions of student unrest with the educational agency, such as the National Fibrary or one of procedures and the vexed question of the the state Film centres, decides to purchase a ownership of the copyright of student-produced copy. Many of the Films produced by the stu­ material which has proved to be commercially dents of the AFTS and Swinburne College are saleable. most commendable, and the larger the public ac­ Some of the criticism of the school has been cess to them the better. ir committed to Film. Zbigniew Friedrich (who was a student at the school for a short period, before dropping out to pursue full-time film produc­ tion) has moments in the 1975 feature Made in Australia which are not flattering, but which perhaps illustrate the fact that, at First, the school’s claims were hardly matched by economic realities.

One does not produce a Hitchcock with the technical resources of a Bolex and a Model 3 Nagra. A full and competent staff takes many years to acquire and acclimatize; this is well known to any innovator in government-financed institutions. Today, the school has well-equipped workplaces, an excellent television studio, im­ pressive animation equipment and a sound staff.

The question of copyright and ownership has been less easy to solve. At the program of 11 Films produced by Diploma and Graduate Diploma students graduating in 1978, and presented at the State Film Theatre, Melbourne, in December, the visitors were handed a fourpage roneoed document on leaving the cinema.

The document was entitled “The Swinburne Story — An Open Fetter by the Graduate Diploma Filmmakers of 1978” . The gist of the text was that student Filmmakers were unable to sell or hire copies of their Films to which most had contributed in excess of $400 of their Composer George Drefus talks about scoring music for money. The attitude of the College to their films. predicament was described as a “sort of 19th

John Hillcoat (left) and Chris Kennedy in the television control room.

Lucy McLaren on Camera 2 in the Swinburne television studio.

measurement, microphone and tape recorder characteristics, sound recording (wild and sync), sound mixing, transfer and post-synchronization, lighting and Filters, make-up, camera operation, direction, dialogue, continuity, image assembly, sound and image editing (sync and non-sync), negmatching, A & B roll assembly, titles and optical effects, laboratory services and charges, distribu­ tion and copyright.

Andrew de Groot checks out a travelling two-shot on Evictions.

munications media, education (including re­ training), public relations, advertising, social welfare and audio-visual services.

Ron Gorman (left) sets up the taping of Beveridge the puppet with actors Ian Cumming and Alan Robertson.

Cinema Papers, April-May—149

indispensable reference book for anyone working in, or dealing with, the A ustralian film industry. .

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AUSTRALIAN

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MOTION PICTURE YEARBOOK

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1980

W

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Edited by Peter Beilby

For the first time, a comprehensive national guide to every major aspect of the Australian film industry.

Compiled by the publishers of Cinema Papers, Australia’s leading film magazine.

» s H R

Contents include: * A National Services and Facilities Directory covering laboratories, sound studios, equipment, lighting, editing, recording and mixing studios, sound stages, animation and titles, publicity, preview theatres, freight, insurance, and catering.

* * * * * * * * *

A Who’s Who of Producers and Directors A National Directory of Film and Television Production Companies A National Directory of Film Organizations A National Listing of Distributors and Exhibitors A Comprehensive Media Guide A Guide to Every Major Australian and International Film Festival Comprehensive Details on Film and Television Awards and Competitions Outlines of Film Copyright, Censorship, Tax and Trade Incentives Film Industry Statistics

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A 50-page round-up of recent developments in all major areas of the Australian film industry; and profiles on two outstanding new directors — George Miller, and Gillian Armstrong.

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320 pages, illustrated throughout 250mm x 176mm Solidly bound with a laminated cover in full color.

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JEROME HELLMAN

Jerome Heilman Continued from p. 105 was really designed to be seen in a cinema — I will be grateful if people do watch it on television.

There is a certain ambiguity of motivation in many of the char­ acters: for example, the wonderful scene where Buffy tells her boy­ friend to go away. We are not told exactly why she does it, yet it is exquisitely moving. One presumes you must have spent a lot of time providing an explicit motivation for the actress . . .

CENSORSHIP LISTINGS

Censorship Listings Continued from p. 118 Title

f o r r e s t r ic t e d e x h ib it io n “R” (4) FILMS REGISTERED WITHOUT ELIMINATIONS

Country

Producer

Submitted Length (m) Applicant

Reason for Decision

The Black Alley Cats El Diputado (The Congressman) Elsa Frauleln SS Initiation at College The Intimate Confessions of Stella Liquid Lips Love in the 3rd Position The Mistress Ride Hard, Ride Wild When a Stranger Calls (a)

Entertainment Pyramid Figaro/Ufesa Eurocine J. Kikoine Gondola Prods Freeway Film Corp.

J. Rohde Intervision Kobenhaven Simon Film Prods

USA Spain France France Spain USA Sweden Italy Denmark USA

2231.04 2967.58 2272.00 2509.92 2192.27 1394.40 2203.15 2780.44 1817.98 2620.03

Blake Films Pty Ltd Ronin Films Pty Ltd Cosmopolitan Motion Pictures Blake Rims Pty. Ltd. N.S. Productions Pty Ltd S.H.S. Box Office Gold Esquire Films N.S. Productions Pty Ltd S.H.S. Box Office Gold Roadshow Dist. Pty Ltd

With Lips of Lurid Blue The Woman Avenger The Young and Erotic Fanny Hill

Azalea Films W. Feng Not shown

Italy Hong Kong USA

3151.34 2406.1 5 2058.59

N.S. Productions Pty Ltd JS & WC Int'l Film Co. Esquire Films

S (f-m) S (i-m-i) S (i-l-g), V (i-l-g) S (f-m-g) S (i-m-g) S (f-m-g), 0 (drugs) S (f-m-g) S (i-l) S (f-m), V (i-l) V (i-m-j), 0 (terror, child murder) S (i-m) S (i-m-g), V (f-m) S (f-m-g)

(a) See also under “ Rims Board of Review” .

FILMS REGISTERED WITHOUT ELIMINATIONS (5)

That scene, which you rightly point out as just the tip of the iceberg, is pure reality. With the help of my associate producer, Gail M utrek, who was absolutely invaluable, I chose a lot of reading material for different moments of the film. I then exposed Kathy to a lot of inform ation about the emotional experience connected to it: about the need to retain auto­ nomy, to start to bring the peri­ meters in closer around ourselves, the need to start to end relation­ ships.

All these things appeared again and again in the literature I read, and in the conversations I had with doctors. It seemed to me natural that this girl, given the circum­ stances, would want to terminate the relationship at a time when she could still do it in a way she would feel good about. So, when the moment came when she realized she no longer had the energy to invest in pretending, she had to be the one to end the relationship.

Loring and I worked out the scene in that way, and then it was the reality that I exposed Kathy to.

When we went to shoot the scene, Kathy had a really visceral under­ standing of what her character’s motivation was. She really under­ stood it and I encouraged her to internalize and dig deep inside herself. And it worked splendidly.

There is a feeling of claustrophobia about the film, even in the outdoor sequences, a feeling which one is only released from in the final shot.

Did you have a concept like that of the overall visual design?

Yes. When I started discussing the film with Adam Hollander, one of the first things we talked about was the need to find a visual style which would really suit the material. In the roughest terms, the question was should we go against the material, which by its very nature was claustrophobic, and jazz it up with visual pyrotechnics, or should we keep faith with it and let it dictate the visual style? We both felt the latter was the right way to go, and we really held ourselves in a tight rein visually.

It was also intended that that feeling of tension should mount, and only be relieved when the event

Title

Producer

Country

Submitted Length (m) Applicant

Special condition: That the film be shown only to its members by the National Film Theatre of Australia in its Chu Chin Chow UK 2798.00 Not shown UK Not Shown 2386.00 Dreyfus Evergreen UK 2578.00 V. Saville Friday the Thirteenth Not shown UK 2304.00 UK The Good Companions V. Saville 3100.00 UK It’s Love Again 2304.00 V. Saville Number Seventeen Not shown UK 1646.00 Oh! Mr Porter Not shown UK 2332.00 Not shown UK Rome Express 2551.00 UK 2085.00 Sabotage Gaumont British Alexander Korda South Riding UK 2496.00 Tudor Rose (16mm) Not shown UK 858.00 Gainsborough 2112.00 Young Man’s Fancy UK

Reason for Decision

1979-80 "British Classics of the Thirties” season.

NFTA NFTA NFTA NFTA NFTA NFTA NFTA NFTA NFTA NFTA NFTA NFTA NFTA

Special condition: That the film be shown only to its members by the National Film Theatre of Australia in its 1980 “ Films of Alberto Lattuada” season.

Cuore De Cane (Dog’s Heart) II Mulino Del Po (The Mill on the Po) Le Faro Da Padre (I’ll Take Her Like a Father Mafioso (Mafia) Sono Stato lo (I'm the One Who Did It) Venga a Prendero il caffe da noi (The Man Who Came for Coffee)

Filmalfa Lux Films

Italy Italy

2990.00 2633.00

NFTA NFTA

Clesi Cinematografica C.C.C. P. Angeletti/A. de Micheli

Italy Italy Italy

2798.00 2743.00 2962.00

NFTA NFTA NFTA

Mars Film

Italy

2688.00

NFTA

Special condition: That the film be shown only to its members by the National Film Theatre of Australia in its 1980 “Women in Japanese Cinema” season.

Kokyo (Native Place)

Not shown

Japan

2633.28

NFTA

FOR RESTRICTED EXHIBITION “R” (6) FILMS REGISTERED WITH ELIMINATIONS Title

Producer

Autopsy L. Pescarolo Deletions: 20 metres (44 secs). Reason: Excessive violence.

Country

Submitted Length (m) Applicant

Reason for Decision

Italy

2316.00

The House of Dare Pty Ltd

S (i-l-g), V (f-h-g)

Electric Blue (A'sia) N.S. Productions Pty Ltd

S (f-h-g) S (f-m-g), V (f-m-g), 0 (sado/masochism), 0 (child abuse)

FILMS REFUSED REGISTRATION Electric Blue (videotape) The Red Nights of the Gestapo

A. Cole 0. Righini

UK Italy

59 mins 2816.10

FILMS BOARD OF REVIEW When a Stranger Calls Simon Film Prods USA 2620.03 Decision reviewed: “ R” registration by the Film Censorship Board. Decision of the Board: Register “ M” .

Note:

Roadshow Dist. Pty Ltd

Title of film shown as “ The Great American Chase” (May 1979 List) has been altered to “ The Bugs Bunny Road-Runner Movie".

Title of film shown as “ Cruise Missile (December 1978 List) has been altered to “Teheran Incident".

Title of film shown as "The Cobbler and the Little Folk” (November 1979 List) has been altered to “ The Shoemaker and the Elves".

was over. I had hoped that from the moment Alexandra puts her finger on the button, and that bloody sound finally stops, the people sitting in the cinema would feel the same release and experience a similar sort of catharsis.

Given that one can view the film as Alexandra’s movement towards re­ discovering some sort of physical contact with the world, is there not perhaps a scene missing of her physical contact — sex, if you like — with Jim? That is a tough question to answer honestly. It isn’t there because I felt it was somehow dangerous and extraneous. I had lived through the love scene in Coming Home, and that was a film where the love scene was absolutely essential to the film: it was the natural next step in the relation­

ship and was critical in terms of presenting a person who is disabled as a whole person, with a complete repertoire, of feelings, including sexual, and the ability to give pleasure where there is love. It was a very difficult scene to shoot and I think Hal Ashby did a superb job.

It seemed to me that every film I had seen in the past couple of years had a love scene, and, more often than not, they were gratuitous. You were left with panning cameras, and shots of bosoms and breasts heaving, and people gasping. Now it seemed to me that the scene where Jim took Alexandra in his arms, then backed away from her tentatively, and she came to him for the very first time and embraced him , said it all. It looked marvellous through the lens when we shot it, and I felt that was the consummation. I didn’t want to explicate it. I also felt that to go

from an explicit scene of love­ making to Buffy and death was too on the nose.

If I were to do a love scene, and I hope I get the chance one day, I would want to make it special. And to do that I would have to feel that it was absolutely necessary. In this situation, I didn’t feel that it was necessary because it was implied.

Maybe I lacked that extra creative idea that would have made it work, but I felt 1 shouldn’t go into the bedroom, and didn’t.

Are you working on any projects?

What I have been doing, since Promises in the Dark opened, is reading and studying a lot of material, and just waiting for something to get excited about. It is like trying to find a girl to fall in love with — it is a big life commitment. ★ Cinema Papers, April-May— 151

NATIONALISM IN AUSTRALIAN CINEMA

race’s particular style of understatement. This was captured by Phil Noyce’s small budget Film, Backroads, which did more for the Aboriginal Continued from p. 100 movement in its one hour than these two films awareness or indication of the political choices combined. The need, especially in period films, such values represent, seem to indicate a certain to mythologize the characters has often meant a amount of collusion (or self-censorship) with the certain revisionism of history. bureaucratic restrictions on Australian feature The choice of casting for Jimmie Blacksmith film production. As well as the coincidental was contentious. Schepisi cast a young, fresh­ thought that the commercialism of such choices faced Aboriginal, Jimmy Lewis, for the lead; might also be the world-views of the filmmakers. this began the simplification of the ethical problems of Keneally’s novel. The audience is Making the Best of a Given led by Lewis’ amenable personality to align all its sympathies with him, so that the act of Situation murder becomes the central emphasis and yet perfectly understandable behaviour. Keneally himself was concerned after viewing the film “The only way we can give a picture an that it might be seen as an anti-white statement15 international appeal is to make it because all the whites, as he had originally writ­ Australian.’’ ten them, were hardened and unsympathetic people, but if Jimmie Blacksmith is portrayed as Charles Chauvel a faultless and innocent victim of racial in­ tolerance, then his actions become too simply justifiable.16 In 1978, two films were released which This is compounded again by the problems of represented a peak of achievement to those who transposing literature into film; and in Jimmie followed the rise and hopes of an Australian film Blacksmith’s case it was essential to be able to industry:13 Fred Schepisi’s The Chant of Jimmie follow his emotions and thoughts — but they Blacksmith and Phil Noyce’s Newsfront. Both were never fully realized in the film. One is led to films indicated that the form of the period film infer a sense of rage and confusion only by the was still viable and that film could still be in­ recreation of the events of continual discrimina­ volved in a significant level of argument. tion. In the novel, Keneally constantly com­ Thomas Keneally’s The Chant o f Jimmie ments upon the conflicts and one comes to con­ Blacksmith is based on the Jimmie Governor sider Jimmie’s motivations. case in 1900-01, of two Aboriginals who take The ultimate problem that such a film poses murderous revenge upon the women of their to the search for a national identity is the ques­ white employer’s household, in culmination of tion of the usefulness of a narrative as it relates racial discrimination and frustration, and are to the entire problem of Australian hegemonic pursued by the police for nine months. The attitudes towards its racial, ethnic and social cinematic version has an emotional emphasis minority groups. To make an audience perceive that devolved the complex focuses in the novel a problem in an unfocused or simplified fashion into an expurgative epic of guilt. (unfocused in its comment upon the situation as Newsfront, scripted and directed by Phil it exists today) invites them to share in a Noyce, and based upon an original idea by historical guilt.. Yet is guilt, without a construc­ Bob Ellis, was by comparison pure cinema. It tive attitude, a healthy emotion for the future? chronicles the events of eight years in Austra­ is mythologized by being seen as a separate phenomenon lian history (1948-1956) via the Australian news­ from other Aboriginals. Secondly, there is an amount of reel company Cinetone. It uses documentary distance or coldness towards the events, which is, I footage as well as recreated events, while also suspect, an attempt at objectivity. Backroads, by com­ carefully weaving in a narrative plot about the parison. has a warmth for the Aboriginal people, presenting them just as people with a different approach lives and changes of the employees of the firm. to life: Jimmie Blacksmith tends to emphasize their Newsfront and Jimmie Blacksmith are in a alien-ness. sense allegorical of the Australian condition. But 15. T. Keneally, “ From the Dark Night”, Metro. No. 44, Noyce’s film is more of a social and political Winter. 1978. pp. 24-7. argument presented with an obvious affection 16. Ibid. “ My fears were that it was more likely to spark a direct Aboriginal reaction than to create prejudice. I felt for many of the national idiosyncracies. from seeing the film that the least of my problems was Newsfront fulfils the criteria of significant whether his grievance was proved.” (p. 27.) A similar Australian content, as well as being unconcerned ethical problem can be found in Mad Dog Morgan, directed by Philippe Mora. In the effort to align our with altering its style or content for some sympathies with the social outcast (Morgan, the preconceived notions of what might appeal inter­ bushranger, whom Mora presents in a psychological nationally. On the other hand, Schepisi’s film, equation by his choice of anti-white companions), the though a dedicated attempt to film a novel that morality of the issue of murder and revenge, and par­ ticularly racial prejudice, is oversimplified. he obviously admired, did a number of things, some deliberate and some perhaps accidental, that had the ultimate effect of giving the film too little connection with its intensely Australian problem. . Schepisi’s film, made on the very large budget (for an Australian film) of $1.2 million, rather like the only other large budget film that con­ cerned Aboriginals, Weir’s The Last Wave, tends to present the Australian Aboriginal in an anthropological mist14 and, above all, to lose the

Nationalism in Australian Cinema

13. E.g.. Terry Bourke, “The 79 Slowdown”, The Aus­ tralian. January 26, 1979, p. 9: and Bob Ellis, “ Damn those Doomsdayer’s,” Nation Review, July 19, 1979, pp. 669-700. Bourke believes that the industry may be in a decline, while Ellis thinks “that any business in which Phil Noyce looms as a mental giant has got to be in trouble” — the point being that after the astounding per­ formance of Newsfront at the Australian Film Awards, gathering a total of eight awards, a year that does not come up to the 1978 standard is a sign of doom.

14. This is more strictly accurate of the film The Last Wave; it is harder to explain in Jimmie Blacksmith. Firstly, he 152—Cinema Papers, April-May

The amenable Jimmy Lewis, who plays Jimmie in Fred Schepisi’s The Chant of Jimmie Blacksmith.

Of course, the only way we can ever have a truly representative national cinema is for these minorities to make films from their vantage points.

In terms of ideology of nationalism, though, Jimmie Blacksmith did underscore (if somewhat heavy-handedly) a fundamental distortion of national belief — that we, the white, Anglo­ Saxons “settled Australia” , when in fact it was a quiet, but brutal conquest.17 This irony is con­ stantly referred to in the paralleling of the im­ ages of the first Parliament of Federation with the narrative. 18 Newsfront, by comparison with earlier period films, still worked upon the desire for nostalgia, but it also used this desire for its own ends and not as an end in itself. Newsfront exists as the most complete cinematic allegory of the Australian nationalist dilemma. It can be perceived on a number of levels, becoming the commercial film that might meet anybody’s ex­ pectations. Yet it also relates to Noyce’s earlier film, Backroads, as a continuous statement about Australian society. Yet where the black statement (in the form of the black activist, Gary Foley, playing a large role in the film) became open polemic in Backroads, and almost one of despair, Newsfront’s argument exists in a struc­ ture of inference.

The years 1948-1956 are distinctive in Australian history, marking the end of a Labor government and the beginning of the longest period of conservatism. The film deals with ac­ tual political and historical events in the use of newsreel footage (and excellent recreations), and the reactions of the Cinetone employees to the content of their newsreels becomes the comment upon these events. Each character has a sym­ bolic reference to urban types without becoming stereotyped. The script and acting have resolved many of the problems already associated with the revelation of private thoughts within characterization by externalizing them in a clever use of dialogue.

The two main characters, the brothers Len and Frank McGuire, take one through the film.

Len is symbolic of Australian integrity and con­ science, staying with Cinetone (the firm that gave them both a job during the Depression, “when the McGuires were too proud to go on the dole”). Frank goes from Cinetone to the op­ position, Newsco, and then to the U.S. He em­ bodies the Americanization of urban Australia, moving with the times, and when he returns to Australia, near the end of the film, he is more 17. See Geoffrey Blainey, The Triumph o f the Nomads, Sun Books, 1975, for a lucid account of ancient Australia and its people.

18. Ironic in the sense that the whites were in total ignorance at the time of Federation of the real claims of the first Australians to the land, with whom no treaty or any of the decencies of most forms of conquest had been under­ taken.

A newsreel cameraman captures the dramatic Mait­ land floods. Phil Noyce’s Newsfront.

JAPANESE CINEMA

MALCOLM SMITH

nationalisms are urban-based, and Noyce has. made a strong point about the perpetuation of Australian nationalism: that the decision to promote the outback as a primary leitmotif was an economic and socio-political reaction to the encroachment of American values in urban Australia. Without making too much of a simplification, it is the result of urban conflicts that promote the imagery of idealization and nostalgia for the rural lifestyle and values.

The arrival of television spelt the demise of even the newsreel’s reaction and resistance to a changing national identity.

The film ends on a note of hope for Australian society: that not everyone was hoodwinked by the propaganda of the times (Len “still holds on to the illusion of democracy”). The clips that run on through the credits emphasise the hope and the changes to come during the 1960s, with final­ ly a glimpse of the Labor leaders to be found at the end of a long Liberal tunnel.

Noyce, unlike most other feature filmmakers, has managed to combine an innovatory ap­ proach with his personal political statement which leaves some hope for the future develop­ ment of commercial film production.

The period films that have been released recently — My Brilliant Career, The Odd Angry Shot and Dawn! — have tended to emphasize that a naturalistic approach is essentially a mori­ bund formula. Noyce’s use of documentary clips and the technical expertise such integrations re­ quired were exciting, but Newsfront is almost its own critic by the force of its level of argument.

Noyce implies that nostalgia for classic nationalism’s themes and images is just another form of escapism from the problems of the Australian identity. At the beginning of the film one sees clips of the arrival of the first con­ tingents of European migrants after World War 2, and that is a small indication of the rapidly

changing face of the Australian people that must be seen more often.

The Odd Angry Shot is by no means a great film. But as the first feature to review the Australian experience of fighting in the Vietnam War it is a viable statement, one that does not endow the mission with the extra significance of the recent spate of American films dealing with their experience of the same event (e.g., Coming Home, The Deer Hunter and Apocalypse Now).

Its feeling is that of the aimlessness of the exer­ cise for all involved. To lighten its pessimism (another commercial palliative?) it tends to devolve into an ocker comedy in khaki, with a lot of beer and mateship. Yet, for the first time, the historical origins of the “ mateship” concept (though incidental to the film) had a poignancy that it rarely has in its urban setting.

If it seems that the period genre is in decline, then it may be interpreted as an indication of transition or growth within society. There have been two features released recently with themes that revolve around ethnic problems, Kostas and Cathy’s Child. Neither film is a definitive statement; instead, they are presented in a man­ ner of understatement that indicates the accep­ tance of these minorities as a fact of life. Though both films tend to follow the romanticism in­ itiated by John Duigan in his 1978 film on youth unemployment, Mouth to Mouth, the move towards an ease and comprehension of the pre­ sent composition of Australian society has begun to be translated onto film.

Australian nationalism, in the archaic and ex­ clusivist forms that have recurred in this decade, may only have been the easiest way of bridging the gap of years of being without presentations of national identity on film. If the rifts between “commerce” and “ art” in film productions can be bridged, Australia may yet evolve a cinematic identity more appropriate to its age. ★

dustry seems little more than a series of lastditch ploys.

Some reports point to a resurgence of small companies making adventurous product for dis­ tribution by the major studios, but I saw no evidence of this. In any casevthe making of lowbudget films without guaranteed distribution is only adding further risk to an already precarious situation.

Some form of local ‘prestige’ filmmaking will probably survive, as it can be expected to in most Conclusion advanced countries that have reached television saturation. But such films must look for The Japanese are realistic, especially where justifiable returns to television, or to the economics are involved, as is seen in their quick worldwide art film market.

It seems obvious that Japanese films, whether adaptation to necessity in the manufacture of consumer goods. Cinema is no different. Despite for the cinema or television, cannot remain a steady trickle of low-grade production, which rooted in a claustrophobic local; culture, but can be seen as a heroic effort to honor responsib­ must look at the way the Japanese character ilities to employees,2 and the few hopeful efforts manifests itself today — in the jungles of Wall to catch the youth market,3the activity in-the in- Street, the factories of Brazil and Taiwan, or the mines of Australia. These are where the real challenges take place, but whether the Japanese 2. Japanese firms are not allowed to sack employees just film industry has the resources to undertake because they have no work for them. them, or if such an examination even fits into the 3. Shochiku has just financed a young director who had only previously made a Super 8mm film. scheme of economic and industrial expansion,

remains to be seen.

In the same way it took almost until the end of the war for a viable war film style to emerge, so the activities of the Japanese in the world com­ munity are being passed over or neglected as a subject for film. Such nervousness or hesitation is not only unfortunate, it is also dangerous. ★

American than most Americans. Amy, who is an assistant producer at Cinetone, is a career woman in an era that found being single and am­ bitious offensive. Rather, the socially desirable female role is Len’s Catholic, working-class wife.

Part of the measure of change in social at­ titudes is found in their marriage. Alienated by Catholic doctrines and Len’s loyalty to the Labor Party stand against the Referendum to outlaw the Communist Party, they both are con­ stricted by their principles. Yet, by the end of the film, they have both become involved in new relationships that has meant that gradual denial of some of those old beliefs. The act of com­ promise is in itself a comment on the deflation of the Australian identity that was worn away with the changing times.

Perhaps the film’s strongest critique lies in the decline of the Australian newsreel. When Cinetone and Newsco were rivals, but with Newsco receiving more overseas news, Cinetone made the decision to become even more “ Australian” in its content. The head of the company tells his staff this will mean more emphasis on the rural life — “ the real Australia” — yet qualifies his statement by say­ ing they all know that it’s not true, but it works.

Thus Cinetone is forced to perpetuate the dying nationalist beliefs, and the images that are chosen to remind urban audiences of their national spiritual core are also a comment upon the contemporary dilemma of the film industry — “ Australian” content to sell films. Cinetone uses images evocative of all the Australian myths — bushfires, floods and feats of en­ durance — events with which the vast majority of Australians who live in the cities have no ex­ perience, except that it is “news” .

This situation is central to all decisions to use nationalist ideology and motifs. Historically, all

Japanese Cinema Continued from p. I l l find a ready market in filmgoing countries of the East, where television still has a slight hold.

However, it is dubious whether such films will find a wide audience in the West.

Brooksbank and Bob Ellis. Bert Deling is acting as script editor.

We have a thing called Antarc­ tica, on which Alan Seymour is the Milos Foreman Blonde in looking for a plot-line. Brealey and Love/Fireman’s Ball type. Richard Richard Cassidy, a writer, have Brennan is supervising producer, developed a project called The Last and Phil Noyce was working as Ronin, which we hope will become a script editor. The author of the Japanese co-production, and we have an option on Save the Lady. book is Don Townshend.

There is also Christine’s Island, We also have Fatty and George and which is a children’s feature film The Joe Blake Show. I think it is being developed by R ichard quite an exciting range of projects.

Brennan as supervising producer, w ith a sc re e n p la y by Anne Are they all family-oriented?

Malcolm Smith Continued from p. 115

Acknowledgments Japan Hiroshi Noune

Toho International Shochiku UniJapan Film Nikkatsu Shibata Organization Japan Film Library Council

Kuroda Mori Shibata Australia Paul Maloney Roger Pulvers Rod Webb C. Ewan Burnett Lex Smythe Andrew Pike

No. Gland Time is an adult comedy and The Last Ronin is an action kung-fu film, very much' slotted towards the Japanese audience.

It has always been a moral thrust of TFC board members that we do positive things for children. But that doesn’t mean we do them exclusively. We have to bear in mind that the children’s area is generally non-profitable. Television stations are generally reluctant to pay adequate money for such programs.

Japan Information Centre Australian National University Australian Japan Foundation National Film Theatre of Australia Quality Film Qantas Ronin Films

You said the capacity of the TFC was one feature a year, yet you seem to have a lot of features planned . . .

I have seen so many places where all of a sudden they get the money and they haven’t the properties. It could be that we entrepreneur a property, then let somebody else invest in it or develop it. The important thing is always to have a string of exciting properties. ★

Cinema Papers, April-May—153

Production Survey Continued from p. 135 Camera operator . . Geoffrey Simpson Length ........................................ 16 mins.

Gauge ............................................16 mm Synopsis: A training film to instruct coaches and potential coaches about the nature of injuries suffered by people who play sport, so that their coaching will incorporate prac­ tices which reduce the risk of injury. Spon­ sored by the Sport and Recreation Division of the Department of Transport.

MORE THAN BLOOD AND BANDAGES Prod, company

................. Slater Film Productions Producer ...........................Nick Cockram Director .............................Brian Hannant Scriptwriter .................... Brian Hannant Exec, producer ................. Bruce Moir Camera operator . . . David Foreman Length ........................................ 20 mins.

Gauge ............................................35 mm Synopsis: A docum entary designed to make the public aware of the variety of ac­ tivities in which the Red Cross is involved.

Sponsored by the Australian Red Cross Society.

NEVER EVER GO WITH SOMEONE YOU DON’T KNOW Prod, company .................... Newfilms Scriptwriter ....................... Peter Clarke Sound recordist . . Grapevine Studios Editor ..................................Justin Milne Exec, producer . . . Lesley Hammond Camera operator . . Geoffrey Simpson Length ........................................ 12 mins.

Gauge ........................................... 16 mm Synopsis: The first of a series of three films on child molesting. This one concerns children from the ages five to seven. Spon­ sored by the Police Department of South Australia.

NORTH HAVEN Producer/director ............. Justin Milne Scriptwriter ........................... Newfilms Editor ................................. Andrew Ellis Exec, producer ................. Bruce Moir Camera operator . . Geoffrey Simpson Gauge ........................................... 16 mm Synopsis: A short film on the development of a new estate. Sponsored by the North Haven Trust.

THE ROLE OF THE COACH Prod, company . . Bosisto Productions Director ................................. John Dick Scriptwriter ................. Terry Jennings Exec, producer .................Bruce Moir Camera operator . . . .

Brian Bosisto Length ........................................ 14 mins.

Gauge ........................................... 16 mm Synopsis: A training film to be used as a discussion starter in the development of new and practising coaches. Sponsored by the Sport and Recreation Division of the Department of Transport.

SCULPTOR — BERT FLUGELMAN Prod, company . . . .

Chrysalis Films Scriptwriter ................. Terry Jennings Sound recordist ............. James Jurrie Editor ...........................Andrew Prowse Exec, producer . . . Lesley Hammond Camera operator ............. Gus Howard Length ........................................ 12 mins.

Gauge ........................................... 35 mm Synopsis: A short film to show the work of sculptor Bert Flugelman and to give an idea of his philosophies and ideas behind his work.

TEENAGE DRINK DRIVING Scriptwriter .................Richard Tipping Exec, producer ................. Bruce Moir Length ........................................ 10 mins.

Gauge ........................................... 16 mm Synopsis: A short documentary for schools and c o m m un ity groups, designed to educate young people who drink and drive.

Sponsored by the Department of Transport and the Road Safety Council.

T A S M A N IA N FILM CO R P O R A TIO N BE NICE TO YOUR BODY ............. Tasmanian Film Corporation Producer ...........................Damien Parer Director ........................Philip Mark Law Scriptwriter .................... Andrew Butler Sound recordist . . . John Schiefelbein Editor ..................................Kerry Regan Prod, assistant ....................... Peter Cass Camera operator . . . Russell Galloway

Length ............................................1 min.

Progress ........................Awaiting release Synopsis: An anti-smoking commercial for television. Produced for the Prem ier’s Department.

BOREDOM IN SUBURBIA Dist. company

............. Tasmanian Film Corporation Producer .............................. Barry Pierce Director ...........................Bob Connolly Scriptwriter .................... Bob Connolly Research ....................... Robyn Anderson Length ........................................ 20 mins.

Progress ........................... Pre-production Synopsis: A short film examining the cause and effect of boring lifestyles, and oppor­ tunities for housewives, the aged and single parents. Produced for the Division of Recreation, Department of Education.

A SAFE PLACE

............. Tasmanian Film Corporation Producer ....................Anne Whitehead Director ...........................Robyn Cooney Scriptwriter ............. Christine Schofield Sound recordist . . . John Schiefelbein Prod, manager ............. Daphne Crooks Camera operator . . . Russell Galloway Camera assistant . . John Jasiukowicz Length ........................................ 20 mins.

Progress ............................Pre-production Synopsis: A short television documentary on the circumstances that contribute to A DANGEROUS COMBINATION accidents involving children in the home, and ways of reducing this risk. Produced for Dist. c o m p a n y .......................... TasmanianFilmthe Premier's Department.

Corporation Producer .............................. Barry Pierce YOU FOR UNION Director .............................. Roger Lupton Scriptwriter ....................... Roger Lupton Sound recordist .................. Ned Dawson Dist. company ............. Tasmanian Film Editor ................................ Denise Hunter Corporation Prod, assistant ........................Peter Cass Producer/director ............. Barry Pierce Camera operator . . . . Chris Morgan Scriptwriter ....................John Patterson Length ..................................... 22 mins.

Length ........................................ 20 mins.

Gauge ........................................... 15mm Gauge ........................................... 16mm Progress ....................... Post-production Progress ........................... Pre-production Synopsis: A short documentary/discusSynopsis: A dram atized short film to sion where amputees talk about their explain the basic role of trade unions in accidents in sawmills and the need for safe A ustra lia n society. Produced fo r the working conditions. Produced for the Department of Industrial Relations.

Department of Labour and Industry.

FLOWING FREE Dist. company

............. Tasmanian Film Corporation Producer ....................... Anne Whitehead Director ...........................Bob Connolly Sound recordist . . . John Schiefelbein Prod, manager ............. Robyn Anderson Prod, assistants ............. Laura Zusters, Ian Cantle, Greg Scott, Gaye Arnold Script assistant . . . . Robyn Anderson Gert Kirchner Camera operator . Gary Clements Camera assistant . . . . 20 mins.

Length ............. ............. 35mm Gauge ............. . . . Production Progress Synopsis: A short film on the travels of Tony Moscal, a botanist collector, on his journey down the Franklin River, one of the last wild rivers in Australia. Produced for the National Parks and Wildlife Service.

HOCKEY ONE, HOCKEY TWO Dist. company

............. Tasmanian Film Corporation Producer .............................. Berry Pierce Director ..............................Jack Zalkalns Scriptwriter ................... Margaret Pierce Length .......................................... 10 mins.

Progress ................................... Production Synopsis: A pilot "How to” sports series fe a tu ring advanced skills fo r hockey players.

LIFE BE IN IT Dist. company

............. Tasmanian Film Corporation Producer ..............................Damien Parer Director ............................ Robyn Cooney Sound recordist . . . John Schiefelbein Camera operator . . . Russell Galloway Camera assistant . . John Jasiukowicz Length ................................... 2 x 1 5 mins.

Progress .......................... Post-production Synopsis: A two-part television series ex­ ploring the varied activities available for children. Produced for the Prem ier’s Department.

NATIONAL PARKS Dist. company

............. Tasmanian Film Corporation Producer ...........................Damien Parer Director ...........................Don Anderson Photography .................Russell Galloway Sound recordist .................Paul Clarke Editor ................................... Kerry Regan Unit manage: ............. Daphne Crooks Prod, assistant ........................Ian Berwick Presenter ...........................Harry Butler Length .....................................25 mins.

Progress .......................... Post-production Synopsis: A short film to promote Tas­ mania’s National Parks and open areas.

Produced by the Department of Tourism.

Dist. company

154—Cinema Papers, April-May

Length ........................................ 50 mins.

Progress ...........................Pre-production Synopsis: A dramatized television docu­ mentary following the case history of Tom, a schizophrenic patient in a psychiatric institute. Produced for the Mental Health Commission.

ROUND THE BEND Dist. company

............. Tasmanian Film Corporation Producer ......................... Damien Parer Director ........................Anne Whitehead Scriptwriter .................Anne Whitehead

Dist. company

VICTORIAN FILM CORPORATION CHILDRENS COURT Director ....................... Phil de Montignie Editor .............................. David Pullbrook Exec, producer ............. Kent Chadwick Length ........................................... 15 mins.

Gauge ........................................... 16 mm P r o g r e s s .....................................Jn release First released ....................... April, 1980 Synopsis: A case-study of a 15 year-old girl detained by police after a missing persons report has been filed, and she is brought before the Childrens Court. Produced for the Department of Community Welfare Ser­ vice.

Do Not Pass Go.

Director ............................Dionne Gilmore Scriptwriter ..................... Ronald Strahan P h o to g ra p h y ....................... Keith Taylor, Peter Parks, Densry Clyne, Jim Frazier Sound recordist .................John Boswell Editor ...............................Jeremy Hogarth Composer .......................... Greg Snedden L e n g t h .....................................4 x 30 mins.

Gauge ........................................... 16 mm P r o g r e s s .....................................In release Synopsis: A series of documentaries on the G ippsland Lakes region of V icto ria .

Produced for the Department of Conserva­ tion.

GOONAWARRA PROJECT

Produced for the Department of Youth, Sport and Recreation, and aimed at the teenage consumer.

TURANA Director ....................... Phil de Montignie Editor .............................. David Pullbrook Exec, producer ................Kent Chadwick L e n g t h ........................................... 18 mins.

Gauge ........................................... 16 mm P r o g r e s s ...........................Awaiting release Scheduled r e le a s e .................April, 1980 Synopsis: A short documentary about the admittance and classification procedures of the Turana Youth Training Centre for young male offenders. Produced for the Depart­ ment of Community Welfare Services.

Producer/director . . David Bilcock sen.

WESTERNPORT CATCHMENT Exec, producer ................Kent Chadwick Prod, company ..................Victorian Film Prod, company . . . . Phil de Montignie L e n g t h .......................................................25mins. and Associates Gauge ........................................... 16 mm Corporation and Director ....................... Phil de Montignie Australian Broadcasting Shooting s t o c k ....................Eastmancolor Scriptwriter ....................... Russell Porter Commission P r o g r e s s ............................Post-production P h o to g ra p h y .................... David Haskins Director .............................. Harris Smart Scheduled re le a s e ...............................May,1980 Scriptwriter ....................... Harris Smart Sound recordist .................... Ian Wilson Synopsis: A documentary on the building of Editor ...............................David Pullbrook a major housing development, progressive­ Exec, producer ............. Kent Chadwick Composer ...................... Michael Drennan ly filmed over two years. Produced for the L e n g t h ................................. 3 x 30 mins.

Exec, producer ................Kent Chadwick Housing Commission.

Gauge ...............................................16 mm Special adviser ................. Doris Liftman P r o g r e s s ............................. Pre-production Length ........................................... 48 mins.

Scheduled release . . . November, 1980 IMPACT Gauge ........................................... 16 mm Synopsis: A series of three documentaries Scriptwriter .....................Terry McMahon on industrialization in the Westernport Shooting s t o c k ....................Eastmancolor ................Kent Chadwick Catchment area co-produced by the Vic­ Progress . . . . 0 . • ■ Awaiting release Exec, producer torian Film Corporation and the Australian Synopsis: A documentary set in the streets, L e n g t h .............................................25 mins.

Gauge ...........................................

16 mm Broadcasting Commission for the Depart­ the Childrens Courts and the prisons, which ment of the Premier. follows the exploits of two teenagers in con­ P r o g r e s s ............................. Pre-production flict with the law. Based on typical case Scheduled re le a s e ..............October, 1980 histories from the Childrens Courts, the film Synopsis: A documentary on the impact WINBIRRA looks at society through the Welfare and contribution migrant communities have Director ....................... Phil de Montignie system. Produced for the Department of made to the life of Victoria. An historical and contemporary perspective. Produced for Editor .............................. David Pullbrook Community Welfare Services. the Department of Immigration and Ethnic Exec, producer ............. Kent Chadwick Affairs.

L e n g t h ............................................10 mins.

FILM FILM FILM Gauge ............................................... 16 mm Prod, company .............................Al Et Al P r o g r e s s .....................................................Inrelease SHRINE Director ........................................Alex Stitt First released ....................... April, 1980 Prod, company . . . . Cambridge Films Exec, producer ................Kent Chadwick Synopsis: A documentary about the adm it­ Director ................................... John Dixon L e n g t h .........................................................6mins. tance procedures and the day-to-day runn­ Editor ............................................Jill Rice Gauge ........................................... 16 mm ing of the Winbirra Remand Centre for L e n g t h ............................................ 25 mins.

P r o g r e s s ...........................Pre-production young female offenders. Produced for the Scheduled release . . . September, 1980 Gauge ........................................... 16 mm Department of Community Welfare Ser­ Synopsis: An animated promotional film for Shooting s t o c k ......................Eastmancolor vices.

P r o g r e s s ...........................Post-production The State Film Centre.

Scheduled r e le a s e .................April, 1980 WINNING Synopsis: A documentary about the history * PENTRIDGE and c o n te m p o r a r y s ig n ific a n c e of Prod, company .................Kestrel Films Director ....................... Phil de Montignie Director ...............................David Morgan M elbourne’s Shrine of Remembrance.

Editor ...............................David Pullbrook P roduced fo r the D epartm ent of the Scriptwriter ...........................Nina Syme Exec, producer ................Kent Chadwick Premier and the Department of Crown P h o to g ra p h y ......................................... Alex McPhee L e n g t h .............................. ... .20 mins.

Sound recordist ....................John Rowley Lands.

Gauge .............................. ’ . . . . 16 mm Editor .................................. David Morgan P r o g r e s s .....................................In release Exec, producer ............. Kent Chadwick SMOKE First released ....................... April, 1980 Prod, m a n a g e r............. John Richardson ...............Dennis Tupicoff Synopsis: A short documentary about the Prod, company L e n g t h ............................................20 mins.

Animation admittance and classification procedures at Gauge ............................................16 mm ............................ Dennis Tupicoff Shooting s t o c k ......................Eastmancolor Pentridge Gaol. Produced for the Depart­ Director Exec, producer ................Kent Chadwick ment of Community Welfare Services.

P r o g r e s s ................................. Production L e n g t h ........................................... 8 mins.

Scheduled r e le a s e ............. August, 1980 Gauge ........................................... 16 mm Synopsis: A short documentary tracing a GIPPSLAND LAKES P r o g r e s s .....................................Production week in the lives of two intellectually han­ Prod, companies ............. Victorian Film Scheduled r e le a s e ............. August. 1980 dica p p ed people. It is set against a Corporation Synopsis: An animated short film which ex­ background of new care available for the and Australian plains the immediate short-term effects of treatment of the mentally handicapped.

Broadcasting Commission smoking as a deterrent to early addiction.

Produced for the Health Commission.

DO NOT PASS GO

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2 8 2 N o r m a n b y R d. , Po rt M e l b o u r n e , V I C , 3 2 0 7 . Ph: S 4 - 1 1 1 1 .

4 9 Angas S t r e e t , A d e la id e , S . A . 5 0 0 0 . Ph: 2 1 2 - 3 6 0 1 .

2 2 N o r t h w o o d St ., Le e d e r v il le , W . A . , 6 0 0 7 . Ph: 3 8 1 - 4 6 2 2 .

1 6 9 C a m p b e l l S t r e e t , H o b a r t , T A S , 7 0 0 0 . Ph: 3 4 - 4 2 9 6 .

A D D R E S S : .................................................... ..P os tc o de : ..................................T e l e p h o n e : ■ .................... ....................... ..............

F u j i c o l o r N eg at iv e F i l m Please send me m or e i n f o r m a t i o n on Q

ALM O ST.

June is film, Jill is her videotape copy.

So how come Jill gets lots of phone calls from guys, but June doesn’t?

What’s Jill got that June hasn’t got?

Frankly, Jill’s hair looks better than June’s.

That’s because it was colour-graded during the transfer from film to tape.

And Jill’s skin-tone is better too.

Along the way we gave her a little extra tan and lifted her highlights.

So now she looks warmer and friendlier.

And gets noticed.

When you finish a film commercial at Custom Video, we give you quality that’s noticeably better.

When your image becomes our image we’ make it hard to tell the difference.

But if you’d like us to change something about your picture, we’ll make it easy.

You’ll get exactly what you want to see.

Because the prettier your image looks, the better our image gets.

CUSTOM TlDEO AUSTRALIA TELEVISION CENTRE EPPING NSW AUSTRALIA TELEPHONE (02)858 7545

Where it’s hard to tell the difference . . .