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Egyptian Theatre

Market Theater

801 East Pine Street Capitol Hill

1428 Post Alley Pike Place Market MAY 14 THROUGH JUNE 8TH, 1987

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One of Europe’s Finest Small Hotels is in Seattle, Washington

Overlooking the city at 900 Madison Street 76 luxury rooms—Hunt Club Restaurant and Bar Call us about our Special Getaway Packages 206-622-6400

The largest selection o f books and magazines on film in the Northwest, and unique posters, stills, cards, and much much more!

CINEMA BOOKS 4753 Roosevelt Way

Seattle, WA 98105

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V J lassie KING FM is a proud co-sponsor of the Seattle International Film Festival in its tw elfth season. We’re pleased to be part of a great Seattle tradition.

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ENJOY AN ADVENTURE IN INTRIGUING DINING AFTER VIEWING THE LATEST FOREIGN FILM. m f t . EXPERIENCE THE FINEST P T 7 IN THAI SPECIALTIES, ONE BLOCK SOUTH OF ^ THE EGYPTIAN THEATER J M t . AT THE CORNER OF PIKE P P ^ S T . & HARVARD AVE.

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Good Morning, Babylon

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It goes on and on at Broadway Video. Come by and browse through our outstanding collection of foreign films. We’re right across the street from QFC in the Broadway Market.

B R O ^ p ir A full service agency for business or vacation travel. 119 First Avenue South • Seattle, Washington

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▼ Hemdale Releasing is pleased to be a p a rt o f the Seattle International Film Festival with

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Thursday May 28

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Saturday May 30

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Imagine you’re on a rooftop in the city. It’s night time, a downpour has just ended, and stars are starting to wink from behind the clouds. The moon is full — As the wind blows your hair into your eyes, someone in the darkness emits a bloodcurdling howl of fear, and the person sitting next to you jumps 6 inches out of their seat, spilling their popcorn all over you on their way down. Yes, you’re in a theatre and it’s only a movie... but what a movie. The visceral thrill of discovery is what fuels any film festival. And that thrill is enhanced when it’s shared with a large and enthusiastic audience in the dark. That’s where you come in. Once again, we’ve scoured the planet looking for the best and most exciting new cinematic treasures for you to discover; the choicest “lost” films for rediscovery; and a number of great “classic” films that can best be enjoyed on a big screen, in the dark, with a rapt audience. But it all adds up to very little if you’re not there to imagine yourself on a rooftop in the city. . . Happy 12th, Seattle, and Bon Voyage . . .

Darryl Macdonald

m w m im m m m m y

^ r e c l a m a t i o n

WHEREAS, the City of Seattle offers a richness of cultural activity unparalleled in the Northwest: and WHEREAS, the medium of film serves as an educational tool, a source of entertainm ent, and is recognized as a major form of creative expression; and WHEREAS, the Seattle International Film Festival is one of the prem ier film events on the West Coast; and WHEREAS, the Seattle International Film Festival serves as a showcase for films from all over the world, providing an opportunity for artistic interaction and exchange; NOW, THEREFORE, I, Booth Gardner, Governor of the State of Washington, do hereby proclaim the days of May 14 through June 8, 1987, as SEATTLE INTERNATIONAL FILM FESTIVAL DAYS in the State of Washington, and I urge all citizens to join me in support of this landmark cultural event.

Signed, this 26th day of April, 1987.

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Governor Booth Gardner

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City ofSeattle OfficeoftheMayor •

PROCLAMATION WHEREAS, the film medium is a vital part of our culture as an important channel of artistic expression; and WHEREAS, the City of Seattle has the highest film attendance per capita of any city in the United States; and WHEREAS, the Seattle International Film Festival is a showcase for films from many countries and a means of enhancing international understanding; and WHEREAS, the Seattle International Film Festival is the largest in the Northwest and. is one of the most respected film festivals in the United States; NOW, THEREFORE, I, CHARLES ROYER, Mayor of the City of Seattle, do hereby proclaim May 4-June 8, 1987 as SEATTLE INTERNATIONAL FILM FESTIVAL WEEKS in Seattle and encourage the people of Seattle to enjoy these foreign films.

Beyond Blue Velvet Starts June 5

S “ 382-1171

1428 POST ALLEY

Argentina

Australia

Austria

Belgium Brazil Canada China Czechoslovakia Denmark Finland France

Germany

Great Britain

Hungary India Ireland Israel Italy

Japan

King and His Movie, A Man Facing Southeast, A Miss Mary Poor Butterfly Chile: Hasta Cuando? Dead End Drive-in More Things Change, The Right Hand Man, The Slate, Wyn& Me Abel God Doesn’t Believe In Us Anymore Santa Fe Welcome in Vienna Diary OfA Mad Old Man Dream Makers, The Hour ofthe Star AnneTrister Pouvoir Intime Wild Mountains Pied Piper, The John’s Secret W olfatthe Door,The Unknown Soldier Black & White Boy Meets Girl JeandeFlorette L’Effrontee Magnificent Lover Rendez-vous Berliners On Sunday Forget Mozart German Dreams Journey, The Laputa Meier Paradise People On Sunday Poet’s Silence RosaLuxemberg VaBanque Castaway Coming Up Roses Gone To Earth Gothic High Season Nanou Personal Services Ping Pong PrickUp Your Ears Southbank Show: Michael Powell Great Generation, The Time Genesis Ruins, The Oscar Wilde: Spendthrift of Genius Ricochets Devil in the Flesh Identification of a Woman Let’s Hope it’s a Girl Secrets, Secrets Summer N ight... Black Lizard Comic Magazine Gonza the Spearman I Lived B u t... Karayuki-san: The Making ofa Prostitute Sorekara Tampopo

Mexico Netherlands

New Zealand

Norway Peru Poland

Spain Sweden Taiwan U.S.A.

U.S.S.R.

Yugoslavia

Macario Abel Almacita Di Desolato Plodders Iris Pointsman, The Arriving Tuesday Other Halves Hard Asphalt Malabrigo Chronicle ofAmorous Accidents, A My Mother’s Lovers No End Woman Alone, A PasoDoble Dark Hideout Turn Of The Screw My Life As A Dog NoMan’sLand Time to Live and The Time to Die, The Amazing Grace & Chuck Andy Warhol's Frankenstein Backyard Blood Diner Charlene Chinatown Chuck Solomon: Coming ofAge Dial M for Murder Directed By William Wyler Dolls Double Indemnity DuckSoup Evil Dead H Fantastic Invasion ofPlanet Earth From Beyond House ofWax I Played It For You Impure Thoughts Inside Out International Sweethearts ofRhythm It LaBamba Last Movie, The Mabou Mines: Dead End Kids Midnight Miss or Myth My Little Girl Odd Birds One More Spring Palm Beach Story Perfect Match Personal Foul Retribution River Bed, The Sanctuary Saxophone Colossus She Done Him Wrong Straight To Hell Street Trash Sunset Boulevard Trancers Trouble In Paradise Trouble With Dick Walk On The Moon Weapons ofthe Spirit Farewell, The Journey of a Young Composer Kindergarten Happy New Year, 1949 How I Was Systematically Destroyed By The Idiot

C O

Director’s Message Governor’s Message Mayor’s Message Festival Schedule

7 8 9 48

Corrections Joan’s Guide Opening Night: La Bamba Closing Night: Good Morning, Babylon A Tribute to Dennis Hopper In CinemaScope with Leonard Maltin Prick Up Your Ears/Jean de Florette It’s All True/Sadie Thompson German Dreams . . . Berlin Blues Austrian Trilogy: Where To And Back? A Salute to Paramount Pictures Wings Short Films Golden Space Needle Awards Poster Auction 3 -D x 4 Secret Festival

10 15 21 22 23 24 25 26 27 30 32 38 41 42 43 44 45

Program Notes Argentina Australia Belgium Brazil Canada China Czechoslovakia Denmark Finland France Germany Great Britain Hungary India Ireland Israel Italy Japan Mexico Netherlands New Zealand Norway Peru Poland Romania Spain Sweden Switzerland Taiwan U.S.A. U.S.S.R. Yugoslavia

50 51 53 53 54 54 55 55 56 56 58 59 62 63 63 64 64 66 68 68 70 71 71 71 73 73 74 74 75 75 75 86

Festival Staff Film Sources Acknowledgments Ticket Information Index

88 94 96 100 104

@ Hey Babu Riba

Yugoslavia Director/Screenwriter: JovanAcin Cinematographer: Tomislav Pinter Cast: Gala Videnovic, Milan Strijic, Nebojsa Bakocevic Print Source: Avala Film/Smart Egg Productions 1986 90 minutes

This delightful cinematic valentine was a huge crowd pleaser at the recent Miami Film Festival and the New Directors series in New York. A nostalgia piece set in Belgrade in the ’50s, it concerns a group of close-knit friends — four boys and one girl — who are on the verge of graduation and are making the first awkward steps toward adulthood. All of the boys are in love with Esther — their gorgeous and willful friend — but Esther only has eyes for an older ‘Party’ man. She hides the relationship from her four friends, which causes a fair amount of consternation. When Esther discovers that not only is she pregnant, but she doesn’t really care for the baby’s father anymore, her four faithful friends come to her rescue and gallantly deliver her in a way that changes the course of all their lives. This wonderful new film could not be confirmed until after our program deadlines had passed, but we think it is so special we are determined to get it into the line-up somewhere — stay tuned to our update flyer for a firm date.

RADIO WORTH WATCHING!

Movie reviews. That’s what you’ll get on KUOW Nearly 95FM. Reviews by Tom Shales, Jim D’Anna, Elvis Mitchell, and Jim Emerson. Interviews with producers and directors. News from Lake Wobegon and National Public Radio. And music. Hours of rich classical and folk music from around the world and from all ages. Enjoy it all on KUOW Nearly 95FM. . .with your eyes closed. Call 543-9595 for a free program guide.

KUOWNearly95IM

Congratulations on your twelfth year.

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To My Dearest Fans, There are many things I’d like to tell you — things that you would already know if you’d been brought up as carefully as my darling twins! Some of you, however, have not been and to prevent you from contaminating the fortunate others who have been trained properly, I, Joan, present the following outline which I strongly suggest that you adhere to while in my fabulous theaters.

Do Not Hiss. This is not lady-like conduct. You may display your disdain for a misogynistic film by leaving at once and going directly to the convent of your choice. Do Not Talk. Only bourgeois shop clerks and bored manicurists make idle chit-chat during movies. My dearest friend, Mercedes, talked too much during one film and developed “throat problems” that kept her from working for some time. Do Not Sleep. Please remember where you are: in My theaters! Christopher, bring me a bucket of ice water for the gentleman snoring in Row J! Do Not Be Late. Timeliness is next to Godliness! Punctuality makes the world a more pleasant place in which to live, don’t you agree? Good. I, Joan, am never late for an appointment, ever! Do Not Ask Silly Questions O f Visiting Guests. Shut up, Veta, before I kill you! Do Not Smoke In The Theater. You may, however, enjoy a cigarette with me in the lovely Cafe Cairo or charming Snackorama, where your favorite beverage may be purchased, preferably before or after the film. Do Not Tell Anyone The Titles In The Secret Festival. Although I personally have no secrets, sometimes it is best to refrain from telling others about things which are none o f their business. Isn’t that right, Tina darling? If you follow these guidelines to the letter , a most enjoyable future awaits you. If you do not, my sister Jane may have no choice but to take you to the beach at Santa Monica and bury you in the sand!

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Insouciont! The Gatsby Publishing Company introduces

Unforgettable Faces A series of candid Hollywood portraits from the 1950’s, including Marilyn Monroe Cary Grant Rock Hudson R obert Mitchum H edda Hopper Jim my Stew art Ja n e Russell Andy Devine Jennifer Jones Doris Day Burt Lancaster and others These previously unpublished images are now available as limited edition prints. They a re printed on Elite paper and m eet museum qualify standards. Im age size is 12" x 12". Prices from $250. L arger sizes of some im ages also available. For further information, call 467-8864. Prints are available for viewing at C.E. Rynd Photographic Fine Arts, 313 Occidental Ave. S., Seattle, WA 98104. Please call for an appointm ent A portion of all proceeds will be donated to the Northwest AIDS Foundation.

A complete exhibition of over 40 images is scheduled tqpremier in Seattle in the Fall of 1987.

Where S eattle Talks AboutThe The Perfect Popper guarantees perfect popcorn at home. The mechanical paddle mechanism gives it just enough pizzaz to make it something special and it also lets you make carmel corn or add other seasonings too. Come in and ask for a demonstration - we'll show you how it works. It's easy. The perfect Father's Day gift for only $15.95 including its own special gift ^

FILM FESTIVAL

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A CAPITOL HILL INSTITUTION 1S Since 19 6 2 ____ ßI A R aA N iD □ wG R /I L L H

KING1090takes youbehind the screens, featuringin-depth inter views with the actors, film makers, critics andorganizers. DailyFilmFestival Updates at 9:28am, 1:28pm, 6:28pm. Dailyticket giveaways. * KING1090FilmFestival Phone i Hotline448-3660.

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Gala Opening Night

World Premiere

Thursday, May 14 7:30 Egyptian

LaBamba

U.SA

Director/Writer Producers: Cinematographer: Editors: Music:

Luis Valdez Taylor Hackford and Bill Borden Adam Greenberg Sheldon Kahn and Don Brochu Carlos Santana and Miles Goodman Ritchie Valens’ music performed by Los Lobos Cast: Esai Morales, Rosana DeSoto, Elizabeth Pena, Joe Pantoliano, Lou Diamond Phillips Print source: Columbia Pictures 1987 107 minutes

Each of us hopes to realize our dreams of fame and success. For a 17-year-old rock singer from California, these fantasies became reality when Richard Valenzuela became rock star Ritchie Valens in 1958. In the tradition of Columbia Pictures’ The Buddy Holly Story comes La Bamba, the dynamic and energetic story of Ritchie Valens, a gentle, talented Chicano boy who one day picked up a guitar, and the next, became a musical legend. La Bamba was written and directed by Luis Valdez (Zoot Suit), and produced by Taylor Hackford (The Idolmaker, An Officer and A Gentleman, Against All Odds) and Bill Borden. Since the day an unknown boy from Mississippi, Elvis Presley, shocked the establishment of the 1950s by capturing the hearts of teenage America, superstardom in the glittery world of teenage America, superstardom in the glittery world of music has become one of the most coveted brass rings of the young. For Ricardo Valenzuela, a teenage California Mexican-American laborer, music was his life. In 1959, when he tragically died at the age of 17, in a plane crash with Buddy Holly and the Big Bopper, Ritchie had enjoyed a meteoric eight-month rise to stardom, yielding three top-10 records, “Come On Let’s Go,” “Donna” (the ultimate teenage lament) and the great rock ‘n’ roll classic, “La Bamba.” Valens fused Latin sounds and rhythms with a rock “n’ roll th at changed music history. The story of Ritchie Valens is not solely a story of music; it is also about family and love. Says writer/director Luis Valdez: “This is about Ritchie’s personal struggle with his music and his relationship with his family who cooperated closely with the filmmakers, especially exploring the conflict between Ritchie and his half-brother Bob.” Teenage love is also an important element of the Ritchie Valens legend; his affection for a beautiful, affluent blonde classmate inspired his first hit, “Donna.” Newcomer Lou Diamond Phillips, originally set to play Ritchie’s brother Bob, turned out to be the ideal actor for the role of Ritchie himself. Phillips had the sweetness and a t the same time the presence needed to play the young pop star; the filmmakers took a chance and cast him even though he had never performed a major film role. Esai Morales, who was initially considered for Ritchie, was quickly found to be the perfect Bob, whom Morales describes as “the dark side of Ritchie.” One of the big challenges the production team faced was recreating the music, which is such an integral part of the story. Valens’ three big hits and his other songs were available, but after determining that the original masters were in unusable condition, it was necessary to find someone who could recreate the Ritchie Valens sound. The filmmakers approached Los Lobos, the hottest Latino rock act on today’s music scene, looking for an authentic sound with an updated character. The group, familiar with Valens’ legacy, look upon the first Latino to cross over to a mass audience as their musical spiritual father. David Hidalgo, one of the group’s lead singers, performs Ritchie’s voice with a vibrant energy. La Bamba also breaks new ground with performance scenes of Valens’ rock ‘n’ roll contemporaries, Buddy Holly, Eddie Cochrane and Jackie Wilson, three musical godfathers who are portrayed by modern-day rockers Marshall Crenshaw, Brian Setzer and Howard Huntsberry. Presented in Dolby Stereo A Gala Celebration will follow the screening

CLOSING NIGHT

American Premiere

Sunday, June 7 7:30 Egyptian Theatre

[□] Good Morning, Babylon

U.SA/Italy Director: Paolo and Vittorio Taviani Executive Producer: Edward R. Pressman Producen Giuliani De Negri Story and Screenplay: Paolo and Vittorio Taviani, based on an idea by Lloyd Fonvielle, Screenplay in collaboration with Tonino Guerra Cinematographer: Guiseppe Land Editor: Roberto Perpignani Music: Nicola Piovani Cast: Vincent Spano, Joaquim De Almeida, Greta Scacchi, Desiree Becker, and featuring Omero Antonutti, and Charles Dance in the role of D.W. Griffith Print Source: Vestron Pictures 1987 117 minutes Paolo and Vittorio Taviani, writers-directors of Padre Padrone, The Meadow (S IF F 1980), Night of the Shooting Stars, and Kaos, are the most famous brother team in the movies. Unlike the Coen brothers (Blood Simple, Raising Arizona), the Tavianis do not divide the writing and directing chores, but actually rotate directing alternate set-ups. Such close collaboration, the seeming ability to know what is in each other’s minds, is unique even in the collaborative business of moviemaking. Now they have found the perfect story for their talents: that of two loving brothers who stick together through every hardship, skilled artists a t restoring cathedrals who leave Italy when the family business goes bankrupt and emigrate to America. They make their way from New York to San Francisco, where they help build the elaborate Italian Pavilion of the 1914 Exposition, which catches the admiration of cinema great D.W. Griffith, and from there to Hollywood, where they help build the fabulous Babylonian set for Griffith’s epic Intolerance — a different sort of cathedral from th a t on which they labored in Italy. The film’s title refers to their sorrowful parting from their aged father (Omero Antonutti) in Italy, who says that each night when he goes to sleep he will think of his sons in America and wish them good morning — a poignant reminder of their separation a third of the world away. Vincent Spano (Baby It’s You, Maria’s Lovers, Creator) and Joaquim de Almeida play the brothers; Greta Scacchi (Defense of the Realm, Burke and Wills) and Desiree Becker play the American girls with whom they fall in love; and Charles Dance (Plenty) plays the flamboyant and charismatic cinema pioneer D.W. Griffith. Filmed on location in Italy and America, Good Morning, Babylon is the Taviani brothers’ most ambitious film yet, a tribute to the glorious early days of moviemaking and a loving meditation on the nature of art and brotherhood. Presented in 4-Track Dolby Stereo. Actors Vincent Spano and Joaquim De Almeida will be present.

T R I B U T E

D E N N I S

H O P P E R

Sunday, May 31 7:00 Egyptian Theatre

□

A Tribute To Dennis Hopper

Dennis Hopper — indelible icon of the ’60s; actor and filmmaker for the ’80s. Hopper’s career is one of the most remarkable in American movie history. Among the highlights: He debuted with his friend James Dean in Nicholas Ray’s Rebel Without a Cause in 1955; directed, co-wrote and co-starred in the seminal counterculture film of the ’60s, Easy Rider (1969); directed and starred in the ambitious and now legendary The Last Movie (1971), the failure of which sent his Hollywood career into a tailspin; played the title role, as an alienated urban cowboy, in Wim Wenders’ brilliant The American Friend (1977), in which he co-starred with Nicholas Ray himself; appeared as a jungle-crazed photographer in Francis Coppola’s Apocalypse Now (1979); gave three of the strongest and most acclaimed performances of last year in Tim Hunter’s River’s Edge, David Lynch’s Blue Velvet and David Anspaugh’s Hoosiers (for which he was Oscar-nominated); and is presently directing a new film, Colors, starring Sean Penn and Robert Duvall. After years of neglect in Hollywood, and self-imposed exile in Taos, New Mexico, Dennis Hopper, now entering his 50s, has cleaned up his act — and is finding his artistic stock at an all-time high. The Seattle International Film Festival is pleased to present this tribute to one of the most energetic and iconoclastic figures in international filmmaking. Dennis Hopper will attend in person

Sunday, May 31 4:00 Egyptian Theatre U.S.A Director: Screenwriter: Cast: Print Source:

Dennis Hopper Stewart Stern Dennis Hopper, Julie Adams, Rod Cameron, Daniel Ades Universal Pictures 1971 108 minutes

“This largely autobiographical 1971 picture has been called ‘a gigantic ego trip’ of its maker, who is considered by some the most freaked-out personality in films.” — The Film Encyclopedia, 1979 The film Dennis Hopper made to follow up the fantastic success of Easy Rider was to have been his magnum opus. Painstakingly assembled from 46 hours of film shot on location in Peru, Hopper’s cut of The Last Movie was awarded the grand prize at the Venice Film Festival; the film begrudgingly released (and ju st barely) by Universal Pictures was deemed unwatchable by some critics, hardly anyone saw it, and the resulting stigma practically ended Hopper’s Hollywood career. The failure of this wildly ambitious movie-movie — about a group of filmmakers on location in a Peruvian village discovering the fuzzy line between fantasy and reality— is legendary. Here’s your chance to finally see what all the fuss was about. “It would be a movie to end all movies, a movie th a t would pierce the veils of deceit that shrouded the consciousness of ordinary moviegoers and show them the emptiness of the illusions th a t ordinary movies had them in thrall to. The Last Movie would be more than a movie. It would be The Truth. Nothing less than the Gnostic Gospel of American Film.” — Ron Rosenbaum, Vanity Fair; April, 1987 “It was unbelievable to win the festival and come back and have them tell you, you know, they’re not going to distribute the movie. It was very bizarre.I I made fun of the audience and I didn’t end the picture with a dramatic ending. They wanted me to kill the guy at the end. They didn’t care how I killed him, just kill him at the end and make a linear film out of it, and I refused.” — Dennis Hopper, Vanity Fair, April, 1987 “Hopper’s fatally pretentious follow-up to Easy Rider is interesting only as curio; incomprehensible story of small Peruvian village after a movie company pulls out has lovely photography, good acting by Adams. Otherwise, you’ve been warned.” — Leonard Maltin, TV Movies

Thursday, May 28 7:00 Egyptian Theatre

□ In Cinemascope with Leonard Maltin “Glorious Technicolor and breathtaking CinemaScope and Stereophonic Sound.1”

— Cole Porter, Silk Stockings 2001: A Space Odyssey. The Road Warrior. Once Upon A Time in the West. Halloween. The Manchurian Candidate. The Graduate. Alien. Aliens. Jules and Jim. The Innocents. The Un touchables. Rebel Without a Cause. Yojimbo. Chinatown. The Hustler. Gallipoli. La Dolce Vita. The Wild B unch. . . . . . That’s just a handful of the hundreds of films th a t have been shot in the wide-screen process we generically refer to as CinemaScope. All of them were carefully composed for a frame th a t is more than twice as wide as it is high — so, if you’ve only seen them on television, the fact is th a t you’ve only seen about half of the picture. Noted film historian (and Entertainment Tonight special correspondent) Leonard Maltin will be your host for an evening devoted to exploring the myriad mysteries of CinemaScope — the colorful story behind the development of the many different widescreen systems; the ways the various processes use special equipment to expand the horizons of the cinematic image; the art of composing a film in the widescreen rectangle; and the way that such a film is butchered (on videocassette, Laserdisc, cable and broadcast TV) to fill the relatively square shape of a television screen. And, of course, we’ll be screening a generous selection of clips to illustrate CinemaScope’s finest moments.

CinemaScope. Trade name copyrighted by 20th Century-Fox for a wide-screen process based on an anamorphic system developed by professor Henri Chretien. The system involves special lenses that compress and distort images during filming and spread them out undistorted during projection, over an area wider than the normal motion picture screen. Several anamorphic processes have been patented since 1898. In the frantic search by Hollywood studios early in the ’50s for wide-screen systems to counter the threat of television, 20th Century-Fox took an option on Chretien’s invention and named it CinemaS cope. The Robe, the first film made under the new system, opened at New York’s Roxy Theater in September of 1953. Its commercial success led to the adoption of the system by other major studios and to the rise of rival anamorphic systems, including WamerScope, TechniScope, PanaScope and the versatile SuperScope and PanaVision. [Other widescreen processes include Magnascope (used widely in the 20s), Todd-AO (Oklahoma!, 1955), VistaVision (The Searchers, 1956) and the spectacular three-camera/projector systems known as Polyvision (Abel Gance’s Napoleon, 1927) and Cinerama (How the West Was Won, 1962)]. The CinemaScope image, photographed on normal 35 mm film, is about two and a half times as wide as it is high when it is projected, an aspect ratio of 2.35:1, as compared with the conventional screen aspect ratio [“Academy ratio”] of 1.33:1. The aspect ratio for 70 mm CinemaScope is 2.2:0 —

Ephraim Katz, The Film Encyclopedia

J E AN DE

FLORETTE • PRICK

Saturday, June 6 7:00 Egyptian Theatre

□ Jean de Florette

France Claude Berri Pierre Grunstein Claude Berri, Gerard Brach, based on the novel by Marcel Pagnol Bruno Nuytten Arlette Langmann, Herve de Luze, Noelle Boisson Jean-Claude Petit Yves Montand, Gerard Depardieu, Daniel Auteuil, Elisabeth Depardieu Print Source: Orion Classics 1986 120 minutes

Director: Producer: Screenwriters: Cinematography: Editors: Music: Cast:

Jean de Florette, adapted from a Marcel Pagnol novel set in the 1920s, which Pagnol himself previously filmed in the 1950s, is spectacular entertainment. It’s a marvelous tale with strong characters, acted by an all-star cast. Yves Montand plays proud, greedy old Cesar Soubeyran, the last of his family, except for his rat-faced, somewhat stupid, easily led nephew, Ugolin (Daniel Auteil). They covet the fertile land of a neighbor which seems the perfect site for their planned carnation-growing operation, because it has a subterranean spring, and their own land is arid. When the stubborn neighbor dies (not without some help from Cesar), they think they’ll be able to buy the land for a song— but instead the heir, a hunchbacked citydweller named Jean de Florette (Gerard Depardieu), welcomes his inheritance enthusiastically and brings his family to settle on the beautiful farm. Before his arrival, however, Cesar and Ugolin seal up and hide the spring, and none of the locals tell the stranger from the city of its existence. Jean knows little of farming and Ugolin, pretending friendship, gives him plenty of bad advice, hoping he’ll get discouraged and give up. But Jean is a fighter, even though he doesn’t know what he’s up against. Nothing th at director Claude Berri has previously done (such as One Wild Moment SIFF ’81) prepares one for the sweep and grandeur of this magnificent film. Berri filmed it with its sequel, Manon des Sources (which follows the same characters ten years later); together they cost $17 million, making them the most expensive production in French film history. This film looks it with every gorgeous frame, shot on location in Provence by ace cinematographer Bruno Nuytten. Daniel Auteuil, as the unlovable Ugolin, won this year’s Cesar for Best Actor, over strong competition from Montand and Depardieu. Jean de Florette will undoubtedly be one of the year’s top foreign films. Presented in 4-track Dolby Stereo.

Saturday, June 6 9:30 Egyptian Theatre

□ Prick Up Your Ears

Great Britain Stephen Frears Andrew Brown Alan Bennett, based on the biography by John Lahr Oliver Stapleton Mick Audsley Stanley Myers Gary Oldman, Alfred Molina, Vanessa Redgrave, Wallace Shawn, Julie Walters Print Source: The Samuel Goldwyn Co. 1987 108 minutes

Director Producer: Screenwriter: Cinematographer: Editor: Music: Cast:

One of this year’s best films comes to us with a very strong pedigree. Director Stephen Frears, who gave us such past festival favorites as The Hit (SIFF ’84) and last year’s My Beautiful Laundrette, has joined forces with screenwriter Alan Bennett (A Private Function) and a dynamic cast— Gary Oldman (one half of Sid and Nancy,) Alfred Molina (the Russian sailor in Letter To Brezhnev), Vanessa Redgrave, Wallace Shawn and Julie Walters — to create what Roger Ebert and Gene Siskel of Siskel & Ebert & The Movies”call “an amazing film . . . as good as, or better than Midnight Cowboy.” The comparison is apt — Midnight Cowboy created a huge controversy when it was made, mostly because of its seamy subject m atter but also because, despite its subject matter, the direction and acting were so brilliant the film could not be dismissed lightly (indeed, it went on to sweep the Oscars). Prick Up Your Ears concentrates on the tragi-comic relationship between Joe Orton (the brilliant, unconventional author of such huge stage successes as Loot, Entertaining Mr. Sloan, and What The Butler Saw) and his mentor/long-suffering lover, Ken Halliwell, who eventually did Orton in with a hammer and then took his own life with a bottle of barbituates. The film is based on John Lahr’s biography of Orton, which made copious use of Orton’s diaries, and the narrator of the stoiy is Peggy Ramsay, Orton’s tough-minded and acerbic agent (played by Redgrave, who gives a deliciously witty and wicked performance). Frears and Bennett concentrate on the details of Orton and Halliwell’s life together (and death together) rather than tracing Orton’s meteoric rise as a playwright. In doing so, they have created a vivid portrait of life imitating art imitating life — a theme Joe Orton thrived on — and do so with the same incredibly subversive sense of humor th at Orton himself injected into all his work. All of the performances are first-rate, and Frears once again proves himself to be one of the brightest directorial talents to emerge in the 1980’s.

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Monday, May 18 7:00 Egyptian Theatre

□1 It’s All True: Four Men On A Raft

U .SA Director: Orson Welles Producer of Restoration: Fred Chandler Cinematographers: George Fanto, Gary Graver Editor: Tom Cornwell With: Richard Wilson, George Fanto, Shifra Haran, Elizabeth Wilson Print Source: American Film Institute 1942/1986 22 minutes On August 27,1986, the front page headline story by Todd McCarthy in Variety announced the exciting news: “After decades of having been thought lost, destroyed, or irretrievable, a significant amount of material [18 to 20 hours] from Orson Welles’ unfinished 1942 Brazilian semidocumentary, It’s All True, has been found. . . Among all lost’ films, It’s All True always has held a place among the most legendary because of the unusual circumstances of its production, its artistic possibilities, coming on the heels of Citizen Kane and The Magnificent Ambersons, the spiteful nature of the project’s cancellation and Welles’ removal from it, its utter inaccessibility and uncertainty as to its continued existence.” The American Film Institute is undertaking the preservation and restoration of this priceless footage and has produced this 22-minute short. About half is original 1942 Welles footage (which certainly whets your appetite for more), and the other half tells the story of the ill-fated production through interviews with Welles’ cinematographer George Fantu, secretary Shifra Haran and production assistant Elizabeth Wilson. A breathtaking revelation! Please Note: This is the real thing; we’ve seen it; it is not to be confused with last year’s cheez-o Brazilian docudrama.

Monday, May 18 7:00 Egyptian Theatre

□ Sadie Thompson (1928)

U .SA Director: Raoul Walsh Producer: Gloria Swanson Screenwriter: Raoul Walsh, from the John Colton play “Rain” based on W. Somerset Maugham’s story "Miss Thompson”; titles by C. Gardner Sullivan Cinematography: George Barnes, Oliver Marsh Art Direction: William Cameron Menzies Music: Joseph Turrin Cast: Gloria Swanson, Lionel Barrymore, Raoul Walsh Print Source: Kino International 1928/1986 97 minutes

A ship drops anchor in the harbor of Tutuila, American Samoa, and looses its few passengers upon the island. Among them are the prim missionary couple, the Reverend and Mrs. Davidson (Lionel Barrymore, Blanche Frederic); a Dr. and Mrs. McPhail (Charles Lane, Florence Midgley), whose experiences of the world have inspired a greater tolerance than the Davidsons’ for human weaknesses; and Miss Sadie Thompson (Gloria Swanson), a flashing-eyed “fancy girl” familiar with every stop between San Francisco and Yokohama. Sadie soon catches the eye of Tim O’H ara (Raoul Walsh), a robust sergeant who is part of the local U.S. marine contingent. She also attracts the attention of the Reverend Mr. Davidson who, when the lot of them are besieged in the port hotel by a days-long rainstorm, determines to lead the fallen sister to the path of salvation. . . Somerset Maugham’s classic tale of sin and dubious redemption has been filmed several times (notably, in the early sound era, as Rain, with Joan Crawford and Walter Huston, with Lewis Milestone directing; less notably in 3-D and color, as Miss Sadie Thompson, with Rita Hayworth and José Ferrer in the ’50s). The best screen version remains the first — Gloria Swanson’s personal production from the late silent era. This is also, sadly, the version fewest people have seen. Indeed, for years only one copy of the film was known to exist — and it’s lacking the final reel! Now Sadie Thompson has been painstakingly restored by Dennis Doros, Stephen Galazzo of Film Planning Associates, and the George Eastman House, using the original script, production stills, and animation techniques to reconstruct the missing passages. Joseph Turrin has composed and conducted a full orchestral score for the restoration. Everyone involved in the production was at the top of his or her form. Producer-star Swanson was the highest-paid leading lady of the silent era. Scenarist-producer-costar Raoul Walsh had just come off spectacularly successful film versions of The Thief of Bagdad (with Douglas Fairbanks) and What Price Glory?; he would continue as one of the most vigorous directors of the sound era (Me and My Gal, The Roaring Twenties, High Sierra, Gentleman Jim, White Heat, and The Big Trail — another forthcoming restoration). Topflight cameramen George Barnes and Oliver Marsh were being assisted by a young fellow named Gregg Toland (Citizen Kane et al.); and art director William Cameron Menzies, virtually a co-auteur of any film he worked on, is the man for whom the term “production designer” would be coined on Gone With The Wind. Peter Hogue has written of the principals: “. . . Swanson’s Sadie Thompson is immediately a complex, electrifying presence in the film .. . Her motto, her attire (sun visor, white blouse, necktie), her beauty and her élan are less emblems of an idea or type than they are challenges to any typification... Swanson’s closeups never reveal a pristine glamour. Rather, her beauty is almost always explosive, never ‘perfect.’ Ever on the edge of surreality, her teeth and eyes bespeak a more than human beauty and intensity.. Here she seems capable of competing with any contemporary actress on her homeground, be it Garbo at one extreme or Gish at the o th e r. . . “If Sadie is at the center of the film’s energy, Sgt. Tim O’Hara remains something like its controlling intelligence. As O’Hara, Walsh conveys a mixture of loutishness and understanding, the fullblooded savvy of a rugged, uncomplicated good nature. His sparring with Swanson is sometimes literally just that, and their arm-swinging way of holding hands conveys a sense of nervously contained erotic impulses: not coyness or naiveté, but a barely managed effort not to rush a good thing.” — Peter Hogue, “Raoul

Walsh,"Movietone News 45

m German D ream s. . . Berlin Blues The city of Berlin, now celebrating its 750th anniversary, is the focus of this series celebrating a rebirth in the “New German Cinema.’’ “Indeed, as old as Berlin is, almost everything new in the way of the making of a film, of the extending of its artistic and creative abilities, was either discovered or developed in Berlin: sound, color, the transfer of moving images to electronic tape, the many capabilities of a motion picture studio. Ju st as decisive as technological advances was the artistic development of the cinema in Berlin for Europe and the world. Expressionism in film came from Berlin. Actors and directors, whose names today stand for a “personal style” in film history, drew upon the creative atmosphere of Berlin and rose to world fame there; Ernst Lubitsch as well as Billy Wilder, Elizabeth Bergner no less than Marlene Dietrich. Emil Jannings was the first actor to win an Oscar awarded by the Academy of Motion Picture Arts and Sciences”. — Dr. Volker Hassemer, Senator for Cultural Affairs, Berlin. The conventional and avant-garde co-exist side-by-side in Berlin, just as the esoteric and the classic inform its cultural heritage. It is a city united in its heart, yet divided by a wall, and this irrefutable separation has had an undeniable effect on most of the major post-war filmmakers th a t have emerged from Germany. Wenders, Fassbinder and Herzog all expressed this theme of symbolic “separateness” at the heart of their best work. Perhaps the spectre of Berlin being cut-off from the rest of the world has created a cultural “island” in which the filmic mind constantly strives to cross barriers thrown up by those who fear the future. Whatever the causes, Berlin has embodied an inspiration for directors and screenwriters throughout the history of cinema. And the new history of German cinema is being written by the artists represented in this series of films celebrating the 750th anniversary of one of this world’s greatest cities. It occupies a unique place historically and geographically. Perhaps it represents just as unique a state of mind. Each Wednesday, we will present a double of films from the Berlin Film Tour. Although they will be listed separately at 5:00 and 7:00, there will be just one admission charged for the two films.

Wednesday, June 3 7:00 Egyptian Theater

[□] German Dreams

Germany Director/Screenwriter: Lienhard Wawrzyn Producer: Regina Zeigler Cinematographer: Claus Deubel Music: Jugen Buchner, “Haindling” Cast: Angela Leiberg, Ilona Lewanowski, Ulf Steihann, Claus Eberhard Schultze Print Source: German Export Union 1986 90 minutes

This prize winner a t the Max Ophuls competition in Saarbrücken tells the story of a mother and daughter who have left East Germany to settle in West Berlin, only to discover that their dreams hardly match the reality of their newfound situation in the west. Why did this woman come with her daughter to West Berlin in the first place? What were the things th at went on behind the scenes to set the exodus in motion? Director Leinhard Wawrzyn explores the larger emotional landscape behind the East-West question through concentrating on the particular details of one family’s quest for a new beginning and a different kind of life.

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Wednesday, May 20 7:00 Egyptian Theatre

□] The Journey (Die Reise)

Germany/Switzerland Director: Markus Imhoof Producers: George Reinhart, Regina Ziegler Screenwriters: Markus Imhoof, Martin Wiebel, from a novel by Bernhard Vesper Cinematographer: Hans Liechti Editor: Ursula West Music: Franco Ambrosetti Cast: Markus Boysen, Corinna Kirchhoff, Claude Oliver Rudolph, Gero Preen Print Source: Berlin Film Tour 1986 110 minutes

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While The Boat is Full dealt with Jewish refugees looking for asylum from Hitler’s Germany in Swit zerland, Markus Imhoof s new feature, The Journey, is in some ways a continuation, examining the effects of this Nazi heritage on the succeeding generation. The film is based on an autobiographical novel by Bernhard Vesper, the son of a Nazi poet, who made a painftd break with the terrorist movement which sprang out of the turbulent ’60s. The Journey tells of a father who kidnaps his five-year-old son, Florian, rather than let the child’s mother take him to a P.L.O. training camp in Lebanon. Bertram, the father, has been to the barricades in ’68, only to see utopia come crashing down afterward. His wife, Dagmar, turns to militant terrorism and joins the underground group forming around Andreas Baader. R. W. Fassbinder tried to make a film of this book for many years, but after Vesper’s 1971 suicide in Hamburg, his family refused to allow the film to be made, until Imhoof, a Swiss national, took up the project. The family evidently felt the political ramifications of the story could only be handled dispassion ately by a non-German. Shown as a double bill with Meier

Friday, May 29 5:00 Market Theater

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Wednesday, May 20 5:00 Egyptian Theatre

□] Meier

Germany Director/Screenwriter: Peter Timm Cinematographer: Klaus Eichhammer Editor: Corinna Deitz Cast: Rainer Grenkowitz, Nadja Engelbrecht, Alexander Hauff, Thomas Besvater Print Source: Berlin Film Tour 1986 98 minutes

Like a modem day sequel to Billy Wilder’s One, Two, Three, Meier is an over-the-wall farce about the foibles inherent in East-West Berlin relations. Meier is the East Berlin foreman of a wallpaper banging brigade. He comes into an unexpected inheritance when his well-to-do father in the West dies, allowing him to get a false West German passport through a “broker” agency. With his newfound wealth and freedom, Meier decides first to take a trip around the world (arranged under the guise of a trip to Bulgaria). Having accomplished that, he comes back to settle in West Berlin and contemplate the future. With his new passport, he can return to East Berlin — but only as a visitor. Making the most of both worlds, he travels back and forth practically at will, buying sought-after materials in the West to make his job in East Berlin (which he keeps to placate his East German girlfriend) a snap. Eventually, he is made “Hero of the Working Class” for his ability to get things done. One night, however, he overstays his “visit” to the East, and in the rush hands the borderguards the wrong passport. The ensuing mess practically singlehandedly provokes an East-West crisis. Shown as a double bill with The Journey

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The title refers to the flying city of Laputa in Gulliver’s Travels, a metaphor in this case for the city of Berlin, where Paul and Malgorzata have carried on their sporadic affair. Paul (Sami Frey, from Little Drummer Girl and Black Widow) is an architect from France with a wife and child back home. Malgorzata (Krystyna Janda) is a photographer from Poland, where her ex-lover is a political prisoner. They are sometime lovers who meet for brief trysts in Berlin, always between flights to somewhere else. Malgorzata longs for Poland, and Paul feels the tug of familial responsibilities, and finally, on one trip, the two of them are forced to assess their common future.

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Laputa Director/Writer. Helma Sanders-Brahms Producer: Joachim von Vietinghoff Music: Matthias Meyer, Chopin Cast: Sami Frey, Krystyna Janda Print Source: German Export Union 1986 92 minutes

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Friday, May 29 5:00 Market Theater

People on Sunday Directors: Screenwriters: Cinematographer: Cast: Print Source:

Germany

Robert Siodmak, Fred Zinnemann, Edgar G. Ulmer Billy Wilder, Curt Siodmak Eugen Schufftan Brigitte Borchert, Christi Ehlers, Annie Schreyer Berlin Film Tour 1927 72 minutes

Berliners on Sunday

Germany Directors: Dieter Koster, Hannalore Conradsen Print Source: Berlin Film Tour 1986 45 minutes

This double program represents a fascinating view of Berlin past and present seldom caught on the screen in commercial movies. The first, People on Sunday (Menschen am Sonntag), is a legendary silent classic, a semi-documentary about a couple who spend a day in the Berlin countiyside. The production credits list a veritable who’s who of prominent German-emigrant filmmakers: Robert Siodmak, Curt Siodmak, Billy Wilder, Eugen Schufftan, Fred Zinnemann, Edgar G. Ulmer. The second is a contem porary remake by a husband-wife team working under much the same conditions today. Both films offer a glimpse of Berlin life unlike th at portrayed in books and fictional films — both are candid views of the real Berlin as experienced by people on the street, and, seen together, they form a mesmerizing study of Berlin as it was before the Nazi rise to power, and as it is today after the devastation of W W II and the rebirth of the new German nation-state. Shown as a double-bill with German Dreams

Wednesday, May 27 7:00 Egyptian Theatre

The Poet’s Silence Director: Producer: Screenwriter: Cinematographer: Editor: Music: Cast: Print Source:

Germany Peter Lilienthal Edgar Reitz Peter Lilienthal, based on a story by Abraham Yehoshua Justus Pankau Siegrun Jager Claus Bantzer Jakov Lind, Len Ramras, Daniel Kedem, Towje Kleiner Berlin Film Tour 1986 98 minutes

This gentle, atmospheric film is based on a story written by one of Israel’s leading contemporary intellectual writers, Abraham B. Yehoschua, and adapted for the screen by one of Germany’s great cinema-poets, Peter Lilienthal (David), and produced by Edgar Reitz (director of Heimat, SIFF ’86). Jacob and his wife give birth to a child late in fife and their son, Gideon, is thought to be retarded. When his wife dies, Jacob, a graying poet of some renown who has had writer’s block since the Yom Kippur war, lives to look after his son. As Gideon grows, he becomes aware th at his father was a great poet who now will not write — so the boy sets out to end the old man’s writer’s block. This sensitive, compassionate view of an odd couple living out the years in rainy Tel Aviv moves along swiftly and with great style, thanks to lively editing and wonderful acting by the two leading performers. Prizes: 1986 - Venice, Special Mention (OCIC, Catholic Award) Shown as a double bill with Va Banque

Wednesday, May 27 5:00 Egyptian Theatre

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Va Banque Director/Screenwriten Producer: Cinematographer: Editor: Music: Cast:

Germany Diethard Küster Manuela Stehr Wolfgang Pilgrim Karl Brandenburg Achim Reichel, Toni Nissi Grazyna Dylong, Winfried Glatzeder, Achim Reichel, Claus-Dieter Reents Berlin Film Tour 1986 105 minutes

Stefan is a trained lawyer who earns his living as a taxi driver cruising through the restless city. Helen is a boutique owner, fed up with her macho Italian hubby, who can’t make ends meet. Paul is an auto-repair shop owner whose debts have risen astronomically. Each longs for one big chance to score some happiness. So when Stefan gets some inside information from a bank pick-up driver and devises a seemingly fool-proof plan for a heist involving one million dollars apiece, the three of them eagerly set about engineering the crime. The heist works — in fact, it’s an exhilaratingly smooth piece of action that seems to fulfill all their wildest dreams. But could Stefan, Helen and Paul be counting their chickens before they’re hatched? German dreams become Berlin b lu e s. . . Shown as a double bill with The Poet’s Silence.

.. This trilogy is one o f the great achievements of modem cinema from a Viennese director in the tone of von Stroheim, Fritz Lang, Preminger and Billy Wilder.” — David Thomson, San Francisco Film Festival catalog The first film, God Doesn’t Believe In Us Anymore, begins in Vienna and follows the attempt of several Jews to make their way to a neutral port where they may get out of Europe. In the second, Santa Fe, we see some of them making a new life in New York in 194041. And in Welcome In Vienna, one young immigrant goes “home" to Austria as a member of the U.S. Army occupation. It is astounding that this trilogy has not won recognition from some of the supposedly higher festivals (like New York). Corti is middle-aged and hardly known here. But he is a major director. With writer Georg Stefan Trailer and a faultless cast, he explores individual characters and group interaction through an eloquent, controlled movie style reminiscent of another great Viennese director, Otto Preminger. And when the trilogy returns to Vienna, it’s easy to be reminded of The Third Man and Billy Wilder’s Foreign Affair. Corti is an ironist, like Wilder, and he leads us through the Austrian experience of the war with such cinematic freshness and such an eye for human nature th a t it’s all the more moving to see how the trilogy has grasped the world’s loss of faith in the years of war and disaster. Corti works in black and white, and the value of his films as drama and entertainment also contributes toward showing us what it is to be Austrian. There is an implicit historical and documentary content, as in a Tolstoy novel. He is not mentioned in the trilogy, but we come away understanding Kurt Waldheim better. The Corti trilogy is of the outstanding features of world cinema in the 1980s: it deserves distribution, for the length here only adds to the enjoyment. — David Thomson, California Magazine romise. And in the examination of the Thornton Wilder production, and of Freddy’s growing awareness of his own isolation, Corti has made a film that reaches the density and emotional force of Renoir’s La Regie du Jeu. Nothing is final or settled: we may hope to see this trilogy go on. But already, Corti has told us the story of his country and of a dozen unforgettable characters and raised the disturbing possibility th a t “You can live a very decent life now without believing in anything." Winner of Grand Prize a t 1986 Chicago Film Festival. — David Thomson, San Francisco Film Festival

catalogue

Monday, June 1 7:00 Market

@ God Doesn’t Believe In Us Anymore

Austria Axel Corti Kurt Kodal Georg Stefan Trailer Wolfgang Treu Johannes Silberschneider, Armin Mueller-Stahl, Barbara Petritsch Print Source: ORF, Austrian TV 1981 110 minutes

Director Producer Screenwriter Cinematography: Cast:

November 10,1938, the morning after “Crystal Night” in Vienna, when Austrian Jews were compelled to escape their own country. Ferry is a Jewish youth whose father is beaten up and killed by the S.A. And so he makes his way to the prospect of a boat out of Europe. In this first part of the magnificent Where To and Back? trilogy, Austrian director Axel Corti and writer Georg Stefan Trailer introduce us to their way of looking at people under stress. Ju st as they make a seamless match of original newsreel and their own black-and-white reconstruction, so they reassess the “old” story of Nazi and Jew by concentrating on the ways in which ordinary people respond to the pressure. And in Armin Mueller-Stahl’s performance as a German soldier who chose to oppose Nazism, they teach us the height of their realism and emotional resonance. So begins the trilogy th at is one of the great achievements of modem cinema from a Viennese director in the tone of von Stroheim, Fritz Lang, Preminger and Billy Wilder. — David

Thomson, San Francisco Film Festival catalogue

Tuesday, June 2 7:00 Market

Santa Fe Director Producer: Screenwriter: Cinematographer: Cast: Print Source:

Austria Axel Corti Matthias Bari Georg Stefan Trailer Gernot Roll Gabriel Barylli, Doris Buchrucker, Ernst Stankovsky ORF, Austrian TV 1985 110 minutes

With very modest means, but with nerve, ingenuity and an eye to make up for modesty, Axel Corti presents us with a riveting picture of New York in 1940 and 1941, as seen through the experience of a boatload of Jewish refugees from Austria. Picking up on the situation of God Doesn’t Believe In Us Anymore, we observe a handful of lives, centering on Freddy, a young man who dreams of being a cowboy in New Mexico. But the effort to survive is enormous, and even those who succeed are aware th a t “Here we are cheaters, down to our very souls.” Corti does not sentimentalize the immigrant’s life, or credit the sinister triumph of such as the Corleones. These are ordinary, decent people, battling with a new language and memories th at will not go away. The sense of human detail is dependent on the way in which Corti’s camera insists on re-examining every compromise. And a t the end, when the old writer who ran a delicatessen dies, his business keeps going because there are other Austrians ready to adapt, like actors available for any roles. — David Thomson, San Francisco Film Festival catalogue

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Wednesday, June 3 7:00 Market Theater

Welcome In Vienna Director: Screenplay: Cinematography: Cast: Print Source:

Austria

Axel Corti Georg Stefan Trailer Gernot Roll Gabriel Barylli, Nicolas Brieger, Claudia Messner ORF, Austrian TV 1986 121 minutes

Freddy is an Austrian Jew who escaped to America and made a new start in Corti’s previous film, Santa Fe. Now, in the final and most complex part of the Where To and Back? trilogy, he is in uniform, an American soldier back in Vienna in 1945 and 46, in love with Claudia, a young actress who wants the role of Sabina in a new production of The Skin of Our Teeth and who knows “You can’t achieve anything by a war unless you survive it.” Corti’s command of scene and place is now enriched by the shifting morality of the post-war world, and by the fascinating climate of compromise. And in the examination of the Thornton Wilder production, and of Freddy’s growing awareness of his own isolation, Corti has made a film th at reaches the density and emotional force of Renoir’s La Regie du Jeu. Nothing is final or settled: we may hope to see this trilogy go on.

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P A R A M O U N T □ Paramount Pictures: 75 years “I f it’s a Paramount Picture, it’s the best show in townF To celebrate the 75th anniversary of Paramount Pictures, the 12th Seattle International Film Festival is proud to present 11 of this motion picture giant’s finest films. These classics, newly struck from their original nitrate vault negatives, will be shown, without charge, at 12:30 p.m. matinees each weekend (Saturdays at the Egyptian Theatre, Sundays at the Market Theater) throughout the Festival Nowadays “Hollywood” includes just about any place you can get to with a camera crew — whether it’s the backiot at Universal or a storefront in Ballard — and almost every American movie is essentially an independent production, no m atter how much or how little it cost. When movie fans want to identify a current film in terms of some creative identity, they rarely invoke Orion or Warner Brothers or Columbia; more probably they speak of “the new Meiyl Streep picture,” the “latest Woody Allen,” “a Lucasfilm production.” There’s little reason to note what corporate logo has been shoved up in front of the movie unless you’re trying to book it for your theater, or perhaps you like to keep track of what studio holding Ted Turner or Rupert Murdoch is trying to acquire from one week to next. These days, nine times out of ten, the company label doesn’t tell you who made the film you are about to watch, but simply who bought it for distribution.

A Gu If+ Western ™ Company

In the Old Hollywood things were different. Very different. The studios were massive art-industrial complexes in one Los Angeles suburb or another where a high number of movies were made, in-house, year in and year out. Studios — and studio bosses — had distinct tastes in styles, subjects, and genres. And each of the “majors” had a look all its own, which derived not only from configurations of performers under contract, but also from the continuity and integrity of the crafts departments. Show a film buff a few minutes’ worth of virtually any American movie of the ’20s-through-’50s and he should be able to tell you if it’s RKO, Metro, Fox, you-name-it. Lighting, decor, cutting — the overall visual texture — music scoring and orchestration, special-effects work, all testify to the studio of origin. (It’s even possible to distinguish Warners gunfire from Columbia gunfire; indeed, Republic pistol shots from Republic rifle fire. But as Andrew Sarris says, th at way lies madness.) The company that eventually became Paramount Pictures started life three-quarters of a century ago. A petite Hungarian-born furrier in Chicago named Adolph Zukor had taken a flyer at film distribution with a French “film d’art” property, Sarah Bernhardt as Queen Elizabeth, and made a nice bundle. In 1912 he founded a company to produce films featuring, as the name had it, Famous Players in Famous Plays. Two years later he threw in his lot with a newly formed distribution outfit dubbed Paramount Pictures Corporation, and found himself in corporate league with such film pioneers as Jesse L. Lasky, Cecil B. DeMille, and Samuel Goldfish (later Goldwyn). Each had his dreams of empire, but Zukor dreamed and schemed best. He got effective control of production and distribution and kept it. Under his direction, Paramount Pictures became the paramount studio in Hollywood. (M-G-M was richer but Paramount’s product was ineffably, and infinitely, classier.) Zukor actively ran the company until 1936, at which time he simply moved over to become chairman of the board. He still held th a t title (emeritus) when he died, forty years later, at the age of 103. Paramount may have started out in the American vein, producing pictures starring “America’s Sweetheart,” Mary Pickford, and historical spectaculars such as Cecil B. DeMille’s The Ten Command ments (1923 version) and James Craze's The Covered Wagon. But by the end of the ’20s, the studio’s films had begun to manifest a European quality, an air of cosmopolitan sophistication th a t made both made Paramount’s house style unique and, in the long run, influenced Hollywood craftsmanship a t large. The reason was obvious enough. Paramount had a lot of Europeans under contract: stars like Emil Jannings, Marlene Dietrich, Pola Negri, and Maurice Chevalier; art directors Hans Dreier and Ernst Fegte; scriptwriters Hans Kraly and Billy Wilder; cameraman Theodore Sparkuhl; composers Franz Waxman and Miklos Rozsa, who wrote the definitive film noir scores of the ’40s, and Frederick Hollander, whose “Dream Lover”, from Ernst Lubitsch’s 1929 The Love Parade, would supply a worldly grace note in many a subsequent Paramount score.

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Premier among the continental cadre was director Ernst Lubitsch himself, who hailed from Germany and introduced a new, elegantly risqué style of comedy to American film. The celebrated “Lubitsch touch* was the delight of the audiences and the despair of censors; he had a genius for showing without showing, and could reveal more with a closed door than with a nude scene. Equally stylized and exotic was the work of Viennese-born Josef von Sternberg (who had been in the States for years, the 1929 German production of The Blue Angel notwithstanding; the “von” was phony, though he bore it with great conviction). Sternberg’s lush, audaciously ironical series of Dietrich films set standards for lustrous cinematography and expressive decor th at remained unsurpassed for the rest of the black-and-white era. Even Preston Sturges, the foremost comic talent of the ’40s, had enjoyed the mixed blessings of a Continental upbringing (his mother had been Isadora Duncan’s dearest companion), and his forced immersion in European culture made itself felt in his echt-American comedies in the most outlandish ways. No Hollywood studio was more open than Paramount to technical and stylistic experimentation. The early sound pictures of Lubitsch, Sternberg, and Rouben Mamoulian explored the possibilities of the new medium more dynamically than anything else this side of René Clair’s contemporaneous work in France. (Clair too found a home at Paramount during the war years, incidentally.) And while Paramount’s soundstage artistry was without peer, Zukor & Co. were more amenable than most studio executives to letting their directors venture outside. Henry Hathaway, their expert action filmmaker of the ’30s, directed The Trail of the Lonesome Pine on location in 1936; it was the first film in the three-strip Technicolor process to be shot out of doors. And although we think of Billy Wilder as a writer-director of sophisticated comedy, the spiritual son of Ernst Lubitsch, on his earliest directorial endeavors he took his cameras into the desert for the ghostly opening sequence of Five Graves to Cairo (seen in SIFF ’85), and into the predawn streets of L.A. for the even more haunting beginning of Double Indemnity. Paramount won the first Academy Award (for William A Wellman’s World War I aviation epic Wings, in 1927-28), dominated the technical awards categories for years, and for years boasted the only motion picture directors whose names were household words (Lubitsch and DeMille, who returned to the studio in 1932 and remained there until his death in 1959). Over the decades, Paramount maintained an image of quality. In the 1950s, virtually all the most prestigious directors of the time could be found working there: George Stevens (A Place in the Sun, Shane), Frank Capra, William Wyler, Billy Wilder, and Alfred Hitchcock, whose string of late masterpieces (Rear Window, the remake of The Man Who Knew Too Much, Vertigo, and Psycho) were all made under the aegis of the mountain ringed by stars, no m atter what the logo the reissue prints carry. Even after the great dissolution and re-formation of the major studios in the 1960s (Paramount itself was subsumed by Gulf + Western), the company continued to be associated with such popular and critical landmarks as the Godfather films, Chinatown, and Raiders of the Lost Ark. The 1980s find Paramount still king of the Hollywood mountain, the studio whose releases regularly top the box-office charts, and whose prospects for longevity* seem a t least as good as Mr. Zukor’s. Let the future look to itself. For now, the Seattle International Film Festival is both delighted and proud to salute the extraordinary past. Sad to say, it almost makes everything in the present look puny — indeed, instantly dated. But in a t least one connection, this retrospective of vintage Paramount titles by way of luminous 35mm vault prints is all too timely. After feasting one’s eyes on the silvery splendors of Morocco, Trouble in Paradise, and Sunset Boulevard, who could bear the barbarism of “colorized” American classics? Ted Turner, take a hike! These movies really are better than ever. — Richard T.

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Saturday, June 6 12:30 Egyptian Theatre

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Chinatown

U.SA Direction: Roman Polanski: Screenplay: Robert Towne Cinematographer: John A. Alonzo Production Design: Richard Sylbert Music: Berry Goldsmith Cast: Jack Nicholson, Faye Dunaway, John Huston, Burt Young, Roy Jenson, Roman Polanski Print Source: Paramount Archives 1974 131 minutes

Chinatown is the great American film of the past two decades, and also the one that best measures up to the evocative splendors of Old Hollywood filmmaking — and Paramount studio craftsmanship — at its most accomplished. It’s also the best and most resonant story the movies have had to tell about the making of modem America — a monstrous and beguiling modem myth about power, corruption, public history and personal desire. Jack Nicholson was hailed as the new Bogart for his performance as L.A. private eye Jake Gittes, who takes on a trivial divorce case only to find himself embroiled in a vast, multilayered conspiracy; Faye Dunaway gives the performance of her career as the woman at its wounded heart. Academy Award: Best Screenplay Academy Award nominations: Best Picture, Direction, Actor, Actress, Cinematography, Film Editing, Costume Design, Original Dramatic Score, Sound

Sunday, May 31 12:30 Market Theater

Double Indemnity

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Director: Billy Wilder Screenplay: Raymond Chandler, Billy Wilder Cast: Fred MacMurray, Barbara Stanwyck, Edward G. Robinson Print Source: Paramount Archives 1944 106 minutes Billy Wilders’ instant film noir classic that took murder out of the dark alleys of the gangster genre and relocated it in the sun-kissed world of the Southern California middle class. Fred MacMurray, previously typed as a light comedian, plays a glib-talking insurance man drawn into deadly conspiracy with a very sultry married lady. Barbara Stanwyck is the sexiest thing on celluloid as the sleek blonde ra t of a femme fatale, and Edward G. Robinson gives one of his finest performances as MacMurray’s best friend, the veteran claims investigator who keeps getting closer to their secret. With crackling dialogue by Wilder and mystery novelist Raymond Chandler, a classic Miklos Rosza score, and a communicably poisonous atmosphere. (This film was the inspiration for 1981’s Body Heat.)

Saturday, May 23 12:30 Egyptian Theatre

□ Duck Soup

U .SA Leo McCarey Bert Kalmar, Harry Ruby Henry Sharp Groucho, Harpo, Chico and Zeppo Marx; Margaret Dumont, Louis Calhern, Edgar Kennedy Print Source: Paramount Archives 1933 68 minutes

Director: Song/Screenwriters: Cinematographer: Cast:

Incredible as the notion may seem today, Duck Soup bombed with Depression audiences, badly enough that Paramount, which had first brought the Marx Brothers from Broadway, terminated a five-year, five-film relationship with the zanies. However, posterity is just about unanimous in regarding this screwloose satire of war and international diplomacy as the brothers’ supreme achievement. Laurel & Hardy veteran and directorial-superstar-to-be Leo McCarey presumably had a lot to do with t h a t . . . By all means, Hail, Hail Freedonia! Shown with She Done Him Wrong

Saturday, May 16 12:30 Egyptian Theatre

[□] It

U .SA Director: Scenario: Cast: Print Source:

Clarence Badger Elinor Glyn Clara Bow, Antonio Moreno Paramount Archives 1927 72 minutes

Bee-stung lips, big eyes wide with excitement, a mop of red curls th at seemed electrified with the readiness to try anything once (or even twice) — Clara Bow was the personification of the ’20s at their most effervescent. They say she had “It,” and “It” could make all the difference — such as, in this famous romantic comedy, giving a simple shopgirl the chance to break into society and steal her boss’s heart. Shown with Morocco

Monday, May 25 12:30 Market Theater

Midnight Director: Screenwriters: Cinematographer: Cast: Print Source:

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Mitchell Leisen Charles Brackett, Billy Wilder Charles Lang Claudette Colbert, Don Ameche, John Barrymore, Mary Astor Paramount Archives 1939 95 minutes

Stranded in Paris with nothing but a gold satin gown to her name, American chorine Claudette Colbert becomes the key player in a Cinderella masquerade when a genial aristocrat (John Barrymore) decides to teach his wife (Mary Astor) a lesson in fidelity. Director Mitchell Leisen, too little known today, was one of Paramount’s most graceful stylists; his magical touch is readily apparent in this charming high-style comedy, which also boasts one of the loveliest scripts by Charles Brackett and Billy Wilder (soon to become a stellar producer-director team.) Also note Don Ameche, on loan from comparatively pedestrian 20th Century-Fox, adapting very gracefully to Paramount’s needs as an amorous taxi driver named Tibor Czerny. Shown with Palm Beach Story

Saturday, May 16 12:30 Egyptian Theatre

[□] Morocco Director: Screenwriter. Cinematographers: Art Director: Cast: Print Source:

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Josef von Sternberg Jules Furthman, from the play A m y J o lly by Benno Vigny Lee Garmes, Lucien Ballard Hans Dreier Marlene Dietrich, Gary Cooper, Adolphe Meqjou Paramount Archives 1930 97 minutes

A nighclub chanteuse turns up in the North African port and becomes one corner of a love triangle involving a womanizing Foreign Legionnaire and a Continental aristocrat. On this flimsiest of pretexts, the great Josef von Sternberg composed a breathtakingly beautiful — and breathtakingly ambiguous — fable of decency and grace in the face of romantic desperation. After almost 60 years, Sternberg remains supreme in his genius for translating light and shadow, exotic decor, and elliptical gesture into poetic drama. This is the first of six Paramount pictures he would make with the luminous star, Marlene Dietrich, he first directed in the German Blue Angel. Academy Award nominations: Best Direction, Actress, Cinematographer, Art Direction Shown with It

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Monday, May 25 12:30 Market Theater

The Palm Beach Story

U .SA Director/Screenwriter: Preston Sturges Cinematography: Victor Milner Cast: Claudette Colbert, Joel McCrea, Rudy Vallee, Mary Astor, Franklin Pangborn, Robert Dudley ("The Wienie King”), William Demarest, Sig Arno Print Source: Paramount Archives 1942 88 minutes

Along with The Lady Eve, (which he made shortly before), The Palm Beach Story ranks as the most relentlessly funny movie by Paramount’s resident comic genius, Preston Sturges. It’s all about a wife who dearly loves her inventor-husband but can’t stand being broke (his brainstorms never pay oil), so she hops a train for Florida where, she has been given to understand, there are plenty of millionaires to marry. She finds that most of them are insane, but you can’t have everything. As the runaway wife, Claudette Colbert is delicious. Joel McCrea, the husband who pursues her, always claimed to be nothing but a cowboy actor whom the studio hired “only when they couldn’t get somebody better*; as Palm Beach (one of the three films Sturges cast him in) amply demonstrates, he was also a comic actor of wonderfully low-key sweetness and grace. The only thing keeping Palm Beach from being an exemplary Sturges movie is that the splendid, all-but-anonymous character people Sturges loved to write great material for are mostly confined to the middle portion of the picture (William Demarest, Robert Warwick, et al. as “the Ale and Quail Club*). But then, Rudy Valle almost makes up for the imbalance singlehandedly as the benignly pixilated plutocrat John D. Hackensacker III. Shown with Midnight

Sunday, May 24 12:30 Market Theater

The Plainsm an

u .s a Director: Cecil B. DeMille Screenwriters: Waldemar Young, Lynn Riggs, Harold Lamb Cinematographers: Victor Milner, George Robinson Music: George Antheil Cast: Gary Cooper, Jean Arthur, James Ellison, Charles Bickford, Porter Hall, John Miljan, Anthony Quinn (debut) Print Source: Paramount Archives 1936 113 minutes

Someone once composed a cruel but telling rhyme about the difficulty with which Cecil B. DeMille was “persuaded to keep Moses / out of the War of the Roses.” Wild Bill Hickok, Calamity Jane, Buffalo Bill Cody, and George Armstrong Custer actually did find themselves occupying more or less the same sector of the American West in 1876, which may be one reason The Plainsman has always seemed slightly less preposterous than the other historical epics made by Paramount’s most profitable producer-director. It’s also the most entertaining, thanks to plenty of rampaging spectacle in the grand DeMillean manner, and the irresistably charming presence of Gary Cooper as Hickok and Jean Arthur as his amorous pursuer, Maiy Jane Canary, a.k.a. Calamity Jane.

Saturday, May 23 12:30 Egyptian Theatre

□1 She Done Him Wrong

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Director: Lowell Sherman Screenwriters: Harvey Thew, John Bright, after Mae West’s play "Diamond Lil” Cinematography: Charles Lamb Songs: Ralph Rainger, "I Wonder Where My Easy Rider’s Gone,” "I Like a Man Who Takes His Time” Cast: Mae West, Cary Grant, Gilbert Roland, Noah Beery (Sr.) Print Source Paramount Archives 1933 66 minutes Mae West almost singlehandedly saved Paramount from the banks in the early ’30s, and no movie better shows why than this, her first starring vehicle — also, sadly, almost the last in which she got to be her bawdy comic self without hindrance from the Production Code. She sings in a Gay Nineties saloon. While just about every man within ten miles of the place would like to get to know her better, it’s Salvation Army captain Cary Grant whom she invites to “come up and see me sometime* Shown with Duck Soup

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Saturday, May 30 12:30 Egyptian

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Sunset Boulevard

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Director. Screenplay: Cinematography: Art Direction: Music: Cast:

Billy Wilder Charles Brackett, Billy Wilder, D.M. Marshman Jr. John F. Seitz Hans Dreier, John Meehan Franz Waxman William Holden, Gloria Swanson, Erich von Stroheim, Nancy Olson, Cecil B. DeMille, Jack Webb, Hedda Hopper, Buster Keaton Print Source: Paramount Archives 1950 110 minutes

A passed-over screenwriter on the run from repo men finds dubious refuge in the mansion of Norma Desmond, a long-forgotten queen of the silents who still dreams, a quarter-century later, of making a comeback. Billy Wilder’s sardonic meditation on Old Hollywood and the New is itself a great Hollywood original; corrosive black comedy, Gothic horror tale, a commentary on the power and varieties of illusion, and a grotesque love story. William Holden (like Fred MacMurray before him in Wilder’s Double Inde mnity) won his first serious regard as an actor for his work as the hack-tumed-gigolo. Gloria Swanson, as Desmond, and Erich von Stroheim, as the former husband and director who now serves her as butler and keeper of the shrine, both reenact and transcend their own legends. Academy Awards: Story and Screenplay, Art Direction, Scoring of a Dramatic Picture Academy Award nominations: Best Picture, Direction, Actor, Actress, Supporting Actor, Supporting Actress, Cinematography, Film Editing

Sunday, May 17 12:30 Market Theater

Trouble In Paradise

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Director: Ernst Lubitsch Screenwriter: Samson Raphaelson Cast: Herbert Marshall, Miriam Hopkins, Kay Francis, Edward Everett Horton Print Source: Paramount Archives 1932 86 minutes More than any other figure, even Sternberg, E m st Lubitsch set the standard of high style and sophisticated elegance to which the other filmmakers at Paramount aspired. Trouble In Paradise is the crowning jewel of the director’s Paramount career, a dazzlingly adroit and matchlessly witty comedy about a pair of worldly thieves and the Parisian heiress they set out to take, in more ways than one. It’s not a musical, though Lubitsch’s mastery of rhythm — in behavior, dialogue reading, camera movement, and cutting — makes it seem like one. Nobody makes ’em like this anymore, and that’s a damn shame.

A Special Dedication

[□] Joseph (Joe) Vigil A very special person was lost to the Seattle film world this year when Joe Vigil, local branch manager of Paramount Pictures passed away on March 19,1987. Joe was an inspiration for us, and for anyone who loved film hereabouts and knows what a difference one person can make.

Joe broke into the film industry as a teenage usher a t Grauman’s Chinese Theater in Hollywood in 1963. From there, he went to work in booking and sales a t United Artists and Cinema Releasing before joining Paramount in 1973. Eventually, he moved to Seattle in 1977 to take over as branch manager of the local Paramount office. During his time in Seattle, he made many close friends both inside and outside the film industry, and was always known for his honesty, his loyalty, and his dedication, both personal and professional. He never lost one iota of his love for films, and he was a true inspiration for those of us in the film business who dealt with him. Without him, Seattle never would have become as important a m arket for Paramount Pictures as it has become, and the name ‘Paramount’ might not have held the cachet for us and the local public th a t it has gained in the last decade. It is only fitting th a t we dedicate our Salute to Paramount in this year’s festival to Joe: Because of him, Paramount Pictures has always come through for the festival. We therefore dedicate not simply the Paramount Salute, but the entire 1987 Seattle International Film Festival to Joe, who will always be a hero to us. We’ll always have a place in our hearts, and a seat in our theater for you, Joe; we know you’re here with us still.

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P R E S E N T A T I O N Sunday, May 31 2:00 Paramount Theater

□ Wings

U .SA Special Presentation by the American Theatre Organ Society Director: William Wellman Cast: Charles (Buddy) Rogers, Clara Bow, Richard Arlen, Gary Cooper Print Source: Paramount Archives 1927 The first film to win an Academy Award for Best Picture, Wings brings to the silver screen the epic sweep of World War I aerial combat. With a cast of thousands — literally — courtesy of the United States War Department, Wings features Clara Bow, Charles Rogers and Richard Arlen, with Gary Cooper in one of his early film roles. Utilizing pioneering aerial photography and editing techniques, director William Wellman creates an unforgettable photoplay that has endured the test of time as a masterwork of cinema. Presented in the splendor of the Seattle Paramount Theater, a picture palace created for epic silents,

Wings springs to life, accompanied by the Paramount’s mighty Wurlitzer theatre pipe organ. At the console of the Wurlitzer will be famed organist Gaylord Carter. Mr. Carter, internationally renowned film organist, was selected by Paramount Pictures as accompanist for the recent videocassette release of Wings and five other silent film classics. A rare and unique opportunity is afforded to the moviegoer. The Academy Award winning epic Wings —the magnificent Seattle Paramount Theater—the renowned Gaylord C arter— the Mighty Wurlitzer.

Admission for this special screening is $7.50. Please call the Paramount box office for further information.

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Altar Boy / William Farley /19 m ins./1987 / U.S.A. This multi-award winning short takes a satirical look at today’s church, as seen through the eyes of an imaginative 12 year old... who’d rather be a boy scout. • The Apparition / Pascal Aubier / 8 mins. /1986 / France A darkly humorous exploration of faith and ignorance by “the great hope of French Cinema” (Andrei Tarkovsky). • Berliner Blau / Hartmut Jah n and Peter Wensierski /1 5 mins. /1987 / West Germany American premiere of this experimental short film (shot in Cinemascope) which looks a t the Berlin Wall as a screen or curtain for various international artists. “Cinemascope? It’s just for snakes and w alls...”—Fritz Lang • Bessie and Eraa / Tony Doucette / 5 mins /1986 / U.S.A. A 1950’s wall-flower takes to the floor at the sock hop, but finds she should have chosen her partner more carefully. • Beyond Kabuki / Janice Findly /10 mins. /1986 / U.S.A. Seattle Filmmaker Findley’s award-winning film th at takes stylized Kabuki movements to the extreme with the aid of animation and pixilation. • A Brief Affair / Carol D. Blum /1.2 mins. — 1985 / U.S.A A humorous boy meets girl story. At just over a minute, it is indeed a very brief affair. • Cadence /12 mins /1986 / The Netherlands • C ityshape / Carol D. Blum / 3 mins. /1985 / U.S.A. An elegantly drawn abstract film dealing with the continually changing shape of a city. Buildings metamorphose into each other as though they are geometric shapes in constant motion. • Dance of the Dragon / Kamlesh Gupta /1 8 mins. /1986 / U.S.A. • Death of a Rat / Pascal Aubier / 6 mins. /1975 / France A serio-comic meditation on the pain and inhumanity of modem technological life. A past SIFF favorite. • East Meets West / Christine Lombard / 6.5 mins. /1985 / U.S.A. Western iconic imagery fuses with Asian artistic sensibilities as photographer Tseng Kwong Chi attempts to merge the banality of the family snapshot with the dynamism of landmarks around the world. • A Greek Tragedy / Linda van Tulden and Willem Thijsen This year’s Academy Award winner for Best Animated Short Subject. Need we say more? • Housecats / Peg McClure Moudy / 4 mins. / 1985 / U.S.A. Winner of the Student Academy Award for animation, among many other awards, Housecats delightfully chronicles the uneasy cold war existing between two rival felines. • Lupo the Butcher / Danny Antonucci / 3 mins. 1986 / Canada From Marv Bambi Meets Godzilla Newland’s Rocketship Studios comes this outrageous, gory and beautifully animated tale of Lupo’s last day at the shop. • Mr. Muff Takes a Dive / Tanya Weinberger / 4 mins. /1985 / U.S.A. A very small naked gentleman does a frantic five-minute dive encountering, among other things, spaceships, chickens, and balloons. • Nexus / Rose Bond / 6.5 mins. /1984 / U.S.A. A woman’s vision of discovery (drawn directly on the film stock) connecting art and nature through symbols and patterns associated with ancient matriarchal societies. • Object Conversation / Paul Glabicki /10 mins. /1985 / U.S.A. A series of visual and verbal dialogues between, about and with scissors, chairs, a barbell, ladders and a boxing ring. • One Nation Under TV / Ruth Paiser / 2.5 mins. /1985 / U.S.A. Hand-tinted photos compose this tale of a day in the life of Bob, a bored TV addict. • Out of Control / Giorgio Moroder / 3.5 mins. /1987 / U.S.A. Composer/filmmaker Moroder creates an urgent plea to just say no and keep in control. • Musician’s Day / Patty Waltz / 6 mins. /1986 / U.S.A. Erik Satie, brilliant, eccentric and unpredict able, gives us an overview of his irreverent life and times. • Suspicious Circumstances / Jim Blashfield /1 2 mins. 1985 / U.S.A. Blashfield (director of the Talking Heads’video “And She Was”) uses color xerography to create this surrealist-action-adventure-com edy which has been called a Raiders of the Lost Ark for Dadaists. • Sweet Dreams Love / 9 mins. /1986 / The Netherlands A neglected wife finds love in the arms of a burglar, who returns night after night. The husband starts to suspect something as the household becomes barer and barer. • Swimming / Celia Mercer / 2 mins. /1986 / U.S.A. • Trott / Ruben and TO Dellers /1 7 mins. /1986 / Switzerland Another night with the same friends, in the same pub with the same conversation. Or is it? A live-action counterpart to the Academy Award-win ning Tango. • UP / Sam Kaufman /1 4 mins. /1986 / U.S.A. A beautifully photographed, and rather enigmatic, parable concerning a Japanese girl and her gruelling odyssey after school one day. • Your Face / Bill Plimpton / 3 mins. /1986 / USA • Metal Dogs of India / Chel White / 4 mins. /1985 / U.S.A. A delightful, fast-paced collage of animated sequences which have been drawn directly onto the celluloid surface. Multi-award winner from the festival circuit. • Pools / Barbara Hammer / 7 mins. /1981 / U.S.A. An avant-garde film shot in W.R. Hearst’s swimming pool a t San Simeon. Filmmaker Hammer lives in Olympia and teaches at the Evergreen State College. • Rabbit / Keith Fialcowitz /15 mins. /1987 / U.S.A. On a cross-country trip, a businessman amuses himself by making a game out of hitting jack rabbits. Unbeknownst to him, though, man’s inhumanities to nature don’t go overlooked in this particular neck of the woods. A no-budget black comedy. • Tribute / William Farley / 7 mins. / 1987 / U.S.A. A moving, affirmative view of life and death. Seemingly unrelated images from the 50’s emerge from the darkness, evoking memories of a collective past. Music by David Byrne. World Premiere. • From the Reports of the Security Guards and Patrol Services, part 1 / Helke Sanders /10 mins. /1986 / West Germany • From the Reports of the Security Guards and Patrol Services, part 8 / Helke Sanders / 6 mins. /1986 / West Germany • Acknowledgements: Susan Kell Flower Films and Video; Fred Marx Picture Start; Marv Newland Rocketship Studios

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Monday, June 8 7:30 Egyptian Theatre

□ Golden Space Needle Awards Live! From the world famous Egyptian Theatre! (Drumroll and fanfare, please!) Ladies and gentlemen, welcome to the Third Annual Golden Space Needle Awards! Yes, folks, somehow we have proceeded to persevere, through public criticism and private scandal, and despite accusations of dirty politics, jealous back-stabbing and nepotism, the Golden Space Needles have become one of the most desirable, envied, lusted-after and popular awards in the film industry. Everyone wants to win a Golden Space Needle Award because it’s usually a pretty strong indication of who’s going to win the Academy Awards nine months later (e.g., William H urt for Kiss Of The Spider Woman in 1985 and Fons Rademakers for The Assault in 1986.) Everyone likes to watch the Golden Space Needle Awards, because there are usually no acceptance speeches, there are never any Best Song production numbers and it only lasts about V6 as long as the Oscars. (We do wish we could get Juul Haalmeyer to choreograph and design costumes for our show, though.) And the best thing about the Golden Space Needle Awards is t h a t . . . YOU decide the winners! Here’s how it happens: A ballot box will be in the lobby of both the Egyptian and Market Theatres throughout the festival. Ballots and pencils will (hopefully) be beside the boxes. When you have seen a film that you consider one of the best in the festival, simply fill in that film’s title (along with any pertinent comments) and drop your ballot in the box. The same procedure applies in all categories: Actor, Actress, Director, Film and Short Film. We ask only th a t you please not vote more than five times in any category. At the end of the festival, the votes will be tallied (not by Price-Waterhouse, or even a remotely reputable accounting firm) and the winners will be announced at our annual gala, black-tie awards ceremony. All kidding aside, the Golden Space Needles Awards are totally laid-back, completely unscientific, and presented in the spirit of fun and universal goodwill. Join us on Monday, June 8th a t 7:30 p.m. in the Egyptian for the announcement of this year’s winners, as well as a free screening of the best shorts from this year’s festival. In case you forgot, last year’s winners were:

Best Film: The Assault Best Director: Fons Rademakers, The Assault Best Actor: Bob Hoskins, Mona Lisa Best Actress: Cathy Tyson, Mona Lisa Best Short: TheBigSnit

Sunday, June 7 4:00 Egyptian Theatre

[□] Foreign Film Poster Exhibition and Auction A favorite tradition, and one of the most enjoyable events of the festival, is the Foreign Film Poster Auction, held on Sunday, June 7 a t the Egyptian Theatre. This year we have a spectacular array of these beautiful, colorful works of art (frequently offering an alternative design to the familiar American concept), hand-picked by festival planners in various exotic overseas locales. A rotating selection of the posters will be on display in the lobby of the Egyptian during the fest, but the auction is the only opportunity you’ll have to see the complete collection. There is no admission charge to the auction, and you are invited whether or not you intend to bid — it can get pretty intense!

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Sunday, May 24 Midnight

At a Theatre to be Named

□1 3-D x 4 Marathon Unfortunately, with such recent box-office blunders as Coinin’ At Ya! and Jaws 3-D, nobody seems to take three-dimensional movies seriously any more. Indeed, as described in the Monterey Film Festival catalog, “3-D motion pictures, the film medium’s problem child, have always been highly criticized, greatly misinterpreted by producers and audiences as a ‘gimmick’or ‘joke,’ and have never been given the accolade that they deserve as highly refined motion picture art. In the hands of those artists knowledgable to its sensitivities and demands, 3-D is the most exhilarating of all theatrical experiences.” Now, for those who have never experienced great 3-D before, and for those of you who want to experience it again, the Seattle International Film Festival, Castle Hill Productions, Stereovision Inc. and, most importantly, Cineplex Odeon/SRO, introduce an all-new, all-night marathon of movies you can actually (practically) reach out and touch. Included in this midnight-to-moming mind-boggler will be the most famous 3-D film in history, House of Wax, Alfred Hitchcock’s Dial M for Murder, Andy Warhol’s Frankenstein (directed by Paul Morrisey) and, of course, a camp-cult classic, Fantastic Invasion of Planet Earth. Bring your pajamas, a pillow and a friend.

THE M O ST F A M O U S ALFRED HITCHCOCK MOVIE OF ALL TIME!

ALFRED HITCHCOCK'S "DIAL M FOR M U RD ER"

[□] The Secret Festival Listen, do you want to know a secret? Do you promise not to tell? Well okay then, maybe we’ll let you join the Secret Festival Film Club, an elite corps of the cream of Seattle’s filmgoing crop, which will be meeting five times during this year’s Seattle International Film Festival to indulge in the unexpected. The unseen. The unheard of. The unannounced. That’s right, you won’t get to find out what we’re showing until it hits the screen, and you won’t be able to talk about it afterwards under pain of death! Some of these films have been out of release for years, maybe decades, which means public showings of them are illegal. Some of these films aren’t set to be released for months, maybe years (if at all), which means screenings of them are illegal. We’re risking our necks to do this every year, so if you’re blessed with the gift of gab and are looking for a nice crowd-pleaser kind of film, do us all a favor, and don’t join the Secret Festival Film Club. Loose lips sink Secret Festivals, and we want to stay afloat. To do this, we have had to (ouch!) raise the membership fees this year to $10.00, due to our ever-escalating costs, such as film shipping, dark sunglasses, and legal fees. Hey, it’s still a pittance to pay to be able to be the first — or last — people on the face of the planet to see five potentially great films, which is a pretty darned exciting prospect, don’t you think? The Secret Festival Film Club is looking for a few good members, so if you think you’ve got what it takes, well then perhaps you should consider joining up. Of course, if you don’t join, you’ve got nothing to lose, since you’ll never find out what you missed. Good thing, too, because if you did ... you’d probably kill yourself. Secret Festival showings (all of them 1:30 a t the Egyptian Theatre)

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TIME BECOMES ART

ISLAND PICTURES is proud to be associated with the 1

From the Director & Cinematographer of Koyaanisqatsi

C H R O N O S MusicbyMichael Stearns On the giant ¡MAX® screen the monuments of Western Civilization— from the Sphinx to Grand Central Station, in a parade of time-lapse photography. A Ron Fricke Film

ALEX COX’S

“...a fabulous poem to tim e.” Impact Nedeau, Paris

PACIFICSCIENCECENTER IMAX® Theater Thurs., Fri., & Sat., 7:00 & 8:00 PM $3.50 Adults; Jrs. & Srs. $2.50

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HOW THE FESTIVAL EXPRESSES ITS INTEREST IN FILMS. W hen coordinating scores of movies from dozens of distributors, The Seattle International Film Festival uses Airborne Express — the delivery system of international reputation that's close by They know w e deliver on time every time, whether they're sending an overnight letter to N e w York. O r sending a film halfway around the world. So the next time you need overnight delivery of a letter or package, call Airborne Express. It's a moving experience you'll appreciate.

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Official Air Express Company of the Seattle International Film Festival Cosponsor of Paramount's 75th Anniversary Film Series

Egyptian Theatre Thursday

5/14/87 7:30

LaBamba

Friday

5/15/87 5:00 5/15/87 7:00 5/15/87 9:30 5/15/87 MID

Charleen/Backyard Abel Miss Mary Evil Dead 2

5/16/87 5/16/87 5/16/87 5/16/87 5/16/87

12:30 4:00 7:00 9:30 MID

It/Morocco The Farewell Let’s Hope It’s A Girl Gothic Dark Hideout

5/17/87 5/17/87 5/17/87 5/17/87

1:30 4:00 7:00 9:30

Secret Festival I Played It For You Forget Mozart Summer Night...

Saturday

Sunday

Monday

5/18/87 7:00 5/18/87 9:30

It’s All True/Sadie Thompson Magnificent Lover

Tuesday

5/19/87 7:00 5/19/87 9:30

Amazing Grace & Chuck Journey of a Young Composer

Wednesday

5/20/87 5:00 5/20/87 7:00 5/20/87 9:30

Meier TheJoum ey The Ruins

Thursday

5/21/87 7:00 5/21/87 9:30

My Mother’s Lovers Iris

Friday

5/22/87 5:00 5/22/87 7:00 5/22/87 9:30 5/22/87 MID

Pouvoir Intime My Life As A Dog Coming Up Roses Black Lizard

5/23/87 12:30 5/23/87 4:00 5/23/87 7:00 5/23/87 9:30 5/23/87 MID

Duck Soup/She Done Him Wrong Rendez-vous The More Things Change Castaway From Beyond

5/24/87 1:30 5/24/87 4:00 5/24/87 7:00 5/24/87 9:30 5/24/87 MID

Secret Festival Genesis The Right Hand Man Turn Of The Screw 3-D x 4 Marathon

5/25/87 1:30 5/25/87 4:00 5/25/87 7:00 5/25/87 9:30

Secret Festival The Unknown Soldier Gonza the Spearman Nanou

5/26/87 7:00 5/26/87 9:30

Plodders Time

Saturday

Sunday

Monday

Tuesday

H E

5/27/87 5:00 5/27/87 7:00 5/27/87 9:30

VaBanque The Poet’s Silence High Season

Thursday

5/28/87 7:00 5/28/87 9:30

In CinemaScope with Leonard Maltin Secrets, Secrets

Friday

5/29/87 5:00 5/29/87 7:00 5/29/87 9:30 5/29/87 MID

Macario The Wolf at the Door Retribution Blood Diner

Saturday

5/30/87 12:30 5/30/87 4:00 5/30/87 7:00 5/30/87 9:30 5/30/87 MID

Sunset Boulevard A Woman From The Provinces Devil In The Flesh Personal Services Trancers

Sunday

5/31/87 1:30 5/31/87 4:00 5/31/87 7:00

Secret Festival The Last Movie An Evening with Dennis Hopper

Monday

6/1/87 6/1/87

7:00 9:30

Weapons of the Spirit Black &White

Tuesday

6/2/87 6/2/87

7:00 9:30

identification of a Woman How I Was Systematically Destroyed By The Idiot

Wednesday

6/3/87 6/3/87 6/3/87

5:00 7:00 9:30

People On Sunday/Berliners On Sunday German Dreams Perfect Match

Thursday

6/4/87 6/4/87

7:00 9:30

Diary OfA Mad Old Man The Pointsman

Friday

6/5/87 6/5/87 6/5/87 6/5/87

5:00 7:00 9:30 MID

Hard Asphalt T.BA Straight To Hell Dead End Drive-in

Saturday

6/6/87 6/6/87 6/6/87 6/6/87 6/6/87

12:30 4:00 7:00 9:30 MID

Chinatown AWoman Alone JeandeFlorette Prick Up Your Ears Street IVash

Sunday

6/7/87 6/7/87 6/7/87

1:30 4:00 7:30

Secret Festival Poster Auction Good Morning, Babylon

Monday

6/8/87

7:30

Golden Space Needle Awards

Sunday

5/31/87 2:00

Wednesday

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Wings

Market Theater Friday

Saturday

Sunday

5/15/87 5:00 5/15/87 7:00 5/15/87 9:30

No Man’s Land L’Effrontee RosaLuxemberg

5/16/87 5/16/87 5/16/87 5/16/87

Odd Birds AnneTrister Wild Mountains Paradise

1:30 4:00 7:00 9:30

5/17/87 7:00 5/17/87 9:30

Trouble In Paradise Miss or Mytb/Intemational Sweethearts of Rhythm No End Boy Meets Girl

Monday

5/18/87 7:00 5/18/87 9:30

Malabrigo Happy New Year 1949

Tuesday

5/19/87 7:00 5/19/87 9:30

Chile: Hasta Cuando?/ Sanctuary Arriving Tuesday

Wednesday

5/20/87 7:00 5/20/87 9:30

Saxophone Colossus PasoDoble

Thursday

5/21/87 7:00 5/21/87 9:30

The Pied Piper Sorekara

5/22/87 5:00

A Composer’s Notes: Philip Glass, The Making of an Opera The Trouble With Dick A Walk On The Moon

Friday

5/17/87 12:30 5/17/87 4:00

5/22/87 7:00 5/22/87 9:30

5/23/87 4:00 5/23/87 7:00 5/23/87 9:30

Chuck Solomon: Coming of Age/ Oscar Wilde: Spendthrift of Genius Karayuki-san: The Making of a Prostitute Hour of the Star Comic Magazine

Sunday

5/24/87 12:30 5/24/87 4:00 5/24/87 7:00 5/24/87 9:30

The Plainsman Other Halves One More Spring A King and His Movie

Monday

5/25/87 12:30 5/25/87 4:00 5/25/87 7:00 5/25/87 9:30

Midnight/Palm Beach Story The Dream Makers Personal Foul Dolls

Saturday

5/23/87 1:30

Directed ByWilliam Wyler/ South Bank Show: Michael Powell 5/26/87 9:30 ' I Lived, B u t...

Tuesday

5/26/87 7:00

Wednesday

5/27/87 7:00 5/27/87 9:30

My Little Girl Ricochets

Thursday

5/28/87 7:00 5/28/87 9:30

Poor Butterfly Inside Out

Friday

5/29/87 5:00 5/29/87 7:00 5/29/87 9:30

Laputa A Chronicle of Amorous Accidents Man Facing Southeast

Saturday

5/30/87 1:30 5/30/87 4.00 5/30/87 7:00 5/30/87 9:30

Mabou Mines’Dead End Kids Slate, Wyn and Me PingPong Impure Thoughts

Sunday

5/31/87 5/31/87 5/31/87 5/31/87

12:30 4:00 7:00 9:30

Double Indemnity John’s Secret Kindergarten Almacita Di Desolato

Monday

6/1/87

7:00

6/1/87

9:30

The Austrian Trilogy, Part 1: God Doesn’t Believe In Us Anymore The Great Generation

Tuesday

6/2/87 6/2/87

7:00 9:30

The Austrian Trilogy, Part 2: Santa Fe The Riverbed

Wednesday

6/3/87

7:00

6/3/87

9:30

The Austrian Trilogy, Part 3: Welcome in Vienna The Time to Live and The Time to Die

6/4/87 6/4/87

7:00 9:30

Gone To Earth Tampopo

Thursday

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A Sunday, May 24 9:30 Market Theater

@ A King and His Movie

Argentina Director; Carlos Sorin Producers: Perla Lichtenstein, Gustavo Sierra, Ezequiel Abalos Screenwriters: Jorge Goldenberg, Carlos Sorin Cinematographer: Esteban Courtalon Editor: Alberto Yaccelini Music: Carlos Franzetti Cast: Ulises Dumont, Julio Chaves, Villanueva Cosse, Ana Maria Giunta Print Source: Progress Communications 1986 107 minutes

Carlos Sorin’s imaginative first feature which won the award for the best debut at the Venice Festival — one of the few prizes which were heartily cheered this year — is a film about the making of a film, but by no means po-faced. In fact, it is often hilarious, as an obsessed young director watches his pet project fold under him through lack of finance. His original story is an intriguing one: It is that of an obscure French provincial procurator who in 1860 proclaimed himself the King of Patagonia. What the director wants is a kind of Latin-American western, with as much of Stagecoach as Glauber Rocha in it. What he gets is a shambles. Nothing, however, will deter him, and the film ends in renewed hope. A King and His Movie is very well-shot and, if Sorin does compare himself with the director in the film, this lively first effort should certainly allow him to live less dangerously than th at star-crossed young man with his wonderful dreams of Messrs. Wayne and Ford. — Derek Malcolm, London Film Festival

Friday, May 29 9:30 Market Theater

Man Facing Southeast

Argentina

Director/Writer: Eliseo Subiela Producer: Lujan Pflaum Cinematographer: Ricardo de Angelis Editor: Luis Cesar D’Angiolillo Music: Pedro Aznar Cast: Lorenzo Quinteros, Hugo Soto, Ines Vemengo Print Source: FilmDallas 1986 108 minutes The surprise hit of the Toronto Film Festival last autumn was this psychological mystery from a talented Argentine director which has been compared by some reviewers to One Flew Over the Cuckoo’s Nest. A psychiatrist is treating a very high I.Q. patient who claims he is from another planet. The doctor is puzzled by both his lack of a past and his strange behavior. At times the “alien” goes into a trance while standing in the courtyard of the hospital facing southeast, he appears to be able to perform minor miracles, and he even has a girl visitor who also claims to be an alien. When the patient becomes interested in brain research, we realize th a t questions are being raised about the nature of man, religion and medicine. Writer-director Eliseo Subiela invites comparison in his film to Nicolas Roeg’s The Man Who Fell to Earth and Andrei Tarkovsky’s Solaris. — A Fl Film Festival, Los Angeles

15 9:30 Egyptian Theatre

Mary

Argentina Director: Maria Luisa Bemberg Producer: Lita Stantic Screenwriters: Maria Luisa Bemberg, Jorge Goldemberg Cinematographer: Miguel Rodriguez Editor: Cesar D’Angiolillo Music: Luis Maria Serra Cast: Julie Christie, Donald McIntyre, Sofia Viruboff, Nacha Guevara, Eduardo Pavlovsky Print Source: New World Pictures 1986 100 minutes Julie Christie has one of her best roles in years in this lush period piece by Maria Luisa Bemberg, whose previous film Camila was an international success. To a large country estate in 1938 comes Miss Mary, a prim, determined English governess hired to take charge of the family’s three children. Immensely wealthy, the family lives in splendid isolation from the rest of the country, and from the harsher realities of life. The father, a tyrannical patriarch who believes th at “religion keeps women out of trouble,” also has a roving eye for the ladies; the mother, pale and angular, finds comfort in her “little crying room”; the children, used to excessive indulgence, flirt with their emerging sexuality. Miss Mary, outwardly cool and respectable but inwardly frustrated and lonely, is expected to supervise the propriety of the children’s conduct — but in the end has trouble enough supervising her own.

ARGENTINA • AUSTRALIA Thursday, May 28 7:00 Market Theater

@ Poor Butterfly Director: Producer: Screenwriters: Cinematographer: Editor: Music: Cast: Print Source:

Argentina Raul de la Torre Ben Silberstein Aida Bortnik, Raul de la Torre Marcelo Cantorino Carlos Macias Roberto Lar Gracida Borges, Lautaro Murua, Pepe Soriano, Victor Laplace Progress Communications 1986 118 minutes

Based on a screenplay by Aida Bortnik, who co-wrote The Official Story, Poor Butterfly is quite as compelling and topical as th at recent Oscar-winner. Butterfly uncovers a particularly fascinating period of Argentinian history, opening in 1945 on the day Berlin fell to the Allies. On one level, it is a lively adventure, set against the chaotic canvas of intrigues th at marked this post-war period when the Com munists, Anarchists, and Fascists were all vying for the power soon to be claimed by Peron. On another, it is the very personal stoiy of one woman’s struggles and doubts as she comes to grips with the truth of her Jewish heritage and the mysterious death of her Communist father. Amongst several fine perfor mances, Graciela Borges is particularly memorable in the central role, playing a woman (much like the Official Story heroine) who finds herself cruelly propelled out of a safe bourgeois existence. Skillfully directed by Raul de la Torre, this powerful new film makes it clear why Argentinian cinema is moving to the forefront of international attention.

Tuesday, May 19 7:00 Market Theater

Chile: Hasta Cuando?

Australia

Director/Producer: David Bradbury Cinematographers: David Knaus, Peter Schnall Print Source: Filmmakers Library Inc. 1986 56 minutes Twelve years after the military coup th at unseated President Salvadore Allende, filmmaker David Brad bury (who entered Chile on the pretext th at he was making a film about music) returns to th a t troubled country to record the legacy of General Pinochet: at least 2500 ‘missing people’ (including children), random police-initiated terror against the poor, a $22 million debt, 14% unemployment and a survival-level standard of living for the masses of people . . . In one of the film’s final scenes, a 14-year-old boy whose father has been kidnapped and murdered gives a heart-rending speech calling for unity in the fight against the brutal dictatorship. His pleas are followed by an interview with the chief of police, who blames the spate of murders on ‘international communism.’ See this film and decide who’s telling the truth. — U.S. Film Festival, 1987 Showing with Sanctuary: A Question of Conscience

W H tÊ m Friday, June 5 Midnight Egyptian Theatre

American Premiere

□ Dead End Drive-In

Australia Brian Trenchard-Smith Andrew Williams, Damien Parer Peter Smalley, from the short story, “Crabs,” by Peter Carey Paul Murphy Lee Smith Frank Strangio Ned Manning, Natalie McCurry, Peter Whitford, Wilbur Wilde, Brett Climo Print Source: New World 1986 90 minutes

Director: Producers: Screenwriter Cinematographer: Editor: Music: Cast:

This futuristic thriller from Down Under, handsomely photographed in Cinemascope, is like the first

Mad Max, with humor. Sometime in the 1990s, a young man nicknamed Crabs (because he once thought he had them) borrows his older brother’s ’56 Chevy to take his girl on a date to the Star Drive-In (showing Rambo Takes Russia). Sounds perfectly normal, doesn’t it? But while they are necking, someone steals the wheels off the car and they find themselves trapped inside an electrified fence, in a makeshift prison camp where the authorities have been rounding up young people. Crabs, a bom rebel, refuses to submit to captivity, and plots his escape. After a tense build-up, the film explodes in a flurry of sensational stunts as Crabs tries to break out of Dead End Drive-In. Playwright-turned-actor Ned Manning gives Crabs a doggedly cheerful toughness, and the film has a welcome sense of humor. An ‘After Hours’ film

A U S T R A L I A Saturday, May 23

7:00 Egyptian Theatre

[□] The More Things Change

Australia Director Robyn Nevin Producer: Jill Robb Screenwriter Moya Wood Cinematographer Dan Burstall Editor JillBilcock Music: Peter Best Cast: Judy Morris, Barry Otto, Victoria Longley, Lewis Fitz-Gerald, and introducing Owen Johnson Print Source: Australian Film Office 1986 94 minutes

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Actress and stage director Robyn Nevin (Caddie, Chant of Jimmie Blacksmith, Careful, He Might Hear You) makes an auspicious film directing debut with this portrait of a modem marriage seen from the woman’s point of view. A happily married couple with a young son, Connie (Judy Morris, from The Plumber) and Lex (Barry Otto, from Bliss) have opted out of the ra t race and bought a small but spectacularly beautiful farm two hours’ drive from the city. Connie keeps her well-paying job in the city for the present, Lex works the farm, and they hire a live-in babysitter, Geraldine (who is young, engaged to be married, and pregnant— though not by her fiancé). Unexpectedly, Connie and Lex find themselves growing slowly apart, while Geraldine and her fiancé grow closer together. The More Things Change is a very special film: wonderfully observed, sensitively directed, splendidly acted, with lots of humor and insight into people and relationships.

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Sunday, May 24 7:00 Egyptian Theatre

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Australia Director: DiDrew Producer: Steven Grives, Tom Oliver, Basil Appleby Screenplay: Helen Hodgman Cinematographer: Peter James Music: Allan Zavod Cast: Rupert Everett, Hugo Weaving, Arthur Dignam, Jennifer Claire, Catherine McClements Print Source: Film Dallas 1986 95 minutes

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This 19th-century romance stars Rupert Everett (Another Country, Dance With A Stranger) as the sickly aristocrat, Harry Ironminster, who was the best driver in the district until he crashed his carriage in an accident th a t killed his father and led to the loss of his right arm. Harry still wants to set a speed record in his racing rig, the High Flyer, but can’t drive himself — so he recruits Ned Rowlands (Hugo Weaving), the young, rugged, sometimes reckless driver of the lumbering Leviathan, a 75-passenger stagecoach th a t thunders down the rough roads to Sydney every week. Ned becomes Harry’s right hand man, his surrogate for more than just driving, as Harry’s health deteriorates and his desire for an heir becomes obsessive. The Right Hand Man is an extremely beautiful film with some spectacular action sequences, winner of the Australian Film Institute award for Best Cinematography.

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Slate, Wyn& Me

American Premiere A ustralia

Director: Don McLennan Producer: Tom Burstall Screenwriter: Don McLennan, from a novel by Georgia Savage Cinematographer: David Connell Editor Peter Friedrich Music: Trevor Lucas, Ian Mason Cast: Sigrid Thornton, Simon Burke, Martin Sacks, Tommy Lewis Print Source: Hemdale Releasing 1987 96 minutes Wyn Jackson and his older brother, Slate, live in the small, country town of Mowbray. Recently returned from Vietnam and bitterly frustrated by what life seems to hold for them, they decide to rob a bank, but all does not go well. Wyn kills a policeman and the shooting is witnessed by a pretty young teacher, whom they force to accompany them on a grueling cross country escape. They soon discover the kidnapped Blanche (the “Me” of the title) is herself a force to be reckoned with. Thus begins Slate, Wyn & Me, which is both a ruggedly realistic road picture and a powerhouse triangular drama of love, jealousy, and deception. The film was shot under extremely trying conditions in some of the most colorfully remote and blisteringly hot comers of Australia, which Director Don McLennan skillfully uses to heighten the conflicting tensions. For those who like their drama bold and raw, Slate, Wyn &Me is not to be missed!

B E L G I U M • BRAZI L Thursday, June 4 7:00 Egyptian Theatre

American Premiere

[□] Diary Of A Mad Old Man

Belgium Lili Rademakers Menachem Golan, Yoram Globus Pierre Drouot, Fons Rademakers Hugo Klaus Ralph Michael, Beatie Edney, Derek De Lint, Dora Van Der Groen, Ina Van Der Molen Print Source: Fons Rademakers 1986

Director: Executive Producers: Producers: Screenwriter: Cast:

Utsugu, a 70-year old Japanese man has just suffered a stroke but even as his body is breaking down, he discovers th at his sex drive is stronger than ever! Teased by his flashy cosmopolitan daughter-in-law, he channels much of his new found energy into the writing of his Diary Of A Mad Old Man, which this droll and wicked new film is based on. Lili Rademakers, director of the wiy farce Minuet (SIFF ’82) helmed this quirky delight, produced by her husband, Academy Award winner Fons Rademakers (The Assault, SIFF ’86).

Director Lili Rademakers and Producer Fons Rademakers will attend this screening.

Monday, May 25 4:00 Market Theater

American Premiere

The Dream Makers

Belgium/Netherlands RobbedeHert Luc Reusens, Jules van der Steenhoven Chris Verbiest Puccini, Loek Dikker, Luciano Berio Chantal Akerman, Andre Delvaux, Bert Haanstra, Rob Houwer, Paul Verhoeven Print Source: Cinete Film Productions 1984 100 minutes

Director Cinematographers: Editor: Music: Cast:

A film about the making of films in Belgium and Holland, The Dream Makers presents interviews and on-location background footage with some of the most vibrant and important filmmakers now working in international cinema. Such luminaries as Paul Verhoeven, Chantal Akerman, Rob Houwer and Harlan Ellison give us their fascinating insights into the problems and pleasures inherent in working in one of the most vibrant and prolific moviemaking centers in Europe today.

Saturday, May 23 7:00 Market Theater

Hour of the Star

Brazil Suzana Amaral Assuncao Hernandez Suzana Amaral, Alfredo Oroz, from the novel by Clarice Lispector Edgar Moura Ide Lacreta Marcus Viunicius Marcelia Cartaxo, Jose Dumont, Tamara Taxman, Fernanda Montenegro Print Source: Kino 1985 96 minutes

Director: Producer: Screenwriters: Cinematographer: Editor Music: Cast:

Macabea, the antiheroine of Hour of the Star, is a simple, naive 19-year old girl from the country who is lost in the big city of Sao Paulo. Poor, ugly and unintelligent, she has everything going against her — yet she is also sweet-tempered and doggedly optimistic, a figure of comic pathos touched with grace who has a universal appeal. This film is the remarkable feature debut of 52-year old Suzana Amaral, classmate of Jim Jarmusch (Stranger Than Paradise, Down By Law) at N.Y.U Film School, who raised nine children before realizing her lifelong ambition to become a filmmaker. Hour of the Star has won many international prizes, including co-Best Actress for Marcelia Cartaxo at the Berlin Film Festival, Best Film a t the Havana and Brasilia Film Festivals, and Best Director at the Women’s Film Festival in France. Andrew Sarris of the Village Voice writes: “Peering into my crystal ball, I can see two of the movies on my 1987 Ten-Best list: Woody Allen’s Radio Days and Suzana Amaral’s Hour of the Star. ”

C A N A D A • CHI NA Saturday, May 16 4:00 Market Theater

Anne Trister

Canada Director: Lea Pool Producers: Roger Frappier, Claude Bonin Screenwriters: Lea Pool, Marcel Beaulieu Cinematographer: Pierre Mignot Editor: Michel Arcand Music: Rene Dupere, with “Kaddish” by Ravel Cast: Albane Guilhe, Louise Marleau, Lucie Laurier, Guy Thauvette, Hugues Quester, Kim Yaroshevskaya Print Source: Films Transit/NFB in LA 1986 115 minutes

Like her award winning debut feature, La Femme de L’Hotel (SIFF ’85), Lea Pool’s second film is a delicate study of feminine emotions and psychology. Anne Trister, 25, Jewish, a painter, is traumatized by her father’s recent death. Abandoning her studies, fiancé, and native Lausanne, she moves to Quebec, liiere, she moves in with Alix, an older female psychologist with whom Anne falls in love, much to the consternation of Pierre, Alix’s boyfriend. Desperate to fill the emotional void, Anne tries to lose herself in a series of impulsive affairs, and an increasingly extravagant art project. This is an absorbing and visually sumptuous exploration of the many ways we express grief and love.

Friday, May 22 5:00 Egyptian Theatre

□ Pouvoir Intime

Canada Director: Yves Simoneau Producer: Claude Bonin Screenwriters: Yves Simoneau: Pierre Curzi Cinematographer: Guy Dufaux Editor: Andre Corriveau Music: Richard Grégoire Cast: Marie Tifo, Pierre Curzi, Jacques Godin, Eric Brisebois, Robert Gravel Print Source: Films Transit/ NFB in L A 1986 87 minutes

25-year-old Québécois filmmaker Yves Simoneau outdoes himself once again in this jolting, shoot-em-up affair th a t has the slickness of a film many times its $1,700,000 budget and a sophistication th a t belies the youth and experience of its director. A non-stop explosion of enticing colors and sounds, the psychod ram a is as stylish — albeit in a steely, cold fashion — as it is involving. Simoneau takes viewers for a plunge inside Montreal’s sordid underbelly on a botched-up heist of an armored, cash-laden v a n . . . An unscheduled changing of the van’s guards inadvertently touches off a bizarre and bloody chain reaction (when) the bad guys can’t get in to the loot and the good guy can’t get o u t . . . What transpires is a nail-biting battle of wits. Simoneau tosses in enough intriguing plot twists to keep everyone off-track until the end. Robert Gravel, as the trapped and tormented guard, steals the show with an overwhelming, power-packed performance.— Variety

Saturday, May 16 7:00 Market Theater

Wild Mountains

China Director: YanXueshu Producer: LiXingzhen Screenwriters: Yan Xueshu, Zhu Zi, based on the novel The People of Jiwowa by Jia Ping’ao Cinematographer: Mi Jiaqing Music: XuYoufu Cast: Yue Hong, Xin Ming, Du Yuan, Xu Shouli, Tan Xihe Print Source: China Film Export 1985 100 minutes

Wife-swapping in China might sound like a pretty wild item, but that is the theme of Wild Mountains. When two brothers decide to follow their wives’ lead and change partners, a comedy of sexual manners begins. It all seems quite natural — the logical grass-roots result of the social changes sweeping China. At first the brothers seem overwhelmed by what is happening to the country, but soon one tries his hand at free enterprise and, after years of communal life, this leads to a major upset in the small community. Re-examining both communism and the role of women is rather daring subject m atter for China and even a year or so ago a film like Wild Mountains would never have been dreamed of. Wild Mountains provides an unusually sophisticated self-portrait of the cultural and social changes sweeping Mainland China — and does so with a subtle humor which is a new product from this ancient culture.

5 4

CZECHOSLOVAKIA • DENMARK Thursday, May 21 7:00 Market Theater

The Pied Piper Director: Producers: Screenwriter: Cinematographers: Editor: Music: Print Source:

American Premiere Czechoslovakia

Jiri Barta Rudolf Graf, Klara Stoklasova Kamil Pixa Vladimir Malik, Ivan Vit Helena Lebduskova Michael Kocab Czecho Filmexport 1986 62 minutes

Some of the most exciting new animation in the world has been coming out of Czechoslovakia. Jiri Barta’s works have been at the forefront of this animation revolution, and The Pied Piper is his latest and most elaborate accomplishment yet. Barta animated models carved out of walnuts to tell his version of the ancient German legend about a mysterious Pied Piper who rids a town of its rats, and then turns his magical pipe on the citizens of the town who have refused to pay his fee. The characters all speak an imaginary language and mime the action. (Please note th a t The Pied Piper is considered too frightening for small children. Playing with The Pied Piper will be an earlier B arta film, The Extinct World of Gloves, an equally original work which has astounded animation audiences world-wide.)

Sunday, May 31 4:00 Market Theater

John’s Secret

Denmark Ake Sandgren Dan Lausten Leif Axel Kjeldsen Anders Koppel Jacob Katz, Ina-Miriam Rosenbaum, Kirsten Olesen, Claus Strandberg Print Source: Danish Film Institute 1985 60 minutes

DirectorAVriter: Cinematographer: Editor: Music: Cast:

FEMALE JESUS APPEARS IN TOILET BOWL. It sounds like a Weekly World News headline, but it’s actually the premise for this astonishing short feature. John’s Secret is a fable about five-year-old John, the child of divorced parents, who, on the night before his birthday, sees a bright light coming out of the w.c. Whaddaya know, it’s Jesus — and she (yes, she) takes him on a guided tour of humanity, both good and evil, including: a flight aboard a bomber in World War II, a ride in a fire engine, a visit to the house of a little girl whose parents fight all the time, and a trip to Hell itself. Writer/Director Sandberg, who doesn’t like the idea of “children’s films” th at talk down to kids, says: “The crazy idea of having Jesus appear from a toilet is to me more liberating than provocative. Today, when religion is often seen as introverted and solemn, I find we have a right to pull it down from its pedestal in order to make people more interested in it. It may possibly offend certain Christians, and I ask their forgiveness for th at beforehand.” Shown with Altar Boy and The Misunderstanding

Friday, May 29 7:00 Egyptian Theatre

m The Wolf At The Door

American Premiere

Denmark/France Director: Henning Carisen Screenwriters: Christopher Hampton, based on script by Carlsen, Jean-Claude Carriere Cinematographer: Mikael Salomon Editor: Janus Billeskov Jansen Music: Ole Schmidt Cast: Donald Sutherland, Valerie Glandut, Max von Sydow, Sofie Grabol Print Source: International Film Marketing 1986 140 minutes

Over the years Donald Sutherland has created a gallery of unforgettable characters: Hawkeye in MAS.H., Klute, the husband in Don’t Look Now, Fellini’s Casanova, the father in Ordinary People, the German spy in Eye Of The Needle. To these he now adds Paul Gauguin, the great French painter who deserted his Danish wife and children to pursue art in Tahiti. Social outcast and flouter of convention, Gauguin was obsessed with women’s beauty, sometimes sleeping with his young models. This breathtakingly beautiful film (made in English) begins in 1893, when Gauguin arrived back in France with 66 canvases and four francs in his pocket, confident th a t his new paintings would take the art world by storm and transform his career. But a Paris exhibition was a fiasco, received with contempt, which succeeded only in plunging him into debt. For the next 18 months he tried desperately to acquire enough money to escape once again from the narrow-mindedness and northern chill of Europe, this time for good.

F I N L A N D • FRANCE Monday, May 25 4:00 Egyptian Theatre

□] The Unknown Soldier

Finland Director/Producer: Rauni Mollerg Screenplay: Rauni Mollberg, Vâino Linna, Veikko Aaltonen (based on the novel by Vâino Linna) Cinematography: Esa Vuorinen, Raimo Paananen, Pauli Sipilâinen Editor: Olli Soinio Cast: Risto Tuorila, Pirkka-Pekka Petelius, Mika Mâkelâ, Pertti Kolvula, Pekka Ketonen Print Source: Carlton Film Export 1985 165 minutes

This tremendously moving film is the most expensive production ever mounted in Finland. Set during a conflict at the end of World War II, it follows (like Platoon) a single group of mostly inexperienced young soldiers caught up in a remorseless struggle over which they have no control. This film is actually a remake of Edvin Laine’s 1955 version of the best-selling Vaino Linna novel, but this time there are no heroic deeds, no overblown soundtrack. Hand-held camerawork and the inspired, unaffected acting of the young cast create a shattering feeling of “being there,” and give this epic a human drama th a t rejects the comic-book concept of war as practiced by Sylvester Stallone.

Monday, June 1 9:30 Egyptian Theatre

Black & White (Blanc et Noir)

France

Director/Writer: Claire Devers Cinematographers: Daniel Desbois, Christophe Doyle, Alain Lasfargues, Jean Paul Da Costa Editors: Fabienne Alvarez, Yves Sarda Music: sung by Chorale Rhapsodes Cast: Francis Frappat, Jacques Martial, Josephine Fresson, Marc Berman Print Source: Tom Garvin 1986 80 minutes Claire Devers’ first film won the Camera d’ Or at the 1986 Cannes festival, and it is easy to see why. Black & White is a stark, startling and wholly original work, displaying the style and technique of an exciting and promising new director. The film tells the story of Antoine, a rather meek accountant who is hired to straighten out the books at a health club. Along with the job comes the fringe benefit of free use of the facilities, and Antoine eventually finds himself submitting to the brutish, taciturn masseur for regular rub-downs, rub-downs which become rougher and more violent over time. Soon Antoine and the m a sseur are engaged in a sadomasochistic relationship which neither can — or wants to — break off before it escalates to its inevitable, shocking climax. What makes Devers’ film so provocative is that she chooses not to show us what is going on most of the time, requiring the viewer to provide his/her own details for the action on the screen. Sometimes darkly funny, often deeply disturbing, Black & White is not a film for everyone; but those who see it will not forget it.

Sunday, May 17 9:30 Market Theater

@ Boy Meets Girl

France Director/Writer. LeosCarax Producer: Patricia Moraz Cinematographer: Jean-Yves Escoffier Editors: Nelly Meunier, Francine Sandburg Music: Jacques Pinault Cast: Denis Lavant, Mireille Perrier, Carroll Brooks, Elie Poicard Print Source: Cinecom/M & R 1985 100 minutes

Boy Meets Girl suggests something of what it m ust have been like to see Breathless for the first time in 1960. Leos Carax’s first feature has the same ardour, the same freshness, even the same arrogance and inflexibility. But it is a well-earned arrogance — Carax, though still in his early ’20s, displays a mastery of visual design and dramatic rhythm th a t could stir the envy of filmmakers three times his age. The [black-and-white] nocturnal Paris in which the film takes place seems to spring directly from the early New Wave films, as do Carax’s two main characters— a young drifter who wanders the desolate streets, keeping a compulsively complete record of his random experiences and encounters on a map of the city, and an actress who takes to the same streets in flight from a brutal lover. . . I haven’t seen a more impressive debut in years. With this film, Leos Carax emerges as a major talent. — Dave Kehr,

Chicago Film Festival

5 6

Friday, May 15 7:00 Market Theater

L’Effrontee

France

Claude Miller Marie-Laure Reyre Claude Miller, Luc Beraud, Bernard Stora, Annie Miller Dom inique Chapuis Albert Jurgenson Alain Jomy, and M endelsohn, Mozart, Beethoven Charlotte Gainsbourg, Bernadette Lafont, Jean-Claude Brialy, Jean-Philippe Ecoffey, J u lie Glenn Print Source: Gades 1985 96 m inutes

Director: Producer: Screenwriters: Cinematographer: Editor: Music: Cast:

This superb portrait of adolescent growing pains — accurate, funny and affectionate — is directed by Claude Miller (The B est Way, S IF F 1977; M ortelle Randonne, S IF F 1984.) Thirteen year old Charlotte Gainsbourg, daughter of Jane Birkin and singer Serge Gainsbourg, plays, the extremely appealing title character (it translates as The Audacious or Impudent Girl.) She lives with her widowed father and an understanding housekeeper, but is lonely, restless and rebellious. Idolized by a sickly, clinging 8-year old neighbor girl, she in turn strikes up an awed friendship with Clara, a visiting child prodigy pianist her own age. She also encounters a sailor/drifter who, mistaking her age, clumsily tries to seduce her. Bernadette Lafont won a Best Supporting Actress Cesar, but the picture belongs to Charlotte Gainsbourg, who also won a Cesar (for most promising young actress), giving what Variety called “one of the best child performances to be seen anywhere in years.”

Monday, May 18 9:30 Egyptian Theatre

[□] M agnificent Lover

France

Director/Writer: Producer: Cinematographer: Editor: Music: Cast:

Aline Issermann Jean-Claude Fleury Dom inique Le Rigoleur Dom inique Auvray Renaud Isaac . Isabelle Otero, Hippolyte Girardot, Robin Renucci, Didier Agostini Print Source: World M arketing Film 1986 100 m inutes

Vivienne (Isabelle Otero), married for three years to a horse breeder, is restless and dissatisfied. When she falls passionately in love with a handsome young stable hand employed by her husband, everything changes. Physical love becomes a tremendously liberating force in her life, sweeping everything away in its path. The lovers are soon forced to flee, taking the husband’s beloved horse, left in the groom’s care. The husband pursues them, furious a t the loss of both his wife and his horse. For a time the lovers find refuge on an isolated beach, but their intense idyll cannot last. The M agnificent Lover celebrates passion as an elemental force of nature, lushly photographing the many love scenes amid settings of natural splendor. Director Mine Isserman and camerawoman Dominique Le Rigoleur have created an erotic tale where the woman is the focus of pleasure, rather than its vehicle.

Saturday, May 23 4:00 Egyptian Theatre

[□] Rendez-vous

France

Andre Techiné Alain Terzian Andre Techiné, Olivier Assayas Renato Berta M artine Giordano Philippe Sarde J u liette Binoche, Wadeck Stanczak, Lambert Wilson, Jean-Louis Trintignant Print Source: Spectra 1985 82 m inutes

Director: Producer: Screenwriters: Cinematographer: Editor: Music: Cast:

Rendez-vous is a stylish and engrossing tale of obsessive sexuality, forcefully conveyed by a cast of excellent young actors. Judging by their work here, all have promising futures. Newcomer Juliette Binoche, seen briefly in recent films by Jean-Luc Godard (including his controversial Hail, Mary) is quite remarkable in her first leading role, th a t of a provincial girl who comes to Paris to get into the theater and make the most of her carefree sexuality. Wadeck Stanczak won a Cesar as the most promising new actor for his tender performance as the naive young man who, hoping to bed her, befriends her. Equally memorable is the dashingly handsome Lambert Wilson (Five Days One Summer, Rouge Baiser) as the haunted actor whose self-destructive course will leave an indelible mark on the girl and her future. Director Andre Techine (Barocco, Scene o f the Crime) seems to have a special fondness for highly atmospheric dramas of passion and fate. Rendez-vous is one of his most evocative and searing, deservedly winning him the Best Director prize a t Cannes in 1985.

G E R

Y Sunday, May 17 7:00 Egyptian Theatre

Forget Mozart

Germany Director: Slavo Luther P rod ucer Jan H in ter Screenwriter: Zev Mahler Cinematographer: Joseph Simonic Sound: Milan Bor Music: Wolfgang Amadeus Mozart Cast: Tidof, Catarina Raacke, Annin Mueller-Stahl, Wolfgang Preiss Print Source: Katz Denny Productions 1986 93 m inutes

Forget Mozart takes up where Amadeus left off: On December 5th, 1791, a group of people are gathered around Mozart’s deathbed — some who love and admire Mozart, others who hate and envy him. Murder is suspected, and the chief of police will not let anyone leave until he can get a satisfactory confession out of someone. Gradually, Mozart’s colorful, passionate life unfolds in a series of flashbacks which reveal only enough to make this mystery/thriller even more intriguing. The film can be considered a companion piece to Amadeus in more ways than one: Forget Mozart was filmed literally on the coattails of Milos Forman’s opus, using the same locations in Prague, the same sets, even the same costumes, as soon as the filmmaker’s Hollywood counterparts were done with them. And of course, there’s plenty of that glorious music. Despite these superficial similarities, however, Forget Mozart is completely o rig in a l, a fascinating new look at an old, unsolved mystery. Winner, Best Screenplay, Chicago International Film Festival, 1985

Friday, May 29 5:00 Market Theater

(Q)

L a p U ta

Germany

Director/Writer: Helma Sanders-Brahms Producer: Joachim von V ietinghoff Music: M atthias Meyer, Chopin Cast: Sami Frey, Krystyna Janda Print Source: German Export Union 1986 92 m inutes The title refers to the flying city of Laputa in Gulliver’s Travels, a metaphor in this case for the city of Berlin, where Paul and Malgorzata have carried on their sporadic affair. Paul (Sami Frey, from Little Drummer Girl and Black Widow) is an architect from France with a wife and child back home. Malgorzata (Krystyna Janda) is a photographer from Poland, where her ex-lover is a political prisoner. They are sometime lovers who meet for brief trysts in Berlin, always between flights to somewhere else. Malgorzata longs for Poland, and Paul feels the tug of familial responsibilities, and finally, on one trip, the two of them are forced to assess their common future.

Saturday, May 16 9:30 Market Theater

Paradise

Germany Director/Screenwriter: Doris D o m e Producers: Chris Sievernich, Richard Claus Cinematographer: H elge Weindler Editor: Raimund Barthelm es Music: Claus Bantzer, Combo Cocktail Cast: Heiner Lauterbach, Katharina Thalbach, Sunnyi Melles, Hann« Wieder Print Source: Export-Union 1986 100 m inutes

Paradise is the latest film by Germany’s favorite director, Doris Dorrie. Her first two films, Straight Through The Heart and In The Belly Of the Whale (SIFF ’86), were critical successes; but her third film, Men, was the highest-grossing film of all time in Deutschland. Her new film is also a wild success, as moviegoers clearly welcome the return of humor to the German cinema. Paradise is in many ways the companion piece to Men, since the subject of this disarming comedy is the struggle of two women over one man. A wife is convinced that her husband is having an affair, as he pays so little attention to her. In an attem pt to revive his libido, she introduces him to a childhood friend, an undersized, oversexed country lass, presuming that once he is back in form she can reclaim him. But the arrangement works too well, and soon the husband becomes obsessed with his mistress, who is perfectly happy being alone. When she leaves Hamburg to become a whore, off goes the husband in hot p u rs u it. . .

GERMANY • GREAT BRITAIN Friday, May 15 9:30 Market Theater

Rosa Luxemburg

Germany Margarethe von Trotta Eberhard Junkersdorf, Martin Wiebel Franz Rath Dagmar Hirtz N icolas Economou Barbara Sukowa, D aniel Olbrychski, Otto Sander, Adelheid Arndt, Jurgen Holtz Print Source: N ew Yorker Films 1986 122 m inutes

Director/Writer: Producers: Cinematographer: Editor: Music: Cast:

Margarethe von Trotta is a long-time SIFF favorite. To name her films is to name a list of past festival favorites: The Lost Honor o f Katharina Blum (SIFF 76), The Second Awakening of Christa Klages (SIFF 79), Marianne & Julianne (SIFF ’82), Sheer Madness (SIFF ’86). This is perhaps her most accomplished and biggest production yet. The radiant Barbara Sukowa (Lola, Berlin Alexanderplatz) won the Cannes Festival Best Actress Prize as Rosa L., the prolific propagandist and intellectual leader of the left wing of the German Socialists. The film is based on the more than 2,500 letters Rosa wrote, not only to her political circle, but also to her intimate friends. The film concerns itself mainly with the three pivotal years she spent in Germany. It begins with her meteoric rise to fame as a political journalist, teacher, orator and author, which was followed by the defeat she suffered as a peace activist, repeatedly imprisoned for her political commitment. It ends on January 16,1919, when Rosa Luxemburg was found dead, her body thrown into the Landwehr Canal near Berlin by right-wing thugs. The superbly authentic tum-of-the-centuiy atmosphere is enhanced mightily by brilliant cinematography and von Trotta’s masterly directorial talent.

Saturday, May 23 9:30 Egyptian Theatre

Castaway

Great Britain Director: N icolas Roeg’s Producer: R ick McCallum Executive Producers: P eter Shaw, Richard Johnson Screenwriter: Allan Scott, based on the books by Lucy Irvine and Gerald Kingsland Cinematographer: Harvey Harrison Editor: Tony Lawson Music: Stanley Myers Cast: Oliver Reed, Amanda Donohoe, Georgina Hale, Frances Barber, Tony Richards Print Source: Cannon Film s 1986 118 m inutes

Considered by many to be Nicolas Roeg’s most straightforward and accessible film, his latest, Castaway, is a lush tale of sexual tension and obsession on an isolated tropical island. The Blue Lagoon it ain’t. A sexually frustrated middle-aged man (Oliver Reed) advertises in a London newspaper for a wife to accompany him to an island for one year. Beautiful young Lucy (Amanda Donohoe), who works in a boring tax office, decides to take him up on what she calls “the ultimate blind date.” But once alone on their island “paradise,” their sexual needs and desires clash. Based on two nonfiction books by the real-life principals, Castaway attempts to tell both (conflicting) sides of their story — another dazzling and challenging film from the director of Bad Timing, Don’t Look Now, Walkabout, Performance, Insignificance and The Man Who Fell to Earth. Presented in 4-Track Dolby Stereo.

Friday, May 22 9:30 Egyptian Theatre

Coming Up Roses Director: Producer: Screenwriter: Cinematographer: Editor: Music: Cast: Print Source:

Great Britain

Stephen Bayly Linda Jam es Ruth Carter D ick Pope Scott Thomas M ichael Storey Dafydd Hywel, Iola Gregory, Olive Michael, Mari Emlyn Skouras 1986 93 m inutes

All too infrequently, perhaps once a year or less, a film comes along that touches me in a special way, and reminds me why I’m in this business. Coming Up Roses is just such a film. The story is about what happens after the last movie theatre closes down in a depressed Welsh town, and the now-unemployed projectionist and usherette struggle any way they can to: a) make ends meet, and b) keep the old cinema from being turned into a supermarket, a bingo parlor, or, worst of all, a parking lot. At turns heart-breakingly funny and then cheerfully hilarious, this warm, affectionate little film was one of the few highlights for me during the most recent London Film Festival. The film has been compared to the classic Ealing Comedies, with touches of Bill Forsyth. American director Stephen Bayly has created a film (with Welsh dialogue) th at will touch more than a few chords in those who love movies and movie theaters. — Gary

Tucker Special Jury Prize, 1986 Chicago International Film Festival Director Stephen Bayly will be present

GREAT

BRITAIN Thursday, June 4 7:00 Market Theater

Gone To Earth

Great Britain

Directors/Producers: M ichael Powell, Emeric Pressburger E xecutive Producers: David 0 . Selznick, Alexander Korda Screenwriters: Pow ell and Pressburger, from a novel by Mary Webb Cinematographer: Christopher Challis E d itor Reginald Mills Music: Brian Easdale Cast: Jennifer Jones, David Farrar, Cyril Cusack, Sybil Thordike, Hugh Griffith Print Source: British Film Institute, w ith the cooperation o f Kino Interna tional 1950 111 m inutes David 0 . Selznick greatly admired Powell and Pressburger’s Technicolor triumphs Black N arcissus (SIFF 1986) and The Red Shoes; in 1950 he persuaded them to film Gone To Earth, starring his wife-to-be Jennifer Jones. During shooting Powell refused to make changes th a t Selznick demanded, so the producer released an American version (The Wild Heart, 1952) with a third of the footage re-shot by Rouben Mamoulian and 29 minutes cut. Americans have never had a chance to see the original, quite different film, but now the British Film Institute has released a ravishing new print, rescuing a nearly lost film. Gone To Earth is unmistakably a Powell and Pressburger film, with its sensuous, dramatic, often lurid use of Technicolor, the heady mixture of the sacred and profane, and a mystical love of the English countryside. The story concerns a wild gypsy girl who becomes the platonic wife of a clergyman but is seduced by a fox-hunting squire. Michael Powell fans will also want to see South Bank Show, about his amazing career.

Saturday, May 16 9:30 Egyptian Theatre

□ Gothic

Great Britain

D irector Ken Russell Producer: Penny Corke Screenwriter: Stephen Volk Cinematographer: Mike Southron Editor: M ichael Bradsell Music: Thomas Dolby Cast: Gabriel Byrne, Julian Sands, N atasha Richardson, Myriam Cyr, Tim othy Spall Print Source: Vestron 1986 90 m inutes Enfant terrible director Ken Russell is back with a vengeance, and at the top of his craft, displaying his trademark style and sledge-hammer finesse (as flaunted in such classics as Women in Love, The D evils and Altered States) in this story of five friends who get together one dark and stormy night in 1816 for an evening of ghostly fun and ghastly games. Of course, given the guest list, this was bound to be no ordinary dinner party: Lord Byron, his ex-lover John Polidori, the poet Percy Shelley, his fiance Mary Godwin, and her step-sister Claire Clairmont. The products of this infamous summer night were two of the best known works of horror-fiction, Dr. Polidori’s The Vampyre, and Mary Shelley’s Frankenstein. No records exist of the events th a t occured th a t evening, but Russell’s guess is as good — and certainly as outrageously shocking —■as anyone’s. Russell is ably aided in his glorious excesses by screenwriter Stephen Volk, cinematographer Mike Southron, production designer Chris Hobbs, and most exceptionally, composer Thomas Dolby. Together they have created a film which Vincent Canby describes as being “ghoulishly funny and frenzied as a carnival ride through the Marquis de Sade’s Tunnel of Love.”1 Presented on the huge Egyptian screen in superb Dolby stereo, Gothic looks and sounds like no other film this year.

Wednesday, May 27 9:30 Egyptian Theatre

[□] High Season

American Premiere Great Britain

Director: Clare Peploe P rod ucer Clare Downs Screenwriters: Clare Peploe, Mark Peploe Cinematographer: Chris M enges Music: Jason Osborn Cast: Jacqueline Bisset, Jam es Fox, Irene Papas, Sebastian Shaw, Robert Stephens, Paris Tselios Print Source: Hemdale R eleasing Corp. 1987 105 m inutes A delightful recipe for a feast of high humor, High Season follows Jacqueline Bisset as a down-on-her-luck photographer living on the scenic Greek island of Rhodes with her daughter. Add an old friend who is an antique dealer and a Russian spy, one ex-husband (a bumbling British spy), toss in one whining wife and a questionable “antique” ja r that may or may not be the real thing. Season with laughter and you have the makings of a delicious and disarming comedy/farce. Screenwriter Mark Peploe helped write Antonioni’s The Passenger; and first-time director Clare Peploe (an assistant to Bertolucci on 1900) has assembled an unusually strong cast, who make the very most of their time in the sun.

GREAT Monday, May 25 9:30 Egyptian Theatre

□ Nanou

Great Britain/France

Director/Writer: P rod ucer Cinematographer: Editor: Music: Cast:

Conny Templeman Simon Perry Martin Führer Tom P riestley John Kean Imogen Stubbs, Jean-Philippe Ecoffey, Christophe Lidon, Daniel Day Lewis Print Source: Cineplex Odeon 1986 110 m inutes

Nanou is a refreshingly beautiful and seemingly bright young Englishwoman (played to perfection by newcomer Imogen Stubbs). After being fired from her summer job as a waitress in a Geneva hotel restaurant, she decides on a whim to look up Luc, a striking young Frenchman she met fleetingly on the train to Geneva. Arriving at his village, she soon moves in with him and makes herself a welcomed part of life in the village, where she finds work as a barmaid. Fairly rapidly, Luc proves not to be the fiery young idealist Nanou had perceived him to be, but a short-tempered and chauvinistic political radical. Nanou becomes enmeshed in his plotting, and despite an awkward visit from her parents, her English boyfriend (played by the chameleon-like Daniel Day Lewis) and the more direct advice of a good friend from home who visits her, she remains committed to Luc. When she becomes pregnant, and then her passport disappears — the obvious culprit being Luc — she realizes she must make a choice between Luc and her growing compulsion to leave this new and dangerous life.

Saturday, May 30 9:30 Egyptian Theatre

EO Personal Services Director: Producer: Screenwriter: Cinematographer: Editor: Cast: Print Source:

Great Britain

Terry Jones Tim Bevan David Leland Roger D eakins George Akers J u lie Walters, Alec McCowen, Shirley Stelfox, Danny Schiller Vestron 1986 104 m inutes

Sex is very funny, notes director Terry Jones, unless you’re the one who’s doing it. His new work, Personal Services, is a rarity: a film about sex whose total frankness will offend only bluenoses. Based on the much publicized life of Cynthia Payne, the “luncheon voucher madam”, this is one woman’s story of sex, perversion and a nice cup of tea in the jungle of the London suburbs. Julie Walters (Educating Rita) is Christine, a waitress whose prudishness vies with her curiosity about sex. Struggling to make ends meet, prey to a Harlequin Romance view of the world, Christine is as surprised as she is rewarded when she finds herself operating an amazingly successful brothel, catering to the needs and fantasies of everyone but herself. Created by the producer of My Beautiful Laundrette, the scriptwriter of Mona Lisa and the director of the Monty Python films, Personal Services is by turns outrageously funny and painfully candid in the exposure of closeted sexual desire and social hypocrisy —San Francisco Film

Festival

Saturday, May 30 7:00 Market Theater

Ping Pong Director: Producers: Screenwriter: Cinematographer: Editor: Music: Cast: Print Source:

Great Britain Po Chih Leong Malcolm Craddock, M ichael Guest Jerry Liu Nic Knowland David Spiers Richard Harvey Lucy Sheen, David Yip, Robert Lee, Lam Fund, Victor Kan The Samuel Goldwyn Co. 1986 104 m inutes

Ping Pong is England’s fascinating counterpart to the American-Chinese Dim Sum, Chan Is Missing, and A Great Wall. English-born Po Chi Leong, who has made eight films in Hong Kong (including Banana Cop, SIFF 1985), returned to London to make his first English film. It’s a comedy/mystery about the death of a rich, elderly traditional Chinese, Sam Wong, found in a telephone booth in London’s busy Chinatown. Who was he trying to call just before he died — and why? Young law clerk Elaine Choi (Lucy Sheen) is appointed to execute his will, but soon finds th at it will not be an easy task. Sam had attached strings to his bequests — in some cases ensuring a greater awareness of Chinese customs, in others encouraging a wider view of Western life — that no one wants to accept. But Elaine perseveres, and begins to learn more about her own rich inheritance — her Chinese heritage. P ing Pong explores what it means to be Chinese in the West, while telling an entertaining and likeable story.

BRITAIN

GREAT BRITAIN • HUNGARY Tuesday, May 26 7:00 Market Theater

South Bank Show: Michael Powell

Great Britain

Director/Screewriter: David Hinton Cinematographer: Chris O’Dell Print Source: Bravo Cable N etwork 1986 54 m inutes Michael Powell holds a special place in the SIFF pantheon: Among the highlights of recent festivals have been revivals of his The Life and Death o f Colonel Blimp, Black N arcissus and, this year, Gone to Earth. Now, direct from acclaimed presentations at the San Francisco and Dallas Film Festivals, comes this British video featurette about the man behind all those remarkable movies. “Parts of this hour-long film might have been conceived by Powell himself — particularly those parts which place him in dark-humored proximity to projected images from his own work. (The film excerpts) evoke the range of an unusual career — spy thrillers, patriotic films, musical fantasies, celebrations of countryside life, and films that turn inward on art on its images. But Powell’s own remarks also make an extraordinary impression, for here is a man who says: "The sky’s the limit. Art is worth dying for.”’ — Peter Hogue,

San Francisco Film Festival Shown with Directed by William Wyler

Monday, June 1 9:30 Market Theater

The Great Generation

Hungary

D irector Ferenc Andras Screenwriters: Ferenc Andras, Geza Berem enyl Cinematographer: Elem er Ragalyi Cast: Gyorgy Cserhalmi, Robert Koltai, Mari Kiss, Karoly E peijes Print Source: Hungarofilm 1986 114 m inutes This stylish and emotionally affecting film opens with a black and white prologue set in 1968 which introduces the three main characters — friends and drinking partners. One of the trio, Gyorgy, steals a passport from another, Karoly, and leaves the country with his girlfriend, heading for success in America. Some 17 years later he returns to Budapest with a teenage daughter in tow. His wife has long since left him and returned home. At first, the friend whose passport was stolen welcomes him back and the buddies go off to drink and reminisce. But it quickly becomes apparent th at nothing has really changed for either of them since their youthful years in the 60’s. At the same time, the film explores other generations through Gyorgy’s daughter and Karoly’s son and a group of old men who have lived through the war years and the social changes which followed. This Hungarian Big Chill was hugely successful in its homeland and highly popular at major festivals this year, winning the Best Script Award a t Chicago.

Tuesday, May 26 9:30 Egyptian Theatre

American Premiere

Time

Hungary

Director: P eter Gothar Screenwriters: P eter Gothar, P eter Esterhazy Cinematographer: Zoltán David Editor: Maria Nagy Music: Gyorgy Selm eczi Cast: Mark Zala, Kati Lazar, Tamas Cseh, Eva Ruttkai Print Source: Hungarofilm 1986 105 m inutes Co-winner of the Best Director honors at the Hungarian Film Awards this year, Peter Gothar’s Time follows an “average” family on a holiday, which gradually turns into a surreal journey through comic set-pieces, episodes of Hungarian history and miles of red tape. As the husband tries to find a cure for a mysterious hair which has sprouted on his wife’s face, the humor grows increasingly bizarre, creating a witty and outrageous context that marks a decisive shift for Gothar away from the realism of his previous prize-winner, Time Stands Still. The film has a metaphorical structure passing from spring to winter, youth to old age, and is shot through with a love of Budapest in all its crazy forms.

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INDIA Sunday, May 24 4:00 Egyptian Theatre

□ Genesis

India/France/Belgium/Switzerland Director: Mrinal Sen Executive Producer: M arie-Pascale Osterrieth Screenwriter: Mrinal Sen, w ith Mohit Chattopadhya, based on the novella by Samaresh Basu Cinematographer: Carlo Varini Editor: Elizabeth Waelchli Music: Ravi Shankar Cast: Shabana Azmi, Naseeruddin Shah, Om Puri, M.K. Raina Print Source: Tom Garvin 1986 105 m inutes Backing by three European countries has permitted Indian director Mrinal Sen to make his most beautiful and technically perfect film to date. Striking images, rich color, and fine performances distinguish the knowing parable of the rise, decline and fall of man and the inevitable repetition of this cycle. In an eerie, ruined village deserted by time (and some say cursed), a tailor and a farmer scratch out a sparse existence th at is a t least free of masters and repression. The two men survive many years in mutual tru st until a woman arrives. She brightens their lives, but also brings to their little Eden new tensions and jealousies, commencing a cat-and-mouse game of many surprises. Made on location under extremely rigorous conditions, Genesis, is firmly rooted in the landscape, colors, sounds and reality of India. But the powerful impact of its story is truly international and timeless. One of Mr. Sen’s other recent films, The Ruins, will also be shown in this year’s festival.

Wednesday, May 20 9:30 Egyptian Theatre

ID The Ruins Director/Writer: Producers: Cinematographer: Music: Cast: Print Source:

India Mrinal Sen, based on the novel by Premendra Mitra Jagadish and Pushpa Chowkhani K.K. Mahajan Bhaskar Chandavarkar Shabana Azmi, Naseerruddin Shan, Gita Sen, Pankaj Kapoor Tom Garvin 1984 102 m inutes

Mrinal Sen (Genesis) is perhaps the most honored and artistically satisfying director now working in India — his works are considered essential viewing a t Cannes, where he won the Critics Prize for The Case is Closed. Sen has won awards at major festivals world-wide, including Director of the Year honors from the International Film Guide for G enesis (also in this year’s festival); yet because of distribution difficulties we have not been able to obtain any of his wonderful films for the SIFF until this year. The Ruins is an atmospheric vignette th a t revolves around two friends from the city who take a few days off from the noisy bustle of the city to relax in the crumbled ruins of a mansion on a once-gorgeous feudal estate. There live an ailing old woman and her beautiful daughter, partial heirs to the decaying property. The daughter awaits the return of a lover who has abandoned her; and the mother, blind and senile, imagines one of the holidaying visitors is her child’s suitor. A haunting and exotic mood is enhanced by lavish cinematography and a lush score.

Saturday, May 23 1:30 Market Theater

Oscar Wilde: Spendthrift of Genius

Ireland

Director/Producer: Sean O Mordha Screenwriter: Richard Ellman Cinematography: Cedric Culliton Voices: D enys Hawthorne (Narrator), Alan Stanford, Barbara Brennan, Seam us Forde Print Source: RTE 1986 58 m inutes It was 87 years ago th a t Oscar Wilde (poet, raconteur, ace apophthegmatist and free spender) died in Paris, leaving behind a legend th at had already begun in his lifetime. Sean O Mordha’s scrupulously researched documentary retraces his life from cradle to coffin with admirable objectiveness, using Wilde’s own letters and actual locations to draw a portrait of an essentially lonely man, tied to a genius he too rarely exploited and trapped first in “Bosie” Douglas, son of the Marquess of Queensberry. If you have seen the THE TRAILS OF OSCAR WILDE, this is the perfect antidote .—LondonFilmFestival Program Shown with Chuck Solomon: Coming of Age

• IRELAND

I SRAEL

• ITALY Wednesday, May 27 9:30 Market Theater

Ricochets

Israel Director: Eli Cohen Producer: Eli Dory Screenwriters: Baruch Nevo, Zvi Kretzner, Eli Cohen Cinematographer: Yechiel N e’eman Editor: Avigdor Weill Music: Benny Nagari Cast: Roni Pincovich, Shaul Mizrahi, Alon Aboutboul, Dudu Ben-Ze’ev, Boaz Ofri Print Source: Marathon Film s 1986 90 m inutes

The Israeli counterpart of Platoon, Eli Cohen’s first feature film was made by the Israeli army to prepare its soldiers for the realities of war. Rather than producing a patriotic propaganda film, Cohen used actors who were actually serving in the army, and filmed primarily on location in the last month of the real full-scale occupation of Lebanon. The film focuses on a handful of soldiers on patrol in South Lebanon who find themselves in a battlefield crowded with civilians and enemies which are difficult to differentiate. A provocative film to see and discuss. “Ricochets is a very important film to see. It is intelligently made, fascinating and totally believable.” — Toronto Film Festival.

Saturday, May 30 7:00 Egyptian Theatre

□ Devil In The Flesh

itaiy

Director: Marco B ellocchio Producer: Leo P escando Screenwriters: Marco Bellocchio, Ennio De Concini Cinematographer: Giuseppe Lanci Editor: Mirco Garrone Music: Carlo Crivelli Cast: Maruschka Detmers, Federico Pitzalis, Anita Laurenzi, Riccardo D e Torrebruna Print Source: Orion C lassics 1986 110 m inutes The much-publicized tiff's between director Marco Bellocchio and producer Leo Pescarolo over the final cut of D evil in the Flesh, and a notoriously explicit oral sex scene between stars Maruschka Detmers and Federico Pitzalis, have this gracious film off to a fast start at the [Italian] national b.o. Scandal-seekers looking for torrid auteurist eroticism will have to readjust their sights, however, as Devil is paradoxically one of the sunniest, lightest works Bellocchio (Leap Into the Void SIFF ’83; The Eyes, The Mouth SIFF ’84) has come up with in some time. Yes, eroticism is a key theme and, thanks to an electrifying performance by Detmers, sparks fly in all directions. However, sex [obviously, not always simulated] between the attractive late-teen hero and heroine tends to be playful, joyous and basically tasteful___ Bellocchio is in top form as far as lensing is concerned, and cameraman Giuseppe L and bathes scenes in the superb, glowing color of bright clear sunlight. — Variety

Tuesday, June 2 7:00 Egyptian Theatre

□ Identification Of A Woman

Italy

Director/Editor. M ichelangelo Antonioni Producers: Giorgio Nocella, Antonio Macri Screenwriters: M ichelangelo Antonioni, Tonino Guerra, Gerard Brach Cinematographer: Carlo di Palma Music: John Fox Cast: Tomas Milian, Christine Boisson, D aniela Silverio, Marcel Bozzuffi Print Source: Tom Garvin 1982 128m inutes Antonioni, one of the world’s great filmmakers (L’A w entura, La Notte, Red Desert, Blow-Up, The Passenger, Mystery o f Oberwald (SIFF ’82)), has worked rarely in recent years. Identification of a Woman was hailed in Europe, but fell victim to a scathing review by Vincent Canby in the New York Times (he called it “excruciatingly empty”) th at helped to kill an American distribution deal.We have been trying to obtain the film for several years, since one of the SIFF programming committee members saw it in London — and we are delighted to have succeeded at last. The story concerns an Antonioni-like director searching for the ideal woman to inspire his next film. He is attracted to an enigmatic, high-bred young woman and they make love (even Canby admitted that “the love scenes are terrific”) — then she disappears. Seeking her, he slips into an affair with another beautiful w oman. .. Slow-paced but hypnotic, elegantly elliptical and visually stunning, the film deals with detachment and alienation in erotic encoun ters.

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Saturday, May 16 7:00 Egyptian Theatre

Let’s Hope It’s A Girl

Italy/France Director: Mario M onicelli P rod ucer Giovanni Di Clemente Screenwriters: Tullio P inelli, Suso Cecchi D’Amico, Leo Benvenuti, Piero De Bernardi, Jacqueline Le Febre, Mario M onicelli, from the novel by Tullio Pinelli Cinematographer: Cam illo Bazzoni Editor. Ruggero M astroianni Music: N icola Piovani Cast: Liv Ullmann, Catherine Deneuve, Philippe Noiret, Bernard Blier, Stefania Sandrelli Print Source: Overseas Film Group 1986 114 m inutes

This gentle, refreshingly offbeat tragicomedy swept last year’s Donatello Awards (Italy’s Oscars), beating out even the latest Fellini. It’s Mario Monicelli’s (Big Deal On Madonna Street) best film in many years, distinguished by the quality of its impressive all-star cast and by its appealing story. Let’s Hope . . . resembles a Bergman crisis drama filtered through French provincial romance and Italian-style comedy. Philippe Noiret plays a harebrained Italian Count whose wife, Liv Ullmann, has given him up and is looking after the family farm. When the Count drives off a cliff and disappears, she is left to cope with the effects of the accident on a house full of eccentric guests. They include a cuddly old uncle (Bernard Blier), a movie star sister (Catherine Deneuve, at her most glamorous), the eldest daughter and her bizarre fiance, plus the Count’s former mistress (Stefania Sandrelli), who is owed money. A celebration of feminism th at careftdly avoids feminist cliches, Let’s Hope It’s A Girl is a rewarding entertainment th at has pleased critics and audiences wherever it has shown.

Thursday, May 28 9:30 Egyptian Theatre

Secrets, Secrets

itaiy

Director/Writer: Producen Screenwriters: Cinematographer: E d ito r Music: Cast:

Giuseppe Bertolucci Gianni M inervini Giuseppe Bertolucci, Vincenzo Cerami Renato Tafuri Nino Baragli N icola Piovani Lina Sastri, Lea Massari, Rosanna Podestà, Alida Valli, Stefania Sandrelli, M ariangela Melato Print Source: Instituto Luce 1985 94 m inutes

Quite simply, Secrets, Secrets is one of the best and most powerful Italian films of this decade, and confirms director Giuseppe Bertolucci (previously best-known as co-writer of his brother Bernardo’s 1900 and Luna) as a major talent to watch in the future. Around a single, violent act of terrorism, Bertolucci weaves four separate, yet interconnected, stories, featuring outstanding performances by seven of Italy’s most talented actresses, including Lea Massari, Mariangela Melato, Stefania Sandrelli and Alida Valli. The 1985 Chicago International Film Festival jury awarded its Best Actress prize to the entire ensemble of Secrets, Secrets. In a very sensitive and personal manner, Bertolucci provides a richly textured examination of the cause of terrorism, and its effects on people from all walks of life.

Sunday, May 17 9:30 Egyptian Theatre

American Premiere

Summer Night

itaiy

Director/Writer: Producer. Cinematographer: Editor: Music: Cast:

Lina Wertmuller Gianni M inervini Camillo Bazzoni Luigi Zitta Dangio-Greco M ariangela Melato, M ichele Plácido, Roberto Herlitzka, Massimo Wertmuller Print Source: New Line Cinema 1986 95 m inutes

Lina Wertmuller’s Summer N ight With Greek Profile, Almond Eyes, And Scent of Basil bears a striking resemblance to her 1974 film, Sw ept Away By An Unusual D estiny In The Deep Blue Sea o f August. Apparently the likeness is purely intentional, right down to the casting of Swept Away star Mariangela Melato, who steals the show in Summer Night as a Milanese capitalist who exacts revenge upon a Sicilian stud representing the have-nots. A Sardinian Island paradise is the setting for this class war update. The Northern Italian super-rich, long tired of being kidnapped and held for exorbitant ransoms, charge the Signora (Melato) with kidnapping the bandit leader and wreaking her luxurious (with designer chains no less) vengeance. Finally, the handsome bandit agrees to pay up — only to turn the tables once again.

Saturday, May 23 Midnight Egyptian Theatre

□ Black Lizard

Japan

Director: Kinji Fukasaku Screenwriter: M asashige Narusawa, based on a novel by Rampo Edogo, adapted for the stage by Yukio Mishima Cinematographer: Hiroshi Dowaki Music: Isao Tomita Cast: Akihiro Mauyama, Asao Kimura, Junya Usami, Kikko Matsuko, Yukio Mishima Print Source: Shochiku 1968 86 m inutes For several years we have been pursuing a print of this rarely seen, legendaiy camp classic, described by Vito Russo as the hit of the New York Gay Film Festival: “My vote for favorite, if not best, film went to Black Lizard, which provides the festival’s funniest hour and a half. Starring Akihiro Maruyama, Japan’s most famous female impersonator, in the title role, Black Lizard is a jewel-caper murder mystery: part Charade and part Cobra Woman. The evil Maruyama, a little like Gale Sondergaard crossed with Charles Pierce, sports a new hairdo in every scene as she seeks victims to add to her living wax-museum. Her servants throw live snakes in peoples faces. The film drew howls of approval from the packed house. The few electric moments featuring Yukio Mishima (who adapted the story) as one of the living dolls were alone worth the price of admission.” An After Hours film

Saturday, May 23 9:30 Market Theater

Comic Magazine

Japan

Director: Yojiro Takita Producer: Yutaka Okada Screenwriters: Yuya Uchida, Isao Takagi Cinematographer: Yoichi Shiga Editor: M asatsugi Kanazawa Music: Katsuo Ono Cast: Yuya Uchida, Yumi Asou, B eat Takeshi, Hiromi Go Print Source: Cinecom 1986 120 m inutes Comic M agazine is based on two of the biggest media scandals in recent Japanese history: A prominent businessman who was murdered on live television; and a man who was arrested (five days after appearing as himself in this film) for engineering his wife’s death. (The couple were supposedly attacked by thugs while on business in Los Angeles). “The vitality and excesses of the current Japanese ‘new wave’ cinema are on display in this mordant satirical drama about a TV gossip reporter’s quest for self-respect in a society obsessed with scandal. Using the most sensational Japanese news stories of1985 as its backdrop, Comic Magazine is a wicked sendup of contemporary Japanese junk-culture, electronic pack-journalism and the success-at-all-costs ethos that drives its professional classes... . Through pacing and camera perspectives that evoke a jittery comic-surreal feeling, the filmmakers effectively present events from the reporter’s steadily deteriorating viewpoint.” — Variety

Monday, May 25 7:00 Egyptian Theatre

□ Gonza The Spearman

Japan

Director: Masahiro Shinoda Producers: Kiyoshi Iwashita, Masayuki Motomochi, Masatake Wakita Screenwriter: Taeko Tomioka, from a play by Monzaemon Chikamatsu Cinematographer: Kazuo M iyagawa Editor: Sachiko Yamachi Music: Toru Takemitsu Cast: Hiromi Goh, Shima Iw ashita, Shohei Hino, Misako Tanaka Print Source: Shochiku 1986 121 m inutes Masahiro Shinoda (MacArthur’s Children SIFF ’85, Demon Pond, Himiko SIFF ’81) is one of Japan’s leading directors, as he proves once again with this exquisite film, winner of a special award for Outstand ing Style at the Berlin Film Festival. Harlan Kennedy in Film Comment describes it as “A parable of the old order yielding to the new, set in a visually dazzling 18th-century Japan: lamp-lit, golden interiors whose geometry is lyricized by the swirl of multi-colored robes and kimonos. We are poised between the dying fall of samurai martial traditions and the emergence of the tea ceremony as the centerpiece of Japanese honor.” Gonza, ambitious to honor his lord, tries to learn the secrets of the tea ceremony by lying. This leads to a false accusation of adultery with his lord’s wife, and they must flee for their lives; ironically, the accusation comes true only after they have fled. The film becomes a stunningly powerful pursuit-and-vengeance story, climaxing in show-stopping battle on a triple-humped wooden bridge.

Tuesday, May 26 9:30 Market Theater

• • • K azuolnoue Shizuo Yamanouchi Yushun Atsuta, Kitaro Kanematsu Chishu Ryu, Eijiro Tono, Yoko Tsukasa, Keiko Kishi Beverly P ictures 1986 118 m inutes

Japan

Bom in Tokyo in 1903 to a middle-class family, Yasujiro Ozu directed a number of silent comedies, melodramas and costume epics, including the series from which I Lived, B u t.. . takes its title: 1 Was Born, B u t.. . , I Graduated, B u t.. . , and I Flunked, B u t . . . The documentary includes clips from some 20-odd Ozu films, primarily the post-war domestic dramas which won him international recognition. In true Japanese fashion, I Lived B u t. . . does not attempt to penetrate Ozu’s inner world or his private life. It does not even point out, for instance, th a t Ozu never married and lived most of his life with his mother. Instead, it explores the techniques Ozu used repeatedly to draw the extraordinarily naturalistic, detailed performances from his actors th at characterize his films. A perfectionist, he supervised every gesture, even one as simple as drinking tea. Once he told a protesting actress: “I am a gardener, and I trim the trees as I please”. A tantalizing introduction to one of the cinema’s greatest directors. —Hanna

Rubin, Village Voice

Saturday, May 23 4:00 Market Theater

@ Karayuki-san: The Making Of A Prostitute Japan D irecto r Shohei Imamura Print Source: Kino International 1975 70 m inutes

Shohei Imamura is one of Japan’s leading filmmakers, director of The Pornogrqpher (SIFF ’79), Eijanaika (SIFF ’82), and the Cannes Festival Grand Prize winner, The Ballad of Narayama. His films have always demonstrated empathy for women, and none more so than this early study of the karayuki-san, Japanese women abducted from their homeland and forced to labor in brothels in Malaya. (Sandakan 8 also told the sad story of the karayuki-san.) They were intended to be economic spearheads in the overseas expansion of the Japanese during the first decades of this century, but found themselves cut off forever from their former lives. “Perhaps the most brilliant and feeling of Imamura’s fine documen taries . . . Karayuki-san, guided by Imamura, becomes a figure of dignity.” — Joan Mellen, The Waves at Genji’s Door. “Imamura has managed to make an extraordinary series of films, perhaps the best of which is K arayuki-san. . . The interviews not only show this beautiful and hopeless old woman, they also determine the line of her life and his film, and create the surprising conclusion. . . In Karayuki-san he gives his audience something very real and very disturbing to think about.” — Donald Ritchie

Thursday, May 21 9:30 Market Theater

@ Sorekara

japan

Director: Yoshim itsu Morita Producen M itsuru Kurosawa, Sadatoshi Fujimine Screen w riter Tomomi Tsutsui, from the novel And Then (1909) by Saseki

Natsume Cinematographer: E d ito r Music: Cast:

Yonezo Maeda Akira Suzuki Shigeru Umebayashi Yusaku Matsuda, Miwako Fujitani, K aoni Kobayashi, Chishu Ryu Print Source: N ew Yorker Film s 1986 130 m inutes

Another unusual film from the eclectic young director Yoshimitsu Morita (The Family Game, The M ercenaries, Deaths in Tokimeki), Sorekara is a stately period drama about a tum-of-the-century love triangle th at threatens to break the strict Japanese limits of socially acceptable behavior. “The central character, Daisuke, is the dilettante son of a rich, severe old businessman (played by Ozu veteran Chishu Ryu) who upsets his family by refusing to marry or employ himself gainfully. Years earlier, Daisuke had allowed a friend to walk off with the girl he might himself have married; now they meet again, become involved, have to decide whether to upset convention and regain the past.” — Penelope Houston, Sight & Sound. “The audience is transported to the first decade of this century. (Sorekara provides) rich roles for an excellent group of actors.” — Variety

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JAPAN«MEXICO«NETHERLANDS Thursday, June 4 9:30 Market Theater

Tampopo

Japan

Director/Writer: Juzo Itami Producers: Yasushi Tamaoki, Seigo Hosogoe Cinematographer: Masaki Tamura Editor: Akira Suzuki Cast: Ken Watanabe, Tsutomu Yamazaki, Nobuko Miyamoto, Koji Yakusho Print Source: N ew Yorker Film s 1986 114 m inutes A cheerfully loony film which is obsessed with all things gastronomical, Tampopo is a very funny satire from the director of The Funeral (SIFF ’86). The film is about Tampopo, a youngish widow who aspires to make, cook, and serve the best noodles in the best noodle shop anywhere in Tokyo, and about the people who help her on the way to the top. Chock-full of comic annecdotes which illustrate this obsession (a father urges his children, “Keep on eating! It’s the last meal Mom cooked,” while Mom lies on the floor in the kitchen, having just committed suicide out of boredom; a gangster and his moll do some pretty erotic things with food, especially the yolk of an egg...), Tampopo is a film th a t’s as informative as it is funny. (We learn, for example, how to make Noodle Soup in 3 minutes flat, and how to make the best Turtle Soup). Director Itami (who played the father in The Family Game) is a prime practitioner of the eccentric humor that has been showing up recently in Japanese films (Comic Magazine, The Crazy Family, et. d .\ and his film provides much belly-laughter. One should not see it on an empty stomach: its loving images of food are truly mouth-watering.

Friday, May 29 5:00 Egyptian Theatre

□ Macario

Mexico

Director: Roberto Gavaldon Producer: Armando Orive Alva Screenwriter. Em ilio Carballido, Roberto Gavaldon, from a story by B. Traven Cinematographer: Gabriel Figueroa Editor: Gloria Schoeman Music: Raul Lavista Cast: Ignacio Lopez Tarso, Pina Pellicer, Enrique Lucero Print Source: Azteca Film s 1960 90 m inutes Directed by one of Mexico’s leading filmmakers, Roberto Gavaldon, who has made nearly 50 films over four decades, M acario is a real discovery. Adapted from a story by the mysterious B. Traven (author of The Treasure of the Sierra Madre), it has the feel of a modern folk tale. On the Day of the Dead, Macario, a very poor peasant, rebels against his fate and swears th a t he will not eat again until his whole family can eat turkey; distressed, his wife steals one from a rich man. Macario is then visited by the Devil, God and finally Death, who gives him a magic water th a t cures all illness. Macario’s newfound powers make him rich and famous, but arouse the anger of a priest and a doctor, who plot against him. Stunningly photographed in black and white by Gabriel Figueroa (who shot Bunuel’s Mexican films, Ford’s Tlie Fugitive, and Huston’s Night of the Iguana and Under the Volcano), Macario won a Cannes Festival award for best cinematography; it was also nominated for a Best Foreign Film Academy Award.

Friday, May 15 7:00 Egyptian Theatre

□ Abel

N etherlands

Director/Writer: Alex van Warmerdam Producers: Laurens Geels, D ick Maas, Robert Swaab Cinematographer: Marc Felperlaan Editor: Hans van D onegen Music: Vincent van Warmerdam Cast: Alex van Warmerdam, Henri Garcin, Olga Zuiderhoek, Annet Malherbe Print Source: D utch M inistry 1986 100 m inutes Abel is a must-see film, a hilariously droll and original comedy about a 31-year-old idiot-savant who lives with his feuding parents and has refused to go outside his entire life. His obsessions include catching flies with a pair of scissors and viewing the outside world through his binoculars, which give everything a kind of intimate distance. His father, a pompous businessman with a young mistress on the side, tries all means at his disposal to get his son out of the house. Mummy, on the other hand, indulges Abel’s every whim. Things accelerate until Abel finally lands on the street, and through a strange twist of fate and plot, meets up with his father’s mistress. If all this doesn’t sound quite as funny as it plays, rest assured it is very funny and very surreal, while maintaining throughout an edge of bittersweet poignancy. It was the biggest commercial hit in the Netherlands this year, and won Best Picture, Best Director and the Critics Prize at the 1986 Dutch Film Days. This one will be a major festival conversation piece.

N E T H E R L A N D S Sunday, May 31 9:30 Market Theater

[□] Almacita di Desolato Director: Producer/Writer: Cinematographer: Editor: Music: Cast: Print Source:

Netherlands

Felix de Rooy Norman de Palm Ernest Dickerson Ton de Graaff Grupo Issoco Marian Rolle, Gwendomar Roosje, Nydia Ecury, Yubi Kirindongo D utch M inistry 1986 100 m inutes

Director Felix de Rooy and Writer/Producer Norman de Palm went back to their native Curacao to make a picture th at would convey the culture, nature, language, and mystery of this exotic island and its people. They have succeeded brilliantly! Their tale is based on a combination of Caribbean legends that takes us into a wondrous world of magic, religion, eroticism, death, and community rebirth. Solem is the village priestess, her continued guardianship of the poor Desolato’s well-being depending in part on the girl’s remaining a virgin. One day, while gathering medicinal herbs, she is seduced by an evil spirit, disguised as a wounded young man. When she gives birth to a baby daughter — Almacita —, she is forced to journey to the place of ancestral spirits to cleanse herself and restore her village. Punctuated by spontaneous music and song, ceremonial dances and moments of startling magic and hallucination, this is a delightful folk epic and a film of unexpected confidence and freshness. It could prove to be one of the discoveries of the Festival.

Tuesday, May 26 7:00 Egyptian Theatre

□ Flodders

American Premiere Netherlands

D ick Maas Laurens Geels, D ick Maas Marc Felperlaan Hans van Dongen D ick Maas Nelly Frijda, Huub Stapel, Tatjana Simico, R ene van’t Hof, Lou Landre Print Source: Dutch M inistry 1986 111 m inutes

Director/Writer: P roducen Cinematographer: E d ito r Music: Cast:

Dick Maas, director of the witty thriller The Lift (SIFF ’84), has taken a quite different direction in this hilarious new Dutch comedy. A do-gooder social-worker-to-be finds the Flodders, a streetwise family of slum dwellers, living on top of a former chemical dump. The social worker persuades the city housing committee to move them, as an experiment, into a home in a posh estate. The Flodders are not your average family: they go in for a little bit of thieving here, a little thuggery there, a touch of pimping and a dash of whoring—but, of course, they have hearts of gold. All of their new (and wealthy) neighbors are appalled, save one lascivious housewife, who promptly leaves her dull and pompous husband for one of the Flodder sons and moves in with the rest of the family. The neighbors do everything they can to get rid of the Flodders (“slobs” in Dutch), and the resulting events lead to some of the most outrageously funny sequences put on film this year. This film has just become the all-time biggest-grossing film in Holland. Come and see why all of Holland is in stitches over the Flodders. D irector D ick Maas w ill attend th is screening.

Thursday, May 21 9:30 Egyptian Theatre

[□] Iris Director/Screenw riten P rod ucer C inem atographer E d ito r Cast: Print Source:

American Premiere Netherlands

Mady Saks Franz Raskers Cees Samson Hans van Dongen Monique van de Ven D utch M inistry 1986

In this strong film from director Mady Saks (Dreamland, SIFF ’83), Monique van de Ven attacks more than her role in this harrowing but heroic movie about a veterinarian who finds herself the unwelcome object of a demented rapist’s attentions. In a state of controlled rage from her victimization, she turns the tables and goes after her attacker, finally getting him into a position where she can wreak her revenge. Her performance has been hailed in the Netherlands as Monique’s strongest to date; she is considered a shoo-in for Best Actress honors in Holland this year for her role as the victim who fights back.

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NETHERLANDS »NEW ZEALAND Thursday, June 4 9:30 Egyptian Theatre

American Premiere

□ The Pointsman

N etherlands Director/Producer: Jos Stelling Screenwriters: George Brugmans, Hans De Wolf, Jos Stelling, based on the novel by Jean-Paul Franssens Cinematographers: Frans Bromet, Theo Van de Sande, Paul Van Den Bos, Goert Giltaij Editor: Rimko Haanstra Music: M ichel Mulders Cast: Jim Van Der Woude, Stephane Excofiier, John Kraaykamp, Josse De Pauw Print Source: Vestron 1986 95 m inutes

A train stops on a snowy afternoon in the Scottish Highlands, and a beautiful woman dismounts with her luggage. As the train pulls away, she realizes th at she has made a terrible mistake; this is not the station at her destination, but merely a railroad pointsman’s lodge in the middle of nowhere. Eventually the coarse, bizarre pointsman lets her in, but as neither speaks the other’s language, they simply choose not to communicate with each other. Through a series of circumstances, the woman finds herself remaining with the pointsman for an entire y ear— and, eventually, passionate and disturbing emotions are aroused. Director Jos Stelling (The Illusionist, SIFF ’84) has created a fascinating and unique world, both beautiful and hideous, sometimes frightening and other times hilarious. Although The Pointsm an is almost wordless, audiences will be talking for hours after seeing it. Presented in 4-track Dolby Stereo.

Tuesday, May 19 9:30 Market Theater

Arriving Tuesday

New Zealand

Director/Writer: Richard Riddiford Producers: Don Reynolds, Chris Hampson Screenwriters: Richard Riddiford, David Copeland Cinematographer: Murray Milne Editor: John McWilliam Music: Scott Calhoun Cast: Judy McIntosh, P eter Hayden, Rawiri Paratene Print Source: Tom Garvin 1986 90 m inutes The first film from New Zealand director Richard Riddiford, A rriving Tuesday is an absorbing triangular love story. Judy McIntosh returns to Kiwiland and her lover Peter after spending nearly a year away in Europe. To make the reunion somewhat less awkward, and to try to mend old differences, Judy suggests they take a vacation on the beaches of the North Island. In their travels they meet up with Rawiri Paratene, a noble savage with a poetic turn of phrase, and they agree to give him a ride. Peter observes a growing attraction between Judy and Rawiri and decides to go back home, presenting his girlfriend with a sticky situation. “We ended up taking the more personalized approach... that, I hope, says a lot more about New Zealand and New Zealanders than a simple documentary could ever do.” — Director

Richard Riddiford

Sunday, May 24 4:00 Market Theater

Other Halves

N ew Zealand Director: Joh n L ain g Producers: Tom Finlayson, Dean Hill Screenwriter: Sue McCanley, based on her novel Cinematographer: Leon Narbey Editor: Harley Oliver Music: D onM cG lashan Cast: Lisa Harrow, Mark P ilisi, Fraser Stephen-Smith, Paul Gittins Print Source: Tom Garvin 1984 102 m inutes

Most films from New Zealand have revolved around the country’s rural-scenic hinterland (Sleeping Dogs, Vigil, Utu) or small towns and communities (Skin Deep, D eath Warmed Up, Smash Palace). Other Halves is a breakthrough in th a t it is urban and contemporary. Set in Auckland, the capital city, the film concerns itself with a love story between a 32-year-old middle-class white woman and a 16-year-old Polynesian street kid. The film centers on the struggle of Liz Harvey (Lisa Harrow) and Tug Morton (Mark Pilisi) to weld a relationship across barriers of age, color and class. The city Liz knows is secure and safe, affluent and genteel. Tug’s streets are hostile and violent. The two meet a t a time when both are beginning to lose control of their particular environments and lifestyles. From the first meeting, the relationship develops fitfully as Liz leaves her husband and young son to build an independent life, while Tug starts to realize there is more to living than staying one step ahead of the police and the courts. Auckland provides a pulsating and vital backdrop for this vibrant and human love story.

V O

NORWAY• PERU• POLAND Friday, June 5

5:00 Egyptian Theatre

[□] Hard Asphalt Director/W liter: Producer: Cinematographer: Editor: Music: Cast: Print Source:

Norway

Solve Skagen, based on the autobiography by Ida Halvorsen w ith Liv Finstad, Cecilie Hoigard John M. Jacobsen Erling Thurmann Andersen Malte Wadman Marius Midler Krisin Kajander, Frank Krog, Marianne Nilsen, Tone Schwarzott, Tom Tellefsen Norsk Film Institute 1986 97 m inutes

“Asphalt is, of course, harder to walk on when you are on dope, a part-time prostitute, a mother of a small kid and the wife of an alcoholic. This is what Hard Asphalt, a feature film debut by documentarist Solve Skagen based on a best-selling autobiography, is all about.” — Keith Keller, Variety. Ida is a survivor. Her sorrowful childhood with an amiable but alcoholic father is replayed later in life with her charming, but also drunken husband and their baby daughter. There are bits of bawdy humor and, at one point, Ida is seen propositioning a man with a rough-tough listing of her prices and services. Through it all, Ida proves th at she is a survivor, in this powerfully realistic look at life on the streets.

Monday, May 18 7:00 Market Theater

Malabrigo Director: Producers: Screenwriters: Cinematographer: Editor: Cast: Print Source:

Peru Alberto Durant Andrés M alatesta, Em ilio Salomón Jorge Guerra, Alberto Durant Mario García Joya Justo Vega Charo Verastegui, Luis Alvarez, Ricardo Blume Cinema Guild 1986 84 m inutes

In this, his second film, Alberto D urant weaves together the past and the present, suggesting th a t the latter is doomed to repeat the former. The film starts with Sonia traveling to Malabrigo, a small fishing village, to meet her husband, only to discover th a t he has not been seen or heard of for two days. She receives little help at the small hotel where he had been living. The police and the other villagers are similarly uncommunicative. An explosion a t the fish flour factory where the husband worked as an accountant preceded his disappearance and an insurance adjuster arrives to investigate. Sonia’s voyage into the deepening mystery of her husband’s disappearance begins to assume the form of a dream. As we come closer to unraveling the mystery, Sonia’s hallucinations increase in intensity, lending an eerie, unsettling atmosphere to the film which calls into question much of what we are watching. D urant moves with assurance and confidence through the labyrinth of Sonia’s mind, aided by the the evocative cinematog raphy th at supports so much of the desired mood of the film. — Toronto Film Festival

Friday, May 29 7:00 Market Theater

A Chronicle of Amorous Accidents

American Premiere

Poland

Director: Andrzej Wajda Screenwriter: Tadeusz Konwicki, based on his novel, A Chronicle of Amorous Incidents, w ith the participation of Andrzej Wajda Cinematographer: Edward Klosinski Editor: Halina Prugar-Ketling Music: Wojciech Kilar Cast: Paulina Miynarska, Piotr Wawrzynczak, Bernadetta Machala, Dariusz Bobkowski, Jaroslaw Gruda Print Source: Film Polski 1985 120 m inutes Wajda’s first Polish-made film since Man o f Iron . . . shows a new Wajda, given over to a lyricism reminiscent of the early scenes from A Love in Germany. Several foreign critics have called A Chronicle Wajda’s Amarcord, for the story takes a nostalgic and personal look backward from an older man’s perspective. . . (Screenwriter) Tadeusz Konwicki, one of Poland’s most important contemporary writers, makes his acting debut; he plays the aging alter ego of the story’s teenage protagonist Witek, who experiences the sad sweetness of first love and separation amid the signs of impending w a r. . . In a way, this picture brings Wajda’s oeuvre full circle. His first films, produced 30 years ago, told stories that would logically follow A Chronicle: the World War II Trilogy (A Generation, Kanal and Ashes and Diamonds) describes the same generation, having passed from innocence to bitterness as a result of the intervening chaos.” — David Paul, Film Comment

7~ L

Thursday, May 21 7:00 Egyptian Theatre

□ My Mother’s Lovers

Poland

Director: Radoslow Piw owarski Screenwriters: Radoslow Piw ow arski, Janina Zajacowna Cinematographer: Zdzislaw Kaczmarek Editor: M iroslawa Garlicka Music: Seweryn Krajewski Cast: Krystyna Janda, Ratal Wegrzyniak, Hanna Skarzanka, Krzystof Zaleski Print Source: Octomedia 1986 95 m inutes My Mother’s Lovers depicts the passionate and protective love between a precocious 11-year-old boy and his drug- and alcohol-addicted mother, played by the brilliant Krystyna Janda (the heroic journalist of Man of Marble and Man o f Iron). There is no father around, but the mother consumes one lover after another with the same neurotic appetite that she displays for liquor and tranquilizers. The lad loves and supports his mother, convincing himself that he is the “only man” in his mother’s life. The film evokes both laughter and tears, and this is only fitting, as it is ultimately a story about the good and the crazy triumphing over (or at least outlasting) the evil and the proper.

Sunday, May 17 7:00 Market Theater

@ No End

Poland

Director: Krzysztof Kieslowski Screenwriters: Krzysztof Kieslowski, Krzysztof P iesiew icz Cinematographer: Jacek Petrycki Editor: Krystyna Rutkowska Music: Zbigniew P reisner Cast: Gazyna Szapolowska, Maria Pakulnis, Aleksander Bardini, Jerry Radziwilowicz Print Source: N ew Yorker Film s 1985 108 m inutes The latest film by Krzysztof Zanussi protege Krzysztof Kieslowski (Camera Buff) is a film of intense emotion and otherworldly beauty, about one anguished woman’s attempt to come to terms with the death (from a heart attack) of her husband, an idealistic young lawyer. Meanwhile, the ghost of her husband, who wanders in and out through the film, watches over her, addressing the camera and adding an extra, spiritual dimension to her quest for the deeper truths about his life. She finds herself being drawn into the case her husband was working on a t the time of his death — a risky case th at most lawyers would not touch, involving a young strike organizer — and coming into conflict with the way her husband’s mentor, a skillful opportunist, has taken over the defense.

Saturday, June 6 4:00 Egyptian Theatre

□ A Woman Alone

Poland

D irector A gnieszka Holland Screenwriters: Maciej Karpinski, Agnieszka Holland Cinematographer: Jacek Petrycki Editor: Roman Kolski Music: Jan Kanty Paw luskiew icz Cast: Maria Chwalibog, Boguslaw Linda, P aw el Wotczak, Slawa Kwasniewska Print Source: Film Forum 1981 110 m inutes This film has not been shown publicly in Poland. Holland, who co-wrote Wajda’s Man o f Marble, is best known in the U.S. for her German film, Angry Harvest. She has, in A Woman Alone, made a chillingly aggressive work about a young woman who tires to support herself and her fatherless son by working as a letter carrier. She has a lover, but he is a disabled young mine worker and their problems are so dramatic that their only option is to try and flee the country . . . This is one of the most powerful and soul-searing films of the decade — New Directors Film Festival

POLAND • ROMANIA • SPAIN Saturday, May 30 4:00 Egyptian Theatre

□ A Woman From The Provinces Writer/Director: Producers: Cinematographer: E d ito r Music: Cast: Print Source:

Poland

Andrzej Baranski, based on the novel by Waldemar Siem inski Paw el Mirowski, Adam Kopczynski Ryszard Lenczewski Marek Denys Henryk Kuzniak Ewa Dalkowska, Bozena Dykiel, Ryszarda Hanin Film Polski 1984 104 m inutes

Biographical films usually select famous men (politicians, artists, soldiers) as their subjects, but director Andrzej Baranski has chosen, daringly, to tell the life of an ordinary 60-year old woman, Andzia, who grew up in a small Polish town — and in so doing he has created an extraordinary film. Hard-working but poor, Andzia marries a local man; their wedding night is a comic embarrassment, but they eventually have two children. When her husband is suddenly drowned, she has to raise them alone and proves a good adviser for the daughter’s marital problems and the son’s question of conscience in the army. Baranski and actress Ewa Dalkowska, who is wonderful as Andzia, make the problems and achievements of everyday life real and deeply involving. A Woman From The Provinces is a superb human comedy, singled out for special prizes at the Berlin and Gdansk Film Festivals.

Wednesday, May 20 9:30 Market Theater

@ Paso Doble Director: Screenwriters: Cinematographer: Editor: Music: Cast: Print Source:

American Premiere Romania

Dan Pita Dan Pita, George Busecan Marín Stanciu Cristina Ionescu excerpts from Haydn’s “Creation” Claudiu Bleont, Ecaterina Nazare, Petre Nicolae, Anda Onesa Romanía Film 1985 1110 m inutes

This highly stylized love story from the director of Orienteering (SIFF ’84) uses a classic situation to make some incisive social criticisms th at are uncommon in a Romanian production. Two close friends — diametrically opposed characters — share the same room in a hostel and work at the same factory. One is an attractive charmer; the other a silent, introverted type. The first is all but engaged to a pretty girl from a good family; the second is desperately in love with, but spumed by an unwed mother. Conflict erupts when the charmer meets the second girl and she falls for him. He is equally attracted to her and must juggle the two women, with whom he feels equally in love, in addition to dealing with his moody friend who now feels betrayed. Gorgeous music and superlative acting give this Romanian prize winner (Berlin ’86) a haunting strength.

Saturday, May 16 Midnight Egyptian Theatre

Dark Hideout

American Premiere Spain

Pedro Almovodar Luis Calvo Angel L Fernandez Jo sé Salcedo Cristina S. Pascual, Julieta Serrano, Marisa Paredes, Carmen Maura, M anuel Zarzo Print source: Cinevista 1982

Director/Writer: Producer. Cinematographer: Editor. Cast:

This early film by Pedro Almodovar (What Have I Done to D eserve This?, Matador, Law of Desire) tells the twisted tale of Yolanda Bell, a hotsy “bolero” singer who loves to take recreational drugs in her leisure hours. But when her boyfriend Jorge dies before her eyes after injecting a mixture of heroin and strychnine, she freaks out and seeks refuge in a convent run by the “Holy Redeemers.” There, the Mother Superior, who is fascinated by evil, traps her in the same kind of self-destructive game Yolanda was playing with Jorge. Will Yolanda Bell be able to “Ju st Say No”? Or what? “I would not know what genre in which to place Dark Hideout. Sometimes it is a comedy, a t other times it becomes a melodrama, and still, a t other times, a scary film.lt does contain some of the most recognizable ghosts of Spanish culture. Dark H ideout is my third film and the one th at has satisfied me most. I am always moved by Mother Superior’s last scream.” — Pedro Almodovar An After Hours film

SPAIN •SWEDEN •SWITZERLAND Sunday, May 24 9:30 Egyptian Theatre

□ A Turn Of The Screw

sPam

Director: Eloy de la Iglesia Producen Gonzalo Goikoetxea Screenwriters: Eloy de la Iglesia, Gonzalo Goikoetxea & Angel Sastre, based on the novel by Henry Jam es Cinematographers: Andres Berenguer, Joan Gelpi E d itor Julio Pena Music: L u islriond o Cast: Pedro Maria Sanchez, Queta Claver, Asier Hernandez Landa, Cristina Reparaz Goyanes Print Source: Spanish M inistry of Culture 1985 119 m inutes Henry James’ classic novella of ghosts, paranoia and sexual repression (previously filmed as The Inno cents, starring Deborah Kerr) gets faithfully transferred to the screen...with a twist. This time, the tutor is a man, who cannot understand the strange attraction he feels for the mysterious brother of his young pupil. This gender switch adds an erotic undertone not present in the first film, and it adds to the slow suffocation the tutor feels as he becomes convinced that spirits of the dead are controlling his two young charges in their isolated mansion by the sea. Director Eloy de la Iglesia (The Deputy, SIFF ’84, Colegas, SIFF ’85, and Hidden Pleasures, SIFF ’86) has infused this gothic tale of terror with stunning, haunting imagery, shooting the film in gorgeous, lush colors that will seduce the viewer, much like ghosts from the past. Unavoidably dropped from last year’s Festival line-up, we are very happy to guarantee that A Turn Of The Screw will definitely play this year.

Friday, May 22 7:00 Egyptian Theatre

My Life As A Dog

Sweden

Director: Lasse Hallstrom Screenwriters: Lasse Hallstrom Brasse Brannsstrom, Pelle Berglund, Reidar Jonsson, from the novel by Jonsson Cinematographer: Jorgen Persson, Rolf Lindstrom Editors: Susanne Lirniman, Christer Furubrand Music: Bjorn Isfalt Cast: Anton Glanzelius, Anki Liden, Tomas von Bromssen, Melinda Kinnaman Print Source: Skouras 1985 100 m inutes In the tradition of When Father Was Away on Business and The 400 Blows, My Life As a D og is an endlessly fascinating journey into the mind of a child. Ingemar, described by Variety as “a 12-year-old equivalent of J.D. Salinger’s Holden Caulfield,” loves his canine companion — and is obsessed with the memory of the cosmo-dog th a t the Soviets shot into space, never to return. Ingemar’s mother is bedridden with a terminal illness and given to fierce temper tantrum s, so she sends him to stay with his soccer-play ing, glassblower uncle, who’s something of a prankster himself. “Actually, getting down on his knees to bark and feign barking turns out to be the boy’s best means of getting around various moments of crisis. Otherwise, he is endowed with a charm so obvious that nobody can quite help loving him. As played by the non-professional Anton Glanzelius, dark-haired, slant-eyed and with a mouth of a multitude of expressions, there is nothing slick or cute about this Ingemar, as there is nothing maudlin or prearranged about the whole film.” — Variety Director Lasse Hallstrom will attend this screening

Friday, May 15 5:00 Market Theater

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@ No Man’s Land

S w itzerland/F rance

Director/Writer: Alain Tanner Producers: Marin Karmitz, Alain Tanner Cinematographer: Bernard Zitzerman Editor. Laurent Uhler Music: Terry R iley Cast: Hugues Quester, Myriam M ezieres, Jean-Philippe Ecoffey, Berry Berr Print Source: N ew Yorker 1985 108 m inutes In Alain Tanner’s most recent film, “no man’s land” is not only a geographical expression, but an emotional one. Specifically, it’s the 2.5 kilometer strip between Swiss and French customs, an area that seems to thrive with all manner of smuggling, and through which Tanner’s characters constantly pass. But it also represents a state of mind, for each of his four young protagonist’s dreams of being somewhere else, somewhere better. Their desires inevitably lead them into an increasingly tangled web of sex, love, and danger. Mr. Tanner is Switzerland’s most gifted filmmaker, internationally renowned for The Middle of the World, Jonah Who Will B e 25 in the Year 2000, and M essidor — socio-political comedies in which the condition of being Swiss has come to reflect what its like to be alive almost anywhere in the Free World. In No Man’s Land, distinguished by his seductively furtive camera manner and unique sense for the link between character and environment, Tanner proves his vision to be as acute and haunting as ever.

TAIWAN Wednesday, June 3 9:30 Market Theater

@ The Time to Live and the Time to Die D irecto r Producer: Screenwriters: Cinematographer: Editor: Music: Cast: Print Source:

Taiwan

Hou Hsiao-hsien LinT eng-fei Hou Hsiao-hsien, Chu T ien-w en Li P in g-p in Wang Ch’i-yang Wu Ch’u-ch’u T ie n Feng, Mei Fang, T a n g Ju-yan, Yu An-shun Taiwan Government Information Office 1985 145 m inutes

One of the best films from the Orient in recent years is this story of a young man growing up in Taiwan, spanning the period from 1958 to 1966, when a whole generation was still talking of the Mainland as home, despite the impossibility of ever going back there. In this highly autobiographical film, writer-di rector Hou Hsiao-hsien shows, with intimacy and candor, remembered scenes from his own mischievous childhood and near-delinquent adolescence, filmed in the rooms and streets where they originally hap pened. Hou’s own voice speaks the narration at beginning and end. It was a period of great change and economic struggle, of adjustment from the ancient ways and superstitions to the new modem ways of education. With warmth and understanding, evoking both laughter and tears, Hou has painted a masterly living portrait of an era, intensely reflected through one family. Winner, Berlin Film Festival Critics Prize.

Tuesday, May 19 7:00 Egyptian Theatre

[□] Amazing Grace and Chuck

u .s a

Director: Producer/Writer: Cinematographer. E d ito r Music: Cast:

Mike N ewell David Field Robert Elswit P eter Hollywood Elmer Bernstein Jam ie Lee Curtis, Gregory Peck, William L Petersen, Joshua Zuehlke, D ennis Lipscomb, and introducing Alex English Print Source: Tri-Star 1987 115 m inutes

Amazing Grace and Chuck is the story of an unusual friendship that spans from the mountains of Montana to the highest corridors of power around the world. It is a movie for everyone who believes one person can make a difference, and th a t difference can change the world. Alex English, the All-Star forward for the Denver Nuggets and the National Basketball Association’s leading scorer of the 1980’s, makes his acting debut as Amazing Grace Smith, a character much like himself — sensitive, introspective, highly principled — who decides his moral convictions are stronger than his desire to be a great player. Joshua Zuehlke, a seventh-grade star Little League pitcher from Minnesota, makes his acting debut as Chuck Murdock, a young man who abruptly leaves childhood behind when he courageously makes a very adult decision. Academy-Award winner Gregory Peck returns to acting for the first time since 1982 as the Chief Executive of the United States, concerned about more than mere politics. Jamie Lee Curtis plays Amazing’s agent and loving confidante, Lynn Taylor. William L. Petersen, who starred in To Live And D ie In L A and Manhunter, appears as Chuck’s father, Russell, who tries to overcome his difficulty in understanding the logic of his son’s actions.

Friday, May 15 5:00 Egyptian Theatre

Backyard

U .S A

Director/Producer/Editor: Ross McElwee Print Source: First Run Features 1984 39 minutes Ross McElwee’s films stretch the boundaries of the documentary form. His Sherman’s March, for example — part essay, part comic monologue, part diary, part travelogue — was acclaimed by critics as one of the most original and audacious films of the year. McElwee made Backyard as an attem pt to better understand his family. “Instead of psychologically investigating and explaining his strained re lationship with his father, McElwee simply shows his Presbyterian father driving his Mercedes, putting up a volleyball net, discussing the financial arrangements for his son’s allowance and, for some inexplicable reason, wearing a yarmulke on Christmas. McElwee’s nonfiction is equal parts Samuel Beckett, Jean-Luc Godard and Werner Herzog. His sense of the absurd, combined with a genuine affection for his subject, make« McElwee one of the most fascinating filmmakers working in the documentary form.” — Michael

Bloeven, Boston Globe. Shown with Charleen

• U. S. A.

American Premiere

Friday, May 29 Midnight Egyptian

□ Blood Diner

U .SA

Director: Jackie Kong Producers: Jim my Maslon, Jackie Kong Screenwriter: M ichael Sonye Music: Don Preston (Mothers o f Invention) Cast: Carl A. Crew, Richard Burks, Lisa Guggenheim, Drew Godderie (as the brain o f U ncle Anwar) Print Source: Vestron/Lightning Pictures 1987 90 m inutes A goofy ghoulfest in which George and Michael, two very unusual brothers, dig up their Uncle Anwar ten years after he was gunned down by the police for murdering many, many young women. Uncle Anwar was the last earthly disciple of the goddess Sheetar, whose strong powers have kept his brain alive, so that it can control his simpleminded nephews. Among the highlights of this highlight-packed production: a search for an honest-to-goodness virgin; the kidnapping of Uncle Anwar’s brain; a recipe for the grisly ingredients of Lumerian Stew; a throng of bloodthirsty zombies gyrating to the music of Little Jimmy Hitler; and, of course, the reign of Sheetar herself, and her oddly placed second set of teeth. An After Hours film

Friday, May 15 5:00 Egyptian Theatre

□ Charleen Director/Producer/Editor: Ross McElwee Cast: Charleen Swansea Print Source: First Run Features

U .SA

1978 60 m inutes

One of the most lively, captivating and hilariously stubborn “characters” in recent movie-memory is Charleen Swansea, the ebullient dynamo from Sherman’s March. Years before her overpowering “per formance” as the cupid den mother in her friend’s film, Charleen “starred” as the eponymous heroine in another Ross McElwee documentary. After studying with (and attempting to be adopted by) such “fathers” as Albert Einstein, e.e. cummings, Buckminster Fuller and Ezra Pound (whom she visited daily when he was in a mental asylum), Charleen became a poet herself. Now a divorcee in her 40s with two teenage children, she lives “on and o ff with Jim, a poet 14 years her junior, and teaches poetry to disciplinary problem students in an inner-city school in North Carolina. “On the surface, she is strong, cheerful and determined. But, especially when her relationship with Jim begins disintegrating, she is also seriously troubled. When we leave her she is wearing bandages on her wrists. But she is still sure she is going to learn something about herself, and she adds with a wink and a laugh, ‘I’m gonna love it!’ Charleen is an irresistable force, caught beautifully on the run.” — John J. O’Connor, New York Times. Shown with Backyard

Saturday, May 23 1:30 Market Theater

Chuck Solomon: Coming Of Age

u .s a

Director. M arciH uestis Producers: Marci H uestis, Wendy Dallas Cinematographer: Fawn Yacker, Robert Epstein, David Weissman Editor: Frank Christopher Music: Donna Viscuso Cast: Ann Block, Chuck Solomon, Tom Ammiano, Esmerelda, Doris Fish, San Francisco Mime Troupe, cast of “The AIDS Show” Print Source: Cinema Guild 1986 57 m inutes In October, 1985, Chuck Solomon, a mainstay of the San Francisco theatrical community (Theatre Rhinoceros, Gay Men’s Theatre Collective) was diagnosed with Acquired Immune Deficiency Syndrome. When Director Marci Huestis (What Ever Happened to Susan Jane? SIFF ’83) learned of his inend’s diagnosis, he was determined that Chuck’s life and contributions be celebrated while he is still among us. In response, a group of over 350 family and friends shared their love and support for him a t a gala 40th birthday party, which included a stage tribute featuring the San Francisco Mime Troupe, Tom Ammiano, Doris Fish, the cast of “The AIDS Show” and Esmerelda. Chuck Solomon: Coming of Age weaves the special excitement of this evening and an extensive interview with Chuck together with the unique mixture of intelligence, humor and hope that is so much a part of Chuck. Shown with Oscar Wilde: Spendthrift of Genius

U Friday, May 22 5:00 Market Theater

A Composer’s Notes: Philip Glass and the Making of an Opera Director/Producer: Cinematographer: Editor: Narrator: Print Source:

U .S A

M ichael Blackwood Mead Hunt P eter Geismar Philip Glass M ichael Blackwood Productions 1986 87 m inutes

Philip Glass is America’s favorite “serious” music composer, whose joyously hypnotic music is familiar to filmgoers from K oyaanisqatsi and Mishima. This intimate documentary portrait takes us to India, Egypt, Germany, Houston and M anhattan to observe the composer creating his newest opera, Akhnaten, which celebrates the 14th century B.C. Egyptian pharaoh often considered history’s first monotheist. Two stagings of the opera are seen in rehearsal — by David Freeman in Houston and Achim Freyer in Stuttgart — providing an intriguing behind-the-scenes look a t mounting a new, avant-garde theatrical work, as well as showing a fascinating contrast between European and American theatrical values. John Rockwell in The New York Times comments th a t the stage pictures have “a mystical power, sensuous beauty and spiritual refinement rarely equaled anywhere.” Narrated by the composer, this unique film is a treat for music and theatre afficionados.

Tuesday, May 26 7:00 Market Theater

Directed By William Wyler

u .s a

Director/Editor: Producer: Narration & Interviews: Cinematographer: Featuring:

Aviva Slesin Catherine Tatge A. Scott Berg Richard Leacock William Wyler, Laurence Olivier, Bette Davis, Barbra Streisand, Audrey Hepburn, John Huston, Billy Wilder Print Source: Tatge Productions 1986 58 m inutes

Every filmmaker should be so lucky as to have a film like this devoted to his/her life’s work. Like the superb George Stevens: A Filmmaker’s Journey, Directed by William Wyler is a project that was begun by one of the director’s children. Catherine Wyler hired director Aviva Slesin (whose initial response to the project was “I loved Some Like It Hot!”) to film interviews with some of the biggest, and most elusive, Hollywood greats: Bette Davis, Lillian Heilman, John Huston, Billy Wilder (who actually did direct Some Like It Hot), Audrey Hepburn, Laurence Olivier, Gregory Peck. . . they all turned out for Willy. Wyler himself was interviewed only three days before his death. Also seen are plenty of clips from Wyler’s features (Jezebel, W uthering Heights, Ben Hur, The Little Foxes, The Best Years of Our Lives) — and rare 8 mm “behind-the-scenes” footage from the director’s private collection. Shown with South Bank Show: M ichael Pow ell

Monday, May 25 9:30 Market Theater

(5) Dolls

U .S A

Director: P rod ucer Screen w riter C inem atographer Editors: Music: Doll Effects: Cast:

Stuart Gordon Brian Yuzna Ed Naha Mac Ahlberg Tom Scurry, Nadia Mazzoni V ictor Spiegel, Jam es Young John and Vivian Brunner, Giancarlo Del Brocco, David Allen Ian P atrick Williams, Carolyn Purdy-Gordon, C a m e Lorraine, Guy Rolfe, Hilary Mason Print Source: Empire P ictures 1986 97 minutes

Not even in one of those tongue-in-cheek horror movies have the Bower family ever seen such a violent thunderstorm. What a way to begin their first touring vacation of the tranquil English countryside! Late at night, when their car becomes stuck in the road, David, Rosemary, and little Judy Bower, David’s daughter and Rosemary’s stepdaughter, are forced to seek shelter in an eerie, remote, Gothic mansion. The two weird elderly sisters who live there are dollmakers who specialize i n . . . “one-of-a-kind” dolls. And these dolls, as everyone soon finds out, are not exactly inanimate objects... Dolls is a creepy little thriller from the director of Re-Animator (SIFF ’86) and From Beyond (SIFF ’87). An After Hours film

Friday, May 15 Midnight Egyptian Theatre

□ Evil Dead 2: Dead By Dawn

U .SA

Director: Sam Raimi Producer: Robert G. Tapert Screenwriters: Sam Raimi, Scott Spiegel Cinematographer: P eter Dem ing Editor: Kaye Davis Music: Joseph Lo Duca Cast: Bruce Campbell, Sarah Berry, Dan Hicks, Thoedore Raimi Print Source: Rosebud R eleasing 1987 85 m inutes Ju st when you thought it was safe to chant ancient Sumerian incantations again . . . AAAIIIEEEEAAUUUGHAROOOO! You can forget about aerobics class this week; this roller-coaster ride of a movie is the best 85-minute work-out your heart and lungs could ever get! After all, when Sam Raimi set out to film a sequel to his Evil D ead (SIFF ’83), the self-proclaimed “ultimate experience in grueling terror,” he knew he’d have to go, well, over the top. And anyone who saw Raimi’s second feature, Broken Hearts and N oses (a.k.a The U ntitled Movie, SIFF ’85), is probably aware th at Raimi has become possessed by, uh, exceedingly silly demons. So . . . Evil Dead 2 (subtitled Dead by Dawn) is, quite simply, the goofiest, goriest, grossest, wildest, weirdest, deliriously disgusting, demonically de mented, hilariously horrifying affectionate tribute to just about every horror movie ever made, featuring a barrage of outrageously absurd special effects, including the most fiendishly hideous mother in a fruit cellar since Mrs. Bates. Raimi lets his wicked, frenzied sense of humour run berserk. If the person sitting next to you isn’t laughing or scream ing. . . they’ve passed out. Evil Actor Bruce Campbell will attend this screaming.

Saturday, May 23 Midnight Egyptian Theatre

□ From Beyond

U .SA

Director: Stuart Gordon Producer: Brian Yuzna Screenwriters: D ennis Paoli, Stuart Gordon, Brian Yuzna, based on a story by H. P. Lovecraft Cinematographer: Mac Ahlberg Editor: Lee Percy Music: Richard Band Special Effects: John Buechler, Anthony Doublin, John Naulin, Mark Shostrom Cast: Jeffrey Combs, Barbara Crampton, Ted Sorel, Ken Foree Print Source: Empire P ictures 1986 85 m inutes From Film Comment: “In the fall of 1985 an audacious, completely unheralded, unrated horror movie, Re-Animator, popped out of nowhere and left its appalled and delighted viewers reeling with questions: Who was this director Stuart Gordon? Where had he gotten so smart? And was there more where that came from?” Of course there’s more. Gordon is back with From Beyond, another gruesomely wild H.P. Lovecraft adaptation. This time out, those crazy scientists (Lovecraft loved crazy scientists) has invented the Resonator, a device to stimulate the pineal gland. You know the pineal gland— th a t large, asparagus shaped organ in the middle of your forehead that allows you to see into other dimensions. What? You mean . . . you’ve never used your pineal gland before? Well, perhaps you should try stimulating it with the Resonator! Of course, we can’t guarantee that there won’t be . . . side effects. An After Hours film

Sunday, May 17 4:00 Egyptian Theatre

□ I Played It For You

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Director/Producer/Writer: Ronee Blakely Cinematographer: Ed Lachman Cast: Wim Wenders, Ronee Blakely Print Source: Ronee Blakely 1985 71 m inutes Singer-scriptwriter-stage and film actress Ronee Blakely has ventured into filmmaking with I Played It For You, an autobiographical portrait of love, her work and her marriage to Wim Wenders. The passionate emotion so evident in her acclaimed performance as ‘Barbara Jean’ in Robert Altman’s N ashville remains a part of Blakely’s impetuous persona in I Played It For You. We witness an improvised ‘first meeting’th a t captures the romance in her relationship with Wenders. Yet the tension between the mutual forces th a t bring them together and tear them apart grasps our attention. Old home movies by Wenders, improvised dream and fantasy sequences, and videos of Blakely a t work with her two country bands are braided together with the unruly energy of a diary, one whose honesty and good-heartedness universalizes Blakely’s experience. I Played It For You is a passionate and absorbing film that probes the artist’s need for self-discovery. — Houston International Film Festival Winner of the Best First Film Prize, Houston International Film Festival Director/Writer/Actress Ronee Blakely will attend this screening

Saturday, May 30 9:30 Market Theater

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Director: Producers: Screenwriters: Cinematographer: Editors: Music: Cast:

M ichael A. Simpson William VanDerKloot, M ichael A. Simpson, Michael J. Malloy M ichael J. Malloy, M ichael A. Simpson William VanDerKloot Wade Watkins, William VanDerKloot Jam es Oliverio Brad Dourif, Lane Davies, John Putch, Terry Beaver, Dame Judith Anderson Print Source: Double Helix Productions 1986 83 minutes

Why didn’t somebody think of this before? Impure Thoughts takes place in purgatory — that waiting room for the soul, where the four main characters (who knew each other as kids at St. Jude’s parochial school in West Virginia in the early ’60s) sit around and try to figure out how they got there. The unscrupulous business tycoon, the bitter family man, the gay atheist and the soldier who died young in Vietnam — what did they do th a t landed them together in this Roman Catholic Twilight Zone? Although it is frequently quite funny (in a way th at anyone afflicted with Catholic guilt will appreciate), Impure Thoughts is much more than ju st a collection of nun jokes. In flashbacks, these four men examine their lives and their sins, eventually narrowing their search to the one transgression, the one incident, that has bound them together in the afterlife. Director Michael A. Simpson will be present at this screening

Thursday, May 28 9:30 Market Theater

American Premiere

@ Inside Out Director: Producer: Screenwriters: Cinematographer: Editor: Music: Cast: Print Source:

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Robert Taicher Sidney Beckerman Robert Taicher, Kevin Bartelme Jack Wallner D avid Finfer P eer Raben Elliott Gould, Howard Hesseman, Jennifer Tilly, Beah Richards Hemdale R eleasing Corp. 1987 87 minutes

Jimmy Morgan is a man who seems to have everything. He lives in the lap of luxury surrounded by electronic gadgets to make life easier, has a maid who brings order to his disorganized apartment and has only to push a button or pick up a phone to satisfy his every whim. Yet Jimmy has not left the protective cocoon of his luxury home for a long time — and meanwhile, forces on the outside world beyond his control are beginning to unravel his isolated bell-jar world. When his gambling debts begin to mount, his business partner appears to be cheating on him, and an old friend comes to New York for an unwelcome visit, Jimmy sees his carefully constructed shell begin to crack. His antagonistic ex-wife then threatens to move away from the city, taking their daughter with her, and it becomes increasingly apparent that unless he can force himself out into the world again, he will lose everything he has taken for granted for so long. Elliott Gould gives perhaps the finest performance of his career in this small, but vivid and stylish, film which Jeffrey Lyons of Sneak Previews calls, “one of the most unusual, well-acted and well-directed movies of the year.”

Sunday, May 17 4:00 Market Theater

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Greta Schiller, Andrea Weiss Greta Schiller, Andrea Weiss, Rosetta Reitz, Rebecca Reitz Greta Schiller Cinema Guild 1986 30 m inutes

A film th a t makes you glad th at documentaries were invented. This 16-piece all-gal interracial band blew hot during the forties as Count Basie and Louis Armstrong stood by smiling, because their sound was tight and those gals could swing! Oral history interviews with surviving members of the International Sweethearts are interwoven with rare archival footage of them in performance. Co-director Greta Schiller brings to the film the same warmth as another of her co-directed documentaries, the 1985 SFF favorite, Before Stonewall. Shown with Miss or Myth

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s Saturday, May 30 1:30 Market Theater

@ Mabou Mines’ Dead End Kids: A Story of Nuclear Power

u .s a D irector/W riter: JoA nne A kalaitis Producers: Marian Godfrey, Monty Diamond Cinematographer: J u d y lr o la Editor: Darren Kloomok Music: David Byrne, Philip Glass Cast: Mabou Mines theater troupe, Ellen McElduff, Ruth Malaczech, George Bartenieff, David Brisbin Print Source: Cinema Guild 1986 87 m inutes

It’s clever. It’s thought-provoking. It’s funny. It’s got music by David Byrne and Philip Glass. It’s got the ever-wonderful Mabou Mines Theater troupe and its creative director, Joanne Akalaitis, in their film debut. It’s also got a dead chicken and a stand-up comic, lectures on microwaved potatoes and medieval alchemy. So what if you saw it when it was a hit play five years ago? Dead End Kids will make you laugh again — and make you wish that more “serious” filmmakers had half of Akalaitis’ wit. Subtitled A Story of Nuclear Power, the film is a combination of archival footage, slapstick historical reenactments and philosophical quotes. This collage aesthetic, a known commodity from ’70s experimental film, is here made anew with an ingenious mixture of comedy and dissonance. The film covers, albeit selectively, western civilization’s 400-year romance with science. — Coco Fusco, International Eye

Sunday, May 17 4:00 Market Theater

@ Miss or Myth?

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Directors: Geoffrey Dunn, Mark Schwartz Producers: Geoffrey Dunn, Mark Schwartz, Claire Rubach Screenwriter: Geoffrey Dunn Cinem atographer/Editon Mark Schwartz Music: Liz Story Print Source: Gold M ountain Productions 1986 60 m inutes Miss . . . or Myth? examines the socio-sexual contradictions facing women in American society today in one of the most infuriating, thought-provoking and funny documentaries in years. Since 1924, the sleepy seaside community of Santa Cruz has hosted the Miss California Pageant, the preliminary contest for California’s Miss America hopefuls. However, starting in the ’70’s, a growing number of feminists began protesting the “meat m arket” aspects of the pageant. In 1979 a group of women held their first annual “Myth California Pageant,” which eventually grew to be almost as big an exhibition as the event it was protesting. Through an extraordinary mix of historical film clips, home movies, newsreel footage, photos and live interviews, M is s. . . or Myth? gives the viewer a fascinating look into a complex issue without choosing sides. Indeed, both camps passionately believe th at they are the ones promoting women’s rights in our society, and both sides are also presented as sometimes going too far in their efforts to further their cause. Besides being extremely entertaining, M iss. . . or Myth? is certain to stir up strong emotions in its viewers. Our biggest hope is that those infamous Seattle hissers will stop and think first. Hopefully they’ll realize that there are no villains here. Ju st a lot of ignorant people. Shown with International Sw eethearts o f Rhythm Co-director Mark Schwartz will be present a t this screening

Wednesday, May 27 7:00 Market Theater

My Little Girl

U .S A Director/Producer: Connie Kaiserman Screenwriters: Connie Kaiserman, Nan Mason Cinematographer: P ierre Lhomme Editor: Katherine W enning Music: Richard Robbins Cast: Mary Stuart Masterson, Jam es Earl Jones, Geraldine Page, Erika Alexander, Anne Meara, P eter Gallagher Print Source: Hemdale 1986 111 m inutes

Her affluent and easy background causes Franny Bettinger (Mary S tuart Masterson, star of At Close Range and Some Kind of Wonderful) to question her own self-worth. During the summer, after she turns 16, Franny goes to work in a city shelter for children who are wards of the state, children who have run away, played truant or committed minor offenses, or whose parents are in jail, incompetent or have abused them. Franny tries to effect cool savvy as she encounters these girls: a black girl who never speaks, her disinterested and scared sister, and Alice (Traci Lin), a volatile, vulnerable and seductive street girl who can’t wait to turn 18 so she can return to the streets and her boyfriend/pimp (Peter Gallagher). Ju st as Franny is beginning to make inroads, all goes haywire. Her naivete is exposed when she makes some irrational choices that put lives on the line. A keenly observed drama about class, friendship, idealism and growing up, My L ittle Girl is an honest and heartfelt film.— U.S. FilmFestival

Saturday, May 16 1:30 Market Theater

@ Odd Birds Director/Screenw riten Producers: Cinematographer: Editors: Music: Cast: Print Source:

U .SA Jeanne Collachia Jeanne Collachia, Charles Domokos John Morrill Jeanne Collachia, Charles Domokos D ick Hamilton M ichael Moriarty, Donna Lei Ming Lew, Nancy Yee Tom Garvin 1986 90minutes

Odd Birds is a film about a friendship between a young Chinese-American girl and a teacher a t a Catholic boy’s school. The movie stars Michael Moriarty in the role of the Irish-Christain brother who befriends the shy g irl— and encourages her to try out for the school play. . . and the Broadway production directed by the legendary Gower Champion. The story is one of hope, disappointments, and intense friendship th a t is part of growing up. Odd Birds is also the story of two lonely people who (however briefly) come to m atter to each other.

Sunday, May 24 7:00 Market Theater

One More Spring

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r D irector P rod ucer Screenw riter Cinematographer: Music: Cast:

Henry Tfang Kir David Weisman Edwin Burke, based on the novel by Robert Nathan John Seitz Arthur Lange Janet Gaynor, Warner Baxter, Walter Woolf King, Grant Mitchell, Ja n e Darwell, Roger Imhof, John Qualen, Stepin Fetchit Print Source: William K. Everson 1935 87 m inutes

“A virtually lost film— one of the best, yet least-known, ‘Americana’films. More than My Man Godfrey, this is the definitive depression era film, complete with a great deal of truth, charm and political bite.” — William K. Everson, 12th Telluride Film Festival. One More Spring is an absolutely delightful gem about three nouveau-poor strangers— two men and one woman (Janet Gaynor, of Sunrise fame)—who find themselves out on the street during the Great Depression and decide to shack up together in a caretaker’s shed in Central Park. Film historian Leslie Halliwell called it: “A summation of American mid-thirties attitudes.” We call it wonderful. We are able to present this extremely rare film thanks to eminent historian/collector William K Everson. Don’t miss it; you may never get another chance to see it. Film historian William K Everson will be present a t this screening

Wednesday, June 3 9:30 Egyptian Theater

□ The Perfect Match Director/Producer: Co-producer: Cast: Print Source:

World Premiere U.S.A

Mark Deimel Bob Torrance Mark McClure, Jennifer Edwards Tom Garvin 1987 92 m inutes

She says she’s a college professor, he says he owns his own business. They’re both lying. They both say they ski; again they’re both lying. He drinks Coke and watches basketball, she eats vegetables and watches the ballet. They are both almost 30 and don’t have the skills necessary to be single in the city. Their first date is a disaster (so, in fact, is their skiing-biking-camping weekend), but by the end they discover they’re not such a horrendous mismatch after all. This funny and refreshing romantic comedy is a delight from start to finish. Director/Producer Mark Deimel will be present at this screening

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Monday, May 25 7:00 Market Theater

Personal Foul

American Premiere u .s a

Director/Writer: Ted Lichtenhaeld Co-Producer: Ted Lichtenhaeld, K athleen Long Cinematographer: Joan Le Blanc Editor: Steve Mullenix Music: Greg Brown Cast: David Morse, Adam Arkin, Susan Wheeler Duff, F. William Parker Print Source: Ted Lichtenhaeld 1987 95 m inutes David Morse (St. Elsew here, Inside Moves) plays Ben, a homeless drifter who is reluctantly drawn into a game of basketball by solitary school teacher Jeremy (Adam Arkin). The unlikely friendship that results is severely tested by the shifting attention of Jeremy’s beautiful co-worker Lisa (Susan Wheeler Duff). Personal Foul is a tender and often funny look a t love and friendship and the double-edged sword of human companionship.

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Friday, May 29 9:30 Egyptian Theatre

□] Retribution

World Premiere u .s a

Director/Producer: GuyM agar E xecutive Producers: Scott Lavin, Brian Christian Screenwriters: Guy Magar, Lee Wasserman Cinematographer: Gary Thieltges Music: A lanH ow arth Cast: D ennis Lipscomb, Leslie Wing, Suzanne Snyder, J eff Pomerantz, George Murdock, Hoyt Ax ton Print Source: R enegade Film s 1986 110 m inutes

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George Miller is a frustrated artist living in a run-down section of Los Angeles with a group of down-and-out friends. After an unsuccessful suicide attempt, George becomes haunted by terrifying nightm ares in which he is transported to strange and myterious places where he seeks out certain people he’s never known before, and commits brutal and devastating murders — murders that become reality, splashed across the front pages of the next day’s newspapers. The support and help from friends and psychiatrists cannot stop the nightmares or explain George’s horrific supernatural experiences, and eventually George realizes th a t he will have to unravel the terrifying mystery by himself...alone. R etribution is an extremely taut, frightening suspense/thriller told with style, imagination, and the creative energy th a t indicates a major new motion picture talent. Director/Writer Guy Magar will be present a t this screening.

Tuesday, June 2 9:30 Market Theater

The Riverbed

U .SA W etherlands Director/Producer/Writer/ Editor: Rachel Reichman Cinematographer: Steven Giulano Music: Josh Colow Cast: Sharon Bellanoff-Smith, John Beuscher, Elaine Grove Print Source: Tom Garvin 1986 90 m inutes Rachel Reichman’s film is a dreamy Latin folk tale set in South America during the Depression. A young man rambles around looking for work, and when he can’t find it, he is not above a little opportunistic thieving, but essentially, he has a good heart. He gets a job working for a widow who has a teenage daughter. The daughter, who never speaks, is retarded and withdrawn. In a polite way, the widow offers the young man money to m any the girl and take her away. The man respectfully accepts, but the marriage is never consumated and becomes more of a father-daughter relationship, as the girl sinks further into her fantasies of soft, clear water surrounding her . . . “Reichman has the gift to convey people, their motives and feelings through images.” — Variety.

u . Tuesday, May 19 7:00 Market Theater

Sanctuary: A Question of Conscience

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Director/Producer/Editor: Wynn Hausser Print Source: Cinema Guild 1986 26 m inutes Since 1980, Amnesty International estimates th at more than 50,000 political deaths have occurred in El Salvador and Guatemala. Close to three-quarters of a million refugees from these countries have fled to U.S. borders. Of those th at apply for political asylum, fewer than three percent are accepted. The official U.S. government policy toward these people is th at they are economic migrants, not political refugees. In opposition to this policy, individuals have joined together to form a modern-day underground railroad, supported by churches, synagogues and other organizations. This nationwide network has become known as t i e Sanctuary Movement. Sanctuary examines the motivations and beliefs of people who have felt compelled to respond to the needs of Central American refugees. The film provides an important historical overview of the movement, chronicling the development of sanctuary and the movement’s evolution as a national force. Shown with Chile: H asta Cuando?

Wednesday, May 20 7:00 Market Theater

Saxophone Colossus Director/Writer/Editor; Producers: Cinematographer: Music: Cast: Print Source:

u .s a Robert Mugge David Mazor, M ichael Phillips, Robert Mugge Lawrence McConkey Sonny Rollins Sonny Rollins, Lucille Rollins, Heikki Sarmanto, Gary Giddins Mugge Movies 1986 101 m inutes

Saxophone Colossus is Robert Mugge’s dazzling hommage to Sonny Rollins, the man some have called “the greatest improviser in the history of jazz.” Three of Mugge’s films (Gospel According te A1 Green, The Return o f Ruben Blades, and Cool Runnings: The Reggae Movie) were shown to appreciative audiences a t last year’s festival; Mugge himself arrived jetlagged from a direct flight from Japan, where he had been filming the central concert for Saxophone Colossus. Variety says, “As a documentary of a supreme jazz artist and man of artistic integrity, Saxophone Colossus is an electrifying record of an artist a t w o rk .. . Rollins’ intelligence and relaxed conversational manner make him an ideal subject, both lucid and knowledgeable. In performance he plays with inexhaustible power matched by a vivid musical imagination.”

Friday, June 5 9:30 Egyptian

American Premiere

[□] Straight to Hell

U .S A Alex Cox Eric Fellner Alex Cox, D ick Rude Tom Richmond David Martin The Pogues J oe Strummer, Cy Richardson, Dick Rude, Courtney Love, D ennis Hopper, Grace Jones, Elvis Costello, Jim Jarmusch, the Pogues Print Source: Island P ictures 1987 100 m inutes

Director: Producer: Screenwriters: Cinematographer: Editor: Music: Cast:

Sergio Leone won’t know whether to sue or send flowers after he sees Straight to Hell, Alex Cox’s irreverent homage to the spaghetti western. Cox’s latest is a pop-culture action-adventure shoot-out, rooted in the same skewed logic th at informed Cox’s Repo Man and Sid & Nancy. Straight to Hell begins by completely destroying the viewers’ sense of period and place, as a trio of ornery gunslingers stumble into a burned-out barter-burgh named Blancotown. Coffee is the god of this godforsaken Eldorado, run by the wacky but murderous McMahon clan, who swill down java by the gallon during Blancotown’s daily Happy Hour. An espresso machine is the false god these inbred idiots worship . . . well, that’s enough plot. Straight to Hell is described by Martin Turner, the film’s Official Sex and Cruelty Consul tant, as “a film about levels of stupidity, the futility of money, and people whose sexual motives are confiised.” Co-written by Cox and Rude in three days and filmed in three weeks on a shoestring budget of $1 million, Straight to Hell (based on a cycle of songs by Irish punk group the Pogues) is a freewheeling goof from start to finish, with a cast th at reads like a Who’s Who of Post-Punk Hip: Joe Strummer (The Clash), Elvis Costello (a.k.a. Declan Patrick Aloysius Macmanus), Dennis Hopper (Blue Velvet, River’s Edge), Grace Jones (Conan the Destroyer) and director Jim Jarmusch (Stranger Than Paradise, Down by Law). Shot in CinemaScope on Sergio Leone’s main set in Almiria, Spain, this movie is, above all else, a movie about movies, with a tip of th e ten-gallon hat to Buruel, Kurosawa and George Miller. Here, for your consideration, Alex Cox offers “the first post-modern w estern. . . ” Winner, International Critics Award, Madrid Film Festival, 1987

Saturday, June 6 Midnight Egyptian Theatre

Street Trash

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Director: Jim M uro Producer/Writer: Roy Frumkes Cinematographer: David Sperling Editor: D ennis Werner Music: R ick U lfik Cast: B ill Chepil, Vic Noto, Jane Arakawa, Mike Lackey, Mark Sferrazza Print Source: Vestron/Lightning 1987 91 m inutes Street Trash is very strong stuff, a horror film for the ’80’s on the leading edge of its genre as was Texas Chainsaw Massacre in the ’70’s. It is very well done indeed, which is one of the reasons it is so disturbing. Set among the street bums of New York City, where the language is as vile as the lifestyle, it tells the story of people so far on the edge of society they’re falling off. What happens to them when a cache of what was once whiskey is discovered and causes them literally to dissolve into slime or worse you don’t want to know unless you have a strong stomach... Horror film director Wes Craven has described Street Trash as a ‘film that makes John Waters look like Pee Wee Herman, and/or Allen Ginsberg’s Howl for the ’80’s, depending on your point-of-view.’ Director Jim Muro and producer/writer Roy Frumkes are obviously talents to watch, though whether you want to walk down a dark street with them is a moot question.” — AFI Film Festival, Los Angeles. An After Hours film

Saturday, May 30 Midnight Egyptian Theatre

□] Trancers

U .S A Director/Producer: Charles Band Screenwriters: Danny Bilson, Paul de Meo Cinematographer: Mac Ahlberg Editor: Ted Nicolaou Music: Mark Ryder, P hil Davies Cast: Tim Thomerson, H elen Hunt, M ichael Stefani, Art La Fleur Print Source: Empire P ictures 1982 76 m inutes

Before Bladerunner and The Terminator were even a twinkle in their creators’ eyes, there was Trancers, a low-budget sci-fi thriller which the later big-budget Hollywoood blockbusters bear more than a passing resemblance to. Unfortunately, despite extremely positive reviews — and because of a poor distribution deal — Trancers went virtually unseen outside of Los Angeles. (Filmmaker Charles Band since has gone on to open his own distribution company, Empire Pictures, which, in true Roger Corman-fashion, gives promising new filmmakers their first big breaks in the industry. One of Band’s more prominent alumni, Stuart (Re-Animator) Gordon is now filming a $20 million picture for Disney.) Now it’s your chance to see this unjustly neglected film about a future cop sent back in time to present-day Los Angeles to track down and intercept the miscreant from the future who has the power to take over the brains of weak-spirited people and turn them into mindless killing machines, and who is systematically destroying the ancestors of the 23rd Century’s leader, thereby erasing their existence and e n a h lin g himself to take power (whew!). Trancers ain’t no masterpiece, but it is original, inventive, clever, well-crafted and a lot of fun. An After Hours film

Friday, May 22 7:00 Market Theater

Trouble With Dick

U .S A

Director/Producer/W riten GaryW alkow Cinematographer: Daryl Studebaker Cast: Tom Villard, Susan Dey, Elaine Giftos, Elizabeth Gorcey Print Source: Frolix Productions 1986 93 m inutes The Trouble With Dick, which won the Grand Prize (shared) at the U.S. Film Festival in Utah in January, is both entertaining and surprising, a truly imaginative debut film from producer-writer-director Gary Walkow. It stars Tom Villard as a somewhat confiised science fiction writer who rents a room in a house shared by an old girlfriend, Susan Dey (Echo Park, SIFF ’86). Life there is even more confusing as he develops writer’s block, is seduced by the sexpot teenage daughter of the landlady and then by the aerobicized landlady herself — and gets nowhere with his old girl. Meanwhile he is im a g in in g (and we see) scenes from his novel-in-progress, The Galactic Chain Gang, in which life on an alien planet mirrors his own emotional problems. There are fine performances all around from the excellent cast. A film that should and will be seen widely. —AFI Film Festival, Los Angeles Co-winner, Grand Prize, U.S. Film Festival, 1987 Director Gary Walkow will be present at this screening

U . Friday, May 22 9:30 Market Theater

@ A Walk On The Moon Director: E xecutive Producer. Producer: Screenwriter: Cinematographer: Cast: Print Source:

U .S A

Raphael Silver BUI B enenson Dina SUver William B. Mai Adam Greenberg Kevin Anderson, Terry Kinney, LaUa Robbins, Pedro Armendariz Benenson Productions 1986 95 minutes

The story of a year (1969) in the life of Everett Jones, an idealistic young Peace Corps volunteer from MUwaukee who has been sent to a once-prosperous Colombian village in the foothills of the Andes. Jones has been sent to replace Lew and Mary Ellis, who have completed their tour of duty and are scheduled to return to the States. Lew has flipped out after a series of disastrous failures with his Peace Corps projects; he won’t leave the village, and his wife Mary won’t leave without him. Jones falls in love with a gorgeous local girl named India, who lives with her younger brother, Candy. The boy is terrified of being abandoned by his sister if Jones takes her back to the States. As Jones struggles to adjust his youthful idealism to the harsh realities of life in Colombia, a series of unexpected events alters his life forever. A wonderful new American independent film featuring outstanding performances from its mostly youthful cast. Director Raphael Silver will be present a t this screening

Monday, June 1 7:00 Egyptian Theatre

[□] Weapons Of The Spirit

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Director/Producer/Writen Cinematographer: Editor: Music: Cast:

P ierre Sauvage Yves Dahan M atthew Harrison Music o f Le Chambón Emma Heritier, Henri Heritier, Magda Trocme, Pastor Edouard Theis Print Source: Friends o f Le Chambón 1986 91 m inutes

An audience favorite at the recent AFI Festival in Los Angeles, Weapons o f the Spirit tells the astounding true story of how a small French village saved 5000 Jews from the Holocaust. The village is Le Chambonsur-Lignon in central France, whose 5000 inhabitants are mostly descendants of Huguenots (French Protestants, themselves heavily persecuted in previous centuries). They decided to resist evil with “the weapons of the spirit,” and managed to double the population of their community right under the Nazis’ noses without being discovered. It’s an extremely personal story for filmmaker Pierre Sauvage, who was bom in Le Chambon while his Jewish parents were hiding there. He returned to his birthplace in 1982 and interviewed the villagers, who saw nothing extraordinary in what they did (even though they risked their lives for strangers) — it was simply the right thing to do. This heart-warming story is a rare demonstration of the true spirit of Christianity in action. Filmmaker Pierre Sauvage will be present a t this screening.

Saturday, May 16 4:00 Egyptian Theater

m The Farewell D irecto r Screenwriters:

Cinematographers: Music: Cast: Print Source:

U.S.S.R.

Elem Klimov Larissa Shepitko, R udolf Turin, German Klimov, from the novel Farew ell to Matyora by Valentin Rasputin A lexei Rodionov, Yuri Skhirtladze, Sergei Taraskin Vladimir Artemov, Alfred Scnittke Stefania Stanyuta, Lev Durov, Alexei Petrenko, Vadim Yadovenko 1FEX 1983 128 m inutes

Elem Klimov (Come and See, SIFF ’86, Rasputin) took over the production of this film after the tragic death of his wife Larissa Shepitko (The Ascent, SIFF 78) in a car accident during the first days of location work in 1979. Elegaic in tone, The Farew ell mourns not only his lost wife, but a lost Russia, the traditional peasant experience engulfed in the Soviet surge into the modem world. The film chronicles the last days of a 300-year-old island village condemned to be drowned in a hydroelectric project, its community and traditions interrupted or erased. The villagers are saying their farewells, each in his own way — and some refuse to leave at all. Filled with overwhelmingly striking and beautiful images, The Farew ell is a film of extraordinary power.

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. Tuesday, May 19 9:30 Egyptian Theatre

Journey Of A Young Composer

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Director: Georgi Shengelaya Screenwriters: Georgi Shengelaya, Erlom Achwlediani, based on Otar Chcheidze’s novel The Nam eless Wind Cinematographer: Levan Paatashvili E d itor S. Machaidze Music: Gustav Mahler Cast: Giya Peradze, Levan Abashidze, Zurab Kipishidze, Rusudan Kvilvidze Print Source: 1FEX 1986 105 m inutes In 1908 Nikusha, a young, politically naive composer, sets off on a trip through Czarist Georgia to collect folk songs. The revolt of1905-07 has just been brutally suppressed, but the land still seethes with unrest; the people are looking for a saviour. When Nikusha appears, armed with a map marked with areas to visit, a phonograph and a letter of recommendation (from his music tutor), both the people and the police leap to the conclusion th a t he is secretly plotting an insurrection. All those he innocently asks to help him on his musical quest become marked men. A local guide escorts Nikusha on a “secret mission” to Tbilisi; as they stealthily move from one village to another, the mystery takes on an almost surrealistic tone, with danger always near. Georgi Shengelaya (Pirosmani) is one of the Soviet Union’s most talented filmmakers; for this film he won the Best Director Prize at the Berlin F ilm Festival.

Sunday, May 31 7:00 Market Theater

Kindergarten

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Director/Writer: Yevgeny Yevtushenko Cinematographer: Vladimir Palyan Editor: IgorZekavaia Music: Gleb May Cast: Sergei Gusak, Klaus Maria Brandauer, Svalna Evstratova, Galina Stachanova Print Source: 1FEX 1985 130 m inutes Poet Yevgeny Yevtushenko’s debut as a movie writer and director is a semi-autobiographical story of an impressionable 10-year old’s experiences in World War II, his “kindergarten“ in learning about life. Emptying his goldfish bowl into the river, young Zhenya joins the crowd fleeing Moscow by train after the German invasion of October, 1941. Along the way to his grandmother in a Siberian village, he encounters noble thieves, evil speculators, death, love, and a host of formative adventures. Most of the cast is non-professional (reflecting Yevtushenko’s belief that the ordinary is beautiful), although Klaus Maria Brandauer appears as a decent German officer, and Yevtushenko himself gives a memorable cameo as a mad chess player looking for a game. Enthusiastic, untidy, mixing reality and surrealism with a poet’s eye, filled with remarkable images (and more nudity than is usual in Russian films), Kindergarten is a film of compelling energy and imagination.

Monday, May 18 9:30 Market Theater

Happy New Year 1949

Yugoslavia Director: Stole Popov Screenwriter: Gordan Mihic Cinematographer: Miso Samoilovski Editor: Laki Cemcev Music: Ljupco Konstantinov Cast: Svetozar Cvetkovic, Meto Jovanow ski, Vladica M ilosavljevic, Kusko Kostovski Print Source: J u g o sla v ia Film 1986 130 m inutes

Voted the best Yugoslav film of the year a t the Pula Film Festival, Happy New Year 1949 slides from gentle comedy to a story of human and historic betrayal. The setting is Macedonia, just after the WWII. On a train carrying Yugoslavian soldiers home from the Russia, some opt to stay behind. When Dragoslav, a committed pragmatist, talks another young man out of returning, the depressed youth blows his brains out on the train. When he testifies about the incident to the local police, Dragoslav comes under suspicion of being a Russian spy. Although arrested, imprisoned, and eventually released for lack of evidence, he never loses his primitive loyalty to the party. His brother Kosta is just the opposite, a happy-go-lucky black marketeer addicted to American style clothes and Bing Crosby. While Dragoslav is imprisoned for political reasons, Kosta ends up falling in love with Dragoslav’s lover. Against the larger backdrop of Soviet domination and difficult personal times, strength is the only guarantee for survival, each of the characters is tested to the limits of endurance — and few survive to see New Year, 1949.

Y U G O S L A V I A Tuesday, June 2 9:30 Egyptian Theatre

American Premiere

How I Was System atically Destroyed By The Idiot Director: Screenwriter: Cinematographer: Editor: Cast: Print Source:

Yugoslavia Slobodan Sÿan Moma Dimic, Slobodan Sijan Milorad Glusica Ljiljana Vukobratovic D anilo Stojkovic, Jelisaveta Sabljic, Rade Markovic, Stevo Sigon J u g o sla v ia Film 1983 m inutes

Slobodan Sijan (known as “Chicky“ to his friends) has, in four short years, become one of the most interesting and provocative filmmakers in Yugoslavia. Seattle audiences who have seen his films in past Festivals (Who’s Singing Over There SIFF ’85, Strangler vs. Strangler SIFF ’85, and The Marathon Family, SIFF ’86) are no doubt aware th a t Chicky’s specialty is black comedies — savage, brutally funny black comedies in which none of the characters are protected from their creator’s vicious scalpel. How 1 Was System atically D estroyed By The Idiot is no exception to the rule, as Chicky mercilessly ridicules idealistic student governments, naive campus revolutionaries, and university reform movements, all set in 1968 — possibly (in retrospect) one of the funniest years in recent history.

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Darryl Macdonald Director/Co-founder Daniel Ireland Associate Director/Co-founder Gary Tucker Deputy Director Jim Emerson Executive Associate Director Jeff Dowd Executive Associate Director RuthHayler Festival Consultant NoelleHite Festival Co-ordinator TomSprake Director ofPublicity and Promotions Pamela Sprowl Art Director Ann Browder Owner, Market Theater/Operations Manager \ Deborah Edwards Hospitality Co-ordinator 1 Susan Harwood Tickets/Concessions ToveLund Festival Administrative Assistant 1 Martha Jacobs Manager/Tickets/Concessions Martha Jacobs Volunteer Co-ordinator PhilKovacevich Manager/Tickets/Concessions Jon Pray Volunteer Co-ordinator/Shipping& Shorts 1 Maria Richter Tickets/Concessions/Maintenance Paula Trent Accountant 1 Debbie Miles Ticket Manager GradyVest Tickets/Concessions LisPeery Tickets/Concessions Chrissy McCaddon Manager Mari Brockhaus Tickets/Concessions Susan Robinson Manager Cathy McCaddon Assistant Ticket Manager Dave McRae Projectionist/Manager Sue Burton Festival Librarian Kym Wells Projectionist ChhoeumVeng Maintenance Jimmy Thompson Best Boy PammyKay Market Art Gal BobTangney Door Atomic Press—David Bethalmhy Poster Printing John McIntyre Door Craftsman Press—GordyBonaci Program Printing BillPreib Door/Concessions Floyd Blanton Door Concessions Stephen Perringer Poster and Program illustration Tickets/Concessions Cindy Gantz Bruce Hale Prater, Program, and Flyer Lettering Vivian Zee Tickets/Concessions Pamela Sprowl Program Design Darcy Stone Concessions John McIntyre Art Production Nedra Rivera Concessions DougYaple Art Production Jenny Rose Concessions PhilKovacevich Art Production MarcHelf Concessions Common Line Communications Typesettin^Camera Services/Telecommunications Margaret Scates Tickets Barbara Murel Typesetting/Camera Services/Telecommunications Kerry VanVeen Maintenance Michael Hofferbert Type8etting/Camera Services/Telecommunications Eva Hendrix Maintenance Kathy Nelson Typesetting/Camera Services/Telecommunications

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VESTROP P IC T U R E S is proud to present

P ersonal Services Gothic T he P ointsman and the closing night presentation the American premiere of,

Good Morning, Babylon

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C American Film Institute 2021 North Western Ave. Los Angeles, CA 90027

Australian Film Commission 9229 Sunset Blvd. Suite 615 Los Angeles, CA 90069

Australian Films International Suite 2250,2049 Century Park E. Los Angeles, CA 90067

Azteca Films 555 N. La Brea Ave. Hollywood, CA

Bill Benenson Productions 321 Hampton Dr. Suite 209 Venice, CA 90291

Bravo Cable Network 150 Crossways Park West Woodbury, NY 11797

British Film Institue Telex 27624 Bfildn-g

Cannon Films 640 San Vicente Blvd. Los Angeles, CA 90048

Carlton Film Export Telex 620852 France

Central Motion Picture Corp. P.0. Box 475 Taipei, Taiwan

China Film Export 2500 Wilshire Blvd., #1028 Los Angeles, CA 90057

Cinecom 1250 Broadway 33rd floor New York, NY 10001

Cinema Guild 1697 Broadway New York, NY 10019

Cinete (USA) 3932 E. Mercer Way Mercer Island, WA 98040

Cinevista 353 W. 39th New York, NY 10018

Columbia Columbia Plaza S. #2099 Burbank, CA 91505

Czecho Filmexport Telex 122259 CFEXC

Danish Film Institute Telex 31465 DFilm

De Laurentiis Entertainment Group

Telex 813640 FILM PL F ilm m a k e r’s Library, Inc. 133 E. 58th St. New York, NY 10022

First-Run Features 153 Waverly Place New York, NY 10014

French Library 53 Marlborough Street Boston, MA 02116

Gades Films International Ltd. 1350 Avenue of the Americas New York, NY 10019

Tom Garvin Ervin, Cohen and Jessup 9401 Wilshire Blvd. #900 Beverly Hills, CA 90212

German Export Union Telex 5215627 EXU D

Gold Mountain Productions 160141st Ave. Suite 207 Capitola, CA 95010

Hemdale Releasing 12121 Wilshire Blvd; #1000 Los Angeles, CA 90025

Institute Luce Via Tuscolana, 1055 Rome, Italy 00173

International Film Exchange 201W. 52nd New York, NY 10019

International Home 620 Lincoln Blvd. Venice, CA 90291

International Film Marketing 9440 Santa Monica Blvd. #706 Beverly Hills, CA 90210

9000 Sunset Blvd. #700 Los Angeles, CA 90069

Jugoslavia Film Knez Mihailova 19 Belgrad, Jugoslavia

Katz-Denny Productions 9000 Sunset Blvd. #525 Los Angeles, CA 90069 K illia m Shows, Inc. 6 E. 39th St. New York, Ny 10016

Kino International 250 W. 57th St. Suite 314 New York, NY 10019

Library of Congress

Dutch M inistry of Culture

Washington DC

Empire 21201 Victory Blvd. Canoga Park, CA 91303

Film Dallas 2200 N. Lamar St. #103 Dallas, TX 75202

Ministry of Culture — Spain Institute de Cine Telex 27286

Mug-Shot Productions 842 G arrett Lane Springfield, PA 19064

New Line 853 Broadway New York, NY 10003

New World Pictures 1888 Century Pk. E. floor 5 Los Angeles, CA 90067

New Yorker Films 16 West 61st New York, NY 10023

Norsk Film BV Wedel Jarlsbergs Vei 36 M-1342 Jarlsberg, Norway

O.R.F. Austrian TV Wuerzburgasse 30 1136 Vienna, Austria

Orion Classics 7115th Ave. New York, NY 10022

Overseas Film Group 1040 North Las Palmas Ave. Los Angeles, CA 90038

Paramount Picture Corp. 5555 Melrose Ave. Los Angeles, CA 90038

Progress Communications 900 3rd Ave. New York, NY 10022

Renegade Films 8033 Sunset Blvd. West Hollywood, CA 90046

Romania Film Telex 11144ROFilm

Island Pictures

15821 Ventura Blvd. #530 Encino, CA 91436

Telex 31680 WVCRWNL

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Film Polski

Marathon Films P.O.Box 6077 Tel Aviv, Israel 6106 Telex 341418 ANATIL

Michael Blackwood Productions 251W. 57th New York, NY 10019

Samuel Goldwyn Company, The 10203 Santa Monica Blvd. Los Angeles, CA 90067

Shochiku 8230 Beverly Hills Blvd. #9 Los Angeles, CA 90048

Simcom International, Inc. 957 Wilshire Blvd. Penthouse Beverly Hills, CA 90212

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Spectrafihn 29 W. 34th S t 12th Floor New York, NY 10001

Tatge Productions 370 Riverside Drive New York, NY 10025

Tri-Star 8671 Wilshire Blvd. 6th Floor Beverly Hills, CA 90211

UCLA Film & Television Archive 1015 N. Cahuenga Blvd. Los Angeles, CA 90038

Umbrella Films 31 Percy Street London, W1 England

MCA-Universal 100 Universal Cüy Plaza Universal City, CA 91609

Vestron Releasing Corp. P.O. Box 4000 Stamford, CT 06907

William K. Everson New York University — Film Dept., 721B New York, NY 10003

World Marketing Film Telex WOFILM 641306F

VOLUNTEERS Nanz Aalund Ray Allen Garth Amundson Doug Antonelli Charli Bailey Laurabeth Baker Corinne Bauer Alan Blangy Jeffrey Botten Rosemary Brooke Pamela Brosel L.B. Butler Harry Dean Cat Julie Chanter C. David Cook Eric Cooley Kevin Dalyl Michele Dennis Francoise Depardon Robin DeVick Mary Pat Dileva Anne Duiford Nancy Emery Mark Eugene Suzie Fisher JohnFliss Ted Fry Gillian Gaar Jim German Jeff Gerson France Giddings Joseph Giving David Gordon Eric Gould Norman Gunderson Alice Haberstich

Cara Hains Roger Hallsten Jenny Hamada Greg Hara Addy Hatch Lydia Hatch Kathleen Helfrich Pamela Hill Janet Hitchcock Kathy Hobzek Pam Hoerlein Patti Hooper Barbara Jackson Jane Jacobs Walker Dale Jarvis Margie Jarvis Mary Jennerson Uti Johnson Stan Jonasson Joseph Kalar Fran Kamin Debbie Katz Deborah Katz Christine Kelly E.F. Kohmann Christine Marie Larsen Gretchen Lawber Sonja Lawber Ellen Levitt Marion Makin Karla Mason Renee Mavor Maggie McFarland Shanon McGinnis Donald Melville Frank Miles Jerry Millikan Sally Mizroch

Sandra Monk Fred Mullett Virginia Nicholsen Tim Olson Glennette Olvera Deidra Parsinen Baubie Paschal Lis Peery Ron Pernick Russ Phelps Kuava Phillips Claude Phillips Jr. Andrew Potter Jeanne Pray Trixie Rombouts Nancy Schub Ken Schulman Steve Smith Steven Smith Barbara Spear Kathy Spierling Sandra Steed Laura Stusser Emma Sutton Beth Szabados The Jacobs Robert Thomas Bill Thomess Bill Totten Anketel Tsoo Carol Ulrey Ramon Valencia Louise Van Sull Maggie Van Veen Jane Wakematsu Sharon Willoughby Dave Wilson Douglas Yaple

E S

K Ken Wlaschin Lon and Wally Darby Langdon Jim O’Donnell Lynn Albers Monique Randy Rock June Morrow Douglas Edwards Dawn Loiselle Closs Charleen Swansea Robert Lewis Stel Herb Rregstein bWalter Van Hauffe Charly Zukow Ric Ulrich Jonathan Searing Lee Trousdale Mary Davies Eliza Mellor Anthony Smith Michael Davidson Joni Dennison

AFI Film Festival, Los Angeles Airborne Express Airborne Express Airborne Express Amblin Entertainment American Theatre Organ Society AML International AMPAS Anne Frank Productions Art/Life Productions Australian Films International Ltd. Australian Film Office Beverly Picture Bill Lanese Advertising Bill Lanese Advertising Boris Kroll BRAVO Channel British Consulate — Seattle British Film Institute British Film Institute British Film Institute Broadway Performance Hall Brotman Companies Brotman Companies

Craig Richards Robert Brunthaver Gary Martinelli Budget Rent-A-Car Darlene DeMaria Buena Vista Dist. Co. John Jarmul B.B. Productions Stan Caidin Caidin Film Co. Mel Canada Michael Alden Cannon Films Randall Barton Cannon Films Priscilla MacDonald Cannon Films Raoul Katz Carlton Film Export Adam Rogers Castle Hill Productions Mel Maron Castle Hill Productions Central Motion Picture Corp. Sue Mroz Chicago International Film Festival Ping Hulai Richard Abramowitz Amir Malin Shelby Stone Maureen Tolsdorf Stephanie Ogle Gary Crowdus Garth Drabinsky Rahman Farmanara Jim Darbinian Robert Bond LeAnne Eskenazi John Harsh Rodger Heggen Kent Kildaw Wayne Schwartzkopf Philip Van Oppen Rene Fuentes Chao John Tilley Fran Spielman Bob Dingilian Lucias Barre David Puttnam Ed Russell Jim Spitz Michael Hofferbert Kathy Nelson Barbara Murel Larry Fenton Jan Vanicek Bill Renn Chuck Rynd Kerry Genther Gary Persell Jack Stone Peggy Villines Gregg Araki

China Filin Export Cinecom International Cinecom International Cinecom International Cinecom International Cinema Books Cinema Guild Cineplex Odeon Corp. Cineplex Odeon Corp. Cineplex Odeon Films Cineplex Odeon/SRO Cineplex Odeon/SRO Cineplex Odeon/SRO Cineplex Odeon/SRO Cineplex Odeon/SRO Cineplex Odeon/SRO Cinete (USA) Cinevista Cinevista Circle Films Columbia Pictures Columbia Pictures Columbia Pictures Columbia Pictures Columbia Pictures Common Line Communications Common Line Communications Common Line Communications Computer Guru Czechoslovak Film CAP. Printing C.E. Rynd Photographic DeLaurentis Entertainment Group DeLaurentis Entertainment Group DeLaurentis Entertainment Group DeLaurentis Entertainment Group Desperate Pictures, Ltd.

Devo and Susie Mary Ditkoff Noreen FarreU-Herzog Double Helix Production John Kohl Elektra Records Joe Empire Pictures Charles Band Empire Pictures Scott Einbiner Empire Pictures Jim Rogers Empire Pictures Cathy Conway Entertainment Tonight

Jan Fisher Pete Hammond Leonard Maltin Tom Garvin Barbara Walker

Entertainment Tonight Entertainment Tonight Entertainment Tonight Ervin, Cohen & Jessup Ervin, Cohen & Jessup

William K. Everson Andrew Turleu Karen Flanzbaum John Ives Lisichka Gabriele Rohrer

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Jeff Dowd and Associates Jeff Dowd and Associates Joumal-American Jugoslavia Film K&L Beverages K&L Beverages

Dorothea Moritz Carole Wilson

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Randall Chicoine Charles LeDray Christine Lewis David Whitten Nancy Locke Thomas W. & Sandra Macdonald Clyde Jeavons Liz Lehmans Derek Malcom Julie Sisk Len Hilgerman Sheila Benson Fran Alswang Golds Meire Ann Browder Market Waterhole Pro Orlow Seunke Bobbie McGee John McIntyre

Pat & Ron Debbie Miles Carmelo Romero A1 Milgrom Mark Lipsky Leonard Schien Robert Mugge Fred Mullett Christopher Murel Kathleen Murphy Larry Kardish Anne Morra John Schlesinger Andy Green Tobias P. Lemon Bob McRae Twyla Odegaard Mark Kimball Michael Nelson Dan Long Steve Bachner Kevin Sweeney Lindsay Shelton Peter Lowy Beth Brown Amy Heller Jose Lopez Dan Talbot New Bruce Wilson Beth Brown Nicole Jouve Devorah Macdonald J.B. Shane Christy Nordstrom Frida Ohrvik Chip Parker Sean Sifagaloa Norman Langill Jane Ophuls Michael Barker Tom “Saint” Bernard Brian Caldwell Paul Mowry Denise Ades Robbie Little Ernestine Erkinger Dr. Szysckowitz Alan Ferro Pablo Ferro Zia Gibson Shelly Beekman Nancy Goldman Mona Nagai

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E H

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Sandstar Releasing Co. San Francisco International Film Festival San Francisco International Film Festival San Francisco International Film Festival San Francisco International Film Festival San Francisco International Film Festival San Francisco International Film Festival Satori Seafirst Bank SeafirstBank Seafirst Bank Seattle Art Museum Seattle Art Museum Seattle Central Community College Seattle Central Community College Seattle Central Community College Seattle Film House Seattle Film House Seattle Post-Intelligencer Seattle Post-Intelligencer Seattle Post-Intelligencer Seattle Post-Intelligencer Seattle Public Library Seattle Times Seattle Times Seattle Times Seattle Times Seattle Times Seattle Times

Eileen Nad Castaldi Blayne Becker Frank Rodrigues Tom Sherak Sam Weinstein Roger Bell Roger Bell ruyBill Gleason Robert Jacobson Lyla Foggia Jeff Gilmore Robert Gitt Josette Bonte Tracy Levin Simon Perry Mark Samuelson Dawn Anderson Marvin Antonowsky Nick Carpou Hilton Green BiULaVeUe William C. Soady Ann Alexander Tony Safford Sandra Saperstein

Seattle Times Seattle Times Seattle Times Seattle Times Seven Gables Corp. Seven Gables Corp. Seven Gables Corp. Seven Gables Corp. Seven Gables Corp. Seven Gables Corp. Shibata Film Shibata Organization Shochiku Film Sigma Films B.V. Sigma Films B.V. Silvemcreen Graphics Simcom International Inc. Simcom International Inc. Simply Desserts Ski Central Skouras Pictures Inc. Skouras Pictures Inc. Slavin Advertising Slavin Advertising Soho Natural Sodas Sorrento Hotel Sorrento Hotel Sorrento Hotel Soviet Cultural Attache, Washington DC Spectrafilm Spectrafilm Spring Films Spring Films Sterling Recreation Organization Stereovision Inc. Stereovision Inc. Stimulation Inc. Sudden Printing Surf Theaters Swedish Film Institute Swedish Institute The Talking Mule Tatge Productions Teleculture Telefilm Canada Telluride Film Festival Telluride Film Festival Thames TV Thunder Media Ticketmaster

Troma Inc. Twentieth Century-Fox Twentieth Century-Fox Twentieth Century-Fox Twentieth Century-Fox Twentieth Century-Fox Twentieth Century-Fox Worldwide Services Trax Travel Trax Travel Tri-Star UCLA Film Archives UCLA Film Archives Unifrance Unifrance Umbrella Films Umbrella Films Unifrance — Los Angeles Universal Pictures Universal Pictures Universal Pictures Universal Pictures Universal Pictures Universal Pictures USA Film Festival US Film Festival US Film Festival

Hannah Fisher Vancouver International Film Festival Alan Franey

Vancouver International Film Festival

Nancy Vasecko Maggie Brown Janies Greenberg Todd McCarthy Dorthea Moritaz Chris Aronson Dan Ireland Carol Merrill Linda Miller MJ. Peckos Bill Quigley David Edelstein Janet Wainwright Cindy Ryffle Jennifer Henderson Richard Hill Richard Miller Jeff Prill Barry Reardon Lynn Baldwin David Weissman Diane Wetzel Scott Wilson Joe Souther Michael Diamond Adam Horovitz Adam Yauch Mary Helen Berg Lloyd Cohn Krzysztof Zanussi

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Vanguard Productions Variety Variety Variety Variety Vestron Pictures Vestron Pictures Vestron Pictures Vestron Pictures Vestron Pictures Vestron Pictures Village Voice Warner Bros. Classics Warner Brothers Warner Brothers Warner Brothers Warner Bros. Warner Bros. Washington State Film t Video Commission

White Castle Productions White Castle Productions White Castle Productions Women Make Movies World Artists

GENERAL INFORMATION All films will be shown in their original language with English subtitles. Most films will be preceded by a short. Please check with the festival information line if you wish further details. Seating is available at all performances on a first-come, first-served basis. All programs are subject to change without notice. Due to circumstances beyond our control, certain films may be rescheduled or cancelled. Every effort humanly possible will be made to keep you informed of these changes.

TICKET INFORMATION Full Series Pass: There will be only one type of full series pass available this year. This pass will cost $175 and includes admission to all programs at both the Market and Egyptian Theatres, with the exception of Opening Night, May 14th. These passes are non-transferable and do not guarantee seating. Please Note: Due to the limited seating at the Market Theatre and anticipated sell-outs a t both theatres, all full series ticket holders are encouraged to arrive a t the theatre one-half hour prior to showtime. This is to ensure adequate seating for everyone. Full series ticket holders will be put on SRO’s mailing list to receive invitations to special screenings throughout the year. Partial Series Pass: These are available for $25.00 and include admission to any six films, with the exceptions of any events priced over $5.00. When purchasing a partial series pass, you will be asked to select the films you will be attending. A limited number of tickets per film are alloted to be sold as part of partial series, so it is strongly urged that you purchase your tickets as soon as possible to avoid disappointment. These are general admis sion tickets, and do not entitle the holders to priority seating. Tickets for all events are available two ways: • Individual, partial and full series tickets are available at the Egyptian Box Office — 801 E. Pine — daily from noon to 9 p.m. through May 14th. From May 15th on, the Festival box office will open one hour prior to the first show of the day at the Egyptian. Tickets for the Market Theater are available at the Egyptian until 9 pm of the evening prior to show date. On the actual day of the show, tickets 'are available a t the Market half an hour prior to the first show of the day. • By mail from the Egyptian. When ordering tickets, please send a list of the films, the amount of tickets desired and the price (available in this section). If ordering a partial series pass, please indicate the six admissions you’d like included on the pass. (This can be any combination of six films or admissions $5.00 and under — for example, if you’d like to purchase a partial series pass to use for two admissions for three films, please indicate this.) Please send your check and a self-addressed, stamped envelope to:

Egyptian Theatre, 801E. Pine, Seattle, WA 98122 Attn: Ticket Order To avoid the inconvenience of possible refunds, please leave the amount on your check blank and indicate the maximum you wish to spend with the words “Not valid over $ When picking up your tickets a t the box office, please check them before you leave the window. No refunds or exchanges can be made with the exception of a program change. We regret th at we cannot admit children under 6 years old. All children over 6 will be charged adult prices. Please note th at unless otherwise indicated, the programs are not double bills. All screen ings require separate admissions. Latecomers will be seated a t the discretion of theatre management. Seating is not guaran teed for latecomers, and latecomers may not be admitted in some cases. NO latecomers will be admitted during Secret Festival.

ADMISSION PRICE SCHEDULE Regular Evening Screenings .......................................................................................... $ 5.00 Gala Opening — La Bamba............................................................................................. $ 20.00 Closing Night at the Egyptian —Good Morning, Babylon....................................................$ 10.00 Tribute to Dennis Hopper ...............................................................................................$ 7.50 3-D............................................................................................................................... $ 10.00 Cinemascope with Leonard Maltin................................................................................... * 5.00 Midnight Films.............................................................................................................. $ 4.00 1:30 Saturdays at the Market ..........................................................................................$ 4.00 5:00 &4:00 Matinees......................................................................................................$ 4.00 Full Series Pass ........................................................................................................... $175.00 Partial Series Pass......................................................................................................... $ 25.00 Secret Festival*...............................................................................................................$ 1®*® * Paid once, it is good for admission for all Secret Festival showings in the Festival’s calendar.

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SPECIALISTS IN PIO NEER LASERDISCS (8" and 12")

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C in e m a s c o p e ontoPIONEER* The future of sound and vision.

M e m b e rs h ip s available in o u r V H S cassette rental program fe a tu rin g th e g reat Classics as w e ll as th e best o f th e Foreign film s. T he best and w o rst o f th e H o rro r film s, Scifi, A d v e n tu re , D ram a. T h e latest releases, w e have th e m .

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B R A V O !« "Cheers" to the Egyptian's 12th year. For the past twelve years, the Egyptian's "Show-of-Shows" has given hundreds of movie makers the opportunity to have their films professionally presented to Seattle's film-lovers.

I.A.T.S.E. Projectionist Local 154 O v e r 75 years, helping make the art o f movies " state-of-the-art'

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Doesn’t IVfean YiuHaveTb Do It Alone. JOIN A SUPPORT GROUP. AND MAKE SOME NEW FRIENDS. At one of our Safe Sex Support Groups you’ll meet other guys who go with men. Men whose first priority is living a safe and healthy life. Men learning about and enjoying Safe Sex and living to tell about it. Talk to other men about how to get through those , difficult moments. Share the good times as well as the awkward ones. ¡ Laugh ana have a good time with your new friends. ¡ Learn about condoms, techniques-intimacy too! The support groups meet in hour-and-a-half sessions, once a week. They’re in seven different locations around the city, so there’s bound to be one nearby. You can come to one or all - as often as you like, because they’re free. JOIN IN. CALL 329-NWAF TODAY. You’re invited to join us. Bring a friend. And meet new ones. Find out when the next support group meets in your area by calling 329-NWAF. Safe sex. You don’t have to do it alone. Call today.

Please Be Safe.

The Northwest AIDS Foundation

44 3-Dx4 68 Abel 69 AlmacitaDiDesolato 55 Altar Boy, The 75 Amazing Grace & Chuck 54 Anne Trister 70 ArrivingTuesday 75 Backyard 29 Berliners On Sunday 56 Black &White 66 Black Lizard 76 Blood Diner 56 Boy Meets Girl 59 Castaway 51 Charlene 76 Chile: HastaCuando? 34 Chinatown 71 Chronicle of Amorous Accidents, A 76 Chuck Solomon: Coming of Age 66 Comic Magazine 59 Coming Up Roses 77 Composers Notes: Phillip Glass, The Making of an Opera 73 Dark Hideout 51 Dead End Drive-in 23 DennisHopper.ATribute 64 Devil In The Flesh 53 Diary OfAMad Old Man 77 Directed By William Wyler 77 Dolls 34 Double Indemnity 53 Dream Makers, The 34 Duck Soup 78 Evil Dead II 85 Farewell, The 69 Flodders 58 Forget Mozart 78 From Beyond 63 Genesis 28 German Dreams 31 God Doesn’t Believe In Us Anymore 42 Golden Space Needle Awards 60 Gone To Earth 66 Gonza the Spearman 22 Good Morning, Babylon 60 Gothic 62 Great Generation, The 86 Happy New Year, 1949 71 HardAsphalt 60 High Season 53 Hour ofthe Star 87 How I Was Systematically Destroyed By The Idiot 67 IL ivedBut... 78 I Played It For You 64 Identification of a Woman 79 Impure Thoughts 24 In Cinemascope with Leonard Maltin 79 Inside Out 79 International Sweethearts of Rhythm 69 Iris 35 It 26 It’s All True: Four Men on a Raft 25 Jean de Florette 55 John’s Secret 86 Journey of a Young Composer 28 Journey, The 67 Karayuki-san: The Making of a Prostitute 86 Kindergarten 50 King and His Movie, A 57 L’Efirontee 21 LaBamba 58 Laputa 23 Last Movie, The 65 Let’s Hope It’s A Girl 80 Mabou Mines: Dead End Kids

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This select group of Northwest businesses feel their contributions to the Seattle International Film Festival are beneficial to their overall concerns and definitely enhance their public image. With out their support, we would not be able to mount the extensive number of film s and special events this year.

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