Cinema Papers no. 41 December 1982 (2025)

OCR
	Mel Gibson in THE YEAR 0F .1 VING DA NGEROUSZY or poster inside ,1‘ ’ } “rlap. We of the Never Never and more Issue 41 $3.50‘
	The world’ Jaws Luther I'd Rather Be Rich Imitat[...]Celebration In Love and War Innocent Bystanders The Internecine Project Interrupted Melody The Italian Job It’s Always Fair Weather ]upiter’s Darling Kathy 0 King of Hearts Kismet Kiss of the Vampire Les Grandes Manoeuvres Green Fire Gumshoe Guns for San Sebastian Guys and Dolls The Harrad Experiment Help Hot Enough for June House of Usher How I Won the War Hustle I Could Go on Singing I Killed Rasputin IWalk the Line Secret Ceremony 1776 Shamus Simba The Milky \Nay Muriel The Story of Adele H A Study in Terror Summertime Sunstruck Suspira The Swan Tales From the Crypt The Tamarind Seed Ta ras Bulba Ten Rillington Place That Lady That Obscure Object of Desire Knights of the Round Table Knights of the Teutonic Order Lady Caroline Lamb Lady L Lancelot and Guinevere Landru The Last Hunt Last Summer The Last Sunset The Last Valley Lease of Life The Light at the Edge of the World The Little Hut Live for Life The Long Hot Summer Loot Love and Pain and the Whole Damn Thing Love Me or Leave Me Lover Come Back Loving Lunch on the Grass Amsterdam Affair Beau Brummel An Affair t[...]d Small Anastasia Asylum Bad Day at Black Rock The Barbarian and the Geisha Barry Lyndon Belle de Jour Benjamin Les[...]Boccaccio 70 Le Bonheur Borsalino Le Boucher The Bride Wore Black A Man and a Woman Midnight Expr[...]ogs L’Homme de Rio There's a Girl in my Soup The Lacemaker Lady Sings the Blues The Lion in Winter Live and Let Die The Long Hot Summer If . . . Isadora The King and I The Great Gatsby The Hunchback of Notre Dame Monty Python's Life of Brian Oliver Chariots of Fire Alfie Battle of Britain The Blue Max The Bridge on the River Kwai Monty Python and the Holy Grail Murder on the Orient Express Lawrence of Arabia Julia Henry V Death on the Nile Dr Dolittle Dracula A Bridge Too Far The Charge of the Light Brigade 2001: A Space Odyssey Thoroughly Mo[...]underball A Touch of Class You Only Live Twice The Pink Panther The Pink Panther Strikes Again The Prime of Miss Jean Brodie Kramer vs Kramer The Shining Raiders of the Lost Ark Arthur Sapphire On Golden Pond Mondo Cane La Femme Infidele For Pete’s Sake Cries and Whispers Day for Night D-Day the Sixth of]une The Devil’s Playground The Eagle has Landed Elmer Gantry Elvira Madigan Ernmanuelle Bugsy Malone Callan Carousel The Ugly American The Way We Were The Music Lovers Nicholas and Alexandra O Lucky Man The Odessa File One Day in the Life of Ivan Denisovich The Thirty—Nine Steps Till Death Us Do Part Tom Jones The Trojan Women Red Sun Woman of Straw Young Winston Z The Owl and the Pussycat Les Parapluies de Cherbourg Picnic at Hanging Rock Pillow Talk Song Without End The Spider’s Stratagem Stand Up and Be Counted Stolen Kisses Face of a Fugitive The Family Way Fat City Fedora Flight from Ashiya Fool’s Parade Foreign Intrigue Funny Lady Galileo The Gambler The Garden of Fitzi Continis A Gathering of Eagles Getting Straight The Glass Slipper Good Neighbour Sam The Curse of Frankenstein The Dark Avenger A Day in the Death of Joe Egg The Day of the Triffids Deep in My Heart The Defector The Devil at Four O'clock Dirty Little Billy The Discreet Charm of the Bourgeoisie A Doll's House A Dream of Passion E[...]Capricious Summer Caravan to Vaccares Cartouche The Cobweb The Confession The New Centurions eates the worl s grea The King of Marvin Gardens Scream and Scream Again The Serpent’s Egg Small Change The Damned The Dangerous Exile The Burglars Bus Stop The Christmas Tree Le Rouge et Le Noir When Eight Bells Toll The Wicker Man The Wild Geese Pepe The Adventures of Arsene Lupin And God Created Women Bartelby Bernadine The Best House in London The Best Things in Life are Free Betrayed The Blue Peter The Bottom of the Bottle Boy on a Dolphin Macon County Line Major Dundee Make Me an Offer Man Friday The Man on the Roof The Man With the Golden Gun The Marseilles Contract Masquerade Mayerling Medea Spiderman The Amityville Horror Gallipoli Hoodwink Winter of our Dreams Puberty Blues The Killing of Angel Street Love Boat Best of Friend[...]Taylor Double Deal Partners (Four Handed Duet) The Pirate Movie Ginger Meggs Dangerous Summer Wall to Wall Cross Talk Kitty and The Bag Man Fighting Back Now and Forever Runnin’ on Empty Save The Lady Something Wicked (Early Frost) Starstruck[...]Snowy River Goodbye Paradise Dead Easy Close to the Heart Norman Loves Rose The Darkroom Going Down “Greed” Blood on Snow
	[...]rs trust test film maker. Brothers Moving Out The Year of Living Dangerously The Boyfriend Blood Line Breaking Glass Curse of the Pink Panther Diamonds are Forever The Empire Strikes Back Evil Under the Sun Force 10 from Navarone French Lieutenanfs Woman For Your Eyes Only Gold Mary Queen of Scots Murder on the Orient Express Mohammed - the Messenger of God Man with the Golden Gun Omen Outland Return of the Pink Panther Roller Ball Revenge of the Jedii Shout at the Devil Sarah Superman II Triple Echo The Three Musketeers Tommy Under Milkwood Venom Victor Victoria Wild Geese Watcher in the Woods The Wall All that Jazz Hair The Rose The Wiz Raging Bull Jaws 2 Star Trek The Godfather Part II Firefox Missing Airport Alice's Restaurant All the President's Men American Graffiti An American in Paris The Arrangement Barbarella The Betsy Blazing Saddles Bob and Carol and Ted and Alice Bonnie and Clyde The Boston Strangler The Boys from Brazil The Boys in the Band A Man Called Horse A Man for all Seasons Mary Poppins Midnight Cowboy Midway Sunday Bloody Sunday Superman Tales of Beatrix Potter The Taming of the Shrew Taxi Driver The Ten Commandments Last Tango in Paris Le Mans The Jazz Singer The Jolson Story Jonathan Livingston Seagull Kelly's Heroes The Killing of Sister George King Kong The Great Escape The Guns of Navarone Heaven Can Wait Hello Dolly Shampoo A Shot in the Dark Silent Movie Slap Shot Soldier Blue Star Wars The Sting The Exorcist The French Connection Fun with Dick and Jane The Godfather The Day of the Jackal The Deer Hunter The Dirty Dozen Dirty Harry Downhill Racer Easy Rider Butch Cassidy and the Sundance Kid Can Can Carmen Jones The Cassandra Crossing Close Encounters of the Third Kind Cool Hand Luke The Valachi Papers Valentino Vanishing Point What's[...]a Breckenbridge Nashville Network One Flew over the Cuckoo's Nest The Other Side of Midnight Three Days of the Condor Toral Tora! Tora! Trapeze Travels with My Aunt The Turning Point The Goodbye Girl Marathon Man Woodstock Women in Love Zabriskie Point The Paper Chase Patton Planet of the Apes Play it again Sam The Poseidon Adventure The Private Life of Sherlock Holmes The Prize The Professionals Prudence and the Pill Grease The Spy Who Loved Me Northwest Frontier Traffic Between Heaven and Hell The Brass Bottle The Bravados Turkey Shoot We of the Never Never Little Big Man ET From pre»production to premiere, Kodak gives you the commitment to quality and the range of stock that you demand. Kodak and its range of Eastman film products has always been at the forefront of motion picture film development and[...]ive. W hen you next make a film, ensure you have the worlds greatest film maker working with you every step of the way. The world's greatest film makers have, and as[...]
	[...]Houses and Government Departments Without doubt the highest quality, lowest cost editing machine avai[...]hines available today BUT: Only SCHMID can offer the following facilities in what is the best value package available in Australia today.[...]Mix facilities. These features release you from the frustrations and delays you have experienced and[...]lllilson Cesare avattini . . . have all written for total in-house control over your Sound and Editi[...]f models and options to suit every need. Call us for further information. FILMTRONICS AUSTRALIA PTY L[...]) 807 1444. TLX: AA25629 SIGHT & SOUND — the international ﬁlm and television quarterly The intemational ﬁlm magazine famous for its detailed coverage of the best of world cinema and television. Extensively[...]Recent issues have featured: Articles onjazz in the movies, Raul Ruiz, French crime ﬁlms, the making of Heat and Dust, Coppola's Zoetrope, new broadcasting technologies, theFor month by month reviews of every feature ﬁlm and[...]ﬁnitive list of its cast and technical credits. The Retrospective section assesses silent and early[...]iption I would like my subscription to begin with the issue dated to begin with the issue dated Please return this form with a cheque or postal order [crossed and made payable to the British Film institute) to: Publications Departm[...]1, Dean Street, London WIV 6AA I enclose a cheque for Name Address
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	[...]Acclaimed as probably the most For information and appointments contact SUI-'>eVb'Y[...]y. LTD. Suite 135. Raffles Hotel shot entirely on the AATON LTR. E5 street $73 Beach i3<7;1ag Shoot y[...]. Better still, it's me" M94150 HLMWA Emmi scum; the quietest Super 16 on the market PERCYJONES Scope Films (23 db i 1 db)_ Mo[...]871 2253 represent the best shooting value on _ A.‘-Ex "°""E.E the market today. Especially when 33'95 39903 '" §',[...]ailand, Indonesia and Philippines. For true professional service have a talk to W[...]
	This year e’ ht films I 9 wrapped up the zhgustralian Film t S a. Institutes awards. All eight were processed by the one laboratory Colorfilrn. Surprising? Not to us. After all, over the years we've been the lab chosen by the producers of most successful Australian films. It seems we've got the award—wirming process all wrapped up. Just take a look at this year's winners. And by the way, to all the award winners, ‘We Of The Never Never,’ ‘Lonely Hearts,’ ‘Goodbye P[...]and ‘Man From Snowy River,’ Colorfi I m from the Colorﬁlrn crew—‘Cor1gratulatior1s.’ The process for winning ﬁlms.
	[...]is proud to have provided COMPLETION GUARANTEES for these motion pictures in Australia and New Zealan[...]r Ted Lloyd Director of Photography Toni lmi The Settlement Producer Robert Bruning Director How[...]itte Schneider" Chairman Chief Production Auditor Office Manager William E. Hinkson Gwen lveson V L[...]
	[...]0311-3839 Debi Enker 504 Guilty Pleasures: the Films of Paul Schrader Neil Sinyard 510 Peter Tammer: interview Geoffrey Gardner 516 The Efftee Legacy , Chris Long 521 Liliana Cavani: interview Sue Adler 524 All Creatures Great and Mostly Small: the Biography Industry. Part One Brian McFarlane 528[...]David tratton 533 Class of 1984 542 Peter Malone The Year of Living . Features ..'9.°.:,:*:.Z'2s. Picture Preview: 538 ' The Quarter 500 Australian Film Awards Scott Murray 501 Letters 502 Picture Preview: The Year of Living Dangerously 538 New Products and P[...]tion Survey 551 Picture Preview: Phar Lap 571 Box-office Grosses 577 O 0 Film Reviews Lonely Hearts Keith Connolly 561 Three Brothers 562 _ Paulo Weinber er . . . The Biography Industry we ofthe NevefgNeVef Liliana Cavani Surveyed: 528 Brian McFarlane 563 Interview: 524 E.T. The Extraterrestrial Robert Conn 564 Crosstalk Geoff Mayer 565 Barbarosa Barrie Pattison 567 The Sharkcallers of Kontu Solrun Hoaas 568 A Midsumme[...]ion Year Book 1982-83 and International Film E.T. The Extraterrestrial g"dRTl‘_’a::eﬁ\|' B°°" 19[...]yout: ARTetc. Business Consultant: Robert Le Tet. Office Administration: Patricia Amad. Secretary: Anne Sinclair. Office Assistant: Jacquelyn Barter. Advertising: Peggy[...]ffset Publishing Group, Geddes t, Mulgrave, 3170. Telephone; (03) 560 5111. Typesetting: B-P Typesetting, 7-17 Geddes St, Mulgrave, 3170. Telephone: (03) 561 2111. Distributors: NSW, Vic., Old, WA,[...]Press Pty Ltd, 168 Castlereagh St, Sydney, 2000. Telephone: (02) 2 0666. ACT, Tas.: Cinema Papers Pty Ltd. U[...]Papers is produced with financial assistance from the Australian Film Commission. Articles represent the views of their authors and not necessarily those of the editors. While every care is taken with manuscripts. and materials supplied for this magazine, neither the editors nor the publishers accept any liability for loss or damage which may arise. This magazine may not be reproduced in whole or in part without the permission of the copyright owner. Cinema Papers is published every two months by Cinema Papers Pty Ltd, Head Office, 644 Victoria St, North Melbourne, Victoria, Australia, 3051. Telephone: (03) 329 5983. © Copyright Cinema Papers Pty L[...]plays Guy Hamilton) and a scene from Peter Weir's The Year of Living Dangerously. CINEMA PAPERS[...]
	[...]imsey, chief executive of Film Victoria (formerly the Victorian Film Corporation), has retired at the end of his three-year contract. Dimsey, who directed Blue Fire Lady and Final Cut before joining the VFC, is to direct Faust for producer Antony I. Ginnane. Film Victoria, which[...]anization. has not as yet appointed a replacement for Dimsey. In mid-November, the Victorian Minister for the Arts, Race Mathews, introduced legislation which provides for direct state government finance for films, and will enable Film Victoria to produce films and promote schemes for financing them. In 1976, when the VFC was formed, it was legislated that VFC could[...]e companies. It is felt, however, that since then the circumstances have changed so dramatically that a complete re-think is called for. One motivating factor has been the drain of creative talent over the border to Sydney, where the Australian Film Com- mission and the New South Wales Film Corporation have successfully concen- trated the film industry. Mathews hopes to change this by making the film financing climate in Victoria more pro- ductive for local talent than anywhere else. Mathews also said the Victorian industry will in future depend on young[...]ly if Film Victoria was able to act as a producer for them. This is a total change of policy, and a wel[...]IIIIIIIII While debate in Australia continues on the degree, function and type of govern- ment support of the film industry, a similar debate rages in Britain. There, tax is applied to all cinema ticket sales and the proceeds go into the Eady Fund. This in turn funds (wholly or partly) the, National Film Finance Corporation and the National Film School, among others. Recently, the British Films Minister, lain Sproat, announced a review of the Eady Levy and it is feared by many within the industry that the levy may be abolished. There is a feeling that the Thatcher Government, in its desire to cut costs,[...]govern- ment support of British film production. The Association of Independent Pro- ducers, which com[...]ent supports its indigenous film industry. Yet, the [British] Department of Trade [is] thinking of abolishing the one small support to keep the British film alive: the Eady Levy, a parafiscal tax that costs the Treasury nothing.” Director Piers Haggard continues: “One only has to look at the French government's plans to realize how incredibly important the film industry is in presenting any national culture to the world. Maggie clearly sees us as a nation of porno-cable watchers." Certainly the Sproat Report, to be released at the end of the year, will have a great effect on how long the British feature film industry continues to flicker. (For a more detailed report, see “Shock Review Stirs[...]levision Investments totalling almost $60,000 in the script development of five new children’s projects were announced by the Australian Children’s Television Foundation. Dr[...]ow of good quality projects was being sub- mitted for funding both by experienced professionals and new writers. “If all the projects now given investment funding reach produ[...]new children's programs.” Total investment by the ACTF in project development has now reached $235,000, with three of the projects funded earlier this year scheduled to go into production early in 1983. The ACTF also revealed that it would be a major investor in the South Aus- tralian Film Corporation’s production of Colin ThieIe’s Fire in the Stone. This will be the SAFC’s third film of works by Thiele, and follows Storm Boy and Blue Fin. In announcing the investment, Edgar emphasized that the ACTF has been created mainly to invest in the inno- vative, but costly, high-risk stage of the production process — program develop- ment — and then to attract the industry to make the program. Funding to establish the ACTF has come from commonwealth and state governments, but, according to Edgar, the ACTF will not survive without broad- based financial support from the com- munity. Funds from individuals, corpora- tio[...]o continue investing in new programs. Details of the new investments are as follows: Chase Through the Night —— $15,950 for first-draft funding of a five-part mini- series to Endeavour Film Productions. The Parallax Factor —- $5644 for final- draft funding for Episode one and treatment funding for Episodes two to five for a mini-series to David King. Amazing Australian Animals — $3800 for pilot-script funding for a wildlife series to DNM Productions. Peppino — $5420 for first-draft funding for Episode one of a seven-part mini- series to Colos[...]Telefeature Package and Rocks of Honey — $8000 for Package Develop- ment and $20,166 for first-draft funding for the telefeature Rocks of Honey to Merryweather Produc[...]I Roger Easton, chief of technical operations at the Canadian National Film and Television Archives in[...]tly spent a month in Australia as a consultant at the National Library. Widely recognized throughout North America for his expertise in sound and video preservation methods, he advised the Library on a strategy for establishing a video preservation facility in the National Film Archive and on the latest preservation developments that could be adopted in the Library's sound recording section. Easton was born in Sydney and once worked for a Sydney television station, but has lived in Canada for 16 years and is now a Canadian citizen. Melbourne Festival New appointments have been announced by the Melbourne Film Festival, now in its 32nd year and the world’s fifth oldest film festival. Replacing[...]r) is Franco Cavarra, former artistic director of the Australia-wide Italian Arts Festival. Cavarra has[...]and drama, including Australian Opera sessions at the Adelaide Festival and the Sydney Opera House. In 1982, he was a member of the jury at the Mel- bourne Film Festival. Mari Kuttna, an Austr[...]director. Kuttna is a film critic who has written for many world film journals, including Sight & Sound, American Film and Cinema Papers. She is also on the awards panel of the British Film Institute, is vice-president of the British branch of FIPRESCI (Inter- national Association of Film Critics) and has co-directed the Oxford International Film Festival. It is not intended that Kuttna will attend the Melbourne Film Festival. David Stratton, director of the Sydney Film Festival and presenter for A Whole World of Movies on 0/28, has been retaine[...]South Australia, has been appointed president of the Festival, a newly- created position. A billboard image from Times Square, New York (The Road Warrior is the U. S. title for Mad Max 2).
	Australian Film Awards The 1982 Australian Film Awards were held in Sydney at the Capitol Theatre on October 27 and telecast nationally by the ABC. Scott Murray reports: In many ways the 1982 Awards presentation was the most successful yet, combining an entertaining li[...]ular distribution of awards among many films. But the lead- up to the Awards was anything if not eventful. The Voting The first controversy was over the implementation of a pre-selection process, which ‘narrowed’ the 30 films entered down to 18. (For a full report see 1Cg£e;'na Papers, No. 37, pp. 108-109, Once the 18 films had been nomi- nated, accredited AFI mem[...]October 24) — or should have. First, there was the problem of the Best Actors ballot paper — it had Norman Kaye s[...]mo in Lonely Hearts (instead of vice versa). Once the AFI realized the error another ballot was sent out — this time correct. Voters were told to discard the first ballot and use the second. The only problem was that some people had already completed and returned the first ballot before the second arrived. In some cases, the voter crossed out and corrected the errors on the ballot, thereby inadvertently making their vote null and void. As they felt they had cor- rected the mistake, it is possible they didn't bother to vote again. What of those who voted twice? Well, the auditors, Lowe, Lippman, Figdor and Franck, weeded out the incorrect ballots during the sorting and discarded them. Thus, only the second votes counted. The second ballot paper error con- cerned the Screenplay Award. Instead of alphabetical order, as required, the nominees were jumbled — not a serious error except for the donkey voters. The major balloting problem, however, was the mail-out. Numerous people complained about non-ar[...]arrived that he rang three times and complained. The first time he was told it was the mail. The second time Australia Post was again blamed. When[...]e had received her voting slip two weeks earlier, the rationale was changed to a don't know. Finally, the closing date came and went. Irate that he had been denied his chance to vote, he telephoned the AFI on Monday, October 25, two days before the Awards. He was told it was too late to do anythin[...]nely Hearts (Best Film) and co- producer of We of the Never Never (Best Cinematography). stand by and[...]s called later that afternoon he was told to ring the auditors direct, who would take his vote by phone[...]say, this account raises serious questions about the AF\|’s and their auditors’ handling of the Awards voting. Tradition It is the prerogative of any organiza- tion to change its p[...]directors have been invited to attend. This year, the incum- bent executive director, Kathleen Norris,[...]executive directors had worked slavishly to lift the AFI to the high position it until recently held, and mean- spirited because the cost saving was minimal (only one past executive director opted to pay — a profit of $30). The executive directors involved were Erwin Flado (fo[...]Of these, Brennan was invited as a pro- ducer of the nominated Starstruck and Crayford paid. Flado and[...]Norris and AFl chairman, Senator Hamer, and after the intervention of two AFI board members. Overall, the whole incident put the AFI in a poor light. One hopes that in the future it may feel more inclined to recog- nize the contributions of those who came before. Bob Ellis and Denny Lawrence accept their awards for Best Screenplay. Eric Porter, winner of the Raymond Longford A ward. The Presentation For those present, the 1982 Awards seemed to be the best since the start of television telecasts. The program was better structured, the musical numbers more crisply staged and the presenters far briefer and to the point. As compere, Phillip Adams gave a humorous[...]ious executive directors felt it proper that only the chairman should speak on behalf of the AFI). Looking at a video recording later, however, the presentation seemed a little lacklustre in spots. Despite exten- sive technical gear and the expensive Louma crane, the camera work and editing was often choppy and disconcer- ting. The fine performance by Jo Kennedy, Ross O'Donovan and back-up dancers, for example, was a brisk, invig- orating performance to watch live — particularly the leap to the pole — but on television it lost most of the flair (the leap was covered from above, for some reason). A second criticism of the presentation —~ and mostly from those outside the industry —— was that too many of the films mentioned had never been heard of. In 1976, when David Roe convinced Channel Nine to do the first televised Awards, the majority of the prizes went to Fred Schepisi’s unreleased Devil’s Playground. While helping that film at the box-office, it did not make for great television because the audience didn’t know anything about the film and felt left, out. Another criticism of the 1976 Awards was that the voting favored new, unreleased films over ones th[...]ch went largely unrecognized). As a result, when the ABC agreed to do the telecast in 1977, it insisted that all films be released before the presenta- tion. The AFI was happy to agree because such a regulation[...]Awards presenters David Atkins and Jacki Weaver. The Quarter militate against the criticism of favoritism for the new over the old. The prior-release clause stayed until this year, when the number of films — and the number of unreleasable films — was deemed too large to be coped with adequately. So, the old problem of audience bewilderment returned. I[...]to be solved if ratings are to increase, which is the whole point of the telecast. The A wards The awards themselves require little comment as they represent the collec- tive voting of accredited members of the AFI. it does seem odd that a film of the exceptional standard of Mad Max 2 should not be nominated for Best Film (but nominated for Best Director!) but that is the way voting goes. I certainly agree with Bob Ellis in his criticism of the abandonment of the Jury Prize for features, but one can’t complain about Peter Tammer’s Journey to the End of Night receiving just recognition. The winners are: Best Film: Lonely Hearts, produced[...]ay. Best Achievement in Direction: George Miller for Mad Max 2. Best Performance by an Actor in a Lea[...]Best Achievement in Cinematography: Gary Hansen for We of the Never Never. Best Achievement in Editing: Tim We[...]Michael Balson, Chris Plowright and George Miller for Mad Max 2. Best Screenplay: Bob Ellis and Denny Lawrence for Goodbye Paradise. Best Music Score: Bruce Rowland for The Man From Snowy River. Best Achievement in Art Direction: Graham Walker for Mad Max 2. Best Achievement in Costume Design: Norma Moriceau for Mad Max 2. Best Achievement in Sound: Bruce Lams[...]t, Byron Kennedy, Penn Robinson and Lloyd Carrick for Mad Max 2. Jury (Non-feature Awards) Best Short[...]roduced by Bruce Currie. Best Experimental Film: The Bridge, produced and directed by Mark Foster. Jury Prize: Peter Tammer for Journey to the End of Night. Special Achievement in Cinemato- graphy: Louis lrving for Greetings From Wollongong. Raymond Longford Awar[...]lehurst is applauded by Mel Gibson and Pat Lovell for winning the award for Best Actress in Monkey Grip. CINEMA PAPER[...]
	[...]hooray Dear Sir, My working week had ended and the usual pleasant anticipation with which I reached for Cinema Papers was dulled by just sheer exhaustion[...]anything. Could I say to Scott "hip, hip, hooray" for such clear thinking and for having the guts to say what needed to be said. I agree 100[...]y people of goodwill will have a chance of moving the industry fonrvard once more. Let us hope that by next year the ratings ratio will be reversed and we will see 10 out of 10 for at least three. Because, after all, there is noth[...]ised several topics that deserve comment. First, the point is well made that it is the quality of a film itself, rather than the presence or absence of a foreign star, that determines whether the film will have box-office success; however, both those who argue that it is fallacious for producers to equate foreign talent with box-office success, and those who argue the contrary, miss the further point that the producer's direct customer is not the filmgoer but the distributor. It is the distributor's belief in the box- office attraction of a particular star that justifies the producer's decision to engage that star, not whet[...]to be justified. It would be interesting to see the results of regular surveys of distributor attitud[...]ate, better than any attempted correlation of box-office results with the presence or absence of talent imports, the extent to which such imports remain commercially necessary. The lobby to exclude foreign nationals from participa[...]e in defence of employment. In fact, it often has the opposite result, as when the policy results in a proposed production being can[...]from Australia to another country (e.g., Race to the Yankee Zephyr, The Bad Seed). Since the proponents of the policy shrug off these effects, it is hard to resist the con- clusion that their real purpose is not to in[...]rtuni- ties, but to shelter local mediocrity from the demands of an international market- place. In an[...]ld not be confined within national boundaries. By the same token, it should not fear international comp[...]us- tralian talent that is not fairly recognized, the remedy lies not in policies designed to restrict the freedom of choice of Aus- tralian producers and i[...]dly, Scott Murray was rightly critical of some of the attitudes and argu- ments of the recently-formed Film Action Group. While I support the Group’s general aim of promoting the Australian film industry, and its aim to extend the June 30 deadline imposed by Part III Division 10BA of the Income Tax Assessment Act, I can only deplore the unfairness of its attack on UAA, and its mis- representation of the effects of section 51(1) of the Act. For all the Group's rhetoric about Aus- tralian money being s[...]n certified films have been seriously affected by the money-raising activities of UAA, any more than they have been by other legitimate opportuni- ties competing for investors’ funds. UAA was active last financial year, when the industry produced more than 30 Australian features. In the current year, when the slowdown in production has occurred, UAA has not[...]ware. Producers whose finances are subsidized by the new ﬁlm tax con- cessions can hardly accuse UAA of exploiting the Australian taxation system. The whole point about UAA’s opera- tions is that they do not rely on any special tax concessions. The only deduction offered is under section 51(1), un[...]usiness income. It is just not true to claim (as the Group evidently does, judging by similarly worded[...]ers no leverage. Leverage can only be achieved by the taxpayer borrowing to pay for the expenses. As such borrowings have to be repaid (the Act already contains pro- visions whereby the Commissioner may disallow the deductions if he is not satis- fied that such repayment will take place), they are only justified when the profit- ability of the business is assured. Why should Australians not[...]ind of projects) of guaranteed commerciality when the income will be fully taxable and represent export earnings for Australia? Producers of certified Australian ﬁ[...]itive advantage, in that they can offer investors the subsidies contained in the film tax concessions. Not content with that, some producers are now trying to persuade the government to outlaw their competitors altogether. They seem extraordinarily blind to the dangers (leave aside the unfairness) of such a campaign. If it succeeds, what reason will there be for the government to continue to subsidize investment in Australian films? The tax concessions may well be withdrawn. Further, many artists, technicians and others in the industry may find their own tax positions (or tha[...]d by whatever legislation is intro- duced to curb the application of section 51(1) to film business expenses. It is surprising that the Group, and the many journalists and politicians who have echoed its views, have failed to identify what everyone on the inside of Australian film financing knows is the real reason (apart from the recession and investor-disappointment with some recent films) for the current slowdown in feature film production, namely, the operation, since July 1, of the new Com- panies legislation, which contains an expanded definition of offering interests “to the public”, and which officials have interpreted a[...]prospectus before seeking investment moneys from the sources most often relied on in the past: the clients of solicitors and accountants. The Sydney Corporate Affairs Com- mission has led the way in drawing the attention of producers to the heavy penalties (up to $20,000 and 5 years imprisonment) for breach of the relevant sections. investors and investment broke[...]eeking to rely on a less-strict interpretation of the new definition. Some promised investment has bee[...]oductions, which were either fully-financed or on the way to being so, have been postponed while their advisers grapple with the unfamiliar complexities of preparing and register[...]is hiatus would not matter so much if it were not for the rule requiring films to be completed and marketed by June 30 in order to qualify their investors for tax concessions in the year of investment. Soon it will be too late for productions to start and be com- pleted in the current year. The June 30 deadline (sometimes wrongly described as[...]e") was an ill-conceived, last-minute addition to the ﬁlm tax concession legis- lation. It has had many harmful effects on the industry, and one can only agree with the arguments listed by Scott Murray for relaxing it. If that can be achieved, then regard- less of the activities of UAA-type operators, once the short-term diffi- culties of learning to comply w[...]lly we shall see a continuing output of ﬁlms of the quality that won prizes at the recent Australian Film Awards. Yours sincerely,[...]ech, I hope he will let me have my say on some of the points he makes. First, I agree with Scott that[...]methods, and I am glad to see that it looks as if the Film Action Group is heeding Scott's advice and a[...]Cinema Enterprises Ltd and Trans-Pacific Media to the govern- ment, which is as it should be. Scott cites the industry's indignation and reaction to these companies as having "had all the moralistic hyperbole of a Jerry Falwell ra\|\|y". S[...]Scott, director of two unsuccessful films, is on. The Pirate Movie was quite enter- taining — but only if looked upon as a children's film. The overall critical reac- tion to Ken Annakin's picture has amazed me (will Cinema Papers publish a review of The Pirate Movie? l doubt it. Scott could do a favora[...]articles on films and film industries, especially the Australian one. Bob has written good film scripts[...]claimed that he wanted to make films in Australia for Australians he probably meant just that. Tender Mercies (his 1982 Texas film) was made in America for Americans. Why should the industry speak against Beresford, Philippe Mora,[...]Gillian Armstrong, Graeme Clifford or anyone else for that matter going to the U.S. to make a film? Overseas directors should b[...].g., Ride A Wild Pony, Born to Run, Adam's Woman, The Side Car
	Letters Racers, The Sundowners, On the Beach, Journey Into Darkness, Girl in Australia, And Millions Die, the three Goldsworthy epics, Sunstruck, The Shiralee, Squeeze a Flower, The Siege of Pinchgut, and so on). Just because our i[...]so far use from overseas). In this day and age of the non-star they are just not called for. All (or most) of today’s best films have “unknowns” playing the leads and supports. Anyhow, we should be developi[...]couraging has-beens and never-weres to come here. The sort of “star” that may be box-office today, Australian films just can't afford to hire. By the way, at least 10 of our 30 films entered in the 1982 Australian Film Awards can be considered sig[...]not eight as Scott suggests. I agree that most of the other 20 were uniformly bad. Yours sincerely, D[...]pe that Tender Mercies and Frances get more than the one- week afforded Schepisi’s Barbarosa and Mora’s The Beast Within in Aus- tralian city cinemas. Scott[...]ding my Quarter item that I am in support of UAA. The point I was making was twofold: 1. UAA has acted within the law, a fact ignored by most of its detractors; and 2. The attacks on UAA have been largely emotive, not logical (no one, for example, has been able to argue convincingly that money going into UAA would go into Australian films if the legislation were changed). My view about UAA, unstated in the item, is that legally, at present, it has every r[...]oney into Australian films, but I would also hope the all-too-vocal industry would do something about r[...]r goes on to link my supposed support of_UAA with the claim that I made two unsuccessful films. He is wrong both in his logic and his facts (the number of films is four). Travelling Festival IIIIIIIIIIIIIIIII Dear Sir, I refer to the Quarter Item, “The Travelling Film Festival”, which appeared in Cinema Papers (No. 39, p. 392). As director of The Travelling Film Fes- tival — a division of the Sydney Film Festival — I would like to point ou[...]elling Film Fes- tival” operating in Australia. The name —— The Travelling Film Festival — is a business name,[...]s relating to other organizations in operation in the state of Victoria have been overcome, and The Travelling Film Festival will commence its Autumn[...]. . Yours faithfully, Victoria Brien, Director. The Quarter Continued from p. 500 Australian Films Score Festival Awards Angels of War has won the Grand Prix at the 14th Nyon International Film Festival in Switzerl[...]Gavan Daws, Angels of War is a documentary about the experience of villagers when World War 2 came suddenly to the islands of Papua New Guinea. The Plains of Heaven, produced by John Cruthers and directed by Ian Pringle, has been awarded the Gold Ducat (carrying a cash prize of 2000 DM) at the 31st Mannheim International Film Week in West Germany. The Plains of Heaven is the story of two men who maintain a satellite relay station on the Bogong High Plains. Producer Bob Weis’ television mini- series Women of the Sun was awarded the United Nations Media Peace Prize for Television at Macquarie University on October 25. The awards (for tele- vision, radio and press) are determined by the United Nations Association of Australia. The four-part series, directed by David Stevens, Step[...]n Projects Approved Commission Meeting, June 28 The AFC approved profit-sharing investments and grant[...]o Naked Under Capricorn (Bloodwood Film); $25,000 for project development for The Umbrella Woman (by writer Peter Kenna); $16,000 for third-draft funding on Venture Films’ XPX; $14,200 for James Ricketson’s Ginger Whisky; and $13,750 went to G & 8 Productions for its television series Hoop. Further production investment in the form of a standby finance facility of $300,000 wa[...]Aus- tralian Movies" (a series of radio programs for NPR Radio in the U.S.) went to Hamilton/Mathews Associates; and An[...]d $3972 as a travel grant to enable him to attend the BKSTS Seminar in Special Effects in Britain. Com[...]tments and grants approved included projects from the Project Development and the Creative Develop- ment branches. A total of $105,083 was allocated to Script Development Investment through the Project Development Branch, and included $32,750 for third-draft script funding of Richard Brad\|ey’s Alien Hunter; $24,933 for Joan Long’s Silver City; $11,000 for Cynthia Connop’s tele- vision series Dreamspeak; and Story- teller Enterprises receiving $9100 for writer Michael Cove’s Terminal Man. Projects approved through the Crea- tive Development Branch included Script and[...]e’s Little Luxuries ($38,151); Helen Gaynor’s The Trombonist ($31,217); John Walker and Macau Light Com- pany’s The Lion in the Doorway ($23,300); Alec Morgan's Lousy Little Six[...]and Production Grants totalling $84,801, through the The Quarter Paul Dallwitz ACS, left, receives his Gold Award (in the Commercial Television category) at the Australian Cinematography Society (South Australi[...]esented by theformer South Australian Ministerfor the Arts, C. Murray Hill. Dallwitz also won two SilverA wards in the same category and a Silver in Commercial Theatre. No awards were given for features. Geoff Simpson won the Gold in Documentary General. Creative Development Branch, were also approved at the AFC’s July meeting. Major allocations included a grant of $13,106 for Paul Winkler‘s Trades; $10,351 for Roger Scholes’ The Sealer; and $9358 for Anne Harding's Genius in Lying. Commission Meeti[...]Investments totalled $516,250, including funding for two tele- vision series: $34,500 to Tusitala Pro- ductions for Tusitala (writer Ted Roberts); and $8000 for Anthony J. Brooks’ Curve of the Earth. Other projects include David EIfick’s Under- cover, which received a total of $100,000 for production development: $10,500 allocated to Elea[...]es; and production development funding of $25,000 for Horizon Films’ Where East Meets West. Addition[...]s received a standby finance facility of $300,000 for All the Rivers Run. Cowarle Holdings has been allocated a $9350 grant for a 13-week study of Australian films on the international market; and a Trainee Grant of $1500 went to the Film Producers’ Guild (WA) to cover Sydney accommodation costs for their nominated trainee, Tony Stanley. AFFDA = ASDA The Australian Feature Film Directors Association is now to be known as the Australian Screen Directors Association. Members voted to change the name and expand the interests of the Association to include all directors working in f[...]Ricketson, Sophia Turkiewicz and Anthony Bowman. The aim of ASDA is to seek better con- ditions for directors in the Australian film and television industry. It is al[...]ine directors‘ rights and protect their role in the industry. Ken G. Hall has been made an honorary[...]t a meeting of ASDA where he addressed members on the role of directors in the Australian film industry. Referring to recent disputes in the making of Australian films, Hall said: “If the director's not the boss, who else is going to make the picture?” The ASDA currently has 50 members and says it is aimi[...]en made general manager. He was senior partner in the Sydney and Brisbane practices of Wallace, McMulli[...]roller of McElroy Productions. They are currently the MGM-financed feature The Year of Living Dangerously and, with Hanna Barbera (Australia), a $2.5 million tele- vision mini-series for the Ten Network, Return to Eden. Barrister Michael W[...]made business affairs manager. He was manager of the corporate finance divi- sion of Citicorp Australi[...]r of Monkey Grip and Australian Businesswomarz of the Year. CINEMA PAPER ecember — 503
	[...]e-production When did you start work on “We of the Never Never”? I bought the option rights to the book about five years ago. I was one of the thousands of people who were first introduced to it at school. It always had a relevance to me about the way of life in Aus- tralia. What relevance is that? I saw it as telling the story about the development of the Australian rural heritage. There is no doubt that[...]re, is because of our rural background. It is not the events, not the total scope, but the emotion of it — between races, between males and females, and between human beings and the countryside. We of the Never Never seemed to sum it up very well. At wh[...]ting. But their involve- ment only went as far as the financing of it. It was understood that it was my project, and my view of the book. They specifically excluded them- selves fro[...]viewed by Debi Enker about his latest film, We of the Never Never, based on the novel by Jeannie Gunn. Adams quite often. Phillip is obviously very creative and talented, and the guidance he gave was valuable. Greg Tepper, who is a producer of the film, was at the Victorian Film Corporation when I first started the project, and he has guided it through the years. The film credits four producers: producer (Greg Teppe[...]iate producer (Brian Rosen). Why was there a need for four producers? Phillip, as executive producer, was in charge of the business end. As associate producer, Brian dealt with the usual, senior, day-to-day production area. Greg became the Left: executive producer Phillip Adams and Auzins at Ripponlea, the set for the film’s opening scenes. CINEMA PAPERS De[...]
	Igor Auzins actual name producer when John Murray [the original producer] parted company with us. At what stage did Murray leave the production? John joined the production a few weeks before we were due to shoot, and he left perhaps one or two weeks into the shoot. What caused his resignation? I haven’t[...]ng, really. I was too busy at that time directing the film. However, for a producer like John, it may have been difficult to work with the fact that it was my project and that I was in cre[...]involved with discussions that took place between the production company and John just before he left the production. Quite a number of people came and went during the shooting. My job at the time was directing, not being totally familiar wi[...]this interview not to be rude to anyone, because the last time I did an interview for Cinema Papers vast sections of the industry wouldn’t speak to me for months. I always believe it is so difficult to a[...]opgood, who plays Jeannie Gunn ’s niece. Right: the scene on film.‘ Jeannie (Angela Punch McGregor) kisses her niece’s hand in farewell. We of the Never Never. We sort of folk? Yes, you know, pe[...]view and publish. Why did you decide to shoot in the Northern Territory, with the problems of distance and isola- tion? If the film is judged as success- ful, it will be to some extent because we were in the area where the story actually took place, and because we did, as individuals, experience basically the same con- ditions that the real characters experienced. It certainly had a profound effect on the cast, just to be in the same place and to walk the same ground. Some of them were quicker to realize[...]at, obviously, but I think it is very worthwhile. The shoot was only 12 weeks and you can live through 12 weeks under almost any hardships. Perhaps one of the film’s strengths is that it does have that edge of insanity about it. What was the original budget? About $2.5 million but I think we probably went about $700,000 over that. Most of the excess was expended on transport, accommo- dation and the art department. The cost of accommodation, for some reason or other, escalated while we were there. Transport costs had been underestimated, as had the 6'12: ‘,1 ‘ cost of obtaining materials and supplies. Those three areas really took the film grossly over budget. One of the complaints that Dan, a character in the book, makes is that city people, who don’t really understand the outback, like telling bush stories. Do you think that the 12 weeks out there put you in a better position to understand what the book was about? Yes, even though I had spent quite a lot of time there in the years of researching the story and writing the script. It is a special part of the world. It has a spiritual quality. I think that most of the cast and crew felt it while we were there, almos[...]s that another reason why you decided to shoot on the actual locations of the book? Yes, and I think that judgment is probably justified by the results on film. I don’t think we could have achieved the same look or feeling if we had shot the film just out of Shepparton with a few fibreglass[...]e problems. It is part of our work. It is part of the way filmmaking has always been. You don’t alway[...]ely, it’s probably no more difficult filming in the Northern Territory than it is filming in Footscra[...]. There must be a lot of differences in terms of the amount of the control you can have. You are subject to the weather, and you have all sorts of logistical pro[...]differences. One of our problems was that some of the pre-produc- ..a‘§’ tion on the film wasn’t as tightly organized as it could have been. It is not absolutely the end of the earth in terms of distance. It should be possible to organize a film almost anywhere in the world and have it run smoothly. It just requires[...]effective planning. Screen Adaptation What are the advantages and limitations of adapting a screen- play from an autobiography? Peter Schreck, the screenwriter, could answer this better than I. But the limitations are enormous, particularly whe[...]
	national classic like We of the Never Never. Obviously, we had to be aware of the possibility of severe criticism for damaging a classic. Whether or not we will escape[...]In this case, we decided to try to be faithful to the style and the intent of the book, and I believe we have been. Perhaps some pe[...]ke that, but I believe some people haven’t read the book properly. Perhaps we haven’t faithfully reproduced the sense and style of all the characters, but I think that we have been faithful to the intent of the book. What di ou think its intention was? I think Jeannie Gunn’s inten- tions for the book were to explain some of the harshness and pecul- iarities that she witnessed in her year in the Northern Territory. That exploration becomes almost a personal justification, on behalf of the white people of the outback of that time, for the way of life out there. It doesn’t read like a personal story, but I believe it is. I think she saw the men of the outback as bruised, lonely figures, and she wanted the book to be an explanation of that. Why did you decide to include the opening scenes of the marriage preparations, the advice that Jeannie (Angela Punch McGregor) was getting and the reaction of the city women to her decision to go into the outback with her husband? To set the theme for the film; to give it an immediate purpose and identit[...]hows a contrast between Jeannie’s attitudes and the attitudes of the other women of the time? It certainly shows the attitudes of the other women, and it shows that she is a rebel of[...]ast between city and country, and gives a context for the rest of the story. The book is written in the first person. Did you ever consider using Jeannie[...]or? No, though we did consider re- setting it in the present day, because life in that part of the Territory has changed very little since 1902. Ho[...]as relevant if we retained it as a period story. The relationship between Jeannie and Aeneas (Arthur Dignam) is never explicitly developed in the book, and in the film it is emotion- ally restrained. How do you c[...]e about themselves and their marriage? I suppose the answer is that we understood them to be not parti[...]r marriage as such. Their marriage was a catalyst for the other events of the story. It is an examination of males and females, but not only of married males and females. It deals with the whole maleness of rural Australia as opposed to the woman’s influence. I thought her reticence in writing about emotions and feelings was a product of the time, of the sort of things that were acceptable for women to say at that time . . . It was partly th[...]d really formed an advanced consciousness Left: the marriage ball, with Aeneas Gunn (Arthur Dignam) and Jeannie. Below: Jeannie, alone at Elsey Station. We of the Never Never. Igor Auzins about her position as a married woman. How did the Gunn family react to the film? Generally they liked it. Some of them weren’t absolutely comfor- table with the two or three scenes between husband and wife that aren’t in the book, because they tended to be confrontation sce[...]ou see any similarity between films like “We of the Never Never” and “The Man From Snowy River” and the American Western in terms of the explora- tion of history and the celebration of pioneers and folk heroes? Yes. Th[...]lian films and Westerns certainly seem to perform the same function, but not in the same way. Interestingly, a comment I heard quite[...]tributors in North America was that perhaps We of the Never Never will fulfil the search American filmmakers have embarked on for a new form of American Western. They identified with the aspects of romanticism and pioneering isolation, and with the drama of empty spaces. Films like Long Riders and[...]part of that continuing search. It appears that the Western forms nowadays are a reflection of[...]
	Igor Auzins America’s urban society, whereas in We of the Never Never perhaps they see a Western form that[...]e in Westerns and in “Snowy River” to do with the necessity to prove your worth in a harsh environment. I saw the horse- breaking scene as Aeneas’ show- ing the men that he was competent Jeannie is told she can come no closer to the feverish stranger, and Aeneas takes the tray. (This scene, along with all the others dealing with the strangeris sickness, death and burial, was cut from the film just after the world premiere and two days before the national release.) It is a reality in those s[...]hat unless you are competent you are a liability. The men expected Aeneas to do it, particularly given[...]a wallflower? You get a much stronger sense from the film than the book of a woman who is 30, who feels left on the shelf . . . The concept of herself as a wall- flower is taken directly from one of her letters from the Northern Territory to Melbourne, where she writes of herself as Plain Jane, the wallﬂower. 508 — December CINEMA PAPERS Cle[...]obliged to prove herself as an individual before the men on the station will accept her. Yet throughout the film you get the feeling that she is excluded and resentful . . . She was excluded from the broader range of the station society. She was expected to be a housewife. She wasn’t the sort of lady to like that. She wanted to be accepted as an individual and not as a woman whose place is in the s- '~"-* '. . \ . 3,, 14.}-{;'.). cg... hous[...]o be a stronger feeling of warmth and humanity in the book. You feel that she under- stands the men and that they begin to understand her . . . I don’t think we suggest in the film that she doesn’t understand them or that they don’t understand her. Towards the end of the film the attempt at comfort that she receives from Dandy (John Jarratt) is an indication of the support that she describes in the book. I suppose that the slant we took in the script was more concerned with the relations between the whites and the blacks in the second half of the film. One of Jeannie’s major criticisms of the men is their inability to express their emotions to a woman. Do you think Dandy’s tears at the end are an indication of her influence on them? Yes. It is an expression of the growth in mutual trust in the rela- tionship between her and the men. But it is still not an absolutely warm, open[...]hey would have been. There are several scenes in the film which are crucial to Jeannie’s character development but which seem quite different to the character charted in the book. The I)‘- chapter dealing with the arrival of the feverish stranger is for Jeannie a demonstration of the bonds of mateship. Yet in the film it is her affirmation of exclusion from the male world. Why did you change its meaning? We t[...]ething she didn’t describe. We tried to look at the events and suppose a personal, emotional response[...]escribe her emotional response to those events in the book. She describes the men’s response. I think we have retained that as described in the book. We just tried to work through her response to being rejected in that way. Yet, the effect of that scene is to make her seem resentful, whereas in the book she is more accepting of the constraints of her life in the Never Never . . . I would argue that the reactions we gave her are reasonable, human reactions and not that far from what she might have felt at the time. But perhaps, as filmmakers, we were searching for some slightly more dramatic events. On several occasions we were advised that We of the Never Never just wouldn’t make a film because i[...]with Mac (Tony Barry), Jeannie is convinced that the men built the house as a prison for her, to keep her in her place. It accentuates her resent- ment and insecurity. Why does the film accentuate the conflict between Jeannie and the men? -. Each of these questions is rela- tive to scenes we have invented rather than taken from the book. The film needed a forward—moving structure, and we decided to use those devices. We had no other reason for straying from the book. But the drama really changes her character. It makes her[...]it is not an absolutely faithful reproduction of the lady as perceived in the book, though I would hope that it is not a ridi-[...]e believable variations of human behaviour, given the circumstances of the book. A film can only possibly deal with a very small section of a year in the life of a cattle station. Some- times we couldn’t find the approp- riate dramatic moment in the book and we modified some of the events or some of the responses for the structure of the film. I had trouble with the scene where Jeannie states that she has no desire to teach the Aboriginals anything but is quite happy to learn[...]attitudes as some- thing she had to work through for herself. She was a city bred, Edwardian lady with[...]actually comes to a moment of how to do that, in the middle section of the film, she doesn’t have the knowledge or the experience or the insight to offer anything other than traditional Edwardian gardening tasks for Aboriginals. As a character she is by no
	[...]e. Her intervention does cause problems. Later in the film she questions her own inter- vention, but we have to see it before it is worth questioning. Is the corroboree at the end supposed to indicate a resolution of problems? It is an indication of acceptance by some of the members of the group, a desire for contact. But even that piece of intervention is basically unsuccessful because the white men overstep the situation. Why is it necessary for them to get up in the middle of the ceremony and start shooting? As their form of expression of aggression towards the black people of the time. I think that is a fairly accurate represent[...]is unresolved. All we hoped to be able to do with the film was to have the audience ask itself one or two questions. We have no answers, only questions. Occasionally the book is quite patronizing towards Aboriginals. Yet in the film Jeannie actively challenges the men’s attitude that the Aboriginals are somehow sub- ordinate. Did you choose that change to make people aware of the prevalence of racist attitudes? It is not a change we made. That confrontation between Jeannie and the men is described in the book. She specifically suggests that the Aboriginals have better know- ledge and better ability to use that country than whites. She says that the station owners should share the produce of the station with the Aboriginals. I think she was a non- racist person; she held very advanced views for her time on black-white relationships. The book does read as a racist document sometimes, bu[...]on. If we had, I don’t think we would have made the film. How difficult is it to depict atti- tudes that are racist and to differ- entiate those attitudes from the attitudes of the film? I can’t tell anymore. Do you believe that the film takes a racist or a non-racist stand? I think it shows that the men believe Aboriginals are heathens and subordinates. Jeannie holds a different View at the beginning, intervenes, finds that her actions are[...]any advance towards a third form of treatment of the Aboriginal just prior to her husband’s death? I suppose one of the things that perhaps the film ultimately says is that it is unresolved. In[...]e would suppose it is unresolved because she left the station. The work and the understanding that she as an individual, she and her husband as a couple, and, through them, the men of the station, accomplished was terminated because their time at the station was over. Depicting Aboriginals on film.[...]ight: Bett-Bett (Sibina Willy) and Jeannie. We of the Never Never. Why did you use sub-titles? I d[...]hey are saying; it is offensive. If we understand the white charac- ters, I think we should also under- stand the black characters. I found that the sub-titles create an audience awareness of a complex Aboriginal culture of which the white characters remain ignorant Right. One of our intentions was to give the Aboriginal people a life and community and culture of their own. We wanted a device that would convey the feeling that the Aboriginal people have their own way of life, the[...]y urban Australians. But a film as broad as We of the Never Never, describing so many events, must triv[...]ialize events, what are you hoping to convey with the film? Well, you hope the moments that you indicate are real and true. But they are not very deep examinations of the moments — they can’t be. Not necessarily in t[...]ad time scale; you have to be very specific about the events you select. You can’t explain or background the moment adequately, can you?[...]plain and fully follow up, you have trivial- ized the importance of something. For me, We of the Never Never should probably run for about three weeks solid and then we might have been able to address ourselves to some of the things that we tried to indicate. A film obvious[...]a thorough explanation or examina- tion. How did the Aboriginal actors in the film feel about the way they were being depicted? Did they con- tribute in any way to the creation of the characters? They contributed to the creation of their characters, yes. They didn’t contribute to the script’s treatment and the script’s concept of black and white to any great extent. Were they satisfied with the way they were depicted? Yes, the responses I have had were that they were delighted with the film. They believed we were going to advance understanding of them as human beings. What about the Bett-Bett char- acter? She is a peripheral character in the book, but a central one in the film . . . Concluded on p. 587 mi:[...]
	[...]y, it looks like a characteristic Schrader work. The heroine, Irena Gallier (Nastassia Kinski), is bot[...]uch, she recalls Schrader’s characterization of the heroes of Martin Scorsese’s Taxi Driver (1976)[...])? As with Taxi Driver and with Hardcore (1979), the violence is closely linked to sexual repression.[...]eopard, there is a shot of his blood splashing at the heroine’s feet, visually implying a link between feline ferocity and loss of virginity. The connection between sexuality and violence is spel[...]. But it isn’t. It’s blood. It’s death.” The curator of the zoo, Oliver Yates (John Heard), is as repressed as the heroine, and sexual contact is postponed not only[...]ehension about despoiling a vision of perfection. The character is introduced as he is reading Dante, which anti- cipates the film’s ultimate descent into the underworld and the revelation of his character: chrader’s new film, Cat People (1982), is the first he has directed from someone e1se’s script’, but, in every 1. By Alan Orrnsby, and based on the script for Cat People (1942) by DeWitt Bodeen. 2. Schrader[...]Bull with Mardik Martin. aul Schrader is one of the seminal figures of the contemporary American cinema. His success is attributable to the creative use of his critical faculty and a commercial deployment of his Calvinism. The result is a body of work that is a bracing commen[...]n would make film noir look like musical comedy. the curator as a romantic idealist in search of his B[...]trongly with Michael Courtland (Cliff Robertson), the hero Schrader created for Brian De Palma’s Obsession (1976), who is also a romantic obsessive, a man who kills the thing he loves and then builds a shrine for her. In Obsession, the Dante—Beatrice legend is alluded to quite expli[...]of their imaginative use of a New Orleans setting for metaphysical melo- drama, and their concern with the taboo of incest which in both films traumatically seems to be the only form of sexual release that will preserve the characters’ identity. ike most of Schrader’s films, Cat People is extremely violent. The zoo is used to suggest that people are in their own private cages. In this film, as at the end of American Gigolo (1980), the two lovers are separated by bars, seeming to achieve an emotional affinity only when separated forcibly. The zoo imagery is used also as a correlative to human savagery and, as Schrader puts it, “the fear in our society now that there’s a monster lurking under the calm surfaces of every person”. Similar imagery also pervades Schrader’s screenplays for Taxi Driver and the evocatively— entitled Raging Bull, when[...]
	The intense inner life of Schrader’s characters is[...]sically, limb from limb. One only has to think of the missing digits that scatter the Schrader scripts for The Yakuza (l975)3 and Taxi Driver; the hero’s right hand in Rolling Thunder (l977)“ that is thrust into the mechanical garbage disposal unit; the keeper’s severed arm in Cat People; the most sickening broken nose in film history in Raging Bull; and, in that film, the whole way in which Jake’s masochism (mas- quera[...]hand with Schrader’s excremental vision. One of the dubious achievements of Cat People is to give a whole new dimension to the word “pus”, as the black leopard leaves disgusting evidence of its imminent presence. A hand becomes part of the garbage in Rolling Thunder. The demented desire of Travis Bickle (Robert De Niro)[...]persuasion, erupts disturbingly when he startles the poli- tician by declaring that, “The President should clean up the whole mess here; should flush it down the fuckin’ toilet.” The desire to clean and purify becomes indistinguisha[...]t he is afraid to acknowledge within himself into the mouth of an unbalanced protagonist. This might account for the uncomfortable tone that hovers over some of the films. Is Travis in Taxi Driver a madman or a hero? Cat People recalls Hardcore in the way it seems to hesitate between tragedy and titi[...]rena (Kinski) looks at her leopard in Cat People; the hand of Michelle Stratton (Lauren Hutton) comforts Julian Kay (Richard Gere) in American Gigolo; the scene in Robert Bresson’s Pzckpocket which znspzred the Gigolo coda. between sexual censoriousness and coy nudity. Schrader seems half-appalled, half-fascinated by the urban hells he evokes, and the films reel between contrary impulses of pleasure[...]arly response to Dostoevsky: “He is again like the rat, slithering along in hate, in the shadows, and in order to belong to the light, professing love, all love. But his nose i[...]description of him as a man “who moves through the city like a rat through a sewer”. chrader migh[...]atic, religious and profoundly conservative. Like the Russian master also, he uses the tawdry formulae of crime fiction to erect massive[...]find redemption through suffering and sacrifice. The ultimate dramatic goal is rarely a narrative reso[...]transcendence or enigma. One has only to think of the ironic and inscrutable final minutes of Taxi Driver or the spiritual implosion yet narrative diminuendo that forms the denouement of American Gigolo. “One thing I know that, whereas I was blind, now I see”, is the epilogue for Raging Bull, following the ambiguous closing scene where Jake talks to himself in the mirror, either facing himself at CINEMA P[...]
	Paul Schrader The original: John Ferguson (James Stewart), right, and Judy Barton (Kim Novak), the girl John tries to turn into his former love, Mad[...]cock ’s Vertigo. last or disappearing under the flab of narcis- sism. Oliver visits the cage at the end of Cat People as if it were a shrine, and, as the cat stares back, the David Bowie song intones the lyric: ‘‘I could stare for a thousand years, and don’t you feel my blood enraged.” All four films conclude with a movement into the mysterious black hole of the hero’s head. “Your last scene should play out there on the sidewalk”, Schrader has said. “The ripples should extend beyond the immediate film.” Schrader’s style accompanyi[...]rishly through a disturbed central consciousness. The setting is invariably a modern America of garish impersonality, and the style takes its shadings from the tension and counterpoint Schrader finds between a[...]gh color, sound and performance, Schrader reaches for a visualization of a mythical world, not only to summon up the creatures that roam the subconscious but to evoke the essence of films as a dimension of magic. Some films make you think; Schrader’s make you dream. The goal of Cat People is to provide a pleasurable ni[...]un in drawing feline analogies to human feelings: the preenings of Paul, the way Irena pounces on a bowl of fish in a cafe, or the way Paul’s housekeeper, Female (Ruby Dee), give[...]her delighted response to Topcat on television. The script for Joan Tewkesbury’s Old Boy- friends (1978), writ[...]onard, has some nice comic flourishes, notably in the sexual humiliation of the egocentric vocalist, Eric Katz (John Belushi), an[...]stuffy, small—town psychiatrist with a disdain for West Coast morality (he even pronounces Los Angel[...]ith a forklift on a recalcitrant vending machine, the excessive reaction amusingly yet tellingly reflects the intensity of his exasperation with impassive mechanical inefficiency. Amidst the perversion and pornography of Hardcore, there is a funny moment when a 512 — December CINEMA PAPERS The reclamation: Michael Courtland (Cliff Robertson), right, and Sandra Portinari (Genevieve Bujold), the girl Michael tries to turn into his former wife,[...]Obsession. visiting producer is impressed by the direction of his new porno opus and receives the instant explanation for such sleazy expertise: “He’s from UCLA.” S[...]a fascinating fusion of theology and film. It has the flavor of the kind of films that Schrader would be interested i[...]European existentialism were to be transposed to the streets of the U.S. According to Schrader, Taxi Driver gives the answer to this: a European existential hero would[...]which not only assisted towards a revaluation of the classic noir films of the 1940s and 1950s but may have helped to create a climate in which the form could be revised and recognized in films suc[...]ibute to this revival himself with his screenplay for Taxi Driver, in which the hero has classic noir symptoms: a loner, sexually-frustrated and obsessed, and oppressed by night and the city. Schrader could have become a great critic,[...]much an act of criticism as of creativity. One of the central 5. Paul Schrader, Transcendental Styl[...]ia Press, Harry Kilmer (Robert Mitchum) takes the violence of the West to Japan in Sydney Pollack’s The Yakuza. Jake La Motta (Robert De Niro) andfamily: "disappearing under the flab of narcissism”? Martin Scorsese's Raging Bull. facets of Schrader’s creative work is the way it feeds off previous films and offers a mode[...]a form of criticism. This process variously takes the form of homage, parallelism with variations, expansion and contrast. For example, Schrader’s screenplay for Brian De Palma’s Obsession is essentially a homage. The film’s fixation is with Alfred Hitchcock’s Ve[...]virtual remake, both in terms of plot (man loses the woman he loves only to come across her double), a[...]degree panning shots, dreams, paintings, letters, the church). There is a moment when the young artist, Sandra Portinari (Genevieve Bujold), the mirror-image of the woman Michael Courtland has lost, asks whether it[...]restore a great artistic original or cut through the surface to see what is under- neath. Michael prefers the former. The question has relevance to the main relationships, suggesting Michael’s self- deception and his desire to restore the original woman. But it also has relevance to the relation of this film to Vertigo. Now that the chances of seeing the Hitchcock film seem to be very scarceé, Obsession becomes itself the restora- tion of a lost masterpiece. Bernard Herr[...]l out with De Palma because he wanted to continue the story into the 19805, with Michael still searching for his lost love. This might have been truer to the spirit of the tragic outcome of Vertigo, with its ghosts and wanderers and its sense of trauma. As it stands, the film could be almost equally an allusion to Shakespeare’s The Winter’s Tale. A hero’s weakness costs him, he thinks, the life of 6. The film is subject to a contracted legal dispute over copyright, which has stopped the film being shown in most countries for several years -— Editor. Calvinist e[...]
	[...]damnation to redemption. Schrader’s third act for the drama could have been a compelling addition, but the film still is a remarkable celebration of Hitchcockian aesthetics, as important to the reclamation of Vertigo as one of the screen’s masterpieces as is the criticism of Robin Wood7 and Donald Spotos. Obse[...]rpretative insight and not blind hagiography, and the form the film takes implicitly throws the emphasis away from Hitchcock as master of suspense and towards Hitchcock the anguished romantic and perverse psychologist. nother key film from the same period, to which Schrader’s work has alluded constantly, is John Ford’s The Searchers (1956). Four of his screenplays seem to derive inspiration from this source: The Yakuza, Taxi Driver, Rolling Thunder and Hardcore. The Yakuza takes from The Searchers the idea of a hero’s quest in an alien world for a kidnapped girl, a quest which is also a form of[...]elves as self- appointed Saviours journeying into the under- world to save a girl from what they perceive as the lower depths: a rescue mission that is also a journey into Hell. Although The Yakuza borrows only the equivalent narrative situation of The Searchers, the other films make an attempt to approximate the complex psychology of the Ford film. Taxi 7. Robin Wood, Hitchcock’: Films, Collins, London, 1965. 8. Donald Spoto, The Art of Alfred Hitchcock, W. H. Allen. London. 1977. The search for a lost daughter: Jake looks at a porno film of hi[...]y. Hardcore. Driver and Rolling Thunder, like The Searchers, have psychotic heroes whose antag- oni[...]enge becomes a kind of terrible purgation. It is the madness in The Searchers that excites Schrader; the other element in that film which he has seized an[...]rles Rane (William Devane), an ex-Vietnam POW, as the hero who sees the gang that invaded his home and murdered his wife as the equivalent of the Vietnamese whom he was prevented from fighting by[...]enactment of a personal racist fantasy, rather in the manner of Ethan Edwards’ (John Wayne) vendetta against the Indians in The Searchers who have ravaged the woman he secretly loved. However, with John Flynn[...]tening Charles into a nice guy (“which would be the equivalent of giving the character in Taxi Driver a dog”, Schrader has s[...]a tender scene between Sport (Harvey Keitel) and the underage prostitute, Iris (Jodie V Foster), which is the equivalent of a scene often imagined in The Searchers but never shown: the life together of Scar (Henry Brandon) and Debbie[...]car’ scene with that of Travis’ prepara- tion for his own private war that will lead inexorably to his invasion of Sport and Iris’ camp. The nervy confrontations between Travis and Sport in[...]ot dis- similar to those of Ethan and Scar in The Searchers. As well as exposing some of the racist issues that the earlier film elided, Taxi Driver is also a modern reflection on the efficacy of heroism, maleness, prejudice and legitimized violence embodied in the Western of which Ford’s films are the supreme achievement. For the first time Ford, in The Searchers, is profoundly ambivalent about these attitudes and values. The bloody denouement of Taxi Driver merci- lessly dramatizes their savage legacy, and their fearful logic. The other 19505 Hollywood classic which Schrader has revalued in his fictions is On the Waterfront. Schrader’s debut as writer and dire[...]nd Zeke Brown (Richard Pryor) that is almost word for word a repeat of the slanging match between Terry Malloy (Marlon Brand[...], Blue Collar is politically more knowing than On the Waterfront, more detailed in its observation of m[...]shop—floor politics, more cruel in its imagery (the rebel worker who is suffocated in a haze of blue paint spray) and more cynical in its exposure of the limits of individualism. Kazan’s upbeat ending[...]tically inflected by Schrader. Kazan’s apologia for the informer in McCarthyist America has been pressed[...]hat he sees as a specifically Marxist conclusion. The final frame freezes the men at the point of con- frontation and we hear again the film’s message: “They pit the lifers against the new boys, the old against the young, the black against the white, to keep us in our place.” aging Bull alludes overtly to On the ' Waterfront in the final scene when Jake La Motta recites Terry Mall[...]who ought to have looked after them better. But the differences between the two heroes are more striking than their similarities. The allusions of Scorsese and Schrader to On the 9. Co-scripted with Leonard Schrad[...]
	[...]l 1950s hero in La Motta illustrate, by contrast, the essential romanticism of the 1950s screen hero and how such portraiture has changed during the past 25 years or so. Brando’s hero represents the confusions of a typical rebel of the ’50s; De Niro’s that of the alienated anti- hero of the ’70s. Brando is a rebel without a cause; De Nir[...]’s solution to what he sees as corruption in On the Waterfront (testifying in court, fighting the villain) seems prissily conventional when compare[...]an be read as Schrader’s critical commentary on the changing face of screen heroism since the 1950s, his remake of Cat People equally reflects savagely the different conventions of representing violence, s[...]ns; Schrader’s is explicit and erotic. Although the film pays tribute to two of the classic set—pieces of the original (the pursuit in the park; the swimming pool scene), Schrader is in some ways closer to Hitchcock than to Jacques Tourneur. The film particularly recalls Marnie in its self—conscious use of color (the association between blood-red and loss of innocen[...], and its allusions to animal behaviour to convey the heroine’s frightened sexuality and the hero’s odd and detached perceptions of the human zoo. Given Schrader’s cine—literacy, s[...]of obsequious fan letters to his favorite films. The references are incorporated into an auto—critique of the cinema. They are not nostalgic, but intellectual.[...]romantic psychology. Taxi Driver pays tribute to The Searchers but also extends it and recasts it for a new age, its racism and ambivalent ideology now brought closer to the surface. Blue Collar and Raging Bull criticize and revise the political evasions and rhetorical heroism of On the Waterfront. Cat People, by alluding to the original and to Marnie, becomes Jerry Bartowski (Harvey Keitel) at the car works. Blue Collar. 514 — December CINEMA PAPERS a critical essay on the changing fashions of cinema in reflecting horror,[...]it. Indeed, any critical history of Hollywood in the past decade would to give substantial attention[...]lamboyant but nevertheless significant figures of the decade, such as Sydney Pollack (who romanticized Schrader’s raw screenplay for The Yakuza) and Tewkesbury (who gave a liberal feminist slant in Old Boyfriends to the Jerry and Zeke Brown (Richard Pryor) in the wash room. Blue Collar. ~¥ reactionary melo[...]ipt). He did a first draft of Close Encounters of the Third Kind which Steven Spielberg later rejected.[...]er and Scorsese’s floating yellow taxi- cab (in the first shot of Taxi Driver) and Spiel- berg’s floating yellow spacecraft (in Close Encounters) as the two most resonant emblems of the decade. They represent the extremes of menace and magic that were Hollywood’s chief box-office assets during the turbulent 19705. For all that, Schrader seems to stand apart from what seems most memorable or charac- teristic of the so—called Hollywood renaissance — from Scorse[...]Catholicism to Milius’ epic extroversion, from the horror rhapsodies of De Palma to the Utopian fantasies of Spielberg. Schrader looks li[...]date? 15 there still a sense of a vacuum between the quality of his intelligence and the coherence of his achievement? If so, why? A clue[...]you never know when they might come in handy.” For the past decade or so, he has done that very successfully. But the danger is one of morbid introspection, of a neuro[...]ally examined. With directorial sensibilities of the calibre of Scorsese and Tewkesbury, the neurotics at the wheel in Taxi Driver and Old Boyfriends ca[...]
	Above: Irena outside the Ieopard’s cage. Cat People. Top right: Travis at the taxi depot, before setting out in his own ‘cage’. Taxi Driver. the diary of a madman. Blue Collar also avoids neurot[...]ocus of interest among three main characters. But the identification with the hero of Hardcore hurts the film: it is impossible to decide whether we are m[...]orge C. Scott) increasingly—violent behaviour. The closer we are drawn into Schrader’s frame of mind, the more his distaste for certain aspects of modern progressiveness borders on the repressive and the prurient. This is something which also disfigures[...]amatic metaphor that corresponds to that emotion. The example he often uses is Taxi Driver, the inspiration for which derived from Schrader’s personal feelings of loneliness and isolation and which were converted into the metaphor of a taxi driver cut off from human contact by the glass. It explains why Schrader’s characters se[...]etween psychological realism and poetic metaphor. The roles they assume define for Schrader their professional function in society ([...]d a symbolic function in his particular vision of the world (taxi driver as a symbol of urban alienatio[...]Nevertheless, this method clearly has limitations for Schrader, irrespective of whether it would work for anyone else. It is a gift more appropriate to an[...]s much better at exposition than development, and the excellence of the basic idea sometimes diminishes in the machinery of narrative formula (like, for example, the glib attribution of the hero’s violence in Rolling Thunder to brutaliza[...]e C. Scott’s star persona as a crusader against the pollution of environment and traditional values (as in Rage, Day of the Dolphin, The Formula and, more recently, Taps) is powerfully evoked. The moral issues — the thin line between freedom and exploitation, the bourgeois having to defend his way of life to the prostitute, not the other way round — are potentially explosive, bu[...]context. VanDorn’s home life might explain why the daughter disappeared: it does not explain why she went into porno films. The mid-section, where VanDorn poses as a trendy film[...]l. Attempting to be an intelligent examination of the new morality, the film looks like a porno- graphic version of Mr De[...]s somewhat diluted by domestic sentimentality and the contrived diversion of a caper film plot. America[...]its Bressonian coda, largely because this throws the whole weight onto the film’s weakest area: the hero’s relationship with the politician’s wife. Old Boyfriends has a promising concept — the revaluation of one’s present through a direct e[...]clear strategy and no real psychology. Why should the heroine believe that the process of rediscovery will result from a reunion[...]boyfriends rather than, say, ex—girl- friends? (The obvious answer would be that it exemplifies and c[...]der’s conser- ALWAYS READY Paul Schrader THE SAME DRIVER IS For: me UNEXPECTED vative patriarchy[...]done him some harm? It is hard to decide whether the film is about adaptation or regres- sion, or whether an adult film about a yearning for childhood innocence has coarsened into an immatur[...]t success came L00 quickly and too easily to him. The impression he has given since is that of an artis[...]y into a commercial straitjacket. He has mastered the complex currency of modern Hollywood, but it might be at the expense of his own sense of human complexity. Whe[...]rader, I always think of a line in Obsession when the daughter, distraught at defrauding her father wit[...]ertion, how he will live. “It’s a little late for existential questions, darling”, she is told bluntly. “Just take the money. Believe me, it’ll help you to forget.” That is the question mark over Schrader’s career. Is it too late for him to return to the existential questions? Is the money helping him to forget? it Filmography _______.______.:_ Screenwriter 1975 The Yakuza co—scripted with Robert Towne. 1976 Tax[...]—scripted with Leonard Schrader 1979 Hardcore (The Hardcore Life in Britain) also screenplay.[...]
	eter Tammer has been making films for two decades. Throughout that time he has made fil[...]own resources and equipment. In many senses he is the most genuinely “independent” filmmaker in Australia. This is not necessarily by choice (as the ironic final credit of Mallacoota Stampede indicates), but the failure to find government funding has not, as it[...]ependent film has various connotations. It stands for many adjectives used to describe certain aspects[...]ular. There is a wealth of meanings and nuances. The situation of independent filmmaking in Australia is similar to that in other western, social democracies. At the core of this activity is government funding via s[...]Financial support may entirely or partially cover the budget, usually on the basis that the filmmakers and any other personnel involved are prepared to work for near subsistence wages, and on the expectation of nil or marginal financial returns.[...]nment funding to produce, often, films opposed to the views of the political masters of those agents of the governments which make funding available. The situation has been succinctly summarized by Sylvi[...]ent Cinema? (West Midlands Arts, 1978): “Given the present system of social relations and of relations in the cinema only the very wealthy are ‘independent’. Without the private means not only to finance a film project but beyond that to buy up a few cinemas in which to show the film, or at the very least a few projectors with which to show it[...]ather, what we need to understand and analyse are the complex series of dependencies which characterise the position of the non-commercial filmmaker. What must be emphasised is the fact of dependence on whatever system of finance[...]ins and to some extent controls their production. The important question then becomes, from within that dependency, what are the possible areas of action, the possible areas of freedom within the larger constraints?” In the case of Tammer, the fact that he has operated with a measure of self-[...]of means produces work that is rude and abrupt in the confrontation between subject and audience. At th[...]a sense of shock that derives from an interest in the subject and from the way that Tammer attacks that subject. It is alway[...]mmer’s most recently-completed film, Journey to the End of Night, is so far his only work to have a b[...]pact mostly through extravagant press reaction to the revelations of its subject. Overseas film[...]
	[...]to bottom: four images from Mallacoota Stampede: the drag show at the pub; out swimming; Michelle and Larry in the motel scene; Debbie (Debbie Conway) and her dad (Tom Pye) discuss her leaving home. In the films you made through the 1960s and early 1970s there is a quite eclectic range of topics. The one common thing is that you have chosen people w[...]g Robinson that way. They are remarkable people. The only time I have made a film about a real oddball was Danny Cramer in Struttin’ the Mutton. But I don’t think of Danny as an eccent[...]attracted. I was actually scared when I was doing the filming and I didn’t know what was going to be the outcome. It took me six months to realize that instead of Danny being in only one scene in the film, he was the whole film. Mark Gillespie, who was to be the centre, became an onlooker to the event. I identify with the same sort of cringing that Mark was showing in the film. What attracts subjects? you to your I don’t have a rule. I don’t look for specific qualities. When I meet a person who has[...]‘ But I have always tried to do more than that. For example, I was very conscious when making Here’[...]es as vagrant filmmakers. That is very clearly in the film for those who care to read it. We didn’t go out of our way to state it, but it was in the footage, so we left it in. What does the term “vagrant film- makers” mean? I don’t see myself as part of the commercial film establishment in a conventional s[...]o make whatever films appeal to me, regardless of the financial conditions at the time. Now, this doesn’t mean that I don’t hav[...]dards completely different from those espoused by the industry. I do not want to work with large crews,[...]Time, Here’s to You Mr Robinson and Journey to the End of Night respectively. You have called this[...]see that distinction? _ I see my films as one of the aspects of documentary. They can loosely be called bio—pics or biogs, but the normal understanding pre- supposes films about people of public note. You might get a film made by the BBC about Dame Edith Sitwell or a documentary on the life and work of Orson Welles, including an interview with him. That is the traditional documen- tary portrait. Now, mine ar[...]but they are different in approach and style from the house style of television documentary portraits,[...], include a narrator. There are very few films in the bio- pic line of documentation that I look at wit[...]le have responded to in my earlier films, is that the characters speak for them- selves. The filmmaker modulates what the characters allow them- selves to reveal. With Grey Gardens, the Maysles brothers established a trust with two hermits, who reveal them- selves to the world at large. I found that an absolutely stagge[...]fferent from tradi- tional documentary because of the absence of a voice of God dictating the sort of things that the audience should pick up on. The audience is left total freedom to pick up on what[...]Robinson, much more than it is true of Journey to the End of Night, although Journey still has some of[...]r- posed in that film things such as quotations. The Maysles’ films come out of the cinema verite school, and there has been a lot of discussion about whether the camera is influencing the people to perform before it. In your films, one s[...]a great deal more performance. In “Struttin’ the Mutton”, for instance, there is an element of outrageous performance going on which is being encouraged simply by the presence of the camera . . . There is a great difference between the amount of perfor- mance encouraged by me as a film- maker with Mark and Danny in Struttin’ the Mutton and the amount of performance encour- aged by me in Journey. The Myra Roper and Reg Robinson films would fall in b[...]shes a person in that circumstance has to do with the aims and purpose of a film. Myra, for example, was co- operative but in no way as nearl[...]as in no way as co—operative as Bill. Bill was the one with the greatest sense of having a story to tell. He was the one who most wanted his story to be heard. He bel[...]scene now. I want you to talk about going down to the T01 plantation, and seeing some bodies of your ma[...]w from parade a couple of weeks ago and just down the trail two days ago. I want you to live through th[...]. I might have to do three takes on that because the first two didn’t have that quality of really re- living, but the third one did. I am not saying that there weren’t many first takes in the film — 40 or 50 per cent are first takes — but 50 per cent are third, fourth or fifth takes. The best example of that was the last take in the film, where Bill talks to his mother and God and his mate Shep, who died after watching Bill kill the Japanese the day before. In that scene, I spent one whole evening doing what is a 10-minute take on film. The first three takes were totally useless and it was[...]atching him go through it. But even though it had the quality of disturbing him immensely, it did not come over as genuine as it was in the final take, which is in the film. That is devas- tating in its power because he loses himself in a trance, which he hadn’t done in the first three takes. Now, I didn’t take that approach with the Danny Boy take, which is equally powerful. That w[...]ay of working? It has always been instinctive at the level that I want to make films and, if funds are[...]n pocket—money budgets. Mallacoota Stampede is the most expensive film I have made. Its total cash budget was $20,000 for 60 minutes. I put up $18,000, and got a $2000 Creative Develop- ment Fund editing grant. The true budget for Journey to the End of Night was about $17,000 for 74 minutes.
	[...]e movies like Our Luke and Flux, which cost me in the vicinity of $100 and $500 respectively. Mallacoo[...]coota was always meant to be a mixture of styles. The first level is actuality observa- tion, with peop[...]cars in caravan parks and bumping into people in the process of doing it, or a two-year-old kid pushin[...]sandbank in a canoe. Sometimes they are aware of the camera; sometimes not. The second level was meant to be a narrative structur[...]stories go on simultaneously, based around Donny, the country boy. In fact, two complete stories were w[...]was a third level, where things were set up with the air of possibility. Take the motel scene, with Wanda and Michelle, the drag queens, and Donny and Larry. We discussed all the possi- bilities that scene could take. Then I just set up the camera and lights, with Kit Guyatt doing the sound, and said, “Okay, now we’re going to go[...]0 feet of film which is 11 minutes, and there’s the scene! The intensity comes from its penetration of Larry’s[...]atural coquetry. “Mallacoota Stampede” gives the impression of improvized drama. How much of it did you plan? The casting of the people who come from the city was done in two or three weeks before shooting. We even had some rehearsals in town. The country boys were only introduced to me on the day of my arrival at Malla- coota, by John Archer, the production manager. None of them had acted before[...]ng at that stage. Of course, Wanda and Michelle, the two drag queens, had done many shows but they are not performers in the style of film actors. Wanda, for example, was good doing repartee with an audience[...]asure and deliver a perfor- mance, hit cues along the way and things like that. As none of the people were really experienced as film actors, I had to modify the direction and performances to one standard. I went for long takes and tried to find the action as it was happening, hoping that there were not too many continuity errors. I wanted the actors to get into a wind—up situation. Unless[...]is a documentary of observation. In fact, one of the things I am very happy about in Journey to the End of Night is that a few people have asked me,[...]really go around talking to himself like that all the time?” I would have thought that the fact it was artificial would have jumped out at t[...]act to this sort of sluggish, dramatic quality of the acting, acting that would be perceived by many as in- experienced? The most difficult moment required of an inexperienced actor in Mallacoota Stampede would have been the scene between Torn Pye, who played the father, and Debbie Conway at the back of the van. He is coming to the realiza- tion that she has grown up and is about[...]he an actor or is he just a person, and where is the difference? It is not so much what is in the scene but whether, with its halting quality, it looks real in the context of how people judge film acting today . . . I can answer that only by taking the completely opposite tack. Top: Michael (Michael Bladen) and Debbie the morning after. Above: Michael, Debbie and Kirsty (Kirsty Grant) in debate at the local. Below.‘ K irsty and Debbie at the Mallacoota Stampede. Mallacoota Stampede.[...]
	[...]e lucky enough to work with whom I consider to be the best actors in Australia. I believe I could still make my style of film, with the looseness I want and the tightness they want. Can there be a confusion be[...]rally, and what a profes- sional actor will do by the nature of his training? That confusion will be i[...]ast alongside an amateur actor, and they both hit the truth of the performance. That is an indefin- able thing. But[...]erate is performance that is not working, whether the actors are amateur or professional. A war-time photograph of Neave. Journey to the End of Night The press has concentrated on the revelatory nature of Bill Neave’s story in “Journey to the End of Night”, not on how it is told. I think w[...]entrate on how it is told. We are talking about a number of dichotomies in this film. First, you have to stop and consider how much of what happens is a performance for the camera and how much of it is a deeply felt experience that you just happened to record. The film starts with a sequence which to me denotes fiction: out of the dark- ness appears a man in his pyjamas, who looks at the memorial. It then cuts to close-up of the man breaking down and crying. Then we are led back from there into everyday country-town life and slowly the man starts reliving memories . . . No, when he is on his own, he instantaneously relives the mem- ories. There is a scene with his wife and son talking about putting bets on the races. Then it goes straight 520 — December CINEMA PAPERS into the remembrance of the war, in the living room, when he is obviously on his own. That is disconcerting for the audience, which is at a loss to understand what is going on . . . I don’t believe the scene at the memorial was strictly fictional, though I regard[...]uality. In a sense it is rep- resentational, like the other scene of him waking up in the night and walking around the house until he gets to the kitchen and finds some pills. I suppose those tw[...]they have a validity. Even if he hasn’t been to the war memorial before, he has been there in his mind. Even if getting up in the night has a representational Bill Neave sets a charge during the war in New Guinea. quality, he has been doing that for 40 years. One is more documentary than the other. The pills in the night is a representational attempt to place a documentary reality. The memorial was a fiction in a sense because I don’t believe Bill had ever been to the memorial at night, until that night. I asked him[...]ome to terms with 40 years of insomnia and guilt. The only way I could represent it was those two scene[...]fictitious qualities. Is there a distinction in the film between a sort of objective truth and a trut[...]recreation of what Bill Neave has gone through? The whole film is a recreation. What we are looking a[...]coming out of his mind and we have no idea about the truth of that . . . Right. I don’t believe in[...]because I don’t believe that Bill has revealed the truth of every event that he takes you through. It is only true insofar as it was true for him at the time, and that it hasn’t changed too radically in the 40 years of remembering. Now, while some of thos[...]ed slightly because of people he has talked to in the past, who have suggested things to him. What gives the film its interest is a constantly shifting nature[...]and fiction and performance all come together on the screen. That is why I think you are probably righ[...]portrait film . . . Neave as seen in Journey to the End of Night. I resent narrow, category defini-[...]allenges me on a multiplicity of levels including the things you have just mentioned, such as wherein does the power or truth of a film lie. Francesco Rosi’s films, for instance, have haunted me from the times I have seen them. In a sense, they are docu[...]are a wonderful hybrid, and I like hybrid films. TheThe first level was to break up the story and to throw events into a separate relief. There are, as you know, two separate sets of quotes, from the “Book of Job” and from Celine’s Journey to the End of Night, which was written after World War 1. Now, that brings me to the second layer of intentions. Journey and the “Book of Job” are about characters in the same style as Bill Neave, human beings who have been tested beyond the normal level of endurance. They are about their a[...]th it in different ways. Now, I see Job’s way, the biblical way, being essentially different from Bi[...]level. They are all basically asking, “What is the purpose of existence? Why do I want to live? Why[...]g through a terrible existence which is difficult for us to.under- stand. But at least we can be honest about that and acknow- ledge it. Someone like Bill takes thethe way it is. Accept it!” You would obviously reject the notion of various reviewers that the quotes are simply pompous or pretentious . . . T[...]one word: unneces- sary. That just means they see the film as being only about what Bill Neave sees, and not about what thethe story that would throw it into a wider context, a[...]ere to be read. I was never interested in making the film to support only Bill’s Concluded on p. 585
	[...]here should film history research begin? Surely the start should be made with the films themselves, for the final evidence of their successes and failures. Would it be possible to make an objective judgment of the work of a filmmaker without first seeing a major part of the output? Director Raymond Longford provides a good example of this oversight. Of the 26 silent films that Longford directed, only The Senti- mental Bloke (1919), On Our Selection (192[...]pole (1911) survive. These were purportedly among the best of Longford’s output. No total overview of[...]history research was emphatic in stressing to me the superiority of Longford’s direction over that of the McDonagh sisters following screenings of The Sentimental Bloke (1919) and The Cheaters (1929). Comparing two films of such vast[...]le. But comparison of Longford’s best film with the least successful of the McDonaghs’ output is totally unreason- able. By many accounts, the best of the McDonaghs’ films was the powerful anti—war talkie Two Minutes’ Silence[...]s value on an objective basis impossible, most of the films which would pro- vide the frame of reference for its judgment are lost as well. Short films have survived in even smaller percentages than the features. The backbone of Left: F. W. Thring, head of Efftee Film Studios. Above: The Haunted Barn (1931): produced by Efftee and direc[...]ertisements, documentaries and variety shorts. In the 1920s and ’30s, the Victorian exhibition quota specified a minimum of[...]n shorts had received practically no study before the recently—released The Docu- mentary Film in Australia, edited by Ross L[...]to emphasize this intentional omission. robably the largest body of undocu- mented Australian shorts[...]were produced with Efftee’s facilities. It was the most active period of sound film production in Melbourne’s history. Amazingly, nearly all of the Efftee output survives at the National Film Archive, Canberra. Many of these films are freely avail- able for loan on 16mm viewing prints, without copyright restriction. The remainder are mostly held on nitrate prints and negatives. These await copying to acetate. In its totality, the Efftee collection provides a comprehensive view of almost the whole output of one early Australian studio. This is probably a unique situation. The Pat Hanna production of Waltzing Matilda (1933), which was made at the Efftee Studio. CINEMA PAPERS December — 521
	The Efftee Legacy Efftee films contrast sharply w[...]nd claustro- phobic, seldom moving outdoors. But the Efftee films have extremely high value as record.[...]igh technical and artistic quality allows most of the films — and particu- larly the unpretentious shorts — to ‘ride well’ with a modern audience. The Efftee Entertainers shorts, for instance, are a home-grown equivalent of Hollywoo[...]acts on anything like this production scale, with the single exception of the 49-minute Cinesound Varieties (1934), of which only fragments survive. The acts filmed by Efftee were often recorded contemporaneously by Vocalion, the only Melbourne record company then active. Discs[...]Hanna, Jack O’Hagan, Keith Desmond, Athol Tier, The Sundowners and Harry Jacobs’ Orchestra. Efftee films provided a convenient means for cinema patrons to see Australian radio and recording stars who had previously been known only for their voices. This held particularly true in coun[...]attend good legitimate theatre and variety shows. The Efftee Entertainers shorts are the visual equivalent of 78 r.p.m. recordings, and ru[...]que record of Australian theatre history. Unlike the Cinesound films, which could rely on their cinematic excellence to draw a crowd, the Efftee films relied heavily on the star appeal of established radio and stage personalities. Pat Hanna’s films are particularly difficult for a modern audience to assess, stripped of the context of Hanna’s ubiquitousness on stage and radio in the early 1930s. “Digger” humor, so familiar to Australian theatregoers in the 1920s, tends to be lost on a modern audience. Collo- quialisms, then familiar, have since been replaced by the catchwords of another war, and have faded even further in the subsequent flood—tide of language input with po[...]ather naive and idiosyncratic Australia between the wars, anxious for psychological escape from the rigors of economic depression. George Wallace’[...]of wartime camaraderie all reflect this. Even in the Efftee documentaries, the escapist element is evident, presenting a ‘ch[...]is Regent Theatre Orchestra in Selections from ‘The Desert Song’ (1931). (Photograph courtesy Alan[...]Higgins’ magnificent cinema- tography maintains the highest standards of photographic pictorialism. Only occasionally is one brought down to earth by the sight of “sussos” scratching for gold in the gutters of Ballarat, or by a brief shot of a Fasc[...]ndon. Noel Monkman’s 11 shorts were made under the Australian Educational Films banner, in partnersh[...]an micro- cinematography in these shorts. Most of the equipment used to make them was extem— porized[...]with sensitivity and enthusiasm. Unfortunately, the 16mm viewing prints of the Efftee material are all too often a sad travesty of the 35mm originals. Without exception, the original 35mm Efftee prints have impeccable image[...]cannily good sound quality. In shocking contrast, the 16mm print of the Regent Theatre Orchestra short has a virtually unlistenable soundtrack, full of hiss and flutter. The 16mm print of the Athol Tier short is incorrectly exposed, out of focus, and its sound is terribly distorted. Nearly all of the pre—1934 sound films were shot to a square fram[...]format’ reduction specifica- tions, to preserve the original aspect ratio on 16mm. Multiple 35mm rele[...]and some original sound and picture negatives of the Efftee films, are held by the NFA, so the job should not entail any technical difficulty. Fortuitously, the Efftee nitrates haven’t deteriorated except for a little shrinkage. Of the five Great Barrier Reef shorts, only Ocean Odditi[...]copied complete with its soundtrack. Originally, the NFA acquired only the picture negatives of these four shorts. With the acquisition of several Monkman release prints in the Davidson collection, it should now be possible to recover the missing sound. Several of the Efftee shorts, including the important Apollo Granforte operatic item, have not been copied at all. The NFA has at least one print of this, as well as the original sound and picture negatives. Most intriguing, the 1000 ft film cans con- taining the original nitrates are mostly listed in NFA catalogues by the titles on the leader of The sound department at Efftee Studios, St Moritz, St[...]sted items joined end-to-end in each can. Most of the ‘ring-ins’ had been previously unnoticed by N[...]s quite possible that a thorough investigation of the cans of Efftee nitrate could reveal a wealth of f[...]sreels, documentaries and shorts, any analysis of the history of Australian film will be incomplete and misleading. The research must begin with the films themselves. IHE ’-lLMOGRAPHY Running ti[...]e derived from censorship records. In some cases, the National Library’s prints are derived from truncated versions intended for release in Britain. These will be noted. Detailed credits for the features, already published in Cooper and Pike’[...]977, have been intentionally avoided. Several of the Efftee shorts are held only on original nitrate stock at the NFA. The technical crew on all films listed here is as fol[...]em) Sets: W. R. Coleman Feature Films Made in the Efftee Studio (chronological order) A Co-respon[...]Thring. Wartime comedy-drama starring Pat Hanna. Thethe South Australian Performing Arts Museum.)
	[...]Desmond, Phil Smith, John Cameron, Thelma Scott. The Sentimental Bloke (92 mins, ref. 26/3/32) P.C.:[...]poem, starring Cecil Scott and Ray Fisher. N.B.: the NFA has the British release print, cut to 72 mins. His Royal[...]an Australian down-and-out who dreams that he is the king of a small European country. Stars George Wallace, John Dobbie, Marshall Ci_'osby. N.B.: the NFA has the British print, cut to 85 mins. Harmony Row (82 m[...]ce as an incompetent but lovable policeman. N.B.: the NFA print is cut to 67 mins. Diggers In Blighty[...]suspended by Thring owing to dissatisfaction with the first rushes. Some 8000 feet of outback footage a[...]ates was an adaptation of W. Hatfield’s book of the same name, dealing with an Englishman’s arrival[...]ing. This Australian musical extravaganza, set in the 1820s, was produced on stage by Thring at the end of 1933. A film was planned, but only sound t[...]Moncrieff and Robert Chisholm singing "Stay While The Stars Are Shining”, with a spoken introduction[...]’s epic attempt at an Australian equivalent of The Birth Of A Nation. Stars Peggy Maguire and Franklyn Bennett. Only indoor scenes and the soundtrack were done at the Efftee studio. Efftee’s uncompleted feature[...](Photo- graph courtesy Peter Wolferiden.) The “Efftee Entertainers” Variety Shorts (chrono[...]is Regent Theatre Orchestra in Selections From ‘The Desert Song’ (5 mins, 1931) Melbourne's Regent Theatre Orchestra plays "The Riff Song” and “One Alone”. (2) Jack O’H[...]his own compositions, including "Carry On", “By The Big Blue Bil\|abong", “In Dreamy Araby", “After The Dawn" and “The Road To Gundagai". (3) Cecil Parkes' Strad Trio[...]ecitations (No. 1) (3 mins, 1931) Desmond recites the poem On The Stairs in typical turn-of-the-century declamatory style. (6) Keith Desmond In Recitations (No. 2) (6 mins, 1931) This short exists at the NFA only as a picture negative, and may not have[...]ered in stand-up fashion. Patter, dance and song. The excellence of this short induced Thring to hire Wallace as a star comic for his later features. (8) Melody and Terpsichore ([...]usic hall star Lily Morris singing "We Crawled In The Old Apple Tree". Piano accompaniment by Stan Rafa[...]31) Impression of Randolph Sutton singing “Over The Garden Wall” and of Maurice Chevalier singing “You Brought A New Kind Of Love To Me". (15) The Sundowners - Harmony Quartette (No. 1) (5 mins, 1[...]ates. (Photograph courtesy Peter Wolfenden.) The Efftee Legacy (16) The Sundowners — Harmony Ouartette (No. 2) (5 mins, 1932) Songs include "The Wedding Of The Three Blind Mice" and "Sleepy Town Express". (17[...]888-1971), veteran character actor and creator of the radio character “Dr. Mac", sings “That's My Idea Of A Lady”. (18) Kathleen Goodall — Songs At The Piano (No. 1) (4 mins, 1932) A character actress[...]e Wonderful". (19) Kathleen Goodall — Songs At The Piano (No. 2) (4 mins, 1932) Sings “Little Mr. Baggy Breeches". (20) Kathleen Goodall — Songs At The Piano (No. 3) (4 mins, 1932) Sings "Little Mary F[...]first talkie shorts. Her career stretched back to the 1880s, and she had toured Australia as far back as 1897. In 1899 she appeared in the original cast of Floradora. She stayed in Australia for some years in the early 1930s, giving acting classes. Later returne[...]o roles in later British films. Here she delivers the monologue "Aint Yer Jim" with accompaniment from[...]mpaniment by Alaric Howitt, co- composer of music for His Royal Highness with George Wallace. (26) Som[...]anghai Rendered By Marshall Crosby (4 mins, 1932) The Jack Lumsdaine composition sung by character acto[...]comic filmed on his second visit to Australia. “The Sea's The Life For Me" with some rather cliched patter. (28) Willia[...]ial Grand Opera Co. Orchestra — Selections From The Barber Of Seville by Rossini (7 mins, 1932) The J. C. Williamson 1932 Opera Season Orchest[...]
	[...]ﬁlms run into censorship problems (particularly The Night Porter), they also have the distinction of being attacked by Left and Right, and ridiculed for being pro- and anti-feminist. Cavani’s filmmak[...]avani was interviewed in Rome by Sue Adler during the post-production of her latest film, Oltra la porta (Beyond the Door), which stars Eleanora Giorgi and Mar[...]
	After graduating with a degree in Classics at the University of Bologna, you attended the Centro Sperimentale di Cinematografia in Rome. What was it like there in the early 1960s? It worked very well. Some courses w[...]gned and others were not, as in every school. But the students became very stupid in the years around .1968 and they closed the school down. It was very painful to see the destructive demagogy because it meant that young[...]uccessive years were deprived of a school. It was the only one for cinema which existed, and it was needed badly. I[...]not in Italian universities. There are courses in the performing arts, but, like most things Italian, these courses are very rhetorical and not at all practical. The Centre Sperimentale was very practical: at the end of the first year you did a 15-minute film, at the end of the second year a 30-minute film and so on. You learn[...]nses, to edit, etc. They are now re-establishing the school, 14 years after it was destroyed, and hope[...]o it well. Do you think you would have gone into the cinema without attending the Centro Sperimentale? In Italy, schooling is virtually worthless, unless you want to make a career in the public service or as a functionary. No one has ever asked me about my degree. I applied for a post as a func- tionary at the RAI [the Italian equivalent of the BBC] and got the job, but then I refused it. Instead, I proposed certain projects for them on a freelance basis. One was The Story of the Third Reich, which used German newsreel docu- mentation from all over the world. From there, I went on to do other things for the RAI and for private television in Italy. I proposed documenta[...]’Assisi Francis of Assisi was suggested by the people at the RAI. They wanted to do it in the studios with telecameras. I said, “No, I want to do it on 16mm with people from the street, not professional actors from the theatre.” I was able to do this because I already had a relationship with the RAI and had done various things for them. I did have a bit of trouble because we we[...]young man who didn’t fit in with their ideas of the young Saint. They were rather taken aback. But th[...]idn’t interest me at all. I was concerned about the problem of Francis, which is that of every young person of 20 years of age who wants to change the world. It was also my problem and that of my gene[...]a co—produc- tion between a private network and the RAI and Sofia (Budapest) — the first, and perhaps the last, co- production between Italy and this eastern country. Many of the interiors were done in theatres and studios in Sofia. The RAI didn’t want to show it because it con- sidered the film too anti-clerical and anti-Catholic. So it w[...]in doing Galileo I had to depict Galileo against the church and the church against Galileo. Remember that only three years ago they took his books off the black list. But I find the polemics within the church and the church itself boring. I don’t want to discuss it on film. I cannibali The Cannibals was something I did in the 1968 period. It was the topic of the time and for me there was a desire to modify and above all to rediscover the true value of things — a search for the meaning of existence. The Cannibals was a version, shall we say, of Antigon[...]problems have been reduced to two: terrorism and the Mafia. The Mafia is exclusively an Italian problem, but terr[...]I have never treated these issues on film because the newspapers are full of them and there is no point retelling it in the cinema, unless you have certain revelations to make. L ’ospite (The Guest, the Host) The Guest, the Host is a film I wanted to make because I had vis[...]and it had made a great impression on me. I went for a week to observe and make notes. I wanted to do a story about a woman who lived there for many years. In those days, the asylums were full of people who were not neces- sarily raving mad, but who were a bit nutty and an annoyance for the family. So they were put away and left there. Oft[...], perhaps because they were too sensitive. The Guest, the Host was the story of a woman who had been dumped in an asylum and who was sick only because the asylum had made her that way; before she was put[...]oo sensitive. Instead of sheltering these people, the asylum becomes a prison or concentration camp. N[...]people who formerly were locked away are roaming the streets. Reforms are needed. It is not enough to open the gates. Milarepa Milarepa was inspired by my reading the book of the great Tibetan poet, Milarepa, which I liked very much. In the film I tell the story of a young person who reads the book and identifies with it. He and his professor are the key characters, and the youth has an important experience. Sometimes rea[...]s this to you: it is like experiencing physically the thing itself, or being taken on a voyage. I simply wanted to relate the feeling of having an experience with a different culture and making an imaginary journey. I made it for television on a low budget but nowadays it is impos- sible to approach the private net- works with projects like this. They[...]which deal with certain themes and arguments. But the private networks clearly are not interested in such films; they cost more than they make. So I did it with the RAI. Galileo, The. Guest, the Host and Milarepa were filmed on 35mm film and done on low budgets. I believe in the quality of film stock over everything else. It is obvious that with 35mm the results are superior. I cannot bear when people use 16mm and blow it up to 35mm — the latest film by the Taviani brothers, for example. It is a swindle; it is not right. It is fair enough to say that we cannot compete technically with the American cinema, but there has to be a minimum of[...]chnical modern- ization. You can’t just rely on the moral content; you also have to produce something that is well made, that is visually beautiful. The technical aspect is extremely important to me, but the Italian cinema has lagged behind in this area. For those who want their films to be very good techni[...]rs from Lucia (Charlotte Rampling); entertainment for the Nazi officers; Max and Lucia; Lucia. Liliana Cavani‘s The Night Porter.
	In Italy, the critics don’t help at all. The more ‘poor’ a film is, the more they go for it; it is ludicrous. I believe films should be as well made as possible. Il portiere di notte (The Night Porter) The Night Porter emerged when I did The Story of the Third Reich. I interviewed women who had survived the concentration camps, and others who had lived thr[...]he goes to Dachau, where she had been a prisoner, for her holidays. This made a strong impression on me[...]out them — though she did say she was searching for some- thing, perhaps the suffering. I don’t know. The human psyche is very complicated. There was anot[...]people treated her like a poor wretch. It got to the stage where she couldn’t stand her friends and relatives. The only thing of which she accused the Nazis was that they had made her perceive the depths of human nature. We always think of this as a positive thing, because we look for the better side. However, she ascertained what human[...]that understanding made it practically impossible for her to remain in the company of others. She said, “The physical suffering passes; this won’t ever go away.” A story slowly evolved from all this, a story of the things that really happened. War does not just occur, it changes people. It plays on the need of people to feel important, to feel that they are stronger and superior to the next. In the end, it plays on the most animal instincts. When I dealt with the sado— masochism within the couple in The Night Porter, only the psycho- analysts, not the critics, credited me with being right. They maint[...]be developed to a maximum or remain at a minimum. The ordi- nary filmgoer understood this because he found something in it which, to an extent, he lives. But the critics are used to seeing, and love to see, thin[...]are familiar. And, if it is a woman who has made the film, and she has presented things in a manner to which they are not Top: Lucia runs terrified through the prison camp bathroom. The Night Porter. Left: Erland Josephson, Liliana Cav[...]ry, and rant and rave. They are very conformist. For example, if you make a film about the war, you have to talk about the Resistance. I have made two films which talk about war, The Night Porter and The Skin, which treat it in a manner contrary to what[...]. I would not enjoy giving a history lesson along the lines of what they would expect to hear in the schools, the way those bores — the critics — like to see things. When I want to say something, I want to do so in a different way — to the sound of another drum. By doing things this way, you come to understand them better yourself. I grew up in the post-war era. Listening to what people said then,[...]left, yet nobody had gone anywhere! It was as if the Martians had come and then gone away again in their spaceships, back into the sky. You ask yourself: how is this possible? In fact, you were not allowed to talk about the things the Nazis or Fascists had done; everybody was in agreement — from the Christian Democrats to the Communists. All of them had rolled a big rock ove[...]tion doesn’t know what really happened. I did The Story of the Third Reich exactly to demonstrate this, to show that Nazism played on something inside us, on the con- cierge (porter), the person who lives below us or across the road. Maybe this person feels frustrated in some way. So the moment he can put on a black uniform and punch so[...]better. He feels like a big man. Fascism opened the doors for all those who had a problem. To make a career in the university, for example, you_ had to be a card- Carrying Fascist. Every university professor in Italy except 11 had taken the Fascist oath, just as had all the magistrates. So, what was the poor, little anti-Fascist to do? The reality was that very few anti-Fascists existed. But, in 1944, when Germany was losing the war,
	suddenly there was a mass of them. But the world has always been this way; the important thing is to understand what happened, o[...]what we are made from. Did things become easier for you after the success of “The Night Porter”? Indubitably. The film was very successful. Al di la del bene e del male (Beyond Good and Evil) What was the particular interest in Nietzsche? From Nietzsche[...]ern challenging and questioning thought. Marcuse, for instance, derives from Nietzsche. Nietzsche’s relationship with Lou is fascinating to relate. The story was already modern: Lou was the blonde creature of which he had spoken, free and[...]nes are similar: Lucia (Charlotte Rampling) in “Thethe dolly-like heroine. I don’t find these women physi- cally interesting, either. Actually, the Italian censors criticized me because Charlotte Rampling was on top making love. It was thethe woman have to wait until it is done to her? In the U.S. this question may not arise, but it does in[...]I really don’t think that things are any better for women in the U.S. than they are in Italy. On the contrary, due to a strange cultural contradiction, in the Latin countries women are more res- pected than i[...]countries. Sure in Italy when a woman walks down the street, men turn and look at her. They whistle, t[...]so bad about that. They may not pinch your bum in the U.S., but there is a greater hatred of women among the men. They all seem to be homosexuals in the head, even if they go on to marry. It isn’t like that in Italy. In Italy, it is often the woman who doesn’t set off and take on certain j[...]been an Israeli woman Head of State, but never in the U.S. The Americans all talk a lot but they never actually[...]omen have a more difficult life — especially in the north, where I come from. My town is full of big- business women, and they get more respect than the men. Having said this, one must remember that in the south of Italy men are capable of killing a woman if she has a lover. But you have to understand the context. It is part of a game. I am not saying that you should kill — on the con- trary —— but it is important to see the thing as a whole. Germaine Greer went to Sicily[...]y, “I find it annoying that a man pinches me on the burn”, and of course that is perfectly right. I[...]ut it has to be seen with an overview. La pelle (The Skin) In The Skin I wanted to talk about that period of the American occupation of Naples. I think that every[...]is much better than many others. But apart from the phenomenon that is Naples, it interested me greatly to present Fascism to the people as it was. I also wanted to show that it is always the women and the children who put things back together again. But[...]unted. Ma1aparte’s point of view is excellent: the population, which is never asked if it wants the war or not, is always the one which pays. Sure, there are lots of other sto[...]y as it really happened, not as it is depicted in the textbooks. This is far more educational. In fact, I should now do The Skin 2, because of what went on in Naples after the earthquake, and with the money the government provided for its reconstruction. Things really went wild: the Camorra [Neapolitan Mafia] was involved and it wa[...]s from this ‘civil war’, much more than under the American occupation in Naples. So why should we b[...]s written by me or with a collaborator or, as in the case of The Skin, based on a story taken from a book, but again with the screenplay written by me. You have been quoted as saying that the images are more important than the dialogue . . . It is always better to tell every- thing you can without words. The value and relevance of the image is always more important and more interesti[...]trial then there has to be a lot of dialogue. But the photography, the costumes, etc., are all very important. In the case of The Skin, for example, we had to reconstruct the 1940s — the Americans in Naples and the rubble in the streets —— but we could only give an impressi[...]well) watches — Beyond Good and Evil; images of the American occupation of Naples in the 19405. The Skin.
	[...]y years ago, an actor generally had to make it on the stage before he or we could expect his life to be[...]hat they were much more interesting than we were. The 1970s changed all that. Not to have the enthralling saga of your life take its place on the shelf with all those other lives has become a tac[...]of not having made it. Mere decent reticence in the face of a dull life stops no one, nor does even merer unimportance. For the flood of star biographies and, worse, those written allegedly by the stars’ own hands, has gathered momentum through the past decade and shows no sign of abatement. Furthermore, they are getting longer (the first fruits of Stewart Granger’s anecdotage‘[...]er habit, as evinced by Granger, James Mason2 and the unspeakable Shelley Winters3, is meant to leave us breathless with anticipation for Volume Two. This is indeed making a little go a long way, since the off—screen lives of these people often[...]
	“They ’re not stars for no 9? reason, you know . . . Film stars are so[...]sence is, of course, infinitely more important on the screen than on the stage, which is at once more exposed to the consumer and more tactfully distant from him. How film stars look seems to me to be the one indisputably vital element in their screen personae; whatever else they may bring to their roles in the way of, say, intelligence, under- standing, depth[...]is being so, it is perhaps not surprising that on the page, as distinct from the screen, they often are disappointing. The perceptiveness and sensitivity we have admired as they loomed above us in the dark must, we begin to feel, belong elsewhere —[...]Granada Publishing Ltd, 1981. shrewdly selecting the best of 50 takes, or Gregg Toland catching the upturned face in a way that softens the hard egoism. On the basis of the nearly 20 volumes with which I have frittered awa[...]t months, I would find it hard to adduce evidence for Gregory Peck’s assertion that, “They’re not stars for no reason, you know. They’re stars because they are interesting people.”4 One of the chief recurring elements of these works is certainly egoism. Clearly, even to get noticed to the point of being offered any role in a film takes a[...]powers. Having achieved not merely any role but the power and right to choose their roles — that is[...]nice—guy like Peck derives gratifica- tion from the fact that, in his first film, his “name was to go above the title — and it has never gone anywhere else sin[...]s like Bette Davis5 snarled and clawed her way to the roles that made her a star, and, once established[...]entlessly demanding, imposing, seeking restlessly for what was best”: best for the film of course too, but essentially best for Bette. To know you are a film star is, presumably, to know that millions of people around the world want to watch you both being recog- nizably[...]lm acting. It is a heady thought no doubt, and to the head, no doubt, it often goes. More often than n[...]by families, education, religion or any other of the decentralizing structures of their society, they[...]elieve their own publicity, to believe themselves the centre of their personal universes. With so many lives dependent on whether their latest film is pulling in the customers, small wonder it is that many of them g[...]as a film star is makes prepos- terous demands on the sanity, balance and humanity of the often otherwise—unremarkable human being just beneath the glamorous surface. “Night of the few large stars” It may be that the publishing bonanza of the 1970s (not just star lives, of course, but every[...]. Now that there are so few authentic stars left, the reading public is perhaps doubly fascinated with the big names of the past, expecting that they must have big lives attached to them. For, whatever it is that makes a star, the public knows one when it sees one.‘ At the moment there aren’t many to see: this is Walt Whitman’s “night of the few large stars.” I remember reading in the rnid-1970s that there were but 10 bankable stars[...]eed when you think of how many stars glittered on the mid-’40s payroll of any one of 4. Michael F[...]e Davis, New English Library, 1981, . 160. 6. On the recent Fred Astaire ife Achievement Award shindig, the audience — admittedly not average general publi[...]owell and Audrey Hepburn but not Cyd Charisse of the glorious legs. Stardom, like Blood, will out. The Biography Industry the big studios. Can it be that present depriva- tion has provoked both nostalgia and the urge to literary embalmment? An urge, that is, sh[...]publishers, public and ageing stars themselves. The reasons for the declining number of stars are complex. It is not that we, the cinema-going public, now feel ourselves above the idea of stars. It seems to me that the public still reaches out to any actor who is even[...]towards Coward’s “star quality” — towards the likes of Jane Fonda, Warren Beatty or, as the suc- cess of On Golden Pond suggests, towards una[...]es such as Katharine Hepburn and Henry Fonda. But the passing of the studio system, that very nursery of the stars; the precariousness of the ﬁlm actor’s life when he must negotiate each[...]ed awareness of films among articulate sectors of the public which both make a cult of old stars and decry the need for contemporary ones: these are a few guesses about the reasons for the decline in stars. The mass audiences will still turn out for a Star Wars but not for a star turn. We are no longer “visited all nigh[...]star supported by Ben Johnson. “. . . Preserve the stars from wrong” (Wordsworth) Apart from Flor[...]West“ who may or may not have done so, most of the biographed girls and boys here have notched up se[...]d I’m goddamn ashamed of it.’ ”9 In most of the other volumes, the casting-off of the old and the taking-on of the new are presented as part of some restless quest for truth in human relations. Fonda’s abrupt honesty on the matter — and I don’t mean to be striking a moral pose about this — is markedly at odds with the usual cant offered about marriage and divorce. On the whole I prefer Susan Hayward’s direct account” of why she wanted to be rid of Jess Barker, “The son of a bitch hit me”, to the tasteful evasion of Freedland’s account of Gregory and Greta Peck’s break-up: “. . . the sad-looking surroundings [of their French villa] only seemed to echo the state of their relationship together. It took very little time for them both to realise that they weren’t going to[...]nd.” (p. 125.) I don’t mean to underestimate the sort of pressures that stardom, with all its demands for ego maintenance and repair, must make on relation[...]out a succession of liaisons, with and without ‘the benefit of formal cere- monies. Inevitably notions of romantic commitment get somewhat tarnished by the time the fifth or, in Elizabeth Taylor’s case, the seventh marriage is reached. The (auto-) biographers are caught in something of a bind here: on the one hand, they may wish to present their subject[...]of Little Nell and Mother Theresa of Calcutta; on the other, they are aware that a breath ——[...]
	have offered just a carefully preserved public The Biography Industry boost sales like nothing e[...]pulsive spectacle it makes; James Mason has opted for such discretion that it comes as a surprise to fi[...]100 pages later, that he and Pamela are parting. The point of this is to suggest that very rarely inde[...]discretion can make them sound dull; and a ﬂair for the salacious may lose respect even as sales thrive.[...]r of sexual behaviour; revealing other aspects of the private lives of stars rarely makes one think bet[...]tion: she writes“ with unaffected honesty about the vanity, ambition and selfishness that, she believ[...]s hard-working, intelligent and compas- sionate. The fact that the off-screen lives of so many stars seem not to be[...]g up a spurious sense of drama where none exists. For women stars this usually means an affaire with Howard Hughes; the men, faintly afraid that theirs is an effeminate[...]f they devoted themselves more whole-heartedly to the activities that made the stars famous enough for us to want to read about them: that is, their work in films. Instead of the current stress on their sexual appetites and adve[...]us a great deal that would be worth knowing about the processes of filmmaking. “It is the stars, the stars above us govern our conditions ’ ’[...]Louise, Norma Shakespeare krfew It all‘ _FOr’ In the hlstory 9f Shearer and Reginald Gardiner in W. S.[...]Marie Antoinette. ’\ . . ; Hollywood certainly, the influence Of stars 111 Below.‘ Ward Bond, Henry[...]arling Clementine. Productions were built around the talents of , A . - — = V ~ — _, ~ ,_ ,, particular stars; the greater the responsibility ’ ‘ /15¢u[;1;g1L1gw,mi];g{;;,,,,,;,,,, on a star for a film’s success or failure, the more powerful became that star’s wishes in the making of the film. If stars could not sell a bad or unattractive film to the public (cf. Gable and Parnell, Julie Andrews and Star!), they undoubtedly increased the pulling power of many average-to-good films. Considering, too, the public’s notorious fickleness (it could never, for instance, be induced to flock to Deanna Durbin movies after the Christmas Holiday fiasco), it is not surprising t[...]told her own story as she chose to present it in The Lonely Life; as Charles Higham tells it now in Bette, the lady’s own account seems to 11. Claire[...]
	The Biography Industry persona of brisk New Engla[...]r from achieving fulfilment in a relationship.” The one great, positive attribute she persistently reveals is energy, but that is certainly made unattractive by the ruthlessness, egoism and egotism that accompanies it. This energy seems to have worn out the men in her life though there were brief periods o[...]th and Gary Merrill). It stood her in good stead for her protracted fighting with Warner Bros, with the result that she got more than her fair share of juicy roles and the power to dictate in what conditions she would per[...]herefore view her. Her worst enemy (com- petition for the title would be stiff, even with Joan Crawford and[...]rant her energy and courage. There was courage at the time in choosing roles like Mildred in Of Human Bondage, or Leslie Crosbie in The Letter, or Baby Jane, as well as the perception to assess their potential in terms of her capacities to act them and make the public accept her in them. Higham’s account, a[...]ne (Kate, Marlene, Ava), at least does justice to the films and makes something compulsive of the way Davis’ energies worked towards making so many of them memorable. He is quite astute at identifying the highlights - Jezebel, Now Voyager, All About Eve,[...]classic Hollywood in their 1970 book Hollywood in the 40s. However, he often has interesting comments on the conditions surrounding the making of the films and, discussing Now Voyager, he claims: “Scripts in those days were explicitly tailored for stars, and [Casey] Robinson included many touches[...]e then considered in relation to several scenes. The book is full of nasty side-swipes at Davis’ con[...], saw something playable in them, grabbed them by the scruff of the neck, belted them and everyone concerned into shape, and as a result she has survived as a star for 50 years. Despite ill-temper, unco-opera- tiveness, little affection or respect for most of her colleagues, she continues to command public respect and attention. Knowing about the woman, as Higham’s handsomely—published volume insists we must, adds nothing to the star image. On the other hand, though, the private dirt can’t diminish the power with which that image has often worked on us, in the guise of, variously, Mildred, Regina Giddons or Margo Channing. hile Bette Davis was ruling the roost at Warners (known affectionately as San Q[...]Hector Arce’s “coast-to-coast bestseller”, The Secret Life of Tyrone Power”, despite its salac[...]rity, is in fact a surprisingly humane account of the man and a sometimes shrewd appraisal of the career. If Power’s sexual life caused him a good deal of torment, his star career was rarely satisfying in the way that he wanted. Coming from several genera- t[...]exposure in films with Power. He, however, longed for more demanding roles and, as Arce points out, fou[...]y well indeed. His earlier, more prestigious film for Goulding, Thethe camera held him mercilessly in its close-up gaze.” But for all his efforts in this role, and for all the film’s seductive patina, Power came to fear it[...]stic claptrap”. There is something touching in the story of this agreeab1e—sounding man whose priv[...]t from Nightmare Alley, he probably wears best in the swashbucklers he grew so tired of, worst in his m[...]bove All). Hector Arce neither wishes to spare us the more sensational passages of Power’s life nor does he wallow in them. “And the stars are shining bright” (Shelley) Stars, answering who knows what urge towards the setting up of idols, are essentially a phenomenon[...]blaze in those decades now sentimentally known as the Golden Years. It is hard to imagine anyone as modestly talented as Tyrone Power getting started in the mid-’70s and holding on to star status till the end of the 12. Hector Arce, The Secret Life of Tyrone Power, Bantam Books, 1980. century. But, with the backing of a shrewd and grateful studio who pushe[...]word in a way that is scarcely possible now that the studios are gone, and households, perhaps, not what they were. Power died in 1958, just at the stage when the maintenance of a star career was getting tougher as the studios crumbled under threats from television, a[...]bly a more sophisticated public awareness. But if the studios carefully nurtured their valuable star properties, the latter often seemed to have little sense of creat[...]on when they left — or were turned loose by — the studios “which controlled not only the publicity but which parts the contractees would play.”” _- ENRY FONDA, who had his first successes at roughly the same time ' I as Power, with whom he co- starred[...]after Power’s, clinching it with his 1981 Oscar for On Golden Pond. It is hard to believe Power could[...]than Power ever was, and he estab- lished this on the stage too; as well, as Howard Teichmann records it, and as the filmography bears out, he was never firmly held in the stranglehold of a long-term contract with any one studio, and he insisted on retaining the right to appear on stage. Teichmann, a man of the theatre, tends to stress the plays — Mr Roberts particularly, The ‘Caine’ Mutiny Court Martial, Darrow — while skimping on the films, but he makes clear that Fonda understood the difference between the two media. He quotes Fonda: “ ‘I just pulled[...]ause that lens and that microphone are doing all the projection you need. No sense in using too much v[...]And Teichmann adds: “In almost a hundred films the technique Fonda employs has not varied. Some say[...]ossible. Whatever he does he makes you see inside the character he plays.” (p. 98.) Very early on “Fonda fell easily into the rhythm of film-making”, believing it to be larg[...]ctors as “two-dimensional figures to be used in the exposing of raw stock to its best advantage” (p[...]perceptive Teichmann is about acting than most of the stars’ biographers, it is disappointing that he[...]ve more detail about Fonda’s film performances. The early meetings with John Ford and the making of Young Mr Lincoln and The Grapes of Wrath rate about four pages altogether,[...]than a passing mention. Other notable films like The Wrong Man and Fort Apache are skimmed over, while The Best Man is not there at all; there is a little m[...]k and beat him he 13. Elizabeth Weis (ed), The Movie Stars, The Viking Press, 1981, Intro. p. xi. CINEMA[...]
	The Biography Industry could do anything false, h[...]s an extravagant claim it is perhaps not far from the public’s view of Fonda. He has always seemed like one’s ideal of the American liberal; according to Teich- mann, there is more than a little correspon- dence between the screen persona and the real man, though the latter emerges as more ascetic, more rigorous, mo[...]hether in a humid jury room or bringing order to the wild West, that other wild West — Mae —— a[...]ecially not sex or men, and especially not any of the virtues held dear by middle America. Fergus Cashin’s slim volume (a happy change from the never-mind-the—quality-feel—the-length approach) may not intend to cut MAE WEST down to size, but it does. “She had spent most of the twentieth century inventing herself”, Cashin writes, and if she did not invent sex, “She . . . saw the humour in it and probably no one before or since has had more fun on what she called the ‘linen battlefield’ ” (Time magazine). And yet, if Cashin is to be trusted, the real- life truth is a good deal less amusing and[...]ything about sex, let alone love in private life. The off-screen facts are shrouded in mystery, startin[...]ered to anyone in over half a century), including the marriage (or was it?) to Frank Wallace in 1911, w[...]thing to do with their quality, which, apart from the choice one-liners, is generally atrocious. However, in the ’30s thethe hat- check girl’s “Goodness, what beautiful diamonds”, was the immortal, “Goodness had nothing to do with it,[...]fulsomely, “she walked slowly, majestically up the stairs into motion picture history” (p. 98). The next two, She Done Him Wrong and I’m No Angel, both with the young Cary Grant, established her as a major star. If none of the remaining six films she did in the ’30s was as good as these, they were good enough to keep her public and Paramount more than happy. The 1940 teaming with W. C. Fields in My Little Chick[...]en indifferent”, says Cashin) and this shows in the resulting film. Their comic styles — lewd innue[...]triumph of subtlety, wit and taste, compared with the last two films of her career: Mike Sarne’s Myra Breckinridge (1970), a Hollywood sex farce from below the bottom of the barrel, and Ken Hughes’ bizarre 532 — Decemb[...]’ Fl-‘.RUUS (MIIIN Below: publicity still for Ken Hughes’ Sextette, starring Mae West (centre[...]Ford’: Donovan ’s Reef. Left: publicity still for Henry Hathaway’: Spawn of the North (book caption reads: “If you had smelled[...]her”). Sextette ( 1978), in which she plays the bride of a young English aristocrat. But it is absurd to. talk of Sarne or Hughes as if they were the authors of those films which defined new nadirs. Mae West was invincibly the author of her own films, as she was of the trashy, funny, finally mysterious drama of her li[...]s probably much less, in several senses, than met the eye. The best is there in those ’30s gags (“Between two evils, I always pick the one I never tried before”) and Cashin does well to quote a good number of them. For the rest, he is left with an enigma: a star who became the target of a ferocious purity campaign, a woman whose private life would almost certainly have undermined the public image. nother star who scarcely seemed to be taking sex seriously was DOROTHY LAMOUR. By the end of the ’30s, in films like Jungle Princess, Ford’s The Hurricane and Her Jungle Love, she had made the sarong and herself famous, but her most prolific period of stardom was in the next decade when she made 29 films. In these she[...]ting sense of humor that worked to best effect in the six Road films (1939-52). Her career and her not-very-remark- able private life are now presented for inspec- tion in a volume of artless maunderings entitled My Side of the Road, “as told to Dick McInnes”.“‘ One do[...]films anyway.” (Actually, this points to one of the weaknesses of all these books: we know they all m[...]nusual — or better-observed — lives to offset thethe Road, Robson Books, 1981.
	[...]ul practitioners of screen comedy. His screenplay for Harold and Maude (directed by HalAshby) was the basis of a continuously-popular cult film. Subseq[...]ller) and wrote and directed Foul Play, 9to 5 and The Best Little Whore- house in Texas. Montreal Film[...]ncisco. They had met while she was a passenger on the “Mariposa”; my father was Chief Purser. It wa[...]older brother. In 1945, we lived in San Francisco for a while but soon afterwards returned to Sydney, w[...]I got my first part-time job in Sydney, working for MGM at their While serving as a jury member at the 1982 old Chalmers St office; I had to take the slides that advertised coming attractions to all the city and suburban Metro cinemas every week. How[...]with theatre. I went to New York and hung around the Actors Studio, but there were no acting jobs. So I became a page at the ABC television studios. Then I lost hope and volunteered for the Army. I was sent to Germany, and became a reporter on the army newspaper, Stars and Stripes. I was discharg[...]in Europe, mostly in Paris. Then I went back to the U.S., back to Stanford, and eventually got my B.A[...]isited Expo’67 in Montreal, and went to many of the programs at the Montreal Film Festival. That was when I decided I[...]e one of my fellow students was Paul Schrader. At the same time George Lucas and Randal Kleiser were at USC. That generation has become the backbone of our industry now, Higgins talked to fellow jury member the first group to bridge the gap between film school students and the industry proper. What sort of films did you make[...]I hadn’t much money and I had answered an ad in the L.A. Times. A couple wanted a part- time chauffeur and someone to clean out their swimming pool in return for free lodging in the chauffeur’s quarters. I was very lucky.[...]
	[...]uced several of John Franken- heimer’s films of the 1960s, includ- ing The Manchurian Candidate, Seven Days in May and Grand[...]I showed him my script and he liked it. What was the inspiration for “Harold and Maude”? It came from seeing a dolly crane for rental in a film equip- ment store. I thought I would make an exercise for film school, something very elaborate tech- nically. So I worked out a situation with the dolly crane in mind, and that became the first scene where the mother discovers Harold hanging. Then I thought,[...]it? So it became a fake suicide. And that is how the whole idea came to me; it all sprang from a desir[...]ersonal story, with Harold and Maude representing the introvert—extrovert sides of my own character.[...]Rider period a lot of new- comers had been given the chance to direct, but they had mostly failed. So Evans, though he wanted the script, was not at all keen for me to direct. However, he gave me, or rather Para[...]s test. Ed, who was making a film at Columbia at the time, arranged for me to use the Bob & Carol & Ted & Alice set to do the test. It was amazingly economical; Daniel Fapp shot it for me and we did three scenes from the film, all with the kid and his mother. Well, the result was that they liked it, but not enough. So[...]I got on very well with Hal, and we both thought the film came out great; Paramount was high on it, too. Then, fate took a hand. It was the end of 1971 and The Godfather was supposed to be the studio’s big Christmas release; it was booked into all the biggest and best theatres. But Francis [Coppola][...]film of ours in those big cinemas up against all the top releases of the season. We were swamped. It was a major failure;[...]t became a success eventually Much later. In the meantime, I was in trouble. I finally got an offe[...]evision film company. They had sold a “Movie of the Week” to ABC on the strength of a title, The Devil’s Daughter. But they had no script. So I wrote one for them, Jeannot Swarcz directed it and Shelley Wint[...]en starred in it. It was just a job. Then out of thefor the veteran French actress Madeleine Renaud. Would I[...]y pleased and flattered. I went to Paris, adapted the screenplay into a theatre piece and then worked with Jean-Claude Carriere on the French translation. It was a huge success and ran for seven years. While in Paris, I met Peter Brook a[...]t-in- residence”. We did a play together called The Ik, a serious piece about mountain people in Uganda, which was put on first in Paris and then at the Round House in London. Below: lead actors Bud Cort and Ruth Gordon during the shooting of Harold and Maude. Right and below rig[...]I still wanted to direct films, and I had figured the way to do that was to find pro- ducers who would support me. So I contacted Tom and Eddie with an idea for a script, which was Silver Streak, in the hope that if, by using another director, we could[...]ss with that one, I would have a chance to direct the next one. And that is what happened. We offered S[...]back to Paramount, which approved it because of the success of Silver Streak. were )’0ll.happy with the job Arthur Hiller did on “Silver Streak”? _[...]hby, but he is a good commercial director. Seeing the film now, I think the climax, the train crash, is terrific, but I find the early scenes kind of slow. He
	treats the script with a great deal of respect. If I had directed it, I would have been a bit less faithful to the writer; I would have slashed away. Having been a[...]k with, very natural and totally understanding of the comedic way I like to work, which is to base a si[...]ty and reality, and then let it play out. I wrote the script for Goldie, but it was a fight to get her; the studio didn’t want her very much. I re-wrote the lead for Chevy Chase; it was his first movie, and his styl[...]elevision style of‘ establishing a rapport with the audience on the other side of the television camera. Of course, you don’t do that in movies; you let the camera come in and discover you. At that time he had no real respect for the craft of acting. But he did a very good job. Dud[...]ing per- formances. What visual style did you go for? I wanted a crisp, bright, well—lit film with[...]their chauvinist boss (Dabney Coleman) how to run the office. Above: the office girls fantasize about getting even with the boss. Colin Higgins’ 9 to 5. Right top.‘ Ric[...]hearing people laugh. People ask me what part of the process I like most: writing, directing or post- production. For me the best part is when the piece is finished and you sit in the theatre and hear the audi- ence laugh. I am also personally optimistic; I like to see the absurdities in every- day existence. Comedy comes[...]I am more experienced and more conscious of what the processes are. Writers have to create an imaginary world, live in it, and at the same time report on it. It is a very schizo- phrenic state. In the early days, I found it very frustrating when I co[...]t state doesn’t come I just consider it part of the process and don’t get too disturbed. I used to[...]ad seen Foul Play. I had heard about this project for about a year. The premise was that three secretaries wanted to kill their boss; Jane was the producer and had got Lily Tomlin and Dolly Parton. I think originally Mike Nichols was to have been the director; I know it was then a pro- ject for Herbert Ross. Essentially, no one could lick the script, and the whole thing seemed to be falling apart. I was ﬂattered to be asked, but when I read the script I realized why it was in trouble. The concept was right, but I knew it would have to be[...]t to Cleveland to a meeting of an organization of office workers. I asked, as a dis- cussion point, if any[...]one started laugh- ing; they came up with some of the most gruesome schemes which they had conceived in moments of severe stress. And I knew then that was the key on which to hang it all: to get the women in such a stressful situation that they wou[...]was, but I went to see her act and was amused by the warm, quick- witted ad-libbing she did with the audience. When I discovered the following night that all those ad- libs were scri[...]she would have no problem as an actress. I wrote the part as much as I could for her. Lily’s background is improviza- tional, s[...]wrote with her in mind. Your next project was “The Best Little Whorehouse in Texas” . . . It was another troubled situa- tion. Universal had bought the rights to the stage musical and originally the stage director was going to do the film version, but he was fired — as was the writer. I was then brought in and produc-[...]
	it was well advanced and the delays were expensive. I re-wrote the script from scratch. Originally, the problem was that the Broadway show was about a sheriff who was 65 year[...]ne—night stand in Galveston. It was clear to me the relationship had to change once those two actors were cast and that the romance had to be ongoing during the trouble over the whore- house. Considering how expensive it is to do a musical, which means you have to aim for the widest possible audience, the film is surprisingly bawdy, not only in its nudity but in, for example, the scene where Parton presents Reynolds with some flimsy panties . . . I think it should be naughty, in the sense of sex being fun. In some parts of the U.S., newspapers wouldn’t even print ads using the word “whorehouse”. But if you are making a film with “whore— house” in the title, you can’t be too coy about it all. Many American critics have remarked on the show-stopping solo by Charles Durning as the Governor of Texas . . . I cast Charles. He is a[...]o. 536 ——- December CINEMA PAPERS He worked for three solid months on that dance. It did not come easy to him. In fact, the first time I saw him try it I thought we were goi[...]. And there is no process photography involved in the moments when he appears and disappears behind the columns. We did that in the way that Buster Keaton did some of his great stunts, by measuring out the distances and calculating them per- fectly. Fortunately, we were rained out the day before we shot it, so we had a whole day in which to rehearse in the Capitol itself, and believe me it took all that t[...]— happy. Do you think there is a problem with the ending of the film? Well, we did go through various ideas for an ending. In one we had Dolly get into her car and Burt get into his, the helicopter lift up with the camera, and they drive off in opposite directions[...]a happy ending. I am not entirely satisfied with the ending; maybe it is not shot quite right. But I h[...]when he sweeps her off her feet. I really meant the device of reprising shots seen earlier in the film . . . Oh, yeah, I get criticized for that. But I did it because I like curtain calls.[...]I understand why some people don’t like it, but for me it is fine. I think the conventions of musicals are difficult to take the[...]to song. Maybe we have to find a new convention. The reason I loved doing Whorehouse was that it was a[...]m: and Deputy Fred (Jim Nabors). Colin Higgins’ The Best Little Whorehouse in Texas. it better. It i[...]ng to specu- late what it might have been like if the film had been cast closer to the original stage production, maybe with Robert Mitc[...]there and also because I am very impressed by all the excellent actors and actresses you have. I would very much like to work with some of them. And I the Australian accent delight- u . Are your future[...]once that he always insists on getting a laugh in the first ten minutes, whether it is there or[...]
	The Australian Motion Picture Yearbook 1983 .............................................. .. p. 2 The Documentary Film in Australia ...................[...]......................................... .. p. 3 The New Australian Cinema ...........................[...].......................... A: p. 4 Australian TV: The First 25 Years ...........................[...]
	I983 The third edition of the Australian Motion Picture Yearbook has been totally revised and updated. The Yearbook again takes a detailed look at what has been happening in all sections of the Australian film scene over the past year, including financing, production, distr[...]festivals, media, censorship and awards. As in the past, all entrants in Australia’s most comprehe[...]n industry directory have been contacted to check the accuracy of entries, and many new categories hav[...]of profiles has been compiled and will highlight the careers of director Peter Weir, composer Brian May and actor Mel Gibson. A new feature in the 1983 edition is an extensive editorial section wi[...]YEARBOOK effects, censorship, and a survey of the impact our films are having on U.S. audiences.[...]h an interest —— vested or altruistic — in the continuingﬁlm renaissance down under . . Variety “The most useful reference book for me in the past year . . . " Ray Stanley Screen International “The Australian Motion Picture Yearbook is a great asset to the ﬁlm industry in this country. We at Kodak ﬁnd it invaluable as a reference aidfor the industry. " David Wells Kodak “ . one has to admire the detail and effort which has gone into the yearbook. it covers almost every conceivable facet of the film industry and the publisher's claim that it is ‘the only comprehensive yellow page guide to the ﬁlm industry’ is irrefutable. " The Australian T I?eactions to the Second Edition «A ._,A ~<'x ....—_.».-.\.[...]one interested in Australian ﬁlms, whether i'n the industry or whojust enjoys watching them, will ﬁnd plenty to interest him in this book.” The Sydney Sun-Herald “This signifcantpublication[...]but everyone interested in Australian ﬁlm. ” The Melbourne Herald “May l congratulate you on yo[...], and l’m sure to most people in, and outside, the business. " Mike Walsh Hayden Price Productions “Indispensable tool of the trade." Elizabeth Riddell Theatre Australia l " 3"U)u;u ]1,.A\.\|“_ n mum "The 1981 version of the Australian Motion Picture Yearbook is not only bigger, it’s better — as glossy on the outside as too many Australian ﬁlms try to be[...]as many more Australian ﬁlms ought to be . . The Sydney Morning Herald ‘'1 have been receiving the Cinema Papers Motion Picture Yearbook for the past two years, and always ﬁnd it to be full of[...]ful information and facts. It is easy to read and the format is set out in such a way that information is easy to ﬁnd. I consider the Yearbook to be an asset to the ofﬁce. " Bill Gooley Colorﬁlm “ another good eﬂort from the Cinema Papers team, and essential as a desk-top reference for anybody interested in our feature ﬁlm industry. " The Adelaide Advertiser
	the history and development of Australian filmmaking. From the pioneering efforts of Baldwin Spencer to Damien P[...]tary ﬁlmmakers have been acclaimed world-wide. The documentary film is also the mainstay of the Australian ﬁlm industry. More time, more money[...]form — features, shorts or animation. In this, the first comprehensive publication on Australian doc[...]authors and ﬁlmmakers have combined to examine the evolution of documentary filmmaking in Australia, and the state of the art today. m¢....__=;a,,=:.. ......,..,_... The History of the Documentary: A World View International landmarks, key figures, major movements. The Development of the Documentary in Australia A general history of the evolution of the documentary film in Australia, highlighting key f[...]events. Documentary Producers An examination of the various types of documentaries made in Australia,[...]A study of government and independent production. The aims behind the production of documentaries, and the various ﬁlm forms adopted to achieve the desired ends. This part surveys the sources of ﬁnance for documentary film here and abroad. g—~—-——_j_——=—-—~-;—=u-.3 -11-=.__ The Marketplace The market for Australian documentary films, here and abroad. Th[...]a Documentary A series of case studies examining the making of documentaries. Examples include large budget documentary series for television; oneoff documentaries for television and theatrical release; and educationa[...]umentaries. Each case study examines, in detail, the steps in the production of the documentary, and features interviews with the key production, creative and technical personnel involved. The Australian Documentary: Themes and Concerns An examination of the themes, preoccupations and film forms used by Aus[...]tors. Repositories and Preservation A survey of the practices surrounding the storage and preservation of documentary films in Australia. Comparisons of procedures here and abroad. The Future A look at the future for documentary films. The impact of new technology as it affects production, distribution and marketing. A forward look at the marketplace and the changing role of the documentary. Producers and Directors Checklist[...]ralia. Useful Information Reference information for those dealing with, or interested in, the documentary film. This section will includ[...]
	The first comprehensive book on the Australian film revival AUSTRALIAN TV The first 25 years records, year by year, all the important television events. Over 600 photographs[...]rve memories of programmes long since wiped from the tapes. The book covers every facet of television programming[...]Ivan Hutchinson. AUSTRALIAN TV takes you back to the time when television for most Australians was a curiosity — a shadowy, often soundless, picture in the window on’ the local electricity store. The quality of the early programmes was at best unpredictable, but still people would gather to watch the Melbourne Olympics, Chuck Faulkner reading the news, or even the test pattern.’ At first imported series were the order of the day. Only Graham Kennedy and Bob Dyer could challenge the ratings of the westerns and situation comedies from America and Britain. Then came The Mavis Bramston Show. With the popularity of that rude and irreverent show, Australian television came into its own. Programmes like Number 96, The Box, . Contributors 1 N-1' .- ~ , l um. I’ M4-mu pa/,‘.,, p”m."_‘W“m Against the Wind, Sale of the Century have achieved ratings that are by world s[...]vely, fast—growing industry. In November 1980 the Film and Television Production Association ofAustralia and the New South Wales Film Corporation brought together[...]arketing, and distribution ofAustralian films irz the 1980s with producers involved in the film and television industry. The symposium was a resounding success. Tape recordings made of the proceedings have been transcribed and edited by Cinema Papers, and published as the Film Expo Seminar Report. Contents Theatrical Production The Package: Two Perspectives Theatrical Production Business and Legal Aspects Distribution in the United States Producer/Distributor Relationship Distribution Outside the United States Television Production and Distribut[...]uchs Senior Vice-President, Programming, Home Box Office (U. S.) Samuel W. Gelfman Independent Producer ([...].95 3E!\|P~!E.?_‘m‘1 In this major work on the Australian film industry ’s dramatic rebirth,]2[...]in full color, this book is an invaluable record for all those interested in the New Australian Cinema. The chapters: The Past (Andrew Pike), Social Realism (Keith Connoll[...]ent and Chief Operating Officer, Australian Films Office Inc. (U. S.) Barry Spikings Chairman and Chief E[...]n, Berkowitz and Selvin Harry Uﬂand President, The Uﬂarzd Agency (US)
	[...]destiny. Guy becomes increasingly involved with the politics of the country and with Jill Bryant (Sigourney Weaver),[...]interests diverge, Guy must choose between them. The Year of Living Dangerously is directed by Peter Weir, from a screenplay by David Williamson (based on the novel by Christopher Koch and on additional material by Alan Sharp), for producer James McElroy. Shot on locations in The Philippines andAustralia, the film is Weir’s fifth feature and his second col[...]Kumar (Bembol Roco); Hamilton and soldier during the political unrest in Jakarta in 1965; the army takes control; the press corps at the bar — K wan, Hamilton, Wally (Noel Ferri[...]
	Peter Malone IASS Ill , lass of 1984 is the kind of film that immediately draws protests from[...]rest and in visualizing violence. It is true that the film’s Lincoln High is a dingily—depressed sc[...]ex and his Clockwork Droogs, and that some of the final killings, especially the circular-saw slashings, are alarmingly gruesome. But a case can be made for Class of 1984. he film presents Perry King as Mr Norris, the earnest American teacher with his potentially dev[...]ons are not far away. As Class of 1984 proceeds, the gang is shown to be more and more psychotic; while they pose, vandalize and brutalize, the audience is forced to identify more and more with the teacher and his growing frustration and rage. When the gang rapes and abducts his wife, one feels so muc[...]d disgust that there is little problem in joining the teacher emotionally in massacring the gang. Our heads may not approve, our emotions may be disgusted but the film makes the gut consent to what we see. By the time the gang is dead and the bloodied teacher rescues his wife, I, for one, felt physi- cally better for having experienced the horren- dous denouement. I had no intention of ma[...]d “sentimental” are all apt words to describe the film. Yet, the invitation to identify with frustration, anger an[...]g. Further- 542 — December CINEMA PAPERS The punk gang attacks a black student. Mark L. Lester’s Class of 1984. more, the purging of this rage by visual violence is very s[...]ave seen them as tough actioners that will please the drive—in audiences like any other exploiter. The films then disappeared, although Truckstop Women[...]a great deal of B—feature territory, investing the contemporary girl gang exploiter with stro[...]
	[...]or Mark L. Lester . . . has an astute eye and ear for a cliche, and knows better than Hawks ever did ho[...]helps as an approach to Class of 1984. If having the instinct and capability to arrest audience attent[...]keeps his audience stirred. ester is linked with the B—budget genre films, which, in recent years, have come in for reappraisal. Without denying their use of stereo[...]can acknowledge their power, and that they take for granted an appreciation of genres and their conventions. The filmmakers know that if they suggest a convention vividly enough, the audience will recognize it, supply their own back[...]used too tritely. But audiences quickly recognize theThe audience accepts the conventions and becomes involved with the film. Some audiences, however, who like to keep their distance, often identify the convention that gives them a feeling of instant superiority to the film. But even in the act of looking down on a convention, a critical audience acknowledges that the stereotypes do their work, something which the astute director (or exploitive director, depending whether you are for or against him) can presume. Lester chooses impa[...]highlights this. Steel Arena and Stunts relied on the visual impact of speed, risks, danger and deaths to The gang prepares to rape the wife of the school teacher. Class of 1984. communicate how stuntmen ticked, especially in action. Stunts had the pluses of a murder mystery and love story to gain a larger audience. Truckstop Women and Bobbie Jo and the Outlaw (which villain Peter Stegman [Timothy van[...]en) with their own codes of behaviour apart from the law in an exploitive, ugly world. Lester is also[...]ing Class of 1984, one is compelled (even without the hints of the advertisers) to remember Black- board Jungle as well as To Sir with Love, Up the Down Staircase and other school films. The kids assemble for classes in a style reminiscent of Grease (with an ironic twist as the drug-high boy plummets to death with the Stars and Stripes -from the school flagpole). There is an underpass gang confrontation echoing West Side Story. The psychotic gang is a bizarre variation on The Warriors, The Wanderers and the teenagers in Over the Edge. Some compositions and lighting suggest Pet[...]ar- saws suggest Chainsaws and other massacres in the multiple murder genre. The lone crusade of the teacher with his private vigilanteism echoes Death Wish. The audience that Lester’s films draw have some familiarity with these films and the allu- sions make ironic comment on Lincoln High a[...]. ut exactly what audience is Lester aiming at? The information offered at the opening of the film is tongue-in- cheek grim. One is told of 200,000 inci- dents of violence in high schools and that the story is based on fact. But, Lester reassures the audience, schools are not like Lincoln High — yet! There is the ominous choice of 1984 as the year of the title. The U.S., with its often spectacular domestic violence, may see the film as part warning, part mirror and as yet anot[...]enjoys closed circuit television surveillance of the school corridors and the ability to send security guards to trouble-spots by intercom, sides with students rather than his staff. The law requires incontrovertible evidence by sight or action before charges can be laid against the gang members. From this point of view, society, as well as its assailants, is sick. The only sane way of self—protection or justice is in violence. This is the language of the right and of moral majorities. But because a larg[...]holds a view, it is a fallacy to assume that all The terror continues: Mrs and Mr Norris (Perry King).[...]voice sentiments that sound similar are endorsing the same political stances. It might be argued that Norris is pursuing decency within the law and a sense of justice rather than wanting to[...]- enforcement agency. This is further endorsed by the ironic comment at the end of the film that the hero is not charged for his killing of the gang because the same incontrovertible evidence Class of 1984 cannot be found to bring against him. The line is that no one saw anyone actually do anything and so charges cannot be proven. The film, though seemingly action-exploitive material of the drive—in type, does not appear to be catering for the teenage audience but for the adult and middle-aged audience. Teenagers might be tempted for a while to identify with Stegman and his anti-est[...]told television reporters that they did not care for the film because it was unrealistic in its presentati[...]re not likely to identify with Stegman’s group. The average teenager, like the victim teenagers in the film, is probably not interested in seeing this kind of film anyway. r1 catering for the adult audience, the film chooses acceptable targets. It parodies the widow, who is blind to the behaviour of the rotten son she has spoilt, and the inert prin- cipal. It is critical of, but kinder to, the police, whose hands are tied because of the law and its protection of hoodlums. On the other hand, the adults who are to be identified with are the idealistic, committed, talented teacher and his pregnant wife, and Corrigan (Roddy McDowall), the frustrated, comic biology teacher who goes off the deep end, because he can’t teach any more. The film appeals to the middle—of-the—road professional who identifies with work, is[...]e and who is frustrated by bureaucrats and boors. The film, then, could even be accused of sentimentalism in its presumptions about who are the good guys and how black are their foes. In fact, just as Death Wish appeals to the preservation of lifestyle and values as we know and want them, so this film is definitely on the side of the establishment in terms of education, personal growth, culture and tradition. The American High School (Lincoln, of course) is defaced, degraded by the bureaucrats and the boors. “Moon River” and the “18l2 Over- ture” are the music for the class to work on, in the hope of recognition by the city’s symphony authorities. The group that causes havoc in the school is made up of only five individuals (thoug[...]hit—and-stab Norris fights back —— and the audience sides with him. Class of 1984. man and a would—be call girl). The principal comments explicitly that it is the disruptive minority that gets so much attention. But by focusing on the pleasant hero battling for what he thinks is best, Lester is able to communicate anger to his adult audience and make them share the rage. The gang is insolent, Concluded on p. 587 CI[...]
	[...]automation'and Dolby Sierea -- a n°evir era f6; the
	''...one of the most richly informed and reliable of film period[...]nd $ Volumes Eziblnders Back Issues 6 1 2 18 (to the price of each Zone Issues issues iuuec (each) (each) copy, add the following) 1. New Zolland $25.20 $46.40 $87.70 $3[...]ated pages of EII".IE£)Ii‘~.II37 Ezibinders for Cinema Papers are available in black with gold em[...]nbound copies. Individual numbers can be added to the binder independently, or detached if desired. Thi[...]book reviews Production surveys and reports from the sets of local and international production Box-office reports and guides to film producers and i[...]
	[...]G. Hall. Tariii Board Report. Antony l. Ginnane. The Care That Ate Paris. Number 12 April 1977 Kenneth Loach. Torn Hay- don. Bert Deling. Piero Tosi. John Scott. John Dankworih. The Getting oi Wisdom. Journey Among Women. Number 19 January-February 1979 Antony l. Ginnane Jere[...]w Sarris. Asian Cinema. Sponsored Documentaries. Number 26 April-May 1980 The Films oi Peter Weir. Charles Joiie. Harlequin. Nationalism in Australian Cinema. The Little Con- vlct. index: volume 6 g i :4 Number 37 March-April 1982 Stephen MacLean on Staratruc[...]v, Women in Drama, Reds. Heatwave. BACK ISSUES Number 2 April 1974 Violence in the Cinema. Alvin Purple. Frank Moor- house. Sandy Harbutt Film Under Allende. Nicholas Roeg. Between Were. Number 13 July 1977 Louise Malle. Paul Cox. John Power.[...]Holden. In Search oi Anne. Index: Volume 3 cm Number 20 March-April 1979 Ken Cameron. French Cinema. Jim Sharman My Brilliant Career. Film Study Resources. The Night the Prowler. Number 27 June-July 1980 The New Zealand Film industry The Z Men. Peter Yeldham. Maybe Thin Time. Donald Ric[...]del, Grendel Geoii Burrowes and George Miller on The Man From Snowy River, James ivory, Phil Noyce, Joan Fontaine. Number 3 July 1974 John Papadopolous. Willis O'Brien. The Mc- Donagh Sisters. Richard Brennan. Luis Bunuel. The True Story oi Eskimo Number 14 October 1977 Phil Noyce. Eric Rohmer. John Huston. Blue Fire Lady. Summeriield. Chinese Cinema. Number 21 May-June 1979 Mad Max. Vietnam on Film. Grendel, Grendel, Grendel. David Hem- mings. The Odd Angry Shot. Box-Oiiice Grosses. Snapahot. Number 28 August-September 1980 The Films oi Bruce Beres— ford. Stir. Melbourne and[...]tivals. Breaker Morani. Stacy Keach. Fioedgemea. Number 39 August 1 982 Helen Morse on Far East, Norwegi[...]e and Sydney Film Festival reports, Monkey Grip. Number 5 March-April 1975 Jennings Lang. Byron Haskin.[...]Too Far Away. Charles Chauvel. index: Volume 1 Number 15 January 1978 Tom Cowan, Francois Trufiaut. Delphine Seyrig. The lrlahman. The chant oi Jimmie Blacksmith. Sri Lankan Cinema. The Lani Number 22 July-August 1979 Bruce Petty. Albie Thorns. Newairont. Film Study Resources. Koetea. Money Movers. The Aus- tralian Film and Tele- vision School. index: Volume 5 Number 29 October-November 1980 Bob Ellis. Actors Equity Debate. Uri Windt. Cruising. The Last Outlaw. Philippine Cin~ ema. The Club. Number 40 October 1982 Henri Sairan, Moving out, Michae[...]Empty. i-7. ;,-.'-ﬁx’-9. .«r.,v.-r :: I Number 9 June-July 1976 Miles Forman. Miklos Jancso. Lu[...]n. Joan Long. index: Volume 2 ‘I ., 1 i _v, Number 16 April-June 1978 Patrick. Swedish Cinema. John[...]lberg. Dawn! Mouth to Mouth. Film Period- icals. Number 23 September-October 1979 Australian Television. Lest oi the Knucklemen. Women Filmmakers. Japanese Cinema. My Brilliant Career. Tim. Thirst. Tim Burstall. 1 - . Au _ Number 32 May-June 1981 Judy Davis. David William- son[...]a. A Town Like Alice. Flash Gordon Channel 0/28. Number 10 September-October 1976 Nagisa Oshima. Philiip[...]n Heyer. Krzysztoi Zanussi. Marco Ferreri. Marco Number 17 August-September 1978 Bill Bain. Isabelle Hup- pert. Polish Cinema. The Night the Prowler. Pierre Rissient. Newelront. Film Study Resources. index: Volume 4 Number 24 December 1979 - January 1980 Brian Trenchard[...]y Toeplitz. Community Television. Arthur Hiiler. Number 33 July-August 1981 John Duigan on Winter of Our Dreams. Government and the Film industry. Tax and Film. Chris Noonan. Robert[...]each (save $2.20 per copy) Overseas rates p. 5 Number 11 January 1977 Emile de Antonio. Aus- tralian Film Censorship. Sam Arkoii. Roman Polanski. The Picture Show Man. Don’: Party. storm Boy. Number 18 October-November 1978 John Lamond. Dimboola. Indian Cinema. Sonia Borg. Alain Tanner. Cethy'e Child. The Lall Tasmanian. Number 25 February-March 1930 Chain Reaction. David Put[...]erett de Roche. Touch and Go. Film and Politics. Number 36 January-February 1982 Kevin Dobson, Blow Out.[...]el Rubbo, Mad Max 2, Puberty Biuea. Note: issues number 4, 6, 7, 8, 30, 31, 34 and 35 are out of print.
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	[...]59%;” i ‘f ' 4'4 Please send me D copies of the 1983 Yearbook at $25 a copy (Foreign: $35 surface; $45 airmail). £45381/82 Please send me E] copies of the 1981/82 Yearbook at $19.95 a copy (Foreign: $30 surface: airmail). Please send me E] copies of the 1980 Yearbook at $19.95 a copy (Foreign: $30 surf[...],/-—,,._ * Please send me E] copies of The New Australian Cinema at $14.95 a copy (Foreign: $20 surface; $26 airmail). Aasiiralian E" V} The First 25 Years Please send me D copies of Australian TV: Thethe Film Expo Seminar Report at $25 a copy (Foreign:[...]gures are in Australian dollars. Allow four weeks for processing. IE BankcardNo. Expires / / Sign[...]to. 6:14 Vigtoria Sftreej North Melbourne, 3051. Telephone: (03) 329 5983 Telex: AA 30625 and quote "[...]
	Fred Harden SOUND IWIXIN G Julian Ellingworth discusses the new Atlab mixing theatre. The Australian film and commercial industries have be[...]ians and audio-engineers which have com- pensated for the lack of the latest equipment. But with the opening of another stereo sound film mixing facil[...]resent its material at a standard equal to any in the world. The continuing improvement in the quality of theatre sound equipment, with the installation of stereo sound and Dolby noise redu[...]d by local and overseas markets that must be met. The improved sound systems are also increasing the range of subtleties that a producer and director can call upon, and this in turn places demands on the operators. Julian Ellingworth is the chief mixer at Atlab and it was at the opening of its new mixing theatre that Ian Wilson[...]. Ellingworth begins by discussing his entry into the film industry. I left school in 1961 and did six months Eventually I joined the staff and went on chartered accountancy, before getting a job at Artransa Film Studios in the accounts department under Keith Williams. But it[...]long before I found myself spending more time in the sound department and in the animation department where the tracers were. I became fairly interested in prod[...]ee I was wasting everybody‘s time in accounts. The first job I had was as a director’s assistant to Alec Ezard on The Adven- turers. It was about three young children, one of whom was played by the 12-year- old Sonia Hoffman. After that I went into the editing room with Paul Bushby and learnt how to s[...]at. Then camera time of retrench- ments and I was the first to go, being fairly expendable. I then worked for Les Kelroy, who had a Nagra, for a while. People would ring him up and say they ne[...]Nagra and record sound.” So I went to record on the Cinesound sound stage, with Lloyd Shields on camera, for an episode of Memoirs. I forget which episode it was but it was being made for Channel 10. The sound must have been all right because they asked[...]k on it again. I became a freelance recordist on the strength of that. In the famous words of Peter Fenton [mixer at United Sou[...]a roadmap and I was off and running. I freelanced for a while and eventually got a three-month contract[...]lia as a location recordist, a contract which ran for about three years. location to New Guinea and al[...]tanding around or sitting on camera cases waiting for the lights to be set up or for people to make up their minds about which way the eye line should be! I became so bored I decided I would try studio work and do the Julian Ellingworth, during a sound mix. x ‘. . . two plus our computer”: at work in the new Atlab mixing theatre. mixing; at least I[...]while others sat around. I was at Film Australia for a total of 10 years; I left shortly after my long service leave, so I guess I was mixing for about eight years. During my leave I worked for United Sound. Although I intended going overseas[...]etting busy with Barry McKenzie Holds His Own and the second Alvin Purple. It was a great experience w[...]United, they were recording Hollywood- style on the three-track. It was new, exciting and a lot easie[...]working on Luke’s Kingdom. I was doing effects for three months and I got the shits again. So I went back to Film Australia and worked there for another year while they were setting up the new mixing theatre. Armed with my knowledge of United Sound, I designed the mixing console. The console was made by Neve, which cost a fortune, a[...]be laid out. Because I had worked at United Sound for 12 months, I figured I was an expert! It was des[...]r seven years ago and now is actually out-of-date for stereo films, though it has been doing them quite[...]e done Mad Max 2, Freedom, Starstruck, Dead Easy, The Pirate Movie and a few others. After leaving Film Australia, I freelanced for a while as a mixer. At the same time, I became interested in stereo mixing and applied for a Commonwealth Film Com- mission Grant for assisted passage overseas. Much to my surprise, b[...]“Sure!” It wasn't a lot of money, just enough for an around-the-world ticket and about $50 a day. I was away for six weeks and watched some stereo mixing in Holly[...]unt of information and a lot of tricks about how the rest of the world operates. Did they welcome you? Yes. I was not allowed into a couple of films because the directors were a bit ‘anti’, but, through Ron[...]was able to see quite a few films. I saw them do The Muppet Movie which I felt should have been done in about one quarter of the time. I watched Bill Barney, who won the Academy for Raiders of the Lost Ark, CINEMA PAPERS December —— 545
	[...]Rich Kids. Dick was nominated and won an Academy for Ordinary People. So I saw a lot of top people. I[...]y had to put up with, with what we do. What were the differences? Some of the studios, which will remain nameless, tended to have two and three guys sitting behind the panel and, if some- thing went wrong, they just tended to “goddamn” around for a few minutes. They would then wait until a tribe[...]d then go away and do things, and two hours later the mix would start again. It seemed to me that they[...]? Yes. Certainly there were a lot of guys behind the panel. I watched them on one film spending four h[...]a vocal track. They played it to make sure it was the right vocal, then played it again; then they called the music editor in who listened to it and said he th[...]omebody else. So they went and got another mix in the music studio and hauled it over and sunk it up. The number of people who became involved seemed to me to be a bit beyond the pale. It would have been better to have canned the reel and gone on with some- thing else instead of farting around for four hours. How do you stop that happening in Au[...]omething else because we just simply don’t have the time not to. They were looking at a six-week mix on a film which didn’t need that long. I had done thethe point where I could really throw down the gauntlet and say, “Yes, I can do it. I’m the man to bring it to this country.” But I did com[...]d spoke to Ron Bray at Atlab. Eventually I joined the organization in September 1979. From that point o[...]sound studio at Atlab. In all fairness, I guess the dream was to build it bigger and better and quick[...]e did it and how. We had a few problems building the ideal studio because of space limitations. There was talk about moving the complex elsewhere, but it was decided to keep it “in-house"; even though we are out at Epping, at least the whole thing is under one roof. The project started to take shape in about October 19[...]ost two years after I joined. We had to run with the old gear in the new room for six months, which at least gave people room to work in. There was the normal frustration of people saying it would be t[...]we made a decision to buy a Quad-Eight Console. The only choice was between a custom- built Neve and[...]then a whole box of controls has to be bolted on the side, which is not the way to 90. To my knowledge, Neve does a very fine line in custom design consoles, but neither the rate of exchange nor the delivery schedule was favorable. We could get a b[...]ght in Hollywood, where most film studios, or all the ones I saw, had custom-built Quad- Eights. We came up with a proposal for Quad- Eight whereby we bought an off-the-shelf design and modified sections of it to perform in the way we wanted. It still fitted into the Quad-Eight console, and still looks exactly like[...]els and two back speaker channels. I went over to the U.S. in February 1982 just giving us faders and[...]redesignate things and get them to rewire some of the modules. Surely, that is the reason for having a custom-built desk . . . Well, the Americans wouldn't entertain that sort of console unless it was for a smaller studio. There they all start from the ground and build a huge console. Todd-A0 has 93 i[...]24 outputs. Do you have three or four people on the panel? Three or four usually, but we are looking[...]mputer. I could very easily demonstrate how it is the third. Stuffs up the union! The Quad-Eight mixing console in the the Allab sound theatre. for a week and we reworked it so that it had left centre and right centre surround channels up the front. They wanted, once again, to tack on a box and say, “For a film modification, what you need is this.” I said, “But, all this part of the board is going to waste. If you want to change a[...]ually agreed and we got every- thing we wanted in the confines of the board. The only thing we have as an add-on are pan pots, which slide along the front or can be unplugged and given to somebody else sitting out the front. There is just no room on the board. What I was worried about was that they would cheapen the console by virtually There are reasons, in my op[...]20 years in some cases, and would not enter- tain the idea of PFtOMs, boots and format- ting, and flopp[...]ficulty and I am only 37. Do you have to program the computer yourself or is it existing software? The software is supplied on floppy disc and the computer itself has certain RAM instructions. You put two identical discs in and the program is formatted. One way of using it is to[...]handle, say 24, and mix a group of them, say 12. The computer will keep playing them back until you get the balance right. Then add these to the other 12, and the computer will be the mixer. It will do what it is told without answeri[...]through one fader it can already be equalized. On the stereo mixes I have done, there has not been a huge amount of equalization. I don't usually equalize the dialogue tracks, just the effects tracks, the effects mix and then the final mix. When you have a couple of four-tracks already pre-mixed for stereo, and dialogue and music, you can put them on group faders, run the computer and ride the whole thing. If someone wants to change something[...]rlier”, you can update that bit of information. The whole thing is then on the disc and you can then go straight into record. I[...]you would like, rather than saying, “Let’s go for a take.” This way I can guarantee that the final mix will last exactly the time the footage runs, because we will rehearse for an hour to get it right. In Melbourne, where there is no decent dubbing set-up, the sound is trans- ferred at one place and mixed at another. What do you think about the
	[...]ed enor- mous friction. I know of situations when the dialogue recordist has been at the mix and has been convinced that there was a bette[...]thing, or that it should have been equalized, and the mixer has said, "Thank you but l’m mixing this[...]re should be is a pre- production conference with the location recordist, mixer and dubbing editor dis- cussing how to handle the stereo mix. You discuss what will be an advantage[...]tc. We also talk then about whether to use Dolby for the transfers in the initial stages, which the Dolby people say you should do. We have decided that is a waste of time because it means that the dubbing editor has to work with Dolby encoded rus[...]screen them any- where else, sound shithouse — the inter- cines don't sound right, etc. There also[...]lk about whether you are going to re-transfer all the sound later or encode it in Dolby first or what- ever. But I don't think the sound recordist needs to be at the mix. However, we do need to involve the music people more because we still get the situation where the music guy says, ‘‘I thought that was a music sequence" and the dubbing mixer says, “What are you talking about[...]fects.” But we are getting better. In terms of the optical transfer of the Dolby track, there are fewer complications than with the mono optical track. For years, mono tracks have been a matter of listen to the mix but, if it needs a bit of mid- lift or a bit of compression, don’t tell the mixer because he is going to go off the deep end and say transfer the film flat. He is going to get flak from the producer who will say it doesn’t sound any good[...]een a certain little protec- tion racket going on for years, here and overseas. If you talk to people a[...]We are making it sound good and to hell with what the mixer says. That is what you have to do with mon[...]r suite and it sounds too wide-range, too dull or the music is too loud, you have to compress it for the optical. You can't tell them that the film is no good, because in the studio it sounded fantastic. With stereo it is s[...], a much tighter- controlled Dolby system and, by the time you do your two track transfer to magnetic,[...]certain boundaries. When you lace it up to go to the optical camera you line up the Dolby tone, 50 per cent on the camera, press button A then button B, the transfer goes straight across and you can't tamper with it. That is the first time that has ever happened! Do you see any improvement in sight for 16mm optical tracks? They could also use stereo for cable television release, which would solve some[...]. There are limita- tions, of course, because of the speed of 16mm. It is more difficult to resolve the tighter waveform on 16mm. There is no way to solve the non-standard print problems: 16mm was invented as[...]o one intended professionals to get in on it. Now the same thing is happening with 8mm: they want 8mm optical tracks for in-flight movies! Are there any technical reason[...]eed to be done overseas? No. Certainly they have the expertise from having done a million films, but t[...]can make films that are as good. i Magic Sound for “A bra Cadabra ” The soundtrack for Abra Cadabra, the world's first 3-D animated feature film with Dolb[...]roducer-director Alex Stitt. “We are recording the entire movie on 24 track recorders in our studio using Dolby noise reduction and stereo to complement the 3-D pictures”, says the film’s sound engineer, AAV’s Brian Laurence.[...]a surround-sound feeling.” Abra Cadabra stars the voices of John Farnham, Jacki Weaver, Hayes Gordo[...]th songs by Melbourne com- poser, Peter Best. “The sound for many new films today requires planning and experimentation to keep up with the complex special effects techniques used", says La[...]d in Australian films such as Mad Max, Mad Max 2, The Blue Lagoon, The Pirate Movie, The Man From Snowy River, The Clinic, We of the Never Never, Kitty and the Bagman and Goodbye Paradise. Rank ’s Longer Length Printing As the media worlds focus their atten- tion on the new video techniques of tape, cassettes and disc, there is a vague assumption in the air that film has been left in the role of the horse after the inven- tion of the internal combustion engine. This assumption, while understandable, cou\|dn’t be further from the truth. Film, by most qualitative criteria, has no commercial equal as the originating means of recording visual images. It[...]era in most situa- tions; editing is cheaper; and the result is invariably better (it is not without reason that the largest buyers of color negative film in Britain[...]nies). But it is not only a matter of film being the ideal image-recording medium. Print standards must also be maintained if the quality is to be appreciated by the film- goer, and this traditionally has been a problem. The principal raw materials of the film laboratory are film stock, light, chemistry, engineering and human skills. While the objective has been to maintain maximum stability[...]revolutionary method of improving print quality. The most common technique in large laboratories is the “looping system" which is simply to take two r[...]and print and process, say, 100 or 200 prints of the same reel(s) before moving on to other reels. This practice exaggerates the pro- cessing variables by increasing the time between printing and processing succes- sive parts of the same copy. Rank Film Laboratories, through its F[...]accumulations of particular matter, especially at the beginning and end of reels. Achieving this required an expenditure of $1,600,000, the invention of new equip- ment and the creation of a total system whereby a complete fil[...]d processed in one pass, a condition which allows the grading at a reel change-over to be as accurate and fixed for all release prints as the grading within each reel. New equipment was needed to handle the cleaning and rewinding of negative or positive film rolls of feature length. The specially designed equipment cleans negative or p[...]of any length; negatives are spliced together on the cleaner-rewind and then wound on to a large 46 cm[...]s no side supports or flanges. To cope with both the size and weight of these 4000 m lengths, purpose-[...]up to four of these rolls simultaneously between the different loca- tions for_ cleaning, analyzing, printing and processing. New Products and Processes The process is as follows: the negative is examined, cleaned at a speed of more[...]printing. Raw stock lengths are created to suit the corresponding negative rolls and splices are predetermined to fall exactly on the frame line (becoming invisible on projection). Because this stage is separate from the printing machine cycle, it means that rolls can be made up in advance, removing a complete operation from the printing cycle. Checks and controls during printing are all computerized; the microcomputer that is used contains its own diagn[...]y any elec- tronic or mechanical problems. After the printed roll is completed, it is transported to the processing machine and, using a modular film winder, is fed into the developing machine as a whole copy. As the developed print comes off the developing machine it is viewed, checked, broken down into double reels and shipped in the normal manner. The feature-length negative rolls are safely stored on their centre cores in the vertical position for maximum security. As well as benefiting the filmgoer, Flank claims real benefits from the effective use of laboratory resources. Unlike looping methods which delay completion until the last reel has been processed, the Rank system is capable of integrating large and small print runs without difficulty, thereby allowing the earliest possible delivery of part orders. Rank[...]s presented this longer length printing system to the SMPTE Conference in 1981. It represents a major contribution to ensuring constant print quality for every filmgoer. Although, in itself, this system will not change the future of cinema exhibition, it is con- sidered a positive step fonrvard. Ar micron Why are the world’s ‘ technicians using micron radio microphones? “TEST DRIVE” one and find out! For further information contact the sole Australian distributor PICS Austryzla[...]
	[...]e-Recreatiom Leisure-Entertainment . . . to all the performing ~ — ‘ ' A RIUMPHAN 0 Great variet[...]roducing our CALABASH and TORRENS PARK BACKLOTS THE HERB NELSON-CALABASH STUNT TEAM with SPECIAL ’[...]including first imported HIGH FALL AIR Enrol in THE HERB NELSON-CALABASH STUNT and CIRCUS . ACADE[...]Ns . . . comes a story you ll never forget. JOIN THE CALABASH CLUB V ' ' 7, A private recreational facility for the Entertainment and related industries BUSHLAND SE[...]erings . . . ENTERTAINMENT Write to: David Hall, The Calabash Connection, 245 Darling St, Balmain, NSW[...]nd Transfers “°adSh°WFe'ease» Movies from the Movie People r er det ils contact For fu th a MELBOURNE: 500 Collins Street. Melbourne. Victoria 3000— Box !498N. GPO. I Melbourne 3001 —TelephoneTelephone (07) 221 0033: Telegrams: Roadshow: Telex AA41430[...]49 Murray Street. Perth. Western Australia 6000- Telephone (092)21 8545; Telegrams: Roadshow: Telex A[...]
	[...]July 1982 Films Registered Without Eliminations For General Exhibition (G) Annie: R. Stark, U.S., 34[...]ia, 2413.84 rn, Filmways A’sian Dist. PIL E.T. The Extra Terrestrial: Universal, U.S., 3154.45 rn, U[...]S., 2523.56 m, GUO Film Dist P/L Not Recommended for Children (NRC) Aap ke deewane: V. Kumar, India, 4212.00 rn, SKD Film Distributors, V(i-l-g) The Animals Film (16mm): V. Schonfeld, Britain/U.S.,[...]of Australia, S(i-I-)), V(i-l-j), Ofadult theme) The Casino: First Films, Hong Kong, 2880.15 rn, Comfo[...]48 in, Warner Bros (Aust.) PIL, V(l-m-g) __ y _ _ For Y'ur Height only: Lilin Prods, Philippines, 2468.[...]Studios, USSR, 3873.00 m, USSR Embassy, V(i-I-/) The Pirate Movie: Joseph Hamilton lnt’l Prods, Aus-[...]53 m, Valhalla Films, L(i-m-g), O(adult concepts) The Stranger And The Fog: Not shown, Iran, 3840.20 m, Cine Action, V(i[...]Reconstructed version registered "Suitable Only For Adults” with eliminations in 1947. Orana Films, rgeIB. Karp, U.S., 1020.00 in, For Mature Audiences (M) Bloody Mission: Lui Wai Man, Hong Kong, 2441.27 m, Golden Reel FIlms,, V(l-m-j) The Clinic: Cenes Pty Ltd, Australia, 2550.99 rn, The Film House PIL, L(i—m-)'), O(adult concepts) Conan The Barbarian (a) (reconstructed version): Dino de La[...]8.75 rn, Fox Columbia Film Dist. PIL, V(l-m-g) _ The Dark Room: Filmco Ltd, Australia, 2578.42 rn, Fil[...]d Film PlL, V(i-nu), L(f-I-/), O(sexual innuendo) The Decline at Western civilisation: Manson Int'l, U.[...]ka Voss: Laura/Tangol Films examined in terms of the Customs (Cinematograph Figns) Regulations and Sta[...]n are listed elow. An explanatory key to reasons for classifying non-"G" films appears hereunder: Fre[...]9.26 m, Publishing 8. Broadcasting Ltd, V(l-m-g) The Lily Under The Gun: Kuo Hwa Prod. Co., Hong Kong, 2488.00 rn, Co[...], Blake Films P/L, S(i-/-g), V(l-m-g) P4W Prison For Women (16mm): Spectrum Films, Canada, 877.60 in, Australian Film Institute, L(l-m-)'), O(adult concepts) The Plains Of Heaven (16mm): Seon Films, Australia, 8[...]in, Australian Film Institute, O(adult concepts) The Thing: Turman-Foster Co., U.S., 2984.02 rn, Unite[...]el Films, O(adult concepts) Filmways 1% Who is The Killer: T. Chu, Taiwan, 2304.12 in, Golden Reel F[...]pts) (a) Reduced by importer’s cuts to qualify for lower classification; previously "R" (June 1982 List). For Restricted Exhibition (R) Anybody’s Woman (Sup[...]lian Film Institute, L(i-h-j), O(adu/t concepts) The Bloody Fists (videotape) (reduced version) (a): O[...]2704.00 rn, Comfort Films Enterprises, V(l-m-g) The Head Hunter: New Century Film Corp., Hong Kong, 2622.80 m, Grand Film Corp. P/L, V(f-mg) in The Realm Of The Senses (reconstructed English language version) ([...].S., 97 mins, Video Classics, O(sexual violence) The Knockouts (videotape): D. Stark, U.S., 53 mins, i[...], W. Shaw, U.S., 74 mins, K 8. 0 Video, S(l-m-g) The Mad Cold-Blooded Murder: Tat Shing Film Co., Hong[...]ves, Brazil, 3490.00 rn, Consolidated Exhibitors The Savage Hunt (videotape): Poleroy Ltd, Britain, 88[...]to, Italy, 94 mins, Videomania, V(l-m-g) Taxicab For Ladies (pre—censor cut version): Cinevideo 80,[...]PIL, S(f-m-g) .« '.t,, , John Milius’ Conan the Barbarian.‘ cut by its distributor, Fox-Columbi[...]coded V(f-m-g) after 60 seconds were removed. So, the sex has been deleted and presumably Milius’ concept ruined. Surprisingly, no appeal to the Films Board of Review was lodged; that way, it may have been re-classified without the film being butchered. Trip To Kill (videotape[...]n on February 1980 List. Special con ltion: That the film will be exhibited only at the Second Commonwealth I-‘ilm Festival in Brisbane[...]lm Festival. Films Registered With Eliminations For Mature Audiences (M) O agios prevexls: Karagiann[...](i-I-j) Deletions: 10.4 metres (23 secs) Reason for deletions: S(i-m—g) For Restricted Exhibition (R) Dracula Erotica: H. Sc[...](10 secs) Reason lor deletions: S(i-h—g) one For The Money (reconstructed version) (iemm) (a): Tudor &[...]S(f-m-g) Deletions: 7.5 metres (41 secs) Reason for deletions: S(i-h—g) Peggy (precensor cut versi[...]S(l-m-g) Deletions: 5.5 metres (30 secs) Reason for deletions: S(l-h-g) Private Lessons (producer's[...]concepts) Deletions: 0.5 metres (2 secs) Reason for deletions: O(sexua/ exploitation of a minor) The Pussycat Ranch (reconstructed version) (cl): J. C[...]-g) Deletions: 38 metres (1 min. 23 secs) Reason for deletions: S(i—hg) Sensual Fire (reconstructed[...], S(f-m-g) Deletions: 6 metres (13 secs) Reason for deletions: S(i-h—g) (a) Previously shown on Ja[...]y 1982 List. Films Refused Registration Boys In The Sand (pre—censor cut version) (16mm): Pisces F[...]Filmways A’sian Dist. PIL, S(i-h—g) Kiss 01 The Spider Woman (Super 8): R. Caputo/J. Davila. Aus[...]ors, O(sexual exploita- tion ol a minor) Scream For Vengeance: Manson lnt’l, U.S., 2558.00 rn, Video Classics, V(i-h-g), O(sexual violence) The Set-Up (untitled) (videotape): Not shown, U.S., 3[...]r “Films Registered Without Elimina- tions” ("For Restricted Exhibition") and “Films Board of Rev[...]Films Decision reviewed: Refusal to register by the Film Censorship Board. Decision of the board: Uphold the decision of the Film Censorship Board. Concluded on p. 57[...]
	[...]you should cose Gevaco\|orType 682 negative film for superb results on your next creatwe venture. Gev[...]tive ﬁlm ﬁne grain.And it’s compatible with the will positively enhance the creation of any processing employed by all Austra[...]a film that passes with ﬂying So ifyou’ve got the creative colours as far as skin tones are concerned. know-how, and the will, we’Ve got the It also offers a wide exposure latitude way. Gevacolor Type 682. that caters for even the most severe AG FA_G EVAERT LIMITED Vafi3ti0I1S- _ Melbourne 878 8000, Sydney 8881444, But, none—the—less, It g1V€S a Very Brisbane 352 552[...]
	[...]Maxwell Scriptwriter. .. ...Peter West Based on the original idea by ..... .. ...Michael Ralph Photog[...]ge and with her two kids in tow looks desperately for refuge. Seeking sanctuary in a caravan park, Jenn[...]auge ..Super 16 Synopsis: A contemporary comedy. The story of a young urban "bushranger" fighting for survival in Sydney’s oppressed western suburbs. FOR LOVE ALONE Prod. company . . . . .. Margare[...]by her ramshackle family. pins her affections on the egotistical Jonathon Crow. it is. however. only t[...]. ..35mm Shooting stock .Eastmanco\|or Syn opsls: The story of four ageing classical musicians who by accident become the hottest rock’n‘ro\|\| group in Australia. The scenario unfolds around a ten~day concert tour du[...]riptwriters . Phillip Roope, Mark Thomas Based on the story by ............ .. Phillip Roope, Mark Thom[...]-old girl who befriends Molly, a dog that sings. THE MOST WANTED MAN Prod. company . . . . . . . . .[...]. . . . . . . . . . . . . . . . . . . ..100 mins THE NOSTRADAMUS KID Producer.. Jane Ballantyne Direct[...]Scriptwriter ...Bob Ellis Based on the original idea by . . . . . . . . . . . . . . . .[...]Roben Menzie ( . Synopsis: A gentle comedy about the end of the world. OUTPOST .... ..Don Sharp Bernard[...]ynopsis: A crazy comedy set in Sydney in 1942. At the beginning of the year the Americans were welcome saviours. By September the mood had changed. Before long a saying was going around that there were three things wrong with the Yanks: “overpaid, oversexed and over here”.[...]atimer Scriptwriter ....Michael Latimer Based on the original idea by ............ .. Michael Latimer[...]. ..Grant Page Length.. .93 mins Gauge. ....35mm THE SENTIMENTAL BLOKE Prod. company ..... ..Universal[...]e ......... ..Bob Ellis, Maurice Murphy Based on the book of verse by .... .. ...C. J. Dennis Pr[...]ves in Australia from Europe. She is all alone in the world. She finds herself in a huge migrant camp,[...]ey have a secret love affaire, while experiencing the culture shock of late-1940s Australia. STREET ST[...]Ruble Scriptwriter .. ...Forrest Redlich Based on the by ...Forrest Redlich Photography. ...John Seaie[...]Conneily (Harry), Paul Newman (Peter). Synopsis: The film explores the relationship between Denny and Maddy, a boy and girl from opposite sides of the track. Strangers who find something as innocent a[...]ey Watt Length. ..100mins Synops . , e miners in the small South Gippsland town of Korumburra barricaded themselves in the main shaft of the Sunbeam colliery. demanding better pay and conditions. Their story is that of the Australian Labor Movement in the 1930s. THE WINDS OF JARRAH Prod. company .................[...]. . . . . . . . . . . . .A\|exander Stilt Based on the original idea by . . . . . . . . . . . . . . ..Ai[...]amish Hughes. Synopsis: Will Abra Cadabra thwart the plans of rotten B. L. Z'Bubb and nasty Klaw, the Rat King, to control all of the known and unknown universe? Of course he will, with the help of beautiful Primrose Buttercup. Mr. Pig and Zodiac the space dog, among others. But not until the end.[...]Nicholson Scriptwriter ...John Dingwall Based on the original idea .John Dingwall David Eggby Peter Ba[...]: An action drama based around two miners digging for sapphires. Filmed on location in Emerald, Queensl[...]Henri Safran Scriptwriter.... Ted Robens Based on the novel by. .Ralph Smart, Mary Borer Photography .[...]ushwackers Band (Band). Synopsis: A re—make of the film made in 1947 starring Chips Rafferty, Bush C[...]r\| Schultz Scriptwriter.. MichaelJenkins Based on the novel by ........... .. .Sumner Locke Elliott[...]RS, DIRECTORS AND PRODUCTION COMPANIES To ensure the accuracy of your entry, please contact the editor of this column and ask for copies of our Production Survey blank, on which the details of your produc- tion can be entered. All details must be typed In upper and lower case. The cast entry should be no more than the 10 main actors/ actresses —— their names and character names. The length of the synopsis should not exceed 50 words. Editor’:[...]a Papers cannot, therefore. accept responsibility for the correctness of any entry.[...]een Clifford (Ettie). Synopsis: Set in Sydney in the 1930s, this is the poignant story of a small boy caught up in[...]
	[...](Bea Davis), Dave Davis (Ron Leibman). Synopsis: The story of the wor\|d’s greatest racehorse, set against the backdrop of the Great Depression of the 19305. It tells of Phar Lap’s sudden rise to national fame and the controversies surrounding his career, in- cluding attempts on his life before the 1930 Melbourne Cup. The story moves to the U.S. with Phar Lap’s success at the worId’s richestghorserace, and his untimely dea[...]Bell). Synopsis: Saboteurs, attempting to cripple the tug-boat, Platypus, and put her owner out of busi[...], who is anxious to clear himself of suspicion of the sabotage. PRISONERS Prod. company . . . . . . .[...]writers .. Robert Merritt, Ken Quinnell Based on the novel by Photography .W. A. Harbinson[...]rina Foster, Mark Lee, Ralph Cotterill. Synopsis: The story of a strange love affairs in a world of young outsiders living on the edge. THE SETTLEMENT Prod. company .. Producer Director . Scriptwriten. Based on the original by Photography Robert Bruning Prods Ro[...]girl set up house in an abandoned mining shack on the outskirts of a small country town in the mid-'50s. The scandalized townsfolk resolve to move them on, but the situation gets out of hand. AWAITING RELEASE[...]. . . . . . .. Terry Bourke Based on the novel by Roger Ward Photography . . . . . . . .[...]Ricky May (Bill), Synopsis: Two brothers escape the massacre of five tellow Australian news- men in A[...]in a small New Zealand town as they try to escape the holo- caust of their nightmares. THE CLINIC Prod. company . . . . . . . . ..The Film Housel Generation Films Producers . . . . .[...]iptwriter . . . . . . . .. Greg Millen Based on the original idea by . . . . . . . . . . . . . . . .[...]. Margo McDonald Casting . . . . . . . . . .. ....The Film House Casting co sultants . .M 8. L Consult[...]Leod (Carol), Suzanne Roylance (Patty). Synopsis: The film takes a light-hearted look at what goes on in an Australian clinic for the treatment of venereal disease. Length . . Gauge THE DARK ROOM . . . . . . . . .. Nadira Pty Ltd ..Fi[...]. . . ..Michael Brindley, Paul Harmon Based on the original idea by . . . . . . . . . . . . .[...]
	[...]t (Susan). Synopsis: An action—thri\|ler set at the Victorian seaside reson of Portsea. Three teenage[...]from their parents while a mysterious woman is on the run from the police and her criminal boyfriend. DOT AND SANTA CLAUS (Further Adventures of Dot and the Kangaroo) Prod. company . . . . . . . . . . . .[...]. . . . . . ..John Palmer. Yoram Gross Based on the original idea by . . . . . . . . ..Yoram Gross Ph[...]n), Chris Ashbrook (live action) Sound recordist for character voices .....[...]I Barbara Frawiey (Dot). Ross Higgins. Synopsis: The continuing adventures of Dot and her search for the missing Joey. Dot meets with a hobo In her outback home town, the hobo becomes Santa Claus. and takes Dot on a wond[...]re witnessing various Christmas ceremonies around the world. DOUBLE DEAL Prod. company . . . . . . .[...]. . . . . . . . . . . . ..Brian Kavanagh Based on the original idea by . . . . . . ..Brian Kavanagh P[...]mystery of manipulation and double- deaiing about the elegant, beautiful Christina Stirling, her urbane, successful man—of-the-world husband, Peter, a daunting, sensuous young[...]. . . . . . . . . . . . . . ..Sonla Borg Based on the novel by . . . . . . . . . . . . . . . . ..Frank[...]ards (Mrs Muspratt), Will Kerr (Jim). I Synopsis: The story oi a sheepdog in the Australian outback, based on the classic novel by Frank Dalby Davison. EARLY FROS[...]nity is bliss- fully unaware that a killer stalks the streets. A mother and her two sons survive in a d[...]nship. These two ele- ments come together to form the basis of this mystery-thriller. FIGHTING BACK P[...]. . . . . . .. Michael Cove, Tom Jeffrey Based on the novel by ....John Embling Director of photography[...]en off as a delinquent by most adults until John, the teacher, fights against all odds to straighten ou[...]. . . . . . . . . . . ..Michae\| Latlmer Based on the cartoon by Jim Bancks Photography . . . . . . .[...]Camilieri, John Wood. Marie Loud. Synopsis: All the famous characters from the comic strip come to life. Ginger tries to prove his affections for Minnie Peters, but his plans don't always work ou[...]Tracey Mann (Karii), David Argue (Gregg, Trixie. the Hood, theThe iron tongue of midnight hath to\|I'd twelve. Lovers, to bed: "us almost fairy time, i fear we shall outsleep the coming morn Aslmuch as-we have this night oer watched. This palpable gross play hath well beguiled The heavy gate of night. sweet friends. to bed[...]
	A brand new double feature from Sammies Introducing the academy award winning remote controlled camera cr[...]is always something new and exciting at Sammies. The Louma crane and Cyclorama at Sammies North Ryde h[...]rl Phone: (02) 439 6144 to improve your “Below The Line” costs “BROTH ERS"
	[...]y). Synopsis: She was all any old fool could ask for—a beautiful masochist with an Electra complex.[...]it ended like Bonnie and Clyde. so be it. it was for girls like this that old fools like Agamemnon die[...]lice Commissioner. Michael Stacey OBE. KITTY AND THE BAGMAN Prod. company Forest Home Films for Adams Packer Film Prods.[...]'Rourke). Val Lehman (Lil Delaney). John Stanton (The Bagmen), Gerard McGuire (Cyril Vlkkers), Collette[...]Heppie (Sam). Danny Adcock (Thomas). John Ewart (The Train Driver). Synopsis: A period comedy drama se[...]laney. Together. these two remarkable women ruled the underworld of sly-grog shops. gambling houses. prostitution and hold-up merchants In the rip-roaring 1920s. playing, laughing and lighting with s gusto the city has never known since. LA DY, STAY DEAD Pr[...]. . . . . . . . . . . . .. Terry Bourke Based on the original Idea by . . . . . . . . . . . . . . . .[...]way on loca- tion, is unaware that her sister and the care- taker have been murdered. The murderer returns to kill the woman. and so begins a battle of wits. MIDNITE S[...]om), Jonathan Coleman (Wayne), John Godden (Chris the Rat). Synopsis: The story of young people. their Sunshine City car ‘culture’. the motor speedway and the criminal world of car-part stealing.[...]. . . . . . . . . . . . . .. Jan Sardi Based on the original idea by . . . . .. .. ....Jan Sardi Phot[...]to). Synopsis: Two turbulent adolescent weeks in the life of st teenage migrant ltalian boy living in[...]r suburbs. Forthis fortnight two families live in the one crowded terrace: the recently arrived family from Italy who will take over the house. the current family who are preparing to leave. Gino m[...]. . .. Stuart Glover. Michael Hohensee Based on the original Idea by . . . . . . . . .[...]d. secretary .. .. Wendy Chapman Kitty and the Bagman Prod. assistant[...](Ah Laong). Synopsis: When three children cross the harbor to explore Castle House — a strange. uno[...]itement. mystery and non-stop action and roi\|-ln- the-aisle comedy for children. NEXT OF KIN Prod. companies . . . . . . . .. The Film House. S.l.S. Productions Dist. company . .[...]. . . . ..Michael Heath. Tony Williams Based on the original idea by ...... ..Timothy White, Michael[...]. Synopsis: Linda Stevens returns to Mont Clare. the old family home run by her mother as a retirement home for the aged, and strange things start to happen. NOW AN[...]dy Scriptwriter .. .. .. Richard Cassidy Based on the novel by . . . . . . .. Danielle Steel .Ph[...]
	[...]Tim Burns (Kent), Henri Szeps (York). Synopsis: The story of a stylish Sydney boutique owner and her[...]who has not as yet achieved financial success. On the surface. they appear to have a perfect relationsh[...]ship disintegrates as they struggle to prove, and for her to continue to believe in, his innocence. ON THE RUN Prod. company .Pigelu Pty Ltd Pro[...]nopsis: A chase drama about a callous kiﬁer on the rampage and a black man with a hatred for the corrupt world which has made him an outcast. THE PLAINS OF HEAVEN Prod. company . . . . . .[...]sis: Two men work in a satellite relay station on the Bogong High Plains, one of Australia's most isola[...]and- scapes. Each is obsessed in his own way, and the film follows the working out of these obsessions in the men's responses to the vast and elemental landscape of the plains of heaven. THE RETURN OF CAPTAIN INVINCIBLE Producer A[...]. . . . ..Andrew Gaty, Steven cle Souza Based on the original Idea by . . . . . . . .[...]nopsis: A madcap, musical comedy- adventure where the flying super hero crushes Nazis, threatens bootle[...]. . . . . . . . . . . . ..Charles Stamp Based on the original idea by . . . . . . . . . . . . . . .. G[...]k (Speaker of Parlia- ment), John Ewart (Minister for immigra- tion), Martin Vaughan (Cranky Member), Cornelia Francis (Member for Southdown). Synopsis: A young girl taking photogr[...]r a widespread search, she manages to escape with the help of a boy scout Sympathetic to the immigrants problems, she pleads his cause in Parliament. THE SEVENTH MATCH Prod. company Yoram Gross Film Studio in association with Sarah Enterprises and the AFC Producer ..Yoram Gross Director . Yora[...]aassen, Flori Haddrick, Shane Porteous. Synopsis: The poignant story of a young child, orphaned by war, and her struggle to survive. it is representative of the plight of children In war-torn countries and acts as the voice of all children against the suffer- ing and hardships imposed by all wars. A[...]. . . .. Lindsay Foote 4. J‘ 9 %@{t«_~ Q‘ The Seventh Match Boom operator . . .[...]Linn). Synopsis: A young man goes into hospital for the routine removal of a cyst and finds that he gets more than he bargained for. SOUTHERN CROSS Prod. company . . . . . . . .[...]kens, Atsuo Nakamura. Synopsis: Operation Rimau, the attack by 23 Australian and British soldie[...]
	[...]. . . . . . . . . . . . . ..Ted Roberts Based on the original idea by . . . . . . . . . . . . . .. Ma[...], Tim Eliot (Andrew Wilde). Synopsis: Drama about the entrepreneu- rial Wilde circus lamily involved in[...]sian ballet dancer becomes a matter of concern to the family when it has a dramatic effect on several of the business enterprises. WITH PREJUDICE (TeIe—fea[...]wner. _ Synopsis: A dramatized reconstruction of the trial, in February, 1979, of Tim Anderson, Ross Dunn and Paul Alister, the three Ananda Marga members charged with conspiracy to murder Robert Cameron. THE YEAR OF LIVING DANGEROUSLY Prod. company . . . .[...]. with additional material by Alan Sharp Based on the novel by . . . . . . . . . . . . . . . . . ..C. J[...]'s destiny. He becomes increasingly Involved with the politics of the country and with Jill Bryant, an English Embassy[...]nningham Scriptwriter.. .PeterCunningham Based on the original idea by .......... .. ....Lynette Guilf[...]e Scheduled release. ...USA Television Synopsis: The fil lishes the affec- tionate and gentle nature of kangaroos. it goes on to s eak of the kangaroo industry and cruelty. onservationists ta[...]to such vile acts, then we see such acts on film. The meat and fur industry is discussed and some debate entered into. Richard Anderson (Oscar Goldman of the American series The Bionic Woman and The Six Million Dollar Man), with Dr Jim Cairns, closes the film. JAZZ SCRAPBOOK Prod. company ...Sun[...].. ..Post-production Synopsis: A chronicling of the growth ofjazz in Melbourne from the mid-1930s through to the mid-1950s when rock and roll took over. includes[...]Falzon ...Alben Falzon ...David Thomas Based on the original idea Prod. company... Dist. companies.[...]on in India. Synopsis: A mystical journey through the lakes and mountains of northern India in search of the spiritual leaders of Ancient India. This film set against the contemporary music of Brian Eno and Talking Heads leads the audience on a surreal adventure. THE LEGEND Morning Star Prods Prod. company. Pr[...]Roach, Radha Koch, Johnny (Didge) Mathews, and the other 19 members of the Dolphin Tribe Music ............... .. P[...]is: Twenty- ive a ults and children head overland for Shark Bay in Western Aus- tralia. Their dream is[...]to culminate with a meeting of another tribe — the wild dolphins of Monkey Mia, the only place in the world where the air breathing mammals virtually teach themselves[...]s .. ...Sandy Mccutcheon, John Patterson Based on the original idea by ........ ..Jono Wall Photography[...]heduled release .. ___Ma 1983 Synopsis: Based on the life of Jekyll myth, western Tasmanian prospector who digs his mineshaft on the Serpentine River which is to be flooded by a government hydro-dam. About the conflict between land exploitation, including min[...]only once, unless significant changes are made in the course of production. THE BRADMAN ERA Prod. company..,. Albie Thorns Prods[...]2" videotape Synopsis: Television documentary on the Bradman era in Australia versus England Test cricket as recalled by Bill O‘Fleilly. Featuring the great players of the 1928-48 period. FIRST CONTACT (replaces working title The Last Unknown) Prod, company ....Arundel Prods[...]. .16mm Progress . Awaiting release Synopsis: in the 1930s, Australian gold prospectors stumbled acros[...]ighlands, whose existence was previously unknown. The prospectors took a camera with them. For the first time both sides tell what happened. PHILAT[...]sis: How went to China in April 1982 as guests of the China National Stamp Corporation, Peking and the Directorate-General of Posts, Taipei. The film looks at the history of philately and stamp production in Chin[...]247 Progress ..... .. . ost-production Synopsis: The film presents the work of the Royal Society for the Blind and the life of a sight-handicapped person within[...]
	[...]‘ ir MAGNA-TECI-I ELECTRONICS CO. INC. The Australian standard: High-speed Reversible Projec[...]es are open to all producers and their executive, for direct liaison with Dolby in any aspect relating[...]le ex stock Sydney and information on new systems for VTR etc. NEVE ELECTRONICS INTERNATIONAL LTD. Consoles for Film, Television, Recording and Radio._ New 51 Series now available and DSP, the world's first all digital audio console. RHONE-P[...]SIA LIMITED MAGNA-TECHTRONICS (AUST.) PTY. LTD. The Complete Professional Film Sound Company For further information, please contact: M N C H t[...]y.Limited 1 4 Whiting Street, Artarmon, NSW 2064 Telephone: 438-3377 Cables & Telegrams: "MAGNA” Sydney, Telex 24655 The Silent One [Always seen but never heard] 0 Favoured by directors of photography all around the world for feature and commercial applications. 0 The incredibly low sound level of 23 dB allows the use of camera-mounted microphones and unblimped o[...]o and Stereo 16 and 35 mm Optical Recorders, also for older equipment, Solid State Light-Valve or RCA Galvanometer type Electronic Updates are now available and the superb new Optical Sound Track Analyser and Cross[...]DIO KINETICS LTD. Q-Lock Time Code Synchronisers for interlock of Magnetic Film Reproducers, Video Rec[...]rol computer applications. iv NAGRA-KUDELSKI SA The world standard in location recording. Pilot tone models include the 4.2, lV-S Stereo, Compact IS and miniature SN. For the Studio, the Model TA Mono and Stereo Transportable Edi[...]
	[...]nt), Tammy Bowen (Sam s child), Sylvester (Marlon the cat). Synopsis: Julie got sick of living in Brok[...]ht a motorbike and left to ride around Australia. The film shows pan of her journey and illustrates the sense of freedom and independence of young people[...]na Adorna (Maria). Synopsis: A short drama about the conflicts that a teenage boy from a Macedonian fa[...]in two cultures — that of his home, and that of the school and his peers. ON GUARD Prod. company ..[...]tly developing new tech- niques in biotechnology. The future of motherhood and human reproduction will be affected by these experiments. The women take action into their own hands. They resolve to sabotage Utero and make a political documentary for television to be screened after the ‘crime’. TIMES ARE CHANGING (formerly known[...]ch Mathews Scriptwriter. ..Mitch Mathews Based on the original idea by[...]eryl), Katrina Bronar (Sue), and Arthur Dignam as the Jogger. Synopsis: With 35 years experience behind him, George Parker is the No. 1 machinist at the factory where he has been employed most of his wo[...]little luxury is a cream cake every morning from the local shop. An unforeseen development brings chan[...]arne, Joy Smithers. Synopsis: A humorous look at the role of the Al-‘iS's Open Program throughout Australia.[...]nd Vicki Molloy of Creative Development Branch of the AFC iving information on how to apply for grants or script development, production and the Women's Film Fund. GILLIAN ARMSTRONG INTERVIEW[...]D Armstrong about her career since 1979, when the AFTS last interviewed her. PUPPET ANIMATION[...]orter), Lance Curtis (Dennis Dragon). Synopsis: The film explores techniques involved in animating si[...]draft funding — $39,800 Production Investment The Umbrella Woman — Margaret Kelly Productions; cinema feature; travel assist- ance — $6100 Bali from the Mountain to the Sea — Taman Sari Films; documentary — $70,332 Marketing Loans The Applicant — Phillip Floope — $5232 Bali Mystique —— Spectrum Australia - $5834 Home on the Range — Gil Scrine — $450 Moving Out — Pattinson/Ballantyne Produc- tions — amount not listed TheThe Rush That Never Ended — Terence McMahon Ltd —[...]er — Mandala Produc- tions — $3000 Tracks of the Rainbow -— George Gittoes — $1556 Projects a[...]Girl Big Band — Derek Strahan; cinema feature; for music concept — $200 Burke and Wills — Graha[...]e; adjustment prior approval — $789 Clean Straw for Nothing — Pavilion Films; cinema features; 2nd[...]s; cinema feature; 2nd draft funding — $42,525 The Elocution of Benjamin Franklin — Hilary Linstead; cinema feature; 2nd draft funding — $16,000 The Globos vs Earth — View Films; cinema feature; s[...]harp; cinema feature; 3rd draft funding — $6000 The More We Are Together — B. Debman, K. Floss; cin[...]fay; cinema feature; 3rd draft funding — $5650 The Dingo Alibi — S. Cornwell, C. Levy; documentary[...]ary; research and script develop- ment — $5500 For Example Rockhampton — Country 0 Films; documentary; research and script development —— $7588 The Tree — Lawless Enterprises; docu- mentary; research and project development — $7423 The War Horse -— Warhorse Productions; tele-feature[...]Paul Bendat; television series —— $4370 Who the Devil is Holroyd —- Sandra Black- wood; television mini-series treatment — $7000 A Grave for a Dolphin — McElroy McElroy; package — $69,00[...]Voyager Films; production investment — $75,000 The Winds of Jarrah — Bridging finance — max. $15[...]iety of South Australia — 600 Marketing Loans The Fluteman — Independent Productions — $39,600[...]dra Alexander, Brian Thomson (NSW); investment in The Shadow Knows — $65,641 Anthony Bowman, Chic Stringer (NSW); grant for In Pursuit — $1000 John Conomos, George Zantis (NSW); grant for D For Dago — $2500 Bruce Currie (NSW); grant for Walkman in the Bush — $13,302 Mark Foster, Bronwyn Nicholas (NSW); investment in The Iceman — $5000 Denise Haslem (NSVlI); grant for Sushila and Sara Bai — $3644 Anne Joiliffe (NSW); investment in The Maitland and Morphet String Quartet — $6000 La[...]tment in Anna — $2500 Anne Pollak (NSW); grant forfor Ego Testicai -— $1200 Helen Boyd, Ann Turner ([...]— $5000 ' Stephen Mepham (Vic.); investment in The Cleaning — $45,000 Jane Nicholls (Vic.); grant for The Non- Objective World of Brian Reberger — $500 Mark Osborne (Vic.); grant for Astronautica — $7000 Peter Tammer Vic. ; rant for Tri t ch A $11,000 ( J 9 p V Max Bannah (Old); grant for Bird Brain — $14,975 Jacqueline McKimmie (Old)[...]Stations — $18,411 John Prescott (Old); grant for Just a Whiff of Consent — $2000 grant for Sacred Women’s Film Fund Susan Lambert, Sarah[...]takings — $9457 Claire Stapleton (Old); grant for video test scenes for Jessie and Megan — $2000 Elaine Wilkinson (NSW); script development grant for In Retrospect — $1500 Margot Lethlean (Vic.); script development grant for See How They Run — $2500 Genni Batterham (NSW); script development grant for Alone Together — $4000 NSW Women and Arts Festival (NSW); advance for Women's Film Festival program — $5000 NSW Women and Arts Festival (NSW); grant for the visit of Susan Seidelman — $750 Australian Screen Studies Association (Vic.); grant for 1982 Conference — $3000 FILM VICTORIA Feat[...]veloping a major television series to be produced for the Australian Ballet, the series 13 x 1/2 hour episodes on an actionladven- ture format highlighting the essentials of dance capability; scripting and pre[...]Creek — Ben Lewin; cinema feature; scripting. The Last Star Model —— Forrest Redlich; cinema fe[...]Sue Woolfe; tele- vision mini series; scripting. The Sunbeam Shaft — See survey. Nemesis — Glen Crawford; cinema feature; scripting. The Phantom Treehouse — Paul Williams; animated fea[...]nd Andrew Coleman; cinema feature; scripting. Fit for Heroes —— Cliff Green; television mini- series; scripting. The Whale Savers — Laurie Levy, Neil Bethune; telev[...]Ivan Hexterr cinema feature; scripting. Snowy and The Whale — Tim Burstall, Sonia Borg; cinema feature; scripting. The Living Canvas — George Mallaby, Lindsay Foole;[...]auge. ....16mm Progress. Pre-production Synopsis: The Cystic Fibrosis Foundation has developed a method[...]t, giving great hope to Cystic Fibrosis suffers. THE PATSY (formerly Detective Training Film ) Prod.[...]uge. . ..16mm Progress .. roduction Synopsis. m n the technique of 9 crime detection made for the Victoria Police. NSW FILM CORPORATION WASTE D[...]gth ..12‘/2 mins Gauge. Shootin . Synopsis: The ft m emonstrates how indus- trial liquid wastes are being properly managed by the Metropolitan Waste Dis- posal Authority, and the plans for the future. Concluded on p. 583 CINEMA PA[...]
	[...]ve some spare capacity and invite you to ‘phone for details: — STUDIO MANAGER STUDIO SECRETARY MIC[...]When you edit with KEM, you’re editing with the best of them! From ‘lomm to Super-16 to 35mm—[...]From a low budget commercial to a win at Cannes. For further d ' call us.[...]n Suite 185, Raffles Hotel, stern Australia 6000. For ton ices 1-3 Beach Road, Phone: 3251177,[...]
	[...]s is a neat compendium of attainable virtues, and the Australian Film Institute majority who voted it B[...]ion in a recognizably commonplace milieu. Though the characters are unmistak- ably Australian, the most xenophobic filmgoer in Cedar Rapids, Iowa, w[...]in relating to them or their problems. Although the film has arcane inter- ludes, not at all in keepi[...]ly realistic tone, they aren’t as subversive of the whole as might be imagined. For one thing, these sequences work well as comedy. More important, they also reinforce the film’s tragi—comic textual assertion that ind[...]ver eccentric means are at their disposal. Hence, the male lonely- heart shoplifts and pretends to be blind, while his ladylike counterpart, totally against the grain of a lifetime of complaisance, accepts the lead role in an amateur production of Strindberg.[...]meet through a grasping introduction service and the film charts the uneven course of a diffident romance. It is a less-than-novel subject, ripe for cari- cature, but Cox, maintaining a basical- ly[...]xpected of him by his mother (whose funeral opens the film), his domineering sister (Julia Blake) and o[...]se just about everybody from his ailing mother to the local elderly citizens’ club. Patricia, only c[...]tly moved into her own flat —— obviously with the disapproval of her parents. Free for the first time of parental constraints and demands, P[...]cial norms (and their own expectations) regard as the next step: they nervously seek a partner of the opposite sex, not neces- sarily view mat., but ce[...]acquain- tance in mind. Life-tasting isn’t easy for either of these shy, repressed, sex- ually hung-u[...]his mother’s grave and his weekly bingo night. The characters are, of course, hyper- 1% E, Patrici[...]is precisely this core of probability that makes the sweet’n’sour humor of Lonely Hearts so telling. The two suffer various hesi- tations, misunderstandings and false starts, through which the screenplay (by Cox and John Clarke) pilots them w[...]ving to clamber over social and personal hurdles, the pair must deal with the disapproval of their nearest and dearest — in p[...]a small but effective drama, when Peter is caught for shoplifting, to resolve the couple’s emotional deadlock. It also places in[...]behaviour, seen earlier, which ulti- Peter at the police station after having been caught sh[...]
	Lonely Hearts Three Brothers mately may be regarded as the mute protests of an other-directed Mr Nice Guy. Several of these incidents, such as the blind-piano-tuner episode and a nervous assignation with a call-girl, rattle about rather loosely in the narra- tive structure, giving the impression that a certain amount of post-produc-[...]se peccadilloes of Peter’s are more apposite to the general thrust, however, than some of the lesser characters adorning, if not enhancing, the narrative for comic effect, such as Patricia’s shrink (Maggie Stevens), or the wig-maker (Ron Falk) who brow- beats Peter into o[...]istency of imagination and func- tion that is all the more admirable when the film is ranged alongside the depressing number of botched, flawed and scamped productions in the bumper crop of 1981-82. It is, in short, a triumph for Cox and a tribute to his perseverance. The visual and dramatic perception that marks his ear[...]elicacy lacking in Inside Looking Out and Kostas, the feature films of what might be called C0x’s pos[...]- pletely free of lapses in sensibility. But here the occasional thick-edge may be regarded, charitably perhaps, as over- emphasis in the cause of comedy. Cer- tainly, a sequence in which the hesitant couple engages in fumbling word-play bef[...]situation in Kostas and a coun- try mile ahead of the fatuous, wordless screw in Inside Looking Out. C[...]John Clarke’s inspired Fred Daggery punctuates the script, Nor- man Kaye contributes (in addition to[...]kol’s photography is discreetly underlit, while the practised, steering hand of producer John B. Murr[...]le” clothes and a repressed mien, reminds us of the many films and tele- vision productions that have[...]here are moments in Lonely Hearts when, even amid the film’s dramatic and humorous contrivance, she a[...]athon Hardy’s Bruce, Peter’s brother-in-law. (The sight of this accomplished stage actor and teacher simulating the flounderings of an inept amateur trying to do Str[...]tant rationalization. In his droll treatment of the central relationship, Cox maintains an affec- tionate regard for individuals strug- gling with personal problems which is 562 — December CINEMA PAPERS the real strength of Inside Looking Out and Kostas. It permeates the gentle humor of Lonely Hearts and even lends Peter’s more antic behaviour a certain perverse dignity. The Best Film award aside, the sig- nificance of Cox’s achievement lies in his[...], as well as Lonely Hearts, Michael Robertson’s The Best of Friends and Henri Safran’s Norman Loves[...]se is there apart from Don’s Party, A Salute to the Great MacArthy and perhaps two of the four segments of Libido?) The field is a notoriously tricky and demanding one,[...]ely to provoke a flock of imita- tions. But after the disasters of the past year, it might occur to one or two of Austra[...]d filmmakers that there could be an object-lesson for these troubled times in an “entertainment” fi[...]Tre fratelli (Three Brothers), even con- sidering the quality and originality of most of Rosi’s previous films (Salva- tore Giuliano and 11 case Mattei [The Mattei Affair], to mention two), comes as a very[...]Giuliano (1961), Le mani sulla citta (Hands Over the City, 1963), The Mattei Affair (1972) and Lucky Luciano (1973) —[...](1970), Cadaveri eccellenti (Illustrious Corpses/The Context, 1976) and Cristo si e fermato a Eboli (C[...]tween Three Brothers and Christ Stopped at Eboli, the scope of this film transcends that of the previous one. It is the result of a broader and deeper, more symbolic and[...]rs ago, when filming Salvatore Giuliano, Rosi had the idea of telling the story of an Italian family from the South. To this Rosi and Guerra have added a narrative key, taken from The Third Son, a short story by the Russian writer Andrei Platonov: an old man sends[...]m of their mother’s death, and they all come to the funeral. Donato Giuranna (Charles Vanel) is the old father, a peasant from Puglia, who has seen all his sons leave the white stone family farmhouse and go to different cities in Italy. The eldest, Raffaele (Philippe Noiret), was given the best possible education, sent to university, and[...]wife and somewhat sulky son. He has been offered the task of presiding over a terrorist trial, which a colleague has relinquished for fear of being murdered. The second brother, Rocco (Vittorio Mezzogiorno), is unmarried and apparently was not given the same opportunities as Raffaele, which is usually the case with the second son of a Southern Italian family. He is a teacher in a Naples reformatory for problem children and has been approached by the police to find out which of the children have been making trouble at night, “st[...]oing something worse”, as a policeman puts it. The youngest brother, Nicola (Michele Placido), who was expected to stay and work on the farm with his parents, rebelled and left for Turin in search of the dream of the factory in the North. He is an assembly-line worker who takes an active part in the union’s struggle for better working conditions and is being threatened[...]Marta (Marta Zoffoli), whom he takes with him to the farmhouse. Three Brothers opens with a still shot of a white wall of a building, with the windows looking like dark holes, or empty eye sockets. The subsequent image is a close-up of rats in a city[...]one soon learns is part of a dream of Rocco’s. The fact that Rocco is the first character to appear on the screen is symbolic: he is the son closest to his old father, the first to arrive and embrace the old man in his grief, and the only one to stay by his side during mourning. The[...]asized by Mezzogiorno acting both as Rocco and as the young Donato in scenes of their memories. Raffaele is the second one to arrive, and he is clearly less atta[...]n Rocco and tends to be much more composed. With the arrival of Nicola and Marta, the three brothers finally are brought togethe[...]
	Three Brothers We of the Never Never worker who does not feel much sympathy for the establishment. As a result, their arguments tend[...]m from becoming a terrorist; this belief reflects the emotional diffi- culty Raffaele has in controlling his fear of being murdered. Rocco does not want to help the police find the troublemakers among his reformatory children; prison would definitely scotch the possibility of their re—education, which is his[...]witnesses an act of terrorism. In answer, he uses the case of Guido Rossa, a worker from Genoa, who was murdered because he denounced some terrorists to the authorities: “If all Guido’s fellow workers had denounced the killers too, since they . all saw them, it would have been impossible for a crowd of witnesses to be murdered.” But Raffaele acknowledges the delicate nature of the situation when there is only one witness to the crime.‘ Rosi has always portrayed issues of political relevance in his films, but in Three Brothers the political issues have become secondary. As Rosi puts it, “The film talks first and foremost about love: love for parents, a wife, a little girl; love for nature, for one’s own dignity, for the demands one must impose oneself when faced by s[...]ness to her grandfather is an important aspect of the film and is linked directly to the memories of the old man. In one of the reminiscences, his young wife loses her wedding ring on the beach when covering her feet with sand, an image parallel to that of Marta playing sensuously in the grain stored in the barn. The same ring, which the young Donato recovers by sifting through the sand and then puts back on to his wife’s finger, is seen in the last frame of the film. But this time old Donato puts it on to his[...]wedding ring. It is important that Platonov’s The Third Son is credited as a source of inspiration since some of the situations in the film come directly from the Russian short story. The communal bedroom that the brothers share is an example. Another is when Nic[...]s a dialogue between Marta and old Donato. One of the most moving moments of the film is when she bursts into tears and he asks her, “Why are you crying?” The girl answers, still crying, “We are all alive; Grandma is the only one who is dead.” Later, it is the old man who cannot but turn his grief into 1.[...]hen terrorism in Italy was still at its peak. But the Red Brigade, and other extreme right-wing groups,[...]vigorous support against terrorism being given to the state by the majority of the Italian population, and the subsequent strong anti-terrorist action. Although terrorism has not been completely stopped, the most dangerous and diffi- cult issue facing the Italian state now- adays is that of the Mafia. 2. Interview with Rosi, Sight & Sound, Wi[...]ks him, “Why are you crying? I’ve stopped.” The embarrassed grandfather dries his tears with a ha[...]er grandfather, while her father and uncles carry the coffin to the funeral, and finds an egg on the ground and gives it to the old man. A close-up of this gesture — his old, wrinkled hand holding that symbol of the seed of life — conveys an optimistic feeling for the future, stressing further the common ground of childhood and old age, found by[...]ence and Donato’s simple wisdom of an old man. The symmetrical dreams of the three brothers are also very effective. Nicola dr[...]ting Marta’s mother and overcoming his pride in the face of her affaire with another man; he sees him[...]with her. Raffaele falls asleep while looking at the photo- graphs of the case over which he is expected to preside and dre[...]ed Army and White Army paper uniforms floating in the air, together with paper money. The apotheosis of his dream is when Rocco is cheered by the crowd of children, in the presence of an image of Christ crucified in a crossbow (in which Christ is the arrow); Rocco sets fire to a rubbish pile, with a view of a canvas, paradise—like, sunny beach as the back- ground. This sequence is accompanied by the musical comment of Pino Daniele’s fantasy balla[...]want to live at least a day like a lion “And the state should not condemn me, because I’m crazy[...]a popular uprising in 17th Century Naples against the Spanish rule and oppression by the nobles: “Masaniello has grown up “Masaniello has come back.”’ The combination of music and imagery reflects distinc[...]ut drugs, crime and money; a world of happiness. The artistry of Three Brothers is superb, from Pasqualino de Santis’ beautiful photography — the natural light of the interiors, the sharply- defined shadows and the vivid con- trasts — to some simple but brillian[...]uences. In one of these Rocco is making coffee in the kitchen and hears a sound of sobbing coming from outside the house. He moves towards the kitchen window and, from above, looking downwards from the first floor, sees both his brothers in the 3. “E meglio vivere un giorno da leone che[...]llo e cresciuto “Masanie1lo e tornato” yard. The camera follows Rocco from behind and tracks up to frame Rocco’s head in the centre of the shot. Nicola, crying and leaning on the wall outside, appears at the upper right of Rocco’s head, whereas Raffaele is seen on the lower left side. Rocco starts crying too and his head, out of focus, moves just enough for the viewer to understand what is going on. This was c[...]ult shot to do — and masterfully accomplished. The acting also is superb, parti- cularly Charles Van[...]ed films as early as 1912, and is best remembered for his portrayal of Jo in The Wages of Fear (1953). As Rosi has admitted, Vanel actually set the pace for the film: “He lent us all a sort of serenity. During filming he was like the stones of that old farmhouse, like the natural world about him: . . . the rhythms of the film began to adopt the cadence of his movements.“ Three Brothers is a[...]nary world which is, paradoxically, very real. At the same time, it is a montage of poss- ibly conventi[...]: Frank Cox. 35 mm. 111 mins. Italy. 1980. We of the Never Never Brian McFarlane As one of the few Australians alive over the age of 30 who has not read Mrs Aeneas Gunn’s au[...]an open mind. What my open mind received was, in the main, a sumptuous bore. How far this impres- sion tallies with Mrs Gunn’s well-loved books — We of the Never Never and The Little Black Princess — I cannot of course say. For the first half-hour of this pain- fully long film (it[...]visual accomplishment might save it. Igor Auzins, the director, has opened on a close-up of Jeannie, being prepared for her wedding clothes, and this gradually gives way to a beautifully composed use of the widescreen to suggest the feminine fuss going on around her. This in turn c[...]y pre- sented in a fast forward-tracking shot, as the camera hones in on and then passes a figure on horseback, before pulling up for an overhead view of men and cattle. These shots[...]inter 1981-82. follow —- offer a ravishment to the eyes which in the early part of the film seems exciting. There is a quite thrilling u[...]Hansen’s Eastman- color photography, accompany the Gunns’ wedding and their journey to the Northern Territory cattle station, where Aeneas is to take up the position of manager. As a result, there is a pre- monitory dramatic effect in the camera’s dazzling tracks and cuts. Once the Gunns have arrived at the station, neither they nor the film have anywhere left to go. The viewer is increasingly aware of the inertness at the heart of the narrative, so that what was initially a visual excitement degenerates into tedious bravura. Once the first narrative impulse exhausts itself in getting the Gunns to the station, Peter Schreck’s screenplay dissipates[...]ild to any sort of cumu- Iative power or meaning. The screen- play and Auzins’ direction work devoted[...]liche, to leave no predictability unturned. When the rough foreman McLennan (Tony Barry), who has spoken with vigorous chauvinism about Jeannie’s entry to the male preserve of the cattle run, meets her we know he will melt before[...]nd becomes her humble servant. We know that, when the door of the station house falls off its rusted hinges, Jeanni[...]so she does. We know that talk of mustering over the Gunns’ dinner table will give place to the pounding hooves and pounding score of the mustering scene. And of course it does. After Gun[...]her grief to her sister, we know that Bett-Bett, the little black princess, will return to sleep in the house and give Jeannie a new sense of purpose. The soundtrack knows this, too, as it swells to complement her proud walk into the future. In other words, the narrative settles for the utterly predictable in matters small and large: in the way it cuts to gratify our least imaginative expecta- tions and in the way it shapes — to use the term loosely — the major narrative motif. By the latter, I mean the revela- tion of town-bred Jeannie’s pluck as she confronts the rigors of outback life. The banalities are there in the ramshackle screenplay and, despite its often sedu[...]ncident, not one narrative element, whether it be the relationship between Jeannie and Aeneas, or the feminist or racist issues tentatively raised, carries any dramatic weight. In fact, the word “relationship” means little more than that two people are often on the screen together. As Jeannie, Angela Punch McGregor (perhaps the most uneuphonious name in movies since Jo Ann Pﬂugg) brings virtually nothing to the role except erect carriage. To earlier parts, like those of Gilda in The Chant of Jimmie Blacksmith and Bill Hunter’s bi[...]erous dimness, but here she is utterly at sea. If the role of Mrs Gunn is to mean anything, it m[...]
	We of the Never Never E. T. The Extraterrestrial the actress’ range even when the dif- fused screenplay is giving her the slightest assistance. Instead, it usually asks on[...]Arthur Dignam’s intelligent brick-building with the script’s straws goes for little, and the sense of relationship goes out the window. The idea of the white woman estab- The publican (Tex Morton), Jeannie Gunn (Angela Punch McGregor) and Mac (Tony Barry) before thefinal stage of the journey to Elsey Station. Igor Auzins’ We of the Never Never. lishing herself in this remote male world founders on the script’s banal- ities as well as on McGregor’s in- adequacy: In thethe prom- ising irony — as one takes it to be — of this scene is not pursued. The resis- tance to Jeannie’s presence in the man’s world is of course worn down by what we assume to be courage and resourcefulness. In fact, the film hardly seems interested in her role as a woman: there is a promise of warmth of feeling between her and the black woman Rosie, but this relationship is not d[...]ts her willingness to do her own domestic work in the face of Aeneas’ opposi- tion; and there are sho[...]ng solitary by lamplight or walking alone against the sky while the men are away for some days. But these are all perfunctory referenc[...]Auzins’ or Schreck’s having considered using the white woman’s situation in a male-dominated world as an organizing narrative principle. Similarly, the film raises the racial issue but does nothing about it. It is aga[...]’ll “spoil ’em” if she offers trousers to the Aboriginals who do her garden; of the black women mainly presented 564 -— December C[...]reatures; of Jeannie’s bringing Blett-Bett into the house despite Aeneas’ claim that “you can’t[...]e is an attempt to lift this sporadic interest to the level of drama as she tries to save Goggle-Eye (D[...]ntive anach- ronism, “Where did we go wrong?” The jejuneness of the film’s racial awareness is most clearly seen in its treatment of the two Chinese cooks, one spitefully inclined, the other a comic character who raised indulgent laughter from the audience. There is not much point in writing more about the ways in which the film so persistently passes up every oppor- tunity for coherence or signiﬁcance. It misses its chances in the area of rela- tionships; it bungles the dramatic potential of the feminist and racial issues; it is either too achi[...]gar as an adventure; and it lacks even a good car for a period piece. What we are left with is the Marlboro look and sound of the Australian outback wedded to a quite exceptionally dim little story of this and that. We of the Never Never: Directed by: Igor Auzins. Producer:[...]Hoyts. 35 mm. 121 mins. Australia. 1982. E.T. The Extraterrestrial Robert Conn The stars are twinkling brightly in the night sky. In a secluded clearing of a redwood forest on the outskirts of Los Angeles, an alien spacecraft sit[...]tly. Small figures can be seen shuffling about in the under- growth, illuminated by the soft lights encircling the craft. Long, delicate, brown fingers gently uproot a small plant, while a rabbit looks on unafraid. One of the gremlins wanders to the rim of the valley and gazes in wonder at the sprawling grid of shim- mering lights of the city below. Suddenly, large, noisy trucks and painfully-bright headlights shatter the tranquillity of the forest. Immediately the aliens prepare to lift-off to avoid detection, but the wanderer is too far away and frantically tries to avoid the large, lumbering figures with their searching torches. The aliens wait till the last possible second and leave just as the errant is in sight. The human beings watch in stunned amazement as the vehicle soars heavenward, while little E.T., gasping for breath, sighs mournfully. Stranded on an alien world, E.T. quietly slips away from the human beings who are now hunting him. Waddling down into the valley, he scavenges in rubbish bins for food until he is discovered by 10-year-old Elliott (Henry Thomas), in the boy’s backyard. Elliott’s parents have recently separated; he is lonely and confused in his own home, the home into which he lures E.T. with the aid of some candy. Keeping the alien a secret from everyone except his older bro[...]sister Gertie (Drew Barry- more), Elliott begins the struggle to help E.T. contact his people, his onl[...]rvival. This is how Steven Spielberg begins E.T. The Extraterrestrial, his latest and best film to date. After igniting our instinctive fear of the unknown in Jaws, making us gasp in awe with Close Encounters, setting our hearts racing in Raiders of the Lost Ark and just plain terrifying us with Polter[...]d deeply moving. It has great simplicity, sharing the basic themes of the classic animal and child stories, such as The Yearling, with strong echoes of Peter Pan. E.T. is the lost animal, the stranger from a strange land, the secret that grown-ups cannot see and whom the children must aid in any way they can, just as Ti[...]reviously ‘unchange- able’ circumstances, all for their love of E.T. Although he has been abandone[...]pels Elliott, and his brother and sister, to face the serious responsibility of helping E.T. stay alive[...]They must also keep him from being discovered by the ‘grown-ups’, who, they believe, would only mi[...]He soon learns to talk, in halting fashion, with the help of Gertie and Sesame Street, and constructs a signal- ling device using levitation. The rela- tionship between E.T. and Elliott is not si[...]or love, it is an empathic bond that starts with the first terrified contact with each other. Instead of being reluctant about trying to find the creature, Elliott enthusiastically goes into the forest to lure the alien home, and discovers that others are also searching for E.T. The completeness of this bond is brought home when El[...]s Elliott’s. Only when both are near death does the bond weaken. Spielberg, for the most part, depicts the adults in the film as shadowy figures and, as far as the children are concerned, seemingly bent on mischief — Elliott’s ‘faceless’ biology teacher, for example, and, to a greater extent, the ‘agents’ who hunt E.T. and whose intentions are never really known until the end. Even Elliott’s mother Mary (Dee Wallace) is all but oblivious to the incredible things happening around her. She does not see E.T. hiding in Elliott’s closet among the other toys or scampering around her feet in the kitchen. She is just too busy. Although she is the most sensitive adult por- trayed in the film, she also has lost her ‘child’s eyes’[...]his stories on film. He seems to enjoy injecting the cosmos into people’s backyards, juxtaposing the ordinary with the 1. Produced by Steven Spielberg and di[...]
	E. T. The Extraterrestrial Crosstalk extraordinary and exploring the way people would deal with it. In Polter- geist he set a graveyard of ghosts onto the home salesman and his family; Roy Neary had his first close encounter with a UFO while on the job; the supershark in Jaws terrorized the sleepy coastal resort town of Amity Island; and a man quietly travelling the country roads of the Midwest is attacked by a maniac driving a decompo[...]tastic occurrences seem perfectly natural because the environments in which they are set and the actions of the people involved also seem perfectly natural. In[...]aviau’s practical method of lighting — where, for the most part, the lighting fixtures shown actually provide the filming light levels — James Bissell’s superb sets, John Williams’ most beautiful score and the ﬂawless optical effects supervised by Star Wars[...]vaded by a small, brown alien. E.T. is, perhaps, the first film in which the main star has not been a person or an animal (with the possible exception of HAL 9000 in 2001). Italian sculptor and painter Carlo Rambaldi, the creator of the monster of Alien and the earlier Spielberg extraterrestrials in Close Enco[...]effects crew had failed with a loss of $700,000. The creature that Rambaldi devised is a fantastically[...]zen operators to handle via electronic controls. The magic of Rambaldi’s E.T. lies not only in his mechanics, but in the character that it becomes on the screen. Spielberg himself said that E.T., at firs[...]ured E.T. into his room and could be seen clearly for the first time, standing quietly in the corner wrapped in a blanket, I heard a young voice behind me in the theatre whisper, “Isn’t he beautiful.” When[...]bue a pile of rubber, wires and servo-motors with the qualities and emotions that E.T. exhibits, then t[...]spected that he may be taking sadistic delight in the audience’s tearful reaction to the film, but I have not yet found anyone who was not[...]feel things ashamed of or forgotten. One recalls the loss of a pet or a loved one during childhood years and the reluctance to remember it, and there is immediate[...]scene or individual shot is forced or gratuitous. The performances, especially from the children, are magical, as is, of course, E.T. himself (he cost $1.5 million by the way — one-third of the cost of a Marlon Brando and with a lot more personality). The young and the not-so-young will fall in love with this strange ‘squashy guy’ from the stars. For some it will be a new experience after having bee[...]a hard heart indeed that did not want to cry out for help for E.T. as he lies dying in the terrifying steel and plastic hospital set up in E[...]move you so. Steven Spielberg has made, in E.T. The Extraterrestrial, a film that is vir- tually the cinema ideal; a film that comes from the maker’s heart and touches the audience, not with insincere devices, but with pure emotion. E.T. The Extraterrestrial: Directed by: Steven Spielberg.[...]. U.S. 1982. Crosstalk Geoff Mayer Scenario: the hero, confined to a wheelchair, discovers that a man, in an apartment in the same building as him- self, has murdered his wife. The killer becomes aware that our hero knows of the crime, although nobody will believe him. Sounds familiar? Well, it isn’t — at least not in the hands of director Mark Egerton and script- writers Linda Lane and Denis Whit- burn. The filmmakers of Crosstalk have gone to inordinate l[...]lot in a film which eschews narrative progression for a visual obsession with computer print- outs, gli[...]ras, and selected household appliances. Certainly the mood of claustrophobia, entrapment, voyeurism and alienation is maintained throughout the film. However, this viewer longed for some human confrontation; every time the narrative would head in this direction, Egerton would cut to the omniscient computer. The plot is concerned with the machinations of an anonymous cor- porate group and its financial invest- ment in a sensory computer, the 1-500, developed by Ed Ballinger (Gary Day). However, Ballinger is less con- cerned than the corporate group about the ﬁnancial ramifications of the project. When a car accident confines him to a wheelchair he loses interest in it — that is, until the computer draws his attention to a murder in a nearby apartment. The computer thereby begins a cat-and-mouse game between the killer, Stollier (John Ewart, superb as ever), and Ballinger. The early scenes in thethe house, emphasizes the ﬁlm’s dominant motif :. of the ‘-pervasive’ machine. The J argument also reveals the strain that Ballinger’s preoccupation with his[...]arriage. Cindy’s retort that he should “marry the beast” is more prophetic than she realizes at the time. The ﬁlm’s attitude to the computer is ambivalent, at least in the beginning. The computer detects the crime, and Ballinger’s claim that “I trust the 1-500 more than I trust humans” appears to have some validity. The bizarre conclusion to the film certainly fulfils the film’s advertising slogan (“Only the computer saw the murder . . . and it liked what it saw”). It is[...]dges a narrative tradition largely ignored since the revival of the industry a decade ago. In this regard, the film works extremely well on occasions as a thril[...]ch a bug to his phone. Ballinger, who is watching the monitors that cover the entrance to Stollier’s apartment, is inevitably dis- tracted and the killer arrives home to find Jane trapped inside with the dis- membered head of Stollier’s wife (Jill Forster) visually prominent in the family clothes dryer. The important factor is that the narrative works; Egerton and his team demonstrate an awareness of the con- ventions and the skill required to manipulate the audience to the desired effect. The pity is that the preoccupa- tion with surface imagery and the repetition of the theme of the domina- tion of machine over man allows this narr[...]aterial. However, one cannot resist pointing to a number of missed oppor- tunities, which also could have filled in some of the character detail. The status of the characters within the film is largely functional in that Elliott (Henry Thomas) and E. T., the extra- terrestrial lost on earth. Steven Spielberg ’s E. T. The Extraterrestrial. they are regarded as actants rather than personages: the crippled, intelli- gent hero; the understanding wife; the loyal nurse; the sadistic killer; the mercenary corporation head; etc. However, there is sufficient scope within the framework of the drama to create a number of tensions between the characters. For example, Ballinger is cared for during the day by Jane and, on one occasion, kisses her in front of this wife. But this facet of the plot, together with the tension between husband and wife, is essentially ignored by the film. CINEMA PAPERS December — 565
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	Crosstalk Barbarosa Strangely, the one character which is developed beyond the point necessary for plot progression is Stollier, who has a predilection for leather and bondage. Without knowing the censor- ship considerations, the reason for this character attribute is obscure. Crosstalk i[...]tylish film to look at and listen to. There are a number of striking visual sequences which readily demonstrate the ability of director Egerton, director of photo- g[...]ris Neal to generate an atmosphere appropriate to the narrative emphasis of the film. The sequences leading up to the murder of Stollier’s wife are a prime example: the carefully- composed image of Stollier standing in the shadows of his apartment, his wife gradually becoming aware of his inten- tions; then, just as the tension is begin- ning to build up, Egerton cuts back to the computer’s recording the event. This pattern of frustration is evident throughout the film. Perhaps it is time to remind Australian fil[...]episi’s Barbarosa is a Western shot in Texas in the Lajitas area, where the U.S. army was based when fighting Pancho Villa, with addi- tional filming in Bracketsville, the much modified decors for The Alamo. Native Texans Willie Nelson and Gary Busey lead the cast as Barbarosa, a white renegade living in the Mexican community, and Karl, a German immigrant farm boy who teams up with him. In the opening scenes, the teaming up seems uneasy: Nelson as a grubby, foul-mouthed old man and Busey as the fugitive ploughboy fall short of what one has lea[...]ect from Butch and Sundance. Having been together for a while, however, they become clearly defined ind[...]f humor. Even if there is no hurry about putting the elements in order, they combine well. In the first glimpse of Barbarosa, the legendary bandit, he stands apparently unperturbe[...]reat effect that, too). It is not until well into the film that he begins to tutor Karl in the business of being a shootist and tells him, “No[...]ng like a spotted ass ape.” Language is one of the film’s conspicuous features in a script by co-[...]e 10 years ago. Since then Wittliff has worked on the script of The Black Stallion and has written the much-dis- cussed Raggedy Man, which is being filmed. The film is full of lines like, “The Mexicans got a saying —- what cannot be remedie[...]haven’t got enough ass in your britches to pull the trigger on Bar- barosa.” Then there are the exchanges between the leads —— “I’ve killed a man”, “That a[...]ed.” It has been said that Western dialogue is the only kind of archaic language convincing on film[...]to kill Barbarosa who avenges himself by burying the sleeping bandit with only his head clear of the sand — facing the bodies of the two boys he has shot. The villagers compose corridos (ballads) about the event and, listening in hiding, Barbarosa trans- lates the words for Karl, who is impatient till he finds a part of the song about himself. Later, Barbarosa creeps into the hacienda of the Zavalas clan to visit his wife, Josephina (Isela[...]ly head, Don Braulio (Gilbert Roland), is telling the children the story of Bar- barosa’s murderous wedding night. (“The Zavalas had the desire to kill the gringos but not yet the will.”) The exaggerated sound of thethe knee with a shotgun. The film’s humor, its unfamiliar look and definite style are all assets. The use of close-up insets is also effec- tive: the thorns through which Karl forces his way, with a single drop of his blood falling from them; the bereaved father’s bullets falling to the ground when he realizes he will not be able to re-load in time to kill his son’s murderer; or the home washing, flut- tering on the line. Why then did a well—made, enter- taining film pitched at a popular audience not do better business? The most likely reason is that all attempts to resurrect the Western have failed — even superior, recent films such as Richard Lang’s Mountain Men, Walter Hill’s The Long Riders and, of course, Michael Cimino’s Heaven’s Gate. Since Vietnam, the perception of the frontier ethic has changed. The pioneer has become imperialist and anti-ecology. The cowboy has become the Ugly American. A generation has grown up unable to understand that this material once was considered the most innocent of entertainment. Barbarosa attempts to debunk the conventions one associates with the genre. However, it too is seduced by the notion of legend, already too self- conscious even in the days when people were taking John Ford’s Man Who Shot Liberty Valance more seriously than it deserved. The climax calls for Karl to per- petuate Barbarosa’s reputation. Th[...]ious, even stirring way. Yet, it fails to impress for several reasons. Thethe rancho gate on the ven- geance trail, followed by the camera; and Barbarosa sticking up the seedy cantina. Riding out of history into legend[...]n impressed with. As anyone who has investigated the back shelves of his neighborhood video store since the days of tax loss and local film commissions in the American states knows, there are a host of region[...]h and entertaining gloss, which have sunk without the well-known ripple. What makes this film of particular interest is that it is the work of Mel- bourne’s Fred Schepisi who moved t[...]as said, because local critics failed to take his The Chant of Jimmie Blacksmith as seriously as they had his The Devil’s Playground. Mind you, Schepisi is not the first of the home team to go off to the U.S. and come back with a feature. That distinction belongs to Philippe Mora whose professionally nasty The Beast Hollisler (Peter Collingwood), Cindy (Penny Downie) and Ed (Gary Day), the computer wizard. Mark Egerton’s Cross- talk. Within is doing the drive-in circuit. Bruce Beresford’s Tender Mercies is also due for release. Schepisi also took along director of ph[...]on. Their work in this new situation is superior. The changing patterns of light on the desert land- scape or the rousing passages in the music give a lift to their scenes. There is no qu[...]ook at Barbarosa as part of its maker’s output. The Devil’s Playground, like Schepisi’s similarly[...]rried conviction. A naivety, which suggested that the death of a class-mate was less shocking than des- cribing masturbation, did not stop the film from touching nerves. It had the impact of the unfamiliar that con- vinces one that the makers are dealing in truth rather than tradition[...]in, say, Craig’s Wife, Are We All Murderers or The Battle of Algiers. The Chant of Jimmie Blacksmith was, on the other hand, an established literary property dealing with the country’s most respectable good cause — oppression of the Aboriginals. The stances were adopted and it showed. That film’[...]s in vivid contrast to Barbarosa’s depiction of the Mexicans. Yet again they are shown as dirty, thie[...]ntally, contrasts sharply with that in films from the Mexican industry. From the days of William Randolph Hearst’s disputes with the Mexican government, the Hollywood film con- tinues to offer “greaser” characters like the one who tells Tom Mix, “Yankee pig, it is with[...]ou”; Chris Pin Martin back shooting John Wayne; The Wild Bunch, Break Out, The Border or even Seems Like Old Times, CINE[...]
	Barbarosa choosing far from isolated examples. Of all the national groups, only the Taiwanese cop more ﬂak in films. Lacking a lobby as effective as the NAACP or the supporters of the American Indian, the Spanish-Ameri- can groups have missed out on the up- grading of image during the past decade, apart from a few minor items like Ro[...]oes, however, emphasize a problem very evident in the Australian scene: the attractiveness (particularly to subsidy) of commi[...]sure. Barbarosa does try to balance its image of the Mexicans with Bar- barosa’s speeches about the nobility of the Zavalas family, notably at odds with the revelation about his dealings with Don Braulio. There is the curious notion of the pursuit as a crusade which has elevated the way of life of the clan: “Then God will put us back in houses made of sticks and mud”, and the use of the crucifix knife (thank you Luis Bunuel). This undeveloped idea recalls the suggestion of the black and white blood in Jimmie Blacksmith as the good and bad sides of his nature, simil- arly stated a couple of times without being integrated into the action. It is possible that it made more sense in the longer version of Barbarosa. The trailer contains footage which does not appear to be in the film and the synopsis describes missing scenes: Barbarosa’s original falling out with the Texas Rangers, killing Karl’s sadistic brother-in-law and the out- smarting of the crooked horse dealer to get his breeding stock for the farm. However, the cuts appear justified, with the film running close to out- staying its welcome at[...]because it contains prejudices as superficial as the good intentions of much of the locally-funded material, but because it shows that the front runners in the Australian film scene are capable of operating internation- Barbarosa (Willie Nelson), the Mexz'co—based outlaw, in Fred Schepisi’s Barb[...]They have yet to find a film which will advertise the fact. Barbarosa: Directed by: Fred Schepisi.[...]. Distributor: Hoyts. 35 mm. 140 mins. US. 1981. The Sharkcallers of Kontu Solrun Hoaas In The Sharkcallers of Kontu, Dennis O’Rourke takes ma[...]ently dramatic and de—dramatizes it to focus on the spiritual meaning behind the magic of shark-calling in the village of Kontu in New Ireland. O’Rourke looks at this ritual in the context of the traditional beliefs and the pressures of change. The result is a A shark-caller battles with a shark caught in his hoop. Dennis O’Rourke’s The Sharkcallers of Kontu. 568 —- December CINE[...]ilm, which reveals a web of relationships between the spiritual and physical worlds of the people, and a sensitive relationship between the film- maker and the shark-callers. In dealing with shark-calling, O’Rourke carefully integrates it into the texture of daily life. The shark- callers are seen in relation to the other members of the community, who are subjected to pressures from an outside money economy, changing govern- ments and the imposition of Chris- tianity. The film also places the practice of shark-calling in the context of a belief pattern and its rituals. It i[...]of a relationship with a spiritual world and with the people’s ancestors. Moroa, an all- powerful spirit, created the sharks and instructed them to respond only to the calling of the shark-catchers, who had carried out the necessary ritual preparations and observed the prohi- bitions related to food, sex and certain p[...]ith them — either clan or wild bush spirits, or the spirit of the shark itself. Without these forces they The Sharkcallers of Kontu would not be as important. The shark- calling provides a bridge to these spirits and is a form of communica- tion. This aspect of the magic is emphasized by the film’s reliance on conversations with the men who practise it, especially in two long sequences of the shark-callers — filmed in sync, in close-up and facing the camera — paddling out to meet the shark. They speak not as much of method as of their relationship to the spiritual nature of the shark and their sense of intimacy with this spirit. These sequences are filmed from the prow of the boat, at close range, with a camera that is amazingly steady, even as the shark-catcher battles with the shark caught in his hoop, clubs it and brings it into the canoe. They have a quiet intensity unmarred by super- fluous commentary. The filmmaker’s presence is obvious throughout the film, but in an unob- trusive way: a very low-key narration by Dennis O’Rourke (the same voice heard elsewhere in pidgin on the soundtrack) provides only necessary information. He explains specific aspects of the shark-calling, without attributing intentions or feelings to the subjects. Later, there are a few instances of ed[...]this narration. In thememorable close-up shots in the canoe, his presence is obvious, both in the occasional question put to the man in his native language and in the strong sense one has that the shark-caller is communicating directly to the camera, knowing that the person behind the camera understands what. he says. With the emphasis on communication in the film, the fact that the filmmaker speaks the language is important. As they reach deeper water, O’Rourke films while the sharks swim around the canoe and, attracted by the shark-caller’s rattle, are caught in the hoop, and rock the lightweight boat. “If you attract a bad shark, it can attack you”, says the man of Kontu The dramatic nature of such material could have been played up for effect, as was done in a couple of films on the same subject made for tele- vision in 1977 by Nippon Audio-Visual Productions, the company headed by Jun-ichi Ushiyama. They concentrated on the technique of shark-calling and “O’Rourke looks at [the shark-calling] ritual in the context of the traditional beliefs. ” The Sharkcallers of Kontu.
	The Sharkcallers of Kontu A Midsummer Night’s Sex Comedy the dramatics of it. The narration expressed incomprehension about why they continued to catch the sharks this way, when shark meat is not the prime source of food. There was little attempt to explore the significance of the magic and its spiritual basis. In this film, the content may have its dramatic component, but ther[...]mpt to impose an external dramatic structure from the narrative film in order to build towards a climax. Catching the shark itself is not the main point. The relationship between the shark-caller, and the shark and its spirit is more important, as is the relationship between the shark- callers (with their adherence to the traditional magic) and a culture under constant e[...]sacrifice idea content, where it is important, to the cheap immediacy of emotion up front on the screen, or to the old cliche that a close-up tells us more than the words of a person. So much of tele- vision documentary on other cultures does this, leaving the impression that the overt and visual expression of their cultures has no spiritual or intellectual basis. In emphasizing the communica- tion of beliefs, the film also relies, of necessity, on extensive sub-[...]that there is no com- promise about this, despite the pre- judices against sub-titling held by most of our television channels. The sub- titles are exceptionally clear and easy to read. The film might be described as ‘closed’ to the extent that it takes a certain point of view and[...]Young (who also did Frontline and Angels of War), the film highlights the ironies and incon- gruities, indeed the absurdities, of the education that the children of Kontu receive. They are totally alienated from their own culture: the children learn English in school using textbooks[...]ies, to want junk food and luxuries and to reject the traditional diet of taro, tapioca and sweet potato in what is to some extent still a subsistence economy. The content of their education has no rele- vance to[...]es here of YAP, O’Rourke’s earlier film about the coming of television to a small Pacific island, especially in the ironic use of the soundtrack: snippets from radio advertising and so on. In the earlier film, advertisements for American cosmetics and detergents explicitly made the point about the alienation of a people from their culture. The inanities of American soap operas were contrasted with a lone guitar player, strumming to himself on the fringe of the living quarters, where he was once the centre of the evening’s entertainment. These may seem to be easy points to score, but in YAP they are in the context of a look at U.S. imperialism and economic exploitation. In The Sharkcallers of Kontu, one again finds a strong sensitivity to the sounds that make up daily life on the islands: the pop music and radio jingles — “Easy to shop![...]t again, but it is more controlled than 111 YAP. The ironies of incongruence and the mourning for the loss of tradition brought about by the imposition of other values are, in a sense, didactic points that are stated explicitly through the cutting. There is no pretence at objectivity and the exten- sive use of intercutting between the magic of the shark-calling and the ‘counter-magic’ of a church service, or any other Western ritual (such as the Queen’s Birthday), makes the film- maker’s position quite obvious. These po[...]s once too often, and risk being slick. One sees, for instance, the shark swimming under water and getting caught in the hoop; O’Rourke then cuts to a church service, then to an old man who defends his beliefs against the new teachings that suggest if they follow old ways they will not go to heaven. This intercutting builds to the final conclusion, stated by one of the elders in answer to a question about the survival of the traditional beliefs: they may be able to co-exist with the new government, he says, but not with the new religion. The film’s focus on the spiritual sig- nificance of the shark and not on the catch itself is reinforced by the atten- tion given to the process of dividing up the different parts of the shark — some must be thrown back into the fisherman’s boat, others are given to the villagers. The fin has a special sig- nificance and is placed in the men’s house as proof that man has the power to communicate with the spirits of his ancestors. Today the fins are taken down from their traditional place and offered to the Chinese merchants who buy them for friends in Hong Kong and Singa- pore; the men of Kontu need cash to adapt to the outside pressures on their subsistence economy. The film returns in the last shot to the scene where the Chinese merchant tells the men that if they supply two tons of shark fins, then he can give them a world market price. The film thus shifts its emphasis and leaves a final suggestion that the greatest pressure on the culture is the inevitable encroachment of an economic structure alien to and imposed on the society. In The Sharkcallers of Kontu, as in YAP, O’Rourke recognizes the impor- tance of repetition in a documentary that integrates its themes into the daily life and belief patterns of a society. It i[...]sufficient to state a point once and proceed with the film as narrative. Whereas in YAP the result is sometimes loose and rambling in the repeated return to scenes and situa- tions already seen, here it is more con- trolled. The Sharkcallers of Kontu has less of the journalistic style of the earlier films. However, it is not lacking in wry[...]of a more careful process of sifting out, leaving the bare bones of what is an unabash- edly transparen[...]Sex Comedy Margaret Smith Woody Allen suffered the slings and arrows of outrageous fortune and turne[...]. In A Midsummer Night’s Sex Comedy he has lost the fighting edge of a pioneer who ventured bravely i[...]He has kept his sense of humor and pathos, but in the final scenes of A Midsummer Night’s Sex Comedy that seems to be all that is left intact. The film begs a question: where do you go when you have stopped exploring? For Allen, it seems to mean going into the past. But, on the other hand, can we expect the impossible The four friends who come for the weekend are Leopold (Jose Ferrer), uncle to Adria[...]ombat with other male rivals; Ariel (Mia Farrow), the fiancee of Leopold, nymph-like, liberated and a woman of the future; Maxwell (Tony Roberts, as always), the faithful friend to Andrew and a philandering womanizer; and Dulcy (Julie Hagerty), Maxwell’s friend for the weekend, the not-so-silly nurse who can cope with any emergency. When all the visitors descend on the house, their dreams take on a reality and transfo[...]come tantalized as if under a spell. No one wants the partner they are with, and escapades in the woods become so frantic and ill- begotten that li[...]t is funny, delightful and absurd, but it isn’t the Allen who turned one out of the cinema grappling with a sense of oneself. One was amused, but it might have worked better if the laughs hadn’t been so constant or so long. A M[...]arch of an author. There is Andrew (Woody Allen), the Renaissance man, who tries to fly in his flying m[...]ntelligent, educated woman made frigid because of the memory of an illicit affaire. They live in a rustic rural setting, at the beginning of the century, where Andrew concentrates on his inventions to the detriment of his marriage. Andrew Hobbs (Woody A[...]ody Allen ’s A Midsummer Night’s Sex Comedy. The photography of Gordon Willis, together with the music of Mendel- ssohn, carries the situation to its logical extremes. When the actors aren’t posing as if for some Manet or Renoir Impressionist cameo, the music and photography make the actual woods come alive with the sound of music! There are babbling brooks, float[...]ost of other chocolate- box goodies. It all makes for a marvel- lous send-up, and is one of the delights of the film. Some of the characters are similarly ridiculed. When Leopold and Maxwell duel for word space, there is rarely a kind shot of[...]
	[...]3 Bowen R_oad, Moonah, Tasmania, Australia 7009 2 Telephone (002) 30 3531 Telegrams: Tasfilni Hobart. Telex:[...]Supplier of Period Aircraft and Motor Vehicles to the Television and Movie Industry. 0 Motor Cycles 0 Cars 0 Vans 0 Trucks ‘ 1910-1952 THE TRANSPORT SYSTEM WITH A DIFFERENCE THAT . . WILL GET THE MACHINE TO WHERE THE ACTION IS. 35mm 6%’ 16mm Negdtzve Cuttmg RON MCCANN (Syd) BRIAN RAWSON (Me1b.) P.O. Box 16 Telephone: (03) 51 7351 Armadale, 3143. I 509 0104 24 Carlo[...]W. 2064 (O2) 439 3522 ‘INVESTORS’ Wanted for ‘THE PERPETRATOR’ a 90 minute suspense drama, based on the best seller THE GATTON MYSTERY. Australia’s most baffl[...]
	\\ -n 1" ' 5*." ' .r "miunt PREVIEW 4 :29‘ kg." The story of the world ’s greatest racehorse, set against the :» backdrop of the Great Depression of the 1930s. It tells of ‘ Phar Lap ’s sudden rise to national fame and the controversies surrounding his career, including attempts on his life before the 1930 Melbourne Cup. The story moves to the U.S. with Phar Lap’s success at the world’s richest horse race, and his death in my[...]nces. Phar Lap is directed by Simon Wincer, for producer John Sexton, from a screenplay by[...]
	[...]wbusiness Reference Garland Reference Library of the Humanities, Vol. 292 Edited by Mike Kaplan Garlan[...]Showbusiness Awards Garland Reference Library of the Humanities, Vol. 337 Edited by Mike Kaplan Garlan[...]m and Television Year Book 1982-83 27th edition The Kemps Group (Printers & Publishers Ltd), London,[...]pp. ISBN 0 900925 13 2 G. R. Lansell Recently, the major U.S. show- business paper, Variety, has been entering the reference book field, augmenting its already inti[...]ternational Motion Picture Marketplace 1982-83 is the latest venture. It is divided into three substantial sections. The first, “The companies”, is an alphabetical listing of a lit[...]cal listing of major company names and addresses, telephone, cable and telex numbers, and leading company per[...]ny activities. Algeria receives only two entries; the U.S., understandably, receives the lion’s share — almost 50 per cent of this section. The Australian entries are fairly selective: one is n[...]s almost without saying that it is not a patch on the current Australian Motion Picture Yearbook). Ther[...]in such a considerable and wide-ranging project. For instance, Ken Watts is listed both as managing director of Adams Packer Film Productions and chairman of the Australian Film Commission. Marc Aussie-Stone is still listed as the national director of the Film and Tele- vision Production Association of A[...]er three years in that position). Why two entries for M & L? And whatever happened to the Victorian Film Corporation/Film Victoria? It is a reasonable sample, but obviously in need of updating. The second section is the 70-plus “Classified indexes”, ranging from ag[...]only) and unions. It is here, in particular, that the omissions and discrepancies become more apparent from the Aus- tralian point of view. is there really no Australian distribution company that handles documentaries? The recent Documentary Film in Australia lists no les[...]in Aus- tralia (curiously, two more are listed in the previous “Companies” section)? What is this N[...]nal sin: if Filmnews is deserving of inclusion in the Tradepapers category, then, surely, Cinema Papers also merits inclusion. The final section is simply an inter- national telephone directory to all the people in the first section — listed alphabetically by surnam[...]one- off production companies, all of which have the previous telephone number of Adams’ ad agency, Monahan Dayman Adams, not[...]mitations further afield — it is odds—on that the U.S. and the British sections are less prone to errors and omissions — Marketplace is a valuable handbook. The price, given that it is a paperback, is prohibitive. The two other recent Variety reference books are not as subject to dubious information. They either get the information right the first time or it is simply useless forever (or at least until the second edition). Variety International Showbusin[...]ly so. In a sense, it is a commem- orative volume for Variety’s 75th anni- versary, a distillation from the back files of what is claimed to be “the largest single source of information about the entertainment industry worldwide”. Its avowed a[...]cets of show busi- ness” somehow compacted into the one volume. First in this information marathon are almost 6000 current biographies claimed to be “the largest single such compilation for actors, actresses, choreographers, cinematographe[...]riters and writers ever achieved”, ranging from the RKO sound engineer, John O. Aalberg, to Paramount board member, Eugene J. Zukor (son of the Centenarian pioneer, the late Adolph Zukor). Some well- known Australians, such as Jack Thompson and Peter Weir, appear alongside the all-time greats, such as Marlene Dietrich (nee Maria Mag- dalene von Losch, incidentally), the not-so—great, and the frankly obscure. The next major section is compre- hensive “Film credits” for every film reviewed in Variety from January 1, 1976, to December 31, 1980 — not only most of the English-language titles but also the major foreign- language and film festival titles — plus the date of the original Variety review (readily accessible these[...]eatures released during this period are included, the exceptions being the real box-office dogs and the pretentious arty pieces. Next is a complete listing of all the Oscar winners, as well as the nomi- nees, in every category, from the beginning (1927-28) to 1979; the “All- tirne film rental champs” in the U.S.-Canada market (No. 1 is Star Wars), though not adjusted for inﬂation (No. 1 would then be Gone With the Wind); the major “festivals, markets and conventions” of[...]from A Big Country to Young Ramsay; a list of all the Emmy winners, as well as all the nominees, in every category, also from the begin- ning (1948) to 1979-80; the “Top 50 Nielsen-rated television shows” (No.[...]ecember 31, 1980; significant “Plays abroad” (the Australian representation ranges from the revival of Patrick White’s A Cheery Soul to Steve J. Spears’ Young Mo); all the Tony winners, as well as most of the nominees, in every category, again from the beginning (1947) to 1980; the Pulitzer Prize Plays, from as far back as 1918 (J[...]nning Broadway Plays (Grease tops that list); all the Grammy Award-winners, as well as all the nominees, in every category, from 1958 to 1979, a[...]76 to 1980; and, finally, as if to counterbalance the current biographies at the outset, a “Necrology” (to use Variety’s qua[...]from January 1, 1976, to December 31, 1980, from the con- ductor Nathan Abas to the previously mentioned Adolph Zukor (who died at 10[...]. Quite simply, it is an essential reference work for any library resource centre con- nected with any[...]howbusiness Awards. To some extent, it duplicates the previous volume in that it lists again all of the Oscars, Emmys, Tonys, Grammys and Pulitzer Prize Plays. On the other hand, this latter work has a massive index, which the former, perhaps understandably, has not. A[...]
	[...]both national and inter- national counterparts to the A ustralian Motion Picture Yearbook. Kemps Inter[...]into two halves: Great Britain and International. The British section ranges over no less than 350 sepa[...]technicians” section that, in turn, ranges from the “Art depart- ment” to “Television and video[...]ories, ranging from “Art directors” per se to the “Technicians diary booking service”. This seemingly ever- multiplying craftwork is reminiscent of all the trades and industries in Diderot’s Encyclopedie no less. Next comes the International half, covering more than 50 countri[...]lia occupies some seven per cent of this section (the U.S. almost 33‘/3 per cent) and (like the U.S.) is first categorized state by state, then by technical classification. The researcher or researchers remain anonymous; the sources that were tapped and scoured likewise are anonymous; and the actual criteria for inclusion or exclu- sion go unmentioned. What the[...]unfor- tunate omissions and errors, though not to the same degree as in Market- place. If you are a devout reader of, say, American Cinematographer or the Society of Motion Picture and Tele- vision Engine[...]ic lens to a live vulture (or even a stuffed one) for your next British (and to a lesser extent U.S.) produc- tion, then Kemps is definitely the manual for you: technical information overkill for some, but the name of the game is thoroughness. Peter Noble’s International Film and TV Yearbook 1981-82 (from the fold of the major British film and tele- vision weekly paper,[...]is aiming at a slightly dif- ferent market, more the up-front showmen rather than the nuts and bolts people behind the scenes; Noble is “above the line”, Kemps “below the line”. Like Kemps, it is divided into British[...]nd “International direc- tories” (in terms of the latter, Kemps has more than 800 pages to Noble’[...]so distributed amongst a paltry nine countries). The Australian section, consisting of a meagre page a[...]really needs a major re-think and update. Again, for instance, Ken Watts is still ensconced at the Australian Film Com- mission, Jill Robb likewise at the Vic- torian Film Corporation, Jerzy Toeplitz at the Australian Film and Television School, etc. By far the most important part of Noble’s book, however, r[...]al Films and Television”. To some extent, it is the British version of Richard Gert- ner’s New Yor[...]so well-known names, both in front of and behind the cameras, from Arthur Abeles of Filmarketeers to v[...]nne Dawden’s Oxford Com- panion to Film (really for the film scholar) or Leslie Halliwell’s Film- goer’s Companion (for the film fan): in essence, anybody who’s anybody in the contemporary British film and tele- vision industries. But the Australian representation is fairly thin and seem[...]things and on what grounds? And it is a pity that the entries could not be more up-to-date: there seems[...]column lists books on sale in Aus- tralia or due for distribution, up to Decem- ber 1982, which deal with the cinema and related topics. The publishers and the local distributors are listed below the author in each entry. If no distributor is indicated, the book is imported (Imp.). The recommended prices listed are for paperbacks, unless otherwise indicated, and are subject to variations between bookshops and states. The list was compiled by Mervyn R. Binns of the Space Age Bookstore, Mel- bourne. Popular and General Interest America’s Favourite Movies: Behind the Scenes Rudy Behlmer Ungar/Ruth Walls, $17.95 (TPB) Background details of some of the greatest ﬁlms from the U.S., including Frankenstein, The African Queen and High Noon. The Best Movie Trivia and Quiz Rook Ever Malcolm Vanc[...], $6.95 (HC) An illustrated “book of lists”. The Best TV Trivia and Quiz Book Ever Malcolm Vance[...]5 (HC) A nostalgic look at American television. The Book of TV Lists Gabe Essoe Arlington/Imp., $12[...]t American television shows and person- alities. The Cinematic Cat Written by Bob Bruno, illustrated[...]lever cartoon comments on famous ﬁlms. Filming the Impossible Leo Dickson Jonathon Cape/Australasi[...]f 10 years filming “life-or-death” adventures for television. Illustrated with 180 color photographs. The Films of the Seventies Robert Bookbinder Citadel/Davis Publications, $30.35 (HC) A survey of the American ﬁlms made during the 1970s. Illustrated. The Forties Gals James Robert Parish and Don. E. Stonke Arlington/Imp., $31.25 (HC) The careers of actresses Lauren Bacall, Susan Haywar[...]d Robertson, $12.95 An illustrated survey of all the great teams on the screen, from Astaire and Rogers to Allen and Keaton. The Great Movie Stars — The Golden Years David Shipman A&R/Angus and Roberts[...], each being of a star whose name was made before the beginning of World War 2. The Great Movie Stars — The International Years David Shipman A&R/Angus and Robertson, $14.95 (TPB) The second volume in Shipman’s history of the cinema stars following the Golden Years. New, revised edition covering from the 1950s to the ’70s. Illustrated. The Great TV Sitcom Book Rick Mitz Richard Marek/Imp., $13.30 (TPB) The plot lines, cast and characters of all the American situation comedies on television. Illus-[...]nd Strait St Martin’s Press/lmp., $18.60 (HC) The lives of the children of Hollywood stars and how they cope with being the children of big name stars. The Making of the Great Westerns William R. Meyer Arlington/Imp., $26.65 (HC) An examination of 30 great Westerns. The R.K.O. Story Richard B. Jewell and Vernon Harbin Octopus/Gordon and Gotch Distributors, $29.95 (HC) The complete studio history, with all the 1051 films described and illustrated. Special Ef[...]ction ﬁlm effects. Terry Nation's Blake’: 7: The Programme Guide Compiled by Tony Attwood W. H. A[...]son Group Aust., $14.95 (HC) A complete guide to the science-ﬁction television series. Twenty All-T[...]te synopses of great science-ﬁction ﬁlms from the 19305 to the ’70s. Biographies and Filmographles Apple Sauce — The Story ofMy Life Michael Wilding, as told to Pame[...]James Mason Sphere/Thomas Nelson Aust., $6.95 The autobiography of the leading British actor. Cary Grant — The Light Touch Lionel Godfrey R. Hale/Imp., $22.50[...]Charles Thompson Fontana/William Collins, $4.95 The life and career of America’s best-loved comedia[...]inson Group Aust., $19.95 (HC) An examination of the career of one of the most successful and highly-paid screen actors. Clint Eastwood — The Screen Greats Alan Frank Wattle/Gordon and Gotc[...]lustrated coverage of Clint Eastwood’s career. The Comic Art of Mel Brooks Maurice Yacowar W. H. Allen/Hutchinson Group Aust., $20.95 (HC) The career of Mel Brooks, whom the fans love and the critics hate. Eddie: My Life, My Loves Eddie Fi[...]t., $27.95 (HC) Eddie Fisher reveals his side of the story — his much publicized marriages, drugs, money problems and the rest. Elizabeth Taylor — The Screen Greats Tom Hutchinson Wattle/Gord[...]
	[...]mess IN COMMON? . . . Zoran Perisic, inventor of the Zoptic System, which gave the special effects for “2001” and "Superman"! Perisic details in hi[...]ose he perfected himself. Other media manuals in the Focal Press Series are written by experts in the state of the art like Zoran Perisic. These books, above all, a[...]spreads and inter-related text and illustration. The Media Manual Series[...]16mm Film Cutting — Burder 166 pages $14.50, The pages $19.50, Script Continuity and Robinson/ Bea[...]imation Stand — Perisic 168 pages $15.00, Basic The Production Secretary - Your Film & The Lab - Happe 208 Film Technique - Daley 160 pages[...]Millerson 176 pages 14.95, Creating Scripfwriting for Animation — Oideiiiom our iocai bwkseiiei, oi in Special Effects for TV 8: Films —Wilkie 160 pages Hayward 160 pages $19.00, The Case of diffiéuiiy fromi FOCAL pRE33: $15.00, Ef[...]ment A Division of BU-i-ERWORTHS my pages $19.00, TheThe Lens and All Its Jobs — Ray 160 pages 164 pages[...]otion Picture Camera Techniques 176 pages $14.50, The Use of - Samuelson 200 pages $19.50, Motion Pictu[...]ERMAN” SMITH is an extraordinary guy. HE holds the Australian record for a free fall from the height of 52 metres (1 70 feet) and is looking to[...]od in front of a camera. I/Vhat BILLY is looking for is a chance to show and use his talents, a[...]
	Book Reviews Elizabeth Taylor —— The Last Star Kitty Kelley Coronet/Hodder and Stoughton, $5.95 The tumultuous personal history and career of the screen’s most publicized actress — a most det[...]., $4.50 A sensational biography of Liz Taylor. The Films of Charles Bronson Terry Vermilye Citadel/Davis Publications, $12.75 (TPB) A title in the popular “Citadel” series. New in paperback.[...]and comprehensive large format paperback book on the life and career of one of Hollywood’s greats. Humphrey Bogart — The Screen Greats Alan Frank Wattle/Gordon and Gotc[...]desired to become an accomplished photographer. The Last Sitting Bert Stern Orbis/William Collins,[...]Fifty shots in color and 40 in black and white. The Legend of Charlie Chaplin P. Haining W. H. Alle[...]Nelson Aust., $22.50 (HC) A Hollywood story — the autobiography of Louise Brookes, her career, friends, contem- poraries and the film capital, as it was in the silent days, and later. Mae West Fergus Cashin Star/Gordon and Gotch Distributors, $4.95 The complete biography of Hollywood’s most irreverent comedienne. New in paperback only. The Magic of Woody Allen — But We Need the Eggs Diane Jacobs Robson/Hutchinson Group Aust., $20.95 (HC) The career of Woody Allen. An up—to-date critical appraisal of his work. Marilyn Monroe —- The Screen Greats Tom Hutchinson Wattle/Gordon and[...], volume on Monroe‘s career. Marlon Brando — The Screen Greats Alan Frank Wattle/Gordon and Gotc[...]covering her life and career. Mother Goddam — The Story of the Career of Bette Davis Whitney Stine Star/Gordon[...]with a complete ﬁlmography. Ronald Reagan — The Screen Greats Janice Anderson Wattle/Gordon and Gotch Distributors, $6.95 The film career of the U.S. President. Sir Aubrey David Allen Elm Tre[...]ised edition of this book originally published in the “Cinema One” series. It discusses the 40 films made by Hawks and it includes a new chapter on the new theories about individual authorship in ﬁlms. The Films in My Life Francois Truffaut, Mayhew Penguin/Penguin Aust., $7.95 (TPB) The autobiography of Truffaut, paperback. translated[...]Rosalind Delmar BFI/Gaumont, $7.50 A survey of the work of political ﬁlmmaker, Ivens, with article[...]niversity Press/Imp., $16.70 A critical guide to the films of Stanley Kubrick. Polanski Barbara Learn[...]son Aust., $29.95 (HC) An authoritative study of the controversial director and his ﬁlms. Repulsion (The Life and Times of Roman Polanski) Thomas Kiernan[...]on, $4.95 Biogaphy, now in paperback. Crltlcism The Brechtian Aspect of Radical Cinema Essays by Mar[...]on of articles, some previously unpub- lished, on the theme of the Brechtian aspects of radical cinema. Genre Stephen Neale BFI/Gaumont, $4.95 An essay from the British Film Institute on genre theory of film.[...]f ﬁlm reviewing — a critical view of films of the 1970s by Kubrick, Huston, Hawks, Fellini and other leading directors. The New German Cinema John Sandford Methuen/Methuen[...]iscussion on Indian ﬁlms and various aspects of the cinema in general. History ol the Film Industry The Dream That Kicks — The Prehistory and Early Years of Cinema in Britain[...]iversity Press, $43.95 (HC) A critical history of the origin and development of the cinema in Britain. A History of Narrative Film[...]on/1mp., $21.30 (TPB) A comprehensive history of the cinema designed to meet the needs of the introductory ﬁlm course. Hallywood’s Image of the Jew Lester D. Friedman Ungar/Ruth Walls Books, $10.50 (TPB) The evolution of the screen Jew, from the silent ﬁlms to the present day, and the message of assimilation contained in most of the ﬁlms. The Pictures That Moved Joan Long and Martin Long Hu[...]es more than 300 illustra- tions, many reproduced for the first time. Reference The Best of MGM — 1928-1959 James R. Parrish and Gregory Mank Arlington/Imp., $39.95 (HC) The credits, story and photographs from 160 MGM films. The Australian Motion Picture Yearbook 1983 Cinema Papers/Thomas Nelson Aust., $25.00 (TPB) The annual almanac of the Australian ﬁlm industry — who is who and what is happening. Pictorial History of the Silent Screen Daniel Blum Wattle/Gordon and Gotch Distributors, $19.95 (HC) The Golden Years New printing, from Wattle Books in Australia, of the old Hamlyn title. A Pictorial History of the Talkies Daniel Blum, revised by John Kobal Wattl[...]C) A year-by-year, fully-illustrated coverage of the year’s films and top stars — a new and revise[...]Garﬁeld Atheneum/Imp., $37.50 (HC) A guide to the Westerns screened in the U.S. since the advent of talking pictures. Film Scripts Two Screenplays — Jean Cocteau The Blood of a Poet/The Testament of Orpheus M. Boyars/Thomas Lothians, $8.75 (TPB) Television Ah! Mischief — The Writer and Television Edited by Frank Pike Faber/Penguin Books Aust., $8.50 Essays on script writing for television. Television Monograph — Coronation[...]ion drama through a series of essays primarily on the British series, Coronation Street. The Television Barons Jack Tinker Quartet/Australasian Publishing Co., (HC) . . The story of Brrtain’s television moguls and how they rose to power and thefor West German television. $23 .50 Film Techniques[...]12.30 (TPB) Covers every stage of writing scripts for television and ﬁlms. Media and Education Crea[...]yons Armadillo/Kingﬁsher Books, $39.95 (HC) In the style of the overseas publications such as Graphis Annual — a presentation of the adver- tising industry in Australia, covering pho[...]volume. Novels and Other Film Tie-ins E. T. — The Extraterrestrial Story Book William Kotzwinkle Sphere/Thomas Nelson Aust., $9.95 (HC) A picture book for young readers of the film story. E. T. — The Extraterrestrial William Kotzwinkle Sphere/Thomas Nelson Aust., $3.95 The well-written novel based on the Steven Spiel- berg film. We of the Never Never Mrs Aeneas Gunn Hutchinson/Hutchinson Group Aust., (HC) A new edition of the Australian classic novel, now a major film. ‘A’ $9.95 SUPER-8mm SOUND MOVIES Condensed versions of the top Hollywood productions are available for you to show If] your own home.Titles include: THE ROSE EMPIRE STRIKES BACK FLYING HIGH BEN HUR STAR WARS ROCKY HORROR PICTURE SHOW THE HUNTER SHOWBOAT GREASE SATURDAY NIGHT FEVER THE FORMULA XANADU FAME A STAR IS BORN MUTINY ON THE BOUNTY JAWS Also available are cartoons, Disney[...]__ __________ .. ADDRESS... __ P/CODE_:_ or telephone (08131. 2320 CINEMA PAPERS December — 575
	[...]AIMED AT IMPROVING YOUR SKILLS IN:— ° ACTING FOR TELEVISION 0 STUDIO TECHNIQUES 0 SCRIPT WRITING[...]DIO, 3-COLOUR CAMERAS) CALL SYDNEY [O2] 356 I820 FOR WORKSHOP DETAILS Best rates FAST AND VERY ACCURATE FOR TV PROGRAMMING AND FILM EDITING. IFILMWORKS 28[...]mes and feet. RD 80, bench type, $495.00; RD 360, for editing tables, cine- tech, inspection and previe[...]d light _ indicators, $275.00. Time Calculators for adding up hours, mins and sees, $31.50. Blooping tapes 16 and 35mm, for sound track or picture, 50 ft from $3.25. OXFORD[...]POLO (MORRICONE) $10.99 LAURA (JUVET) $1099 QUEST FOR FIRE (SARDE) $11.99 PIRATE MOVIE $14.99 CARMEN JO[...]RTH (BERNSTEIN) $11.99 DOANGO (BERNSTEIN) $11.99 THE HELEN MORGAN STORY (SOUNDTRACK) $10.99 Mail orde[...]S RECORDS & BOOKS 132d Toorak Road, SOUTH YARRA. Telephone (03) 267 1835 We are open 7 days a week
	12$ — -1341443990 SH3dVd VINENIO BOX-OFFICE GROSSES PERIOD PERIOD 12.9.82 to 13.11.82 21.3.8[...]147,145 10,361 Norman Loves 49(71)74 Rose ’ (3) The Pirate Movie FOX 31,722 (3*) Lonely Hearts 0TH 42,244 _ (4) Running on Empty RS 30,443 We of the MLB (9') 163,217 PTH (9’) 94,062 The Man From Snowy River 5091791 (3) 21 ,003 Mo[...]correct. :2 Figures exclude N/A figures. I Box—offIce grosses of individual films have been supplied to Cinema Papers by the Australian Film Commission. 0 This figure represents the total box-office gross of all foreign films shown during the period in the area specified. " Continuing into next period NB: Figures in parenthesis above the grosses represent weeks in release, It more than one figure appears. the film has been released in more than one cinema during the period. " Incorrectly listed as 4.9.82 in[...]
	[...]nal Film,Television and Special Effects Make ~Up for the Industry. —-— R.C.M.A.(U.s.a.) VISIORA (Fran[...]h 1 r ' A ’ (02) 331 3314 The space-age technology of ILC produces this ‘grea[...]. 1 la Lelchhatdt Street ' Balanced light without the need of filters. rl Darlinghurst NSW 2010 ' Maintains 9l(f)% of rated initial lumen to the end of its long i e. T 0 T 1‘ Set and prop Cont[...]SAVE A LOAD ON EXCESS FREIGHT CHARGES. BY HIRING THE "HEAV\|ES" IN THE WEST. AUDIOVISION Pty. Cine Service Ltd. compa[...]&l° mm BL ‘‘”d R I 1 ' :2 VICTORIAN AGENTS FOR TUSCAN REELS & CANS Nagra etc. available for ee 5' °°n5' °°'e5' e C‘ SELECTIVE HIRE. -CR[...]from any gauge original full support facilities for mainland crews. Alternatively, we can produce it, and you’ll reap thethe wor\|d’s largest ﬁlm set. Call Peter Schmidt to discover the beneﬁts of shooting your next commercial[...]
	[...]Cavani Continued from p. 527 We couldn’t fill the streets with rubble because of the incredibly high cost. You have to make certain choices; you have a measure for giving an impression of a given situation within the limits of what you can spend. We don’t have all those millions for making a film like the Americans. Are you one who is compelled to impar[...]that I knew very little about, initially. So, in the first place, it is an experience for me. I learn to think more deeply about certain pr[...]spects that usually are ignored. Then, of course, the film can serve others, as an experience. But I d[...]ms. I Marcello Mastroianni, left, and girl in The Skin. make films about certain argu- ments or themes because it is an experience for me. Maybe there are others who also find the film is an interesting experience; if so, great; if not, those are the breaks. But three billion lire to have an illuminating personal experi- ence . . . But the cinema is like that. Every film expresses the opinions or games of a director; it is like that throughout the performing arts. They don’t produce bread, they don’t save the world, they don’t save us from atom bombs and[...]certain things, about yourself and about others; forfor a diploma at the Centro Sperimentale di Cinematograﬁa in Rome. 1963 Storia del III Reich A documentary for Italian television. 1963 L’eta di Stalin 1964 L[...]t Vichy) 1965 La donna nella resistenza (Women in the Resistance) 1965 Cesu mio fratello (Jesus, My Brother) 1965 II giomo della pace (The Day of the Peace) 1966 Francesco d’Assisi Cavani’s first feature film for tele- vision in two episodes. 1968 Galileo 1969 I cannibali (The Cannibals) 1971 L’ospite (The Guest, the Host) 1974 Milarepa 1974 Il portiere di notte ([...]e del male (Beyond Good and Evil) 1981 La pelle (The Skin) 1982 Oltre la porta (Beyond the Door) Film Censorship Listings Continued f[...]bitors Decision reviewed: Refusal to register by the Film Censorship Board. Decision of the board: Register (a) Previously shown on May 198[...]r “Films Registered Without Elimina- tions" (“For Restricted Exhibition") and “Films Refused Regi[...]st 1982 Films Registered Without Eliminations For General Exhibition (G) Conversations with Willar[...], U.S., 648.00 rn, Australian Film Institute Food For The Sharks: Fotoclne Film Prod. Co., Hong Kong, 2482.00 m, Grand Film Corp. PIL The Secret of Nlmh: A 8. D Bluth, U.S., 2221.83 in, United lnte-r'l Pictures Tracks Of The Rainbow (16mm): Glttoes & Dalton Prod., Australia[...]ods A Trilogy on Tibet — Part II — Radiating The Fruit Of Truth (16mm): Thread Cross Films, Britain, 1371.00 rn, Australian Film Institute The Weavers, Wasn't That A Time’?: Brown, Stoney & Lowenthal, U.S., 1645.80 rn, Sharmlll Films We 01 The Never Never: Adams Packer/Film Corp. of WA, Australia, 3640.20 rn, Adams Packer Film Prods Not Recommended for Children (NRC) Amis — The Stick 01 Death’: Consolidated Prods. Philippines, 2441.27 rn, lnter‘l Film Dist. Aust., V(I-l-g) Fight For Glory: Chao-Kwong Yong, Hong Kong, 2189.00 m, Golden Reel Films, V(l-l-g) From The Ashes: N\|caragua’Today (16mm): Inter- national[...]Project, U.S.,_ 636.26 rn, Resource Action Centre for Latin America, V(r-m-/), L(l-m-g) Hanky Panky: M[...]Comfort Films Enterprises, Vf-I-' R£attl)rn Of The Soldier: A. Skinner, Britain, 2797.86 rn, Roadshow Dist. P/L, O(adult concepts) A The 7 Grandrnasters: Hong HWA lnt Film (HK) Ltd, Hong[...]0 m, N.S. Prods P/L, 0(adult theme) To Hell with The Devil: Golden Harvest Prod. C_o., Hong Kong, 2743[...]743.00 in, Joe Siu lnt’l Film Co. PIL, V(i-l-g) For Mature Audiences (M) Armaan: Sagar Art, lndia. 4[...]use, NZ, 2550.90 m. Roadshow Dist. P/L, V(f-m-g) The Best Little Whorehouse in Texas: Miller-Mill<is-[...]y, 3264.17 rn, Valhalla Films, O(aduIt concepts) The Fearless Duo: Jia's Motion Pics, Hong Kong, 2523.[...]98 m, Warner Bros (Aust.) PIL, O(sexual allusion) The Miracle Fighters: Peace Film Prods, Hong Kong, 29[...]arner Bros (Aust.) P/L, O(aduIt concepts) Offend The Law Of God: First Films, Hong Kong, 2515.20 rn, Grand Film Corp. PIL, V(f-I-g) On The Run: M, Brown, Australia, 2880.15 rn, Paciﬁc Te[...]e Siu \|nt‘\| Film Co. P/L, O(nudiry) Pink Floyd The Wall: M-G-M, Britain, 2605.85 rn, United lnt’l Pics, S(i-m—i). V(f-m-j) The Postman Fights Back: Paragon Films, Hong Kong, 25[...]647.23 rn, Australian F-"llm Institute, L(f-m-g) The Secret Policeman's Other Ball: Amnesty Int’I, B[...]00 m, Comfort Films Enterprises, V(!-m-g) Strife For Mastery: Success Film Corp., Hong Kong, 2002.00 r[...]72.00 rn, Joe Siu lnt’\| Film Co. P/L, O(nudity) The Willl Busch Report (16mm): Visual Prods, W. Germany, 1283.49 rn, German Embassy, S(i-m-j) For Restricted Exhibition (R) Angel Mine (optically[...]L, S(I-m-g) Axe (reconstructed version) (a): Box Office, U.S., 1810.38 rn, Regent Trading Enterprises, l/(I-m-g) The Beach Bunnies (videotape): AFPIISCA, U.S., 85 min[...]1136.00 m, Blake Films Vic. P/L, S(i-m-g) Dawn Of The Mummy: Harmony Gold Ltd, U.S., 2523.56 rn, AZ Ass[...]2523.56 rn, Con- solidated Exhibitors, V(f-m-j) The Erotic Adventures Of Robinson Crusoe (recon- str[...]Films 8. Video, S(i-m-g), V(f-m-g) Linda Lovelace For President (videotape): General Film Corp., U.S.,[...]t, U.S., 1837.81 m, 14th Mandolin PIL, S(f-m—g) The Tale 0! Tiffany Lust: A. Lispenard, U.S., 2245.70[...]shown on May 1982 List. Special condition: That the film will be exhibited only at the Second Commonwealth Film Festival in Brisbane bet[...]00 rn, Commonwealth Film Festival Love Brewed in The African Pot: K. Ansah, Ghana, 3429.00 rn. Commonwealth Film Festival The Red Bowmen (short version) (16mm): C. Owen, PNG,[...]Film Festival Films Registered With Eliminations For Restricted Exhibition (R) Alice In Wonderland (v[...], U.S., 75 mins, Video Classics, S(f-m-g) Reason for deletions: S(i—hg) Amanda By Night: N. Wescott[...]L, S(l-m-g) Deletions: 4 metres (9 secs) Reason for deletions: S(i-h-g) The Master & Ms Johnson (reconstructed pre-censor cut[...]S(I-m-g) Deletions: 11 metres (24 secs) Reason for deletions: S(l'-h-g) Prolonged Pleasure (16mm):[...], S(f-mg) Deletions: 0.5 metres (3 secs) Reason for deletions: S(r’—h-g) Sott Places (reconstruc[...]S(I-m-g) Deletions: 1.5 metres (3 secs) Reason for deletions: S(i-h-g) (a) Previously shown on Nove[...], 14th Mandolin P/L, S(i-hg), Ofsexual violence) The Joy Of Letting Go (videotape): Summer Brown Prods[...]pre-censor cut version): J. Byron, U.S., 84 mins, The House of Dare P/L, S(f-h-g) Los Violadores Del Am[...]cut version): Superbitch Prod., U.S., 1580.00 rn, The House of Dare P/L, S(f-h-g). ‘Av CINEMA[...]
	The Biography Industry The Biography Industry Continued from p. 532 Lamour — is bent on adhering to the maxim: “If you can’t say something nice about[...]Joan Collins to this principle when Collins gets the lead in The Road to Hong Kong ; (1961), but elsewhere she is[...]erous to her colleagues. She insists that life on the Road sets was overwhelmingly wholesome and jolly,[...]her a good memory or has been careful in checking the credits for the films, so that the book is not littered with those unnecessary errors that disfigure so many of the genre. She is genuinely interested in talking about the films, even if this remains on a pretty simple le[...]odel of happy domesticity with William Howard, “the most beautiful man [she] had ever seen, in or out[...]er invitations. 55 nice girl” is probably not the phrase that leaps to mind in relation to SUSAN HA[...]stopher P. Anderson tells her story (published by the same firm in the same year as Dorothy Lamour’s), she lived her life, if not endear- ingly, at least consistently. From the poverty- stricken Brooklyn girlhood onward (much[...]over in 1975, her doctor marvelled, “Nothing in the medical literature resembles it. It was amazing to live that long with this type of cancer. She was one of the great fighters. I’ve never seen anything like it” (p. 258). It sounds like any number of the characters she played in the heady days of her stardom in the 1940s and ’50s: the woman destroyed by drink in Smash-Up (1947); the girl who “loved not wisely but too well” — there was a lot of that about in the ’40s — in My Foolish Heart (1949); Jane Froma[...]chine, in With a Song in My Heart (1952); beating the booze again in P1] Cry Tomorrow (1955): “Sip by sip, slip by slip, Lillian Roth hit the bottom of the bottle! Filmed on location — inside a woman’s soul!” the posters tempted us; and Barbara Graham, perhaps w[...]of murder and executed in I Want to Live (1958). The latter, after four previous nominations, for the films named above, brought her the Oscar at last, with the attendant irony that “now that she indeed had what she had been striving for all those years, she no longer needed it” (p. 1[...]it, partly because she was now — had been since the late 1940s — a true star and was now unimaginab[...]r second marriage, to Eaton Chalkley, brought her the sort of peace that had hitherto eluded her. It el[...]attorney’s questioning: with no further gloss, the record has the elements of high ’40s melodrama, though more ex[...]s than ’40s cinema would have allowed. Despite the more sensational aspects of her life — not merely being chased nude round the neighborhood by Barker but discovered in bed with[...]ite her chilling aloofness to most colleagues, in the end, Susan Hayward emerges from Anderson’s biography earning our respect — respect, that is, for the way she worked at her career, for unremitting vigor and professionalism in dealing with the often-ludicrous junk she was handed, and for an unillusioned approach to the Hollywood machine. Her name and fame were made in more or less lurid roles but I have a special affection for some quieter achievements: for Lucy Overmire, wavering between admirers (not at[...]zcock '5 Spellbound. Canyon Passage; for the clergyman’s wife in Henry King’s I’d Climb the Highest Mountain (not a “technicolour blockbust[...]aims, but a modestly charming rural romance); and the sorely—tried wife in Nicholas Ray’s The Lusty Men. But whatever the role, quiet or ﬂamboyant, powerful or inane, sh[...]difficult life, and that means perhaps a dozen of the 60—odd films she made. Her last appearance — at the Oscar ceremony in 1974 — epitomizes that best: very ill, but exercising the determination that marked her whole career and exhibiting the star power she had acquired over the years, she was unexpectedly and unsentimentally m[...]ing especially interesting, has remained a star for just on 40 years in 50 films. Perhaps those figures are significant: in 16 of the years, beginning with Days of Glory in 1943, he a[...]did he appear in three films. Stars who began in the ’30s, in the heyday of the studio, received much more rapid exposure (e.g.,[...]ht in 1932, five in 1933, six in 1934 and so on). The pace must have been killing but the variety of roles pushed at them gave them a chanc[...]tely as befits his very earnest persona; it gives the impression of being very carefully moulded around[...]estige production to another, doing time opposite the two biggest women stars of the day — Greer Garson in Valley of Decision and Ingrid Bergman in Spellbound. Peck is a star of the same kind as John Wayne, James Stewart, Cary Grant and (above all) Henry Fonda, but he is not really of the same calibre. Like them, he is essentially a “s[...]eal-life figure that corresponds quite closely to the usual screen persona of a liberal American — and the resulting book is a bit dull, like its subject. A[...]cal and social views: he stuck to his guns during the HUAC squalors, but he can’t help sounding rather a pill from time to time. For example, in his advice to Tony Curtis to “Stop knocking everything — Hollywood, the Academy” (p. 185), he sounds like one’s boring uncle. The career is all there in Freedland’s book but the films are mostly dealt with skimpily, with a few exceptions like A Gentleman’s Agreement, The Gunfighter, Twelve O’Clock High and To Kill a M[...]intelligent in all of them, perhaps above all in The Gunfighter, which is well-treated in the book. According to Freedland, Peck yearned to play comedy. It is hard to see why: he is charming enough for William Wyler in Roman Holiday but his is scarcel[...]y other certifiable comedies — Ronald Neame’s The
	The Biography Industry In spite of this, there is[...]one might have recalled — lewd Lewt in Due] in the Sun, for instance, as distinct from Father Chisholm in Keys of the Kingdom — but somehow it is all suffused in a rather monotonous haze of decency. The roles may have varied but Peck hardly seemed to,[...]rent hack hardly persuades one otherwise. 0st of the major stars created in the 1950s either are dead, like Marilyn Monroe or Ja[...]ally, like Brando, as to be no longer powerful at the box-office. ELIZABETH TAYLOR began her career as a child in the ’40s and to that extent overlaps with Gregory Peck, but her real stardom belongs to the ’50s — that is, give or take National Velvet which remains her one indisputable star perfor- mance. For the curious thing about Taylor is that, though she has been the nominal star of all her films since 1950, she has[...]star; she seems not quite able to take charge of the screen with that effortlessness that characterize[...]a (1947) and A Date with Judy (1948) to Father of the Bride (1950), she never looked less than smashing and at the time this seemed enough. The apotheosis of her beauty came with George Stevens’ still moving A Place in the Sun (1951). As Kitty Kelley claims in her biograp[...]“Spilling over with sex appeal, she was indeed the kind of girl American boys dreamed of marrying. She had the kind of beauty that would bring all a man ever dr[...]ns knew that, with Elizabeth Taylor as his star, the audience would understand why George Eastman [Mont- gomery Clift] would kill for a place in the sun with her” (p. 33). Stevens, that is, seem[...]of what was going on. Kelley has a sure grasp of the high-spots of Taylor’s career: Velvet, Sun, Gia[...]since which it has been more or less downhill all the way. Increasingly she has thrown herself into the messy saga of her off-screen life, and Kelley records with a nicely sardonic edge how “The perilous melodrama of dying and coming back to li[...]ton] ignored her and found her boring” (p. 55). The answer is not hard to find: apart from a certain[...]sexual appetite and that, of course, is a matter for restricted circulation — well, fairly restricte[...]che dore [not that Taylor bothered too much about the church door] . . . Withouten oother compaignege in youthe” (no problems here for Taylor), her sexual adventures comprise a sickeni[...]not to read. 15. Kitty Kelley, Elizabeth Taylor: The Last Star, Michael Joseph, 1981. El izatl )Cl[...]s Elephant Walk. Kelley’s book is subtitled “The Last Star”. Surely not the last in any sense — others have certainly followed her so that she was neither the most recent nor the last in a line. Is she even, one wonders, a star? As the looks that made her famous began to bloat, she perhaps took more pains with acting though even at her best the effort shows. The book ends with her trying her luck on stage in The Little Foxes to mixed reviews. At the end of Kelley’s account one feels an unwarranted tolerance for Taylor, based on a certain likeability and survivorship. But perhaps such tolerance should be suppressed in the light of other truths: that she seems really fou[...]ent lizabeth Taylor’s career is poised between the great star-making era of the 1930s and ’40s, when she might have been made a real star instead of just a famous commodity, and the ’70s when she looked merely archaic. SHELLEY WINTERS, spanning the same period, has weathered the changing cinematic climate better. After a brief[...]ghly noticed in Cukor’s A Double Life (1948) as the doomed waitress. She then starred in half a dozen[...]ing certiﬁable stardom in Stevens’ A Place in the Sun (1951). In this she was very touching as factory hand Alice Tripp who, pregnant, gets in the way of George Eastman’s (Clift) ambitions. Ther[...]as rarely less than entertaining, especially fine for Charles Laughton in The Night of the Hunter, for Stanley Kubrick in Lolita and for Paul Mazursky in Next Stop, Greenwich Village. Bu[...]tinued, I hope . . .” What is there to be said for Shelley —- Also Known as Shirley except that it[...]offers an egomaniacal wallow throughout — from the picturesque deprivations of youth, through the Hollywood bombshell phase, through the Yearning-To-Act phase —— omitting none of her star—studded (if you’ll excuse the term) promiscuities with the likes of William Holden, Burt Lancaster, Errol Fl[...]entlessly vulgar, each new adven- ture cutting at the crucial moment to “A fire roaring in the fireplace, Waves pounding a beach, Fireworks exploding” or some other cliche for cinematic orgasm. In the name of love-of-life, she reveals a shoddy set of[...]s, to excuse her most unattractive behaviour. As for the career, she has some sense of where the high spots were (A Double Life, A Place in the Sun), but the telling is so riddled with errors as to undermine all confidence in the reader. In the epilogue, she writes: “In this life journey, pe[...]ng of time in her first 20 years. Attributable to the latter are hits like how she was “about 21” when she made A Place in the Sun (“about 21” in the sense, that is, of being 29) or the blithe absurdity of “The roles I could have done were given to Jean Arthur[...]aptain Winter. In 1945? I don’t believe it. As for the other sorts of errors, they are legion: she recalls the earlier version of An American Tragedy in “the late twenties” (i.e., 1932) which “Eisenstein[...]n and directed”; she claims she co—starred in The Raging Tide with Richard Conte (true) and Joan Ca[...]aiting in line behind Betty Grable and Alice Faye for some kind of a decent part” in 1951, just six y[...]citizen and a mother”) and dim sententiae along the lines of, “I have come to know that at a[...]
	The Efftee Legacy The Efftee Legacy Continued from p. 523 (31) Signor Apollo Granforte and the Williamson- (32) Imperial Grand 0 era Company O[...]enowned baritone sings “Largo Al Factotum" from the Barber of Seville by Rossini. Lou Vernon — Ch[...]rosby and John Dobbie. A British print is held by the National Film Lending collection. Slightly longer print of Australian origin held at shelf number NB14O in the NFA. Dir.: Thring and Wallace. In The Future (12 mins, 1933) Love triangle farce based[...]d John Dobbie. Dir.: F. W. Thring and Ada Reeve. The Pat Hanna Variety Shorts (made as supports for Diggers In Blighty at the end of 1932) (1) (2) (3) (4) George Randall and Babe Scott in “The lmposter” (10 mins, 1932) Corny comedy sketch a[...]ng Lost Son” (9 mins, 1932) Dandy actor applies for a job through a labor exchange. Valli appeared in[...]rt had been on contract with J. C. Wil\|iamson’s for many years by 1932. Dir.: Pat Hanna. Lavender an[...]pke (tenor) and Francis Ogilvy (solo dancer) with the Ostend string trio. Song and dance in 18th Century costume. Dir.: Pat Hanna. Pat Hanna in “The Gospel According To Cricket” (short lost at tim[...]of 14/12/1932). Pat Hanna as a cleric, preaching the fate of ‘Australia's Eleven’ from the pulpit. Dir.: Pat Hanna. The Efftee Documentaries (1) (2) (3) (4) (5) (5) Cities of the Empire Series — Melbourne Today (10 mins, 1931) First and best of the Efftee documentaries. Very high standard of camer[...]man Campbell is somewhat flowery but evocative of the period. Dir.: F. W. Thring. Cities Of The Empire Series — Ballarat (8 mins, 1932) Standar[...]n by F. W. Thring. Dir.: F. W. Thring. Cities Of The Empire Series — Sydney (film lost, 1932) Camera[...]English crew under Claude Flemming’s direction for Efftee. Includes an interesting shot of a Fascist march. Efftee Film Magazine Series; ‘ “The Wedge Tailed Eagle” (3 mins, 1934) A series sho[...]sode is known to survive. Other episodes featured the koala, the echidna, etc. Dir.: Frank Harvey. Tech. assistanc[...]s, about a dozen newsreels were made specifically for the Tatler newsreel theatrette in Melbourne towards the end of 1934. These appear to have been the last of the footage turned out by Efftee. Scraps of these newsreels held by the National Library include. 582 —- December CINE[...]in South Yarra. Item 2: First official meeting of the Centenary Dog Club at Melbourne showground. Item[...]Tatler newsreels have recently been acquired from the Harry Davidson collection. Details are unknown as yet. Items are thought to include coverage of the 1934 Eucharistic Congress procession and a topical item on a crippled model-maker living in Essendon. The “Australian Educational Films” Shorts Austra[...]used Efftee facilities to produce eleven shorts: The Barrier Reef Series (1) (2) (3) (4) (5) Oce[...]Life histories of Barrier Reef animals including the green turtle, beche-de-mer, stonefish and crown o[...]And Its Creatures (9 mins, 1931) Coral forms, and the creatures that inhabit them. Visually rich item,[...]Sound could be recovered from a release print in the Davidson collection. Secrets Of The Sea (10 mins, 1932) Microscopic life of the Barrier Reef. Sound lost on existing library prin[...]Sea Shells (9 mins, 1932) Molluscs, diatoms, and the unusual creatures which inhabit them. Sound lost on existing NFA print. Birds Of The Barrier Reef (9 mins, 1932) Rookeries on the Barrier Reef, with life histories of the gannet and muﬂonblrd. Sound lost on existing NFA print. The ‘Monkman Marvelogues’ (5) (7) (3) (9) (10) (11) People Of The Ponds (11 mins, 1933) Microscopic life from the rock pool of an extinct Queensland volcano. Narra[...]ng. Catching Crocodiles (9 mins, 1933) Life with the crocodile hunters on the Gulf of Carpentaria. Narration by F. W. Thring.[...]nimals of Queensland. Narration by F. W. Thring. The Cliff Dwellers (9 mins, 1933) Life history of a p[...]hy by Monkman. Narration spoken by F. W. Thring. The Winged Empress (10 mins, 1934) The science of beekeeping, the social life of bees, and their manufacture of hon[...]lain some lesser-known natural history phenomena. The beating heart of a fly larva; the ways wasps store fresh food; water beetles which[...]lost, 1931) Speech on Empire trade made by Efftee for British Dominion Film Distributors. Shown at a special all-British program at the Melbourne ‘Athenaeum' on June 5, 1931. Somers was then Governor of Victoria. This film was the ﬁrst to be released by Efftee. Arrivals at the ‘Athenaeum’ prior to showing of all-British Film Programme (film lost, June 5, 1931) The film included speeches by Prime Minister Scullin[...]Premier Hogan. It was rush processed and shown at the conclusion of the night’s program. Frank M. Forde, Minister For Trade and Customs Speech opening Efftee studio on[...]5) (7) (3) (9) subsequently used to introduce the film Diggers . (4 mins, 1931). Mr F. W. Thring Speech made for the ﬁrst Efftee program, and introducing Efftee sta[...]Mr F. W. Thring (film lost, 1932) Speech opening the showing of the Sentimental Bloke, reported by the late Harry Davidson. As no member of the Efftee crew remembers this short, this might be confused with His Royal Highness — Prelude. This was the opening music for the George _ Wallace _fiIm accompanied by a rolling caption written by Thring, explaining the making of the film. Mr R. G. Menzies — Speech for United Australia Party (film lost, c. 1934) Made by Thring in_ return for Menzies’ assistance with the approval of licence for Efl'tee's radio station, 3XY. No copy known. Efftee Contract Advertisements A large number of these were made under contract to the Robyns theatre advertising company. Includes radio personality Norman Banks advertising the Direct Supply Jewellery Company, and several ads for the Antigen B cough remedy. Film Sound Recordings Several of these were made on Efftee’s R.C.A. recorder for subsequent use on radio broadcasts. Several compl[...]ny screen tests, out-takes and so forth were made for Efftee productions. ‘These included the first Australian use of back projection (Campbell Copelin filmed in a train carriage with the background flying past in back projection. Test for Sheepmates, October 1933.) Efftee also made the first Australian tests of Howard Hughes’ Multic[...]nced with registration were not overcome prior to the folding of the Multicolor lab, and only tests were made. Unfort[...]om His Royal Highness survives as a workprint in the Davidson collection. ‘Blooper’ reels are also known to have been made up by the Efftee crew, but none seems to survive. Trailers were made for many of the Efftee films, including His Royal Highness, Clara Gibbings, and most of the others. Newsreel Items Pertaining to Efftee Film[...]ble throng to see first all home grown movies.” The item, which survives at the National Film Archive, shows F. W. Thring and others giving speeches outside the Plaza on November 6, 1931, at the premiere of Diggers and A Co-respondent’s Cours[...]es of F. W. Thring directing big studio scene.” The item was filmed by Roy Driver of Hersche\|\|‘s Films while he was working as third cameraman on the ballroom scenes of His Royal Highness. No copy of[...]ews Vol. 2, No. 20. Released May 5, 1931. One of the micro-photography items shot by Noel Monkman in 1922, the basis for Thring’s offer of partnership in A.E.F. “Look[...]. Sub-title 1: Magnified one thousand times under the eye of a microscope. This item seems not to have[...]r” . . .“Movietone takes another peep through the fascinating lenses of N. Monkman, Australi[...]
	Production Survey / The Efftee Legacy The Efftee Legacy Continued from p. 582 Stage Shows[...]ldren In Uniform (c. 1934) S.S. Sunshine (1935) The Cedar Tree (1934) Crazy Nights Revue (1935) The Oojah Bird (1935) Rope (1934) Streets of London[...]Clara Gibbings (1933) —— also made as a film The above produced in Melbourne at the Garrick Theatre and at the Princess Theatre. The “Non-stop Variety” Series These were a re-arrangement of the Efftee Entertainers shorts into groups of two or three for British release. The original shorts were sometimes clumsily edited in the process of re-arrangement. Non-stop Variety No.[...]linist (short 21, incomplete) Minnie Love — “The Old Apple Tree” (short 12, complete) Non-stop[...]hring was finalizing a big film distribution deal for Hoyts. It was shown at the Melbourne Regent Theatre in October 1929. A Mids[...]1978) Compila- tion film on Australian Cinema in the 1930s. Many clips from Efftee productions. (4) H[...]ent films taken by Efftee’s musical director in the early 1930s. Includes shots of Melbourne, the Palais Theatre Orchestra, Ada Reeve etc. References Efftee Films The Coming 0fSound, unpublished ms. by Chris Long and[...]ia Centre Paper No. 7, La Trobe University, 1978 The Australian Screen, Eric Reade, Lansdowne Press, M[...]Sydney, 1931 Monkman’s Shorts Over And Under The Great Barrier Reef, Kitty Monkman, Cairns, 1975 Escape To Adventure, Noel Robertson, Sydney, 1956 Quest of the Curly—Tailed Horses, Noel Monkman, Angus & Robe[...]y Jacobs, Herbert Sanderson, Kath- leen Goodall. The National Film Archive, Ray Edmondson, Karen Foley, The Victorian Arts Centre’s Performing Arts Museum, Frank Van Straten. The late Harry Davidson, Clive Sowry (for N.Z. Censorship lists), Peter Wolfcnden, Graham S[...]__ , _ ,_ , ________ ,, ,TFc experience. Produced for the Tasmanian Stills ie Gardner Camera asst. Adam Kr[...]d, assrs Peter Cass Director Jack Zalkalns FOLLOW THE LEADER Progress rrrr .. Continuity. Lin Arnou Scr[...]t. company. ....TFC Script.. an M. Berwick, duced for the Education Department of Tas- st-production panicu[...]AD MORRIE Synopsis: This film illustrates many of the all thethe automotive cussion film for principals and other relevant Gauge .....1_6r_nrn[...]........................ ..TFC industry. Produced for the Tasmanian parties, Produced for the Education Depan. Progress..... ....Scnpting Prod.[...]569 in bed, I can now fly”; about marriage: “the death of love”; about sex: “sex alleviates tension, and love causes it”; and about the nature of immature love as against mature love.[...]erful, post-coital scene, Andrew and Ariel lie on the riverbank and wonder why it wasn’t what it coul[...]ng and knew one another as first loves. They felt the sticks and stones, heard the insects and birds, and were dis- tracted by the elements in general. The orgasmic moment eluded them; they return to their respective partners con- siderably chastened. The dream has dissolved into the murky waters of reality. All the other characters come to similar conclusions, except for Maxwell and Leopold, who adopt rather surprising and uncharacteristic traits. While the rest become cynical and worldly-wise, Maxwell and Leopold opt for the romantic. In one stroke, Allen brings the playboy character (Maxwell in this film) out of d[...]d vulnerability. It is an ingenious comic twist. The ﬁlm has other reversals of fortune. There are c[...]hich lend to detailed philosophical debates about the nature of life. Magic herself enters the fray, and eventually turns the tables on everyone. A Midsummer Night’s Sex Comedy seems to go nowhere much in the end except into the woods. But like an old lover, Allen wins one over again, despite the resistance. In other ways, A Midsummer Night’s[...]seen as a development: as one friend said to me, the film is a lighter version of Interiors. It concentrates on the messy, poignant lives of six characters, and in this sense is a departure from the self- absorption of his other films. But here he has made some of his characters too silly, and the ladies, in particular, suffer. They affect, in Ti[...]“wild and neurotic stammers”. Perhaps one of the problems of the film is that it moves away from the territory Allen describes in an inter- view — the territory which concerns itself with trying “to live a decent life amidst all the junk of contemporary culture — the temptations, the seductions. So how do you keep from selling out?[...]everyone selling out, and proved too much a cross for the cinema audience. People were not used to being con- fronted with themselves, and refused to accept the film as the masterpiece it was. Even Manhattan, as Scott Mur[...]Cinema Papers‘, concerned itself with more than the failure of love. It explored the failed literary ambitions of its characters, and sensed they were indicative of the West’s greater failing. A Midsummer Night’s[...]1. No. 26, pp. 142-43. love, except that some of the charac- ters have the saving grace of learning wisdom. Hopefully, havi[...]ex Comedy out of his system, Allen will return to the fray, where he tackled not only one’s sense of fun but one’s sense of the poignancy of the times. ‘Ar A Midsummer Night's Sex Comedy:[...]uction designer: Mel Bourne. Music: extracts from the work of Felix Mendelssohn. Sound recordist[...]
	9 EDITOR ’There’s a new boy on the bloclé . . . : TOM PALANKAY ﬁlm & sound. editor With 42 yrs experience editing a variety of programs for the A.B.C. he has cut the apron strings and established his own freelance business. Credited recently for editing A SHIETING DREAMING he is eager to hear f[...]FILMS: (03) 592 0108 A. H. (é€;L¢%? 7Z¢Q- The complete 16mm & 35/17-5mm CODE NUMBERING SERVICE[...]te delicacy and moral tact.” (Evan Williams — THE AZTSYRALLAN) German Dialogue — English Sub-Tit[...]bookings: Arcllgbt: 444 Hawworn Rd, Hawtbom 3122 Telephone: 819 I697, 428 6I24 Also az>ailable: Dark[...]
	[...]interpretation of his events. He understood from the very start that we were making a film and that wh[...]quite worried about how Bill would accept some of the quotes. The one that freaked me out, when I showed him the first cut of the film, was about the face: that your face is a mirror of every- thing[...]being as much a general comment on our faces and the faces we see around us that smile and pretend it is all all right when it is terrible! Why did you reject the idea of using archival footage? I did go to the War Memorial in Canberra, and searched through the war footage, but what I found looked too pretty a[...]at story. It would have looked like comic relief. The soldiers appeared too well dressed. Apparently F[...]ney to promote “Journey”. What plans have you for it? The Australian Film Institute has not offered any reasonable season at the Longford or anywhere else, so we hired the Hawthorn Town Hall and ran the film there for two nights. Owing to the terrible acoustics and the diffi- culty people had understanding the dialogue, I feel we will have to try and find another way of showing the film. Pat Longmore has a plan to dis- tribute the film throughout Aus- tralia basing the marketing on the network of RSL clubs and other organizations whic[...]e that distribution does not have to be a loss to the film- maker or production company, unless you get yourself into the hands of the conventional distri- butors and exhibitors, where for many films the certainty is that very little money received at the box-office will come back to the producer. We are also offering the film for hire through Cineaction to any interested organizations, societies, clubs or colleges. Of course, at the same time as all this is going on the film is being offered to television. I feel it is the sort of film which would make a wonderful special feature for Anzac Day. The awarding of the Jury Prize at the Australian Film Awards to “Journey” must help its release and that of your other films . . . The day before I received the Jury Prize at the 1982 Australian Film Awards presentation, organ- ized by the AFI, I also received in the mail a standard letter from the AFI’s Vincent Library. It requested me to withdraw most of my films from the Library owing to the fact that these films have not been attracting many hirings during the past couple of years. This is despite the fact that this organization helped to squeeze the Melbourne Co-op out of existence, taking over the films from the Co- op Library. The AFI then proceeded to achieve far lower returns than we had been getting from the same films at the Co-op and autocrati- cally raised their share of rentals from 25 per cent of hire fees to 50 per cent on the grounds that the extra share would be used to further promote our films and achieve better hirings. Now, the AFI has admitted its overall failure in the most insulting way. What it adds up to is: as we[...]y other filmmakers, who must be wondering what is the point of making films if the very organiza- tion which is set up for, owes its very existence to, our filmmaking, on the one hand shows almost no interest or expertise in[...]far greater proportion than our films. While on the one hand I am very grateful that the judges awarded me the Jury Award, I am also totally disgusted with the rest of the AFI operations, totally sick of begging and grovelling for a reasonable release of my films in their theatre[...]market my films through their Lib- rary, even to the level of a quarter of the hire the same films were achieving while they were in the Co-op Library. I Future Plans What films have y[...]It is ready to go, though we haven’t any actors for it. Two of the other scripts have conventional storylines but they are at the first—draft stage and are not ready for funding. The fourth script is a very embryonic thing which is just at the idea-mulling stage. It has an avant—garde plot which moves all over the place, and characters who change roles all the time. The main character is on the run and we don’t know what from. We assume it is a crime and that he is searching for an answer to his guilt. Another project which I would really like to get into pretty quickly is the book Without Hardware by Catherine Dalton, which gives a completely different analysis of the Bogle and Chandler, and Holt and Calwell era. I w[...]fically about Bogle and Chandler, or a film about the book. It would be a portraiture documentary, dram- atized and non—narrated, with Catherine Dalton as the central Neave visits the memorial in Journey to the End of Night. character. I haven’t been able to contact her so far, but I am still trying. For which projects have you approached the funding bodies? John Ruane and I have a script that is currently in the first-draft stage, Trial By Order, about a mass murderer and a boy who gets in his clutches, and the struggle between them. This has been variously described as depraved and obscene, and Murray Brown of the Creative Development Branch of the Australian Film Commission said that he would not tender it for assessment because of the abhorrent subject matter. Have you that word for word? Yes. I can show it on paper: “Dear Peter, “I am returning your scripts and budgets for Trial by Ordeal, as I regret the project cannot be accepted for assessment by the Branch. “Apart from the technical problem that the script has not been presented in screenplay format, the abhorrent subject- matter makes it difficult for us to accept such a project as a viable competitor for the invest- ment of public funds. “I regret that s[...]on to apply I would have been able to warn you of thefor Journey to the End of Night.] “Yours sincerely, “Murray Br[...], “Australian Film Commission.” They are not the only ones who have reacted to it like that. It is[...]T 1964 And He Shall Rise Again 13 mins 1964 On theThe Curse of Laradjongran 29 mins, col. 1975 Struttin’ the Mutton 17 mins, col. 1976 Here’s To You Mr Robi[...]allacoota Stampede 60 mins, col. 1982 Journey to the End of Night 74 mins, col. CINEMA PAPERS[...]
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	[...]p. 543 offensive, drug-peddling and responsible for deaths; they paint graffiti on cars and then igni[...]derous. They are pre- sented as vermin; therefore the audience is made to feel that they should be exterminated. These reflections on how the film works make one realize that, if taken at too realistic a level, the film becomes either absurd or offen- sive or both. And yet, the film works. This means that it makes impact vividly, as so many genre films do, through realistic style on the surface, but that it communicates by contact with deeper levels of our psyche at the level of myth. lass of 1984 may be seen as a contrived symbol of the confrontations in our cities today: between teen[...]d evil, between two experiences of violence. Thus the situations and characters are dramatically exaggerated for the sake of achieving the response, especially the gut or emotional response. Lincoln High and the city are a ‘not-yet’ world like that of A Clock- work Orange or of the pessimistic science fiction like Soylent Green, The Ultimate Warrior and Escape From New York. The school itself is an ugly travesty of the bopper Grease schools; the authorities are more enthusiastic about their surveillance techniques than about what they are surveying. The confrontations in classrooms and cafeterias echo prison riots. Vengeful vandalism is the emotional blackmail power the gangs have. The stage is thus set — as in the western, the gangster film, and the police melodrama — for climactic confrontation and shoot-out. And it hap[...]oratory. Berserk, he teaches by pulling a gun on the gang in class to make them answer questions correctly. This gets a laugh from the audience so that it will take the car—smashing chase of Steg— man and his death more seriously. The other possibility is that faced by Norris: help w[...]n assaulted, take stances and, when all goes over the edge, mete out to the killers the horrors they had in mind for you. In fact, the film is not advocating either possi- bility but is showing the alternatives most vividly, enticing audiences to[...]even though there might have been a danger before the film was seen. lass of 1984 raises the question of how much violence should be permitted on our screens. Most people will be repelled more by the circular—saw slicing an arm and killing one gang member than by the subsequent deaths. Response to visual violence is[...]there is no limit as to what can be presented on the screen.,Picturing the removal of an eye in a training film for ophthalmic surgeons is valid. A raven pecking an eye in a horror film, or even the eye-gouging sequence in King Lear, can be suggested or blatant. There is always room for argument about taste, and about whether the director wishes to draw attention to the scene for its own sake (leaving an audience gasping, missing the scenes which follow) or as part of a cumulative effect. One presumes that this is behind the “gratuitous” and “justified” censorship codings of the Aus- tralian Commonwealth censor. It is a different experience to watch the only partially- successful decapitation at the opening of The Exterminator and to watch the decapitation of the soldier at the end of Apocalypse Now. The justification or gratuity of violence does not depend merely on some standard outside the context of the film but rather on the standards a film sets itself and on the conventions of the genre. The killings in Class of 1984 come at the end of the dramatic process of the screenplay, occurring in a set of circumstances which deter- mine the effect of explicit violence and thereby its suitability or unsuitability for this film. There is a long tradition of stylized[...]lms dramatizing violence, frus- tration and rage. The styles of popular plays indicate the crises of a society and its ability or inability[...]kespearian tragedies reflect a belief in order in the universe and in poetic justice. But Shakespeare a[...]illip Adams as his Mad Max) which was followed by the blood-let- ting Jacobean tragedies, reflecting the early Stuart period that culminated in the English executing their Divine Right King a century and a half before the French Revolution. Our con- temporary melodramas reflect a confused, violent and frustrated society. The value of films like Class of 1984, rather than of films like The Burning, Madman and other outline copies of Halloween/Friday the 13th, is that they put the audience in touch with its ‘shadow’: the potential for violence that is so easy to ignore and gloss over for respectability’s sake and to condemn in others. The feeling of gut satisfaction in the last part of the film is, to some extent, alarming when one realizes that one shares the hero’s outburst. It is also reassur- ing to kno[...]frustration and rage that puts one in touch with the feelings of those whose life is, to a large exten[...]rage. Class of 1984 is an exploitative actioner for middle-class, professional adults — and it works. at Igor Auzins Continued from p. 509 The film is actually based on We of the Never Never and The Little Black Princess, which is a children’s book written by Jeannie Gunn. It deals with the same year in her life but looks at the Abor- iginals and the little Aboriginal girl rather than the stockmen. We combined elements of both stories to re-construct the feeling of the whole year. We have used Bett—Bett as a charac[...]e and a character useful in our attempts to alert the audience to some questions about black and white.[...]lution? That’s right. You are supposed to have the response that any sort of paternalistic approach[...]e isn’t going to work. You are supposed to have thethe life that she and her husband were going to assume on the station, there would have been some different ans[...]ver happened because he died. And that’s one of the sadnesses of the film; that there was a moment of progress where h[...]what happened to old Goggle-Eye was wrong. One of the white stockmen questioned whether they were responsible for what happened, and another said, yes, they were. That small statement is a huge step forward for them. It may have taken 90 minutes to get there,[...]eveloped, but sadly didn’t. Shooting Style The camera work in “Never Never” is often complex and elab- orate: the use of the crane, the heli- copter shots, the long tracking shots. Was the intention to accen- tuate the feeling of space and the feeling of distance? Yes. Gary Hansen [director[...]sider- able pre-production discussion about this. For virtually every shot we wanted to have a feeling of the horizon, a feeling of the size of the country, even though it is not an open, treeless plain. That deter- mined the use of cranes, tracks and lenses. Almost all of i[...]refer a mobile single shot, which encompasses all the action, to a static wide-shot and then close-ups[...]ning providing there is some good dramatic reason for doing it. But I do think that the cut, the close-up and the reverse shot are grossly over-used. They are remn[...]tele- vison-style techniques. How does it affect the dramatic pace of the film when you tend to use single long shots, rather than cutting? Do you risk a detachment from the characters? No, I don’t think so. I think it probably draws you into thefor the moment. But long takes do seem to be a mark of y[...]is probably something that I have developed over the years. I used the same treatment to some extent on Water Under the Bridge. I prefer to see the characters prepare the scene in as genuine a way as possible, and then just determine a method of getting the camera into the correct observa- tion spot for each moment in the scene. I don’t believe that cutting is always the right way to accomplish that camera repositioning. Are you happy with the final result? I am delighted with the responses I have heard to the film, but I am not quite sure that some of the emotional or racial lines are strong enoug[...]
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	[...]La Femme Infidele The King of M arvin Gardens Luther An Affair to Remember For Pete's Sake Scream and S[...]erland Cries and W hispers The Serpent's Egg Im itation of Life All Creatures Great and Small Day for Night Small Change Im[...]Anastasia D-Day the Sixth of June The Damned In Celebration Asylu[...]T he D evil's Playground The Dangerous Exile In Love and War Bad Day at Black Rock The Eagle has Landed The Burglars Innocent Bystanders The B arbarian and the Geisha Elmer Gantry Bus Stop The Internecine Project Barry Lyndon[...]Elvira Madigan The Christmas Tree Interrupted Melody[...]e Le Rouge et Le Noir The Italian Job B enjam in[...]C allan The W icker Man Jupiter's D arling[...]Carousel The Wild Geese Kathy O Black on W hite The Ugly American Pepe King o[...]Black Orpheus The Way We Were The Adventures of Arsene Lupin Kismet Blow Up The Music Lovers And God Created Women Kiss of the Vampire Boccaccio 70[...]Borsalino The Odessa File The Best House in London Gumshoe Le Boucher O ne Day in the Life of Ivan Denisovich The Best Things in Life are Free Guns for San Sebastian The Bride Wore Black T he Thirty-N in[...]Till Death Us Do Part The Blue Peter The H arrad Experiment M idnight Express[...]Tom Jones The Bottom of the Bottle Help Mr Klein The Trojan Women Boy on a Dolphin Hot Enough for June Mon Oncle Red Sun Macon County Line House of Usher Straw D[...]Major Dundee How I Won the War L'Homme de Rio[...]Man Friday I Could Go on Singing The Lacemaker The Owl and the Pussycat The Man on the Roof I Killed Rasputin Lady Sings the Blues Les Parapluies de Cherbourg The Man W ith the Golden Gun I Walk the Line The Lion in W inter Picnic at Hanging Rock The Marseilles Contract Secret Ceremony[...]Masquerade 1776 The Long Hot Summer Song W ithout En[...]and Up and Be Counted Spiderman The Milky Way The King and I Stolen Kisses The Amityville Horror Muriel The Great Gatsby Face of a Fugitive Gallipoli The Story of Adele H The Hunchback of Notre Dame The Family Way Hoodwink A[...]Flight from Ashiya The Killing of Angel Street Suspira[...]ol's Parade Love Boat The Swan Battle of Britain[...]Best of Friends Tales From the Crypt The Blue Max Funny Lady Doctors and Nurses The Tamarind Seed The Bridge on the River Kwai Galileo[...]as Bulba Monty Python and the Holy Grail The Gambler Lady Stay Dead Ten R illington Place M urder on the Orient Express The G arden of Fitzi Continis Mad M ax 11[...]Squizzy Taylor Knights of the Round Table Henry V The Glass Slipper Double Deal Knights of the Teutonic Order D eath on the Nile Good Neighbour Sam[...]Dr Dolittle The Curse of Frankenstein The Pirate Movie Lady L D racula The Dark Avenger Ginger Meggs[...]A Bridge Too Far A Day in the D eath of Joe Egg Dangerous Summer Landru The Charge of the Light Brigade The Day of the Triffids Wall to Wall Cross Talk The Last Hunt 2001: A Space Ody[...]eep in My H eart Kitty and The Bag Man Last Summer Thoroughly M odern Millie The Defector Fighting Back The Last Sunset[...]il at Four O 'clock Now and Forever The Last Valley Russian Roulette[...]Zazie D ans Le Metro The Discreet C harm of the Bourgeoisie Save T he Lady The Light at the Edge of the World Thunderball A D o[...]Something W icked (Early Frost) The Little Hut A Touch of Class[...]of Passion Starstruck Live for Life You O nly Live Twice[...]Cage Breakfast in Paris The Long Hot Summer The Pink Panther El Greco[...]Snowy River Loot The Pink Panther Strikes Again El Topo[...]Goodbye Paradise Love and Pain and the W hole Damn The Prime of Miss Jean Brodie Butley[...]Capricious Summer Close to the H eart Thing The Shining Caravan to Vacca[...]e Love Me or Leave Me Raiders of the Lost Ark C arto u ch e The Darkroom Lover Come Back A rth u r The Cobweb Going Down[...]Sapphire The Confession "Greed" Lunch on the Grass On Golden Pond The New Centurions Blood[...]
	[...]emiere, Kodak Moving Out The Jolson Story gives you the commitment to quality and the range of The Year of Living Dangerously Jonathan Livingston Seagull stock that you demand. The Boyfriend K elly's Heroes Blood Line The K illing of Sister George Kodak an[...]Kong has always been at the forefront of m otion picture film Curse of the Pink Panther The Great Escape development and technology. Diamonds are Forever The Guns of Navarone The Empire Strikes Back Heaven Can Wait[...]adership is further strengthened by Evil U nder the Sun Hello Dolly[...]ve. French Lieutenant's W om an A Shot in the Dark For Your Eyes O nly Silent Movie[...]Slap Shot the world's greatest film maker working with you M[...]Soldier Blue every step of the way. M urder on the O rient Express Star Wars Mohammed - the Messenger of God The Sting The worlds greatest film makers have, and as M an w ith the Golden Gun The Exorcist you can see from[...]good company. Omen The French Connection O utland[...]Kodak M otion Picture Film Return of the Pink Panther The Godfather Roller Ball The Day of the Jackal KODAK (Australasia) PTY. LTD. (Incorporated in Victoria) Revenge of the Jedii The Deer Hunter Shout at the Devil The Dirty Dozen[...]r Triple Echo Easy Rider The T hree Musketeers Butch Cassidy and the Sundance Kid Tommy C[...]Carmen Jones Venom The Cassandra Crossing Victor Victoria Close Encounters of the T hird Kind W ild Geese Cool Hand Luke W atcher in the Woods The Valachi Papers The Wall Valentino All th a[...]air W h at's Up, Doc? The Rose Myra Breckenbridge The Wiz Nashville Raging B[...]T he O ther Side of M idnight The Godfather Part II Three Days of the Condor Firefox Tora! T[...]w ith My A unt A lice's R estaurant The Turning Point A ll th e President's M en The Goodbye Girl American Graffiti M arathon Man An American in Paris W oodstock The Arrangement Women in Love B arb arella Zabriskie Point The Betsy The Paper Chase Blazing Saddles Patton Bob and Carol and Ted and Alice Planet of the Apes B onnie and Clyde Play it again Sam The Boston Strangler The Poseidon Adventure The Boys from Brazil The Private Life of Sherlock Holmes The Boys in the Band The Prize A M an Called Horse The Professionals A M an for all Seasons Prudence and the Pill M ary Poppins Grease M idnight Cowboy The Spy W ho Loved Me Midway[...]eaven and Hell Tales of Beatrix Potter The Brass Bottle The Taming of the Shrew The Bravados Taxi Driver Turkey Shoot T he Ten Commandments We of the Never Never Last Tango in Paris[...]
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	This year eight films wrapped up the Australian Film Institutes awards. All eight were processed by the one laboratory Colorfilm. Surprising? N ot to us. A fter all, over the years we've been the lab chosen by the producers o f m ost successful Australian films. It seems weve got the award-winning process all w rapped up. Just take a look at this years winners. A nd by the way, to all the award winners, W e O f T he Never Never; 'Lone[...]From Snowy River,' ( ^ o l o f f i I IT1! from the Colorfilm crew-'Congratulations.' T he process for winning films.
	[...]have provided COMPLETION GUARANTEES for th ese motion pictures in Australia and Ne[...]
	[...]4 Guilty Pleasures: the Films of Paul Schrader[...]516 The Efftee Legacy . Chr[...]t and Mostly Small: the Biography Industry. Part One[...]542 The Year of Living Features[...]Interview: 504 The Quarter[...]501 Interview: 524 The Biography Industry Scott Murray[...]Lap Picture Preview: The Year of Living 538 Picture Preview: 571 E.T. The Extraterrestrial Reviewed: 564 D[...]Preview: Phar Lap Box-office Grosses Film Review[...]567 We of the Never Never[...]569 E.T. The Extraterrestrial R[...]Barrie Pattison The Sharkcallers of Kontu[...]Papers is produced with financial assistance from the Australian Film Commission. Articles Ryan, Ian B[...]or: Helen Greenwood Research: Jenny represent the views of their authors and not necessarily those of the editors. While every care is Trustrum. Proof-rea[...]taken with manuscripts and materials supplied for this magazine, neither the editors nor the Robert Le Tet. Office Administration: Patricia Amad. Secretary: Anne Sinclair. Office Assistant: publishers accept any liability for loss or damage which may arise. This magazine may[...]reproduced in whole or in part without the permission of the copyright owner. Cinema Papers is[...]d every two months by Cinema Papers Pty Ltd, Head Office, 644 Victoria St, North Advertising: Peggy Nicho[...]Publishing Melbourne, Victoria, Australia, 3051. Telephone: (03) 329 5983. Group, Geddes St, Mulgrave, 3170. Telephone; (03) 560 5111. Typesetting: B-P Typesetting, 7-17 Geddes St, Mulgrave, 3170. Telephone: (03) 561 2111. Distributors: NSW, Vic., O[...]
	[...]Piers Haggard continues: Peppino -- $5420 for first-draft funding " One only has to look at the French for Episode one of a seven-part mini- Ross Dimsey[...]o Colosimo Nominees and Pablo Victoria (formerly the Victorian Film[...]Albers Productions. Corporation), has retired at the end of incredibly important the film industry Telefeature Package and Rocks of[...]resenting any national culture to Honey -- $8000 for Package Develop directed Blue Fire Lady and Final Cut the world. Maggie clearly sees us as a ment and $20,166 for first-draft funding before joining the VFC, is to direct Faust nation of porno-cable watchers." for the telefeature Rocks of Honey to for producer Antony I. Ginnane. Certainly the Sproat Report, to be Merryweather Producti[...]released at the end of the year, will have Film Victoria, which is to undergo a great effect on how long the British National Library of Australia majo[...]ry continues to flicker. appointed a replacement for Dimsey. (For a more detailed report, see Roger Eas[...]eview Stirs Industry" , by operations at the Canadian National In mid-November, the Victorian Quentin Falk and Sue Newson-[...]Film and Television Archives in Ottawa, Minister for the Arts, Race Mathews, Screen International,[...]ralia as a introduced legislation which provides for pp. 1-2.) consultant at the National Library. direct state government finance for[...]ldren ys Television America for his expertise in sound and produce films and promote schemes for[...]Investments totalling almost $60,000 the Library on a strategy for establishing in the script development of five new a video preservation facility in the In 1976, when the VFC was formed, children's projects were announced by National Film Archive and on the latest it was legislated that VFC could not the Australian Children's Television preserva[...]n. Dr Patricia Edgar, ACTF be adopted in the Library's sound that would create unfair competi[...]d quality projects was being sub that since then the circumstances have mitted for funding both by experienced Easton was b[...]lete professionals and new writers. " If all the worked for a Sydney television station, re-think is called for. projects now given investment funding but has lived in Canada for 16 years and[...]adian citizen. One motivating factor has been the estimated they will represent nearly $10 drain of creative talent over the border to m illion worth of new children's Melbourne Festival Sydney, where the Australian Film Com programs." mission and the New South Wales Film[...]uccessfully concen Total investment by the ACTF in announced by the Melbourne Film trated the film industry. Mathews hopes project develop[...]ached Festival, now in its 32nd year and the to change this by making the film $235,000, with three of the projects world's fifth oldest film festiv[...]funded earlier this year scheduled to go ductive for local talent than anywhere into production[...]The ACTF also revealed that it would is Franco Cavarra, former artistic Mathews also said the Victorian be a major investor in the South Aus director of the Australia-wide Italian Arts industry will in fut[...]makers, who would Colin Thiele's Fire in the Stone. This opera and drama, including Aust[...]ch their potential only if Film Victoria will be the SAFC's third film of works by Opera sessions at the Adelaide Festival was able to act as a producer for them. Thiele, and follows Storm Boy and Blue and the Sydney Opera House. In 1982, This is a total cha[...]he was a member of the jury at the Mel welcome one.[...]In announcing the investment, Edgar Eady Fund emphasized that the ACTF has been Mari Kuttna, an Austr[...]created mainly to invest in the inno garian descent, has been named W[...]nues on vative, but costly, high-risk stage of the program director. Kuttna is a film critic the degree, function and type of govern production process -- program develop who has written for many world film ment support of the film industry, a ment -- and then to attract the industry journals, including Sight & Sound, similar debate rages in Britain. to make the program. American Film an[...]is also on the awards panel of the British There, tax is applied to all cinema Funding to establish the ACTF has Film Institute, is vice-president of the ticket sales and the proceeds go into the come from commonwealth and state B[...]ational Association of Film Critics) and partly) the-. National Film Finance the ACTF will not survive without broad- has co-directed the Oxford International Corporation and the National Film based financial support from the com Film Festival. It is not intended tha[...]from individuals, corpora Kuttna will attend the Melbourne Film[...]ropic trusts and Festival. Recently, the British Films Minister, foundations are needed to continue lain Sproat, announced a review of the investing in new programs. David Stratton, director of the Sydney Eady Levy and it is feared by many[...]Film Festival and presenter for A Whole within the industry that the levy may be Details of the new investments are as World of Movies on 0/28, has been abolished. There is a feeling that the follows:[...]Government, in its desire to Chase Through the Night -- $15,950 cut costs, is not committed to govern for first-draft funding of a five-part mini Don D[...]ted The Parallax Factor -- $5644 for final- president of the Festival, a newly- The Association of Independent Pro draft funding for Episode one and created position. ducers, which comprises 350 leading treatment funding for Episodes two to producers, has already expressed alarm five for a mini-series to David King.[...]800 trative director, Fiona Hamilton: for pilot-script funding for a wildlife[...]A billboard imagefrom Times Square, New York (The Road Warrior is the U.S. titlefo r Yet, the [British] Department of Trade [is] thinking of abolishing the one Mad Max 2). small support to keep the British film alive: the Eady Levy, a parafiscal tax that costs the Treasury nothing."
	[...]The Quarter Australian Film Awards[...]militate against the criticism of favoritism[...]for the new over the old. The 1982 Australian Film Awards were held in Sydney at the Capitol Theatre on[...]The prior-release clause stayed until October 27 and telecast nationally by the this year, when the number of films -- ABC. Scott Murray reports:[...]and the number of unreleasable films --[...]emed too large to be coped with In many ways the 1982 Awards[...]adequately. So, the old problem of presentation was the most successful[...]oblem that needs to awards among many films. But the lead-[...]be solved if ratings are to increase, up to the Awards was anything if not[...]which is the whole point of the telecast. eventful.[...]The Awards Tfie Voting[...]. Murray, producer o f Eric Porter, winner o f the Raymond The awards themselves require little The first controversy was over the Lonely Hearts (Best Film) and co[...]comment as they represent the collec implementation of a pre-selection producer o f We o f the Never Never (Best tive voting of accredited members of the process, which `narrowed' the 30 films Cinematography). The Presentation AFI. It does seem odd that a film of the entered down to 18. (For a full report see[...]stand by and he would be rung back. For those present, the 1982 Awards should not be nominated for Best Film 192.)[...]was called later that afternoon seemed to be the best since the start of (but nominated for Best Director!) but he was told to ring the auditors direct, television telecasts. The program was that is the way voting goes. Once the 18 films had been nomi who would take his vote by phone. This better structured, the musical numbers nated, accredited AFI members vo[...]And had he not told more crisply staged and the presenters I certainly agree with Bo[...]neligible in some cate far briefer and to the point. As compere, criticism of the abandonment of the Jury screenings of each film were held in[...]ip Adams gave a humorous and win Prize for features, but one can't Sydney, Melbourne, Adela[...]triking presence in her tradi Journey to the End of Night receiving ance was compulsory.[...]serious questions about the AFI's and executive directors felt it prope[...]tober 20 (later their auditors' handling of the Awards the chairman should speak on behalf of The winners are: extended to October 24) -- or should voting. the AFI). have. First, there was the problem of the[...]however, the presentation seemed a Best Achievem[...]Vince Colosimo in Lonely Hearts It is the prerogative of any organiza little lacklustre in spots. Despite exten Miller for Mad Max 2. (instead of vice versa). Once the AFI tion to change its protocol requirements sive technical gear and the expensive Best Performance by an Actor in a realized the error another ballot was at any time -- especially if a new Louma crane, the camera work and Leading Role: Ray[...]duced. Equally, there are certain ting. The fine performance by Jo Best Performance by an Actress in a Voters were told to discard the first courtesies that no organization should[...]Leading Role: Noni Hazlehurst in ballot and use the second. The only fail to observe. dancers, for example, was a brisk, invig Monkey Grip.[...]y an Actress in a already completed and returned the first At all previous Awards presentations, particularly the leap to the pole -- but on Supporting Role: Kris McQuade in ballot before the second arrived. In past executive directors have been television it lost most of the flair (the leap Fighting Back. some cases, the voter crossed out and invited to attend. This year, the incum was covered from above, for some Best Performance by an Actor in a corrected the errors on the ballot, bent executive director, Kathleen[...]would have to pay if A second criticism of the presentation Best Achievement in Cinematography: rected the mistake, it is possible they they wanted to c[...]as both -- and mostly from those outside the Gary Hansen for We of the Never didn't bother to vote again.[...]d -- industry -- was that too many of the Never.[...]Wellburn, David Stiven, Michael Balson, the auditors, Lowe, Lippman, Figdor and slavishly to lift the AFI to the high Chris Plowright and George Milier for Franck, weeded out the incorrect position it until recently h[...]convinced Mad Max 2. ballots during the sorting and discarded spirited because the cost saving was Channel Nine to do the first televised Best Screenplay: Bob Ellis and Denny them. Thus, only the second votes minimal (only one past executive Awards, the majority of the prizes went Lawrence for Goodbye Paradise. counted.[...]evil's Best Music Score: Bruce Rowland for[...]Playground. While helping that film at The Man From Snowy River. The second ballot paper error con The executive directors involved were the box-office, it did not make for great Best Achievement in Art Direction: cerned the Screenplay Award. Instead Erwin Rado (founder and longest- television because the audience didn't Graham Walker for Mad Max 2. of alphabetical order, as required, the serving), Richard Brennan, David Roe, know anything about the film and felt le ft, Best Achievement in Cost[...]Norma Moriceau for Mad Max 2. error except for the donkey voters. these, Brennan was invited[...]ducer of the nominated Starstruck and Another criticism of the 1976 Awards Lamshed, Roger Savage, Mark van The major balloting problem , Crayford paid. Rado and Foster did not was that the voting favored new, Burren, Andrew Stewart, Byron however, was the mail-out. Numerous attend. Roe was finall[...]ished their national release (e.g., Carrick for Mad Max 2. forms: most who complained finally go[...]t papers; others merely waited Hamer, and after the intervention of largely unrecognized).[...]As a result, when the ABC agreed to Best Short Fiction Film:[...]Melbourne voter (not myself) was Overall, the whole incident put the AFI do the telecast in 1977, it insisted that all tive Ma[...]aper had not in a poor light. One hopes that in the films be released before the presenta directed by Rivka Hartman. a[...]future it may feel more inclined to recog tion. The AFI was happy to agree Best Documentary Film: Angels of War, complained. The first time he was told it nize the contributions of those who because such a[...]produced and directed by Andrew Pike, was the mail. The second time Australia came before.[...]produced by Bruce Currie. weeks earlier, the rationale was[...]Best Experimental Film: The Bridge, changed to a don't know.[...]Jury Prize: Peter Tammer for Journey to Finally, the closing date came and[...]the End of Night. went. Irate that he had been denie[...]vement in Cinemato chance to vote, he telephoned the AFI[...]graphy: Louis Irving for Greetings From on Monday, October 25, two days b[...]Wollongong. the Awards. He was told it was too late to do anythi[...]Gibson and Pat Lovell fo r winning the I[...]
	[...]Act, I can only deplore the unfairness of Some promised investment ha[...]ons, which were My working week had ended and the representation of the effects of section either fully-financed or on the way to 51(1) of the Act. being so, have[...]their advisers grapple with the unfamiliar reached for Cinema Papers was dulled For all the Group's rhetoric about Aus complexities of p[...]e been matter so much if it were not for the rule on anything. Could 1 say to Scott " hip, seriously affected by the money-raising requiring films to be[...]
	[...]The Quarter Racers, The Sundowners, On the The Quarter Beach, Journey Into Darkness, Girl in Australia, And Millions Die, the three Continued from p. 500 Goldsworthy epics, Sunstruck, The Shiralee, Squeeze a Flower, The Australian Films Score Si[...]em, of Angels of War has won the Grand Paul Dallwitz ACS, left, receives his Gold Award (in the Commercial Television course! Prix at the 14th Nyon International Film category) at the Australian Cinematography Society (South Australi[...]sented by theformer South Australian Ministerfo r the Arts, C. Murray Hill. Dallwitz used in our films[...]documentary also won two Silver Awards in the same category and a Silver in Commercial Theatre.[...](e.g., Kirk Douglas, Tom about the experience of villagers when awards were given fo r features. Geoff Simpson won the Gold in Documentary General. Skerritt, Cheryl La[...]ll, World War 2 came suddenly to the Alan Arkin, Sara Kestleman -- and[...]also approved at the AFC's July from Gillian Armstrong ([...]m overseas). In this day and age The Plains of Heaven, produced by meeting. Maj[...]included a Albie Thoms (02) 969 7468. of the non-star they are just not called John Cruthers and directed by Ian grant of $13,106 for Paul Winkler's for. All (or most) of today's best films Pringle, has been awarded the Gold Trades; $10,351 for Roger Scholes' The McElroy & McElroy have " unknowns" playing the leads and Ducat (carrying a cash prize of 2000 DM) Sealer; and $9358 for Anne Harding's supports. Anyhow, we should be at the 31st Mannheim International Film Genius in Ly[...]ystem" Week in West Germany. The Plains of[...]uraging has-beens and Heaven is the story of two men who Commission Meeting, August 30 never-weres to come here. The sort of maintain a satellite relay station on the t[...]xecutive appointments as " star" that may be box-office today, Bogong High Plains.[...]$516,250, including funding for two tele[...]Robert Fisher has been made general By the way, at least 10 of our 30 films series Women of the Sun was awarded ductions for Tusitala (writer Ted manager. He was senior partner in the entered in the 1982 Australian Film the United Nations Media Peace Prize Roberts); and $8000 for Anthony J. Sydney and Brisbane practic[...]s can be considered significantly for Television at Macquarie University Brooks' Curve of the Earth. Other Wallace, McMullin & Smai[...]t as Scott suggests. on October 25. The awards (for tele projects include David Elfick's Under accountants. I agree that most of the other 20 were vision, radio and p[...]y bad. by the United Nations Association of $100,000 for production development; Fisher is fin[...]combe's Daisy Bates; and production the MGM-financed feature The Year of David Maher The four-part series, directed by David development funding of $25,000 for Living Dangerously and, with Hanna[...]vision mini-series for the Ten Network, and Frances get more than the one- episodes in Aboriginal w[...]Additionally, Crawford Productions and Mora's The Beast Within in Aus 0/28.[...]$300,000 for All the Rivers Run. made business affairs ma[...]manager of the corporate finance divi Scott Murray replies:[...]a $9350 grant for a 13-week study of speciality will be co[...]BIBI Australian films on the international financing. from reading my[...]and a Trainee Grant of $1500 in support of UAA. The point I was Commission Meeting, June 28 went to the Film Producers' Guild (WA) Pat Lovell, pr[...]ion costs Australian Businesswoman o f the Year. 1. UAA has acted within the law, a fact The AFC approved profit-sharing for their nominated trainee, Tony[...]t of its detractors; and $524,822. 2. The attacks on UAA have been[...]cluded: $75,000 allocated to Naked a for example, has been able to argue Und[...]ngly that money going into $25,000 for project development for The Australian Feature Film Directors UAA would go into Australian films if The Umbrella Woman (by writer Peter Association is now to be known as the the legislation were changed). Kenna); $16,000 for third-draft funding Australian Screen Directors Association. My view about UAA, unstated in the on Venture Films' XPX; $14,200 for Members voted to change the name and item, is that legally, at present, it h[...]ames Ricketson's Ginger Whisky; and expand the interests of the Association every right to operate. I do not see $13,750 went to G & S Productions for to include all directors working in film m[...]Further production investment in the Gillian Armstrong has been elected should[...]e, Stephen Wallace, Albie Thoms, would also hope the all-too-vocal Additionall[...]as entertaining, witty and programs for NPR Radio in the U.S.) The aim of ASDA is to seek better con successful as[...]nt to Hamilton/Mathews Associates; ditions for directors in the Australian film entice Australian investors to k[...]travel grant to enable him to attend the towards a standard contract that will Mah[...]define directors' rights and support of,UAA with the claim that I Britain. protect their role in the industry. made two unsuccessful films. He is wrong both in his logic and his facts (the Commission Meeting, July 26 Ken G. Hall has been made an number of films is four).[...]included projects from the Project where he addressed members on the Development and the Creative Develop role of directors in the Australian film Dear Sir,[...]. Referring to recent disputes in I refer to the Quarter Item, " The the making of Australian films, Hall said:[...]A total of $105,083 was allocated to " If the director's not the boss, who else Travelling Film F estival" , whi[...]lopment Investment through is going to make the picture?" appeared in Cinema Papers (No. 39, p. the Project Development Branch, and 392). included $32,750 for third-draft script The ASDA currently has 50 members[...]it is aiming to see that all As director of The Travelling Film Fes Hunter; $24,933 for Joan Long's Silver accredited film and television directors tival -- a division of the Sydney Film City; $11,000 for Cynthia Connop's tele join. Festival -- I w[...]teller Enterprises receiving $9100 for tival" operating in Australia. The name writer Michael Cove's Terminal Man. -- The Travelling Film Festival -- is a business name,[...]state Projects approved through the Crea of Australia.[...]s, including Mitch organizations in operation in the state of Mathews and Ben Cardillo's Life's Victoria have been overcome, and The Little Luxuries ($38,151); Hele[...]m Festival will commence Gaynor's The Trombonist ($31,217); its Autumn Tour in Yarram[...]pany's The Lion in the Doorway 11 . . .[...]Grants totalling $84,801, through the[...]
	[...]YSPACES talented, and the guidance he gave[...]production a producer of the film, was at the[...]did you start work on "We first started the project, and he has of the Never Never" ? guided it through the years. I bought the option rights to the The film credits four producers: book[...]producer (Greg Tepper), co one of the thousands of people producer (John B. Mu[...]and associate producer to me about the way of life in Aus (Brian Rosen). Why was th[...]tralia. need for four producers? What relevance i[...]was in charge of the business end. I saw it as telling the story about As associate producer, Brian dealt the development of the Australian with the usual, senior, day-to-day rural he[...]re is no doubt production area. Greg became the that much of what Australia is,[...]ms and rural background. It is not the Auzins at Ripponlea, the set fo r the film 's events, not the total scope, but the opening scenes. emotion of it -[...]er -- 505 between human beings and the countryside. We o f the Never Never seemed to sum it up ve[...]r involve ment only went as far as the financing of it.[...]it was my project, and my view of the book. They specifically exc[...]
	[...]decided to shoot on the actual[...]locations of the book?[...]probably justified by the results on[...]achieved the same look or feeling if[...]we had shot the film just out of[...]part of our work. It is part of the[...]difficult filming in the Northern[...]in terms of the amount of the[...]subject to the weather, and you[...]was that some of the pre-produc actual name producer when John Above: Auzins directs Fincina Hopgood, Murray [the original producer] who plays Jeannie Gunn's niece. Right: the parted company with us. scene on[...]r niece's hand in At what stage did Murray leave the farewell. We o f the Never Never. production? We sort of folk? John joined the production a few weeks before we were due to[...]e or interview and publish. two weeks into the shoot. Why did you decide to shoot in the What caused his resignation? Northern Territory, with the problems[...]I haven't discussed it with him If the film is judged as success cost of obtaining materials and tion on the film wasn't as tightly and I don't know that my[...]would be worth noting, because we were in the area where took the film grossly over budget. is not absolutely the end of the really. I was too busy at that time the story actually took place, and[...]earth in terms of distance. It directing the film. However, for a because we did, as individuals, One of the complaints that Dan, a should be possible t[...]ke John, it may have experience basically the same con character in the book, makes is film almost anywhere in the world been difficult to work with the fact ditions that the real characters that city people, who[...]ienced. It certainly had a understand the outback, like requires expertise and e[...]eative control. But I really profound effect on the cast, just to telling bush stories. Do you[...]g. don't know and I don't think it be in the same place and to walk that the 12 weeks out there put you would be proper of me to make the same ground. Some of them in a bett[...]were quicker to realize that than what the book was about? with discussions that took place[...]What are the advantages and between the production company[...]f adapting a screen and John just before he left the It is not easy working like that, quite a lot of time there in the years play from an autobiography? production. Quite a number of obviously, but I think it is very of researching the story and people came and went during the worthwhile. The shoot was only 12 writing the script. Peter Schreck, the screenwriter, shooting. My job at the time was weeks and you can live through 12[...]y hardships. It is a special part of the world. the limitations are enormous, with why people were coming and Perhaps one of the film's strengths It has a spiritual quali[...]it does have that edge of that most of the cast and crew felt[...]What was the original budget? I am determined in this inte[...]because About $2.5 million but I think the last time I did an interview for we probably went about $700,000 Cinema Papers vast sections of the over that. Most of the excess was industry wouldn't speak to me for expended on transport, accommo months. dation and the art department. The cost of accommodation, for some I always believe it is so difficult rea[...]sort of folk ask. been underestimated, as had the 506 -- December CINEMA PAPERS
	[...]Igor Auzins national classic like We o f the It certainly shows the attitudes would probably be more successful[...]arried Never Never. Obviously, we had to of the other women, and it shows and just as relevant if we retained woman. be aware of the possibility of that she is a rebel of some sort. it as a period story. severe criticism for damaging a Obviously, it provides a contrast How did the Gunn family react to classic. Whether or not we will between city and country, and The relationship between Jeannie the film? escape that, I don't know. gives a context for the rest of the and Aeneas (Arthur Dignam) is[...]never explicitly developed in the Generally they liked it. Some of[...]book, and in the film it is emotion them weren't absolutely comfor be faithful to the style and the The book is written in the first ally restrained. How do you create table with the two or three scenes intent of the book, and I believe we person. Did you ever con[...]e who talk so little about aren't in the book, because they won't quite see it like that,[...]and because they made Jeannie the book properly. Perhaps we setting it in the present day, I suppose the answer is that we more aggressive than they remem haven't faithfully reproduced the because life in that part of the understood them to be not parti bered her to be. But we felt those sense and style of all the Territory has changed very little[...]necessary. have been faithful to the intent of human beings. We learned that the book. However, we[...]films like "We of the Never What did you think its intention[...]it wasn't really a story of Never" and "The Man From was?[...]ge as such. Their Snowy River" and the American[...]marriage was a catalyst for the Western in terms of the explora other events of the story. It is an tion of history and the celebration[...]females. It deals with the whole Yes. Those two Australian fil[...]opposed to the woman's influence. perform the same function, but[...]not in the same way. Interestingly,[...]product of the time, of the sort of America was that perhaps We of[...]things that were acceptable for the Never Never will fulfil the[...]embarked on for a new form of[...]after they were They identified with the aspects[...]ced consciousness isolation, and with the drama of[...]Left: the marriage ball, with Aeneas Gunn Riders and Bar[...]Jeannie, alone at Elsey Station. We o f the[...]It appears that the Western[...]tion of I think Jeannie Gunn's inten tions for the book were to explain some of the harshness and pecul iarities that she witnessed in her year in the Northern Territory. That exploration becomes almost a personal justification, on behalf of the white people of the outback of that time, for the way of life out there. It doesn't read like a personal story, but I believe it is. I think she saw the men of the outback as bruised, lonely figures, and she wanted the book to be an explanation of that. Why did you decide to include the opening scenes of the marriage preparations, the advice that Jeannie (Angela Punch McGregor) was getting and the reaction of the city women to her decision to go into the outback with her husband? To set the theme for the film; to give it an immediate purpose and ident[...]hows a contrast between Jeannie's attitudes and the attitudes of the other women of the time?[...]
	[...]ls obliged to Yes. It is an expression of the time. But perhaps, as filmmakers, in We of the Never Never perhaps prove herself as an individual growth in mutual trust in the rela we were searching for some slightly they see a Western form that before the men on the station will tionship between her and the men. more dramatic events. On several doesn[...]harshness accept her. Yet throughout the But it is still not an absolutely oc[...]sm. film you get the feeling that she is warm, open, contemporary rela o f the Never Never just wouldn't[...]in " Snowy She was excluded from the unimportant and irrelevant to River" to do with the necessity to broader range of the station There are several scenes in the film anything that's Australian today. prove y[...], I think it is an indication environment. I saw the horse- housewife. She wasn't the sort of character development but which[...]that. She wanted to be seem quite different to the ing the men that he was competent accepted a[...]as a woman whose place is in the character charted in the book. The (Tony Barry), Jeannie is convinced[...]that the men built the house as a[...]prison for her, to keep her in her[...]ment and insecurity. Why does the[...]film accentuate the conflict[...]between Jeannie and the men? -[...]rather than taken from the book.[...]The film needed a forward-moving[...]reason for straying from the book.[...]But the drama really changes her[...]faithful reproduction of the lady as[...]perceived in the book, though I[...]behaviour, given the circumstances[...]of the book.[...]in the life of a cattle station. Some[...]times we couldn't find the approp[...]riate dramatic moment in the book[...]and we modified some of the[...]events or some of the responses for[...]the structure of the film. Jeannie is told she can come no closer to the house. Once she proved herself, chapter dealing with the arrival of I had trouble with the scene where feverish stranger, and Aeneas takes the she was still just an individual the feverish stranger is for Jeannie Jeannie states that she has no tray. (This scene, along with all the others woman and they had pre-concep a demonstration of the bonds of desire to teach the Aboriginals dealing with the stranger's sickness, death tions of her position. mateship. Yet in the film it is her anything but is quite happy to and burial, was cut from the film just after affirmation of exclusion from the learn from them. She then the world premiere and two days before the There seems to be a stronger feeling male w[...]of warmth and humanity in the its meaning? ([...]t is a reality in those sorts of stands the men and that they begin We tried to descri[...]look at the events and suppose a Exactly. I am delighted you had liability. The men expected Aeneas I don't think we suggest in the personal, emotional response to troubl[...]nal response to thing she had to work through for character: an adventurer, a geo her. Towards the end of the film those events in the book. She herself. She was a city bred, grapher, a romantic, a seafarer, a the attempt at comfort that she describes the men's response. I Edwardian lady with no s[...]Jarratt) is an indication of the described in the book. We just other cultures. She had a c[...]support that she describes in the tried to work through her response emoti[...]'s comment book. I suppose that the slant we to being rejected in that way.[...]she's a wallflower? You get a took in the script was more[...]al. She wanted to learn much stronger sense from the film concerned with the relations Yet, the effect of that scene is to rather than to teach. than the book of a woman who is between the whites and the blacks make her seem resentful, whereas 30, who feels left on the shelf . . . in the second half of the film. in the book she is more accepting Yet, when it a[...]of the constraints of her life in the moment of how to do that, in the The concept of herself as a wall One of J[...]ever . . . middle section of the film, she flower is taken directly from one of the men is their inability to doesn't have the knowledge or the express their emotions to a I would argue that the reactions experience or the insight to offer of her letters from the Northern woman. Do you think Dandy'[...]tears at the end are an indication of reactions and not that far from Edwardian gardening tasks for Territory to Melbourne, where she h[...]them? what she might have felt at the Aboriginals. writes of herself as Plain Jane, the[...]
	[...]at through a whole does cause problems. Later in the tudes that are racist and to differ would convey the feeling that the variety of different techniques, film she questions her own inter entiate those attitudes from the Aboriginal people have their own[...]ntion, but we have to see it attitudes of the film? way of life, their ow[...]would follow particular moments . . . Is the corroboree at the end believe that the film takes a racist suggest that that tho[...]I think it shows that the men We of the Never Never, describing unless you do fully e[...]fully follow up, you have trivial by some of the members of the and subordinates. Jeannie holds a most of them, unfortunately. ized the importance of something. group, a desire for contact. But different view at the beginning, For me, We of the Never Never even that piece of intervention is[...]ust trivialize events, what should probably run for about basically unsuccessful because the are only causing conflict, and then are you hoping to convey with the three weeks solid and then we white men overstep the situation. leaves it at that . . .[...]ourselves to some of the things that Why is it necessary for them to get You don't believe that there is Well, you hope the moments we tried to indicate. up in the middle of the ceremony any advance towards a third form[...]tart shooting? of treatment of the Aboriginal just But they are not very de[...]r husband's death? examinations of the moments -- itive statement of any sort. It[...]ression. It is an idea. It is aggression towards the black I suppose one of the things that this film, but in any film. You are hopefully an emotional and people of the time. I think that is a perhaps the film ultimately says is looking at a bro[...]her case, have to be very specific about the thorough explanation or examina how it was an[...]hoped to be able to do with because she left the station. The explain or background the moment the film was to have the audience work and the understanding that adequately, can you? How did the Aboriginal actors in ask itself one or two quest[...]the film feel about the way they have no answers, only questions.[...]con them, the men of the station, tribute in any way to the creation Occasionally the book is quite accomplished was terminated of the characters? patronizing towards Aboriginals. because their time at the station w[...]They contributed to the creation[...]didn't contribute to the script's[...]treatment and the script's concept[...]Were they satisfied with the way[...]Yes, the responses I have had[...]the film. They believed we were[...]What about the Bett-Bett char[...]in the book, but a central one in[...]the film . . .[...]Concluded on p. 587 Yet in the film Jeannie actively Depicting Aboriginals on film. Above: challenges the men's attitude that Aboriginal women and children, Rosie the Aboriginals are somehow sub (Mawuyul Yanth[...]d friend. Right: change to make people aware of the prevalence of racist attitudes? Bett-Bett (Sib[...]. We of It is not a change we made. That the Never Never. confrontation between Jeannie and the men is described in the Why did you use sub-titles? book. She specifically suggests that the Aboriginals have better know I don't thi[...]e says that language and not understand what the station owners should share the they are saying; it is offensive. If produce of the station with the we understand the white charac Aboriginals. I think she was a non[...]der racist person; she held very stand the black characters. advanced views for her time on black-white relationships. I found that the sub-titles create an audience awareness of a complex The book does read as a racist Aboriginal culture of which the document sometimes, but we white cha[...]Right. One of our intentions was would have made the film. to give the Aboriginal people a life[...]
	[...]inyard P aul Schrader is one of the seminal figures of the cont[...]e to the creative use of his critical faculty and a commer[...]deployment of his Calvinism. The result is a body of work[...]new film, Cat People (1982), the curator as a romantic idealist in search of is the first he has directed from[...]stic Michael Courtland (Cliff Robertson), the hero Schrader work. The heroine, Irena Schrader created for Brian De Palma's[...]ki), is both a preodbasteosrsive, a man who kills the thing he loves an[...]wn nature, and, as such, and then builds a shrine for her. In Obsession, she recalls Schrader's characterization of the the Dante-Beatrice legend is alluded to quite[...]use of a (1979), the violence is closely linked to sexual New Orleans setting for metaphysical melo[...]when a young keeper drama, and their concern with the taboo of is attac[...]his blood splashing at the heroine's feet, to be the only form of sexual release that will[...]implying a link between feline ferocity preserve the characters' identity. and loss of virginity. The connection between[...]People is extremely violent. The zoo blood. It's d[...]people are in The curator of the zoo, Oliver Yates (John[...]Heard), is as repressed as the heroine, and as at the end of American Gigolo[...]postponed not only because of (1980), the two lovers are separated by bars,[...]ver's apprehension about when separated forcibly. The zoo imagery is despoiling a vision of perfection. The character used also as a correlative to human sav[...]ing Dante, which anti and, as Schrader puts it, " the fear in our cipates the film's ultimate descent into the society now that there's a monster lurking underworld and the revelation of his character: under the calm surfaces of every person" . 1. By Alan Ormsby, and based on the script for Cat People Similar imagery also pervades Schrad[...]odeen. screenplays for Taxi Driver and the evocatively-[...]
	[...]rs separated by `prison walls': Irena (Kinski) The intense inner life of Schrader's looks at her leopard in Cat People; the hand o f Michelle characters is often signalled[...]Schrader character Gere) in American Gigolo; the scene in Robert Bresson's tears himself to pieces psychologically, he is Pickpocket which inspired the Gigolo coda. also in danger of being torn apart physically, limb from limb. One only has to think of the between sexual censoriousness and coy nudity. missing digits that scatter the Schrader scripts Schrader seems half-appalled, half-fascinated for The Yakuza (1975)3 and Taxi Driver; the by the urban hells he evokes, and the films reel hero's right hand in Rolling Thunder[...]ary impulses of pleasure and that is thrust into the mechanical garbage punishment, Protestantism and permissiveness, disposal unit; the keeper's severed arm in Cat purification and perversion. I am a little People; the most sickening broken nose in film reminded of[...]ponse history in Raging Bull; and, in that film, the to Dostoevsky: whole way in which Jake's maso[...]is signified by his " He is again like the rat, slithering along in ability to absorb extreme physical punishment. hate, in the shadows, and in order to belong to the light, professing love, all love. But his Suc[...]running is Schrader's excremental vision. One of the shadowy and rat-like, he is a will fix[...]a trap. He is not nice." whole new dimension to the word " pus" , as the It summons again Schrader's ambivalence black[...]iption imminent presence. A hand becomes part of the of him as a man " who moves through the city garbage in Rolling Thunder. The demented like a rat through a sewer" .[...]vsky, he is erupts disturbingly when he startles the poli violent, melodramatic, religious and tician by declaring that, " The President should profoundly conservative. Like the clean up the whole mess here; should flush it Russian master also, he uses the down the fuckin' toilet." The desire to clean tawdry formulae of[...]etimes is an uneasy sense of his putting a The ultimate dramatic goal is rarely a sentiment he[...]resolution but invariably a form of himself into the mouth of an unbalanced spiritual transc[...]only to think of the ironic and inscrutable final minutes of Taxi Driver or the spiritual This might account for the uncomfortable implosion yet narrative diminuendo that forms tone that hovers over some of the films. Is the denouement of American Gigolo. " One Travis in T[...]as I was blind, now I People recalls Hardcore in the way it seems to see" , is the epilogue for Raging Bull, following hesitate between tragedy and titillation, the ambiguous closing scene where Jake talks to himself in the mirror, either facing himself at 3. Co-sc[...]
	Paul Schrader The original: John Ferguson (James Stewart), right, and The reclamation: Michael Courtland (Cliff Robertson),[...]ndfamily: "disappearing Judy Barton (Kim Novak), the girl John tries to turn into right, and Sandra Portinari (Genevieve Bujold), the girl under the flab o f narcissism"? Martin Scorsese's Raging h[...]Bull. last or disappearing under the flab of narcis visiting producer is impressed by the direction facets of Schrader's creative work is the way it sism. Oliver visits the cage at the end of Cat of his new porno opus and receives the instant feeds off previous films and offers a modern People as if it were a shrine, and, as the cat stares back, the David Bowie song intones the explanation for such sleazy expertise: " He's perspective on earlier film classics, a form of lyric: " I could stare for a thousand years, and don't you feel my blood en[...]is also from UCLA. Having process variously takes the form of homage, the mysterious black hole of the hero's head. " Your last scene should play out there on the decided not to become a minister, he[...], expansion and sidewalk" , Schrader has said. " The ripples[...]tion from Pauline contrast. should extend beyond the immediate film."[...]Kael. Out of this period came his book on For example, Schrader's screenplay for Brian Schrader's style accompanying these vis[...]in Film5, which is a fascinating fusion of The film's fixation is with Alfred Hitchcock's central consciousness. The setting is invariably a modern America of garish impersonality, and theology and film. It has the flavor of the kind Vertigo (1958), of which Obsession is a virtual the style takes its shadings from the tension and counterpoint Schrader finds between[...]ested in remake, both in terms of plot (man loses the psychological life and an outer world of plastic[...]h color, sound and performance, Schrader reaches for a visualization of a existentialism were to be transposed to the letters, the church). There is a moment when mythical world, not only to summon up the creatures that roam the subconscious but to streets of the U.S. According to Schrader, Taxi the young artist, Sandra Portinari (Genevieve evoke the essence of films as a dimension of Driver gives the answer to this: a European Bujold), the mirror-image of the woman magic. Some films make you think; Schrader[...]and has lost, asks whether it is make you dream. The goal of Cat People is to provide a pleasurable n[...]cut through the surface to see what is under[...]neath. Michael prefers the former.[...]so wrote an important The question has relevance to the main[...]assisted towards a revaluation of the relationships, suggesting Michael's[...]classic noir films of the 1940s and[...]deception and his desire to restore the original[...]woman. But it also has relevance to the relation[...]of this film to Vertigo. Now that the chances of[...]seeing the Hitchcock film seem to be very[...]climate in which the form could be revisedscanrcde6, Obsession becomes itself the restora[...]to this revival himself with his screenplay for delicious and nostalgic slice of authenticity.[...]Taxi Driver, in which the hero has classic noir Interestingly, Schrader fel[...]rustrated and Palma because he wanted to continue the story obsessed, and oppressed by night and the city. into the 1980s, with Michael still searching for The dark side of life on which[...]his lost love. This might have been truer to the to concentrate is at least alleviat[...]o do that was to write a spirit of the tragic outcome of Vertigo, with its[...]being as much an act As it stands, the film could be almost equally an[...]allusion to Shakespeare's The Winter's Tale. A analogies to human feelings: the preenoifncgrsitiocfism as of creativity. One of the central hero's weakness costs him, he thinks, the life of Paul, the way Irena pounces on a bowl of fish[...]Transcendental Style in Film: Ozu, in a cafe, or the way Paul's housekeeper, Bresson, Dreyer, University of California Press, 6. The film is subject to a contracted legal dispute ove[...]copyright, which has stopped the film being shown in Female (Ruby Dee), gives a c[...]most countries for several years -- Editor. origins by her delighted response to Topcat on television. The script for Joan Tewkesbury's Old Boy friends (1978), writ[...]rd, has some nice comic flourishes, notably in the sexual humiliation of the egocentric vocalist, Eric Katz (John Belushi),[...]stuffy, small-town psychiatrist with a disdain for West Coast morality (he even pronounces Los An[...]a forklift on a recalcitrant vending machine, the excessive reaction amusingly yet tellingly reflects the intensity of his exasperation with impassive Harry Kilmer (Robert Mitchum) takes the violence o f the Calvinist ethics versus Los Angeles decadence[...]West to Japan in Sydney Pollack's The Yakuza. Dorn (George C. Scott) con[...]Boyle). Hardcore. Amidst the perversion and pornography of Hardcore,[...]
	[...]ckle (Robert De Niro) talks to his `Debbie', Iris The search fo r a lost daughter: Jake looks at a porno film similar to those of Ethan and Scar in The (Jodie Foster), centre, and afriend (Garth Avery[...]As well as exposing some of the racist issues his wife and daughter, but, after a remorseful Driver and Rolling Thunder, like The that the earlier film elided, Taxi Driver is also a[...]modern reflection on the efficacy of heroism, 16 years, he is given a sec[...]embodied in the Western of which Ford's films himself through hi[...]their own are the supreme achievement. For the first time[...]Ford, in The Searchers, is profoundly who is also a surrogate[...]The bloody denouement of Taxi Driver merci gives way[...]It is the madness in The Searchers that excites[...]The other 1950s Hollywood classic which Schrader's third act for the drama could have Schrader; the other element in that film which Schrader has revalued in his fictions is On the[...]ut as writer and been a compelling addition, but the film still is he has seized and enlarged is its v[...]Zeke Brown (Richard aesthetics, as important to the reclamation of by having Charles Rane (William De[...]Pryor) that is almost word for word a repeat of[...]the slanging match between Terry Malloy Vertigo as one of the screen's masterpieces as is ex-Vietnam POW, as the hero who sees the (Marlon Brando) and[...]Cobb) that presaged their fight. But, signi the criticism of Robin Wood7 and Donald gang that inv[...]knowing than On the Waterfront, more Spoto8. wife as the equivalent of the Vietnamese whom detailed in it[...]more cruel in its imagery (the rebel worker who[...]pray) and insight and not blind hagiography, and the His revenge thus becomes an elaborate more cynical in its exposure of the limits of[...]individualism. form the film takes implicitly throws the compensation and a re-enactment of a personal[...]Hitchcock as master of racist fantasy, rather in the manner of Ethan m[...]apologia for the informer in McCarthyist suspense and towards Hitchcock the anguished Edwards' (John Wayne) vendetta against the America has been[...]he sees as a specifically Marxist conclusion. The romantic and perverse psychologist. Indians in The Searchers who have ravaged the final frame freezes the men at the point of con[...]frontation and we hear again the film's[...]ith John message: " They pit the lifers against the new[...]boys, the old against the young, the black A nother key film from the same Flynn's direction softening Charles into a nice against the white, to keep us in our place."[...]which Schrader's work guy (" which would be the equivalent of giving has alluded[...]R aging Bull alludes overtly to On the Ford's The Searchers (1956). Four the character in Taxi Driver a dog" , Schrader Waterfront in the final scene when of his screenpl[...]have inspiration from this source: The Yakuza, Taxi[...]h-drunk ex Driver, Rolling Thunder and Hardcore. The[...]who have a relationship with a Yakuza takes from The Searchers the idea of a Taxi Driver is more uncompromi[...]an themselves but hero's quest in an alien world for a kidnapped It includes a te[...]Sport (Harvey Keitel) and the hood, a sense of softness i[...]lf- Foster), which is the equivalent of a ought to have looked after them better. appointed Saviours journeying into the under scene often imagined in The Searchers but world to save a girl from what they perceive as never shown: the life together of Scar (Henry But the differences between the two heroes the lower depths: a rescue mission that is also a Bra[...]are more striking than their similarities. The[...]allusions of Scorsese and Schrader to On the journey into Hell. Although The Yakuza borrows only the tenderness and even love there? Ford seems no[...]nard Schrader. equivalent narrative situation of The Searchers, more willing than his hero to confront these the other films make an attempt to approximate possibilities. Scorsese and Schrader crosscut the complex psychology of the Ford film. Taxi their `Scar' scene with that of T[...]tion for his own private war that will lead 7. Robin Wood[...]camp. The nervy confrontations between 8. Donald Spoto, The A rt o f Alfred Hitchcock, W. H.[...]
	[...]nation of an actual a critical essay on the changing fashions of reactionary melodramatics of[...]cript). He did a first draft of Close Encounters the essential romanticism of the 1950s screen sexual tension. hero and[...]of the Third Kind which Steven Spielberg later during the past 25 years or so. Brando's hero represents the confusions of a typical rebel of[...]rejected. Indeed, it is tempting to think of the '50s; De Niro's that of the alienated anti- hero of the '70s. Brando is a rebel without a[...]If Schrader's films comment on film cab (in the first shot of Taxi Driver) and Spiel in On the Waterfront (testifying in court,[...]'s floating yellow spacecraft (in Close fighting the villain) seems prissily conventional part of it. Indeed, any critical history of Encounters) as the two most resonant emblems when compared with De Niro's manic and Hollywood in the past decade would of the decade. They represent the extremes of bloody remedies in Taxi Driver and R[...]Schrader. He has collaborated with esteembeodx-office assets during the turbulent 1970s.[...]film brats such as John Milius (who produced For all that, Schrader seems to stand apart These[...]His career has also intersected with teristic of the so-called Hollywood renaissance challenge any at[...]ritish critic observed, Raging figures of the decade, such as Sydney Pollack Milius' epic extroversion, from the horror Bull could be subtitled: " Somebody Up Th[...]hrader's raw screenplay rhapsodies of De Palma to the Utopian Hates Me." ) They reflect a contemporary for The Yakuza) and Tewkesbury (who gave a fantasies of S[...]liberal feminist slant in Old Boyfriends to the slightly cold, calculating enigma. How would mod[...]a sense of a vacuum between the quality of his Schrader's critical commentary on the changing face of screen heroism since the 1950s, his intelligence and the coherence of his remake of Cat People equally reflects savagely the different conventions of representing[...]ons; Schrader's is explicit and erotic. Although the[...]iting in an American film pays tribute to two of the classic set-pieces of the original (the pursuit in the park; the[...]ly, is: " Cultivate your neuroses: you Tourneur. The film particularly recalls Marnie in its self-conscious use of color (the association[...]For the past decade or so, he has done that very animal behaviour to convey the heroine's frightened sexuality and the hero's odd and successfully. But the danger is one of morbid detached perceptions of the human zoo.[...]With directorial sensibilities of the calibre of danovich's. He does not simply compos[...]Scorsese and Tewkesbury, the neurotics at the films. The references are incorporated into an auto-critique of the cinema. They are not Jerry and Zeke Brown (Richard Pryor) in the wash room. wheel in Taxi Driver and Old Boyfrien[...]romantic psychology. Taxi Driver pays tribute to The Searchers but also extends it and recasts it for a new age, its racism and ambivalent ideology now brought closer to the surface. Blue Collar and Raging Bull criticize and revise the political evasions and rhetorical heroism of On the Waterfront. Cat People, by alluding to the original and to Marnie, becomes Jerry Bartowski (Harvey Keitel) at the car works. Blue Collar.[...]
	[...]te suggestiveness even before being whether the film is about adaptation or regres[...]leshed out in narrative form. for childhood innocence has coarsened into an[...]limitations for Schrader, irrespective of[...]whether it would work for anyone else. It is a a regular[...]dramatist. Schrader is much better at to him. The impression he has given since is[...]exposition than development, and the willingly into a commercial straitj[...]mastered the complex currency of modern excellence of the basic idea sometimes Hollywood, but it might be at the expense of his[...]diminishes in the machinery of narrative[...]formula (like, for example, the glib attribution a line in Obsession when the daughter,[...]auding her father with whom Above: Irena outside the leopard's cage. Cat People. Top of the hero's violence in Rolling Thunder to she has become emotionally involved, wonders right: Travis at the taxi depot, before setting out in his own brutal[...]live. " It's a little late for existential questions, 'cage'. Taxi Driver.[...]darling" , she is told bluntly. " Just take the[...]Scott's star persona as a crusader against the That is the question mark over Schrader's[...]career. Is it too late for him to return to the the diary of a madman. Blue Collar also avoids[...]d traditional values existential questions? Is the money helping him neurotic narrowness by broadening its social (as in Rage, Day of the Dolphin, The Formula to forget? context and splitting[...]is powerfully evoked. three main characters. But the identification The moral issues -- the thin line between Filmography with the hero of Hardcore hurts the film: it is freedom and exploitation, the bourgeois having impossible to decide whether we[...]o to defend his way of life to the prostitute, not Screenwriter the other way round -- are potentially 1975 The Yakuza co-scripted with Robert Towne. deplore or[...]olling Thunder co-scripted with Heywood Gould. The closer we are drawn into Schrader's[...]o-scripted with Leonard Schrader. frame of mind, the more his distaste for certain why the daughter disappeared: it does not 1980 R[...]explain why she went into porno films. The the repressive and the prurient. This is mid-sect[...]sweat shirt and wig, is 1979 Hardcore (The Hardcore Life in Britain) also Gigolo in its hos[...]eenwriting method, which the new morality, the film looks like a porno 1982 Cat People.[...]domestic sentimentality and the contrived[...]aper film plot. American Gigolo to that emotion. The example he often unseevseris quite pulls off its Bressonian coda, Taxi Driver, the inspiration for which derived largely because this throws the whole weight from Schrader's personal feelings of loneliness onto the film's weakest area: the hero's and isolation and which were converted into the relationship with the politician's wife. metaphor of a taxi driver cut[...]Boyfriends has a promising concept contact by the glass. It explains why Schrader's -- the revaluation of one's present through a character[...]egy and no real psychology. Why should metaphor. The roles they assume define for the heroine believe that the process of Schrader their professional function[...]er than, say, ex-girl his particular vision of the world (taxi driver as friends? (The obvious answer would be that it a symbo[...]
	[...]eter Tammer has been making films for two decades. Throughout that time he has[...]own resources and equipment. In many senses he is the[...]choice (as the ironic final credit of Mallacoota Stampede indicates), but the failure[...]ependent film has various connotations. It stands for many adjectives used to describe[...]The situation of independent filmmaking in Australia[...]social democracies. At the core of this activity is government funding via s[...]Financial support may entirely or partially cover the budget, usually on the basis that the filmmakers and any other personnel involved are[...]prepared to work for near subsistence wages, and on the expectation of nil or marginal[...]nment funding to produce, often, films opposed to the views of the political masters of those agents of the governments which make funding available. The situation has been succinctly summarized by Sylvi[...]" Given the present system of social relations and of relations in the cinema only the very wealthy are `independent'. Without the private means not only to finance a film project[...]ond that to buy up a few cinemas in which to show the film, or at the very least a[...]to understand and analyse are the complex series of dependencies which characterise the position of the non-commercial filmmaker. What must be emphasised is the fact of[...]ins and to some extent controls their production. The[...]en becomes, from within that dependency, what are the possible areas of action, the possible areas of freedom within the larger constraints?" In the case of Tammer, the fact that he has operated with a measure of self-[...]of means produces work that is rude and abrupt in the confrontation between[...]derives from an interest in the subject and from the way that Tammer attacks that subject. It[...]Tammer's most recently-completed film, Journey to the End of Night, is so far his only[...]pact mostly through extravagant press reaction to the[...]
	Above: Peter Tammer. Below, top to In the films you made through the You have called this form of work t[...]quite eclectic range of topics. The tion with what others call docu inevitable. Stampede: the drag show at the pub; out one common thing is that you have[...]ogs'. How do you swimming; Michelle and Larry in the motel chosen people who are in some[...]. I see my films as one of the do with the aims and purpose of a dad (Tom Pye) discuss her[...]spects of documentary. They can film. Myra, for example, was co[...]somebody being a nut. I don't but the normal understanding pre as co-operative as[...]hey are remarkable people. made by the BBC about Dame Bill was the one with the greatest[...]He The only time I have made a film the life and work of Orson Welles, was the one who most wanted his[...]Cramer in Struttin' the Mutton. That is the traditional documen was of great significa[...]they are different in about going down to the Tol the filming and I didn't know what approach and style from the house plantation, and seeing some bodies was going to be the outcome. It style of television docume[...]wledge, include a narrator. and just down the trail two days scene in the film, he was the whole There are very few films in the bio- ago. I want you to live through[...]ld be the centre, became an onlooker look at with[...]o. to the event. I identify with the Grey Gardens. What I like about[...]was showing in the film. responded to in my earlier films, is that because the first two didn't that the characters speak for them have that quality of really re[...]hat attracts you to your selves. The filmmaker modulates living, but the third one did. I am[...]subjects? what the characters allow them not saying that the[...]es to reveal. first takes in the film -- 40 or 50[...]ut 50 for specific qualities. When I meet With Grey Gardens, the Maysles per cent are third, fourth or fifth[...]Robinson or Bill Neave, I am selves to the world at large. I found The best example of that was the attra[...]at an absolutely staggering, last take in the film, where Bill[...]than that. tional documentary because of the watching Bill kill the Japanese the For example, I was very conscious absence of[...]when making Here's to You Mr the sort of things that the audience one whole evening doing what is a[...]h Gary Patterson that should pick up on. The audience is 10-minute take on film.[...]what it wants. The first three takes were totally That is very clearly in the film for usel[...]but it was in the footage, so we left true of Journey to the End of broken up watching him go[...]some of that quality. I have inter the quality of disturbing him What does the term "vagrant film posed in that film t[...]. genuine as it was in the final take,[...]which is in the film. That is devas I don't see myself as part of the The Maysles' films come out of the tating in its power because he loses[...]a lot of discussion about hadn't done in the first three takes.[...]endent filmmaker who will con whether the camera is influencing tinue to make whatever films the people to perform before it. In Now, I d id[...]appeal to me, regardless of the your films, one suspects there is a approach with the Danny Boy financial conditions at the time. great deal more performance. In[...]this doesn't mean that I " Struttin' the Mutton" , for That was a oncer.[...]ating as an independent filmmaker by the presence of the camera . . . much of this was an instinctive w[...]between the amount of perfor It has always been[...]ds mance encouraged by me as a film the level that I want to make films[...]espoused by the industry. I do not Struttin' the Mutton and the through other channels, then they[...]casts of aged by me in Journey. The Myra resources. Therefore, I have had to[...]Mallacoota Stampede is the Mr Robinson and Journey to the End of I take as a basic departure that mo[...]natural in front of a camera. They for 60 minutes. I put up $18,000,[...]ment Fund editing grant. The true[...]budget for Journey to the End of[...]Night was about $17,000 for 74[...]
	[...]stage. Top: Michael (Michael Bladen) and Debbie the morning after. Above: Michael, Debbie and cheape[...]scious deci Kirsty (Kirsty Grant) in debate at the local. Below: Kirsty and Debbie at the Mallacoota Our Luke and Flux, which cost me[...]Stampede. Mallacoota Stampede. in the vicinity of $100 and $500 sion that we wer[...]ichelle, meant to be a mixture of styles. the two drag queens, had done The first level is actuality observa many shows bu[...], with people doing casual performers in the style of film things, such as parking their cars in actors. Wanda, for example, was caravan parks and bumping into good doing repartee with an people in the process of doing it, or audience, but had never[...]rs would know how to Sometimes they are aware of the do. camera; sometimes not.[...]It is difficult to be able to The second level was meant to measure and deli[...]ve structure in which mance, hit cues along the way and two stories go on simultaneously, things like that. As none of the based around Donny, the country people were really experienced as[...]omplete stories film actors, I had to modify the were written and a full cast was directio[...]d. But because of budget standard. I went for long takes and problems, we didn't get as many tried to find the action as it was scenes shot as we intended. I c[...]I expanded manner, even feature wanted the actors to get into a length, had 1 money to go b[...]use I like to make where things were set up with the films that have people questioning air of possibility. Take the motel whether it is performance or scene, wi[...]Michelle, whether it is a documentary of the drag queens, and Donny and observation. In fact, one of the Larry. We discussed all the possi things I am very happy about in bilities that scene could take. Then Journey to the End of Night is that I just set up the camera and lights, a few people have asked me, with Kit Guyatt doing the sound, " Does Bill really go around talking[...]ay, now we're going to himself like that all the time?" I to go into it." We shot 400 feet of would have thought that the fact it film which is 11 minutes, and was artificial would have jumped there's the scene! out at them. The intensity comes from its How do you expect[...]ment. Larry allows his embarrass quality of the acting, acting that ment to show through in his[...]and he doesn't mind showing that he is The most difficult moment embarrassed. It is beautif[...]Michelle's natural coquetry. have been the scene between Tom Pye, who played the father, and "Mallacoota Stampede" gives the Debbie Conway at the back of the impression of improvized drama. van. He is coming to the realiza How much of it did you plan? t[...]about to leave home. He did that The casting of the people who in one take, and he had never done come from the city was done in anything on film before[...]nviction because it came out rehearsals in town. The country of his own experience. Is he an b[...]o me actor or is he just a person, and on the day of my arrival at Malla where is the difference? coota, by John Archer, the production manager. None of It is not so much what is in the them had acted before, not even in scene but[...]quality, it looks real in the context o[...]by taking suited to a certain character. It was the completely opposite tack.
	Peter Tammer Imagine I were lucky enough to into the remembrance of the war, tive truth because I don't believe the End o f Night, which was work with whom I consider to be in the living room, when he is that Bill has revealed the truth of written after World War 1. the best actors in Australia. I obviously on h[...]nly true insofar as it Now, that brings me to the of film, with the looseness I want That is disconcerting for the was true for him at the time, and second layer of intentions. Journey and the tightness they want. audience, which is[...]that it hasn't changed too radically and the " Book of Job" are about[...]understand what is going on . . . in the 40 years of remembering. characters in the same style as Bill Can there be a confusion betw[...]amateur actor will give I don't believe the scene at the Now, while some of those events been tested beyond the normal you, naturally, and what a profes me[...]ndurance. They are about sional actor will do by the nature though I regard it as having a fic[...]resentational, like the other scene Others have changed slightly That confusion will be illum of him waking up in the night and because of people he has talked to Now, I see Job's way, the inated if a professional actor were walking around the house until he in the past, who have suggested biblical way, be[...]y cast alongside an amateur actor, gets to the kitchen and finds some things to him.[...]rent from Bill's. And Celine's and they both hit the truth of the pills.[...]What gives the film its interest is a both. But, then, all are[...]uth and reality and fiction asking, " What is the purpose of I can't tolerate is performance that Even if he hasn't been to the war and performance all come together[...]? Why do I want to live? is not working, whether the actors memorial before, he has been there on the screen. That is why I think Why do I carry o[...]call it a the night has a representational portrait[...]Bill Neave sets a charge during the war in Neave as seen in Journey to the End Bill's answer is very religious Journey to the End New Guinea.[...]quality, he has been doing that for I resent narrow, category defini The press has concentrated on the 40 years.[...]e inclined towards Celine's story in "Journey to the End of One is more documentary than[...]verything Night" , not on how it is told. I the other. The pills in the night is a me on a multiplicity of levels[...]esentational attempt to place a including the things you have just nightmares beyond compr[...]told. We are talking about documentary reality. The mentioned, such as wherein does sion. They have no meaning, no a number of dichotomies in this memorial was a fiction in a sense the power or truth of a film lie. justification[...]nsider how much of what ever been to the memorial at night, Francesco Rosi's films, for According to Celine, we are happens is a performance for the until that night. I asked him to do[...]it because I know that he has been the times I have seen them. In a which is difficult for us to ^under deeply felt experience that you jus[...]tand. But at least we can be happened to record. The film years of insomnia and guilt. The made in a feature mode, but they[...]ocumenta ledge it. denotes fiction: out of the dark those two scenes.[...]ture film or a Someone like Bill takes the other who looks at the memorial. It then So, I was attempting to[...]ch and says, " I can't under cuts to close-up of the man resent something that internally i[...]The quotations and titles inter but I can't even really believe slowly the man starts reliving Is there a distinction in the film spersed throughout "Journey"[...]come a murderer?" Celine instantaneously relives the mem gone through?[...]the way it is. Accept it!" and son talking about putting bets The whole film is a recreation. They are meant to have a mul on the races. Then it goes straight tiple function. The first level was You would obviously reject the What we are looking at is what is to break up the story and to throw notion of various reviewe[...]events into a separate relief. There the quotes are simply pompous or have no idea about the truth of are, as you know, two separa[...]of quotes, from the " Book of[...]sary. That just means they see the[...]Neave sees, and not about what the[...]them a view of relief from the story[...]the film to support only Bill's[...]
	[...]shorts. In the 1920s and '30s, the Victorian begin? Surely the start exhibition quota specified a mi[...]this requirement. Features were -- at least in the films themselves, for the final those days -- more speculati[...]study before the recently-released The Docu failures. Would it be possible to[...]y. Ross Cooper and make an objective judgment of the Andrew Pike's excellent magnum o[...]mphasize this intentional seeing a major part of the output? omission. Director Raymond Longford provides a P robably the largest body of undocu good example of this oversight. Of the 26 silent mented Australian shorts are those films that Longford directed, only The Senti made by Frank Thring Sen[...]ot between survive. These were purportedly among the best March 1931 and April 1934.[...]facilities. It was the most active period of sound A newcomer to fil[...]Melbourne's history. emphatic in stressing to me the superiority of Longford's direction over that of the Amazingly, nearly all of the Efftee output McDonagh sisters following screenings of The survives at the National Film Archive, Sentimental Bloke (1919) and The Cheaters Canberra. Many of these films a[...]. Comparing two films of such vastly able for loan on 16mm viewing prints, without differing g[...]ionable. But comparison copyright restriction. The remainder are mostly of Longford's best film with the least successful held on nitrate prints and negatives. These of the McDonaghs' output is totally unreason await[...]In its totality, the Efftee collection provides a By many accounts, the best of the comprehensive view of almost the whole output McDonaghs' films was the powerful anti-war of one early Australian[...]value on an objective basis impossible, most of the films which would pro vide the frame of reference for its judgment are lost as well. Short films have survived in even smaller percentages than the features. The backbone of Left: F. W. Thring, head o f Efftee Film Studios. Above: The Pat Hanna production o f Waltzing Matilda (1933), The Haunted Barn (1931): produced by Efftee and directed which was made at the Efftee Studio, by E. A. Diettrich-Derrick[...]
	The Efftee Legacy Efftee films contrast sharply wi[...]end-to-end in each can. Most of the `ring-ins' and William Shepherd's skilful editin[...]of the cans of Efftee nitrate could reveal a phobic, seldom moving outdoors. tography maintains the highest standards of wealth of film material hitherto undiscovered. But the Efftee films have extremely high photographic pic[...]g their lack of cine one brought down to earth by the sight of lian film is und[...]documentaries and shorts, any analysis of the matic quality, a high technical and artistic " sussos" scratching for gold in the gutters of history of Austra[...]and misleading. The research must begin with quality allows most of the films -- and particu Ballarat, or by a brief shot of a Fascist march in the films themselves. larly the unpretentious shorts -- to `ride well' Dear Old L[...]ere made under some cases, the National Library's prints are derived[...]from truncated versions intended for release in The Efftee Entertainers shorts, for instance, the Australian Educational Films banner, in[...]Britain. These will be noted. Detailed credits for the[...]Several of the Efftee shorts are held only on attempted to film[...]hing like cinematography in these shorts. Most of the original nitrate stock at the NFA. this production scale, with the single exception equipment used to make them was extem The technical crew on all films listed here is as[...]follows, unless otherwise stated. of the 49-minute Cinesound Varieties (1934), of porized[...]phone Recording System) The acts filmed by Efftee were often tralian natural[...]oleman recorded contemporaneously by Vocalion, the sensitivity and enthusiasm. Feature Films Made in the[...]bourne record company then active. Unfortunately, the 16mm viewing prints of[...]der) Discs were made by Pat Hanna, Jack O'Hagan, the Efftee material are all too often a sad[...]o-respondent's Course Keith Desmond, Athol Tier, The Sundowners travesty of the 35mm originals.[...]acobs' Orchestra. Efftee films Without exception, the original 35mm Efftee[...]chin, Donalda Warne. provided a convenient means for cinema prints have impeccable image quality and[...]Thring. stars who had previously been known only for In shocking contrast, the 16mm print of the Wartime comedy-drama sta[...]estra short has a virtually The Haunted Barn country areas, where cinema patro[...]opportunity to attend good legitimate theatre The 16mm print of the Athol Tier short is and variety shows. The Efftee Entertainers incorrectly exposed, out of focus, and its sound shorts are the visual equivalent of 78 r.p.m. is terribly distor[...]nd run to similar lengths (3 mins). Nearly all of the pre-1934 sound films were Their survival alone[...]In practically every case, 16mm prints Unlike the Cinesound films, which could rely from these pre-[...]a crowd, cropped at top and bottom, destroying the Efftee films relied heavily on the star appeal composition and slicing off heads and[...]ed to Hanna's films are particularly difficult for a `modified silent format' reduction specifica modern audience to assess, stripped of the tions, to preserve the original aspect ratio on context of Hanna's ubiq[...]ultiple 35mm release prints, and some radio in the early 1930s. " Digger" humor, so original sound and picture negatives of the familiar to Australian theatregoers in the 1920s, Efftee films, are held by the NFA, so the job tends to be lost on a modern audience. Collo[...]sms, then familiar, have since been Fortuitously, the Efftee nitrates haven't replaced by the catchwords of another war, and deteriorated except for a little shrinkage. have faded even further in the subsequent Of the five Great Barrier Reef shorts, only flood-tid[...]its soundtrack. Originally, the NFA acquired only the picture negatives of these four shorts. Efftee films all reflect a rather naive With the acquisition of several Monkman and idiosyncratic Australia between release prints in the Davidson collection, it the wars, anxious for psychological should now be possible to recover the missing escape from the rigors of economic sound. depress[...]Several of the Efftee shorts, including the `Aussie battler' comedies, Dorothy Brimunptorn[...]n Clara Gibbings and have not been copied at all. The NFA has at Pat Hanna's echoing of wartime camaraderie least one print of this, as well as the original all reflect this. sound and picture negatives. Even in the Efftee documentaries, the Most intriguing, the 1000 ft film cans con escapist element is evident, presenting a taining the original nitrates are mostly listed `chocolate box' vision of Australian life. in NFA catalogues by the titles on the leader of E fftee's first musical short, Will Cade and his Regent The sound department at Efftee Studios, St Moritz, St[...]s Collit's Theatre Orchestra in Selections from `The Desert Song' Kilda, in 1934: Alan Mill, left, Jack Murray, John Heyer. Inn (1934). (Photograph courtesy the South Australian[...]
	[...]The Efftee Legacy Derrick and Gregan McMahon. Mystery-drama with The " Efftee Entertainers" (16) The Sundowners -- Harmony Quartette (No. 2) comic el[...](5 mins, 1932) Songs include " The Wedding Of The Cameron, Thelma Scott.[...](chronological order) The Sentimental Bloke[...]Selections From `The Desert Song' (5 mins, 1931) 1932) Lou[...]Melbourne's Regent Theatre Orchestra plays " The actor and creator of the radio character " Dr. Mac" , Talkie adaptation o[...]My Idea Of A Lady" . Scott and Ray Fisher. N.B.: the NFA has the British release print, cut to 72 mins.[...]s, (18) Kathleen Goodall -- Songs At The Piano (No. 1)[...]On" , " By The Big Blue Billabong" , " In Dreamy so[...]ee. Dir.: F. W. Thring. Araby" , " After The Dawn" and " The Road To through these shorts. It[...]s feature films. She sings who dreams that he is the king of a small European[...]trad Trio in Selections From Their Crosby. N.B.: the NFA has the British print, cut to 85 Repertoire[...]in, cello and (19) Kathleen Goodall -- Songs At The Piano (No. 2) mins.[...](20) Kathleen Goodall -- Songs At The Piano (No. 3)[...], Celebrated Violinist (5 mins, policeman. N.B.: the NFA print is cut to 67 mins. (5) Kei[...]1931) Desmond recites the poem On The Stairs in with Henri Penn providing[...]typical turn-of-the-century declamatory style.[...]1931) This short exists at the NFA only as a picture issue of Everyone's[...]in stand-up fashion. Patter, dance and song. The the 1880s, and she had toured Australia as far back[...]ire as 1897. in 1899 she appeared in the original cast of servicemen in Melbourne.[...]Wallace as a star comic for his later features. Floradora. She stayed in Australia for some years in[...]the early 1930s, giving acting classes. Later A Tick[...]roles in later British films. Here she delivers the (91 mins, rel. 6/1/34) P.C.: Efftee. Dir.: F. W.[...]ins, 1932) Star of owing to dissatisfaction with the first rushes. Some 8000 Dancers (No. 2[...]c Howitt, co adaptation of W. Hatfield's book of the same name, composer of music for His Royal Highness with dealing with an Englishm[...]Marshall Crosby (4 mins, 1932) The Jack[...]ublicly singing " We Crawled In The Old Apple Tree '. Piano (27) Neil McKay, Scotti[...]Australia. " The Sea's The Life For Me" with some Harvey, Phyllis Baker, Campbell Co[...]Sutton singing " Over The Garden Wall" and of -- Overture Fro[...]" . This Australian musical extravaganza, set in the 1820s,[...]Co. Orchestra was produced on stage by Thring at the end of 1933. A (15) The Sundowners -- Harmony Quartette (No. 1) -- Selections From The Barber Of Seville by film was planned, but only[...]tette from radio Rossini (7 mins, 1932) The J. C. Williamson 1932 production was suspended.[...]me" and " I Haven't Aldrovandi. While The Stars Are Shining" , with a spoken introduction[...]el's epic attempt at an Australian equivalent of The Birth Of A Nation. Stars Peggy Maguire and Franklyn Bennett. Only indoor scenes and the soundtrack were done at the Efftee studio. E fftee's uncompleted fe[...]
	[...]film s run into censorship problems (particularly The Night Porter), they also have the distinction o f being attacked by Left and Right,[...]avani was interviewed in Rome by Sue Adler during the post-production o f her latest film, Oltra la porta (Beyond the Door), which stars Eleanora Giorgi and Ma[...]
	[...]in because we were dealing with Saint The Guest, the Host was the Classics at the University of Francis. I chose a modern[...]ry of a woman who had been Bologna, you attended the Centro man who didn't fit in with their[...]Sperimentale di Cinematografia in ideas of the young Saint. They sick only because the asylum had Rome. What was it like there in the were rather taken aback. But their made he[...]was concerned about the problem sensitive. Instead of sheltering[...]Francis, which is that of every these people, the asylum becomes a courses were properly designed[...]s were not, as in every who wants to change the world. It school. But the students became was also my problem and th[...]Now they have closed down a lot very stupid in the years around my generation.[...]se institutions and people .1968 and they closed the school[...]alileo are roaming the streets. Reforms the destructive demagogy because[...]Galileo grew out of a co-produc open the gates. successive years were deprived of a tion between a private network and school. It was the only one for the RAI and Sofia (Budapest) -- Milarepa cinema which existed, and it was the first, and perhaps the last, co needed badly.[...]eastern country. Many of the reading the book of the great In most American universities int[...]s a cinema section, but not in studios in Sofia. The RAI didn't liked very much. In the film I tell Italian universities. There are want to show it because it con the story of a young person who courses in the performing arts, sidered the film too anti-clerical reads the book and identifies with but, like most things I[...]So it was shown it. He and his professor are the key courses are very rhetorical and not in cinemas. characters, and the youth has an at all practical.[...]There were a lot of problems The Centro Sperimentale was because in doing[...]Sometimes reading a book does very practical: at the end of the depict Galileo against the church this to you: it is like experiencing first year you did a 15-minute film, and the church against Galileo. physically the thing itself, or being at the end of the second year a Remember that only three yea[...]d so on. You ago they took his books off the to relate the feeling of having an learned to use lenses, to edit, etc. black list. But I find the polemics experience with a different culture within the church and the church and making an imaginary journey. They are now re-establishing the itself boring. I don't want to school, 14 yea[...]scuss it on film. I made it for television on a low destroyed, and hopefully the[...]bali sible to approach the private net[...]. They Do you think you would have gone The Cannibals was something I should do films like Milarepa, into the cinema without attending did in the 1968 period. It was the which deal with certain themes and the Centro Sperimentale? topic of the time and for me there arguments. But the private w[...]taly, schooling is virtually all to rediscover the true value of in such films; they cost more th[...]s, unless you want to things -- a search for the meaning they make. So I did it with the make a career in the public service of existence. The Cannibals was a RAI. or as a functionary. N[...]et in a contemporary ambience -- Galileo, The. Guest, the Host at l[...]and Milarepa were filmed on I applied for a post as a func departure. 35mm film and done on low tionary at the RAI [the Italian budgets. I believe in the quality of equivalent of the BBC] and got the Today, our problems have been film s[...]used it. Instead, reduced to two: terrorism and the is obvious that with 35mm the I proposed certain projects for Mafia. The Mafia is exclusively an results are superior.[...]rrorism is a when people use 16mm and blow it The Story of the Third Reich, general one. I have never treated up to 35mm -- the latest film by which used German newsreel docu these issues on film because the the Taviani brothers, for example. mentation from all over the world. newspapers are full of them and[...]there is no point retelling it in the From there, I went on to do cinema, u[...]It is fair enough to say that we other things for the RAI and for revelations to make. cann[...]I the American cinema, but there proposed documentaries on ideas L 'ospite (The Guest, has to be a minimum of pr[...]al modern that were not very well known. I the Host) ization. You can't just rely on the did a story about Stalinism, and an[...]ave to inquiry about urbanization. I was The Guest, the Host is a film I produce something that is we[...]a great impression on me. I went The technical aspect is extremely nature until 1965. for a week to observe and make important to me, but the Italian n[...]ssisi a woman who lived there for many area. For those who want their[...]like Bernardo Bertolucci and me, by the people at the RAI. They In those days, the asylums were you have to go through death wanted to do it in the studios with full of people who were not neces[...]th people from bit nutty and an annoyance for the niques cost a lot of money; you the street, not professional actors family. So the[...]and have to hire expensive equipment. from the theatre." I was able to do left there. Often t[...]to bottom: Max (Dirk Bogarde) relationship with the RAI and had were too sensitive.[...]favors from Lucia (Charlotte done various things for them. Rampling); entertainment fo r the Nazi[...]Cavani's The Night Porter.
	In Italy, the critics don't help at all. The more `poor' a film is, the more they go for it; it is ludicrous. I believe films should be as well made as possible. U portiere di notte (The Night Porter) The Night Porter emerged when accustomed, they get very angry, I did The Story of the Third Reich. I interviewed women who had and rant and rave. They are very survived the concentration camps, conformist. and ot[...]gh that era. For example, if you make a film about the war, you have to talk There was one woman who said about the Resistance. I have made that every year she goes[...]h talk about war, where she had been a prisoner, for her holidays. This made a strong The Night Porter and The Skin, impression on me. I would prefer[...]sensa the lines of what they would expect tions there. She didn't want to tell to hear in the schools, the way me about them -- though she did those bores -- the critics -- like to say she was searching for some see things. When I want to say thing, perhaps the suffering. I something, I want to do so in a don't know. The human psyche is different way -- to the sound of very complicated.[...]r surviving a camp, was I grew up in the post-war era. greatly annoyed that people[...]you would ask yourself: well who got to the stage where she couldn't was a Fascist in[...]nobody had gone anywhere! It was The only thing of which she as if the Martians had come and accused the Nazis was that they then gone away again in their had made her perceive the depths spaceships, back into the sky. You of human nature. We always think[...]e? of this as a positive thing, because we look for the better side. In fact, you were n[...]ver, she ascertained what talk about the things the Nazis or human nature can be, and that[...]made it practically in agreement -- from the Christian impossible for her to remain in the Democrats to the Communists. All company of others. She said, " The of them had rolled a big rock over physi[...]A story slowly evolved from all this, a story of the things that Italians -- had actually li[...]ys they really were then, not as they on the need of people to feel had been told[...]oesn't know what really stronger and superior to the next. happened. In the end, it plays on the most animal instincts. I did The Story of the Third Reich exactly to demonstrate this, When I dealt with the sado to show that Nazism played on masochism within the couple in something inside us, on the con The Night Porter, only the psycho cierge (porter), the person who analysts, not the critics, credited me with being right. They maintain lives below us or across the road. that in each couple's relationship[...]sado-masochism, which in some way. So the moment he can be developed to a maximum or can put on a black uniform and remain at a minimum. The ordi nary filmgoer understood this[...]Fascism opened the doors for all But the critics are used to seeing, those who had a p[...]amiliar. And, if it is a make a career in the university, for woman who has made the film, and she has presented things in a[...]y university Top: Lucia runs terrified through the professor in Italy except 11 had prison camp bathroom. The Night Porter. Left: Erland Josephson, Liliana Cavani, taken the Fascist oath, just as had Dominique Sanda and Robert Powell during a break in filming o f Beyond Good all the magistrates. So, what was and Evil. the poor, little anti-Fascist to do? The reality was that very few[...]when Germany was losing the war,
	suddenly there was a mass of them. homosexuals in the head, even if But apart from the phenomenon But the world has always been this they go on to marry. It isn't like that is Naples, it interested me way; the important thing is to that in Italy. greatly to present Fascism to the understand what happened, other[...]ever know what we In Italy, it is often the woman are made from. who[...]certain jobs. If she did, she always the women and the children Did things become easier for you wouldn't encounter any more who put things back together after the success of "The Night difficulties than those encountered[...]when you look around, you see Indubitably. The film was very there are female prime ministe[...]India and England, and there has excellent: the population, which is[...]li woman Head of never asked if it wants the war or A l di la del bene e del State, but never in the U.S. The not, is always the one which pays. male (Beyond Good and[...]important to me to portray history What was the particular interest in[...]So, I don't believe that Italian depicted in the textbooks. This is[...]m Nietzsche is born prac -- especially in the north, where I tically all modern challenging an[...]n is full of big- In fact, I should now do The questioning thought. Marcuse, for business women, and they get Skin[...]e, derives from Nietzsche. more respect than the men. Naples after the earthquake, and with the money the government Nietzsche's relationship with Having said this, one must provided for its reconstruction. Lou is fascinating to relate. The remember that in the south of Italy Things really went wild: the story was already modern: Lou men are c[...]g a Camorra [Neapolitan Mafia] was was the blonde creature of which woman if she has a[...]poken, free and inde have to understand the context. It a war breaking out. Last year pe[...]ale behaviour; that you should kill -- on the con this `civil war', much more than more th[...]trary -- but it is important to see under the American occupation in already simply herself. He pushes the thing as a whole. Naples. So why[...]rovocative way and with (Charlotte Rampling) in "The negative preconceptions, in order[...]So far, I have always done films story about the dolly-like heroine. find it annoying that a ma[...]on't find these women physi pinches me on the bum" , and of with a collaborator or, as in the cally interesting, either. course that is perfectly right. It is case of The Skin, based on a story[...]taken from a book, but again with Actually, the Italian censors habit. But it has to be seen with an the screenplay written by me. criticized me because[...]You have been quoted as saying It was the first film -- in Italy, at La pelle (The Skin) that the images are more important any rate -- with `her'[...]than the dialogue . . . with `her' ravishing `him'; it was In The Skin I wanted to talk `she' who unbuttoned his pants about that period of the American It is always better to tell every and groaned. But does the woman occupation of Naples. I think that thing you can without words. The have to wait until it is done to her? everything we know about that era value and relevance of the image is[...]always more important and more In the U.S. this question may not[...]xtremely important. But I believe are any better for women in the it[...]ne has as little U.S. than they are in Italy. On the dialogu[...]re making a film about a trial contradiction, in the Latin[...]dialogue. But the photography, the pected than in Anglo-Saxon[...]In the case of The Skin, for walks down the street, men turn example, we had to reconstruct the and look at her. They whistle, too, 1940s -- the Americans in Naples but I don't see what's so bad about and the rubble in the streets -- but that. They may not pinch your[...]we could only give an impression. bum in the U.S., but there is a greater hatred of women amo[...]Concluded on p. 579 the men. They all seem to be[...]o f the American occupation o f Naples in[...]the 1940s. The Skin.
	[...]ctor generally had to make it on the stage before he or we could expect his life to b[...]hat they were much more interesting than we were. The 1970s changed all that. Not to have the enthralling saga of your life take its place on the shelf with all those other lives has become a tac[...]of not having made it. Mere decent reticence in the face of a dull life stops no one, nor does even merer unimportance. For the flood of star biographies and, worse, those written allegedly by the stars' own hands, has gathered momentum through the past decade and shows no sign of abatement. Furthermore, they are getting longer (the first fruits of Stewart Granger's anecdotage1 run[...]r habit, as evinced by Granger, James Mason2 and the unspeakable Shelley Winters3, is meant to leave us breathless with anticipation for Volume Two. This is indeed making a little go a long way, since the off-screen lives of these people often ar[...]
	[...]The Biography Industry "They're not stars for no shrewdly selecting the best of 50 takes, or Gregg the big studios. Can it be that present depriva[...]Toland catching the upturned face in a way that tion has provoked both nostalgia and the urge reason, you k n o w . . . " softens the hard egoism.[...]are so much a phenomenon of a On the basis of the nearly 20 volumes with public a[...]find it hard to adduce evidence The reasons for the declining number of stars ensures that it is handsomely gift-wrapped and for Gregory Peck's assertion that, " They're not are complex. It is not that we, the cinema-going employs highly-skilled minions to market it, stars for no reason, you know. They're stars public, now feel ourselves above the idea of that sometimes it is hard to know what t[...]One of stars. It seems to me that the public still reaches to any given star apart from a seductive the chief recurring elements of these works is[...]Coward's " star quality" -- towards the likes of infinitely more important on the screen than on the point of being offered any role in a film Jane Fonda, Warren Beatty or, as the suc the stage, which is at once more exposed to the takes a degree of persistence allied cru[...]od staples How film stars look seems to me to be the one[...]Having achieved not merely any role but the But the passing of the studio system, that very personae; whatever else[...]e their roles -- that is, nursery of the stars; the precariousness of the roles in the way of, say, intelligence, under to be[...], it is perhaps not surprising that tion from the fact that, in his first film, his with their public; an increasingly sophisticated on the page, as distinct from the screen, they " name was to go above the title -- and it has awareness of films among articulate sectors of often are disappointing. The perceptiveness and never gone anywhere else since" (p. 57). A the public which both make a cult of old stars sensi[...]is5 snarled and clawed and decry the need for contemporary ones: above us in the dark must, we begin to feel, her way to the roles that made her a star, and, these are a few guesses about the reasons for the belong elsewhere -- perhaps to William Wyler,[...]many by decline in stars. The mass audiences will still[...]ng, imposing, seeking turn out for a Star Wars but not for a star turn. 1. Stewart Granger, Sparks Fly Upward, Granada restlessly for what was best" : best for the film We are no longer " visited all[...]of course too, but essentially best for Bette. stars" : in these tough t[...]to know that millions of people around the . . Preserve the stars from[...]doubt, and to the head, no doubt, it often goes.[...]ined by done so, most of the biographed girls and boys[...]families, education, religion or any other of the here have notched up several partne[...]to believe their own In most of the other volumes, the casting-off of publicity, to believe themselves the centre of the old and the taking-on of the new are[...]presented as part of some restless quest for[...]in the customers, small wonder it is that many honesty on the matter -- and I don't mean to be[...]t fulfilled. To be as at odds with the usual cant offered about[...]terous demands on the sanity, balance and humanity of the often otherwise-unremarkable On the whole I prefer Susan Hayward's[...]human being just beneath the glamorous direct account[...]Jess Barker, " The son of a bitch hit me" , to the[...]6`Night o f the few large G[...]" . . . the sad-looking surroundings [of their[...]French villa] only seemed to echo the state of It may be that the publishing bonanza of the their relationship together. I[...]ives, of course, but every time for them both to realise that they[...]authentic stars left, the reading public is I don't mean to underestimate the sort of perhaps doubly fascinated with the big names pressures that stardom, with all its demands for of the past, expecting that they must have big[...]lives attached to them. For, whatever it is that relationship;[...]makes a star, the public knows one when it sees eas[...]one.6 At the moment there aren't many to see: with and without the benefit of formal cere[...]this is Walt Whitman's " night of the few large monies. Inevitably noti[...]commitment get somewhat tarnished by the[...]time the fifth or, in Elizabeth Taylor's case, the I remember reading in the mid-1970s that seventh marri[...]0 bankable stars left in The (auto-) biographers are caught in[...]something of a bind here: on the one hand, they[...]glittered on the mid-'40s payroll of any one of Calcutta; on the other, they are aware that a[...]6. On the recent Fred Astaire Life Achievement Award[...]shindig, the audience -- admittedly not average general[...]exactly who was to get a standing The Life and Loves o f Susan Hayward, Robson Books,[...]but not Cyd Charisse o f the glorious legs. Stardom, like[...]
	The Biography Industry boost sales like nothing el[...]ulsive spectacle it makes; James Mason has opted for such discretion that it comes as a surprise to f[...]ages later, that he and Pamela are parting. The point of this is to suggest that very rarely ind[...]discretion can make them sound dull; and a flair for the salacious may lose respect even as sales thrive.[...]of sexual behaviour; revealing other aspects of the private lives of stars rarely makes one think b[...]on: she writes11 with unaffected honesty about the vanity, ambition and selfishness that, she beli[...]d-working, intelligent and compas sionate. The fact that the off-screen lives of so many stars seem not to[...]up a spurious sense of drama where none exists. For women stars this usually means an affaire with Howard Hughes; the men, faintly afraid that theirs is an effeminate[...]they devoted themselves more whole-heartedly to the activities that made the stars famous enough for us to want to read about them: that is, their work in films. Instead of the current stress on their sexual appetites and adv[...]a great deal that would be worth knowing about the processes of filmmaking. ``It is the stars, the stars Top: Bette Davis (r[...]arling Clementine. Shakespeare knew it all. For, in the history of Hollywood certainly, the influence of stars in shaping entertainment has been enormous. Productions were built around the talents of particular stars; the greater the responsibility on a star for a film's success or failure, the more powerful became that star's wishes in the making of the film. If stars could not sell a bad or unattractive film to the public (cf. Gable and Parnell, Julie Andrews and Star!), they undoubtedly increased the pulling power of many average-to-good films. Considering, too, the public's notorious fickleness (it could never, for instance, be induced to flock to Deanna Durbin movies after the Christmas Holiday fiasco), it is not surprising[...]story as she chose to present it in The Lonely Life\ as Charles Higham tells it now in Bette, the lady's own account seems to have offered[...]
	[...]The Biography Industry persona of brisk New Englan[...]volume insists we must, adds nothing to the star century. But, with the backing of a shrewd and crisp honesty and common sense. Higham image. On the other hand, though, the private grateful studio who pushed him -- not tha[...]escribing her as self- dirt can't diminish the power with which that resisted -- through 25 film[...]sion image has often worked on us, in the guise of, (1936-42), he became a household word i[...]s or Margo way that is scarcely possible now that the relationship." The one great, positive attribute she persistently r[...]lds, perhaps, not certainly made unattractive by the ruthlessness, egoism and egotism that accompanie[...]what they were. energy seems to have worn out the men in her[...]Power died in 1958, just at the stage when the life though there were brief periods of happine[...](Arthur While Bette Davis was ruling the maintenance of a star career[...]roost at Warners (known tougher as the studios crumbled under threats[...]t legislation, and It stood her in good stead for her protracted TYRONE POW[...]lic awareness. fighting with Warner Bros, with the result that keeping Twentieth Century- But if the studios carefully nurtured their she got more than her fair share of juicy roles and the power to dictate in what conditions she[...]arryl F. Zanuckvrailcuha.blHeescttaorrproperties, the latter often seemed would perform and how her pu[...]Arce's " coast-to-coast bestseller" , The Secret to have little sense of creative direction when therefore view her. Her worst enemy (com petition for the title would be stiff, even with Life o f Tyron[...]salacious they left -- or were turned loose by -- the Joan Crawford and Miriam Hopkins now[...]on to Power's studios " which controlled not only the gone) would no doubt grant her energy and[...]in fact a surprisingly publicity but which parts the contract
	The Biography Industry[...]As a Spawn o f the N orth (book caption reads: "I f you had perform[...]an extravagant claim it is perhaps not far from the public's view of Below: publicity still Sextette (1978), in which she plays the bride of a Fonda. He has always seemed like one'[...]oung English aristocrat. But it is absurd to, of the American liberal; according to Teich-[...]tarrin g talk of Same or Hughes as if they were the mann, there is more than a little correspon[...]s of those films which defined new dence between the screen persona and the real nadirs. Mae West was invincibly the author of man, though the latter emerges as more ascetic, her own films, as she was of the trashy, funny, more rigorous, more egoistic, har[...]major issues; and the eye. The best is there in those '30s gags in some of his[...](" Between two evils, I always pick the one I integrity emerges, not unbecoming Tom Joad[...]quote a good number of them. For the rest, he[...]is left with an enigma: a star who became the If Henry Fonda made a career out of[...]undermined the public image. bringing order to the wild West, that other wild West -- Mae -[...]ly was not sex or men, and especially not any of the DOROTHY LAMOUR. By the virtues held dear by middle America. Fergus end of the '30s, in films like Jungle Cashin's slim volume (a happy change from the Princess, Ford's The Hurricane never-m ind-the-quality-feel-the-length and Her Jungle Love, she had made the saron approach) may not intend to cut MAE WEST[...]period of stardom was in the next decade when of the twentieth century inventing herself" ,[...]y as shapely but as blessed with " She . . . saw the humour in it and probably no[...]to best effect in the six Road films she called the `linen battlefield' " (Time[...]able private life are now presented for inspec[...]nderings And yet, if Cashin is to be trusted, the real- entitled My Side o f the Road, " as told to Dick life truth is a good dea[...]s if she is sex, let alone love in private life. The off-screen aware of t[...]ngth] was how could I get to century), including the marriage (or was it?) to[...]e. the weaknesses of all these books: we know[...]or better-observed -- lives to which, apart from the choice one-liners, is offset the daunting lack of narrative interest.) generally atrocious. However, in the '30s the Dorothy -- it w[...]t Para mount. Her first screen line, in reply to the hat- 14. Dorothy Lam[...]e R o a d , Robson Books, 1981. diamonds" , was the immortal, " Goodness had nothing to do with it,[...]fulsomely, " she walked slowly, majestically up the stairs into motion picture history" (p. 98). The next two, She Done Him Wrong and I'm No Angel, both with the young Cary Grant, established her as a major star. If none of the remaining six films she did in the '30s was as good as these, they were good enough to keep her public and Paramount more than happy. The 1940 teaming with W. C. Fields in My Little Chic[...]en indifferent" , says Cashin) and this shows in the resulting film. Their comic styles -- lewd innue[...]riumph of subtlety, wit and taste, compared with the last two films of her career: Mike Same's Myra Breckinridge (1970), a Hollywood sex farce from below the bottom of the barrel, and Ken Hughes' bizarre 532 --[...]
	[...]o r Harold and Maude (directed by Hal Ashby) was the basis o f a continuously-popular cult film . Sub[...]er) and wrote and directed Foul Play, 9 to 5 and The Best Little Whore house in Texas. While serving as a jury member at the 1982 Montreal Film Festival, Higgins talked to f[...]parently you grew up in Sydney old Chalmers St office; I had to six months in Europe, mostly in the first group to bridge the gap take the slides that advertised Paris.[...]ally, I was born in coming attractions to all the city the industry proper. New Caledonia in 1941. My[...]Metro cinemas every Then I went back to the U.S., mother was from Sydney and my week.[...]ted in Writing. While at college, I sup on the " Mariposa" ; my father was writing?[...]me and my older New York and hung around the Then in 1967, I visited Expo'67 I had answered an ad in the L .A . brother. In 1945, we lived in San Actor[...]of Times, A couple wanted a part- Francisco for a while but soon acting jobs. So I became a page at the programs at the Montreal Film time chauffeur and someone to afterwards returned to Sydney, the ABC television studios. Then I Festival. That[...]ed until 1957. We had lost hope and volunteered for the wanted to direct. I was accepted return for free lodging in the a house in Hunters Hill and I went Army. I was[...]ol at Riverview. became a reporter on the army one of my fellow students was Paul[...]wspaper, Stars and Stripes. I Schrader. At the same time George I was very lucky. It was[...]swank Bel Air home, and turned Sydney, working for MGM at their[...]the backbone of our industry now,[...]
	[...]d. So Evans, though he Much later. In the meantime, I How did you get back into movies? produced several of John Franken- wanted the script, was not at all was in trouble. I finally got an heimer's films of the 1960s, includ keen for me to direct. However, he offer from a couple of friends, Well, by now Harold and ing The Manchurian Candidate, gave me, or rather[...]They had sold a " Movie of the internationally. I still wanted to[...]Week" to ABC on the strength of direct films, and I had figured the him my script and he liked it. Ed, who was making a film at a title, The Devil's Daughter. But way to do that wa[...]Columbia at the time, arranged for they had no script. So I wrote one ducers who would support me. So What was the inspiration for me to use the Bob & Carol &Ted & for them, Jeannot Swarcz directed I contac[...]ld and Maude" ? Alice set to do the test. It was it and Shelley Winters and Joseph idea for a script, which was Silver[...]starred in it. It was just a Streak, in the hope that if, by using It came from seeing a dolly Fapp shot it for me and we did job. another director, we could make a crane for rental in a film equip three scenes from the film, all with[...]ould have ment store. I thought I would the kid and his mother. Then out of the blue I received a a chance to direct the next one. make an exercise for film school,[...]e something very elaborate tech Well, the result was that they Barrault. He told me Ha[...]he mount, but they turned it down with the dolly crane in mind, and eventually I relent[...]t had loved it and had thought of that became the first scene where ing it myself and Hal Ashby was turning it into a play for the the mother discovers Harold brought in; I[...]Hal, and we both thought the film pleased and flattered. I went to The[...]e out great; Paramount was Paris, adapted the screenplay into some, why not make a joke of it?[...]it became a fake suicide. And hand. It was the end of 1971 and with Jean-Claude Carri
	[...]had heard about this project for I had never seen Dolly work[...]about a year. The premise was that before and hardly knew who she[...]their boss; Jane was the producer was amused by the warm, quick[...]y Tomlin and Dolly witted ad-libbing she did with the[...]think originally Mike audience. When I discovered the[...]Nichols was to have been the following night that all those ad[...]ject for Herbert Ross. impressed. Any time an[...]Essentially, no one could lick the me, I am impressed. I knew she[...]script, and the whole thing seemed would have no problem as an[...]e falling apart. I was flattered actress. I wrote the part as much as[...]to be asked, but when I read the I could for her.[...]trouble. The concept was right, but tional, so there was yet a[...]went to Cleveland to a Your next project was "The Best[...]office workers. I asked, as a dis[...]everyone started laugh tion. Universal had bought the[...]ing; they came up with some of the rights to the stage musical and[...]most gruesome schemes which they originally the stage director was[...]had conceived in moments of going to do the film version, but he[...]stress. And I knew then that was fired -- as was the writer. I was the key on which to hang it all: was then brought in[...]to get the women in such a stressful tion was put back about[...]humorous ways. treats the script with a great deal of Above top:Doralee ([...]l their chauvinist boss (Dabney Coleman) to the writer; I would have slashed how to run the office. Above: the office away. girls f[...]en with the boss. Colin Higgins' 9 to 5. Having been an acto[...]earing people laugh. People ask understanding of the comedic way me what part of the process I like I like to work, which is to base[...]uation on honesty and reality, production. For me the best part is and then let it play out. I wrote the when the piece is finished and you script for Goldie, but it was a fight sit in the theatre and hear the audi to get her; the studio didn't want ence laugh. her very mu[...]I am also personally optimistic; I I re-wrote the lead for Chevy like to see the absurdities in every Chase; it was his first mov[...]television style of establishing a rapport with the audience on the Do you find writing easy? other side of the television camera. Of course, you don't do that[...]ould not say " easy" . It is get movies; you let the camera come in ting easier because I am mor[...]ienced and more conscious of had no real respect for the craft of what the processes are. Writers acting. But he did a very[...]live in it, and at the same time Dudley Moore, of course, was[...]r formances. In the early days, I found it very[...]I couldn't get into What visual style did you go for? that meditative state, or whatever[...]colors and with just consider it part of the process San Francisco looking marvellous.[...]
	[...]The reason I loved doing[...]cal I would try to do it was well advanced and the delays He worked for three solid months reprising shots seen earlier in the Top left: Dulcie Mae (Lois Nettleton) is in[...]to him. In fact, the first time I saw[...]e is in love with Miss Mona (Dolly I re-wrote the script from him try it I thought we were going Oh, yeah, I get criticized for Parton), bottom left. Above: Mona and scratch. Originally, the problem to be in trouble. But he worked[...]eputy Fred (Jim Nabors). Colin Higgins' was that the Broadway show was and sweated. curtain calls. I would not change The Best Little Whorehouse in Texas. about a sheriff[...]oud of that people don't like it, but for me it is it better. It is interesting to specu[...]there is the film had been cast closer to the Galveston. It was clear to me the no process photography involved I think the conventions of original stage production, maybe relationship had to change once in the moments when he appears musicals are diff[...]actors were cast and that and disappears behind the days; young audiences can get rest MacLaine. That would have been the romance had to be ongoing columns. We did that in the way less when characters burst into interesting. during the trouble over the whore that Buster Keaton did some of his s[...]great stunts, by measuring out the convention. Now t[...]t . . . do a musical, which means you out the day before we shot it, so we have to aim for the widest possible had a whole day in which to[...]I can, as you say, get finance audience, the film is surprisingly rehearse in the Capitol itself, and[...]smaller films, and I would like to in, for example, the scene where get everyone -- camera operator,[...]I am very impressed by all the[...]have. I would very much like to the sense of sex being fun. In some with the ending of the film? work with some of them. And I parts of the U.S., newspapers find the Australian accent delight wouldn't even print ads using the Well, we did go through various[...]ful! word " whorehouse" . But if you ideas for an ending. In one we had are making a film with[...]Are your future projects house" in the title, you can't be into his, the helicopter lift up with[...]comedies? too coy about it all. the camera, and they drive off in[...]projects that are not comedies per remarked on the show-stopping[...]I would always treat solo by Charles Durning as the I am not entirely satisfied with[...]understand Governor of Texas . . . the ending; maybe it is not shot[...]getting a laugh in the first ten started out as a dancer years ago.[...]I really meant the device of[...]
	The Australian M otion Picture Yearbook 1 9 8 3 ..............................pp .. 22 The Documentary Film in Australia p. 3 The New Australian Cinema p. 4 Australian TV: The First 2 5 Years p. 4 Film Expo Seminar[...]
	[...]TURE YEARBOOK 1983 The third edition o f the Australian Motion Picture Yearbook has been totally revised and updated. The Yearbook again takes a detailed look at what has been happening in all sections o f the Australian film scene over the past year, including financing, production,[...]censorship and awards. A s in the past, all entrants in Australia's most co[...]dustry directory have ;f been contacted to check the accuracy o f entries, and many new catego[...]iles has been compiled and will highlight the careers o f director Peter Weir, composer[...]d actor Mel Gibson. A new feature in the 1983 edition is an extensive editorial se[...]ial effects, censorship, and a survey o f the impact our film s are having on U.S. au[...]Reactions to the Second Edition .. an invaluable referencefo[...]ne interested in Australian films, whether "The 1981 version of the Australian Motion interest -- vested or altruistic -- in the in the industry or whojust enjoys watching them, Pi[...]o interest him in this book. " as glossy on the outside as too many Australian[...]Variety The Sydney Sun-Herald many more Australian films ought to be . . . " "The most useful reference book for me in the "This significant publication is valuable not only The Sydney Morning Herald past year . . . "[...]"I have been receiving the Cinema Papers[...]Motion Picture Yearbookfor the past two years, Screen International The Melbourne Herald and always find it to be fu[...]seful information and facts. It is easy to read "The Australian Motion Picture Yearbook is a "May I congratulate you on your Australian and the format is set out in such a way that great asset to the film industry in this country. Motion Pictu[...]information is easy to find. I consider the We at Kodak find it invaluable as a reference[...]'m sure to most Yearbook to be an asset to the office. " aidfor the industry. " people in, and outside, the business. "[...]"... another good effort from the Cinema "... one has to admire the detail and effort "Indispensable tool of the trade. " Papers team, and essential as a desk-top which has gone into the yearbook. It covers Elizabeth Riddell reference for anybody interested in our feature almost every conceivable facet of the film Theatre Australia film industry. " industry and the publisher's claim that it is `the only comprehensiveyellowpage guide to thefilm[...]The Adelaide Advertiser industry'is irrefutable. " The Australian
	muni The f ir s t comprehensive book[...]95 on the A ustralian film revival[...]In this major w ork on the A ustralian f i l m industry }s dramatic rebirth,[...]invaluable record fo r all those interested in the N ew Australian Cinema. The chapters: The Past (Andrew Pike), Social Realism (Keith Connoll[...]$14.95 The First 25 Years A U S T R A L IA N T V The f ir s t 2 5 years records, year by year, all the important television events. Over 600 photog[...]memories o f programmes long since wiped from the tapes. The book covers every facet o f television programmin[...]A U S T R A L IA N T V takes you back to the time when television fo r most Australians was a curiosity -- a shadowy, often soundless, picture in the window o f the local electricity store. The quality o f the early programmes was at best unpredictable, but still people would gather to watch the Melbourne Olympics, Chuck Faulkner reading the news, or even the test pattern! A t first imported series were the order o f the day. Only Graham Kennedy and Bob Dyer could challenge the ratings o f the westerns and situation comedies from America and Britain. Then came The M avis Bramston Show. With the popularity o f that rude and irreverent show, Australian television came into its own. Programmes like Number 96, The Box, A gainst the Wind, Sale o f the Century have achieved ratings that are by world s[...]$25 In November 1980 the Film and Contents[...]evision Sales, Avco Embassy o f Australia and the N ew South
	[...]estiny. Guy becomes increasingly involved with the politics o f the country and with Jill Bryant (Sigourney Weaver),[...]erests diverge, Guy must choose between them. The Year o f Living Dangerously is directed by Peter Weir, from a screenplay by David Williamson (based on the novel by Christopher Koch and on additional mate[...]o r producer James McElroy. Shot on locations in The Philippines and Australia, the film is Weir's fifth feature and his second coll[...]Kumar (Bembol Roco); Hamilton and soldier during the political unrest in Jakarta in 1965; the army takes control; the press corps at the bar -- Kwan, Hamilton, Wally (Noel Perrier[...]
	[...]1904 Peter Malone Class of 1984 is the kind of film that immediately draws protests[...]rest and in visualizing violence. It is true that the film's Lincoln High is a dingily-depr[...]is Clockwork Droogs, and that some of the final killings, especially the circular-saw slashin are alarmingly gruesome. But a case can be made for Class of 1984. The film presents Perry King as Mr i[...]odies can do. Class o f 1984. Norris, the earnest American teacher Class o f 1984.[...]These signal sentimentality. It also more, the purging of this rage by visual violence M[...]are not far away. As Class of 1984 proceeds, the gang is shown Mark L. Lester's films have[...]of B-feature territory, vandalize and brutalize, the audience is forced seen them as tough actioners that will please the investing the contemporary girl gang to identify more and more with the teacher and drive-in audiences like any other exploiter. The exploiter with strong reminiscences of 'Fifties his growing frustration and rage. When the gang films then disappeared, although Truckst[...]ings and Stunts, his most respectable in joining the teacher emotionally in massacring the gang. Our heads may not approve, our emotions may be disgusted but the film makes the gut consent to what we see. By the time the gang is dead and the bloodied teacher rescues his wife, I, for one, felt physi cally better for having experienced the horren dous denouement. I had no intention of m[...]and " sentimental" are all apt words to describe the film. Yet, the invitation to identify with frustration[...]
	[...]. Allusions cannot be found to bring against him. The line is has an astute eye and ear for a cliche, and or quotations can delight as well a[...]has a (both pro and con) to other films. Watching The film, though seemingly action-exploitive very[...]1984, one is compelled (even without material of the drive-in type, does not appear to thumbnail characterisations . . . " (March the hints of the advertisers) to remember Black be catering for the teenage audience but for the 1975, p. 65). board Jungle as well as To Sir with Love, Up the adult and middle-aged audience. Teenagers This[...]ther school films. might be tempted for a while to identify with approach to Class of 1984. The kids assemble for classes in a style Stegman and his anti-establishment stances, and If having the instinct and capability to arrest reminiscent of Grease (with an ironic twist as the his group's punk appearance and behaviour. aud[...]by cinematic drug-high boy plummets to death with the Stars But it soon emerges that they are bullies,[...]y on these is exploitation, then and Stripes-from the school flagpole). There is gangsters and quite ps[...]emotional involvement and what keeps Side Story. The psychotic gang is a bizarre Mad Max told televisi[...]tirred. variation on The Warriors, The Wanderers and not care for the film because it was unrealistic in the teenagers in Over the Edge. its presentation of bi[...]American Alex and possibilities Stegman's group. The average teenager, like the Lester is linked with the B-budget genre of a Clockwork Orange future world[...]d other massacres in victim teenagers in the film, is probably not in for reappraisal. Without denying the multiple murder genre. The lone crusade of interested in seeing[...]their use of stereotypes and cliche, one the teacher with his private vigilanteism echoes[...]In catering for the adult audience, the film they take for granted an appreciation of genrTehse audience tha[...]chooses acceptable targets. It parodies the and their conventions. some familiarity with these films and the allu widow, who is blind to the behaviour of the[...]rotten son she has spoilt, and the inert prin The filmmakers know that if they suggest a sions make[...]cipal. It is critical of, but kinder to, the[...]police, whose hands are tied because of the law convention vividly enough, the audience will and its problems. recognize it,[...]ypes are But exactly what audience is Lester On the other hand, the adults who are to be authentic devices which have been over-used or aiming at? The information offered at identified with are the idealistic, committed, used too tritely. But audiences quickly recognize the opening of the film is tongue-in- talented teacher and his pregnant wife, and the conventions -- and relish this recognition --[...]s told of 200,000 inci Corrigan (Roddy McDowall), the frustrated, with a kind of automatic response wh[...]gh schools and comic biology teacher who goes off the deep governs how they continue to respond. The that the story is based on fact. But, eLneds,tebrecause he can't teach any more. The film audience accepts the conventions and becomes reassures the audience, schools are not like appeals to the middle-of-the-road professional involved with the film. Lincoln High -- yet! There is the ominous who identifies with work, is committed to[...]nces, however, who like to keep choice of 1984 as the year of the title. people and who is fru[...]bureaucrats and their distance, often identify the convention that The U.S., with its often spectacular domestic boors. The film, then, could even be accused of gives them a feeling of instant superiority to the violence, may see the film as part warning, part sentimentalism in its presumptions about who film. But even in the act of looking down on a mirror and as yet another film showing how are the good guys and how black are their foes. conven[...]eadmaster, In fact, just as Death Wish appeals to the that the stereotypes do their work, something who enjoys c[...]ation of lifestyle and values as we know which the astute director (or exploitive director, of the school corridors and the ability to send and want them, so this film is definitely on the depending whether you are for or against him) security guards to trouble-spots by intercom, side of the establishment in terms of education, can presu[...]sides with students rather than his staff. The law personal growth, culture and tradition. The Lester chooses impact by action and conven req[...]ection, action before charges can be laid against the defaced, degraded by the bureaucrats and the although this film is not without its rhetoric[...]point of view, society, boors. " Moon River" and the " 1812 Over regrets about contemporary society. He chooses as well as its assailants, is sick. The only sane ture" are the music for the class to work on, in gut response before intel[...]way of self-protection or justice is in violence. the hope of recognition by the city's symphony moment's recall of his previous films highlights This is the language of the right and of moral authorities. The group that causes havoc in the this. Steel Arena and Stunts relied on the visual majorities. But because a large group in p[...]though they recruit a 14-year-old hit-and-stab The gang prepares to rape the wife o f the school teacher. The terror continues: Mrs and Mr Norris (Perry King). Norris fights back -- and the audience sides with him. Class[...]milar are man and a would-be call girl). The principal in action. Stunts had the pluses of a murder endorsing the same political stances. It might be comments explicitly that it is the disruptive mystery and love story to gain a larg[...]uch attention. Truckstop Women and Bobbie Jo and the the law and a sense of justice rather than Outlaw (w[...]But by focusing on the pleasant hero van Patten] is watching on televis[...]e a member of a private law- battling for what he thinks is best, Lester is able 1984) wer[...]en) with their own codes of behaviour apart the ironic comment at the end of the film that make them share the rage. The gang is insolent, from the law in an exploitive, ugly world. the hero is not charged for his killing of the gang[...]because the same incontrovertible evidence[...]
	lompumix III automation and Dolby Stereo-- a new era for the film producer who is looking to a standard of po[...]be technicaiiy^quarto^nytmng'.offered anywhere in-the w orld..
	[...]ues. M ultiple copies less than half-pricel Number 1 Number 2 Number 3 Number 5 Number 9 Number 10 Number 11 January 1974 April 1974[...]1976 David William son. Ray Violence in the Cinema. John Papadopolous. Jennings La[...]ir. Alvin Purple. Frank Moor- Willis O'Brien. The Mc- Haskin. Surf Films. Brian Jancso.[...]
	[...]Subscriptions DPlease enter a subscription for 6 issues ($18) 12 issues ($32) 18 issues ($46)[...]Please start O renew my subscription with the next issue. If a renewal, ple[...]Postcode:. Telephone:.[...]ake a subscription to Cinema Papers a gift, cross the box below and we will $ Subscriptions send a card on your behalf with the first issue.[...].............................................. Office use only Order Information: First Issue No.:[...]To order your copies place a cross in the box next to your missing issues, and fill out the form below. If you would like multiple copies of any one issue, indicate the number you require in the appropriate box. 1 2[...]
	[...]P 1983 Please send me ED copies of the 1983 Yearbook at $25 a copy (Foreign: $35 surface[...]. 1 9 8 1 /8 2 Please send me d l copies of the 1981/82 Yearbook at $19.95 a copy (Foreign: $30 s[...]rmail). 1 9 8 0 Please send me EH copies of the 1980 Yearbook at $19.95 a copy (Foreign: $30 surf[...]Film Please send me copies of The Documentary Film in Australia at $12.95 a copy (Foreign. YI8 surface; $24 airmail). \| $ / r. The New Australi Please send me I__I copies of The New Australian Cinema at $14.95 a copy (Foreign: $20 surface; $26 airmail). $ 8. Australian TV: The First 25 Years Please send me copies of Australian TV: The First 25 Years at $14.95 a copy (Foreign: $20 sur[...]\|$ Please send me copies of the Film Expo Seminar Report at $25 a copy (Foreign:[...]Telephone: (03) 329 5983[...]
	SOUND MIXING Julian Ellingworth discusses the new Atlab mixing theatre. The Australian film and commercial industries have be[...]. . two plus our computer": at work in the new Atlab mixing theatre. fortunate to have had[...]ed, they were recording Hollywood- pensated fo r the lack o f the latest equipment. But with the knobs up and down, while others sat style on the three-track. It was new,[...]I was at Film Australia for a total of 10 trying to do when recording from[...]g service material at a standard equal to any in the world. leave, so l guess I was mixing for about Then I got bogged down working on[...]Luke's Kingdom. I was doing effects for The continuing improvement in the quality o f theatre[...]three months and I got the shits again. So sound equipment, with the installation o f stereo sound and During my leave I worked for United I went back to Film Australia and[...]nd. Although I intended going there for another year while they were and overseas markets that must be met. The improved sound overseas on a study tour, I only got as far setting up the new mixing theatre. Armed systems are also increasing the range o f subtleties that a[...]Barry McKenzie Holds His Own and the designed the mixing console. demands on the operators.[...]The console was made by Neve, which Julian Ellingworth is the chief mixer at Atlab and it was at[...]th cost a fortune, and ergonometrically was the opening o f its new mixing theatre that Ian Wilso[...]up and record 'em" . When I went to Sound for 12 months, I figured I was an into the film industry.[...]in 1961 and did six months Eventually I joined the staff and went on[...]ally out-of-date job at Artransa Film Studios in the Australia. for stereo films, though it has been doing accounts[...]rstruck, Dead found myself spending more time in the around or sitting on camera cases waiting Easy, The Pirate Movie and a few others. sound department and in the animation for the lights to be set up or for people to department where the tracers were. make up their minds about which way the[...]for a while as a mixer. At the same time, I I became fairly interested in production decided I would try studio work and do the[...]applied for a Commonwealth Film Com Lowry into getting me in[...]mission Grant for assisted passage I was wasting everybody's time[...]" Sure!" It wasn't a lot of money, just The first job I had was as a director's[...]enough for an around-the-world ticket and assistant to Alec Ezard on The Adven[...]three young children, one of whom was played by the 12-year-[...]I was away for six weeks and watched old Sonia Hoffman.[...]up an enormous amount After that I went into the editing room[...]the rest of the world operates. synchronize rushes, and bits and[...]Did they welcome you? ments and I was the first to go, being fairly[...]films because the directors were a bit I then worked for Les Kelroy, who had a[...]Hollywood, I was able to see quite a few Nagra, for a while. People would ring him[...]films. I saw them do The Muppet up and say they needed a sound[...]in about one quarter of the time. take this Nagra and record sound." So I went to record on the Cinesound sound[...]I watched Bill Barney, who won the stage, with Lloyd Shields on camera, for Academy for Raiders of the Lost Ark, an episode of Memoirs. I forget which episode it was but it was being made for Channel 10. The sound must have been al! right because they aske[...]it again. I became a freelance recordist on the strength of that. In the famous words of Peter Fenton [mixer at United[...]roadmap and I was off and running. I freelanced for a while and eventually got a three-month contrac[...]as a location recordist, a contract which ran for about three years.[...]
	[...]to us. I 24, and mix a group of them, say 12. The Portman was mixing Rich Kids. Dick was r[...]p playing them back nominated and won an Academy for that is no good because this has to be get them to rewire some of the modules. until you get the balance right. Then add Ordinary People.[...]these to the other 12, and the computer be bolted on the side, which is not the way Surely, that is the reason for having a will be the mixer. It will do what it is told So I saw a[...]knowledge, Neve does a very Well, the Americans wouldn't entertain many times as[...], but that sort of console unless it was for a neither the rate of exchange nor the smaller studio. There they all start from What about equalization? What were the differences? delivery schedule was favorable. We the ground and build a huge console.[...]It doesn't need to be equalized; with Some of the studios, which will remain Hollywood, where[...]n nameless, tended to have two and three the ones I saw, had custom-built Quad- hug[...]to recorder 1, 2 already be equalized. On the stereo mixes guys sitting behind the panel and, if some Eights.[...]equalization. I don't usually " goddamn" around for a few minutes. We came up with a proposal for Quad- to any of 24 outputs. equalize the dialogue tracks, just the They would then wait until a tribe of thou Eight whereby we bought an off-the-shelf effects tracks, the effects mix and then the sands walked in and they then all had an d[...]o Do you have three or four people on the final mix. argument. They would then go away and perform in the way we wanted. It still fitted panel? do things, and two hours later the mix into the Quad-Eight console, and still[...]usually, but we are looking already pre-mixed for stereo, and dialogue they had more time on their[...]easily demonstrate how it is the third. faders, run the computer and ride the It started originally as a quadraphonic Stuffs up the union! whole thing. If[...]ainly there were a lot of guys I went over to the U.S. in February 1982 behind the panel. I watched them on one film spending four[...]vocal track. They played it to make sure it was the right vocal, then played it again; then they called the music editor in who listened to it and said he t[...]ebody else. So they went and got another mix in the music studio and hauled it over and sunk it up. The number of people who became involved seemed to me to be a bit beyond the pale. It would have been better to have canned the reel and gone on with some thing else instead of farting around for four hours. How do you stop that happening in[...]Well that is exactly what we don't do The Quad-Eight mixing console in the the Atlab sound theatre. here. If there is a debate[...]e would go on to something else because for a week and we reworked it so that it[...]in earlier" , you can we just simply don't have the time not to. had left centre and right centre[...]en large update that bit of information. The whole They were looking at a six-week mix on a channels up the front. in Hollywood: a lot of mixers over there, thing is then on the disc and you can then film which didn't need tha[...]in some cases, and would not enter I had done the trip and learnt what I box and say, " For a film modification, tain the idea of PROMs, boots and format In effect,[...]into mixing sound dubbing charts . . . the point where I could really throw down " But, all this part of the board is going to and I really don't see why they should the gauntlet and say, " Yes, I can do it. I'm was[...]And allowing you to rehearse as many the man to bring it to this country." But I but[...]saying, " Let's go for a take." This way I interesting and I did know m[...]can guarantee that the final mix will last stereo than I had before.[...]Do you have to program the computer exactly the time the footage runs, because[...]it existing software? we will rehearse for an hour to get it right. However, there wasn't a lot of work thing we wanted in the confines of the happening at United Sound when I came board. The software is supplied on floppy disc In Melbo[...]and the computer itself has certain RAM dubbing set-up, the sound is trans Atlab. Eventually I joined the organization The only thing we have as an add-on instru[...]point on it are pan pots, which slide along the front or and the program is formatted. another. What do you think about the was a dream to build a bigger and better c[...]t Atlab. else sitting out the front. There is just no One way of using[...]room on the board. In all fairness, I guess the dream was to build it bigger and better and quic[...]and we figured United Sound would cheapen the console by virtually would do something eventual[...]it and how. We had a few problems building the ideal studio because of space limitations. There was talk about moving the complex elsewhere, but it was decided to keep it[...]" ; even though we are out at Epping, at least the whole thing is under one roof. The project started to take shape in about October 1[...]wo years after I joined. We had to run with the old gear in the new room for six months, which at least gave people room to work in. There was the normal frustration of people saying it would be[...]de a decision to buy a Quad-Eight Console. The only choice was between a custom- built N[...]
	[...]which is simply to take two reels or parts, The process is as follows: the negative role in this situation?[...]the same thing is happening with 8mm: ported[...]erous to bring in they want 8mm optical tracks for in-flight process, say, 100 or 200 prints of the than 100 m per minute to remove all a sou[...]s why a reels. This practice exaggerates the pro computer prior to printing. mous frict[...]one cessing variables by increasing the time the dialogue recordist has been at the mix overseas?[...]between printing and processing succes the corresponding negative rolls and better take of[...]or that it should No. Certainly they have the expertise sive parts of the same copy. have been equalized, and the mixer has from having done a million fil[...]Rank Film Laboratories, through its on the frame line (becoming invisible on[...]s and other deficiencies in bulk separate from the printing machine cycle,[...]
	[...]ANNOUNCES THE CALABASH[...]OW AVAILABLE Leisure-Entertainm ent . . . to all the performing[...]
	[...]Filmsexamined interms of the Customs (Cinematograph Films) Regulations and Sta[...]nsity Purpose For General Exhibition (G)[...]Who Is The Killer: T. Chu, Taiwan, 2304.12 m, Golden W. Ger[...](a) Reduced by importer's cuts to qualify for lower m-g) Documentary (16mm): Texture F[...](untitled): Not shown, Spain, For Restricted Exhibition (R) (a) Previously shown on January 1973 List. E.T. The Extra Terrestrial: Universal, U.S., 3154.45 m,[...]ssy The Lily Under The Gun: Kuo Hwa Prod. Co., Hong c[...]Comfort Films Enterprises, Vfi-m -g) The Bloody Fists (videotape) (reduced version) (a):[...]Special condition: That the film will be exhibited only at So That You Can L[...]er: Not shown, Hong Kong, 2704.00 m, the Second Commonwealth Rim Festival in Brisbane 932[...], Australian Film Institute, Lff-m -g) The Head Hunter: New Century Film Corp., Hong[...]Now And Forever Film Partnership, In The Realm Of The Senses (reconstructed English Commonwea[...]ideotape): Argos/Oceanic/Oshima, Not Recommended for Children (NRC)[...]Your Grave (videotape): J. Zebeda, U.S., 97 For Mature Audiences (M) Rim Distributors, V(i-l-g)[...]mins, Video Classics, O fse xu a l vio lence ) The Animals Film (16mm): V. Schonfeld, Britain/U.S.,[...]Films P/L, Sfi-l-g), Vfl-m -g) The Knockouts (videotape): D. Stark, U.S., 53 mins,[...]im a I su ffe rin g ) P4W Prison For W omen (16mm): Spectrum Films,[...]m -g) Reason for deletions: Sfi-m -g) Best Grade Army: Not shown,[...]s) The Mad Cold-Blooded Murder: Tat Shing Film Co., Gra[...]O fa d u lt them es) The Plains Of Heaven (16mm): Seon Films, Australia,[...]87 mins, Grand Film Corp. P/L, Vff-m -g) For Restricted Exhibition (R) Beginning of Heroic De[...]alian Film Institute, Vfi-l-j), O fa d u lt The Savage Hunt (videotape): Poleroy Ltd, Britain, 88[...]onte, U.S., 2593.58 m, Roadshow Reason for deletions: Sfi-h-g) them e)[...]-m -g), Lff-m -g) One For The Money (reconstructed version) (16mm) The Casino: First Films, Hong Kong, 2880.15 m,[...]Success Film Co., Hong Taxicab For Ladies (pre-censor cut version): Cinevideo D[...]0 m, Apollon Films, S ff-m -g) Reason for deletions: Sfi-h-g) Firefox: C. Eastwood, U.S.,[...]U.S., 570.40 m, Landmark Films, Sff-m -g) For Y 'ur Height only: Lilin Prods, Philippines, The Thing: Turman-Foster Co., U.S., 2984.02 m,[...]Reason for deletions: S fi-h-g) Ihr verbrechen war liebe ([...]Reason for deletions: O fs e x u a l e x p lo ita tio n o f[...]The Pussycat Ranch (reconstructed version) (d): J.[...]Reason for deletions: Sfi-h-g) France, 1086.03 m, Australi[...]Reason for deletions: Sfi-h-g) Mensch Mutter (16mm): P. We[...]Boys In The Sand (pre-censor cut version) (16mm): 3873.00 m[...]es Film, U.S., 404.00 m, Greg Lynch Film Dist., The Pirate Movie: Joseph Hamilton Int'l Prods, Aus[...]Kiss Of The Spider W oman (Super 8): R. Caputo/J. Sholay: G[...]lish sub-titled version) (a): S. Naves, Brazil, The Stranger And The Fog: Not shown, Iran,[...]S cream For V e n g e a n c e : Manson Int' l, U.S., German[...]The Set-Up (untitled) (videotape): Not shown, U.S., 3[...]tions" ("For Restricted Exhibition" ) and " Films[...]Board of Review" . For Adults" with eliminations in 1947.[...]Films Board of Review For Mature Audiences (M) John Milius' Conan the Barbarian: cut by its distributor, Fox-Columbia,[...]after 60 seconds were removed. So, the sex has been deleted and presumably Milius'[...]concept ruined. Surprisingly, no appeal to the Films Board o f Review was lodged; that way,[...]Decision reviewed: Refusal to register by the Film The Clinic: Cenes Pty Ltd, Australia, 2550.99 m, The it may have been re-classified without the film being butchered.[...]Decision of the board: Uphold the decision of the Film Conan The Barbarian (a) (reconstructed version): Dino[...]Concluded on p. 579 The Dark Room: Rlmco Ltd, Australia, 2578.42 m, Rlmc[...]m -j), L(f-l-j), O fs e x u a l in n u e n d o ) The Decline of Western Civilisation: Manson In[...]
	[...]film fine grain.And it's compatible with the will positively enhance the creation of any processing employed by all Aus[...]at passes with flying So if you've got the creative colours as far as skin tones are concerned. know-how, and the will, we've got the w[...]also offers a wide exposure latitude that caters for even the most severe AGFA-GEVAERT LIMITED varia[...]lbourne 8788000, Sydney 8881444, But, none-the-less, it gives a very Brisbane 352552[...]
	[...]Based on the original idea[...]Based on the story by............................PhillipRoopPe[...]........BruceEmeSryynopsis: A gentle comedy about the end of Prod, company........................T.R.M[...]......................................David Greig the world.[...]................ Miranda Bain, two miners digging for sapphires. Filmed on Wardrobe....................[...]Synopsis: In 1936, the miners in the small[...]barricaded themselves in the main shaft of Scriptwriter.......................[...]ron the Sunbeam colliery, demanding better pay Based on the novel b y............... Ralph Smart, Model maker[...]tilsgfoolerndy two kids in tow looks desperately for refuge.[...]Synopsis: Set in Sydney in the 1930s, this is make ends meet.[...]Based on the original idea[...]Film Prod. Synopsis: A contemporary comedy. The Prod, manager..................................Ch[...]............................CraigBowles fighting for survival in Sydney's oppressed Prod, accountant..[...].............................. JohnWaBrraesned on the original[...]Michael Edgley International FOR LOVE ALONE Co[...]Synopsis: A re-make of the film made in[...]...................... Philip Corr affections on the egotistical Jonathon Crow. M a[...]stume designer.........................Jan Hurley the Rat King, to control all of the known and[...]Linda Cropper (Rose), John the help of beautiful Primrose Buttercup,[...]Mr. Pig and Zodiac the space dog, among 3rd[...]others. But not until the end.[...]............................. RayBrown Synopsis: The story of four ageing classical[...]Geordie Dryden, musicians who by accident become the hottest rock'n'roll group in Australia. The[...]
	[...]in an abandoned mining shack on the outskirts of a small country town in the Jonathon Balmford Director.........[...]tDeling mid-'50s. The scandalized townsfolk resolve to move them on, but the situation gets out of C ontinuity........[...]Casting............................... The Film House Photography....................[...]
	[...]...............................Colorfilm Based on the[...].... Paul Healey, (Further Adventures of Dot and the a mystery of manipu[...]a delinquent by most adults until (Gregg, Trixie, the Hood, the Sprooker),[...]John, the teacher, fights against all odds to Verra Plevnik[...]ny ....................... John Sexton Synopsis: "The iron tongue of midnight[...].. JohnSexftaoinry time, I fear we shall outsleep the Camera operator .......................Bob Evans[...]Based on the cartoon b y .......Jim Bancks well beguiled The heavy gate of night. Scenic a r tis t...........[...].....AlexMcPfhuellye unaware that a killer stalks the streets.[...]....... Ian Thorburne ments come together to form the basis of[...]Cast: Bill Kerr (Tom), Noel Trevarthen Based on the novel by ___John Embling[...]a Claus). Synopsis: The story of a sheepdog in the Exec, producer ....................Phillip Adams[...]Australian outback, based on the classic Prod.[...]Synopala: All the famous characters from 3rd asst d ire c to r.....[...]the comic strip come to life. Ginger tries to Continu[...]prove his affections for Minnie Peters, but Casting.......................[...]ers' secretary ......... Mary Williams Synopsis: The continuing adventures of Dot[...]................... Steve Mason and her search for the missing joey. Dot Prod, c[...]con meets with a hobo in her outback home town, the hobo becomes Santa Claus,[...]....................... Graham Rutherford around the world.[...]
	[...]ammie Introducing the academy award winning remote controlled camera cr[...]m ies. The Louma crane and Cyelorama at[...]"THE Australian Company[...]
	[...]c ts ...................... Chris Murray Based on the original idea[...].......Michael Nelson (Wayne), John Godden (Chris the Rat). Gauge ....................................[...]........................ Chick McDonald Synopsis: The story of young people, their Shooting stock. . .[...]........ AlleynMeSarunnsshine City car 'culture', the motor[...]......................... BudHowspeelle, dway and the criminal world of car-part Kitty and the Bagman Cast: Ray Barrett (Stacey), Robyn Nevin[...]........... Jenny Day in the life of a teenage migrant Italian boy Still phot[...]living In Melbourne's inner suburbs. For this Best boy ..................................[...]fortnight two families live in the one R unner..................................Ann[...]n Volich crowded terrace: the recently arrived family Publicity...............[...]bourne from Italy who will take over the house, the Laboratory ................................. Col[...]ahamMcKinney Lehman (Lil Delaney), John Stanton (The Director's assistant ......... Mardi Kennedy[...]raandsyr,enrndnent,, Askew (Thomas), John Ewart (The Train Driver).[...]. Bruce Lamshed these two remarkable women ruled the[...]............ Graham Rutherford Based on the original Idea[...]Construction services.......Domenic Villella in the rip-roaring 1920s, playing, laughing[...]Glen Martin and fighting with $ gusto the city has never known since.[...]
	[...].......................Kristina Frohlich Based on the original[...]Andrew Szemenyei The Seventh Match Peter Kulesa, adventure where the flying super hero[...]
	WILDE'S DOMAIN THE YEAR OF THE LEGEND (Tele-feature)[...]ed release...................... March 1983 About the conflict between land exploitation, John Ley, Te[...]Burgess, Tony becomes increasingly involved with the Cast: Millions, shot on location in India.[...], David Downer. politics of the country and with Jill Bryant, Synopsis: A mystical journey through the[...]tually, lakes and mountains of northern India in the tria l, in February,1979, of Tim as these interests diverge, he must choose search of the spiritual leaders of Ancient[...]al Films Anderson, Ross Dunn and Paul Alister, the between them. India. This film set against the contemporary[...]cy to murder Robert Cameron. the audience on a surreal adventure.[...]
	A A T O N ... The Silent One[...]
	[...]st director........ ..Phillip Hearnshaw Synopsis: The film explores techniques Requiem -- J. Day, C. La[...]underwriting -- max. $250,000 produced for the Australian Ballet, the series[...]ture format highlighting the essentials of[...]The W inds of Jarrah -- Bridging finance -- Lab. lia[...]The Last Star Model -- Forrest Redlich; Shooting sto[...]Under Capricorn -- David Wad- Sylvester (Marlon the cat). Shooti[...]The Sunbeam Shaft -- See survey. ride around Australia. The film shows part of Cast: Max Cul[...]-- Astra Film Productions; The Fluteman -- Independent Productions Ne[...]d; cinema feature; ? her journey and illustrates the sense of (Joyce), Elizabeth[...]oing Down -- Smart Street Films -- $5000 The Phantom Treehouse -- Paul Williams; freedom an[...]Bronar (Sue), and Arthur Dignam as the[...]4500 The W hale Savers -- Laurie Levy, Neil (working titl[...]him, George Parker is the No. 1 machinist at[...]Snowy and The W hale -- Tim Burstall, Producers...............[...]The Living Canvas -- George Mallaby,[...]care. Her one little luxury is a The Umbrella Woman -- Margaret Kelly[...]every morning from the local[...]Bali from the Mountain to the Sea -- Projects approve[...]The Applicant -- Phillip Roope -- $5282[...]ustralia -- investment in The Shadow Knows -- Documentaries G[...]grant for in Pursuit -- $1000 town Sch[...]Home on the Range -- Gil Serine -- $450 for D For Dago -- $2500 cedures.[...]Bruce Currie (NSW); grant for Walkman in Boom operator...................... M[...]Pattinson/Ballantyne Produc the Bush -- $13,302[...]investment in The Iceman -- $5000 Prod, company...[...]The Plains of Heaven -- Seon Film Produc Denise Haslem (NSW); grant for Sushila Exec, producer...............[...]Anne Jolliffe (NSW); investment in The Length...............................[...]nes (NSW); investment in Boxer Synopsis: The Cystic Fibrosis Foundation Wardrobe.............[...]The Rush That Never Ended -- Terence Anne Poliak (NSW); grant for Cathedral THE PATSY Asst editor...............................[...]Andrew and Irene Traucki (NSW); grant for Laboratory......................................[...]........................... MarkSandTerrasc,ks of the Rainbow -- George Gittoes[...]Solrun Hoaas (Vic.); grant for Sacred Prod, co-ordinator..........[...]Synopsis: A training film on the technique of baniotis (Vasil), Steve Bastoni (St[...]Stephen Mepham (Vic.); investment in The crime detection made for the Victoria Police. Laurie Dobson (Neil), Hutch Kes[...]Jane Nicholls (Vic.); grant for The Non-[...]Mark Osborne (Vic.); grant for Astronautica Jarman-Walker (Jane),- Gaytana Ador[...]$11,000Peter Tammer (Vic.); grant for Triptych -- Synopsis: A short drama about the conflicts[...]feature; for music concept -- $200 that a teenage boy from a[...]cinema Max Bannah (Qld); grant for Bird Brain -- faces in trying to cope with livin[...]14,975 cultures -- that of his home, and that of the Length........................[...]......8 mins Clean Straw for Nothing -- Pavilion Films; Ja[...]John Prescott (Qld); grant for Just a W hiff of[...]id The Elocution of Benjamin Franklin -- ON GUARD[...]The Globos vs Earth -- View Films; cinema Prod, com[...]..Red Heart Pictures Synopsis: A humorous look at the role of the[...]The More W e Are Tog eth er -- B. Debman, Scriptwrit[...]........... 16mm Creative Development Branch of the AFC[...]uction giving information on how to apply for grants for script development, production and the Synopsis: Utero, a Sydney medical multi Women's[...]The Dingo Alibi -- S. Cornwell, C. Levy;[...]CORPORATION niques in biotechnology. The future of[...]South Land Films affected by these experiments. The women[...]For Example Rockhampton -- Country Q[...]..............John Meagher political documentary for television to be Production[...]..................... Bruce Hogan screened after the `crime' .[...]Claire Stapleton (Qld); grant for video test Exec, producer..................[...]The Tree -- Lawless Enterprises; docu scenes for Jessie and M egan -- $2000 Prod, man[...]grant for In Retrospect -- $1500 Laborato[...]lian The W ar Horse -- Warhorse Productions; grant for See How They Run -- $2500 Gauge...[...]when the AFTS last interviewed her.[...]l Bendat; television grant for Alone Tog eth er -- $4000 Synopsis: The film demonstrates how indus Prod, company.......[...]advance for Women's Film Festival program managed by the Metropolitan Waste Dis P ro d u c e r...........[...]posal Authority, and the plans for the future.[...]W ho the Devil is Hoiroyd -- Sandra Black for the visit of Susan Seidelman -- $750[...]ni-series treatment -- grant for 1982 Conference -- $3000 Based on the original idea[...]...............................DavidJohAnsoGnrave for a Dolphin -- McElroy and Photography.....[...]
	[...]capacity and invite you to phone for details:-- STUD[...]E When you edit with KEM, you're editing with the best of them! From 16mm to Super-l
	[...]ul Cox's Lonely Hearts is a neat mother to the local elderly citizens' bolic, but there is a[...]Patricia in many Australians of their the Australian Film Institute majority[...]of an over p ro b a b ility th a t m akes the doubt appreciated this fact. bear[...]so telling. The two suffer various hesi A sad little social co[...]into her own flat -- starts, through which the screenplay Hearts is clear-eyed in conception, obviously with the disapproval of her (by Cox and John Clarke) p[...]a recognizably commonplace milieu. Free for the first time of parental[...]As well as having to clamber over Though the characters are unmistak social and personal hurdles, the pair ably Australian, the most xenophobic Patricia now take what social norms must deal with the disapproval of their filmgoer in Cedar Rapids, I[...]lar, have little difficulty in relating to them the next step: they nervously seek a Peter's int[...]eir problems. partner of the opposite sex, not neces Patricia's bossy and i[...]sarily view mat., but certainly with Although the film has arcane inter[...]tance in mind. Life-tasting isn't easy for shoplifting, to resolve the couple's aren't as subversive of the whole as[...]l deadlock. It also places in might be imagined. For one thing, for either of these shy, repressed, sex perspective[...]outings, at Peter's instigation, include the film's tragi-comic textual assertion that indivi[...]er eccentric means are at their disposal. Hence, the male lonely- The characters are, of course, hyper heart shoplifts[...]while his ladylike counterpart, totally against the grain of a lifetime of complaisance, accepts the lead role in an amateur production of Strindberg[...]meet through a grasping introduction service and the film charts the uneven course of a diffident romance. It is a less-than-novel subject, ripe for cari cature, but Cox, maintaining a basical ly[...]pected of him by his mother (whose funeral opens the film), his domineering sister (Julia Bla[...]
	[...]Three Brothers mately may be regarded as the mute the real strength of Inside Looking Out tore Giuliano and D caso Mattel [The usually the case with the second son of and Kostas. It permeates the gentle Mattel Affair], to mention two),[...]urprise. teacher in a Naples reformatory for Guy. lend[...]as most of Rosi's films were approached by the police to find out Several of these incidents[...]e with a political perspective, which of the children have been the blind-piano-tuner episode and a The Best Film award aside, the sig based either on facts -- Salvatore[...]ing worse" , as a rattle about rather loosely in the narra his successfully tackling social com (Hands Over the City, 1963), The policeman puts it. tive structure, giving the impression edy, a genre all but ignored by[...]Luciano (1973) -- or on works of The youngest brother, Nicola tion revision ha[...]
	[...]We o f the Never Never worker who does not feel much tears, accompanied by a discreet and yard. The camera follows Rocco from follow -- offer a ravishment to the sympathy for the establishment. As a almost silent sobbing, and it[...]hind and tracks up to frame Rocco's eyes which in the early part of the film result, their arguments tend to be very who asks him, " Why are you crying? head in the centre of the shot. Nicola, seems exciting. There is a quite emotional. Raffaele believes that it is I 've stopped." The embarrassed crying and leaning on the wall outside, thrilling use of landscape (tree tr[...]randfather dries his tears with a hand appears at the upper right of Rocco's foliage, swollen streams a[...]ot crying, it's head, whereas Raffaele is seen on the mountains), of thudding horses'[...]es and of violent shifts in this belief reflects the emotional diffi just sweat." culty Raffaele has[...]Marta stays with her grandfather, enough for the viewer to understand caught by Gary Hansen's Eastman- fear of being murdered. Rocco does not want to help the while her father and uncles carry the what is going on. This was certainly a color photography, accompany the police find the troublemakers among coffin to the funeral, and finds an egg difficult shot to do --[...]the Northern Territory cattle station, his reformatory children; prison would on the ground and gives it to the old accomplished. definitely scotch the possibility of their man. A close-up of this gesture -- his The acting also is superb, parti where Aeneas is to take up the position re-education, which is his main old, wr[...]pre concern. Raffaele faces a similar symbol of the seed of life -- conveys as Donato. Born in 1892, Vanel monitory dramatic effect in the dilemma when asked by some villagers an optimistic feeling for the future, entered films as early as 1912, and is ca[...]le an argument about what to do stressing further the common ground best remembered for his portrayal of Once the Gunns have arrived at the if one witnesses an act of terrorism. In of childhood and old age, found by Jo in The Wages of Fear (1953). As station, neither they nor the film have answer, he uses the case of Guido M arta's innocence and Donato's Rosi has admitted, Vanel actually set anywhere left to go. The viewer is[...]increasingly aware of the inertness at Rossa, a worker from Genoa, who was simple wisdom of an old man. the pace for the film: murdered because he denounced some The symmetrical dreams of the three " He lent us all a sort of serenity. the heart of the narrative, so that what[...]very effective. Nicola During filming he was like the stones was initially a visual excitement terrorists to the authorities: " If all Guido's fellow workers had[...]g M arta's mother and of that old farmhouse, like the degenerates into tedious bravura. denounced the killers too, since they overcoming his pride in the face of her natural world about him: . . . the Once the first narrative impulse . all saw them, it would have been affaire with another man; he sees rhythms of the film began to adopt exhausts itself in getting the Gunns to impossible for a crowd of witnesses himself going to bed with her. Raffaele the cadence of his movements." 6 the station, Peter Schreck's screenplay[...]falls asleep while looking at the photo Three Brothers is a very special film dissi[...]tab to be murdered." But Raffaele acknowledges the delicate graphs of the case over which he is and perhaps an example to many great leaux, scarcely vivants, which fails nature of the situation when there is expected to preside and d[...]produce any recent work lative power or meaning. The screen only one witness to the crime.1[...]edly to preserve every cliche, to Three Brothers the political issues have away weapons, syringes, money and is, paradoxically, very real. At the leave no predictability unturned.[...]rful, sur same time, it is a montage of poss When the rough foreman McLennan become secondary. As Rosi puts it, " The film talks first and foremost realistic scenario[...]ony Barry), who has spoken with about love: love for parents, a wife, New York's skyscrapers to Moscow[...]s chauvinism about Jeannie's a little girl; love for nature, for one's Kremlin, with Red Army and White unconventi[...]entry to the male preserve of the cattle own dignity, for the demands one Army paper uniforms floating in the[...]elf when faced by air, together with paper money. The Three Brothers (Tre fratelli): Directed by: befor[...]is is why M arta's closeness to her is cheered by the crowd of children, in Nocella, A ntonio Macri. Sc[...]her humble grandfather is an important aspect of the presence of an image of Christ Francesco Rosi. Director of photography: servant. We know that, when the door the film and is linked directly to the crucified in a crossbow (in which Pasqualino De Santis. Editor: Ruggero of the station house falls off its rusted memories of the old man. In one of the Christ is the arrow); Rocco sets fire to M a stro ia n n i. A r[...]ughter. And so she does. We know wedding ring on the beach when paradise-like, sunny beach as the back Noiret (Raffaele), Charles Vanel (Donato), that talk of mustering over the Gunns' covering her feet with sand, an image[...]ttorio Mezzo dinner table will give place to the parallel to that of Marta playing gr[...]pounding hooves and pounding score sensuously in the grain stored in the This sequence is accompanied by the wife), Maddalena Crippa (Giovanna), of the mustering scene. And of course barn. The same ring, which the young[...]s death, when Donato recovers by sifting through the musical comment of Pino Daniele's[...]y: Inter Film (Rome) - wife's finger, is seen in the last frame fantasy ballad " Je so' pazzo" ("[...]: Frank Cox. sister, we know that Bett-Bett, the little of the film. But this time old Donato Crazy" ).[...]the house and give Jeannie a new sense own wedding r[...]mposers, who sings in Neapolitan We of the Never Never of purpose. The soundtrack knows[...]to complement It is important that Platonov's The[...]her proud walk into the future. Third Son is credited as a source of Daniele sings: inspiration since some of the situations " In my life I want to live at least a As one of the few Australians alive In other words, the narrative settles in the film come directly from the over the age of 30 who has not read for the utterly predictable in matters Russian short story. The communal day like a lion[...]s autobiographical small and large: in the way it cuts to bedroom that the brothers share is an " And the state should not condemn works, I am able[...]ith an open mind. What my tions and in the way it shapes -- to use brings his daughter Mart[...]ello, hero of open mind received was, in the main, a the term loosely -- the major narrative beside her grandfather in his be[...]ous bore. How far this impres motif. By the latter, I mean the revela[...]ife used to sleep. Naples against the Spanish rule and books -- We o f the Never Never and she confronts the rigors of outback Most effective of all is a[...]The Little Black Princess -- I cannot life. The banalities are there in the oppression by the nobles: of course say.[...]often seductive surface, in Auzins' of the most moving moments of the " Masaniello has come back." 5 For the first half-hour of this pain film is when she bursts into tears and The combination of music and[...]ineptitude. he asks her, " Why are you crying?" The girl answers, still crying, " We are imagery[...]The artistry of Three Brothers is[...]from Pasqualino de Santis' all alive; Grandma is the only one who beautiful photography -- the natural fully long film (it runs to 121 element, whether it be the relationship is dead." Later, it is the old man light of the interiors, the sharply- minutes, even in its cut form), it between Jeannie and Aeneas, or the who cannot but turn his grief into defined shadows and the vivid con looked as if its visual accomplishment[...]might save it. Igor Auzins, the raised, carries any dramatic weight[...]rector, has opened on a close-up of fact, the word " relationship" means Brothers was filme[...]one of these Jeannie, being prepared for her little more than that two peopl[...]was still at its peak. Rocco is making coffee in the kitchen wedding clothes, and this gradually often on the screen together. As But the Red Brigade, and other extreme and hears a so[...]-wing groups, after initially from outside the house. He moves use of the widescreen to suggest the (perhaps the most uneuphonious name obtaining sympathy from a few dissatis towards the kitchen window and, from fied sections of Italian society, were seen above, looking downwards from the feminine fuss going on around her. in movies sinc[...]l and very first floor, sees both his brothers in the This in turn cuts to a vast, empty, virtually nothing to the role except dangerous lunatics. This finally led[...]st forward-tracking shot, those of Gilda in The Chant of Jimmie[...]Blacksmith and Bill Hunter's bigoted given to the state by the majority of the years like a sheep" ). as the camera hones in on and then wife in Newsfront, she brought an apt Italian population, and the subsequent[...]lla vita voglio vivere alemno un pulling up for an overhead view of terrorism has not been compl[...]imness, but here she is utterly at sea. stopped, the most dangerous and diffi[...]men and cattle. cult issue facing the Italian state now " E lo stato non mi deve[...]These shots -- and a great many that If the role of Mrs Gunn is to mean adays is that of the M afia. " Perche je so' p[...]
	We o f the Never Never[...]E.T. The Extraterrestrial the actress' range even when the dif as feckless, unreliable creatures; of E.T. The Extraterrestrial Jaws, making us gasp in awe with fused screenplay is giving her the Jeannie's bringing Bett-Bett into the[...]racing in Raiders of the Lost Ark and asks only cliche responses of her a[...]people" ; and so on. There is an The stars are twinkling brightly in or by a sense of[...]attempt to lift this sporadic interest to the night sky. In a secluded clearing of geist1, Spi[...]s transcend these. Against her unexpres- the level of drama as she tries to save a redwood forest on the outskirts of heart and back into his childho[...]exhilarating and deeply moving. It has with the script's straws goes for little, there's nothing I can do." When he seen shuffling about in the under great simplicity, sharing the basic and the sense of relationship goes out dies, she asks, in plaintive anach growth, illuminated by the soft lights themes of the classic animal and child the window. ronism, " Where did we go wrong?" encircling the craft. Long, delicate, stories, such as The Yearling, with The jejuneness of the film's racial strong echoes of Peter Pan. E.T. is The idea of the white woman estab[...]brown fingers gently uproot a small the lost animal, the stranger from a[...]while a rabbit looks on strange land, the secret that grown-ups The publican (Tex Morton), Jeannie Gunn treatment of the two Chinese cooks, unafraid. One of the gremlins wanders cannot see and whom the children (Angela Punch McGregor) and Mac (Tony one spitefully inclined, the other a to the rim of the valley and gazes in must aid in any way they can, just as Barry) before the final stage o f the journey comic character who raised indulgent wonder at the sprawling grid of shim Tinker Bell would die if they did not to Elsey Station. Igor Auzins' We o f the laughter from the audience. mering lights of the city below. Never Never.[...].T. is about love, it is about world founders on the script's banal more about the ways in which the film painfully-bright headlights shatter the ities as well as on McGregor's in so persistently passes up every oppor tranquillity of the forest. Immediately children -- about their innocence and adequacy: In the opening scene tunity for coherence or significance. It the aliens prepare to lift-off to avoid their surpr[...]" You must never misses its chances in the area of rela detection, but the wanderer is too far To help E.T., Elliott, Mic[...]y" and " Don't try tionships; it bungles the dramatic away and frantically tries to avoid the Gertie must defy adult authority, take to be a mate to him" , but the prom potential of the feminist and racial large, lumbering figu[...]either too achingly slow or searching torches. The aliens wait till their own suppressed natural abilities this scene is not pursued. The resis too boringly high-minded to be the last possible second and leave just tance to Jeannie's presence in the anything as vulgar as an adventure; as the errant is in sight. The human to change their previously `unchange[...]orn down and it lacks even a good ear for a beings watch in stunned amazement as able' circumstances, all for their love by what we assume to be courage and period piece. What we are left with is the vehicle soars heavenward, while of E.T. resourcefulness. In fact, the film th
	E.T. The Extraterrestrial[...]Crosstalk extraordinary and exploring the way guy' from the stars. For some it will be deceptively simple plot in a film which tradition largely ignored since the people would deal with it. In Polter a ne[...]ving been eschews narrative progression for a revival of the industry a decade ago. In geist he set a graveya[...]obsession with computer print this regard, the film works extremely the home salesman and his family; Roy recent, s[...]se encounter that did not want to cry out for help and selected household appliances. Ballinger persuades Jane (Kim with a UFO while on the job; the for E.T. as he lies dying in the Certainly the mood of claustrophobia, Deacon), his young a[...]ollier's apartment supershark in Jaws terrorized the up in Elliott's home. Then suddenly, is maintained throughout the film. during his absence and attach a bug[...]pes, emotions However, this viewer longed for some his phone. Ballinger, who is watching[...]rtbreak to human confrontation; every time the the monitors that cover the entrance to Island; and a man quietly travelling the high exhilaration. You will be glad that n[...]'s apartment, is inevitably dis country roads of the Midwest is a film can move you so. Egerton would cut to the omniscient tracted and the killer arrives home to attacked by a maniac driv[...]find Jane trapped inside with the dis decomposing tanker in Duel. Incred[...]Jill ibly, all these fantastic occurrences The Extraterrestrial, a film that is vir The plot is concerned with the Forster) visually prominent in the seem perfectly natural because the tually the cinema ideal; a film that machinations of[...]comes from the maker's heart and porate group and it[...]vironments in which they are set and touches the audience, not with ment in a sensory computer, the 1-500, The important factor is that the insi[...]narrative works; Egerton and his team the actions of the people involved also emotion.[...]ger is less con demonstrate an awareness of the con seem perfectly natural. cerned than the corporate group about ventions and the skill required to E.T. The Extraterrestrial: Directed by: the financial ramifications of the manipulate the audience to the desired In E.T., Spielberg has perfected this[...]roject. When a car accident confines effect. The pity is that the preoccupa technique. Allen Daviau's practical[...]loses interest in tion with surface imagery and the method of lighting -- where, for the Melissa Mathison. Director of photo it -- that is, until the computer draws repetition of the theme of the domina most part, the lighting fixtures shown graphy: Allen Daviau[...]of machine over man allows this actually provide the filming light levels ton. Production designer: James D. Bissell. apartment. The computer thereby narrative drive to sl[...]s sacrificed. Williams' most beautiful score and the tamessa. Cast: Dee Wallace (Mary), Henry the killer, Stollier (John Ewart, superb flawless op[...]Barrymore (Gertie), K. C. Martel (Greg), The early scenes in the film establish that a film incorporate neglected[...]on with his computer. A pre pointing to a number of missed oppor[...]h also could have filled in E.T. is, perhaps, the first film in versal. Distributor: U IP. 35[...]indy (Penny Downie), conducted on some of the character detail. which the main star has not been a U.S. 1982. a video hook-up in the house, person or an animal (with the possible emphasizes the film's dominant motif The status of the characters within exception of HAL 9000 in 2001)[...]the film is largely functional in that Italian sculp[...]m Rambaldi, the creator of the monster Geoff Mayer[...]Elliott (Henry Thomas) and E. T., the extra of Alien and the earlier Spielberg of the `all-pervasive' machine. The terrestrial lost on earth. Steven Spielber[...]rrestrials in Close Encounters, Scenario: the hero, confined to a argument also reveals the strain that E. T. The Extraterrestrial. was called upon to construct E[...]special effects crew had failed apartment in the same building as him `baby' has placed on[...]arded as actants rather with a loss of $700,000. The creature self, has murdered his wife. The killer Cindy's retort that he should " marry than personages: the crippled, intelli that Rambaldi devised is a fantastically becomes aware that our hero knows of the beast" is more prophetic than she gent hero; the understanding wife; the complicated being with a rubber/poly- the crime, although nobody will realizes at the time. loyal nurse; the sadistic killer; the beli[...]ing a steel and isn't -- at least not in the hands of The film's attitude to the computer However, there is sufficient scope[...]and script is ambivalent, at least in the beginning. within the framework of the drama to needed a dozen operators to handle via writers Linda Lane and Denis Whit The computer detects the crime, and create a number of tensions between[...]Ballinger's claim that " I trust the the characters. For example, Ballinger electronic controls.[...]-500 more than I trust humans" is cared for during the day by Jane The magic of Rambaldi's E.T. lies The filmmakers of Crosstalk have appears to have some validity. The and, on one occasion, kisses her in[...]e lengths to bury this bizarre conclusion to the film certainly front of this wife. But this facet of the not only in his mechanics, but in the fulfils the film's advertising slogan plot, together with the tension between character that it becomes on the (" Only the computer saw the murder husband and wife, is essentially s[...]. and it liked what it saw" ). ignored by the film. E.T., at first, is something only a mothe[...]a narrative his room and could be seen clearly for the first time, standing quietly in the corner wrapped in a blanket, I heard a young voice behind me in the theatre whisper, " Isn't he beautiful." When a[...]a pile of rubber, wires and servo-motors with the qualities and emotions that E.T. exhibits, th[...]d that he may be taking sadistic delight in the audience's tearful reaction to the film, but I have not yet found anyone who was[...]l things ashamed of or forgotten. One recalls the loss of a pet or a loved one during childhood years and the reluctance to remember it, and there is immed[...]or individual shot is forced or gratuitous. The performances, especially from the children, are magical, as is, of course, E.T. himself (he cost $1.5 million by the way -- one-third of the cost of a Marlon Brando and with a lot more personality). The young and the not-so-young will fall in love with th[...]
	[...]Barbarosa Strangely, the one character which is developed beyond the point necessary for plot progression is Stollier, who has a predilection for leather and bondage. Without knowing the censor ship considerations, the reason for this character attribute is obscure. Cross[...]lish film to look at and listen to. There are a number of striking visual sequences which readily demonstrate the ability of director Egerton, director of photo[...]is Neal to generate an atmosphere appropriate to the narrative emphasis of the film. The sequences leading up to the murder of Stollier's wife are a prime example: the carefully- composed image of Stollier standing in the shadows of his apartment, his wife gradually becoming aware of his inten tions; then, just as the tension is begin ning to build up, Egerton cuts back to the computer's recording the event. This pattern of frustration is evident throughout the film. Perhaps it is time to remind Australian fi[...]Raggedy Man, which is being to resurrect the Western have failed -- Hollister (Peter Collin[...]such as (Penny Downie) and Ed (Gary Day), the Lane, Mark Egerton. Director of photo[...]s graphy: Vincent Monton. Editor: Colin The film is full of lines like, " The Walter Hill's The Long Riders and, of talk. W addy. Productio[...]st be endured" or Gate. Since Vietnam, the perception of Within is doing the drive-in circuit. recordist: John Phillips. Cast: Gary Day " You haven't got enough ass in your the frontier ethic has changed. The Bruce Beresford's Tender Mercies is (Ed B[...]oneer has become imperialist and also due for release. Deacon (Jane), John Ewart (Stollier), Jill britches to pull the trigger on Bar Forster (Mrs Stollier), Peter Collingwood barosa. '' Then there are the exchanges anti-ecology. The cowboy has become Schepisi also took al[...]llister), Brian McDermott. Production between the leads -- " I've killed a the Ugly American. A generation has photograph[...]situation is superior. The changing 1982.[...]g all wore out this material once was considered the patterns of light on the desert land[...]st innocent of entertainment. scape or the rousing passages in the Barbarosa kee[...]Western Barbarosa attempts to debunk the is no question that Barbarosa is a Barrie[...]conventions one associates with the handsome film. dialogue is the only kind of archaic genre. However, it too[...]language convincing on film and Bar the notion of legend, already too self- It is particularly revealing to look at Western shot in Texas in the Lajitas barosa makes considerable use of conscious even in the days when people Barbarosa as part of its maker's area, where the U.S. army was based verbal set pieces. A[...]ere taking John Ford's Man Who output. The Devil's Playground, like when fighting Pancho Vi[...]olic episode in tional filming in Bracketsville, the by burying the sleeping bandit with[...]ried conviction. A naivety, much modified decors for The Alamo. only his head clear of the sand -- than it deserved. which suggested that the death of a Native Texans Willie Nelson and Gary facing the bodies of the two boys he The climax calls for Karl to per class-mate was less shocking than des Busey lead the cast as Barbarosa, a has shot. The villagers compose cribing masturbation, did not stop the white renegade living in the Mexican corridos (ballads) about the event and, petuate Barbarosa's reputation. This is film from touching nerves. It had the community, and Karl, a German[...]e in an ingenious, even stirring impact of the unfamiliar that con immigrant farm boy who teams[...]rbarosa trans way. Yet, it fails to impress for several vinces one that the makers are dealing with him.[...]reasons. The audience is already in truth rather tha[...]lates the words for Karl, who is familiar with a variety of these exciting tudes, a quality that outweighs any In the opening scenes, the teaming impatient till he finds a part of the set pieces: e.g., Don Braulio's son s[...]la Paz) galloping Are We All Murderers or The Battle of foul-mouthed old man and Busey as[...]Algiers. the fugitive ploughboy fall short of Later, Barbarosa creeps into the through the rancho gate on the ven what one has learned to expect from[...]geance trail, followed by the camera; The Chant of Jimmie Blacksmith Butch and Sundance. Having been hacienda of the Zavalas clan to visit his and Barbarosa sticking up the seedy was, on the other hand, an established together for a while, however, they wife, Josephina ([...]istory into literary property dealing with the become clearly defined individuals, hea[...]something one has seen -- oppression of the Aboriginals. The telling the children the story of Bar- before and not been impressed w[...]barosa's murderous wedding night. putting the elements in order, they (" The Zavalas had the desire to kill the As anyone who has investigated the That film's anti-racism is in vivid combine well. In the first glimpse of gringos but not yet the will." ) The back shelves of his neighborhood contrast to Barbarosa's depiction of Barbarosa, the legendary bandit, he exaggerated sound of the word " shot" video store since the days of tax loss the Mexicans. Yet again they are stands apparently u[...]and local film commissions in the shown as dirty, thieving, murderously M[...]which, incidentally, contrasts sharply well into the film that he begins to Both end with Barb[...]Hollywood stars and a with that in films from the Mexican tutor Karl in the business of being a[...]" Nothin' makes away Don Braulio's leg below the knee stylish and entertaining gloss, which[...]gun. have sunk without the well-known From the days of William Randolph standing when he should[...]Hearst's disputes with the Mexican like a spotted ass ape." The film's humor, its unfamiliar ripple. government, the Hollywood film con[...]ffer " greaser" characters Language is one of the film's look and definite style are al[...]like the one who tells Tom Mix, conspicuous features in a script by co The use of close-up insets is also effec interest is that it is the work of Mel " Yankee pig, it is with much pleasure I producer William Wittliff, which he tive: the thorns through which Karl bourne's Fred Sc[...]Martin back shooting John Wayne; has worked on the script of The Black forces his way, with a jingle drop of The Wild Bunch, Break Out, The Stallion and has written the much-dis his blood falling from them; the critics failed to take his The Chant of Border or even Seems Like Old Times,[...]bereaved father's bullets falling to the had his The Devil's Playground.[...]Mind you, Schepisi is not the first of able to re-load in time to kill his son's the home team to go off to the U.S. murderer; or the home washing, flut and come back with a fe[...]tering on the line.[...]ll-made, enter whose professionally nasty The Beast[...]audience not do better business? The[...]
	[...]The Sharkcallers o f Kontu choosing far from isolated examples. jBarbarosa (Willie Nelson), the Mexico-based outlaw, in Fred Schepisi's Barbarosa. would not be as important. The shark Of all the national groups, only the[...]e cop more flak in films. will advertise the fact. relationships between the spiritual and[...]tion. Lacking a lobby as effective as the Barbarosa: Directed by: Fred Schepisi. physical worlds of the people, and a This aspect of the magic is[...]I. Co-producers: sensitive relationship between the film NAACP or the supporters of the William W ittliff, Willie Nelson, Gar[...]emphasized by the film's reliance on American Indian, the Spanish-Ameri- Busey. Screenplay: William W ittliff. maker and the shark-callers. conversations with the men who[...]cially in two long can groups have missed out on the up Editor: Don Zimmerman. Art director:[...]sequences of the shark-callers --[...], in close-up and facing grading of image during the past Cast: Willie Nelson (Barbarosa), Gary the texture of daily life. The shark the camera -- paddling out to meet the decade, apart from a few minor items Busey[...]nd (Don callers are seen in relation to the other shark. They speak not as much of like Ro[...]io), Isela Vega (Josephina), Danny de members of the community, who are method as of their relationship to the Boulevard Nights. There is Cheech and la Pa[...]ressures from an outside spiritual nature of the shark and their[...]ion company: Universal. Distributor: ments and the imposition of Chris sense of intimacy w[...]These sequences are filmed from the This is not to attribute sinister The Sharkcallers of Kontu The film also places the practice of prow of the boat, at close range, with a[...]shark-calling in the context of a belief camera that is amazingly s[...]as the shark-catcher battles with the Sam Peckinpah, Tony Richardson,[...]et al. It does, however, emphasize a In The Sharkcallers of Kontu, method of catching fish: it is a form of brings it into the canoe. They have a problem very evident in the Australian Dennis O'Rourke takes material tha[...]quiet intensity unmarred by super scene: the attractiveness (particularly inherently dramat[...]it to focus on the spiritual meaning with a spiritual world and with the to subsidy) of commitment to fashion behind the magic of shark-calling in people's ancestors. Moroa, an all- The filmmaker's presence is obvious able ideas too superficial to withstand the village of Kontu in New Ireland. powerful spirit, created the sharks and throughout the film, but in an unob O'Rourke looks at this ritual in the instructed them to respond only to the trusive way: a very low-key narration pressure. context of the traditional beliefs and by Dennis O'Rourke (the same voice Barbarosa does try to balance its the pressures of change. The result is a calling of the shark-catchers, who had heard elsewhere in pidgin on the carried out the necessary ritual soundtrack) provides only necessary image of the Mexicans with Bar preparations and observed the prohi information. He explains specific[...]aspects of the shark-calling, without barosa's speeches about the nobility of[...]certain attributing intentions or feelings to the the Zavalas family, notably at odds[...]subjects. with the revelation about his dealings[...]re a few instances of with Don Braulio. There is the curious[...]ditorial comment in this narration. In notion of the pursuit as a crusade wild bush spirits, or the spirit of the th e' memorable close-up shots in the which has elevated the way of life of[...]they canoe, his presence is obvious, both in the clan: " Then God will put us back[...]the occasional question put to the man[...]in his native language and in the strong in houses made of sticks and mud" ,[...]sense one has that the shark-caller is and the use of the crucifix knife (thank[...]communicating directly to the camera,[...]knowing that the person behind the you Luis Bu
	The Sharkcallers o f Kontu[...]A Midsummer Night's Sex Comedy the dramatics of it. The narration brought about by the imposition of A Midsummer Night's Sex The four friends who come for the expressed incomprehension about why oth[...]e Leopold (Jose Ferrer), they continued to catch the sharks this points that are stated explicitl[...]and famous academic way, when shark meat is not the prime through the cutting. There is no Margaret Smith[...]as little pretence at objectivity and the exten[...]into intellectual combat with attempt to explore the significance of sive use of intercutting between the Woody Allen suffered the slings and other male rivals; Ariel (Mia Farrow), the magic and its spiritual basis. magic of the shark-calling and the arrows of outrageous fortune and the fiancee of Leopold, nymph-like,[...]ss. In A Midsummer liberated and a woman of the future; In this film, the content may have its any other Western ritual (such as the Night's Sex Comedy he has lost the Maxwell (Tony Roberts, as always), dram[...]but there is no Queen's Birthday), makes the film fighting edge of a pioneer who the faithful friend to Andrew and a attempt to impos[...]ing womanizer; and Dulcy dramatic structure from the narrative[...]rdust (Julie Hagerty), Maxwell's friend for film in order to build towards a[...]Memories. He has kept his sense of the weekend, the not-so-silly nurse climax. Catching the shark itself is not humor, but perhaps once too often, humor and pathos, but in the final who can cope with any emergency. the main point. The relationship and risk being slick. One sees, for scenes of A Midsummer Night's Sex between the shark-caller, and the shark instance, the shark swimming under Comedy that seems to be all that is When all the visitors descend on the and its spirit is more important, as is water and getting caught in the hoop; left intact. house, their dreams take on a reality the relationship between the shark- O'Rourke then cuts to a church[...]s are in store. callers (with their adherence to the service, then to an old man who The film begs a question: where do traditional magic) and a culture under defends his beliefs against the new you go when you have stopped[...]ngs that suggest if they follow exploring? For Allen, it seems to mean Night's Dream, they[...]ys they will not go to heaven. going into the past. But, on the other as if under a spell. No one wants the This intercutting builds to the final hand, can we expect the impossible partner they are with, and es[...]asure to see a conclusion, stated by one of the elders the woods become so frantic and ill- documentary that does not sacrifice in answer to a question about the when we are all variations on our past[...]ontent, where it is important, to survival of the traditional beliefs: they selves? labyrinth. the cheap immediacy of emotion up may be able to co-exist with the new front on the screen, or to the old cliche government, he says, but not with the In this film, Allen turns to what he[...]n) and Ariel that a close-up tells us more than the new religion.[...]vision documentary on other cultures The film's focus on the spiritual sig peare's A Midsummer Night's Dre[...]idsummer Night's Sex Comedy. does this, leaving the impression that nificance of the shark and not on the on its head as a starting point. If one the overt and visual expression of their catch itself is reinforced by the atten wasn't familiar with Allen's more The photography of Gordon Willis, cultures has no spiritual or intellectual tion given to the process of dividing up recent work, it might be enough. It is together with the music of Mendel basis. In emphasizing the communica the different parts of the shark -- funny, delightful and absurd, but it ssohn, carries the situation to its tion of beliefs, the film also relies, of some must be thrown back into the isn't the Allen who turned one out of logical extremes. When the actors necessity, on extensive sub-titling. It is fisherman's boat, others are given to the cinema grappling with a sense of aren't posing as if for some Manet or good to see that there is no com the villagers. The fin has a special sig oneself. One was amused, but it might Renoir Impressionist cameo, the music promise about this, despite the pre nificance and is placed in the men's have worked better if the laughs hadn't and photography make the actual judices against sub-titling held by most house as proof that man has the power been so constant or so long. woods come alive with the sound of of our television channels. The sub to communicate with the spirits of his[...]Today the fins are taken down from author. There is Andrew (Woody box goodies. It all makes for a marvel The film might be described as their traditional place and offered to Allen), the Renaissance man, who tries lous send-up, and is one of the delights the Chinese merchants who buy them to fly in his flying machine, and at of the film. `closed' to the extent that it takes a for friends in Hong Kong and Singa other t[...]certain point of view and unashamedly pore; the men of Kontu need cash to wife Adrian (Mary Steenburgen), who Some of the characters are similarly uses editing techniques to put it across. adapt to the outside pressures on their is an intelligen[...]rt Young (who also did subsistence economy. The film returns made frigid because of the memory of duel for word space, there is rarely a Frontline and Angels of War), the film in the last shot to the scene where the an illicit affaire. They live in a rustic kind shot of them. But Allen's persona highlights the ironies and incon Chinese merchant tells the men that if rural setting, at the beginning of the in Andrew is etched more sym gruities, indeed the absurdities, of the they supply two tons of shark fins,[...]ically. He muses about love, art education that the children of Kontu then he can give them a world market on his inventions to the detriment of and invention: " because I hav[...]price. The film thus shifts its emphasis his marriage.[...]and leaves a final suggestion that the[...]ally alienated from their greatest pressure on the culture is the inevitable encroachment of an own culture: the children learn English economic structure ali[...]hool using textbooks about imposed on the society. cowboys, not fishermen. They are subtly conditioned, by textbooks with In The Sharkcallers of Kontu, as in scenes about buying pies, to want junk YAP, O'Rourke recognizes the impor[...]n a documentary food and luxuries and to reject the that integrates its themes into the daily traditional diet of taro, tapioca and[...]t to state a point still a subsistence economy. The once and proceed with the film as content of their education has no rele narrative. Whereas in YAP the result is sometimes loose and rambling in the vance to their society. rep[...]trolled. O 'Rourke's earlier film about the coming of television to a small Pacific The Sharkcallers of Kontu has less island, especially in the ironic use of of the journalistic style of the earlier the soundtrack: snippets from radio films. However, it is not lacking in wry advertising and so on. In the earlier humor, and gives a sense of a more film, advertisements for American careful process of sifting out, leaving cosmetics and detergents explicitly the bare bones of what is an unabash made the point about the alienation of edly transparent structure in a very a people from their culture. The fine film. inanities of American soa[...]ctor by: Dennis player, strumming to himself on the fringe of the living quarters, where he O 'Rourke. Producer: Dennis O 'Rourke. was once the centre of the evening's entertainment.[...]'Rourke, Chris to score, but in YAP they are in the context of a look at U.S. imperialism Ow[...]art Young. Anthro and economic exploitation. In The Sharkcallers of Kontu, one again finds po[...]h Brouwer. Contributing a strong sensitivity to the sounds that[...]Berry, Elton Brash, Gary make up daily life on the islands: the K[...]P roduction com pany: O 'R ourke and The ironies of incongruence and the Associates Filmmakers. Distributor: Ronin mourning for the loss of tradition[...]
	The story o f the world's greatest racehorse, set against the backdrop o f the Great Depression o f the 1930s. It tells o f Phar Lap's sudden rise to national fam e and the controversies surrounding his career, including attempts on his life before the 1930 Melbourne Cup. The story moves to the U.S. with Phar Lap's success at the world's richest horse race, and his death[...]
	[...]For instance, Ken Watts is listed both Zukor (son of the centenarian pioneer,[...]New Film Productions and chairman of the the late Adolph Zukor). Some well-[...]431 Aussie-Stone is still listed as the Thompson and Peter Weir, appear[...]national director of the Film and Tele alongside the all-time greats, such as[...]ently resigned dalene von Losch, incidentally), the Variety Internati[...]not-so-great, and the frankly obscure.[...]two entries for M & L? And whatever The next major section is compre[...]and Reference Library of happened to the Victorian Film hensive " Film credits" for every film the Humanities, Vol. 292 Corporation[...]f updating. only most of the English-language[...]titles but also the major foreign- Large format hardback, 1135 The second section is the 70-plus language and film festival titles[...]" Classified indexes" , ranging from the date of the original Variety review[...]Showbusiness Awards the omissions and discrepancies included, the exceptions being the real become more apparent from the Aus box-office dogs and the pretentious Garla[...]no arty pieces. the Humanities, Vol. 337 Australian[...]Next is a complete listing of all the Garland Publishing, Inc., New handles documentaries? The recent Oscar winners, as well as the nomi York and Lon[...]tralia lists no nees, in every category, from the Large format pape[...]beginning (1927-28) to 1979; the " All- pp., U.S.$[...]ons in Aus time film rental champs" in the[...]Kemps International Film the previous " Companies" section)? Wars), though not adjusted for and Television Ye[...]Films or theatre? And cardinal sin: if With the Wind); the major " festivals,[...]27th edition the Tradepapers category, then, " Television credits" , again from The Kemps Group (Printers & surely, Cin[...]ISBN 0 86259 019 1 The final section is simply an inter Young Ramsay; a list of all the Emmy national telephone directory to all the winners, as well as all the nominees, in International Film and TV people in the first section -- listed every category, also from the begin Year Book 1[...]surname, irrespective ning (1948) to 1979-80; the " Top 50 36th yea[...]tion companies, all of which " Plays abroad" (the Australian ISBN 0 900925 13 2 have the previous telephone number of representation ranges from the revival[...]Joe Steve J. Spears' Young Mo); all the[...]seen. Pat Tony winners, as well as most of the Recently, the major U.S. show- Lovell is in, Matt Carro[...]on. It is a seemingly arbitrary from the beginning (1947) to 1980; the entering the reference book field, selection.[...]afield -- it is odds-on that the U.S. and Long-Running Broadway Plays[...]Variety International Motion the British sections are less prone to (Grease tops that list); all the Grammy Picture Marketplace 1982-83 is the errors and omissions -- Marketplace is Award-winners, as well as all the latest venture. It is divided into three a valuable handbook. The price, given nominees, in every category, from substantial sections. The first, " The that it is a paperback, is prohibitive. 195[...]of a little more than 100 countries. The two other recent Variety finally, as if to counterbalance the Under these natio[...]are not as subject to current biographies at the outset, a another[...]company names and addresses, the information right the first time or term), also from January 1, 1976, to telephone, cable and telex numbers, it is simply useless forever (or at least December 31, 1980, from the con and leading company personnel, plus until the second edition). ductor Nathan Abas to the previously types[...]receives only two entries; the U.S., Variety International Showbusiness[...]understandably, receives the lion's Reference is an even more massive[...]orative volume for Variety's 75th anni is nothing if not exhaustive. Quite The Australian entries are fairly versary, a distillation from the back simply, it is an essential reference wo[...]d who chose files of what is claimed to be " the for any library resource centre con[...]without saying that it is not a patch on about the entertainment industry business. the current Australian Motion Picture worldwide"[...]ness" somehow compacted into the Showbusiness Awards. To some[...]extent, it duplicates the previous[...]arathon volume in that it lists again all of the[...]claimed to be " the largest single such Pulitzer Prize Plays. On the other compilation for actors, actresses, hand, this latter work[...]graphers, cinematographers, index, which the former, perhaps[...]achieved" , ranging from the RKO 572 -- December CINEMA PAPERS
	[...]and pictorial. Noble's British con The list was compiled by Mervyn R. An illustrated survey of all the great teams on the speaking, yearbooks that serve to some tingent is naturally strong, whereas Binns of the Space Age Bookstore, Mel screen, fr[...]Keaton. national counterparts to the Australian obviously not so. It is, in fact, a[...]pular and General Interest The Great Movie Stars -- The Golden Years Motion Picture Yearbook.[...]rnational Film and Tele front of and behind the cameras, from America's Favourite Movies: Behind the Scenes A&R/Angus and Robertson, $14.95 (TPB[...]star whose name was made before the beginning[...]-to-date Background details of some of the greatest films o f World War 2. industry-orie[...]ts of credits and contact points than, from the U.S., including Frankenstein, The nical services and facilities, divided say,[...]rican Queen and High Noon. The Great M ovie Stars -- The International Years into two halves: Great Britain and panion to Film (really for the film David Shipman International. The British section scholar) or Leslie Halliwell's Film- The Best Movie Trivia and Quiz Book Ever A[...]goer's Companion (for the film fan): Malcolm Vance The second volume in Shipman's history o f the ranges over no less than 350 separate in es[...]cinema stars following the Golden Years. New, categories, ranging from " Accum the contemporary British film and tele An ill[...]. revised edition covering from the 1950s to the ulators and batteries" to " Zoom fluid visio[...]The Best TV Trivia and Quiz Book Ever " Film technicians" section that, in But the Australian representation is Malcolm Vance The Great TV Sitcom Book turn, ranges from the " Art depart fairly thin and seems to be[...]The plot lines, cast and characters of all the Weir, but not, say, Bruce Beresford, The Book o f TV Lists A[...]Arlington/Imp., $12.50 (TPB) per se to the " Technicians diary grounds? And it is a pity that the A great collection of facts, figures[...]St Martin's Press/Imp., $18.60 (HC) all the trades and industries in tunate lag of[...]The lives of the children of Hollywood stars and Diderot's Encyclop
	[...]Book Reviews Elizabeth Taylor -- The Last Star A well-illustrat[...]the old Hamlyn title. Coronet/Hodder and Stoughton,[...]Life in Pictures (HC) The tumultuous personal history and career of the James Spada and George Zeno An authoritative study o f the controversial A Pictorial H istory o f the Talkies screen's most publicized actress -- a mo[...]e and with a section o f color photo Repulsion (The Life and Times o f Roman (HC) Eliz[...]A year-by-year, fully-illustrated coverage of the Future[...]Arleri Mother Goddam -- The Story o f the Career o f Thomas Kiernan[...]Brian Garfield The Films o f Charles Bronson[...]A guide to the Westerns screened in the U.S. since Citadel/Davis Publications, $12.75 (T[...]The Brechtian Aspect o f Radical Cinema the advent o f talking pictures. A title in the popular " Citadel" series. New in P.S. I[...]Peter Sellers by his son, assisted lished, on the theme of the Brechtian aspects of The Blood o f a P oet/T he Testament o f Orpheus Nor[...]Television paperback book on the life and career of one of Please D on 't[...]Ah! M ischief -- The Writer and Television[...]25 An essay from the British Film Institute on genre Edited by Frank Pike Humphrey Bogart -- The Screen Greats[...]Essays on script writing for television. Wattle/Gordon and Gotch Distributors[...]mography. films of the 1970s by Kubrick, Huston, Hawks, A critic[...]. series o f essays primarily on the British series, Everest/Imp., $22.50 (HC) Ronald Reagan -- The Screen Greats[...]ice Anderson The New German Cinema known American Indian actors.[...]Sandford The Television Barons The film career of the U.S. President. Methuen/Methuen Aus[...]ing A bou t Films The story o f Britain's television moguls and how A[...]they rose to power and the empires they control. graphs by Dean, who desir[...]ter, West End actor and Hollywood film of the cinema in general. A'rbeiterfilm: Fassbinder, Ziewer and Others The Last Sitting[...]History of the Film Industry BFI/Gaumon[...]A discussion of documentary films made for West A series o f photographs o f Marilyn Monro[...]wart Granger The Dream That Kicks -- The Prehistory and German television. ta[...]RKCP/Cambridge University Press, $43.95 (HC) The Legend o f Charlie Chaplin[...]d honesty. A critical history o f the origin and development of Writing Television an[...]the cinema in Britain.[...]Covers every stage o f writing scripts for television complete filmography.[...]$16.70 A comprehensive history o f the cinema designed Lulu in H ollywood[...]eals mainly with Godard's work since to meet the needs of the introductory film course. Media and Education[...]H ollyw ood's Image o f the Jew Creative Source Austral[...]nd designed by David Lyons A Hollywood story -- the autobiography of Howard Hawks[...]in Wood The evolution of the screen Jew, from the silent In the style o f the overseas publications such as poraries and the film capital, as it was in the silent BFI/Gaumont, $15.95 films to the present day, and the message of Graphis Annual -- a presentation of the adver days, and later.[...]ally published assimilation contained in most of the films. tising industry in Australia, cov[...]in the " Cinema One" series. It discusses the 40[...]ms made by Hawks and it includes a new The Pictures That Moved[...]chapter on the new theories about individual Joan Long a[...]Hutchinson/Hutchinson Group Aust., $19.95 (HC) The complete biography o f Hollywood's most[...]rent comedienne. New in paperback only. The Films in M y Life Leonard[...]new in tions, many reproduced for the first time. E. T. -- The Extraterrestrial Story Book The Magic o f Woody Allen -- But We Need the Francois Truffaut, translated by[...]A picture book for young readers of the film[...]The Best o f M G M -- The Golden Years story. Robson/Hutch[...]Aust., $7.95 (TPB) 1928-1959 The career of Woody Allen. An up-to-date critical[...]sh and Gregory Mank E. T. -- The Extraterrestrial appraisal o f his work. The autobiography of Truffaut,[...]erback. The credits, story and photographs from 160 Sphere/Thomas Nelson Aust., $3.95 Marilyn Monroe -- The Screen Greats[...]films. The well-written novel based on the Steven Spiel Tom Hutchinson[...]alind Delmar The Australian Motion Picture Yearbook 1983 (HC)[...]s/Thomas Nelson Aust., $25.00 We o f the Never Never A well-illustrated, in color and black and white, A survey of the work of political filmmaker, (TPB)[...]ns, with articles and filmography. The annual almanac of the Australian film Hutchinson/Hutchinso[...]hat is happening. (HC) Marlon Brando -- The Screen Greats Kubrick: Insid[...]A new edition of the Australian classic novel, now Alan Frank[...]Pictorial History o f the Silent Screen a major film. Watt[...]A critical guide to the films of Stanley Kubrick. Wattle/Gordon[...]
	[...]21.3.82 to 11.9.82* The Man From cr Snowy River[...]
	[...]DAYMAX...the light of the 80's /rJ15V P[...](02) 331 3314 The space-age technology of ILC produces this great[...]11a Leichhardt Street Designed for HMI fixtures.[...]Balanced light without the need of filters.[...]Maintains 90% of rated initial lumen to the end transport[...]CESS FREIGHT CHARGES, BY HIRING THE "HEAVIES" IN THEWEST.[...]
	[...]But the cinema is like that.[...]Every film expresses the opinions different fro[...]hings, about yourself and about We couldn't fill the streets with[...]that throughout the performing others; for me, a film or a play rubble because of the incredibly[...]they don't save the world, they[...]e us from atom bombs choices; you have a measure for[...]1962 L'evento* situation within the limits of what[...]Short films produced for a diploma those millions for making a film[...]at the Centro Sperimentale di like the Americans.[...]A documentary for Italian television. impart a message?[...]
	The B iography Industry The Biography Industry[...]son quotes transcripts of Canyon Passage; for the clergyman's wife in[...]Henry King's I'd Climb the Highest Mountain Continued from p. 532 Hayward's story in response to her attorney's (not a " technicolour blockbuster" as Anderson[...]questioning: with no further gloss, the record romance); and the sorely-tried wife in Nicholas Lamour -- is bent on adhering to the maxim: has the elements of high '40s melodrama, Ray's The Lusty Men. But whatever the role, " If you can't say something nice about a[...]ating Joan Collins to this principle when Despite the more sensational aspects of her Collins gets the lead in The Road to Hong Kong! life -- not merely being chased nude round the Anderson's book pays discriminating tri[...]iscovered in bed means perhaps a dozen of the 60-odd films she[...]made. Her last appearance -- at the Oscar to her colleagues. She insists that life on the i with Don " Red" Barry (an actor so minor he[...]like Olivier) -- and despite ill, but exercising the determination that[...]marked her whole career and exhibiting the star jolly, and that Bob and Bing were endlessly her chilling aloofness to most colleagues, in the power she had acquired over the years, she was[...]who, but it provided a good deal of innocent is, for the way she worked at her career, for[...]e does seem to remember who did what dealing with the often-ludicrous junk she was[...]ilms. She has either a good memory or handed, and for an unillusioned approach to[...]years in 50 films. has been careful in checking the credits for the the Hollywood machine.[...]figures are significant: in 16 of films, so that the book is not littered with those Her name and fame were made in more or the years, beginning with Days of Glory in[...]ars unnecessary errors that disfigure so many of the less lurid roles but I have a special affection for he appeared in two and in only four of those ge[...]interested in talking some quieter achievements: for Lucy Overmire, years did he appear in t[...]began in the '30s, in the heyday of the studio, about the films, even if this remains on a pretty wavering[...]es five in 1933, six in 1934 and so on). The pace[...]must have been killing but the variety of roles early marriage to Herbie Kaye,[...]reer is happy domesticity with William Howard, " the[...]persona; it gives the impression of being very most beautiful man [she[...]production to another, doing time opposite the[...]two biggest women stars of the day -- Greer Hughes she merely received roses; n[...]Peck is a star of the same kind as John A nice girl" is probably not the[...]all) Henry Fonda, but he is not really of the but, as Christopher P. Anderson[...]a tells her story (published by the[...](unlike, say, such same firm in the same year as Dorothy[...]like them he ingly, at least consistently. From the poverty-[...]figure that corresponds quite closely to the intensely, genuinely courageous in her final[...]and the resulting book is a bit dull, like its her doctor marvelled, " Nothing in the medical[...]stuck to his guns during the HUAC squalors, of the great fighters. I've never seen anything[...]time to time. For example, in his advice to Tony[...]top knocking everything -- It sounds like any number of the characters Hollywood, the Academy" (p. 185), he sounds she played in the heady days of her stardom in[...]like one's boring uncle. the 1940s and '50s: the woman destroyed by drink in Smash-Up (1947); the girl who " loved The career is all there in Freedland's book not wise[...]but the films are mostly dealt with skimpily, that about in the '40s -- in My Foolish Heart[...]Agreement, The Gunfighter, Twelve O'Clock entertain troops in a[...]Those are all a Song in My Heart (1952); beating the booze[...]in all of them, perhaps above all in The again in I'll Cry Tomorrow (1955): " Sip by sip,[...]Gunfighter, which is well-treated in the book. slip by slip, Lillian Roth hit the bottom of the[...]enough for William Wyler in Roman Holiday soul!" the posters tempted us; and Barbara[...]-- Ronald and executed in I Want to Live (1958). The Neame's The Million Pound Note and Vincente[...]hows as latter, after four previous nominations, for the[...]flair as Lassie. films named above, brought her the Oscar at last, with the attendant irony that " now that she indeed had what she had been striving for all those years, she no longer needed it" (p. 1[...]it, partly because she was now -- had been since the late 1940s --a true star and was now unimaginabl[...]second marriage, to Eaton Chalkley, brought her the sort of peace that had hitherto eluded[...]
	[...]The Biography Industry In spite of this, there is[...]stardom in Stevens' A Place in the Sun (1951). Lewt in Duel in the Sun, for instance, as[...]hand distinct from Father Chisholm in Keys of the Alice Tripp who, pregnant, gets in the way of Kingdom -- but somehow it is all suffus[...]ions. There rather monotonous haze of decency. The roles[...]especially fine for Charles Laughton in The and this adequately written account by a[...]Night of the Hunter, for Stanley Kubrick in reverent hack hardly persua[...]Lolita and for Paul Mazursky in Next Stop,[...]enwich Village. But I digress. Winters Most of the major stars created in[...]enough interesting things had the 1950s either are dead, like[...]an epilogue be no longer powerful at the box-office.[...]What is there to be said for Shelley -- Also child in the '40s and to that extent overlaps with[...]unworthy account of (half of) a lively career? the '50s -- that is, give or take National Velvet[...]-- from the picturesque deprivations of youth, mance. For the curious thing about Taylor is through the Hollywood bombshell phase, that, though she has been the nominal star of through the Yearning-To-Act phase -- omitting all her film[...]none of her star-studded (if you'll excuse the like a star; she seems not quite able to take[...]term) promiscuities with the likes of William charge of the screen with that effortlessness[...]ture cutting at the crucial moment to " A fire through adolescent[...]roaring in the fireplace, Waves pounding a and A Date with Judy (1948) to Father of the[...]cliche for cinematic orgasm. In the name of smashing and at the time this seemed enough.[...]ve-of-life, she reveals a shoddy set of values The apotheosis of her beauty came with George[...]ness. Her ego Stevens' still moving A Place in the Sun (1951).[...]behaviour. indeed the kind of girl American boys As for the career, she has some sense of dreamed of marrying. She had the kind of where the high spots were (A Double Life, A beauty that[...]Place in the Sun), but the telling is so riddled dreamed of -- wealth, fa[...]the reader. In the epilogue, she writes: " In this Taylor as his star, the audience would[...]ch year . . ." : this gomery Clift] would kill for a place in the sun[...]years. Attributable to the latter are bits like of what was going on.[...]21" when she made A Kelley has a sure grasp of the high-spots of Kelley's book is subtitled " The Last Star" . Place in the Sun (" about 21" in the sense, that Taylor's career: Velvet, Sun, Giant (1956) and Surely not the last in any sense -- others have is, of being 29) or the blithe absurdity of " The Who's Afraid of Virginia Woolf? (1966), since ce[...]Jean which it has been more or less downhill all the the most recent nor the last in a line. Is she Arthur" whose contract wit[...]thrown herself into even, one wonders, a star? As the looks that in 1944, almost coinciding with Winters' arrival the messy saga of her off-screen life, and Kelley mad[...]er own records with a nicely sardonic edge how " The took more pains with acting though even at her im[...]perilous melodrama of dying and coming back best the effort shows. The book ends with her husband was mistakenly address[...]ost prized roles" (p. trying her luck on stage in The Little Foxes to Winter. In 1945? I don't believe[...]came, in fact, a bore about her mixed reviews. At the end of Kelley's account As for the other sorts of errors, they are health and, inde[...]hings. Back in one feels an unwarranted tolerance for Taylor, legion: she recalls the earlier version of An 1950 she " often asked [St[...]keability and survivorship. American Tragedy in " the late twenties" (i.e., thought Nicky [Hilton] ign[...]Eisenstein had written and her boring" (p. 55). The answer is not hard to suppressed in the light of other truths: that she directed" ; she claims she co-starred in The find: apart from a certain generosity and chee[...]" waiting in line behind Betty Grable and Alice for restricted circulation -- well, fairly[...]Faye for some kind of a decent part" in 1951, restricted.[...]as Monroe cast as a schoolteacher in River about the church door] . . . Withouten oother between the great star-making era of of No Return; and so on[...]the 1930s and '40s, when she might compaignege in youthe" (no problems here for have been made a real[...]the '70s when she looked merely baercahamico.vie star[...]he is perennially gushy SHELLEY WINTERS, spanning the same responsible citizen and a mother" ) and dim[...]bout them, even about Eddie period, has weathered the changing cinematic sententiae along the lines of, " I have come to Fisher whose just pub[...]how true. 15. Kitty Kelley, Elizabeth Taylor: The Last Star, Michael Cukor's A Double Life (1948) as the doomed To be concluded next issue.[...]
	The E fftee Legacy The Efftee Legacy[...]subsequently used to introduce the film Diggers .[...](4) Mr F. W. Thring Speech made for the first Efftee (31) Signor Apollo Granforte and the Williamson- Tatler Social New[...]orge Moon, Cecil Scott and (5 mins, 1932) The internationally-renowned Nichol[...]. baritone sings "Largo Al Factotum" from the Barber Item 1: Social party held by Mr[...]South Yarra. Item 2: First official meeting of the (5) Mr F. W. Thring (film lost, 1932) Spee[...]Club at Melbourne showground. the showing of the Sentimental Bloke, reported by (32) Lou Vernon -[...]lites at Ron Cameron's Horse Riding the late Harry Davidson. As no member of the Efftee 1933) Very elaborate short with Ve[...]with His Royal Highness -- Prelude. This was the[...]opening music for the George Wallace film Two-reel Efftee Shorts --[...]recently been acquired from the Harry Davidson explaining the making of the film.[...]
	P roduction Survey / The E fftee Legacy[...]id s u m m e r N i g h t 's S e x C o m e d y The Efftee Legacy[...]Minnie Love -- " The Old Apple Tree" (short 12,[...]tion film on Australian Cinema in the 1930s. Many from Film Production[...]taken by Efftee's musical director in the early 1930s. Mother Of Pearl (1934)[...]Includes shots of Melbourne, the Palais Theatre Her Past (1934)[...]R eferen ces S.S. Sunshine (1935) The Cedar Tree (1934)[...]The Coming of Sound, unpublished ms. by Chris Long, and The Oojah Bird (1935)[...]The Australian Screen, Eric Reade, Lansdowne Press,[...]Melbourne, 1975 The above produced in Melbourne at the Garrick Non-stop Vari[...]977, Andrew Pike and Ross Cooper, Theatre and at the Princess Theatre.[...]eryone's, film industry magazine, various issues The " Non-stop Variety" Series[...]various issues These were a re-arrangement of the Efftee 25)[...]Entertainers shorts into groups of two or three for British[...], W. Hatfield, Oxford University Press, release. The original shorts were sometimes clumsily[...]London, 1937 edited in the process of re-arrangement.[...]Over And Under The Great Barrier Reef, Kitty Monkman, Ada Reeve in[...]Quest of the Curly-Tailed Horses, Noel Monkman, Angus Ada Ree[...]The National Film Archive, Ray Edmondson, Karen Foley[...]The Victorian Arts Centre's Performing Arts Museum,[...]The late Harry Davidson, Clive Sowry (for N.Z.[...]for Hoyts. It was shown at the Melbourne Regent[...]experience. Produced for the Tasmanian S tills................[...]FOLLOW THE LEADER Cast:[...]r............. .......Jack Zalkalns duced for the Education Department of Tas Prod, company.[...]....... 12 mins Synopsis: A comedy about a day in the life .........., ...[...]Synopsis: This film illustrates many of the all the others. Designed primarily as a dis Length......[...]serious hazards that exist in the automotive cussion film for principals and other relevant[...]industry. Produced for the Tasmanian parties. Produced for the Education Depart G auge.............[...]stroke, Allen brings the playboy unfortunate " wild[...]love, except that some of the charac Continued from p. 569[...]ters have the saving grace of learning in bed, I can now fly"[...]wisdom. marriage: "the death of love" ; about previous films into a situation of sub Perhaps one of the problems of the sex: "sex alleviates tension, and love[...]film is that it moves away from the[...]pefully, having got A Mid causes it" ; and about the nature of ingenious comic twist.[...]view -- the territory which concerns[...]system, Allen will return to the fray, The film has other reversals of[...]of fun but one's sense of the poignancy Andrew and Ariel lie on the riverbank between science and nature[...]"to live a decent life amidst all the of the times. and wonder why it wasn't what it[...]junk of contemporary culture -- the could have been when they were young about the nature of life. Magic herself temptations, the seductions. So how[...]one another as first loves. enters the fray, and eventually turns do you keep from selling out?" They felt the sticks and stones, heard the tables on everyone.[...]Directed by: Woody Allen. Producer: the insects and birds, and were dis[...]Robert Greenhut. Executive producer: tracted by the elements in general. The A Midsummer Night's Sex Comedy much a cross for the cinema audience.[...]they seems to go nowhere much in the end People were not used to be[...]ir respective partners con except into the woods. But like an old fronted wi[...]photography: Gordon Willis. siderably chastened. The dream has lover, Allen wins one over again, to accept the film as the masterpiece it[...]ditor: Susan E. Morse. Production dissolved into the murky waters of despite the resistance. was.[...]the work of Felix Mendelssohn. Sound[...]recordists: James Sabat, Frank Graziadei. All the other characters come to Night's[...]een as a itself with more than the failure of[...](Andrew), Mia Farrow similar conclusions, except for development: as one friend said to me, love. It explored the failed literary[...]axwell and Leopold, who adopt the film is a lighter version of[...]eristic Interiors. It concentrates on the messy, they were indicative of the West's[...]Mary Steenburgen (Adrian), Adam traits. While the rest become cynical poignant lives o[...]this sense is a departure from the self A Midsummer Night's Sex Com[...]yes), Timothy Jenkins (Thomson). Pro Leopold opt for the romantic. In one absorption of his[...]silly, and the ladies, in particular,[...]
	[...]V There's a new boy on the block ;[...]
	[...]m m er Peter Tammer The awarding of the Jury Prize at totally disgusted with the rest of character. I haven't been able to the Australian Film Awards to the AFI operations, totally sick of contact her s[...]st help its release begging and grovelling for a trying.[...]their theatres (which they have so For which projects have you understood from the very start that The day before I received the far avoided) and absolutely dis approached the funding bodies? we were making a film and that Jury Prize at the 1982 Australian appointed in their failure t[...]inaction, was an act of interpreta ized by the AFI, I also received in rary, even to the level of a quarter that is currently in the first-draft tion. the mail a standard letter from the of the hire the same films were stage, Trial By Order, ab[...]ibrary. It achieving while they were in the mass murderer and a boy who gets I was[...]ry. in his clutches, and the struggle how Bill would accept some of the my films from the Library owing between them. This has been quotes. The one that freaked me to the fact that these films have not I Future Plans[...]sly described as depraved out, when I showed him the first been attracting many hirings[...]and obscene, and Murray Brown cut of the film, was about the face: during the past couple of years. What films have you in prepara of the Creative Development that your face is a mirror of every This is despite the fact that this tion? Branch of the Australian Film thing you have been through, but organization helped to squeeze the Commi[...]have four scripts in various not tender it for assessment have to have to reflect all that you taking over the films from the Co stages of development. They are all because of the abhorrent subject have been through. I thought h[...]bject to it. But he understood it, or The AFI then proceeded to One is a feature film script, Have you that word for word? seemed to understand it, as being ac[...]nd being as much a had been getting from the same John Lord. It is ready to go,[...]general comment on our faces and films at the Co-op and autocrati though we haven't any actors for " Dear Peter, the faces we see around us that cally raised[...]budgets for Trial by Ordeal, as I when it is terrible! per cent on the grounds that the Two of the other scripts have regret the project cannot be[...]nventional storylines but they accepted for assessment by the Why did you reject the idea of further promote our films and are at the first-draft stage and are Branch. using ar[...]achieve better hirings. not ready for funding. " Apart from the technical[...]problem that the script has not I did go to the War Memorial in Now, the AFI has admitted its The fourth script is a very been presente[...]and searched through overall failure in the most insulting embryonic thing which is just at format, the abhorrent subject- the war footage, but what I found way. What it adds up to is: as we the idea-mulling stage. It has an matter makes it difficult for us looked too pretty and clean to be have[...]your films to any reasonable level over the place, and characters who viable competitor for the invest have looked like comic relief. The of hiring, would you please take change roles all the time. The main ment of public funds. soldiers appea[...]films out of our library as character is on the run and we " I regret that so much ef[...]This has had a very serious for an answer to his guilt. tion to app[...]able to warn you of the for it? many other fi[...]be wondering what is the point of really like to get into pretty quickly type of project. The Australian Film Institute making films if the very organiza is the book Without Hardware by " Congratulat[...]ered any reasonable tion which is set up for, owes its Catherine Dalton, which gives a successes at this year's Mel season at the Longford or very existence to, our filmmaking, completely different analysis of the bourne Film Festival. [Tammer anywhere else, so we hired the on the one hand shows almost no Bogle and Chandle[...]cial award on opening Hawthorn Town Hall and ran the interest or expertise in promoting Calwell era. I would like to do a night for Journey to the End of film there for two nights. Owing to our work, and, in its fu[...]rtrait film of Catherine Dalton Night.] the terrible acoustics and the diffi exhibitor, prefers to show overseas r[...]Yours sincerely, culty people had understanding the films in its cinemas in far greater about[...]proportion than our films. film about the book. It would be a " Creative Developmen[...]am ``Australian Film Commission. '' the film. While on the one hand I am very atized and non-narrated, with grateful that the judges awarded Catherine Dalton as the central They are not the only ones who Pat Longmore has a plan to dis me the Jury Award, I am also[...]have reacted to it like that. It is a tribute the film throughout Aus[...]gruesome story, but how can you tralia basing the marketing on the[...]mould. not have to be a loss to the film maker or production company,[...]mography (all 16mm) unless you get yourself into the hands of the conventional distri[...]Rise Again 13 mins butors and exhibitors, where for 1964 On the Ball 4 mins many films the certainty is that[...]All That Jazz 3!/2 very little money received at the box-office will come back to the[...]0 Our Luke 10 mins, col. We are also offering the film for[...]e 28 mins, col. clubs or colleges. Of course, at the 1972 The Curse of Laradjongran 29 mins, same time as all this is going on the film is being offered to television. I[...]col. feel it is the sort of film which[...]1975 Struttin' the Mutton 17 mins, col. would make a wonderful spec[...]1976 Here's To You Mr Robinson co feature for Anzac Day.[...]1982 Journey to the End of Night 74 mins,[...]
	[...]and collapses when his successful decapitation at the opening of The Continued from p. 543[...]nd displayed in his lab Exterminator and to watch the decapitation of[...]oratory. Berserk, he teaches by pulling a gun on the soldier at the end of Apocalypse Now. offensive, drug-peddling and responsible for the gang in class to make them answer questions The justification or gratuity of violence does death[...]n cars and then correctly. This gets a laugh from the audience so not depend merely on some standard outside the ignite them; they flaunt themselves behind that it will take the car-smashing chase of Steg- context of the film but rather on the standards a[...]film sets itself and on the conventions of the police authorities who can't touch them and man[...]ously. parents who won't; and they are, finally, The other possibility is that faced by Norris: genre. The killings in Class of 1984 come at the sexually violent and murderous. They are pre help when you can, stay strong in attitude even end of the dramatic process of the screenplay, sented as vermin; therefore the audience is when assaulted, take stances and, whe[...]de to feel that they should be exterminated. over the edge, mete out to the killers the horrors mine the effect of explicit violence and thereby[...]its suitability or unsuitability for this film. These reflections on how the film works they had in mind for you. make one realize that, if taken at too realistic a In fact, the film is not advocating either possi There is a long tradition of stylized, `myth level, the film becomes either absurd or offen bility but is showing the alternatives most ical' plays and films dramatizing violence, frus sive or both. And yet, the film works. This vividly, enticing audiences to identify with both. tration and rage. The styles of popular plays means that it makes impa[...]n's madness is ultimately not an answer; indicate the crises of a society and its ability or genre films do, through realistic style on the but getting in touch with Norris' rage and inabil[...]it reflected with deeper levels of our psyche at the level of eruption purges us of terror, anger, and[...]by a teacher who sees Class of belief in order in the universe and in poetic lass of 1984 may[...]rred to by Phillip Adams as his symbol of the confrontations in our danger before the film was seen. Mad Max) which was followed by the blood-let[...]ting Jacobean tragedies, reflecting the early cities today: between teenagers and[...]Stuart period that culminated in the English[...]n groups with different lass of 1984 raises the question of how a half before the French Revolution. Our con Csake of achieving the response, especially the gut temp[...]ed society. experiences of violence. Thus the situations and repelled more by the circular-saw[...]one gang characters are dramatically exaggerated for the member than by the subsequent or emotional response. Lincoln High and the Response to visual violence is often a matter of The value of films like Class of 1984, rather city[...]than of films like The Burning, Madman and work Orange or of the pessimistic science fiction In theory, there is n[...]t can be other outline copies of Halloween/Friday the like Soylent Green, The Ultimate Warrior and presented on the screen.. Picturing the removal 13th, is that they put the audience in touch with Escape From New York. The school itself is an of an eye in a training film for ophthalmic its `shadow': the potential for violence that is so ugly travesty of the bopper Grease schools; the surgeons is valid. A raven pecking an eye in a easy to ignore and gloss over for respectability's authorities are more enthusiastic about their horror film, or even the eye-gouging sequence sake and to condemn in others. The feeling of surveillance techniques than about wh[...]can be suggested or blatant. gut satisfaction in the last part of the film is, to are surveying. The confrontations in classrooms There is always room for argument about taste, some extent, alarming when[...]ias echo prison riots. Vengeful and about whether the director wishes to draw one shares the hero's outburst. It is also reassur vandalism is the emotional blackmail power the attention to the scene for its own sake (leaving ing to know one has a sense[...]an audience gasping, missing the scenes which rage that puts one in touch with the feelings of gangs have. The stage is thus set -- as in the western, the follow) or as part of a cumulative effect. One th[...], to a large extent, based on gangster film, and the police melodrama -- for presumes that this is behind the " gratuitous" rage. climactic confrontation and shoot-out. And it and ``justified'' censorship codings of the Aus Class of 1984 is an exploitative actioner for[...]es are suggested: Corrigan is experience to watch the only partially- works. Igor Auzins[...]mind and in the life that she and about this. For virtually every shot is appropriate for the moment. The film is actually based on We her husband were going to assume we wanted to have a feeling of the o f the Never Never and The Little on the station, there would have horizon, a feeling of the size of the But long takes do seem to be a Black Princess,[...]t deter director . . . Gunn. It deals with the same year he died. And that's one of the mined the use of cranes, tracks and in her life but looks at the Abor sadnesses of the film; that there lenses. Almost all of it w[...]It is probably something that I iginals and the little Aboriginal girl was a moment of progress[...]e lenses to accentuate have developed over the years. I rather than the stockmen. We he and white men saw that what that feeling. used the same treatment to some combined elements of both[...]extent on Water Under the Bridge. to re-construct the feeling of the wrong. One of the white stockmen You seem to prefer a mobile[...]they were shot, which encompasses all the I prefer to see the characters responsible for what happened, action, to a static wide-shot and prepare the scene in as genuine a We have used Bett-Bett[...]determine a method of getting the black-white interaction. She is a forward for them. It may have I don't mind cutting away from camera into the correct observa device and a character useful in[...]what is happening providing there tion spot for each moment in the our attempts to alert the audience it is only three words. But it is very is some good dramatic reason for scene. I don't believe that cutting is to[...]that moment doing it. But I do think that the always the right way to accomplish white.[...]on, a different sense of interaction cut, the close-up and the reverse that camera repositioning.[...]ants, probably, of tele- Are you happy with the final Jeannie's unsuccessful attempt to[...]How does it affect the dramatic I am delighted with the racial problems is an inadequate The camera work in " Never pace of the film when you tend to responses I have heard to the film, solution? Ne[...]e orate: the use of the crane, the heli cutting? Do you risk a detachment of the emotional or racial lines are That's right. You are supposed copter shots, the long tracking from the characters? strong enough. I think there is to have the response that any sort shots. Was the intention to accen[...]er of paternalistic approach to tuate the feeling of space and the No, I don't think so. I think it hadn'[...]tance? probably draws you into the never entirely happy with work. You a[...]anything, is one? the response that domination of[...]
	[...]o have Support the details correct. Syste[...]ar C onsultants offer filmmakers professional -- the leading name in fluid heads, advice to ensure that they have the authentic vehicles for tripods and camera support any si[...]e also able to offer a complete range of vehicles for R.E. MILLER PTY. LTD.[...]
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Issues digitised from original copies in the collection of Ray Edmondson
Reproduced with permission of one of the founding editors, Philippe Mora

Cinema Papers Pty Ltd, Richmond, Cinema Papers no. 41 December 1982 (December 1982). University of Wollongong Archives, accessed 15/03/2025, https://archivesonline.uow.edu.au/nodes/view/5051

Cinema Papers no. 41 December 1982 (2025)

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