VOLUME 19 - NUMBER 05 SEPTEMBER-OCTOBER 1983

of the Marcos regime; and bomb threats during the revolution against Spain. from the urban guerrilla April 6 Libera- tion Movement, which caused a few The fare was Lumiere: a train arriving in cancellations from invited guests. This year the French were there in force; no RfPUSlIC Of T..E PHILIPPINES La Ciotat station, the Czar's carriage bomb threats, but ubiquitous body CITV OF MANILA , crossing the Place de la Concorde. A few searches, and a body could get tho- OHic. of tho Mayor roughly felt up a dozen times daily, de- years later, the good people of Manila pending on how many films and parties Ctn~ma Per-tor ~ nce Un\" were viewing Edison films about the one attended, how many hotel lobbies Spanish-American War, in which all of one entered. A few guests had reason to ...INES TO jlj\\()VlE PIlTAOtoIS the battle scenes \" in the Philippines\" believe their phones were tapped. ~j~~csr~A'\" po t0040AHO had been shot in New Jersey. If you didn't go to many movies (and ~ 1,..\\P'ftIGOH\"\",eNT many didn't), you might think you were at a giant country club, featuring celeb- ~~·2~~:\"'O OA I~' rity sack races, rugs of war, and sundry excursions. Before each screening, a -\"\" brass band played on the steps of the Center; inside, the lobby resounded In the years following World War I, with the music of a marvelous 50-piece Singing Bamboo orchestra. Whatever most films made in the Islands were the political undercurrents, the festival was festive and did have style-often produced by American-owned com- gaudy, but also as warm and ingratiating as the average Filipino. panies. The first genuine Filipino pro- Opening night, Ishmael Bernal's Hi- duction company was Malayan Movies, maLa was shown out of competition. It was preceded by an Our Father, sung by founded by the brothers Jose and Jesus the Philippine Children's Choir and speeches by festival director John Litton Nepomuceno. Its inaugural picture, di- and by Jack Valenti, who read a letter of greetings to President and Mrs. Marcos rected by Jose, Dalagang Bukid (The from President Reagan and Nancy. Va- lenti added his own praise for Mrs. Country Maiden, 1919), was based on a Marcos's \"visionary judgment. .. and in- tellectual reach.\" Imelda Romualdez popular zarzuela. During showings of Marcos was dressed in a terno of peacock design, and said, among other things, this silent musical, live actors sang on- that \"the desert of necessity is trans- formed into a garden of possibility via stage to accompany the images on the cinema.\" President Marcos, in a brief unprepared address, declared: \"We \"Happy Viewing\" . screen. need our artists, poets and filmmakers to Hollywood movies were the rage dur- remind us, in the words of Adlai Steven- son, 'of the weight of our destiny.' \" ing the Twenties, but in 1926, the Ne- The First Couple's son, Bongbong Marcos, escorted beautiful fashion pomucenos gave the country a jolt with model Claudia Bermudez. The reces- sional was performed by the Heart Tatlong Hambog, the first locally pro- Foundation of the Philippines Choir and the Bagong Barrio Children's Choir, duced film to offer passionate kissing which \"sang\" in sign language. scenes. Some native stars emerged dur- • ing the silent era, among them a pretty The Mini Theater B on the top floor of the Film Center was the site of the Muslim girl named Pinagandu Magadi most poorly attended, most badly pro- jected, and by far the most interesting P!B MAIm!> STAll VISIT 1U USA!B'TEMBSH!1B2 Sinambel Lalibutang, whose screen section of the festival: Focus on Filipino name, fortunately, was simply Sofia Films (1951-82). It is not likely that a Focus on Filipino Films (1919-44) will Lotta. The first all-talking film made by be forthcoming. Of the hundreds of pic- tures made in the Islands during that Filipinos was Jose Nepomuceno's Pun- entire quarter century, three have sur- vived. Indeed, anyone researching the yaL na Ginto (The GoLden Dagger, 1933). At first it had not been clear whether local talkies would do their talking in English, Spanish, or the native Tagalog. When they opted for Tagalog (later called Pilipino) the cinema became an important factor in disseminating Taga- log as a national language. By the mid-Thirties, five major stu- dios were in operation: Del Monte, Sa- lumbides Bros., x-Otic, Parlatone, and Excelsior Pictures. Busy backlots, pat- terned after Hollywood, produced musi- cals, costume epics, and domestic dramas. Rosa Mia, queen of the tear- jerkers, managed to weep at least once in every scene of every film in which she appeared. Filipino cinema of the Thir- ties was star-centered, and since coloni- Corpse in the Film Center's wreckage. alism had left a legacy of a Caucasian ideal for screen beauty, most of the stars history of Filipino cinema has a steep were fair-skinned mestizos, a mixture of uphill job; it is rummaging a disaster foreign and indigenous blood. Many area. Resources are largely lacking and scripts were based on \"komik\" books; important dates are still a matter of dis- most screen comedians had been re- pute. War, studio fires, neglect, and stu- cruited from the vodavil stage. pidity have taken a larger toll here than LVN, founded in 1938, was, to a de- on most national cinemas. gree, the Filipino MGM. Its Louis B. Films were first shown to a paying Mayer was an extraordinary old lady who audience in Manila in August, 1897, looked like an Asian Marjorie Main, 49

Manuel Conde's Genghis Kahn. it seems to have been a decade of low quality. Most of the established studios cussed like a longshoreman, and firmly would lead the entire family from collapsed. The industry began to consist believed in God, country, and mother- church to a studio screening room so that largely of independent producers con- hood. Narcisa B. de Leon (usually just everyone could see the week's rushes. cerned only with escapist films geared called Dona Sisang) was born in 1877; The company stopped making films in for quick box-office returns. The her grandfather had been a Chinese 1961; it still exists as a processing lab and \"bomba\" craze-relatively soft-core ex- merchant. After her husband's death, a center for post-production work. Dona ploitation films-came and, after Presi- she managed real estate and rice planta- Sisang died in 1966. dent Marcos's declaration of martial law tions. Until she began producing films at 61, she had-never seen one. This relent- Little was produced from 1942 to in 1972, went. Soft-core pictures have less taskmistress supervised the produc- 1945, except for a few propaganda pic- come back recently; they are now called tion of more than 350 films from 1938 to tures commissioned by the Japanese. \"bold\" films. 1961. After the war there was a boom in big- budget filmmaking. The most striking A New Wave did finally break on LVN was identified with comedy, but character of the period was Manuel Philippine shores, but not as elsewhere Dona Sisang also made rural romances Conde, a producer-director-writer-star during the late Fifties and Sixties. The -with de rigueur serenades under a whose mentors seem to have been C. B. annus mirabilis of modem Filipino cin- mango tree-and escapist costume pic- De Mille and Sergei Eisenstein. He ema was 1976: the year of Ishmael tures. Her Herbert Stothart was Juan made swashbucklers and a Sigfredo Bernal's Nunal sa Tubig (Speck in the Wa- Silos; he scored dozens of the studio's based on Wagner's Ring. Conde's mag- ter), of Eddie Romero's Ganito Kami films and composed the hit song \"No num opus was indubitably Genghis Khan Noon (As We Were), of Mike de Leon's Money, No Honey.\" (1950). The film won first prize in the first feature, 1tim, and of Lino Brocka's Philippine Herald popularity poll; the insiang. This breakthrough year was Under her tutelage, Lucy May Gritz, award included a trip to Hollywood. marked by the collaboration of adven- a German-Spanish mestiza, was trans- There, James Agee accepted the task of turous directors with young writers who formed into the romantic star Delia Ra- creating an American version of Khan. were for the most part new to films and zon; Dorothy Jones, a teenager fresh Agee re-edited the film, made consider- unhampered by the cliches of standard from convent school, became a leading able trims, and added a narration in Eng- commercial production. lady when renamed Nida Blanca. Roge- lish. UA released the fil!TI here and in lio dela Rosa, the studio's top male star- Europe in 1952; this truncated version Lino Brocka is the major figure in (Prinsipe Amante (1950)-with dela Rosa occasionally turns up on late-night TV. Filipino cinema today. After leaving and Razon, was LVN's all-time biggest No prints of the full-length Tagalog orig- school, he became a Mormon mission- moneyspinner,) was later named Philip- inal survive. The biggest hit of the pe- ary and was stationed at the leper colony pine ambassador to The Hague. riod was, however, a small-scale saga of in Molokai. On his return to Manila, he an orphan's tribulations, Sampaguita worked as an assistant on Monte Dona Sisang was eager to beat the Studio's Roberta (1951), starring the Hellman's Flight to Fury (1966). He has other studios in the belated race to Philippine Shirley Temple, Tessie made more than 40 films of his own produce the first Filipino full-color pic- Agana. since 1970, notably Tinimbang Ka Ngunit ture. And she did, with Batalyon 13 Kulang (You Are Weighed in the Balance (1949). Another LVN scoop was Tuko sa The Sixties saw an increase in pro- but Found Wanting, 1974), Maynila: Sa Madre Kakaw (1959), the first local film duction but, with the exception of the Kuko ng Liwanag (Manila in the Claws of about an atomic monster. work ofGerardo de Leon (generally con- Neon, 1975), Insiang (1976), Jaguar sidered the country's greatest director), (1979), and Bona (1980). His rapport Director Mike de Leon recounts that, with actors is tremendous-everyone after Sunday mass, his grandmother does his or her best work with Brocka. The dramatic vitality of his pictures is usually in the service of an unsettling baroque realism. Brocka's unpatronizing sympathy for the underclasses has brought him to shoot, time and again, in Tondo, Ma- nila's worst slum. The films made there are on universal themes and are exempt from any facile proletarianism. Tondo has been off-limits for filming since'the day in 1981 when Mrs. Marcos sum- moned members of the Screen Direc- tors Guild and treated them to a speech, the gist of which was: \"American films make everyone want to be an American. Filipino films should make us all pleased to be Filipinos, and should only reflect the good, the true, and the beau- tiful. \" • The angel posted on the floor of the 50

Mini Theater B was out to lunch during phors about fascistic systems which re- constantly twiddling away with distract- this year's festival. Most of the films in the Filipino retrospective had been shot main in power at least partly because of ing rack-focus effects-and scored by in Academy ratio, but all were shown in wide screen, with heads and/or subtitles the passivity of those kept under COntrol. someone with direct access to Bernard lopped off. Reels came on the screen in the wrong order; some of the 16mm Batch concerns a group of student Herrmann's wastebasket. Both de Leon prints were so dupey that time spent watching them was as time spent watch- pledges undergoing hazing rituals at a films were shown last year at the Cannes ing a blank bedsheet. The festival spent millions on fripperies, but treated its fraternity. The movie accompanies one Directors' Fortnight, where they were own national cinema as a poor relation. pledge, Sid Lucero (Mark Gil), through favorably received-perhaps more for One revelation was Dr. Gregorio a cycle of violent ordeals, nightmarish their presumed ideological bravado than Fernandez's Malvarosa (1959). Fernan- dez was a movie-fan dentist who broke humiliations, even a session with an for their filmic worth. into films in 1928 as an actor, then • started directing in the mid-Thirties. electric chair. At the end, he is a proud His 1939 musical, Senorita. was one of the big hits of that decade. After the war, member of Alpha Kappa Omega, and is Eddie Romero's Ganito Kami Noon, he signed up with Dona Sisang, but when LVN stopped production in 1961, last seen preparing to beat up on a batch Paano Kayo Ngayon?-the title literally he retired and spent the rest of his life raising fighting cocks. of new pledges. On paper, this all can be means This Is the Way We Were Then, The main credit titles of Malvarosa made to sound daring on screen; the How Are You Now?-even as shown in announce that \"this film is as serialized in Especial Komics.\" Then, in English, thing plods along as a tiresome and repe- wrong ratio at the vile Mini B, was the over the first shot, this quotation ap- pears: \"How much can the human spirit titious exploitation-cum-message pic- best film I saw in Manila. bear of the muck and mire to which man is heir?-Anonymous.\" ture, marred by a klutzy musical score. Romero is a veteran director-pro- A drunkard and his wife, a mahjong Gil has a good movie face, but there is ducer-scenarist who has worked on addict, live near the railway tracks. They have a quarrel. \"Mahjong is all not one interesting performance in this nearly 70 pictures. He was born on Ne- you do,\" he reproaches her, .and falls on the tracks. A passing train kills him. His entire wooden batch. gros Oriental in 1924; his father was widow continues to spend most of her time playing mahjong or, prostrate on The story of Kisaprrwta (In the Twin- Philippine ambassador to London. He the tracks, talking to her dead husband. (A neighbor enters the family shack to kling of an Eye) was inspired by a police wrote his first screenplay at 17 (for shout atthe children: \"Don't you people have beds? Your mother's on the railroad case which shocked Manila in 1961. Gerardo de Leon's Ang Maestra) , di- tracks again!\") Daughter Rosa (Charito Solis) breaks her engagement in order to The head of a devout Catholic family, rected his first film when he was 23, take care of her brothers. One of them, studying to be a priest, tries to rape a Dadong Carandang (Vic Salayan), a re- then spent some time in the West, visit- girl, then commits suicide. Another be- carnes a gangster and is killed. A third tired cop who raises earthworms for fun ing Hollywood and studying with Ro- one wants the virtuous Rosa to sleep with a rich friend of his. The drunken and profit, harbors incestuous longings berto Rossellini in Rome. After return- mother tries to say a prayer, knocks over a candle; the house burns down to the for his daughter and attempts to prevent ing home, he was involved in many ground. Those of the family still alive at this point decide to muddle through her marriage to an office-mate. The cou- co-productions shot in the Philippines somehow, and Malvarosa ends on a note of muted optimism. The film is directed ple manage to wed and briefly achieve for the foreign market. He wrote and as straightforward neo-realism. Solis was -and still is-a powerful actress. The some privacy. The bride's mother's directed The Day ofthe Trumpet (1957), a crazed sincerity of this curious slice-of- life is deeply affecting. feigned illness brings them back to the story of the early days of the American • house, where they are kept prisoner, the occupation of the Philippines, starring The Filipino section offered two re- daughter is raped by her father, and a Richard Arlen; directed Man on the Run cent films of Mike de Leon: Kisaprrwca (1981) and Batch'81 (1982). Neither is bloody final scene is played out. (1957) with Burgess Meredith; pro- overtly political; both are covert meta- This is a tighter film than Batch, with duced John Cromwell's The Scavengers a memorable brooding performance by (1958); directed Raiders of Leyte Gulf Salayan as the psychotic worm-raiser. It (1962). He later worked for Roger Cor- has been directed with a heavy hand- man's New World Pictures (Beast of Mike de Leon's Batch '81-afraternity hazing ritual. 51

Eddie Romero's This Is the Way We Were Then, How Are You Kno\\\\ Marilous Diaz-Abaya's Moral. Blood, 1971) and Sam Arkoffs AIP (Be- tion section was dismal. There were sleeping around and through electronic yond Atlantis, 1974). He was production three exceptions: two fine new local \"enhancement.\" Sylvia (Sandy Ando- coordinator on Apocalypse Now. films and the Japanese entry, Onimasa, long) is an attorney whose husband has Ganito Kami Noon begins shortly be- directed by Hideo Gosha. Manila did left her for a male lover; a year later, he fore the end of the last century. A nation score heavily with a formidable informa- calls on his wife to complain of his boy- is being formed, though few are yet tion section-300 pictures from 43 friend's infidelity. Joey (Lorna Tolen- aware of it. Kulas, a naive peasant ado- countries-varied, well-chosen, with tino), the unwanted child of a vain lescent (Christopher de Leon), has just some emphasis (50 films) on Asian cin- mother, becomes a drug addict. In spite buried his mother. He goes home to ema. There were even two movies from of these rough destinies, the movie is cook supper and manages to burn the the normally incommunicado Burmese not a downer; all four are survivors, house down. The homeless orphan film industry. women possessed of great inner leaves his village, and the rest of the film Moral, in competition, the fifth film strength. The performances are engag- is the picaresque tale of Kulas's stroll directed by 27-year-old Marilou ing, but Alajar, as the singer, stands out. through the Philippine revolution, a wit- Diaz-Abaya, won no award, but was one Moral charts a brave course of dissi- ness to the end of Spanish colonial rule of the strongest new pictures at Manila. dent sympathies. At school, Joey, the and the onset of the American occupa- The director studied cinema at Loyola addict, had been in love with Jerry, a tion of the Islands. Marymount University in Los Angeles. student activist who leaves Manila to In this truly Filipino film, dialogue is The bright, hard-headed screenplay join the pro-Communist New People's in Spanish, English, Cantonese Taga- (dialogue roughly two-thirds in Phili- Army in the mountains. While there, he log, and another Filipino language, Vi- pino, one-third in English-an accurate meets and marries a fellow combatant, sayan. One character-a helpful Chi- reflection of what would be heard in the Nita, who hates her father, an officer in nese merchant-was a novelty in local milieu of this particular story) is by Ri- Marcos's army. Jerry is tortured and cinema, apparently the first sympathetic cardo Lee, scenarist of Brocka's great killed by government forces. The preg- Chinese to appear in a Filipino movie. 1979 noir Jaguar. nant Nita visits Joey to tell her of Jerry's (Perhaps the last: film distribution in Morafs time span is 1979-82. It trears death, then returns to have her baby and Manila is largely controlled by Chinese. of four middle-class women who had clandestinely continue the struggle. This does not inspire much endearment been friends at the University of the It was no small surprise to view such a from filmmakers.) Philippines. Each is trying to find her film in the First Lady's Film Center. As Christopher de Leon became a major own way in an apparently modern, but is standard procedure at international star after this film; it is easy to see why. still fundamentally feudal-colonial soci- festivals, however, all of the films at Ma- Gloria Diaz is irresistible as Didin, the ety. After a clumsy exposition, it falls nila were shown uncut. When Moral was cigar-smoking actress of whom Kulas is into shape beautifully and builds a good released, all of the scenes with any polit- enamored. Tsing Tong-Tsai is particu- deal of earned sympathy for the charac- ical content had been removed by the larly endearing in the small role of the ters. censors. Moral was invited to this year's merchant; his death scene is shattering. The film starts with a wedding cere- . Pesaro Festival. The director arrived. Lutgardo Labad's music is catchy, high- mony, at which the bride is lectured to Her film did not. spirited, and eloquent. obey her husband \"as we all obey Jesus • This funny, buoyant, well-paced, no- Christ.\" The ambitions of Maritess The special jury prize went to Oro, ble but light-hearted movie is very se- (Anna Marin) are frustrated by her piggy Plata, Mata (Gold, Silver, Death), di- rious, and sensible enough to couch its husband, who rapes her nightly and rected by Peque Gallaga. He is 39, a seriousness in charm. By the time it was views her as his private baby-making over, I was proud to be a Filipino. machine. Kathy (Gina Alajar) is an ear- Spanish mestizo, born Maurice Ruiz de • nest aspiring singer with a dreadful Luzuriaga, from Negros Occidental in On the whole, the festival's competi- voice, who finally makes the big time by the south central Philippines. He co-di- 52

A scenefrom Peque Gallaga's Gold, Silver, Death. rected a flop film in 1971. Oro, his solo exotic reincarnation of Tara becomes in- Manila; ofthose that do, hardly any have directorial debut, is bit of a mess, but it's creasingly apparent when, with the ar- been permitted to retain their original a stunner. rival of the japanese, the Ojedas flee structural identities. their plantation, and the departing fam- Oro is an ambitious epic, alternately ily and its retinue, carts, and water buf- The Bellevue-which remains intact reminiscent of Gone With the Wind and faloes are starkly silhouetted against the and open-is a triumph of 1934 Moorish 2,000 Maniacs, and shot in Gallaga's flaming buildings; the tableau is an im- art deco. The manager, Mr. Daniel Ca- home province. The director has re- pressive recall of the burning of Atlanta. lavaya, showed me around. He runs a marked that the region is Margaret There is even an Aunt Pittypat-Viring good house. It seats 800. The lobby is Mitchell-Tennessee Williams gothic Ravillo (Lorli Villanueva), a garrulous graced with large gilt statues; the audito- territory, with Southern belles, family and silly nouveau riche matron, whose rium, which has a wooden barrel- closets cluttered with incest, poetic fingers are hacked off by the foreman vaulted roof in country church style, is young men who return from Harvard to when she refuses to give up her rings. full from 9 A.M. until midnight. Admis- lock themselves up in decaying towers sion is about 35 ce,nts. for the rest of their days. Gallaga loses control during the long central section, when continuity goes The Bellevue shows mainly Ameri- The film begins just before the out- astray and the scenes ofviolence and sex can action pictures-; a Bronson-Bond break of World War II. The Ojedas, a -some of which are superb-become audience. Mr. 'Calavaya was of the opin- wealthy landed family of haciellderos, repetitious. (The film was trimmed of ion that only a dozen or so of the 150 are giving a party to celebrate the debut 15 minutes after the festival and now Filipino films made each year are worth of their eldest daughter, Maggie. The runs three hours.) The splatter and sur- anyone's time. In this neigbborhood , as ball is interrupted by the news that the gical scenes derive from the director's elsewhere in the countfY, the two most liner Corregidor has been sunk, with the love affair with American exploitation popular stars are Vilma Santos and loss ofall aboard, including many friends films. Several of these are beautifully Fernando Poe, Jr. (Poe, Sr., a popular of the Ojedas and their guests. As war accomplished pieces of Grand Guignol. star in his own day, had his career approaches, the family moves its entire Indeed, much of the film seems the abruptly cut short when he died as the household to a provincial hacienda, then nightmare of a movie addict who has result of a dog bite.) Weng-Weng, the to a forest lodge, believing it can con- overdosed on Visconti, Selznick, and two-foot dwarf star of For Your Height tinue its aristocratic lifestyle in safety. At Herschell Gordon Lewis. Only, is also a big drawing card. Mr. first, it does appear that some of them Calavaya recalled The Ideal, a historic will be able to while away the war play- Though most of the film takes place movie house, torched in 1978 by the ing mahjong under mosquito netting. during the war, it is not a war film. Light the Fire Movement, a small group The plantation foreman turns against his Hardly any Japanese soldiers are shown. of dissenters whose insane idea of politi- bosses and joins a bandit gang to pillage It is mostly a case of Filipino versus cal action was theater arson. them. The family cracks. Some are re- Filipino. Production design by Don Es- duced to savagery; others adapt to sur- cudero and Rodell Cruz is accomplished In general, Filipino audiences are vive. After the so-called Liberation, and evocative. The cast includes a mus- well behaved. No wonder: Large signs when the Americans have driven out the ter of talented and attractive young per- in the Bellevue lobby warn that the pen- japanese, a party is again held at the formers: Sandy Andolong (as Maggie), alties for littering or \"the placing of foot Ojedas, this time to announce Maggie's Cherie Gil, joel Torre. One of the party or feet on top, side or back of seat\" are a betrothal. The survivors attempt to con- guests is played by Bo-Peep Golez. stiff fine alld imprisonment. tinue as in the past, but it is apparent that all have been permanently scarred. • Another day, another theater-but not just another theater. The following The first-reel ball sequence is excit- Theaters . talk. Playing hooky from morning, with head corrupted by con- ingly shot in a series of extremely long, the festival, I visited two movie theaters fused adolescent memories of Elissa sweeping takes. That we are in some which told different, equally fascinating Landi in PRC's Corregidor, John Wayne stories. Few old movie houses remain in in Back 10 Bataan, and Pau lette Goddard 53

and Veronica Lake, those gallant Para- home late for dinner after stopping on Mairzy Doats and No One as Fair as Can mount army nurses of So Proudly We the way to see Naiibang Hayop, his wife Compare to the U.S. Infantry, dance Hail, I took the boat to the island fortress shot him three times. Computer opera- through most of the night with visiting at the entrance to Manila Bay where for tor Linda Dumlao, to a poll conducted film stars, and still be ready to tackle her five months after Pearl Harbor American by the tabloid Tempo , \"Are We Ready for variegated projects the next day. and Filipino troops held out under siege Uncensored Movies?\" answered : \"No. The one official party I attended was and daily saturation bombing. General Bold scenes have adverse effects on a \"tribal evening\" presented by the FL Wainwright surrendered here on May 6, teenagers. After watching Naiibang at the old Spanish Fon Santiago, during 1942. An old Japanese couple I met on Hayop with my husband, he asked me to the course of which several thousand the boat had come from Kyoto to find go to bed with him.\" costumed natives of different regions of their grandson's grave. Though it was not bruited in the Fili- the Islands shuffled past the dais and the The jungle has reclaimed most of the pino press, the cause of the MIFF's be- guests. (\"Cute as pickaninnies,\" re- tadpole-shaped island. The heavy bat- coming a \"Festival for a Cause\" had marked a gent from Hollywood, as he teries, the long tunnels which served as involved making a much-publicized vir- proudly smoothed down his embroi- hospitals, the ruins of the \"mile-long tue of an ill-concealed dire necessity. dered barong tagalog shin, a present barracks\" are still there. And at \"Top- The country is massively in hock to the from the festival.) The high point was side\" in a clearing on a hill is the shell of West: its foreign debt stands at more the illumination of a large portrait of a theater with a unique history: the Cine than $17 billion. Last year's lavish Mrs. Marcos by a fireworks display. Corregidor, the local movie house of the MIFF was government-funded. But last Le tout Manila was at Fort Santiago island's last-ditch defenders. The last fall , A.W. Clausen, president of the that evening-minus two. Lino Brocka picture show at the Corregidor was Gone World Bank, warned Prime Minister and Mike de Leon were busy preparing With the Wind. • Cesar Virata, who also serves as finance a press release, distributed the following minister, that developing countries day. It said, in part: \"We believe that in a It was a \"Festival for a Cause.\" Ban- \"have very little leeway to go into frivo- Third World country, the ostentation ners and posters all over town pro- lous projects.\" The International Mone- and extravagance accompanying [the claimed it; each film screened was pre- tary Fund insisted on a reduction in non- MIFF] are unnecessary. The MIFF has ceded by an announcement informing essential budget expenses. misled the public by claiming the of the MIFF's benevolence. The When the government prepared to movies shown in commercial theaters \"Cause\" was that of Mrs. Marcos' favor- withdraw its backing, the undaunted are Festival films. With two or three ite charities \"for the physically, men- Mrs. Marcos put together a novel fund- exceptions, they are cheap exploitation tally, and socially disabled.\" (Filipino ing strategy: the MIFF would be admin- pictures with little or no artistic merit. journalist Francisco Tatad noted that istrated by a new company called Enter- Under the guise offostering artistic free- this \"was a description that could in- tainment Philippines (a \"private\" dom and raising funds for the disabled, clude the majority of Filipinos.\") corporation whose ownership is un- cynical commercialism is being encour- Funds for this largesse were obtained clear), which would arrange for the aged.\" by the suspension, during the festival, of showing of uncut films in theaters out- Brocka's \"reservations\" had led him the normally strict censorship laws ap- side the festival in order to permit the to keep his films, old and new, outofthe plied to films shown in public theaters. MIFF to pay its bills and incidentally do festival. The absence had been felt; For twelve days, uncut versions of pic- something for the disabled. with no representation from the coun- tures that had not been released because The tireless First Lady (often re- try's most prestigious director, there was of their \"boldness\" were shown in 153 •ferred to in the press simply as FL) is an a black hole at the center of things. Manila movie houses, from 9 A.M. to ex-beauty queen who first gained public attention when, as \"The Rose of Taclo- Mid-February. The festival has midnight, at double the normal admis- sion prices. The hottest tickets were for ban,\" she won the Muse of Manila con- closed its doors; the guests from all over Filipino soft-core porn films: Naiibang test. She has often stated: \"My role is to the world have packed and gone home. Hayop (A Different Creature), The Virgin be both star and slave.\" Her aides refer Early one morning, police squads arrive People, and The Victim, which contained to her as \"Superma'am\"; she has com- at the labs to confiscate negatives. The previously taboo scenes of teenage star- pared herself to Robin Hood . She is the press reports that producers of \"bold\" let Pepsi Paloma in the buff. The MIFF Governor of Metro Manila and heads films-the movies whose grosses had collected 65 percent of the take. In spite the Ministry of Human Settlements, bailed out the festival-have been of the objurgations of Cardinal Sin, which runs' a program called Urban threatened with arrest. The industry is Archbishop of Manila, who railed at this Bliss, dedicated to the building of hean- plunged into such a state of confusion \"threat to the moral fabric of society,\" shaped model communities. (Last Sep- that, for several months, hardly any new the shows were packed and brought in tember, she declared to Newsweek: \"Yes, film projects are initiated. $6 million . \" Seeing bold movies the Filipinos are living in slums and Far from auguring a relaxation of cen- broadens the perspective of the Filipino hovels. But what counts is the human sorship, the festival had resulted in a audience,\" Mrs. Marcos declared, in re- spirit, and the Filipinos are smiling.\") heavy backlash. With Executive Order ply to Cardinal Sin. \"We just hope they Her Transport Corporation'S \"Love 868, President Marcos strengthened the will lift themselves from the physical to Buses\" provide cheap rides around powers of the censor board and restruc- the metaphysical.\" town. After spending an entire evening tured it to include jurisdiction over all The moral fiber of the people of Ma- escorting visitors to her charities and live performances, including fashion nila seemed to have survived this expo- projects (one of them, the Tahanang Pili- shows. Producers would be required to sure-in most cases. When Hermini- pino, is a palace made of coconuts), she relinquish their master negatives of fin- gilldo Aragon, a taxi driver, arrived will dominate a soiree with renditions of ished films to the board, permanently. 54

Seeing bold movies broadens the perspective ofthe Filipino audience\" Performers in all the arts (the clause in- ence ofa terrier, turned up on May 17 for strictive and capriciously interpreted cluded scriptwriters and directors) the Filipino Academy Awards ceremony film censorship law .... This is particu- would have to be licensed in order to at the Film Center (he is president of the larly true when it comes to the presenta- work. The licenses would be renewed Film Directors Guild) to read the list of tion of ideas and the depiction of social yearly, but would be canceled if the nominees for best director. When he realities which are not acceptable to the \"ethics\" of the performers did not con- ulrned to face Mrs. Marcos and chief present dispensation.\" form to the standards set by the board. It censor Maria Kalaw Katigbak (who is was generally considered that the licens- also an ex-beauty queen), it was seen All reports from Manila since the end ing regulations were veiled political that his shirt was emblazoned with the of the festival speak of malaise and un- blackmail: the regime wanted to make words: \"Ban the Censors.\" The cere- certainty. At no time in the history of sure that performers, especially film mony was televised live. Filipino cinema does there seem to have stars, were available at all times for ap- been such total estrangement of the in- pearances at its political campaigns. Brocka and Mike de Leon, invited to dustry from the government. Though a present their films at this June's Pesaro few soft-core quickies began shooting in During the following weeks, a Free Festival, did not go. They are currently late spring, nothing at all serious seems the Artist movement, led by Lino involved in the widening protest move- to be in the works. Brocka, organized a series of protest ral- ment-one including students, lies against the Executive Order. Brocka workers, priests, and nuns-against a Whenever things get back on keel, was joined by other directors, opera recent Presidential Commitment Order, I'd like to hope that the inevitable cul- singers, painters, sculptors, and actors. which, they claim, is a continuation of tural reshuffling will permit the revival martial law. Under this PCO, the mili- of an apparently extinct institution: film March 15, at a ceremony in front of tary has been given the power to arrest criticism. There are some intrepid film the Film Center, the First Lady, dressed and incarcerate those suspected of being historians (of those I've read I was most in a red gown, spoke to a crowd of subversive, without any legal machinery impressed by the work of Augustin V. schoolchildren, film personalities, and for the determination ofevidence for the Sotto), but there are no practicing movie uniformed street cleaners. The occasion arrest. critics in Manila, not even any bad ones. was the donation of festival profits to Magazines and newspapers will not pub- organizations of the handicapped. Mrs. Brocka and de Leon's open letter to lish a real review; they don't want to risk Marcos, in her speech, responded to her the Pesaro Festival added: \"What is a potential loss of advertising. Tons of detractors: \"They said your First Lady is even more alarming to us is the discov- stories on the movies appear daily-all lavish and extravagant .... I have always ery of secret presidential decrees which gossip, trivia, and puffery-in the midst been lavish and extravagant in showing would impose the penalty of life impris- of which something memorable does my love for my people. \" onment or the death penalty to organ- tun) up occasionally. One morning, dur- izers or even mere participants in public ing the MIFF, I read the following item, The protest movement set in motion rallies and demonstrations. The decrees identically worded, in two different pa- by Brocka won a partial victory: the plan have intensified the climate of appre- pers: \"Manila cineastes are simply agog for the licensing of artists was shelved. hension that stifles freedom of expres- at the imminent arrival of Herner Wer- The restructured censor board, how- sion-freedom which in the case of zog, the Grand Old Man of German cin- ever, was endowed with even stricter filmmakers is already limited by a re- ema.\" controls. Brocka, who has the persist- 55

MadeinAmerica I Marc Hayashi and Wood Moy in Wayne Wang's Chan Is Missing. 1 by Luis H. Francia an \"Oriental\" touch: interracial love, re- career spanned six decades, and though venge, and self sacrifice. Later, such ex- he was an innovative cameraman-us- Asian-American films occupy-if pectations were mistakenly reinter- ing deep focus years before Gregg To- they occupy a place at all-a rather ten- preted as racial caricatures-vide land in Citizen Kane and experimenting uous spot in the minds of the moviego- Charlie Chan and Fu Manchu. Perhaps with a hand-held camera in Body and ing public. As jt is, the films are often the best of the Haworth films, because it Soul-he rarely ventured into making confused with Asian films, rarely with foregoes these themes, is The Dragon his own films. As an enterprise practiced the elegant works of Ray or Kurosawa Painter. Here, Hayakawa explored in al- by more than just a handful of people, and more with martial arts quickies ot legory form the relationship between Asian-American filmmaking remained tedious musical melodramas. Anyone love and art. Playing the role ofTatsumi, dormant till the late Sixties, with that seeing Wayne Wang's Chan Is Missing, a wild mountain man-cum-painter, Hay- decades twin focus on civil rights and or Mira Nair's diary-like Jama Masjid akawa falls in love with a beautiful ethnic pride. (The Vietnam War, how- Street Journal, must now recognize that maiden (played by his wife, Tsuru ever, served as a bloody reminder of past Asian-American films need be reckoned Aoke, his usual co-star). Unfonunately, injustice suffered by Asians in the U.S.) with on their own terms. The danger, 0f his artistic powers wane as their love course, is that cultural hyphenation-an waxes. Realizing this, she leaves him so Since the Sixties, Asian-American idiosyncratic practice of our times- that the painter in him will once more films have mainly centered on assimila- leads to that spurious category, \"eth- emerge. Shot in Yellowstone National tion's erosion of traditional group values. nic\". Park, only one print of the film survives Asian-American filmmakers have tried and that, subtitled in French. to underline the frustration of their com- If Asian-American cinema has a his- munity, one that must warily forge a new tory, it dates to 1919, when Sessue Hay- Discrimination and an ~ttempt on his identity that threatens group cohesion, akawa-a Zen and kendo practitioner life forced the Hayakawas to leave Hol- yet is mandated by the sting of such past who was the first Asian matinee idol to lywood in 1922, effectively dissolving labels as \"exotic\" or \"inscrutable\" that emerge from Hollywood's silent era- the company. They were not to return were a function of isolation. formed his own production company, until 1949, when Humphrey Bogart in- Haworth Pictures. Best remembered as vited Hayakawa to playa small role in Robert Nakamura, a Los Angeles- the Japanese commander Saito in David Tokyo Joe. Asian xenophobia and World based filmmaker and one of the Lean's Bridge on the River Kwai, Hay- War II had disrupted what could have founders of Visual Communications (a akawa wrote, edited, designed and been the seminal tradition of Asian- West Coast-based film production starred in Haworth's features. American filmmaking. group) says that such films were \"needed-it was a void we had to fill.\" The Haworth films emphasized cer- There was, of course, James Wong So too with Asian American literature tain themes audiences expected both Howe, the China-born Hollywood cine- a few decades earlier, according to Na- from Hayakawa and from movies with matographer who won two Academy kamura. His own Hito Hata, co-directed Awards for The Rose Tattoo and Hud. His with Duane Kubo, focuses on the life of 56

Japanese immigrants and their descen- can Diner but set in contemporary times documentary, this time on the Missis- dants seen through the eyes ofan elderly retired Japanese worker, Oda (played by and involving five Chinese-American sippi Delta Chinese. Mako). The film mines a familiar prem- ise: the erosion of a community's way of women and their relationship to one an- Earlier this year, as a sort of prelimi- life by such unsettling urban processes as gentrification and street crime, which other.\" Tentatively scheduled for a fall nary to full-length feature making, Choy we do not actually see onscreen. Thus the film regrettably lacks dramatic release, Dim Sum has a cast including made Fei Tien: GockJess in Flight, a short punch, though it was the first U.S. made feature on Japanese immigrants. Cora Miao, a Hong Kong actress fea- film based on a Genny Lim play, Pid- Aesthetically and popularly, Wayne tured in Ann Hui's Boat PeopLe-a much geons. Though well-acted and techni- Wang's ChallIs Missing is a more signifi- cant work. This low-budget ($20,000), discussed film at Cannes-and Joan cally competent, the film suffers from an black-and-white picture was the indie sleeper of 1982, receiving enthusiastic Chen, currently China's most popular air of irresolution and detachment from reviews both at FILMEX in L.A. and at New Directors in New York, and achiev- screen actress. \"There are other Asian her fictional subject-an old and dying ing something rarer-a distributor, New Yorker Films, and a 30-week run at a American filmmakers just as talented, Chinese \"bird lady\" befriending a mod- New Yorker house. and certainly more experienced than ern, neurotic, Chinese-American career Chan Is Missing spoofs both the pri- vate-eye genre and racial stereotypes. me,\" Wang observed, citing Emiko woman. Like Godot, Chan never appears. In- stead, we see an insider's view of San Omori, Lonie Ding, and Fu-Ding Another fine documentarist contem- Francisco's Chinatown (read any big- city Chinatown), where cooks sing Chen. Fu-Ding Chen is among the more plating dramatic features is Mira Nair, American pop songs and the young male imaginative, if quirky, contemporary, an India-born , former screen actress. lead (played by Marc Hayashi) affects sassy ghetto monologues to underline experimental Asian-American film- Her black-and-white 1981 film, lama his street-smartness. The film under- mines simplistic media images in a way makers, who describes his works as Masjid Street Journal, is a slice of street ten educational films could not. \"documentaries seen through the screen life in an Indian village: everything The Hong Kong-born, 34-year-old Wang was surprised by the film's success of imagination.\" In his latest animated (from ear cleaning to haircuts) is done on \"because I thought the film was good, but I never expected that it would take film, Spirit of the Dream House, the the street such that only the Muslim off as much as it did. I thought it was a film limited to a sophisticated Chinese house anima narrates its life story and women in theirchadors seem enigmatic. audience, but it turns out that it's not.\" the stories of the families that have lived Nair's narration renders the film less a Wang, who has formed his own pro- duction outfit CIM (an acronym for under its roof. The voice is American, cut-and-dried documentary than a Chan Is Missing) has just finished princi- pal shooting of his next feature Dim Sum, but the graphics and colors remind of stream-of-consciousness sketch book. this time shot in 35mm and on a budget of \"more or less\" $500,000. He de- Chinese-style watercolors. Chen In contrast, Nair's latest film, So Far scribes it as a kind of \"Chinese-Ameri- achieves an East-West fusion that, in its from India, is a more formal, straightfor- casualness, seems utterly mundane. ward color documentary on the life of a Probably the preeminent and most young Indian immigrant in New York political Asian-American documentarist earning a living as a subway newstand is New York-based Christine Choy. vendor. His family remains in the Choy ascribes her political bent to her mother country, he has never seen his life in China where she lived until just baby, and his wife wonders if he will before the Cultural Revolution. A pro- ever send for them. By its lucid exami- lific filmmaker-she's directed and/or nation of a particular Everyman's life, So produced fifteen films in 14 years- Far from India movingly limns the uni- Choy is one of the prime movers behind versality of emigration to strange shores. Third World Newsreel, the oldest, inde- Nair is now working on the script for her pendent, political filmmaking organiza- first feature about an educated, Angli- tion in the U.S. Her concerns are with cized mail-order bride imported from issues and conditions affecting minor- India into the U.S. by her traditional ities, the working-class, and women. To middle-class India groom, told from the Love, Honor, and Obey, for instance, is an woman's point of view. • incisive look at wife beating. Wisely avoiding didacticism, Choy devoted Among the filmmakers who debuted most of the film to the victims and their at this year's Sixth Annual Asian-Ameri- children. She's just finished another can Film Festival in New York, several Stephen Ning's Freckled Rice. Fu-Ding Chen's Spirit of the Dream House. 57

''A Wise and Stunning Film!\" bear watching: In particular, Stephen Ning displayed -Jack Kroll. Newsweek a fine sense of narrative in his Freckled \"A Vel)' Handsome and Witty Tale of Rice, a 48-minute bilingual and semi- 19th Centul)' Italy... It's A fascinating film autobiographical drama set in the Bos- ton Chinatown of the Sixties. The and One Not Easily To Be forgotten ... movie's protagonist is a young boy tem- The Performances Are full of porarily alienated from his family when Unexpected Revelations!\" it moves to the more homogenized and WASPier environs of New Hampshire. - Vincent canby. New York Times It's a bright film, from a bright film- maker. \"A Legendary Romantic Tale!\" From San Francisco, there's Ruby -David Denby. New York Magazine Yang, whose Matrimony, a short non- linear work, relies on contrasting images a film by Ettore Scola -those of a traditional marriage and Valeria D'Obici Bernard Giraudeau Laura Antonelli those of a cynical one between punk rockers-to send up matrimonial rites. with Jean Louis Trintignant Massimo Girotti Bernard Blier Shopworn material perhaps, but the gar- ish colors and Yang's pixilated humorous Available in 35mm or 16mm view vivify the subject. Even the Write for our feature film catalog onscreen band, like a New Wave Greek chorus, is right on target despite its off- THE CINEMA GUILD key (and awful) singing. 1697 Broadway Perhaps the most surreal piece at the New York, NY 10019 festival was Ann Yen's The Last Game, an Pbone(212) 246-5522 allegory on fascism. Yen transfonns bas- ketball foul shooting into an apocalyptic 58 key to survival for a group of French resistance fighters about to be shot by Nazis in a locale suspiciously reminis- cent of the South Bronx. The Nazi com- mander offers the group their lives if the unlikely hero, a champion basketballer, can shoot twenty-five baskets in two minutes. He does, but the commander, in an overly melodramatic ending, re- neges on his offer. Peter Chow, executive director of Asian Cine-Vision (the organization be- hind the Asian-American festival) feels that \"it should be possible to go beyond [Asian-American] subject matter into other territory.\" Presently the sole col- lective showcase in the U.S. of Asian- American films, the festival is currently on a tour of several U.S. cities and To- ronto. Over the past years it has drawn increasingly larger audiences. This past June, for instance, close to 3000 New Yorkers watched festival films spread over four weekend nights. Fewer than a hundred persons turned up in 1977, the festival's initial year. The festival also brings Asian- American filmmakers together and gen- erates dialogue essential to the evolution of an unmistakable Asian-American film aesthetic. Broadening that aesthetic mandate needs not just one but several successful features. Otherwise the dark side of American pluralism-assimila- tion-can erase everything Asian from Asian-Americans. ~

JULIEN J. STUDLEY INC. ·625 MADISON AVENUE· NEW YORK NEW YORK· 10022· 212 ·308 ·6565 • BOSTON· CHICAGO· HOUSTON· LOS ANGELES· MIAMI· NEW YORK· • SUBURBAN WASHINGTON· WASHINGTON·



ful as Orphee, but it is also a confession sound drew his daughter and friends, Francis Coppola Interviewed on the maker's own early life and abid- now back from the studio, to gather for a by David Thomson and Lucy Gray ing psychology. listen. We could imagine Coppola con- We had seen Francis Coppola several The happiest years in his 45 were at vincing teenagers of the merits in the times over the last year and a half-at Napa, on the weekend he realized One the ages of five and six. They gave rise sophisticated RumbLe Fish, so long as he From the Heart had failed; at Napa, a year later, as the editing of RumbLe Fish to his intense admiration for his older could do it in person. They may feel that was going on above the winery; at the Tosca one night, in San Francisco, as he brother, Augie, to whom RumbLe Fish is he has created, as an adult, what every- took a breather from the two-week task of rewriting The Cotton CLub. It has been dedicated. And as we met Francis Cop- one hopes to create as a child: a huge a time of turmoil, ending and beginning again, as Zoetrope lingered in the bal- pola again, in his Sherry-Netherlands playroom full of equipment and people ance and its founder got on with making movies. apartment, it took several minutes to willing to devote themselves to any Amid all that thunder and darkness, recognize his child-like nature beneath scheme he might invent. Rumble Fish is RumbLe Fish is his best film, the most emotional, the most revolutionary and the exhaustion of round-the-clock re- a Xanadu of a picture, and Coppola is the most clearly in love with 1940's movies. It has a mood from Camus and writing and rehearsals on The Cotton just like Charlie Kane, too busy, too cre- the French Existentialists, but it looks and feels like Welles and Cocteau. The CLub (which began shooting in late Au- ative, too happy spending money to Tolandesque fusion of Tulsa heat wave and the fever dreams of adolescence is a gust). He had been up all night writing grow old. He may never make his Media rhapsody to fraternity, in particular to the triangle of two brothers and their with his newest signing, William Ken- Dome in Belize, but its romance goes broken father-Matt Dillon, Mickey Rourke, and Dennis Hopper. It is delib- nedy (Legs, Billie PheLan's Greatest everywhere with him. Zoetrope, among erately an American art film-as full of the heart's creaking sounds as Kane- Game, Ironweed). He pierced his belea- other things, still owns the rights to On and a legend oflove, aspiration, and loss in a remote province of a world that guered greeting with an excited story the Road and Peter Pan. Francis Coppola looks to L.A. as the light. So open in person, Francis Coppola is also a c1osed- about having fired a group of secretaries, is the one man who could make those off, guarded man, afraid to divulge all his experience, a Michael Corleone try- that afternoon at the Astoria Studios, two books in one movie. -D.T., L.G. ing to be like Sonny, as well as a Matt Dillon longing to be as cool as Mickey because they had been short-tempered Rourke. RumbLe Fish is a myth as beauti- with his daughter, Sophia, and her Rumble Fish is so completeLy different friends who were trying to help round a fiLm from The Outsiders, not just in the place. \"I simply can't abide that black and white and color, but in the tone. nine-to-five attitude. It's not conducive And everybody said, \"WeLL, he's off in to the kind of filmmaking I believe in.\" Tulsa, making two fiLms ,\" rather in a way Having sent off another guest and that, once, peopLe would go up to the completed a short meeting in the next desert and make two westerns at the same room, Francis settled into conversation time. Rumble Fish makes The Outsiders with us. He never found a comfortable seem an odder fiLm than I thought it was sitting position; he vibrated with desper- when I first saw it. The Outsiders aLmost ate energy. But as the conversation feLt like afilm in which you weren't quite picked up momentum, so he found pas- there all the time. sion, unexpected insight and associa- No, I don't think so. The Outsiders tions too quick or instinctive for sen- was the type of film that I personally tence structure. We sipped wine from liked, a melodrama with a romantic his own Napa Valley grapes as he made tone. I liked the book a lot when I read dinner plans with his son. That ar- it; I thought it was sweet and youthful ranged , he demonstrated some new and had something in its little, simple sound equipment for an advanced video theme that was of value, and I wanted to player. He chose a Shostakovich sym- make the picture very much as the book phony, and the booming, crystal-clear was. Maybe that's what you're interpret- 61

ing as my not always being there, except think about my career, I've never made book like that?\" \"Well,\" I said, \"little that I did make the decision to make it two films that were alike . . . maybe the kids wrote me a letter and wanted me to exactly like the book. two Godfathers. But every one of my make it that way.\" Of all the letters I get films is very different from one another from movies, The Outsiders is the one The key to The Outsiders is the score; and I was feeling that I was in kind of a where all of these cute little 14-year-olds the fact that it's this schmaltzy classical journeyman period of my life, approach- ... so I'm in it for them. I feel I must have movie score indicates that I wanted a ing a future style of work as a more gained something, although it wasn't as movie told in sumptuous terms, very serious, older man which would be challenging, cinematically or even on honestly or carefully taken from the based on a tremendous amount ofexplo- the level of acting and other things as, book without changing it a lot, . with ration while I had the chance to do that. say, the one that came afterwards. But I young actors-putting the emphasis always had this idea that I wanted to more on that kind of Gone with the Wind To me it's nothing to say, well, I'm make one film that was romantic and lyricism which was so important to the going to make that film and it's going to schmaltzy, like The Godfather, and one young girl [Susie Hinton] when she be that kind of film. Like The Outsiders film that was more of an art film, more in wrote it. -it's not that I couldn't make that six- the direction ofApocalypse. teen other ways. People suggested, I liked the film on that basis. It's how I \"Well, are we really going to make this Can you tell us when it was that the idea made it and why I made it. But if you Mickey Rourke in Rumble Fish . Rumble Fish le 62 ~

f or Rumble F ish came up? kind of ideas you don't totally unde r- ca u e of th e me ntion of th e colo r blind - Whe n I was working on Outsiders, stand in your head but you feel that you ness, I just imagined it in black and unde rstand the m. It's the fact th at you white. It was suggested fro m the novel, had hea rd about anoth e r boo k from kee p thinking about it th at makes it e n- I didn ' t im pose th at. And th e n the idea some of the kid s who had read it, called ticing. And it affecte d me that way along th at if we wa nt to show th at someone Rumble Fish , and it re minded me of with the fac t that we had see n M ickey goes color blind, the n maybe we would \"The Banana Fish,\" a short story of Sa- Rourke at one of the auditions for Out- have to have co lor in it and the n take th e linge r's. What was it? \"Wonde rful D ay siders and we re very impressed with color away again to give the fee ling of for Banana Fish\"? And it just tuck in him , yet the re was no rea l part for him to color blindness. And th at's whe re t he my ear, the odd word , rumbl e fish. Also, pl ay. idea of havin g some color e le me nts in whe n I saw a co py of it, it was very short the piece and th e n the more th at got So we teamed Mickey and Matt, moved around , we thought maybe onl y and I like sho rt novels. r just started to which had a lo t to do with Fred Roos the fi sh th e mselves-the me tap ho r of say ing, \"We ll , that would be great,\" be- the sto ry- wo uld be grea t if they were pick it up and read it. It was writte n cause I was even wonderin g w he the r I in co lo r. wh e n Susie Hinton was old e r -and should do it younger. The sto ry is w rit- drunk , I think. It had tre me ndous, re- te n about a 14-year-old. Somehow, be- We' re talking about a time during the ally impress ive vision and dialogue and characte rs and co mplica ted ideas, the e~nlru1el1 me of a short story of Salinger's. What was it? \" Wonderful Day fo r Banana Fish\"? 63

..~~' Gemini Video shooting ofThe Outsiders? t':j :1RTS Presents Yes. While we were shooting The Out- siders, I was writing the screenplay of Film Music Is Roads To Far Off Lands Rumble Fish. And thinking about it and Our Forte what have you, and the idea certainly Masculine-FeminIne $39.95 Hobson's Choice $54.95 came that we could go right from one to Exclusive Soundtrack Selections The Winslow Boy $54.95 the other, and although it would have And Limited Editionsl Story of Adele H $54.95 Lavender Hill Mob $54.95 the same cast, the films would be totally The Servant . . .$54.95 different. For one thing, not only were Over 1.000.000 LP'S available: Mr. Hulot's Holiday they both in black and white and color, In-Print and Out-of-Print. an array of Golden Voyage of but Outsiders was in wide screen and imports. highly-desired reissues. and ..... $39.95 Rumble Fish is in 1: 1. 85, which is the original casts (on and off Broadway). closest we could get to 1: 1.33 which is Beauty & .. $45.95 Sinbad . . .. $65.95 more for filmmakers-the lenses are We offer the finest service the Beast better. And I really started to use Rumble available - monthly auctions by mail Fish as my carrot for what I promised (rare. unique titles). the only monthly Love on the Run $54.95 Chariots of Fire .. $65.95 myself when I finished Outsiders. Filmusic Newsletter \"Music Gazette\" .... $54.95 Also, quite honestly, as you can figure For YOUR copy of our extensive out, I threw Outsiders into production catalog. a sample of \"Music Gazette\" Fitzcarld o ....... $64.95 La Strada ....... $39.95 immediately after the failure in the ($2 value). and monthly auction. Blue Angel .. . .$39.95 8 Y, ..... $64.95 United States of One From the Heart. Please Remit $1.00 TODAY TO: Metropolis ...... $69.95 Paisan . . . . ..... $52.95 Rather than go through six months of being whipped for having committed RTS, Dept. 20E Cabinet of Garden of Finzi - this sin of making a film that I wanted to make, I escaped with a lot of young P.O. Box 1829 Dr . Caligari ...... $49.95 Continis ........ $54.95 people to Tulsa and didn't have to deal Novato. California 94948 Das Boot ....... $74.95 La Dolce Vita . .$69.95 with the sophisticates. I had been a camp counselor when I was younger, 415/883/2179. Tues 12-4 pm Kagemusha ........ $54.95 and I always got along very well with Seven Samuraii . kids. I like being with kids rather than Elvira Madigan .. .$54.95 adults , so it turned into a way for me to Add $2. per film S&H. soothe my heartache over the terrible CT residents add 7*% Wild rejection at that point. Also , The Out- siders had a certain financial promise to sales tax. Strawberries .... $39.95 Send $UJO for it, and I knew right then and there that P.O. Box 2018 complete catalog. even though the One From the Heart Vernon, CT 06066 reception happened on one particular ~. day, three months later I was going to be (203) 875·0052 in the heaviest financial trouble I had ever been in. So rather than worry about Quality stills, it, I just started working, figuring that original posters, the thing that could save me the most rare lobby cards was if I stepped up production. Also, a lot of the electronic experimentation Specific that we had been doing was beginning Inquiries to bear fruit, and I felt confident that we Welcomed could make the films for modest sums, very well controlled. And in fact that's Catalog $3.00 . what happened. The Outsiders threw up just enough money to help me at a time Some of our House of Dracula 14x36 when I needed some big bucks. My Darling Clementine 27x41 Original Old Acquaintance 22x28 When you proposed doing the second Personal Property 27x41 film, virtually without an interval between posters The Philadelphia Story 41 x81 the two, was raising the money easy . .. ? available : Rebecca 14x36 Well, no one took me seriously at aiL Collections Bought, Sold,1raded We were working on Outsiders, and I CI~~ '\"@~()~ MOVIE STAR NEWS 12-6 P.M. Tuesday-Saturday (415) 776-9988 COME IN PERSON· MON·FRIII-5 SAT 12·5 (Mail Order) 1488 Vallejo St. at Polk, San Francisco, Ca., 94109 Pin· Ups • Portrails • Posters • Physique Poses • Pressbooks • Western • Horror • Science Fiction • Musicals • Color Photos • 80 Years of Scenes From Motion Pictures Rush $1 .00 FOR OUR ILLUSTRATED BROCHURE 134 West 18th Street, NYC, New York 10011 64

I knew three months later I was going to be Selected as an oulstandong 111m 01 the year .. in the heaviestfinancial trouble I' d ever been London Film Festl••1 in. So rather than worry about it, I just started working, figuring that the thing that could save 97 minutes, color/B&W, 16mm , 1978 me the most was ifI stepped up production . ... A FILM BY RICK SCHMIDT knew we had thi s abyss coming up , be- working very hard . I guess maybe it re- cause those kinds of financial problem ally comes down to the fact that I might ... outrageous, perceptive . .. Unlike the material Irom which don ' t hit for a while. Like, yo u' re in have written a script that took The Out- It borrows, 1988 StllPS away the structure 01 its lantasles, leavong trouble , and everyone knows yo u' re in siders and interpreted it in a way differ- the audience as well as the perlormers nakeo and vulnerable. trouble. But by the time all the wheels ent than the way she told the story, but turn the rest of their revolution , you're then it wouldn't have been The Out- Linda Gross three or four months down the ride. So I siders. So what do you do? And with L.A. Times figured as much production as I could Rumble Fish, I guess we were starting to get would be good. Most people looked get a real means of production. We had a 1988 In its cumulative preposterous lIummery is a spillted outcry at me, \"Oh, sure, sure, Rumble Fish, but very good production team, we were full lor people to throw olt the overt and covert lorms of oppression pay attention to The Outsiders.\" And of energy and enthusiastic and every- and be themselves. An outrageous tour·de·force. they justsortofignored it. Butwhen the body was up for making the film again. tint film was over I got very serious and And I would talk with the photographer Vic Skolnick said I'm really going to make it. Warner during the end of The Outsiders and we New Community Cinema Brothers turned us down, some people decided , oh, we're going to use all short say because they felt that we would lenses and it's going to look like this ... Rick Schmidt's 1988 falls under the avant-garde category, but compete with The Outsiders. I feel that bears enough popular touches to make it with a crossover The Outsiders suffered from a little bit of I used to kid around and say it was an aud ience. the chaos of everybody turning ye llow art film for kids or that it was Camus for when they saw the rough cut of it, and kids , or it looked to me like the way I Variety that influenced it being cut shorter and imagine those kinds of writings of the shorter. Existentialists. And it appealed to me The film raises questions about exploitation , entertainment , that kids could see Outsiders as a lavish, politics, psychology, and the nature of the medium itself, I actually have to go look at the movie big feeling epic about kids without any again, because I didn' t understand why English on it. Those kids have gargan- Michael Blowen so many people disliked it when I didn ' t tuan romantic feelings if they' re any- Boston Evening Globe think there was anything all that impor- thing like we were, so I wanted to do tant to dislike. I thought it was very that, but the other one I wanted to be FESTIVALS: ROTTERDAM, FLORENCE , much like the book. like Peter and the Wolf for kids, where US FILM, ADELAIDE , LONDON. you were making a film and you say, I believe directors should direct- \"Aha, films also can be made in black The film has carved a unique niche for itself somewhere between they are directors. If I get a job to direct and white with .14mm lenses, and the FREAKS and Fellini 's 8 1/2 . A Streetcar Named Desire in a play, the soundtrack and the music can be part of theatre, I'm going to do my best to do the movie. The acting can be of this very David Harris Streetcar Named Desire, I'm not going to convincing although somewhat stylized The Boston Phoenix try to imprint it with my own bizarre nature, etc., etc., etc. And let young imagination, although I could. That was people see that.\" Anyway, give it to Financed with AFI funds, 1988 recounts the lictitious tale of a the attitude. I took it to do that, and I them , and even if they don' t like it at middle-aged librarian's attempts to finance and remake the film was very proud of the fact that I was able first, when they're two years older they musical \" SHOWBOAT\" in contemporary terms. The auditions are to do that. Go take something, assess might. arranged on a San Francisco stage and range from incredible what it is and make it like it is. But, to merely bizarre. nonetheless, maybe it's true-my inter- You dedicated the film to your brother, est in it was of a certain ... it was a lot of and it makes one suspect that, although Variety work. You do a film like that-take the The Godfathers are both films about fight scene in The Outsiders, that was as brothers, the way in which Rumble Fish Rather than fight a lengthy and costly court battle after an en· hard as anything I've ever done. !t's hard is about brothers may be much more per- counter with MGM's battery of lawyers, Rick Schmidt decided to as anything in Godfather. It was also sonal and importantfor you. take the battle into a new front by adding a prologue to the film more unusual in concept. So we were explaining why sections of the soundtrack are missing and the It is. It's very personal. Rumble Fish presence of an \" X\" over certain shots. This black satire has all of a sudden acquired a biting edge. AUTHORS WANTED BY MOTION PICTURE NEW YORK PUBLISHER Carmen Vigil SCRIPTS WANTED. Leading subsidy book publisher seeks manuscripts \" Rick Schmidt's 1986 is an independent feature film which con· of all types: fiction. non-fiction, poetry, scholarly Human and capital resources development tains a complex interaction between several narrative threads, a and juvenile works, etc. New authors welcomed. corporation searching for NEW theatrical mo- vallety nf image textures and multiple moments of self·reflexivity.\" Send for free, illustrated 40-page brochure H-83 tion picture scripts . We offer comprehensive Vantage Press, 516 W . 34 St., New York, N.Y. 10001 critiques and sales research for marketable 0'Jon Gartenberg material. Inquire Grasshopper Productions , Box 67 Manchaca, TX 78652 The Museum Modem Art, H•• Yo'\" For bookings and information please telephone: (201) 891-8240 PO Box 315 Or write: ir--iu n \"fd i. n LI U K1 _es t\\J. J 0 7417 ' 65

A FILM BY RICK SCHMIDT does come out of a certain period of my At any rate, this relationship with him life when I was about seven , eight, nine, during those years was a powerful part of EMERALD in an area not too far from here, near my life. I had a dream once as a kid that Astoria Studios, in a place called Wood- scared me to death. I was in one of those CITIES side. I was in a wonderful kindergarten kinds of streets and there was an enor- in another neighborhood by the beach, mous manhole, big manhole cover, and Rick Schmidt's film style is blending the and my memory of being five years old is these tough kids were getting my mad-cap humor of the Marx Brothers, a really wonderful-it's still the best five brother and putting him in there and heady version of American surrealism, and or six years of my life-and then we were going to cover him in this manhole. iconoclastic inspiration, perhaps, of Jean- moved to this other neighborhood and And I ran to the different houses to get a Luc Godard . suddenly itwas alleyways, which is what phone to call the cops. I never forgot Rumble Fish looks like in that movie. that dream. And somehow, all of the - Vic Skolnick And I had a brother five years older-I feelings of what I'm telling you about ... New Community Cinema have a brother five years older than me the jacket in the movie that his son wears, you know, Nicholas Gage, that EMERALD CITIES is an exhilarating pop who was my idol , who was very, very wild goose jacket? That was his jacket, cultural explosion. good to me. Just took me everywhere my brother's; it was a copy of his real and taught me everything. You know, one. - Michael Silverblatt when he went out with the guys, be- L.A. Weekly cause he was the leader of the gang and And he had such a magical allure in he was tremendously handsome, still is that way that when I read the book it EMERALD CITIES also attacks, in its way, ... He could easily have shaken me, said recalled that. So I made the character contemporary life ... by satirizing obvious I don't want to take him. I slept in a look like Camus, and that was the initial murksprings of the American Way. room always with him up until I was ten handle that Mickey used with the ciga- or eleven. Until he moved to the attic rette. I would say that my love for my - Calvin Ahlgren and just got depressed and stared at older brother formed the majority of as- S.F. Chronical maps ofTahiti. pects of what I am, and the other part was formed by my father in terms of my FILM FESTIVALS 1983 He was a very advanced kid. He was a attitude towards music. My father ROTTERDAM great older brother to me and always played the flute and you can imagine SYDNEY looked out for me, but in addition, he how that felt to a little kid. So I think FLORENCE did very well in school and received that a lot of what I'm like is from the fact many awards for writing and other that I was the audience of the most re- The film juxtaposes the Santa Claus myth, things, and he was like the star of the markable family. And I took it all as family and I did most of what I did to magic-I believed everything. My nuclear war, punk rock, hypnotic self- imitate him. Tried to look like him, tried mother, who was a kind of childlike to be like him. I even took his short woman, pushed a lot of magic. I be- analysis, psychedelic drugs and video stories and handed them in under my lieved in Santa Claus until I was nine or name when I went to the writing class in ten. manipulation - you know, all that stuff we high school myself. My whole begin- ning in writing started in copying him, It is one of the most pulled-together, usually think about. Featuring FLIPPER and thinking that ifI did those things, then I precise films I have ever seen. could be like he was. He had always THE MUTANTS, this is one of the best in- liked big dreams and read books. He Well , it went well. It went smoothly. was reading Andre Gide, Jean-Paul Sound, picture, color. . .everything . . . dependent films we've seen all year - it Sartre, telling me about James Joyce the shading in light and dark, everything. when I was 14. I didn't understand it The music came out of another thing. puts SMITHEREENS to shame. . much. And he always included me. I have this idea of what kinds of films I want to be making in a couple of years, - Bruce D. Rhodewalt, When I was in military school one which are quite different than what I'm year I was sent to live with him in Cali- doing now, or that anyone's doing now, I Marci Marks, Craig Lee fornia; he was a UCLA student and he suppose. And one of the things I'd like lived in some little dinky house in to be able to do is write my own music. L.A. DEE DA Westwood and we had three other guys I also promised myself that on Rumble living there, and there were a couple of Fish I could write my own music, and I As with Schmidt's earlier 1988-THE girls living there and it was this wonder- had a very, very precise concept of how REMAKE, EMERALD CITIES displays ful summer ... and it was all this intellec- it was going to work. In fact , I had done a tual stuff, reading books. That's when I lot of it in a kind of mock-up by getting editorial wizardry which mixes moods and started to write to be included in that my kids and their friends and my crowd that I was five years too young for. nephew to read the script while we were media in a dizzying pace which at first may And when I went back to military school in a recording studio and I was beating seem haphazard, but which at a second after that, I could never get with it again, out different metric ideas to express glance takes on an order which its material the level of what was going on there, and time. One of the central concepts was I ran away ultimately because of that- the idea of time running out, and young would seem incapable of producing. went to Great Neck High School, which people not understanding that time is - Jon Jost was more along the lines of this experi- running out. So we cooked up this ence with my brother. whole score with all percussion and solo 90 minutes, color, 16mm, 1983 For bookings and information please telephone : (201) 891-8240 . .. : .....: Or write : 66

It was a little bit like Napoleon's family . ... CITIZEN When we were kids and we went to say our prayers at night atfour andfive years old, the of. FILM CAEAJ'ED av beginning ofmemory, we always included, WIUJAM FARLEY. C£ORCE COAtES. SVSA.. AOETNER \"And let Daddy get his break.\" PRODUCIlD AMI) DIRECTED IIY bass, which I played myself. Well, one got in my family was when I sang my idea came along that the drummer to do father's songs for company, because no WlWAM FARLEY the times be Stewart Copeland, who is one else could do it. such a good drummer and he had that ... a breathtaking slide through the cracks in precision in some of the Police things. When you asked him to compose some familiar Bay Area landscapes and psyches. So I met him and he was a terrific guy of the music for some of your films, was and I enjoyed meeting him, and he that a continuation ofthat? Janet Sonntag came after rehearsal to provide these City Arts rhythms. We had these rehearsals with I always felt that my father was a . . . the drummer who turned out to be a There are few musicians around, except The rejection of the standards and conventions composer actually there. In other words, for that generation, who are master or- of the commercial Hollywood film has been one the project was sort of born in that kind chestrators and conductors. But aside of the most significant movements in independent oftheatrical happening. What happened from that, he also had, I thought, a really narrative filmmaking in recent decades. Farley, with the music was that more and more I terrific melodic imagination, and as he like many of his contemporaries, is seeking to thought what he was doing was so good got older he always fought being radically expand the language of film as a that I just kind of faded back and then I schmaltzy. Some of his serious composi- narrative form and its potential as a medium for said, \"Look, I think what he's doing is tions are quite impressive. Somehow it personal vision . great.\" And he's a pretty interesting fel- was always a dirty trick that he never got low. Then, of course, the other compo- the break that he seemed to want so Callie Angell nent was to try to express the time run- much. I didn't want it as much. My Whitney Museum ning out by time lapse, so that I had this brother was always very concerned with thing of streets, and the shadows just go being the biggest guy and the most pow- It is to Farleys credit that he has discovered how down the hill like that. .. erful guy and to win the awards. I was to mine the gold in original material by perform- not ambitious as a kid. ance art mavericks. Is it hard for you now, deep down, to believe that you have become easily the /'m surprised you didn't want to sing. Linda Burnham best known and the most remarkable mem- I did a little bit. That was one of the High Performance ber ofthe family ? few things that got me some pluses, and I don't know why I never went and re- FILM FESTIVALS: FLORENCE, DEAUVILLE, Well , I can understand that I'm more ally studied. Everyone always used to US FILMIVIDEO. famous than any of them. I think it's a say, \"You know, you ought to study, little bit like Napoleon 's family. You Francis,\" but they never did anything William Farley has selected some of the best per- know, when we were kids and we went about it, and then I guess when I got formance artists in San Francisco, a city noted to say our prayers at night at four and five more into high school, my whole school- for its off-beat theatrical presentations, and paired years old, the beginning of memory, we ing was so kind of meshugenah. I never them with a group of talented young actors to always included in our prayers, \"And let went to any school longer than a few create a parable of life. As we travel with them Daddy get his break.\" It was a major months and so I never got into a glee on their journey through a stunningly photo- theme of my family. club or anything. I went to 24 schools graphed , abstract cityscape, the foibles of ollr before college, so I never really took in society are profoundly satirized. Farley has most We were told by my mother to pray for any of them. My major passion in those ingeniously fused the performers and their it. I can remember as a kid of 15 working days was science. I was reading about audience into a beautifully crafted piece of in a Western Union office and making scientists and I could have been a physi- filmmaking . up a phony telegram which said, \"From cist if I had had the math. I remember so and so at Paramount Pictures, Dear things I sketched out that I see have Willard Van Dyke Mr. Coppola, you've been made the happened. composer of Jet Star, please come to If you do compose music for your own 80 minutes, Colo!, 16mm Hollywood immediately .. .. \" And we films, how will yourfather feeL about it? went and delivered the telegram, and Well, first of all , I'm going to make For bookings and information please then we had to tell him that it was fake. two pictures now, Cotton Club and Inter- face, and then I intend to take, who telephone : !i r····· U·Ir What inspired my father's career was knows, maybe three years off. Not so (201) 891-8240 his vanity and his desire to be appreci- much because I have other stuff I want L_! \\ .:711 ated. He did everything, he had little to do , that I would really like to do, but samples of radio programs-in other I'm becoming bored with the movie ~. C} l)ox 315 words, he had his IS-minute radio pro- business. It doesn't entice me anymore; gram back in the 40's and I remember it's kind of a nowhere situation for a guy Or write : Fronkli n IJJkcs, those tapes. Since I was the only kid like me. So the projects that I would who could sing, the only good graces I [\\J. J 07417 67

SPECIALIZING IN THE DISTRIBUTION work on, starting in three years, would of go on to a time that wouldn't be relevant in terms of my father's lifetime. Also, he JAZZ and BLUES FILMS knows that I have these aspirations_ He's not encouraging me at all, but he FOR ALL MARKETS: Theatrical , Semi-Theatrical , Non-Theatrical, Television (all Markets), knew that I wanted to do the music on Plus Video Cassette and 16mm Print Sales Rumble Fish , and when he heard a little tape-some of it had been recorded- Limited to United States of America and All Possessions he commented how a section of it sounded just like something he had BLACK WAX 79 min TITLES The Les Blank Jazz and Blues Films: written_ I neglected to tell him that that ALWAYS FOR PLEASURE 58 m in. same section also sounded like some- G il SCOII·Heron thing some guy a hundred years ago had New Orleans Jazz written_ But my father has never been a TAP OANCIN ' 58 moo very encouraging man _ A WELL SPENT LIFE 54 min. The Hoolers The CopasellCs John Bubbles & Hom Coles Have you helped his career, do youfeel? Mance Lipscomb Do youfeelproud ofhim? IMAGINE THE SOUND 91 m in . HOT PEPPER 54 min. I made his career- I feel the guy de- Archie Shepp C ecil Ta ylor, Bill Dixon PaulBley served whatever success he got for him- BLUES ACCORDING TO LlGHTNIN ' HOPKINS 31 m in . self I didn't put the notes on the paper- THE LAST OF THE BLUE DEVILS 90 min. He can take a big sheet of paper and lIghtnm' Hopkins write out a score for a 60-piece orchestra. The Movie Abou t Kansa s C ,ly Jazz How many people can do that? I'm very DIZZY 20 min. proud of thac His knowledge of music is SUN RA: A JOYFUL NOISE 60 min . tremendous_It's like Leonard Bernstein DIzzy Gillespie or these masters who just know it. I have TALMAGE FARLOW 58 min . a lot of respect for him_ He has a brother, TILL THE BUTCHER CUTS HIM DOWN 53 moo AFTER HOURS 27 m in. by the way, too-a very big musician- there's a big, competitive story there_ New Orlean s Jazz with Kid PunCh Miller Coleman Hawkins. Roy Eldridge. Cozy Cole He lives right here in Central. __ He's a JAZZ HOOFER 28 min . JAZZ IN EXILE 58 min . very well-known conductor, more successful than my father is_ He's a big The Legendar y Baby Lawrence Dellter GOIdon . Richard DavIs Phil Woods. Randy WeSlon deal in the family. MINGUS 58 min. BORN TO SWING 50 min. You were saying that you had a row at Charles Mingus \"\"'C.\"\" ~ 'I\",A~I'....\" the studio today with people over an inci- SONNY ROLLINS 37 min . CounT Basle Alumni. Buddy Tale JoJones. Gene Krupa dent provoked by your daughter. Some of the kids just came into this room and it THE NEW MUSIC 29 min DIFFERENT DRUMMER 30 min. makes me think, just from seeing you at home afew times like this, that you love to John Carlel Bobby 8radlord Elvin Jones have them around you. CHICAGO BLUES 50 min . LAMBERT & COMPANY 15 m in. Well, as a child, I always loved other children_ And one of my great frustra- Muddy Walers Dave Lamberl APeMtoa' ~ ' q.Ie' ~ tions , as with many children, was that I didn' t have friends , or that I didn't get to JAZZ IS OUR RELIGION 50 min The Jazz on Stage Senes: be in school long enough or wasn't able LES McCANN TRIO 29 m in. to keep my early friends from kindergar- Art Blakey Johnny G rl llin SHELLY MANNE QUARTET 29 m in. ten where I was very happy_ Kindergar- ZOOT SIMS QUARTET 29 m in ten was really-and I'm not exaggerat- BLUE LIKE SHOWERS OF RAIN 30 min. HAMPTON HAWES TRIO & GUEST 29 min. ing-was five times as good as the rest of this life_ It's never gotten back to thac llghtmn' Hopk ins, Flobert Lockwood . 0115 Spann Sunnylan d Slim OTHER FILMS: KETUT 01 BALI 29 m in. For me it was a magical time, building stuff and telling stories and playing with PURE HICKS 30 min. A medltauon 01\\ hIe on BALI by Serge Ra oul girls-it was just all it should be. And , if anything, I tried to create that again_ A VISlI with pianist John H,ckS FUGARDS PEOPLE 67 min . Zoetrope was nothing more, and is DAVID CHERTOK: LECTURES & SHOWINGS A 111m about Athol Fugafd nothing more, than a college drama de- partment rolling over into adult life, and Jazz F ilm Programs from the largest collection 01 ,azz hlms In th e wo rl d even the incident you' re talking about lover 400 noulS I today isn 't really the incident about Sophia, it's the point of view that a For further information Contact: movie studio and the movie business is Bruce Ricker something for youth and for experimen- tation and for life and for fun and for all RHAPSODY FILMS INC. • 30 CHARLTON STREET· NEW YORK . N .V. 10014 • (2121243-0152 those qualities_ I loathe the other force **.THE BOOK OF STARSWhen is Jane Fonda's birthday? * . Where was Walter Cronkite born? What is Woody Allen's real name? .What major awards has Fred Astaire received? *.In which movie did Jerry Lewis and Dean Martin make their screen debut? **..Which films has Ida Lupino directed? How old is Rudy Vallee? . What are Bill Mauldin's screen credits? * When did Jason Robards first appear on stage? * .What is Ruth Gordon's maiden name? .What was Ingmar Bergman's first theatrical success? Edited by MIKE KAPLAN Thousands of such interesting questions are 450 pages, flexible binding Large 8 1/2 )( 11 format * answered in the first \" who 's who \" in entertain- ~-.----- --~I . .TO: Garland Publishing, ment - worIdwide. More than 6 ,000 capsule biographies spotlight I 136 Madison Ave .. Dept. FC. N ew York . NY 10016 ** actors , actresses, directors , cinematographers , pro- *** ducers , composers, dancers , choreographers, de- I Send me a copy of VARIETY W H O'S I W HO IN SH OW BUSINESS @$ 15.95. signers , film editors , musicians , song and screen writers , and executives . plus any local .ax . Here yo u'll find often-elusive dates and places of 0 Paymen. enclosed . birth , as well as information on education , career changes , credits and awards won through 1982, I 0 Charge my OVisa O MC O AmExp and other lore. l aI c ' - - - - - -- - I exp I Name _ _ __ __ _ __ I Address _ _ _ _ _ _ _ __ * * * * * * * * *I:·~i:. _____ _It's a handy guide - and fascinating reading. Cily__________ 68

I always used to feel as a kid that maybe there were people who had a lot more talent than I had, that I just had a little ribbon ofit, a little thread ofit-but then ifI couldfollow it long enough that I couldfind the real deposit later. 1 that wants to bulldoze it into something I always used to feel as a kid that /- ofaccounting and bureaucracy and nine- maybe there were people who had a lot So That You Can Live (for Shirley) to-five and, \"What do you mean , there's more talent than I had ; that I just had a A film from Cinema Action . london , U.K. children in this studio?\"-I hate that. I little ribbon of it, a little thread of it- 85 min ., 16mm color, 1982 will kill that. Because that to me is what but then if I could follow it long enough Festivals: Berlin , London , Edinburgh. Sydney, Figueroa da Fez So That You Can live is a pioneering work 0 1 popular memory has destroyed a big part of our movie that I could find the real deposit later. whIch transforms our understanding of the documentary genre and the terms of the real ism/anti·real ism debate. The film 's heritage in the country already. It's as And then maybe a lot of those people emphasis and major contribution IS thai it works towards an et· though someone tore down the Chrysler who had such impress ive flash-in-the- fective memory for struggle which does not reflect or reconstitute Building, which is what has happened to pans of talent would fade away, and they a past . but produces it In and for the present . In the spirit of the Brechtian maxim: \" Don't start from the good old things, but the Warner Brothers, or knocked down the have. So that I'm now , more than any- bad new ones.\" Brooklyn Bridge, which is what hap- thing, interested in getting to go my own Cfaire Johnston pened to MGM. And not only did the way. And I don ' t think that the regular Not a minute overlong at 85 minutes. this is an extraord inary documentary about a family In a South Wales valley communIty edifices or the systems go , but the tradi- movie business is going to tolerate me. whIch has been struck down in the last five years by the socailly destructive consequences of pit and factory closures and tion of the youth coming in, the yo ung I think that my kind of unfortunate unemployment. Slow and beautifully controlled , a poetry unfolds '\" this film of enormous depth of feel ing and lucid intelligence, people. thing with the newspapers is just based and in this way it becomes a passionate plea for the voice of con- science to be heard again in the labour movement. I find as I'm now pushing 45, all the on a misunderstanding, really. A misun- Michael Chanan more precious to me is to make sure that derstanding that can't be undone. But It has a reflective quality that removes It qUite away from the old the young people inherit the cinema. they didn't count on one thing: how a lot agitprop style of hard and fast argument ; and a pol itical Integrity and deceptive simplicity that removes it both from the style of Gller· Because the middleman and the mer- of the stuff I did was really sincere. I son and his followers , and from the confident paternalism of much cur rent broadcasting documentary. II is a film that offers voices chandising men and the marketing men didn ' t show One From the Heart to do a so o\"en silenced a space to speak. We may find here an aesthetics and a politiCS for the 1980's. will close the youth out of it, and the publicity scam; I showed it to try to save Sylvia Harvey traditional old leaders out of it-the so- it. And I didn' t show them the studio to .. a portrait , not only of one woman , but of a famIly, a class, called valued , former filmmakers who be a wise ass; I was proud of it. I thought and a country. The family 's perceptions are echoed in one passage from the Williams tex1: \" II's so close, thiS life in the family, '\" the still want to work and participate. See, it was a good idea. And they' re so cynical valley, this effort and struggle at work . 11 is so close we don't need to be told about il, until we see that very different forces coming my whole idea was to keep those two today that they assume that anyone who from fight outside are putting suc h pressures on us that we are forced to ask what our lives really are, what th is place really IS.\" extremes. To me, it's a war, that I don't does that kind of stuff must be getting Ruby Rich imagine I would try to win, but it's the Park Place and Broadway in a Monopoly American Film same thing that happened to automo- game, is going to make them pay. So I So That You Can live is about the hfe of the valley of South Wales, a mining region that was fed and exploited by the expansion of biles when the designers stopped de- always have been too candid, I always British industrial capitalism in the 19th century. What makes the film of particular interest is its serious and in some ways untque signing cars, and the kids didn' t run to tell people everything that I feel and I'm exploration of documentary form . low key, nonlinear and non· dramatic in structure, it is a film whose seriousness of subject the newspaper because the 19XX Pon- aware that I have seriously endangered, and process deserves our attention. tiac was coming out .. . we ran , we would if not half-finished , my ability to go on Amy Taubin Vii/age Voice walk miles to see a new car. And that doing my own things. Because of a cou- (201) 891~240 problem spread allover every level of ple of misunderstandings. our lives and our world and it's going so If somebody swooped down and said quickly that I need almost a couple of \"All right, we'll give you billions of dol- yea rs to think about it, to understand lars,\" would you have afield day or would whether I should give up or I should ... you still quit or would you wait three years or maybe I'm doing it in a wrong way. and think about it? I never thought of myself as a younger First thing I would do is take the bulk person as being particularl y special or of it, and I would try to unite, not in fact particularly talented. I just knew that I but in spirit and economics, Canada, all work harder than anyone and I had a lot of North America , Mexico, Central of good ideas, fresh imagination. But I America, South America. I would make couldn't make anything where people'd this continent so economically protected say, \"Ah, isn't that beautiful. \" Even that it would form some kind of common now I can't do it. I' ve never made a film market. Because I would guess that if that has been received like that. A lot of you could pull that off, then it would be my films in retrospect have been that, something so formidable that there's no but the pleasure of making it and put- one else on earth that could want to give ting out like you serve a meal and every- that any trouble, because it would be too one says, \"Oh boy, was that good!\" I've stable, it would be too rich. never really had that. No one ever makes the connection be- 69

tween your thoughts ofgoing to Belize and hours from New York, it's English- son film is so beautiful is because it has speaking, there's hardly any people occupied our imaginations for 80, 90, its proximity to the area over which Amer- there. I really.. . what I was thinking, 100 years and they have learned how to ica is most troubled and where it needs an my fantasy-well, I'm not going to re- get those emulsions, to carry those little American to speak to people . ally do this, of course, but in my fantasy chemical spots, while the electronic me- life if I were writing a story about it, dium . . . . If you saw Betamax 10 years There are many other aspects to this that's what I would do-I would tum ago, you wouldn 't believe that it exists. issue. You can imagine that I have been the young people of that country and the talked to by people in Washington, and young people of the Caribbean and Now I have a camera which is this big people say, \"Well , why do you want to young people in general to video. Give and you can put the cassette in it, you possibly do anything in a place like that, them the tools to do it and then make it a can put the video right in it. The high in a troubled area . . .?\" What they don't little national industry. definition television that Sony has de- stop to think is that troubled areas al- veloped shows that the physics can ac- ways get the money, because Belize is So you believe in video more thanfilm? commodate what we're talking about as necessary to the area, like a Hong Kong There will not be film in 15 years soon as this enormous world market is or a Switzerland , to stabilize it. There is except for industrial and biochemical or going to cave in. You have to realize that an airpon and it's functioning. My idea analysis reasons; it's simpl y . . . one country is one type, another country was always based on the notion that the remember what happened to Super 8 is another type-countries can't really Caribbean was the Mediterranean of the black and white, then there was no black intercommunicate. The quality is poor, future , and that one of the big four world and white. Now there is no black and it's monaural, it's small. industries was going to be telecommuni- white 35mm film. Film is already like cations. And telecommunications can be the horseless carriage; it's not relevant. This is going to change very quickly, based anywhere you want to put it. The thing about film is that it is so beau- if the little vested interests that control What it needs is one beautiful environ- tiful, and it's in the apogee of its develop- broadcasting will let it. The reason the ment so that half the people would want ment, that one can' t say that there medium isn't growing is because the to go there. Belize has the biggest, most should be no film. But I'm saying, aside people who control it don't want it to gorgeous coast, untouched , anywhere in from that, that film is dead , it's finished. change. Usually history tells us that you the world . And two , it has to be a small, Because the new medium is so incredi- can' t stop that kind of innovation-lO independent country, because you want bly flexible and immediate and econom- years later or 20 years later, it's going to to have your own satellites and you want ical, and can be as beautiful. go. When it goes, it's going to be one to have your own government adminis- It can be? standard and everyone in the world is ter itself for the good of your main indus- Oh, sure it can. I mean, basically, going to be able to see everything in try which is telecommunications. when we talk about the beauty, the rea- their language. Well, this is going to change the world. It's going to change Belize is three hours from here, three The 8th Hong Kong International Film Festival April 12 - 27, 1984 .Accredited by the International Federation of Film Producers Associations Presented by the Urban Council of Hong Kong 70

Nuclear Issues Films & Video Direct Cinema Home Video* Atomic Film clips from newsree ls, train - China Jane Fonda, Michael Douglas, Cafe Ing films, and TV shows, w hich Syndrome and Jack Lemmon star In this related to how America ns per- fictional story of a Th ree Mile ceived \"Th e Bomb\" In the 40s Island-type nuclear reactor melt- & 50s, are combined In a telling down. Director James Bridges and often Ironic Juxtaposition. probes the Issues of a cover-up of the disaste r. Dr. Th iS claSSIC by Stanley Kubrick Fai/ After a computer error launches presents a humorous and fright- Safe an Irreversib le nuclear attack o n Strange/ove ening look at the dangers of Ru ssia by SAC, the heads of nuclear war. Starring Sterling each government struggle to Or How I Learned to Stop Hayde n, Peter Sellers, George save the world from annihilation. Worrying and Love the Bomb Stars Walter Matthau and Henry c. Scott , and Slim Pickens. Fonda. On The In thiS adapt Ion of Nevil Shu te 's Wasn't That Pete Seeger, Lee Hays, Ronnie Beach novel, a group of Austral ians A Time Gilbert and Fred Hellerman, for- await the effects of a nu clear merly The Weavers, reminis ce war that has destroyed the rest whil e preparing for th eir 1980 of the world . Stars Gregory reunion at Carnegie Hall. Inter- Peck, Ava Gardner, and Fred views and music combine for a Astaire . telling history. Direct Cinema's Exclusive Films & Video** Eight Minutes Thi S filmed po rtrait of Dr. Helen The Knowledgeable experts who Caldlcott captures both her Freeze are co ncerned by the nuclear to Midnight pass ion as a tireless ad vocate arms race, provide detailed and her skills as a pediatrician An Overview of facts about the need for a freeze 1981 Academy Award Nom. to communi cate the effects of the Arms Race o n the build-up of nu clear wea- Best Feature Documentary radiation. pons. 60 m inu tes 16mm /video Color 25 minutes 16mm /video Color 1It You Love In a campus talk, Dr. Helen NoP/ace Martin Sheen 's narration re- This Planet Caldi cott , clearly emphasizes creates the chilli ng effects of a the medi cal peril s of nuclear To Hide child growing up in the 50s. Vi n- Dr. Helen Caldlcott war and revea ls a frigh tening tage film clips show nuclear on Nuclear War progression of events whi ch Growi ng Up in the attack as being survivable. Academy Award 1982 would follow a nuclear attack. Shadow of the Bomb Best Short Documentary 26 minutes 16mm Color Narrated by Martin Sheen 29 minutes 16mm Color National Film B oard of Canada 'Direct Cinema Home Video Cassettes are available in BETA & Fo r add itional Informati on and o ur free catalogue contact : VHS for purchase only. Preview and rental co pies are not available. Direct Cinema Limited ~, Post Office Box 69589 \"These films are excl USi vely available from Direct Cinema Los Angeles, CA 90069 cmema Limited for ren tal, purchase, or preview. (213) 656-4700 limited © DCL 1983

I have no present at all. I live like a flea in between two blocks ofgranite . .. I never have time to do anything I want to do ... I'm always basically solving some problem which is not necessary. I'm always under the gun . ... politics, economics, art-and I assume working on a lot of projects, but when I it's going to change it for the better- was most happy in January, February, since we know that in the past, usually, and March of this year-it was a period bad vested interest groups are those who which really fills me with a lot of hope, hold the information. So I'm looking at when I was supposed to direct The Pope that world , which is the world in which of Greenwich Village. You know, I had I'm going to be an old man. And I'm some good ideas on it; I had Vittorio giving up on this world , because I can' t Storaro and the idea of making a kind of deal with it anymore. George Orwell, down-and-out movie- in New York. I got excited about that. Does that mean that Zoetrope, as it's Then they kept delaying it, partly be- existed in its various forms for the last I2 , cause Al was over on his picture, and 13 years is a thing ofthe past? then it stopped happening. And I de- cided, instead of waiting for it or caring, Well , Zoetrope has always given birth that I would start work on a new project to itself over and over again. It's done it that I had been thinking about. And I four or five times. We were American would go to this cottage that I have-I Zoetrope because we were very young, have a beautiful library in Napa ... on, we were very sincere, we believed we you've seen it. And I would go every day were American filmmakers and that and work on this thing and I just put out Zoetrope was the traditional symbol of in those two months 400 pages of really the cinema. After a while, we realized interesting stuff, and I was working on when we were more cynical that Amer- that when I got the phone call about The ica wasn't going to help at all. That Cotton Club . you 've got to become international Zoe- trope if you want to be anything. Or That stuffyou were putting out then, can even more into new dimensions: Omni- you give us an idea ofwhat it was. Fiction? Zoetrope for about a month. And then the idea of the studio came up and that Oh, yeah. My idea is that I would like really warmed my heart, because what I to pass on to another job classification. I love more than anything is the theatre. would like to be a kind of-I don' t have The studio. The commissary, the actors a name for it, so I can only toss out some coming, the excitement, staying up all funny names for it-but I would like to night, getting the scri-pt down . We be like a chromakey novelist. You ha- thought we'd have our own Hollywood ven't seen any of the rehearsals, have studio in the image of the old one. And you? We now have the means where I when that wasn't able to support itself, can have a group of actors and I can say, which is where we are now-I think it's \"All right, go out there and you're in a about to be reborn; I think it's going to car and etc. , etc.,\" and I can do that. probably be called Zoetrope Corp. , and And the actors play it and when you see it's going to end up in the Chrysler it on the screen it looks like they' re on a Building which is going to buy it . .. set. That can be done very convincingly if you know how to do it. You put it in So far you've been describing all those front of a screen and it would be kind of pasts and all thisfuture in this very compli- invisible and you could do anything you cated way-do you have a sense ofnow? want, but you can do many sophisticated things, so you can totally create anything I have no present at all. I live like a you might . .. if you use live actors ... flea in between two blocks of granite, you can put live actors ... so it's not there's no space, it's horrible. I never something artificial or cold; it's just that have time to do anything I want to do. I the scenery is fake . feel I'm always basically solving some problem with somebody which is not It's very like the theatre . necessary. I'm always under the gun. I But unlike the theatre, you do it by try to be courteous with people, but shot, so you can get the full vision of the there are lots of people! Usually I'm 72

,,* *** F01.rStars The Festival sweatshirt has it all . Critics rave about the 21st New York Film Festival The grey cotton/poly sweatshirt souvenirs available at the Lincoln Center Gift with maroon logo is available in Shops and by mail. The Shops are located on the sizes S,M ,L,XL.\" $17.50 ppd. Concourse Level , in the lobby of Avery Fisher Hall , and during the Festival in Alice Tully Hall . \"At last a mug of our time. The highest rating for this grey 12 oz. ceramic mug with maroon Festival logo .\" $7.50 ppd. \"A masterpiece, \"Brilliant! the utterly original grey mesh Don 't miss the hit of the year- tote bag with maroon logo and there 's overwhelming demand for trim is the surprise carry-all of the T-shirt of grey cotton/poly the season.\" $16.50 ppd. with maroon Festival logo . Avail- able in sizes S,M ,L,XL.\" $9.50 ppd. . .Mail to' Lincoln Center Gift Shops Dept FC 140 West 65th Street New York NY 10023 To order by phone: (212) 799-2442 Un itprice Item # Description Size P.PD . Qt y. Total 66022 T-Sh irt Name $ 9.50 Address 66223 Sweatshirt 17 .50 City State Zip o Check or Money Order o Mastercard 65046 Tote NIA 16.50 o Visa 73087 Mug NIA 7.50 o American Express Subtotal 0000000000000000 NY State residents add ta x Exp . date Allow 4-6 weeks lor delivery Handling charge $2 .50 TOTAL

il~FILM/ VIDEO ' ESHLEIZRA©BEIT~ IrH-;.~ My whole life I have never had a vacation; I haven't been able to stay in an apartment or W)SELECTIONS have fun. It's always been this absurd life . ... STUDIOS SHORTS/ INTERVIEWS/ FEATURETrES 10 minutes, Color Video cinema and you can make the whole utopia. I think that utopia is a word live report on Fantasy phone service - an elec- illusion. I want to basically pick up not tronic update on the world's oldest profession . with the great filmmakers but with the whose time has come. We used to make great thinkers and novelists who were fun of it, and we all know that the word 8 minutes, Color Video my brother's interests: Joyce, Thomas utopia in Greek means nowhere. The Park policewoman and mother tells all. Mann, etc. And try to write a novel. But way I'm going to do it is in a kind of instead of it being a novel on the written elaborate, novelistic structure which has FILMNIDEO FESTIVALS: MILAN, AFI WOMEN page, it would be written in cinema. an intermission and a very bizarre IN FILM, ATHENS, MONT BEllARD, ANN second half going later and later into the ARBOR, SAN FRANCISCO, BIG MUDDY, MILL Would you distribute this in the form of night until the section that deals with VALLEY. cassettes or discs ? three in the morning is really a wild section which ultimately puts forth the 7 minutes, Color Video No, film. It prints out as movies. But basis for the concept of utopia in the itcan be made in 1I20th of the time. And course of this mad hallucination that Fast paced image montage commentary on that's what I'm going to do. Instead of goes on. But I want to make a film about Today's world , featuring soundtrack by FLIPPER . making a regular movie . .. 20 at a time, utopia, about what it is. It's been ig- I'm going to take the same money and nored. Everyone just laughs at it. We Also available from LV. STUDIOS: TOO YOUNG, make it 20 times bigger. Go the other don't even think about it. JUGGLING, BEAT IT, RAZOR RIBBON. way. It's called-I'll tell you what it's called-Megalopolis. It all takes place in You were talking about that period ear- For bookings and information please New York. And it's contemporary. It has lier this year where you were writing a lot telephone: many characters and it takes place in one and obviously writing some ofthe basisfor day. this project, when along came The Cot- (201) 891·8240 \"7-\".\" \"1i.1_::' ton Club. Can you go back? Like Joyce ? Or write: Like Ulysses. But that's in all our Well, The Cotton Club happened origi- lives , that pressure. Megalopolis is like nally with Bob Evans, whom I don't Tokyo ... but also, New York to me now know very well, but somehow Bob is the perfect setting for a film which is Evans inspires people to want to take going to attempt to deal with questions care of him-maybe because he's like a of who are we, where are we, what is the reckless prince or something. At any human race at this point? It's based in rate, he's gotten in trouble a couple of parton Roman history, because it takes a times, and I've always felt compelled to period in Rome just before Caesar, in help him. He called me in desperation which the conditions in Rome were al- with some hokey metaphor about his most identical. Everybody was into baby was sick and needed a doctor. Bot- death , all the values had turned into a tom line, I said I'd be happy to help him pursuit of money. Society was just spin- for a week or so, no charge , to see if I ning itself out. And this is the time of could give him my opinion. I was just Cicero . . . and I researched this period, thinking that maybe the script was a taking the incident of the revolt of Cati- little screwed up, and quite honestly, line, and 1 want to tell that story in a kind I'm always anxious to try out my inven- of Plutarch vision of New York as the tions. And he came up and I looked at it Roman city, although it's not going to and I saw that there was nothing I could look Roman, it's going to look like New do in a week. There was nothing there, York . it was a shallow gangster story without Catiline was a real interesting charac- any attempt at anything, you know? But ter. He just wanted to burn everything in reading some of the research , I started and kill everybody-jus't to go down to become more ... there's a lot going on with society; he wanted to destroy it. A in that period and it's very rich and very very interesting idea, ofcourse. But ulti- stimulating. It has music, great music, mately, in its biggest scale . . . it has lots and it has theatre-because it was a the- of dimensions to it. You know the Ben- atre-and it has beautiful dancers. So dix takeover . .. it kind of tells itself on a ultimately I took a shot at the script, level like that, and also the Steve Ross then I reworked it. The whole thing was Corporation . . . it runs through the entire trying to hold it together for him. He city: through the sewers, the stock mar- kept offering for me to direct it, and I ket . .. it also shows the city as an organ- didn't want to because I'm terrified of ism. I really wanted to make an epic being in a situation where I have people about today that deals with the theme of second-guessing me. Because my ideas

don' t sound good whe n I first say the m , and they always so und really good late r if I'm allowed to do the m. But if I have to fight for everything, like I had to fi ght for AI Pacino and Marlon Brando, I don' t have the e ne rgy anymo re for that or I'm not willing to put up with it. So I made it very clear that if I we re to do the film , I would need to really control it on every possi ble leve l. And the n of course I come he re and although I have those rights, the same thin g goes on. So finally I' ve just been putting the m all in thei r place, for the sake of the picture. What happe ned is th at I'm goi ng to do this film , Interface, which is very worth- while, and I sort of fe ll in love with Cotton Club, if I could get to do it the way I see it. It's like an e pic in its own way. It is an e pic. It's a story of the times: it te lls the story of the blacks, of the white gangste r, about e nte rtaine rs, ev- erything of those times, like Dos Passos, and the lives all thread th ro ugh with \"Minnie the Mooche r\" and \"Mood In- digo.\" You can' t lose if you handle that right. You obviously knew that Evans was keen that you direct this, and it didn 't take too much to see that the screenplay was a bait. America's Moviest V eo Catalog Just Got Movier. When was it that you knew you were going to do it? Well , you know, my li fe has been ve ry difficult this last year. I mean, we have the loan and the n the re's an article in • 1000's & 1000's of titles on VHS, BETA, VideoDisc-Nobody has more! Newsweek and we lose the loan. So it's • Order with confidence from one of America's largest, most been really like that, and I don' t take it dependable home video services. too hard . I'm pre tty good about that It:s bur~ting at the seams with pure video entertainment. From early Silent films to the latest releases ... the classics (and not-so- stuff, but it puts you in a state of confu- ~Iassics) ... concerts ... cartoons ... famous tv shows ... foreign films ... sports ... hard·to·find titles ... the list goes on and on. sion, and we got ready for bankruptcy You'll also find compl~te listings for video games, accessories, blank tapes and more! Imagme-154 pages jam-packed with a complete and E llie had to turn over all of he r ~escrip~ion of every title, trivia, delightful photos and Illustrations ... and access to the entire exciting jewel ry and they came into the house to world of home video. So stop searching. And start finding. Order yours today! do all .. . So this was going on, and I can' t (Enjoy Adult Video? Enclose an additional say for sure w hat I am go ing to do be- $2 for our huge Adult Video Catalog!) cause I don' t know what the givens are. The Pope of Greenwich Village job was one that would pay a salary that would help, and the re we re several writing of- fers, and I almost wanted to work on something just so I could avoid all this chaos. So I said , I'll do Interface and The Cotton Club, one after another. I fi gured o Enclosed Is $5 (cash, check or money order). with that I would deal a devastating Send me your new Video Catalog, plus periodic updates of new releases and sale Items. blow to my fin ancial problem-maybe even find myself a couple of years . .. a o Enclosed is $2 additional. Please Include your chance to have a rest. I would very much Adult Video Catalog. I am over 18 years old. 6736 Castor Ave. • Phlla. , PA 19149 like to have that. I' ve had no life, my 215·722·8298 whole life I have neve r had ainvaacnataiopna ~' ­I Name ____________________________________________________ haven' t been able to stay ment or have fun . It's always bee n this Address __________________________________________________ absurd life. And I knew that The Cotton Club material was so rich that, if I had City _________________________________ State _ _ Zip _________ control , there was no reason why I Phone __________________________ lfC] © 1983 Movies Unlimited. Inc. couldn' t make a beautiful film our ofit.~ _ _ _ _ _ __ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ~~~75



by Stephen Farber Iywood may inspire other frustrated unexpectedly resonant cha racterizations and performances, by some technically A special-effects sc ience-fiction filmmakers to seek out alternatives to exciting intercutting of 35mm and movie for adults? Surely that's a contra- stu dio-funded pictures. 70mm footage (the latter reserved for diction in terms. In recent years \"sci- the visua li zation of the characte rs' ence fiction\" has come to be synony- Probably everyone knows part of th e thoughts and feelings), and by a pie rci ng mous with Buck Rogers-style comic Brainstorm saga: Three weeks before emotional intensity. strips, and \"special effects\" conjures up the end of principal photography, Nata- the nightmare predicted by Aldous lie Wood drowned off Catalina Island . Working for a large corpo ration think Huxley in Brave New World-mo vies Although Trumbull insisted that the tank, Dr. Michael Brace (Christopher turned into Feelies designed to jolt the film could be fini shed without Wood, Walken) and hi s colleague, Dr. Lillian least discriminating juvenile viewers. MGM closed down production and Rey nolds (Lo uise Fletcher), have per- locked the sets. At the time the studio fected a new brainscan technique capa- Imagine, then, the surprise of a movie had a $675 million debt as a result of a ble of recording peop le's thoughts and that makes full use of the visual and series of box-office losers, and it desper- emotions on videotape-anyo ne who sensual possibilities of the medium , not ately needed the money that it could get plays the tape can vicariou sly experience to provide teen pix kicks but to drama- if the film were scrapped and the insur- the other person's mental and emotional tize the dissolution and reparation of a ance company paid the studio's $ 15-mil- uni verses. Walken gives a commanding marriage , a man's struggle to retain in- lion claim. But Trumbull persuaded portrayal of the scientist as an idealist tegrity in his work, the search to under- Lloyds of London that the film could be propelled by his own curiosity toward stand and prepare for the experience of completed, and it was the insurance death. These are the central themes of Brainstorm, and they may not be com- Doug Trumbull on the set of Brainstorm. prehensible to today's \"core audience.\" Although the filmmakers and the studio company that eventually put up the unprecedented creative triumphs as hope the movie has enough kinetically additional $6 million. well as toward potential self-destruc- exciting scenes to mesmeri ze young tion. Natalie Wood plays his wife, a de- viewers, it is likely to exert its most pro- • signer who is leaving him because of his found attraction to people who have lit- obsessive involvement with his work tle interest in seeing Porky's, The story of Trumbull's struggle to and with Dr. Reynolds. Wood is in a Flashdance, or even Return ofthe Jed;. complete Brainstorm would make a moving sequence in which Michael pretty good movie itself: an epic tale of a tries to effect a reconciliation with hi s The screenwriters-Robert Stitzel, maverick fighting a monolithic corpora- wife by recording his own memories of Philip Frank Messina, and Bruce Joel tion that is prepared to destroy a work of the rapturous early days of their ro- Rubin-deserve credit for tackling art in order to expedite its cash flow . mance and then giving her the tape these mature themes. But the prime Actually, that movie has already been and allowing her to share hi s recap- mover behind the film is producer-direc- made, and it's not The Fountainhead; by tured romantic ardor. tor Douglas Trumbull , who is best coincidence or design , it's the very story known for the special effects he created told in Brainstorm. The movie cele- The most astonishing performance is for 2001 : A Space Odyssey, The Androm- brates the heroic effort of a research sci- given by Louise Aetcher, who tops her eda Strain, Close Encounters of the Third entist to keep his creative vision from Oscar-winning portrayal as Nurse Ratched Kind, Star Trek: The Motion Picture, and being perverted or destroyed by corpo- in One Flew Over the Cuckoo's Nest . Lil- Bladerunner. Trumbull directed one pre- rate interference. lian Reynolds is a cantankerous, uncom- vious movie, Silent Running (1972) , an promisingly brilliant woman with the appealing ecology-minded fable featur- As a story, Brainstorm has echoes of valiant single-mindedness-and the ut- ing miniature robots that prefigured the other melodramas from Frankenstein to ter ineptitude at social and personal in- more popular droids of Star Wars . Day of the DoLphin, Altered States, and WarGames . But it is enriched by some Brainstorm is a giant leap beyond Silent Running: an engrossing, complex film that renews one's faith in the sur- vival of movies as something more than kiddie circuses. Yet Trumbull had such a hellish six years getting Brainstorm com- pleted and released-stemming only partly from star Natalie Wood's death in November 1981-that he's decided , for the moment at least, to abandon Holly- wood filmmaking altogether and con- centrate on experimental movies. He is deVeloping a new 70mm film process called Showscan which can be screened only in theaters that have not yet been built. If he sticks to this resolve, it will be a major loss to the industry, but his determination to break away from Hol- 77

Spaceship in Silent Running. Starchildfrom 2001 . 78

teraction-of a mi fit-genius. Her dea th Trumbull's special effectsJor C lo e Encounters. scene, in which she actually s ucceeds in recording her la t thoug hts on tape , may executive , producers, and directors can w h o le management team udd en ly become a movie classic; it beg in s in physical agony and reaches th e ec ta y hardly pretend to understand . The be t shifted, and the project got dropped. of transfig uratio n a nd tra nsce ndence . way to control someone who's smarter That ke pt hap pe nin g to m e. • than you are i to tick him in a niche and Then I diverted m yse lf into a re - Brainstorm takes u o n an emoti o nal roller-coaster rid e of the most vertigi- keep him there. If other SPFX designers sea rc h and development project a t Para- nou s va riety. It has mome nt of mi sc hie- vou wit, others of Iyri ci m, patho , and were given the kind of control that Trum- mount ca lled Future General Corpo ra- terror, oth e rs th at achieve a e nse of my tical wonder. Inevita bly, so me of bull had on Brainstorm, they mi g ht we ll ti on, where among ot h e r thin gs I the film 's ideas are treated in too abb re- viated a fa hion . When o ne of th e timid shatter all our ideas of what movies de veloped thi s S howsca n film process , a lab technician pl ays a tape th at wa. re- corded during a man 's exual experi- could be. hig h-speed, 70mm mo ti o n-pic ture pho- ences, it come close to destroyin g him , but ultim atel y liberates him from the tography and projection tec hnique. It's rigid life he has chosen for him se lf. This might have been a fascinating theme for Douglas Trumbull fundamentally a gia nt sc reen process a whole movie to explore; treated in a interviewed by which , throug h its particular tec hniqu e. perfunctory PG tyle (the . cene was c rea tes a tre mendo us illu sion of three- trimmed to avo id an R rating), it seems too truncated. evertheless, if a few' Stephen Farber dim e ns io nality. The ma nageme nt a t provoca ti ve id eas are give n short hrift, we can feel exhilarated by a movie that Paramount, a nd C harli e Bluhdorn in reaches for more than anyone film can encompass, a nd achieves far more hit I gather that Brainstorm has been in the particular, wa nted to make a film in thi s than mis e . worksJor a long time? process; a nd it was in th at co ntext th at The only sig nificant failure comes at the end, when lic hael fin allv plays Lil- Joel Freedman, the executi ve pro- Brainstorm was developed. The movie lian's death tape. Trumbull's visualiza- tion of the adventure of death is o nly one ducer, brought th e project to me in 1977 was o rigin a ll y intended to utili ze the more pectacular li ght show in the style of the Stargate journey he designed for when I was working on Close Encoun- Showscan process. And as part of my the end of 200I. Perhaps Trumbull has set ters. So it's been a long haul since then . deal to comp le te Star Trek: The Motion himself an impossible task-to visualize something that cannot be visualized , to There was an original sc reenp lay written Picture, I sa id , \" If we do Brainstorm , offer a solution to the ultimate mystery- but the payoff is a cheat. The expressions by Bru ce Rubin th at needed to be we're going to do it in 5howscan, o r on Fletcher's face come closer to capturing the mystery of death than Trumbull 's boiled down but had all the concepts yo u' re go ing to have to pass on both 701TU11 extravaganza. that intrigued me as a film . I was trying simulta neously.\" Paramount ultim ate ly Whatever its flaws, Brainstorm proves to find a project that dealr with the iss ue did pass, and the project went into turn- that Douglas Trumbull i a far more ambi- of perception , and I felt the cript of- arou nd. tious and accomplished artist than most of fered that opportunity. the directors for whom he has worked as a Was i( the expense (hat scared them? special-effect designer. The common Did you find a loe oj resistance to the The theatrical movie indu stry can' t view of SPFX people is that they ' re me- project, or resistance to the idea oJyou as handle an y kind of signi fi cant techn o- chanical engineer. little more than tech- director ? logica l improveme nt. It's a huge , en- nobrats. But Trumbull , like matte-artist Albert Whitlock and SPFX wizard Bran A number of projects that I developed at rrenched industry with th ousa nd s of Ferren , is a Renaissance man ; the son of an the major studios came apart for reasons came ras and th o usands of theaters; no- artist and an engineer, Trumbull speaks for that were not my own. Arthur Jacobs died body's go ing to throw o ut a ll th e ir cam - a fusion of the arts and the sciences. when I had a big project with him called e ras an d throw o ut all their projectors Journey oj the Oceanauts. I had another a nd redes ig n their theaters and go for a If Trumbull and his colleagues are fre- big project called Pyramid at lGM ; then new system. It's JUSt not in th e ca rd , no t quently consigned to doing \"special ef- fect \" for empty-headed movies, that indi - Jim Aubre y decided to ge t ou t of th e in th e imm ed iate future. 50 I finall cates not their limitations but the limitations of the people who have the movie busine s and move to Las Vegas. abandoned the idea of tying the two power to hire them. Beyond that , I su pect that Hollywood i scared of these sor- r had a project at Warner Bros. when the togeth e r afte r g iving it a rea ll y good shot. cerer ; they perform magic tricks that most 79

Jon Instead, I came up with the idea of without special permission while all the Jost doing Brainstorm in both 70mm and negotiations took place. Fortunately, 35mm. In movies people often do flash- when we came back, nothing had been SPEAKING DIRECTLY backs and point-of-view shots as a gauzy, swiped from the sets. mys terious, distant kind of image, And I A FI LM BY JON JOST wanted to do just the opposite, which In stopping the film, was the studio mo- was to make the material of the mind tivated by purely finnncial considerations? 110 minutes 16mm color. 1974 even more real and more high impact Festivals: Edinburgh than \"reality,\" So we used 70mm for all I don't think a studio ever feels com- the point-of-view stuff, kept moving in fortable midway through the production A candid and challenging self-portrait, it carries autobio- and out of70, in and out of stereo sound. of a film. They're looking at dailies; graphical directness and political rigor a lot further than one You get everybody sucked in at the be- scenes are out of order and out of con- might have thought they could go in film . As an object lesson in ginning of the movie with a sort of train- text; they can't quite make sense of the how a professional, entertaining, and serious feature can be ing program in reel one. You illustrate picture. My opinion-and I think most made on the meanest possible budget. it could be studied to what's a point-of-view shot and give studio executives would tell you the advantage by film students everywhere. them a lot of candy, POV scenes of roller same thing-is that making movies is coasters, fun things, and get everybody like horse racing. They place a bet on a Jonathan Rosenbaum, conditioned to the idea. Then the movie certain package of a director, producer, American Film makes this transition and starts to throw and actors, And if you're halfway around at you more emotional material, subcon- the track and your horse isn't leading ...brilliant filmmaking.. scious material, effects material. I hoped and somebody says, \"Okay, you can call people would be conditioned to accept off the race right now and get your Amy Taubin it. money back,\" you'd be tempted. MGM Soho We..kly is a publicly held company with a board How did MGM become involved? of directors that has to answer to share- The most important American film of the early 70's . When the project was teetering on holders. MGM was in bad financial David James turnaround at Paramount, David Be- shape; no one was going to admonish gelman told me that he was very inter- them for putting $11 or $12 million back MilJenium Film Journal ested in what I was doing. He said he in the coffers, wanted to be first in line ifitdropped out In the history of the American avant-garde, SPEAKING DI- at Paramount. So I took it to him, and it Their problem was that LIoyds of RECTLY stands as a remarkable achievement: between the went immediately into development ar London, when it took depositions from currents of pure cinema and \"committed\" documentary/fiction, MGM, although without the Showscan me and other people, realized that the it asserts a deliberate primitivism , a return to the ideological process. It went ahead very rapidly. We film could be finished. Why should they roots of American radicalism . As such, it also bears comparison finalized the script, brought in Robert pay an insurance claim for something with Godard ' s Le Gal Savoir, another discourse on method Stitzel for the final draft. that really wasn't damaged goods? which refuses to take for granted what we think we know. How did the script change in thosefinnl MGM had paid about $11 million up to Natalie's death. Then LIoyds paid $2,75 Ian Christie stages? million for the completion of principal BFI Monthly Film Bull,,/in We simplified it. The original screen- photography and the presentation of the Highly cinematic anti-cinema. Jost's analytical approach pro- play was too complex-too many amaz- film to all parties in an uncompleted vi des us with more than a glimpse of a highly aroused, energetic, ing ideas to put into a two-hour film, It state. LIoyds finally paid another $3,5 and very human being caught in the trap of a self-deceiving was just incredibly dense with fabulous million to allow us to complete the visual society. Out of elements of contradiction and disunity, Jost has concepts. But it also was weak in terms and sound effects, the music, editing, fashioned an integrated whole far superior to the sum of its of character development, You can't do and dubbing, already considerable parts. both, A lot of the dialogue, a lot of the strength of the film came out of very Weren't other studios interested in buy- Pierre Dunn intense rehearsals that we had with the ing thefilmfromMGM? cast, For a couple of weeks it was like Film Qu..,t..\"y really heavy group therapy. Yeah, even after we had completed principal photography, MGM decided In a breathtaking dialectic, Jost fans out with maps and What remained to befilmed when Nata- that they did not want to pay the addi- documentary footage from Montana to the world at large, inter- lie Wood died? tional $3.5 million necessary to com- relating the people and things around him, through the system plete the film. I think they were simply of consumption , to the far-flung battlefields of Southeast Asia. When Natalie died , we still had about out of money, They decided to allow Kissinger, Nixon, masculinity, feminity, the filmmaking process, three weeks of principal , photography, LIoyds of London to offer the film to the military-industrial complex, and the neighbor down the road and after that, we would have gone into many of the major studios in town. A all are interconnected in a vast poetiC vision that binds the very some second-unit photography and ef- very nice deal was offered to them. Sev- personal to the global. A unique and powerful film . fects . Natalie had completed all of her eral of them made bids to MGM. And major scenes. There were two minor the studio suddenly realized that a lot of Noel Carroll scenes that were still left to shoot. And other people in this town were excited Soho We..kly as matter of fact, I just went back to an about Brainstorm, and were ready to put earlier version of the script which didn' t up millions of dollars , MGM figured Deeply satisfying, as well as deeply troubling . include Natalie in those scenes. So ulti- they' d look like jerks if they let it go and Don Druker, mately what we left out because of her it turned out to be a big success, So they death was insignificant. When she died , fin ally decided to work out this deal Chicago R..ad.., all the sets were locked and frozen on all where LIoyds of London would put up the stages, No one could get in or out the remaining money and become a Jost constructs a personal and social self-portrait which is our profit participant, LIoyds has points in self-portrait too, a mirror for us as more or less unconscious participants in a typical interaction of our society. Unsettling in the range and depth of its investigations, SPEAKING DIRECTLY reveals our common contradictions in a film as clear and audacious as any yet made in North America. Tony Rei/ Pacific tCinemathBquB Jost's success in SPEAKING DIRECTLY is that he translates into cinematic, political and American cultural terms the age-old theme of autobiographies - the meeting of one person's thoughts and aspirations with historical reality. Julia Lel8ge Jump Cut For bookings and information plea·se telephone : (201) 891-8240 Or write : so

the movie. happen now orfive years from now? 2 FILMS BY JON JOST What kept you going during all these There's a lot of research goin g on. I've frustrations ? been told that at least 50 percent of the Anybody in this town will tell you: It's brain research today is militaril y funded . a miracle when a movie gets made. I felt The Navy is spending a lot of money ifl didn't get this picture fini shed , it was trying to figure out how a man can con- very unlikely that I would ever get an- trol a plane by thinking about it; that's other picture finished. It's a tough busi- one of the scenes in the film. We were ness, so I just felt I was going to fight invited to visit Bell Laboratories in New tooth and nail to complete this movie. I Jersey, where we were told this kind of had too much invested personally. research is going on , and on the day we Is MGM now fully behind thefilm ? came to visit, a big security cl amp sud- Yes. Frank Yablans is a good show- denly came down . But you can bet that STAGEFRIGHT man, and he immediately recognized Bell and AT&T and IT&T want to 74 min ., 16mm color 1981 Festivals: Sydney. Melbourne. Toronto, London the film as a 70mm-experience film . know how the brain processes informa- Th e key ques l lons (o f alternati ve Cinema) we re posed by Jon The film is going out exclusively 70mm tion because it has to do with the basic Jos t' s superb STAG EFRIGHT . a dra malic medit ation on Cinema, th ea ter, performance and po litiCS whic h was too com - in October, the first time a film has gone structure of computer technology and plex and too ri c h fo r one screening 10 be salls fac tory The ending gave the m os t devasta ting example I have ever seen o f out exclusively 70mm in twelve or fif- communication. They alread y have c inema 's power to Jol t an audience ou t o f It s complacency, Ex t ra or d i n a ry! teen years. It'll go out in select first run ways of sensing certain states of mind . Meaghan Morris theaters in major cities and then go wide Right now it's possible for a paraplegic to Syd ney FinanCia l ReVi ew later for the Christmas holidays . It will simply look at a can of beer, and a com- One 0 1the mos t powerful and shocking erupt ions of Violence I've ever seen In a fil m. Like the killed rabb it In LAST CHANT S. It be one of the largest 70mm print orders puter sensing his state of mind will rec- both gratifi es our deSires for meaning and ac ti on and sho ws th e res ultant blood on one 's hands in th e proc ess , As long as JOSI ever, and it is the first film in twelve ognize that it's the can of beer he wants; goes o n m aking more fil m s Just as lruthful.l don 't ex pect him to Win an y popu larit y con tests years at least that's been shot largely in a robot will go over and grab the can of Jonathan Rosenbaum 70mm. Brainstorm really utilizes the beer and bring it to him . There are peo- Film Comment 70mm format and the stereo sound as ple actively trying to break the code of dramatic, integral parts of the film. how the human brain processes informa- I don't know why people don' t shoot tion. The Japanese are spending $50 more films in 70mm. The comparison billion on a ten-year program trying to between 70mm and 35mm is a very dra- come up with the supercomputer that matic contrast. In 70mm you can see will do what a human being can do. everything more clearly. You see the sets The last part of the movie deals with better; you see the locations better; you Christopher Walken trying to break into see the actors' faces better; the sound is the company's computer system . There better; the lighting is sharper and have been a lot of other movies recently- clearer. The cameras and the raw stock like WarGames and Superman 111- are a microscopic part of the whole about people breaking into computers. LAST CHANTS FOR A budget-why spend $20 or $30 million We would have been way ahead of SLOW DANCE on a feature film if part of it is going to be them if we' d stayed on schedule. 90 min ., 16mm color 1977 Festivals: Edinburgh , Sydney. Toronto. Benalmadena filtered out by the medium? Are you unhappy about that? The easiest and most disturbing o f Jost's feature s, and to m y My studio here [Entertainment Ef- I think it's too bad. I also did a lot of mind the besl , LAST CHANTS conc ei vabl y gets c loser to the mentality of the alienated and seemingl y moti vele ss ki ll er Ihan fects Group] is the only studio in the research into that, in terms of how you either Mailer or Capote. world that works exclusively in 70mm. penetrate computers, where you can Jonathan Rosenbaum Film Comment We have fourteen 70mm cameras here in find a computer's Achilles heel , and we LAST CHANTS is remarkable enough in its own term s but , this building; all of our effects are always actually interviewed people who had remarkable though it certainl y is. thai wo uld seriously underestimale the fil m 's impo rtan ce. For LAST CHANTS does done in 70mm. The studios and exhibi- been criminally indicted for breaking what virtuall y no other film made in the USA in the seven ties does · it exemplif ies the possibili ty o f a radical alternat ive tors and distributors have really cheated into computers. The kind of stuff that's cinema. In economi c . aesthetic and pOli tical term s · whic h does not inevi tabl y condemn itself in ad vance to an avant ·garde , themselves and fooled the audience, be- depicted in Brainstorm is very feasible. elitist or otherw ise narrow and sec tari an aud ienc e. cause the paying audience-the 15-to- You've set yourself a problem that may Jim Hillier Movie 25-year-old centerpin of the movie dis- be insoLuble-visualizing the ultimate ex- Beaul i fu lly film ed and edited , LAST CHANTS has the Impact o f tribution business-has never even perience of death . Are you satisfied with a powerf ul short st ory. Truly re markable , seen Todd-A-O or D-150 or Cinerama. the ending, or is it inevitably unsatisfying? Vic Skolnick Cinema Film Folio They have never in their lives seen a I don ' t think there's any way to be In Its reconci liat ion o f sophisti cated ' 1I mi c self ·con sclousness film shot in 70mm. Ryan's Daughter and either satisfied or dissatisfied. I'd like With c lear morall poll tl cal didactiC Intenl . LAST CHANTS IS as close as we have come to a Brec htlan Cinema. a ci nema for 2001 were a couple of the last films pho- the audience at the end of this movie to learni ng . tographed in 70mm . Nobody's even look at the stars and stop worrying about David James S. Calil. Art Journal aware of that. When they go to a movie their little world and think about this and see a logo that says 70mm Dolby huge , awesome life out there . But at the Stereo, they ' re not seeing 70mm; same time, keep that in balance with they' re seeing a blowup from 35. In your own personal life. This movie's re- -r ·j ,e:' For bookings telephone : Brainstorm you can see the difference. ally a love story. And it's about determi- .j j.) (201) 89H3240 What kind of research did you do? How nation ; it's about integrity; it's about not :\"'1\"(] n k lin much of what you depict in the fiLm-the letting a big company trample all over recording ofthoughts andfeelings-could you and den y you something that you 81

2 FILMS BY JON JOST want to do; it's about not letting business story or a bad perfonnance. If you want to get in the way of art or science. see effects without any story, you might as 75 min. , 16mm color 1977 well just go the a laserium show. I feel that .Festivals: Edinburgh . Berlin , Sydney. Toronto . Montreal Do you see a link between your ending the next frontier for me personally is as a 16mm. Bena/madena . CAge O 'Or and the ending of2001? director or a filmmaker. Effects to me are A sharp and funn y film. ANGEL CITY's Goya IS a notable additio n no longer a challenge; the challenge to me to the canon of screen detectives. Maybe, in some fu'nny way. 2001 left is dealing with the drama. you with the Starchild, and that was Allan Sutherland awesome in its own way and certainly So you see your future as a director Sight & Sound opened up a lot of questions in your rather than in the special-effects field? mind ; it made for great coffee table con- A really joyous endeavor - it's weird, smart-ass. and totally versation after the movie was over. I I won't do effects for anybody any- irreverent. Proof positive that some of our most exciting ci nema is wanted to balance that with a little more more. I don' t even want to do effects for being put together by the people on the streets, not in the Bel Air humanity in thinking about its effect on myself. mansions where the Hollywood honc hos li ve. Thank God for Jost the people. and his ilk. theyre keeping the art of ci nema al ive and well. What's happening with your Showscan Was Kubrick a major influence on you ? process? Phi/adelphia Drummer Yes, vety much. Kubrick's film are not Kabuki Raym ond Chandler: Jost's best scenes are strong enough usually the normal linear dramas or It's really getting going now. It's just a to stand as film essays In themselves. melodramas; he's using the cinema, us- whole new way to make movies. It's a ing film. He has an incredibly meticu- highly powerful and compacted experi- Hoberman lous technological approach to making ence. The films will be less than an hour Village Voice movies, which I like a lot. I've tended in length, but you' ll feel completely ful- Br ightl y funny and extremely tn~en l lve. Rarely has Los Angele s more toward that kind of filmmaking, filled. And we're going to be not only been used to such effect as In ANGEL CITY rather than just trying to record some- shooting the films but distributing the Martha DuBose body's novel or stage play. films and building theaters for the films. Sydney Morning Herald On the otherfilms where you've created This is a totally new kind of medium. ANGEL CITY gambles. su ccessfully. o n striking a bargain w ith the the special effects, did you enjoy a real audien c e: th ings you never thought you'd see in a private eye collaboration with the director ? Will the films have stories? mo vi e in exc hange for a series of political lessons that would I felt there was a very strong collabora- Full story, full drama, actors. Every- otherwise find no audience. Genuinely specta c ular film ic effec ts. tion between me and Steven Spielberg thing that you have in a regular film, but on Close Encounters . We did things to- the audience is more of a participant. Ian Christie gether that we're both very proud of. This is something you'll do outside the NFT, London But I don ' t find any really singular direc- commercial mainstream? tors whom I admire right now. Actually I Yes. I see very few films now. I'm not just a Then you' ll do another Hollywood film director; I run a $3 million effects movie ? CHAMELEON studio here. A big problem for a guy who I have no interest at this moment in wants to do something unique in the time in doing another Hollywood fea- 90 min. , 16/35mm color 1978 movie business is that the studios simply ture film. Absolutely none. The movie Festivals: Taormina , Edinburgh, Deauville, Sydney, Prize- refuse to pay to carry that kind of equip- business is so totally screwed-up that I winner US-Festival (Utah). Bena/madena ment. None of the studios has an effects just don't have the energy to invest Bob Glaudlni's periormance as Terry IS absolutely rivel i ng. Jost department. In order to have cameras three or four years in a feature film. seems to have captured, more or less exactly, the kind of Moviemaking is like waging war. It de- California life-style that makes convention of the unconventiona l. available for what I want to do , I have to stroys your personal life, too. The peo- Jost's inventiveness has an irreppressible edge to it that stops own them . So I have to split my efforts ple who can survive the process of mak- pretension in its tracks. in terms of dealing with business man- agement, insurance policies, and pay- ing films have largely given up their per- Derek Malcolm rolls, just to keep this company going. sonal lives in order to do that, just be- Manchester Guardiaft cause it's such a battle to make a movie. A triumph of artistry over budget. Jost's day in the lIfe of a lean, I'm interested in exploring what And in doing that, they've isolated mean Los Angeles hustler is a cautionary lale about the self- movies can do. I've done visual effects themselves from the very audience that destructiveness of American opportunism, Packed with bold and photographic effects because I find they're trying to reach. VIsual metaphors, CHAMELEON IS a nervy. intellige nt. exc iting it's one of the most challenging visual art advance forms. I'm not there because I'm a ma- Isn't it possible that you' llface many of chinist; I'm there because I'm an artist. I the same problems with your Showscan Nigel Andrews used to be an illustrator and a painter. operation? You'll still have to deal with American Film And I like pushing the frontier of what financiers and bureaucrats. Combining a freaky, trippy(in lact almost Corman-esque) saga of you can put on a piece of film . It's a a dope-dealer and all-round hustler with an abstract distillation of blank slate, and it will accept anything That's very possible. But I'm setting pallerns of colour and light, Jost's narrative not only holds you can think of. If you look at the bulk up a situation where I am much more in together but unfolds through a fascinating success ion 01 moods of movies, yo u will see that they' re sim- control. Nobody's looking over my as Terry moves from appointment to appointment, role to role. ply using cameras to record perform- shoulder and saying that they're going to Richerd Comb. ances and events. They're not really ex- have final cut. And I think by virtue of Sight end Sound ploring the medium. running this business for the last few yea rs, I've become a very prudent busi- For bookings and information please At the same time, in recent years there nessman. I can appreciate a lot of things telephone : has been an emphasis on visual effects at they' re saying about keeping costs un- the expense ofother values. der control and keeping overhead down. (201) 891-8240 I'm pretty good at that. I may be after There 's no effect that can save a lousy some kind of Francis Ford Coppola uto- Or write : pia, but I'm going to give it a shot. {~ 82

Joanna Cassidy and Bonnie Bedelia by Richard Corliss The women's faces that dominate to- Hackman and Cassidy in Under Fire. Bedelia in Heart Like a Wheel. day's glamour magazines-and a slew of European and American films-are em- nated the background of these pictures, ing the connection between the old-fash- blems of exotica. The eyes, the hair, the and constituted a quiet reproach to the ioned American child-woman-bobby- wide mouth say: \"I am Europe, I am stupidity of casting directors. All praise, soxer, cheerleader, drag-strip hood animal , I am other, and you are my slave.\" then , to Roger Spottiswoode & Co. for omament-and the take-charge woman What is a Nastassia Kinski movie but an hiring her as the fulcrum in the sexual and of today. In part this is because Bedelia is invitation to murder by ecstasy? Kinski political machinations of Under Fire. reprising, in 95 minutes, 26 years in the and her sullen sisters (Isabelle Adjani, Or- life of Shirley Roque Muldowney, who nella Muti, and, after sunset, Catherine Three American journalists-Claire outgrew both the resentment of her hus- Deneuve) represent the etemal, devour- (Cassidy), her ex-lover Alex (Gene Hack- band (Leo Rossi) and the jock philander- ing female . Their sexual abandon is really man), and her next lover Russell (Nick ing of a later beau (Beau Bridges, in fact) a warning to abandon ship , abandon Nolte)-are off to Nicaragua in the late to become the first successful woman hope, ye men who enter here. 1970s for \"a nice little war and a neat hotel stock-car racer. Heart Like a Wheel is all ... good guys, bad guys, and cheap good feeling and no finesse. It would be Now here's another type of face and shrimp.\" While Nolte displays the reck- lV-movie time without Bedelia. actress: the post-graduate American less courage of any movie hero who knows beauty. Beyond pretty, but not quite (or he's gonna survive at least until the cli- As Shirley, Bedelia just about defines not only) gorgeous. Sailing into middle max, and Hackman engages in some griz- what's good about naturalistic acting. age with laugh lines and worry lines wom zled, persuasive fretting over his accept- She's unforced and mostly unassertive; like commendations eamed in good wa r. ance of a network anchor post, Cassidy she never takes too long delivering a line, Carrying herself with assurance but not holds Under Fire together with her good or makes too much of a key gesture. The arrogance-no intimidation here. At his bones, deep tan, knowing smile, and in- weepie phone call is a standard ploy for best, a man could be her equal. She does telligent sexuality. The movie is at its winning an actress an Oscar nomination, not accede regally to his pleas, like the most invigorating when it evokes the and heaven knows Bedelia deserves one European spider queen; she makes a snappy tough talk of city-desk romances next February, but she doesn' t seize this commitment, out of necessity and for the of the Thirties; less so when it poses, opportunity by the throat-she builds the fine full fun of it. Her sense of humor halfway through , a Big Moral Question scene gently, with small surprises of pace proceeds from a throaty, melodic laugh. that in plot terms doesn' t amount to and reactions, until the climactic tears. She has the solid accessibility of good much. Still, Joanna Cassidy is almost al- Generosity and control, common sense prose. In a way these are not movie faces ways on screen, demonstrating the wil- and a sidewise sense of humor find a -images writ large on our libidos, a daz- lowy authority of a woman executive-or home in her performance. And in Bede- zling light that comes out of the dark- a network anchor. She's what Diane lia's plain-pretty, increasingly careworn but lV faces, comforting and comfortable Keaton should have grown up to be. face, the viewer can find the latest evi- enough to retum to each week, same dence of the post-graduate American time, same station, same all-American In Jonathan Kaplan's Heart Like a beauty. ~ glow. Wheel, Bonnie Bedelia never stops mak- Joanna Cassidy and Bonnie Bedelia have been lV secrets for dozen years or more, interspersing movie roles with guest shots on the hour-long dramas and (for Cassidy, anyway) the occasional sit- com series. (She's now Dabney Cole- man's sparring partner on Buffalo Bill. ) For reasons beyond human ken , Cassidy was often billed sixth in films, whether it was a brisk exploitation job like SMIts or a mod- estly budgeted thriller like The Late Show (she dunnit) or a superslick horror show like Blade Runner (she dressed in glitter and cellophane and got blasted through a store window in the second reel). Cas- sidy's glorious womanity always domi- 83

A Critic Eyes Holocaust Cinema. by Steve Lawson Indelible Shadows: Film and the Holo- Scene from Our Hitler. caust by Annette Insdorf, (Vintage, 234 pp. , $7.95). ing as a distorted mirror of the \"gritty\" while Finzi-Continis is so distractingly Like Ole Man River, the Holocaust Berlin outside). Trenchant and deeply gorgeous that the anti-Semitism seems just keeps rolling along. Books, mono- graphs, Broadway plays, full-length fea- felt is her analysis of various little-known almost an afterthought. tures, and made-for-TV movies-forty years after \"it\" happened, we're still in films such as The Fiancee or Who Shall Conversely, The Pawnbroker is thrall. Especially to the visual possibili- ties: the Cartier-Bresson stills, the Live and Who Shall Die? which limned praised for its spareness, which has al- barbed wire and watchtowers, the rav- aged faces that rouse us to ex post facto the FOR administration's hands-off atti- ways seemed to be self-conscious outrage, whether in a Pulitzer Prize-win- ning photo or a network special. Any tude toward German Jews with devas- Method drabness: every deck is subject which spawns The Sorrow and the Pity as well as Hogan's Heroes tating description. And it 'Was good to stacked, and the bleak cinematography, needn't worry about popular indiffer- ence. come across some common sense on the stripped-down acting, and \"sensitive\" So it's heartening to read Annette Ins- sins-of-the-fathers school of young Ger- soundtrack do all the thinking for you. dorf's IndelibLe Shadows, gratifying to observe a gifted critic-scholar probing man directors who came to the fore dur- Insdorf suggests that \"in these times, the virtues and fallacies of countless films ranging from Hollywood's Cabaret ing the 1970s. any film that tackles this subject with to the more arcane Iron Curtain prod- ucts. Quoting Elie Wiesel's contention Our Hitler, The Sorrow and the Pity, visibly good intentions is brave, if not that there can be no Holocaust literature per se, Insdorf proceeds to investigate The Boat is Full, Kanal, Seven Beauties, commendable.\" This sentiment makes the opportunities-fluffed 'and fulfilled -for a so-called Holocaust cinema, a Mephisto- Insdorf is at her considerable me uneasy: there's a little too much form less contaminated by words. best evoking the world of the best Holo- civics class boosterism involved for my Her first decision was her best: to avoid a national or chronological survey. caust films. It's with the others I have taste. How many movies have visibly Instead, she divides her books into four sections-film techniques, basic plot trouble, when her moral squint comes to bad intentions? devices, responses to Nazism, and the \"new\" documentaries of Resnais, rest on some aesthetically puny movies Still, I knew exactly where the author Ophuls, and others. The rewards are tangible. Insdorf doesn't get bogged which happen to be \"about\" Nazism', or and I disagreed. And, her admirable ex- down (like so many historical studies) in trivia or sweeping statements on \"Ger- anti-Semitism, or the death camps, and egesis on the fine films aside, she pro- man film\" or \"French film;\" rather, her thematic approach enriches, cross-fertil- must therefore be squeezed, Procrus- vides a wealth of anecdotes worth any- izes, lets us see these movies prismatic- tean style, to fit. I don't think The one's time. Insdorf recounts that the ally. She's particularly acute on the way a Damned shows \"a historically faithful young female star of The Diary of Anne stylistic choice-montage, satire, 'real- tapestry of the rise of Nazism,\" for in- Frank was costumed to resemble Au- ism-can affect or even dictate our per- ception ofa film (i.e., the gliding camera stance: what The Confessions of Winifred drey Hepburn, then very much in work of the superb Night and Fog rolling us smoothly into Auschwitz, or the ex- Wagner demonstrates (as Visconti vogue; that the sponsoring American pressionistic nightclub of Cabaret serv- doesn't, or can't) is that Hitlerites Gas Association successfully excised the weren't Oedipal transvestites. Similarly, word \"gas\" from the televised Judgment I think Insdorf overrates the \"look\" of at Nuremberg; why Chaplin lampooning The Serpent's Egg or The Garden of the Hitler in The Great Dictator was so Finzi-Continis. They're visually distinc- timely-at the time, both men were in tive, all right, but I doubt even the most their respective ways international su- rabid Ingmar Bergman partisan could perstars. I hadn't known that Francis work up much enthusiasm for his turgid Coppola, distributing Syberberg's Munich opus (featuring Liv Ullmann's Hitler, a Film From Germany, added the worst performance in a Bergman film), Our before the title, altering the implica- 84

The Hi,IO'Y\"( Movie Photography HOLLYWOOD : THE FIRST HUNDRED INTERNATIONAL FILM GUIDE 1983. THE HISTORY OF MOVIE YEARS. Bruce T. Torrence The story of Peter Cowie, ed . The twentieth PHOTOGRAPHY Brian Cae . A America 's own Shangri-la by one of anniversary edition of the world 's most fasc inating study of the art of Hollywood 's native sons. Illustrated with respected film annual . With reports from cinematography from its beginn ings more than 300 stunning duotone more than 50 countries on the state of through sound and color to widescreen photographs from the author's personal the art and business of film. Illustrated . and 3-~ . Lavishly illustrated with full- archives . 288 pp. cloth $24 .95/paper paper $10.95. color photos and diagrams. Oversize . $15 .95 . 176 pp. cloth $24 .95. INTERNATIONAL MUSIC GUIDE 1983. LES BROWN'S ENCYCLOPEDIA OF Jane Oudman , ed . The most valu able MOVIES FROM THE MANSION : A TELEVISION . New Expanded Edition . music yearbook , IMG includes the best History of Pinewood Studios. George Your A-Z guide to the shows , the history, in concerts, operas, composers, and Perry. The story of Eng land 's most the politics , and the business of performers from around the world . Plus famous and colorful movie studio . television- and the best book on tv interviews with leading figures in Oversize and heavily illustrated . 192 pp. there is . A standard reference. 492 pp. classical music and reviews of over 200 cloth $19 .95 . 270 illustrations. cloth $29 .95/paper recordings. Illustrated . paper $10.95 . $16 .95. THE FRENCH REVOLUTIONARY INTERNATIONAL TV AND VIDEO CALENDAR. With an essay by James THE SCREENWRITERS GUIDE. Keith GUIDE 1983. OIIi Tuomola, ed First Monaco. In 1792, the French had a Burr and Joseph Gillis . A succinct , Ed ition . The only international guide to better idea : a new calendar free of practical guide to film and tv script the rapidly chang ing world of tv and unreason , superstition , and tyranny I We sales with the names and addresses of video . Includes reports on think it's time to revive the calendar more than 2100 film industry contacts programming , hardware , and video (even if ttle revolution must wait). Twel ve worldwide . 160 pp. paper !l .95 . discs and cassettes from al lover the months of thirty days (plus five holidays world . Illustrated. paper $9 .95 . at the end of the year). And best of all- THE RUNNING GAME : The Campaign ten-day weeks . Thin k of the weekends I Journals of John O'Leary-America's NEW YORK ZOETROPE paper $5 .95 . First Announced Candidate for publishes more than ninety President : 1984 What's It like for a books on film, media and o Also send me your free catalogue. Yankee songwriter to run for President other subjects, including the against an old actor? Funny and BFI SERIES. SEND FOR NAME ____________________ trenchant. 128 pp. cloth $9 .95 . OUR FREE CATALOGUE!!!!! AOORESS ________________- - WHO' S WHO IN AMERICAN FILM o Send me the following books . I've NOW James Monaco. Cred its for more _ -_ _ _ _ _ _ ZI P _______ 4700 fllmmakers- writers , producers , enclosed the proper amount plus directors , cinematographers , stuntmen l $1 .50 for postage and handling (200 NEW YORK ZOETROPE More than 2500 films . The most up-to- for 5 or more books). Th anks! Suite 516 Dept M 10 date guide of its kind 224 pp. cloth 80 East 11th Street $19.95/paper $7 95 Please allow 6-8 weeks for delivery. New York 10003 Paul Mazursky's TEMPEST. Geoffrey NYS residents add 8 V. % sales tax . Taylor A stunning \"making of\" book about Paul Mazursky's most recent hit. Heavily illustrated with full-color reproductions of story boards , location shots . and stills from the film Includes Interviews with the cast and crew. Oversize 96 pp. paper $10.95

OR IGI NAL AM ER ICAN & EUROPEAN 1' --+---t--+--:-+-t-+---I---+-+- tions considerably. And it was a shock to MOVIE POSTERS be reminded of To Be or Not to Be (Lubitsch, Lombard , Benny; 1942), LOBBY CARDS AND PRESSBOOKS t-t----t--+-+-+-+-+-+-+-+---+---+---1 that curious amalgam of comed y, Shakespeare, and blitzkrieg. fll~ ~()I~/J>f(I\\I~J>AIl Insdorf's style is vigorous, unfussy, of IlIT(Il(()(I\\/fA§§I3I~()f~ a piece: \"Perhaps Stanley Kramer fl)llf~/f()~()/T~l)ffAI)T thought he was making the film less theatrical by panning 360 degrees .. . or ... MANy MORE zooming into a tight close-up.\" Or, on Ingrid Thulin in The Damned: \"Sophie's HEAVILY ILLUSTRATED CATALOG FILLED WITH INFO face is now so ashen it looks no different For the Advanced Collector & Novice . $5. Walter Reuben/Box once she is dead. \" Or on the aforemen- f-+-----+----j2696, Dept. 1/Austin, TX 78768 . tioned To Be or Not to Be: \"Should Lu- bitsch be praised or blamed for never ANOTHER BROOKS GRAD WHO.MADE IT TO THE TOP. really damning his characters, whether Nazi pigs or Polish hams?\" And her ulti- As Director of Photography for MAS.H., one of history's most highly-regarded mate championing of spare or stylized approaches to Holocaust events seems TV shows, Dominick Palmer has paved the way for a new generation of creative precise: \"In between the sober record and the grotesque tableau, things get cinematographers. Where did Dominick learn his craft? Brooks Institute in Santa diluted , processed, and tamed .\" Barbara. California. . Just so, and there's the rub. A film doesn' t have to be as commercially-ori- At Brooks, we provide the type of comprehensive education that's designed to ented as Judgment at Nuremberg (summed up by one critic as \"an all-star bring the best out of our students. You 'll learn all aspects of film making, including : concentration camp drama, with guest victim appearances\" ) to make the whole o Stage & location lighting 0 Directing 0 Stage & genre seem debatable. Can it be done? I still remember Meryl Streep's reaction o Film &video camera technique 0 Editing location sound to the kids in Greenwich Village who, after seeing her on television the night o Screenwriting 0 Production techniques before, yelled delightedly, \"Hey, Holo- caust! \" Is the subject too great for arti- If you 're considering a career in film making, first consider how important your ness, artistry, art? Does it all boil down to education can be to your career. That's why Dominick Palmer chose Brooks. pap? My own prejudices-reinforced by And maybe that's why he's where he is today. Insdorf's arguments-come down hard BROOKS INSTITUTE against mimetic treatment, those aer- ated events which out of vulgarity or For information, write to Brooks Institute, Dept. FC1-0983 sheer lavishness diminish the subject, 2190 Alston Road, Santa Barbara, CA 93108 Attn: Director of Admissions ameliorate it for mass consumption. God knows it can be argued that all art- intended or achieved-organizes, neatens, codifies. But there's an im- mense gap between the platitudes of a Holocaust or a Ship of Fools and the re- fracted vision of Wajda, Ophuls , or Wertmuller. Baldly put, you-are-there doesn't work. Insdorf's book leaves you wanting more. I was eager to know more about her feelings for Generale della Rovere (DeSica's greatest work as an actor), and anything about Open City or The Fifth Horseman Is Fear (one of the most mem- orable films of the 1%O's, and a strange omission here-I hope due to its un- availability). But for all the caveats, In- delible Shadows is a brave book. It fills a gap, and establishes some invaluable signposts that indicate not only where high art intersects with life, ,but where lesser art should turn back. ~ 86

liThe book for the film buff••• incredibly researched•••a must!\" -Jeffrey Lyon s CBS Radio Bios & credits for directors, producers, stars, cinema- tographers, screen writers, composers, art directors History of motion pictures in every major country Major studios & film centers Film-related organizations & events Styles, genres & schools of filmmaking Inventions, inventors, equipment Film processes & techniques ComPiled by American 1280 pages / 7\" x 9W' .., filmmaker and critic Ephraim Katz, here is the one fascinating, fact-packed reference no $14.95 wherever quality I serious moviegoer should be without. In 7,000 entries, it paperbacks are sold, i covers the whole world of films and filmmakers from A (Associated Actors and Artists of America) to Z (Valerio Zurlini). ~ or mail this coupon now. The reviews are in-and they 're raves: -rlllrp;IG-;E~O;; - - - - \"Far superior to Leslie Halliwell's Filmgoer 's Companion.\"-Best Sellers I The Putnam Publishing Group, Dept. Fe \"The best there is ... a monumental, readable volume to consult, dip I 200 Madison Avenue into, and keep by the bedside lamp.\"-Peter Noble, Screen International New York, NY. 10016 \"Juicy and intelligent.II-Stanley Kauffmann, The New Republic I IPlease send me _ _ cOPl.(ies) of The Film Encyclopedia (0-399-50601-2) (Ql $14.95 each. Iwill \"An eminently useful, reliable reference and research tool.II-George L. George, American Cinematographer I Iadd $1.65 to my order to cover postage & handling. plus applicable sales tax. \"Lively and readable .. .dwarfs most other reference tomes available.\" Enclosed is my 0 check 0 money order I -Gordon Hitchens, Variety I Please charge my 0 VISA 0 MasterCard I I# - -_ _ _ _ _ Exp. date _ _ _ I ISignature _ _ _ _ _ _ _ _ _ _ _ I IName____________ I IAddress___________ City_ _ _ _ _ _ _ _ _ _ __ I State I_ _ _ _ _ _ Zip____ -I

'Help burn my uncle,' Mel cries and whispers QUIZ #3: Write a sensible para- for any repeated title. High score wins a more verifiable titles! (Names listed be- graph no more than 50 words that con- free year of FILM COMMENT. In case ofa tains as many complete movie titles as tie, wit and ingenuity will determine the low.) The winner is Carrie W.C. Moore possible. Feature films only; but TV winner. Address entries to FILM COM- films count, as do U.S. or British release of New York City, with a whopping 255 titles of foreign-language film. Internal MENT Quiz # 3, 140 West Sixty-fifth punctuation (e.g. , apostrophe in titles; we're printing her answers in tiny Porky's) must be included. Scoring: two Street, New York, N.Y. 10023, and get points for each title (as above: Help!, them to us by October 14. Winners an- type below. Honorable mentions go to Burn!, My Uncle, M , El, Cries and Whis- nounced next issue. Good luck to all! pers; 12 points), one point subtracted for Gary P. Collins of Central Village, each word not part of a complete title, or On Quiz Number 2, we received 186 entries from 33 states, the District of Conn., with 210 titles (our favorite: A Columbia, and four Canadian prov- inces. Sixty-five entries listed 100 or Look at LN for Roman numeral 54) and to Morton Tankus of New York City (204 titles). Thanks to everyone who took the time to play our game. Boy, are we impressed! -R.C. 100 OR MORE CORRECT TITLES: Terry Hoeppner, Vernon Hills, III. ; Ralph Horak, Ed- Pawlisz, Washington, D.C. ; Lisa Peavy, Winston, Adams, Galatia, Ill. ; Ken Anderson, Jefferson City, monton, Alta., Can.; John E. Hornyak, Stamford, Ga.; Ranae Pierce, Salt Lake City, Utah; James Mo. ; Joyce Backman, Cambridge, Mass.; Richard Conn. ; Wayne Housum, Churchville, Md. ; Scon Quandt, Saskatoon, Sask.; Can. ; Romeo Ramos, Barrack, Adelphi, Md.; Aaron Braun, Brooklyn, Huguenin, South Amboy, N .J.; Martin Johnson, Long Beach, Cal.; Michael Rechtshaffen, To- N.Y.; Frank Bujos, Wallington, N.}.; Michael Cal- Bronx, N.Y.; Michael Joura, Staten Island, N.Y.; ronto , Ont., Can.; Edith Rey & David Preston, leri, Buffalo, N .Y. ; Robert Cowden, Attlesboro, Daniel M . Kimmel, Boston , Mass.; Roger N. Montreal, Que. , Can.; Nancy Roberts & Don Mass.; Robert C. Cumbow, Seattle, Wash.; Bar- Kirkman, Greensboro, N .C.; julie Kistler, St. Walker, Ottawa, Ont. , Can. ; John E. Romais, bara Diehl , Eau Claire, Wise.; Buzz Dixon , Paul, Minn. ; Pam Koopman , Queens , N .Y. ; New York, N.Y.; Thomas Sacco, Nutley, N.Y. ; Northridge, Cal. ; Patricia Dugan, Lakewood , Ronald A. Lee, Knoxville, Tenn. ; Richard Charlotte & Joseph Sanchez, North Babylon, Ohio; Mark Fields, Indianapolis, Ind.; Keven Fi- Maskell, Green Bay, Wisc. ; Jeffrey N. Massie, N.Y.; Wendeslaus Schulz, New Orleans, La.; lipski, Buffalo, N .Y.; Ruben A. Gamboa, San Jose Studio City, Cal. ; Dennis & Theresa McCormick, Marc Sigoloff, Springfield, Ill.; Preston Staines, Cal. ; Jim & Diana Garrity-McConnell , Pomono, Kansas City, Mo.; Richard & Marie McGhee, Utica, Mich .; Denise Traynor, Cincinnati, Ohio; Cal. ; Richard Gerdau, Chatham, N.Y.; Karen A. Manhattan, Kan.; Donald D . McNamara, Colum- Patricia Turpen, Ann Arbor, Mich.; Robert Vider, Gieske, Pittsburgh, Pa.; Michael Grimes, Co- bia, Mo.; Frank M . Miller, Mobile, Ala.; Michael Fort Washington, Md.; Carqle Weisz, New York, lumbus, Ohio; Marion Gutmann, Brooklyn, N .Y. ; R. Miller, Portland, Ore. ; Jeff Mitchell, Baltimore, N .Y.; Stanley R. Weitz, Los Angeles, Cal.; Dennis Roben Hickman II, Waynesboro, Va.; Scott Md.; Joseph Neblett, Brooklyn, N .Y. ; Elizabeth L. Wyatt, Park Ridge, Ill. PHOTO CREDITS Bemie Alyson: p. 35, 50. New Line Cinema: p.lO. Omni CONTRIBUTORS Luis H.Francia 53. Asian Cine-Vision: p.57 (2). Columbia Zoetrope: p.84. Orion Pictures: p.83 (1). has written for The Village Voice. Lucy Pictures: p.20, 21, 22 (8), 79. Films Paramount Pictures: p78 (2). Courtesy Gray is a San Francisco-based writer. Around the World: p.1l. Luis H. Francia: Samson Raphaelson: p.26. Photos by Kathy Gunst is a freelancer. Dave Kehr p.57 (1). Japan Society: p.36, 38, 39, 40. Eliott Stein: pA8, 49 (1), 55. Courtesy is film critic for Chicago magazine and The Harlan Kennedy: pAl , 43, 46, 47. MGMI Elliott Stein: p.50, 51, 52 (2), 53. 20th Chicago Reader. Steve Lawson has writ- UA: p.76, 77, 78(1). Museum of Modem ten scripts for St. Elsewhere (NBC). Jim Century-Fox: p.9, 16, 17, 83 (1). Univer- Art! Film Stills Archive: p. 27, 31, 32, 33, Vemiere is a New Jersey-based writer. sal: pA, 62, 63, 78 (1). Nancy Wong: p.56. Code Name: Minus One. Germany, Year Zero. The Chaia Srory: One Fourth oJ Humaniry. Colt .45. Die Enre Klin gelt um 1/2 8 (W. Ger., 1968). Schusse in J{4 Takt (w. Ger., 1965). The Big Red One. La Ca.Be aux Folies II. ALeiter to Three Wi ves. Merchanr a/ the Four Seasons. Utamaro and His Five Women. D-Day the 6th of June. The Magnificent 6112 (G. B. , 1968). Return of the Secaucus 7. Phenomena 7.7 (U.S., 1965). Butterfield-8. Fellini 8112. Agent 8314. Plan Ninefrom Outer Space. Bluebea rd's 10 Honeymoons. Ocean's Eleven. Beneath the 12 Mile Reef. Dementia 13. The Rise oJLouis XIV. X·15. The Night of Janua ry 16th . N umber Seventeen. The Patient in Ropm 18. Montparnasse 19 (Fr.• 1957) . Bar20 Rides Again . L'Assassin habite au 21. Catch-22. Pier 23. Hill 24 Doesn' t Answer. Those Magnificent Men in Their Flying Machines, Or: How I Flew from Landon to Paris in 25 Hours and Jl Minutes. The Woman & Officer 26. (G.B., 1920). Creature from Galaxy 27. Tunnel 28. U·Boat 29 (G .B ., 1939). The Man With 30 Sons. Adalen 31. Killer Calibro 32 (1 (.. 1967) . Dites 33 (Fr. , 1963). Miracle on 34th Street. The Log oJthe V·Boat 35 (Ge r. , c. 191 6) . Private Hell 36. China 9, Liberry 37. Only 38. Mademoiselle , Age 39 (Gr., 1956). Ali Baba and th.e Forty Theives. Lieutenant Daring and the Mystery oJRoom 41 (G .B ., 1913). The Phantom oJ42nd Street. La Lunga Notte del '43 (1(., 1960). Class 01'44 . Murder at 45 RPM. Memories: Psalm 46 (G. B. , 1927). The Loyal 47 Ronin . California in '49. Attack oJthe 50 Ft. Woman . Dossier 51. Bombers B-52. Scampolo '53 (1(, 1954). Agent Z 55, Missions Disperato (1r., 1965). House on 56th Street. Grabbarna i 57 (Swe ., 1935). Cuba 58. Psyche 59. Gone in 60 Seconds. Private Detective 62. Moral 63 (w. Ge r. , 1963). Scandal '64. Love 65 (Swe .. 1965). Lottery Ticket No. 66 (G. B. , 19 11 ). Bolshoi Baller 67. Gold Rush '68. Hell's Angels '69 . The Fighting 69 1f2 th (U.S .. 194 1) . Boccaccio '70. Dracula ' 71. Love in '72. Win chester 73. Attila 74 (Gk., c. 1975). Jill Johnston , Ocrober '75 (Can ., c. 1976) . Deadwood '76. The COllcorde-Airporr '79. Around the World in 80 Days. MMM82 . D JJJ 88. The New German Air Force (Ge r., 1939). Junket 89. Liberxina 90. Exploits oj Private 91 Karlsson (Swe. 195 1). The House on 92nd Street. Workhouse Granny Age 93 (G. B. , 1906). No. 96. Trail oJ98. F.B.I. 99. The Man With 100 Faces. Pickup on 101. PT 109. Across 1l0th Steet. In Room 111 (Hung.. c. 1937>. File 113. O .S.S . 11 7-MissionJor a Killer. Th eStranger-:-Psalm 119 (G. B. , 1927). Salo, or: The 120 Days oJSodom. The Unfinished Sentence in 141 Minutes (Hung. , 1975) . Paragraph 182: Minderjahri g (Ge r. , 1927). Salary, 200 a Month (Hung. , 1936). Longtng 202 (Ger.. c. 1932). Pawn Ttcket 210. Tokyo Ftle 212 . Dark Dreams 213. Girl No. 217 (U. S.S. R., 1944). Corvette K-225. Pacific 231. V-238 & the Witch Doctor. Highway 301. Station 307 (Fr. , 1955). The Girl in 313. Production 337 : You' re Lying! (Swed., 1970). Srop Train 349. Police Python 357 (Fr. , 1976). Badge 373. Hell's 400. The Ghost oJ Flight 401. The Disappearance oJ Flight 412. The Girl in 419. Shiri 420 (India , 1955). Officer 444. Fahrenheit 451. Fireball 500. Murder 0 11 Flig ht 502. Female Spy 503 (Den .. 1959). Park Plaza 605 (G. B. , 1953). Tuskegee Subject #626 (U .S. , 1975). Code 645. State Dl!J'arrment File 649. Fall X·701 (G.B., 1964). Call Northside 777. Mister 880. Polizeiakte 909 (Ge r., 1934). Danger Flight 931 (Fr. 1958). Squadroll992 (G. B., 1940). Convict 993. Dia1999. Anne oJthe Thousand Days. Tales oJ 100l Nights . Jeallne Dieimallll , 23 Quai du Commerce, 1080 Brluelles . Police 1111 (Ge r. , 1916). Dial 1119. THX-1138 . Corpse No . 1346. SteJan cel mare-vaslui 1475 (Rum ., 1975). Conducror 1492. Anno Domini 1573 (Yug.. 1976). Rembrandt Fecit 1669 (Ne(h ., 1977). In vasion 1770 (Ir. , 1965). AMother & Sons oJl 776 (G. B., 19 12). Syskonbadd 17821My Sister MJ Love. The WaroJ1812. Th e Revolutionary Year 1848 (Czec h., 1949) . Year 1863 (Pol., 1922). Frau Blackburn. born 5 Jan . 1872 , Is Filmed (Ge r.• 1967). Fighting Thru, Or: California in 1878. Paulina 1880 (Fr., 1972). Persimmon Win s the Derby oJ 1896Jor Edward, Prince oJ Wales . Paris 1900. The Workh ouse as th e Inmates Expect It in 1907 (G. B. 1906). Russia 1908. Wien 1910 (A usrria, 1942). The Raid oj 1915. Slwck Troop 1917 (Gc r.. 1934). WesrJront 1918. The Unforgettable Year: 1919 (U .S.S. R.. 1952). The P,ra,es oj 1920 (G. B.. 1911 ). Official Motion PicturesoJthe Johnny Buff-Pancho Villa Boxing Exhibition Held at Ebbett's Field, Brookly n , N. Y.. September 14 , 1922. The Hamburg October 1923 In surrection (w. Ger., 1972). The Hollywood Revue oj 1929. Fox Movierone Follies oj 1930. The New Movierone Follies oj 1931. Gold Diggers oj 1933. Hu sband Hunters oj 1934. George White's Scandals oj 1935. Meres Tou 1936 (G k.. 1974). New Faces oJ 1937. Merry Go Round oJ 1938. Ice FolliesoJ 1939. Broadway Melody oJ 1940. Kin o-Collcert 1941 (U.S.S. R.. 194 1). Patherone ParadeoJ 1942). Pastorale 1943 (Ne(h ., 1978). George White's Scandals oJ 1945. Swing Parade oj 1946. Hit Parade oJ 194 7. The Olympic GamesoJ 1948. Miss Mink oj 1949. Holy War 1950. Hit Parade oj 1951. May Day 1952 (Hung.. 1952). Boy Scour Jamboree oJ1953 . September 30, 1955. Paris Follies oJl956. India 1958. The Maktng oJthe Prestdent 1960. Tokyo Olympwd 1964. Goal! World Cup 1966. Su,.,:, val 1967. The Making oJthe Prestdent 1968. \"0\" Girls, 1969. Frankenstein 1970. Journ eysJrom Berlin 1971 (U.S. , 1980). Dracula A.D. 1972. Don Juan 1973 (Fr. , 1973). Betry Boop Scandals oj 1974. Atrport 1975. JalOUSie 1976 (Fr., 1976). Mw~ Summit 1977. Colossus 1980: The Forbin Project. ClassoJ1984. Kamika ze 1989. Monismanien 1995 (Swe. 1975). Catastrophe 1999 (Jap. 1974). Death Race 2000. In the Year 2014 (U.S. 1914). Evrrdtkt B .A. 2037 (Gk., 1975). Earth Year 2069. Cyborg 2087. Daleks: In vasion Earth 2150 AD. Cell 2455. Death Row. Year 2889. Wer Fuhr llA 2922 (Ge r.. 1939). Harve st: 3000 Years (E (hIOPIa, 1975). The year 3003 (Yu g.. 1962). Terror from the Year 5000. Red Line 7000. Detroit 9000. The Life and Dea th oJ9413 , a Hollywood Extra. PhanromJrom 10,000 Leagues. The BeastJrom 20,000 Fathoms . Wavell 's 30,000 (G. B., 1942). Horror at 37,000 Feet . Mayday at 40,000 Feet. Bailout at 43 ,000. For £50,000 (G..B:, 1913). Destination 60,000. The B o~ Who Fou~d$100,OOO. The Legacy oJthe 500,000 (Jap. 1964). The Beast With a Million Eyes. SymphonyoJSix Million. Cuba: BattleoJthe 10,000,000. Wh at 80 Mlllton Women Want (U.S .. 19 12). ObJecttve: 500 Mllhon /TheyCam ero RobLas Vegas(Fr., 1966). The War oJ the 600 Million People (C hina . 1958) . Mr. Billion. We' ll Blow Three Tim es $27 B.lIlOn on a Destroyer(w. Ger.• 197 1) 88

You taste it on your first draw. And with every puff you take. Extra taste. That's what you get with MERIT. The cigarette that delivers the taste of leading brands having up to twice the tar. MERIT-if you smoke for flavor, you'll know. Nothing halfway about it. MERIT © Philip Morris Inc . 1983 Warning: The Surgeon General Has Determined That Cigarette Smoking Is Dangerous to Your Health. 8 mg \"tar:' 0.6 mg nicotine avoper cigarette, FTC Report Mar.'83