Open/Close Toolbox
Author Retains Copyright
Format: Journal
Linked To
Collection name
Copyright
Author Retains CopyrightThe author retains Copyright of this material. You may download one copy of this item for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person this material.
OCR | |
 | [...]1. ..o-v.-2: -, v .3-, /.~ r " o 7' ; ' ?vo C a .0 I I o ‘ . .4’ v 9 no _ . r 4.‘ ' . '[...]' '0 - .. ‘ H ' :;:- ;\‘_ . ' “I '3 ' 9 -a- eva I‘. . u n u .4 - “' R. " n " . wnyl[...]‘.i|%","1 8510759 83 . n . . I 4 or - ,. Q I A . ~ ~. “ n ,‘ ' " “ ". winners . 3, - i,[...]. . V ‘ ‘ ' ' ‘ "r i ' -~ ~ Best picture of the year , -a —' Bestiachjafie Hm ' I‘. .[...]Agfa-Gevaert Ltd. 1 3 Melbourne 875 _ ‘a Sydney 888 1444 *1‘! ' 7% i 1 Brisbane . r A, , , Adelaide 42 5.7Q3,"4" F » ._ $: Per[...] |
| [...]............................ .. 3 NEWS IN BRIEF: A round—up of events, issues and information on the Australian film and television scene ............[...]....... .. 7 ON LOCATION: Making Bruce Petty’s The Movers ................................ ..38 FIL[...]ol for Love, Fortress, Frog Dreaming, Highlander, The Lan- caster Mi‘//er Affair, Land of Hope, Malcolm, Playing Beatie Bow, Ran, Salvador, Stammheim, Tusita/a and all the latest releases ............................. ..41 CINEMA BOOKSHELF: An Ausi tralian Film Reader, a book about Val Lewton, Tarl<ovsky’s testament and a couple of Mel Gibson bios ........... ..58 OVERSEAS REPORTS: The latest film and TV news from our regular foreign correspondents ............. ..62 FESTIVALS AND MARKETS: A look at Australia's two main film festivals, and[...]........ ..57 TECHNICALITIES: Fred Harden ogles the new toys on show at this year’s SMPTE exhibition ....................... ..71 PRODUCTION: A quick run—down on what's currently in front of the cameras, plus our usual exhaustive Production Survey listings .................... ..75 The AFI Awards Whosgoingtowinttiemin andwiiiinevstiii beihe-rein 8'/'7 ...... ..32 FEATURES Cox and bull The Ili-<85. CISHKES and firmly held Opinions of an[...]r: Lino Brooka talks about Filipino filmmaking in the months since Mrs Aquino’s revolution ...[...] |
| Cox & Ballantyne on Hendon: “H endon Studios is ideal!” “I like the personalised “Hendon Studios is set apart from the hustle service at H endon Studios of East Coast film making, and is therefore which is an integral part of the high quality the ideal place to concentrate on a sound job they do. The facilities are complete, mix. including a pr0ducer’s room directly con~ , _ _ nected to the mixing suite with closed circuit Hendon s James Currie is one of the best.” TV enabling the producer to conduct the S0 S Paul Cox usual hectic flow of_ business whil[...]Awayrd-winning director “Kosta.s" In touch wlth the mlx' }:~€X35sy”17i‘}§”rt;sf"t?»§}§f S[...]n‘? ;j_ _. film production facility. $15. :7; -A - call Michael Rowan for a quote on your next production ,- J’; ;,“.. E A #21901 Wrumoy 113 Tap1ey’s Hill Road,[...] |
| [...]Beilby, Scott Murray. Signed articles represent the views of their author, and not necessarily those of the editor. While every care is taken with manuscripts and materials supplied to the magazine, neither the editor nor the pub- lishers can accept liability for any loss or[...]may not be reproduced in whole or in part without the express permission of the copyright owner. Cinema Papers is published every two months by MTV Publishing Limi[...]rtnz/ian m Cominitnoru .> I cinema Papers is published with financial assistance from the AUSTRALIAN FILM COMMISSION and FILM VICTORIA. A L ‘You start from scratch in Australia’ That phrase — ‘You start from scratch in Australia’ — is a part of the history of Australian cinema. A very small part, it is true: Harry Watt used it in an article he wrote for the last issue of the Penguin Film Review in May 1949. But the Review’s editor, Roger Manvell, gave it a certain immortality by pulling it out and using it as the title. It was a good piece of editing, because it summed up what Watt was on about. Sent to Australia at the end of World War II “to see if it was possible to make films there”, Watt discovered a vast continent, a wealth of themes, but studio facilities so poor that “indoor films” couldn’t be made. So he made The Overlanders. As Australian films of the forties and fifties went, The Overlanders was pretty ‘Australian’: it had cattle and cabbage-tree hats and Chips Rafferty. But the context in which it was made was classic cringe. Watt, being a foreigner, was assumed to be able to do what Chauvel, Hall, Robinson and McCreadie couldn’t: get the message through to a world audience. The Australian government was worried that British propaganda was ignoring the Australian war effort. So it brought in a British filmmaker to set matters to right. Nowad[...]can stars, not for propaganda, but for profit. As the Australian film industry moves into its monetarist phase, its appetite for overseas actors is increasing dramatically. Ayers Rock and the Sydney Harbour Bridge are all very well for boost[...]movies. Like all monetarist arguments, this one is impeccable in the short term. From small beginnings, a mighty industry has grown, with considerable ambitions and sizeable overheads. With a big workforce and large (tax-aided) investment, the industry’s supply side is trundling along nicely. Not so the demand: sad to tell, the world no longer wants our films just because they’re ours. For Australian and overseas audiences alike, a film is a film. And, in the market-dominated world of international cinema, the Australianness of Australian movies supposedly needs a little leavening. In the rather ingenuous words of a recent open letter to the Minister for Immigration and Ethnic Affairs by 48[...]enhance our ability to communicate our stories to the world”. The letter uses phrases like “creative freedom of e[...]”, but its arguments are, in reality, economic. The foreigners of “distinction and merit” it want[...]we to argue? l’m sure no one — least of all the McElroys, who co—ordinated the open letter — wants to see Australia become a Hollywood backlot, attractive more for its emptin[...]ts culture, its filmmakers and its identity. But the market is an unreliable master, particularly in the film world. Plus ‘the market’ is, as currently defined, centred anywhere but in Au[...]something which, from an Australian perspective, is inescapable. If overseas actors become the economic bedrock of our new-style film industry, then Australian stories, Australian concerns and even the sound of Australian voices in anything other than supporting roles will become the almost exclusive prerogative of A Country Practice and Sons and Daughters. And who[...]ay turn out to need an emigre American vet. This is not to argue a closed door and a cold shoulder to foreign talent, merely to point out that there is a renewed risk of something that will not be unfamiliar to any Australian moviegoer over the age of 40: that Australian films with Australian[...]ericans in them. Australian audiences won’t be the ones to insist on Australian content. If the urge for ais up to the government and the |
| FILM ROBOTS OF THE FUTURE HAVE ARRIVED AT FILMWEST! With the versatile KEM K800 you can easily transfer 16 mm[...]or lay sound direct to your video pictures. THE NEW XTR FROM AATON _ CAMRAIL is simple to handle, easy to assemble and despite THE its lightweight is very tough. It can be put upside down to[...] |
| [...]'s leading film and television magazine six times a year, for less than it costs you to buy it at the newsstand. l’d like to subscribe to Cinema Pap[...]ar at $25 2 years at $45 CI 3 years at $65 I am a new subscriber I am renewing my subscription. My record number is [:| ‘ Please tick the appropriate boxes. See over for details of overs[...]e...................................... I enclose a cheque for $ ‘ (payable to MTV Publishing Limited) Please debit my BankcardlMastercard to the amount of $ ' I I L_I IJ I_I IJ _I I I I I I I[...]or other publications in this total. Please place the completed order form in a sealed envelope and mail lo: CINEMA PAPERS[...] |
| [...]lication orders with your subscription details on the other side of this form. Back issues Add to the price of each copy Surlace $120 Air $3.35 Surla[...]each 7 or more copies: $2.50 each Please enter the numbers of the back issues you want and the total amount in the appropriate boxes (see page 96 for details of ava[...]Numbers: $ Other publications Please write the abbreviated name(s) of the pub|ication(s) you want and the total amount in the appropriate boxes (see page 96 for details[...] |
| FRONTE The real ‘fx’ men Blue-screen cinematography, model and miniature work, and a host of other ‘fx’ techniques and applica- tions were the basis of a series of free seminars recently given in Aus- tralia by representatives of the Cali- fornian special effects company, Apogee. J[...]an their association about 1970, came together as a team in 1975 for George Lucas‘s Star Wars, and formed Apogee in 1977. Dykstra is renowned for developing the Dykstraflex camera — a custom-built prototype made specially for Star Wars miniature photography. It enables the camera mount to (among other things) roll, pitch and yaw on its multiple axes. The seminars were sponsored by the Australian Film Commission as part of a reciprocal study tour organized by Sydney-based p[...]he and his colleague. Tim Segulin, spent time in the States working under the auspices of Apogee's special effects crews. Spea[...]gford Cinema (seminars were also held in Sydney), the Americans provided a highly informative and entertaining breakdown of the US ‘fx‘ business from a rational, utilitarian position. They seemed light years away from the technofetishists often associated with the phantom side of ‘fx’ cinema, and appeared instead to be hard- nosed industry pragmatists with a portfolio of proven commercial products: Star Trek: The Motion Picture, Firefox, Never Say Never Again and Lifeforce. A central axiom of the film world — that you are only as good as your last picture — seems to apply just as much to the ‘fx’ industry. However, Dykstra made no apolo[...]ngs people might find in his effects work. "There is no pan- acea," he said, “no cigar box that you[...]l. We explore every avenue available to us within the time and budget parameters that we have, and that is something that you are always going to face in sp[...]more money and more time and you never get ‘em. The only measure of the worth of your work is whether you did it any better than the next guy, with the same amount of money and the same time.” Tour-organizer Jacobs Michael stressed that the tour did not repre- sent any threat to the development of our own neophyte ‘fx’ industry[...]there are ways in which they can collaborate with the Australian film industry and supply some services which are presently unavailable. “One of the reasons we don't have any blue-screen is because producers don't believe that effects can be done here. They aren’t yet ready to believe the locals," said Jacobs. What the Australian film industry needed was personnel with the necessary technical expertise and an established[...]id. Mick Broderick Briefly . . . I Photography is now complete on Ken Russell’s new horror film G[...]n on page 65). Russell will be in Mel- bourne for the Spoleto Festival, where he is directing Madame Butterfly, and his visit will be marked by a retrospective, including French Dressing, Billion Dollar Brain, Women In Love, The Music Lovers, The Devils, The Boyfriend, Savage Messiah, Mahler, Tommy, Liszto- mania, Valentino, Altered States, Crimes of Passion and the television films, Elgar, lsadora and Clouds of Glory. The films will be screened at the State Film Centre. I The Victorian Minister for the Arts, Race Mathews, announced on 30 July that current levels of state government financial support for the film and television industry through Film Victori[...]pported by Film Victoria total $39,427,010, while the combined budget for productions across the state is $58,806,007. Mathews said that Victoria is currently responsible for 40% of Australia's film[...]newly-appointed director. Greg Smith, pointed to the new field opening up in non-1OBA projects. Film Victoria presently has five such productions on the board. Worth $8,170,475, they represent a noticeable increase from the one $2.3-million production in the pre- vious year. “There is a market for non-1OBA, but we've got to make sure the industry realises the rules of the game are changing," Smith said. ‘'It has been an insular environment, and now weve got to demonstrate what the alternative mechanisms are.” AWARDS: Two Australian films have made their mark in the USSR at the biannual international festival in Tashkent. in the documentary division, Red Matildas met with acclaim, winning the prestigious Union of Soviet Filmmakers’ Award. The lntourist prize for features went to Burke 8. Wills for "its wonderful cinematography and portrayal of the landscape”. More significantly, A Street to Die, directed by Bill Bennett, was awarded the Crystal Globe (Best Feature Film) and the Critics’ Prize at the 1986 Karlovy Vary Film Festival in Czechoslovakia. The major 1986 AWGIE award for best script of the year went to Western Australian writer Glenda Hambly, for Fran. John Misto won awards for the best original tele- movie, Natural Causes, and be[...]n). Other screen awards went to Karin Altmann for the docu- mentary, Raoul Wallenberg — Between the Lines; to Geoffrey Atherden for the television comedy, Mother and Son; to Ray Harding for the television serial,‘ A Country Practice (‘Lest We Forget’); to Peter Yeldham for The Far Country (adapted miniseries); to Ben Lewin for The Dunera Boys (original mini- series); to David Williamson for The Perfectionist (adapted telemovie); and to David Holman for the children's drama, No Worries. I In October, Melbourne people living in the inner suburbs of Carlton, Collingwood and Fitzroy should have the chance to view the first test transmission of a community-based television station, Television Unlimited (TVU). With the exception of the Aboriginal station in Central Australia, there have only been a few “passing experiments" in com- munity TV. “We intend to change all that," says Peter Davis, a member of the organizing group. The working group is currently developing policies and strategies in the areas of funding, publicity, technological development and programming. Membership is open to all associa- tions, groups and individual[...]have been appointed as part-time Commissioners to the Australian Film Commission for a period of three years. Levy is a script con- sultant and producer, currently producing the feature High Tide, directed by Gillian Armstrong.[...]ent and Managing Director of TCN-9 since 1979. I The National Film and Sound Archive has introduced fe[...]o their collec- tions. This will obviously affect the production of archival compilation films, so, if you're budgeting, ring the Archive and check the costs and conditions of access. I Three documentaries and four features have received support from the AFC Special Production Fund. Distribution guarant[...]nison's Echo ofa Distant Drum, Mike Thornhill‘s The Ever- lasting Secret Family, and Tony Ginnane's The Li'ghthorsemen. Tony Mahood and Lynda House received investment funding for One Hundred Per Cent Wool and a marketing loan was made to David Bradbury for Chile: Hasta Cuando? I In the furore over Hail Mary, something was missed. The United States Catholic Conference has given Blis[...]. Contributors Naoko Abe and Georgina Pope head the Tokyo-based Goanna Films. John Baxter is a film reviewer for The Australian and author of numerous books on the cinema. Carol Bennetto is a film writer and publi- cist, currently working at Heinemann Publishers. Rod Bishop teaches film at the Phillip Institute of Technology. Annette Blonski is a script editor and writer on film. Marcus Breen is a I Melbournebased journalist, freelance writer and documen- tary filmmaker. Susan Bridekirk is a freelance journalist based in Melbourne. Mick Broderick works as a publications officer with the Australian Conservation Foundation and is a freelance writer on film. Pat H. Broeske writes regularly about film for the Los Angeles Times, and is Hollywood correspondent for the Wash- ington Post and other publications. Raffaele Caputo is a freelance writer on film. Tony Cavanaugh is a freelance script editor. Mary Colbert is a Sydney-based film researcher, writer and lecturer. Sophie Cunningham is a film student and freelance writer. She contributes regularly to the Melbourne Times. Mike Downey is a freelance film writer, contributor to Variety and[...]hspeaking theatre company in Munich. Tony Drouyn is a freelance writer on film who also plays and teaches classical guitar. Helen Greenwood is a freelance book editor and writer on film. Fred Harden producer. is a film and television Sheila Johnston is a London-based writer and translator. She is a film critic for LAM magazine. Brian Jones is an independent pro- ducer, director, scriptwriter and journalist. Paul Kalina is a journalist at l/ideo Week. Amanda Lipman is a journalist at City Limits in London. Geoff Mayer is a lecturer in film studies at the Phillip Institute of Technology. Lyn McDonald is a freelance writer on film. Brian McFarlane is a lecturer in English at the Chisholm institute. and author of Words and Images. Mike Nicolaidi is a freelance writer and contributor to Variety. Norbert Noyaux works as an interpreter for the French Commercial Office in Mel- bourne and is a freelance writer on film. Dieter Osswald is a journalist and contri- butor to Filmecho." William D. Floutt is a film historian and academic. Tom Ryan lectures in media studies at Swinburne and reviews films for the 3L0 Sunday show. Jim Schembri is a journalist at The Age. David Stratton is host of Movie of the Week on SBS-TV and reviews films for Variety. Edouard Wafntrop is film critic for the French national daily Libération. CINEMA[...] |
| T U % m m . m N B. o m T T C A O E mm @A M W |
| [...]nda Lipman Venerated (somewhat to her horror) as the ‘grandmother of French nouve/le vague cinema‘[...]iroshima, mon amour, was origin- ally going to be a novel. But, with the likes of C/e'o de 5 a 7 (C/eo from 5 to 7) — a study of an hour and a half in the life of a woman who thinks she has cancer — and Le Bonheu[...]w wave filmmakers like Ftesnais and Chris Marker. The points in common were the fixing of emotional perspectives in a firm social context, and a blend of fic- tional and documentary style. Varda is probably best known recently for her upbeat 1977[...]stimony’, L'Une chante, /'autre pas (One Sings, the Other Doesn't), which dealt with abortion, families and the friendship between two women. Her latest film, Sans toit ni ioi (Vagabond), is her first feature since then, but she insists she has been forging the links for it for several years, at any rate in te[...]An Emotion Picture," she says, “which was about a woman and a child looking for an apartment in LA. And some sh[...]itchen, Bathroom, etc., which was all shot inside a family's house. Now this one is about a homeless person!” Vagabond (reviewed in Cinema Papers 58) begins with an unknown young woman lying dead in a ditch and proceeds, through the testimonies of various witnesses, to retrace her last few months’ travel- ling across a bleak and wintry south of France. Coming from southern France herself, Varda had been struck by the enormous discrepancy between the comfortable holidaymakers of the summer months, and the sight of the many 'vagabonds' like Mona, the central figure of her film, who make their way across the frozen landscape of winter. “It's 1986," she sa[...]less people. Why can't we relate to them’? Why is there this gap, which is maybe them saying: No, they don't want to be with us?” She talked to a number of them, and to one runaway girl in particular. ‘‘I took her with the crew,” explains Varda, "to give her bread and b[...]want to work — but I gave her money. To justify the thing, I said: ‘You can coach Sandrine [Bonnaire, who plays Mona]. Sit in the woods in your sleeping bag. “What could happen to her? Go to a poor people’s shelter? Would that be a good ending? I made it so that nobody’s respon[...]me money to tell me stories about her own life on the road. And then she went." Eighteen-year-old Bonnaire, the ‘discovery’ of Maurice Pia|at's A nos amours (To Our Loves) jumped at the role. Comments Varda: “I made it very simple. I said: ‘Look, this is a part you'll have only once in your life. She's alone, she's dirty and she's a rebel. And she dies from the cold. She almost doesn't speak. Are you ready for[...]very shot. It was extremely cold, shooting during the first few months of 1985. In the very first scene in which we see Mona alive, she comes out of the ocean — Varda warns audiences not to look for a[...]dea she liked — and, although they waited until the end of April to film that sequence, it was still[...]ver her afterwards. Vagabond didn't have much of a script, since Varda preferred to work by writing the screenplay as she went along. “I write two pages, get the money, speak to people. Then, little by little, I build. If I have to write a whole script not knowing if it'll be made, there's a kind of desperation in my work: I don't feel high enough. When I get the money and I know I'll make the film, I get excited. So all the ideas and the writing come very late." The same unorthodox attitude applied to the actual shooting. Although she wrote, directed and cut Vagabond, Varda's descriptions of the shoot make it sound like any- thing but a one-woman show. "I know I work best with a small crew, and without the handicap of union problems," she says, “because[...]aking union rules. It gets done, and we're making the film together. I admire the crew for being like that, so that invention can r[...]to me with suggestions, which I love." In fact, the structure of the film was conceived in that way. ''I had one young[...]ho loves only thrillers, and she said: ‘Make it a thriller! Start with the girl dead, and make the story a police investiga- tion.’ I said: ‘I don't want to make a police film!’ But the thing stayed in my mind, and I thought: What if I make it a wrong police story? We find her dead, the police come, and we discover that discussing pol[...]lement, I can investigate my own understanding of the story with all those witnesses. And, because we know she's dead, it will give the film a tough touch." Depressing might seem a better word, but Varda shrugs that off with: “I guess I'm raising a kind of uneasi- ness“. Nor does she have much t[...]ed to die. “Well, I didn't think she could meet a prince," she says, scathingly. “What could happen to her? Go to a poor people’s shelter? Would that be a good ending? I made it so that nobody’s respons[...]n herself, apparently. Because, although Vagabond is her film, Varda constantly defuses questions about Mona’s actions with the retort: ‘‘I don't know her. I wrote it, but I[...]her." What seems much more important to her are the positive feelings the film raises. "It's all so full of life, and so full of understanding of people and their contradictions in a non- judgmental way. I like a film to have a lasting effect: I want you to be moved, I want you to be touched, I want you to be taken so that the film will be a reference for you on certain thoughts, certain su[...]hrough others." And she goes on to enthuse about the emotional impact on her of Ar|etty‘s performance in Les Enfants du paradis, which happens to be one of the five films she admitted she'd seen when she made[...]nd now? “When I'm not working, I see movies all the time. When I'm finished with this, I'll go back to silence — on the streets, in the city. To think, to dream, to see films. lt’s like another life." "This is apart you’I/ only have once in your life.” Varda on the Vaga- bond set with Sandrine Bonnaire.[...] |
| The 3th June i lrgehirtd 1 or REPUTATION A ro“:,z:::re._i“S* 3 °“ Y RUSSELL RETROSPEGTIVE You are now going to revise the script another few times, schedule and re-schedul[...]to have to account for it. Remember — we offer a completely computerised production path through s[...], scheduling callsheets and film accounting, with the flexibility to suit a wide range of production sizes and budgets. rema[...]duction of Puccini’s _ _ “Madam Butterfly”, the Spoleto Melbourne Festival will Co nta ct us fo r info rm atio n on be presenting a retrospective of this outstanding and much ' our[...]and argued film director’s films, including all the , - - - cinema features as well as many of the famous artists’ bio— you ” find It Very cost effect|Ve' graphies originally made for television. The Retrospective will comprise the following features: - French Dressing (1963) - R m Billion Dollar Brain (1965) - Women In Love (1969) - The Music e a Lovers (1970) - The Devils (1971) o The Boyfriend (1972) o Savage I’S Pty. Messiah ([...]imes of r Sydney Melbourne Passion (1983) o plus a program of television films. Venue: State 98A Willoughby R080 255 COVGWV Street Film Theatre,[...]Concession. NB: No bookings. Tickets on T sale at the door.‘ SPDLETD MELBOURNE Ph: 6144484 |
| The body in question V . by Sophie Cunningham Mos[...]s soon as Annette Kuhn arrived in Melbourne. Were the sportsmen who were filmed leaving the plane she had been on soccer, Australian Rules or rugby players? Even an investigation of the signi- tiers of sporting difference — mainly bu[...]ow unreliable assumptions of difference based on the body can be. A staunch defender of the much- maligned Canberra, Kuhn arrived there from England in March, as Visiting Fellow in the Faculty of Arts at the A.N,U., and gave the opening paper in the four-day May confer- ence on ‘Feminism and the Humani- ties’. Kuhn was in Melbourne to do a few ‘gigs’ (her phrase): three seminars, all of which were about the representation of sexuality in the cinema, and the social and historical context in which such representa- tions are constructed. She is probably best known for her book, Women ’s Pict[...]trands of feminist theory and practice to explore the way in which, together, the two might contribute to the creation of an alternative cinema. Kuhn is well placed to provide such an overview, having been in the forefront of the debates since they started in the seventies. A regular contributor to Screen, she was, until recently, a member of its editorial board. Her articles, pub- lished in a large range of magazines, I :3. * ’ ‘nan .- cover a diversity of issues, including film studies, sociology and culture, and feminism. Originally a lecturer in sociology, she has not always written about film. And it must have been the sociologist in her that fuelled her desire to drive through Moonee Ponds after being picked up at the airport: it was. after all, the only part of Melbourne she knew anything about, t[...]it nothing like Dame Edna had led her to expect. The trip to Moonee Ponds appeared to be the only unplanned stop on her itinerary, since the next two days were taken up with visits to Monash and Latrobe universities, with a stop at the AFC in South Mel- bourne to have a look at some local independent work being done by women. The talk at Monash was based on an essay in her latest book, The Power of the image: Essays on Representation and Sexuality, which explored the way in which censor- ship, both institutional and[...]genres like film noir, At Latrobe, Kuhn tackled a sub- iect similar to the one with which she had opened the Canberra confer- ence. Entitled ‘Representation: some problems for feminism’, it was a fascinating look at the film, Pumping Iron 2: The Women, a documentary about the World Women’s Bodybuilding Champion- ship in La[...]‘l, ‘-..v,_. Pumping Iron II: The Women (Bev Francis in background, far right). Francis was a participant, but the judges considered her body — the most muscular in the competition — too well-built, and thus too un- feminine. On Francis, muscles became ‘drag’. The slides of Bev Francis and other competitors that Kuhn showed certainly highlighted the challenge the bodybuilder poses to those pre- conceptions of what a woman's body should look like, and the film as a whole also raised interesting ques- tions associated with visual pleasure in feminist film, since much of the pleasure to be had in watching it came from a response to the camera's investigation of the women's bodies. Most mainstream films rely on wom[...]s bodies? Gigs given, Kuhn left for Sydney after a mere three days in Mel- bourne — barely long enough, in fact, to work out the tram system. Kuhn's interest in trams was less a sociological exercise, however, than a need to get places: many Mel- bourne institutions[...]nd Adelaide) had been reticent to fund her visit. A shame, because an academic per- spective on films is of special value to the development of a feminist cinema. Women filmmakers will be more likely to provide a positive alternative if they have a fuller under- standing of the many ways in which traditional cinema has[...] |
| PROFI Movies, we are always being told — or someone is always telling Actors’ Equity — are an international busi- ness, a game without frontiers. if that proposition is true, then Jonathan Chissick is its living proof. Having started as the "Latin American paper-shuffler" (his own descript[...]w 40, was born in Israel, used to be British, and is now Australian. His eighteen years in the film busi- ness have been spent in four countries: the USA (three years with United Artists in New York)[...]three of them as managing director of UA Israel), the UK (as managing director of United Artists there) and Australia. In the late seventies, he did a one-year stint here, taking the long way round between Israel and the UK, as managing director of (you've guessed it) United Artists. Now, since the departure of Terry Jack- man six months ago, he has the same title at Hoyts. Chissick is, let's face it, your average movie executive: that is to say, he doesn't smoke a big cigar, doesn't have models of oil wells on hi[...]nervously with his calculator while he talks. He is, in fact, much like you or i, only richer. And he believes in movies rather than deals, which is refreshing. Since he took over, Hoyts has taken two steps of some signifi- cance: out of the arms of Michael Edgley and into those of (coincident- ally, as it turns out) United Artists; and into a deal with CIC to develop a series of suburban multiplexes, designed to bring older audiences (back) to the cinema. The production deal was, feels Chissick, only a matter of time for Hoyts. "We've never put our money where our mouth is, so to speak. We've done our tax-shelter deals. B[...]to take $10 million of our money and put it into a film’ . . . you know, it's a lot of money. “But we're heavily involved in d[...]exhibition company and we're into video. So, it's a natural extension — something Hoyts ought to be doing. The only logical avenue seemed to be with a partner, and what better partner than one of the majors?" The deal with UA, for a number of joint productions in the $US8-10 million range, came about during a courtesy visit to Hollywood shortly after Jerry W[...]ow left again, but these things tend to happen at the studio). The visit started predictably enough, but soon got right to the point. "We went in and said: ‘We're Hoyts in Au[...]want to point my finger, but there was obviously a failure." Joss McWilliam and Josephine Smulders i[...]to take $ 10 million of our money and put it into a film’ . . . you know, . it’s a lot of money” The budgets, the pictures, the problems . . . by Nick Roddick what we'd done so far with Hoyts Edgley: the budgets, the pictures, the problems .. . And he said: ‘Listen, why don't we . . .7‘ By the next day, we had a piece of paper with pointers on it: a very simple deal. Of course, the lawyers and that will take months. But the deal's done." Chissick is quietly eloquent about the thorny question of Australian content in the films that will be made under the deal. “As a person in- volved in the Australian film industry, I would hope that it wi[...]es being made, but we haven't set any parameters. The beauty of it is, you don't have to worry about pre-sales and 108A regulations and prospecti and lawyers and corporate affairs. We don't want to make a deal, we want to make movies. And unfortunately,[...]intraub about those ‘experiences’? '‘It was a very candid discussion: Jerry's made enough movie[...]very disappointed with, because i thought it was the best script to come out of Australia. So, we fail[...]ant to point my finger, but there was obvi- ously a failure. With Burke & Wills, it seems ~ it is now apparent — that people in Australia were just not interested in seeing a picture about these two guys dying in the desert." At a time when, post-Crocodile Dundee, public perception of the box-office potential of Australian movies is on the up again, Chissick remains sanguine. "Since, say,[...]now, with Crocodile Dundee, we really haven't had a big Australian hit. 80 you do get a little hesitant. We're looking for good Australia[...]up — but I won't take Australian pic- tures for the sake of patriotism. "I think Crocodile Dundee will give heart and hope to a lot of film- makers; but, really, every picture has to deliver on its own. If you have, say, a twin, and you're playing Crocodile Dundee in one theatre and For Love Alone in the other, it doesn't necessarily follow that, as soo[...]or Love Alone. It doesn't happen that way." With the new multiplexes, the aim is to have as much current Hoyts product on show in each location as possible. "There are a lot of people who will not drag themselves into town, look for a parking spot, pay for it and walk across town to the cinema, only to find that their first choice is sold out. We're going to give them accessibility to the theatres, free parking — and they can look up a[...]ice. if they can't get into one, they'll get into the next. They're not going to a movie, they're going to the movies. ‘‘It will take time, and of course there will be teething problems. We have twins at the Warringah Mall in Sydney and at Waverley in Mel- bourne that took twelve months to get off the ground. But, if we get the audience to come once, i believe firmly they'll c[...]ular moviegoers." And that, you have to admit, in the swimming-pool heaven of suburban Australia[...] |
| The best film camera in the world. Out now... on V1d€O At last you can ach[...]o tape the very best image check out Panacam 11 available on film. for your next Telemovie, Panacam H is here, mini-series, drama the most advanced video or documentary. tape camera system in the Call Peter Skillman world today now, at E.C.V. Panavision is recognised exclusive Australian as the supreme camera agents for ,1 c i» » ,, ‘ system and here you have Panacam 11, and ' . I -' £.- 14 -A __ . ‘ that system integrated discuss your next ' ,1 - " .. ‘J beautifully into a tape production. y ,0; Q .1 " . __ ’ ‘ camera. f . Everyonefrom the ' ,% | ' Q ‘ ~‘ " '\ .. . Producer to the D.O.P ‘ . / ' _ will love the results of _ g \ Q . ’. '\ the Panacam ]I, with the full advantages of the Panavision Reflex System on tape. ENTERPRISE COLORVIDEO PRODUCTIONS —.$A/\/AC'AA4”.Z1'/.‘Er" /--/EIQE 166 WILLOUGHBY[...]AA239l8 FACSIMILE (02) 438 2647 Now 0 member of the Pro- lrnuge Group cl Companies. IKA/ECV037 |
| ARRI ARRISUN 5 3. 12 - brightens yourlnight The Arrisun 575W and l20OW fixtures are designed to use the extraordinarily elficienl Par Sealed Beam Bulbs. The compact, lightweight and easy to use lamphead is also a valuable source of punch lighting for both day an[...]vents spill light and improves weather proofing. The Arrisuns are a versatile addition to the ' 7 Arri Daylight HMI Spotlights 9% John Barr[...]”) 0 Tight deadlines our speciality 0 24 hours a day, 7 days a week if required. For further details on[...] |
| In the May 1985 issue of Cinema Papers, we printed an ‘Open Letter’ to the world’s filmmakers by Lino Brocka. Brocka, probably the best known Filipino director (and a constant opponent of President Marcos), was, at the time, out on hail from a sedition charge that carried the threat of the death penalty. Sixteen months later, after Cori Aquino’s revolution, Brocka is back at work. Among other things, he is now the head of the Task Force concerned with reorganizing cinema in the Philippines; and he is working on his usual flurry of films. Here, he talks about getting out of jail, about life under the last days of Marcos, about the changes that People Power has brought (and the changes it hasn’t), and about his own future as a filmmaker. Immediately after I was released on bail, I made a movie, which is what I was pre- paring to do just before I was ar[...]s ago. That’s about average. In fact, my output is down a little, because we were very much involved with organizing and mobilizing members of the Concerned Artists of the Philippines as part of the protest movement. Also, they’d banned Bayan K0, and we decided to fight it out with them. Fortun- ately, the producer was willing to lose the money. I told him: “You know, the Board of Censors is very vindictive, especially the Chairman!” But he said: ‘I don’t care if the movie doesn’t get shown or doesn’t make any money in the Philippines. I just want to fight it out.” So we filed suit in the Supreme Court, and that went on for almost a year. CINEMA PAPERS September — 73 |
| than a brute SIRIO 12kW H.M.I. Quartzcolor laniro, in k[...]robust and ‘ lightweight luminaires, present the Sirio ' ’ l2l<W; the most powerful fresnel spotlight available in the range of discharge lamp systems. Excellent Ventilation and attention ' _ .. . to safety combine to give you a lamp with extra- .: ~ .1‘ ~ » ordinary light[...]ger performance. . ‘ For further information on the Sirio 12l<W phone Rank Electronics. — Rank Electrofiis Pt;r.Limited . 1 "LEADS in LIGI-ITIIIG Eoulmr[...]. OLD 4010 07 et 41 S mble. NSW 2073 So t Tow . .A. 5067 Lee ville. W.A. 60 histle Stre 84 Wollongong S t : (02) 449 5666[...]IIIIIIIIIII////III/II/II/II/I////4 LET US OBTAIN THE QUOTATIONS FOR YOU FEATURE FILMS MINI SERIES DOC[...]AP 59° RANS OM Contact: TONY LEONARD H.G.A. INSURANCE BROKERS PTY. LTD. Incorporated in Vic[...]PHONE: 645 2900 TELEX: AA38l67 HGAINS. Members of the National Insurance Brokers Association of[...] |
| B;-l_\.in Ko: I/wfilm ui //1r’ (‘wire of a pr)/ilim/(lru/:10. In the middle of all this — filming and the suit and all —- we had our weekly appearance at the court. It was just a big fuss: everybody knew that, I think. But we ha[...]every Wednes- day, because there were two cases. The suits were ‘Inciting to sedition’ and ‘Lead[...]bly’, both of which were punishable by death at the time — death or life imprisonment, no in-betwee[...]just harrass- ment: that was very clear. I think the court was going to decide that there was no case, but they had orders from the top to hold it, so we had an ongoing case always hanging over our heads. We — especially the theatre group I have — were very much involved in mobilizing for the protest movement, particularly in the provinces. The harrassment and the arrests were getting quite blatant. There was no time to make films! Between December last year and the end of May, I didn't do a movie, which is quite a record for me. Usually, I make a movie every two months — five or six a year. There was also the fact that, because of the trouble with Bayan K0, producers didn’t want to touch me with a serious film. I wasn’t wanting in assignments, but they were asking me to do films that the government would like — you know, the glossy ‘Ross Hunter’ look, that type of film. We knew the end was near for Marcos by then, but we didn’t know how it was going to happen. Even when we were asking the people to vote for Cori, everybody was aware that[...]massive fraud and cheating. We knew they handled the institutions and the agencies that were _, ,_ J , we-' :- responsible for counting the ballots. The important thing was that the people knew one thing: that they had to go out an[...]ey were going to be cheated. But, in spite of all the election vigils and all the people putting up a fight, we still needed something. And then, of course, came the sort of coup by the military, headed by Ramos and Ponce Enrile. I suppose that was the thing that did it. Now that we have this freedom[...]raightforward, because there are still so many of the old structures left, and so many of the people who benefited from the Marcos government. People are scrambling for positions. It’s a different kind of battle altogether — a little bit confused, right now, and a little bit messy, because we are in the process of reconstruction, the process of rebuilding. Plus, of course, as everybody knows, the Philippines is bankrupt, and the movie industry is having a hard time, just like all the other sectors. Right after the revolution, the first thing the President did was to create commissions, like the Commission on Good Govern- ment. Let’s face it: for the last 20 years, corruption was the system. It permeated almost every level of society, and the Com- mission is now running after these people. Since the movie industry used to be led by people who spoke for the government instead of speaking about the movie industry, there was definitely the need for a change there. For example, John Litton was still running the Film Centre, and we had to get rid of him! We don’t know what to do with the Film > CINEMA PAPERS September — 15 |
| [...]an 9: 16 — September CINEMA PAPERS Centre, as a matter of fact: it’s a big white elephant. Also, there was a lot of money earned because of the showing of those semi-pornographic films: where did it go? Like all government agencies, the Film Centre had to be audited, which necessi- tated the creation of a Task Force to over- see it. But, more important, I think, is the fact that the government realises that there is the need to formulate film policies that will govern the movie industry. And that, precisely, is the function — the responsi- bility — of the Task Force for Cinema. A degree of independence is important, however. After the revolution, we organ- ized a Union of Movie Workers, of which I’m President. We’d been trying to organize this for a number of years, ever since the First Lady instituted the Manila International Film Festival and organized us all into ‘guilds’. The ‘Academy’ the government created included the different guilds, plus the producers, so it was imposs- ible to negotiate on[...]tackle economic problems. I mention that because the feeling was unanimous that we didn’t want any help - any subsidy or funding — from the govern- ment for the Union. It is important to retain our independence, so that we’re not beholden to any administration, even if it is Cori Aquino’s. It is a concern of every sector now to educate the people. I think one thing Filipinos learned from all this is that we were very much to blame for what happened. In other words, we kept quiet. That is why Marcos became more and more emboldened and had the gall to do it all. With 20 years of suppression, you can imagine the stories that are being planned right now! And they are still very relevant, because the revolution has not changed the system: corruption is still there. I don’t think you can change that overnight: that will go on. Let’s face it: a big segment of society still belongs to the same status quo, and those attitudes have not changed. As a matter of fact, even the educational system has got to change. We have to be weaned away from that, because the system that we’ve had for the past 20 years has been very much influenced by the lending institu- tions — the IMF and the World Bank. Now, people are very, very conscious that, whatever aid they give, it is not in the name of democracy, or because we’re such a ‘peace-loving nation’: it is for their own interest. For myself, now that the revolution is over, I’m going back to television. I was doing several shows there, before ‘The Cronies’ took over. Now I’m going back: I’ve agreed to do a miniseries — the story of Nino Aquino, which I was sup- posed to h[...]curity reasons, couldn’t make. What I’m doing is the local version. There are, I think, three internat[...]have anything to do with them. If they want to do a Gandhi-type film, fine, as far as I’m concerned. But I don’t want anything to do with it. The story that we have is about a family that was harassed by the state — a domestic drama. It is the story of Nino when he was arrested at the declaration of martial law, and how the family went through the trial and then went to the United States and went back to normal. It’s a domestic drama that I don’t think international producers would be interested in. The other one I’m thinking of doing is a story based more or less on Imelda Marcos — the story of a woman who has an affectation for the arts, who sings and who collects statues of the infant Jesus. That’s the one I look forward to, because the story we have come up with is an exciting B movie: it has all the sleaziness in it, and the lust for power and the accumulation of all these things. She would have an afternoon tea-party, and there is a famous pianist playing; and probably there would be a famous American actor who comes in . . . I’m calling it Griselda R. Griselda is married to the governor of a southern province, who has been in power for the last 20 years. Now, he is dying of an incurable illness and he is up for re- election. Since he is too sick, his wife takes over the re-election campaign. She goes to political rallies and sings a song and has the military behind her. There is also a human rights lawyer running against her — honest but poor. And, as the election campaign goes on, she realises there is the possibility this guy might win. So, she stages an ambush in which he is assassinated. Of course, there is no evidence, and people refuse to talk. But the wife of the slain opponent now runs against her, so we have a story about two women fighting it out. I start the film with her singing at a party, then at a rally, then going to church and singing there. Sh[...]s. Then she quarrels with her husband, because he is having an affair with an American starlet who comes to the Philippines to make one of those Ninja Ninja film[...]. . . that type of thing. You can’t exaggerate the life of Imelda: it’s already an exaggeration. It’s in a fantasy world. The woman bought a crown — an honest-to-goodness crown! Of course,[...]bought jewellery, millions of dollars worth: but a crown! Where would she wear it? In the evening, just to look at? Perhaps it was for a costume party. But, if you go to a costume party, you wear costume jewellery. This crown cost $184,000! And who would ever believe the reason why she went to Russia? It was not publi- cized internationally, I think, but in the Philippines it was. Just before the election, she went to Russia with a statue of Our Lady of Fatima. She had a whole entourage of nuns and priests — about 50[...]and she went to this small town in Russia and had a mass there. She had a black veil and she was all in costume, and pictur[...]id that? Because her fortune-teller told her that a woman from Asia would go to Russia and convert it to Catholicism. It was in all the papers. Of course, they didn’t say that that was why she went. But her cronies - — the ‘Blue Ladies’ — told us it was true. If you put that on the screen, people would say it was an exaggeration![...]n. When Van Cliburn and Margot Fonteyn left after a visit to the Philippines, all the way from the VIP lounge to the aircraft, there was a red carpet and girls dressed in communion clothes[...]their hair. It was straight out of Les Sylphides! The girls had baskets, and they threw petals, so Van Cliburn and Margot Fonteyn are walking on a red carpet, and girls on both sides are throwing petals at them. If you put that on the screen, can you imagine . . .? i’ |
| [...]name Rank Electronics continues to bring you the best — with their comprehen- sive range of Stee[...]zcolor lighting. Whether it’s lighting — from a single luminaire to a comprehensive studio installation, or post produc[...]nce — like Steenbeck’s ST 921 Film Editor, or the new ST 204V Video Reporter, you can depend on Ran[...]" ‘ ‘ ‘ %°S‘l,i§"l«§lll’§bn you the best every . _ ~ VA allflozmsssss A 'Ilelex: 71289 time. VIC Regent Hous[...]'~ SA . 34 King William Street , _ Kent. Town. S.A. 5067 _'l\el: (08) 42 9827 fllelex: 89202 WA ‘ Unit 1. 106 Oxford Street , Leederville. W.A. 6007 'Ilel:~ (09) 328 5122 ‘Telex; 93345 ‘ |
| Dutch tkreat For Paul Cox, film is the most powerful medium ever invented, but also the most abused. If the Australian film industry had more dedication and less greed, argues Cox, and if the money-lenders and execu- tives restored it to the filmmakers, we would have better results. A lot of Cox’s frustration and anger comes to the surface in conversation. But his films are not nearly so blunt. They are emotional and tender; often, the meaning behind his recurring images remains obscu[...]affected by incidents in his life, and they bear the unmistakable stamp of the auteur. Indeed, David Stratton has described him as “the most interesting auteur of the con- temporary Australian cinema”. Cox does no[...]therings, and prefers his Australian anonymity to the autograph-grabbing frenzy of his fans in other co[...]filmmakers should get together more often. There is nowhere here, be com- plains, where you can go and have a drink, knowing that you will catch up with fellow filmmakers: nowhere where you can swap ideas over a coffee in some cafe or other. Where is the community spirit, he asks? That is one of the reasons why he thinks film festivals have an important role to play in the Australian film industry. For him, “they are the last vestiges of free dreams”. Do you still feel like a foreigner, after more than 20 years in Australia?[...]ink, as you get older, you go back to your roots. A lot of people, when they die, can only speak thei[...]g to do with Holland. I was born there and was in a Dutch school for a while, but I was brought up in German, French and Dutch. How would you describe yourself? I think I’m a very determined person. But I don’t call it ambition. I’m a very compul- Is this a characteristic you can apply to your filmmaking? You have to. If you don’t, you’re not a filmmaker. It’s impossible. What do you think is the best attribute a filmmaker can have? A lack of fear, because filmmaking is very much a medium of our times, and our times are very greedy and based on the wrong values. Filmmakers are easily seduced, so I think a lack of greed is essential. Also great determination and confidenc[...]y idiotic situation, where ten people decide what is being done and how to put a film together. I don’t work like that at all. I find it very boring and lacking in personality: we live in a society that doesn’t breed individuals any more. You are regarded now as a successful and bankable filmmaker. Is that what you wanted? No, of course not. I did not even intend to be a filmmaker. I did it as a hobby and I’ve always said that, if you take something seri- ously, then you must do it as a hobby; because if you do it professionally, you have to make compromises all the time, and you have to make a living. I worked on the side, doing things I wanted to do — obscure little films that taught me a lot and which I always produced myself. I worked as a lec- turer at Prahran College, and most of the money I made there went into films. From there, I became a filmmaker. But I never set out to become a ‘film director’. I find that an embarrassing title. Of all the films you’ve made, which one are you happiest a[...]u should ever be happy about what you do. I think a film I made about ten years ago called Island is still about the best. It is only ten minutes long and it is totally abstract and hypnotic sive character, so they say. — and that is what I think a film should be. > 18 — September CINEMA PAPERS I |
| [...]aul Cox on location with Werner Herz0g’s Where the Green Ants Dream in 1983. |
| Dutch tlifeat Do you think filmmaking is self—indulgent? It is the most important medium of our times. It is the most abused, too. It is the most powerful thing we have invented. But I rarely go to the movies, because they make me angry. I think it is the most fantastic medium, but it is used in the most idiotic, patronizing and denigrating way. Let me tell you something. I was on the plane to Hawaii recently and I saw Prizzi’s Hon[...]film. I turned round and asked this man: “What is the matter with you? Why are you clap- ping? It is one of the most immoral pieces of shit I’ve ever seen!” “We live in serious times. We are very close to the brink of extinction” I can understand that,[...]funny, nasty little piece behind to teach people a lesson: he would have been capable of that. But here is a man at 79, John Huston, and his last ‘masterpiece’ is a totally immoral film that is being heralded as something quite brilliant. It is a piece of rubbish. We don’t live in times any mo[...]g: we live in serious times. We are very close to the brink of extinction. Film is such a powerful medium, and people are watching an average of two or three hours of tele- vision and film a day. Do you think you are different from other f[...]o my own thing. There are very few people who get the chance to do that, because films are all controlled by the wrong people. Why should a producer, who has no idea about film, who may have been studying to become a chemist or a lawyer, suddenly become a film producer and have the final say? They have a say in the casting, in what is being made, what represents this country’s conscience; and then they have final cut. Is that why you insist on such a high degree of artistic control? Not high: total. The great irony of all this is that I am a much more commercial com- modity at the moment than anybody else! All my films are about[...]and they are for human beings. Was Lonely Hearts a breakthrough for you? Lonely Hearts is an extraordinary story. It became very popular because people are basically starving for a bit of humanity on the screen. They don’t want to just have ‘shooting parties’ all the time. I’ve always believed that. I believe much more in people than most of the others, because those people are standing between you and the audience. The others think they know what an audience needs and wants, and they set the standards. That is why going to the movies makes me angry. And why do we have American crap here all the time? That’s why I’m so pissed off 20 — Se[...]d-rate culture, spitting its crazy message across the globe, and we all live for that! You can’t even turn on the television at night without hearing an American voice on every channel. And why should a foreigner like me scream against it all the time? Of course everyone agrees with me, but nobo[...]I would rather be doing something else! If I had the courage, I would just live a very quiet life. I would like to do a bit of painting, a bit of writing and all that sort of stuff. lt’s[...]ious: I have just been compulsive, and I think it is essential that people use the medium to express themselves. It is not all about some weird god — the big commercial god that is supposed to tell us how to entertain one another and how to denigrate one another. The more I grow, the less time I have for any of that shit, for any compromise. I say Checking out the shot: Cox on location for Inside Looking Out (197[...]re all going to die some day. I am supposed to be a successful filmmaker, but I could give my career away just like that. I’ve done it before: I was a very successful photographer at one stage, and I[...]filmmaking still mean something to you? It means a lot, because, politically, it is a very important weapon ~— unbelievably important. There is nothing as fascinating or as powerful as filmmaki[...]l’ films: I make films about people for people. The only thing we have that makes us so unique is that we can feel and we have the ability to have emotions. I have great respect fo[...]good; if I couldn’t believe that, I would give the whole thing away. Where did the idea for Cactus come from? Usually, the ideas start somewhere in child- hood. I think this one started many years ago, when my mother went blind as a result of a burst blood vessel in her head. We were all terri[...]n’t feeling bad at all. In fact, she was having a very peaceful time, lying in a quiet little room. I have made a few films about blind people, and I’ve always found that they are very peace- ful. We live in a world that only scratches the surface of things. We judge people by their faces, and never allow any time to analyse the silences of a person or their feelings. Everything is judged by society on the surface level, and we all know a person is made up of an inner life and an outer life and how these two are balanced. In Cactus, one person represents the inner and the other person the outer. One person has been everywhere, seen every- thing, and the other person has seen nothing and yet he has inner peace. The other person, although she has sight, has nothing. It is based upon saying that the world consists of two different types: the shallow ones and the real ones. The shallow ones have the world: they have the big cars and the new houses. The real ones have nothing. lt’s a very ambitious and preten- tious idea, I realise[...]t you were influenced by Claude Goretta’s film, The Lacemaker, which also starred Isabelle Huppert. No, but he encouraged me a great deal. Here was a film with no special commercial ingredients, and yet it was very successful. If Goretta had gone to a funding body here in 1976, he would have been kicked out of the building. When I saw it, I was quite amazed to find a full house with everybody sitting there stunned after the movie. They had been given something — somethin[...]t and make them remember. They wanted to talk. It is so important that a film can let that happen to you. It can be entertaining, it can even be lighthearted: it is not a matter of being heavy. So, The Lacemaker gave me great en- couragement, and Isab[...]olutely stunning. By sheer coincidence, I met her a year later; I talked to her and we decided to make a film together. She thought it was a bit of a joke at the time, but I was quite serious, and we did it. Is it true that you created it for Isabelle Huppert? This particular script, yes. The idea for the film was already there and I had written some sor[...]ned artistic freedom by now, then I’m living in the wrong country. I could have proceeded in Canada a[...]here, I work here. I’m glad we managed to solve the problems. |
| [...]- making as being much faster and more per- "It. is - . sonal than anybody else’s. You also use ~. ”_m”‘91.V t a film ,n th he-it Mr 0”‘ '-‘-'f1l make fewer shots than mostfilmmakers. Is there “Umbr~i= O11‘ , e United States ,,,,1P BTGSU. pot.em,ia.l son a reasonfor this? Instance jprecondltions are m—eL.s;a social comment -at period detail and cm. he.S laf[...]. . . . . . ays 1.1 mal Le crew and - Filmmaking ISa studio president finance was 111 place r £911 east, the I do know exactly what I’m doing when I producer’ Wep em. or Independent was ‘Shoot the pictua. ’ cox had to do start making a film. Idon’t take ten master that right a e P e‘Da1"‘d to give hi tempting re It Was ve[...]s together. No, I would n P COX Amie overcorn . ' a not allow him gel, L.U“’7uLnicr.‘s did shoot on a ratio of five—, six-, seven—to—one, ducedg. he 1; v .s not like to be .pP the project, but t‘h'e ffllsly to considep which is half of what other people do, films It is glad CO pP°dUCer of all I ’ Sueha Way as to excl "1 WEPS geared in because I see no point in wasting the its own Sake ba matter or Commie] the much of the pI,e_ a dude him from too material. That’s one thing. S[...]espo" U‘, 5‘ genuurte desire WON! for him to is V poSt‘DI’0duction often like to do things in one take, but they coiztml. lte=:A;SrM.N.J"_"-" «‘*.ri-tug}, 1I1VO1Ved and resp[...]out and they are scmpt (Wh«icgo.lsibiIity, that is to ,1: yandlapge On1:s_ib1e for the film complicated shots. They are also very risky, the ‘moral, (If he usually Writes) Q“ 6 scripts, Writing a initiates his own because you have nothing to co[...]rought In 71:6 15 Sh3«I‘pened by time you make a film, it may be your last, udget of may In ’1 o[...]e.“ter , and before so you may as well play all the way. the dollars aI,:'S may be unlimited bu: Contributions[...]nendntliln. CO)(’s You said to me earlier that the music in WW was SA 7'00 032$ 0003 M} cl efne‘ not machines, ahou?’ '°?b°ut yourfilms is much better than in mostfilms P‘:,”,“'5 Was SA1 5 ‘a*“‘' year duals mas’ not locatmns about;-Jmvate you have seen. How important is music as °""tmg “W” the h i .n.1‘m'" Wfire ’ not nations Sn’ - mdw[...]because Iam Wa « 5 ear, ,1 .,,,.e_mmN d‘ y to the h he fllm , ,Set is S 11 assuming you pride yourself on your 8 Offere[...]bsolutely convinced — that, if you don’t have a sense of music, you should not be making films. Music is the basis of all creativity. always have the music before the film begins. Why do you choose not to work in Dolby? Because Dolby is a lot of nonsense. It distorts. It blows the music up and makes it unrealistic. It is very rare that I see a film in which Dolby is properly used. Dolby is a con by the Americans, who even have a ‘Dolby expert’ for the mixing. Why should we imitate the Americans on that level? You know, I have never seen a film not suc- ceed because it didn’t have a Dolby track. “I have a much better reputation outside Australia than I do here. I think, in Australia, there is still this thing about a migrant coming good” So many of these littl[...]dy. You can’t even sing ‘Happy Birthday’ in a film because the Yanks somehow bought the rights to it, and it will cost you about 50 grand! It’s incredible: you can’t even pay homage to a nice song because you have to pay through theis a fine, decent human being and that The Lacemaker is a great movie: it _]USl touched the right nerve. But it is not a spec- tacularly interesting movie: the guts, the humanity behind it are good enough for me, thank[...]s really stimulating for me. But you hear exactly the same thing from all of these directors: none of t[...]al, they all do their own thing and they all have a hellish time. But I think it’s extraordinary that ‘they’ say that these are the people who are supposed to be changing the shape of cinema [Cox’s invitation was part of a[...]n directors who were supposed to be going to make the most significant contribution to world cinema in the next ten years]. It’s all very nice, but who are ‘they’? You have received offers to work in the States. Would you consider going to America to make a movie? Well, it’s a long story. Everyone keeps on telling me I should[...]nce it. But I get enough experience here. I am in a very fortunate position and I am able to make my own films here. It's not difficult to get the finance, so why the hell should I go to Hollywood? If I cannot have final cut, I don’t want to make a film. But I do have a much better reputation outside Australia than I do here! I think, in Australia, there is still this thing about a migrant coming good. If I go to a festival in the States, I can hardly move because people are aski[...]at least they love you for what you do. That’s the good thing about America: they are much more open about cinema, even though it’s controlled by a few people whose thinking is based on the mighty dollar. Do you have a solution to all this? If I had the energy left, I would buy myself a television station and have all the control. You have to do your own thing as well as[...]or? It’s very easy to go to Hollywood and make a million-dollar picture, but I have to live with m[...]life and look back and think: Yeah, well, I made a lot of money. I think that’s nonsense. I think[...]ow does it feel, working for television? What’s the difference?” There is no difference, except that your responsibility is much bigger, because you reach more people. I think I’ve been lucky. I came to filmmaking through the back door. It became a hobby and then an obses- sion, and I have[...] |
| The films of Paul Cox 1965: Matuta, 23 minutes, 16mm[...]1971: Phyllis, 35 minutes, l6mm, colour. l972: The Journey, 60 minutes, 16mm, colour. 1974: All Set[...]e5 in Briony Behets (Elizabeth), Tony Llewellyn- the first two 16mm features: left, with Gabi Jones (R°b°m' N°”“a“ Kaye (A]e")' 88 Dutch t}\I’ea.t Trsek in Illuminations[...]lyn-Jones (Tony). 100 minutes, 35mm, colour. For a Child Called Michael, 30 minutes, l6mm, colour. The Kingdom of Nek Chand, 22 minutes, 16mm, colour.[...]d). 91 minutes, 35mm, colour. Death and Destiny: A Journey into Ancient Egypt. Directed by Paul Cox.[...]ms (narrator). 74 minutes, 16mm, colour. My First Wife. Directed and written by Paul Cox. Produced by Ja[...]), Lucy Angwin (Lucy). 99 minutes, 35mm, colour. The Paper Boy. Directed by Paul Cox. Produced by Jane[...]8). Above, right, Wendy Hughes and Norman Kaye in the director’s I98lfilm, Lonely Hearts. ‘ _ Below[...]Lucy Angwin and Wendy Hughes in l984’s My First Wife. (E1555 Riordan). 53 mfnmes’ 16mm‘ colour (for the Winners series). Handle with Care. Direct[...] |
| [...]o associated with Departure Rocking these films. The Right Hand Man The Fellfldefiens We wish their Playing Beattie Bow DOW“ There makers lots of luck Around The World Camera Name with the Awards, In 80 Ways My Life Without Steve For Love Alone The Mooncalf The Devil In The Flesh The Portrait The Fringe Dwellers Of WendY'3 Father The Rentman Half Life Colorfilm Pty. Ltd., Filmlab[...](02) 522 4144 Telephone (03) 528 6188 Telex No. A1-X24545 Telex No. AA70434 Telex No. AA3836[...] |
| ‘ Rope trick.‘ Sam Shepard as Eddie in F001 for Love. A couple of years ago come November, I went on the road in England with Robert Altman. The occasion was the British release of Secret Honor, Altman’s ‘Nixon film’, i.n which one actor alone in a room for just under two hours re-enacts the mania and the paranoia which is, it seems fair to assuxne, the scenario being played out inside the former President’s head. I had seen the film a month or so before and I thought — I still think — Secret Honor, for all its self-imposed topographical limitations, among Altman's greatest films. It is a work which uses two of the true resources of cinema — the control of point of view and the fine-tuning of pace — to astonishing effect, leaving most of the decade’s car chases and intergalactic battles looking turgid and i.mmobile by comparison. Going on the road involved chairing three question-and-answer[...]ondon, one in York and one in Newcastle. In York, the lecture was introduced by Andrew Tudor, author of two excellent books on the cinema; and he paid Altman a. rare tribute. In the n1id- seventies, Tudor was film critic for New Society. Only once, he said, had he missed a deadline. It had been after seeing Nashville; and the sheer scope of the fil.m, the number of issues it raised and the complexity of his own response made it totally ir[...]n on tirne. Most of us for whom filmgoing became a sion and a pastirne somewhere between 1955 and 1965 have fel[...]te about one or other of Robert Altman’s films. The sixties was a dreadful decade in American cinema, with very little that shone amid the machine-tooled efficiency of the product ground out by Hollywood. The ‘first generation’ of talkie directors were mainly retired or dead, and the studios were still a long way off giving the kids a chance. And then, in 1970, along came M*A*S*H. 24 —— September CINEMA PAPERS Altman was certainly not a kid i.n 1970: born i.n that epitome of the mid-West, Kansas City, in 1925, he was in his rnid-forties by the tirne he made M*A*S*H. with a few unmemorable features and a ten-year career in television behind hini. But the film was certainly youthful. And it was a landxnark, not because it engendered a seemingly endless, cosy little TV series (which A[...]ing mainstrearn American cinema. It had stars and a story and it was made by 20th Century-Fox and it[...]: more or less by mistake, Hollywood had produced a film which reflected its time, rather than making something that seemed born and bred in the fifties tirnewarp of the movie capital. The soundtrack was noisy and muddled and fascinating, not antiseptic and post-synched; the handling of the narrative was loose and open, not seamless and unproblematic. Most amazingly of all. M*A*S*H was a film that millions of people went to see. It seemed to break the rule that any film made outside the mould would fail, and that any didn’t conform wouldn't work. After M*A*S*H, Altman certainly worked, making fourteen films in the next ten years. And it very soon became clear that not only would Altman break the Hollywood mould: there wouldn't be an ‘Altman mould’ either. This was not a director whose career was going to be solid but p[...]kenheirner and Sidney Lumet. Immediately after M*A*S*H came Brewster McC1oud (1970), a bizarre tale of sexual initiation and the desire to fly, set in the Houston Astrodome and introducing Shelley Duvall,[...]tman re . Next came McCabe and Mrs Miller (1971), a bleached-out anti- filmmaker who |
| western, set above the snowline in the Pacific northwest, in which the issues blend i.nto one another like the outlines of the town of Presbyterian Church in the falling snow, and whose cliznactic six-gun face-down simply disappears into the whiteness. The following year, there was Images (1972), a Freudian ghost story set (and filmed) in Ireland; then The Long Goodbye (1973), a film I would die for. which irreverently and quit[...]ocates Philip Marlowe's schematic moral values in the unprincipled urban wasteland of modern Los Angeles. The sixth Altman film of the seventies was Thieves Like Us (1974), a remake of the 1949 Nick Ray film, They Live by Night, which looked at a doomed love affair against the background of the Depression, and did so far more honestly (if less[...]nie and Clyde. Next came California Split (1974), a gambling melodrama in which Altman did for ‘buddy’ movies what he had done to war fil.ms in M*A*S*H: decon- structed them, allowing the people — in this case, Elliott Gould and George Segal — to rise above the genre. It was a film that confirmed that Altman was, on top of everything else, a great director of actors: Segal has never been better. And then came Nashville (1976), which was a critical and a commercial success in a way that none of the films since M*A*S*H really had been. Nashville was the film of the seventies —- about sex and politics and music and the media, with dozens of different stories and 48 main characters. It took the tempera- ture of the post-Nixon era with unerring accuracy, and with all the indelicate efficiency of a rectal thermometer. With Nashville, Altman's car[...]ere was that dream-ticket of seventies Hollywood: a filmrnaker of definite individuality, who reached audiences in such a way as to guarantee his future budgets. It turne[...]no filmmaker that unprepared to spend too long on the same road, that unready, to repeat himself, could survive for long. By the late seventies, Holly- wood was turning back towards the safe options and the familiar formulae. The Reagan era was all but dawning on the horizon. Altman's next film after Nashville, Buffalo Bill and the Indians,or Sitting Bull’s History Lesson (1976), was a major flop (though it won a Golden Bear in Berlin). Since then, only one film[...]n, Popeye (1980), has made an appreciable dent at the box office, and even that did nowhere near as well as Paramount anticipated. Three of the eleven — A Perfect Couple (1978), Quintet (1979) and Health[...]s, 1984) seems to have been shelved for good. Of the remainder, 3 Women (1977), A Wedding (1978). Come Back to the 5 and Dime, Jimmy Dean, Jimmy Dean (1982), Streamers (1983), Secret Honor (1984) and now Fool for Love (1985) have had critical responses ranging from the ecstatic to the politely deferential. But they have had very limited box-office success. None of which alters the fact that Altman remains one of the two or three most ixnportant American directors s[...]ve was i.n competition at Cannes this year, which is one of the places some of the following comments were recorded, in an interview in the Carlton Hotel. Others were in Paris in the autumn of 1984, also in a hotel; and, of course, on the road. Most of the comments were answers to questions, at any rate i[...]oon became state- ments in their own right, which is why I have left them like that. Like his films, Altman embroiders on a subject. And, like Nashville, he rarely takes the narrow view. p By Nick Roddick CINEMA[...] |
| “It ’s through Richard Nixon — my feeling is ~ that we’re able to look at the quality of the Presidency. ” Phillip Baker Hall as Richard Mill- house Nixon in Secret Honor (1984). Actors ——————-—--—and [AN]: 1\l{l31I1\© “I was talking to Fanny Ardant the other night. She worked with Geraldine Chaplin and Vittorio Gassman in the Resnais film [La Vie est un roman]. But she never did a scene with them. She knows them just to say ‘Hello’ and shes seen them in the film, but she doesn’t know them. Television is done the same. You know: ‘We have to pay $2,000 a day, so we’ll get this person out of the way in two days’. “I prefer not to work like that. Of course, I didn’t get there overnight. A lot of my reputa- tion in being able to attract actors — m history — is such that they know, or they fee , that they’re not going to be made a fool of, that l’m not going to let bad performances go on the screen and I’m not going to lie to them. So the[...]. “I don’t like to travel around too much in a film. I find I like to have a perimeter: its just an idiosyncracy of mine. Sometimes, its a pretty big arena, but I think it has to be an arena. I did Nashville in a kind of big arena. Brewster McCloud was in the Astrodome. I feel com- fortable in that kind of set-up. Jimmy Dean was like that, and the Nixon thing certainly was. Fool for Love was on a big surreal set with very few people on it. “I know, when I get on the set, all those people will monitor their behaviour. Nobody wants to be the bad guy, nobody wants to be the hair in the butter. We get rid of all those private dressing[...]r guard. “I went to San Francisco to cast M ‘A *8 ‘H. And everybody said: ‘What are you going to San Francisco for? All the actors are here in Los Angeles.’ Because that’s where they throw the coins. But I wanted people who hadn’t been in a film before. René [Auberjonois] had done almost no films to that date. After about ten days of M ‘A ‘S ‘H, Donald Sutherland and Elliott Gould went to the head of the studio and tried to have me 26 — September CIN[...]——-————and— (smnurr nomm “I have a woman who works with me called Scotty Bushnell, who is many ways the closest thing I have to a partner. Her husband is artistic director of the Los Angeles Actors’ Theatre. and they had put on Secret Honor as a. workshop production in a little, 40-seater theatre. You had to cross the stage just to get into the room, and then you were trapped! “He kept saying: ‘You have to see it: the actor's great!’ I know how people feel about something which is Richard Nixon alone in a room for two hours: I wouldn’t go see it. eithe[...]said: ‘Well. I just don't see how you can talk the way you do about actors, and there's an actor of[...]y don't have any money! “Your first impression is that it's going to be a. comic performance -— a lot of cheap shots. But just to take cheap shots[...]that — I mean, I couldn't have stayed awake for the seven days it took to the thing! It's not about an individual: it's through Richard Nixon -— feeling is — that we're able to take a look at the quality of the Presidency and the media and the politics and how long this is going to continue. all the Presidents, Nixon was worst served by the media because of his personality and his own stup[...]ting to happen with this other joker we’ve got. The media were tough on Nixon, but they weren’t as[...]on thought. They were tough on Nixon because he's the one who did it. “I think it's coming to a. quick end, because the quality of the people that would aspire to that office is now down there in the C-minus group. All of these people that get in th[...]get there all at once. They didn’t just go from A to Z: they went to B and then 0, and then, su[...]d for lying constantly . . . It's like touching a hot stove: if every time you touched a hot stove, you had an orgasm, people would be ru[...]lly had no choice. Ofcourse, Julie [Christie] was a great help: she’s just the opposite. The sad thing is, I don’t think Warren has ever given a better performance. But when he mentions films, i[...]ng paintings for her boyfriend! She didn’t have the slightest idea: she’d never seen a camera before. I was looking for some- body from[...]want an actor who was going to go out and perfect the accent: I cannot abide that. I smell it every time.” "She’d never seen a camera before [Brewster McCloud]. ” Shelley Duv[...]g and, if he’s going to stop — whether he’s a painter or a musician or whatever — and say: ‘What kind of[...]kind of song can I write that's going to make me a lot of money?’, he has at that moment abdicated his art, and he’s in the manufacturing busi- ness. Now, that doesn’t mea[...]o what you want to do and it couldn’t turn into a billion dollars . . ! “So, I can’t really deal with what the audi- ence is, or what its going to be made up of. But, if I have a piece I’m going to do, I realise l’m having a problem getting it done and I per- ceive that, if there was something a little more mainline in it, it would make it more accept- able to those guys who are writing the original cheque, I may bastardize myself and serv[...]But they’re never, in my mind, going to change the nature of what the piece is. “With Fool for Love, we never had a screenplay, which was a problem with the other companies that were going to do it. I didn’t have a screenplay on Jimmy Dean or Streamers or Secret Honor. I said: ‘I’m not going to write anythi[...]anything. Here’s what I plan to do . . .’ All the other companies demanded a |
| [...]‘W e’ll do it if we can produce it and watch the money that you spend.’ “Golan and Globus wer[...]othered me, they never came around. They’ve got a very big organization. But I wasn’t very happy with a lot of the people I had to deal with once the film was finished. They didn’t know what stereo was: they never would follow through. The print’s no good. The inter-negative is terrible. The titles: there’s movement on the screen. It’s just sloppy work. But they can’t[...]don’t have anybody who knows. They’re growing a little too fast, probably. But I’m going to do[...]t he does.” Robert Altman doing what he does on the set of Quintet (1979). PLAYS “I did an interview with German television this morning and the woman said: ‘I didn’t like your picture. Don’t you think it was a little old- fashioned? It reminds me of Tennessee[...]pt it. “If you didn’t know Fool for Love was a play . . . that’s what harms it. All the people who write about it, like you, have seen the play. So they present it to the public as this film of this play. And the film public is really not inter- ested in theatre. So these things all die because the knowledge is out that they’re based on theatre. “There’s always this thing of laying an over- coat, a box, a crate onto the material. I’m not going to argue with anybody, because that’s the way it is. And I’m certainly not going to change what I d[...]If I succeed and people come and say: ‘Oh, this is the best picture I've seen in my life: I’ve seen it seventeen times’, I think they’re as crazy as you and the German woman are. I can’t make the films you want me to make: I can just show you the films I’ve made. “You know, A Wedding and Health I wanted to do in the theatre. I wrote them both as theatre pieces, but[...]se theatre things. Why don’t you do things like A Wedding and Health?’ Well, they were theatre pieces. It’s just that you didn’t have the knowledge that they were." On the /ll()iVl()GlENlZtD 'l‘l0N OF AWERICA — “I don’t like the southwest at all: I find it very fake. You go into a restaurant. and it’s a McDonald’s or a Taco Bell. They’ve suc- ceeded in making America absolutely the dullest place, the most uninteresting place to live in the world — the whole country! I don’t care whether you’re in[...]rtland, Oregon, or Santa Fe, New Mexico: you find the same clothes to buy, the same food to eat, the same movies to see. There’s no reason to go to these places. “There was a time when I was going to Chicago and I would say: ‘There’s a great German restaurant’ and ‘You can find such- and-such there’ or ‘That’s the place to buy a watch’. But who wants to go to Chicago? Who wan[...]e? It’s starting in Europe too. It spreads with the communica- tions. Sam Shepard -—————— and “The people are all the same. I think the idea of striving for something has been totally t[...]t shit! We’ve got real kindergarten problems in the United States. Children in America are ultra-cons[...], and then it disappears. I think there has to be a renaissance.” “I don’t care whether you[...]shville, Tennessee, or Portland, Oregon: you find the same clothes to buy, thethe 5 and ime, Dean, Jimmy Dean. I didn't know him — I still don’t know very well. But he wrote me a letter saying he had a new play. He liked what he had seen in J immy Dean and, if I liked this new play, maybe I could make a fihn out of it? “About two years later, I was[...]ou using?’ And I said: ‘Well, don't you play the part?’ He said: ‘h, I can't do that’. Then,[...]two days! I “T-lie iea that stayed with me all the time was to have a wri-ter lilie Shepard wh’s also an actor and wh[...]ffair his sister. But I think it's about him and the kind of person he is. It’s eel-.-tamly about his father, and the songs are written by his sister: it’s a Shepard package! “He's very private: I think he's a little self-oriented. It’s not that he's difif[...]He wants to finish his work and go play polo. But the working relationship was good: we just didn’t b[...]etween tlie lines of his play. I was able to show a. timewarp, when the little girl's tr ee years old, and then there she is an adult at 33, looking at herself. when the man goes in to check into the motel, Harry Dean Stanton is just watching himself go in. That was what I want[...]ot mucli interested in stories. It's sort of like a visual poem of some kind.” CINEMA PAPER[...] |
| Jim Dale and I made a film appreciation series for TV. Our technique was simple: I'd write a rough script, then we’d choose some clips and snip them out of the 16mm ' prints in the station’s film library, splicing them back in afterwards. We never cut a Lana Turner or a Liz Taylor vehicle, but Alexander Korda’s Hollywood half-talkie. The Squall (1929), or Michael Curtiz’s The Mad Genius (1931) were just gathering dust before being consigned (literally) to the scrap-heap, axed when the rights ran out. Those golden days come painfully to mind this month, when a second series by Jim and myself, Filmstruck, makes its debut on ABC Television. The budget for that sixties series was $50 a programme.« The ten half-hour ‘film essays’ of Film- struck .[...]ut cinema on Australian TV. John Baxter felt much the some — until, trying to put one together, he found out why. ‘ Twenty years ago, a young producer named - “None of us wanted to nettle of copyright,” said the BFl’s John Huntley. “The films were on the shelf and we thought they would always be there” much more without the state-of-the-art Betacam video process, which sharply reduced production costs. They also took a littleglonger to produce: we signed the con- tract in April 1985, and delivered in June 1986. . +,.»lii\J X What took the time? I had a clue from John Huntley of the British Film Institute grasp the I when, years ago, I was researching a feature on the film dealer, Raymond Rohauer. “None of us wanted to grasp the nettle of copyright," said Huntley. “The films were on the shelf and we thought they would always be there. If anybody ‘bought the rights, surely they wouldn't mind us showing them? But Rohauer saw that, since the advent of television, every piece of film had a price tag. Compilations and re-runs opened up a huge market, and he was the first to exploit it.” Filmstruck was commissioned by Paddy Conroy of the ABC as a ‘personal view‘ of movies. We talked about Civilization and The Living World. Privately, I saw it as The Body in Question, with movies instead of c[...] |
| live location segments, but perhaps a third of the series would be film extracts — some Australian[...]from films which,had influenced us as filmgoers: The Overlanders and The Purple Monster Strikes, The Magnificent Seven and The Right Stuff. Like "the BFI, we didn't anticipate copy- right problems. H[...]We should have been warned by an early straw in the wind. About the time we started researching Filmstrack, the produc- tion manager of the TV science show, Beyond 2000. asked where she could get a clip from Frankenstein. They needed a brief sequence for asegment on genetic ¥ engineering. I knew where there was a copy but. almost as an afterthought, I referred her to the Sydney office of Universal on the question of rights. BRUCE PERMEZEL stone/ Disney) on whose behalf they distri- buted the films; (c) their own video divi- sions, which held the cassette rights; and/ or (d) the TV network owning the broadcast “Universal say it will cost $3,500 a \-video rights. On top of this, by agreement ?9 minute, she reported back a few days later. Before I could choke out “You m[...]old me they wouldn’t approve it anyway, because the character of the monster was being over- used. What can I do?” The short answer, it turned out, was: Nothing. Closel[...]roadcasting rights. These belonged variously to: (a) the US parent company; (b) the US independent pro- ducers (e.g., Orion, TriStar,[...]m clips could be broadcast without agreement from the actors. We gloomily began a detailed search of the copyright world — one which was to prove as ill[...]nd disorientating as anything ever experienced on the other side of Lewis CarroII’s looking glass. Bethwyn Serow, a 20-year-old film student hired for what looked like the simple task of clearing rights for Filmstruck, be[...], over twelve months of struggle, she hunted down the owners of the films and, in the process, became an expert on film copyrig[...] |
| [...]od for clips was, we quickly discovered, useless. The $3,500-a-minute rate was more or less standard. But, even if we could have paid it, nobody really wanted the money. It was just their way of shaking their heads. The majors just didn’t want the aggravation of researching and clearing copyright for film scholars. We turned to local producers and found a different, but equally strangling, jungle. The bureaucracy that is fast choking our film industry has its tape firmly round the throat of film scholarship. Under one inter- pretation of corporate law, we were told, any use of a film funded under l0BA legis- lation required the agreement of every investor. The most helpful producer can hardly make a hundred phone calls for athe nature of the problem. Elsewhere, we en- countered only animosity. The New South Wales Film Corporation gave a blank refusal, without explanation. Even though p[...]using extracts from One Night Stand and Far East, the NSWFC was adamant. So were Kennedy Miller who, in what is now apparently a standard policy, declined permission to use any clip from their productions. The South Australian Film Corporation agreed to the use ofFree— dom and Breaker Morant — but only[...]ission was received from every actor appearing in the extract. (On the day a courteous telex of agreement arrived from Edward[...]or rose substantially.) Woodward, thank god, was the pre- cursor of a growing stream of supporters for the series. A chat with Saul Zaentz during his Australian visit[...]lowed us sections from Time Bandits. To name just a few of the Australian producers who helped, David Elfick gav[...]ell Picnic at Hanging Rock, Matt Carroll smoothed the way to our use of Freedom and Breaker Morant, and[...]o such films as Caddie. Film Australia negotiated a special rate for its produc- trons. Once the hurdle of theatrical rights was cleared, we faced the TV stations. Initially, their resistance seemed u[...]cular) had simply omitted to get TV clearance for the clips they used. Legal skirmishes had left a residue of ill-will from which all who followed would suffer. Considerable diplomacy was needed before the networks came round and gave us their guarded assistance. So, we had the new films. But what about the classics? The National Film and Sound Archive was helpful in lo[...]available for preview, but with every print came the inevitable reminder that rights were our problem. To start with, just who does own the rights to a forties serial, an Eisenstein classic, a Betty Boop cartoon or a newsreel? Some questions were more easily answered than others. Eisenstein’s films are claimed by a Sydney company. It asked for a script of the programme in which we proposed to use aa vituperative, six- page letter filled with Stalinist rhetoric. We had committed the unpardonable sin of suggesting that the Soviet government had not been entirely happy wit[...]s? And what had become of To Australia with Love, the film made by Swedish director Stig Bjorkman as a protest. against the banning of his feature, I Love, You Love, from the 1969 Sydney Film Festival? It turned out the literary agency, Curtis Brown, now administered the Chauvel rights. And Bethwyn Serow, long after the rest of us had given up hope, found that Mal Bryning in Melbourne had hung onto the only surviving copy of To Australia with Love, because his ex-wife appeared in it. It is now a major part of an episode on film censorship called ‘You Can’t Say That!’ As for the search for classic films, it led us into the shadowy world of the film col- lector. Film is usually copyrighted for 26 years, with an option to renew for a further 26. Technically, then, any film more than 52 years old should be in the public domain. But films can be reissued with a soundtrack or a commentary, and re—copy— righted in the new version. Or, since film and literary copyright laws differ, the film may be in the public domain, while the script remains protected. David Williamson and Peter Sculthorpe describe their experiences at the Saturday matinee, and Chris Haywood confesses he learned to ride a horse before emigrating to Australia, assuming th[...]ustralian/ US copyright agree- ment was signed in the seventies, little local protection existed for American films, though the British material was marginally safer — a hangover from the old Empire days. There is no shortage of public- domain material freely ava[...]dealers. But why were Hitch- cock’s Blackmail, The 39 Steps and The Lady Vanishes free, while we could get nothing by Michael Powell, Anthony Asquith or David Lean’? It was a world of loose ends and dead ends and calm custodians of a thousand prints who would say: “Rights? Don’t[...]lly decided not, and went looking for films where the titles were clearer. Towards the end, an American company offered us a catalogue of features ranging from Nothing Sacred[...]d. Every film, they insisted, had slipped through the copyright net into the public domain. The films were ours for $100 a minute — with Lloyds of London litigation insurance to back up the deal. Reluctantly, we didn’t accept. By then, we had managed, with the help of a network of friends, to get together what we needed. It is no exaggeration to call this a unique series: those participating make it so. Da[...]k on this: John Baxter (left) and Jim Dale behind the Filmstruck candy bar. their experiences at the Saturday matinee, and Chris Haywood confesses he learned to ride a horse before emigrating to Australia, assuming th[...]s and Richard Mason frankly discuss financing, in the episode called ‘Other People’s Money’ (Joan remarking with some venom that “raising money is the most loathsome activity known to man”). Taking[...]ian Armstrong, Russell Boyd and Brian Thompson on the problems of pro- duction. We were barred from the pub where it was shot — publicans have long mem[...]iraculously found Thompson’s original model for the pub set on a shelf in Matt Carroll’s house. Equally unexpect[...]ibe how she broke her back doubling Jo Kennedy in a comic fall. Indeed, the unexpected became almost prosaic. Anna Senior unearthed the hats from My Brilliant Career and Breaker Morant, then offered, out of the blue, one of the series’s best stories, about how two elephants stampeded on Robbery Under Arms when a wind machine was applied too liberally to their bums. “What a pity it isn’t on film,” we all thought — until it turned out a documentary team from Independent Productions had been there and shot the whole incident, without realising anything had go[...]ew denied us time. Nobody asked for money. It was a delightful and unexpected affirmation of what one[...]from all this sound and fury? Most obviously, as the rules stand, it is almost impossible to present, in Australia, any s[...]amme on cinema, whether current or retrospective. The film production, distribution and exhibition industry, the Film Commissions and Corporations, the independent film- makers and television in general are abysmally ill-prepared to deal with the demand for film study materials that will follow inevitably in the wake of a new popular and educational interest in cinema.[...]phrase James Thurber’s conclusion to Memoirs of a Drudge, about his years as a newspaper journalist. Noting that he left reporting to go into the magazine business, he concludes: “Now I have a little piece of advice to all my readers, both boys and girls. Stay out of the magazine business.” Boys and girls, stay out of the film com- pilation business. But, if you m[...] |
| [...]ION PICTURE GUARANTORS, PETER FAIMAN PRODUCTIONS, THE WHEATLEY ORGANISATION, MEGAN TUDOR PUBLICITY, UNI[...]R CASTING. iv RADIO CONTROLLED ~k ALL SUBURBS ‘A’ ~k TRAINED, UNIFORMED DRIVERS ‘A[...] |
| No late winter, it seems, is complete without a crisis. In early September 1985, the Australian film community was in a state of panic about tax, and remained that way until the grim but scarcely fatal news was announced just over half—way through the month. Everyone, on the other hand, was looking forward to the annual get- together and media blitz of the AFI Awards, held on 14 September. This year, the emotions are the other way round: the ' future of film finance doesn’t seem quite so bleak, but the AFI Awards are in all kinds of strife. Not, of c[...]nt of conflict has ever been entirely absent from the Awards, at any rate recently. The fondly- remembered industry dinners of the seventies, which preceded the TV spec- taculars of the eighties, have faded into memory. And, since the beginning of the decade, there have been growing rumblings of discontent from certain quarters, centring on claims that the Awards may perhaps, as the AFI’s new Director, Vicki Molloy, candidly sums it up, be “too arty and not useful to the industry”. . Put at its simplest, the problem is that films that do well with the punters have a tendency to do a great deal less well with AFI voters. And, recognizing this, the producers of the year’s major box—office hits have, of late, n[...]films. Last year, Mad Max: Beyond Thunderdome was a notable non- 32 — September CINEMA PAPERS contender. The film’s production company, Kennedy Miller, claimed that a print would not be ready in time for the screenings. But the film hasn’t shown up this year, either, suggesting that it was less a case of unable than unwilling. In 1986, the Ozfilm of the decade, Crocodile Dundee, has similarly not been[...]line declared, been “BANNED!”), and there are a string of other, smaller no-shows: the Burrowes— Dixon production, Cool Change (“not AFI style,” says Burrowes—Dixon’s Dennis Wright), a couple of independent exploita- tion flicks, Fair Game and Leonora (also, one presumes, not really up the AFI voters’ street), and a couple from Crawfords — their ‘lost film’, I Live With Me Dad, and Fortress. “After a discussion with our theatrical marketing consulta[...]Ian Crawford, “we decided not to enter them in the AFI Awards, because ‘it wouldn’t be worth- while.” Jackman, it is worth remembering, was also theatrical marketing consultant on Crocodile Dundee. Thethe fact that they are not yet entirely ready. Free E[...]l, says Dennis Wright, be another three months in the pipeline, and Birdsville is currently being looked at in a double—head version by athe trouble and expense of preparing a show print that might have to be recut after- war[...]urse, perfectly entitled to withhold their films. The AFI Awards are not a statutory requirement and, in the case of films with good com- mercial prospects, they do not, as do the Oscars, give a major box—office boost (estimated at anything up to $16 million in the case of an Oscar for Best Picture). But the AFIs are also made up of craft awards which, since they are decided by peer-group voting, do mean a lot to Australia’s film- makers. One major victim over the last couple of years has been cinematographer Dea[...]ar was not eligible, and whose work on Birdsville is now also out of contention (“There is no doubt in my mind,” says the admittedly biased Rosen, “that Dean would have won”). But, leaving aside the technicians whose work is robbed of peer-group recognition (other possible[...]rocodile Dundee and Andrew Lesnie for Fair Game), the crisis threatening the AFI Awards goes deeper than the no-shows (three, possibly four, films out of 25) suggests. For the non- contenders are, of course, a symptom |
| rather than a cause. In the first place, it is not certain, at time of going to press (early Aug[...]y will be held — all of which puts something of a strain on their credibility as a high-profile showcase for Australia’s films. If irregul- arity is added to excessive ‘artiness’, the chances are there will be even more no- shows next year —— if, indeed, there is a next year. The screenings were held, as usual, in July and August. But the actual Awards, originally scheduled for 6 September in a Sydney venue and with a telecast, as last year, on thethe early part of this year, while the changeover in the AFI directorship was taking place. According to Network Ten’s Business Manager, Guy Dunstan, it was the date which was the major stumbling block. When no suitable venue could be found for 6 September — and, says Dunstan, the Net- work’s director of production, John Maras, had been working flat-out to find one, with the search going as far afield as Newcastle — the tyranny of the spring calendar began to exert itself. With such major events as the Melbourne Cup and the various sporting finals, the Network’s outside broadcast facilities tend to be over- stretched from late October onwards. A later date was necessary, says Vicki Molloy, beca[...]ore films; because this year’s awards will, for the first time, include miniseries and telefeatures; and because the whole schedule of judging has become more extensive. In the end, negotiations between the AFI and Ten reached an impasse. Dunstan is adamant that there was “absolutely no qualitative reason” for the Network pulling out. This may be true. But the failure of any other network to step in and fill the gap suggests, at the very least, the possibility of some reassessment of the entertainment value of the Awards. One problem often cited is the fact that the prizes go to films which most tele- viewers will not and, in well over half the cases, could not have seen. Even if Crocodile Dundee had been included, only six of the 26 films would have had a public release by 6 September, and only two of th[...]e & Wills) would have been seen at all widely — a situation very different from other, similar, awards overseas, such as the Oscars, Britain’s BAFTA Awards, France’s Cesa[...]Zealand’s recently introduced GOFTA Awards. It is, however, a kind of chicken-and—egg situation: without the Awards, certain films might not get a release. An AFI prize does boost certain films — Careful, He Might THE MORE THINGS CHANGE... Hear You, Bliss and Fran are obvious recent examples — and can help others find a distributor. As it is, says Molloy, a number of producers are currently expressing concern that their chances of getting a release reduce as the Awards recede. Others, though, are less sure of the advantages of a big, flashy telecast, feeling that, over the past couple of years, the films have become almost secondary to the Awards spectacular — a state of affairs which doesn't do much for ‘pro[...]think,” says one major producer, “that anyone is going to slash their wrists if the awards aren’t telecast.” This is probably a minority view, however. And, if the AFI cannot deliver a channel by October, next year’s. Awards seem, if not doomed, at any rate destined to be on a much smaller scale. Some may feel, of course, tha[...]xcellence in filmmaking, not promoting profits in the industry. But this is not a view shared by Vicki Molloy. “We will be taking a very close look at the structure and the judging criteria in the future,” she says. And the. objectives behind this reassessment will, she says, be three—fold: much closer involvement of the film industry in the management of the Awards (“We must be seen to be serving the industry’s needs”); the continued recognition of achievement and e[...] |
| To get all or any of this, Molloy will first have to find a new sponsor. The AFI Awards are not cheap to produce — not count[...]tion expenses, it costs well over $300,000 to get the show on the road — and major sponsorship is an absolute necessity. But Westpac’s three- year sponsorship is not being renewed and, with the America’s Cup and the Bicenten- nial just round the corner, 1986 is proving to be one of the hardest years ever for attracting major commercial sponsorship of the arts. As Molloy puts it, “the big birthday party and the big boat race have soaked up all the available funds”. Also, she says, there is a new style of management abroad which is less inclined to value the non-quantifiable benefits of arts sponsorship. Industry criticism of the existing Awards, of which Molloy is very much aware, and which she has vowed to take into considera- tion, centres on the sorts of films which tend to win the prizes and, by extension, the judging procedures and criteria. There is also a recurring dissatisfaction with screening conditions, reaching a climax this year with multiple complaints about the sound and picture quality at the East End 3 in Melbourne. Dolby soundtracks could not be handled, and the overall sound system was so bad that Devil in the Flesh producer John B. Murray apparently con- si[...]ling that it could not be properly assessed under the prevailing conditions. These are, however, technical problems which could (and should) be rectified. The basic problem goes much deeper — so much deeper, in fact, that, at a recent meeting of the Screen Production Associa- tion of Australia, a reported 60% of members apparently expressed opposition to having anything whatever to do with the Awards. SPAA President John Weiley would not confirm this figure, and was reticent about discussing the matter. “What has emerged over a period of years,” says Weiley, “is theis, for the moment, a neutral one: it has advised its members to enter their films, but has declined to collaborate directly in the 34 — September CINEMA PAPERS organization of the Awards. There are, on the other hand, growing rumours that the AFI will be eased out of the prizegiving position in 1987. Plans for an Australian film ‘Academy’ -— a cross- guild organization representing all film-[...]would not be drawn on how such plans might affect the future of the Awards — “If an Academy existed,” he said,[...]thing” — but they will almost certainly be on the agenda at the industry get—together planned for late November[...]time for alternative arrangements to be made for the 1987 Awards. Molloy is, of course, aware of such moves, and has a few alternative options of her own, including a revised telecast, possibly by the ABC, which might be more in the nature of a review of the year’s pro- duction, with the Awards included, rather than a TV spectacular with the Awards as its sole focus. Another way of deflecting industry criticism, says Molloy, might be to have all the voting done by peer panels — a prototype system which is being tried out with this year’s judging of the miniseries and telefeatures — or to have some k[...]apparently mooted this year). As both Molloy and the industry are aware, of course, the danger with industry- controlled awards is that they could — like the US record industry’s Grammy Awards — become orgies of self-congratulation, in which the year’s most successful films scoop the pool, while things such as innovation (or, for that matter, excellence) take a back seat. In some ways, it comes down to a simple question: should the AFI Awards be ‘critical’, or should they be ‘pro- motional’. There is little doubt which the industry would prefer, and Molloy is going to have a hard time balancing the various interests. It is ironical that all this should be going on in a year in which the AFI screenings, after last year’s low point, ha[...], by general consensus, only two or three duds in a slate of 25 films. At time of writing, sixteen of the films already have distributors, and five have already opened. Ironically, received films, Death of a Soldier (aka Leonski and War Story), is still very much on the shelf, as a result of yet another dispute, this time with the Australian one of the year’s better Theatrical and Amusement Employees Association over crew payments. Until the ATAEA dispute is settled -— and, at time of writing, it seems possible it won’t be —- the film remains blacked. On a brighter note, Nadia Tass’s comedy, Malcolm, seems, on the basis of informal inquiries, to be the hot favourite for Best Film, with a probable starting price of 6-4 on. Cactus, Death of a Soldier, The Fringe Dwellers, Kangaroo, The More Things Change and Short Changed all seem to be in there with a chance, too. So, in the pages that follow, we have, with all due reservations, made one or two tentative predictions for the four main categories. The combined budget on this year’s features is $58,594,400 —— an average of $2.3 million (if the seven no-shows are included, the average goes up by $220,000). Just under half the films (twelve) were based in New South Wales, with eight in Victoria, two in Queensland, and one each in the other three states. Fifteen of the 25 have contemporary settings and, of the remainder, only six are true ‘period’ (i.e. pre-20th century) films. The inaugural television section contains nine miniseries (Butterfly Island, Colour in the Creek, Dancing Daze, The Dunera Boys, A Fortunate Life, Land of Hope, Palace of Dreams, Robbery Under Arms and Shout: The Story of Johnny O’Keefe) and nine telefeatures[...]d Persons, Double Sculls, I Can ’t Get Started, The Long Way Home, Natural Causes, The Perfectionist and Stock Squad). Given the criterion for inclusion —— a telecast between 31 May 1985 and 31 May 1986 -— there are a number of no-shows here, too, including the year’s highest rated miniseries, Anzacs (which, like Cool Change, comes from the Bur- rowes-Dixon stable). A Thousand Skies and Body Business are also missing from the miniseries list as, in the telefeature area, are Handle with Care, The Last Warhorse and Robbery. The eighteen contenders will be voted on by tw[...] |
| The AFI Awards the World 80 Ways Directed by Stephen MacLean. Prod[...]ctions Pty Ltd. Screenplay by Peter Smalley, from a story by Peter Carey. Cinematography by Paul Murp[...]minutes. Distributor: Greater Union. Death of a Soldier Directed by Philippe Mora. Produced by W[...]y Ltd. Screenplay by Michael Gurr, from his play, A Pair of Claws. Cinematography by Bob Kohle[...] |
| The AFI Awards Devil in the Flesh Directed by Scott Murray. Produced by John[...]ctions Pty _Ltd. Screenplay by Scott Murray, from the novel, Le Diable air corps, by Raymond Radiguet.[...]Parker. Cinematography by David Parker. Music by the Penguin Cafe Orchestra. Edited by Ken Sallows. So[...]i7;’o :s»..,e.._e;§ .2? ‘ .9 M "A r W ‘M |0wn the F T H Al ii 1 e - eor ve one . «i e..,I,,+ Ra[...]y Stephen Ramsey. Produced by John Wallace. “Um the ll0V€l by Cbllsilna S_tead. Cinema- Edwards and[...]by play by John Edwards and Stephen Ramsey, from a John Stoddan. Costu_me design by Jennie Tate. MUS[...]r Union. Reviewed in Cinema Papers 57, May 1986. The More Things %,«'g('j. Change :‘- ’\ Direct[...]Jill Bilcock. Sound by John Phillips, Steve The Fringe Dwellers Directed by Bruce Beresford. Pro[...]ay by Bruce Beresford and Rhoisin Beresford, from the novel by Nene Gare. Production design by Herbert[...]oductions Limited. Screenplay by Evan Jones, from the novel by D.H. Lawrence. Cinematography by[...] |
| [...]d by Donald Crombie. Produced by Jock Blair for S.A.F.C. Productions Ltd. Screenplay by Peter Gawler, from the novel by Ruth Park. Cinematography by Geoffrey Si[...]nutes. Distributor: CEL. Reviewed in this issue. The Right Hand Man Directed by Di Drew. Produced by[...]tions Pty Ltd. Screenplay by Helen Hodgman, from the novel by Kathleen Peyton. Cinematography by Peter[...]ie Films Pty Ltd. Written by Robert Merritt (from a screenplay by Robert Merritt and Ken Quinnell). C[...]utor: Greater Union. ‘I I . '~ ;'.'- : - I The Still Point Directed by’Barbara Boyd-Anderson.[...]. Reviewed in Cinema Papers 55, January 1986. The Surfer Directed by Frank Shields. Produced by Ja[...]Distributor: Greater Union. Wills and Burke: The Untold Story Directed by Bob Weis. Produc[...] |
| “We’ve had a hundred years of it now, and I think people are entitled to ask: ‘What’s a fair period in which you could expect a system to start getting it right?’ ” 38 — September CINEMA PAPERS Bruce Petty’s history lesson The Movers lives up to its name with a hectic two-week schedule “On Monday, we did the industrial revolution,” said producer Ron Saunders matter-of-factly, half—way through the second and last week of production on Film Australia's $400,000, 50-minute telefeature, The Movers. With original idea, concept draw- ings and script by one of Australia's few Oscar-winners, the cartoonist and filmmaker, Bruce Petty, The Movers may be a small-scale pro- duction by current Australian st[...]t its ambitions are high. And its production team is unusual, too, for what, by normal definitions, is a short: the director is Gil Brealey (his first helming job since Annie ‘s Coming Out), the pro- duction designer is Larry Eastwood (straight off Dead-End Drive-/n and the miniseries, The Challenge), and the leads are Drew Forsythe and Lorna Lesley. Then, of course, there is Bruce Petty, who is most people's reasons for being on the project. The Movers is part cautionary tale, part comic journey of initiation through the history of technology, from the invention of the wheel to the era of nuclear power. ''I suppose in a way it's an exten- sion of thea medium that is really best at storytelling and sport and instant[...]asked to do drawings on these epic subjects, like the worst things people could do to one another. And one of the silly things we do to one another is let technology decide how we’re going to live instead of, you know, deciding what we'd like and finding the technology to do it.“We've had a hundred years of it now, and I think people are entitled to ask: ‘What's a fair period in which you could expect a system to start getting it right?’ " The two central characters of The Movers, a young couple, are arm- chair travellers — literally: their arm- chair travels. A lovable, flower- patterned, comfy, old-carpet-sli[...]lers, and some sinister military hardware. Petty is anxious to stress that The Movers is a film about who takes the decisions and why, rather than an anti-technology film. Which is just as well, given the stacks of half-mil|ion- dollar technology being used to bring the film in on time and budget. The Movers uses Ultimatte, a sophisticated blue-screen process, supervised by[...]ects and even foregrounds to be dropped in around the ‘live’ actors. But, rather than use the normal blue-screen technique of putting actors in[...]ions, Brealey, Eastwood and Petty are after quite a different effect. “We're using it very abstractly,” says Brealey, “and the whole idea is to get a sense of cartoon." The unreality is also what appealed to Eastwood. “So much of the work today is becoming more and more realistic," he says. "Basi[...]not to be totally realistic here, which gives you a lot more freedom: it's more akin to a 50-minute rock clip than anything else.” The $400,000 budget, though tight, is high by Film Australia standards, and is “as much as you can spend on a 50-minute television programme", says Brealey, who also reckons the cost would have been three times higher without “a devoted band of Australian techni- cians”. Already, says Saunders, a lot of interest has been shown by a couple of Australian commercial channels, by PBS in the States, and by both the BBC and Channel 4 in the UK. And it's the controversial side of the project —— the questioning of our current priorities on energy and technology — which is the real plus factor when promoting The Movers, thinks Saunders. ‘‘I certainly[...] |
| [...]y and Drew Forsythe on their armchair travels in The Movers. Facing page: writer Bruce Petty.[...] |
| The Race is on to Tasmania... A trifling two hours from Sydney, a solitary one hour ‘ F”'M,sETs from Melbourne: a first class studio facility; film and ' 88 wamgal[...]; , Oaklelghl preview theatres (16 and 35mm); and a staff of Melbourne 3155 experienced professional[...]%1?_§‘§é2%§l3’r’§g3g’:i1g47’?’:§A 7°09 FOR STUDIO BOOKINGS, PHONE: Alex Simpson (03) 568 0058, (03) 568 2948 Staff ond students of the Australian Film, Television and Radio School co[...]OT /L ‘y \ “mes ’ %MILLE|:_..m.,.m,._.. THE CHOICE OF PROFESSIONALS. THE WORLD oven .: MILLER FLUID HEADS so HOTH[...] |
| ,’ MALCOLM On the right track There will always be a place for fan- tasy and always a time for laughter. Malcolm, the first feature from Nadia Tass and David Parker, gives us an abundance of both. The backdrop is a rather grey and gloomy Mel- bourne; the protagonists a fellow who’s not the full quid, a criminal and his girlfriend; and the outcome a work of absolute delight. The apparently simp|e—minded character, Malcolm (played with pathos and jocularity by Colin Friels), is a maintenance man on the tramways. Fired after he takes his own jerry-built tram out for a joyride through the streets of Melbourne, he retreats into his fantasy world at home. Malco|m’s small weatherboard house is cluttered with weird and wonderful gadgets: his letter-box is on model-railway tracks, the cage of his pet cockatoo, Arnold, is attached to wires (he travels flying-fox style), and the kitchen is like a miniature tramways depot: trams shuttle between pots and pans. Even send- ing for the milk is a complex opera- VREVI tion: the milk bottle container sits on the roof of a toy car which runs by remote control and trundles down to the local milk bar. It is a game that proprietor Mrs T (Beverley Phillips) ha[...]lcolm can‘t pay up, she insists that he take in a boarder. Handing him an elaborate questionnaire (‘Are you neat and tidy'?’, ‘Do you have a job?‘), she leaves him to contend with his first caller, Frank (John Har- greaves), a not so sharp crim who's as rough as rough. Frank takes the room; yet, when he moves in with his adoring and provocative moll, Judith (Lindy Davies), Malcolm is completely bam- boozled, and is immediately dis- missed by his new tenant as a moron. But, when Frank pulls off a warehouse robbery with his mate, Willy (Chris Haywood), it becomes apparent that he has the same knack for tricks, or rather need for them, as Malcolm. This initial discord marks the opening of a classic comedy: what will follow is union and the resolution of conflict. There are few openings in the script that allow Malco|m’s character, at least, to be laughed at. After his first jaunt on the tram he has us on side — and Split screen: the getaway car in- verzled by Malcolm (Colin Friels) divides in two (0 fool the cops in Nadia Tassis comedy, Malcolm. we laugh and laugh with him, and finally the three of them together, until the end, It is this deft handling of comic structure that one appreciates. The film certainly sets out to entertain — to take you into a world of fantasy, to provoke laughter ~ but the point is that it is done extremely well. It is evident in the way that director Nadia Tass brings in the off-beat tunes of The Penguin Cafe Orchestra (if trams could sing rather than rumble then we would, I'm sure, recognize the quirky sounds!) When the music is played, you giggle simply at the sound; that alone is the ‘action’. Much of the humour comes from the way in which Tass treats the rela- tionship between Malcolm and Frank, in part[...]threatens Mal- colm, fearing that he will spread the word about his criminal record, Mal- colm innocen[...]are not going to leave are you?" Their friendship is firmly consolidated when Malcolm builds his friend a bright yellow getaway car — a trick vehicle that leaves the James Bond escape cars for dead! The way in which Malcolm takes to crime is orchestrated beautifully, especially the staging of his own remote-control robbery (take one video screen, a model car and a gun loaded with blanks. . ). Frank is impressed, and the three join forces in planning an operation involving the Anglo-Swiss Bank. This event is the climax of the film. Malcolm's whacky ideas come to the fore, revealing a genius hitherto unrecognized. Even morality isthe trio continue scheming in the same crazy manner. Malcolm is not a complex story and its message’ is an old- fashioned one: that there are posi- tive[...]or those labelled as back- ward, like Malcolm. It is a story that John Steinbeck told in Of Mice and Men; it has been played out in One Flew Over the Cuckoo ’s Nest; and it could probably be told again and again. Even so, stories can be lost in the way they are told. And the fact that. in Malcolm, we find both a comic and a cinematic flair sets it apart and makes it work. There are only a few moments where Tass and Parker (who wrote the script) rely on obvious comic devices (like Cocka- toos that answer back). Otherwise, the direction is assured, the material confidently handled. Similarly with the camera, for which Parker is responsible. Known for his still photography for Austra- lian features like The Man from Snowy River, Burke & Wills and The Coo/angatta Gold, Parker’s eye for framing is as original as his designs for the moving objects and mechan- ical effects that originate in Mal- colm's workroom. Malcolm is a rare find, and it has not gone unnoticed outside the Aus- tralian film industry. But it is, at present, something of an oddity in the Australian context: there is no brow-beating about cultural identity and it is unashamedly con- temporary. And, if forgetting is the other side of laughter, Malcolm should be taken a[...]arker. Produc- tion designer: Bob Perkins. Music: The Penguin Cafe Orchestra. Editor: Ken Sallow[...] |
| FILM Although the core members of the Baader-Meinhof gang died in the Stammheim-Stuttgart prison less than a decade ago, Reinhard Hauff’s film of their trial makes it all seem much more distant. The deaths coincided with the emergence of punk music in the UK. But, if Andreas Baader, Ulrike Meinhof, Gudrun Ensslin and Jan- Carl Raspe all shared the punk sneer at bourgeois-capitalist culture, the roots of the gang were much older and much deeper. The postwar generational conflict was particularly evident in West Ger- many, where the horrors of the Third Reich created a disaffected genera- tion only too ready to join the world- wide student protests of the sixties. But when, at the end of the sixties, the student movement began to dis- integrate, some of its more hardened members were not prepared to return to the institutions or conventions of everyday life. Unable to accept bourgeois society. a number of them engaged in violent terrorism against the state. The Baader-Meinhof gang — more properly, the RAF, or Red Army Faction — were not the only terrorists to emerge with the turn of the decade, but they certainly became the focus for political para- noia over all such rene[...]ader and Ensslin were first jailed in 1968, after a botched attempt to burn down a Frankfurt store. In 1970, Baader was assisted in his escape from jail by Meinhof and, during the next two years, the gang went underground. They raided banks, blew up[...]lations in Frankfurt and Heidel- berg, and bombed the Hamburg offices of the newspaper mogul, Axel Springer. The final death toll on both sides was 28. The core of the gang — Baader, Meinhof, Ensslin and Raspe — were held in ‘investigatory detention’ for the next three years. Their trial, which began in 197[...]n ‘found’ hanged in her cell, mid-way through the trial. When the sentences were handed down, members of the gang who were still at large hijacked a jet. The plane landed at Mogadishu, where anti—terrorist police successfully freed the hostages. Only hours later, Baader, Ensslin and Raspe were found dead in their cells, the men by gunshot, Ensslin by hanging. Like Meinhof,[...]in just sixteen days. its script, by Stefan Aust, is condensed from official transcripts of the trial pro- ceedings. Incidental dialogue comes from the prisoners’ letters, and information passed on by warders. Hauff’s approach is basically journalistic. Drawing from meti- culous[...]position, Hauff can (and does) avoid questioning the well-founded suspicions that the RAF members were murdered in their cells. ‘AND[...]s Cremer (Baader, Raspe), Sabine Wagner, Therese A ffolter (Ensslin, Meinhof). By not tackling this particular issue, Stammheim strengthens its case against the judicial system, and helps to highlight the knee-jerk reac- tion which has become the common response to all such terrorist acts. Concentrating instead on what is factually beyond dispute, Hauff’s film is left with a single focus: the almost gladiatorial combat between the state and its radical opponents, with one side violently rejecting the legitimacy of the bourgeois state, yet appealing to its laws, and the other representing the law, but debasing the foundations of justice. The claustrophobic atmosphere of the setting allows little escape from the events, either visually, or in terms of the seriousness of their implica- tions. The Stammheim jail is a multi- storey, hi-tech cement fortress, and the courtroom (specially built for the trial) is a bare, air-tight, windowless, fluorescent-lit room. The audience has little choice but to take up the drama of this con- frontation, and to deal with the questions: Who are these people? What purpose is served by their acts 42 — September CINEMA PAPERS REVI EWS ofterrorism? And why is the judiciary unable to contain them? Both sides speak a language incomprehensible to the other; and the trial, conducted more along the lines of a debate, clearly shows how the prosecution and the judges, unable to match the verbal intensity of the accused, adopted the tactic of resisting all political discussion with purely legal procedure. The resulting loss of control by the presiding judge, Theodor Prinzig (Ulrich Pleitgen[...]ies on his part, led to his eventual removal from the trial. And any residual respect for the legal system evaporates when it is revealed that the state has bugged conversations between the lawyers and the defendants in their cells. At this point, the trial simply self- destructs. Stripped of its legitimacy, the legal system winds up the proceedings by convicting and sen- tencing the defendants in absentia. Ulrike Meinhof’s judgement, made shortly after her death, remains the most resonant: “After Stammheim, West Germany can never be the same”. Hauff’s film may not ‘perform’ at the box office like a mainstream movie during its initial theatrical r[...]werving dedication to factual accuracy results in a work dis- tinguished not only by its logic[...] |
| Seeing I Every once in a while, a film will generate so much electricity, so much i[...]at something almost magical happens: you can feel the hairs on the back of your neck stand up, and your entire body shivers with a mixture of awe and pleasure. There’s a moment like that in John Ford’s The Grapes of Wrath, when Henry Fonda talks to Jane Darwell about being an unseen presence “whenever a man cries out for justice". There’s another at the end of Max Ophu|s's Letter from an Unknown Woman, when you feel that (maybe) Louis Jourdan has remembered the woman whose long letter he has been reading. And Peter Weir has managed it more than once: when Miranda is found in Picnic at Hanging Rock, and again when Harrison Ford and Kelly McGil|is dance in the barn in Witness. Theres a moment like that, too,‘ in Paul Cox’s superlative new film, Cactus. Robert (Robert Menzies), the solitary young collector of cacti, tells Colo (Isabelle Huppert), the French woman who has been partially blinded as a result of a car accident, that he was blind from birth. Except, he adds, for one moment when he was a child and fell over, bumping his head. Then, he says, just for a moment, he could see. A little later in the film, Cox shows us that moment in which the little blind boy falls and, as his father picks him up, sees a fleeting image of sunlight through the trees. Pure magic, with the sad little footnote that, as Robert says, “Nobo[...]". With Cactus, Cox has finally managed to merge the opposing elements in his career to date: his love of the‘ documentary, and his fascination with the surreal. The film is (mercifully, perhaps) unclassi- fiable: a love story, but a love story that’s surrounded by pain, like the spikes of a cactus plant. Though it's much more optimistic than My First Wife, it's almost more unsettling, more challenging — and much, much more adventurous. Colo is visiting her friends, Tom and Bea (Norman Kaye and Monica Maughan), in the lush hilly country- side outside Melbourne; back[...]r marriage to Jean- Frangols (Jean-Pierre Mignon) is on the rocks, and she's running away. The opening scenes of the film. including the extraordinary opening shot, establish the setting of the story — an area that reminds Colo of Germany’s Black Forest but which, Tom reminds her, is much older. These are images that Colo will soon barely see. A sliver of glass pene- trates an eye, blinding it; an eye specialist warns her that the blinded eye will have to be removed to prevent the good eye being affected as well. Quite naturally,[...]ntroduce her to Robert, whose first advice to her is: "There's nothing much to be afraid of”. But Colo is afraid, and Thorn birds: Robert Menzies and Isabelle Huppert in Cactus. after a while only Robert can bring her any real comfort.[...]ean-Francois arrives to bring her home. Aided by the exceptional photo- graphy of Yuri Sokol and the production design of Asher Bilu, Cox has produced his most tactile film: the symbol of the cacti, which give the scenes at Robert‘s home an almost primeval atmosphere, is beautifully used. The director's fond- ness for cinematic doodling may not be to the taste of every viewer. But, when Cox inserts home-movie material of Colo (i.e. Isabelle Hup- pert) as a child, dressed up for some festivity or diving into a lake, it is somehow very touching. Nor does Cox ignore the off-beat humour with which his films since Lonely[...]is with an unseen opponent (which turns out to be a machine), or Ray Marshall doing an impersonation of a camel at a birthday party, while Elsa Davis pounds away at the piano and sings a song for Colo. Complementing the images is the richest soundtrack Cox and his team have yet composed ~ ‘composed’ seems the appropriate word here — with bursts of magnificent music sharing the film with the sounds of the bush, including the extraordinary cry of the whipbird. The principal actors are faultless. Norman Kaye and M[...]an play Colo‘s sad, embarrassed hosts with just the right degrees of awkwardness, while Isabelle Hup- pert makes Colo a truly memorable character. Best of all, though, is Robert Menzies; after a walk-on role in Man of Flowers and a bit part in Bliss (as Honey Barbara’s lover), this young actor emerges as a major new talent, playing Robert with absolute conviction: it's the best screen portrayal of blindness since John Malkovich in Places in the Heart. There are some — hopefully a small minority — who find Cox pre- tentious and selfconscious. But any viewer who remains unmoved by the last dialogue exchange between Huppert and Menzies at the end of the film must truly have a heart of stone. Or, perhaps, of cactus. D[...] |
| [...]0-year-old Mrs Alice Har- greaves (Coral Browne). the Alice to whom Lewis Carroll first recounted a little girls adventures in Wonder- land, sails to[...]eriously Victorian in manner, and travelling with a timid young companion, Lucy (Nicola Cowper), Mrs Hargreaves finds herself at the centre of an immense amount of fuss to which, for a variety of reasons, she gradually succumbs. More[...]lly comes to terms with her younger self and with the love shown her. by Carroll (the Reverend Charles Dodgson), love which she has lon[...]n irresistible entertainment, densely textured on the level of ideas and filmed with a sure sense of the cinemas capacity for moving fluidly in time and space. As Mrs Hargreaves grapples with the brashness of New York (a brilliantly stylized realization of neon- lit str[...]hildhood of walled Deanery gardens and punting on the lsis is bathed in a golden glow that has less to do with reality than memory: it is half a world and more than half a century away from clamorous New York. But the remembering is a necessary part of her drama, and the Victorian scenes are not flashbacks: they are un-[...]ections. Most touchingly, this process occurs at the conferring ceremony, when the university choir’s singing of ‘Will you, won't you join the dance?’ is intercut with Mrs Har- greaves’s memory of Dodgson’s stammering attempt to sing the same song at a riverside picnic “It's difficult enough at[...], let alone what I never was.” Coral Browne (as the oclogenarian Alice) and Peter Gallagher in Dreamc[...]ech, acknowledging Dodgson’s gift to her and “the love that had given it birth”. The romantic sub-plot involving Lucy and Jack Dolan (Peter Gallagher), the likably opportunist reporter bent on a story that will reinstate him in his iob, and the obvious affection in which Carroll is held by the university, fall into place. Mrs Hargreaves, unable to respond either to love or to the ‘fuss’, is now aware of a convergence of feeling. Not that the film skins the potentially disturbing quality of Dodgson’s love for Alice: it is perfectly clear in lan Holm‘s subtle rendering of Dodg- son's frustrations, and in the watch- ful unease so sharply caught by Jane Asher as Alice's mother. In his first original script for the big screen, Potter’s preoccupation with past-pr[...]lays, Cream in my Coffee and Pennies from Heaven) is joined with a flexible interaction of reality and fantasy. Alice, sometimes a little girl (Amelia Shankley), sometimes an old w[...]nnie|'s drawings, and notably more threatening to the old woman's perceptions than to the child's. What the latter receives with com- posure (a rheumy-eyed March Hare, an alarmingly scrawny Griffin) un- settle the old lady, for whom the fantasy life has been so long suppressed. She copes with the real world by autocratically blocking out whatever is at odds with her notions of social and moral deco[...]estion in ways that lead her back to recon- sider the non-comforting world of Carroll's wonderland. The film plays consistently with the idea of narrative, with stories within stories, with stories as versions of experience. Within the framework of Alice's meeting with the Griffin and the Mock Turtle on an eerie beach 44 — September C[...]REVI (symmetrical tracking shots begin and end the film), Potter presents, not merely Mrs Hargreaves‘s visit to America and the ‘interior’ story of her childhood, but Dodgson telling Alice (and others) the stories, the various creatures telling Alice their stories, the New York radio play about a little girl lost on the prairie All life, the film suggests, is a matter of narratives, of finding parallels, of es[...]lf among bewildering events. This latter process is made more difficult for Mrs Hargreaves, partly because she is old and in a strange place, partly because the facts of her past are disturbing to her, and partly because there is something bizarre about the kind of celebrity she finds she has become. “I was simply a little girl to whom he told his tales,” she says. Earlier on, she had told the reporter: “lt’s difficult enough at my age to be what I once was, let alone what i never was.“ By the films end, some of the key narrative pieces have, for her at least, fallen into place. The effect of this is, without senti- mentality, one of humanization: s[...]lfall this soundstoo solemn, l should add that it is often very funny, and that the play of ideas is accom- plished with a cinematic flair (in image and editing) which keeps at bay any hint of the didactic. At Dreamchiids centre, holding its narrative strands firmly together, is a magnificent performance by Coral Browne as Mrs Hargreaves. Resist- ing cliche, she finds beauty and pain in the move towards self-discovery, winning respect rather than a rush of easy sympathy. At her most dowager—like, she is never quite unaware of the absurdity hovering at the edges of her pro- clamations; her fear in various alien worlds is properly disturbing; and her final reconciliation[...]ely empty cinemas. This reviewer, possibly out on a limb, finds it the film of the year to date. Brian McFarlane Dreamchild: Direc[...]cordist: God- frey Kirby. Cast: Coral Browne (Mrs A/ice Hargreaves), /an Ho/m (Reverend Charles Dodgs[...]nutes. Great Britain. 1985. Truck all There is absolutely nothing wrong with films about trucks.[...]Kris Krlstoffer- son, Mel Gibson, Stacy Keach or the faceless fury of Duel, trucks have provided the movies with some of their best motion and their finest metaphors. Fair Game is about a truck, too — a customized Ford 1000 called, im- modestly, The Beast. invariably heralded by a feral growl on the soundtrack, The Beast is all chrome and spotlights, roo bars and rifle racks. It is designer transport at its most macho: if it had a teeshirt, it would have a soft-pack of Camel rolled in its sleeve. Unfortunately, however, The Beast has a driver, the driver has two sidekicks, and the trio has a target — which is where Fair Game starts to come unstuck. The heroine of the film, Jessica (Cassandra Delaney) — who is, of course, the target — runs a wildlife sanctuary in the South Australian outback. It is a rather desolate place, where the parrots are kept in rabbit hutches, but at least the roos run free. Free; that is, until Sunny (Peter Ford) and his mates, Ringo (David Sandford) and Sparks (Garry Who), come on the scene, with their high-powered rifles, their packs of Camel and the aforementioned off-road vehicle. Not content with shooting a few roos (and leaving the joey whimper- ing nearby for Jess to find), they also set about terrorizing Jess herself through a variety of means, few of them subtle — though pinning a compromising Polaroid of her to the inside of her fridge door and trying F The bottom line in exploitation: Jessica (Cassandra Delaney) about to strike back against the macho marauders in Fair Game. |
| to brand her horse with a welding torch are among the film's few in- ventively nasty moments. Cutoff from help — if, indeed, the stereotypically redneck policeman in the nearby town could be described as such — Jess is forced further and further onto the defensive until, strapping on a Rambo-style head- band, she hits back. Ringo is fried on a live wire, Sunny meets a fiery death and Sparks is impaled on the sharp end of an anvil. Fair Game is an unabashed ex- ploitation movie, a horse for a well- rutted course, and its success on the world video market (see the News section of Cinema Papers 58, July 1988) has[...]much given to taking showers (it gets very hot in the desert/jungle/outback, you see), and who are put in jeopardy by a bunch of wisecracking yobs. As exploitation, Fair Game is, I suppose, par for the course, though its first half, after a nifty piece of stuntwork involving Jess's ute, The Beast and a refrigerator truck full of kangaroo carcases, is a little slow. Similarly, a number of laboriously built-up bits of suspense lead no- where, barring asudden fright when a bird gets loose in a closed room (which may — who knows? — be a homage to The Birds, from which the scene is taken). Round about the mid-point, though, Fair Game ceases to be a generic exercise and tips into out- right, indigenous nastiness. This happens in a scene in which Jess is strapped to the front of The Beast, her legs lashed to the roo bars, her jeans and teeshirt suggestively slit with a large knife. She is then driven about, struggling and screaming, while the men guffaw and the camera gloats. it is athe calculated commercialism of the film, leaving one with, at best, a grudging respect for Andrew Lesnie's cinematography and a muted admiration for Cassandra De|aney's brave battle against stereotype. Fair Game is a thoroughly nasty piece of work, pandering to a set of attitudes it pre- tends (perfunctorily) to condemn. If the only way we can make an impact on the world video market is by proving that Australia can churn out exploitation flicks like any scum- bag, tax-shelter sleaze pit, then the last ten years, 1OBA or no 1OBA, have been pretty[...]nutes. Australia. 1986. SALVDOR Midday express The credits are in red over a black- and-white rendition of the famous video news-clip of the slaughter of the demonstrators on the steps of the cathedral in San Salvador, juiced with intermittent flashes and convul- sive bursts of motion. The title music sounds like it was written for a forties ‘B’ movie (no synthesizers, no guitar[...]ent and begins to develop its central characters: the scumbag journalist, Richard Boyle, and his failed-hippie sidekick, Dr Flock. But the scenes in which this is sup- posed to happen are flat and point- less. The dialogue between James Woods as Boyle and Jim Belushi as Rock is crudely arch, and they play it like they had neve[...]hompson and Oscar Zeta Acosta, yet gonzo hysteria is exactly what is missing, and we have all too much time to mourn its loss while the couple moti- vate their way towards El Salvador and the movie we have come to see. Then things get better for a while. Brutality doesn't require finesse, and brutality is what the Salvadorean material is all about. It takes only a short time for us to recognize that, in spite of[...]ies in comparison with Major Max's bully boys and the US Embassy's plastic spooks. Oliver Stone, who directed, co- wrote, co-produced and cast his infant son in a supporting role, treats the forces of repression like villains from an old spy movie: the Salva- dorean nasties plot fanatically in dark rooms, while the Americans are soulless corporate robots who only come alive at noon. Subtlety is not Stone's strong suit, and a lot of smoke billows over the screen in this picture. From time to time, we ar[...]dit was Midnight Express. you could guess it from the pious way these sequences of festering gore are p[...]e jerks against big-time crooks usually makes for a good movie, but Salvador keeps coming back to Woo[...]r being Richard Boyle, and Woods has to be one of the most mechanical slime specialists in the business: all his tics are pre-programmed, making[...]opher Walken or some other real zombie. But that is because I kept wanting Salvador to be a movie it was not — a movie which drew me in and made me ‘live’ the horror it depicted. Actu- ally, Woods's performance is of a piece with the rest of the film: calculating and exploitative. dis- honest and mean. Strangely enough, these are the qualities which make the film good. By most conventional standards, Salvador is a ‘bad’ movie, and I don't want readers of this[...]own. It had done what it set out to do. Now, why is that? lthink it is because, in the end, it is good — "very good", like Brigid O'Shaughnessy in The Maltese Falcon. it is good because it isa fool would believe in the political engagement of what is so clearly a Killing Fields rip-off, a film so coldly sensational in its expressionist v[...]ntiment and ‘human feeling’. Most propaganda is ‘positive’ and inward-turning, concerned to tell the world the virtue of the cause it espouses. But it is hard to be con- vincing about virtue in these cynical "times. Salvador is almost wholly Experiencing the contra culture.‘ Boyle (James Woods, left), Roc[...]negative, and i believe what it says because it is telling me about vice. Few political films can have treated the Good Guys more per- functorily and with less conviction than this one. The saints on the side of the revolution are slid quickly on and off the screen like lifesize cut- outs, while the devils of repression get plenty of time to strut their stuff in all dimensions. And the result is that, in the end, what matters is their evil, not the putative good of the revolution. As the film portrays him, Boyle's only redeeming feature is that he can sometimes feel the suffering of others. From this minimal founda- ti[...]cism, sexism or repression. It only wants to stop the hurting. Surely this is enough for a film to want? A film is only a film, after all. You and I may want more, but that is our business, the business of ideo- logy and belief. I can believe in afilm which only tells me that hurting is bad, a film which is only effective when it is showing me people in pain. So many other f[...] |
| [...]dy Quinn, about to be sentenced in Land of Hope. The opening minutes of Land of Hope establish the dual themes of the need for solidarity within the labour movement and the posses- sive power of Catholicism. For the next ten weeks, these themes are examined against the background of selected historical events from the past 80 years. it is a concept —— developed by producer Suzanne Bake[...]Gary Conway and Chris Adshead — that generates a considerable degree of interest, but which also causes a number of formidable problems. Occasionally, the pain and the passion of the burgeoning labour movement develop out of their inter- section with the individual concerns of the Quinn family. Too often, how- ever, the viewer is left in a sort of dramatic crevice, where the mechanics of the drama and the predictability of the characters’ development fail to connect in any- thing more than a superficial way AND TV with the rather stilted layer of his- torical information. The latter are largely conveyed in declamatory speeches, and a written epilogue accompanied by Mike Perjanik’s superbly plaintive music. Each episode isorganized around a key political or industrial event, beginning with the shearers’ strike in the eighteen-nineties, and proceeds to establish a correlation between the changes in the labour move- ment's fortunes, developments within the Catholic church, and the activities and ideals of the Quinn family. in the first episode. Paddy Quinn (Patrick Dickson) is transformed from scab to union organizer. In the fourth, his son, Frank, transforms from a member of the radical Inter- national Workers of the World to a voluntary participant in the armed forces during WW1. Similarly, in the next episode, Paddy's daughter, Kathleen (Melita Jurisic), disowns the Catholic church and the tradi- tional labour movement for the Com- munist Party during the Depression. Later, during the upheavals of the fifties, culminating in the ‘Great Split’, Frank‘s son, Dominic (Richard Moir), rats on the Labor Party to join Menzies’s Liberal Party. An[...]lor), rejects his fathers conservatism to embrace the radicalism of the sixties. The cyclical movement that started with Paddy, the voice of union modera- tion and pragmatism in the late nine- teenth and early twentieth centuries,[...]hist to endorsed Labor candidate under Whitlam in the seventies. Whilst the basic concept may have been useful to sell the series, the decision to devote less than an hour to some of the most complex issues in Australian history results in a reductionism that rarely allows more than a cursory outline of the event, and leaves the overriding per- ception of history as a series of neat, unproblematic packages. The rejection of a radical alterna- tive to the exploitation of the capital- ists is established in the opening episode. Paddy. the voice of reason and moderation, is forced to serve a gaol sentence after the more radical members of his union attempt to burn down a shearing shed. The price he pays is not just imprison- ment, but also the death of his mother and the loss of his true love, Nesta Darling. In subsequent episodes, the com- munist alternative is explored and rejected via the activities of Kath- teen, who eventually commits suicide in a fit of despair after Stalin's regime is ‘exposed’ and the Russians invade Hungary. The Liberal Party under Menzies also receives its share of symbolic criticism, via the adulterous and un- principled behaviour of Dominic, the Quinn who betrays his heritage to join the enemy. The only continuing character throughout the ten episodes is Paddy's wife, Maureen (initially Maureen Green, later Patricia Kennedy). It is her obsession with ‘Paddy‘s dream’ and the price he had to pay (gaol and an early death) that permeates every episode. The 46 — September CINEMA PAPERS REVI dream, however, remains a vague pragmatic programme based on the installation of moderate Labor politi- cians and the operation of a central- ized arbitration system (“Arbitration will work, Henry: it's the voice of reason”). And it lacks sufficient power to generate ten hours of drama. The major weakness of the mini- series (shared by that other member of the JNP stable, A Country Prac- tice) lies in its unfailing predictability and the unproblematic presentation of a range of complex issues con- cerning both the labour movement and the Catholic church. Initially, the tension between the church and the emerging union pro- vides a good deal of interest, culminating in Paddy's dramatic walk-out after an attack on socialism and Hughes from the pulpit. Unfor- tunately, however, this tension gives way to cardboard caricatures, epitomized by the local priests intolerance of Kathleen's question- ing of the role of the church during the Depression. The overriding determination of the series to provide a neat frame- work in which to place such issues means that the prejudiced Catholics are eventually replaced by tolerant, less dogmatic Catholics, in the form of Sarah Quinn and her mentor, Mary Teresa. Thus it is not the institu- tion of the church which is at fault, merely the execution of its tenets by a few misguided individuals — a comforting and ultimately conserva- tive platform. Character traits are clearly designed to provide a ready code for future behaviour, whilst ‘figure[...]refigure audience sympathies. This predictability is coupled with a simplistic attempt to infuse signifi- cance into every gesture‘ and action. Thus, each of the major characters virtually dies on cue — Paddy when he learns of the installation of the Communist Party in Russia, Nesta trying to lift a box of anti-Menzies leaflets in the early fifties. Finally, Maureen ‘permits’ her own death after the election of the Whitlam government in 1972: the heritage of ‘Paddy‘s dream’ has been safely[...]ght into this two-part Crawfords miniseries. One is towards the end, where the deranged Johnny, a killer from the big smoke (played with some sin- cerity by John W[...]s an old bushwoman played by Ruth Cracknell. With a loaded shotgun prodded into her chin, she tells J[...]e you: you don‘t last out here”. His response is brutal, shocking and meaningless: he simply pulls the trigger. The other is the extended opening titles sequence on the Birdsville Track, where we meet the protag- onists whom this ‘creature’ will soon face in mortal combat. The overpowering protagonist here is the face of the land itself, shown in sweepingly effective aerial photography. The human protag- onists are in a battered old mail truck that forms a long line of white dust against the dimness of the dawn light. ln it are Dave (Steve Jacobs), the Birdsville postie — a simple, decent man who doesn't under- stand women but does understand the land «~ and his biblically bearded sidekick, Ivan (Swawomir Wabic), a ‘refo’ from Russia who loves life, vodka and Dave, his first and only mate. Their mateship is quickly and effectively established. But this introduction is a yardstick which only serves to point up the uninspired nature of what follows The plot is standard in concept: the baddies steal something (in this case, the Queen's opals) that they somehow lose and must get back. The opals end up in the suitcase of a passing innocent called Barbara Dean (Rosey Jones), who is en route to a job in Birdsville, via the Alice, Maree and, of course. the mail truck. Although mostly concise, the words, phrases and scenes of the screenplay seem to sit one after the other like headstones in a country graveyard — there for a purpose, but grey and flat. However, unlike a real graveyard, the story, although full ofdead bodies, has no inner logic to its existence. Worse, the purpose of these constructions is painfully obvious. This kind of plot always depe[...]rtifice to lift it, and it cannot afford to allow the mechanics of the structure to be exposed. But the holes in Alice to Nowhere are too often covered b[...]s, careless logic and cheap cheats. As we follow the trail of murder and mayhem across the great, barren heartland of Australia, we begin to ask a few questions. Why does Johnny so rapidly degenerate into a vicious, pathological killer when he hits the outback? And what strange sexual weirdness moves[...]y Smithers) —— who, along with Barbara, loves the postie, and whom Johnny tries to rape — he yells: "You could have loved me!” What, inside Johnny. is cracking him up? We could also ask a few questions |
| [...]rt. But, although Esben Storm works hard to bring the character alive, there is not much a stereotyped, wimpy, retarded, hero-worshipping co[...]elter Skelter (both based on true stories), there is some insight into the nature of the killers. But A/ice to Nowhere is primarily a story of surface incident. Blood Simple could get[...]s stylistic brilliance. But, in Alice to Nowhere, the killing is mostly reduced to nastily serious business. A series of increasingly powerful, violent and crazy confrontations eventually lead us to the point where all the script arrows have so clearly been pointing — a pitifully inadequate anti-climax where the thoroughly irredeemable mad dog, Johnny, almost immediately drowns in the flooded Diamantina River. Alice to Nowhere is a formula story that does not seek the enhance- ment, in its production, of character, style, wit, passion or intelligence. The only thing remotely ‘new‘ in it is its cold-blooded violence. Brian Jones Alice to[...]ichael Lake. Screenplay: David Boutland, based on the novel by Evan Green. Script editor: Brian Wright.[...]ision hours. Australia. 1986. Sufferin’ souls The fictional territory of playwright Sam Shepard is vast. His chronicles tell of a mythical landscape of lonely motels, prairies, Plymouths and cowboy dreams, He delves into the junkyard of American kitsch. “We stopped on the prairie at a place with huge white plaster dinosaurs standing around in a circle. There was no town. Just these dinosaurs with lights shining up at them from the ground," he writes. it is a vision of America often found in the films of Robert Altman. Think of 3 Women (1977), and the depiction of the ‘Dodge City‘ bar in a nightmarish Southern Cali- fornian landscape: there is a captiva- tion with the surface of things — with banality, madness and[...]artists are placed together, as they have been in the production of the film Fool for Love, the dialectic is bound to be a fascinating one. Shepard’s award- winning play was first staged by the Magic Theatre in San Francisco in 1983. It had successful seasons in America and elsewhere, before becoming a film (see the Alt- man interview in this issue). Under Altman’s direction, Shepard also plays the lead, Eddie, a brash, whip-cracking cowboy, who arrives at the El Royale to make things up with his lover, May (Kim Basinger). The setting is brilliantly realised — a run-down, neon-lit motel on the edge of the New Mexico desert. Glowing pinks and the moody, even- ing colours of the desert heighten the intensity of Eddie and May's blazing and incestuo[...]. “You know we’re connected, that was decided a long time ago,” he tells her. The beginning is very slow and contemplative: a series of long, long takes. it allows Altman to give a drawn-out explication of the two characters‘ connections: they are two fighters in a no-win situation. it also invites careful exploration of the visual space — the trailers in the junkyard, an empty bar, a child on a swing. Finally it looks us in, just as Eddie and[...]hobic arena. Prancing around on his horse, Eddie is brazen — an indulgent per- former. But his act is often comic: he kicks in the door of May’s room with his steel studded boots. he sends the glasses on the bar skittling with his whip. It is a pathetic violence, that May won't succumb to. She per- forms too. In a clinging silk slip, she sensually washes herself,[...]ominant air. Then she kicks back, silencing him. The knowing watcher on the balcony is the drunken Old Man (Harry Dean Stanton). His harmonica-playing lends a melan- choly air, and it is his stories that are the more philosophical: “It was the same love, it just got split in two,” he says, looking back over his life. Altman chooses to reveal the links between the main characters in recreations of the past. it is, I think, the major fault ofthe film: the camera should have remained focused on the El Royale. In the original, the poetry in the characters’ stories is a rich source for our own imaginative play. As Eddie says: “There's not a movie within a hundred miles that can match the story I'm going to tell." So why give us the images so literally? There is however some clever cinematography in these scenes, most notably in the way the past and present are diffused. For example, a scene where Eddie first sees May as a teenager blends into an image of the present, reminding us of the im- possibility of escaping the past. It is typical of Altman: he plays with reflections, fragmenting the images, dislocating the visual and the narra- tive space. Basinger acts May's magazine dreams with a raw sensuality and strength. Her other recent fil[...]dealt with obsession; but, in Fool for Love, she is given a script loaded with poetry rather than meaningless silences. Randy Quaid as the outside ‘man’ brings to his part the right sort of awkwardness and vulnerability. Thou[...]ddie’s whole- some dream of owning chickens and a plot in Wyoming look even more shallow, May can o[...]t with Eddie goes too deep to allow any way out. The whining country tunes of Fool for Love reinforce the action. Written and performed (in addition to Geo[...]Rogers, they are about yearning, dislocation and the im- Out of the saddle again.‘ Sam Shepard as Eddie in Robert Altman’s Fool for Love, based on the stage play by Shepard. FOOL FOR 5-' possibility[...]ke Ry Cooder's music in Paris, Texas, they strike a strong emotional chord. It is on the structural level that Fool for Love is flawed — strange, because Altman is one of the few directors capable of recreating (not simply filming) stage plays on the screen. One of the few, also, whose view of American history and Ameri- can culture is as simultaneously mythic and hyperrealist as that of Shepard. in the final analysis, the emotional and intellectual engagement of Shepard’s Fool for Love lies in leaving Eddie, May and the Old Man's stories to tell themselves, not in attempting to realise the poetry of their lines. Maybe Altman was te[...] |
| Clan destined With the arrival of his second film, Highlander, it is obvious that Russell Mulcahy's camera eye is little short of wonderful. From the opening scene — a nighttime wrestling match at Madison Square Gardens, superbly shot with a Skycam by Garret Brown —— the look of the film is constantly amazing. lntercutting between a violent, modern-day swordfight in a car park and an equally violent sixteenth-century Scottish battle, the film becomes a kind of kinetic cross between Blade Runner and Excalibur. The story of Highlander (which, given the themes, is a thuddingly dull title) is essentially that of all actionlfantasy films: the struggle between the forces of good and evil. Realised through mystical char- acters, these forces do battle for the source of all worldly power. In Star Wars, it was The Force; in Excalibur, it wasthe Holy Grail. ln Highlander, it has the somewhat unimaginative name of The Prize. He who has The Prize has the future in his hands. In what may seem like bizarre casting, the French actor, Chris- tophe Lambert, best known for his portrayal of Tarzan in Greystoke, plays the Scottish clansman, Connor MacLeod. He is surprisingly effec- tive: not only is his acting strong but, in keeping with the rest of the film, his ‘look’ is always striking, too. MacLeod, whom we first see in New York in 1986, is then re-estab- lished in Scotland in 1536, where he is fatally wounded during aa member of a unique group of immortal warriors. Trained by the mysterious Flamirez (Sean Connery), he has to pass on through time until The Gathering, where he and other immortals will meet to fight Kurgan (Clancy Brown), the evil immortal, and (hopefully) win The Prize. The Gathering is, of course, set for New York in 1986. If the story sounds ridiculous, then it is to the filmmakers’ credit that its sold so well. Partly, that is because of the naturalistic approach to immortality and, more ge[...]cl_eod’s mystical character grows slowly out of the normal man. TV Star of that ilk: Christophe Lam[...]mortal, and its effect upon him — for instance, the relationship with his wife, who does age and finally dies, while he stays the same age — is an inter- esting (though lightly explored) area.[...]nt fantasy/adven- ture films, however, Highlander is well written (by Gregory Widen, Peter Bellwood and Larry Ferguson). And, except perhaps for the final climactic battle, which is pretty similar to all final climactic battles, the action sequences are fresh and exciting. Mulcahy's direction helps — the Scottish clan battle is particularly well staged and shot — and there's enough humour to balance the sombre struggle between the immortals. In a flashback sequence, we see a duel in which an increasingly confused and angry husband tries to stab a drunken MacLeod to death: such are the advantages of immortality. But the real success lies in the balance that is carefully built between the two potentially clashing genres —— fantasy, and ‘realistic’ thriller. The scenes between the modern MacLeod (now a good 450 years old) and the police, who are inves- tigating his involvement in a number of murders, are full of tension. The realisation by policewoman Brenda Wyatt (Roxanne Hart) that he is not completely normal is strong and involving, using the same juxta- position of fantasy (or unreality) and reality. Sadly, though, the climactic point of this sequence — his explanation and their subsequent lovemaking - is not only unnecessary but exces- sive. Highlander[...]ottish clansmen, all set side by side . . . As it is, there are indeed a couple of moments when the film goes way over the top — the soundtrack by Queen doesn’t exactly help — but they're too few to worry about. in the final analysis, Highlander is an exciting, tightly written and beauti- fully di[...]egory Widen, Peter Bellwood, Larry Ferguson, from a story by Gregory Widen. Director of photography:[...], Sean Connery (Ramirez), Beatie Edney (Heather), A/an North (Lieutenant Frank Morgan), Sheila Gish ([...]8 — September CINEMA PAPERS REVI EWS Seat of the Pacific it was an excellent idea to combine the story of Robert Louis Steven- son's relatively unknown life in Samoa with a look at the under- explored subject of European settle- ment in the Pacific. Ultimately, however, the ABC's Tuslta/a doesn’t seem to have made it work. The miniseries suffers from an incon- sistent script and a thematic con- fusion that strangely reflects the split personality of its heroine — or, perhaps, the more tortured con- frontations of Stevenson's own Dr Jekyll and Mr Hyde. Episode One of the series tries to do too much, too quickly. Describ- ing Stevenson's rise from being "unknown, penniless and a poseur" to being a popular Victorian novelist, it sketches in his Ed[...]n with and marriage to Fanny, an older woman from the American mid-West with a family of her own. Episode One ends with Louis and Fanny arriving in Samoa, where both Fanny and the tropical climate will nurture his genius and cure his lingering illness. The European locations in that first episode, shot around Sydney, and the cliched recreation of Victorian society, are as disappointing as the lack of character development. Angela Punch McGre[...]some as John McEnery’s Scottish one. But there is no doubt that Episode One, after all that frantic sketching, leaves the viewer curious, wondering what the hero and heroine are going to do‘for the next five. The answer becomes obvious in Episode Two: slow down. The loca- tions definitely improve (Samoa and its sets are lovely), but the action TUSITALA begins to stroll along at a very tropical pace. Late Victorian colonial society is shown at its worst: bigoted, racist, small-minded and conventional, with Louis and a few- others the shining, liberal excep- tions. But the philosophical basis of that liberalism is never explained, any more than it was accounted for in Episode One’s sketch of the milieu. Rather, Stevenson comes to the rescue of the ‘good king’ of Samoa, who is mistaken for a bad king by the baddies of the colonial govern- ment. There is not enough back- ground to the power struggle that takes place between the Europeans over this far-flung island in the Pacific to give more than a super- ficial context for the anti-colonial themes of the succeeding episodes. The most interesting sections of Tuslfala are those which portray native Samoan life, but their full potential is never realised. Trad- itional Polynesian society is shown to be underthreat from Europeans, but that[...]arrant making it more than just an exten- sion of the background. And, while the miniseries does succeed in building up some of the tensions between and within these societies, and adequately portrays the rapaciousness of the colonial administrators, it doesn't manage to account for the depth of the relation- ship that must have existed between Stevenson and the Samoan people. Instead, we get snapshots of Stevenson and the Samoans having a feast; Stevenson against the Consuls; the Samoans being pushed towards civil war; and Stevenson writing letters to the press in Europe. With such a superficial rendering of this relationship, the ‘road of gratitude’ built for Steven- son by the Samoan chiefs on their Their island story: left[...]y Alison, Angela Punch McGregor and Todd Boyce in the miniseries, Tusitala. |
| [...]prison, their wake for him, and their hacking of a path through the jungle to his mountain grave, appear inexplicable[...]g. If this relationship remains hardly credible, the one between Fanny and Louis finally comes into its own towards the end of the series. Fanny herself slowly evolves from wifely[...]an interesting character in her own right, albeit a schizophrenic one. Angela Punch McGregor even- tually gets enough script to act with, and she is very good in this difficult role. But, just as Fanny seems to be becoming more central to the drama than Stevenson himself, the latter dies. The series ends at his funeral, and Fanny is relegated once more to marginality. This final inconsistency is especially annoying: even a note in the final credits, briefly detailing her life after Louis and the circum- stances of her death, would have been more satisfying. Between them, Louis and Fanny are a good story. But it is not one that script- writer Peter Yeldham tells w[...]ears ago, Playing Beatie Bow might well have been a more signifi- cant and (though it is admittedly too early to tell) a more noticed event than it will be in 1986. in the wake of Crocodile Dundee and the focusing of attention on overseas markets, the fate of such a modest and unpreten- tious film seems uncertain. For Playing Beatie Bow is the hand- somely-made stuff of family enter- tainment[...]decidedly local in flavour — some- thing which, a decade ago, might have made it the flagship of a burgeoning industry. Based on a novel by Ruth Park, it is a variation on H,G. Wells's The Time Machine; in this case, seven- teen-year-old Abigail (Imogen Annesley) is transported back just over a century to 1873. Fittingly, the film worries nothing about techno- logical or mystical explanations, but simply gets on with the dramatic realisations that the premise pro- vides. Thoroughly pissed off with[...]father (who left them for another woman, and who is never seen), Abigail follows “the little furry girl”, Beatie Bow (Mouche Phillips), who sets her on her way to the land of old Oz. In the best tradition of the genre (and this is a mark of the film's achievement), its ellipses of time and pla[...]pping. George Lidd|e's functional designs provide the bridge between the Dickensian industrial city of the eighteen-seventies, and thea lesser extent, The Killing of Angel Street, it is mainly through the eyes of the female protagonist that the story is told. In the overtly romantic, senti- mental and fairytale world of the past, Abigail discovers an equally romantic partner in Judah Bow (Peter Phelps). Fiesembling a cross between Crusoe and Robin Hood, Judah is portrayed as the perfect gentleman, his close-knit family pro- viding a staunch contrast to the dis- integrated modern-day situation of Abigail. Though he is committed to one of his ‘contemporaries’, Judah and Abigail fall hopelessly in love. The lone heroine, a recurring theme in Crombie‘s films, is, through her quest, dependent upon and defined by the search for a partner, and she remains, at the least, dis- trustful and resentful of men. in the film's last scene, Abigail, having returned to he[...]s Robert (also played by Peter Phelps), Yet there is an ambi- valent sense of loss, and a hope that one day her ideal will be (re)found, and that her own family, like the Bows, might grow to be close-knit and loving. In Playing Beatie Bow, as elsewhere in Crombie’s work, the purpose seems unashamedly senti- __, , .‘. _*,__n_n:‘. PLAYING BEATIE @- BOW A - Time out: Imogen Annesley and Peter Phelps in[...]e Bow. mental and melodramatic. But, above all, the film is a solid and traditional piece of storytelling, with[...]stereotyped characters and banal nostalgia (there is at least one unfortunate such scene in a bordello). At its best, the film unfolds easily, allowing its striking and unique design and atmospheric photo- graphyto tell the story. Indeed, DOP Geoffrey Simpson won both Cinematographer of the Year and the Golden Tripod at the 1986 Aus- tralian Cinematographers' Society Awards. There are sequences in Beatie Bow, such as the opening, which are exemplary. The film immediately locates itself, and uses various shots to show Abigail effectively pursuing the spectre-like Beatie until, finally, through dissolves, the camera becomes Abigail's point of view atop a cliff. Nearly all the young characters are played by people of roughly the same age, whose characters have been written and[...]CINEMA PAPERS September — 49 of what ‘a kid’ ought to be (in which respect, Playing Beatie Bow, like the Winners TV series, is one of the few locally-made products that is respectfully geared to a specific audience). Playing Beatie Bow is as naive, unpretentious and provincial as, in its own way, Back to the Future was cocky, flamboyant and exploitable. It wont be a film to cross the Pacific - but, then again, it doesn't try to. At[...]r: Bruce Moir. Screenplay: Peter Gawler, based on the novel by Ruth Park. Director of photograph[...] |
| FILM chi|dhood’s end Set in a small town in the ‘anywhere’ of Australia, Frog Dreaming re- volves around a fourteen-year-old, orphaned American boy — and something of a child genius —— called Cody Walpole (Henry Th[...]essible, adventurous spirit leads him to discover the terror of ‘Donkegin’, a mythical monster which, according to Aboriginal legend, resides in a taboo area called ‘Frog dreaming’. Because it is steeped in an Abori- ginal myth of passage, Frog Dream- ing can, at one level, be read as a film about coming into manhood. Cody, in his determination to dis- r /9 cover the secret of Donkegin, seeks out an Aboriginal sage by the name of Charlie Pride (Dempsey Knight). And, in a scene completely divorced from the known, familiar world, Pride puts Cody to what he calls a test of manhood, by urging the boy to dance with a satanic figure. The film takes its cue, though, not from this land and the primitive myths of manhood that abound within it, but rather from another mythical place and time that is par- ticularly American. it comes from a vision of a pair of unruly lads gone off to play pirates — a myth of child- hood that is as horrible as it is idyllic, and that stems ultimately from the imagination of Mark Twain. Cody Walpole could be a distant cousin to Tom Sawyer or, more likely, Huc[...]Huck before him, clearly stands as an outsider in the small rural community set deep in the Aus- tralian outback. From the outset, he is branded as a troublemaker, with an engineering mind that brings him near to the point of death (he invents a device to convert his bicycle into a form of railway train). Yet Cody’s passion for invention goes beyond being merely the good, clean but troublesome fun of a young lad: it can be seen as the film's real focus of attention. Setting things up — constructing and inventing — seems to be the one permanent activity in Frog Dreaming, taking us further and further along the road to discovering the secret of Donkegin. The sisters. Wendy and Jane Cannon (Flachel Friend and Tamsin Taking aim at the adult world: Henry Thomas as the Huck-Finn character, Cody Walpole, in Frog Dreami[...]special delight in frightening their mother with a string device that creates disturbing sounds in and around their home. The dancing satanic figure at the end of the pier in Charlie Pride’s nightmarish world is no more than a deceptive construction of fluores- cent light, steel rods, rags and dangling strings. Even the word ‘Donkegin’ comes from a mispro- nunciation of ‘donkey engine’. The mechanical and the supernatural thus become fused, with the mechanical working just like magic. It is this engineering spirit in Frog Dreaming that lin[...]Walpole, Charlie Pride and Wendy Cannon. Not only is Cody the bane of the town's one-man police force. But, when one of his[...]and her pre- cocious sister, Jane (they discover the shrivelled-up corpse of a drunken derelict friend of Cody's), Cody is definitely on the shortlist of parental disapproval. In a confrontation between Cody’s guardian, Gaza (To[...]ather (Dennis Miller), Gaza puts into plain words the other’s suggestion he keep Cody under control:[...]t Cody banging around with your daughter?” For the children of Frog Dreaming, the sexual suggestiveness of the word ‘banging’ would not be beyond comprehension. indeed, the world of Frog Dreaming is one where only children seem to have a sex life — where only they are free to talk, ho[...]of matters relating to boys and girls. This talk is not at all incidental: it often occurs at precise moments, as when, at the Donkegin waterhole, Wendy and Jane are drifting on a raft into the centre of the waterhole, Jane asks Wendy whether she has ever kissed Cody. And it is at this very moment that the Donkegin monster begins to raise its head from its murky hideaway. And what of Charlie Pride? He belongs to a world both supernatural and very real, where the little white community has no stake — a place that the community attempts to pre- vent its children from exploring. He represents, at one and the same time, both the demonic, and the innocent, profound level of (sexual) awareness, still not fully realized but, like the monster,.just bubbling at the surface. Like Huck, Cody, with the help of Charlie Pride, takes flight from the community; and, like Huck, he is a truly independent spirit: he does not go off on an adventure only to be integrated thereafter into the com- munity, now that he is a man. The myth of passage into adult- hood is the presumption of many a kid’s adventure. Yeti have never wit- nessed so many affronts to the adult world as in Frog Dreaming. If there is a true monster in the film, then it is the adult community — what it prob- ably always kne[...]Union. 35mm. 95 minutes. Australia. 1985. ‘ll THE LANCASTE MILLER AFFAIR V. Fearof staying on the ground I view all impending miniseries with trepidation: there is no pleasure to be derived from watching over- blo[...]s that pass as ‘quality dramas’, when quality is denoted by expensive production values. The Lancaster Miller Affair defies expectations, though I wonder whether it will not be a unique moment in the history of the Austra- lian miniseries. Unlike the highly sophisticated but homogenized reductiveness of The Dunera Boys, the recycled nationalism of Anzacs, or the saccharine tediousness of A Town Like Alice (all highly acclaimed ‘quality dramas’), The Lancaster Miller Affair has passed virtually unnoticed. The question is why. Could it be that the series is the first to treat its subjects with a distance and an adult maturity? What is unique about it is that, in the name of realism, it actually attempts the kind of carefully modulated narration of a historical event, and serious characterization of[...]t Australian miniseries will deliberately avoid. The series concerns the rela- tionship of Chubby Miller (Kerry Mack), a young Australian woman, and Bill Lancaster (Nicholas Eadie), an ace British aviator. The events of the story are based on fact and the couple, famous and notorious in thea view of the events that is neither naively romantic nor glamorous, but often intense and interesting. When they meet in London in the late twenties, Bill is estranged from his wife, Anne (Lisa Armytage), and trying to survive failed business ventures, but also harbouring a dream of flying solo from London to Darwin. He is a kindly, ditfident and courteous man, who has no s[...]raising money for his venture. Chubby Miller, on the other hand, is willing to overcome any obstacles. Her determination, strength and directness provide the perfect foil for Lancaster. Not surprisingly, she too is estranged from her spouse, and her first f[...] |
| Unflappable flapper: Kerry Mack as Chubbie in The Lancaster Miller Affair. Chubby raises the money for the flight, on condition that Lancaster takes her along. Her role as passenger — a selling-point to sponsors — is soon transformed into that of co-pilot. A pivotal sequence, beginning with a shot of the plane's joystick moving temptingly between her legs (in, I can only assume, a deliberate phallic joke), ends with her taking over the controls and thereafter becoming a pilot in her own right. Out of a sense of honour and rectitude, as well as a fear of scandal, they set out on their epic voyage, with the reluctant consent of Bills wife and parents. And, as one inevitably expects, Chubby and Bill become lovers. The narrative follows the various events of their life together — their failure to beat the record due to accident, the refusal of Anne to grant a divorce, the effect of the Depression and the slow decline in their fortunes in the USA as each new venture fails. Throughout, the mixed sexual and cultural expectations of the period lock Lancaster and Miller inevitably into a situation where her desire for marriage and famil[...]worst, notorious and infamous. Their journey to the United States is the beginning of a tragic decline, which culminates in the events surrounding Chubby’s decision to marry a man called l-laden Clarke (Wayne Cull). Bill is devastated. Later, Clarke is found un- conscious, shot in the head. After a traumatic murder trial — the centrepiece of the series and its most powerful moment — Lancaster is absolved of any guilt, but at the expense of Chubby’s character. She ‘becomes’ her role — the lemma fatale, the dark, dangerous and sexually depraved woman — consenting to do so because this is, claims the defence attorney, the only way to save Bill's life. Subjected to terrible abuse from the public and the newspapers, she keeps her self- respect, and the couple's bond remains intact. Lancaster may well[...]ck in England, his life seems ruined. Cast out by the class of which he was (being a Catholic) only precariously a member, and unable to get a divorce, he tries to redeem his reputation by a record-breaking solo flight from London to Cape Town. But he crashes in the desert — a heroic death, brought about by a combination of social pressure (the need to ‘redeem’ his reputation at a time when reputation meant everything), ill fortune and the grotesque actions of his parents in denying Chubby access to money to buy a plane and look for him. The series bristles with keen social observation and[...]as an extreme instance of religious conditioning, the father (Barry Hill) a pathetically reduced version of Lancaster himself, the mother (June Salter) leader of a bizarre charitable/religious sect. A puritanical woman, she forces Lancaster's wife to refuse a divorce. Anne, however, gives a more cogent, if damning reason: the parents support her and the children and, as a divorced woman, she would lose her job. Along with the complex characterization of Chubby Miller, it is this kind of detailed background that provides a rare attempt (in the Australian context, at least) to give sympathetic treatment to the contradictions of the role of women. Perhaps the unglamorous treatment of sexual passion, perhaps the ‘failure’ to invoke simplistic nationalist sentiment, perhaps the drama of two people who fall to realise their dreams, are just too difficult to be the subject of the monumental publicity campaigns that promote each new miniseries. But The Lancaster Mil/er Affair deserves, at least, a second glance. Annette Blonski The Lancaster Miller Affair: Directed by Henri Salran[...]s. Australia. 1986. Mutton dressed as Rambo For the benefit of those with short memories: a recap. A couple of years ago, Fortress was a notable cause célébre. The producers wanted an American actress, Bess Armstrong, for the lead role. But, in spite of some substantial credits (High Road to China, The Four Seasons), Armstrong was deemed insufficiently reputable, and Equity vetoed her. With a highly theatrical flourish, Crawfords then ostensibly abandoned the project, but only for long enough to reach a compromise with Equity. Whether or not Fortress[...]gained any real advantage by using Bess Armstrong is largely irrelevant: the film's problems lie much deeper than that But,_in the important central role of the plucky schoolteacher, Sally Jones, Rachel Ward is totally out of her depth, possessing neither the conviction nor the dramatic range to give the character substance. Yet it's doubtful that even[...]rall strains on audience credulity. To state that the film is based on the notorious Faraday kidnapping is to lend it a bogus aura of reality that can't, in any way, be justified by what takes place under the guise of dramatic, imaginative licence. it begins with a kidnapping, yes; but that's about as accurate as saying that Citizen Kane is about running a newspaper. What in fact sabotages Fortress is its tendency to run off in too many directions. The abduction itself is well- staged. As Sally Jones and her small class[...]p at gunpoint in their country schoolhouse, there is a tangible feeling of menace in the air. The sense of dread and terror is rein- forced by some expert direction and camerawork, as well as by the fact that the kidnappers are wearing novelty masks, giving them a grotesquely comical appearance. Up to the point where the unseen villains herd the innocents into the van and drive off, Fortress is fairly impressive. Suspense is mounting nicely, and the film moves. But, after this promising start, it's downhill all the way. The teacher and her pupils are thrown into a cave by the villains, who just take off for the next half-hour or so, leaving a major sag in the plot development. There is a good deal of fire-building, exploring dark passages and under- water swimming, all of which is great for padding, but disastrous for maintaining audience interest. The goings-on in the cave completely shatter the momentum generated by the film's opening scenes, dissipa- ting the tension, and temporarily turning the whole affair into something resembling a ‘Famous Five‘ adventure. Naturally they find a way out, striking out across the countryside until they reach a farmhouse where, predictably and unbelievably, the villains are waiting for them. A bout of violence ensues, then the captives escape once more, eventually taking refuge in caves atop a giant rock formation (the ‘fortress’ of the film's title). Here, they conduct a Left to right, Anna Crawford, Robin Mason, R[...], manage to deduce their where- abouts. Never has the Australian bush seemed such a small and claustrophobic place! But what harms Fortress even more than its non-linear progression is its abandonment of motivation and logically-thought—out behaviour pat- terns. The motivation that drives teacher and pupils into a frenzy of blood-lust at the film's climax is not borne out by the experiences they undergo on screen. Or, if it is justifiable, the film does not convince us that it is. Earlier on, we've been dropped plenty of hints[...]us enough in their acceptance of violent death as a way of life. As the film opens, one of the children is propped up, half-asleep, against a fencepost, having waited up all night to shoot a marauding predator. On the way to school, he remarks to a squeamish Sally: “You always spit on a dead animal for luck." The children are shown as capable of killing, yet are not given sufficient cause for it, and the film's finale is a tour de force of shameless excesses. These guilel[...]f lethal jungle devices that would bring tears to the eye of a seasoned Green Beret. By this time, Fortress has under- gone yet another metamorphosis. Having begun as a straight suspense thriller and digressed into children's adventure, it now becomes a close cousin to Lord of the Flies, albeit shorn of that work's coherence and credibility. And the postscript, with its macabre final shot, is pure Stephen King. Or is it a bush allegory? For all its faults, Fortress is not unentertaining in its own confused fashion, however. Crazy as the plot may be, it hardly cancels out the whole film. Directors like De Palma, Spielberg an[...]are experts at transforming mutton into lamb, and a strong technique can mask a multitude of sins. Their films are, however, well put-together. Fortress is not: it's a mess. And all the cocky angles and admittedly glorious panoramas won't disguise this unpalatable fact. The children are capable, direction effective, with music and sound surprisingly terrific. it's the script and structuring which let it down. Tony D[...]t), Vernon We/ls (Dabby Duck), Roger Stephen (Mac the Mouse). Production company: Crawfords. Dis[...] |
| Stepping again on the tiger’s tail Over 40 years ago, in the closing months of another world, Akira Kurosawa made a film called Tora no O o Fumu Otokotachi, his fourth. The title has been translated in various ways, but most often it comes out as They Who Step on the Tiger's Tail. The summer of 1945 was not a happy time for Japan, and it is scarcely surprising that the military authorities should only have been prepared to authorize an apparently traditional treatment of a legend already enshrined in the Noh and the Kabuki. The result, though, was Kurosawa’s first masterpiece. The crux of Tora no O comes when the soldier. Benkei, attempts to smuggle his fleeing master, Yoshitsune, past an enemy check- point. Yoshitsune is disguised as a porter and, at the last moment, the enemy commander, Togashi, recog- nizes him. But Benkei averts disaster by taking his stick and beating the ‘porter’. That a soldier should beat his lord is unthinkable. Thus Benkei’s act denies and dishonours the latter‘s identity in order to save his life. But what he does also dishonours him, and is thus an act of both extreme bravery and potential self-destruc- tion. The noble opponent, Togashi, however, recognizes this[...]n his own part. There are clear visual echoes of the 1945 film in Ran’s first post- credits scene, a[...]Jiro and Saburo. As at Tora no O’s checkpoint, the roughness of the terrain is tamed by a formal assemblage of flags and screens laid out on a hillside, while the participants sit in the same formal configuration. But, in Fian, the echoes of that exquisite early film eventually fade beneath the reworking of King Lear, which is the new film’s raison d’étre: three sons replace Lear’s three daughters (Saburo is the plain- speaking, guileless Cordelia); Goneril and Fiegan merge and are transposed into Taro’s wife, Lady Kaede; and there is a Fool who indulges in both wordplay and cryptic political comments. ‘Ran’ means ‘chaos’, and it is chaos that Hidetora ushers in when, like Lear, he[...]hority and expects respect to be paid where there is no power to command it. Like Shake- speare’s foolish, fond old man, he undermines the edifice of state by misusing his statesman's power. Chaos is the dark heart of both Han and King Lear, brought on by a wilful, temporary tipping of the balance of the world. By the time we reach the fi|m’s mid-point of the first battle — the sacking of Hidetora’s castle by the treacherous Taro — that sense of pure dramatic[...]that comes when ideas and emotions meld perfectly is coursing through the film, culminating in one of the greatest sequences Kurosawa has ever filmed. Musi[...]— September CINEMA PAPERS Taro ’s men attack the castle in Akira Kurosawa ’s ‘Shakespearian ’ Ran. sound replace the clamour of the battle, as Hidetora sits motionless and wide-eyed in a slatted tower, while the arrows fly past him in flocks and his men are slaughtered around him in their hundreds. The attack on the castle is the heart of Ran, as the storm — Act III — was the heart of King Lear. And the fact that it is a human cataclysm, not (as in Lear) a natural one, perfectly accords with the modern work’s theme, as voiced over an hour of screen-time later through the question: “Are there no gods, no buddha?” and the reply, “They cannot save us from ourselves." For that hour after the attack on the castle, though, Ran seems to falter, as though Kurosawa had exhausted the theme but not the details of Shakespeare’s tragedy. Thus we have another ‘storm scene’, a lacklustre affair amid the whipping grasses of the plains; we have a hovel, where the blinded son of Hidetora’s vanquished rival beco[...]y dressed with flowers". And, of course, we have a second battle. Like the set-piece finale in Kagemusha (1980), it is visually stunning — a magnificent piece of orchestrated movement, of glowing camerawork (by Takao Saito, who took over the Kurosawa cinemato~ graphy mantle from Asakazu Nakai in the mid-sixties). But it is a fake climax, a piece of spectacle without dramatic weight, adding nothing to the tragedy of Hidetora — a mag- nificent folly, verging on the self- indulgent. That that first hour of genius[...]d fury and single, superb images makes Ran one of the true disappointments of the year. For Kurosawa’s greatness as a director is not that he can move people and horses across the screen like John Ford (whom he greatly admired) b[...]e can also distil plot, character and camera into a single, perfect mechanism. And that mechanism runs unmistakably down in the second half of Ran. For all the disappointment the film engenders, though, it has to be said that Kurosawa at his most dis- appointing (and Han is far from that) is as great a filmmaker as any still working, and ten times better than most. I doubt the year will see many better films. How sad, though. that it could not have been the best, nor have recaptured the perfect poise of Tora no O. Nick Roddick Ran: D[...]nplay: Akira Kuro- sawa and Hideo Oguni, based on the play, King Lear, by William Shake- speare. Director of photography: Takao Saito. Art directors: Yoshiro A/Iuraki and Shinobu Muraki. Music: Toru Takemitsu.[...]Fiyu {Saburo), Mieko Harada (Lady Kaede), Peter (The Fool). Pro- duction company: Herald Ace/Ni[...] |
| [...]e time now, American popu- lar cinema has been in the throes of a nostalgia trip, reviving the glory days of tried-and-true formulae, occasional[...]gets girl back’ as its prescribed rule. After a promising opening, with James Belushi recounting[...]story about last nights sexual exploit, however, the film takes a dive into shallow waters, recasting the old formulae — a hint of teen movie, but predominantly fifties romantic satire — with the ‘new morality’. What this means is a licence to carry the camera into the bedroom for some rather frank, moody, orgasmic sketches; but it doesn't mean constituting the bed- room as the battleground proper. About Last Night would be more interesting if it was genuine about taking shots at the ‘scoring’ myths of the male characters, i.e. when boy (Rob Lowe) says to girl (Demi Moore), “I love you", there is a hidden clause in it all: ‘‘I still want to screw around". When the tug—of-war is played out more by their respective friends, however, and when About Last Night finally admits that the boy and girl's dissatisfactions stem from the boy's occupational frustrations, giving the girl a back seat, then it lays down its arms and looks no more than a sex-war film. Raffaele Caputo Of late, the French appear to be making a tradition out of thrillers with a futuristic tinge. But the latest addi- tion to this cycle, ironically entit[...]gain much from its ultra-modern visuals. Lorca, a prison guard played by Subways Richard Boyringer, has a rasping voice and is more criminal than the criminals. His antagonist is Winckler, a prisoner, played by Richard Berry. Unfortunately, however, Berry's character is not really a match for Lorca, and it seems that it is only in the final sequences that he realises what the game is all about and attains a will on a par with Lorca’s. He even adopts Lorca’s rasping voice. L'Addition is a prison picture with the right combination of characters who are propelled towards one another in a battle of wills. But I hesi- tate to call it a prison picture inthe L’Addition: Richard Berry[...]Bresson's Un condamné 5 mort s’est échappé (A Man Escaped). The new French film is, above all, deficient in its geometry. With its f[...]tra-gloss enamel, L’Addition leaves one without a sense of hierarchy. In the film's dis- tinguished forebears, the will is not only a will to escape, but a will for movement — an upward movement — that is visually marked by the tight, oblong, multi-tiered levels missing as muc[...]) and Kevin Costner. American Flyers (7 Keys) is the type of film that wants to keep you guessing. But, when the narrative thread is continually dotted with sweeping aerial shots and an over- abundant soundtrack, it is a sure sign it doesn't quite know how to do so. The surprising thing is that the'fi|m is directed by John Badham. But it lacks the action and excitement of Blue Thunder and War Games. And it is written by Steve Tesich. But it lacks the sophistication and charm of Breaking Away. The drama concerns the recon- ciliation of an estranged family unit after the death of dad. Not only have the descendants inherited the bank balance, but also dad's rare brain disease. Most of the guessing is over who has got it: younger brother David (David[...]rother Marcus (Kevin Costner). With David seeming the likely contender and Marcus going nuts every time he confronts his mother, they both enter ‘Hell of the West’, a three-day bicycling competition across Colorado. The competition is Marcus's baby more than anyone else's. He is determined to prove wrong a kind of family curse: mum ‘could have‘ sup- p[...]ical and law studies; Marcus ‘could have’ won the previous year's Hell of the West. With a Soviet bike team incident- ally snuck into the story, the film's patriotic nudgings no longer seem out of place. But, as the contentious point in the family drama or as a metaphor for the patriotic com- ponent in American Flyers, the com- petition is too facile, too swimmingly dealt with, too much an excuse for the film's resolution. Raffaele Caputo ANA- The heyday of the martial arts movie was a decade ago: nowadays. it appears, grace in combat[...]heir Ninja films, of which American Ninja (Hoyts) is the fourth. While it would be an exaggeration to say[...]better — they were never, frankly, much good in the first place — the last two have had their moments of interest. Ninja //I: The Domination had a sword-toting heroine. And No. IV — American Ninja —- has the tactiturnly beautiful Michael Dudikoff as an innocent with awesome skills, whose origins are lost in the mists of amnesia. Set in a non-descript South-East Asian country (it was made in Marcos’s Philippines), the film has a preposterous plot involving corrupt army officers, international arms traffickers and the colonel's daughter (Judie Aronson). Joe (Dudikoff). a Gl raised by a Japanese army officer hiding out in the jungle, does battle with the ‘Black Ninja’ (“He has taken the black path and betrayed the code: he must die”), helped by his former mentor, who turns up tending the chief crook’s lily pond. A lot of the film looks like a faded episode from The Man from U.N.C.L.E. (Hanania Baer‘s camera- work is awful). The music (Michael Linn) belongs in an airport lift. But the final battle is not without echoes of the good old days when Bruce Lee flew and the soundtrack reson- ated with amplified grunts and[...]nd has found Antoine (Jean- Pierre Marielle), who is safe and horrifyingly solid, but who knows she st[...]affections. Jeanne at first holds out, and Marc is forced to find someone new to love. When he falls in love with a call girl called Samantha (Emmanuelle Béart), Jeanne cannot escape show- ing her regrets. The new female attempts to separate her work from her real love, but the chauvinistic Marc throws it all back in her face in a display of confused pride and egotism. Finally, the characters all learn to relate to each other beyond the limits of the two relationships. But it is never really worked out what the main point is: possessiveness, desire, love and the need to belong are all briefly explored. And, if director Edouard Molinaro is mocking the sort of character represented by Marc, French or[...]h men are cute and ultimately good, once tamed by a good woman. There is a resulting tiredness in the exuberant ending which shrouds the film in a dubious sense of com- promise. And Marc’s unsym[...]revents any new light from being thrown on either the question of monogamy (or not), or the possibilities of a modern extended relationship. Lyn McDonald Under Joel Silberg’s direction, Bad Guys (Hoyts) is a careful attempt to capitalize on the extensions, rather than the inherent vulgarities, of pro- fessional wrestling[...]lements of self- parody. Bad Guys seeks to create a video clip-like parody, rather than revelling in the sport's natural absurdity and, as a result, hits all the pitfalls of filmed theatre. Skip (Adam Baldwin) and Dave (Mike Joly) are suspended from the police force for roughing up the customers. Unsuccessful as labourers (Skip is fired for having sex on the job) and subsequently as striptease artists, they form a fairly innocuous tag-team. Employment in professional wrestling, it seems, is the synthesis of work-as-sex and sex-as-work. At its best, Fluth Buzzi’s portrayal of a crazed, incoherent coach to our American heroes, comes close to realising the potential for complete mayhem. As a cut-out portrayal of ‘Miss Liberty’, complete with card- board spikes for a crown and nylon for regal robes, Buzzi graces the in- evitable climactic match against the disgusting Kremlin Krushers (Jay 8. York and Alex[...]Turk McGurk (Gene LeBell) and all our heroes fix the Stars and Stripes on its rightful turnbuckle, one is left with the con- clusion that Silberg’s wary ambi- valence towards professional wrest- ling is responsible for the unremark- able nature of Bad Guys. Luke Nestorow[...]aptain W.E. John’s ‘Boys Own Adventures’ of a WWI flying WASP, director John Hough and writers[...]Roadshow), to rewrite history, not so much to win a war long lost by America, but to draw a dangerous parallel between past enemies (lest we[...]esponsibly between 1917 and 1986, Biggles relates the tiresome misadventures of Jim Fer- guson (Neil Dickson), a New York yuppie looking for "the image of contemporary America", CINEMA PAPERS September — 53 who is > |
| SHORT spasmodically transported back to a past supposedly redolent of the future. This is so his ‘time twin’, Biggles (an inadequate Alex Hyde- Smith, unintentionally providing the only comic relief of the film), can destroy a nuclear weapon held by the enemy (Russians shrouded in German uniforms). Their mission will be accom- plished with the help of modern technology (here, a sophisticated police helicopter), allowing them t[...]uked theml" Consequently, Bigg/es treads on much the same ground as the majority of popular films currently coming out of America. Our only relief is that, because of the lament- able weaknesses of its script and the incompetence of its direction and cast, Biggles won't be allowed to fly again and is likely to be quickly for- gotten. Norbert Noyaux Biggles: Alex Hyde-Smith in the title role. Hard on the heels of Rambo and Rocky IV comes Cobra (Roadshow[...]ster Stallone and directed by George Cosmatos for the Cannon Group. Stallone plays Marion Cobretti, an L.A. cop who, like Harry Callahan fourteen years ago, gets the tough jobs that no one else can solve. Cobra (he doesn't like the name Marion) has an individual method of dealing[...]He kills them. Cobra’s philosophy (and that of the film) is also quite straightforward: hard crims have no ri[...]erve to be killed off without trial. To say this is more hard-edged than Dirty Harry is an under-state- ment. Cobra is little more than a propaganda film, albeit well-crafted, for the Stallone ideology. On the entertainment level, it is pure, comic- Cobra: Sylvester Stallone as Marion ‘Cobra’ Cobretti. FIEVI book simplicity. The Charles Manson-inspired crims go about slashing p[...]irty Harry, Cobra’s methods are frowned upon by the more passive cops. Cobra‘s methods are, of course, proved to be the only answer. "You're disease,” he tells a crim in the opening sequence; “I'm the cure.” And shoots him dead. Overall, it is a sickening experi- ence — a kind of fascist blending of The Texas Chainsaw Massacre and The Exterminator. One can only be amazed that, as US[...]box-office clout, could presumably make anything, is content to concen- trate on such wanton garbage.[...]ss in modern Hollywood, especially where violence is concerned. The Sylvester Stallone, Chuck Norris and Charles Bron[...]ders making megabucks out of macho Americans. in the Death Wish films, Bronson has hardly been macho. Rather, he has been a vigilante, cleaning up the streets and towns of America — an ageing reactionary out to protect the values of middle America. in Death Wish 3 (Hoyts), Bronson joins the New York Police Department and becomes an official vigilante, blessed with the task of cleaning up the East Side of the city. His quarries are ‘the creeps’ — the leftovers of the city, whom the police are fearful of confronting. As in the two previous Death Wish films, Bronson not only acts as a vigilante, but as a keeper of the faith for those who still believe that violence is the only solution to anti-social behaviour by groups of the dispossessed. In the only intellectually stimulating words in the film, the NYPD recruit- ing officer says to Bronson: “You're in it for the enjoyment, or you're in it for the correctness of it." But, with the sort of retribution that is delivered in Old-Testament fashion to the wayward in this film, there is ultimately neither enjoyment nor correctness to b[...]se Chismore (Annabeth Gish) gets her new glasses, the world comes into focus. It is 1951, and Las Vegas is about to experi- ence one of the best shows in town. Teachers are giving lessons i[...]disc jockeys are singing “Rise and shine. it's A-Bomb time" and women are dressing up for the ‘Miss A-Bomb Contest’. Beyond establishing this setting[...]Columbia), doesn’t come together: while it has a fascinating period to investigate, the story is very thin. Thirteen-year-old Rose is trying to cope with the awkwardness and pain of adolescence. ignored by h[...]t Starr (Ellen Barkin) for comfort. Desert Bloom is about the girls innocence, and the innocence of the new nuclear age. It marks writer/director Eugene Corr‘s debut and, though he succeeds in painting the broader sweeps of the canvas, the film lacks specificity, the essential element of personal drama. The scripting is awkward and heavy- handed, allowing no entry into the narrative: too much is resolved, closed in, overstated. in fact, Desert[...]ou from con- structing your own vision because of the tunnel-vision from which the film itself suffers, Kathy Bail Egon Schi[...]For Austrian painter Egon Schiele and others of the Viennese avant garde (Klimt, Kokoshka, Weininger), art was libidinous. indeed Freud, working in the same city, was build- ing the language that would define the fragile, neurotic temperament and expressionistic[...]its — strained and sexually defiant — suggest a morbidity and dissatisfaction that would, one assumes, overwhelm any biography of the artist. But it is this ‘excess’ that Herbert Vesely’s partial[...]ffairs and sexual exploits (he was imprisoned for the alleged abduction of a minor), the attacks on his work (regarded by the establishment as shocking and affected), his marriage and his early death at the end of World War I. However, the film gives no real sense of his pain or his desires, mainly as a result of Matthieu Carriére’s frozen performan[...]there are visually stunning moments, one tires of the meaning- less obsession with the principal female characters, Schiele’s lover/model (Jane Birkin) and his wife (Christine Kauffman). There is something perversely constrained about Egon Schiele — a tame, even melodramatic, portrait of an artist re[...]athy Bail Ferris Bue|ler’s Day Off (UIP) takes the form of a teenage comic strip. Our hero, Ferris Bueller (Matthew Broderick), is an obnoxious, middle-class American high school kid who gets away with (almost) everything. He is cool, groovy and smart; he gives good kids bad ideas; and, most import- antly, he is able to handle authority (parents, school, the police) with uncanny ease. Like all comic strips, the film is a fantasy. Ferris is the narrator and, speaking directly to the camera, he invites his audience into the story, playing on their desires and offering a way out of all those ‘teenage problems‘. Using the cliches of a teen mag, he tells you how to ‘take out’ your[...]alism (or any -ism: its not going to help you buy a car), and reinforces the good old American belief in freedom and individua[...]d co- produced by John Hughes, Ferr/'s‘s script is witty in parts, but the story- line is corny and the ending is schmaltzy. There are a few experi- mental touches which help create the film’s comic-strip style. But, as an ideological preparation for adoles- cence, it is like a Reagan reader: all the ingredients are there, even a polished performance. Kathy Bail At the beginning of Fire and Ice (7 Keys), there is a moment when John, an Austrian living in New York, tells the audience that his life changed totally when he set eyes on the woman he is now following across the country. When we actually see that moment in flashback, however, the camera is zooming out into a vast wide shot of a ski village, swamping the two characters with the panoramic sweep of the Alpine land- scape. And that about sums up Fire and Ice, made over a five-year period by writer, director and camerama[...]Best known for his filming of action sequences in the more recent James Bond movies, Bogner makes his debut with a film that is little more than a skiing travelogue, laced with a very simple boy-meets-girl, boy- chases-girl story. Even though it is only meant to be a thread upon which Bogner can hang his skiing (and other sporting) sequences, John's quest for Susie, the girl of his dreams, is nevertheless childish, sexist and, finally, laugh- able. Werner Herzog's The Ecstasy of Woodcarver Steiner (among others) proved that a sports documentary has the potential to be more than just a showcase for well-photographed action sequences. Fire and Ice (the warmth of passion, the chill of the snow!) has some good photography of some good ski[...]Cavanaugh FX: Murder by Illusion (Road- show) is a moderately entertaining little thriller — free of pretension, but lacking the style which might have made it memorable. |
| The plot hinges around Rollie Tyler (Bryan Brown), a movie special effects wizard who is hired by a Justice Department agency to stage a fake ‘hit’ on an important mafioso. The hit proves too effective, how- ever, and Rollie finds himself a marked man. A few small quibbles aside, the basic premise of FX is acceptably bizarre, the action well staged, and the quality of the performances — especially Brian Dennehy as a hard- boiled cop whose life-path eventu- ally crosses Rol|ie’s —— competent. The pace is fast but uneven: the film's high points are energetic enough, but a lumpy structure and sloppy editing cause it to drag far too much weight where it shouldn't. What is most lacking is a sense of fear. It takes a great deal of skill to worry an audience into the possi- bility that the hero may come un- stuck. And Robert Mandel, a promising director, hasn't yet polished that skill. The end result is likeable, exciting and occasionally original. Yet it is marred by too many loose ends and its tone is too uncertain, hovering un- easily between tongue[...]38), Henry Fonda made an impassioned speech about the Spanish Civil War. Hollywood, it seemed, was not all ‘bad’: here was some recognition that the defence of the Popular Front government was a just fight. The excerpt appears in the splendid documentary, The Good Fight (Cineaction), which, through interviews, newsreels, songs and radio broadcasts, tells the story of the Abraham Lincoln Brigade, part of the international army of volunteer fighters and medical workers who went to Spain to fight the fascist forces of Generalissimo Franco. The film captures the camaraderie and idealism of the men and women who left America (while the country itself remained staunchly isolation- ist)[...]y an intense belief in justice and peace. Though the 3,200 American volunteers were of diverse political backgrounds, The Good Fight tends to suggest that the opposition to Franco was a unified force, and glosses over the divisions and con- flicts among the left-wing groups (ignoring, for example, the treatment of the anarchists). However, it is the moving testi- mony of activists like Bill Bailey (a wonderful raconteur) that make the documentary so outstanding. He is filmed marching in a demonstration against US involvement in El The Good Fight: an Abraham Lin- coln Brigade volunteer in Spain. Salvador, and the struggle of the thirties immediately becomes that of the eighties. His idealism and hope are confronting: 50 years after the beginning of the war in Spain, the ‘good fight’ continues. Kathy Bail If the last fifteen years have pro- duced a successor to the film noir, it is the desert movie, with the empty landscapes of the southwestern sun belt replacing the mean streets of America's cities as the arena for larger-than-life confrontation be- tween men and women, men and men, people and myths. The Hitcher (Greater Union) has all the appearances of a run-of-the- mill desert flick, with a kid in a drive- away car (C. Thomas Howell) battling a psycho (Rutger Hauer) known only as John Ryder (rider — get it?). But the film — a debut feature for director Robert Harmon and writer Eric Red — is anything but run-of- the-mill. In fact, The Hitcher is a very fine movie indeed, from Mark lsham's religiose score, via John Seale’s moody camerawork (the opening night-for-night, with a thunderstorm lurking on the horizon, is superb), to its intelligent, resonant direction.[...]n impres- sive transformation, from pimply kid to the hitcher’s nemesis. But it is Rutger Hauer who gives the film its core. Not since Robert Mitchum, 40 years ago, has the screen thrown up a more fascinating, off-beat star. Quietly taunting Howell in a diner ("Welcome to Shitsville, kid") or casually slaying his police escort, Hauer is magnificent — a figure of magnetic stillness, wonderfully and unforgettably different from the snarling action heroes or the grand- scale neurotics of contemporary male stard[...]ddlck Sequels, these days, are often better than the originals, perhaps because, with the money-making formula established, there is space for some- thing creative. The Karate Kid Part II (Fox- Columbia) is not especially creative, but it is certainly a lot more interest- ing than its teen-pic forerunn[...]ce, Kumiko (Tamlyn Tomita). All this, of course, is complicated by rivalries old and new, and has to be resolved with a bout of spin-and- kick. But the sequel’s interest seems, for most of the time, to be less in martial arts set-pieces, than in story and character. Miyagi emerges, as he is clearly meant to, as a real ‘character’, while Okinawa is (interestingly) portrayed as a rural paradise, lost to the bull- dozers and PXs of the USAAF base. But Miyagi’s philosophy of non- agression — “Best way to avoid punch is to not be there" — is, finally, at variance with the narra- tive’s needs. And, for all its occa- sional forays into the territory of wholesome melodrama (the peace- ful, smiling villagers versus Sato’s gang of thugs), Karate Kid Part // ends with the usual ingeniously choreographed flurry of chop and sock. Nick Roddick The Lightship: Robert Duvall and Arliss Howard. In his first American film, The Light- ship (Ronin), based on Siegfried Lenz‘s novel, director Jerzy Sko|i- mowski attempts the ambitious task of overlaying a high-seas drama with political and moral allegory, parody and a voyage of discovery. As a guiding light to shipping off the coast of Virginia in 1955, the lightship becomes the prize and backdrop in a conflict between the American crew, headed by Captain Miller (Klaus Maria Brandauer), and the criminals who attempt to hijack it — a moral and political microcosm reminiscent of Conrad’s novels. As pure thriller, The Lightship is moderately effective, with its atmo- sphere of mystery and mounting tension as power patterns change amid the labyrinths of the lurching ship, and the psychotic extremism of the stooge brothers, Eddie (Arliss Howard) and Gene (William Forsythe). But characterization takes a strange turn, as the villains are stylized to the point of parody (a mix of fifties thuggery and high melo- drama). Their mentor, Caspary (Robert Duvall), is a dandified Southerner prone to effusive excesses of philosophizlng, the Captain (in complete reversal) high- principled and humane to the point of blandness. In this curious casting agai[...]must have had some masterplan. But, like much of the metaphors and symbolism, it is dissipated amidst the incongruities. Sko|imowski's previous films delved into areas where the director was on firm ground. But he seems here to be trying too hard to impress, overloading The Lightship with an uneasy cargo: the attempt to Americanize Lenz’s novel for the screen leaves the ship and the film on a voyage to nowhere. Mary Colbert My Chauffeur (Hoyts) opens with a promise that you somehow know it isnt going to be able to keep: a sequence of close-ups of a young woman's accoutrements — her white net glo[...]ries and, of course, her sunglasses. My Chauffeur is desperately seeking Madonna. Yet, with a mildly wacky female lead, Deborah Foreman, as Casey Meadows, the film is far from that star's free spirit, and only just reminiscent of a forties romantic comedy. Due to an obsessive passion to drive limousines, Casey sets her sights on entering the world of ‘chauffeurism'. But, set against her is the concomitant world of male chauvinism. The staunchest chau- vinist is the young heir to the limou- sine company, whom she ropes without the slightest inkling of who he is and without the slightest deter- mination of doing so. The film's humour is heavily reliant on an episodic structure, which s[...]apades do not extend from her wackiness, but from the eccentricity of her assignments (pop stars, Arab[...]etc.), leaving her funda- mentally ineffective as a character meant to put a few wrinkles into the stuffed shirts of this gentleman’s trade. With[...]erie visuals, My Chauffeur cannot hope to sustain a comic pace. The result is downright con- fusing, which may have to do with the suggestion that hero and heroine are actually brother and sister. But even this is left to die with a con- voluted ending, rather than being extended as a comic possibility. Raffaele Caputo My Chauffeur: Deborah Foreman as Casey Meadows. One definition of a pornographic film is that it goes ‘below the belt’. For Godard, the question then is: “How to film below it — without being below it, so to speak. . . how to treat the human being as a whole." The much discussed and much edited 9'/2 Weeks (Roadsh[...]dilemma. But, whether director Adrian Lyne lacked the intel- lectual means to do so or whether he was simply too much of a chauvinist even to recognize it, doesn't[...] |
| SHORT matter now. The film is about a fragment of time (a nine-and-a-half week relation- ship laced with the iconography of the pornographic) and a fragment of a womans body. Elizabeth (Kim Basinger), a stylish SOHO gallery director, is taken under the sexual control and mastery of a quiet- talking Wall Street whizz kid (Mickey Rourke, whose body we never see), and thats about it. There is no dialogue. Rather, we watch a sequence of commodities: designer food, designer[...]you get some kind of voyeuristic pleasure out of the debasement and humiliation of women, forget it. And the soft-sell marketing didn't work: one can’t even redeem 9’/2 Weeks by placing it in the notoriously non-specific field of ‘the erotic‘. Kathy Bail Poltergeist remains one of the best horror films of the decade, function- ing both as a ghost story with a sense of humour (essential), and as an intriguing[...]been so overweeningly cute. With Poltergeist II: The Other Side (UIP), one’s heart sinks at the title alone: what made Poltergeist so good was that ‘the other side‘ remained just that — a terrifying ‘beyond’ that began at the closet door. Nor does the opening of the new film help, with its mumbo-jumbo atop a desert mesa. After a while, though, we rejoin the haunted Freelings, snack-guzzling dog and all, no[...]ine Fitzgerald), and with TV sensibly banned from the house. To no avail: connecting up via Carol Anne's toy telephone, ‘they’ are back, shaking the house, ruining the plumbing, and almost strangling Robbie (Oliver Robins) with a huge outgrowth from his teeth-brace. Tracked by the undead - a preacher called Kane, revealed to be the root of all evil and stunningly embodied by the late Julian Beck, founder of Living Theater — and helped by an Indian called Taylor (Will Sampson), the wretched Free- lings confront The Beast with their love, and nearly lose Carol Anne to the Great Bright Light, The film has its moments, and the cast is more than adequate. But director Brian Gibson, a graduate from British TV, doesn't have enough time to establish the crucial ordinariness of the family (which was the cornerstone of Tobe Hooper‘s original), before[...]entous lines and special effects. Poltergeist was a genuinely unusual, scary film; Polter- geist ii is a run-of-the-mill shocker. Nick Roddick Poltergeist II: The Other Side: Heather O’Rourke as Carol Anne.[...]hese days of s|ash-and- stab, rather despaired of the return of grade-Z schlock movies like Fle- Animator (Filmways). Graced with a soundtrack ripped off from Psycho and heavy with homages to HP. Lovecraft, the film is, in fact, neither a thriller, nor any more accurate a version of Lovecraft‘s hyperbolic world than sixties horror flicks like The Haunted Palace and The Dunwich Horror. But Re-Animator has a definite style of its own, akin to that of The Evil Dead, though with a stronger sense of both identity and humour. Pausing only to show us a sign saying ‘Zurich University institute of Medicine’, the camera is tracking in, to the sound of screams, on a locked laboratory door. Inside, a pasty- faced prodigy called West (Keith Gordon, the car-besotted Arnie of Christine) is struggling with a deranged professor. The professor's head explodes. West, relying on that old horror- movie adage, “Al| life is a chemical process", has found a day-glo fluid that revives the recently deceased. But there are teething problems. And, to further his research — a relentless and extremely messy pro- cess — he moves to the old Love- craft stomping-ground of Arkham, Mass. The nasty bits of Re-Animator are authentically and disgustingly nasty. But it is hard not to like a movie in which a head (temporarily separated from its body and dumped, for pur- poses of stability, on a letter spike) raises its eyebrows in exasperation[...]yeless lower parts repeatedly bump into things on the way to thea ‘borderline children's film’. Like The Goonies, it unashamedly acknow- ledges, through i[...]ted as Disneyland ideals, and that they can enjoy the same things as adults do. It is also to Badham’s credit that one can sit through and enjoy the adventures of No. 5, a laser-armed robot who becomes a conscious being due to a malfunction, but doesn't annoy us with the sense of calculation that dogged his template, E.T. Visually, the Panavision format seems unjustified by the film's generally staid camerawork. Tech- nically, however, the robotics effects are a marvel in themselves, and there is even one inspired comic set- piece where three robots are repro- grammed by No. 5 to perform a Three Stooges routine. indeed, one of the most enjoyable aspects of Short Circuit is watching the skilful humanization of No. 5. The robot's appeal is as something — or someone — nature-loving, cl[...], vulnerable, funny and slightly paranoid. And it is so deftly handled that the declaration that ‘No. 5 is alive’ comes across as :AN A- credible character development rather than impl[...], Where Have You Been?’, Smooth Talk (Sharmill) is a more ample ver- sion of the original work, and yet manages accurately to recreate the story's spare atmosphere of growing apprehension and fear. in a remarkable feature debut, director Joyce Choppra, with the help of an intelligent screenplay by Tom Cole, paints an incisive and sensitive portrait of the last days of an adolescence tinged with exasperation and self-awareness. With a real flair for objectivity — it seems that her strategy is to pull you in by distancing you — Choppra delicately captures the dilemma faced by Connie (superbly played by Laura Dern), a fifteen-year-old girl caught between the opposing cur- rents of childhood and womanhood. Her fellow traveller on the long road to maturity, pitted with acri- monious[...]her family, sexual conflicts and jealousy, takes the form of the lustful and sinister Arnold Friend (Treat Williams in a short but powerful performance). In one of the most erotic duels of seduction on film, Friend be[...]lution of her dilemma in an aura of ambiguity. At a time when Holly- wood seems preoccupied with the male rite of passage, Smooth Taik is a refreshing and intelligent change, boosting one's[...]oyaux Laura Dern as Smooth Talk: Connie. The cinema throws us so few genuine oddities these da[...]arbaby (Zuckerbaby, McLernon Films) to be better. The simple tale of a very fat woman in her mid-thirties (Marianne Sage- brecht) who becomes obsessed with, woos and wins a handsome young subway driver (Elsi Gulp), it creates a small world and makes us believe totally in its inhabitants. Marianne lives in a fifties apart- ment, furnished only with a table, chair, single bed, black-and-white TV and Dansette recordplayer. On the latter, she plays her only record: the sixties hit by Peter Kraus which gives the film its title. Her pursuit of Eisi is a matter of purloined subway schedules and proferred candy bars. He hasn't a chance. Sugarbaby looks wonderful, with its sea[...]ican Cinemato- grapher). But director Percy Adlon is so determined to control the tone of his story that, once Marianne has won Eisi, there is nowhere for the film to go. The problem is built into the style: Marianne’s ordinariness, not her size, has to be emphasized. Thus, by the time the couple come together, they are so ordinary as to[...]ht's performance and Heer’s cinematography make the film con- stantly entertaining. lts determined un[...]s against it. it might almost have been better as a short. Nick Roddick Target: Gene Hackman, Gayle Hunnicut and Matt Dillon. Coming four years after the release of Arthur Penn’s superb and grossly und[...]star as blue-collar father and estranged son in a script which seems tailor-made for hundreds of American films. The past of the father (ex-CIA agent) affects the present (a family situation even duller and more drab than that of Hackman‘s recent Twice in a Life- time), and jeopardizes the future (when the superfluous and marginal mother is kidnapped). Father and son join forces and ideologies by going back to the past so that a new family can come back to the future. If the potential of this ultra-conven- tional script att[...]/son conflict, his mise en scene never allows for the neces- sary psychological elements. Penn seems slightly more comfort- able in the action scenes, even if the often banal camera movements, the clumsiness of the plot and the air of indifference surrounding his treat- ment of the subject do not convince us of any great interest in the main characters. But, if Target and its all too[...]'t be four or five more years before his next. He is |
| a director who has repeatedly shown a pertinent and warm observation of a certain American reality. Norbert Noyaux If there is a dangerous message in Top Gun (UIP), its not in the right- wing leanings of the film's politics, nor in its glorification of US military air power, but in the fact that a film as wimpy, predictable and spiritless as this can make $100,000,000. The setting is the ‘Top Gun‘ school where the cream of America's fighter pilots are trained to[...]lly exists, however, does little to inspire about the character of these pilots, the rigours of their training, the nature of their patriotism and the readiness to answer the call of war. What we get instead is a plodding romantic adventure yarn about a hot-shot young stud, Peter ‘Maverick’ Mitchel[...]ards), and sex interest Charlie (Kelly McGillis). The dramatic ‘com- plications’ that ensue can be seen coming a "light year away. For instance, once Goose’s wife and kid appear, guess how long before he dies in a plane crash’? All this would have been a little more palatable if the much—touted aerial sequences were as ‘breath- taking’ as many critics have made out. it's only in the final battle sequence with some anonymous MlG jets (gutsy move, what?) that the point-of-view camera angles, the wide shots and, most importantly, the editing, come together to deliver some exciting action. Jim Schembri Horton Foote's gentle little piece, The Trip to Bountiful (Hoyts), first appeared as a television play in 1953. Made over for the stage, it is nowd efinitively adapted as a screen vehicle for Geraldine Page. Page won (and deserved) the Oscar for her performance as Carrie Watts, determined to make the eponymous journey, to reassure herself of her roo[...]fy her memories. These are under daily threat in the cramped life she leads with her in- effectual son, Ludie (John Heard), and his shrewish wife, Jessie Mae (Carlin Glynn), in their two-room Houston flat, in which Carrie has a servant's status and a living-room sofa for a bed. Choosing her moment, Carrie escapes, and the film begins its journey into the past. The ironically- The Trip to Bountiful: Geraldine Page. named Bountiful is, however, now a clapboard wreck. But the vividness of the natural scene, with its capacity for renewal, giv[...]rrie’s journey and, on several levels, tightens the story’s coherence. There is a modesty in the film’s claims that keeps sentimentality at bay. And there is superb ensemble playing by the whole cast — not just Geraldine Page, who is indeed remarkable, but Heard,‘ Rebecca De Mornay (as a young woman Carrie meets on the bus), Richard Bradford (as the sheriff who finally drives her to Bountiful) and[...]her an essentially picaresque structure, and give the film a rigour not always there in the writing; and director Peter Masterton acknowledges their strength in an uncluttered visual style which keeps the faces before us. Brian McFarlane Trouble in[...]rson and Lori Singer. At Cannes this year, quite a few of my colleagues — even quite serious colleagues — were to be observed slipping away from the main com- petition to take in a market screening of Alan Rudolph‘s new film, and coming out saying it was the festi- val’s most enjoyable. They weren't wrong. Trouble in Mind (CEL) is two hours of pure magic — a deft and wonderful blend of fairytale, film noir[...]where sinister but ineffectual militiamen patrol the streets and a secret language (per- haps Korean) is spoken, it has an ex- cop, Hawk (Kris Kristofferson), returning from gaol to a cafe run by Wanda (Genevieve Bujold). Also arriving there, more or less by chance, are a drop—out called Coop (Keith Carradine), his ang[...]ds models in an upper room. Coop gets sucked into the City’s underworld, and undergoes a weird transformation, from ex-hippie to futuristi[...]and gets him back. Wanda mediates, especially on the question of Hawk and Gloria. “You and she are m[...]tells him. “Shared between you, there's almost a whole person." In Trouble in Mind, Rudolph finally brings off what his earlier films have only hinted at: a visionary work, in which America becomes a dream- land, with the movies as its myth, and in which characters merge and diverge. Though the pace at first seems slow and the sequence random, by half-way through the film has taken a grip on the imagina- tion that is close to miraculous. Kristofferson, Bujold, Carradine and Singer are all excellent. Divine is un- forgettable in business suit and ear- ring as[...]Faithful’s songs, cracked and eerie, hang over the whole film like a manic litany. Nick Roddick As the title indicates, Violets Are Blue (Fox-Columbia) is about romance and reality; about choices and their repercussions. And, while the subject — marriage and infidelity, career and family —— hardly earns marks for originality, the film's appeal comes from its sensitive script (by[...]Fisk, and superb perform- ances by Kevin Kline as the hus- band, Sissy Spacek as the former love returned, and Bonnie Bedelia as wife Ruth, whose honest decency provides a refreshing dimension for the ‘wronged woman‘. The setting is Ocean City, Mary- land, in two time frames. in 19[...]ternal love, and make plans for future careers in the wide world. But things don't work out as prescribed: fifteen years later, there is a rekindling of passion, an exploration of the exuberance of love refound, and the consequent dilemma. The exhilaration of working together gives Gussie and Henry a taste of what could have been . . _ and still can[...]assignment overseas: two more weeks of bliss and the pro- fessional challenge he'd always wanted . . . But there is a conflict between romanticism and pragmatism, and the realisation that choices are cumulative and often irrevocable. The film's real triumph lies in the balanced handling of the dilemma, and in an ambivalence and restraint which make the emotional impact so powerful. Mary Colbert Looking back over Wise Guys (UIP), it is hard to see why the film is so disappointing. There are some nice parodic ide[...]opo] live side-by- side in little frame houses on a Dead End street); some nice marginal observations ("Did you know," enquires a hood, "that organized crime is the fourth largest employer in the State of New Jersey?”); and some great action sequences, in- cluding one in which Frank the Fixer’s beloved Cadillac isjunked on the New Jersey Turnpike. But it all resolutely refuses to come CINEMA PAPERS September — 57 together. The story — about a couple of small-time crooks (De Vito and Piscopo), who try to cheat the boss and finally, almost by chance, win out — is laboured. De Vito and Piscopo (presumably the film's com- mercial draw cards, given their profile on US TV) have even less chemistry as a couple than James Caan and Elliott Gould in Harry and Walter go to New York. The comic timing is off, leaving one with the recurring feeling of how a scene was meant to be rather than how it actu- ally is. And the editing, framing and colour-grading are all TV standard, giving the whole thing the air of one of those Happy Days episodes in which Richie and The Fonz are transported back to some previous period in US history. Comedy, one is forced to conclude, is not Brian De Palma’s forte. Nick Roddick Wise Guys: former wrestler Captain Lou Albano as Frank the Fixer. Somewhat in the tradition of Frank Capra, director Ron Howards films have refreshingly reworked the populist ideal of individuals triumph- ing over personal and social obstacles. in Working Class Man (UIP) a known as Gung H0 in the US but re- titled here to tie in with Jimmy Barne[...]ard takes on more than he can deal with and, like the main character of his story, Hunt Stevenson (Michael Keaton), burns the candle at both ends. Stevenson, the brigand-hero, masterminds a plan to get a Japan- ese auto manufacturer to regenerate the now-defunct plant in small-town Hadleyville, and to re-employ the hundreds of laid-off workers. How- ever, it is only through blatant trickery and deceit that he can bridge the gap between labour and the new boss. Howard's trademarks of inno- cence and simplicity — which, until now, have masked the inherent ambiguity of his material — are notably missing, forcing him to run for the cover of Michael Keaton‘s excellent knockabout comedy routines and a nicely-handled friend- ship between Stevenson and his Japanese boss, Kazahiro (Gebbe Watanabe). In the end, the moral of Working Class Man is hard to decipher. There is no fairytale redemption, but an ex- ceedingly glum resumption of the worker's plight which, one supposes, is sanctified by Jimmy Barnes’s line about the working class man's “heart of gold“.[...] |
| [...]ress, 1985, $24.95, ISBN 0 86819 123 X). Amidst a lot of junk, one can find several admirable contributions to the growing collection of books about ‘the Australian cinema‘. The initiative of a number of authors and editors (any list must incl[...]Graham Shirley and Scott Murray) has resulted in a body of work that is always informative and consistently illuminating. To this one can now add An Aus- tralian Film Reader, a compilation of short essays and articles, some ol[...]n provocative, and, alas, occasionally turgid. As the editors would have it, their selection "assembles a series of voices about Australian film, without seeming (so far as we can tell) to have a definite authorial voice of its own". However, the organization of the book into four major sections — ‘Early Cinema’, ‘Documentary Hopes’, ‘Renaissance of the Feature’, and ‘Alternative Cinema‘ — immediately poses a specific chronology for an Australian film histor[...]ema, albeit uninten- tionally, by locking it into a section tagged on at the end. Further, the preponderance of particular kinds of voices — those concerned to identify filmmaking in Australia as athe cultural context in which they are made and in which they might (or might not) be viewed. The proposal is not that industrial matters should be dealt with as well as aesthetic ones. Rather, it is that the two are inextricably entwined: that one should not be segregated in the business section whilst the other is left to the capricious opinionations of the arts and/or entertainment Bryan Brown in Albie Tl1oms’s Palm Beach (1979): a creative break with conventional narrative. REVI pages. The book that is able fully to argue the need to see Australian films in the context of Australian capitalism remains to be written. However, in the meantime, the arrangement of the material in this Reader implicitly indicates the commitment by its editors, Albert Moran and Tom O‘Regan, to such a position. As if acknowledging former critical predispositions, the book does attend to individual films and direc- tors. There is extended discussion of The Sentimental Bloke (the 1918 version), Picnic at Hanging Rock, The Last Tasmanian, The Man from Snowy River and so on, and con- siderable space is given to the ideas and meanings circulating in the oeuvres of Raymond Longford, Charles Chauvel, Pet[...]Albie Thorns, and others. However, few of these (the hack reviews and journalistic doodles aside) can[...]by being placed side-by-side with discussions of the business behind the scenes, and with considerations of the place they occupy within Australian culture. This kind of approach leaves a lot to the book’s readers, for it demands an energetic and extensive commit- ment from them, as well as a sufficient grasp of the subject to be able to distinguish insight from idiocy. There is certainly enough of both here to keep most potent[...]iewer at least, to provide an accurate account of the ways in which the idea of ‘the Australian cinema’ has been constructed over the years. However, it is inevitable that, in any anthology, certain parts will stand out; and, among the many valuable pieces in this book, several pose v[...]s of thinking about Australian films and about ‘the industry‘. Bill Routt’s incisive commentary[...]auvel and ‘naive cinema’ initially deals with a single dissolve in Heritage, but then develops the proposition that “the conditions of colonial existence, today as well a[...]for naive cinema". Tom O'Regan‘s essays about the inadvertent racism of The Last Tas- manian and about the links between The Man from Snowy River and con- temporary Australian popular culture pose timely challenges to the pre- occupations and the poverty of current Australian film criticism and[...]ris's splendid contri- bution astutely identifies the degree to which so much filmmaking in Aus- tralia is “conceptually and intellectu- ally dim”, and the degree to which this is an epidemic affecting the funding bodies, the film schools and the critics. Barrett Hodsdon hurls the same set of darts at mainstream Australian filmmakers (“After two decades in which the modes of fiction have been intensively ques- tion[...]d self-examination"), and then goes on to analyse the ways in which Palm Beach creatively breaks with conventional narrative form. Sam Rohdie‘s sketch of the reasons why "the Australian cinema cannot be thought national in economic terms or independent in cultural-artistic ones" is marred by some tortuous grammatical designs. But it is also a timely antidote to the kind of self-congratulatory hype that the PR arm of ‘the industry’ bestows upon itself. And, in a similar fashion, Albert Moran goes against the fashionable grain with his hatchet job on the rhetoric of the South Aus- tralian Film Corporation. lt‘s probable that the major users of this Reader will be found within educational institutions. Neverthe- less, given the fascination of much of the writing that appears in it and the opportunities it offers for new under- standings, it deserves a much wider circulation. Tom Ryan ***i'*k*!r‘k'k*k*t'k'A'* Shadow man DREAMS OF DARKNESS: FANTASY AND THE FILMS OF VAL LEWTON by J.P. Telotte (University of Illinois Press, 1985, $US18.95, ISBN 0 252 01154 6). The ABC’s recent Saturday—night screenings of the nine horror films produced by Val Lewton for RKO Radio in the forties gave viewers a rare opportunity to see a very attrac- tive body of work — those viewers, that is, not deflected by titles like Cat People and l Walked with a Zombie. The films, made on minute budgets and using the sensational titles assigned to them by the studio, were essentially ‘B’ pictures — or ‘programmers’ — destined for the bottom half of a double bill. The fact that they have outlasted most of the top halves is a tribute to the persist- ence of Lewton’s vision, of his taste and intelligence as a filmmaker, of his capacity to surround himself with congenial talents — and, not least, of a certain critical tenacity. While the films were, by and large, snootily dismissed by c[...]e rescued from oblivion by James Agee (writing in The Nation and, later, Time), who regularly applauded[...]d humane qualities, though sometimes finding them a shade too literary. Manny Farber was a later cham- pion of the Lewton unit (see his essay in Negative Space) and, in 1973, Joel Siegel’s Val Lewton: The Reality of Terror offered a compre- hensive and sympathetic account of Lewton[...]is recent structuralist analysis of l Walked with a Zombie in Cine- Opposite: Challenging the boun- daries of the real: Simone Simon in Va] Lewton’s 1943 Cat Peo[...]tions that something remark- able was going on in the backblocks of RKO 40 years ago. The most recent addition to the Lewton bibliography is J.P. Te|otte’s Dreams of Darkness, a very serious book indeed, which doesn’t waste time on trivialities like acting (Boris Karloff is the only actor discussed), or on pondering how ‘good’ the films are, but which sets out to illuminate the nature of Lewton’s vision. Telotte‘s analysis of the nine films from Cat People (1942) to Bedlam (1946), is a species of auteur-struc- turalism in which the auteur is the producer, whose imprint resists changing director[...]uctural patterns are located in film after film. The book involves a formidable theoretical battery: Lévi-Strauss, St[...]da, Foucault, psychologist James Hillman (perhaps the major reference on the sources of the fantastic, the aims of fantasy, fantasy as a growth pro- cess, etc.) and Todorov (with his per- ception of the “hesitation experi- enced by a person who knows only the laws of nature, confronting an apparently superna[...]lotte does not exactly wear his learning lightly (the book is not a browse for buffs), he does deploy it intelligently in the interests of illuminating the texture of the films. While there is some reference to the industrial context in which the films were made, especially to the kinds of studio interference by RKO, this is not the book's subject. it is essentially an examination of the ideas explored and dramatized in a series of films whose genre classi- fication becomes increasingly elusive. Telotte sees the films as being concerned with challenges to the supposedly normal, to the every- day environment, and with insisting on a human need for a rich fantasy life. To these ends, he discovers, throughout the Lewton oeuvre, a persistent play upon certain key oppositions, at[...]g, normality and abnormality, innocence and evil, the real world and fantasy worlds. Increasingly, the lines between such apparent dichotomies are found to be less reassuringly clear- cut: the child in Curse of the Cat People challenges the adult world, exposing the limitations of its normalcy, and finding, in fantasy, a means of coping with the pain of everyday existence. The relationship of parent to child (The Leopard Man, / Walked with a Zombie, The Body Snatcher) or of teacher to pupil (The Seventh Victim, The Body Snatcher), and the use of ‘doubling’ character-patterns (the two sisters, the psychiatrist and the poet, in The Seventh Victim; Irena and Alice in Cat People) are two of the chief means by which the struc- |
| turing oppositions are explored, and Telotte’s reading of the films reveals their working with clarity and authority. He is also alert to the different narrative approaches adopted by the films. For instance, in relation to The Leopard Man (often one of Lewton’s least-regarded films), he makes a convincing case for how the various “separate interpolated narratives. . . add to the larger laby- rinthine pattern". The multiplicity of narrative voices in l Walked with a Zombie is seen as an “attempt to furnish Betsy with an ov[...]ts mysteries to her”. Te|otte’s uncovering of the narrative strategies and the ways in which these dramatize Lewton’s pre- occupations reveal a sophisticated awareness at work in the films — and in their commentator. He draws att[...]e, to Lewton’s ‘bus’ effect (originating in the heroine’s night- time walks through New York in Cat People), and his preference for the frightening powers of suggestion over more obvious effects of horror and violence. This latter technique is traced through the films’ use of threatening absences, of patches of darkness, which unsettle because of the ways in which they — like Levvton himself _. “challenge the boundaries of the real”. Ultimately, Telotte claims, the effect of Lewton’s dark vision is not nihilistic but affirmative. “Whatever fright or mystification we experience is to good effect, since a psychic growth can follow only from this experience of unknowing and from our encounters with the disconcert- ing images to which the self gives rise.” One of the functions of fantasy is to provide such images, and Lewton has provided m[...]k does justice to its subject: sometimes he makes the films sound more complex than they are, and he is oblivious to cer- tain B-grade thinnesses in them[...]s readings do not recreate one's sense of viewing the films, they do — temporarily — go some distance to- wards reconstructing aTHE CINEMA by Andrey Tarkovsky, translated by Kitty Hunter-Blair (The Bodley HeadlThe Australasian Publishing Company,[...]787 [pbk]). For lngmar Bergman, Andrey Tarkovsky is the most important director of our time. And, on the evidence of the Russian director's first book, Tarkovsky himself[...]tory. It also demonstrates, however, that modesty is not one of the director's more endearing qualities. At Cannes i[...]d ridiculed those attending his press conference. The sting of his remarks was only slightly tempered by the lengthy procedure of trans- lating everything int[...]er critical or complimentary), seemed to indicate the particular sense of public relations endemic to most Soviet artists. Tarkovsky ended the press con- ference by thumping the table and informing the press that, should he not receive the highest accolade for his film, Nesta/ghia, he wou[...]Robert Bresson's somewhat more muted demand, made a few days earlier, for L’Argent. Finally, Tarkovsky stormed out, leaving a bemused but mostly cowering press corps, wonderi[...]done to deserve such disdain, Sculpting in Time is often reminis- cent of that press conference. At its best, the book is as rewardingly uplifting as Tarkovsky’s films. At its worst, it is a tiresome harangue by an over-zealous lecturer. Us[...]on, Tarkovsky cannot resist turning language into a weapon, particularly when belittling the reader for under- appreciating his work, or for being a culpable participant in his own mis- anthropic view of the spiritual bank- ruptcy of contemporary western ci[...]uely compares himself to Hamlet, observing: “lt is as if a man of the future were forced to live in the past”. The director does, of course, have some reason for raising the spectre of his Dostoevskian suffering. Every time, it seems, he strayed from the ‘party line‘, the wrath of the Soviet intelligentsia was upon him. lvan's Childh[...]is philosophical meditations in Solaris, and upon the licence he took with history in Andrey Roublev.[...]immodest" and shelved for several years. Stalker, a harrowing science fiction parable about the psychological and spiritual degeneracy of contemporary life, was evidence that the director had “cut himself off from reality". Stalker was the last straw for the Soviets. and Tarkovsky was permitted to go to the West, where his films had always received more critical attention anyway. The defection, however, seriously disturbed Tarkovsky. Russians claim a fatal attachment to their national roots — a ‘nostalgia’ they carry with them whenever they are separated from home. “The entire history of Russian emigration,” writes Tar- kovsky, “bears out thethe clumsy ineptitude of their efforts to adopt an al[...]I have imagined as l was making Nos- talghia that the stifling sense of longing that fills the screen space of that film was to become my lot for the rest of my life; that from now until the end of my days l would bear the painful malady within myself?" Self-examination apart, Tar- kovsky's book is clearly written in the grand tradition of Soviet cinema texts by Eisenstein, Dovzhenko and others. He tackles all the old ‘central’ questions, devoting sections to ‘The film image’, ‘Time, rhythm and editing‘, ‘Scenario and shooting script’ and ‘The film actor‘, as well as to the loftier issues of ‘The artist's responsibility’, ‘Art — a yearning for the ideal’ and his own theoretical proposition conc[...]ch he mistakenly and simplistically defines as “the dis- position and movement of selected objects in relation to the frame”. Tar- kovsky’s rejection of montage. for “making the audience decipher symbols [and preventing them] f[...]rely been confused with his holy quest to rewrite the foundations of cinema criticism. His patronization of the audience extends to judging 80% of them unworthy of consideration: their sin, it appears, is a lack of interest in the spiritual and transcendental ques- tions the director is raising in his films. For the remaining 20%, Tar- kovsky is prepared to present a “true cinema image built upon the destruction of genre”. This audience, he says, is deserving of “respect [and] a sense of dignity. . . Don’t go blowing in their[...]something even cats and dogs dislike". Tarkovsky is not alone in his despair over the masses who troop off to shallow American action films, while great works languish in the repertory cinemas, But to bemoan this syndrome as evidence of “the spiritual vacuum which has formed as a result of modern materialism" adds little to understanding a pheno- menon prevalent since the birth of Donatos Bariiorris as Kris Kelvin in Tarkovsky’: Solaris (1971). cinema, if not the birth of art. His analysis of materialism as the source of all modern evil is perhaps too predictably dogmatic for a Soviet artist with a persecution complex, but Sculpting in Time, despi[...]intellectual and critical merit to make it one of the more important cinema texts of the last decade. Reports from France of Tar- kovsky’s battle with cancer raise the possibility that the career of this tortured poet-visionary may be cut short just as he reaches the height of his creative powers. Poignantly perhaps, his book ends as it begins, with a question that underscores his adoration of the religious component of Art: “Perhaps our capacity to create is evidence that we ourselves were created in the image and likeness of God?" Rod Bishop[...] |
| BOOK The incredible hunk MEL GIBSON by John Hanrahan (Lit[...]films to his credit, nine of them as star. And he is, to judge by the almost simul- taneous appearance of these two, large-format paperbacks, fair grist for the biography mill. Neither, to be frank, is a must-buy for the film buff’s bookshelf, though the Australian one (by John Hanrahan) is the more accurate and the American one (by Keith McKay) is — well, the more inventive. Neither writer seems to have had direct access to the star for the pur- poses of his biography — something about which Hanrahan is fairly open, citing other sources of information (including a Cinema Papers inter- view) and specifying to the day (and almost to the map reference) where such conversations he did ha[...]what he did in his pre- vious bio-text, De Niro: The Hero Behind the Masks, where he tried to turn failure into myth, waxing lyrical about the unmeetability of the man himself. To be fair, both writers are dealing, not with a private individual — Gibson's privacy has, against a lot of odds (including his own pen- Early days: Mel Gibson (left) with John Jarratt, Phil A valon and Steve Bisley in Summer City. REVI EWS chant for a good time), managed to remain just that — but with a public persona, which is a winning combination of sensitivity and sexi- ness, indeed, sexiness is a kind of leit- motif in McKay's book. Almost every portrait is sultry. And the author, whose own biography mentions Rutgers and[...]ties, does sterling work steering his analyses of the films back to what, presumably, his publishers wanted: a few lines on the “ripe, intrinsic youthfulness, sensuality and h[...]r, with 22 different shots (one of which turns up a couple of pages later as a black and white). McKay, at $16.95, has 96 pages,[...]ks have filmo- graphies, though only Hanrahan’s is complete, and both are sloppily edited with Hanrahan, who offers "$150,0000" [sic] as the budget for an early film, the worst offender). Denied primary source material,[...]es to get some background. Hanrahan comes up with a school photo, leaving the reader to guess which one is Mel (clue: he isn't wear- ing glasses), while McKay manages a snap of the house in Verplank, New York, where Mel spent his[...]Brother Patrick from St Leo's, Wahroonga, who has a few sharp things to say. McKay has to make do with a brake- man who knew Mel's dad when he worked on the New York Central, but who doesn't appear to remem- ber the future star. McKay's focus is resolutely North American. Gibson's first movie, Summer City (1976) is dismissed as “long forgotten". and his fourth, Attack Force Z (1978), is not men- tioned at all. Both are omitted from McKay's filmography, which gives the North American rather than the original (Australian) release date. For McKay, the Australian Broad- casting Corporation becomes a Commission, AFI Awards become ‘Sammies', Britain's National Theatre becomes the ‘National Academy Theatre‘. And, in a book with a 1986 imprint, Robert Stigwood and Rupert Murdoch are still credited with wanting "to establish Australia as a major international production center and to prod[...]ment, Hanrahan has rather too little to say about the films, McKay rather too much. But neither really tries to tackle the essence of Gibson's star- dom, which evidently has to do with a great deal more than being good- looking and in the right place at the right time (Hanrahan rightly scotches the myth of Gibson being cast as Mad Max just because he turned up for the audition with a bruise from a fight in the pub, though McKay solemnly enshrines it). Buried at the end of Hanrahan’s book, though, is a comment from Hollywood publicist Paul Linden- schmid, which gives a hint of what it is all about. Gibson, says Linden- schmid, reminds him of a movie star from the thirties — someone with style, appeal and incredible good looks, not the ordinary, modern good looks of a Richard Gere or a John Travolta. It's not much of a theory on which to build a book. But, if either of these books had been built on a theory, as opposed to the more straightforward premise that Mel sells, it might have been a better starting point than some vague notion of a[...]¥¥¥¥¥-1-¥ Books received NB. Inclusion of a title in this list does not preclude a future review. BARBRA STREISAND: THE WOMAN, THE MYTH, THE MUSIC by Shaun Considine (Century Hutchinson, 1986, ISBN 0 7126 1082 0). Exhaustively researched (the range of sources is exemplary) and well, it a little heavily, written, this is a career biography, not a rags-to-riches story about a kid from Brooklyn. There is little or no family background (though the star's mum makes an occasional appearance); but the albums, the concerts, the TV specials, the movies, and the cor- porate career-steering are lovingly documented — and at length. CHARLTON HESTON: A BIO- GRAPHY by Michael Munn (Century Hutchinson, 1986, $38.95, ISBN 0 86051 362 9). A banal, i||—written, scissors-and- paste biography that falls so far short of the labour of love it sets out to be that, perversely, it leaves one feeling almost sorry for the unlikeable actor over whom Munn fawns so persist- ently. The lack of a critical perspec- tive means that the extravagant claims about Heston's acting genius are nowhere near substantiated. And the man's evident contra- dictions are, out of discre[...]ns of old novels with pictures of Meryl Streep on the cover — there is all the more reason to welcome this offshoot of the recent British squib, Absolute Beginners. Reprinted for the first time in 20 years, Mc|nnes’s trilogy of London before it swung is bizarre, comic and disturbing —— a first glimpse of the roots of the Notting. Hill, Brixton and Tottenham riots. Not to everyone’s taste, probably, but pretty much of a must-read for anyone who believes novels should t[...]CINEMA: INTRODU- ZIONE ALLA STORIA DELLA FOTOGRAF/A NEL FILM by Stefano Masi (Cooperativa Cinematogra[...]ica’, Aquila, 2nd edition, 1985, 20,000 lire). A reprint of the 1982 publication by the industrious Aquila Festival, whose focus is the cinema's tech- nical artists rather than its directors. Masi’s book is a brief (under 150 pages) critical history of cinemato- graphy, embracing both theory and practice, and with a fairly inevitable bias towards Italian maestri li[...]ike Masi’s La Luce nei cinema (see above), this is an Aquila Festival publication, looking this time at the history, theory and practice of editing. 200 of i[...]ivoiuzione, Partner,, Strategia del ragno and all the Tavianis‘ features, up to and includ- ing Kaosf[...]0 86051 361 0). An above-average stroll through the careers of the Gabor sisters ~ mainly Zsa Zsa, of course, because she was the most outrageous, but occasionally Eva and now and[...]eir own (and their mother's) autobiographies, and the pre-war Hungarian experiences are very slimly researched. But it all makes for a good read for those who believe that Hollywood is really just scandal, gossip and gold-digging. *Details on the availability of these two titles can be obtained from the Editor. * |
| [...]ldsmith) $18.99 Final Conflict (Goldsmith) $47.99 The Right StuffINorth and South (Contl) $19.99 Invade[...]assy) S’! 7.99 Outland (Goldsmith) $18.99 We of the Never Never (Best) $43.99 The Hallelujah Trail (Bernstein) $19.99 A Zed & Two Noughts (Nyman) $47.99 Slartrek — T.V[...]15’:'$l'°.!l8?.~“.«!l'.‘.m. -. - . ....'-'is‘€‘.565;3'?.-.1@B.'~&%m -.. Film Australia,[...]on W1 UK. Telephone: (01) 734 9383. Telex: 28711 the production division ol the FILM AUSTRALIA E TITLES EFFECTS 70'' I[...]— AIIIAMORPHIC WIDE SCREEN TELEVISION and all A/V FORMATS Phone : [02] 822-3144 Telex : AA 25468 Fax 2 439-2738 1»**'k‘A"k******‘k**i"k*********k*‘k*ll> PETER ARMSTR[...]UNTMAN 28 Years Experience Having just completed the 6 x 1 hour mini series GREAT EXPECTATIONS — THE AUSTRALIAN STORY IS NOW AVAILABLE FOR HIRE NEW PHONE No: (02) 958 457[...]PLAYS PRECISION AEROBATICS AIRCRAFT PROVIDED FOR THE MOVIE INDUSTRY — A/R TO AIR AND AIR TO GROUND PHOTOGRAPHY FORMATION[...]ION MOVIE SET CONSULTANTS 40 YEARS EXPERIENCE IN THE BUSINESS PILOTS EXPERIENCED IN PISTON AND[...] |
| OVERSEAS The fragility of the feature-film industry in going it alone and main- taining a momentum of production within New Zealand has been under- lined by the failure of Auckland pro- ducer John Maynard to get Vincent Ward’s new project, The Navigator, off the ground. Maynard coupled his 6 June announcement that he was abandoning the film with the sacking of 22 personnel only a month before the film was due to shoot. A subse- quent attempt to obtain underwriting for the project, originally budgeted at $US2 million, was[...]- ful by Maynard‘s second deadline of 18 July. The Australian-born producer had vowed he would move the produc- tion across the Tasman where, he claimed, the necessary underwriting had been promised, if his further effort to raise the necessary failed. That is now one of the diminishing options he is pondering. “We’ll be finding out how real these promises are," says Maynard. The abandoned Navigator is a symbol of the New Zealand industry's current problems, and ironies abound. If the project had proceeded as originally planned, it would at least have maintained a thin thread of continuity in feature- film production on New Zealand locations during 1986. As it is, the only film shot this year has been Ngati, the low-budget first feature by Barry Barclay, for ve[...]leted last year, and his next production probably A Soldier's Tale, based on M.K. Joseph's war novel — is not likely to begin until January, and then on locations in France. The only other new Kiwi feature, the full-length animation title, Footrot Flats, is now in post-production and is due for major release here at Christmas. But that is being created in studios in Sydney. 80, at a time when New Zealand films have finally made the[...]Lindsay Shelton tagged this year's Cannes market the most successful of the seven he has attended), supply could well peter o[...]by Mike Nicolaidi Long black clouds gather over the Kiwi film industry Ward's Navigator, the story of a medieval quest by a visionary child that crosses over into 20th-century New Zealand, has been long planned and is his first project since the widely-acclaimed Vigil, the only New Zealand film to have been selected for the main competition at Cannes (in 1984). Maynard says the new work is “more accessible" than Vigil with a potential appeal, in Aus- tralian terms, of “Br[...]Even given Vigi/‘s primarily art- house appeal, the film scored well at GOFTA (best screenplay, cinem[...]against Parr’s runaway mainstream success, Came a Hot Friday, which captured most categories. Cann[...]ght to efforts to get Ward’s second feature off the ground, by nudging the Film Com- mission and placing on record his opinion that Ward is “one of the most promising and original direc- tors of his ge[...]an rhetoric to transform dreams into celluloid in the cool, free-market-oriented economy that is rapidly emerging under David Lange’s Labour government. Special taxation incen- tives are a no-no. and there are no signs that Finance Minister Roger Douglas is likely to ease the legis- lative clamp in respect to private investment, imposed exclusively on the film industry two years ago by his long-time political foe and predecessor in the finance portfolio, former Prime Minister Sir Robert Muldoon, While Muldoon substituted a meagre 100%, one-year write-off on investment in certified New Zealand films for the previous situation of non-recourse-loan funding ([...]on to unprece- dented levels in 1983-84), it can The defiant ones: Barney Harrison (left) and Wi Kuki Kaa in Ngati, the year's only feature to date. GUY ROBINSON NZFC Chairman David Gascoigne: the collapse of The Navigator is “a tragedy” for the New Zealand film industry. hardly compete for investors’ interest in the market, when gearing is still prevalent in such other ‘indus- tries’ as goat farming, bloodstock, ginger growing and the staging of musicals. However, the major factor in turn- ing investors away from film, accord- ing to most film industry sources, is currently the negative climate created by the inland Revenue Department. Even though the Muldoon government allowed a two- year breathing ,space (between 1982 and 1984) before closing the tax-break loopholes, the Department continues to hold up the returns of many pre-October 1984 investors. Some[...]s of 1,000 investors are being ‘done over’ by a trio in the Department delegated to work full-time on the matter, and that negative assess- ments of film investment claims, dating back to the early eighties, are now being handed back, When Maynard first went noisily public on the Navigator abandon- ment, he hammered what he termed "the discriminatory tax system” of the government. Because the industry had been singled out in legislation, it[...]ties for in- vestors’ high-risk money, he said. The necessary underwriting could not be raised in New Zealand, even though the Film Commission had made its largest-ever single investment in a feature ($NZi million), and upwards of $NZi .8 million had been obtained in presales around the world. Maynard asserts that the mini- mum New Zealand regimen for film should at least measure up to Aus- tralia’s. “The television and film industries of all countries in the world are the business of government,” he said. “One way or[...]ve found ways to fund these industries and reduce the risks of investors." Film Commission Chairman Da[...]bandonment of Navigator as “tragic”, but said the industry had many "very robust film- makers who, in spite of the climate, will continue to battle the odds and strive to provide films by and about our people." Commission funds for the current year total $5.7 million and, while Execut[...]h diplo- matically talks of providing finance for a range of functions, his current emphasis is clearly on setting up co- production treaties (enabled through government legislation late last year). A planned co-production deal with Australia would d[...]products as both New Zealand and Australian, with the consequent advantages that this would have in raising investment in both countries. Booth is also involved in negotiating treaties with the Canadians and the French. The treaty with Canada is in- tended to secure the co-production already under way between Auckland-[...]and Filmline inter- national of Montreal, to make a film based on the bombing of the ‘Rain- bow Warrior’. Producer Lloyd Phillips says the production is ready to go in October, with a four-week shoot in Fiji, followed by six weeks on[...]Canada. Another Auckland producer, Don Reynolds, is involved in what he describes as “an official co-venture" with the Peoples Republic of China, scheduled to shoot on location here later in the year. The project's title is ///ustrious Energy — a dramatic story about two Chinese goldminers working New Zealand goldfields last century, Phillips is also involved in another project touted for shooting during the upcoming summer months. He will be executive producer on Testa- ment, based on a book written by American David Morrell, screen- w[...]s for feature filmmaking in New Zealand, optimism is in continual delicate balance with pessimism. Whi[...]be announced by Parr’s Mirage Films, several of the country’s limited number of proven directors ha[...]early in July to give serious con- sideration to a project for Kings Road Entertainment. David Blyth (Death Warmed Up) is shooting an action picture in Miami. And John Laing leaves soon for Vancouver to direct several segments of The Hitchhiker for Home Box Office. Jane Campion and Jonathan Hardy, meanwhile, are already being claimed by the Australian film industry. And. with this year's Wellington and Auckland Film Festivals proving the most success- ful ever, it is ominous to note that, for the first time in several years, no new New Ze[...] |
| §f£a“:i i A \‘.>."A2': France by Edouard Waintrop Wrong turns on the ‘right’ track The numbers for France’s second annual ‘fete du c[...]400,000 of them in Paris alone — clocked up in a single day (26 June). These figures, which were u[...]’s, didn’t exactly have exhibitors dancing in the street, however, since the whole massive PR exercise of the ‘féte‘ — moviegoers bought only one ticket to gain admission to a number of different cinemas — could scarcely mask the grimmer reality. in fact, the idea (which originated with Jack Lang, when he was still the socialist Minister for Culture), was little more than a brief ray of sunshine in an otherwise overcast sky. The week preceding the ‘fete’ — 18-24 June — was a major low for the French box office, registering a 40% drop on last year's figures. This one-week disaster, caused by the soccer World Cup and the good showing in it by the French national team, even managed to reverse the slight improvement during the first quarter of 1986, Taking Paris as an example, the first six months’ figures now show a 4% drop in overall admissions by comparison with 1985. Nor is this the only cloud on the horizon: the new audiovisual bill is going through some traumatic birth pangs, Uncert[...]up, France's television channels, par- ticularly the three public ones, have been spending the past year in a state of lethargy. Around them, the audiovisual environment has been changing rapidly. But the upheavals which accompany swings in elec- toral fortunes and changes in the political majority have made it hard for them to assess a delicate situation, and even harder for them to take the right decisions at the right moment. Following its 16 March triumph, the new right-wing government made known its intention of privat- izing two of the public channels. After a while, this was reduced to one. The government's own right wing was in favour of Antenne 2, but TF1 ended up being the chosen one. A bill was placed before the Assembly, but the draft was so ill- prepared that the right-wing majority itself called for modifications. Francois Leotard, the popular new Minister for Culture and Commun- icat[...]uncharacter- istically incompetent performance. The whole affair might, of course, have been just another comic moment in the ongoing saga of Still looking for the real thing? Culture Minister Frangois Léotard. French political life, if it had not already had a number of detrimental effects on the French film and tele- vision industry. TF1, unde[...]vatization, has been operating in slow motion for the past year, producing less than usual and entering into very few external production contracts. The two private channels, ‘la Cinq’ et ‘la Six’, set up last year by the socialist government (see Belinda Meares's column[...]March 1986), also have an uncertain future under the new regime, and are likewise obliged to move cautiously, It is further downstream, however, at the independent production company level, that the real reper- cussions have been felt. As a result, one paradoxical result of the new government's much-proclaimed policy of encour[...]g little more than mark time. All around them in the European Community, big things are going on. with[...]ational networks and pro- gramme exchanges. There is a real Lu 2 O i #- co > Lu 1 chance of being able to stem the American TV flood and to establish a genuine European industry. But the French companies have to remain on the sidelines. Even the film world is starting to get worried. The reason for this is that the cut- backs by the public channels, together with the private channels’ increased reliance on existing stocks of films, can only aggravate the existing fall in cinema attendances. All eyes, then, are on the end of August, when the holidays will be over and there should, as usual, be a flood of films capable of refilling the cinemas. Among local films, a lot of hopes rest on Claude Berri’s Jean de Florette, starring Yves Montand and Gerard Depardieu, a major produc- tion attempting to recreate the wonderful world of that writer and filmmaker of F[...]ch cinema's brightest young hopes; Le Rayon vert, the annual film by that still-youthful survivor of the New Wave, Eric Rohmer; Alain Resnais’s Mélo, starring Fanny Ardant; and Alain Cavaliers Thérése, the revela- tion of Cannes. As every year, of course, it may turn out to be an American film that hits the jackpot, such as Poltergeist //, Tobe Hooper’s Invaders from Mars and, above all, Steven Spiel- berg's The Color Purple. And there is also that British outsider, disputed winner of the Palme d‘or at Cannes this year: Roland Joffé’s The Mission, starring Jeremy Irons and Robert De Niro. An airborne With the summer already half gone, Hollywood is still hungering for its hot—weather hit. Aliens[...]reviews are more than good (some critics claim it is superior to 1979’s Alien), and the opening weekend's figure of $11.1 million indicat[...]rney Weaver have much to smile about. Maybe this is not so surprising: long before the warm weather arrived, Aliens was pegged as a winner. Then again, many titles that looked predictable on paper, weren't. "Its going to be a Cobra summer,” bragged at Warner Bros executive shortly before the films release. And everyone anticipated that Sylvester Stallone’s latest would blow away the competition. But, though it hasn’t exactly bombed — $46.7 million in domestic ticket summer at the American box office sales can hardly be sneered at — it is certainly not a Rambo or a Rocky, Other ‘sure-fire‘ hits have also missed. Despite a spate of success- ful sneak previews (which let loose heavy industry buzz) and a ‘PG’ rating (meaning its for the whole family), Short Circuit never caught fire: t[...]though marketing analysts claimed Poltergeist ii: The Other Side had the summer's great- est ‘must-see’ factor, based on memories of the 1982 original, it's scared up only $37.8 million[...]ant for public recognition, also looks like being a disappointment: after two weeks, ticket sales wer[...]n, against Holly- wood’s prevailing wisdom that a sequel has got to break records in its first weeks if it's to catch or surpass the original’s receipts. Defe[...]Anthony Edwards (left) and Tom Cruise in Top Gun. The Navy is recruiting the movie’s patrons. Another disappointment, con- sidering its heavyweight cast, is Legal Eagles. At time of writing, the Robert Redford-Debra Winger-Daryl Hannah romantic[...]32 million. Not bad, until you weigh that against a reported cost of more than $45 million. Prince's Under the Cherry Moon also looks to be a washout. Grosses were only $7.9 million after two weeks, although a handful of critics predict it will ultimately emerge as a camp classic with a perpetual niche on the ‘midnight circuit‘. And, despite lots of pre[...]a Shriver, Raw Deal brought in only $159 million. The consensus on this one, released after Cobra, is that moviegoers may finally have had enough of gun- crazy tough guys. As for the hits, they’re led by Tom Cruise: ticket sales f[...]of writing. in excess of $88.4 million. If no one is surprised by this (after all, it is produced by the folks who brought us F/ashdance and Beverly Hills[...]n Columbia Pictures, for instance, predicted that The Karate Kid // would emerge as a summer champ, especially since it deviates so radically from the original, “Can you imagine," quipped one execu- tive from another studio: “all this from a sequel that’s actually its own movie?” Meanwhile, the aforesaid Top Gun is proving very potent at Navy recruitment offices.[...]rategic opening (on 16 May — Armed Forces Day). the Navy reports a flood of enquiries about its fighter pilot progra[...]lobbies. Not every moviegoer, of course, can make the grade: the ‘Top Gun’ school, located at San Diego’s Miramar Naval Air Station, accepts only the top 1% of applicants. Meanwhile, another fly boy goes in front of the cameras: Superman, IV shoots in London in September, for the omnipresent Cannon Films, with Christopher Reeve,[...]and Margot Kidder as their old selves. This one is all about the ‘Nuclear Man’, a result of a scientific scheme concocted by Lex Luthor and his[...]nd intended to dissuade Superman from dismantling the world's nuclear weapons. While the world waits for Superman to go into action, the reporters at the Daily Planet have to put up with a new owner: an Austra- lian tycoon who owns a string of sleazy tabloids, and whose daughter takes a liking to a certain tall, dark, bespectacled reporter.[...] |
| OVERSEAS Is there no stopping Men? Doris Dorrie's comedy, Manner, about stereotypical males, is still at the top of the box-office charts. And, with the three—million-ticket mark now passed, the Kinoverband has given it a ‘Goldene Leinwand’ (Golden Screen) award. Alo[...]t auf die iibrige Zeit, Dijrrie’s film also won a ‘Silbernes Filmband’ (Silver Film- strip) in the Federal film awards. The golden one went to Margarethe von Trotta’s Rosa[...]anwhile, Dorrie, whose film has already opened in the States, has announced two new projects: Laby- rin[...]-producing with Chris Sievernich, and Love Hotel, a love story set in Japan. The big film headlines recently, however, have been about the spec- tacular break in the shooting of Ge/achter in der Nacht, a film ver- sion of Vladimir Nabokov’s novel. Laughter in the Dark. Among the cast were Maximilian Schell and rock star Mick Jagger. The reason given for work being stopped was financial difficulties at production- company level. By contrast, the German-Soviet co-production, Es ist nicht /eicht ein Gott zu sein, is still almost certain to go ahead in October, after many months of planning. The director is Peter Fleischmann, the budget 30 million Deutschmarks ($22.2 million), the screenplay by Jean- Claude Carriére, the story a fantasy, and the cast headed by Peter Ustinov, Hanna Schygulla, Kurt Russell and Carole Bouquet. Most of the shooting will take place in the Crimea and on the soundstages of Munich's Bavaria Studios. On the home front, following the American model, German hit movies are now spawning sequels. In the wake of Otto 2 and Schi- manski 2 (see previous columns), there is now to be a Tin Drum 2. Volker Schlondorff is already at work on the screenplay, and David Bennent will again be playing the lead. For the time being, however, Schlondorff is still tied up in America, where he is filming The Most Power- ful Man in the World, with Steve Martin. Last but not least, Germany's favourite TV actor, Klaus-Jurgen Wussow, star of the hospital series, Die Schwarzwaldklinik, is getting into films. Called Bitte lasst die B/umen[...]six million Deutsch- marks ($4.5 million), and be a version of a novel by bestselling author Mario Simmel. A particular favourite in cinemas with a student audience has been the ‘Cannes Reel‘, a compilation of prizewinning entries from this year's festival of commercials in Cannes. And, on the subject of advertising, the Chernobyl disaster has prompted a series of anti-nuc|ear- energy commercials, the first of which was shown at the Munich Filmfest. The ads will be either 30- or 60—second slots, and are being financed by subscription. On a similar theme, Dennis O’Rourke’s Half Life was recently voted ‘Film of the Month’ by the Evangelical Jury. Sadly, however, by the month in question (July), it REPORTS Germany by[...]st Bokel and John Huston). Novelist Ende likes it a lot better than The Nevereriding Story. has already vanished from German screens. Top of the titles that were very much present was Coline Ser[...]s and Out of Africa. Volker Schlondorffs Death of a Salesman, with Dustin Hoffman, was also doing good business. Chief among the flops were 97/2 Weeks, Runaway Train and Pretty in Pink. The ltalo-German co-produc- tion, Joan Lui, a silly comedy star- ring Adriano Celentano, also came a Of Mick and Men cropper. And Mike ~ Aus der Gos[...]inting, too. Currently, however, all eyes are on the success or otherwise of Momo, the film version of the novel by Michael Ende, which has been translated[...]ang Petersen’s version of his other bestseller, The Neverending Story, he is allegedly very satisfied with Johannes Schaaf’s[...]ritics do not always appear to share his opinion. The film, shot at Rome’s Cinecitta, stars the eleven-year-old discovery, Radost Bokel, as Momo. John Huston makes a guest appearance as Master Hora. Finally, some statistics. According to the latest poll, 14% of all Germans over the age of fourteen — some 6,700,000 people — go to the cinema once a month. Of these, 37% go as often as twice or three times a month, and 10% at least once a week. Further revelations: a third of the population (around six- teen million people) has been to the movies at least once in the past year. But 4% of the over-fourteens — around two million people —[...]Georgina ope Unseasonal ghosts and animal magic A second Tokyo Film Festival is to be held in late September 1987, on a smaller scale than last year's in- augural event: there will be a com- petitive main section, but the ‘Young Cinema Section’, which last year carri[...]been at least one spin-off. Cinemagoing in Japan is traditionally seasonal, with New Year, the May national holidays and summer the prime release periods. Until the Tokyo Film Festival, horror and ghost stories were strictly for summer release only, since it is believed that ghosts only make their appearance in the hot, steamy weather. The success of the Fantastic Film Festival section changed all that,[...]ease includes Schochiku’s Kinema no ten Tenchi (The Story of Filmmaking in Japan), budgeted at a whopping 11 billion yen, and commemorating the 64 — September CINEMA PAPERS 50th anniversary of Schochiku's Ofuna Studios. It is directed by Yoji Yamada and stars Kiyoshi Atsumi, both of ‘Tora-San’ fame. Tora-San is the central character in a dozen titles of the same name, portraying the adventures of a wandering sales- man. Over a dozen Tora-San features have been made, and all have been enormous box-office hits domestically. On the independent front, Kuzui Enterprises, who began distributing only last year with the successful Stop Making Sense, have just opened Pumping Iron 2: The Women, featuring Australia's own Bev Francis (see the ‘Profile’ on page 13). Future releases from Kuzui include the punk story, D.O.A., and Spike Lee's She’s Gotta Have It. Meanwhile, on a recent trip to Beijing, well-known actor Ken Taka- kura announced plans to produce a film about Japanese war orphans left in China. Th[...]II, and have been brought up by Chinese families. The two governments are currently co- operating on a programme to reunite families, and several hundred of the now 40- to 50-year- olds have been visiting Japan in the past year in search of long-lost relatives. Less[...]clude Schochiku’s Hachiko (Shibuya Dog), set in the Taisho Era (the nine- teen-twenties), with a budget of $US12 million. it is the story of a dog which, after the death of its master, hangs round the centrally-located Shibuya station doing wonderful deeds, including rescuing children from drowning in a nearby river and generally keeping the peace. Scho- chiku plan to rebuild the old station for an autumn shoot. Elsewhere, othe[...]dominate Japan's screens this summer as well, in the form of Hambone and Hillie (with Lillian Gish), Labyrinth and the Fuji Network‘s Chatran (The Adventures of a Kitten), mentioned in July's column . Toho Distribution have just reopened Disney's 101 Dalmatians, on a double bill with The Black Cauldron. Definitely not a dog in box-office terms, however, is Rocky IV, which has established 24 house r[...] |
| As British Film Year draws to a close, David Puttnam (who, you may remember, gave the world Chariots of Fire, Local Hero and The Mission), is making tracks for Hollywood to become Chairman and Chief Execu- tive Officer of the Coca-Cola-owned Columbia Pictures. Puttnam has already dallied awhile on the shores of the Pacific, producing Foxes and Midnight Express in Hollywood in the late seventies. And, though he was reportedly chastened by the experi- ence, he seems to have swallowed his distaste for the studio system (a pill sweetened, no doubt, by a rumoured three-year, $A7.5-million contract). As his opening gambit, Put[...]eature film. British producers apparently welcome the idea of a friendly face in LA, though one wonders how long Puttnam himself will make out as the Coca-Cola Kid. Back in Britain, the Bondwagon is slowly cranking back into action for the next 007 epic, called The Living Daylights, after one of Ian Fleming's short stories, and due for release in summer 1987. The villain has been unmasked: Dutch actor Jeroen Krabbe, who starred in Paul Ver- hoeven's The Fourth Man, and had a supporting role in the British Britain by Sheila Johnston The British have come: David Puttnam to be the new Chairman of Columbia Pictures comedy, Turtle Diary. Krabbe has cancelled his commitment to a role in Mario Puzo’s The Sicilian for the privilege of being blasted by Bond. But who will be doing the blasting is still uncertain. Bond-elect Pierce Brosnan is having trouble wriggling out of his contract to s[...]of mothballs for yet another outing. Meanwhile, the Peacock Com- mittee has laid a curate’s egg of a report on the future of British broad- casting. The main thrust is towards deregulation: an unlimited number of channels, the introduction of pay- TV by subscription and, eventually, a metering device. There is also a proposal to abandon internal pro- gramme-vetting of the kind that caused the Real Lives debacle reported in this column last year: TV censorship would be subject, like film, to the law of the land. What lS ruffling Mrs Thatcher's feathers, however, is the fact that Peacock has, against widespread expectation, not endorsed her pet plan to introduce advertising on the BBC (which is currently financed by a licence fee). As a result, the Com- mittee’s findings could be placed on hold until after the next general election. After a sluggish spring, several interesting new productions have gone on the road over the last weeks. Chief among them is Prick Up Your Ears, the story of the ill- starred homosexual relationship between play[...]o Brezhnev) as Halliwell. Meanwhile, Chloe Webb, the other half of Sid and Nancy, co- stars with Brian Dennehy in The Belly of an Architect, which, with a title like that, could only be directed by Peter Greenaway. A plot synopsis is probably neither poss- ible nor desirable. On lo[...]has started shooting Asking for Trouble, based on the two books by Donald Woods about black South African activist Steve Biko. Denzel Washington (from A Soldier's Story) has been cast as Biko. while Woods, who is acting as consultant on the production, is played by Kevin Kline. While there is always the risk of a bland hagio- graphy along the lines of Gandhi, Asking for Trouble could and should, in the light of the sanctions row dominating UK headlines at the time of writing, be a controversial film. One production that certainly will be provocative is Ken Russell's latest opus, Gothic, which encom- p[...]odox sexual practices and things which go bump in the night — in short, most of the staple ingredients of a Russell film. The story concerns the strange experi- ences of Shelley (Julian Sands),[...]Shelley (Natasha Richardson) during one night in a lonely villa on the shores of Lake Geneva. At the box office, admissions con- tinue to rise, with the first four months of 1986 up by 18% on last year (even if, more recently, receipts have been dented by the World Cup, Wimbledon and a minor heat- wave). Current hits include Jewel of the Nile, 97/2 Weeks, Down and Out in Beverly Hills and After Hours, Scorsese's first British bull's-eye for a very long time. A Room with a View is still sitting pretty in the London charts; and, in the subtitled market, Ran continues to run and run. * Frankenstein meets Childe Harold meets the Masque of Anarchy: Keri Russell’: Gothic, about a harrowing night out with the poets on the shores of a Swiss lake. CINEMA PAPERS September — 65 |
| ASSOTECNICA Scorpion MiniDo A """" " THE NEW NAME IN IMPORTED AND AUSTRALIAN MADE M[...] |
| [...]if not catholic — tastes Sydney Film Festival: a wide choice, but nothing too outrageous This years Sydney Film Festival, held from 6-20 June, came to the public (though I might have pre- ferred it if it were the public that came to the festival), and was re- warded with an 11% increas[...]iversal praise from film reviewers, who dubbed it the best in years. The range of films was so diverse that it had the breadth to please some of its audience most of the time, but perhaps lacked the depth to please most of its audience most of the time. The special night of Spanish cinema went down well, the Chinese and horror film nights less so. All in all, then,a festival with some dubious choices, but nothing too outrageous either way. One of the highlights were the ‘restoration pieces‘. Michael Powell and Emeric Pressburger’s The Life and Death of Colonel Blimp (1943), with its[...]wit and masterful camerawork intact, poss- essed a narrative which whisked you through time like a Wellsian machine. Equally enjoyable was Rouben Mamoulian's Becky Sharp (1935), a delightful comedy of manners with a cut-crystal performance from Miriam Hopkins. Both films had a clarity of theme and technique that reminded you of why film is also history — and that you need to see now and[...]gree that it was more exciting to be out- side in the street watching passions run hot over Jean-Luc Go[...]reflec- tion of misogyny and religious tur- moil, the same was not true of the same director's Detective. This clever pastiche o[...]s and self-parody was an intellectual endgame and a delight. Added to the beautiful photo- graphy of Bruno Nuytten was a fabulous soundtrack that constantly cut across the images and mocked the dialogue. The result was a visual mind-tease by Godard that few film- makers have the sardonic mind or capability to match. Amer/can R[...]ger Dean Reed, who, without actually detecting to the East, made his career and home there for nearly 20 years. Reed, who was killed in a boating accident three days before the films screening in Sydney, is revealed as a complex idealist with much of the Yankee naivety and ‘gosh-gee‘ attitudes that are often a part of the American stereotype. The documentary, though tenta- tive and at first skirting the issues, gradually hardens its gaze until it quite firmly places its sympathy on the line with its hero. And it is a nice companion piece to the other ‘diffi- cult’ American film in the festival, Uforla. Ufor/a’s delayed release (it was made in 1980) speaks volumes for the way American distributors see their audiences and[...]un- realistic people — an evangelical preacher, a drifter who plays on his resemblance to Waylon Jennings and a romantic dreamer obsessed with UFOs — are confr[...]ly happy ending, Although Brother Bud (played by the marvellous Harry Dean Stanton), III’ MARKETS[...]writer John Binder has nothing but admiration for the strength of their beliefs and their courage, and[...]h wit. Very much Dean Reed country. By contrast, the ‘unhappy souls‘ of Agnieska Ho|land‘s Kok/‘eta samotna (A Woman Alone) endure smashed hope after smashed ho[...]y, they can endure no longer. This tragic tale of a middle- aged woman, alone with a small boy and grasping at straws of happi- ness, proved too much for some of the Sydney audience (who burst out laughing — be it from tension or dis- belief —- when the woman and her crippled lover crash their car during their escape to the border). But it is an intense film about the misery and meanness that people inflict on each o[...]al or political choices. Small wonder, then, that the film, made in 1981, has not been released in Poland. Unlike Nadzor (Custody), the other Polish offering, which wore its audience down in its attempt to com- municate, A Woman A/one left you replenished with determination rathe[...]nting. Among others I would count Cool Runnings: The Reggae Movie, whose bad editing and shooting could not be countered by its enthusiasm; the straight and un- imaginative coverage of the talented Laurie Anderson in Home of the Brave; Lea Poo|s’s Anne Trister, which was a simplistic cross-cutting of meaningful events and people that never added up; and Ken Mc- Mu|len’s Zlna, a highly operatic and rhetoric-laden melange of sym[...]h did no justice to its theme of Anti- gone or to the tragic life of Zina Bronstein, the daughter of Lev Davidovich Bronstein, otherwise known as Trotsky. Of the Australian contingent at the Succe/s de scandale: Blane, Miou- Miou, Depardieu in Tenue de soiree. festival, 2 Friends, the Jane Cam- pion/Helen Garnerhlan Chapman collabora[...]ed by faulty sound, but still managed to shine as a delicate, finely-tuned film. Tracing the breakdown of the seemingly in- destructible bond between two schoolgirls, the film moves back in time to reveal the turning points. it does so without the arrogance of hindsight or the intrusive camera of television technique (the film was made for the ABC). A ‘little’ film, it appeared to go beyond its small story and limited action because it closed in on the intimate and minute details of character and narrative. The festival for me, though, was epitomized by’ the screening of Tenue de so/‘ree (Evening Dress),[...]an them down. Gerard Depardieu’s performance as the brawny ex-con with homosexual preferences is startling. While the film lingers excessively in a few scenes, the transformation of the characters leaves the audience blinking. Meanwhile, Greater Union's Terence McMahon, who has bought the film, hovered in the State Theatre's foyer, keen to know if Evening Dress had overstepped the bounds of ribaldry. He must have been relieved to see it nominated ninth in the festival‘s ten most popular films. What would[...]t- able to public taste but highly suit- able for a festival audience in past years has now become acceptable for both — something which con- firms the identity crisis facing the Sydney Film Festival, to which I referred in my r[...]nema Papers 53, September 1985). Instead of being a cornu- copia of obscure delights, it is now a binge of filmgoing that requires stamina[...] |
| [...]ndabouts Box office up, but problems still beset the Melbourne Film Festival It is becoming customary, in writing about the Melbourne Film Festival. to express a mixture of surprise and gratitude that it has happened at all. After 1984‘s debacle, the 1985 festival was a small miracle. And, given the festival board‘s decision not to reappoint director Paul Coulter (who has now gone west to head the Film and Television Institute in Perth), Melbourne cinemagoers should presumably breathe a sigh of relief that there was a festival this year, too. it is, however, hardly surprising that a certain amount of confusion and tension should have sur- rounded the 1986 event, To start with, laudable attempts to develop a kind of fringe festival of Super-8 and video prog[...]ver that of local filmmakers. And then there was the Kangaroo affair. The film‘s producer, Ross Dimsey, and its Australia[...]or, Filmways, apparently only agreed to its being the opening night gala presentation if it was not reviewed in the press. inevitably, however, reviews did appear, including a less than ecstatic one by Neil Jillett in The Age. The festival‘s claim that Jillett had broken the ‘embargo’ was dismissed by The Age, on the grounds that no formal embargo had been placed: the festivals letter merely conveyed Filmways’ ‘request’ that there be ‘no formal critique‘ of the film. For a while, the three parties — festival, Filmways and Age — remained locked in stand-off. And, even if, in the end. everyone calmed down, relations with local distributors V a recurring problem for the festival — have certainly not been improved. But what of the films? Fleceipts were apparently up an impressive 29% at the box office. And an unofficial survey — no one seems to have bothered with a ‘top ten‘ this year — suggested that Ososhiki (The Funeral), Desert Bloom, Petrina Chronia (Stone Ye[...](Faces of Women), Mixed Blood, Working Girls and the two Michael Apted documentaries, 7 Up and 28 Up, were among the preferred films. Plus, of course, Tenue de soiree (Evening Dress), discussed by Helen Greenwood on the previous page. and Stammheim, reviewed on page 42. Visages de femmes tells two stories: one about love (a young African woman refuses to be “slave, posse[...]husband, and establishes another relation- ship). the other about work (a sharp, middle-aged businesswoman demands and wins[...]two women's stories are framed by another event: a festival. The women of the village sing, dance and gossip: they are the chorus, commenting on the actions of the protagonists, , / Directed by Desire Ecare, Visages de femmes is imbued with warmth, colour and vitality, and seems closer to docudrama than fiction — an effect of the seemingly unintrusive camerawork which doesn‘t simply focus on the main actors, but seeks out the expressions on many faces: the hagglers in the fishmarket, the men gambling in the village, the women working in the fields. It also contains a frank lovemaking scene whose joyful sensuality made the film one of the most memorable in theA man returns to Goa and, in the tradition of novelist Gabriel Garcia Marquez, a rich, romantic and quite bizarre family history unfolds (which is, of course, a matriarchy), Trikal is high melodrama, though not without traces of political history (Goa was a Portuguese colony until 1961, the year in which the action takes place) and a commentary on the beliefs of the aristocratic Catholic family at the centre of the film. Programmed on the first and last days of the festival, Trikal did not get the critical attention it deserved, nor 68 — September CINEMA PAPERS MARK A john is (1 john: Louise Smith as Molly in Lizzie Borden’s new film, Working Girls. did the festival seem to know what to do with the film‘s star, Sushma Prakash, a brief visitor to Melbourne. Another visitor was Ken Mc- Mullen, director of Zina, Speaking after a screening, McMullen said his interest was in “rescuing characters from the shadow of history". In the film, he evokes the life of Trotsky’s daughter, Zina, a courageous (though disturbed) woman, who is likened to Antigone, daughter of Oedipus. McMullen in fact uses the framework of classical tragedy: Zina is portrayed as a seer, while her father is blind to instinct — a rational man who believes interpretation of the natural world should be left to the poets. Domiziano Giordano is excellent as Zina, though the character of Trotsky (Philip Madoc) is not always so convincing. From the US independent sector, Lizzie Borden's Working Girls was a slight disappointment after the energy and inventiveness of Born in Flames (1982). The great thing about Borden’s first film was that[...]n style and accessible. With Working Girls, about a day in the life of a Manhattan brothel, Borden chooses to focus on the individual women, and on the relationships between them and the owner, Susan. The wider issues that made Born in Flames so fascinating are somewhat marginalized, and the undoubted reality of day-to-day brothel existence — that a john is a john is a john — may enhance our sense of the film‘s accuracy, but also leaves a kind of ‘so what?’ feeling. Apparently one of the festival's least popular films, L'Amour par terre (Love on the Ground) is the latest from that.fringe dweller of theThe Blind Director), Tenue de soiree and Stamrnheim,[...]d that specifically ‘film festival‘ pleasure: the chance to watch a major director at the peak of his powers manipulating the medium of cinema. In L'Amour par terre, Rivette merges the playfulness offCe'line at Julie vont en bateau (Celine and Julie Go Boating, 1974) with that examination of the borderline between theatrical role-play and our[...]hat made L'Amour fou arguably his greatest film. A group of down-on-their-luck actors is hired by an eccentric millionaire to re-enact the traumas of his own relationship for an invited audience (on-screen as well as in front of it). But the relationships between the actors and their employer, his friends, his idios[...]d each other refuse to be contained, resulting in a film that is as multi-faceted‘ as L’Amour fou and as funny as Celine et Julie — a major achievement that soon overcame one‘s sense that one had seen it all before. Which was, sadly, a feeling that kept creeping up on one elsewhere in the festival. Kathy Bail and Nick Roddick (1968) ETS The prognosis from Pula 33rd Festival of Yugoslav Film may mark the end of an era With inflation running at a crippling 85%, production costs escalating at an equally alarming rate and a gross lack of the hard currency necessary to purchase film stock, Yugoslavia is still managing to maintain its annual average of between 30 and 35 features a year. But the prognosis is not good: mid-summer shoots have always been popu[...]s are in production right now than at any time in the past five years. it is hard to see how the current high international profile of Yugoslavian film can be maintained. Serbia heads the production stakes (odd, when you consider that the republic has a minimal subsidy for cinema), producing nearly half the films. Croatia comes a close second with six, followed by Slovenia with[...]ova, Vojvodina and Bosnia and Hercegovina had one a piece at the annual Pula show- case this year. Stole Popov‘s Sreéna Nova '49 (Happy '49) swept the board, with five ‘Golden Arenas’, As with las[...]utu (When Father was Away on Business), Happy '49 is set at the time of Tito‘s ‘divorce’ from Stalin. A family drama, a powerful love story and an authentic period piece[...]cripted by veteran writer Gordan Mihic, and takes a look at the internal crises, doubts and dilemmas posed by ideological dogmatism. its main concern is the right to an alternative choice in life — a ‘third way‘, Za Sreénu Je Potrebno Troje (Three's Happiness), the latest offer- ing from Prague-educated FAMU director, Rajko Grlic, is a surprisingly speedy follow-up to U Fla/jama Zivota (In the Jaws of Life), consider- ing that Grlic usually s[...]ears between projects. Three's Happi- ness tells the story of Drago (played |
| by the excellent and ubiquitous Walter Matthau-lookalike, Predrag- Miki Manojlovic), who is driven by poverty and despair to rob a village shop with a toy gun. After three years in prison, Drago retu[...]otally different women who play integral roles in the deter- mination of his fate. The result is a modern melodrama not only about love triangles, but also about commitment, cowardice and the criminalization of innocent victims. Zoran Tadié, master of the psychological thriller in this part of the Balkans, was back in the Arena this year, following the international success of his 1981 film, Ritam Ziocni (The Rhythm of Crime). San O Ruéi (The Dream of a Rose) is a con- temporary story of a man who tries to stay honest in a patently dishonest world. A factory worker (Bade Serbediija) inadvertently witnesses a double murder and becomes both suspect and investigator. He finds a large sum of money at the scene of the crime, as well as a gun, and he takes both home. Then comes the moral dilemma: to tell or not to tell; to spend or not to spend. The Dream ofa Rose is not just an ordinary thriller, but a tense morality play about right and wrong, corrup- tion and honesty. In the context of Yugoslavia's present financial situa- tion, it is a bitter analysis of the situa- tion in which those who are least guilty usually have to suffer the worst punishment. A much-deserved winner of the ‘Golden Arena’ for best photography (Goran Trbuljak), the film is seedily reminiscent of the decaying world of the earlier films written by Tadic's regular contri- butor, Zika Pavlovié. Totally ignored by the jury was Jovan Acin's Bal Na Vodi (Dancing on Water), for me the best film of the festival. The producer‘ is the irrepressible George Zecevic' of Smart Egg Pictur[...]such productions as Maka- vejev's Montenegro and The Coca- Cola Kid, as well as commercially successfu[...]mare on Elm Street and Critters. Dancing on Water is basically a youth fantasy, based on the boyhood experiences and reminiscences of Zecevic and Acin. Coming to grips with a new and different world: Predrag-Miki Mariolovic in Three’s Happiness. Using the Esther Williams film, Bathing Beauties, as a Ieitmotif, it chronicles the growing pains of the heroine, ‘Esther’ (Gala Videnovié) and her four admirers, who are all from a dispossessed bourgeois background, and shown in contrast to the unaccomplished Party man, Flile (aa prisoner of war. When her mother dies and Esther discovers that she is preg- nant by Flile, the boys try to help her. and take advantage of a rowing competition in Istria to get her over to h[...]y are im- prisoned. her father takes her away and the boys never see her alive again. They all begin a new life abroad. never forgetting the bond that held them together through a most diffi- cult period. Dancing on Water is a film of charm, depth, sensitivity and intelligence. told very much in the nostalgic style of American Graffiti and The Last Picture Show. In a sense, it is a highly political film, with- out black and white[...]ilnik and Lordan Zafranovic shown in competition, the Pula audience had high hopes of being regaled wit[...]Grad (Beautiful Women Walking About Town) missed the mark with an outdated collage/cinema vérité style of the sort that got him into trouble in the sixties with Rani Radovi (Early Works). 4 Zafranovic's Veéernja Zvona (Evening Bells) earned him the ‘Golden Arena’ for best direction, despite being a dull, predictable tale of the vicissitudes of 22 years in the life of Tomislav K, taking the spectator on an uneventful excur- sion through Nazism, the war of revolution and the inevitable Comin- form split. Meanwhile, of thos[...]ished before next year's festival. Emir Kusturica is preparing Gypsy Cara- van, a chronicle of the contemporary life of Yugoslav gypsies, scripted b[...]. Slobodan Sijan has abandoned his plans to shoot The Barbarians for Cannon, in favour of a totally new project with Centar Film. And Aleksan[...]ject, Migrations, on ice, having been forsaken by the French Ministry for Culture, which had promised financial support. For Yugoslav film, the basic problem seems to be that no one wants to pa[...]ercial retrospectives and festival screenings are the only outlet. Until Yugoslav producers develop a proper marketing strategy, instead of bandying pr[...]like free gifts, they can never hope to generate the much-coveted hard currency necessary to maintain production standards. And the inter- national boom could be over before it had really started. Mike Downey Sampling the blooms in Bavafia Large crowds but slim German pickings at the fourth Munich Filmfest “A huge bunch of flowers for every- one to pick from" is how Munich Filmfest chief Eberhard Hauff likes to describe his festival. Nor does he ever miss a chance to add that this is an event for the general public. 1986 was the fourth outing for the Bavarian festival and, the soccer World Cup notwithstanding, the general public turned out in force for the nine-day, ten-cinema, l50-film extravaganza. There were directors there from 30 countries and the ‘Festival of European Films’ was, for the second year running, a part of the Filmfest. Munich's tried and tested categories were used again this year: as well as the ‘deutsche Reihe' (German selec- tion), there we[...]children's films and an international programme. The latter gave Munich movie- goers a chance to see highlights from major foreign festi[...]acrifice), Altman's Fool for Love and Spielberg's The Color Purple from Cannes, and Peter Greenaway's A Zed and Two Noughts and Austrian director Niki Li[...]was rapturously received. And new offerings from the commer- cial sector included theA Fine Mess. By contrast with the international programme, the German offerings weren't especially sparkling. lt[...]n in Fran. would seem that tedious trips through the inner psyche are back in vogue in the Bundesrepublik, to judge by Rudolf Thomas's Tarot, a turgid adaptation of Goethe's novel, Die Wah/verw[...]starring fifties pop stars Peter Kraus (who sang the featured song, ‘Zuckerbaby', in the film of the same name) and Conny Froboes. The ‘foreign independents‘ sec- tion was a real must-see this year, hinting (as it usually does) at the shape of trends to come. New Zealand was represen[...]urke’s Half Life and Glenda Hambly's Fran. From the US came Robert Young's much-dis- cussed Extremiti[...]gave Heimat its world premiere. This year, it was the turn of another mammoth work, the eight-hour Va‘ter und Sohne, directed by Bernhard Sinkel. The story of the German company, IG Farben, and its entanglement i[...]rbach (late of United Artists, UIP, CBS Films and a good few other major companies) launched their ne[...]- based company, IFP, which, like many before it, is a European production company aiming for a share of the US market. And the protracted debate about whether Munich's Eberhard Hauff was going to take over the Berlin Film Festival came to an end, at any rate for the time being, with the announcement that the beleaguered Berlin Film Festival chief, Moritz de Hadeln, has had his contract extended for a further five years. Dieter Osswaid #- CI[...] |
| [...]O C]1\]EMA PAPERS BY PHONE. BANKCARD AND -. ‘ A . I -~ _.. ‘VIIIIIIIII//I//IIIII//IIII: \[...]niture. \. t ST, § 1 |{fi_r0|iiJi[r:s|:L;ALl;a|rg§”r:rl=rlnge Ki arnazing '50s props i[...] |
| TEGHNI CALITI Harden EHIYIPLEE THE WHHEE THE SEEDID l|}lTEFll}lFlTll]l}lHl_ SMPTE El]|}lFEFlE[...]nology as film and television, trade shows assume a special importance. After all, magazine reports — even the ones in Cinema Papers — are only a tease com- pared to actually seeing a new product demonstrated. Australia's isolation, and the relatively small size of our market, make trade shows crucial. We have all waited patiently for the releases of new film stocks that have been on the market over- seas for some time, before the local distributor gets round to clearing existing stocks, or somehow feels the "time is right‘. In video, there is the added prob- lem of the incompatibility of our European-based system and the US and Japanese NTSC television systems — all of which makes local shows such as those mounted by the lREE (institute of Radio and Elec- tronics Engineers) and the SMPTE (Society of Motion Picture and Tele- vision Engineers) especially important. The SMPTE, through its engineer- ing standards commit[...]d by its documenting of technical developments in the SMPTE Journal, is also helping pro- vide some conformity within the image-making industries. Working with an alphabet soup of committees such as the ANSI (American National Standards Institute) and the EBU (European Broadcasting Union), the SMPTE assists in setting standards in a world that often sees standardization as a block to crea- tivity and invention, and even as a restraint on trade. Sometimes though, mass marketing can bring about standardization, as with the VHS home video system, which has now become a de facto worldwide standard. The SMPTE has all these elements to juggle with, and is supported by a list of Sustaining Member com- panies that reads like a complete A-Z of film and video brand names. The Australian section of the SMPTE gains prominence with each staging of its[...]dney from 24-27 June). and actively takes part in the social aspect of playing host to the international delegates. With the financial support of the Australian Film Commission and the Federation of Australian Commercial Television Stations, there is also the presentation, over the four days of the conference, of a series of papers. What this means is that a technically interested audience is provided for what, on the whole, are individuals promoting some product or development that is (not entirely coincidentally) also on sale in the exhibition hall. The social aspects of a meeting of this kind would go almost unnoticed by visitors to the exhibition, but gives the fair the feel of an exclusive club, where the Australian members greet their US counterparts on first-name terms, and where it is traditional for Kodak to throw a cocktail party to welcome delegates. The conference This year, the SMPTE conference opened with the presentation, on a temporarily-erected wide screen, of a collection of sequences from The Man from Snowy River, Phar Lap and the new proud-to-be-Australian, Crocodile Dundee. The Prime Minister officially opened the Confer- ence, rather overshadowing the opening address by the'Minister for the Arts, Heritage and the Environ- ment, Barry Cohen. For his part, Mr Cohe[...]sement for Sony, saying he now felt he understood the industry better after purchasing and using a Sony 8mm video Handycam. He admitted, though, that he couldn't understand the manual. The presentation of papers then began in earnest, leading off with the now familiar face of Henri Stappaerts from Agfa i[...]talking about Agfa's new XT stocks. While some of the papers seemed to be about sharing information, most were about specific new products that were on sale in the exhibition or else, more interestingly, presented a case study of a particular application. Over the four days, some of the more significant topics included Filmlab Engineer[...]or tight control of film soundtrack nega- tives; the plea by Dominic Case of Colorfilm that ‘You can still do so much with film opticals’; and a report on the coverage of the Indianapolis 500 by the Racecam developed by ATN-7. For a selected list of papers presented and details of available audio cassettes, see the box on page 73, Buy Australian Since I assume that most readers of this column are more interested in the latest film and video production toys, I will do little more than mention the broadcast equipment which is always a significant part of each SMPTE show. Satellite di[...]-definition television) provided conversation for a lot of the dele- gates and visitors on the floor, most of them wearing name-tags saying they were from the engineering department of a television broadcast station. . On the production front, there were, as was to be expec[...]hat some manufacturers had brought costs down, at a time when the Aus- tralian dollar stands so low against most major currencies. in almost every case, this was because of the use of microprocessors and the availability of cheaper personal computers. By the same token, the high cost of importing new equipment has moved some of the Australian products into the limelight, and more than once I heard buyers saying that they were supporting the local product out of preference. ‘Buy Aus- tralian’ has never been an attractive motto in a market that draws on the best developments worldwide, but it is working now; and the plummeting exchange rates are making some of the local products attractive to over- seas buyers. If the scale of our pro- duction and our design skills can take advantage of this, then we will all benefit by the local expertise. An example of this is the small Melbourne company run by Joe Talia, which is producing vision switchers and mixers that, in the small-studio area, come head on with corporations such as the US Grass Valley Group, but at a more attractive price. Fairlight continues to sell its unchallenged CMI audio syn- thesizer around the world, and has now developed its video effects syn- thesizer to the point where there is so much overseas demand that the Mil/er’s Portamount: it isolates vertical and horizontal shock. company is developing a higher- priced broadcast model as well. And the Melbourne company, Sontron, announced that it has[...]its to Pacific Video in California. What follows is a run-down on some of the products that i saw as setting trends or as otherwise significant. Betacam rules When RCA introduced the 1/2" M format in America, it looked as if it was destined to become the field production videotape recording format. But,[...]ed its Betacam system, also on 1/2", but carrying the domestic VCR-format war into broadcast (Sony uses a Betamax cassette, FiCA's M format is on VHS). Despite major network pur- chases of M equipment and a lot of users finding it superior to Betacam, Sony managed to reverse its defeat in the domestic market and become the de facto ENG format. Because of the ease of use of the Betacam equipment, the slight reduction in quality from 1" tape was considered a worthwhile trade-off, and it now looks like most[...]eplacing their ‘cart’ players (which stack up the commer- cials and the promo material for pro- grammed replay). The tiny WV-CD110 surveillance camera.‘ the same CCD chip as the National F2. The rise of the Betacam-format edit suites and the acceptance of Betacam cassettes by some stations for release material has allowed a lot of producers to remain cost effec- tive, especially in the low-budget, retail area of the commercials market. But it has also given birth to a number of interesting drama and documentary projects being shot on tape. The format records the output from the camera as individual com- ponents (not just RGB),[...]they are dubbed onto 1" or low-band cass- ettes. The quality thus remains higher if all the aspects of the editing process can make use of the com- ponent signals. Marsh International Films, a Los Angeles production company, has just completed a telemovie, Wizards, for Disney, shot entirely on Betacam, using Ultimatte to combine the live actors with the special mattes and fantasy backgrounds created on their graphics system. The cost savings were considerable, and the quality was apparently so good that a 35mm kine has been made for theatrical release. Elsewhere on the video front, there was a reflection at the show of the demand for component mixers. Tektronix showed a component test- signal generator, along w[...] |
| TECHNI vector and waveform monitors. In the lower-budget areas, there was JVC's For-A range of equipment, which included the CVM-500 com- ponent special effects generator, as[...]Called M II, it drew favourable comments, but it is probably too late for it to give the Sony format any real competition — something demonstrated by the fact that, on the Ampex stand, there was a range of familiar Betacam equip- ment with an Ampex name where the Sony one should have been. It appears that Ampex has swapped Sony its 4SC digital recording information for the right to market Betacam equipment, at first to be[...]but later to Ampex’s own designs. This provides a con- siderable endorsement for the format. Computers Everyone, it seemed, had a com- puter-graphics system on show, ranging from the simpler, 8-bit Quanta system, which make it poss-[...]es that can be com- bined with live subjects from a camera input, through systems such as the Artstar 3 (popular in Aus- tralia), with full vector and raster animation, to a revamped AVA Picture Maker from Ampex. The AVA offers a cut-and-paste option with perspective control tha[...]ike an ADO effect. Character generators included a most impressive add-on card for an IBM PC (or clo[...]multiple fonts, colours, scroll and crawl, all in a standard PAL output. At the other end of the scale. Quante|’s Cypher is a combined digital-effects machine with a track- ball control over a vast range of typefaces and colours, which can be controlled almost like the company's Paintbox. it may be a while before it becomes as ubiquitous in edit suites as the Chyron, but it presents an impressive leap forward in handling type on TV. There was also a new face on the Quantel stand, with which — or whom -— l later caught up at a demonstration at the Video Paint- brush Company in Sydney. The company has purchased Quante|‘s new, completely[...]ty images that can be edited and manipulated from a Paintbox graphics tablet input. This could free a video design studio completely from the need for a 1" video- tape editing system; and Harry inter- faces with Encore, the Quantel 3D digital effects system. Hard copy from your software: the Mitsubishi P60B. CALITI The user-interface allows the de- signer/animator on the Paintbox to treat the material as a graphic repre- sentation of ‘reels’ of images, cutting and splicing them as on a flatbed. Harry allows you to make a complete, 60-second commercial or a longer effects sequence that is first-genera- tion digital quality until it goes to 1” master for release. The prospect of the completely digital editing suite is just round the corner. Meanwhile, sharing space on a modest stand at SMPTE were Peter Sjoquist, demons[...]tion personnel, all listed for instant access via a tele- phone call and a personal com- puter. More on these services in a later issue. Using microprocessors for an ad- vanced system of colour ‘edge detection’ was the da Vinci colour grader. Costing approximately $50,000, this is a colour-correction Controller that works with all the current telecines or for tape-to-tape grading, and it has some remark- able features. The most impressive of these is a ‘geographical’ ability to select an area on the screen and change just that colour individually. By moving cross-hairs onto the object, the machine detects the edges to the colour, and allows it to be controlled without‘ affecting an identical object nearby. The process can be repeated any number of times. Since the launch of the product at NAB, the company claims to have sold 50 graders — an amazing number considering that the da Vinci would be mostly replacing existing equipment. Invisible barriers The one product that was truly unique at the show couldn't actually be seen. But it was certainly there: it was the Photogard process, developed by 3M, which puts a pro- tective coating on film and photo- graphic p[...]static electricity, colour Photogard: ten times the life expect- ancy for your prints. degrading[...]cteria, and fills in base and emulsion scratches. The process has been available for some time (it won a Scientific Academy Award in 1984), and uses a thin polymer coating that is cured by UV, forming a clear (97%-trans mission), tough coating. It is claimed to extend the life of cinema prints by up to ten times; and, at a cost of about 5.5 cents a foot for 16mm, and 7 cents a foot for 35mm, it could be cost effective. The coating is being used by MGM to extend the life of its printing negatives, and allows a range of conventional solvents to be used to clean off fingerprints, grease pencils and dirt. The extra cost it adds to cinema prints tends to rest[...]quantity release prints that are expected to have a long life, rather than the multi—print blockbusters. Woody Allen has had all his prints coated with the process for some time, and a number of film libraries have begun using Photo- gard. The company is represented here by Photo Advertising (Australia) Ltd in Sydney, and all the coating is done in this country. Around the stands Apart from these major features and trend[...]ber of interesting individual products on show at the SMPTE. What follows is a few of them. I Not available at the time of the show but installed that same week was the pin—registered telecine gate jointly developed by the Sydney companies, Mirage and Videolab. l have yet to see a demonstration, but the device is claimed to be as good as the American-developed Steady- gate (subject of a paper at the con- ference), but at a fraction of the cost. I Kodak announced the availa- bility of the high-speed 16mm nega- tive, 7292 (mentioned in our fast stocks test in Cinema Papers 54, October 1985), and a new 35mm fast stock, 5295, with superior blue sep[...]ediate printing stock, 7243/5243. ‘They all use the new T- grain developments for fine grain and faster speed. I On display at the John Barry Group stand was a new Panther dolly that has a larger platform on the head, allowing the assistant to sit opposite the operator. The Panther still has one of the smoothest elec- tronically-controlled hydraulic lift systems around. Also on the Barry stand was the update to the Arri BL 3, the new Arri BL 4. The most obvious external feature is the extra-large extension viewfinder, with illuminated ground- glass markings. Arri has also re- modelled the Lightflex into a simpler and smaller device that now looks like a more workable tool, which comes complete with an[...]immable eye- light. Also attracting attention on the same stand was the Schwem Gyro zoom lens. This battery-powered, gyroscope-stabilized lens was demonstrated with the aid of a hand- held camera whose operator was sit- ting on a coin—in-the-slot kid's rocking motorbike. The video feed was impressive in smoothing out movement that would otherwise have made the results from the zoom quite unusable. I On the Samuelsons stand, they were showing an improved v[...]flicker. After much effort, Sammies have hit on the combination of the new CEI Technologies camera tube, and attached it to a Jurgens mount. Sammies were also promoting the new ‘E’ series Panavision ana- morphic lenses. The ‘E’ series were apparently meant to be an interim set, until the lenses that Panavision has been designing for som[...]has been significantly im- proved, was on show on the Film- tronics stand. It was the new 25-250mm Angenieux zoom, exten- sively re-designed. From the out- side, though, the only obvious change was that the front element doesn't turn as the lens is zoomed, which solves a problem when using polarizers and other filters. I From a new (to me) Melbourne company, Getlit/Wired for Sound, was a range of display and theatrical lighting and items such as a video console for video-disc cueing and image-mixing in discos. The new group also sells the English Le Maitre line of smoke machines, ranging from the $900 Mini Mist to a $2,500 model. Le Maitre’s middle-of-the-range smoke machines: $900 and $1,800. Other items from Getlit were a video projector and a range of clever, remote-controlled lights, the Pan Can servo range. Primarily de- signed for the[...]they could also be used for special effects. The Pan Can Servo System 3: remote control by compute[...]st opened its own sales outlet in Burbank, and it is presumably a compliment that the Americans think Miller is a US company. Miller's Portamount immediately attracted my attention, but the company also has a new, $3,000 head that looks like its answer to the Sachtler Video 25, with a 40kg capacity and a light- weight but heavy-duty tripod to |
| match. Miller also has a range of moulded tripod cases, similarly light but tough, and giving full-size pro- tection. Cost is $295. I Filmwest had some unique items on its stand, along with two new Aatons: the XTB, with clear time recording, and the stripped-down, lightweight (and cheaper) XC. Both will be familiar to Aaton fans, and the XC provides a sensible alternative as a beginners or back-up model. Also from Filmwest and deserving a full examination (though not cheap) was a small, electronically- controlled product turntable called the Revpod, which can be exactly controlled and stopped (saves reverse-printing the label shotsl). The Denecke DC0de slate, available from Film west.[...]ke, who left KEM to start his own company: first, the Decode TS-1 electronic slate, with extra bright and large LEDs giving time- code read-out — the best electronic slate I've seen so far, and designed to work with the time-code Nagra; and, for $US800, there was also a small time-code reader that was attracting attention. The SMP kit: five charts in a handy plastic cover. I SMP Products specialize in supplying editing equipment and consumables, and had a great range of beches, trim bins, syn- chronizers and winders. The com- pany makes a cleverly designed adjustable film horse to hold spacer and leader, and distributes the Macbeth colour charts (recently recommended for testing by Kodak), MPC sprocketed recording tape, and a range of coloured paper tapes that accept markers[...]and U—matic models that breathe fresh life into the BVU format. The BVU-SP and the portable 15OP had had some fine-tuning done to the electronics; and, by extending the colour sub-carrier and shifting the luminance signal, improved detail has been added. Also attractive was the small Indextron monitor, designed to give a very bright picture for outdoor or high ambient light levels; what is notable is that it does not have a shadowmask or a Trinitron tube. On the tape front, it looks like we are finally going to have to concede to metrication for the familiar 3/4” U- matic tape used in the new digital systems: the tape is designated ‘19mm’ even in the US. Sony showed its digital videotape machine at the recent NAB show. In Sydney, only the new digital video cassettes were on display. I The duplication labs and AV hire companies will also have to concede that rear-screen projectors, such as the Fairchild, with its Super 8 endless cartridge, are on the way out. On the GEC stand was the Panasonic port- able AG-500 VHS player/TV com- bination unit. A few companies have been making similar combination sets using the small NV180A port- able player for some time, but National has now produced its own compact unit. A long-awaited improvement in sound quality for VHS portables is the Panasonic VHS Hi-Fi portable AG-6400. This is the hi-ti sound ver- sion of the NV180A, and allows loca- tion recording at compact-disc quality, with access to the linear Product suppliers and distributors Agta-[...]ic 3131. (03) 875 0222. Ampex Australia P/L, Unit A, 61 Talavera Road, North Flyde, NSW 2113. (O2) 887 3333. Artstar III is distributed by Mini- comp P/L, 104 Mount Street,[...]am Parade, Artarmon, NSW 2064. (02) 439 6955. JVC is distributed by Hage- meyer (Australia) BV, 5-7 Ga[...]064. (02) 439 6377. You can take it with you: the AG-500 monitor-cum-cassette player. tracks as well. This VCR has come in as a professional machine with the Panasonic name on it, probably because. if it was offered as a con- sumer item, it would surely kill sales of the NV180. I Among the new broadcast equipment, Ampex showed the ADO 1000, an entry-level digital effects unit that can be upgraded. The company was also showing the Zeus TBC, together with modifica- tions for its VPHs (to speed up the animation capability) and a forth- coming software kit for set-up called Mult[...]Ryde. NSW 2113. (O2) 888 5777. National Panasonic is distributed by GEC Video Systems, 2 Giff- nock Av[...]Grass Valley Group listing for address). Quantel is distributed by Quantum Communications P/L, 8/81 F[...]reet, Camperdown, 2050. (02) 517 2745. Steadygate is distributed by Andrew Gibson Equipment Services P[...]e, NSW 2113. (02) 888 7066. 30 Gibben NSW ates the tiny set-up errors that are compounded with each[...]eplaying, switching automatically back and forth, the velocity errors (which cause more degradation than the obvious signal-to-noise problems) can be finely adjusted. I The Philips Scientific and Indus- trial stand had the Adams Smith 2600 A/V editor/synchronizers. They accept an 8" CMX-for[...]er of edit points from audio post-produc- tion on a videotape job. Philips also showed the first application of com- pact audio discs for sound post-pro- duction, with a soundeftects library of 28 discs from the Canadian com- pany, Sound ldeas. The Philips con- troller allows cueing of two or more[...]ely. I SM PTE provided me with my first sight of the Rycote Windjammer windshield for shotgun mikes, which is claimed to cut wind noise by 6dB over a normal windshield. It is distri- buted here by Syntec international. I Finally, Filmtronics had a Marusho I/4" audio-tape splicer, which is specially made for digital- tape editing, and which is claimed to give a dead accurate vertical cut. )1- Selected papers[...]ientific Films. Kodak representatives pre- sented the following papers: ‘Cut List system using Datakode magnetic control surface for a 16mm laboratory‘; ‘Digital sound’; ‘Impro[...]s P/L. ‘Steadygate film-to-tape transfer using a pin-registered 35mm film gate adapted to the Rank Cintel telecine', Wayne Smith, Steady- film[...]ision’, Ray Derek, Raydek Sound Industries. ‘The use of personal computers in video production‘,[...], Acquis Ltd, Order forms for audio cassettes of the above papers are avail able from SMPTE, Au[...] |
| The scramble and madness that characterizes the end of the financial year for the film industry has long passed and, with prospecti in the bottom drawer, now is the time to come up with the goods. And it looks like there should be a reason- ably high level of production activity. Under the 1OBA tax incentive scheme, a total of $159 million was secured for film and television pro- duction in 1985-6. Though this marked a $26.7-million downturn from the previous year, the fall was not as dramatic as some analysts were predicting. The figures, released by the Aus- tralian Film Commission, also indi- cate a reduction in projects financed at 133/33 concessional rates. The combined budget of these produc- tions (26 featur[...]s and ten telefeatures) was $105.2 million, while the 120/20 rate accounted for ten feature films, two telefeatures and one miniseries with a combined budget of $34.2 million. Amounts underwr[...]deductible expenses, amounted to $124 million for the 120/20 projects, and $27.1 million for the 133/33 projects. The Walls of Jerusalem: on the set of The Tale of Ruby Rose. Eighty documentaries were fin[...]n overall budget of $19.6 million. There was also a noticeable shift away from television miniseries to features — 24 miniseries in 1984-5, compared to the five secured this year. One feature which proved popular in the marketplace was Les Patter- son Saves the World, Les, Australia's other cultural attache, t[...]odile Dundee. Scripted by Barry Humphries and his wife, Dianne Millstead, the feature began a ten-week shoot in mid-August, with George Miller[...]ill Bennett's production, Dear Cardholder (one of a number of features he has lined up with J.C. Williamson), is scheduled to shoot on 15 September. It stars Robi[...]pro- ducerldirector Virginia Rouse will complete a one-month shoot in mid- September on her second p[...]Her first, Geese Mate for Lifel, has been sold to the ABC and will be screened later this year.) Candy[...]tch- love, will also wrap in September. Backed by the AFC, it is about the bitter-sweet relationships of a prosti- tute, and is, of course, set in Sydney's Kings Cross. Nearing the end of production is Michael Pattinson’s Ground Zero. Based on the Royal Commission into the British nuclear tests at Maralinga in the fifties, its cast includes Jack Thompson, Colin F[...]eature got underway on 1 September, this one from the International Film Manage- ment stable,‘For The Lighthorse- men, director/co-producer Simon Lini[...]ey and 1st assistant director Colin Fletcher, on the set of Travelling North. Wincer is recreating Beersheba on location in South Australia — the backdrop for a drama about another part of Australia's ‘spectacular’ military history. Antony Ginnane is also the executive producer (with Joseph Skrzynski) of Hig[...]to commence production in late September. While the cast and crew of The Tale of Ruby Rose weathered “a tough and arduous shoot” in the mountains of Tasmania, the Travel- /ing North crew were on location in North[...]d. Both features wrapped in early August. Shot on the New South Wales coast, mid- way between the two, Daedalus Films’ The Bee-Eater has now been retitled The P/ace at the Coast. in the documentary arena, there seems to be lots of activity. Two of the more interesting projects, Build- ing Dreams and Getting Better, come from the ‘Black Futures‘ series, six one-hour docos from Corroboree Films. The first, Eora Corroboree has been completed, and the other titles scheduled are Still Time, Reflection on Silver Screens and The Land Owns Us. Director of photography is Yuri Sokol and the producer is Michael Le Moignan. Jack Pizzey (Sweat of the Sun, Tears of the Moon) is currently work- ing on a series of three documen- taries about Australia. The produc- tion company, Phillip Emanuel Pro- ductions, has pre-sold the series to the ABC, and it will probably go to air for the bicentennial year. John Buane’s short film, Fe[...], James Laurie, Julie Forsythe and Neil Melville, is now in post-production, and shoot- ing is finished on Tony Mahood’s One Hundred Per Cent Wool. One of the most challenging scenes for director of photograp[...]some buskers playing to an audience of sheep — the Melbourne City Square was apparently full of them! The television scene has not been quite so adventurous. From Craw- ford Productions, another series of The Henderson Kids which begins shooting in September. The direc- tors are Chris Langman and Paul Moloney. Production is also under- way on Burbank Films’ animation, Ro[...]re-production: Black Beauty and Treasure Island. The 30-minute ABC drama, I Can Give You a Good Time, wrapped in early September. Based on the play by Gilly Fraser, it is directed by Peter Oysten and stars Floss Williams and Jillian Murray. Another ABC production has faced a little more drama. Producer of Perhaps Love, Jan Chapman, had to shift the Bali location of the telefeature because of delicate rela- tions with the Indonesian govern- ment — they had already kicked out Promises to Keep —— and finally did a five-day shoot in the Philippines. Directed by Lex Marinos and written by Bob Ellis, it is being produced in association with Fievcom, as part of a package of nine films that will be distrib[...] |
| PRODUCTION Australia. FEATURES PRE-PRODUCTION THE ATTACK OF THE GARBAGE PEOPLE Prod. company ...lmmortal Films[...].Gary Keady Scriptwriter .. ..Gary Keady Based on the original idea by. .....Gary Keady Photography...[...]ector.. Length Gauge... Shooting s cc Synopsis: A rock n comedy. Sydney is ravaged by Monsters that have evolved from genetic spores orbiting the earth. Professor Goodhead, a 50-year-old mad scientist, plans to defeat the alien threat. THE BIT PART Prod. company .... ..Comedia Ltd Produ[...]. . . . . . . . . . . . ..$1.1 million Synopsis: A comedy about a small-time actor. BLIND FAITH Prod. company ...[...]Douglas Scriptwriter .. ..Robert Taylor Based on the by .................. .. ..Robert Taylor[...]valry between two parish churches escalates into a media event of astronomic proportion — leaving Father Brannigan attempting to undo what the miracle he needed has given him! BUSINESS AS USU[...]y Bowman Scriptwriter .. .Anthony Bowman Based on the original idea by.... .Anthony Bowman Length ..90[...](Ross), Robin Bowering (Alfred). Synopsis: After the death of an elder in a family, a will reveals that all of the estate is tied up in the ownership of a Darlinghurst guest house. The family, outraged by the deceased grandfather's decision to leave them nothing, inspect the establishment, only to discover that it is not an ordinary guest house! Perhaps there's money to be made after all? THE CRICKETER (Working title) Prod. company[...].Barry Peak Scriptwriter Michael Quinlan Based on the original idea by . . . . . . . . . . . . . . . . . ..Barry Peak Photography ...John Ogden The Cinema Papers Production Survey A full listing of the features, telemovies, documentaries and shorts no[...]. ...$690,000 Gauge..... ...Super16mm Synopsis: The High Plains cricketer comes to town. DOT AND THE TREE Prod. company .......................... ..[...]minutes Gauge. .35 mm Synopsl . O , maker, find the spread of a big city threatens their lifestyles. 8341: THE PYJAMA GIRL MURDER (Working title) Prod. company ..... ..U|ladul|a Picture Company in association with Casablanca F[...]writers.. ....Dee Brierley, John Rogers Based on the novel by. ...Robert Coleman Prod. designer..... .[...]uge. ....35 mm Shooting . 247, 5294 Synopsis: The fimis ase ont etruestoryof the Pyjama Girl Murder. A girl's body was found in Sydney in 1934 and kept in a formalin bath at Sydney University, on view to thousands of people, until the murder was solved in 1944. THE END OF INNOCENCE Prod. company. .Avalon Films Pr[...]Scriplwriter ...Alan Dickes Based on the short story by... .... ..Phil Avalon, Alan Dicke[...]llion Length. .98 minutes Gauge.. ..35mm Cast‘ A G stopher Pate (Policeman), Tony Barry (Mr Grundlich). Synopsis: A young man sets off on a journey to find his origins. Through a meeting with a young Aboriginal, he discovers not only his past but the murderers of his father and grandfather. FEVER[...]........................ ..Ron Saunders Synopsis: A contemporary suspense thriller. HIGH TIDE Prod. c[...]. .. ...35mm Shooting stock . ...Kodak Synopsis: A story of love lost and found in a remote wintry coastal town in Australia. PANDEMO[...]annes, David Bracks. Ashley Grenville. Synopsis: A pagan passion play set under and on the shores of Bondi beach, with bulk ratbaggery and m[...]Rikki and her brother Pete set off for Mt lsa and a questionable foray into the hardened world of mining. ..Lynda House ....Tony Mahood THE ROBOT STORY Prod. company ......................[...]...75 minutes Gauge... ....... ..35 mm Synopsis: A boy and his robot pal are launched into space. SKIPPY AND THE CHALLENGER Prod. company Skippy Industries Limited Scriptwriter ...WiIliam H. May Based on the o g idea by . . . . . . . . . . . . . . . . . .[...]..94 minutes Gauge.... ....... ..35mm Synopsis: The adult Sonny Hammond’s two sons, Tim, aged 16, Pete, 10, and their friends, Skippy The Bush Kangaroo and her baby joey, get involved in an action-filled adventure with a long-shot Australian entrant in the America's Cup trials, with exciting and hilarious[...]......................... ..120_minutes Synopsis: The true story of the trials and triumphs of Australia's golden boy of boxing who fell from grace as a result of World War} s conscription hysteria and was resurrected as a hero, when he died in Memphis, lonely, bewildered and reviled at the age of 21. THE TIME GUARDIAN Prod. company ....... ..Jen-Diki F[...]_. ....35mm Shooting stock .. ...Kodak Synopsis: A sci-fi action movie about a woman who encounters time travellers from the 24th Century in Central Australia. WARM NIGHTS ON A SLOW MOVING TRAIN Prod. com[...]. .. .Bob Ellis Scriptwriter. .Bob Ellis Based on the origin Bob Ellis. Denny Lawrence Photography .[...]imsey Gauge ......... ..35mm Cast: Wendy Hughes (The Girl). Synopsis: The central character is a hooker who works the Southern Aurora. On Friday nights going south and Saturdays going north, she picks up men in the dining car and after conversation takes them back to her double compartment. In each encounter she displays a different character, different styles of dress, a[...]tson Scriptwriter.... .....Don Catchlove Based on the original idea by ..Don Catchlove Photogra[...] |
| [...]mogen Annesley (Sacha). Synopsis: Candy works as a prostitute in Bambi’s Massage Parlour and Healt[...]. She has been to art school and she’s acquired a veneer of sophistication, but feels engulfed by the sheer ordinariness of her own and others’ lives. As the story begins, Candy's work in the parlour is beginning to alter the tenor of her relationship with ten, the man she lives with. She meets Reg, a laconic, enigmatic man, who becomes the object of an obsession. CASSANDRA Prod. comp[...]im Burns (Graham), Lee James (Robert). Synopsis: A beautiful young girl in her late teens is haunted by visions of her past. Her horrific nightmares centre around the violent suicide of her mother which she witnessed as a child. DEAR CARDHOLDER Prod. company ..........[...]ff (Aggie), Marion Chirgwin (Jo). Synopsis: This is a story about a man who exceeds his limit on his credit card, so he takes out five more credit cards to pay off the first. urvey conflnue Wind Machines — Design[...]owers — Studio models and outdoor models. Throw a precise pattern - tanker and high pressure pumps.[...]....John Palmer Director Scriptwriter.. Based on the original idea ...Yoram Gross ..Sandra[...]nner.. .Andrea Johnston Special effects ....... ..A|an Maxwell, Peter Evans, Brian Pearce Construc[...]............ .. Megan Cooper Storyboard artist ...A|fred Borg Mechanic ..David Thomas Best boy. .....[...]on Chilvers. (President). Synopsis: Ground Zero is a contemporary thriller about one man's search for the truth. A film of mystery and intrigue, suspense and action, all of which begins with a seemingly un- related series of events. LES PATTERSON SAVES THE WORLD Prod. company ......... ..Humpstea[...].. ...Diane Millstead, Barry Humphries Based on the original idea by ................................[...]son, Dame Edna). . Synopsis: Les Patterson saves the world from a shocking fate. THE LIGHTHORSEMEN Prod. company ........ ..Picture S[...].... ...35mm Shooting stock . ...Kodak Synopsis: The story of a group of men in an Australian Light Horse regiment in the six months leading up to the charge at Beersheba, the world's last great cavalry charge. TERRA AUSTRAL[...]Scriptwriter. ...Greg Flynn Based on the original idea by. ..Greg Flynn, Yoram Gross Anim[...]inia Rouse Scriptwrite . .Virginia Rouse Based on the origina I ea by .Virginia Rouse Photography .. .[...]onia Borg, Tony Morphett, Stephen Cross Based on the novel, Numunwari‘. by ...Grahame Webb Ph[...] |
| [...]....................... ..lvo Burum Publicity... .The Rae Francis Company Unit publici ,..Ronnie Gibson[...]gher (Garret), Jeff Ashby (Mac Wilson). Synopsis: A huge rogue crocodile terrorises the inhabitants of Darwin. DOGS IN SPACE Prod. comp[...]..Entertainment Media Pty Ltd in association with the Burrowes Film Group Pr[...]ein Scriptwriter .. ..Richard Lowenstein Based on the original idea by ..Richard Lowenstein Andrew de[...]lLuchio), Maitii oies (Mark), Catherine Delaney (The girl), Peter Walsh (Anthony), Caroline Lee (Jenny), Gary Foley (Barry). Synopsis: A fast and furious love story set amid the comedy. chaos and crazy con- fusion of a typical inner-city shared household ‘as the indulgent years of the seventies give ‘way to the harsher realities of life in the eighties. DOT AND THE SMUGGLERS Prod. company ........................[...]35 mm Producer Director .. Scriptwrit Based on the o g Animation director... Ass[...]nds try to stop wildlife smugglers from capturing a Bunyip. DOT AND THE WHALE Prod. company .......................... .[...], o yn oore. Synopsis: Dot and Neptune the dolphin battle to save the life of a beached whale. FOOTROT FLATS — THE MOVIE Prod. company. Magpie Productions Ltd Prod[...]..... ..Tim Adlide Prod. accountants .. ..Androul|a. Moneypenny Services (Australia) Producer's assis[...]e Lai Backgrounds Lay-out artists... Based on the characters created h ......... .. Ani[...]9. Bily T. James. Synopsis: An aminated feature. The adven- tures of Dog and Wal, and the characters of Footrot Flats. GREAT EXPECTATIONS — THE UNTOLD STORY Prod. company .. ...Australian Broad[...]Brand Publicity.... Georgie Bro_wn Catering . ...A & B Catering Studios .. ..ABC, French’s Forest[...]Miss Havisham). Synopsis: Great Expectations — The Untold Story takes the character Abel Magwitch from Charles Dickens’s novel Great Expectations, and builds a story around his life, from the time he was exiled in Australia as a convict, until he made his fortune and returned t[...]Pearce Scriptwriter... ....James Barton Based on the original idea by ........ .. Michael Pearce[...]nchester (Sal), Miranda Otto (Stevie). Synopsis: A high adventure story of a boy's initiation into manhood through trial and ordeal after a plane crash in the remote Australian rainforest. It is a life or death journey that involves magic and rit[...]Rodger Scriptwrit ....... ..Ken Methold Based on the by ........... .. ...Ken Methold Photograp[...] |
| [...]ll (Peta), David Clendinning (Reggie). Synopsis: A two-hour pilot for a family tele- vision series featuring a wildlife photographer, his three children, and their adventures in Australia as a natural history film crew. MARAUDERS Prod. company .....The Magic Men[...]Paul Harrington Casting ................... .. ..The Magic Men Lighting cameraman . .....Mark Savage C[...]raig Kruger), Craig Miles (Boy). Synopsis: After a savage hit and run the victims exact revenge upon their assailant. Reven[...]terrifying relentless violence. PETER KENNA‘S THE GOOD WIFE[...]lding), Barry Hill (Richard Fielding). Synopsis: The film tells the story of a woman who breaks with convention and defies the taboos of an era in the pursuit of self- knowledge and sexual fulfilment.[...]rp Additional material ..Anne Brooksbank Based on the original idea by. ..... ..Jan Sharp Photo Peter[...]ic romance set in Sydney and hailand. SPIRITS OF THE AIR/GREMLINS OF THE CLOUDS Prod. company . . . . . . . . . ..Meaning[...]ptwriters ...Alex Proyas, Peter Smalley Based on the original idea by ....... ..Alex Proyas Photograph[...](Broken Hill). Bryn Whittle (Studio) Catering ..The Happy Carrot (Broken Hill), Alision Pickup (Studi[...]ast: Michael Lake (Felix), Melissa Davis (Betty), The Norm (Smith). Synopsis: A crippled man and his fanatically religious sister live in a shack in the middle of a vast desert. The man dreams of leaving in a flying machine of his own invention. A comedy of the ironic. THE STEAM DRIVEN ADVENTURES OF RIVERBOAT BILL Prod.[...]Paul Williams Scriptwriter. .Cliff Green Based on the novel by. .Cliff Green Photo raphy..... .Diane Bu[...]am Williams. Synopsis: Animated adventure set on the Murray River at the turn of the century. Riverboat Bill and his crew attempt to protect an illegal bunyip from the long arm of the law. THE TALE OF RUBY ROSE Prod. company ............[...]Project development ..Katherine Scholes Based on the original idea by ..Roger Scholes[...]ila Florance (Grandma). Sync sis: Located among the haunting peaks and rooding mists of Tasmania’s Central Highlands, The Tale of Ruby Rose is the story of a woman overcoming an intense tear of the dark. TRAVELLING NORTH Prod. company... ...View[...]Schultz Scriptwriter.. David Williamson Based on the play by. David Williamson Sound recordist .. .Syd[...]r, Drew Forsythe, John Gregg. Synopsis: Based on the David Williamson play of the same name. DOCUMENTARIES AUSTRALIAN WI[...] |
| Australian Dream — The Perfectionist — TheA well established complete service for Features,[...]layback 3.5 sq. ft. sound stage that accommodates a 120-piece orchestra - Full Dolby noise reduction 0 Complete sound mixing facility Gsedits Include: “The Flying Doctors” 1983 T.V. Series “Robbery Under Arms” 1984 Feature “The Henderson Kids” 1984 TV. Series “Playi[...] |
| FOR THE SUPPLY OF ALL FILM PRODUCTION TRANSPORT CONTACT[...]st: Thea McLeod. Synopsis: Three programmes from a six—part series looking at Kakadu, the Daintree, and South-West Tasmania (The Gliders). The concept of the programmes is based on the need to reach audiences not already aware of the urgent need to preserve the relatively few remaining wilderness areas in Aust[...].... ..ABC Producer .John McLean Director.. .John A.C. Darling Scriptwriter ..lohn A.C. Darling Photo raphy. ..David Sanderson Soun re[...]Shooting stoc .. ...7291 and 7294 Synopsis: A definitive view of Balinese life style, history a[...]..16mm Cast: Bob Merritt (Presenter). Synopsis: A home is more than a house. This film looks at how Aborigines are building their own houses and the effect that this is having upon their lives, their communities and th[...]More than one in 40 Aboriginal babies die within a year of birth. More than one in two Aboriginal men over sixty suffer from the eye disease, trachoma. This film looks at a movement towards radical improvements in Aboriginal health care. We meet the Aboriginal health workers of the 21st century. The‘fi|m also provides an intriguing look into traditional Aboriginal methods of healing. THE CHINA MOON SERIES Prod. company ..... ..Cinematic[...]returns tochinaandreflectsonthedifferencesbetween the two cultures in an attempt to establish its identity. The documentary series focuses on four subjects: ‘Chinatown to China‘, the silk industry, traditional medicine and Chinese[...]e... .16mm Shooting stock .. .....Fuji Synopsis: A documentary film set in the fish- ing grounds of Northern Australia. The film loilows the crew of a prawn boat on a six-week fishing trip. At sea, the personal drama of the young men’s lives evolves. Relations are stretched to the limit as they work around the clock, a schedule dictated by the drive to catch prawns, to strike gold. ECHO OF A DISTANT DRUM Prod. company. . Orana Films Pty Ltd[...]Synopsis: An alternative history of Australia. THE GREENLAND EXPEDITION Prod. company... ....Pickwoo[...]reg Burgmann ...Tony Patterson Synopsigsz A do ry led by Earle Bloomfield to the east coast of Greenland retracing the 1200 km journey of English explorer Gino Watkins.[...]7291 80 —- September CINEMA PAPERS Synopsis: A documentary that examines the political considerations that affect safety in the Western Australian electrical industry. THE HIDDEN PATH (working title) Prod. company... ...[...]ing stock Eastman Kodak Synopsis: Documentary on a marine archaeo- logical exploration of the Cootamundra Shoals in the Timor Sea. Divers search for eological and archaeological information a out the climate, sea level and coastal environment of the area. from a period of 40,000 years ago. HOW THE WEST WAS LOST Prod. company ....Frends Film Prod[...]writers . ...David Noakes, Paul Roberts Based on the book by Don McLeod Photography . . . . . . . . .[...]doo, Crow Nyangumarda, Snowy Judamai, Don McLeod, the Strelley community. Synopsis: How the West Was Lost is the story of the Aboriginal pastoral workers’ strike of 1946-49 told through a combination of documentary and dramatic reconstruction. Aboriginals in the north-west were virtually slaves to the large pastoral operators until they began to question their lot with the help of white prospector. Don McLeod. In 1942, McLeod met with hundreds of Aboriginals from the Pilbara region and, after six weeks of meetings it was decided the only way to achieve justice was to strike, after WWII. This is the story of their struggle as told by those who live[...]..16mm Cast: Jack Pizzey (Presenter). Synopsis: A look at the Australian way of life as seen by an ‘outsider’. THE LIFE IN A DAY OF BARRY HUMPHRIES (working title)[...]and Able 0 Promises to Keep - Vietnam - Harp in the South Camera assistants .................. ..[...]Baker Cast: Brad Robinso , umphries. Synopsis: A chat and a stroll with Barry gumphries from St. Kilda pier[...]d Length ............ .. ....50 minutes Synopsis: The fe and the 9 controversial suggestion that life did not begin on earth but was seeded from the depths of space. LINK-UP DIARY (working title)[...]or ............. .. ...David MacDougall Synopsis: A v'erite-style account of a week on the road with the workers of Link-Up, who search for missing persons from Aboriginal families broken up b the policies and the activities of the NSVJ Aborigines Protection and Welfare Boards bet[...].. Length. Gauge..... Shooting stock .. Synopsis: The f tralian artists and their work. LOUDER THAN WO[...]m Cast: Ania Walwicz, TTO, Eric Beach. Synopsis: A documentary presenting perform- ance poetry. MAKE WAY FOR THE MACHINES Prod. company. Jndependent Productions[...]....... .. ....50 minutes Synopsis: investigates the effect of new technology on work and leisu[...] |
| [...]NED FOR OUR RELIABILITY 6’ PERSONAL SERVICE I I The leader: in specialised location facilities, trans[...]zelJo ner Gauge. .Betacam Synopsis: Witch Huntiis a story of trial and synopsis: Fourcpeople, an unus[...]error, innocence and guilt. it was an attempt to a peacock spen a night together. 1stasstdirector.. .....J.JhaIa synopsis: Episode one of the documentary find a crime _— the socalled Greek C0i1~ Mixed at .... .. Palm Studios series, Our Second Century, on the impact of splracy — but it turned into a massive error in THE MAG|c PORTAL l-3b°l’3l°rY -» .... -.C0l0rlIl[...]gical developments iudgement that was revealed as a conspiracy Producer Lindsay Fieay Lab. liaison.. .KerryJenkin during the last century. Victoria's Children of a far larger order._ Elements of this con— Direcioi Lindsay Fieay Lenglh.. ..50 minutes shows the effect on the social order of the spiracy are still unfolding. Based oi',i“i‘ii[...]Gauge... ..... ..16mm moral changes stimulated by the rise of the by ______________ "Lindsay Fieay S"'°°"”9 “ .ma." K°d.ak P°F’“'a’ l-"955! 1”‘? mass mama and me A WORLD OF FEST“/ALS Production advice George Borzyskowski sV"° sis: 5"” 9" "ell °" '°°a“°" '" '"d'.a' de"°'°p”"em °fs°°'°'°gy and psy°h'a"y' Prod company .....Barinder Productions Laboratory. ............. ..Cinevex this ocumentary features the last nomadic ' iiiiiiii H Pty Ltd Budget $7 800[approx.) tribe of India, the Flabari, who are among the VINCENT, THE LIFE AND DEATH OF Producer m___Jo Barrow Lengih ' vii miriuies most distinctive of the traditional cultures of WNCENT VAN GOGH Directors[...]. . . . . ..l|lumination Films 8 N DB8[il:'iYB5l0a”9 Synopisi . d_ th M i F naia Lifigg ‘‘‘[...]_ ri avi arrow, 5 aces I lscover e agic_ 0 , W A PALETTE FOR A SWORD Producers any ewevlllill Doe?/liaess C p Ba[...]itor ............... .. .CoIin Greive However, as the film progresses, it also Dis‘-°°"“F’3”V -~R°"l“ Films Based on the original idea by.. ..PaulCox EX9C-F>l'0dU°9l-- ~-Bob Plaslo transports them to reality and also into the P'°d”°9’-- --Ned Lame" Prod designer Asher[...]ha"‘ Prod‘ assistant" Fiona Eagger 5Yn°PSl53 Aa U the present-day people engaged in celebration MiDDR":[...]e Soun recordist . .... ..Pat Fiske C to reflect the saga of events and changes that . . - amera oper[...]ke‘ costume construction Beverley Boyd Based on the original idea i h i Synopsis: A Palette for a Sword is a docu- Carpenter..... ...walrersper| 5Ho31's _ ~ >[...]. ezer rosk commitment, culture and politics. It is thea Gauge ..... .. 35 mm -- wsabrifia Sci‘;'m'i% dancer, igho comei to Australia to esdcape the Shootinrii stoic ii .......Fuii THE ANNIVERSARY ' °'5 ----- -- David Atkinson- growing angers o anti-semitism an ascism Synops 5: im a out t e ie an wo o i i _ ii - in their Polish ho[...]nt van Gogh (1353-1890) Pmdicompany ‘ ‘ ’ S aa vital artistic movement mFlod Wayman mma Ion r 1 s brina schmid searching for an an to reflect the great social WAR BR"-‘ES Rod wayman Camera °Pe'a °’-"'- a . . - - - - - Neg. matching..... Warwick Driscoll upheavals of the thirties and forties. (working title) T W Terry c[...]ding tlgenslh -6 X 60 mlirgiiitieifi Editor.....a...Eéi.s ilii-liiciiliijlclfiiid li:i;z_l;(e;-rgigéér /A233: 8:310)" studios .FiIm Soundtrack Australia au[...].. _ _ , I . r _ z_ow M- d r soundrirm Synopsis: A documentary about the parrots of Channel Communications Wardrobe.._.. Dianne Glulierl L;’r‘,f,,a"§‘,,, C-rrievex Australia. Prod. iaccountanl .[...]itIedesigner..... ...RayStrong Len in __ Gminutes A ROUGH CUT gyarlilgsgi-s_ war Brides is me story-aigbiiggngi gull photography Tibori-ieg_[...]ingstoc ...7291ECN Prod company no” hcufinci the 1_5,ooo Australian women who married i_ab°rai°r[...]aS‘°’.'V.e Length. .......25 minutes evoking a dream in Rebecca’s mind. Where Gifford Trebilcock ”"a.”°°“""° °a"9d OPe’a"°" W3’ B."d° ‘°l°'” Gauge.. .Super 16 for 35 mm release unfolds the story of Grosmond, supposedly a Photography ....... .. ii ih d i iii , , , _ , So[...]loyd Cunnlnglon (Nigel). Maureen Grosmond laments the loss oi Middriffini, the Editor ....... .. Gifford Trebilcock °XP9"5"°°[...](Eric). Rowena Mohr (Candy). mysterious identity is eventually revealed, and Leon Hall. wines oF THE STORM Michael Duffialcl (Wilbur). Rebecqa Glbney[...]raeuang Synopsis: Nigel and Cynthia Hamilton hold a Lighting.... _yte D"?°‘°':- . . h dinner.-par[...]ity John Goodrich, S°"'P‘W”‘°i'i H°‘”a'd G’‘"" _$ with disastrous results. A madcap comedy. Producers ________________________[...].... ..Poli Dedes. T ‘i‘i‘i'ii-‘c‘éi~i'a‘i~i‘e"c'ic_ iiéid Beiryman D,l° gigs?» ‘ Johnynuane prime rapriyr Jririgori Maxwell G°"da”aS'°"aA '°r """ ‘Ken Saiiows Synopsis. ony is con ronte with his own 5Y"°PSlS5 A QFOUP Of YOUHQ De0P_l9 l0°l< at life ‘ 93 '°[...]- _ 55°“ l”° ". '. - sexualit when he meets a homosexual. in the northern suburbs of Adelaide for them- ioolagitf[...]Ellery Ryan Prod. company ...Odyssey Films VlCTOR|A’S CHILDREN and 55 3‘ °"°9 3” elegy arid 3[...]Films Limited Make-up .. Vicki Friedman Based on the original idea Scriptwriter.. ...... ..John Baxter[...]d On "19 Oflglna ' 93 Producers ..... .. .Barbara A. Chobocky, Set dresser.. Hugh Marchant Photography ..Marcus Corn by . . . - - - - - » - - - - - - ~ AA. Chobocky Neg. matching 1 .... ..Cinevex Marcus Adler Scri twriters. ....Barbara A. Chobocky, Edge numbering Oliver Streeton Editors[...]iiag C Nigfl|'CUS~1C0|’n Please help US keep 1 IS survey Jeffrey Bruer Flunner. en a a ompose_r . . . . . . . . . . . . . . . .. eter ye[...]h b accurate PM"? K3"‘V 33" °" §3?l£‘i.9.T.a."“’ ...i§ri§§¥ alflil C"“°"”[...] |
| [...]), Adrian Ward om . S nopsis: An alien spacecraft is the last thing C ris expects to find in his backyard. Even more unexpected are the exciting events which follow. A fantasy adventure featuring a teenage boy’s encounter with a vicious alien. ONE HUNDRED PER CENT WOOL Prod. c[...]Mahood Scriptwriter. .... ..Tony Mahood Based on the original idea by ............. .. ...Tony Mahood[...]Charlie). Bruce Knappett (Taxi driver). ynopsls: A country girl comes to the city. QUICK WINDOW .... ..Kate Jason-Smith Kate[...].Pau|i Kaukainen, Konstantine Matsoukas Based on the original idea b ................ .. SOU>i'td reco[...]ah Perry (Mermaid). Synopsis: Quick Window shows the flesh, the flash and the fish of Sydney as seen through the eyes of a new arrival. The story follows Richard's gradual recognition, through memory and fantasy, of the reasons why Maria might possibly have wanted to w[...]is. e existence of FY multiple personalities. It is about a man who kills himself in a most unusual way, illustrating that hell isn't such a bad place in comparison with the way we live. Events reveal that reality can somet[...]Editing assist .. Colleen Bauer Additional sound a tt Montgomery Mixer.................. ..Ian McLau[...]on (Michael), Michelle Martin (Nikki). Synopsis: A study of two friends who are linked by a tragic event, and the inevitable con- frontation with this event. An exploration of the boundaries between memory and remembrance, the point where past and present blur into one. THE SPELL MISSPELT Director . . . . . . . . . .[...]...... ..16mm Synops . g g , e Fabulous Georgie, is agog to find his stage show inter- rupted by the appearance of a messenger from the Angel of Death who has come to beg a favour from a mortal. 82 — September CINEMA PAPERS Producti[...]ntinued (t=_~4'i'i?EME CLOSE-UP) (cLosE—uP_l THE TRAVELLER’S TALE Prod. company... ...Sncw Gum[...]Based on the story by .Michae| Bates Photo aphy. . . raham Bin[...]effec s .. . raham Binding Music performed by.. ..The ABC Sinfonia Laboratory .. ...CoIorfiIm Lab. lia[...]s (Traveller), Franc Sauie (Stranger). Synopsis: A traveller in the Snowy Mountains has an encounter with the supernatural. UNDEAD Prod. company .. ...The Magic Men Producers . . . . . . . . . . . . . ..M[...]Cast: Richard Wolstencroft (Charlie), Cassy Lane (The undead girlfriend), Craig Miles (Sam Savini). Mar[...]an), Troy Innocent (Wi ly O’Dona|d). Synopsis: A‘loner feeds abducted children to a rotting, hungry denizen of the dead. Complica- tions arise as human remains are reanimated and the urban landscape is awash with ravenous flesh-mongers. VIOLET Prod.[...]Scriptwriter .. .....Michael Cordell Based on the original idea by .............. .. ..Michaei Cor[...]utes Gauge ...16mm Synop . an old Y woman who is not what she appears. GOVERNMENT FILM PRODUCTION[...]sbury Scriptwriter. ........ ..Ted Myers Based on theis series of twelve videos for use as a resource in schools. It is a compilation of archival foota e arranged according to theme. In Women n change, the themes are: women in wartime, wife and mother, women's work, issues, changing opport[...]Co emogiannis Based on the original idea by ............ .. .....Harry Bardw[...]oc .. Eastmancolor Synopsis: Austral an nnovation is an incisive and informative look at innovation in Australia. It examines past and present achievements and the imponance that innova- tion has in shaping Austra[...]raham Chase Scriptwriter ...Graham Chase Based on the original idea by .Graham Chase Photograph ..Kerry[...]..16mm Shooting stock.. ...Eastmancolor Synopsis: The f e story of life at The Sydney Morning Herald. The film looks at the daily process from the editorial decision- making, the news gathering and the meetings, to the late night rolling of the presses. FINANCIAL MANAGEMENT IMPROVEMENT PROGRA[...]ant.. ..Vicki Sugars Cast: Andrew H . Synopsis: A promotional video about the Financial Management Improvement Program. Fronted by Senator Peter Walsh, it is followed by interviews with financial controllers[...]ments. Basic principles of FMlP are outlined with the aid of graphics and a presenter. HOMELESS Prod. company.. ...F[...] |
| [...]tant .............. ..Neil Cousins Synopsis: For the International Year of Shelter, a program of housing trends in Australia. .Kerry B[...].. .......... ..Bill Inglis Synopsis: In Flight is a simulated flight of ajet airliner over the construction site of the new Brisbane international Airport project. The film is updated every year as the work progresses. It is shown to the public in a specially built fuselage of a modern jet. THE MOVERS Prod. company . . . . . . . . . ..Film Au[...]l Brealey Scriptwriter. .....Bruce Petty Based on the original idea by... ..Bruce Petty Photog . ruce[...]is (Bart), Aussie Merciadez (Helen). . Synopsis: The Movers is a comic documen« tary about technology and the search for the good time. A man and a woman push a lounge chair through five different periods of hi[...]and adding domestic appli- ances to it until, at the end of the film, they have the chair piled with devices on a ramp ready for blast off. During the countdown they are trying to work out whether they have had the good time or whether it is still to come. PENNY POLLARD’S DIARY Cast: D[...]ite Scriptwrite .. David Haythornthwaite Based on the ..Robin Klein Photography ....... .. ....Kerry Br[...]anager .. Corrie Soeterboek Prod. secretary .... A-Di HGWY Prod. accountant Neil Cousins 2nd asst di[...]lard), Patricia Kennedy (Mrs Bettany). Synopsis: A dramatized documentary from Robin Klein's well kn[...]tes Gauge.... ....... ..35mm Synopsis: Rainforest is about the tropical rainforest wilderness of northern Queensland. The precious nature of the place will be con- veyed using animation and Jean[...]ccountant ............. ..Nei| Cousins Synopsis: A documentation of Aboriginal rock painting in the Northern Territory. SOUNDS LIKE AUSTRALIA . . .[...]opsis. Sounds Like Australia . . . Natur- ally ls a music film/video featuring Australian musicians M[...]lian designed computerised musical instrument — the Fairlight. Using the Fairlight, they bend them tonally and rhythmicall[...]ar16 mm Shootin stock ...... ..Eastman Synops s: A film at rock climbing and encourages others to try the sport. The film will feature experienced women climbers. G[...]gth .25 minutes Gauge. ......... ..BVU Synopsis: A film demonstrating women work- ing in the technical areas of the media. KIDS AND SPORT Producer .[...]ength .20 minutes Gauge. ..... ..16 mm Synopsis: A film to delve behind the bland scientific walls of an herbarium, to reveal the rich matrix of history. scholarship and common un[...]sin West (Julie), Thomas Hutching (Simon), Towser the dog. Synopsis: Simon and Julie discover the poten- tial for the use of renewable energy resources. A video for use in primary schools. WONDERS DOWN U[...]es Shootin stock.. ...Betacam Synops s: Provides a general view of the range of high-quality products made by inmates in[...]ent institutions and can be purchased by firms in the private sector. WOOD MACHINING Prod. company..[...]ength ............. .. ...13.5 minutes Synopsis: The video demonstrates the training of inmates of NSW State prisons in the use of a variety of woodworking machines. Skills acquired through this training are part of a rehabilitation program. TASMANIAN FILM CORPORATI[...]ombined to showjust what can happen in one day if the fundamental rules of road safety are forgotten; PROMOTION AUSTRALIA Promotion Australia is part of the Depart- ment of Sport, Recreation and Tourism. P[...]ompany.... Producer Director .. Gauge Synopsis: A look at one of Australia's unique ‘open air’[...].............................. ..Video Synopsis: A look at t_he line craftsmanship that goes into the making of Australian harps, violins, pianos and g[...]Hargreaves Gauge ............. ..Video Synopsis: A video about the flora and wildlife that are protected in Australi[...]Video Synopsis: One of Australia s unique expons is chasing herds world—wide. WORK RESOURCE CENTRE[...]. Kenning Gauge .............. ..Video Synopsis: A profile of Eamon Burke, cam- paigner for peace, who, at the age of eleven. has gained notoriety around the world. CONSERVATION VOLUNTEERS Prod. company.... Producer Director . Gauge Synopsis: A group of committed young and old people rebuild b[...]ideo Synopsis. Ultra-fine fleece developed within a sheltered workshop proves a success. QUESTACON Prod. company[...] |
| [...]ghes Scriptwrite an Haworth, Sally Webb Based on the original idea by .................. .. ....Susan[...]6mm Cast: sugan Haworth (Kate Morris). Synopsis: A contemporary story of a woman's relationship wth the delinquent girl in her care. THE AUSTRALIAN CAMELEERS Prod. company ...Media Worl[...]... ,1s mm Shooting stock. .....Kodak Synopsis: A dramatized documentary on the plight of the Afghan cameleers brought to Australia to open the outback. BLACK BEAUTY Prod. company.. ..Burbank[...]Phillips Scriptwriter.... ....J.L. Kane Based on the novel by ..Anna Sewell Editors Peter Jennings, Ca[...]. ..16mm Shooting stock . ..... ..7291 Synopsis: The autobiography of a horse, fol- lowing the life of Black Beauty through a series of different owners, grooms and companions, and the changing circumstances of his life. THE BREEZE Prod. company. ..Moshi Productions[...]..75 minutes Gauge.. .._.....16 mm Synops . ry of a group of friends who become involved in something over the top of their heads. They find themselves drawn into a vicious circle. FIELDS OF FIRE Prod. company ..[...]ouglas Scriptwriter... ....Brian Douglas Based on the by ....Brian Douglas Prod. associate .. Kent Chad[...]ength ..13 x 30 minutes Gauge Synopsis: In the near future, an out-of-work theatre troupe inadvertently prevent the piracy of Australia s underground power source by a most devious and deadly organization. LONG TAN Prod. company ........... ..The Long Tan Film Co. _ 4 ' (proposed) Scriptwriters[...]ay, Bruce Horsfield, Julianne Horslield Based on the original idea by ................. .. .Bruce Hor[...]10 minutes Gauge... .......... ..35 mm Synopsis: A recreation of the Battle of Long Tan. when an Australian patrol of[...]ff more than 1000 experienced Viet Cong. Based on the survivors own gripping accounts, the story illustrates the thesis that the war in Vietnam was won militarily, but lost polit[...]tures Pty Ltd Director ..... .. ..Daniel A. McGowen Scriptwriter... .......... ..John Nash Based on the story by ..Daniel A. McGowen Editor .................................[...]up—and—coming barrister becomes mesmerised by the sight of beautiful women. NANCY WAKE Prod. c[...]writer ................. .. oger Simpson Based on the novel by .. Russell Braddon Script editor ..... .[...]minutes Gauge... ............. ..16mm Synopsis: The story of Nancy Wake. Austra- llisin heroine of the French Resistance in World ar 2. PALS Prod. com[...].......... ..Rob George, John Patterson Based on the original idea by ...... ..Rob George,[...]-old Sammy runs away and joins his father, Oscar, a stuntman who lives a roving life following the lilms and shows around the country. His grandparents hire a detective to bring the lad back. The two fugitives find themselves in thrilling situations trying to remain one step ahead of the law. PIGS WILL FLY Prod. company ..............[...]........................ ..Craig Cronin Synopsis: A zany comedy. PIPEDREAMS Prod. company ..........[...]..Bill Hughes Scriptwriter .. Mary Gage Based on the original idea by.. ..Bill Hughes Assoc. producer[...]ERS pioneering engineer. C.Y.0’Connor, the man who brought water to the Kalgoorlie goldfields. PRINCE AT THE COURT OF YARRALUMLA Prod. company . . , . , . .[...]on Synopsis: Dracula comes to outback Australia. THE RED CRESCENT Prod. company . . . . . . . . . . .[...]ector... . .HenriSafran Scriptwrite . ' Synopsis: A Iler. THE SHIRALEE Prod. company.. ..SAFC Productions Ltd[...]rge Ogilvie Scriptwriter. .Tony Morphett Based on the novel by . ..D‘Arcy Niland Photography .Geofl S[...]oni Hazle- hurst (Lilly). Syno sls: To Macauley, the child was his 'shira ee’, a burden and a handicap, and also a constant reminder of bitterness and failure. It was his nature to do things the hard way: the way he saw it. there was no other choice. What he hadn't taken into account was the child's overwhelming need for love. SONS OF STEE[...]Keady Photography .. ...Joe Pickering Synopsis: A fu uris ic a ven ur set to power- ful heavy metal rock 'n‘ r[...]Fantasy and science fiction are bound together by a band of likeable, old fashioned heroes. TALL SHI[...]Bill Hughes Scriptwriter. .Denise Morgan Based on the original idea by. ...Bill Hughes Exec. producer.[...]venture series encompassing an epic voyage aboard a barquentine sailing ship. Contemporary adolescents sail from Broome to Sydne to arrive in time for the ‘Grand Parade of all‘ in January 1983. THOSE[...]hillips Scriptwriter. ..Stephen MacLean Based on the novel by Ruben Louis Stevenson ' ........... ..[...]d Length... Gauge... Shooting stock Synopsis: The classic adventure story of pirates and buried treasure. WATCH THE SHADOWS DANCE Prod. company . . . . . . . . . .[...]fe Scriptwriter .. ..Michael McGennan Synopsis Ac a involving martial ans. PRODUCTION AUSTRALIA . . . TAKE A BOW Prod. company ................... ..Soundsen[...]an Morris Dlrector.... ....Brian Morris Based on the original idea by ........... .. ....Brian Morris[...]raphy. Wildlight Photo Agency Publicity ..... .. .The Write On Group Unit publicist Sherry Stumm Labora[...]16mm Shooting .. . gfa XT125, XT320 Synopsis: A contemporary look at life in each Australian stat[...]tory. Pictures, music and sound effects will tell the story — there will be no dialogue or narration. The series is endorsed as a Bicentennial project and is sponsored by IBM Australia. THE FAST LANE Prod. company Dist. company.[...]ohn Alsop, Deborah Parsons, Robyn Watton Based on the original idea by ....... ..John Clarke, Andrew Knight Sound recordists .......................... ..Peter Mi is, Tim Wilton Editors .............................[...]ard Healy, Terry Bader, Peter Hosking. Synopsis: The events surrounding a pair of down-at-heel private eyes. THE FLYING DOCTORS Prod. company ,.Crawford Pr[...] |
| [...]s leading film and television magazine six times a year, for less than it costs you to buy it at the newsstand. l ‘d like to subscribe to Cinema Pa[...]years at $45 1 year at $25 3 years at $65 I am a new subscriber I am renewing my subscription. My record number is [:| " Please tick the appropriate boxes. See over for details of overs[...].............. ..Postcode............ I enclose a cheque for $ ' (payable to MTV Publishing Limited) Please debit my Bankcard/Mastercard to the amount of $ ' Iii |JLiL_i VHHJLJU Expiry date o[...]or other publications in this total. Please place the completed order form in a sealed envelope and mail to: CINEMA PAPERS[...] |
| [...]lication orders with your subscription details on the other side of this form. Back issues Add to the price of each copy Surface $1.20 Air $3.35 Surf[...]each 7 or more copies: $2.50 each Please enter the numbers of the back issues you want and the total amount in the appropriate boxes (see page 96 for details of ava[...]Numbers: $ Other publications Please write the abbreviated name(s) of the publication(s) you want and the total amount in the appropriate boxes (see page 96 for details[...] |
| [...]Forrest), Terry Gill (Sgt Carruthers). Synopsis: A Royal Flying Doctor Service is located in the outback town of Coopers Crossing. The two doctors, Tom Callaghan and Chris Randall, not only contend with the medical challenges, but also with the small community in which they live. THE HENDERSON KIDS Ii Prod. company ........[...]l Aitkens, Bradley Kilpatrick. Synopsis: The further adventures of Steve and Tamara Henderson and their friends coming to grips with file in a tough suburban environ- ment. HEY DAD ....Jaca[...]vin Burston Scriptwriter .. .Gary Reilly Based on the inal idea by ....Gary Reilly Executive—in-charg[...]han (Jenny Kelly), Christopher Truswell (Nudge). THE LIVING BORDER Prod. company ....................[...]Scriptwriter.. ..Graham Jones Based on the original idea by ..Graham Jones Photog David Rus[...]e Shooting stock ........ ..Scotch Synopsis: The L g — a portrait of the Murray River and its people — portrays the past, present and possible future of Australia's greatest river. The documentary depicts the role of the river in the development of Australia and its still enormous p[...]les Turner), Judi Farr (Amy Davidson). Synopsis: A miniseries on the life of Nellie Melba. NEIGHBOURS Prod. company.[...]ript editors ..Rick Maier, sabelle Dean Based on the original idea by ...... ..Reg Watson Sound record[...]Sutherland, Rosemary Gearon Off-line editing .. The Editing Machine Music editor .. Warren Pearson[...]ne‘s got ‘em: neighbours. Ramsay Street . . . the stage for an exciting drama serial drawing back the curtain to reveal the intrigue and passions of Australian families and their neighbours. THE 02 SERIES Prod. companies .................. ..E[...]ood Scriptwrite . ........ ..John Emery Based on the origina I ea by ................................[...]rence Kell ), Glynn Nicholas (Glynn), John Emery (The octor). Synopsis: The funding pilot of a dramatized documentary series on Australia. It will be followed by 13 or 26 half—hour episodes aimed at the American children’s television market. PRISONE[...]y McDonald, John Coulter, Bob Greenburg Based on the original idea by . . . . . . . . . . . . . . . .[...], Michael Win- chester (Marty Jackson). Synopsis: The powerful and unique story of women in prison. This story, which tells of the lives of women in prison, the crimes they com- mitted and their personal hell behind bars, is emotionally packed dramatic entertainment. ROB R[...].Roz Phillips Scriptwriter .Rob Mowbray Based on the novel by. .Sir Walter Scott Editors .............[...]ott (Duke of Argyle). Synopsis: Rob Roy MacGregor is the Scottish version of Robin Hood, who cleverly tricks the evil Duke of Montrose out of the taxes collected from the villagers. He is declared an outlaw and has many exciting e[...] |
| [...]evens Story editor.... .... ..Bevan Lee Based on the original idea by ...............................[...]t know- ing their relationship, and that was just the beginning of the intrigue and drama! One of Ausfralia’s most pop[...]WILLING AND ABEL Prod. company .............. ..The Willing and Abel Company Pty Ltd .Lynn Bayonas .[...]Dane Carson (Swann). Synopsis: Willing and Abel is a small company established by our two central char[...]wrence Scriptwrite .. ...Anne Brooksbank Based on a National Times article b ....Lyndall Crisp Photo[...]asst director. 3rd asst director. Continuity.._. a raine Quinnell Casting .Maizels & Associates Focu[...]e Connor (Grant), Philip Quast (Peter). Synopsis: The story of the tension that develops between two friends who mar[...]PAPERS Synopsis: Twenty—two episodes depicting the lifestyle and experiences of a family-run Queensland Barrier Reef resort island.[...]Barton (Hobo), Jim Larn (Johnny Wah). Synopsis: A suspenseful and moving story of a young country schoolgirl. Sexually attacked by he[...]and ignored by her mother, she runs away alone to the raw life and pitfalls of the city streets. DREAMTIME — THE CREATION[...]id (Woman), Tony l-iopkins_(Man). Synopsis: This is the third in a series of short dramas based on Aboriginal legends. It deals with the Creation of Man and Woman in the Dreamtime. DREAMTIME — THE STOLEN CANOE[...]mina), Anthony Hopkins (Bangura). Synopsis: This is the fourth in a series of shon dramas based an Aboriginal legend. it is the tale of a boy and his stolen canoe; of selfish- ness and greed personified; and a lesson in sharing. Moreton Island locations become the beautiful authentic environment in which the story first took place. THE FISH ARE SAFE Prod. company ..[...]hurst Scriptwriter.. ....Deborah Parsons Based on the original idea by ..... ..Deborah Parsons Photogr[...].75 minutes Gauge ..... ..15 mm Synopsis: Lena, a 34-year-old woman and Ned, a 60-year-old man drift through life unaware they are growing older daily. When they meet at a country hotel, a friendship develops with more entangling ramifications — much to the irritation of both. THE HARP IN THE SOUTH[...]ge Whaley Scriptwriter. Eleanor Witcombe Based on the .... ..Ruth Park Photography... ..Paul Mur[...] |
| [...]t director Prod. manager.. ..Grant Hill Synopsis: A miniseries based on Ftuth Park's Alan Maxwell 3rd[...]than Unit manager urray Boyd bestselling novel of the same name. Choreography ...NeIl Challingsworth C[...]ttomley Continuity .. .Karlnda Parkinson Based on the original idea I _ Lee Smith Key grip ,.__lan Ben[...]are riflin Clapper/loader. .. .Laurie Balmer prod a'egr'§i‘1'é'r"" ;iim'Mulr‘r5a5° Still photography. ..vivlan Zink, Make—up...[...]eseh props _____ _ ____l:loy Eagleion stories are the core of hisiachievement and his Post-production s[...]mm Wrangler. John Edwards Assredltor _____ _, _Sa5a Viiacek including Mrs Spicer, Jimmy Nowlelt. Dave[...]aldireciorr “Nathan waks Regan, Jack Barnes and the dashing Maggie Cast: Tom Jenn g yle), chrisro. Pu[...]Title designer ....Lynne Barrett D'5l' °°"‘l3a”V" '"~:'Tli°'" EN" lcikfirlie Ca5ll9$)- Graham[...]your-i-n Lunch Director, .Brian Douglas Synopsis: Thea ' 93 V families alienatesthe population of a small (Sail! Ga‘/"iii Maggie N'llZ9'l3b0B ifil[...]John Phillips 5iY”°P5':,-Id e 15_h°i’Y 0 if A<'iVi1n F1“. "fr Synopsis: An original 90-minute[...]..Bryce Perrln Prod compan ABC ear y seventies an a e over a run own ou — Exec. producer. ..Fllchard Tanner[...]il|ip Collins '5 ' company‘ "ABC l CAN GIVE YOU Athe play by ..... ..Gilly Fraser Wardrobe... Frankie[...]s Professor Peter Singer, Professor Arthur Birch, is, 353, direr,ir,r'j_' " 300,, Faerie; Sound record[...]- - - - - - » -Jan Valle Cast: Ro , y. Synopsis: The control of Life. Tomorrow's i\'/‘id McC|e|land P'°d- °l95lQ"9'-» _ Ursula i<°lb9 Synopsis: The visit by a man to a prostitute people — Today! Australia's stance i[...]da MCAVOY C°iTtl30Ser-~ MiClta9lAihel‘l0_h and the psychological trauma the meeting next stage of evolution. Casiin Jennirermien EXEC-PVOUU ~ ~~l°h“ D’r1V'S 99“9'a'e5- Casting a;gt.... Irene Gaskell P’°"~ ”‘a’.‘39e"~ -C"‘"‘V ""‘."e’ MUSICAL MARIN[...]F’r0dUCti0rtS Pty Ltd F°°“5 l’“lle"'“ aéd w'lm.°“ Asst art director .....Cait Wait Pr[...]Catch 1-2-3 reknown music composer David Fanshawe is ai§!"”9- And (5; e Beverley Campbell-Jackson[...]Deue| Droogan Odyssey’, which will premiere for the 1988 l£’l"t‘)° 3:‘ "i" ii Catering .. ..F[...]THER TOM r C35‘: Aime Gllflg lA”':i'°)ik F’a”°°'5 D”"°Ve" Length. 48 minutes Casting ..[...]n Prod. company... .....Crawf_ordProductions (l’aA“ °i'i9'"3 90'm'”Ul9 '3 9m°Vle« puppete , 9[...]Asst grip. .,Ftourl<eCrawford-Flett lan Crawford. A PLACE To CALL HOME Synopsis: A charming puppet story capturing Gaffer ....Rick[...]ompany ............................. ..Crawfords, the unique flavour of an Australian Christmas. Electr[...]mal friends. Santa brings Matthew Inglis Based on a novel by ..James Aldridge Jeri Taylor, a snowball, but it is too heavy and the sleigh Boom operator. ...Paul Gleeson Sound recordlst ..John Mclfierrow Ross Matthews crashes in the bush. Sally and her bush friends Art dire[...] |
| [...], Antony Ginnane, Gillian Armstrong, Ken G. Hall, The Cars ThatAte Paris. Number 2 (April 1974): Censor[...]Roeg, Sandy Harbutt, Film under Allende, Between the Wars, Alvin Purple. Number 3 (July 1974): Richar[...]Papadopolous, Willis O'Brien, X/Villiam Friedkin, The True Story of Eskimo ell. Number 10 (September-[...]obb, Samuel Z. Arkoff, Roman Polanski, Saul Bass, The Picture Show Man. Number 12 (April 1977): Ken Lo[...]o Tosi, John Dankworth, John Scott, Days of Hope, The Getting of Wisdom. Number 13 (July 1977): Louis[...]er, Terry Jack- man, John Huston, Luke's Kingdom, The Last Wave, Blue Fire Lady. Number 15 (January 19[...]rancois Truffaut, John Faulkner, Stephen Wallace, the Taviani brothers, Sri Lankan cinema, The Irishman, The Chant of Jimmie Blacksmith. Number 16 (April-Jun[...]om, John Duigan, Steven Spiel- berg, Tom Jeffrey, The Africa Project, Swedish Cinema, Dawnl, Patrick.[...]lle Huppert, Brian May, Polish cinema, Newsfront, The Night the Prowler. Number 18 (October-November 1978): John[...]onalism, Japanese cinema. Peter Weir, Water Under the Bridge. Number 27 (June-July 1980): Randal Kleise[...]Richard Franklin's obituary of Alfred Hitchcock, the New Zealand film industry, Grendel Grendel Grende[...]ka, Stephen Wallace, Philippine cinema, Cruising, The Last Out/aw. Number 36 (February 1982): Kevin Dob[...]chael Rubbo, Blow Out, Breaker Morant, Body Heat, The Man from Snowy River. Number 37 (April 1982): St[...]r, Norwegian cinema, National Film Archive, We of the Never Never. 88 — September CINEMA PAPERS Num[...]Wendy Hughes, Ray Barrett, My Dinner with Andre, The Return of Captain invincible. Number 41 (Decembe[...]der, Peter Tammer, Liliana Cavani, Colin Higgins, The Year of Living Dangerously. Number 42 (March 198[...]lan Pringle, Agnes Varda, copyright, Strikebound, The Man from Snowy River. Number 43 (May-June 1983): Sydney Pollack, Denny Lawrence, Graeme Clifford, The Dismissal, Careful He Might Hear You. Number 44-[...]tevens, Simon Wincer, Susan Lambert, Street Kids, a personal history of Cinema Papers. Number 46 (Ju[...]uvall, Jeremy Irons, Eureka Stockade, Waterfront, The Boy in the Bush, The Woman Suffers, Street Hero. Number 47 (August 19[...]hael Pattinson, Jan Sardi, Yoram Gross, Bodyline, The Slim Dusty Movie. Number 49 (December 1984): Ala[...]Borowczyk, Peter Schreck, Bill Conti, Brian May, The Last Bastion, Bliss. Number 51 (May 1985): Line[...]i Hazlehurst, Dusan Makavelev, Emoh Ruo, Winners, The Naked Country, Mad Max: Beyond Thunderdome, Robbe[...]film advertising, Don't Call Me Girlie, For Love A/one, Double Sculls. Number 53 (September 1985):[...]is, John Boorman, Menahem Golan, Wills and Burke, The Great Bookie Robbery, The Lancaster Miller Affair, rock videos. Number 55[...], Brian Thompson, Paul Verhoeven, Derek Meddings, The Right-Hand Man, Birdsvllle, tie—in market- ing.[...]eaves, stunts, smoke machines, Dead-End Drive-ln, The More Things Change, Kangaroo, Tracy. Number 58 (July 1986): Woody Allen, Reinhard Hauff, Orson Welles, the Cinematheque Francaise, The Fringe Dwellers, Great Expectations: The Untold Story and The Last Frontier. Other Publications El The Australian Motion Picture Yearbook 1980. $15 (Overseas: $30 surface, $40 air mail). E] The Australian Motion Picture Yearbook 1981/82. $15 (Overseas: $30 surface, $40 air mail). D The Australian Motion Picture Yearbook 1983. $25 (Overseas: $35 surface, $45 air mail). El The New Australian Cinema edited by Scott Murray. $14.95 (Overseas: $20 surface, $26 air mail). I: The Documentary Film in Australia edited by Ro[...] |
| it Outweigh AGFA Professional Master Tape is the finest studio recording tape in the world! Beautifully balanced and perfectly consistent. Why? Because AGFA Professional Master Tape is manufactured to meet the critical demands of the most exacting recording studio. No variations and[...]low background noise and excellent dynamics over the entire frequency range. Available in all widths a[...]875 0222, Sydney 888 1444, Brisbane 352 5522, 7 _A - «.. '‘ Adelaide 42 5703 and Perth 277[...] |
| Images through Innovation r¢"“’*--v-»—e-<-—g~-L. A... __ , ___ .~,,,...'o . / GE9 cnossi ‘ A5 CAPT BLIGH g . '1 \. U / -,- .,._ - ,- -[...]*bo i . ' I ; (K&JONES__, O“ R“ l I my /‘/A£‘00NElL //ouse ‘ SYN." SYDNEY. I , ;. \v .~[...]In ht-q V" 5. ’ _. ‘- ..I.....--..... ‘ - A »_-¢L&- ....-<.‘ Hlstory-;wu1. g full circle with the recent remake of “Mutiny".The original, one of the ‘lost films; was directed by Raymond Longford. Shooting started in April 1916 and the film opened in Sydney on September 2 in the same year. Known for its painstaking research and[...]historic detail, it was heralded as ‘absolutely the finest production yet manufactured in Australia’ (Australian Variety, 6th September 1916). Today the tradition continues with Eastman’s technological leadership and full service support structure making it the first choice in professional 1 film and ta[...] |
TXT | |
| EDITORIAL 3 COVER STORY NEWS IN BRIEF: A round-up of events, issues and information on the Australian film and television scene..........[...]........7 ON LOCATION: Making Bruce Petty's The Movers................................. 38 FIL[...]for Love, Fortress, Frog Dreaming, Flighlander, The Lan caster Miller Affair, Land of Fiope, Malcol[...]Bow, Ran, Salvador, Stammheim, Tusitala and all the latest releases................................ 41 CINEMA BOOKSHELF: An Aus tralian Film Reader, a book about Val Lewton, Tarkovsky's testament and a couple of Mel Gibson bios.............58 OVERSEAS REPORTS: The People power: Lino Brocka talks about Filipino filmmaking in the months since[...]dents............... 62 FESTIVALS AND MARKETS: a look at Australia's two main film festivals,[...].......67 TECHNICALITIES: Fred Harden ogles the new toys on show at this year's SMPTE exhibition..........................71 PRODUCTION: A quick run-down[...]S September -- 1 on what's currently in front of the cameras, plus our usual exhaustive Produ[...] |
| Cox & Ballantyne on Hendon: "Hendon Studios is ideal!yy a I like the personalised[...]service at Hendon Studios "Hendon Studios is set apart from the hustle o f East Coast film making, and is therefore which is an integral part o f the high quality the ideal place to concentrate on a sound job they do. The facilities are complete, mix.[...]including a producer's room directly con[...]nected to the mixing suite with closed circuit H endon's James Currie is one o f the best. " TV enabling the producer to conduct the[...]ox in touch with the mix. "[...]Flowers'' "My First Wife''[...]"Moving Out" "My First Wife"[...]call Michael Rowan for a[...] |
| [...]ia That phrase -- `You start from scratch in A ustralia' -- is a part o f the history of Amad. Assistant editor: Kathy Bail. Art Australian cinema. A very small part, it is true: H arry W att used it in an article he director: Debra Symons. Secretary/ wrote for the last issue o f the Penguin Film Review in May 1949. But the Review's Subscription manager: Luke Nestoro- editor, Roger Manvell, gave it a certain imm ortality by pulling it out and using it as wicz. Proofreading: Arthur Salton. the title. Consulting editors: Fred Harden, Brian McFarlane. It was a good piece of editing, because it summed up what[...]y B-P Typesetting Pty. Ltd. to Australia at the end of W orld W ar II " to see if it was possible[...]Ltd. Distribution by there" , W att discovered a vast continent, a wealth of themes, but studio facilities so Netwo[...]that " indoor films" couldn't be made. So he made The Overlanders. Street, Sydney, NSW 2000. Foundin[...]eter Beilby, As Australian films of the forties and fifties went, The Overlanders was pretty Scott Murray. `A ustralian': it had cattle and cabbage-tree hats and Chips Rafferty. But the context Signed articles represent the views of their in which it was made was classic cringe. W att, being a foreigner, was assumed to be author, and not necessarily those of the able to do what Chauvel, Hall, Robinson and McCreadie couldn't: get the message editor. While every care Is taken with through to a world audience. The Australian government was worried that British manuscripts and materials supplied to the propaganda was ignoring the Australian war effort. So it brought in a British magazine, neither the editor nor the pub filmmaker to set matters to right. lis[...]can stars, not for propaganda, but for profit. As the Australian without the express permission of the film industry moves into its m onetarist phase, its appetite for overseas actors is copyright owner. Cinema Papers is increasing dramatically. Ayers Rock and the Sydney H arbour Bridge are all very well publis[...]Like all m onetarist arguments, this one is impeccable in the short term . From small 3051. Telephone: (03) 329 5983. Telex: beginnings, a mighty industry has grown, with considerable ambi[...]nce ME 230. overheads. W ith a big workforce and large (tax-aided) investment, the industry's |
| [...]ng film and television magazine six times a year, for less than it costs you to buy it at the newsstand. I 'd like to subscribe to Cinema Pa[...]2 years at $45 3 years at $65 I am a new subscriber / am renewing my subscription. My record number is * Please tick the appropriate boxes. See over for details of ove[...]........................................ C o m p a n y .............................................[...]................................................ A d d re s s ......................................[...]tcode............................... I enclose a cheque for $ * (payable to MTV Publishing Limited) Please debit my Bankcard/Mastercard to the amount of $ Expiry date of card..[...]r other publications in this total. Please place the completed order form in a sealed envelope and mail to: CINEMA PAPER[...] |
| RON LINES The real going to set up an `fx' com pany1 Feature Film) and the Critics' Prize at `fx* m en in Australia," he said. " They simply the 1986 Karlovy Vary Film Festival C[...]e and Georgina Pope head and miniature work, and a host of the Tokyo-based Goanna Films. other `fx* techniques[...]ways in which they can collaborate The major 1986 AWGIE award for tions were the basis of a series of[...]John Baxter is a film reviewer for The free seminars recently given in Aus with the Australian film Industry and best script of the year went to Australian and author of numerous books tralia by representatives of the Cali on the cinema. fornian special effects company,[...]Carol Bennetto is a film writer and publi[...]and Roger Dorney, who began their " One of the reasons we don't awards for the best original tele association about 1970, came[...]Rod Bishop teaches film at the Phillip together as a team in 1975 for have any blue-screen is because movie, Natural Causes, and best[...]s Star Wars, and formed Apogee in 1977. Dykstra is producers don't believe that effects telev[...]Palace of Dreams Annette Bionski is a script editor and renowned for developing the[...]writer on film. Dykstraflex camera -- a custom-built can be done here. They aren't ye[...]Marcus Breen is a Melbourne-based Wars miniature photography. It ready to believe the locals," said went to Karin Altmann for the docu journalist, freelance writer and documen enables the camera mount to Jacobs. What the Australian film mentary, Raoul Wallenberg --[...]industry needed was personnel with Between the Lines: to Geoffrey Susan Bridekirk is a freelance journalist the necessary technical expertise Atherden for the television comedy, based in Melbourne. The seminars were sponsored by the Australian Film Commission as and an estab[...]to Ray Harding for Mick Broderick works as a publications part of a reciprocal study tour Australian projects, he said. the television serial,_ A Country officer with the Australian Conservation organized by Sydney-bas[...]ce ('Lest We Forget'); to Peter Foundation and is a freelance writer on ducer/cinem atographer Mich[...]e and his colleague, Tim Segulin, spent time in the States Yeldham for The Far Country Pat H. Broeske writes regularly about working under the auspices of[...]film for the Los Angeles Times, and is Apogee's special effects crews. Briefl[...]); to Ben Lewin Hollywood correspondent for the Wash for The Dunera Boys (original mini- ington Post and[...]series); to David Williamson for The Raffaele Caputo is a freelance writer on Cinema (seminars were also[...]film. Sydney), the Americans provided a Photography is now complete on Perfectionist (ad[...]or film Gothic and to David Holman for the Tony Cavanaugh is a freelance script breakdown of the US `fx' business (see Sheila Johnston's UK[...]en's drama, No Worries. editor. from a rational, utilitarian position. They seemed lig[...]bourne people Mary Colbert is a Sydney-based film the technofetishists often associated[...]researcher, writer and lecturer. with the phantom side of 'fx' cinema, bourne for the Spoleto Festival, living in the Inner suburbs of Carlton, and appeared instead[...]Sophie Cunningham is a film student nosed industry pragmatists with a where he is directing Madame Colllngwood and Fitzroy should[...]regularly to the Melbourne Times. products: Star Trek: The Motion Butterfly, and his visit will be marked have the chance to view the first test Picture, Firefox, Never Say Never[...]Mike Downey is a freelance film writer, Again and Lifeforce. by a retrospective, including French transmission of a community-based contributor to[...]English-speaking theatre company in A central axiom of the film world -- Dressing, Billion Dollar Brain, te le v is io n station, Television Mun[...]icture -- seems to apply just as Women In Love, The Music Lovers, Unlimited (TVU). With the exception Tony Drouyn is a freelance writer onfilm much to the `fx' industry. However,[...]ssical Dykstra made no apologies for any The Devils, The Boyfriend, Savage of the Aboriginal station in Central g[...]people might find in his effects work. " There is no pan Messiah, Mahler, Tommy, Liszto- Australia, there have only been a Helen Greenwood is a freelance book acea," he said, " no cigar box[...]Fred Harden is a film and television available to us within the time and Crimes of Passion and the television munity TV. " We intend to change all[...]cer. budget parameters that we have, and that is something that you are films, Elgar, Isadora and Clouds of that," says Peter Davis, a member of Sheila Johnston is a London-based always going to face in special[...]writer and translator. She is a film critic for effects. Every `fx' movie that comes Glory. The films will be screened at the organizing group. The working LAM magazine. out needs more money and more time and you never get 'em. The the State Film Centre. group is currently developing Brian Jones is an independent pro only measure of the worth of your[...]er, director, scriptwriter and journalist. work is whether you did it any better The Victorian Minister for the policies and strategies in the areas of than the next guy, with the same Arts, Race Mathews, announced on[...]ing, publicity, technological Paul Kalina is a journalist at Video Week. amount of money and the same 30 July that current levels of s[...]government financial support for the Membership is open to all associa Amanda Lipman is a journalist at City[...]ther details, write to PO Box 263 stressed that the tour did not repre[...]nswick East, 3057, or phone (03) Geoff Mayer is a lecturer in film studies at sent any threat to the development Budgets of 1986 projects 481 7125 or (03) 205 194. the Phillip Institute of Technology. of our own neo[...]and Shepherd are not $39,427,010, while the combined Sandra Levy and Sam Chisholm Lyn McDonald is a freelance writer on budget for productions across the have been appointed as part-time[...]state Is $58,806,007. Commissioners to the Australian[...]Film Commission for a period of Brian McFarlane is a lecturer in English Mathews said that Victoria is three years. Levy is a script con at the Chisholm Institute, and author of[...]a's film production. " We're producing the feature Fligh Tide,[...]d by Gillian Armstrong. Mike Nicolaidi is a freelance writer and[...]for the French Commercial Office in Mel[...]bourne and is a freelance writer on film. Smith, pointed to the new field The National Film and Sound Dieter Osswald is a journalist and contri[...]William D. Routt is a film historian and[...]productions on the board. Worth tions. This will obviously affect the Tom Ryan lectures in media st[...]Swinburne and reviews films for the 3LO $6,170,475, they represent a production of archival compilation[...]noticeable increase from the one films, so, If you're budgeting, ring Jim Schembri is a journalist at The Age. $2.3-million production in the pre the Archive and check the costs and David Stratton is host of Movie of the[...]" There is a market for non-10BA, Three documentaries and four Edouard Waintrop is film critic for the[...] |
| [...]Go to a poor people's shelter?[...]Would that be a good ending?[...]ortion, families stones about her own life on the soon as we get rid of that false th[...]vagabond and the friendship between two road. And then sh[...]understanding of the story with all by loi (Vagabond), is her first feature Eighteen-year-old Bonnaire, the those witnesses. And, because we[...]sists she has `discovery' of Maurice Pialat's A nos know she's dead, it will give the film Amanda Lipman been forging the links for it for amours (To Our Loves) jumped at a tough touch."[...]several years, at any rate in terms of the role. Comments Varda: "I made Ven[...]it very simple. I said: `Look, this is a Depressing might seem a better as the 'grandmother of French[...] |
| W ITH TH A T KIND The 30th June is behind you OF REPUTATION A and you are just about ready[...]revise the script RETROSPECTIVE[...]schedule and IS A MUST[...]we offer a[...]accounting, with the[...]flexibility to suit a[...]oduction of Puccini's "Madam Butterfly", the Spoleto Melbourne Festival will be presenting a retrospective of this outstanding and much our co[...]d and argued film director's films, including all the cinema features as well as many of the famous artists' bio you'[...]tive. graphies originally made for television. The Retrospective will comprise the following features: |
| The body in question by Sophie Cunningham[...]eidssarily depicting w o m e n 's bodies? A nnette Problems of representation began to cover a diversity of issues, including Pumping Iron II: The Women (Bev raise themselves[...] |
| PROFILES The budgets, the pictures, the problems. . .[...]up until now, with Crocodile or someone is always telling Actors' but there was obviously a failure. " Edgley: the budgets, the pictures, Dundee, we really haven't had a big Equity -- are an international busi Joss Me William and Josephine the problems . . . And he said: Australian hit. So you do get a little ness, a game without frontiers. If that Smulders in Coolangatta Gold. 'Listen, why don't we . . .?' By the hesitant. W e're looking for good proposition is true, then Jonathan next day, we had a piece of paper Australian pictures -- we've got Chissick is its living proof. Having "To get up one with pointers on it: a very simple Malcolm and Windrider coming up started as the " Latin American morning and deal. Of course, the lawyers and that -- but I won't take Australia[...]going will take months. But the deal's tures for the sake of patriotism. at United Artists in New Yor[...]dile Dundee will Israel, used to be British, and is now money and put Chissick is quietly eloquent about give heart and hope to a lot of film Australian. it into a film' the thorny question of Australian makers; but,[...]. . . you know, content in the films that will be made has to deliver on its own. If you have, His eighteen years in the film busi . it's a lot of under the deal. " As a person in say, a twin, and you're playing ness have been spent in[...]money" volved in the Australian film industry, Crocodile Dundee in one theatre countries: the USA (three years with[...]that it will lead to Aus and For Love Alone in the other, it United Artists in New York), Israel[...]haven't set any parameters. The soon as you fill Crocodile Dundee, managing director of UA Israel), the beauty of it is, you don't have to everybody will go into F[...]ppen that way." Artists there) and Australia. In the regulations and prospecti and late seventies, he did a one-year stint lawyers and corporate affairs. We With the new multiplexes, the aim here, taking the long way round don't want to make a deal, we want is to have as much current Hoyts between Israel and the UK, as[...]hat are made are not possible. " There are a lot of people guessed it) United Artists. Now,[...]who will not drag themselves into since the departure of Terry Jack-[...]town, look for a parking spot, pay for man six months ago, he has the[...]a Gold and it and walk across town to the same title at Hoyts.[...]what did Chissick tell Weintraub choice is sold out. W e're going to Chissick is, let's face it, your about those 'experiences'? " It was a give them accessibility to the average movie executive: that is to ve[...], free parking -- and they say, he doesn't smoke a big cigar,[...]thought it was the best script to can't get into one, they'll get into the is, in fact, much like you or I, only[...]lia. So, we failed next. They're not going to a movie, richer. And he believes in movies[...]mewhere. I don't want to they're going to the movies. ra th e r than de als, w h ich is poi[...]ously a failure. With Burke & Wills, it " It will tak[...]seems -- it is now apparent -- that there will be teething[...]e in Australia were just not have twins at the Warringah Mall in taken two steps of some signif[...]interested in seeing a picture about Sydney and at Waverley in Mel cance: out of the arms of Michael these two guys dying in the desert." bourne that took twelve months to E[...]get off the ground. But, if we get the ally, as it turns out) United Artists; At a time when, post-Crocodile audience to come once, I believe and into a deal with CIC to develop a Dundee, public perception of the firmly they'll come back again, and seri[...]movies is on the up again, Chissick And that, you have to admit, in the (back) to the cinema.[...]ear You Australia, couldn't be all bad. The production deal was, feels Chissick, only a matter of time for[...]yts. "W e've never put our money where our mouth is, so to speak. We've done our tax-shelter deals.[...]to take $10 million of our money and put it into a film' . . . you know, it's a lot of money. " But we're heavily involved[...]hibition company and w e're into video. So, it's a natural extension -- something Hoyts ought to be doing. The only logical avenue seemed to be with a partner, and what better partner than one of the majors?" The deal with UA, for a number of joint productions in the SUS8-10 million range, came about during a courtesy visit to Hollywood shortly after Jerry[...]w left again, but these things tend to happen at the studio). The visit started predictably enough, but soon got right to the point. " We went in and said: `We're Hoy[...] |
| A t last you can achieve on You can't afford not to tape the very best im age check out Panacam It availab[...]m ini-series, dram a P an acam H is here, or documentary. the most advanced video C a ll Peter Skillman tape cam era system in the now, at E.C.V. world today. ex[...]agents for Panavision is recognised Panacam It, and as the suprem e cam era discuss your next system a[...]uction. that system integrated beautifully into a tape -f=>ANAV S D N cam era. Everyone from the Producer to the D. O . P will love the results of the Panacam H, with the full advantages of the Panavision Keflex System on tape. M A E A M IT I S H E R E[...] |
| F ilm an d R E V O L U T IO N In the May 1985 issue of Cinema Papers, we printed an `O[...]Immediately after I was released on bail, I to the world's filmmakers by Lino Brocka. Brocka, probably the best made a movie, which is what I was pre known Filipino director (and a constant opponent of President paring to do just before I was arrested. I 've Marcos), was, at the time, out on bail from a sedition charge that made about six films since Bayan Ko carried the threat of the death penalty. Sixteen months later, after [Br[...]ama, in competi Cori Aquino's revolution, Brocka is back at work. Among other tion in Canne[...]ar's Sydney Film Festival], two years things, he is now the head of the Task Force concerned with ago. T hat's about average. In fact, my reorganizing cinema in the Philippines; and he is working on his output is down a little, because we were[...]getting out of (ail, about mobilizing members of the Concerned life under the last days of Marcos, about the changes that People Artists of the Philippines as part of the Power has brought (and the changes it hasn't), and about his own protest movement. future as a filmmaker.[...]ately, the producer was willing to lose the money. I told him: " You know, the Board of Censors is very vindictive, especially the[...]Chairman!" But he said: `I don't care if the[...]any money in the Philippines. I just want to[...]fight it o u t." So we filed suit in the[...]almost a year.[...] |
| [...]than a brute[...]lightweight luminaires, present the Sirio 12kW; the most powerful fresnel spotlight[...]available in the range of discharge lamp[...]to safety combine to give you a lamp with extra[...]For further information on the Sirio 12kW phone[...],106 Oxford Street McCulloch Pty. Ltd P.A. R egent H ouse, 63 Kingsway Unit 1,139 S andgate Raod Kent Town. S.A. 5067 Leederville. W.A. 6007 28 Thistle Street 16 Suakin Street[...]Telex: 34732 Telex: 43396 LET US OBTAIN THE QUOTATIONS FOR YOU FEATURE FILMS MINI SERIES D[...]KIDNAP & RANSOM Contact: TONY LEONARD H.G.A. INSURANCE BROKERS PTY. LTD.[...]INS. Members of the National Insurance Brokers Association of[...] |
| F ilm and In the middle of all this -- filming and responsible for counting the ballots. The R EVO LU TIO N the suit and all -- we had our weekly appearance at the court. It was just a big important thing was that the people knew fuss: everybod[...]day, because there were two cases. The suits cheated. But, in spite of all the election were `Inciting to sedition' and `Leading an vigils and all the people putting up a fight, illegal assembly',[...]of punishable by death at the time -- death or course, came the sort of coup by the life imprisonment, no in-b[...]it was just harrass- Enrile. I suppose that was the thing that did ment: that was very clear. I think the court it. was going to de[...], but they had orders from the top to hold it, Now that we have this freedom[...]many of the old structures left, and so We -- especially the theatre group I have many of the people who benefited from the -- were very much involved[...]People are scrambling fof the protest movement, particularly in for positions. It's a different kind of battle the provinces. The harrassment and the altogether -- a little bit confused, right arrests were getting quite blatant. There now, and a little bit messy, because we are was no time to make films! Between in the process of reconstruction, the process December last year and the end of May, I of rebuilding. Plus, of course, as everybody didn't do a movie, which is quite a record knows, the Philippines is bankrupt, and the for me. Usually, I make a movie every two movie industry is having a hard time, just months -- five or six a year. There was also like all the other sectors. the fact that, because of the trouble with Bayan Ko, producers didn't want to touch Right after the revolution, the first thing me with a serious film. I wasn't wanting in assignments, but they were asking me to do the President did was to create commissions, films that the government would like -- like the Commission on Good Govern you know, the glossy `Ross H unter' look, ment. Let's face it: for the last 20 years, that type of film. corruption was the system. It permeated[...]almost every level of society, and the Com We knew the end was near for Marcos by mission is now running after these people. then, but we didn't know how it was going Since the movie industry used to be led by to happen. Even when we were asking the people who spoke fo r the government people to vote for Cori, everybody was instead of speaking about the movie aware that there was going to be massive industry, there was definitely the need for a fraud and cheating. We kne[...]. For example, John Litton the institutions and the agencies that were was still running the Film Centre, and we[...]We don't know what to do with the Film > / /I CINEMA PAPERS September[...] |
| Centre, as a matter of fact: it's a big white story based more or less on Imelda Marc[...]elephant. Also, there was a lot of money -- the story of a woman who has an earned because of the showing of those[...]hic films: where did it go? affectation for the arts, who sings and who Like all government agencies, the Film collects statues of the infant Jesus. T hat's Centre had to be audited, which necessi the one I look forward to, because the story tated the creation of a Task Force to over we have come up with is an exciting B see it. But, more im portant, I think, is the movie: it has all the sleaziness in it, and the fact that the government realises that there lust for power and the accumulation of all is the need to formulate film policies that these th[...]rnoon will govern the movie industry. And that, tea-party, and there is a famous pianist precisely, is the function -- the responsi playing; and probably there would be a bility -- of the Task Force for Cinema. famous American ac[...]it Griselda R. A degree of independence is important, however. After the revolution, we organ Griselda is married to the governor of a ized a Union of Movie Workers, of which southern[...]'m President. We'd been trying to for the last 20 years. Now, he is dying of an organize this for a number of years, ever incurable illness and he is up for re- since the First Lady instituted the Manila election. Since he is too sick, his wife takes International Film Festival and organized over the re-election campaign. She goes to us all into `guilds'. The `Academy' the political rallies and sings a song and has the government created included the different military behind her. There is also a human guilds, plus the producers, so it was imposs rights lawyer runn[...]e on economic problems. In but poor. And, as the election campaign[...]ear that they were goes on, she realises there is the possibility not t[...]mention that because the feeling was ambush in which he is assassinated. Of[...]at we didn't want any help -- course, there is no evidence, and people any subsidy or funding -- from the govern refuse to talk. But the wife of the slain ment for the Union. It is im portant to retain opponent now runs against h[...]our independence, so that we're not a story about two women fighting it out.[...]beholden to any administration, even if it is Cori Aquino's. I start the film with her singing at a party, then at a rally, then going to church[...]his fabulous It is a concern of every sector now to wedding for her da[...]l these educate the people. I think one thing foreign friends of hers[...]Filipinos learned from all this is that we with her husband, because he is having an were[...]happened. In other words, we kept quiet. to the Philippines to make one of those That is why Marcos became more and more Ninja Ninja films[...]emboldened and had the gall to do it all. has an affair . . . that type[...], you can imagine the stories that are being planned You can't exaggerate the life of Imelda: r[...]elevant, it's already an exaggeration. It's in a because the revolution has not changed the fantasy world. The woman bought a crown[...]system: corruption is still there. I don't course, we knew that she bou[...]at overnight: that millions of dollars worth: but a crown! will go on. Let's face it: a big segment of Where would she wear it? In the evening, society still belongs to the same status quo, just to look at? Perhaps it was for a and those attitudes have not changed. As a costume party. But, if you go to a costume matter of fact, even the educational system party, you wear costume jewell[...]away from that, because the system that And who would ever believe the reason we've had for the past 20 years has been why she went to Russia? It[...]very much influenced by the lending institu cized internationally, I think, but in the tions -- the IMF and the World Bank. Philippines it was. Just before the election, Now,[...]ery, very conscious that, she went to Russia with a statue of Our whatever aid they give, it is not in the name Lady of Fatima. She had a whole entourage of democracy, or because we're such a of nuns and priests -- about 50 people -- `peace-loving nation': it is for their own and she went to this small town in[...]st. and had a mass there. She had a black veil For myself, now that the revolution is and she was all in costume, and pictures[...]doing several shows there, before `The that? Because her fortune-teller told her[...]Cronies' took over. Now I 'm going back: that a woman from Asia would go to I've agreed to do a miniseries -- the Russia and convert it to Catholicism. It was[...]story of Nino Aquino, which I was sup in all the papers. O f course, they didn't say[...]security reasons, couldn't make. W hat I 'm -- the `Blue Ladies' -- told us it was true. doing is the local version. There are, I If you put that on the screen, people would[...]them. If they want to do a Gandhi-type which, when people see it, they will[...]don't want anything to do with it. The story Cliburn and Margot Fonteyn left after a that we have is about a family that was visit to the Philippines, all the way from the harassed by the state -- a domestic drama. VIP lounge to the aircraft, there was a red It is the story of Nino when he was arrested carpet and girls dressed in communion at the declaration of martial law, and how clothes, with[...]heir hair. It was the family went through the trial and then straight out of Les Sylphidesl The girls had went to the United States and went back to baskets, and they[...]an normal. It's a domestic drama that I don't Cliburn and Margot Fo[...]think international producers would be on a red carpet, and girls on both sides are[...]you put that on The other one I 'm thinking of doing is a the screen, can you imagine . . .? 1[...] |
| RANK ELECTRONICS BRIN GIN G YOU THE BEST Rank Electronics STATE OFFICES continues to bring NSW you the best - with 16 Suakin Street their compre[...]South Melbourne. VIC 3205 it's lighting-from a Tel: (03)613541 single luminaire to Telex: 34732 a comprehensive studio installation, QLD or[...]s ST 921 Tel: (07)2628366 Film Editor, or the Telex: 43396 .> new ST 201V Video Report[...]m Street depend on Rank Kent Town. S.A. 5067 Electronics, to bring Tel: (08)429827 you the best every Telex: 89202 time.[...] |
| D utch, tlre a t For Paul Cox, film, is the most powerful Is this a characteristic you can apply to medium ever invented, but also the most your filmmaking? abused. If the Australian film industry had more dedication and[...]You have to. If you don't, you're not a Cox, and if the money-lenders and execu filmmaker. It's impossible. tives restored it to the filmmakers, we would have better results. What do you think is the best attribute a film m aker can have? A lot of Cox's frustration and anger comes to the surface in conversation. But A lack of fear, because filmmaking is very his films are not nearly so blunt. They are much a medium of our times, and our times emotional and tender; often, the meaning are very greedy and based on the wrong behind his recurring images remains[...]e. They are films which appear think a lack of greed is essential. Also great affected by incidents in h[...]determination and confidence. If in any bear the unmistakable stamp of the auteur. way you start to doubt yourself . . . Indeed, David Stratton has described him as " the most interesting auteur of the con Each time I go overseas, I am always[...]rge gatherings, and ten people decide what is being done and prefers his Australian anonymity to the how to put a film together. I don't work autograph-grabbing f[...]gly that lacking in personality: we live in a society Australian filmmakers should get togethe[...]'t breed individuals any more. more often. There is nowhere here, he com plains, where you can go and have a drink, You are regarded now as a successful and knowing that you will catch up with fellow bankable filmmaker. Is that what you filmmakers: nowhere where you can swap wanted? ideas over a coffee in some cafe or other.[...]of course not. I did not even intend to Where is the community spirit, he asks? be a filmmaker. I did it as a hobby and I 've That is one o f the reasons why he thinks always said that, i[...]nt role to play ously, then you must do it as a hobby; in the Australian film industry. For him, because if you do it professionally, you " they are the last vestiges o f free dream s" . have to make compromises all the time, and you have to make a living. I worked on the Do you stillfeel like aforeigner, after more[...]little films that taught me a lot and which I always produced myself. I worked as a lec I used to feel Australian, but not any more. turer at Prahran College, and most of the I think, as you get older, you go back to money I made there went into films. From your roots. A lot of people, when they die, there, I became a filmmaker. But I never set can only speak their mother tongue, even out to become a `film director'. I find that though they have sp[...]O f all the film s y o u 've made, which one are Do you feel[...]d nothing to about what you do. I think a film I do with Holland. I was born there and was made about ten years ago called Island is in a Dutch school for a while, but I was still about the best. It is only ten minutes brought up in German, French and Dutch. long and it is totally abstract and hypnotic -- and that is what I think a film should be. How would you describe yourself? I think I 'm a very determined person. But I don't call it ambition. I 'm a very compul sive character, so they say.[...] |
| [...]Herzog's Where the Green Ants Dream in 1983. |
| Dutch. Do you think film m aking is self-indulgent? with Australia: it's like living in America. Where did the idea fo r Cactus come fro m ?[...]That second-rate culture, spitting its crazy It is the most im portant medium of our message across the globe, and we all live for Usually, the ideas start somewhere in child times. It is the most abused, too. It is the that! You can't even turn on the television hood. I think this one started ma[...]can voice ago, when my mother went blind as a result I rarely go to the movies, because they on every channel. And why should a of a burst blood vessel in her head. We were make me angry. I think it is the most foreigner like me scream against it all the all terribly upset and went to see her in fantastic medium, but it is used in the most time? Of course everyone agrees with me,[...]g about it. In fact, she was having a very peaceful Let me tell you something. I was on the time, lying in a quiet little room. I have plane to Hawaii recent[...]you happy making films, or would you made a few films about blind people, and Honor. Behind[...]ful. We live in a world that only scratches turned round and asked this man: " What is Yeah, I would rather be doing something the surface of things. We judge people by the matter with you? Why are you clap else! If I had the courage, I would just live a their faces, and never allow any time to ping? It is one of the most immoral pieces very quiet life. I would like to do a bit of analyse the silences of a person or their of shit I 've ever seen!" painting, a bit of writing and all that sort of feelings. Everything is judged by society on[...]stuff. It's become too big, you know: too the surface level, and we all know a person "We live in serious times. We many things happen, too much pressure, is made up of an inner life and an outer life are very close to the brink of too many demands. It was[...]have just In Cactus, one person represents the been compulsive, and I think it is essential inner and the other person the outer. One I can understand that, before Bu |
| [...]The films of Paul Cox[...]1972: The Journey, 60 minutes, 16mm, colour.[...]the first two 16mm features: left, with Gobi Brio[...]8). Above, right, Wendy Hughes and Norman Kaye in the director's 1981film, Lonely Hearts. Below, Norma[...], Lucy Angwin and Wendy Hughes in 1984's My First Wife.[...]1979: For a Child Called Michael, 30 minutes,[...]1980: The Kingdom o f Nek Chand, 22 minutes,[...]1984: Death and Destiny: A Journey into Ancient[...]My First Wife. Directed and written by[...]1985: The Paper Boy. Directed by Paul Cox.[...](for the Winners series).[...] |
| [...]Rocking We wish their The Right Hand Man The Foundations makers lots of luck PlayingBeattieBow with the Awards. AroundTheWorld[...]For LoveAlone The Mooncalf TheDevil InTheFlesh The Portrait The Fringe Dwellers ofWendy's Father[...]The Rentman[...] |
| Rope trick: Sam Shepard as A couple of years ago come November, I went Altman was certainly not a kid in 1970: born Eddie in Fool for Love. on the road in England with Robert Altman. The occasion was the British release of Secret in that epitome of the mid-West, Kansas City,[...]one in 1925, he was in his mid-forties by the time actor alone in a room for just under two horns he made M *A * S *H , with a few unmemorable re-enacts the mania and the paranoia which is, features and a ten-year career in television it seems fair to assume, the scenario being behind him. But the film was certainly played out inside the former President's head. youthful. And it was a landmark, not because[...]it engendered a seemingly endless, cosy little I had seen the film a month or so before and I TV series (which Altman[...]thought -- I still think -- Secret Honor, for all came close to revolutionizing mai[...]tations, American cinema. It had stars and a story and among Altman's greatest films. It is a work it was made by 20th Century-Fox and it which uses two of the true resources of opened in major chai[...]had about cinema -- the control of point of view and the it, though, an anarchic freshness: more or le[...]g effect, by mistake, Hollywood had produced a film leaving most of the decade's car chases and which reflected it[...]something that seemed born and bred in the immobile by comparison. fifties timewarp of the movie capital. Going on the road involved chairing three The soundtrack was noisy and muddled and[...]one in York and one in Newcastle. In York, the the handling of the narrative was loose and[...]author of two excellent books on the cinema; amazingly of all, M * A * S * H was a film that and he paid Altman a rare tribute. In the mid millions of people went to see. It seeme[...]break the rule that any film made outside the seventies, Tudor was[...]Society. Only once, he said, had he missed a didn't conform wouldn't work.[...]eeing Nashville; and the sheer scope of the film, the number of After M *A * S *H , Altman certainly worked, issues it raised and the complexity of his own making fourteen films in the next ten years. resp[...]time. would Altman break the Hollywood mould:[...]Most of us for whom filmgoing became a passion and a pastime somewhere between This was not a director whose career was[...]Robert Altman's films. The sixties was a John Frankenheimer and Sidney Lumet.[...]Im m ediately after M * A * S * H came very little that shone amid the machine-tooled Brewster McCloud (1970), a bizarre tale of efficiency of the product ground out by sexual initiation and the desire to fly, set in Hollywood. The `first generation' of talkie the Houston Astrodom |
| western, set above the snowline in the Pacific way as to guarantee his future budgets. It northwest, in which the issues blend into one tinned out to be an illusion: no filmmaker that another like the outlines of the town of unprepared to spend too long on the same Presbyterian Church in the falling snow, and whose climactic six-gun face-d[...]nready* to repeat himself, could disappears into the whiteness. survive for long. By the late seventies, Holly The following year, there was Images (1972), a Freudian ghost story set (and filmed) wood was turning back towards the safe in Ireland; then The Long Goodbye (1973), a film I would die for, which irreverently and options and the familiar formulae. The quite justifiedly relocates Philip Marlowe's schematic moral values in the unprincipled Reagan era was all but dawning on the urban wasteland of modern Los Angeles. horizon. The sixth Altman film of the seventies was Thieves Like U s (1974), a remake of the 1949 Altman's next film after Nashville, Buffalo Nick Ray film, They Live by Night, which looked at a doomed love affair against the Bill and the Indians, or Sitting Bull's History background of the Depression, and did so far more honestly (if less commercially success Lesson (1976), was a major flop (though it won fully) than Bonnie and Clyde. Next came California Split (1974), a gambling melodrama a Golden Bear in Berlin). Since then, only one in[...]uddy' movies what he had done to war films in M *A * S *H : decon film out of eleven, Popeye (1980), has made an structed them, allowing the people -- in this case, Elliott Gould and George Segal -- to rise appreciable dent at the box office, and even above the genre. It was a film that confirmed that Altman was, on top of everything else, a that did nowhere near as well as Paramount[...]anticipated. Three of the eleven -- A Perfect And then came Nashville (1976), which was Couple (1978), Quintet (1979) and Health a critical and a commercial success in a way that none of the films since M * A * S * H really (1980) -- have hardly been seen, and one (O.C. had been. Nashville was the film of the seventies -- about sex and politics and music and Stiggs, 1984) seems to have been shelved and the media, with dozens of different stories and 48 main characters. It took the tempera for good. ture of the post-Nixon era with unerring accuracy, and with all the indelicate efficiency Of the remainder, 3 Women (1977), A By of a rectal thermometer.[...]Wedding (1978), Come Back to the 5 and With Nashville, Altman's career seemed[...]my Dean, Jimmy Dean (1982), seventies Hollywood: a filmmaker of definite individuality, who reached audiences in such a Streamers (1983), Secret Honor (1984) and[...]responses ranging from the ecstatic to the[...]alters the fact that Altman remains one of the[...]this year, which is one of the places some of the following comments were recorded, in an interview in the Carlton Hotel. Others were in Paris in the autumn of 1984, also in a hotel; and, of course, on the road. Most of the[...]ments in their own right, which is why I have[...]embroiders on a subject. And, like Nashville, he rarely takes the narrow view. p.[...] |
| [...]said: `I won't do it'. Then "You know, A Wedding and Health I "The people are all the same. I think the Cannon came along and said: `We'll do it if we wanted to do in the theatre. I wrote them both idea of striving for something has been totally can produce it and watch the money that you as theatre pieces, but it[...]things. Why don't you do things problems in the United States. Children in bothered me, they never came around. like A Wedding and Health?'Well, they were America are ultra-conservative. They've been They've got a very big organization. But I theatre pi[...]time television that they wasn't very happy with a lot of the people I the knowledge that they were." t[...]e not supposed to stop and had to deal with once the film was finished.[...]stereo was: they On the of them, and then it disappears. I think there never would follow through. The print's no has to be a renaissance." good. The inter-negative is terrible. The titles: HOMOGEP ZA there's movement on the screen. It's just TION OF[...]Tennessee, or Portland, Oregon: you fin d the they just don't have anybody who knows.[...]same clothes to buy, the same fo o d to eat. " They're growing a little too fast, probably. But[...]hat I 'm shooting fo r any par ticular audience. A n artist does what he does. " Robert Altman doing what he does on the set o f Quintet (1979). "I don't like the southwest at all: I find it very fake. You go into a restaurant, and it's a McDonald's or a Taco Bell. They've suc[...]ceeded in making America absolutely the dullest place, the most uninteresting place to live in the world -- the whole country! I don't[...]Mexico: you find the same clothes to buy, the same food to eat, the same movies to see.[...]"There was a time when I was going to[...]Chicago and I would say: `There's a great[...]and-such there' or `That's the place to buy a[...]Europe too. It spreads with the communica[...]w Come B ack to th e 5 and. D im e, morning and the woman said: `I didn't like Jim m y Dean[...]k n ow him your picture. Don't you think it was a little old- very Well. But he wrote me a letter saying he had a new play. H e liked fashioned? It reminds me of[...], Tennessee Williams's dia could m ake a film out of it? logue and presentation and repet[...]nd something. I'd rather do this n o w '. A n d he said: `W h o 're you u sing?' A n d I said: `W ell, w h y they'd just accept it. don't you play the part?' H e said: `Oh, I can't do that'. Then, two[...]s to get "If you didn't know Foolfor Love was a play to it; it took him two days! . . . that's what harms it. All the people who write about it, like you, have seen the play. So "The idea that stayed w ith m e all the time w a s to have a w riter like they present it to the public as this film of this Shepard w h o 's al[...]nd w ho can perform and interpret this play. And the film public is really not inter autobiographical kind of thing. I don't think he had an a ffair w ith his ested in theatre. So these thing[...]sister. B u t I think it's about him and the kind of person he is. It's because the knowledge is out that they're certainly about his father, and the songs are written b y his sister: it's a based on theatre.[...]over "H e 's very private: I think h e's a little self-oriented. It's not that h e's coat, a box, a crate onto the material. I'm not difficult: he's ju s t not interesting. H e w a n ts to finish his w o rk and go going to argue with anybody, because that's play polo. B u t the w o rk in g relationship w a s good: w e ju s t didn't become the way it is. And I'm certainly not going to bosom pals[...]uick -- that I m ade m y film betw een `Oh, this is the best picture I've seen in my life: the lines of his play. I w a s able to sh ow a tim ewarp, w h en the little g ir l's I've seen it seventeen times', I think they're as three years old, and then there she is an adult at 33, looking at herself. A n d w hen the m an goes in to check into the motel, H a rry D ean Stanton crazy as you and the German woman are. I is ju st w atch in g him self go in. That w a s w h at I w anted to do. I 'm not can't make the films you want me to make: I much interested in stories. It's sort of like a visual poem of some kin d.'' can just show you the films I've made.[...] |
| Twenty years ago, a young producer named " None of us wanted to grasp the What took the time? I had a clue from nettle of copyright," said the John Huntley o f the British Film Institute aJim Dale and I made film appreciation BFI's John Huntley. " The films when, years ago, I was researching a were on the shelf and we feature on the film dealer, Raymond series for TV. Our techniqu[...]Rohauer. " None of us wanted to grasp the I'd write a rough script, then we'd choose[...]nettle o f copyright," said Huntley. " The much more without the state-of-the-art some clips and snip them out o f the 16mm BCtacam video process, which sharply films were on the shelf and we thought they prints in the station's film library, splicing reduced production costs. They also took a would always be there. If anybody bought[...]little longer to produce: we signed the con the rights, surely they w ouldn't mind us them back in afterwards. W e never cut a tract in April 1985, and delivered in June[...]them? But Rohauer saw that, since Lana Turner pr a Liz Taylor vehicle, but 1986. the advent of television, every piece of film Alexan[...]had a price tag. Compilations and re-runs The Squall (1929), or Michael Curtiz's The opened up a huge market, and he was the |
| live location segments,, but perhaps a third engineering. I knew where there was a copy stone/Disney) on whose behalf they distri o f the series would be film extracts -- some but, almos[...]ralian, but just as many from films her to the Sydney office of Universal on the buted the films; (c) their own video divi which, had influenced us as filmgoers: The question of rights. Overlanders and The Purple Monster sions, which held the cassette rights; and/or Strikes, The Magnificent Seven and The " Universal say it will cost $3,500 a Right Stuff. minute,'' she reported back a few days (d) the TV network owning the broadcast[...]ter. Before I could choke out " You must Like the BFI, we didn't anticipate copy[...]implied: wouldn't approve it anyway; because the All this can be yours? character o f the monster was being Over broadcast without agreement from the u[...]actors. straw in the wind. About the time we The short answer, it turned out, was: started researching Filmstruck, the produc Nothing. Closely questioned, our contacts We gloomily began a detailed search of tion manager o f the TV science show, in distribution admitted that," while they Beyond 2000, asked where she could get a could give us physical possession o f clips, the copyright world -- one which was to clip from Frankenstein. They needed a they had no broadcasting rights. These brief sequence for a. segment on genetic belonged variously to: (a) the US parent prove as illuminating and disorie[...]company; (b) the US independent pro[...]r, Touch anything ever experienced on the other side[...]Serow, a 20-year-old film student hired for[...]what looked like the simple task o f clearing[...]down the owners o f the films and, in the[...] |
| [...]for clips was, refused clearance with a vituperative, six- we quickly discovered, useless. The page letter filled with Stalinist rhetoric. We $3,500-a-minute rate was more or less had committed the unpardonable sin of standard. But, even if we could have paid suggesting that the Soviet government had it, nobody really wanted the money. It was not been entirely happy with Eisenstein or just their way of shaking their heads. The his work. majors just didn't want the aggravation of Other problems were harder t[...]rned to local producers and found Love, the film made by Swedish director o a different, but equally strangling, jungle. Stig Bjorkman as a protest, against the o * The bureaucracy that is fast choking our banning of his feature[...], film industry has its tape firmly round the from the 1969 Sydney Film Festival? Suck on th[...]m scholarship. Under one inter It turned out the literary agency, Curtis behind the Filmstruck candy bar. pretation of corporate law, we were told, Brown, now administered the Chauvel any use of a film funded under 10BA legis rights. And Bethwyn Serow, long after their experiences at the Saturday matinee, the rest of us had given up hope, found that and Chris Haywood confesses he learned to * lation required the agreement of every Mai Bryning in Melbourne had hung onto ride a horse before emigrating to Australia, investor. The most helpful producer can the only surviving copy of To Australia assuming there were cars here, but " prob hardly make a hundred phone calls for a with Love, because his ex-wife appeared in ably not enough to go round" . P[...]it. It is now a major part of an episode on and Joan Long and[...]hat!' in the episode called `Other People's[...]we didn't get Phar Lap. As for the search for classic films, it led that " raising money is the most loathsome us into the shadowy world of the film col At least with Phar Lap we knew the[...]lector. Film is usually copyrighted for 26 Taking Starstruck as an object of study, nature of the problem. Elsewhere, we en years, with an option to renew for a further[...]und Sydney, record countered only animosity. The New South 52 years old should be in the public ing Gillian Armstrong, Russell[...]domain. But films can be reissued with a Brian Thompson on the problems of pro Wales Film Corporation gave a blank soundtrack or a commentary, and re-copy righted in the new version. Or, since film duction. We were barred from the pub refusal, without explanation. Even though and literary copyright laws differ, the film where it was shot -- publicans have long[...]may be in the public domain, while the memories -- but miraculously found[...]Thompson's original model for the pub set[...]on a shelf in Matt Carroll's house. Equally able[...]xtracts from One Night Stand and Far East, the NSWFC was adamant. So were Kennedy Miller who, in what is now apparently a standard policy, declined permission to use any clip from their productions. The South Australian Film Corporation agreed to the use of Free dom and Breaker M orant -- but[...]broke her back doubling actor appearing in the extract. (On the day David Williamson and Peter Jo Kennedy in a comic fall. Sculthorpe describe their a courteous telex of agreement arrived from experiences at the Saturday Indeed, the unexpected became almost[...]prosaic. Anna Senior unearthed the hats Edward Woodward, my estimation of that[...]e substantially.) Woodward, thank god, was the pre matinee, and Chris Haywood Morant, then offered, out of the blue, one confesses he learned to ride a cursor of a growing stream of supporters of the series's best stories, about how two[...]elephants stampeded on Robbery Under for the series. A chat with Saul Zaentz Arm s when a wind machine was applied during his Austra[...]too liberally to their bums. " What a pity it[...]gh to go round" turned out a documentary team from[...]s sections from Time Bandits. To name just a few of the Australian producers who helped, David Elf[...]and shot the whole incident, without[...]nic at Hanging Rock, Matt Carroll smoothed the Until an Australian/US copyright agre[...]ment was signed in the seventies, little local view denied us ti[...] |
| No late winter, it seems, is complete contender. The film 's p roduction version by a potential US distributor without a crisis. In early September 1985, company, Kennedy Miller, claimed that a (reportedly Embassy). " We didn't , " says the Australian film community was in a print would not be ready in time for the producer Brian Rosen, " want to go to the state of panic about tax, and remained that screenings. But the film hasn't shown up trouble and expense of preparing a show way until the grim but scarcely fatal news this year, either, suggesting that it was less a print that might have to be recut after was an[...]able than unwilling. wards." the month. Everyone, on the other hand, was looking forward to the annual get- In 1986, the Ozfilm of the decade, Producers are, of. course, perfectly together and media blitz of the AFI Crocodile Dundee, has similarly not been entitled to withhold their films. The AFI Awards, held on 14 September. This year,[...]it has not, as Truth's Awards are not a statutory requirement the emotions are the other way round: the screaming headline declared, been and, in the case of films with good com ' future of film finance doesn't seem quite so " BANNED!" ), and there are a string of mercial prospects, they do not, as do the bleak, but the AFI Awards are in all kinds other, smaller no-shows: the Burrowes-[...]ion, Cool Change (" not AFI Oscars, give a m ajor box-office boost of strife.[...], of course, that some hint of conflict Wright), a couple of independent exploita the case of an Oscar for Best Picture). But[...]tion flicks, Fair Game and Leonora (also, the AFIs are also made up of craft awards has ever been entirely absent from the one presumes, not really up the AFI voters' which, since they are decided by peer-group Awards, at any rate recently. The fondly- street), and a couple from Crawfords -- voting, do mean a lot to A ustralia's film remembered industry dinners of the their `lost film', I Live With M e Dad, and makers. seventies, which preceded the TV spec Fortress. " After a discussion with our taculars of the eighties, have faded into theatrical marketing consultant, Terry One major victim over the last couple of memory. And, since the beginning of the Jackm an," says Ian Crawford, " we[...]owing rumblings decided not to enter them in the AFI Semler, whose magnificent work o[...]while." Jackman, it is worth remembering, and whose work on Birdsville is now also centring on claims that the Awards may was also theatrical marketing consultant on out of contention (" There is no doubt in perhaps, as the A F I's new Director, Vicki Crocodile Dundee. my m ind," says the admittedly biased Molloy, candidly sums it up, b[...]that Dean would have w on" ). and not useful to the industry" . . The absence of two possible further con But, leaving aside the technicians whose[...]rs -- Burrowes-Dixon's Free Enter work is robbed of peer-group recognition Put at its simplest, the problem is that prise and PB L's Birdsville -- can appar[...]osers this year include films that do well with the punters have a ently be explained by the fact that they are Russell Boyd for Crocodile Dundee and tendency to do a great deal less well with not yet entirely r[...]nterprise will, Andrew Lesnie for Fair Game), the crisis AFI voters. And, recognizing this, the says Dennis Wright, be another three threatening the AFI Awards goes deeper producers of the year's m ajor box-office months in the pipeline, and Birdsville is than the no-shows (three, possibly four, hits have, of la[...]n entering their currently being looked at in a double-head films out of 25) suggests. For the non- films. Last year, M ad Max: Beyond[...]contenders are, of course, a symptom Thunderdom e was a notable non 32 -- September CINEMA PAPERS |
| [...]THINGSCHANGE... rather than a cause. outside broa[...]ecent examples -- and can help others find In the first place, it is not certain, at time a distributor. As it is, says Molloy, a of going to press (early August), when this A later date was necessary, says Vicki number[...]l be because this year's awards will, for the first getting a release reduce as the Awards held -- all of which puts something of a time, include miniseries and telefeatures; recede. Others, though, are less sure of the strain on their credibility as a high-profile and because the whole schedule of judging advantages of a big, flashy telecast, feeling showcase for A ustralia's films. If irregul has become more extensive. In the end, that, over the past couple of years, the films negotiations between the AFI and Ten have become almost secondary to the arity is added to excessive `artiness', the reached an impasse. Dunstan is adamant Awards spectacular -- a state of affairs chances are there will be even[...]ofile'. " I shows next year -- if, indeed, there is a next reason" for the Network pulling out. This don't think," say[...]may be true. But the failure of any other " that anyone is going to slash their wrists if[...]network to step in and fill the gap suggests, the awards aren't telecast." The screenings were held, as usual, in at the very least, the possibility of some July and August. But the actual Awards, reassessment of the entertainment value of This is probably a minority view, originally scheduled for 6 September in a the Awards. however. And, if the AFI cannot deliver a Sydney venue and with a telecast, as last[...]channel by October, next year's. Awards year, on the Ten Network, now look like One problem often cited is the fact that seem, if not doomed, at any rate de[...]eing in mid-to-late October. And, the prizes go to films which most tele be on a much smaller scale. Some may feel, wherever they[...]me viewers will not and, in well over half the of course, that this would better serve their[...]en included, only not promoting profits in the industry. But It all started to go wrong in the early part six of the 26 films would have had a public this is not a view shared by Vicki Molloy. of this year, while the changeover in the release by 6 September, and only two of " We will be taking a very close look at the AFI directorship was taking place.[...]dile Dundee and Burke & structure and the judging criteria in the According to Network Ten's Business[...]n seen at all widely -- future," she says. And the- objectives a situation very different from other, beh[...]will, she says, be Manager, Guy Dunstan, it was the date similar, awards overseas, such as the three-fold: much closer involvement of the which was the m ajor stumbling block. Oscars, Britain's BAFTA Awards, France's film industry in the management of the When no suitable venue could be found for[...]to be serving 6 September -- and, says Dunstan, the Net introduced GOFTA Awards. the industry's needs" ); the continued w ork's director of production, John Maras, had been working flat-out to find It is, however, a kind of chicken-and-egg recognition of achievement and excellence one, with the search going as far afield as situation: without the Awards, certain films in Australian filmmaking; and maximum Newcastle -- the tyranny of the spring might not get a release. An AFI prize does publicawareness.[...]ain films -- Careful, H e M ight major events as the Melbourne Cup and the various sporting finals, the Network's[...] |
| [...]r any of this, Molloy will first organization of the Awards. Ironically, one of the year's better have to find a new sponsor. The AFI There are, on the other hand, growing received films, Death o f a Soldier (aka Awards are not cheap to produce --[...]Leonski and War Story), is still very much counting administration expenses, it costs rumours that the AFI will be eased out of on the shelf, as a result of yet another well over $300,000 to get the show on the the prizegiving position in 1987. Plans for dispute, this time with the Australian road -- and m ajor sponsorship is an an Australian film `Academy' -- a cross Theatrical and Amusement Employees[...]ilm- Association over crew payments. Until the year sponsorship is not being renewed and, production interests -- have been around ATAEA dispute is settled -- and, at time of with the Am erica's Cup and the Bicenten for some time, and have obviously been writing, it seems possible it w on't be -- the nial just round the corner, 1986 is proving fuelled by recent AFI-Award problems. film remains blacked. to be one of the hardest years ever for Weiley would not[...]ommercial sponsorship plans might affect the future of the Awards On a brighter note, Nadia Tass's of the arts. As Molloy puts it, " the big -- " If an Academy existed," he said, " it comedy, Malcolm, seems, on the basis of birthday party and the big boat race have could decide literally anything" -- but they informal inquiries, to be the hot favourite soaked up all the available funds" . Also, will almost certainly be on the agenda at the for Best Film, with a probable starting price she says, there is a new style of industry get-together planned for late of 6-4 on. Cactus, Death o f a Soldier, The management abroad which is less inclined November at Thredbo, which would give Fringe Dwellers, Kangaroo, The More to value the non-quantifiable benefits of ample time fo[...]to be in there with a chance, too. So, in the be made for the 1987 Awards. pages that follow, we have, with all due Industry criticism of the existing Awards, Molloy is, of course, aware of such of which Molloy is very much aware, and[...]vowed to take into considera moves, and has a few alternative options of predictions for the four main categories. tion, centres on the sorts o f films which her own, including a revised telecast, tend to win the prizes and, by extension, the possibly by the ABC, which might be more The combined budget on this year's judging procedures and criteria. There is in the nature of a review of the year's pro features is $58,594,400 -- an average of also a recurring dissatisfaction with duction, with the Awards included, rather $2.3 million (if the seven no-shows are screening conditions, reaching a climax this than a TV spectacular with the Awards as included, the average goes up by $220,000). year with multiple complaints about the its sole focus. Another way of deflecting Just under half the films (twelve) were sound and picture quality at the East End 3 industry criticism, says Molloy,[...]urne. Dolby soundtracks could have all the voting done by peer panels -- a Victoria, two in Queensland, and one each not be handled, and the overall sound prototype system which is being tried out in the other three states. Fifteen o f the 25 system was so bad that Devil in the Flesh with this year's judging of the miniseries[...]e kind of have contemporary settings and, of the producer John B. M urray apparently con[...]ng that it could not be properly assessed under the prevailing conditions. As both Molloy and the industry are The inaugural television section contains aware, of course, the danger with industry- nine miniseries {Butte[...]ver, technical problems controlled awards is that they could -- like the Creek, Dancing Daze, The Dunera which could (and should) be rectified. The the US record industry's Grammy Awards Boys, A Fortunate Life, Land o f Hope, basic problem goe[...]ulation, in Palace o f Dreams, Robbery Under A rm s much deeper, in fact, that, at a recent which the year's most successful films and Shout: The Story o f Johnny O 'Keefe) meeting of the Screen Production Associa scoop the pool, while things such as and nine telefeatures {Archer, Breaking tion of Australia, a reported 60% of innovation (or, for[...]rs apparently expressed opposition take a back seat. In some ways, it comes Can't Get Started, The Long Way H om e, to having anything whatever to do with the down to a simple question: should the AFI Natural Causes, The Perfectionist and Awards.[...]', or should they be `pro Stock Squad). Given the criterion for m otional'. There is little doubt which the inclusion -- a telecast between 31 May 1985 SPAA President J[...]d not industry would prefer, and Molloy is going confirm this figure, and was reticent about to have a hard time balancing the various and 31 May 1986 -- there are a number of discussing the matter. " W hat has emerged interests.[...]no-shows here, too, including the year's over a period of years," says Weiley, " is highest rated miniseries, Anzacs (which, the feeling that there ought to be industry It is ironical that all this should be going like Cool Change, comes from the Bur- awards." But there are, he stressed, no on in a year in which the AFI screenings, rowes-Dixon stable). A Thousand Skies immediate plans to introduce anyt[...]ody Business are also missing from this, and SPA A 's position is, for the Australian film industry very much back on the miniseries list as, in the telefeature area, moment, a neutral one: it has advised its[...]are Handle with Care, The Last Warhorse members to enter their films, but[...]th, by general consensus, only and Robbery. The eighteen contenders will declined to collaborate directly in the two or three duds in a slate of 25 films. At be voted on by two pane[...]time o f writing, sixteen of the films already bourne, one in Sydney, who[...] |
| The A F I Awards[...]Dead-End Drive-In |4roiind the World[...]h n D irected b y B rian T re n c h a rd -S m ith . P ro d u c e d b y gill 80 Ways[...]ley P ro d u ctio n s Ltd. W ritten b y A n d re w W illia m s fo r S p rin g va le P ro d[...]M ichael Th o m a s . C in e m a to g ra p h y b y R ussell B oyd. S creenp la y b y Peter S m a lley, fro m a sto ry b y Peter D irected b y S te p h en M a c Le a n . P ro d u ce d b y D avid P ro d u ctio[...]C o stu m e design b y C arey. C in em a to gra p h y b y Paul M u rp h y. P rodu ction Elfick and S te ve K n a p m a n fo r P a lm B each En tertain G eorge Liddle. M u[...]c u lth orp e. Ed ited b y design b y L a rry E a stw o o d . C o stu m e d e sig n b y A n to n y m ent P ty Ltd. W ritten b y Steph[...]e s. M u sic b y Fra nk S tra n gio . Ed ited b y A la n Lake Lea don. C in em a to gra p h y b y L o u is Irvin g. P rodu ction T h o m p s o n (Burke), N igel H a ve rs (W ills), G reta and Lee S[...]larissa Scacchl (Julia M atthew s), M a tth ew Fa rg h e r (Jo h n L e s[...]terson . M u sic b y C h ris N eal. Ed ited b y M a rc V a n K ing), R alph C otterill (C h arles G ra y), C h ris H a yw o o d M a nn in g (C ra bs), N atalie M c C u rry (C a rm e n ), P e ter B uu ren . S o u n d b y Paul B rincat, K a ren W h ittin gton , (To m M cD onagh), M[...]rd (Th o m p so n ), D ave G ibson (D ave) and S a n d y R o g e r S a va g e , B ruce E m e ry, S te ve B u rg e ss, Ni[...]u tes. D istrib u to r: G rea ter R o lle r a n d A n d re w S te w a rt. W ith Philip Q u a st (W a lly (B essie W ills) and Ju lie H a m ilto n (M rs K yte ). 140 U nion. D avis), A llan P e n n e y (R o ly D a vis), D iana D a vid so n (M avis D a vis), G osia D o b ro w o lsk a (N u rse O ph elia m in u t e s . D is t r ib u t o r : H o y t s . R e v ie w e d in Cinema C o x), K e lly D in gw a ll (E dd ie D a vis), R o b S teele (A lec Papers 5 4 , N o v e m b e r 1 9 8 5 . M offatt), Ja n e M a rke y (M iserable M idge) and Ju d ith F is[...]Death of a Soldier D irected b y Ja cki M c K im m ie . P[...]. W ritte n b y Paul C o x, and D avid H a n n a y fo r S u atu Film M a n a g e m e n t Ltd. W ritten b y Jacki M cK im m ie. C in em a to gra p h y b y B ob Ellis and N o rm a n K a ye . C in e m a to g ra p h y b y Y u ri W ritten b y W illiam N agle. C in e m a to g ra p h y b y L ou is A n d re w L e sn le . P ro d u c tio n de sig n b[...]S okol. P ro d u c tio n d e sig n b y A s h e r Bilu. C o s tu m e Irvin g. P ro d u ctio n design b y G eoff R ich a rd so n . M cK im m ie. C o stu m e d esign b y R o b yn M cD ona ld. design b y A p h ro d ite K o n d os. M u sic b y R a n tos C ol C o stu m e design b y A le xa n d ra T yn a n . M u sic b y Allan M u sic b y C olin T im m s . E d ited b y S a ra B en nett. S o u n d legium . Edited b y T im L e w is. S o u n d b y Ken Z a vo d . Edited b y Jo h n S cott. S o u n d b y G eo ff W h ite , b y Ian G ra n t, S a ra B e n n e tt a n d P e te r F e n to n . W ith H a m m o n d , Ja m e s C urrie, Fra nk Lip so n and T im G re g Bell, H elen B ro w n a n d Ju lia n E llin g w o rth . W ith N o n i H a zle h u rs t (D o ro th y), G ra e m e B lu ndell[...]es Bill H u n te r (D e te c tive F re d A d a m s ) , J a m e s C o b u rn (G eoffrey), Jo h n Ja rra tt ([...]O 'C onnel (R obert), N o rm a n K a ye (To m ), M on ica M augha n[...]ow n (P rivate E d d y (Ja son ) and J e n n y M a nsfield (S ha ron). 88 m inu tes. (Bea). 96 m inutes. D istribu tor: R o a d sh o w . R e vie w e d Leon ski), M aurie Fields (D e tec tive R a y M artin), M a x in th is issu e . Fairchild (M a jor Fricks), R an da ll B e rg e r (P riva te Gal[...]and B elinda D a v e y (M argot). 105 m in u tes. Backlash[...]Departure D ire c te d , p ro d u c e d a n d w ritte n b y Bill B e n n e tt fo r[...]D irected b y B rian K a va n a g h . P ro d u c e d b y C hristin e M erm aid B each P ro d u ctio n s P ty Ltd. C in em a to gra p h y Suli a n d B rian K a va n a g h fo r C ine A u stra lia P ty L td . b y T o n y W ilso n . M u sic b y M ichael A tk in so n and M ichael S p icer. Edited b y D e[...]S c r e e n p la y b y M ic h a e l G u r r , f r o m h is p la y , A Pair of L e o Sullivan, D a n y C oop er, D en ise H un ter and Brett[...]Claws. C in e m a t o g r a p h y b y B o b K o h le r . P r o d u c t io n R o b in so n . W ith D a vid A rg u e ( T re v o r D a rlin g ), G ia C a rid es (Nikki Iceton), L yd ia M iller (K ath) an[...]gn b y Jo n D o w d in g . C o stu m e design b y A p h ro d ite S yro n (Lyle). 90 m inu tes.[...]K o n d os. M usic b y B ruce S m e a to n . Ed ited b y Ken[...]S a llo w s. S o u n d b y Jo h n C ro w le y, G ethi[...]C raig C arter, Fra nk L ip so n , Y v o n n e V a n G ye n and[...] |
| The A FI Awards D irected b y S c o tt M u rra y. P[...]S a nd ford. C in em a togra p h y b y Dean S em ler. P ro D irected b y N adia T a s s. P ro d u ce d b y N adia T a s s and S c r e e n p la y b y S c o t t M u r r a y , f r o m th e n o v e l, Le Diable d u ction design b y Ig or N a y. C o stu m e design b y Ja n D a vid P a rker fo r C ascade Film s. W ritten b y D avid au corps, b y R a y m o n d R a d ig u e t . C i n e m a t o g r a p h y b y H u rle y. M u sic b y C a m e ro n A llan . Ed ited b y Brian Parker. C in em a to gra p h y b y D avid Parker. M usic b y[...]K a va n a g h . S o u n d b y S y d B u tterw orth , Ju lia n Elling- the P enguin C afe O rch estra. Edited b y Ken S a llow s. A n d re w D e G root. P rod u ction design b y S c[...]w orth and Penn R obin son . W ith Jo h n W a ters S o u n d b y R o g e r S a va g e , D ean G a w e n , C raig C arter C o stu m e design b y Frankie H og a n and R o se m a ry (M artin), J u d[...]alcolm ), Jo h n R ya n . M usic b y Philippe S a rd e. Edited b y T im L e w is. Kate R aison (N osh), Fra nk W ilso n (S ir C olin G rant) and H a rg re a ves (Frank) and L in d y D avies (Judith). 86 S o u n d b y La u rie R o b in son , C raig C arter, R e x W a tts J im H olt (Irw in). 92 m[...]rib u tor: G rea ter m in u te s . D is trib u to r; H o y ts . R e vie w e d in th is issu e . and Ja m e s C urrie. W ith Keith S m i[...]rris (Jo h n H ansen) and Jill F orster (Jill H a n sen ). 100 m inu tes. For Love Alone[...]I Own the[...]rected b y Steph en W allace. P ro d u ce d b y M a rga ret Fink fo r W a ra n ta P ty Ltd. S c re e n p la y b y S tep h en D irected b y S tep h en R a m se y. P ro d u ce d b y Jo h n W allace, fro m the no ve l b y C hristina Stead. C in em a E d w a rd s and T im Read fo r B arron Film s Ltd. S c ree n to g ra p h y b y A lu n B ollinger. P ro d u ctio n de sig n b y play b y Jo h n Ed w ards and Stephen R a m sey, from a Jo h n S todd art. C o stu m e design b y Jen n[...]s to ry b y Patricia W rig h tso n . C in e m a to g ra p h y b y G eoff b y N athan W a k s. Edited b y H e n ry D angar. S o u n d b y[...]ner. M usic b y Red P u rvis , G re g Bell and K a ren W h ittin g to n . W ith H elen S ym o n s and M artin A rm ig e r. S o u n d b y D enise B u d a y (T e re sa H a w kin s), S a m Neill (Ja m e s Q uick), H[...]ugh K ea ys-B yrn e (A n d y H oddel), T o n y B a rry (Bert H a m m on d ), N orm a n (A n d re w H aw kins), H u w W illia m s (H a rry G irton), O dile K a ye (Old M a n), S a fie r R e d ze p o sk i (T e rry) an d Gillian L[...]oddel). 76 m inutes. H aviland) and Ju d i Farr (A unt Bea). 102 m inu tes. D is trib u to r : G re a te r U n io n . R e v ie w e d in Cinema Papers[...]W o o d . C in e m a to g ra p h y b y D an B urstall. P ro d u ctio n[...]th, R o ge r Sa va ge and Bruce E m e ry. W ith B a rry[...]O tto (Le x), J u d y M orris (C onnie), L e w is Fitz-G era ld[...]D is t rib u to r : H o y t s . R e v ie w e d in Cine[...]d, b y Evan Jo n e s, from the novel by D .H . v,t . fro m the no ve l b y N en e G are. P rodu ction design b y[...]rri Barnett. C in e m a to g ra p h y b y Dan Burstall. P ro d u ctio n d[...]c F en ton and Phil H e y w o o d . W ith B ob M a za (Jo e C o m e - a w a y), Ju stin e S a u n d e rs (M ollie C o m e a w a y), K ristina b y N athan W a k s. Edited b y Ed w a rd M cQ u e e n -M a so n . N e h m (T rilb y), Ern ie D in go (Phil), M a lc olm S ilva (Charlie) and K ylie B elling (N o o n a h ). 99 m in u tes. S o[...]P e ter Fen ton . W ith Colin D istributor: R o a d sh o w .[...]Friels (R ich ard S o m e rs), J u d y D a vis (H arriet S o m e rs),[...]Jo h n W a lton (Ja ck C alcott), H ugh K e a ys-B yrn e[...]u lie Nihill (Vicki C alcott). 111 m in u te s. D is[...] |
| [...]The Still Point[...]The Untold Story D irec ted b y D o n a ld C ro m b ie . P ro d u c e d b y J o c k Blair D irected b y B arb ara B o yd -A n d e rso n . P ro d u ce d b y fo r S .A .F .C . P rod u ction s Ltd. S cree n p la y b y[...]od u ction s. D irected b y B ob W e is. P ro d u ce d b y B ob W e is and G aw ler, fro m the n o ve l b y R uth Park. C in em a to gra p h y W ritten b y R o sa C olosim o and Barbara B oyd- M a rgo t M cD ona ld fo r S to n y D esert Lim ited[...]son . P ro d u ctio n and c ostu m e A n d e rso n . C in em a to gra p h y b y K evin A n derson . P ro b y Ph ilip D alkin. C in e m a to g ra p h y b y G aetan o M arti- design b y G eo rge Lid dle. M u sic b y G a ry M a cD on a ld and d u c tion d e sig n b y P a d d y R e a rd o n . M u sic b y Pierre netti. P ro d u c tio n d e sig n b y T r a c y W a tt. C o stu m e Lau rie S to n e . Ed ited b y A n d re w P ro w s e . S o u n d b y P ierre.[...]o b C u tch er, Fra nk U p s o n , G lenn N e w m a n , Ja m e s G e o ffre y W h ite and P e[...]ner R ed S y m o n s . Ed ited b y E d w a rd M cQ u e e n -M a so n . C urrie, P e ter S m ith and D a vid H a rrison . W ith P e ter (Sarah), L yn S[...]S o u n d b y Ian R ya n , G lenn M artin and D a vid H arrison . P h e lp s (Ju d a h B ow ), Im o g e n A n n e s le y (A bigail), (D a vid ), R o b in C u m in g (G randfather), A le x M englet W ith G a rry M c D o n a ld (B u rke), K im G yn g e ll (W ills), M o u c[...]ray), M ark Little (K ing), N icole K id m an D a m ia n Ja n k o (G ib bie), Nikki C o gh ill (D o ve y), L yn d e l K irs ty G ra n t (S im on e), A lisa M e a d o w (Chris) and (Ju lia M a th e w s), P e te r C o llin g w o o d (Staw ell)[...]Barbara J o d ie Y e m m (B ia n c a ). 81 m in u te s . R e v ie w e d in Jo n a th a n H a rd y (M a ca d a m e ), H e n ry M a as (Charles), S te p h en s (Ju stin e). 93 m in[...]W righ t) and Paul P iy o r R e vie w e d in th is issu e . Cinema Papers 5 5 , J a n u a r y 1 9 8 6 . (M ich[...]Cinema Papers 5 4 , N o v e m b e r 1 9 8 5 . The Right Hand Man The Surfer[...]e M on ton. P rod u ced b y Paul Barron O live r a n d Basil A p p le b y fo r Y a rra m a n Film P ro d u c V e rn o n and Fra n k S h ie ld s fo r F ro n tie r Film s/The P ro fo r B arron Film s Lim ited . W ritten[...]n s P ty Ltd. S c ree n p la y b y H elen H od gm a n , from d u c e rs ' Circle. W ritte n b y D a vid M arsh. C in em a R o ch e and B on nie H arris. C in e m a to g ra p h y b y Jo se p h the n o ve l b y Kathleen P e yto n . C in e m a to g ra p h y b y to g ra p h y b y M ichael Ed ols. M u sic b y D a vo o d Ta brizi. Pickerin g. C o stu m e des[...]e ter Ja m e s . P ro d u ctio n design b y Neil A n g w in . E d ited b y G re g Bell. S o u n d b y M a x B o w e rin g , G reg K e vin Peek. Ed ite[...]o u n d b y M ark C o stu m e design b y G ra h a m P u rcell. M usic b y Allan Bell an d P hil Ju d d . W ith G a ry D a y (S a m B arlow ), L e w is, A s h le y G renville and Helen B row n. W ith T o m Z a vo d . Edited b y R on S a u n d e rs. S o u n d b y S yd B utter- G osia D o b ro w o ls k a (Gina), R o d M ullinar (H agan), B u rlin son (P .C . S im p so n ), N icole K id m a n (Ja d e Kelly), w o rth , D o n S a u n d e rs, P e ter F en ton , Phil H e yw o o d T o n y B a rry (C alhoun), G era rd M acG uire (Jack), C ha rles Tin g w e ll (S te w a rt S im p son ), S im o n C hilvers and S te p h a n ie Flack. W ith R u p e rt E ve re tt (H a rry Iron - S te p h en L e e d e r (S laney) and Kris M cQ ua de (Trish). (H ow a rd), Jill P e rrym a n (M iss D od ge). 98 m inutes. m in s te r), H u g o W e a vin g (N e d ), C a th e rin e 96 m inu tes.[...]tor: H oyts. M cC lem en ts (Sarah R edbrid ge), A rth u r D igna m (D r R e d b rid g e) and Je n n ife r Claire (L a d y Iron m in ste r). 100 m in u tes. D istribu[...]e d b y R oss D irected b y Neil A rm fie ld . P ro d u ce d b y D on C atchlove D irected b y Y a h o o S eriou s. P rod u ced b y Y a h oo M a tth ew s fo r M a gpie Film s P ty Ltd. W ritte n b y R obert[...]b y W illiam Shakes S e rio u s and D a vid R oach fo r Einstein E n tertain m en t M e rritt (fro m a s c re e n p la y b y R o b e rt M erritt and Ken peare. C in e m a to g ra p h y b y Lou is Irvin g. Production P ty Ltd. W ritten b y Y a h o o S e riou s and D avid R oach. Q uinnell). C in e m a to g ra p h y b y P e ter L e v y. P rodu ction[...]is. C o stu m e d e sig n b y Alan C in e m a to g ra p h y b y Je ff D arling. C o stu m e des[...]Jo h n . Ed ited b y N ichola s B ea um a n. S o u n d b y R ob M ishi W a tts and S u sa n B ow d en . M u sic b y W illiam A n n a Fre n ch . M u sic b y C h ris N eal. Edited b y R ichard S talder, K a ren W h ittin g to n , Philip D ickso n and Ju lia n M otzing and M artin A rm ig e r. S o u n d b y R o ge r Sa va ge, Fra n c is-B ru c e . S o u n d b y P eter B arker, R ichard E llin g w o rth . W ith Iva r K a n ts (O rsin o), Jo h n W o o d (Sir B ruce L a m sh e d , S te ve B u rg ess, G eo ff G rist, A n nie Fra n c is-B ru c e , T im Jo rd a n and Ju lia n Ellin gw orth. T o b y B[...]B reslin and P e ter Fen ton . W ith Y a h o o S e riou s (A lbert W ith D a vid K e n n e d y (Stuart), Ja m ie A g iu s (T o m m y), Phillips (O livia), G e o ffre y R u sh (Sir A n d re w A g u e - E instein), O dile L e C lezio (M arie C urie), Jo h n H o w a rd S u sa n Leith (A liso n ), R a y M e a g h e r (M arshall), M ark ch e ek ), P e te r C u m m in s (M alvolio), Ig o r S a s (Fabian), (P reston P reston), Pee W e e W[...]in's Dad), Little (C u rly), L u c k y W ik ra m a n a ya k e (G opow alla), Jim K e rry W a lk e r (Feste) an d T r a c y H a rv e y (M aria). 120 Jo n a th a n C o lem a n (W o lfga n g B avarian) and Su H olt (S erizl[...]ter U nion. C ru ick sh a n k (E in stein 's m oth er). 94 m inu tes. D is m in u tes. D istrib u to r: G rea ter U nion.[...]tributor: R o a d sh o w . |
| LOCATION "We've had a hundred years of it now, and I Bruce[...]expect think people are entitled to ask: `What's a fair Petty's a system to start getting it rights' " period in which you could expect a system to history start getting it right?'"[...]lesson The two central characters of The Movers, a young couple, are arm The Movers lives up chair trave[...]to its nam e with a chair travels. A lovable, flower-[...]"On Monday, we did the industrial like sails and rigging, Heath-[...]through the second and last week of and some sinister m[...]production on Film A ustralia's[...]400,000, 50-minute telefeature, Petty is anxious to stress that The The Movers. Movers is a film about who takes the[...]a, concept draw anti-technology film. Which is just as[...]and script by one of Australia's well, given the stacks of half-million- few Oscar-winners, the cartoonist dollar technology being used t[...]and filmmaker, Bruce Petty, The bring the film in on time and budget. Movers may be a small-scale pro The Movers uses Ultimatte, a[...]high. And its production team is Omnicom, which enables back[...]definitions, is a short: the director is even foregrounds to be dropped in[...]Gil Brealey (his first helming job around the `live' actors. since Annie's Coming Out), the pro duction designer is Larry Eastwood But, rather than use the normal[...]the miniseries, The Challenge), and actors in front of real but unreach the leads are Drew Forsythe and able locati[...]and Petty are after quite a different[...]Then, of course, there Is Bruce abstractly," says Brealey, " and the Petty, who is most people's reasons whole idea is to get a sense of for being on the project. The Movers cartoon." is part cautionary tale, part comic[...]journey of initiation through the The un rea lity is also what history of technology, from the appealed to Eastwood. " So much of invention of the wheel to the era of the work today is becoming more[...]"I suppose In a way it's an exten or that boring room. We're[...]sion of the political cartoons I was to be totally reali[...]ing," says Petty. "It's an attempt gives you a lot more freedom: it's[...]e whether you can develop an more akin to a 50-minute rock clip abstract sort of idea in a medium than anything else." that is really best at storytelling and[...]sport and instant news. Like all car The $400,000 budget, though[...]toonists, I'm continually asked to do tight, is high by Film Australia[...]s on these epic subjects, like standards, and is " as much as you the worst things people could do to can spend on a 50-minute television one another. And one of the silly programme", says Brealey, who[...]things we do to one another is let also reckons the cost would have[...]re going been three times higher without " a[...]the technology to do it." We've had a[...]now, and I think Already, says Saunders, a lot of people are entitled to ask: 'What's a interest has been shown by a couple[...]by PBS in the States, and by both[...]the BBC and Channel 4 in the UK. And it's the controversial side of the project -- the questioning of our[...]technology -- which is the real plus[...]factor when promoting The Movers,[...] |
| [...]ythe on their armchair travels in The Movers. Facing page: write[...] |
| The Race is on to Tasmania... A trifling two hours from Sydney, a solitary one hour Studio 75' x 46' with 14' to lighting grid. from Melbourne: a first class studio facility; film and Large th[...]ilities. preview theatres (16 and 35mm); and a staff of[...]THE CHOICE OF PROFESSIONALS, THE WORLD OVER[...] |
| F I L M A N O T V B E VIEWS On the right tion: the milk bottle container sits on Split screen: the getaway car in when Malcolm builds his friend a track the roof of a toy car which runs by vented by Malcolm (Colin Friels) bright yellow getaway car -- a trick r[...]d trundles down to divides in two to fo o l the cops in vehicle that leaves the James Bond There will always be a place for fan the local milk bar. Nadia Tass'[...]escape cars for dead! tasy and always a time for laughter. Malcolm, the first feature from Nadia It is a game that proprietor Mrs T we laugh and laugh with him, and The way in which Malcolm takes Tass and David Parker[...](Beverley Phillips) has been playing finally the three of them together, to crime is orchestrated beautifully, abundance of both. The backdrop is along with for some time. And, when until the end. especially the staging of his own a rather grey and gloomy Mel Malcolm ca[...]remote-control robbery (take one bourne; the protagonists a fellow that he take in a boarder. Flanding It is this deft handling of comic video screen, a model car and a who's not the full quid, a criminal him an elaborate questionnaire (`Are structure that one appreciates. The gun loaded with blanks. . .). Frank Is and his girlfriend; and the outcome a you neat and tidy?', `Do you have a film certainly sets out to entertain -- impressed, and the three join forces work of absolute delight.[...]he leaves him to contend to take you into a world of fantasy, to in planning an operation[...]aller, Frank (John FHar- provoke laughter -- but the point is the Anglo-Swiss Bank. The apparently simple-minded greaves), a not so sharp crim that it is done extremely well. character, Malcolm (played[...]This event is the climax of the film. pathos and jocularity by Colin It is evident in the way that director Malcolm's whacky ideas come to Friels), is a maintenance man on the Frank takes the room; yet, when Nadia Tass brings in the off-beat the fore, revealing a genius hitherto tramways. Fired after he takes his he moves in with his adoring and tunes of The Penguin Cafe unrecognized. Even morality is own jerry-built tram out for a joyride provocative moll, Judith (Lindy[...]er taken care of, because as Judith through the streets of Melbourne, he Davies), Malcolm is completely bam than rumble then we would,[...]eats into his fantasy world at boozled, and is immediately dis sure, recognize the quirky sounds!) way" . It leads them to an[...]missed by his new tenant as a When the music is played, you trams, where the trio continue moron. But, when Frank pulls off a giggle simply at the sound; that schem ing in the same crazy Malcolm's small weatherboard warehouse robbery with his mate, alone is the `action'. manner. house is cluttered with weird and Willy (Chris Playwood), it becomes wonderful gadgets: his letter-box is apparent that he has the same Much of the humour comes from Malcolm is not a complex story on model-railway tracks, the cage of knack for tricks, or rather need for the way in which Tass treats the rela and its `message' is an old- his pet cockatoo, Arnold, is attached them, as Malcolm. This initial discor[...]i to wires (he travels flying-fox style), marks the opening of a classic Frank, in particular -- situations in tive qualities, even genius, to be and the kitchen is like a miniature comedy: what will follow is union which Malcolm disarms Frank with[...]ers tramways depot: trams shuttle and the resolution of conflict. There his sincerity a[...]s and pans. Even send are few openings in the script that example, when Frank threatens Mal ward, like Malcolm. It is a story that ing for the milk is a complex opera allow Malcolm's character, at least, colm, fearing that he will spread the John Steinbeck told in Of Mice and[...]One on the tram he has us on side -- and colm innocently says: " You are not Flew Over the Cuckoo's Nest, and it[...]friendship is firmly consolidated again.[...]Even so, stories can be lost In the[...]way they are told. And the fact that,[...]in Malcolm, we find both a comic[...]and a cinematic flair sets it apart and[...]makes it work. There are only a few[...](who wrote the script) rely on[...]the direction is assured, the material[...]Similarly with the camera, for[...]which Parker is responsible. Known[...]lian features like The Man from[...]Snowy River, Burke & Wills and The[...]framing is as original as his designs[...]for the moving objects and mechan[...]Malcolm is a rare find, and it has[...]not gone unnoticed outside the Aus[...]tralian film industry. But it is, at[...]the Australian context: there is no[...]and it Is u n a s h a m e d ly c o n[...]And, if forgetting is the other side[...]tion designer: Rob Perkins. Music: The[...] |
| FIL M A N D T V R E VIE W S Although the core members of the Children of of terrorism? And why is the judiciary movie during its initial theatrical Baader-Meinhof gang died in the Marx and[...]remembered, referred to and than a decade ago, Reinhard Both sides speak a language revived for years to come. An[...], Hans Cremer incomprehensible to the other; and unswerving dedication to factua[...](Baader, Raspe), Sabine Wagner, the trial, conducted more along the accuracy results in a work dis Therese A f f olter (Ensslin, Meinhof). lines of a debate, clearly shows how tinguished not only by its logic and The deaths coincided with the the prosecution and the judges, credibility, but also by its value as emergence of punk music in the UK. By not tackling this particular unable to match the verbal Intensity historical endeavour. But[...]issue, Stammheim strengthens its of the accused, adopted the tactic of Meinhof, Gudrun Ensslin and Jan- case against the judicial system, and resisting all political[...]Rod Bishop Carl Raspe all shared the punk helps to highlight the knee-jerk reac purely legal procedure. sneer at bourgeois-capitalist culture, tion which has become the common Stam m heim (Stam m heim : der the roots of the gang were much response to all such terrorist acts. The resulting loss of control by the Prozess): Directed by Reinhard Hauff, older an[...]Concentrating instead on what is (Ulrich Pleitgen), together with legal Jurgen Flimm. Screenplay: Stefan The postwar generational conflict factually beyo[...]k was particularly evident in West Ger film is left with a single focus: the eventual removal from the trial. And Bruhne and Gunter Wulff. Art director: many, where the horrors of the Third almost gladiatorial combat between any residual respect for the legal Dieter Fiimm. Editor: Heidi Handorf. Reich created a disaffected genera the state and its radical opponents, system evaporates when it is Music: Marcel Wengler. Sound: Jan tion only too ready to join the world with one side violently rejecting the revealed that the state has bugged van der Eerden. Cast: Ulrich Tukur wide student protests of the sixties. legitimacy of the bourgeois state, yet conversations between the lawyers (Andreas Baader), Therese Affolte[...]appealing to its laws, and the other and the defendants in their cells. (Ulrike Meinhof), Sabine Wagner But when, at the end of the sixties, representing the law, but debasing (Gudrun Ensslin), Hans Cremer (Jan- the student movement began to dis the foundations of justice. At this point, the trial simply self- Carl Raspe), Ulrich Pleitgen[...]ter hardened members were not The claustrophobic atmosphere of the legal system winds up the Danzelsen, Hans Christian Rudolph, prepared to return to the institutions the setting allows little escape from proceedings[...]ruszka or conventions of everyday life. the events, either visually, or in terms tencing the defendants in absentia. (Defence attorneys). Production Unable to accept bourgeois society, of the seriousness of their implica Ulrike Meinhof's judgement, made com pany: Bioskop Film (Mun- a number of them engaged in tions. The Stammheim jail is a multi shortly after her death, remains the ich)/Thalia Theater (Hamburg). Dis violent terrorism against the state. storey, hi-tech cement fortress, and[...]m. 107 the courtroom (specially built for the West Germany can never be the minutes. West Germany. 1986. The Baader-Meinhof gang -- trial) is a bare, air-tight, windowless, same''. more properly, the RAF, or Red fluorescent-lit room. Army Faction -- were not the only[...]m may not `perform' at terrorists to emerge with the turn of The audience has little choice but the box office like a mainstream the decade, but they certainly to take up the drama of this con became the focus for political para frontation, and to deal with the noia over all such renegade groups. questi[...]What purpose is served by their acts Baader and Ensslin were first jailed in 1968, after a botched attempt to burn down a Frankfurt store. In 1970, Baader was assisted in his escape from jail by Meinhof and, during the next two years, the gang went underground. They raided banks, blew[...]ations in Frankfurt and Heidel berg, and bombed the Flamburg offices of the newspaper mogul, Axel Springer. The final death toll on both sides was 28. The core of the gang -- Baader, Meinhof, Ensslin and Raspe -- were held in `investigatory detention' for the next three years. Their trial, which began in 19[...]been `found' hanged in her cell, mid-way through the trial. When the sentences were handed down, members of the gang who were still at large hijacked a jet. The plane landed at Mogadishu, where anti-terrorist police successfully freed the hostages. Only hours later, Baader, Ensslin and Raspe were found dead in their cells, the men by gunshot, Ensslin by hanging. Like Meinho[...]n just sixteen days. Its script, by Stefan Aust, is condensed from official transcripts of the trial pro ceedings. Incidental dialogue comes from the prisoners' letters, and information passed on by warders. Hauff's approach is basically journalistic. Drawing from meti culou[...]osition, Hauff can (and does) avoid questioning the well-founded suspicions that the RAF members were murdered in their cells[...] |
| Seeing I Every once in a while, a film will CACTUS Thorn birds: Rober[...]al happens: you can after a while only Robert can bring feel the hairs on the back of your her any real co[...]become lovers; and, just as inevi shivers with a mixture of awe and tably, J[...]her home. There's a moment like that in John Aided by the exceptional photo Ford's The Grapes of Wrath, when graphy of Yuri Sokol and the Henry Fonda talks to Jane Darwell[...]Cox has produced his most tactile " whenever a man cries out for film: the symbol of the cacti, which justice''. There's another at the end give the scenes at Robert's home an of Max Ophuls's Lette[...]almost primeval atmosphere, is Unknown Woman, when you feel beautifully used. The director's fond that (maybe) Louis Jourdan has[...]ness for cinematic doodling may not remembered the woman whose be to the taste of every viewer. But, long letter he has b[...]Colo (i.e. Isabelle Hup than once: when Miranda is found in pert) as a child, dressed up for some Picnic at Hanging Rock, and again festivity or diving into a lake, it is when Harrison Ford and Kelly somehow very touching. McGillis dance in the barn in Nor does Cox ignore the off-beat Witness.[...]humour with which his films since There's a moment like that, too,' in Lonely[...]Menzies), turns out to be a machine), or Ray the solitary young collector of cacti,[...]impersonation of tells Colo (Isabelle Huppert), the a camel at a birthday party, while French woman who has been Elsa Davis pounds away at the piano partially blinded as a result of a car and sings a song for Colo. accident, that he was blind from[...]for one Complementing the images is the moment when he was a child and richest soundt[...]ave yet composed -- `composed' he says, just for a moment, he could seems the appropriate word here -- see.[...]sharing the film with the sounds of A little later in the film, Cox shows the bush, including the extraordinary us that moment in which the little cry of the whipbird. blind boy falls and, as his father picks him up, sees a fleeting image The principal actors are faultless. of sunlight through the trees. Pure Norman Kaye and Monica Maughan magic, with the sad little footnote play Colo[...]says, " Nobody with just the right degrees of believed me" .[...]pert makes Colo a truly memorable With Cactus, Cox has finally character. Best of all, though, is managed to merge the opposing Robert Menzies; after a walk-on role elements in his career to date: his in Man of Flowers and a bit part in love of the' documentary, and his Bliss (as Honey Barbara's lover), this fascination with the surreal. The film young actor emerges as a major is (mercifully, perhaps) unclassi- new talent, playing Robert with fiable: a love story, but a love story absolute conviction: it's the best that's surrounded by pain, like the screen portrayal of blindness since spikes of a cactus plant. Though it's John Malkovich in Places in the much more optimistic than My First Heart. Wife, it's almost more unsettling, more challenging -[...]There are some -- hopefully a much more adventurous.[...]tentious and self-conscious. But any Colo is visiting her friends, Tom view[...]a (Norman Kaye and Monica the last dialogue exchange between Maughan), in the lush hilly country Huppert and Menzies at the end of side outside Melbourne; back home, the film must truly have a heart of in France, her marriage to Jean-[...]erhaps, of cactus. Francois (Jean-Pierre Mignon) is on[...]David Stratton the rocks, and she's running away. The opening scenes of the film, Cactus: Directed by P[...]ducers: Jane Ballantyne and Paul Cox. including the extraordinary opening Associate producer: Tony Llewellyn- shot, establish the setting of the story Jones. Screenplay: Paul Cox[...]ography: Yuri Sokol. Production Tom reminds her, is much older. designer: As[...]Sound recordist: Ken Hammond. Cast: barely see. A sliver of glass pene Isabel[...]t), Norman Kaye (Tom), specialist warns her that the blinded Monica Maughan (Bea),[...]Marika (Banduk), Sheila Florance prevent the good eye being affected (Mar[...]lia. 1986. to Robert, whose first advice to her is: " There's nothing much to be[...]afraid of" . But Colo is afraid, and[...] |
| FILM A ND T V REVIEWS Brillig[...]hat I once was, let alone what I and end the film), Potter presents, never was. " Coral Browne (as the not merely Mrs Hargreaves's visit to There is absolutely nothing wrong In 1932, 80-year-old M[...]rian Alice) and Peter America and the `interior' story of with films about trucks. Driven by greaves (Coral Browne), the Alice to Gallagher In Dreamchild.[...]phrey Bogart whom Lewis Carroll first recounted a Alice (and others) the stories, the or Victor Mature, Yves Montand,[...]nt are reconciled as she stands stories, the New York radio play son, Mel Gi[...]make her speech, acknowledging about a little girl lost on the prairie the faceless fury of Duel, trucks have University. Dodgson's gift to her and "the love . . . All life, the film suggests, is a provided the movies with some of[...]nd metaphors. and travelling with a timid young The romantic sub-plot Involving effect (or[...]s own sense of self Fair Game is about a truck, too -- Mrs Hargreaves finds herself at the Gallagher), the likably opportunist among bewildering events. a customized Ford 1000 called, im centre of an immense amount of fuss reporter bent on a story that will modestly, The Beast. Invariably to which, for a variety of reasons, reinstate him in his job, and the This latter process is made more heralded by a feral growl on the she gradually succumbs. More im obvious affection in which Carroll is difficult for Mrs Hargreaves, partly soundtrack, The Beast is all chrome portantly, she finally comes to terms held by the university, fall Into place. because she is old and In a strange and spotlights, too bars and rifle with her younger self and with the Mrs Hargreaves, unable to respond place, partly because the facts of her racks. It is designer transport at its love shown her- by Carroll (the either to love or to the `fuss', is now past are disturbing to her, and partly most macho: if it had a teeshirt, it aware of a convergence of feeling. because there is something bizarre would have a soft-pack of Camel Reverend Charles Dodgson), love Not that the film skirts the potentially about the kind of celebrity she finds rolled i[...]on's love she has become. " I was simply a because she had been made to feel for Alice: it is perfectly clear In Ian little girl to whom he told his tales," Unfortunately, however, The there was something wrong, some Holm[...]she says. Earlier on, she had told the Beast has a driver, the driver has thing she " couldn't bear to think son's frustrations, and in the watch reporter: " It's difficult enough at my two sidekicks, and the trio has a about" . ful[...]once was, let alone target -- which is where Fair Game[...]e's mother. what I never was." By the film's end, starts to come unstuck. The heroine On this slender plot, writer Dennis some of the key narrative pieces of the film, Jessica (Cassandra Potter and director Gavin Millar have In his first original script for the big have, for her at least, fallen into Delaney) -- who is, of course, the fashioned Dreamchild, an Irresistible scre[...]target -- runs a wildlife sanctuary in entertainment, densely te[...]the South Australian outback. It is a the level of ideas and filmed with a mobilities (as In his television plays, The effect of this Is, without senti rather desolate place, where the sure sense of the cinema's capacity Cream in my Coffee and P[...]ving fluidly in time and space. from Heaven) is joined with a flexible has been startled Into benignity in but at least the roos run free. Free)[...]on to Jack and Lucy, and has that is, until Sunny (Peter Ford) and As Mrs Hargreaves grapples with Alice, sometimes a little girl (Amelia acknowledged Dodgson's[...]his mates, Ringo (David Sandford) the brashness of New York (a Shankley), sometimes an old[...]ong Lewis should add that it Is often very funny, the scene, with their high-powered lit streets and[...]ll's creatures, which are more and that the play of ideas is accom rifles, their packs of Camel and the and art deco hotel suites), she also farouche in Jim Henson's incarna plished with a cinematic flair (in aforementione[...]inative life. notably more threatening to the old bay any hint of the didactic. Not content with shooting a few woman's perceptions than to the roos (and leaving the joey whimper Her Oxford childhood of walled[...]narrative strands firmly together, Is a set about terrorizing Jess herself the Isis is bathed in a golden glow What the latter receives with com magnificent performance by Coral through a variety of means, few of that has less to do with reality than posure (a rheumy-eyed March Hare, Browne as Mrs[...]t them subtle -- though pinning a memory: it is half a world and more an alarmingly scrawny Grif[...]pain compromising Polaroid of her to the than half a century away from settle the old lady, for whom the in the move towards self-discovery, inside of her fridge door and trying clamorous New York. But the fantasy life has been so long winning respect rather than a rush of remembering is a necessary part of suppressed. She copes with the real easy sympathy. The bottom line in exploitation: her drama, and the Victorian scenes world by autocratically[...]not flashbacks: they are un whatever is at odds with her notions At her most dowager-like, she is to strike back against the macho bidden recollections.[...]decorum, but never quite unaware of the absurdity marauders in Fair Game.[...]se are called into question hovering at the edges of her pro Most touchingly, this proces[...]clamations; her fear in various alien occurs at the conferring ceremony, sider the non-comforting world of worlds is properly disturbing; and when the university choir's singing Carroll's wond[...]ion extraordinarily of `Will you, won't you join the moving. dance?' is intercut with Mrs Har The film plays consistently with the greaves's memory of Dodgson's idea[...]re any justice, Coral stammering attempt to sing the stories, with stories as versions of Browne would win an Oscar, and same song at a riverside picnic experience. Within the framework of Dreamchild would not have[...]Alice's meeting with the Griffin and the Mock Turtle on an eerie beach to larg[...]reviewer, possibly out on a limb, finds it the film of the year to date.[...] |
| to brand her horse with a welding Midday smoke billows over the screen in this Experiencing the contra culture: torch are among the film's few in express[...]The credits are in red over a black- From time to time, we are taken[...]in Salvador. Cut off from help -- if, indeed, the and-white rendition of the famous side-trips to hell. If you didn't[...]neck policeman in video news-clip of the slaughter of know that Stone's big writing credit negative, and I believe what it says the nearby town could be described the demonstrators on the steps of was Midnight Express, you could because it is telling me about vice. as such -- Jess is forced further and the cathedral in San Salvador, juiced guess it from the pious way these further onto the defensive until, with intermitten[...]Few political films can have strapping on a Rambo-style head- sive bursts of motion. The title music presented. treated the Good Guys more per band, she hits back. Ringo is fried sounds like it was written for a forties functorily and with less conviction on a live wire, Sunny meets a fiery `B' movie (no synthesizers, n[...]ime jerks against big-time than this one. The saints on the side death and Sparks is impaled on the guitars). crooks usually makes for a good of the revolution are slid quickly on sharp end of an a[...]ie, but Salvador keeps coming and off the screen like lifesize cut[...]Woods being an actor being outs, while the devils of repression Fair Game is an unabashed ex promised by suc[...]f time to strut their stuff in ploitation movie, a horse for a well- Salvador scuttles away from commit one of the most mechanical slime all dimensions. And the result is that, rutted course, and its success on the ment and begins to develop its specialists in the business: all his tics in the end, what matters is their evil, world video market (see the News central characters: the scumbag are pre-programmed, making me not the putative good of the section of Cinema Papers 58, July[...]As the film portrays him, Boyle's readily rent films about beautiful But the scenes in which this is sup But that is because I kept wanting only redeeming feature is that he young women in loose-fitting shirts[...]happen are flat and point Salvador to be a movie it was not -- can sometimes feel the suffering of and invisible shorts, who are much less. The dialogue between James a movie which drew me in and made other[...]ds as Boyle and Jim Belushi as me `live' the horror it depicted. Actu tion, Salvador builds its case. It does hot in the desert/jungle/outback, you Rock is crudely arch, and they play it ally, Woods's performance is of a not want to stop injustice, exploita[...]they had never met before. piece with the rest of the film: tion, violence, racism, sexism or a bunch of wisecracking yobs.[...]dis repression. It only wants to stop the[...]hurting. As exploitation, Fair Game is, I parallels to Flunter S. Thompson and enough, these are the qualities suppose, par for the course, though Oscar Zeta Acosta, yet gonzo which make the film good. Surely this is enough for a film to its first half, after a nifty piece of hysteria is exactly what is missing, want? A film is only a film, after all. stuntwork involving Jess's ute, The and we have all too much time to[...]ards, You and I may want more, but that is Beast and a refrigerator truck full of mourn its loss while the couple moti Salvador is a `bad' movie, and I our business, the business of ideo kangaroo carcases, is a little slow. vate their way towards E[...]iew to logy and belief. I can believe in a film Similarly, a number of laboriously and the movie we have come to see. expect anythin[...]et, when which only tells me that hurting is built-up bits of suspense lead no[...]t was over, I found I agreed with it bad, a film which is only effective where, barring a'sudden fright when Then things get better for a while. far more completely than I usually do when it is showing me people in a bird gets loose in a closed room Brutality doesn't requ[...]films want me to (which may -- who knows? -- be a brutality is what the Salvadorean my own. It had done what it set out swallow so much more. homage to The Birds, from which the material is all about. It takes only a to do. Now, why is that? scene is taken). short ti[...]all their self-centred nasti I think it is because, in the end, it is Round about the mid-point, ness, Boyle and Roc[...]by Oliver Stone. though, Fair Game ceases to be a ugiies in comparison with Major O'Shaughnessy in The Maltese Producers: Gerald Green[...]tips into out Max's bully boys and the US Falcon. It is good because it is Stone. Executive producers: John Dal[...]and Derek Gibson. Associate pro happens in a scene in which Jess is[...]ducers: Bob Morones and Brad H. Aron strapped to the front of The Beast, Oliver Stone, who directe[...]Screenplay: Richard Boyle and her legs lashed to the roo bars, her wrote, co-produced and cast his honest. Only a fool would believe in Oliver Stone. Dire[...]hirt suggestively slit infant son in a supporting role, treats the political engagement of what is Robert Richardson. Production design: with a large knife. She is then driven the forces of repression like villains so clearly a Killing Fields rip-off, a Bruno Rubeo. Editor: Claire Simpson. abou[...]creaming, from an old spy movie: the Salva film so coldly sensational in its Music: Georges Delerue. Cast: James while the men guffaw and the dorean nasties plot fanatica[...](Richard Boyle), James Belushi camera gloats. It is a loathsome dark rooms, while the Americans are so manipulative in its senti[...]cation. come alive at noon. Subtlety is not[...]Stone's strong suit, and a lot of Most propaganda is `positive' and Plana (Major Max). Product[...]butor: CEL. writer, at least -- all sympathy for the inward-turning, concerned to tell the 35mm. 123 minutes. USA. 1986. calculated commercialism of the world the virtue of the cause it film, leaving one with, at best, a espouses. But it is hard to be con grudging respect for Andrew[...]tue in these cynical Lesnie's cinematography and a ' times. Salvador is almost wholly muted admiration for Cassandra De[...]e battle against s te re o ty p e . F air G am e is a thoroughly nasty piece of work, pandering to a set of attitudes it pre tends (perfunctorily) to condemn. If the only way we can make an impact on the world video market is by proving that Australia can churn out exploit[...]like any scum bag, tax-shelter sleaze pit, then the last ten years, 10BA or no 10BA, have be[...] |
| [...]Mass and with the rather stilted layer of his dream, however, remains a vague Bull and bush movements[...]pragmatic programme based on the torical information. The latter are installation of moderate Labo[...]Paddy Quinn, about to be speeches, and a written epilogue cians and the operation of a central entirely different ways, gi[...]insight into this two-part Crawfords The opening minutes of Land of superbly plai[...]miniseries. Hope establish the dual themes of will work, Henry: it's the voice of the need for solidarity within the Each episode is organized around reason" ). And it lacks sufficient One is towards the end, where the labour movement and the posses a key political or industrial event, power[...]ten hours of deranged Johnny, a killer from the sive power of Catholicism. For the beginning with the shearers' strike in drama.[...]ome sin next ten weeks, these themes are the eighteen-nineties, and proceeds[...]by John Waters), confronts an examined against the background to establish a correlation between The major weakness of the mini old bushwoman played by Ruth of selected historical events from the the changes in the labour move series (shared by that other member Cracknell. With a loaded shotgun past 80 years. ment's fortunes, developments of the JNP stable, A Country Prac prodded into her ch[...]within the Catholic church, and the tice) lies in its unfailing predictability Johnny: " This country isn't kind to It is a concept -- developed by activities and ideals of the Quinn and the unproblematic presentation creatu[...]family. of a range of complex issues con here" . His response is brutal, scripted by Tony Morphett, Anne cerning both the labour movement shocking and me[...]e Brooksbank and John Patterson, In the first episode, Paddy Quinn and the Catholic church. simply pulls the trigger, j with alternating direction by Gary (Patrick Dickson) is transformed Conway and Chris Adshead -- that from scab to union organizer. In the Initially, the tension between the The other is the extended opening generates a considerable degree of fourth, his son, Frank, transforms church and the emerging union pro titles sequence on the Birdsville interest, but which also causes a from a member of the radical Inter vides a good deal of interest, Track, where we meet the protag number of formidable problems. national Workers of the World to a culminating in Paddy's dramatic[...]voluntary participant in the armed walk-out after an attack on socialism face in mortal combat. Occasionally, the pain and the forces during WW1. Similarly, in the and Hughes from the pulpit. Unfor passion of the burgeoning labour next episode, Paddy's da[...]tely, however, this tension gives The overpowering protagonist movement develop out o[...]cardboard caricatures, here is the face of the land itself, section with the individual concerns the Catholic church and the tradi epitomized by the local priest's shown in sweepingly effective aerial of the Quinn family. Too often, how tional labour movement for the Com intolerance of Kathleen's question photography. The human protag ever, the viewer is left in a sort of munist Party during the Depression. onists are in a battered old mail truck dram atic crevice, w here the ing of the role of the church during that forms a long line of white dust mechanics of the drama and the Later, during the upheavals of the the Depression. against the dimness of the dawn predictability of the characters' fifties, culminating in the `Great Split',[...]Frank's son, Dominic (Richard Moir), The overriding determination of the Birdsville postie -- a simple, thing more than a superficial way rats on the Labor Party to join the series to provide a neat frame decent man who doesn't[...](Mark Owen-Taylor), rejects means that the prejudiced Catholics the land -- and his biblically[...]awomifJ the radicalism of the sixties. The less dogmatic Catholics, in the form Wabic), a `refo' from Russia who[...]Paddy, the voice of union modera Mary Teresa. Thus it is not the institu and only mate. Their mateship is tion and pragmatism in the late nine tion of the church which is at fault, quickly and effectively es[...]enth and early twentieth centuries, merely the execution of its tenets by[...]closes with Andrew's final trans a few misguided individuals -- a But this introduction is a yardstick[...]rva which only serves to point up the endors[...]Whitlam in the seventies. The plot is standard in concept: the[...]Whilst the basic concept may designed to provide a ready code case, the Queen's opals) that they have been useful to sell the series, for future behaviour, whilst `figu[...]back. the decision to devote less than an of knowledge' such as Nesta Darling The opals end up in the suitcase of a hour to some of the most complex and Maureen Quinn contin[...]Dean (Rosey Jones), who is en route a reductionism that rarely allows prefigure audience sympathies. This to a job in Birdsville, via the Alice, more than a cursory outline of the predictability is coupled with a Maree and, of course, the mail truck. event, and leaves the overriding per simplistic attempt to infu[...]ception of history as a series of neat, cance into every gesture and action. Although mostly concise, the unproblematic packages. Thus, each of the major characters words, phrases and scenes of the[...]screenplay seem to sit one after the The rejection of a radical alterna virtually dies on cue -- Paddy when other like headstones in a country tive to the exploitation of the capital he learns of the installatipn of the graveyard -- there for a purpose, ists is established in the opening Communist Party in Russia, Nesta but grey and flat. However, unlike a episode. Paddy, the voice of reason trying to lift a box of anti-Menzies real graveyard, the story, although and moderation, is forced to serve a leaflets in the early fifties. Finally, full of,dead bo[...]gaol sentence after the more radical Maureen `permits' her own death logic to its existence. Worse, the members of his union attempt to after the election of the Whitlam purpose of these constructions is burn down a shearing shed. The government in 1972: the heritage of painfully obvious. price he pays is not just imprison `Paddy's dream' has b[...]ment, but also the death of his passed on to Andrew and[...]mother and the loss of his true love,[...]Geoff Mayer cannot afford to allow the mechanics[...]of the structure to be exposed. But In subsequent episodes, the com Land of Hope: Directed by Gary the holes in Alice to Nowhere are too munist alternative is explored and Conway and Chris Adshead.[...]rejected via the activities of Kath Suzanne Baker. Execut[...]suicide in a fit of despair after Stalin's Patterson, Anne Brooksbank and Tony As we follow the trail of murder regime is `exposed' and the Morphett. Directors of photography: and mayhem across the great, Russians invade Flungary. The Geoff Burton and Jan Kenny. Produc[...]: Owen Williams. Editor: begin to ask a few questions. Why[...]criticism, via the adulterous and un janik. Sound recordist: Don Connolly. into a vicious,', pathological killer principled behaviour of Dominic, the Cast: Maureen Green (Young Maureen when he hits the outback? And what[...]n join the enemy. Quinn), Patri[...]ith The only continuing character Penelope Stewart (Young Nesta Barbara, loves the postie, and throughout the ten episodes is Darling), Melissa Jaffer (Old Nesta[...]Paddy's wife, Maureen (initially Darling), Drew Fo[...]een Quinn), Peter What, inside Johnny, is cracking him Kennedy). It is her obsession with Kowitz (Leo Quinn),[...]`Paddy's dream' and the price he (Dominic Quinn). Production[...]. First broadcast: We could also ask a few questions that permeates every episode. The Seven Network, 11 May-13 July 1[...] |
| [...]souls the El Royale. In the original, the Cooder's music in Paris, Texas, they in Ali[...]poetry in the characters' stories is a strike a strong emotional chord. The fictional territory of playwright rich sourc[...]ohnny's wimpy, Sam Shepard is vast. His chronicles play. As Eddie says: " There's not a It is on the structural level that Fool retarded, hero-worshipping cohort. tell of a mythical landscape of lonely movie within a hundred miles that for Love is flawed -- strange, But, although Esben Storm wor[...]els, prairies, Plymouths and can match the story I'm going to because Altman is one of the few hard to bring the character alive, cowboy dreams. He delves into the tell." So why give us the images so directors capable of recreating (not there is not much a stereotyped, junkyard of Americ[...]simply filming) stage plays on the wimpy, retarded, hero-worshipping stopped on the prairie at a place screen. One of the few, also, whose cohort can really say.[...]th huge white plaster dinosaurs There is however some clever view of American his[...]standing around in a circle. There cinematography in these scenes, can culture is as simultaneously In such films as In Cold Bl[...]wn. Just these dinosaurs most notably in the way the past and mythic and hyperrealist as that of[...]em from present are diffused. For example, a Shepard. stories), there is some insight into the ground," he writes. scene where Eddie first sees May as the nature of the killers. But Alice to a teenager blends into an image of In the final analysis, the emotional Nowhere is primarily a story of It is a vision of America often the present, reminding us of the im and intellectual engagement of surface incident. Blood Simple could found in the films of Robert Altman. possibility of escaping the past. It is Shepard's Fool for Love lies in get away with t[...]man: he plays with leaving Eddie, May and the Old stylistic brilliance. But, in Alice to the depiction of the 'Dodge City' bar reflections, fragmenting the images, Man's stories to tell themselves, not Nowhere, the killing is mostly in a nightmarish Southern Cali dislocating the visual and the narra in attempting to realise the poetry of reduced to nastily serious business. fornian landscape: there is a captiva tive space.[...]tion with the surface of things -- with tempted to show too much, pre A series of increasingly powerful, ban[...]dreams with a raw sensuality and visions are so close. eventually lead us to the point where When these two artist[...]strength. Her other recent film, 91/2 all the script arrows have so clearly together, as they have been in the Weeks, may also have dealt with[...]Kathy Bail been pointing -- a pitifully production of the film Fool for Love, obsession; but, in Fool for Love, she inadequate anti-climax where the the dialectic is bound to be a is given a script loaded with poetry Fool for Love: Dire[...]winning play was first staged by the Randy Quaid as the outside `man' and Yoram Globus. Associate pro in the flooded Diamantina River. Magic Theatre in San Francisco in brings to his part the right sort of ducers: Scott Bushnell and Mati[...]ive in charge of production: Alice to Nowhere is a formula story America and elsewhere,[...]ffrey Silver. Screenplay: Sam that does not seek the enhance becoming a film (see the Alt some dream of owning chickens[...]man interview in this issue). and a plot in Wyoming look even Pierre Mignot.[...]se Stephen Altman. Music: George Burt. The only thing remotely `new' in it is also plays the lead, Eddie, a brash, him. Her entanglement with Eddie[...]at the El Royale to make things up[...]es with his lover, May (Kim Basinger). The whining country tunes of Fool (Old Man), Rand[...]for Love reinforce the action. Written Martha Crawford (May's mother), Alice to Nowhere: Directed by John The setting is brilliantly realised -- and performed (in additi[...]ower, Producer: Brendon Lunney. a run-down, neon-lit motel on the George Burt's score) by Shepard's[...]producers: Hector Crawford, edge of the New Mexico desert. sister, Sandy Roge[...]rry Stapleton. Glowing pinks and the moody, even yearning, dislocation and the im USA. 1985. Associate producer: Michael Lake. ing colours of the desert heighten Screenplay: David Boutland, based on the intensity of Eddie and May's Out o f the saddle again: Sam the novel by Evan Green. Script editor bl[...]. Production designer: was decided a long time ago," he the stage play by Shepard. Phillip Warner. Music: Pe[...]rdist: Andrew Ramage. Cast: John The beginning is very slow and LOVE Waters (Johnny), Steve Jacobs (Dave contemplative: a series of long, long Mitchell), Rosey Jones (Barbara Dean), takes. It allows Altman to give a Esben Storm (Frog), Swawomir Wabic drawn-out explication of the two (Ivan), Ruth Cracknel! (Helen Spencer)![...]y: Crawford Pro two fighters in a no-win situation. It ductions. First broadcast: Ten Net also invites careful exploration of the work, 1 and 2 July 1986. 16mm. 2 x 2 visual space -- the trailers in the television hours. Australia. 1986. junkyard, an empty bar, a child on a[...]Eddie is brazen -- an indulgent per former. But his act is often comic: he kicks in the door of May's room with[...]the glasses on the bar skittling with his whip. It is a pathetic violence, that[...]forms too. In a clinging silk slip, she[...]The knowing watcher on the balcony is the drunken Old Man (H a rry D ean S ta n to n ). His harmonica-playing lends a melan choly air, and it is his stories that are the more philosophical:," It was the[...]Altman chooses to reveal the links between the main characters in recreations of the past. It is, I think, the major fault of the film: the camera |
| F IL M A N D T V R E VI E W S[...]f that ilk: Christophe Lambert Scot of the begins to stroll along at a very[...]society is shown at its worst: Clan[...]its effect upon him -- for instance, the story of Robert Louis Steven conventional, with Louis and a few- the relationship with his wife, who son's relatively unknown life in others the shining, liberal excep With the arrival of his second film, does age and finally dies, while he Samoa with a look at the under Highlander, it is obvious that Russell stays the same age -- is an inter explored subject of European settle tions. Mulcahy's camera eye is little short esting (though lightly explored) area. ment in the Pacific. Ultimately, But the philosophical basis of that of wonderful. From the opening however, the ABC's Tusitala doesn't scene -- a nighttime wrestling match Unlike other recent fantasy/adven- seem to have made it work. The liberalism is never explained, any at Madison Square Gardens, ture films, however, Highlander is miniseries suffers from an incon[...]than it was accounted for in superbly shot with a Skycam by well written (by Gregory Widen, sistent script and a thematic con Episode One's sketch of the milieu. Garret Brown -- the look of the film P eter B e llw o o d and La rry fusion that strangely reflects the split Rather, Stevenson comes to the is constantly amazing. Intercutting Ferguson)[...]rsonality of its heroine -- or, rescue of the 'good king' of Samoa, between a violent, modern-day the final climactic battle, which is perhaps, the more tortured con who is mistaken for a bad king by swordfight in a car park and an pretty similar to all[...]frontations of Stevenson's own Dr the baddies of the colonial govern equally violent sixteenth-century battles, the action sequences are Jekyll and Mr Hyde. ment. There is not enough back Scottish battle, the film becomes a fresh and exciting. Mulcahy's ground to the power struggle that kind of kinetic cross between Blade direction helps -- the Scottish clan Episode One of the series tries to takes place between the Europeans Runner and Excalibur. battle is particularly well staged and do too much, too quickly. Describ over this far-flung island in the shot[...]se from being Pacific to give more than a super The story of Highlander (which, to balance the sombre struggle ``unknown, penniless and a poseur" ficial context for the anti-colonial given the themes, is a thuddingly between the immortals. to being a popular Victorian novelist, themes of the succeeding episodes. dull title) is essentially that of all[...]in his Edinburgh milieu, action/fantasy films: the struggle In a flashback sequence, we see a his family background and his bouts The most interesting sections of between the forces of good and evil. duel in which an i[...]t their full acters, these forces do battle for the to stab a drunken MacLeod to older woman from the American potential is never realised. Trad source of all worldly power. In Star death: such are the advantages of mid-West with a family of her own. itional Polynesian society is shown to Wars, it was The Force; in Excalibur, immortality. But the real success lies[...]be under threat from Europeans, but it was the Holy Grail. In Highlander, it in the balance that is carefully built Episode One ends with Louis and that threat doesn't seem to warrant has the somewhat unimaginative between the two potentially clashing Fanny arriving[...]making it more than just an exten name of The Prize. He who has The genres -- fantasy, and `realistic' both Fanny and the tropical climate sion of the background. Prize has the future in his hands. thriller.[...]ing illness. And, while the miniseries does In what may seem like bizarre The scenes between the modern succeed in building up some of the casting, the French actor, Chris- MacLeod (now a good 450 years The European locations in that first tensions betwe[...]phe Lambert, best known for his old) and the police, who are inves episode, shot[...]n Greystoke, tigating his involvement in a number the cliched recreation of Victorian the rapaciousness of the colonial plays the Scottish clansman, Connor of murders, are full of tension. The society, are as disappointing as the administrators, it doesn't manage to MacLeod. He is surprisingly effec realisation by policew[...]of character development. account for the depth of the relation tive: not only is his acting strong but, Wyatt (Roxanne Hart) that he is not Angela Punch McGregor's accent[...]p that must have existed between in keeping with the rest of the film, completely normal is strong and waxes and wanes, becoming as tire Stevenson and the Samoan people. his `look' is always striking, too. involving, using the same juxta some as John McEnery's[...]antasy (or unreality) and one. But there is no doubt that Instead, we get snapsh[...]e One, after all that frantic Stevenson and the Samoans having New York in 1986, is then re-estab sketching, leaves the viewer curious, a feast; Stevenson against the lished in Scotland in 1536, where he Sadly, though, the climactic point wondering what the hero and Consuls; the Samoans being is fatally wounded during a battle. of this sequence -- his explanation heroine are going to do*for the next pushed towards civil war; and Failing[...]Stevenson writing letters to the press his home by superstitious villagers, is not only unnecessary but exces in Europe. With such a superficial he eventually discovers that he has sive. The answer becomes obvious in rendering of this relationship, the become a member of a unique Episode Two: slow down. The loca 'road of gratitude' built for Steve[...]tions definitely improve (Samoa and son by the Samoan chiefs on their[...]s, its sets are lovely), but the action Trained by the m ysterious im m ortal swordsm en, S[...]Julie Nihill, Dorothy pass on through time until The it is, there are indeed a couple of[...]ing, where he and other moments when the film goes way and Todd Boyce in the miniseries, immortals will meet to fight Kurgan over the top -- the soundtrack by Tusitala. (Clancy Brown), the evil immortal, Queen doesn't exactly help -- but and (hopefully) win The Prize. The they're too few to worry about. In the Gathering is, of course, set for New final analysis, Highlander is an York in 1986. ex[...]fully directed thriller. If the story sounds ridiculous, then it is to the filmmakers' credit that it's Tony Cavanaugh sold so well. Partly, that is because of the naturalistic approach to Highlander: D[...]William N. Panzer. Executive grows slowly out of the normal man. producer: E.C. Monell. Associa[...]Ferguson, from a story by Gregory[...] |
| [...]ime out: Imogen Annesley and of what `a kid' ought to be (in which him, and their hacking of a path again[...]atie Bow. respect, Playing Beatie Bow, like the through the jungle to his mountain[...]Winners TV series, is one of the few grave, appear inexplicable and[...]. locally-m ad e pro du cts that is undeserving. might well have been a more signifi But, above all, the film is a solid respectfully geared to a specific cant and (though it is admittedly too[...]tionship remains hardly early to tell) a more noticed event and traditional piece of storytelling, credible, the one between Fanny than it will be in 1986. In the wake of with enough cinematic verve, Playing Beatie Bow is as naive, and Louis finally comes into its own Crocodile Dundee and the focusing humour and energy to make up for unpretentious and provincial as, in towards the end of the series. Fanny of attention on overseas markets, the occasional lapses into stereotyped its own way, Back to the Future was herself slowly evolves from wifely fate of such a modest and unpreten characters and banal no[...]tious film seems uncertain. For (there is at least one unfortunate won't be a film to cross the Pacific -- into an interesting character in her Playing Beatie Bow is the hand such scene in a bordello). but, then again, it doesn't try to. At own right, albeit a schizophrenic somely-made stuff o[...]t, geared predominantly to At its best, the film unfolds easily, tion clearly on its sleeve.[...]nough script to act with, thing which, a decade ago, might graphy to tell the story. Indeed, DOP and she is very good in this difficult have made it the flagship of a G eoffrey Sim pson won both[...]industry. Cinematographer of the Year and Donald Crombie. Producer: Jock Blair. becoming more central to the drama the Golden Tripod at the 1986 Aus Associate producer: Bruce Moir. than Stevenson himself, the latter Based on a novel by Ruth Park, it tralian Cinematographe[...]Screenplay: Peter Gawler, based on dies. The series ends at his funeral, is a variation on H.G. Wells's The Awards. the novel by Ruth Park. Director of and Fanny is relegated once more to Time Machine[...]Annesley) is transported back just Bow, such as the opening, which Music: Garry McDonald and Laurie T his fin a l in c o n s is te n c y is over a century to 1873. Fittingly, the are exemplary. The film immediately Stone. Sound mixer: James Currie. especially annoying: even a note in film worries nothing about[...]ous shots Editor: Andrew Prowse. Cast: Imogen the final credits, briefly detailing her log[...]ley (Abigail), Peter Phelps life after Louis and the circum simply gets on with the dramatic the spectre-like Beatie until, finally, (Judah Bow)[...]th, would have realisations that the premise pro through dissolves, the camera Bow), Moya O'Sullivan (Granny)[...], Don Barker (Samuel), them, Louis and Fanny are a good a cliff. Damian Jacko (Gibbie), Su Cruick- story. But it is not one that script Thoroughly pi[...]r for forgiving her father (who Nearly all the young characters pany: SAFC Productions. D[...]oman, and are played by people of roughly the CEL. 35mm. 93 minutes. Australia. Susan Bridekirk who is never seen), Abigail follows same age, whose[...]" the little furry girl'', Beatie Bow been written a[...]Alehin. Executive producer: her way to the land of old Oz. Ian Warren. Screenplay: Peter Yeldham. Director of photography: In the best tradition of the genre Peter Hendry. Production design: (and this is a mark of the film's Laurie Johnson. Editors: Lyn Solly and[...]ohn McEnery (Louis), Angela provide the bridge between the Punch McGregor (Fanny), Ray Barrett Dickensian industrial city of the (Harry Moors), Julie Nihill (Belle), Todd eighteen-seventies, and the modern- Boyce (Lloyd), John Gregg (Cusack-[...]: ABC-TV, 15 Cathy's Child and, to a lesser extent, June - 20 July 1986. 16mm. 6 x 1 tele The Killing of Angel Street, it is vision hour. Australia/Great Britain. mainly through the eyes of the 1986. female protagonist that the story is[...]In the overtly romantic, senti mental and fairytale world of the[...](Peter Phelps). Resembling a cross[...]Judah is portrayed as the perfect[...]viding a staunch contrast to the dis[...]Abigail. Though he Is committed to[...]The lone heroine, a recurring theme in Crombie's films, is, through[...]defined by the search for a partner, and she remains, at the least, dis trustful and resentful of men. In the[...]Peter Phelps). Yet there is an ambi valent sense of loss, and a hope that[...]and that her own family, like the[...]as elsewhere in Crombie's work, the[...] |
| F I L M A N D TV REV IEWS Chi[...]groups, particularly Cody Walpole, THE LANCASTER end[...]stands as an outsider in the small Not only is Cody the bane of the Set in a small town in the `anywhere' rural community set deep in the Aus town's one-man police force. But,[...]rog Dreaming re tralian outback. From the outset, he when one of his escapades involves staying on volves around a fourteen-year-old, is branded as a troublemaker, with his sweetheart, Wendy, and her pre the ground orphaned American boy -- and[...]ocious sister, Jane (they discover something of a child genius -- called near to the point of death (he invents the shrivelled-up corpse of a I view all impending miniseries with Cody Walpole (Henry Thomas). a device to convert his bicycle Into a drunken derelict friend of Cody's), trepidation: there is no pleasure to Cody's Irrepressible, adventurous form of railway train). Yet Cody's Cody is definitely on the shortlist of be derived from watching over spirit leads him to discover the terror passion for invention goes beyond[...]narratives that pass as `quality of `Donkegin', a mythical monster being merely the good, clean but dramas', when quality is denoted by which, according to Aboriginal troublesome fun of a young lad: it In a confrontation between Cody's expensive production values. legend, resides in a taboo area can be seen as the film's real focus guardian, Gaza (Tony Barry[...]endy's father (Dennis Miller), Gaza The Lancaster Miller Affair defies[...]puts into plain words the other's expectations, though I wonder Because it is steeped in an Abori Setting things up --[...]y under whether it will not be a unique ginal myth of passage, Frog Dream and inventing -- seems to be the control: " You mean, you don't want moment in the history of the Austra ing can, at one level, be read as a one permanent activity in Frog[...]h your lian miniseries. Unlike the highly film about coming into manhood.[...]his determination to dis further along the road to discovering reductiveness of The Dunera Boys, the secret of Donkegin. For the children of Frog Dreaming, the recycled nationalism of Anzacs, FROG DREAMING[...]the sexual suggestiveness of the or the saccharine tediousness of A The sisters, Wendy and Jane word `banging'[...]Town Like Alice (all highly acclaimed cover the secret of Donkegin, seeks Cannon (Rachel Friend and Tamsin beyond comprehension. Indeed, the `quality dramas'), The Lancaster out an Aboriginal sage by the name world of Frog Dreaming is one Miller Affair has passed v[...]ie Pride (Dempsey Knight). Taking aim at the adult world: where only children seem to have a unnoticed. The question is why. And, in a scene completely divorced Henry Thomas as the Huck-Finn sex life -- where only they are free to from the known, familiar world, Pride character, Cod[...]ent their talk may Could it be that the series is the puts Cody to what he calls a test of Dreaming.[...]and first to treat its subjects with a manhood, by urging the boy to[...]distance and an adult maturity? dance with a satanic figure.[...]What is unique about it is that, in the This talk is not at all incidental: it name of realism, it actually attempts The film takes its cue, though, not[...]often occurs at precise moments, as the kind of carefully modulated from this land and the primitive when, at the Donkegin waterhole, narration of a historical event, and myths of manhood that abou[...]Wendy and Jane are drifting on a serious characterization of flawe[...]raft into the centre of the waterhole, but interesting people, that one has mythical place and time that is par[...]ian miniseries ticularly American. It comes from a ever kissed Cody. And it is at this will deliberately avoid. vision of a pair of unruly lads gone very moment that the Donkegin off to play pirates -- a myth of child[...]nster begins to raise its head The series concerns the rela hood that is as horrible as it is idyllic,[...]bby Miller (Kerry and that stems ultimately from the Mack), a young Australian woman, imagination of Mark Twai[...]ill Lancaster (Nicholas Eadie), Walpole could be a distant cousin to belongs to a world both supernatural an ace British aviator. The events of Tom Sawyer or, more likely, Huck[...]and very real, where the little white the story are based on fact and the Finn, sent over to put at bay our own[...]community has no stake -- a place couple, famous and notorious in the satanic fears. that the community attempts to pre late twen[...]represents, at one .and the same Peter Yeldham's script and H[...]time, both the demonic, and the Safran's direction produce a view of[...]innocent, profound level of (sexual) the events that is neither naively[...]like the monster,,just bubbling at the intense and interesting.[...]When they meet in London in the[...]Like Huck, Cody, with the help of late twenties, Bill is estranged from[...]Charlie Pride, takes flight from the his wife, Anne (Lisa Armytage), and[...]community; and, like Huck, he is a trying to survive failed business[...]does not ventures, but also harbouring a[...]integrated thereafter into the com Darwin. He is a kindly, diffident and[...]munity, now that he is a man. courteous man, who has no[...]The myth of passage into adult[...]hood is the presumption of many a Chubby Miller, on the other hand,[...]kid's adventure. Yet I have never wit is willing to overcome any obstacles.[...]nessed so many affronts to the adult Her determination, strength and[...]world as In Frog Dreaming. If there is directness provide the perfect foil for a true monster in the film, then it is Lancaster. Not surprisingly, she too[...]the adult community -- what it prob is estranged from her spouse, and[...]frightening their mother with a string Trenchard-Smith. Produced by Barbi[...]John The dancing satanic figure at the McLean. Production designer: Jon end of the pier in Charlie Pride's Dowding. Music: Br[...]nightmarish world is no more than a Brian Kavanagh. Sound recordist:[...]dangling strings. Even the word Rachel Friend (Wendy Cannon),[...]`Donkegin' comes from a mispro Tamsin West (Jane Cannon), Demp[...]nunciation of `donkey engine'. The Knight (Charlie Pride), John Ewart (Ser mechanical and the supernatural geant Ricketts), Chris Gre[...]thus become fused, with the stable Wheatley), Mark Knight (Henr[...]It is this engineering spirit in Frog minutes.[...] |
| Unflappable flapper: Kerry Mack as reputation by a record-breaking solo abandoned the project, but only for holding action against their Chubbie in The Lancaster Miller flight from London to Cape Town. long enough to reach a compromise relentless pursuers who, once[...]But he crashes in the desert -- a abouts. Never has the Australian Chubby raises the money for the heroic death, brought about by a Whether or not Fortress would bush seemed such a small and flight, on condition that Lancaster combination of social pressure (the have gained any real advantage by[...]as need to `redeem' his reputation at a using Bess Armstrong is largely passenger -- a selling-point to tim e when reputation meant irrelevant: the film's problems lie But what harms Fortress even sponsors -- is soon transformed into everything), ill fortune and the much deeper than that. But,,in the more than its non-linear progression that of co-pilot. A pivotal sequence, grotesque actions of his parents in important central role of the plucky is its abandonment of motivation and beginning with a shot of the plane's denying Chubby access to money to[...]pat joystick moving temptingly between buy a plane and look for him. Ward is totally out of her depth, terns. The motivation that drives her legs (in, I can only assume, a possessing neither the conviction teacher and pupils into a frenzy of deliberate phallic joke), ends with The series bristles with keen social nor the dramatic range to give the blood-lust at the film's climax is not her taking over the controls and o b s e rv a tio n and n a rra tiv e character substance. borne out by the experiences they thereafter becoming a pilot in her complexities. Lancaster's paren[...]undergo on screen. Or, if it is own right. Out of a sense of honour are depicted as an extreme in[...]t it's doubtful that even Meryl justifiable, the film does not convince and rectitude, as well as a fear of of religious conditioning, the father Streep could have saved Fortress. us that it is. scandal, they set out on their epic (Barry Hill) a pathetically reduced There are too many holes, credibility voyage, with the reluctant consent of version of Lancaster himself, the gaps and overall strains on Earlier on, we've been dropped Bill's wife and parents. And, as one mother (June Salter) leader of a audience credulity. To state that the plenty of hints that these kids are inevitab[...]y and Bill bizarre charitable/religlous sect. A film is based on the notorious callous enough in their acce[...]she forces Faraday kidnapping is to lend it a of violent death as a way of life. As Lancaster's wife to refuse a divorce. bogus aura of reality that can't, in the film opens, one of the children is The narrative follows the various Anne, however, gives a more any way, be justified by what takes propped up, half-asleep, against a events of their life together -- their cogent, if damning reason: the place under the guise of dramatic, fencepost, having waited up all night failure to beat the record due to parents support her and the children imaginative licence. It begins with a to shoot a marauding predator. On accident, the refusal of Anne to grant and, as a divorced woman, she kidnapping, yes; but that's about as the way to school, he remarks to a a divorce, the effect of the would lose her job.[...]queamish Sally: " You always spit Depression and the slow decline in is about running a newspaper. What on a dead animal for luck." their fortunes in the USA as each A lo n g w ith the c o m p le x in fact sabotages Fortress is its new venture fails. Throughout, the characterization of Chubby Miller, it tendency to run off in too many The children are shown as m ixed sexu al and c u ltu ra l is this kind of detailed background dir[...]le of killing, yet are not given expectations of the period lock that provides a rare attempt (in the sufficient cause for it, and the film's Lancaster and Miller inevitably Into a Australian context, at least) to give The abduction itself is well- finale is a tour de force of shameless situation where her desire for sym pathetic treatm ent to the staged. As Sally Jones and her[...]and family cannot be ful contradictions of the role of women. small class of pre-tee[...]filled and their relationship will be Perhaps the unglamorous treatment up at gunpoi[...]unconventional, at of sexual passion, perhaps the schoolhouse, there is a tangible to the eye of a seasoned Green worst, notorious and Infamous.[...]ke sim plistic feeling of menace in the air. The Beret. nationalist sentiment, perhaps the sense of dread and terror is rein Their journey to the United States drama of two people who fall to[...]on and By this time, Fortress has under is the beginning of a tragic decline, realise their dreams, are just too camerawork, as well as by the fact gone yet another metamorphosis. which culminates in the events difficult to be the subject of the that the kidnappers are wearing H aving begun as a straight surrounding Chubby's decision to[...]igns novelty masks, giving them a suspense thriller and digressed into marry a man called Haden Clarke that promote each[...]ly comical appearance. c h ild re n ' s a d ve n tu re , it now (Wayne Cull). Bill is devastated. But The Lancaster Miller Affair Up to the point where the unseen becomes a close cousin to Lord of deserves, at least, a second glance. villains herd the innocents into the the Flies, albeit shorn of that work's Later, C larke is found un van and drive off, Fortress is fairly coherence and credibility. And the conscious, shot in the head. After Annette Blonski impressive. Suspense is mounting postscript, with its macabre final a traumatic murder trial -- the nicely, and the film moves. shot, is pure Stephen King. Or is it a centrepiece of the series and its The Lancaster Miller Affair: Directed[...]But, after this promising start, it's is absolved of any guilt, but at the Davies. Associate Producer: David downhill all the way. The teacher For all its faults, Fortress is not expense of Chubby's character. She Hann[...]ham. and her pupils are thrown into a unentertaining in its own confused `becomes' her role -- the femme D irector of photography: Ross cave by the villains, who just take off fashion, however. Crazy as the plot fatale, the dark, dangerous and Berryman. Production designer: David for the next half-hour or so, leaving a may be, it hardly cancels out the sexually depraved woman -- Copping. Music: Frank Strangio. major sag in the plot development. whole film. Directors like De Palma, consenting to do so because this is, Editor: Richard Hindley. Sound There is a good deal of fire-building, Spielberg and even Hitchcock are claims the defence attorney, the only recordist: Ross Linton. Cast: Kerry[...]las Eadie water swimming, all of which is great lamb, and a strong technique can terrible abuse from the public and (Bill Lancaster), Malcolm Roberts[...]for padding, but disastrous for mask a multitude of sins. Their films the newspapers, she keeps her self- (James Carson[...]den maintaining audience interest. The are, however, well put-together. respect, and the couple's bond Clarke), June Salter (Maud Lancaster), goings-on in the cave completely Fortress is not: it's a mess. And all remains intact.[...]ill (Edward Lancaster), Lisa shatter the momentum generated by the cocky angles and admittedly[...]Armytage (Anne Lancaster), Pro the film's opening scenes, dissipa glorious pa[...]ion company: Lancaster Miller ting the tension, and temporarily this unpalatable fact. The children absolved. But, back In England, his Productions. First broadcast: Nine turning the whole affair into are capable, direction effective, with life seems ruined. Cast out by the Network, 6-8 July 1986. 16mm. 3 x 2 something resembling a `Famous music and sound surprisingly terrific. class of which he was (being a television hours. Australia. 1986. Five' adventure. It's the script and structuring which Catholic) only precariously a[...]let it down. member, and unable to get a Mutton Naturally they find a way out, divorce, he tries to redeem his[...]striking out across the countryside[...]until they reach a farmhouse where,[...]predictably and unbelievably, the Fortress: Directed by Arch Nicholson. For the benefit of those with short villains are waiting for them. A bout Producer: Ray Menmuir. Associate memories: a recap. A couple of of violence ensues, then the captives producer: Michael Lake. Executive[...]years ago, Fortress was a notable escape once more, e[...] |
| [...]is own part. Taro's men attack the castle in Akira That that first hour of genius again on the[...]superb the 1945 film in Ran's first post sound replace the clamour of the images makes Ran one of the true Over 40 years ago, in the closing credits scene, as Lord Ichimonji[...]Hidetora sits motionless disappointments of the year. For months of another world, Akira[...]a sits in conference with his and wide-eyed in a slatted tower, Kurosawa's greatness as a director Kurosawa made a film called Tora three sons, Taro, Jiro and Saburo. while the arrows fly past him in flocks is not that he can move people and no 0 o Fumu Otokotachi, his fourth. As at Tora no O's checkpoint, the and his men ar^e slaughtered around horses across the screen like John The title has been translated in roughness of the terrain is tamed by him in their hundreds.[...]ed) but various ways, but most often it a formal assemblage of flags and[...]Renoir (from whose comes out as They Who Step on the screens laid out on a hillside, while The attack on the castle is the films horses were largely absent), he Tiger's Tail. the participants sit in the same heart of Ran, as the storm -- Act III can also distil plot, charact[...]formal configuration. -- was the heart of King Lear. And camera into a single, perfect The summer of 1945 was not a the fact that it is a human cataclysm, mechanism. And that mechanism happy time for Japan, and it is But, in Ran, the echoes of that not (as in Lear) a natural one, runs unmistakably down in the scarcely surprising that the military exquisite early film eventually fade perfectly accords with the modern second half of Ran. authorities should only have been beneath the reworking of King Lear, work's theme, as voiced over an prepared to authorize an apparently which is the new film's raison d ' |
| [...]great tradition of Don Siegel's Riot in The heyday of the martial arts movie selfishness prevents any new light lar cinema has been in the throes of Cell Block 11; or Robert Bresson's was a decade ago: nowadays, it from being thrown on either the a nostalgia trip, reviving the glory Un condamn |
| ' The plot hinges around Rollie Salvador, and the struggle of the punch is to not be there" -- is, My Chauffeur (Hoyts) opens with a Tyler (Bryan Brown), a movie special thirties immediately becomes that of finally, at variance with the narra promise that you somehow know it effects wizard who is hired by a the eighties. His idealism and hope[...]a isn't going to be able to keep: a Justice Department agency to stage are confronting: 50 years after the sional forays into the territory of sequence of close-ups of a young a fake `hit' on an important mafioso. beginning of the war in Spain, the wholesome melodrama (the peace woman's accoutrements -- her The hit proves too effective, how `g[...]her white socks, ever, and Rollie finds himself a[...]Kathy Bail ends with the usual ingeniously glitter acce[...]nd her sunglasses. My Chauffeur is A few small quibbles aside, the If the last fifteen years have pro soc[...]rately seeking Madonna. Yet, basic premise of FX is acceptably duced a successor to the film noir, it with a mildly wacky female lead, bizarre, the action well staged, and is the desert movie, with the empty Nick Roddick Deborah Foreman, as Casey the quality of the performances -- landscapes of the south-western sun Meadows, the film is far from that especially Brian Dennehy as a hard- belt replacing the mean streets of ----[...] |
| [...]credible character development the sixties hit by Peter Kraus which The film is about a fragment of stab, rather despaired of the return rather than implausible nonsense. gives the film its title. Her pursuit of[...]Eisi is a matter of purloined subway time (a nine-and-a-half week relation Animator (Filmways). Graced with a[...]schedules and proferred candy ship laced with the iconography of soundtrack rip[...]bars. He hasn't a chance. the pornographic) and a fragment of and heavy with hom[...]Taken from Joyce Carol Oates's a woman's body. Elizabeth (Kim Lovecraft, the film is, in fact, neither short story, 'Where A[...]Sugarbaby looks wonderful, with Basinger), a stylish SoHo gallery a thriller, nor any more accurate a Where Have You Been?', Smooth its sea of pinks and mauves (DOP director, is taken under the sexual version of Lovecraft's hyperbolic Talk (Sharmill) is a more ample ver Johanna Heer has already been control and mastery of a quiet- world than sixties horror flicks like sion of the original work, and yet featured i[...]ng Wall Street whizz kid (Mickey The Haunted Palace and The manages accurately to recreate the grapher). But director Percy Adlon is Rourke, whose body we never see),[...]of growing so determined to control the tone of and that's about it.[...]But Re-Animator has a definite won Eisi, there is nowhere for the There is no dialogue. Rather, we style of its own, akin to that of The In a remarkable feature debut, film to go. The problem is built into watch a sequence of commodities: Evil Dead, though with a stronger director Joyce Choppra, with the the style: Marianne's ordinariness, designer food, d[...]paints an incisive and Thus, by the time the couple come kind of voyeuristic pleasure out of Pausing only to show us a sign sensitive portrait of the last days of together, they are so ordinary as to the debasement and humiliation of[...]be almost uninteresting. women, forget it. And the soft-sell Medicine', the camera is tracking in, exasperation and self-aw[...]ng didn't work: one can't to the sound of screams, on a locked[...]acing laboratory door. Inside, a pasty- With a real flair for objectivity -- it anne's single-mindedness, Sage- it in the notoriously non-specific field face[...]t (Keith seems that her strategy is to pull you brecht's performance and Heer's of `the erotic'. Gordon, the car-besotted Arnie of in by distancing you -- Choppra cinematography make the film con Christine) is struggling with a delicately captures the dilemma stantly entertaining.[...]Kathy Bail deranged professor. The professor's faced by Connie (superb[...]by Laura Dern), a fifteen-year-old girl acts against it. It might almost have Poltergeist remains one of the best caught between the opposing cur been better as a short. horror films of the decade, function West, relyi[...]rents of childhood and womanhood. ing both as a ghost story with a movie adage, "All life is a chemical[...]), and as process" , has found a day-glo fluid Her fellow traveller on the long an intriguing glimpse of what E.T. that revives the recently deceased. road to maturity[...]And, to further his research -- a sexual conflicts and jealousy, ta[...]relentless and extremely messy pro the form of the lustful and sinister Coming four years after the release With Poltergeist II: The Other cess -- he moves to the old Love- Arnold Friend (Treat Williams in a of Arthur Penn's superb and grossly Side (UIP), one's heart sinks at the craft stomping-ground of Arkham[...]one of the most erotic duels of (Hoyts) falls rather short of one's good was that `the other side'[...]expectations. remained just that -- a terrifying The nasty bits of Re-Animator are angel and devil, dream and night `beyond' that began at the closet authentically and disg[...]Gene Hackman and Matt Dillon door. Nor does the opening of the But it is hard not to like a movie in sexual desires and fears.[...]lp, with its mumbo-jumbo which a head (temporarily separated estranged son in a script which atop a desert mesa. f[...]poses of stability, on a letter spike) Choppra chooses to leave Connie's American films. The past of the After a while, though, we rejoin the raises its eyebrows in exasperatio[...]n aura father (ex-CIA agent) affects the haunted Freelings, snack-guzzling[...]eyeless lower parts of ambiguity. At a time when Holly present (a family situation even dog and all, now quartered with repeatedly bump into things on the wood seems preoccupied with the duller and more drab than that[...]ldine Fitzgerald), and way to the fridge for fresh supplies of male rite of passage, Smooth Talk is Hackman's recent Twice in a Life with TV sensibly banned from the plasma. a refreshing and intelligent change, time), and jeopardizes the future house.[...]ng one's confidence in small- (when the superfluous and marginal[...]films and woman directors. mother is kidnapped). Father and To no avail: connectin[...]Norbert Noyaux going back to the past so that a new are back, shaking the house, ruining (Roadshow) could be described as a family can come back to the future. the plumbing, and almost strangling 'borderline children's film'. Like The Smooth Talk: Laura Dern as Robbie (Oliver Robins) with a huge Goonies, it unashamedly[...]. If the potential of this ultra-conven outgrowth from hi[...]umour, mildly complex humanistic The cinema throws us so few of its central development of an Tracked by the undead -- a themes and good, old-fash[...]y, en scene never allows for the neces be the root of all evil and stunningly to[...]als, McLernon Films) to be better. The sary psychological elements. embodied by the late Julian Beck, and that they can enjoy the same simple tale of a very fat woman in founder of Living Theater -- a[...]who becomes obsessed able in the action scenes, even if the (Will Sampson), the wretched Free It is also to Badham's credit that with, woos and wins a handsome often banal camera movements, the lings confront The Beast with their one can sit through and enjoy the young subway driver (Eisi Gulp), it clumsiness of the plot and the air of love, and nearly lose Carol Anne to adventures of No. 5, a laser-armed creates a small world and makes us indifference surrounding his treat the Great Bright Light. robot who becomes a conscious believe totally in its inhabitants. ment of the subject do not convince being due to a malfunction, but[...]us of any great interest in the main The film has its moments, and the doesn't annoy us with the sense of Marianne lives in a fifties apart characters. cast is more than adequate. But c a lc u la tio n that d o g g e d his ment, furnished only with a table, director Brian Gibson, a graduate template, E.T.[...]ns do not do justice to enough time to establish the crucial Visually, the Panavision format the latter, she plays her only record: Penn's previous films, let us hope, ordinariness of the family (which was seems unjustified by the film 's[...]nevertheless, that it won't be four or the cornerstone of Tobe Hooper's[...]five more years before his next. He is original), before they are over nically, however, the robotics effects whelmed by portentous lines and are a marvel in themselves, and special effects. Poltergeist was a there is even one inspired comic set- genuinely unusual,[...]piece where three robots are repro geist II is a run-of-the-mill shocker. grammed by No. 5 to perform a[...]Indeed, one of the most enjoyable Poltergeist II: The Other Side: aspects of Short Circuit is watching Heather O 'Rourke as Carol Anne. the skilful humanization of No. 5. The robot's appeal is as something -- or[...]slightly paranoid. And it is so deftly handled that the declaration that `No. 5 is alive' comes across as |
| a director who has repeatedly named Bountiful is, however, now a In Trouble in Mind, Rudolph finally together. The story -- about a shown a pertinent and Warm clapboard wreck. But the vividness brings off what his earl[...]ple of small-time crooks (De Vito observation of a certain American of the natural scene, with its capacity only hinted at: a visionary work, in and Piscopo), who try to cheat the reality.[...]nt to Carrie's which America becomes a dream boss and finally, almost by chance,[...], on several levels, land, with the movies as its myth, win out -- is laboured. De Vito and Norbert Noyaux tightens the story's coherence. and in which characters merge and Piscopo (presumably the film's com[...]diverge. Though the pace at first mercial draw cards, given their If there is a dangerous message in There is a modesty in the film's seems slow and the sequence profile on US TV) have even less Top Gun (UIP), it's not in the right- claims that keeps sentimentality at random, by half-way through the chemistry as a couple than James wing leanings of the film's politics, bay. And there is superb ensemble film has taken a grip on the imagina Caan and Elliott Gould in H[...]glorification of US military playing by the whole cast -- not just tion that is close to miraculous. Walter go to New York. The comic air power, but in the fact that a film Geraldine Page, who is indeed Kristofferson, Bujold, Carradine and timing is off, leaving one with the as wimpy, predictable and spiritless[...]Singer are all excellent. Divine is un recurring feeling of how a scene was as this can make $100,000,000. Morhay (as a young woman Carrie forgettable[...]meets on the bus), Richard Bradford ring as gangster Hilly Blue. And ally is. And the editing, framing and The setting is the `Top Gun' (as the sheriff who finally drives her Mariann[...]colour-grading are all TV standard, school where the cream of to Bountiful) and (especially) Carlin and eerie, hang over the whole film giving the whole thing the air of one America's fighter pilots are trained[...], who pitches Jessie Mae like a manic litany. of th[...]which Richie and The Fonz are really exists, however, does little to[...]transported back to some previous inspire about the character of these something of her[...]period in US history. Comedy, one is pilots, the rigours of their training, enough sympathy for this vain and As the title indicates, Violets Are forced to conclude, is not Brian the nature of their patriotism and the silly woman to give Carrie something Blue (Fox-Columbia) is about De Palma's forte. readiness to answer the call of war. tough to react against[...]Nick Roddick What we get instead is a plodding These actors hold together an the subject -- m arriage and romantic adventure yarn about a essentially picaresque structu[...]ot young stud, Peter give the film a rigour not always earns marks for originality, the film's Lou Albano as Frank the Fixer. `Maverick' Mitchell (Tom Cruise), his there in the writing; and director appeal comes[...]irst-timer Naomi Foner), Somewhat in the tradition of Frank Edwards), and sex interest Ch[...]a, director Ron Howard's films (Kelly McGillis). The dramatic `com style which keeps the faces before by Jack Fisk, and superb perform have refreshingly reworked the plications' that ensue can be seen[...]ances by Kevin Kline as the hus populist ideal of individuals triumph coming a ' light year away. For[...]band, Sissy Spacek as the former ing over personal and social instance, once Goose's wife and kid[...]as wife Ruth, whose honest decency dies in a plane crash? Trouble in Mind; Kris Kristofferson provides a refreshing dimension for In Wor[...]and Lori Singer. the `wronged woman'. known as Gung Ho in the US but re All this would have been a little[...]tled here to tie in with Jimmy more palatable if the much-touted At Cannes this year, quite a few of The setting is Ocean City, Mary Barnes's hit rec[...]earts Gussie (Spacek) and like the main character of his story, out. It's only in the final battle slipping away from the main com Henry (Kline) swear ete[...]onymous petition to take in a market screening and make plans for future careers in burns the candle at both ends. MIG jets (gutsy move, what?[...]of Alan Rudolph's new film, and the wide world. But things don't the point-of-view camera angles, the coming out saying it was the festi work out as prescribed: fifteen years Stevenson, the brigand-hero, wide shots and, most importantly,[...]njoyable. later, there is a rekindling of passion, masterminds a plan to get a Japan the editing, come together to deliver[...]an exploration of the exuberance of ese auto manufacture[...]ong. Trouble in love refound, and the consequent the now-defunct plant in small-town Mind (CEL) is two hours of pure dilemma.[...]Hadleyville, and to re-employ the Jim Schembri magic -- a deft and wonderful blend[...]fairytale, film noir and romantic The exhilaration of working ever, it is only through blatant Horton Foote's gentle littl[...]ity together gives Gussie and Henry a trickery and deceit that he can The Trip to Bountiful (Hoyts), first (ac[...]what could have been . . . bridge the gap between labour and appeared as a television play in ineffectual militiamen patrol the and still can, if he takes up her offer the new boss. 1953. Made over for the stage, it is streets and a secret language (per of an exciting assignment overseas: nowdefinitively adapted as a screen haps Korean) is spoken, it has an ex two more weeks of bliss and the pro Howard's trademarks of inno[...]nd simplicity -- which, until won (and deserved) the Oscar for returning from gaol to a cafe run by wanted . . . now, have masked the inherent her performance as Carrie Watts,[...]iguity of his material -- are determined to make the eponymous But there is a conflict between notably missing,[...]ticism and pragmatism, and for the cover of Michael Keaton's roots and to fortify her memories. by chance, are a drop-out called the realisation that choices are ex[...]often irrevocable. routines and a nicely-handled friend These are under daily threat in the bride, Gloria (Lori Singer), and their The film's real triumph lies in the ship between Stevenson and his cr[...]Ferguson). balanced handling of the dilemma, Japanese boss, Kazahiro (Gebbe effectual son, Ludie (John Hear[...]raint Watanabe). and his shrewish wife, Jessie Mae room. Coop gets sucked into the which make the emotional impact so (Carlin Glynn), in their two-room City's underworld, and undergoes a powerful. In the end, the moral of Working Houston flat, in which Carrie has a weird transformation, from ex-hippi[...]Class Man is hard to decipher. There servant's status and a living-room to futuristic bodgie.[...]Mary Colbert is no fairytale redemption, but an ex sofa for a bed. Spike and[...]ceedingly glum resumption of the mediates, especially on the question Looking back over Wise Guys[...]d Gloria. " You and she (UIP), it is hard to see why the film is supposes, is sanctified by Jimmy escapes, and the film begins its are missing so m[...]re are some Barnes's line about the working journey into the past. The ironically- "Shared between you, there[...]almost a whole person." Vito] and his kid both practising The Trip to Bountiful; Geraldine[...]side in little frame houses on a Dead[...]enquires a hood, " that organized[...]crime is the fourth largest employer[...]in the State of New Jersey?" ); and[...]cluding one in which Frank the[...]Fixer's beloved Cadillac is junked on[...]the New Jersey Turnpike.[...] |
| [...]tion" ), and Opposite: Challenging the boun overview The book that is able fully to argue then goes on to analyse the ways in daries o f the real: Simone Simon in[...]People. AN AUSTRALIAN the need to see Australian films in with convent[...]e form. FILM READER e d ited the context of Australian capitalism[...]tten. However, in Sam Rohdie's sketch of the recognitions that something remark by A lb e rt M oran and Tom the meantime, the arrangement of reasons why "the Australian cinema able was going on in the backblocks O 'Regan (C urrency Press, the material in this Reader implicitly cannot be th[...]indicates the commitment by its economic terms or inde[...]Moran and Tom cultural-artistic ones" is marred by The most recent addition to the 86819 123 X). O'Regan, to such a position. some tortuous grammatical designs. Lewton bibliography is J.P. Telotte's But it is also a timely antidote to the Dreams of Darkness, a very serious Amidst a lot of junk, one can find As if acknowle[...]admirable contributions to predispositions, the book does the PR arm of `the industry' bestows time on trivialities like acting (Boris the growing collection of books attend to individual films and direc upon itself. And, in a similar fashion, Karloff is the only actor discussed), about `the Australian cinema'. The tors. There is extended discussion of Albert Moran goes against the or on pondering how `good' the initiative of a number of authors and The Sentimental Bloke (the 1918 fashionable grain with his hatchet[...]version), Picnic at Hanging Rock, job on the rhetoric of the South Aus illuminate the nature of Lewton's Tulloch, Brian McFarlane, Sylvia The Last Tasmanian, The Man from tralian Film Corporation.[...]raham Shirley and Scott siderable space is given to the ideas It's probable that the major users Telotte's analysis of the nine films Murray) has resulted in a body of and meanings circulating in the of this Reader will be found within from Cat People (1942) to Bedlam work that is always informative and oeuvres of Raymond Lo[...]al institutions. Neverthe (1946), is a species of auteur-struc consistently illuminatin[...]rles Chauvel, Peter Weir, Bruce less, given the fascination of much of turalism in which the auteur is the Beresford, Albie Thoms, and others. the writing that appears in it and the producer, whose imprint resists T[...]directors (Robert Wise and tralian Film Reader, a compilation of However, few of these (the hack standings, it deserves a much wider Mark Robson as well as[...]Tom Ryan and, alas, occasionally turgid. As the And they are all coerced into The book involves a^formidable editors would have it, their s[...] |
| [...]on and movement of selected Telotte's reading of the films reveals[...]y had done to objects in relation to the frame" . Tar their working with clarity and[...]erve such disdain. " making the audience decipher[...]Sculpting in Time is often reminis symbols [and preventing them] from He is also alert to the different SCULPTING IN TIME:[...]e. At its their own reactions" suggests his the films. For instance, in relation to THE CINEMA by A n d re y best, the book is as rewardingly vehemence about semiology has The Leopard Man (often one of[...]arkovsky, tra n sla te d by worst, it is a tiresome harangue by quest to rewrite the foundations of makes a convincing case for how K itty H u n te r-B la ir (The an over-zealous lecturer. Using cinema criticism. the various " separate interpolated B od[...]scalpel-like precision, narratives . . . add to the larger laby A ustralasian P u b lish in g Tarkovsky cannot resist turning His patronization of the audience rinthine pattern" . The multiplicity of language into a weapon, particularly extends to judging 80% of them narrative voices in / Walked with a C om pany, 1986, $51.95 when belittling the reader for under- unworthy of consideration: their sin, Zombie is seen as an " attempt to [hbk] and[...]appreciating his work, or for being a it appears, is a lack of interest in the furnish Betsy with an overview of this[...]30787 [pbk]). anthropic view of the spiritual bank tions the director is raising in his her" . Telotte's uncovering of the[...]tern films. narrative strategies and the ways in For Ingmar Bergman, Andrey[...]se dramatize Lewton's pre Tarkovsky is the most important high moral dimension, Tarkovsky For the remaining 20%, Tar occupations reveal a sophisticated director of our time. And, on the even, at one point, obliquely kovsky is prepared to present a awareness at work in the films -- evidence of the Russian director's com pares him self to Hamlet, " true cinema image built upon the and in their commentator. first book, Tarkovsky himself would observing: " It is as if a man of the d e s tru c tio n of g e n re " . This[...], well-argued future were forced to live in the audience, he says, is deserving of He draws attention, as others[...]" respect [and] a sense of dignity . . . have, to Lewton's `bus' e[...]Don't go blowing in their faces: (originating in the heroine's night of his place in cinema history. It also The director does, of course, have that's someth[...]owever, that some reason for raising the spectre dogs dislike" . time walks through New York in Cat modesty is not one of the director's of his Dostoevskian suffering. Every People), and his preference for the more endearing qualities. time, it seems, he strayed from the Tarkovsky is not alone in his frightening powers of suggestio[...]`party line', the wrath of the Soviet despair over the masses who troop over more obvious effects of ho[...]ction films, and violence. This latter technique is baited, harangued, cajoled, insulted[...]lm, was while great works languish in the traced through the films' use of and ridiculed those[...]ces, of patches of press conference. The sting of his tive causality with poetic articula this syndrome as evidence of " the darkness, which unsettle because of[...]made spiritual vacuum which has formed the ways in which they -- like by the lengthy procedure of trans upon his philosophical meditations as a result of modern materialism" Lewton himself -- " challenge the lating everything into French, Italian, in Solaris, and upon the licence he adds little to understanding a pheno boundaries of the real" . Russian and Englis[...]y in Andrey Roublev. menon prevalent since the birth of[...]d his instinctive Ultimately, Telotte claims, the defensiveness about any question[...]as Kris Kelvin in effect of Lewton's dark vision is not (whether critical or complimentary[...]irmative. " Whatever seemed to indicate the particular shelved for several years. Stalker, a fright or mystification we experience[...]science fiction parable cinema, if not the birth of art. is to good effect, since a psychic most Soviet artists. about the psychological and spiritual His analysis of materialism as the growth can follow only from this[...]owing and from Tarkovsky ended the press con was evidence that the director had source of all modern evil is perhaps our encounters with the disconcert ference by thumping the table and " cut himself off from reality" . Stalker too predictably dogmatic for a Soviet ing images to which the self gives informing the press that, should he artist with a persecution complex, rise." not receive the highest accolade for was the last straw for the Soviets, but Sculpting in Time, despite[...]occasionally overstating its case, One of the functions of fantasy is all minor awards. Justifying this to the West, where his films had has enough g[...]al critical merit to make it one of the has provided more than his share.[...]more important cinema texts of the Telotte's scholarly book does justice demand, made a few days earlier,[...]for L 'Argent. The defection, however, seriously the films sound more complex than[...]Reports from France of Tar they are, and he is oblivious to cer Finally, Tarkovsky stormed out, a fatal attachment to their national kovsky's battle with cancer raise the tain B-grade thinnesses in them. But, leaving a bemused but mostly roots -- a `nostalgia' they carry with possibility that the career of this if his readings do not recreate o[...]tured poet-visionary may be cut sense of viewing the films, they do -- from home. " The entire history of short just as he reaches the height of temporarily -- go some distance to[...]creative powers. Poignantly wards reconstructing a composite kovsky, " bears out the western view perhaps, his book ends as it[...]that `Russians are bad emigrants'; with a question that underscores his[...]e knows their tragic adoration of the religious component[...]incapacity to be assimilated, the of Art: " Perhaps our capacity to[...]lumsy ineptitude of their efforts to create is evidence that we ourselves[...]lien lifestyle. How could I were created in the image and[...]talghia that the stifling sense of[...]longing that fills the screen space of -- -- ____[...]the rest of my life; that from now until[...]the end of my days I would bear the[...]kovsky's book is clearly written in the[...]others. He tackles all the old `central'[...]questions, devoting sections to The[...]to the loftier issues of T he artist's[...]responsibility', `Art -- a yearning for the ideal' and his own theoretical[...] |
| [...]'u h j; a \ mmw m m m The chant for a good time), managed casting Corporation becomes a claims about Heston's acting[...]to remain just that -- but with a Commission, AFI Awards become[...]public persona, which is a winning `Sammies', Britain's National Theatre And the man's evident contra[...]combination of sensitivity and sexi becomes the `National Academy dictions ar[...]Theatre'. And, in a book with a 1986 cowardice or incompetence, left[...]L ittle H ills Indeed, sexiness is a kind of leit Rupert Murdoch are still credited[...]0 949 773 34 4). portrait is sultry. And the author, as a major international production GINN[...]K ay (S idgw ick and analyses of the films back to what, In terms of critical co[...]are -- H utchinson, 1986, $16.95, a few lines on the " ripe, intrinsic about the films, McKay rather too usually,[...]ness'' of Mrs Gibson's little boy. tackle the essence of Gibson's star on the cover -- there is all the more Mel Gibson turned 30 in January this[...]lms to In terms of value for money, a great deal more than being good- the recent British squib, Absolute his credit, nine[...]ahan and McKay come out looking and in the right place at the Beginners. Reprinted for the first he is, to judge by the almost simul about even. Hanrahan, at $14.95[...]has 88 pages, including sixteen scotches the myth of Gibson being London before it swung is bizarre, large-format paperbacks, fair grist[...]ause he comic and disturbing -- a first for the biography mill. shots (one of which turns up a turned up for the audition with a glimpse of the roots of the Notting. couple of pages later as a black and bruise from a fight in the pub, Neither, to be frank, is a must-buy white). McKay, at $16.95, has 96[...]Hill, Brixton and Tottenham riots. Not for the film buff's bookshelf, though pages, with eigh[...]to everyone's taste, probably, but the Australian one (by John made up of t[...]pretty much of a must-read for Hanrahan) is the more accurate and McKay has around 15% more text, Buried at the end of Hanrahan's anyone who believes novels should the American one (by Keith McKay) but Hanrahan's pictures are more book, though, is a comment from tackle social issues. is -- well, the more inventive. interesting. Both books[...]have had graphies, though only Hanrahan's is schmid, which gives a hint of what it LA LUCE NEL CINEMA: INTRODU- direct access to the star for the pur complete, and both are sloppily is all about. Gibson, says Linden- ZI[...]schmid, reminds him of a movie star FOTOGRAFIA NEL FILM by Stefano about which Hanrahan is fairly open, edited with Hanrahan, who offers from the thirties -- someone with Masi (Co[...]sources of information " $150,0000" [sic] as the budget for style, appeal and incredible good (including a Cinema Papers inter looks, not the ordinary, modern `La lanterna magica', Aquila, 2nd view) and specifying to the day (and an early film, the worst offender). good looks of a Richard Gere or a edition, 1985, 20,000 lire). almost to the map reference) where Denied primary sour[...]John Travolta. A reprint of the 1982 publication by such conversations he did ha[...]the industrious Aquila Festival, Mel took place.[...]ers resort to ingenious It's not much of a theory on which whose focus is the cinema's tech devices to get some background. to build a book. But, if either of these nical arti[...]uspect, had no access Hanrahan comes up with a school books had been built on a theory, as Masi's book is a brief (under 150 to Gibson at all, though since he photo, leaving the reader to guess opposed to the more straightforward pages) critica[...]oesn't give sources, it's difficult to which one is Mel (clue: he isn't wear premise that Mel sells,[...]ing glasses), while McKay manages been a better starting point than practice, and with a fairly inevitable doesn't do what he did in his pre a snap of the house in Verplank, some vague notion of ant[...]ds Italian maestri like vious bio-text, De Niro: The Hero New York, where Mel spent his early[...]n charm Vittorio Storaro.* Behind the Masks, where he tried to years.[...]NEL BUO DELLA MOVIOLA: about the unmeetability of the man Hanrahan tracks down Brother[...]who has a few sharp things to say. ++++++++++++++[...]th writers are McKay has to make do with a brake-[...]nterna magica', Aquila, 1985, dealing, not with a private individual man who knew Mel's dad when h[...]25,000 lire). -- Gibson's privacy has, against a worked on the New York Central, received[...]above), this is an Aquila Festival ber the future star. NB. Inclusion of a title in this list does publication, looking this time at the Early days: Mel Gibson (left) with not preclude a future review. history, theory and practice of John Jarratt, Phil A valon and Steve McKay's focus is resolutely North[...]Gibson's first movie, BARBRA STR EISAND : THE taken up with interview[...]Summer City (1976) is dismissed as WOMAN, THE MYTH, THE MUSIC editors, all Italian[...]Attack Force Z (1978), is not men Hutchinson, 1986, ISBN 0 7126[...]graphy, which gives Exhaustively researched (the range cut Prima della rivoluzione, Partner,. the North American rather than the of sources is exemplary) and well, if Strategia del ragno and all the original (Australian) release date. a little heavily, written, this is a career Tavianis' features, up to and includ[...]biography, not a rags-to-riches story ing Kaos.* For McKay, the Australian Broad about a kid from Brooklyn. There is[...](though the star's mum makes an SUCH DEVOTE[...]occasional appearance); but the FABULOUS GABORS by Peter H.[...]albums, the concerts, the TV Brown (Century Hutchinson[...]specials, the movies, and the cor $40.95, ISBN 0 86051 361 0).[...]gly An above-average stroll through the[...]-- and at length. careers of the Gabor sisters --[...]CHARLTON HESTON: A BIO she was the most outrageous, but[...]A banal, ill-written, scissors-and- autobiographies, and the pre-war[...]of the labour of love it sets out to be slimly[...], perversely, it leaves one feeling for a good read for those who[...]almost sorry for the unlikeable actor believe that Hollywood is really just[...]ently. The lack of a critical perspec[...]tive means that the extravagant * Details on the availability of these[...]two titles can be obtained from the[...] |
| [...]lict (G oldsm ith) $18.99 The Right Stuff/North and South Invaders from Mars[...](Horner) $17.99 We of the Never Never The Hallelujah Trail (Elios) $17.99 A Zed & Two Noughts Startrek -- T.V. Soundtrack[...]dise (Strouse & A da m s) $17.99[...]* Having just completed the[...]* THE AUSTRALIAN STORY READINGS -- SOUTH YARRA[...]* IS NOW AVAILABLE FOR HIRE[...] |
| OVERSEAS RE The fragility of the feature-film New Zealand[...]Gascoigne described abandonment taining a momentum of production by Mike[...]of N a v ig a to r as " tragic" , but said the[...]Long b lack clouds g ath er over the K iw i lined by the failure of Auckland pro[...]makers who, in spite of the climate,[...]will continue to battle the odds and ducer John Maynard to get Vincent Ward's N a v ig a to r, the story of a[...]o provide films by and about Ward's new project, The N a v ig a to r,[...]our people." off the ground. medieval quest by a visionary child[...]Commission funds for the current Maynard coupled his 6 June[...]Executive Director Jim Booth diplo abandoning the film with the sacking New Zealand, has been long[...]talks of providing finance of 22 personnel only a month before[...]for a range of functions, his current the film was due to shoot. A subse planned and is his first project since emphasis is clearly on setting up co quent attempt to obtain[...]production treaties (enabled through for the project, originally budgeted the widely-acclaimed Vigil, the only[...]A planned co-production deal with selected for the main competition at The Australian-born producer had[...]lia would designate approved vowed he would move the produc Cannes (in 1984). Maynard says the products as both New Zealand and tion across the Tasman where, he[...]Australian, with the consequent claimed, the necessary underwriting new work is " more accessible" than had been promised, if hi[...]vantages that this would have in effort to raise the necessary failed. V igil with a potential appeal, in Aus[...]raising investment in both countries. That is now one of the diminishing[...]Booth is also involved in negotiating options he is pondering. " We'll be tralian terms, of " B re a k e r M o ra n t treaties with the Canadians and the finding out how real these promises[...]bottom line, and G a llip o li should it[...]The treaty with Canada is in The abandoned N a v ig a to r is a breakthrough" .[...]tended to secure the co-production symbol of the New Zealand[...]and-based Phillips-Whitehouse ironies abound. If the project had proceeded as originally planned, it house appeal, the film scored well at 5[...]nd Filmline Inter would at least have maintained a[...]national of Montreal, to make a film thin thread of continuity in feature-[...]based on the bombing of the `Rain film production on New Zealand[...]or'. Producer Lloyd locations during 1986. As it is, the graphy and production design), >.[...]Phillips says the production is ready only film shot this year has been[...]to go in October, with a four-week N g a ti, the low-budget first feature by against Parr'[...]'s Pacific Films. success, C a m e a F io t F rid a y , which[...]ories. N Z F C C hairm an D a vid G ascoigne: Parr's latest film, Q u e e n C[...]'s influential Gilles Jacob th e c o lla p se o f The Navigator is " a Reynolds, is involved in what he next production -- probably A has added his weight to efforts to get tr a g e d y " f o r th e N e w Z e a la n d f ilm describes as " an official co-ventu[...]with the Peoples Republic of China, Joseph's war novel -- is not likely to Ward's second feature off the in d u stry .[...]later in the year. The project's title is locations in France. The only other ground, by nudging the Film Com hardly compete for investors' Illu s trio u s E n e rg y -- a dramatic story new Kiwi feature, the full-length mission and placing on record his interest in the market, when gearing about two Chinese goldminers animation title, F o o tro t F la ts, is now opinion that Ward is " one of the is still prevalent in such other `indus working New Zealand goldfields last in post-production and is due for most promising and origin[...]ation" . ginger growing and the staging of that is being created in studios in[...]als. Phillips is also involved in another Sydney.[...]rm dreams into celluloid in However, the major factor in turn the upcoming summer months. He So, at a time when New Zealand the cool, free-market-oriented ing i[...]nally made their pres economy that is rapidly emerging ing to most film industry sources, is will be executive producer on T e sta ence[...]m e n t, based on a book written by America (NZ Film Commission[...]nt. Special taxation incen currently the negative climate American David Morre[...]tives are a no-no, and there are no created by the Inland Revenue Marketing Director Lindsay Shelto[...]ister Roger Department. Even though the writer of B lo o d S im p le . Wel[...]his year's Cannes market Douglas is likely to ease the legis Muldoon government allowed a two- Jonty Barraud will produce, with the most successful of the seven he lative clamp in respect to[...]vely on 1982 and 1984) before dosing the peter out. And what will this do to the film industry two years ago by his tax-break loopholes, the Department But, in these difficult time[...]l foe and continues to hold up the returns of feature filmmaking in New Zeala[...]l ballyhoo, with predecessor in the finance portfolio, many pre-October 1984 investors. optimism is in continual delicate twelve separate categories[...]While Muldoon substituted a over' by a trio in the Department[...]ff on delegated to work full-time on the be announced by Parr's Mirage[...]films for the previous situation of ments of film investment claims, Films, several of the country's limited[...]loan funding (which dating back to the early eighties, are number of proven director[...]public on the N a v ig a to r abandon early in July to give serious c[...]sideration to a project for Kings[...](D e a th W a rm e d U p ) is shooting an T h e d e fia n t o n es: B a r n e y H a rr iso n " the discriminatory tax system" of action picture[...](le ft) a n d W i K u k i K a a in Ngati, th e the government. Because the Laing leaves soon for Vancouver t[...]direct several segments of The y e a r 's o n ly f e a t u r e to d a te . industry had been singled out in[...]driven opportunities for in being claimed by the Australian film[...]vestors' high-risk money, he said. The Wellington and Auckland Film[...]Festivals proving the most success[...]ary underwriting could not be ful ever, it is ominous to note that, for[...]raised in New Zealand, even though the first time in several years, no new[...]the Film Commission had made its screened.[...]largest-ever single investment in a[...]in presales around the world.[...]Maynard asserts that the mini[...]tralia's. " The television and film[...]industries of all countries in the world[...]are the business of government," he[...]industries and reduce the risks of[...] |
| [...]chance of being able to stem the[...]American TV flood and to establish a by Edouard Waintrop[...]genuine European industry. But the[...]on the sidelines. Even the film world[...]is starting to get worried. The numbers for France's second going through some tr[...]The reason for this is that the cut annual `f |
| [...]REPORTS Is there no stopping _M e n ? Doris G e r m a n y by Dieter Osswald Dome's comedy, M a n n e r, about stereotypical males, is still at the top O f M ic k a n d Men of the box-office charts. And, with the three-million-ticket mark now Momo (R a d o s t B o k e l a n d J o h n cropper. And M ik o -- A u s d e r film, shot at Rome's Cinecitt |
| [...]The B ritish have co m e: D avid P u ttnam to be the n e w C hairm an o f C o ium bia[...]P ic tu re s As British Film Year draws to a close, comedy, T u rtle D ia ry .[...]oductions have time of writing, be a controversial[...]gone on the road over the last film. David Puttnam (who,[...]cancelled his commitment to a role weeks. Chief among them is P ric k remember, gave the world C h a rio ts in Mario Puzo's The S ic ilia n for the U p Y o u r Ears, the story of the ill- One production that certainly will o f Fire , L o c a l H e ro and T h e M is s io n ),[...]exual relationship be provocative is Ken Russell's is making tracks for Hollywood to[...]cu But who will be doing the blasting Kenneth Halliwell. Scripted by Ala[...]sses narcotics, romantic poetry, tive Officer of the Coca-Cola-owned[...]mbia Pictures. is still uncertain. Bond-elect Pierce Frears,[...]Oldman, fresh things which go bump in the night -- Brosnan is having trouble wriggling from his impressive debut as Sid in short, most of the staple Puttnam has already dallied[...]contract to star in R e m in g Vicious in S id a n d N a n c y , as Orton, ingredients of a Russell film. The awhile on the shores of the Pacific,[...]lina (Peter Firth's lugu story concerns the strange experi producing F o x e s and M id n ig[...]ley (Julian Sands), E x p re s s in Hollywood in the late Broccoli could find himself[...]tasha Richardson) during reportedly chastened by the experi another outing. Meanwhile, Chloe Webb, the one night in a lonely villa on the ence, he seems to have swallowed[...]other half of S id a n d N a n c y , co- shores of Lake Geneva. his distaste for the studio system (a Meanwhile, the Peacock Com pill sweetened, no doubt, by a mittee has laid a curate's egg of a stars with Brian Dennehy in The At the box office, admissions con rumoured three-year, $A7.5-million report on the future of British broad B e lly o f a n A rc h ite c t, which, with a tinue to rise, with the first four contract). casting. The main thrust is towards title like that, could only be di[...]an unlimited number by Peter Greenaway. A plot year (even if, more rec[...]gambit, Puttnam of channels, the introduction of pay- synopsis is probably neither poss have been dented by the World has signed TV comic Bill Cosby to[...]e. Cup, Wimbledon and a minor heat produce and star in his own feature[...]. British producers apparently a metering device. There is also a On location in Zimbabwe, Richard welcome the idea of a friendly face proposal to aband[...]th e N ile , QV2 W e e k s , D o w n a n d O u t in L.A., though one wonders how gramme-vetting of the kind that A s k in g fo r T ro u b le , based on the two long Puttnam himself will make out caused the R e a l L iv e s debacle books by Donald Woods about in B e v e r ly H ills and A fte r H o u rs ,[...]Scorsese's first British bull's-eye for as the Coca-Cola Kid. ce[...]ect, like Biko. Denzel Washington (from A a very long time. A R o o m w ith a Back in Britain, the Bondwagon is film, to the law of the land. S o ld ie r's S to ry) has been cast as V iew is still sitting pretty in the[...]London charts; and, in the subtitled slowly cranking back into action for What is ruffling Mrs Thatcher's Biko, while Woods, who is acting as market, R an continues to run and the next 007 epic, called The L iv in g consultant on the production, is run. * D a y lig h ts , after one of Ian Fleming's feathers, however, is the fact that played by Kevin Kline. While there is short stories, and due for release in Peacock has, against widespread always the risk of a bland hagio F rankenstein m eets C hilde H a ro ld summer 1987. The villain has been expectation, not endorsed her pet graphy along the lines of G a n d h i, unmasked: Dutch actor Jeroen plan to introduce advertising on the A s k in g fo r T ro u b le could and m eets the M asqu e o f A n arch y: K en Krabbe, who starred in Paul Ver- BBC (which is currently financed by should, in the light of the sanctions hoeven's The F o u rth M a n , and had a licence fee). As a result, the Com row dominating UK headlines at the R u s s e ll's Gothic, a b o u t a h a rr o w in g a supporting role in the British mittee's findings co[...]hold until after the next general night ou t with the p o e ts on the[...]shores o f a Sw iss lake. After a sluggish spring, several[...] |
| [...]small-town festival, 2 F rie n d s , the Jane Cam- Catholic -- tastes[...]ilm Festival: v o u s s a lu e , M a rie (H a il M a ry ) than to tor and writer John Binder has[...]reflec nothing but admiration for the a delicate, finely-tuned film. Tracing a wide choice, tio[...]strength of their beliefs and their the breakdown of the seemingly in[...]nothing too moil, the same was not true of the Very much Dean Reed country. schoolgirls, the film moves back in[...]time to reveal the turning points. outrageous[...]Shakespearian By contrast, the `unhappy souls'[...]'s K o k ie ta It does so without the arrogance of This year's Sydney Film Festival,[...]films and self-parody was an s a m o tn a (A W o m a n A lo n e ) endure hindsight or the intrusive camera of held from 6-20 June, came to the intellectual endgame and a delight. smashed hope after smashed hope television technique (the film was public (though I might have pre[...]finally, they can endure no made for the ABC). A `little' film, it ferred it if it were the public that Added to the beautiful photo longer. This tragic tale of a middle- appeared to go beyond its small came to the festival), and was re graphy of Bruno Nuytten was a aged woman, alone with a small boy story and limited action be[...]ng at straws of happi closed in on the intimate and minute ticket sales and universal praise from cut across the images and mocked ness, prove[...]ter and narrative. film reviewers, who dubbed it the the dialogue. The result was a visual the Sydney audience (who burst out best in years.[...]laughing -- be it from tension or dis The festival for me, though, was makers have the sardonic mind or belief -- when the woman and her epitomized by^ the screening of The range of films was so diverse capabil[...]rippled lover crash their car during that it had the breadth to please their escape to the border). But it is Tenue d e s o ir |
| [...]A John is a jo h n : L o u ise S m ith as The prognosis[...]rtainly not been improved. did the festival seem to know what to |
| by the excellent and ubiquitous Using the Esther Williams film, Sampling the R osie L og[...]alter Matthau-lookalike, Predrag- B a th in g B e a u tie s , as a leitmotif, it blooms in Miki Manojlovic), who is driven by chronicles the growing pains of the Bavaria (seated) a n d N a relle S im p so n in poverty and despair to rob a village shop with a toy gun. heroine, `Es[...]ter three years in prison, Drago from a dispossessed bourgeois[...]ground, and shown in contrast at the fourth Munich through the inner psyche are back in between two totally different women to the unaccomplished Party man, vogue in the Bundesrepublik, to who play integral roles in the deter[...]judge by Rudolf Thomas's Tarot, a mination of his fate. The result is a Rile (a nicely understated perform[...]e by Milan Strljic). " A huge bunch of flowers for every love triangles,[...]one to pick from" is how Munich D ie W a h lv e rw a n d ts c h a fte n (E le c tiv e commitment, cowardice and the Esther's father has remaine[...]ent victims. abroad after being taken a prisoner describe his festival. Nor does he A ffin itie s ).[...]n her mother dies and ever miss a chance to add that this is Zoran Tadic, master of the an event for the general public. Then, as thre[...]this part of Esther discovers that she is preg column (C in e m a P a p e rs 58), there the Balkans, was back in the Arena nant by Rile, the boys try to help her, 1986 was the fourth outing for the was former critic Hans Blurnen- this year, following the international and take advantage of a rowing Bavarian festival and, the soccer berg's tiresomely constru[...]her over World Cup notwithstanding, the thriller, D e r S o m m e r d e s S a m u ra i,[...]arring fifties pop stars Peter Kraus Z io c n i (The R hyth m o f C rim e). San 0 prisoned, her father takes her away the nine-day, ten-cinema, 150-film (who sang the featured song, and the boys never see her alive extrav[...]`Zuckerbaby', in the film of the same R u z i ( The D re a m o f a R o s e ) is a con again.[...]name) and Conny Froboes. temporary story of a man who tries[...]here were directors there from to stay honest in a patently dishonest They all begin a new life abroad, 30 countries and the `Festival of The `foreign independents' sec world. A factory worker (Rade never forgetting the bond that held European Films' was, for the second tion was a real must-see this year, Serbedzija) inadvertently witnesses them together through a most diffi year running, a part of the Filmiest. hinting (as it usually does) at the a double murder and becomes both cult period. D a n c in g o n W a te r is a Munich's tried and tested categories[...]to come. New suspect and investigator. He finds a film of charm, depth, sensitivity and[...]Zealand was represented by large sum of money at the scene of intelligence, told very much in the the `deutsche Reihe' (German selec D a n g e ro u s O rp h a n s , Australia by the crime, as well as a gun, and he[...]ogrammes of Dennis O'Rourke's H a lf L ife and takes both home. Then comes the nostalgic style of A m e ric a n G ra ffiti foreign independent productions, Glenda Hambly's Fran. From the US moral dilemma: to tell or not to tell; to and The L a s t P ic tu re S h o w . In a children's films and an international[...]not to spend. sense, it is a highly political film, with programme.[...]wood's well conceived gay movie, The D re a m o f a R o s e is not just an And, for me, it far outstripped any The latter gave Munich movie ordinary thriller, but a tense morality other film at Pula this year. goers a chance to see highlights P arti[...]foreign festivals: Tarkov tion and honesty. In the context of With new films by Zelimir Zilnik sky's O ffret (S a c rific e ), Altman's F o o l Two years ago,[...]fo r L o v e and Spielberg's The C o lo r H e im a t its world premiere. This year, tion, it is a bitter analysis of the situa and Lordan Zafranovic shown in[...]e from Cannes, and Peter it was the turn of another mammoth tion in which those who are least competition, the Pula audience had Greenaway's A Z e d a n d T w o work, the eight-hour V |
| WHAT IS[...] |
| [...]tives; the plea by Dominic Case of company is developing a higher-[...]priced broadcast model as well. And SAMPLES ThE WARES much with film opticals'; and a report the Melbourne company, Sontron, AT TRE SECOND[...]on the coverage of the Indianapolis announced that it ha[...]500 by the Racecam developed by several[...]ATN-7. For a selected list of papers to Pacific[...]audio cassettes, see the box on What follows is a run-down on[...]some of the products that I saw as[...]When RCA introduced the V z" M[...]the latest film and video production p[...]also on W , but carrying the the broadcast equipment which is domestic VCR-format war into[...]broadcast (Sony uses a Betamax always a significant part of each cassette, RCA's M format is on[...], chases of M equipment and a lot of[...]in the domestic market and become[...]igh-definition television) provided the de facto ENG format. Because of[...]the ease of use of the Betacam[...]conversation for a lot of the dele equipment, the slight reduction in[...]gates and visitors on the floor, most a worthwhile trade-off, and it[...]players (which stack up the commer[...]they were from the engineering cials and the promo material for pro[...]department of a television broadcast[...]The tiny W V -C D 110 surveillance[...], cam era: the sam e C C D chip as the In an industry that relies as much on With the financial support of the On the production front, there N at[...]evision, Australian Film Commission and the trade shows assume a special Federation of Australian[...]as was to be expected, few The rise of the Betacam-format importance. After all, magazine Television Stations, there is also the edit suites and the acceptance of reports -- even the ones in C in e m a presentation, over the four days of significant new products on[...]Betacam cassettes by some stations P a p e rs -- are only a tease com the conference, of a series of for release material has allowed a lot pared to actually seeing a new papers. What this means is that a most of them being improvements[...]alia's technically interested audience is tive, especially in the low-budget, isolation, and the relatively small size provided for what, on the whole, are on existing design and hardware. retail area of the commercials of our market, make trade shows[...]e all waited patiently or development that is (not entirely Still, it was heartening to find that a number of interesting drama and for the releases of new film stocks coincidentally) also on sale in the[...]mentary projects being shot on that have been on the market over exhibition hall.[...]ufacturers had brought tape. The format records the output[...]from the camera as individual com seas for some time, before the local The social aspects of a meeting of costs d o w n , at a time when the Aus ponents (not just RGB), and only[...]tocks, or somehow feels by visitors to the exhibition, but gives tralian dollar stands s[...]t dubbed onto 1" or low-band cass the `time is right'. the fair the feel of an exclusive club, ettes. The quality thus remains where the Australian members greet most major currencies. In almost higher if all the aspects of the editing In video, there is the added prob their US counterparts on first[...]process can make use of the com lem of the incompatibility of our terms, and where it is traditional for every case, this was because of the ponent signals. European-based system and the US Kodak to throw a cocktail party to and Japanese NTSC television[...]use of microprocessors and the Marsh International Films, a Los systems -- all of which makes local[...]has shows such as those mounted by The conference availability of cheaper personal just completed a telemovie, W izards, the IREE (Institute of Radio and Elec[...]shot entirely on Betacam, tronics Engineers) and the SMPTE This year, the SMPTE conference computers. using Ultimatte to combine the live (Society of Motion Picture and Tele opened with the presentation, on a actors with the special mattes and vision Engineers) especially[...]temporarily-erected wide screen, of By the same token, the high cost fantasy backgrounds created on important. a collection of sequences from The their graphics system. The cost[...]savings were considerable, and the The SMPTE, through its engineer M a n fro m S n o w y R iver, P h a r L a p[...]moved some of the Australian a 35mm kine has been made for groups, and by its documenting of and the new proud-to-be-Australian,[...]theatrical release. technical developments in the C r o c o d ile D u n d e e . The Prime products into the limelight, and more S M P T E J o u rn a l, is also helping pro Minister officially opened the Confer Elsewhere on the video front, vide some conformity within the ence, rather overshadowing the than once I heard buyers saying that there was a reflection at the show of image-making industries. Working opening address by the-Minister for the demand for component mixers. with an alphabet soup of committees the Arts, Fleritage and the Environ they were supporting the local Tektronix showed a component test- such as the ANSI (American ment, Barry Cohe[...]product out of preference. `Buy Aus the EBU (European Broadcasting advertisement for Sony, saying he Union), the SMPTE assists in setting now felt he understood the industry tralian' has never been an attr[...]better after purchasing and using a standards in a world that often sees Sony 8mm video Handycam. Fie motto in a market that draws on the standardization as a block to crea tivity and invention, and even as a admitted, though, that he couldn't[...]int on trade. Sometimes understand the manual. though, mass marketing can bring is working now; and the plummeting about standardization, as with the The presentation of papers then began in earnest, leading off with the exchange rates are making some of VHS home[...]now familiar face of Henri Stappaerts now become a de facto worldwide from Agfa in Belgium, talking about the local products attractive to over[...]of standard. the papers seemed to be about seas buyers. If the scale of our pro The SMPTE has all these elements sharing inf[...]on and our design skills can to juggle with, and is supported by a were on sale in the exhibition or else, list of Sustaining Member com more interestingly, presented a case take advantage of this, then we will study of a particular application. panies that reads like a complete Over the four days, some of the all benefit by the local expertise. A-Z of film and video brand names. more significant topics included The Australian section of the SMPTE Filmlab Engineering's report on its An example of this is the small gains prominence with each staging[...]Talia, which is producing vision 24-27 June), and actively takes part in the social aspect of playing host to[...]switchers and mixers that, in the the international delegates.[...]with corporations such as the US[...]Grass Valley Group, but at a more[...]thesizer around the world, and has[...]thesizer to the point where there is[...]so much overseas demand that the[...]M i l l e r 's P o r ta m o u n t: it is o la te s[...] |
| T ECHNI A LIT IES vector and waveform monitors. In The user-interface allows the de- up to ten times; and, at a cost of on the combination of the new CEI the lower-budget areas, there was signer/animator on the Paintbox to about 5.5 cents a foot for 16mm, Technologies camera tube, and JVC's For-A range of equipment, treat the material as a graphic repre and 7 cents a foot for 35mm, it cOuld attached it to a Jurgens mount. which included the CVM-500 com sentation of `reels' of i[...]fects generator, as and splicing them as on a flatbed. Sammies were also promoting the well as field/frame stores with com Harry allows you to make a complete, The coating is being used by new `E' series Panavisio[...]60-second commercial or a longer MGM to extend the life of its printing morphic lenses. The `E' series were effects sequence that is first-genera negatives, and allows a range of apparently meant to be an inte[...]entional solvents to be used to set, until the lenses that Panavision play of prototype M-format equip to 1" master for release. The clean off fingerprints, grease pencil[...]from National. Called M II, it prospect of the completely digital and dirt. The extra cost it adds to could be released. As it turned out, drew favourable comments, but it is editing suite is just round the corner. cinema prints tends to restrict its use[...]35, 40, 50, 85 probably too late for it to give the t[...]petition -- Meanwhile, sharing space on a prints that are expected to have a stunning results that David Connell, something demonstrated by the fact modest stand at SMPTE were Peter long life, rather than the multi-print DOP on S la te , W y n n a n d B la n c h e that, on the Ampex stand, there was Sjoquist, demonstr[...]M c B rid e , has gone with Panavision a range of familiar Betacam equip Entertai[...]rk electronic all his prints coated with the process after test-shooting in Super-35. me[...], and Steve Kuhn from for some time, and a number of film Another lens that, although the Sony one should have been. It Compucast[...]information retrieval system. This gard. The company is represented proved, was on show on the Film- Sony its 4SC digital recording[...]tronics stand. It was the new information for the right to market cast's current list of per[...]cilities listings, and Ltd in Sydney, and all the coating is sively re-designed. From the out made by Sony, but later to Ampex's[...]this country. side, though, the only obvious own designs. This provides a con locations and production personnel,[...]change was that the front element siderable endorsement for the all listed for instant access via a tele Around the stands doesn't turn as the lens is zoomed, format. phone call and a personal com which solves a problem when using puter. More on these services in a Apart from these major features and[...]trends, there were any number of From a new (to me) Melbourne[...]Getlit/Wired for Sound, Everyone, it seemed, had a com Using microprocessors for an ad show at the SMPTE. What follows is was a range of display and theatrical puter-graphics s[...]vanced system of colour `edge a few of them. lighting and items such as a video ranging from the simpler, 8-bit detection' was the da Vinci colour Not available at the time of the console for video-disc cueing and Quanta[...]ed that same week image-mixing in discos. The new ible to create background and fore $50,000, this is a colour-correction was the pin-registered telecine gate group also sells the English Le ground mattes that can be com controller that works with all the jointly developed by the Sydney Maitre line of smoke machines, bined with live subjects from a current telecines or for tape-to-tape companies, Mirage and Videolab. I ranging from the $900 Mini Mist to a camera input, through systems such grading, and it has some remark have yet to see a demonstration, but $2,500 model. as the Artstar 3 (popular in Aus able features. The most impressive the device is claimed to be as good tralia), with full vector and raster of these is a `geographical' ability to as the American-developed Steady- L e M a i t r e 's m id d le - o f - th e - r a n g e animation, to a revamped AVA select an area on the screen and gate (subject of a paper at the con sm o k e m achines: $900 an d $1,800. Picture Maker from Ampex. The change just that colour individually. ference), but at a fraction of the cost. AVA offers a cut-and-paste option By moving cross-hairs onto the Kodak announced the availa Other items from Getlit were a with perspective control that looks object, the machine detects the bility of the high-speed 16mm nega video projector and a range of just like an ADO effect. edges to the colour, and allows it to tive, 7292 (mentioned in our fast clever, remote-controlled lights, the be c[...]thout' affecting an stocks test in C in e m a P a p e rs 54, Pan Can servo range. Primarily de Character generators included a identical object nearby. The process October 1985), and a new 35mm signed for theatre and disco[...](or clone) from Bio Elec times. Since the launch of the separation, for special effects work.[...]or $3,500, this offers product at NAB, the company Similar qualities are claim[...]intermediate printing stock, The Pan Can Servo System 3: crawl, all in a standard PAL output. an amazing number considering 7243/5243. ^They all use the new T- rem ote con trol by com pu ter or At the other end of the scale, that the da Vinci would be mostly grain developments for fine grain jo y s tic k . Quantel's Cypher is a combined replacing existing equipmen[...]and faster speed. digital-effects machine with a track On display at the John Barry Miller Tripods has just opened its ball control over a vast range of Invisible barriers Group stand was a new Panther own sales outlet in Burbank, and it is typefaces and colours, which can be dolly that has a larger platform on presumably a compliment that the controlled almost like the company's The one product that was truly the head, allowing the assistant to sit Americans think Miller is a US Paintbox. It may be a while before it unique at the show couldn't actually opposite the operator. The Panther company. Miller's Portamount beco[...]But it was certainly there: it still has one of the smoothest elec immediately attracted my attention, as the Chyron, but it presents an was the Photogard process, tronically-controlled hydraulic lift but the company also has a new, impressive leap forward in handling developed by 3M, which puts a pro systems around.[...]answer to the Sachtler Video 25,[...]phic prints that stops abrasion, Also on the Barry stand was the with a 40kg capacity and a light There was also a new face on the moisture, static electricity, colour update to the Arri BL 3, the new Arri weight but heavy-duty tripod to Qua[...]BL 4. The most obvious external whom -- I later caught up at a P hotogard: ten tim es the life ex pect feature is the extra-large extension demonstration at the Video Paint ancy fo r yo u r prints.[...]ith illuminated ground- brush Company in Sydney. The[...]egrading from UV, bacteria, and modelled the Lightflex into a simpler new, completely digital, editing[...]ooks system called `Harry'. Harry can The process has been available for like a more workable tool, which store 90 seconds of broadcast some time (it won a Scientific comes complete with an inbu[...]ttery-powered dimmable eye- and manipulated from a Paintbox a thin polymer coating that is cured light. graphics tablet input. This could free by UV, forming a clear (97%-trans- a video design studio completely mission), tough coating. It is claimed Also attracting attention on the from the need for a 1" video to extend the life of cinema prints by same stand was the Schwem Gyro tape editing system; and Harry inter[...]m lens. This battery-powered, faces with Encore, the Quantel 3D[...]demonstrated with the aid of a hand[...]held camera whose operator was sit H a rd co p y fro m y o u r softw are: the ting on a coin-in-the-slot kid's[...]rocking motorbike. The video feed M itsubishi P60B.[...]have made the results from the[...]On the Samuelsons stand, they[...] |
| match. Miller also has a range of the small Indextron monitor, Y o u can ta k e it w ith y o u : th e ates the tiny set-up errors that are moulded tripod cases, similarly light designed to give a very bright[...]picture for outdoor or high ambient A G -5 0 0 m o n ito r-cu m -ca ssette of copying. By recording bars from tection. Cost is $295. light levels; what is notable is that it[...]some unique items does not have a shadowmask or a player.[...]forth, the velocity errors (which Aatons: the XTR, with clear time[...]is VCR has come in cause more degradation than the recording, and the stripped-down, On the tape front, it looks like we as a professional machine with the obvious signal-to-noise problems) lightweig[...]ly adjusted. will be familiar to Aaton fans, and the to metrication for the familiar %" U- because, if it was offered as a con XC provides a sensible alternative as matic tape used in the new digital sumer item, it would surely kill sales The Philips Scientific and Indus a beginner's or back-up model. systems: the tape is designated of the NV180. trial stand had the Adams Smith `19mm' even in the US. Sony Among the new broadcast 2600 A/V editor/synchronizers. They Also from Filmwe[...]al videotape equipment, Ampex showed the accept an 8" CMX-format disk, a full examination (though not machine at the recent NAB show. In ADO 1000, an entry-lev[...]which could speed up transfer of cheap) was a small, electronically- Sydney, only the new digital video effects unit that can be[...]cassettes were on display. The company was also showing the tion on a videotape job. Philips also the Revpod, which can be exactly The duplication labs and AV hire Zeus TBC, together with modifica showed the first application of com controlled and stopped[...]to concede tions for its VPRs (to speed up the pact audio discs for sound post-pro reverse-printing the label shots!). that rear-screen projectors, such as animation capability) and a forth duction, with a sound-effects library the Fairchild, with its Super 8 endless coming software kit for set-up called of 28 discs from the Canadian com P rod. cartridge, are on the way out. On the Multi-Gen, This significantly elimin- pany, Sound Ideas. The Philips con GEC stand was the Panasonic port[...]bination unit. A few companies have so that they can be accessed rapidly The D enecke D C o d e slate, available been[...]w est. sets using the small NV180A port[...]sight of the Rycote Windjammer[...]is claimed to cut wind noise by 6dB[...]over a normal windshield. It is distri A long-awaited improvement in[...]sound quality for VHS portables is Finally, Filmtronics had a the Panasonic VHS Hi-Fi portable[...]AG-6400. This is the hi-fi sound ver which is specially made for digital- sion of the NV180A, and allows loca tape editing, and which is claimed to[...]give a dead accurate vertical cut. Mr quality, with access to the linear There were two further products[...]Blow-up to 35mm shooting in own company: first, the Decode Agfa-Gevaert Ltd, 372-394 National Panasonic is distributed 16mm or super-16' , Lutz[...] |
| PRODUCTION R The scramble and madness that Eighty documentaries were Wincer is recreating Beersheba on characterizes the end of the financial financed at both rates, representing 0 year for the film industry has long an overall budget of $19.6 million. location in South Australia -- the passed and, with prospecti in the There was also a noticeable shift backdrop for a drama about another U bottom drawer, now is the time to away from television miniseries to[...]art of Australia's `spectacular' N come up with the goods. And it features -- 24 miniseries in 1984-5, military history. Antony Ginnane is looks like there should be a reason compared to the five secured this also the executive producer (with D ably high level of p[...]directed by Gillian Armstrong, and U Under the 10BA tax incentive One feature which[...]due to commence production in late scheme, a total of $159 million was in the marketplace was L e s P a tte r September. P secured for film and television pro s o n S a ve s th e W o rld . Les, Australia's duction[...]ltural attache, teams up with While the cast and crew of The marked a $26.7-million downturn Dame Edna Everage[...]Tale o f R u b y R o s e weathered " a from the previous year, the fall was put more ocker bums on seats than tough and arduous shoot" in the not as dramatic as some analysts C ro[...]e e . Scripted by mountains of Tasmania, the T ravel were predicting. Barry Humphries and his wife, lin g N o rth c re w were on[...]Dianne Millstead, the feature began Northern Queensland. Both features The figures, released by the Aus a ten-week shoot in mid-August, with wr[...]George Miller directing. the New South Wales coast, mid cate a reduction in projects financed way between the two, Daedalus at 133/33 concessional rates. The Bill Bennett's production, D e a r combined budget of these produc C a rd h o ld e r (one of a number of Films' The B e e -E a te r has now been tions (26 feature films, fo[...]he has lined up with J.C. retitled The P la c e a t th e C o a s t. series and ten telefeatures) was Williamson), is scheduled to shoot $105.2 million, while the 120/20 rate on 15 September. It stars Robin In the documentary arena, there accounted for ten fe[...]Chirgwin. In Melbourne, pro- the more interesting projects, B u ild a combined budget of $34.2 million. ducer/director Virginia Rouse will in g D re a m s and G e ttin g B e tte r, Amounts underwritten for invest complete a one-month shoot in mid- come from the `Black Futures' ment in 1986-7, together with[...]ductible expenses, amounted to tion, To M a rk e t, To M a rk e t. (Her first, Corroboree Films. The first, E ora $12.4 million for the 120/20 projects, Geese M a te fo r L ife !, has been sold C o rro b o re e has been completed, and $27.1 million for the 133/33 to the ABC and will be screened and the other titles scheduled are projects. later this year.) C a n d y R e g e n ta g ,[...]S till Tim e, R e fle c tio n o n S ilv e r The W alls o f Jerusalem : on the set produced and written by Don Catch-[...]September. S c re e n s and T h e L a n d O w n s Us. o f The Tale of Ruby Rose. Backed by the AFC, it is about the Director of photography is Yuri bitter-sweet relationships of a prosti Sokol and the producer is Michael tute, and is, of course, set in[...]Nearing the end of production is Jack Pizzey (S w e a t o f th e S un,[...]n d Z e ro . T e ars o f th e M o o n ) is currently work Based on the Royal Commission into ing on a series of three documen the British nuclear tests at Maralinga taries about Australia. The produc in the fifties, its cast includes Jack tion co[...]and British ductions, has pre-sold the series to actor, Donald Pleasence. the ABC, and it will probably go to[...]air for the bicentennial year.[...]ne John Ruane's short film, F e a th e rs, from the International Film Manage with Rebe[...]ment stable.4For The L ig h th o rs e - Julie Forsythe and Neil Melville, is m e[...]ing is finished on Tony Mahood's[...]the most challenging scenes for[...]sheep -- the Melbourne City Square[...]The television scene has not been[...]The H e n d e rs o n K id s which begins[...]shooting in September. The direc[...]Moloney. Production is also under[...]pre-production: B la c k B e a u ty and[...]The 30-minute ABC drama, / C an[...]G iv e Y ou a G o o d Tim e, wrapped in[...]early September. Based on the play[...]by Gilly Fraser, it is directed by Peter[...]faced a little more drama. Producer[...]of P e rh a p s L o v e , Jan Chapman,[...]had to shift the Bali location of the[...]tions with the Indonesian govern[...]P ro m is e s to K e e p -- and finally did a[...]five-day shoot in the Philippines.[...]by Bob Ellis, it is being produced in[...]a package of nine films that will be[...] |
| [...]P ro d , a c c o u n ta n t.....................................C a tc h 123, L e n g th .........[...].............................. 120 m in u te s The Cinema Papers[...]P rod, a s s is ta n t ...............................K ris te n D u n p h y trium p hs of A u stra lia 's golden boy of boxing[...]d ir e c t o r .................................M a rk T u rn b u ll w ho fell from grace as a result of W orld W a r I 's[...]2 n d a s s t d ire c to r...............................[...]P e te rV o e tec no n s c rip tio n h y s te ria a n d w a s re s u rre c te d a s a[...]3 rd a sst d ire c to r .................................................. M a ria P h illihpesro , w h e n he d ie d in M e m p h is , lo n e ly,[...]y ............................................. D a p h n e P a ris bew ildered and reviled at th[...]C a s tin g .........................................................................LizM u llin a r THE TIME GUARDIAN[...]............................................... R a y B ro w n A full listing of the features, telemovies,[...]G a ffe r............................................... B ria n B a n s g ro v e P rod, c o m p a n y ...........J e n -D ik i F ilm P ro d u c tio[...]A rt d ir e c t o r ...............................[...]A rt d e p t a d m in is tra to r .......................................D[...]......................T e rry R yan Dist. c o m p a n y ........... H e m d a le F ilm C o rp o ra tio n[...]m F e rrie r, (excluding A ustralasia)[...]u c e rs ..................................N o rm a n W ilk in s o n ,[...]............................................... D a v id W ils o n R[...]S e t m o d e l m a k e r ................................................. R o ssW a llaCso -p r o d u c e r ................................... H a rle y M a n n e rs[...]S o u n d r e c o r d is t..................................J o h n R o w le y A rt d e p t ru n n e r/d re s s e r...............[...]c to r ................................B ria n H a n n a n t[...]S c e n ic a r tis t .....'...................................[...]c r ip tw rite r s .....................B ria n H a n n a n t, s[...]............................................... R a lp h S tra sBsreursh h a n d ......................................F ra n k F a w lk n e r FEATURES[...]....................................... J o h n R a n nP h o to g ra p h y ..........................[...]A sso c, p r o d u c e r ..................................................... R a yP o n d1st a sst e d ito r ................................A n d re w B a rn e s THE ATTACK OF THE GARBAGE[...]S o u n d re c o rd is t................... T o iv o L e m b e r[...]............................................... J a n e tte D e a s2onnd asst e d ito r............................[...]E d ito r................................... A n d re w P ro w se P rod, c o m p a n y ................................Im m o rta l F ilm s P rod, a c c o u n ta n t............................... M a re e M a ya ll D lst. c o m p a n y .......................................C in e m a 100[...]D ia lo g u e e d ito r ....................... K a re n W h ittin g to n P ro[...]............................................... G a ry K e ady,[...]........................................ R o sy C a ss Effects editor/[...]E xe c, p r o d u c e r ........... A n to n y I. G in n a n e[...]................................................G a ry K e a d y W a rd ro b e .................................................. R a ch e l N o tt s o u n d s u p e rv is o r .............................................. T im G e o rdParond, c o - o rd in a to r...............B a rb a ra R in g S c r ip tw rite r ............................................G a ry K e a d y B a se d on th e o rig in a l id e a b y ........... G a ry K e a d y B u d g e t .........[...]......................... $ 6 9 0 ,0 0 0 L a b o ra to ry ..................................................... C o lo rfilm P rod, m a n a g e r .................S te p h e n J o n e s P[...]..J o s e p h P ic k e rin g S o u n d re c o rd is t.!................................. C ris to C u rtis G a u g e .................................................... S u p e r 16 m m Lab. lia is o n ............................... R ic h a rd P io rk o w s k i P rod, a c c o u n ta n t......................C a tc h 123 E d ito r..............................[...]rs ............................................G a ry K e ady, S y n o p s is : The H igh Plains cricke te r com es to[...]............... $ 3 ,7 5 0 ,0 0 0 1st a sst d ire c to r ............P h ilip H e a rn s h a w[...]C o n tin u ity ..................................A n n W a lto n[...]DOT AND THE TREE G a u g e .................................................................... 3 5 m m C a m e ra o p e ra to r............. D a vid F o re m a n V[...]............................................K o d a k Key g r ip .................................. B ru c e B a rb e r E xe c, p r o d u c e r ...........................J a m e s M. V e rn o n[...]G a ffe r........................................Ian P lu m m e r P rod, c o - o r d in a to r .............................. R od G re v ille P r o d , c o m p a n y .................................................. Y o ra m G ro sSs y n o p s is : A story of love lost and found in a A rt d ir e c t o r ................................. T o n y R aes P rod, m a n a g e r ................................G ra h a m D u n n P r o[...]ro s rse m o te w in try coas tal tow n in A u stralia. M a k e -u p .................................. J a n e S u rric h P ro d , a c c o u n ta n t............................... K e ith S te w a rt W a r d ro b e .................................................. R o s W a s o n d u c e r ............[...]............................................D e n is C lifto n S p e c ia l e f fe c t s ............[...]H a ird re s s e r............................S a sh L a m e y E M u s ic a l d ire c to r ......................................G a ry K e a d y S c r ip tw rite r .............[...]W a rd ro b e s u p e rv is o r........ J e a n T u rn b u ll L e n g th .....................[...]Y G a u g e ....................................................................35 m m A n im a tio n d ire c to r ...............................................A th o lH e n ryP rod, c o m p a n y ..................K .F .M . P a n d e m o n iu m Art dept a d m in istrator ...W endy H uxford S h o o tin g[...]........................................... K o d a k S y n o p s is : A rock 'n ' roll scie nce fiction A sso c, p r o d u c e r .............................................. S a n d ra G ro ss[...].....H e n d o n S tu d io s com edy. S yd n e y is ravaged by M onsters that have evolved from genetic spores orbiting the L[...].......................R o b e rtF ra n cMisixe d a t ............................. H e n d o n S tu d io s earth. Professor G oodhead, a 50-year-old mad scientist, plans to defeat the alien threat. G a u g e ...........................................[...]................................................H a y d n K e e nBaun d g e t ................................ $ 8 ,0 0 0 ,0 0 0 THE BIT PART S y n o p s is : Dot and O ld Tom , the violin-m aker,[...]...................................... P e te r G a ile y, L e n g th ........................................100 m in u te s P rod, c o m p a n y ...-...............................C o m e d ia Ltd find the spread of a big city thre aten s th e ir[...]nan G a u g e ...........................................[...]........................................J o h n G a u c i,[...]d u c e r...................................... P a tric J u ille t S h o o tin g s t o c k .................................... K o d a k[...].........................................B re n d a n M a h e r 8341: THE PYJAMA GIRL MURDER A sso c, p r o d u c e r s .................................A le x C u tle r, Synopsis: A s ci-fi a c tio n m o v ie a b o u t a w o m a n S c rip tw rite r.......................................Ian M a c F a y d e n[...]who encounters tim e travellers from the 24th E xe c, p r o d u c e r ...................[...]C e n tu ry in C e n tra l A u s tra lia . B u d g e t.......................[...]........................................ G re g H a m , S y n o p s is : A com edy about a sm all-tim e actor.[...]P ro d , c o m p a n y ........ U lla d u lla P ic tu re C o m p a n y[...]in a s s o c ia tio n w ith[...]Jam es Reyne, WARM NIGHTS ON A SLOW MOVING[...]C a sabla nca Film W orks[...]to g ra p h y ................................ D a vid S a n d e rs o n[...]J o h n W a ll S o u n d a n d m u s ic d ir e c t o r ...........C a m e ro n A lla n[...]................................................P a u l H e a ly P ro d u c e rs ................[...]John Rogers C a st: A m a n d a Dole, C a n d y R a ym on d, Ian[...]B a sed on th e n o ve l b y ................ R o b e rt C o le m a n Nim m o, David Argue, R[...]s ig n e r .................................... D a rre ll Lass[...]B a sed on th e o rig in a l id e a b y ................ B o b E llis,[...]L a b o ra to r y .............................................................A tla b[...]....... $ 2 .7 5 m illio n S y n o p s is : A pagan passion play set und er and[...]G a u g e .................................................................. 35 m m on the shores of Bondi beach, with bulk[...]P rod, c o -o rd in a to r............................................J[...]S y n o p s is : T h e film is b a se d on th e tru e s to ry o f[...]P rod, m a n a g e r.................................. D a rry l S h e e n[...]the P yjam a G irl M urder. A g irl's b od y w as[...]fo u n d in S yd ney in 1934 an d kept in a fo rm a lin[...]P rod, a c c o u n ta n t..............................J im H a jic o s ta[...]thousands of people, until the m urder was[...]P ro d u c e r's a s s is ta n t...........................................[...]G a u g e ...........................................[...]P rod, c o m p a n y .............................................C a s c a d e F ilm sCast: W e n d y H u g h e s (T h e G i[...]................................................N a d ia T ass, Synopsis: T h e c e n tra l c h a ra c te r is a h o o k e r[...]arker who works the S outhern Aurora. O n Friday[...]................................................N a d ia T a ss nights going south and Saturdays[...]................................................D a v id P a rk esrh e p ic k s up m e n in th e d in in g c a r a n d a fte r[...]............................................... D a vid P a rk ecro n v e rs a tio n ta k e s th e m b a c k to h e r d o u b le[...].......................................... K e nS a llo wc osm p a rtm e n t. In e a c h e n c o u n te r s h e d is p la y s[...]THE END OF INNOCENCE[...]......... B ryce M e n zie s a different character, different styles of dress,[...]A sso c, p ro d u c e r ...........................[...]im o th y W h itea d m ittin g to d iffe re n t b a c k g ro u n d s .[...]P rod, c o m p a n y ................................................. A v a lo n F ilm sP rod, s u p e rv is o r.................................................L y n d a H o u se P rod, c o m p a n y ......................... C h a d w ic k /D o u g la s P r o d[...].......................................... P h il A va lo n 1st asst d ire c to r ................................T o n y M a h o o d[...]................................................. A la n D ickeCsa s t: C o lin F rie ls (P ete). P[...]................................................. A la n D ic kSe sy n o p s is : B o re d b y th e ir e a s y e x is te n c e in FE[...].................................... R o b e rt T a y lo r Based on th e o rig in a l idea B a se d on th e s h o rt s to ry b y ................P h il A va lo n , M elbourne, Rikki[...].................................... R o b e rt T a y lo r A lan Dickes for Mt Isa and a questionable foray into the A sso c, p r o d u c e r ...............................P h illip C o llin s P rod, s e c r e t a r y .......................................A n n e P ryo r E d ito r..............................................................A la n T ro tt hardened w orld of m ining.[...]...............................9 0 m in u te s G a u g e .................................................................... 35 m m A sso c, p r o d u c e r ..................................K ip P o rte o u s S y n o p s is : R iv a lry be tw e e n tw o p arish churches escalates into a m edia event of L a b o ra to ry ......................................................... A tla b THE ROBOT STORY PRODUCTION a stro n o m ic pro p o rtio n -- le aving Father Lab. lia is o n ............................................................... R a yB e a ttie Brannigan attem pting to undo w hat the m iracle he needed has given him ![...]........$ 1 .2 m illio n P rod, c o m p a n y .............................................[...]Film S tudio Pty Ltd P ro d , c o m p a n y ......................A rc h e r F ilm s P ty Ltd G a u g e ...........................................[...]Cast: A bigail (Mrs G r |
| [...]Towers - Studio models and outdoor models. Throw a precise pattern --tanker[...] |
| [...]450 2956 A s s is ta n t...........................................[...]h o r s e s ..................................E v a n n e B ra n d[...]tw e e n e rs .................................M a x im G u n n e r, G a ff e r ..........................................[...]chert, C a te r in g .............................................. A & B C a te rin g 2 n d e le c tr ic s ...........................................S te v e C a rte r G a u g e ..........................S u p e r 3 5 m m T e c h n is c o p e[...]S t u d io s ..................................A B C , F re n c h 's F o re s t 3 rd e le c tr ic s .......................................S h a u n M a c k a y S h o o tin g s t o c k ........................................K o d a k 5 2 9 4[...]M ix e d a t .....................................A B C F o re s t S tu d io s[...]Paul Baker, B o o m o p e r a t o r ......................................................M a rk W a s iuCtaaskt: M ic h a e l B u tc h e n c e (S am ), S a s k ia P o st[...]om as, L a b o ra to r y ..................................................... C o lo rfilm A rt d ire c to r .................................[...]L e n g th ........................... M in is e rie s 6 x 5 0 m in u te s ,[...](Anna), N ique N eedles (Tim ), A n d re w Clayton-[...]G a u g e ...................................................................35 m m s c e n ic a r tis t..................................R o B ru e n -C o o k (M ark), C atherine D elaney (The girl), Peter[...]Cast: J o h n S ta n to n ( M a g w itc h ) , S ig r id[...]T ho rnton (B ridget), R obert C o leby (Com - A rt d e p t ru n n e r/a s s is ta n t................T o b y C o p p in g[...]P h illip Scarrold, M a ke -u p s u p e rv is o r..............................................[...]K ennedy (Tooth), T odd Boyce (Pip), A nne[...]Louise Lam bert (Estella), B ruce S pence M a k e -u p ................................................. S o n ja S m u k S y n o p s is : A fast and fu rio u s love story set[...](Gargery), Ron H a ddrick (Tankerton), Jill[...]C lare Lyonette, M a ke -u p a s s is ta n t........................................A n n a b e lB a rtoanm id th e co m e d y , c h a o s a n d c ra z y c o n[...]Synopsis: Great Expectations -- The Untold H a ird re s s e r............................................................. P a u lW illiafmu ss io n o f a t y p ic a l in n e r - c it y s h a r e d[...]Story ta k e s th e c h a ra c te r A b e l M a g w itc h fro m[...]Sarah Lawson, W a rd ro b e s u p e rv is o r........................................A n n ie B a n jahmo uins e h o ld as th e in d u lg e n t y e a rs o f th e[...]tor Juy C h a rle s D ic k e n s 's nove l Great Expectations, W a rd ro b e a s s is ta n t............... L u c in d a M c G u ig a n seventies give w ay to the harsher realities of[...]and builds a story around his life, from the tim e P ro p s m a k e r ...........................................[...].. L ia m L id d le DOT AND THE SMUGGLERS S p e c ia l e ffe c ts ............[...]...B ria n R o lls to n , P rod, c o m p a n y .....................................Y o ra m[...]F ilm stud io Pty Ltd M o d e l m a k e r/s p e c ia l e f f e c t s ......W illia m D e n n is P r o d u c e r .................[...]........Y o ra m G ro ss A n im a tio n c h e c k e rs .............................................. K im C ra shtee, w a s e x ile d in A u s tra lia as a c o n v ic t, u n til he A ssistant to[...]ortune and retu rne d to E ngland. m o d e l m a k e r s h o p ........................ W a y n e T ru c e S c r ip tw rite[...]Kim Marden C a rp e n te r................... A n d re w W h itn e y -G a rd in e r B a sed on th e o rig in a l id e a b y ...........G re g Flynn,[...]s t y lis t ..................................S h a ro n J a c k s o n[...]...........................................B e rn a rd M a rtin[...]Ink a n d p a in t....................................... J a c k P e tru s k a P rod, c o m p a n y ................................. F ilm b a r P ty Ltd C o n s tru c tio n m a n a g e r ........................................J o h n P a rkAenr.im a tio n d ire c to r..........................J a c q u e s M u lle r[...]Dist. c o m p a n y ........................................... W o rld w id e A s s t c o n s tru c tio n m a n a g e r................. P a u l M a rtin A s so c, p ro d u c e r................................. S a n d ra G ro ss R e n[...]J o y c e excludin g A u strala sia A s s is ta n t e d ito r . .................................................. P h ilip D ixo nP rod, m a n a g e r .................................J e a n e tte T o m s C a m e r a .................................................[...]G oldfarb D istributo rs Inc. E d itin g a s s is ta n t...............................................A n to n y G ra y L e n g th ......................[...]......................................... D e n n is J o n ePs r o d u c e r.........................................J a n e B a lla n ty n e S tu n ts c o - o r d in a to r ............................................ C h ris A n d eGrsaoun g e ..................................................................35 m m T ra n s p o rt m a n a g e r............................................R a lp h C la rkC a st: K e ith S co tt, R o b yn M oore.[...].......................................... M ic h a e l P e a rce Assistant transport[...]............................................. R e a F ra nSc icsr ip tw rite r ..........................................J a m e s B a rto n m a n a g e r...............................J e re m y H u tc h in s o n S y n o p s is : Dot and her bushland friends try to L a b o ra to r y ...................................[...]o lo rfilm Based on the o rig in a l idea[...].......................................... M ic h a e l P e a rce[...]stop w ildlife sm ugglers from capturing a[...].................. G e o ffre y S im p s o n B o a t m a s te r...........................................[...]S o u n d re c o rd is t.................................. T o iv o L e[...]o y ........................................J o n a th a n H u g h e s DOT AND THE WHALE[...]........................................... D e n is e H a ra tz is[...]S y n o p s is : An am inated feature. The adven[...]E xec, p r o d u c e r .......................... A n to n y I. G in n a n e[...]P rod, c o -o rd in a to r............................................J[...]P rod, c o m p a n y .............................................[...]e tsroot f Dog and W al, and the c h a ra c te rs of P rod, m a n a g e r............................................[...]U n it m a n a g e r..................................................... M a s o n C u rtis p r o d u c tio n ...............[...]P rod, a c c o u n ta n t.................................[...]A c c o u n ts a s s is ta n t............................................... A le x W a lk e r P u b lic ity ......................T h e R ae F ra n c is C o m p a n y P r o d u c e r ..........[...]............................................. E u a n K e d d ie[...]THE UNTOLD STORY s t2anlld, a sst d ir e c t o r ................................................... G u sH o w a rd U n it p u b lic is t ...............................................[...]3 rd a sst d ire c to r.................................[...]........................................J o h n P a lm d r[...]..............................................J o a n n e M c L e n n a C a te r in g ............................... M M K S[...]C a m e ra o p e r a t o r ..................... G e o ffre y S im p s[...]A n im a to n d ir e c t o r ................................................. R a yN o w laPnrodd, c o m p a n y ..............A u s tra lia n B ro a d c a s tin g[...]............................................... M a rtin T u rn e r L a b o ra to r y ...................................[...]C la p p e r/lo a d e r............................................[...]A sso c, p ro d u c e r.............................................. S a n d ra G ro ss[...]..................................R o b in M o rg a n Lab. lia is o n ..............................R ic h a rd P io rk o w s k i[...]............................9 0 m in u tPersod, m a n a g e r ................................................ N a re lle H o p le y[...]Lim ited G a ffe r............................................[...]E le c tric ia n /g e n e ra to r G a u g e ...........................................[...]............................................K o d a k G a u g e ...........................................[...]R ay.A lchin C ast: John Ja rra tt (S teve H arris),[...]S yn o p sis: Dot and N eptune the dolphin battle[...]................... T im B u rs ta ll B u rn h a m (O o n d a b u n d ), D a vid G u lp ilil to save the life of a beached w hale. B a sed on an o rig in a l id e a b y .......... T o m B u rs ta ll (Adjaral), Ray M eagher (G arret), Je ff A shby FOOTROT FLATS -- THE MOVIE S o u n d r e c o r d is t.................................. P e te r B a rb e r (M ac W ilson).[...]....................................... T o n y K a va n a g h , S y n o p s is : A huge rogue crocodile terrorises P rod, c o m p a n y ...............M a g p ie P ro d u c tio n s Ltd[...]Lyn Solly the in habitants of Darw in.[...]....................................... J o h n B a rn ePttr,o d , d e s ig n e r............................... L a u rie J o h n s o n[...]B o o m o p e r a t o r .....................................................S c o ttR a w lin g s DOGS IN SPACE[...]..................................... M u rra y B a ll E xe c, p r o d u c e r .......................... A n to n y I. G in n a n e P rod, c o m p a n y ....................E n te rta in m e n t M e[...]........M u rra y B all, A s s o c ia te p ro d u c e r.......................S ig rid T h o rn to n A rt d ir e c t o r .......................................................... P a d d y R e a rd o n Pty Ltd in a s so cia tio n w ith[...]P ro d , m a n a g e r................................................. D e n n is K ie lyC o s tu m e d e s ig n e r..................................... A p h ro d ite K o n d o s the B u rrow es Film G roup Based on the characters L o ca tio n m a n a g e r...................................................V a lW in dHoanird re s s e r/m a k e -u p ..................................... K[...]......G le n y s R o w e cre a te d b y ...................................................... M u rra y B a ll P rod, s e c r e ta ry ............................................ M a u re e n C h a rSltotann d b y w a r d r o b e ...................... R u th D e La L a n d D ir e c to r .............................................................. R ic h a rd L o w eAnnsitme iantio n d ire c to r ........[...]. R o b b e rt S m it P ro d , a c c o u n ta n t...............................J[...].......................................... R ic h a rd L o w eSncsrtiepitne d ito r......................................C h ris H a m p s o n[...]P ro d u c tio n s u p e rv is o r...................... M ike M id la m[...]d ire c to r ................................. W a y n e B a rry S ta n d[...]....................................... P e te rD a vie s Based on th e o rig in a l idea[...]2 n d a s s t d ire c to r ......................,,....G a ry S te p h e n s[...].......................................... R ic h a rd L o w ePnrsotde,inm a n a g e rs ......................M a rk D 'A rc y -Irv in e , U n it m a n a g e r............................................. D o n P a ge A sst e d ito r ............................................................S im o n J a m e s[...]o to g ra p h y ................................. A n d re w d e G ro o t[...]............ , ..........................S ia n F a to u ro s S o u n d[...].................................G le n N e w n h a m S o u n d r e c o r d is t................................... D e a n G a w e n P ro d u c tio n a s s t........................................ T im A d lid e C a s tin g ................................................................. J e n n y A lle nM ix e r..................................................................... J a m e s C u rrie E d it o r ....................[...]........................J ill B ilc o c k P rod, a c c o u n ta n ts .................................. A n d ro u lla , L ig h tin g c a m e r a m a n ....................... P e te r H e n d ry S tu n ts c o -o rd in a to r.............................................[...]C a m e ra o p e r a t o r ...............................R o g e r L a n s e r S till p h[...]................... S u z y W o o d P ro d , m a n a g e r.................................................... L y n d a H o u sPero d u c e r's a s s is ta n t..........................................R[...]s p u lle r ....................................P a u l P a n d o u lis P u b[...]................................................M a ria n P a g e U n it m a n a g e r ............................................K im L e w is B a c k g ro u n d s .............................. R ic h a rd Z a lo u d e k C la p p e r/lo a d e r................................... R o b e[...]......................S u e S te p hLeanys-o, u t a r tis ts ................................B ru c e[...].........................................D........a...Dv..i.a.d..n.S.n..o.y.rHePenonspdoponenrS[...]A sst g r ip .................................................................G a ry Bur P rod, a c c o u n ta n t.....................................A n n e G a lt Pere[...]......................................... R o ssH a m ilto n Deane Taylor,[...]G a ff e r ..........................................[...]E le c t r i c i a n s .............................................................K e n P e t t igMr eixwe ,d a t ...............................................[...]am Labor a to ry ...................................... C o lo rfilm P ty Ltd 2 n d a s s t d ir e c t o r ....................................................P a u lG rin d e r Paul Styble, 3rd a sst d ir e c t o r ............................................... M a rg o tS a lo m o n Jam[...]arson Lab. lia is o n .......................................................R ic h a rd P io rk o w[...]................................................G a y le P ig a lle Leanne Hughes,[...]...............................97m in u te s C a s tin g c o n s u lta n ts ...................................... F o rc a s t[...]........... Ken M uggleston C a m e ra o p e ra to r......................................P a u l E llio t[...]A s s t d e s ig n e r.............................[...].......................................K...o...d..a...k...E...a...s..t.m....a...n3c5o mm[...]...............................S te v e M c D o n a ld A n im a to rs ................................................................. D o nM a c C la p p e r/lo a d e r................... M andy W alker[...]M a k e u p .........................................[...]e rt Cast: B ru n o L a w re n c e (N at), R o d n e y H a rve y[...]A lista ir Byrt,[...](Billy), A n na-M aria W in ch este r (Sal), M iranda K e y[...]............................... N o e l M c D o n a ld[...]................ Jiri Havlin A s s t g r ip ..............................................................W a y n e M a rs h a ll G airden Cooke, W a r d ro b e ......................................[...]............... R o nD u ttoOntto (S tevie). G a ffe r ......................................................................... P a u lO ' N e ill C hri[...]W a rd ro b e a s s t.......................................... R o ily C a n o Synopsis: A hig h a d v e n tu re s to ry o f a b o y 's B o om o p e ra to r...........................S te p h e n V a u g h a n[...]................................................L a u rie D o rn in itia tio n in to m a n h o o d th ro u g h tria l a n d o rd e a l A rt d ire c to r .................................[...]B o rla n d A n dre w Szem enyai,[...]....................... S a n d i E yles, afte r a plane crash in th e rem o te A u stra lia n H a ir a n d m a k e -u p ........... , .................. C a ro ly n N o tt,[...]........ W a y n e P a s h le y rainforest. It is a life or d e a th jo u rn e y th a t[...].....................C lin tW h itein, vo lve s m a g ic a n d ritu a l. W a r d ro b e .............................. L y n n e M a rie M ilb u rn ,[...]Karen A nsell[...]........................S te v e n J o n e s -E v a n s[...]A rm o u re r......................................P a d d y M cD o n a ld , S ta n d b y p r o p s .......................................... M a c g re g o rK n o x[...]P rod, c o m p a n y ...................................R e e f F[...]re D ist. c o m p a n y ..............................G lo b a l T e le v is io n[...]Greg Ingram A rm o u re r......................................[...]A s s is ta n ts ....................................... D e n is e K irk h a m ,[...].......................................... R ic h a rd R o o k e r A s s t e d it o r ....................... C h ris tin a D e P o d o lin s k y M usic perform ed[...]................................................P a m T o o sDe ir e c to r ..............................................................M ic h a e lR o d g e r b y .................................V a rio u s M e lb o u rn e b a n d s Lu[...]t o r ........................................D e a n G a w e n[...]Based on th e orig in a l idea[...]D arek Polkow ski, S tu n ts c o -o rd in a to r........................... G le n B o s w e ll A strid N ordheim ,[...]............................................... M a rk W a lk e rb y .......................................[...]S tu n ts c o -o rd in a to r......................P e te r A rm s tro n g[...]h o to g ra p h y ..............................G a ry J o h n s to n S o u n d r e c o r d is t .......................................... Ian[...].......................................J u le s T a y lo r P a u l S tib a l, H o rs e m a s te r...................................... G ra h a m W a re[...] |
| [...]s ig n e r ...............................R ic h a rd R o o k e r W a rd ro b e a s s is ta n t.......................B e lin d a B o u rk e P rod, d e s ig n e r ................................... S e a n C a llin a n P ro p s b u y e r ...........[...]...................................B ru c e S m e a to n S ta n d b y p r o p s ........................... K a ra n M o n k h o u s e C o m p[...]................................................. A d e le F le re E xe c, p ro d u c e rs ..................................K e n M e th o ld , A rt d e p t m in io n ...............G ra h a m `G ra c e ' W a lk e r E xec, p ro d u c e rs ....................................M M A F ilm s, S e t c o n s tr u c tio n .............................................. A s h le y D u ff,[...]D ra fts m a n .............................................. M a rtin W a le[...]G len M arshall, P rod, a c c o u n ta n t................... H o rw a th & H o rw a th M o d e lm a k e r;....................................... R o ss W a lla c e P rod, m a n a g e r............................. A n d re w M cP h a il[...]G eoff Fenton 1st a s s t d ir e c t o r .................................................. D a v id M u n rCo o n s tru c tio n m a n a g e r ....................D e n n is S m ith P rod, a c c o u n ta n ts ................................................. LynJo n e sS,till p h o to g r a p h y ................................P e te r W h yte , 2 n d a sst d ire c to r..................................A n d re w E llis S ig n w rite r............................................ B ria n H a m m ill[...]C o n tin u ity ................................C a ro lin a H a g g s tro m S c e n ic a rtis t/s e t f in is h e r .................. B illy M a lc o lm P rod, a s s is ta n t........................................................... K itQ u a rRryu n n e r .........................................................J u lia n B a ll C a s tin g ....................E la in e H o lla n d & A s s o c ia te s A sst s e t f in is h e r ..............................M a rtin B ru v e ris 1st asst d ire c to r ........................... A n d re w M c P h a il C a te rin g ........................... R o d T h o rp e -- R a ffe rty s L ig h tin g c a m e ra p e rs o n ...............................[...]....................................... J o h n R a nn, 2 n d asst d ire c to r .......................................................K itQ u a rMryixe d a t ............................................ S o u n d F irm C a m e ra o p e ra to r ............................[...].......... J o h n S to k e s A ndy C hauvel, C a stin g c o n s u lta n ts ......................................F o rc a s t L a b o ra to ry ............................... ....[...]L ig h tin g c a m e ra m a n .......................... D a vid K n a u s Lab. lia is o n ........................................... Ian A n d e rs o n C la p p e r/lo a d e r..........................C o n s ta n tin e R ig a s[...]C a m e ra o p e ra to r.................................. D a vid K n a u s B u d g e t ..............[...]............................................... D a v id W h a nA sst e d ito r ...................................... P a m e la B a rn e tta F o cu s p u lle r .......................................... L isa S h a rk e y L e n g th ................[...]..............................95 m in u te s G a ff e r ..........................................[...]z G o ld fin c h C la p p e r/lo a d e r ..... A lis o n M a xw e ll (a tta c h m e n t) G a u g e ...........................................[...]ra to r............................... B ru c e W a lla c e Fx e d ito r ................................................ A n n ie B re s lin K e y g r ip ....[...]S h o o tin g s t o c k ................... K o d a k 5 2 4 7 a n d 5 2 9 4 M a k e -u p ....................................................A p ril H a rve y A sst d ia lo g u e e d ito r.......................... D a n y C o o p e r S p e c ia l fx p h o to g ra p h y ........................A le x P ro ya s C ast: M elita Jurisic (R uby Rose), C hris Hay H a ird re s s e r............................................................. A p rilH a rv eMyix e r .................................................... R o g e r S a va g e G a ffe r s .........................................[...]d (H enry Rose), Rod Z ua nic (Gem), M artyn W a r d ro b e ...............................................J o S h e p p a rd S tu n ts c o - o rd in a to r....................... C h ris A n d e rs o n[...]S a n d e rso n (B e n n e tt), S h e ila F lo ra n c[...]ra to r ....................................... D a vid F ra n k s S till p h o to g ra p h y ............................C a ro ly n Jo h n s, B o o m o p[...].......C ra ig W o o d (G randm a). N eg. m a tc h in g ..................................................... A tla b O liver Strewe A rt d ir e c t o r ...............................[...]r M ille r S yn o p sis: Located am ong the haunting peaks O p tic a ls ...................................................................A tla b B e st b o y ............................................ S h a u n C o n w a y C o s tu m e d e s ig n e r s .........................A n g e la T o n ks, and brooding m ists of T a sm a n ia 's C entral T itle d e s ig n e r .................................................. R ic h a rd A lle nR u n n e r ................................[...]M athu A nderson H ig h la n d s, T h e T a le o f R u b y R o s e is th e s to ry C a te r in g ..................................................................... J a n D ru mCmaotenrde r ......................................................C h ris S m ith M a k e -u p ......................................... M a th u A n d e rs o n of a wom an overcom ing an intense fear of the L e n g th ......................................9 0 m in u te s (a p p ro x .) A sst c a t e r e r ................................................ B illy A lle n H a ird re s s e r.................................... M a th u A n d e rs o n dark. G a u g e .................................................................... 16m m M ixe d a t ...............................................[...]............................................K o d a k L a b o ra to r y ...................................[...]S p e cia l e ffe c ts .............M e a n in g fu l E ye C o n ta c t, TRAVELLING NORTH Cast: J o h n B o w m a n (Tom ), P e n n y Jo n e s Lab. lia is o n ...............................R ic h a rd P lo rk o w s k i Lew is M orley (Jenny), Cae Rees (Cathy), G reg Powells[...]P rod, c o m p a n y ...................V ie w P ic tu re s L im i[...].........90 m in u te s S c e n ic a r tis t ...............................N ic k S ta th o p o u io s Dist. c o m p a n y ....................................................... C E L (Gavin), R ebecca C o gzill (Sally), A n dre w Booth[...]C a rp e n te rs ..................................... D a n n y H e rrin g , P r o d u c[...]......................................... B e n G a n n o n (Theo), O ve A ltm an (Terry), Je nn y Hall (Peta), G a u g e ...........................................[...]................................................C a rlS c h u ltz David C lendinning (Reggie).[...]............................................K o d a k Set c o n s tru c tio n .... D erek[...]............................................... D a v id W illia m s o Synopsis: A tw o -h o u r p ilo t fo r a fa m ily te le C[...]B a sed on th e p la y b y ........................................ D a vid W illia m s o vision series fe atu ring a w ild life photograph er,[...]S o u n d r e c o r d is t................................................[...](Daisy), A sst e d ito rs ..................................[...]...................................... H e n ry D a n g a r his th re e child re n , and th e ir a d ve n tu re s in[...]A licia G auvin A ustralia as a natural history film crew .[...]ig n e r............................... O w e n P a te rs o n MARAUDERS[...]C ra ig W o o d P rod, s u p e rv is o r.............................................. S a n d ra M c K e n z ie[...]E d itin g a s s is ta n t .....................................J o h n K u b ik P rod, c o - o rd in a to r..........................C a th y F la n n e ry P rod, c o m p a n y ............................... T h e M a g ic M en (R ic h a rd F ie ld in g ).[...]o g ra p h y .......................... H u g h H a m ilto n , P rod, m a n a g e r............................................[...]...............................................M a rk S a va g e S y n o p s is : The film tells the story of a wom an[...]L o ca tio n m a n a g e r ............................. R o b in C li[...]................................................M a rk S a v a g e who breaks with convention and defies the M athu A nderson U n it m a n a g e r............................................[...]e r ........................................... M a rk S a v a g e ta b o o s o f an e ra in th e p u rs[...]R u n n e rs .................... A lis io n P ic k u p (B ro k e n H ill), P rod, a c c o u n ta n t................................J ill C o v e rd a le P h o to g ra p h y ........................................ M a rk S a va g e know ledge and sexual fulfilm en[...]P rod, a s s is ta n t................................. H a rrie t M cK e rn S o u n d re c o rd is ts .................................................. P a ulH a rrin g to n , PROMISES TO KEEP C a te r in g ............T h e H a p p y C a rro t (B ro k e n H ill), 1st a sst d ir e c t o r ..............................[...]3rd a sst d ir e c t o r .................................................. J a n e G riffin E d ito rs ..................................................M a rk S a va g e ,[...]L a b o ra to ry ....................................[...]............................................... P a m e la W illis C o m p o s e rs ..............[...]Lab. lia is o n ..........................................S im o n W ic k s , A c c o u n ts a s s t/S y d n e y lia is o n ........ D o n n a W illis M[...]P ro d u c tio n a g e n t.................................. G re a t S co tt[...]C a s tin g ............................................................... S a n d ra M c K e n z ie E xe c, p ro d u c e rs ................ R ic h a rd W o ls te n c ro ft,[...].......86 m in u te s L ig h tin g c a m e ra p e rs o n ...............................[...]............................................... J a n e S co tt G a u g e ..................................................................16 m m C a m e ra o p e r a t o r ............................................... J u lia n P e n n e y P rod, a c c o u n ta n t.................... D a vid W o ls te n c ro ft D ir e c t[...].......................IanT h o rb u rn P rod, a s s is ta n ts ................................C o lin S a va g e , S c r ip tw rite r .............................................................. J a n S h a rpC a st: M ich a e lL ake (Felix), M e lis s a D a vis C la p p e r/lo a d e r............................................[...]roft, A d d itio n a l m a te ria l...................A n n e B ro o k s b a n k (Betty), T he Norm (Sm i[...]ip ............................................P a u l T h o m p s o n[...]H arrington B a sed on th e o rig in a l Idea b y ..............J a n S h a rp S y n o p s is : A crippled m an and his fanatically A s s t g r ip ........................................... G e o rg e T s o u ta s C a s tin g ..............................................T h e M a g ic M en P h o to g ra p h y .........................................................P e te rJ a m erse lig io u s s is te r live in a s h a c k in th e m id d le o f a G a ffe r......................................................................... R e gG a rs id e L ig h tin g c a m e r a m a n ......................... M a rk S a va g e S o u n d re c o rd is t...................................................... T im Lloydv a s t d e se rt. T h e m a n d re a m s o f le a v in g in a E le c tr[...]................................................. A la n D u n s ta n C a m e ra a s s is ta n t...............R ic h a rd W o ls te n c ro ft E d ito r ...........................................F ra n s V a n d e n b u rg flying m achine of his ow n invention. A com edy[...]................................................. A le th e a D e a n e Boom o p e r a t o r ................................................. M e g a n N a p iEe rxec, pro d u c e r....................................................... J a n WS hoaordpTHE STEAM DRIVEN ADVENTURES A rt d ire c to r .............................................D a le D u g u id M ake - u p .....................[...].......................S o n ia B e rtoBnase lia is o n ..........................................[...]e r ................................ J e n n ie T a te S p e c ia l e ffe c ts /m a k e -u p ...................................C o lin S a vaPgreod, m a n a g e r..............................A n to n ia B a rn a rd OF RIVER[...]M a k e -u p ........................................[...]M e ra k o v s k y L o ca tio n m a n a g e r...............................B e vin C h ild s P rod, c o m p a n y ............................ P h a n ta s c o p e Ltd H a ird re s s e r..................................... W e n d y d e W a a l S tu n ts c o -o rd in a to r........................S h a u n S u lliv a n P rod, a c c o u n ta n t.......................... R o b in a O s b o rn e P ro d u c e r..[...]............................................... P a u lW illiaSmtasn d b y w a rd ro b e .......................................[...]S till p h o to g ra p h y ...............R ic h a rd W o ls te n c ro ft, 1st a sst d ire c to r ................................[...]................................................P a u lW illiaCmoss tu m ie r ................................................................. L y n H e a l Colin Savage 2 n d a s s t d ir e c t o r ...........C a ro ly n n e C u n n in g h a m S c rip tw rite r.........[...]......H e n ry O s b o rn e B a sed o n th e n o ve l b y .......................[...]ity .......................................E liz a b e th B a rto n P h o to g ra p h y .............[...]p s ................................ N ic k M c C a llu m G a u g e ....................................... H ig h b a n d BVU C a s tin g ............Liz M u llin a r C a s tin g C o n s u lta n ts S o u n d re c o r d is t..............................B ria n L a u re n c e A rt d e p t ru n n e r ( S y d n e y ).....................................T o rL a rse n[...]L ig h tin g c a m e r a m a n ..........................P e te r J a m e s Cast: C o lin S a v a g e (E m ilio East), Zero[...]u g la s) ....T o b y C o p p in g M o n ta n a ( J .D . K r u g e r) , M e g a n N a p ie r C a m e ra o p e ra to r ...................... D a n n y B a tte rh a m A n im a tio n ..........................f.................G u s M cL a re n , C o n s tru c tio n m a n a g e r........................ P h il W o rth ([...]................................................. A n n a H o w a rd Paul W illiam s, A sst e d it o r ...................................................R o s e m a ry Lee Fraser), Janie Feuron (w ronged daughte[...]C la p p e r/lo a d e r................................................. J a m e s R icka rd[...]2 n d a sst e d ito r ...................................[...]E rin S in c la ir S onia Berton (Penny East), A u dre y Davies[...]........................................ B re n d a n S h a n le y,[...]M u sica l c o - o r d in a to r ...........................................A la n J o h n (M other Kruger), A n na H am psen (Jaim e[...]s L a b o ra to r y ................ V ic to ria n F ilm L a b o ra to rie s S o u n d e d ito rs ........................... K a re n W h ittin g to n , W inters), N ick Bradl[...]Craig G a ffe r............................................[...].................. P e te r F e n to n Synopsis: A fte r a s a v a g e h it a n d run th e G e n n ie o p e ra to r..................... D a rre n M c L a u g h lin[...]A sst m ix e r ....................................[...]g s t o c k ...................................E a s tm a n c o lo r v ic tim s e x a c t re v e n g e u p o n th e ir a ss a ila n t. C o s tu m e d e s ig n e r.................C la rris s a P a tte rs o n[...]T ra n s p o rt m a n a g e r.........................P e te r O ' K e e[...]g M a k e -u p /h a ird re s s e rs ...................................... J o a n H ills, H a n n a n , H a m ish H u g h e s , B e a te H o rris o n ,[...]D ebby C u m m in g , Ben W illia m s , A dam[...]............................................... D a vid J o y c e PETER KENNA'S THE GOOD WIFE W a rd ro b e b u y e r..............................[...]............................................... P a tti M o styn[...]S ta n d b y w a rd ro b e ........................................... B a rb ra Z u s sSinyon o p s is : A n im a te d a d v e n tu re s e t on th e C a te r in g .........................................J a n e tte 's K itc h e n P rod, c o m p a n y ...................L a u g h in g K o o k a b u rra W a rd ro b e a s s t./s e a m s tre s s ............................ K a tie R o ssM u rra y R ive r at th e tu rn o f th[...].........................S u e H o yleR iv e rb o a t B ill a n d his c re w a tte m p t to p ro te c t L a b o ra to ry ............................................................. A tla b Dist. co m p a n y...A tla n tic R eleasing C o rporation A sst to p ro d u c tio n d e s ig n e r ........ J a n e J o h n s to n an illegal bun yip from th e long arm of the law. Lab. lia is o n .............................................[...]................................................J a n S h a rSpta n d b y p ro p s .......................................P a u l A rn o tt THE TALE OF RUBY ROSE[...]S c e n ic a rtis t............................................................A la n C ra ft[...]......................................... K e n C a m e ro n S c r ip tw rite r ....................[...]............ P e te rK e n nCao n s tru c tio n m a n a g e r...............A lis ta ir T h o rn to n[...]G a u g e ...........................................[...]P rod, c o m p a n y ..........................................S e[...]C a rp e n te r/s e t m a k e r ....................................H e rm a n B ron P h o to g ra p h y .........................................J a m e s B a rtle[...]............................................K o d a k S o u n d r e c o r d is t ..................................................... BenO smCo a rp e n te r.............................................................G le n n M itc hDe list. c o m p a n y ...........................................W[...]............................... J o h n S c o tt A sst e d ito rs ....................................................M a rg a re tS ixe l, excludin[...]d e s ig n e r ................................S a lly C a m p b e ll M[...]s e r .........................................C a m e ro n A lla n S till p h o to g ra p h y .....[...]............................................... J a s o n R o g e rPsr o d u c e rs .................[...]....................B ry c e M e n zSieysn, o p s is : B a sed on th e D a vid W illia m s o n p la y A sso c, p r o d u c e r ................................. H e le n W a tts P ro d u c tio n r u n n e r ...[...]of the sam e name.[...]A ndrew W isem an C a te r in g ..............................................`O u t to L u n c h ' , P ro d u c tio n m a n a g e r ......................... H e le n W a tts[...]C assie Vale P rod, c o -o rd in a to r.......................................E liz a b e th S ym e s[...].......... R o g e r S c h o le s L o ca tio n m a n a g e r............................................M a u d e H e a tLha b o ra to r y ..............................[...]Lab. lia is o n ............................... R ic h a rd P io rk o w s k i P ro je ct d e v e lo p m e n t............... K a th e rin e S c h o le s U n it m a n a g e r .....................J e a n -P a u l ` L o n ' L u c in i[...]Based on the orig in a l idea[...]DOCUMENTARIES P rod, a c c o u n ta n t.......................................... G e m m a R a w Bs tuhdogrneet.................................[...]....................R o g e rS c h o le s P rod, a s s is ta n t.......................................................F ra n L a n igLaenn g th ..................................[...].......................................S te v e M a so n 1st asst d ire c to r ...................................................... P h ilR ichG a u g e ..................................................................35 m m 2 n d a s s t d ire c to r ..............................[...]..................................................A g fa S o u n d r e c o r d is t ..................................B o b C u tc h e r 3 rd a sst d ire c to r ..................................................G ra n tLee C a s t: W e n d y H u g h e s (M a ria M cE vo y), J o h n[...]............................................... P a u lS c h u tz e[...]ro d u c e r...................................B a sia P u szka AUSTRALIAN WIL[...].............................T h e re s e O ' L e a ry[...]descccraniorerotreogsaedustreugcunau..rptec.trp.o.a.ye.er..er....nr..r....r..v....t....v.......i.....[...].............JC...............e.......h...........a.........r.........n..i.......s..........n....t...[...]........h..L.....I.....Gai...e..l.....l....n.di...a...p.......i..l.P..n..l.....aH..J.Jg.r...g.iRaeehT[...]crinsrooirettdidh.pc,ucttcowcooremrsmri.t.p.e...p.a..r...ans......ny........y........................[...]........rr......Jo.o........o.dC.d.........h.uu...a.....nccKDKDDthtteeiaaaiRoeossvnvinrncttiiaidrdrss[...]euiisllimiminLLlggolnatt,,ndd,r P ro d u c e r's a s s is ta n t.................................... G e o rg ia M a rtPine ta T o p p a n o (Judy), M a rjo rie C h ild (M a ria 's[...]er), G illian Jone s (M itty), M athew T aylor C a s tin g ........ ............. Liz M u llin a r a n d A ss o c ia te s ,[...]McEvoy), R ebecca Sm art (Tessa M cEvoy). C a m e ra o p e r a t o r ...................... P e te r M e n z ie[...]............................................... G a rry P h illiSpysn o p s is : A n e x o tic ro m a n c e s e t in S y d n e y C la p p e r/lo a d e r ...................................................... S u siS titt and T h a ila n d . K e y g r ip ...........................................L e s te r C. B is h o p SPIRITS OF THE AIR/GREMLINS OF A sst g r ip ......................................[...]rry C. C o o k THE CLOUDS G a ff e r .........................................................................P a vG o vin d 2 n d a s s t d ire c to r.........................................K a th e rin e S cho le s[...]................................... K e vin A nderson G e n n ie o p e ra to r ...............[...]... R o b e rt B u rr P ro d , c o m p a n y ........................................ M e a n in g fu lEye[...]to g r a p h y B o o m o p e ra to r................[...]C a s tin g ..................................... L iz M u llin a r C a s tin g A rt d e p t c o -o rd in a to r...........................L ea h C o cks[...]................................................. A le x P royaFso, cu s p u lle r............................................... J o h n P la tt A rt d e p t a s s t ...........................................[...]G a ffe rs ................................................................W a rre n M e a rn s, C o s tu m e d e s ig n e r .............................. J e n n ie T a te D ir e c to r .................................................... A le x P ro ya s A lleyn M earns M a k e -u p ...................................................S a lly G o rd o n S c r ip tw rite r s .......................................................... A le x P royaBso, om o p e ra to r .................................................... C ra ig B e g g s H a ird re s s e r...................................[...]lease help us keep this surveyP eter S m alley W a rd ro b e s u p e rv is o r/s ta n d b y ..........J e n n y M ile s[...]A rt d ire c to r s ...............................[...]B a sed on th e o rig in a l id e a b y ........... A le x P ro ya s[...]H arold Riley accurate. Phone Kathy Bail on A s s is ta n t s t a n d b y ..........................G a b rie lle H e a ly (03)P h o to g ra p h y .........................................................D a vidK n a uMs a k e -u p ..................................................................J a n e B y rn e 329 5983 with any errors or W a rd ro b e a s s is ta n ts ................................ L yn H e a l, Sound recordist ........D avid W hi[...]nt), W a rd ro b e .......................................[...].................................C ra ig W o o dW a rd ro b e a s s is ta n t................... M a ry a n n e W h y te[...] |
| Australian Dream -- The Perfectionist -- The Last Bastion -- Allies -- I ight The THE 32 SARA BENNETT[...] |
| [...]The leaders in specialised location facilities, trans[...]........................ G ra e m e R o ss P rod, a s s is ta n t ................................ L e sle y J e n k in s Lab. lia is o n ........................................... Ian A n d e rs o n D ire c to r..................................................................R o g e rS a n dEaxlle c, p r o d u c e r ....................................................... J im D a le A rt d ire c to r .................................[...].......................................R o g e rS a n dParlol d, c o - o r d in a to r ..............................................H a ze lJ o y n eLre n g th .........................[...]r S o m e rv ille P ro d , a c c o u n ta n t....................................... R iva D a le G a u g e ...........................................[...]..........................................K o o k a b u rra S h o o tin[...](Bert). P ro d , c o - o r d in a to r .............................. H a ze l J o y n e r G a u g e .............................................................. B e ta c a m S y n o p s is : W itc h H u n t is a s to ry o f tria l and S y n o p s is : Four people, an unusual baby and P ro d , a c c o u n ta n t.................................[...]error, in nocence and guilt. It w as an a ttem pt to a peacock spend a night together. 1st a s s t d ire c to r ........................................................... J.J h a laS y n o p s is : E p is o d e o n e o f th e d o c u m e n ta ry find a crim e -- the so-called 'G re e k C on M ixe d a t .................................................................. P a lm S tu dsioesrie s , O u r S e c o n d C e n tu ry , on th e im p a c t o f s p ira c y ' -- b u t it tu rn e d in to a m assive erro r in THE MAGIC PORTAL L a b o ra to r y ...................................[...]ju dgem ent that was revealed as a consp iracy[...]........................................ L in d s a y F le a y[...].........................................L in d s a y F le a y L ab . lia is o n ............................................ K e rry J e n k in during the last century. V ic to ria 's C h ild re n of a far la rge r order. E lem ents of th is con B ased on the o rig in a l idea L e n g th ............................[...].. 5 0 m in u te s shows the effect on the social order of the[...]........................................ L in d s a y F le a y[...]P ro d u c tio n a d v ic e ............ G e o rg e B o rz y s k o w s k i G a u g e ...........................................[...]m oral changes stim ulated by the rise of the[...]L a b o ra to ry ....................................[...]..................................... $ 7 ,8 0 0 (a p p ro x .) S h o o tin g s t o c k .............................. E a s tm a n K o d a k popular press, the m ass m edia and the A WORLD OF FESTIVALS[...]G a u g e ....................................................................1 6m m S y n o p s is : S h o t e n tire ly on lo cation in India,[...]P rod, c o m p a n y ................... B a rin d e r P ro d u c tio n s S y n o p s is : T hree Lego c h a ra cte rs in a Lego this docum entary features the last nom adic tribe of India, the R abari, w h o are am ong the VINCENT, THE LIFE AND DEATH OF[...]Pty Ltd most distinctive of the traditional cultures of[...]......................................... J o y B a rro w G ujarat, India.[...]s ..............................................D a vid B a rro w ,[...]P rod, c o m p a n y ........................................ Illu m in a tio n F ilm s Barry Sloane A PALETTE FOR A SWORD[...]rite rs ....................................... D a vid B a rro w , space ship d iscover the M agic Portal, w h ich[...]can tran sport them to other a nim a ted realm s. P ro d , c o m p a n y ............ Y a rra B a n k F ilm s P ty Ltd[...]as th e film p rogresses, it also D ist. c o m p a n y ........................................R o n[...]transports them to reality and also into the P ro d u c e r.................................................. N e d L a n d e r D ire c to r......[...]............................................... P a u lC o x E d ito r....................................................... C o lin G re ive anim a tion s et th e y are b e ing film e d in. F ilm a[...]................................T re v o r G ra h a m[...]c r ip tw rite r .............................C h a rle s M e re w e th e r B a se d on th e o rig in a l id e a b y .......................... P a u lC o x E xe c, p r o d u c e r ................[...]MIDDRIFFINI S o u n d r e c o r d is t ..........................................P a t F iske P rod, d e s ig n e r.................................................... A s h e rB ilu L e n g th .........................[...]c e r ......................................... S a b rin a S c h m id P rod, m a n a g e r .................................. D a n ie l S c h a rf P rod, a s s is ta n t ....................................................F io n a E a g gSeyrn o p s is : A d o c u m e n ta ry s e rie s fe a tu rin g D ir e c to r ............................................S a b rin a S c h m id L e n g th ..........................[...]ip tw rite rs ..................................S a b rin a S c h m id , C ast: Yosl B ergner, Jim W igley,[...]P ro d , a c c o u n ta n t......................... S a n th a n a N a id u the p resent-day peo ple e n g aged in ce le b ra tio[...]to reflect the saga of events and changes that[...]1st a s s t d ire c to r ............................ B re n d a n L a v e lle have m odified and s[...]Based on the original idea[...]C a m e ra o p e ra to r ........................ Pa[...]C a m e ra a s s is ta n t........................B re n d a n L a ve lle[...]i p ...........................................P a u l A m m itz b o ll[...]r ................................. J e n n ie T a te[...]............. B e v e rle y B o yd S y n o p s is : A P a le tte fo r a S w o rd is a d o cu C a rp e n te r ........................................................... W a lte rS p e rl[...]............................................... S a b rin a S c h m id m entary about art and artists, ideal[...]M ix e d a t .......................................... H e[...].P e te r F ro st co m m itm e n t, c u ltu re a n d p o litics. It is th e sto ry L a b o ra to ry ....................................[...]S F X , a t m o s ....................................J o n M c C o rm a c k of painter Yosl Bergner and his sister, Ruth, a G a u g e ...........................................[...]rk S tre e t S tu d io s dancer, who com e to A u stralia to escape the[...]................ Fuji THE ANNIVERSARY[...]................................................S a b rin a S c h m id , grow ing dangers of anti-sem itis[...]S y n o p s is : A film about the life and w ork of P rod, c o m p a n y .............S h a d o w p la y P ro d u c tio n s David A tkin son in th e ir P o lish h o m e la n d . In[...]......................................... R o d W a y m a n C o m p o s e r........................................................Ian C o x becom e part of a vital artistic m ovem ent[...]......................................... R o d W a y m a n Anim atlon/rostrum searching for an art to reflect the great social[...]......................................... R o d W a y m a n upheavals o f th e th irtie s and forties.[...]....................................... T e rry C a rly o n c a m e ra o p e ra to r ........................................S a b rin a S c h m id[...]N eg. m a tc h in g ...............................................W a rw ic k D ris c o ll[...]P rod, c o m p a n y ................................... ..T o n y W ils o n S o u n d r e c o r d is t ..................................S e a n M e ltz e r PARROTS OF AUSTRALIA[...]E d ito r ..............................E d w a rd M c Q u e e n -M a s o n S o u n d e d ito r s ................................................. S a b rin a S c h m id ,[...]D avid A tkin son P ro d , c o m p a n y ..........C h a n n e l C o m m u n ic a tio n s P r o d u c e rs ..................................... L u c in d a S tra u s s ,[...]P rod, a s s is ta n t.................R h o n d a B a rk -S h a n n o n M ix e r ...............[...]........................................R h o n d a B a rkC-Shhaaran nc toenr v o ic e s ............................. G re g o ry P ryo r, D ist. c o m p a n y ............................D o c u m e n ta[...]e ra to r ............................. T e rry C a rly o n[...]es A u strala sia Pty Ltd[...]A n im a tio n ..........................................................S a b rin a S c h m id[...]r ....................................L u c in d a S tra u ss C a m e ra a s s is ta n t .....................................K e i[...]................................................S a b rin a S c h m id P ro d u c e r.......................[...]p e ra to r.....................................P a tric k S la te r L e n g th ....................[...]o s ......................F ilm S o u n d tra c k A u s tra lia[...]S o u n d r e c o rd is t................................................[...]........... T im L itc h fie ld M a k e -u p ...........................................A n d re a C a d z o w G a u g e ...........................................[...].....K e vin M oore, H a ird re s s e r..................................... A n d re a C a d z o w M ixe d a t ........................................................S o u n d firm S yn o p sis: A docum entary about the parrots of[...]ications W a rd ro b e ............................................ D ia n n e G iu lie ri L a b o ra to ry ........................................................C in e v e x A u s tra lia .[...]P rod, a c c o u n ta n t......................S tu a rt L lo yd & Co. E d itin g a s s is ta n t...............................A la n W o o d ru ff B u d g e t.......[...].....$ 3 0 ,9 6 5 A ROUGH CUT[...]e r ........................................... R a y S tro n g L e n g th ................[...]G a u g e ...........................................[...]G a u g e ...........................................[...]..............................T ib o r H e g e d is S h o o tin g s to c k ...............[...]. . w hen you close your Prod, com p a n y .........................................[...]rthSthyen o p sis: W ar B rid e s is the s to ry o f som e of C a te r in g .......................................[...]n who m arried L a b o ra to ry ........................................................C i n e ve x evoking a dream in R e b e c c a 's m ind, w h ere Dist. c o m p a n y ................................ R o u g h C[...]... R o b G e n o ve se , A m e ric a n s e rv ic e m e n d u rin g W o rld W a r II. Lab. lia is o n ........................................... Ian A n d e rs o n[...]M atson liners in the US A rm y 's m assive[...]G a u g e ........................ S u p e r 16 fo r 35 m m re le a se unfolds the story of G rosm ond, supp osedly a[...]rtw,hoerilrd s w e e th e a rts on the other side of the Sound r e c o r d is t s ..........................................[...]g s t o c k ....................................E a s tm a n c o lo r bunyip, and his w h a ckin g tail and m any teeth.[...]Cast: L lo yd C u n n in g to n (N ig e l), M a u re e n G rosm ond la m en ts the loss o f M idd riffin i, the[...]ic), Row ena M ohr (Candy), m ysterious id entity is e ven tually revealed, and[...]WINGS OF THE STORM[...]P rod, c o m p a n y ..........................................S t[...]c e r......................................Z e ld a R o s e n b a u m (A rth u r).[...].................. Synopsis: N ig e l a n d C y n th ia H a m ilto n h o ld a[...]ite r ..................................... H o w a rd G O scarW h itbdrienande r-p a rty L ig h tin g .....................................................................P a u lK e y[...]us results. A m adcap com edy. P h o to g ra p h y ................................... A llis o n M a x w e ll[...]S o u n d re c o r d is t.................................. V ic to r G e[...]C a m e ra o p e r a t o r ................................................ A n n e B e n z ie S tu d io s ...............F o[...]S o u n d r e c o r d is t ...............................................[...]...............................2 4 m in u te s T a p e c o -o rd in a to rs .................................P o li D e[...]....................................P h il W in g a te P ro d u c e r.............................................T im o th y W h ite G a u g e ...........................................[...]S y n o p s is : T ony is co n fro n te d w ith his ow n[...]T e c h n ic a l d ire c to r..........................................R ic h a rd B e rryDmiraenc to r....................................................J o h n R u a n e sexuality when he m eets a hom osexual.[...]A sso c, p r o d u c e r .............................................H o w a rd G riffiSthcsrip tw rite r.............................................J o h n R u a n e NIGH[...]4 1 .5 m in u te s P rod, a s s is ta n t......................................S a lly M a so n Based on the short story by ....R aym ond C arver P rod, c o m p a n y .............................................O d y s s e y F ilm s G a u g e ...........................................[...]S y n o p s is : M ore A u stralian airm en w ere killed S o u n d r e c o r d is t .............................. R u s s e ll H u[...]..........................................K e n S a llo w s S y n o p s is : A group o f youn g peo ple look at life[...]A sso c, p r o d u c e r ...................................Ken S a llo w s in th e north e rn s u b u rb s o f A d e la id e fo r th e m[...]P rod, s u p e rv is o r......................... D e n is e P a tie n c e selves and o th e r young people. Se[...]tives W in g s o f th e S to rm describes the unique P rod, a c c o u n ta n t.................................... J o a n B la ir rock and roll rule.[...]1st a sst d ir e c t o r ..................................... R ic L a p p a s[...]recountin g th e ir bravery, it m e asures the cost C a m e ra o p e r a t o r ................................... E lle r[...]and is at once an elegy and a re quiem for the C a m e ra a s s is ta n t........................... K a ttin a B o w e ll P ro d u c e rs ........[...].................................... S te v e n J a c o b s o n ,[...].......................................... R ic L a p p a s[...]G a ffe r...................................................J o h n B re n n a n P rod, c o m p a n y ......................................... M e d ia c a s t[...]A rt d ir e c t o r ...............................[...].....................................S te v e n J a c o b s o n P ro d u c e r......................[...]M a k e - u p ............................................V ic k i F rie d m a n S c rip tw rite r.........................................................S te v e n J a c o b s o n[...]W a rd ro b e .......................................... V ic k i F rie d m a n Based on th e o rig in a l idea D ire c to r.............................[...]..............B e th w y n S e ro wP rod, c o m p a n y .......D o c u m e n ta ry F ilm s L im ite d[...]....................................... H u g h M a rc h a n t S c rip tw rite r............................................................. J o h n B a x teDrist. c o m p a n y .................................................S B S T V A sst e d it o r ........................................A ile e n S o lo w ie j b y ...........[...].................................... S te v e n J a c o b s o n[...]N e g. m a tc h in g .......................................[...]p h y ........................................ M a rc u s C o rn B ased on the o rig in a l idea[...]P r o d u c e rs .......................... B a rb a ra A . C h o b o c k y ,[...]S o u n d re c o r d is ts ................................ M ic h a e l S iu , b y ...........................................................................J o h n B a x te r[...]M arcus A dler P h o to g ra p h y .....................[...]ir e c to r ........ ......................... B a rb a ra A . C h o b o c k y[...]S c rip tw rite rs ...................... B a rb a ra A . C h o b o c k y , E d g[...].................................... S te v e n J a c o b s o n , Please help us keep this survey[...]b o y ......................................... H a y d e n B re n n a n[...]..........................................K e n M a h la b C o m p o s e r ................[...]........ J e ffre y B ru e r C a te r in g .................... ..................... T ra c y M cG o va n , 1st a s s t d ir e c t o r .................................................. K a th y C h a m b e rs (03) 329 5983 with any errors or[...]......................................T o b y T h a in[...]P rod, m a n a g e r ...................................... A n n a G rie v e[...]g d ire c to r ............................... D a v id W a lp o le[...]L a b o ra to ry .............................[...] |
| [...]............................................... M a rk L an e RECYCLED FOR DESTRUCTION[...]THE TRAVELLER'S TALE sch o o ls. It is a c o m p ila tio n o f a rc h iv a l fo o ta g e C la p p e r/lo a d e r...............................................M a tth e w C o rn P rod, c o m p a n y ........................ M o sh i P ro d u c[...]P rod, c o m p a n y ...............S n o w G u m P ro d u c tio n s arra nged a cco rd in g to them e. In W o m e n in K e y g r[...].......................................P e te r D a rb y P ro d u c e rs ........[...]..........................................M ic h a e l B a tes, C h a n g e , the them es are: w o m en in w a rtim e, A s s t g r ip s ........................................G id e o n W a rh a ft,[...]wife and m other, w o m e n 's work, issues,[...].......................................... M ic h a e l B a te s C hris W a[...]B a sed on th e s to ry b y ..................... M ic h a e l B a te s G a ffe r .............................................................. C a m e ro n W a lla c e[...]...........................................G ra h a m AUSTRALIAN INNOVATION[...]S o u n d r e c o r d is t ................................J e n n ife r S[...].......................................... M ic h a e l B a te s B inding[...]ilip P o w e rs P rod, c o m p a n y ..................................F ilm A u s tra lia M a k e - u p ..........................................................P h illip p a O 'C o llin s[...]V isu a l e f fe c t s ................................................. G ra h a m D ist. c o m p a n y ...................................F ilm A u s tra lia[...]u sic p e rfo rm e d b y ..................T h e A B C S in fo n ia P ro[...]..................................... J o h n S h a w S p e c ia l m a k e -u p e f fe c t s .........C la y to n J a c o b s o n[...]L a b o ra to ry ....................................[...]....T..h...e....s...t.o..r..y....l.o...o..k..s....a...t...t.h...e....e..x...i.s..t.e.1n6c me m Lab. lia is o n .............................................[...]........Ian M u n ro , S till pho to g r a p h y ........................................... M ic h a e lJ a c o[...]G a u g e ...........................................[...]Con A nem ogiannis[...]m u ltip le perso n a litie s. It is a b o u t a m an w h o[...]......................... 7291 D ia lo g u e c o a c h ................................... P e te r[...]Based on the original idea B e st b o y .....................[...]...........C h ris C o rb ektiltls h im s e lf in a m o st u n u s u a l w a y, illu s tra tin g[...]............................................... H a rry B a rd w e ll R u n n e r .............................................................. ....J e n n iC a n ntohna t h e ll is n 't s u ch a b a d p la c e in c o m p a ris o n S y n o p s is : A tra v e lle r in th e S n o w y M o u n ta in s[...]a rdcwaitnh the way we live. Events reveal that re a lity has an encounter with the supernatural.[...]g ra p h y ..................................... A n d re w F ra s e r P u b lic it y ............[...]a lli[...]S o u n d r e c o rd is t......................... R o d n e y S im m o n s C a te r in g ................................................V a l J a c o b s o n ,[...]........................................ R o b in A rc h e r[...]c e r .................................G e o ff B a rn e s Jill Cor[...]P rod, m a n a g e r.................................. R o n H a n n a m L a b o ra to ry ...................................[...].....V F L m in u tPDerissotd. , c o m p a n y .................... C M F ilm P roductio[...]U n it m a n a g e r........................... C o n A n e m o g ia n n is L e n g th ...................................[...]............20 c o m p a n y ................ A rin ya F ilm D istributors[...]od, s e c r e ta ry ........................... M a rg a re t C re w e s[...]P rod, a c c o u n ta n t.............................. S te p h e n K a in G a u g e ...........................................[...]c e r...........................................C a rm e lo M u sca S h o o tin g s t o c k ..............E a s tm a n 7291 a n d 7 2 9 4 D i[...]................................................C a rlo B u r Cast: S te v e n J a c o b s o n (C h ris), A d ria n W a rd S c rip tw rite rs ..........................................C a rlo B u ra lli, (Tom).[...]Prod, c o m p a n y ...............................T h e M a g ic M en A s s t e d ito r ..............M a ry J a n e St. V in c e n t W e ls h Synopsis: A n a lie n s p a c e c ra ft is th e la s t th in g[...]g ra p h y ................................... M a tth e w K e lle y C h ris e xp e cts to fin d in his b a ckya rd. Even[...]............................... P e te r P ritc h a rd[...]............................................... M a rk S a va gSetu, d io s ................................................ F ilm A u s tra lia[...]L a b o ra to ry ......................................................... A tla b m ore unexpected are the excitin g even ts w hich[...]Richard W olstencroft follow . A fantasy adventure featu ring a teenage[...]................................................M a rk S a va Lgaeb. lia is o n .............................................[...]................................................M a rk S a vaLg ee n g th ..................................[...]....5 x 29 m in u te s b oy's e nco unte r w ith a vicio u s alien.[...]............................................... M a rkS a vaGg ea u g e ...................................[...]P rod, m a n a g e r............................... F ra n c e s W a lk e r[...]............................................... M a rk S a vaSg eh o o tin g s t o c k .................................. E a s tm a n c o lo r[...]P ro d u c tio n a d v is o r .....................H e a th e r W illia m s[...]S y n o p s is : A u s tra lia n In n o v a tio n is an[...]............................................... V a rio u s P rod, c o m p a n y .......K o o ro o c h e a n g P ro d u c tio n s P rod, a s s is ta n ts ............................. C o lle e n[...]in c is iv e a n d in fo rm a tiv e lo o k a t in n o v a tio n in[...]1st asst d ire c to r..................R ic h a rd W o ls te n c ro ft P ro d u c e rs ............................................................ L y n d a H o u se ,[...]C a s tin g ....................................................................M a rk S a vaAg eu,s tra lia . It e x a m in e s p a st a n d p re s e n t[...]achievem ents and the im portance th a t innova D ire c to r....................................................................T o n y M a h oCo do n tin u ity ......................................................K a te U he S p e cia l e ffe c ts m a k e -u p ...................................C o lin S a vatgioen h a s in s h a p in g A u s tra lia ' s fu tu re . S c r ip tw rite r[...]....................................... T o n y M a h oCo da m e ra o p e ra to r ...................[...]S till p h o to g ra p h y ...............R ic h a rd W o ls te n c ro ft, Based on th e o rig in a l idea[...]....................................... T o n y M a h oCo da m e ra a s s is ta n ts ..........................A n n e B e n zie ,[...].......... $ 3 ,0 0 0 P rod, c o m p a n y .................................. F ilm A u s tra lia P h o to g ra p h y ........................................ D a vid P a rk e r[...]...........................................G ra h a m C h a se S o u n d re c o r d is t............................. S te ve H a g g e rty Key g r ip .[...]................................................K a re lA k k eGrma ua gn ne ........................[...]...........................................G ra h a m C h a se E d it o r ................................................ A ile e n S o lo w ie j A sst g r ip .................................................................D a vid C ro sCs a st: R ich a rd W o ls te n c ro ft (C h a rlie ), C a ssy Based on the original idea P rod, a c c o u n ta n t.................................... A n n e G a lt 2nd u n it p h o to g ra p h y ..........................................P a u lW o o Ldan e (The u n d e a d g irlfrie n d ), C ra ig M ile s (S am[...].......................................... G ra h a m C h a s e 1st asst d ir e c t o r .................................................. C h ris O d g eUrsn d e rw a te r p h o to g ra p h y ............D e n is R o b in so n[...]Savini), M argot P ike (Am y), A u d re y D avies[...]....................... K e rry B ro w n 2 n d a sst d ire c to r ....................................J a k k i M ann G a ffe r .............................................. A s h le y d e P ra ze r (S heila), C h ris Le P a g e (R ob), P a u l H a rrin g to n[...]S o u n d re c o r d is t......................................................B o b H a yes C o n tin u ity .................................... S a lly E n g e la n d e r A rt d ire c to r ............................................................. J u lie G ra n(tRay), D a vid W o ls te n c ro ft (D an), T ro y In n o c e[...].......................................... G ra h a m C h a se F o cu s p u lle r ............................................................. R e xN ic h oAlssosnt a rt d ire c to r ....................................H e a th e r Lee[...]e r ................................. G e o ff B a rn e s K e y g r ip .........................................M ic h a e l M a d ig a n M a k e -u p ..................................................D in a V o la ric S y n o p s is : A` lo ner fe e d s a b d u cte d c h ild re n to a P rod, m a n a g e rs ................................R on H a n n a m , G a ffe r.........................................................P a u l O ' N e il S p e c ia l e ffe c ts m a k e -u p ............. L id d y R e yn o ld s,[...]rotting, hungry denizen of the dead. C o m plica[...]Ian Adkins C a te r in g ........................................................... T im b a le C a te rin g ,[...]rod, s e c r e ta ry ...........................M a rg a re t C re w e s[...]and the urban la ndscape is aw ash w ith P rod, a c c o u n ta n ts ....................................... S te p h e n K a in,[...]............................................... D a vid H a w ke[...]C a m e ra a s s is ta n t................................................... J im W a rd A rt d ir e c t o r .........................................................M a rio n R e n nAiert d e p t r u n n e r ..........[...]Rolenenesu.Gttyi.b.)gssooi.sy..p,..s.e.psit.).owr.a..s.:r,.yB..e..r.nu....etn....o..Ar.o.r.....cG.n......nu.p.......c.....t...a...co..c..i.si..k.....n.o........eo..s........M..a.....n.......u.................K.........o.n......[...]...Iy..g.......p..d.d....................i..e.....a...i.r..........(.)...l.......t.)..T...,.......t..[...].....h...........(..J...o.........e..T............a.....P.m.........r...a..........m..e.........a.......x..e...........s...........u.ei...s........[...]...1.o.t..e....II.5..h......aa..x.re.c........e...a)n.n.m.....gD......C(.$n.....M..c..MM.ie..8.d..in.[...].syass..g..n..s..s..n...ttii...r....o...sg.ou...e.a............ut....pr..n..pr...a......s...n.....e........h..n...........d.........[...]..u....l....r.r....l........o.rorer.......S.T...y.a.r..Wn....n.e..a......o.hy.....tG.nC..$..y.g..ouo.P......S.3..r.oi..norBS..nh.bB.7nPi.Cm.dmm.ieai.a.,trml.h.fi0oh.y.vuvepoie.Iir03naoraelaersnmriiyp0[...]Btgeueryorruaacaiobohsgornnmsrdsueddahydiegotpggc,a,n.iludpt.intteen.ncmhocw.sg..too...er..ia.w.r...n..s.m..r..i..n.....t.h.:.......e....t.a.p...o....h.......r...g.a....A...e............ie..n..s................r..o..y............n.....b...r................i.o....l.....g......a..........t.........i......c....n...V.....w..........k........a............I...h.........l..O................a........c....i..........d...t.L.....o................e.......s....mE..............a.....h................T...e....e.....................d..C..................a....y.........h..........p.............i.........pp...........a...........e..p.........b...........a..e..........o.....K2...r..n.......u.s....0....y...d.......t.......l...a$...m.i.....e.MMMM.l4..ae.i1.0nBniiiiHcccc6F,uu0hh[...]s....................H............................a.........e...................n...........r.................a.........................i.....l......On....d.....[...]..........i...........c.e.....Mh..................a...C....e...TEFF.....as....l.......a..i.oi.atr..G..l.laf...o.m..ym.rmi....s..ln..o...e.rm....t.PJ..y..d.lm..o..AA...Si...a..P.lr.CGo.luuCG.altg.z.oa.e.fMssn.i.e-irronr1.vnN[...]G a u g e ...........................................[...]the daily process from the editorial decision QUICK WINDOW[...]........................................... K o d a k[...]m aking, the news gatherin g and the m eetings, P ro d u c e r...................................... K a te J a s o n -S m ith Cast: J o h n T a rra n t (John), A d ria n M u lra n e y[...]to the late night rolling of the presses. D ire c to r.........................................K a te J a s o n -S m ith[...]rip tw rite rs .................................P a u li K a u k a in e n , M artin (Nikki).[...]Synopsis: A s tu d y o f tw o frie n d s w h o are B ased on the o rig in a l idea[...]P rod, c o m p a n y ..................................F ilm A u s tra lia b y ...................................................P a u li K a u k a in e n linked by a trag ic event, and the in evitable con[...]this event. An exploration S o u n d re c o rd is t...................................................K e vin D a v idosfo nth e b o u n d a rie s b e tw e e n m e m o ry and[...]D ist. c o m p a n y ............................ ........Film A u s tra lia E d it o r ......................................................A n n ie C o llin s rem em brance, the point w here past and[...]..........................................R o n S a u n d e rs C o m p o s e r....................[...].........................................S ta n D a lb y A sso c, p r o d u c e r ..........................[...].........................................S ta n D a lb y L ig h tin g c a m e ra m a n ..........................................P e t[...]P rod, c o m p a n y ...................................Film A u s tra lia S o u n d r e c o rd is t.................................. H o w a rd S p ry B o om o p e ra to r s ...............[...]THE SPELL MISSPELT[...]................................................J a n P u n cEPh xr oedc,, p ro d u c e r................................. R o n S a u n d e rs[...]K in g s b u r y m a n a g e r........................................ G e[...]c re ta ry ....................................M a g g ie L ake S e t d e c o ra to r................................... B a rb ra Z u s s in o S c r[...]...................................... S im o n D a ley,[...]P rod, a c c o u n ta n t..............................G e o ff A p p le b y L a b o ra to r y ...................................[...]Based on th e o rig in a l idea P rod, a s s is ta n t.................................... V ic k i S u g a rs B u d g e t......... ......................[...]..........................................G u n n a r Isa a cso n , Cast: A ndrew Harwood.[...]S y n o p sis: A prom otional video about the L e n g th .....................................[...]Fronted by S e nato r P e ter W alsh , it is follow ed G a u g e ...........................................[...].... 1 6m m S o u n d re c o rd is t.........................N ic h o la s H o u se[...]........................ M ic k v o n B o rn e m a n n S h o o tin g s to c k ................................. 7 2 4 7 a n d 7 2 5 0 E d ito r...[...]S o u n d r e c o rd is t................................. J e a n F o n ta in e Cast: K o o tje W o o ls c h ry n (R ich a rd ), C a th y[...]e r ..................................G e o ff B a rn e s[...]E d u c a tio n a l c o n s u lta n t........................................T e d M ye ras d m in is tra to rs fro m v a rio u s d e p a rtm e n ts . Jenn y Ludlam (Rem ovalist), Jenn y[...]P rod, m a n a g e r ....................................J u d y M o rg a n[...]Basic p rinciple s o f FM IP are o utlined w ith the[...]aid of graphics and a presenter. (Rem ovallst), Jerem y B e nder (Surf[...]L a b o ra to r y ...................................[...]P rod, m a n a g e r................................... R o n H a n n a m W alke r (Thug), S h aquelle M aybury (Bitch),[...]rod, s e c r e ta ry ...........................M a rg a re t C re w e s Deborah P erry (M erm aid).[...]................................11m in u tPersod, a c c o u n ta n t.............................. S te p h e n K a in[...]G a u g e ...........................................[...].............................................Film A u s tra lia flash and the fish o f S ydney as seen Synopsis: D a s h in g s o n g s te r, T h e F a b u lo u s M ixe d a t ................................................ F ilm A u s tra lia P rod, c o m p a n y .................................. F ilm A u s tra lia through the eyes of a new arrival. The story G e o rg ie , is a g o g to fin d h is s ta g e s h o w in te r Lab. lia is o n ................................................... B ill In g lis D ist. c o m p a n y ....................................F ilm A u s tra lia follow s R ich a rd 's gradual recognition, thro u g h rupted by the appearance of a m essenger from[...]................................................J a n e t B e ll m em ory and fantasy, of the reasons w hy M aria the Angel of Death w ho has com e to beg a[...]Synopsis: Women in Change is th e firs t in a D ire c to r.............................. D a v id H a y th o rn th w a ite m ight possibly have w anted to w alk ou t[...]favour from a m ortal.[...]s e rie s o f tw e lv e vid e o s fo r u se as a re s o u rc e in S c rip tw rite r........................D a vid H a y th o rn th w a ite 82 -- September CINEMA PAPERS |
| [...]K e rry B ro w n M a k e - u p .......................................[...]p .............................................G a ry C le m e n ts E xe c, p r o d u c e r .......................................... J a n e t B e ll P ro d , m a n a g e r ............................... N ig e l S a u n d e rs E d itin g a s s is ta n t.................. ........ J a n L o u th e a n P rod, c o m p a n y ............................ V T C (V ic) P t[...]om o p e ra to r............................... M a rk T o m lin s o n P ro d , s e c r e ta ry .................... A m a n d a E th e rln g to n P ro d , a c c o u n ta n t................................ N e il C o u s in s C a te rin g ............................................ N a n c y W a lq u is t[...]A sst e d ito r .................... ....................K a re n W e ld ric k Synopsis: F o r th e In te rn a tio n a l Y e a r o f Cast: E m ily C a n n o n (P e n n y P o lla rd ), F a tric ia D ist. c o m p a n y ............................................ F o c a l/F ilm V ic toNrieag. m a tc h in g ................ N e g M a tc h in g S e rv ic e s S h e lte r, a p ro g ra m o f h o u s in g tre n d s in[...]............... .............J o h n H ip w e ll A u s tra lia .[...]Synopsis: A d ra m a tiz e d d o c u m e n ta ry fro m[...]............. J o n S te ve n s P ro d , c o m p a n y ...................................F ilm A u s tra lia Robin[...]S tu d io s .............. ....T a s m a n ia n F ilm C o rp o ra tio n D ire c to r.................................. P a u l W o o ls to n S m ith[...]S o u n d r e c o rd is t......................................T o n y Q u in n S c r ip tw r ite r .......................... P a u l W o o ls to n S m ith[...]M ixe d a t...................T a s m a n ia n F ilm C o rp o ra tio n P h o to g ra p h[...]..........R o b O ' N e ill S o u n d r e c o rd is t................................... H o w a rd S p ry[...]L a b o ra to ry ....................................[...]........................................ ...... B a rry P a tte rso n TPESSPGPDrL[...]err..com..ssi.t..rti...:do.ie....wpg......u.ur....a.ni....R.scl.......dn..e.....ae......ey...nr..i....r......rn..a........n............ft...........eu.o............[...].sh................o.......e...............r......a....t..........h..p...b................e.l..o......a.........r.......u.....c..n.......FG...t..e.......[...]...tn.g...ocar....e....aeee.r...n....r..t...rrr.t.a...o....s..........m..r................................a.......................n..........................[...].c....u...F.....u...e...J...d.....rC..l...na...l..a.y..Di....hntnPC.Kn..W..iOrae.k.ieghi.n.s.r.tir'h.[...]ob.wsr...t.r....sir.u...hk....dp....l...ea.ee.r...a...t.ast..s.i.h.r..g....m.ct.a...h.ioo...a.c...t.a...tfr...nu.....t....rjit.l..c.uzo.a..oh.....a.Be.a.sra...n...dtdt..rp..w1.us...pw.5.sdtec.o.o.e.a.aeol.mc.vr.n..flci.c.ekee.B.i.ui1un.i-tsnr.nyym76[...]e r ..................................G e o ff B a rn e s veyed using anim ation and Jean nie B a ile r's 2 n d u n it p h o to g r a p h y .......................................D a vid H a skfionrg o tte n ^ P rod, m a n a g e r................................... R o n H a n n a m P rod, s e c r e t a r y ...........................M a rg a re t C re w e s[...]G a ff e r ......................................... R ic h a rd J o h n s to n e P rod, a c c o u n ta n t.............................. S te p h e n K a in S tu d io s ................................................. F ilm A u s tra lia[...]B o om o p e r a t o r .................................................S te v e n J a m e s M ix e d a t ................................................ Film A u s tra lia La b . lia is o n .............................................[...]In g lis P rod, c o m p a n y ....................................F ilm 'A u s tra lia M a k e -u p .................................................K e ryn C a rte r[...]PROMOTION AUSTRALIA Synopsis: In Flight is a s im u la te d flig h t o f a je t[...]W a rd ro b e ......... ..................................... B e th W h e la n airliner over the construction site of the new B risbane Internatio nal A irp o rt project. T h e film D ist. c o m p a n y .................................... F ilm A u s tra lia S p e c ia l e ffe c t[...]..............................B ria n H o lm e s is u pd ated eve ry ye a r as th e w o rk p rogresses. It is show n to th e p u b lic in a sp e c ia lly bu ilt[...]................................................J a n e t B e ll S e t c o n s tru c tio n .....[...]...................................... IanM c W h a fuselage of a m odern jet.[...]............................................... D a vid R o b e rts M ix e r ....!........[...]....................................... J o h n C a m pPbroemll otion Australia is part of the Depart[...]ite r ......................................... D a vid R o b e rts A n im a tio n ...........................................[...]on and Tourism. THE MOVERS[...]................................................J a n e tB e ll T u t o r ...........................[...]P rod, m a n a g e r ........................... ..N ig e l S a u n d e rs S tu d io s ........[...]......... V T C (V ic) P ty Ltd P rod, c o m p a n y ...................................F ilm A u s tra lia P rod, s e c r e ta ry .................... A m a n d a E th e rin g to n M ixe d a t .........................................V T C[...]PADDY'S MARKET D ist. c o m p a n y .................................... F ilm A u s tra lia P rod, a c c o u n ta n t..............................N e[...]...........................................R o nS a u nSd ey rnso p s is : A d o c u m e n ta tio n o f A b o rig in a l ro ck L e[...]......................2 2 m in u tPersod, c o m p a n y ....................... P ro m o tio n A u s tra lia D ire c to r....................................................... G il B re a le y p a in tin g in th e N o rth e rn T e rrito ry . G a u g e ...................................1 " C fo rm a t v id e o ta p e[...]............................................... S a n d i L o g a n S c r ip tw rite r .........................[...].........C. H in d e s B ased on th e o rig in a l idea[...]G a u g e ...........................................[...]Tow ser the dog.[...]Synopsis: A lo ok at o n e o f A u s tra lia 's u n iq u e P h o to g ra p h y[...]................................. B ru c e H illy a rd[...]S y n o p sis: Sim on and Julie discover the poten[...]'open a ir' c ity m arkets. CPPP2CUCSERREP1PKnsrrooxrr[...]dmrap.rrra.siaguteor.epcccr.tnaed.i.odchhsca...td.a.n.ciy,rdee.i.o.sr.g..ieoga...e.surrrus....n...te.[...].inad....esfscr...e.tepi...tr.i.otlr.t...ats.ymr..a.r.ei..o....rl....t..n...l...n.....r...s...r......[...]...s................o....r.............o..........a..........o...................r.........r.......k.[...]...............RLS............................D.G.a.......o.o............R............r....ann.......e....Tr.........a.........v.yi...o......ar..LPIS..e......iv..i....f[...]efa..azF...R..D.....i...Aa...ut.nH..ao....W..e.o..a...s..n.pD..r...u.rt...FK.v.tc...d.h.prwGG..a.g.Diaa.i.adeVbVl.g.nge.osreecKo.sruhiirueBtboscce[...]oser.r..p.eo.d.ghs.ua.u..sr....at..ryu.e...cni.n..a...d..s.n....cr..e.y....t..r...i.t..ya...e..s..y.r[...]l,nnnlrr Aus trtaialilafo r th e use o f re n e w a b le e n e rg y re s o u rc e s .HAND MADE MUSICA[...]A vid eo for use in prim a ry schools.[...]...o......................n.......................a.......................l........d...T..................o..BBC....S......Rn...r.rh...p.i..i..yot..te..e..a.a...b..yJ....n......noKK....cR......en..ii.e...nn.o[...].c.:.f....yo....h....uSM....r.....i.m...s.n..o....a....i.....gc.ue.r........s......dn.......f.......di........l..bL..m.....s......a.....y......./....s.....L.v.........a.......i.i.......dk...r...............e.e.........a.......o............n..A..............d.....f....u.....e..............s....a.....K..........t..t.......reu............a.......v.r..........i.l....i..n..i...n....a.........gK...............5M.Pe..........A.0....v.e..$..a....ui...e.nm2..r....s.s..k:5...N..tiP1.,.n.r.0L.A.6a.ae.u,awFF0mtlettisluiieah0akllammmrsnbo0,rAAu[...]P rod, c o m p a n y ...........P ro d u c tio n G ro u p -- A A V[...]P rod, c o m p a n y ...................... P ro m o tio n A u s tra lia[...]c e r ..........................................D a vid C a m p b e ll[...]................................................S a n d i L o g a n[...]................................................R a y W a g s ta ff[...]r ip tw rite r s ..............C le m e n g e r-H a rv ie P ty Ltd[...]G a u g e ...........................................[...]Synopsis: A look at th e fin e c ra fts m a n s h ip th a t[...]goes into the m aking of A u stralian harps,[...]M u s ic a l d ir e c t o r ..................................................K e vin H o c kviinoglin s, p ia n o s a n d g u ita rs .[...]L a b o ra to ry .............................................................. A A V C in e v e x[...]G a u g e s .........................................[...]P rod, c o m p a n y ....................... P ro m o tio n A u s tra lia[...]c k ...........................................E a stm a n[...]............................................... S a n d i L o g a n[...]s trCaalisat: J o h n F a rn h a m , L ittle R iv e r B a n d , D a m e[...]............................................ R. H a rg re a v e s .[...]G a u g e ...........................................[...]Synopsis: A vid e o a b o u t th e flo ra and w ild life[...]that are prote cte d in A u s tra lia 's u n iq u e[...]national parks. C a r p e n t e rs ..........................[...]P rod, c o m p a n y .......................P ro m o tio n A u s tra lia[...]............................................... S a n d i L o g an[...].....C. H in d e s S e t c o n s tru c tio n m a n a g e r .............B ria n H o c k in g[...]G a u g e ...........................................[...]en `sam pling' them into an A u s tra lia n[...]Synopsis: O n e o f A u s tra lia 's u n iq u e e x p o rts is[...]chasing herds w orld-w ide. P ro p s m a k e r .............................. E rro l G la[...]P rod, c o m p a n y ..........................................P L[...]the Fairlight. U sing the Fairlight, they bend A sst e d ito r ............................................................. C h ris M c G rtahtehm to n a lly a n d rh y th m ic a lly in to m u s ic a l[...]...... P e te r L iv in g s to n e -H o rto n S a fe ty o ffi cer .......................[...]gra p h y .....................R o b e rt M c F a r la n e m p o s[...]....................................... C ra ig W a tkPinrsod, c o m p a n y ....................... P ro m o tio n A u s tra lia T e ch , d ire c to r s .................................................. D a n n y D ik lic h ,[...]S o u n d r e c o rd is t.................................................... J a c k O 'B riPe nr o d u c e r ............................................... S a n d i L o g a n O m nicom Video[...]b o y ......................................J o n a th a n H u g h e s[...]u n n e r ........................................A n d re w D a lb o s c o[...]............................17m in u Steysnopsis: A lo o k at a n o ve l w a y to h e lp le ss P u b lic ity ..............[...]fortunate m em bers of the com m unity. U n it p u b lic is t ...............................................[...]Synopsis: P ro vid e s a g e n e ra l v ie w o f th e S tu d io s .....[...]............................................F ilm A u s tra lia[...]a)npatct,uetbhi)hamesn.sDto.Cr.iir.t).sozue.r.-.,.a..e.Hi:ut....n..n.w..g.Aa..gtT.d...eGh...r..hy..c.[...].md...dt.n.v.g.h.Kia...o.fde..y.efr..e.n.e.r.at...a)sl..d.ra.ds.,...e.(..nwod..J..in..(s.d.i.oo.S.n.t.A...hm...aga..t.(pu..n.hc..W.a..es.).c.eh..,.nd.sr..o.aa..i.o.i.o.sm.e.)l.p..tL.[...].t...e...t.........h..h.........n.........e.......a.........c.........r...t.......e.s................[...].......m.....o.MV............t...t.....he.i...eVL.a.n........en.os.r...i.c....ny.....u..es....c.c..r.[...].....O..rp.kO.s...tS.b....e..tE.'..'ae.Dch...rTD..a..vrleNN.oihs1so.msp.naa.6.etns.ma.bntto.nmaaf.rie[...].D..e..f.....S.....i.......rr........t..nm........a.......M..m.PP....t.s.....e.....ee..e..A.......i.tt...nn....ee.p..C.....t.....rrr....t....[...]nnis.e...I.t..r..u.N.gg..r.i....vn...tss....G.Ti..a.a.ott......oo.h.tr...n.e...d.nneP...s....ee.s.L.s.P....--e.a.eH..HH.u....nc...k..goodtF.PCroJorrziettrrlaocoow[...]eocsrioonr.Nei..m.mfse..ro.S.:..d..pr.p....E...aa.A..pn....R.n.n.e.o..E...yy..at.Vp...o..A...c....r.....Ar.oe.....Mi.....e....f,.T....i.....tl....O.e.yw.I........O......h..N..a.......o...oN...r.......fo.,..........B..u.......a.E..V...n....U.t..PP.a..dO....R.t.mrr...h..oo.tL...K.eho..mm....U..en..E[...]............................................... S a n d i L o g a n ances to it until, at th e end o f th e film , th e y have the ch a ir piled w ith devices on a ram p[...]....C. H in d e s ready for blast off. D uring the coun tdow n they[...]of inm ates of NS W S tate p rison s in the use of a[...]G a u g e ...........................................[...]Synopsis: A g ro u p of c o m m itte d y o u n g and old the good tim e or w h e th e r it is still to com e.[...]e r........................................... S a lly S e m m e n s variety of w o odw[...]acquired through this trainin g are part of a[...]G a u g e ......................................................................B V U P rod, c o m p a n y ................ ..................F ilm A u s tra lia Synopsis: A film d e m o n s tra tin g w o m e n w o rk[...]SHELTERED WOOL WORKSHOP D ist. c o m p a n y ................. ..................F ilm A u s tra lia ing in the te ch n ica l areas of the m edia.[...]P rod, c o m p a n y ....................... P ro m o tio n A u s tra lia[...]............................................... S a n d i L o g a n P r o d u c e r ........................... ..........................J a n e t B e ll KI[...]G a u g e ...........................................[...]re c to r.............................. .D avid H a y th o rn th w a ite P ro d u c e r[...]............................................... S a lly S e m m e n s[...]U ltra -fin e fle e c e d e v e lo p e d w ith in a[...]sheltered w orkshop proves a success. S c rip tw rite r....................... .D avid H a y th o rn th w a ite S c r ip tw rite r ...............G re a te r G lid e r P ro d u c tio n s[...]QUESTACON B a sed on th e s to ry b y... ......................[...]P rod, c o m p a n y ....................... P ro m o tio n A u s tra lia P h o to g ra p h y ................[...]...........$ 3 0 ,0 0 0 P rod, c o m p a n y ..............................T a s m a n ia n F ilm[...]............................................... S a n d i L o g a n[...]........... E. K e n n in g S o u n d r e c o rd is t.............. ........... B ro w n y n M u rp h[...]G a u g e ...........................................[...]Dist. c o m p a n y ..................F o ca l C o m m u n ic a tio n s[...]Synopsis: A n e w s c ie n c e c e n tre tra v e llin g C o m p o s e r......................... ........... M ic h a e l A th e rto n[...]............................................ D on A n d e rs o n[...]c e r ............... ..........................J a n e t B e ll P rod, c o m p a n y ................. J a n in a C ra ig S e rv ic e s D i[...]........................................... D o n A n d e rs o n[...]Please help us keep this survey P rod, m a n a g e r ............... ...............N ig e l S a u n d e rs[...]r ......................................... D o n A n d e rs o n[...]accurate. Phone Kathy Bail on U n it m a n a g e r .................. ........ C o rrie S o e[...]y ................................R u s s e ll G a llo w a y[...]omissions. P ro d , a c c o u n ta n t........... .....................[...]S o u n d r e c o rd is t........................................ T o m G[...]ire c to r............. ...................... M a rtin J e ffs C o n tin u ity ......................... ..........D a n u ta M o rris s e y[...]........................R o ss T h o m p s o n C a s tin g .............................. ..........................J o e S c u lly L ig h tin g c a m e ra p e rs o n .....................K e rry B[...]P ro d , c o -o rd in a to r................................................S a lly S e m mEexencs, p r o d u c e r ..................................... Ian S h a d b o lt C a m e ra a s s is ta n t........... ........................ J o h[...]... 20 m in u te s P rod, s u p e rv is o r............................... W a y n e C o w e n K e y g r ip .............................. ..............G e o rg e T s o u ta s G a ff e r ................................ ........................ C h ris F leet G a u g e .................................................................. 16 m m P rod, a c c o u n ta n t...................... ..........S u sa n N a to li A rt d ir e c t o r ....................... ................... U rs u la K o lb e A sst a rt d ir e c t o r .............. ..................A n g e la K n ig h t Synopsis: A film to d e lv e b e h in d th e b la n d P rod, a s s is ta n t................................... W e n d[...]scie ntific w alls of an herbarium , to reveal the C o[...]g ca m e ra p e rs o n ...........R u s s e ll G a llo w a y[...]C a m e ra a s s is ta n t...................................C[...] |
| [...]pioneering engineer, C .Y .O 'C onnor, the m an L e n[...]........5 0 m in u te s T E L E V IS IO N[...]who brought w ater to the Kaigoorlie goldfields. G a u g e ...........................................[...]G a u g e ................... ..[...]PRINCE AT THE COURT OF Synopsis: T h e c la s s ic a d v e n tu re s to ry of[...]P rod, c o m p a n y ............................... S o m e rs e t F ilm s WATCH THE SHADOWS DANCE[...]S u p e rv is in g p r o d u c e r ..............J a m e s M . V e rn o n PRE-PRODUCTION[...]P rod, c o m p a n y ........................C h a d w ic k /D o u g la s[...]............... C o lin E g g lePsrtoodn, c o m p a n y ..............................S o m e rs e t[...]......................C o lin E g g leSsutopne rv is in g p r o d u c e r ..............J a m e s M . V e rn o n[...]Synopsis:D r a c u la c o m e s to o u tb a c k D ir e[...]............................................... M a rk J o ffe AT ARMS LENGTH[...]B ased on th e o rig in a l idea A u s tra lia .[...]p tw r ite r ..............................M ic h a e l M c G e n n a n[...]Synopsis: A c tio n d ra m a in v o lv in g m a rtia l arts. P rod, c o m p a n y ...........................K u ra n y a P ic tu re s b[...]P rod, a s s o c ia te .............................. K e n t C h a d w ic k THE RED CRESCENT P ro d u c e r ..................[...]B ill H u g h e s P rod, m a n a g e r ................................... P h ill[...]P rod, c o m p a n y ............................... S o m e rs e[...]S u p e rv is in g p r o d u c e r ..............J a m e s M . V e rn o n S c r ip tw rite r s .........................S u s a n H a w o rth , P rod, s e c r e t a r y ...................................... A n n e P ry o r[...]...................................... H e n ri S a fra n PRODUCTION[...]rip t e d it o r ..............................P a tric k E d g e w o rth[...]ite r .................................... R ic h a rd C a s s id y[...]Synopsis: A n in te rn a tio n a l th rille r. B as e d on th e o rig in a l idea[...]S u s a n H a w oGSrytahnuogpes.i..s..:....I.n.....t.h...e.....n..e...a..r....f.u...t.u...r.e...,....a..n.....o...u. 1" v id e o[...]........................................... S u s a n H a w othretha tre Budge t........................................ $ 1 m illio n (a p p ro x.) of Aust tro u pe in a d v e rte n tly preve nt the p irac y THE SHIRALEE AUSTRALIA . . . TAKE A BOW[...]e by a L e n g th .....................................[...]....................95m in umteoss t d e v io u s a n d d e a d ly o rg a n iz a tio n . P rod, c o m p a n y ..................S A F C P ro d u c tio n s L td P rod, c o m p a n y .......................... S o u n d s e n s e Film G a u g e ...........................................[...]......... G e o rg e O g ilv ie Cast: S u sa n H a w o rth (K a te M o rris).[...]..................... B ria n M o rris Synopsis: A c o n te m p o ra ry s to ry o f a w o m a n 's[...]B a sed o n th e n o ve l b y .................... D 'A rc y N ila n d D ire c to r.......[...]P rod, c o m p a n y ................ T h e L o n g T a n F ilm Co.[...]B ased on th e orig in a l idea relatio nship w th th e d e lin q u e n t[...].............................B ria n M o rris THE AUSTRALIAN CAMELEERS[...]tw rite r s .................................. D a v id H o rs fie ld ,[...]...................................... P e te r G a w le r P h o to g ra p h y .......................................... P e te r D a vie s[...]re d e rik s o n S o u n d r e c o r d is t..............................................M ic h a e lG is s in g P ro d , c o m p a n y ......................M e d ia W o rld P ty L[...]Cast: B rya n B ro w n (M a ca u le y), N o n i H a zle - P rod, m a n a g e r ..................................... F io n a A a ro n P r o d u c e rs .............................................................. J o h n T a to u lis ,[...].......................................... L in d a H o p k in s[...]Synopsis: T o M a c a u le y , th e c h ild w a s his A s s t e d ito r ..........................................L in d a G o d d a rd C olin Sou[...]Based on the original idea[...]`shiralee', a burden and a handicap, and also a M usic perf[...]........................................J o h n T a to u libs y .....................................[...]was his nature to do thing s the hard way: the b y ............................ A u s tra lia n Y o u th O rc h e s tra S c rip tw[...]....................................... J o h n T a to Eu lxise c, p r o d u c e r ..................[...]w a y he sa w it, th e re w a s no o th e r c h o ic e . W h a t S o u n d e d ito r .................................................... M ic h a e lG is s in g P h o to g ra p h y ....................... G a e ta n o N. M a rtin e tti[...]he had n't taken into accou nt was the c h ild 's M[...]...........................................M ic h a e lG is s in g[...]P ro d , a c c o u n ta n t........... M a n fre d a n d M c C a llu m[...]to g ra p h y ............ W ild lig h t P h o to A g e n c y E d ito r......................................................... M a rk G ra c ie[...]U n it p u b lic is t......................................................S h e rry S tu m m A s s o c , p r o d u c e r .......................[...]L a b o ra to ry ............................................................. A tla b[...]G a u g e ...........................................[...]P ro d , c o m p a n y ........................ B ig Isla n d P ic tu re s Lab. lia is o n ................................... B ru c e W illia m s o n P ro d , m a n a g e r................................................G e o rg ia H e w sSoynnopsis: A re c re a tio n o f th e B a ttle o f L o n g[...]u c e r....................................... J a m e s M. V e rn o n B u d g e t..........[...].............$ 9 2 2 ,5 0 0 P ro d , s e c r e t a r y ..........................T a n ia P a te rn o s tro[...]............................................... G a ry K e ady L e n g th ......................[...]r .............................................G a ry K e a d y G a u g e ...........................................[...]S h o o tin g s to c k ........................A g fa X T 125, X T 3 2 0 R e s e a rc h e r....................................... K a re n B o n c z y k fou[...]Synopsis: A fu tu ris tic a d v e n tu re s e t to p o w e r Synopsis: A c o n te m p o ra ry lo o k a t life in e ach[...]ic. F an tasy and A ustralian state and territory. P ictures, m usic[...]2 0 0 ,0 0 0 Cong. Based on the survivors own gripping[...]science fiction are bound together by a band of and sound effects w ill tell the story -- there will[...]be no d ia lo g u e o r n a rra tio n . T h e s e rie s is L e n g th .....................................[...]u n ts, th e s to ry illu s tra te s th e th e s is th a t[...]e n d o rse d as a B ic e n te n n ia l p ro je c t a n d is[...]sponsored by IBM A ustralia. G a u g e .................................................................. 16 m m the w a r in V ietnam w as w on m ilita rily, b u t lost[...]........................................... K o d a k p o litic a lly . Synopsis: A d ra m a tiz e d d o c u m e n ta ry on th e plight of the Afghan cam eleers brough t to[...]MESMERISED A u stralia to open the outback. P ro d , c o m p a n y ............. A b a c u s P ic tu re s P ty Ltd[...]r e c to r .................................... D a n ie l A. M cG o w e n[...]........................................J o h n N a sh P rod, c o m p a n y ...............................................B u rb a n k F ilm sB a sed o n th e s to ry b y ..........D a n ie l A. M cG o w e n P ro d u c e r..................[...]................................ B o b B la d s d a ll S c rip tw rite r................................................... J .L . K a n e E xec, p ro d u c e r..... F ilm te c P ro d u c tio n s P ty Ltd, B a se d on th e n o ve l b y ......................................A n n a S e w e ll[...]THE FAST LANE E d ito rs .........................[...]P e te r J e n n in g s , A sso c, p r o d u c e r ................ R o di W[...]P rod, c o m p a n y ...............K u ra n y a B ra d le y L u ca s[...]P rod, m a n a g e r........................................ P e n n y W a ll P ro d[...].....................B illH u g hPe srod, c o m p a n y .................................................... A B C E xe c, p r o d u c e r ..................[...]te r........................................D e n is e M o rg a n Dist. c o m p a n y ....................................................... A B C P ro d , c o - o rd in a to r...................................J o y C ra s te G a u g e ...........................................[...]....... 16m m B a sed on th e o rig in a l id e a b y .............B ill H u g h e s[...]......................N o e l P ric e P rod, m a n a g e r..........................................R o d d y Lee Synopsis: A ra u n c h y b u t ta s te fu l c o m e d y[...]............................................... M a n d y S m ith , P rod, a c c o u n ta n t........................................... A n d re w Y o u nagb o u t a n u p - a n d -c o m in g b a r r is t e r w h o[...]............................... $ 2 .7 m illio n (a p p ro x .) M ark Joffe, C a s tin g .........................................[...]m e s m e s m e ris e d b y th e s ig h t o f b e a u tifu l[...]C olin Budds C a m e ra o p e ra to r s ............................................... G a ry P a gew, o m e n .[...]Synopsis: A n a d v e n tu re s e rie s e n c o m p a s s in g S c rip tw rite rs .................................... A n d re w K n ig h t,[...]an epic voyage aboard a barquentine sailing[...]John Clarke, S to r y b o a r d .............................................[...]..............................................J e a n T y c n[...]Broom e to S yd ney to arrive in tim e fo r the Deborah Parsons, A n im a tio n d ire c to r ........................................W a rw ic k G ilb ePrrt od, c o m p a n y .......... S im p s o n Le M e s u rie r F il[...]`G rand Parade of S a il' in Ja n u a ry 1988.[...]...................G e o ffC o llinDsist. c o m p a n y P re -sa le S e ve n N e tw o rk[...]Based on the orig in a l idea[...]A ndrew K night P a in tin g s u p e rv is o r ....................... J e n n y S c h o w e[...]S o u n d re c o rd is ts ..............................................[...]r s ty lin g ....................................A n g e la B o d in i[...]Tim W ilton A n im a tio n c h e c k e rs ............................[...]................ R o g e rS im p sPorond, c o m p a n y ...............................P h illip E m a n u e l[...]B a sed on th e n o ve l b y ............... R[...] |
| [...]leading film and television magazine six times a year, for less than it costs you to buy it at the newsstand. I 'd lik e to s u b s c r ib e[...]ers fo r: 1 year at $25 2 years a t $45 3 years a t $65 / am a n e w s u b s c rib e r / am re n e w in g m y s u b s c rip tio n . M y re c o rd n u m b e r is * P le a se tic k the a p p ro p ria te bo xes. See over for deta[...]subscrip tion rates, back issues and other C inem a P a pers pub lications. N a m e ........ C om pany. A d d re s s ... ..........................[...]............................... I enclose a cheque for $ * (payable to M TV P u blishing Lim ited) Please debit m y B a nkcard/M asterca rd to the am ount of $ E x p iry d a te o f c a r d .............................................[...]....................................... C a rd h o ld e r's s ig n a t u r e .........................................[...]............... 'B e su re to in c lu d e a n y o rd e rs fo r b a c k is s u e s or o th e r p u b lic a tio n s in th is to ta l. P le a se p la c e th e c o m p le te d o rd e r fo rm in a se a le d e n v e lo p e a n d m a il to: C IN E M A PAPER S, 644 V icto ria Street, N orth M e[...] |
| A s s t p r o d u c e r .....................................................J u d ith C o w a rd HEY DAD[...]M ixe d a t ...............................................[...]............................................... V a rio u s Prod , c o - o r d in a to r ..........................................S im o n e N ahogorterhtPPD rod, c o m p a n y ...............J a c a ra n d a P ro[...]d u c tio n s L a b o ra to ry ..............................................................A tla b S to ry e d ito r........................................................... A lis o n N is s e lb Prod , m a n a g e r ..................................................... C h ris P ist. c o m p a n y ............... P re -s a le S e v e n[...]................ N e ilL u x m o o re , U nit m a n a g e r............................................[...]................................................G a[...]ry R eilly Lab. lia is o n .............................................[...]s e c re ta ry ............................... C a ro l M a tth e w s D ir e c to r ..........[...]................................T o n y M c D o n a ld , 1P2snrotddaa,sssastctdcdiorieruecncttoat or[...].................S.........t....e........w.....S..a....t.r.r..t.Ja..Rac..hmJigeaihenfftLWSehisleslino[...]-eihionre.n-.c.o....h..r..ai...g...r..ig..n....e..a....l..o...i.f.d.....e......a......b........y.......................A......l..a. GGn ary R eilly L e n g th .................[...]ary R eilly G a u g e ...........................................[...]............................................... T a ra F e rrieSrtu d io s ............................. A T N -7 S tu d io s , S yd n e y[...](Charles A rm strong), P eter C a rrol (David Based on the o rig in a l idea S c rip t e d it o r ....................[...]......................................... R e g W a ts o n[...]Bronhill (Annis M ontague), Julie Haseler C a stin g ........................................................................J a n P iollnetyiCGfeaaxsutg:[...]S o u n d re c o r d is t................................................[...]............................................... P a u lT e ................[...]..................................... G e o ff H a tto n C la p p e r/lo a d e r ..................................................W a lte rR e p pGicrhe g o r (B e tty W ils o n ), P a u l S m ith (S im o n[...]S y n o p s is : A m iniseries on the life of N ellie[...]................................................. A la n C a s w e ll Key g r ip ............................................................ W a rw ic k S im pKs oenlly), S im o n e B u c h a n a n (D e b b ie K e lly), S a ra h[...]...........................................R e gW a ts o n A sst g r ip .......................................................... C a m e ro n S tra cMh aonn a h a n (J e n n y K e lly), C h ris to p h e r T ru s[...]A sso c, p r o d u c e r .........................................Ian S m ith G a ff e r ..........................................[...]P rod, c o - o r d in a to r ...........................W e n d y W a lk e r B o om o p e ra to r.....................[...]P rod, m a n a g e r.......................................... M[...]A s s is ta n t d ir e c t o r s ......................................... M u rra y G ro u b e , A rt d ire c to r .................................[...].B ria n B e tts THE LIVING BORDER[...]Linda W ilson, A s s t a rt d ire c to r ...................................................E le n a P e rro tta[...]P rod, c o m p a n y ...........G ru n d y T e le v is io n P ty Ltd P auline W alker H a ir d re s s e r ............................................... L isa J o n e s P rod, c o m p a n y .............................................[...].......................................P h ilip E a st F lo o r m a n a g e r......................................................... R a yL in d s a y[...]T e le v is io n Ltd (in c. in V ic.) W a r d ro b e ............................................................. R o b yn A d a m s[...].......................................... R ic h a rd S a rre ll, C a s tin g ..........................................................J a n R u ss, S ta n d b y w a r d r o b e .................................. J o H a d d o n Dist. c o m p a n y .............................................[...]...G le n J o h n s o n T e le v is io n Ltd (in c. in V ic.)[...]L ig h tin g s u p e rv is o rs ......................R o d H a rb o u r, S p e c ia l e ffe c ts ............[...]r .................................... R o s e m a ry M a rrio tt[...]rs ........................................... D a w so n Lee, D ire c to r...........[...]............................................... V a rio u s Reg S m ith[...]e r........................................G ra h a m J o n e s[...]S c rip t s u p e r v is o r ................................................... R a yK o lle S ta g in g s u p e rv is o rs ................................ B ill W e b[...]e, Based on the original idea[...].........................................R ick M a ie r, B ritt D enni[...]...........................................G ra h a m J o n e s[...]............................................... D a vid R u ssBeallsed on th e o rig in a l id e a b y ......... R e g W a tso n[...]C h arlie P e lligrino A s s t e d ito r s ...............................[...].......... J u n e W ils oSn ,o u n d r e c o r d is t............................................. G ra h a m J o n eSso u n d r e c o r d is t s ..........................D a ve S h e lla rd ,[...]M a k e -u p ....................................................... J o P a rd y ,[...]................................................D a vid R u sse ll,[...]Fiona C otton, N e g. m a tc h in g .......................................[...]............................................... D a vid H o lm eEsxec, p ro d u c e r................[...]H a ird re s s e r.................................W illia m M c llv a n e y E d itin g a s s is ta n t....................................................F re d K irk u pP rod, c o - o rd in a to r.....................................R o s e m a ry M a rrCioottm p o s e r .............................................. T o n y H a tch M ix e r ...................................................................R ic h a rd B ro b yPnrod, a s s is ta n t...........................................[...]e r..................................... R e g W a ts o n[...]W a rd ro b e ...................................... B ig i M a lin a u s k a s ,[...]Juliann e Jones S tu n ts c o - o r d in a to r .......N e w G e n e ra tio n S tu n ts 1st a sst d ir e c t o r .................................................... P a u lS im pAssosno c, p r o d u c e r................................... P e te r A s k e w[...]O .B . s u p e rv is o r .................................M a rk H a n c o c k FX e d ito r s .....................[...]........................ J u lie M u rraRy,e -e n a ctm e n t d ir e c t o r ................................. G o rd o n D o w ePlrlod, c o -o rd in a to r.............................J a y n e R u s s e ll[...]................................................M a rk G riv a s[...]L ig h tin g c a m e r a m a n ........................................D a vid R u ssPerlol d, m a n a g e r ................................. R o slyn T a ta rk a Bruce Cl[...]........................................... S u s a n B irja k , D ia lo g u e e d ito rs ................................................. G a v in M yersC, a m e ra a s s is ta n t..............................................K ie ra n R a leFiglho o r m a n a g e rs ............................ P e te r O 'C[...]r s .......................................... D a v id M uir, R u n n e r ............................................... B re tt M a tth e w s[...]B ruce Finlay, L a b o ra to ry ........................................................C in e v e x A rt d ire c to r .................................[...]Ross S ullivan, Lab. lia is o n .............................................[...]............................................... D a vid B ria n[...]Peter Say C ast: A ndrew M cFarlane (Dr Tom Callaghan),[...]fo rm e d b y ..................................Y a b b ie s ,[...]D ire c to r's a s s t s ............................. M a ria n n e G ray, M u s ic e d ito r .[...]c h e r ...................................J im M a u rid is C arnegie), Lew is Fitz-G erald (D avid G ibson), N a r r a t o r ................................................................. B a rry G o o d e a r[...]............................................... B a rry S h a w , B ruce Barry (G eorge Baxter), Lenore S m[...]..........................................J o h n A tk inCsaosntin g ................................[...]ity ............G o u lb u rn M u rra y T e le v is io n Ltd[...]C a s tin g a s s is ta n t............................................S h a ro n M cC o n n e ll Jack Brown, M[...]............................ G M V -6 , S h e p p a rto n[...]L ig h tin g s u p e rv is o r .......................K e ith F e rg u so n[...]M ixe d a t ...................................G M V -6 , S h e p p a rto n[...]A rt d ir e c t o r ...............................[...]Peter M erino S y n o p s is : A R o ya l F ly in g D o c to r S e rv ic e is L e n g th ........[...]M a k e -u p ........................................[...]H e le n L o u e rs lo ca te d in th e o u tb a c k to w n o f C o o p e rs G a u g e ...........................................[...]P o s t-p ro d u c tio n ......................A T V -1 0, M e lb o u rn e Crossing. The tw o doctors, Tom C allaghan and[...]H a ird re s s e rs .......................................................... J u lie C o rb eCt,a s t: E lsp e th B a lla n ty n e (M e g M o rris), M a g g ie C hris R andall, not only contend w ith the S yn opsis: T he L iv in g B o rd e r -- a portrait of[...]a Nicolson m edical challenges, but also w ith the sm all the M urray R iver and its peo ple -- p ortrays the[...]W a rd ro b e ..............................................................Iso b e lC a rte(rA, nn R e yn o ld s), J o y W e s tm o re (J[...]past, present and possible future of A u stra lia 's[...]greatest river. The d ocu m en tary d e p icts the[...]ok, (A lic e J e n k in s ), G le n d a L in s c o tt (R ita THE HENDERSON KIDS II[...]o f th e riv e r in th e d e v e lo p m e n t o f A u s tra lia[...]a D uncan (Lorelei W ilkinson), P rod, c o m p a n y ...................C ra w fo rd P ro d u c ti[...]................................................M a rk G rivacsh e s te r (M a rty J a ckso n ). P ro d u c e r.....................................................A la n H a rd y[...]............................................... P a u lS u th eSrlyannodp, s is : T h e p o w e rfu l a n d u n iq u e s to ry o f D ir e c to r s ..........................................C h ris L a n g m a n , P rod, c o m p a n y .......................................... C[...]w om en in prison . T h is story, w h ic h te lls o f the Paul M[...]d itin g ......................T h e E d itin g M a c h in e[...]................................................W a rre n P e a rsmo nitte d and th e ir p e rs o n a l h e ll b e h in d b a rs , is R oger[...].....................J e n n y W illiaemmso tio n a lly p a c k e d d ra m a tic e n te rta in m e n t.[...]..................R o d n e y F ish eTre c h n ic a l d ire c to r s ............................................. J a c k B ro w n ,[...].............................. R o g e r M cD o n a ld[...]P rod, c o m p a n y ...............................................B u rb a n k F ilm s[...]A n d re w L e sn ie C a te rin g .....................................................................T rio C a te rPinrgo d u c e r.............................[...]............. B re ttA n d eSrsoounn d r e c o rd is t....................................P a u l B rin c a t[...]P o s t-p ro d u c tio n ......................A T V -1 0, M e lb o u rn e S c r ip t[...]........R o bM o w b ra y S o u n d r e c o rd is t................................................[...]...............................................M a rc va n B u u re n C a s t: G a ry F iles (Tom R a m sa y), G e o ff P a in e[...]B a sed on th e n o ve l b y .................S ir W a lte r S c o tt C o m p o s e rs ................................... G a rry M cD o n a ld , P rod, d e s ig n e r .....[...]ie Stone A sso c, p r o d u c e r ..........................[...]....... H e c to rC ra w fPorrodd,, c o - o rd in a to r.......................S u s a n n e D a rce y[...]P rod, c o - o rd in a to r................................... J o y C r[...]d, U n it m a n a g e r........................................ C h[...]y .....................................S u s ie J a rv is[...]P rod, m a n a g e r.......................................... R o d d y Lee A sso c, p r o d u c e r .......................... C. E w a n B u rn e tt P rod, a c c o u n ta n t.................................C a tc h 1-2-3,[...]. P rod, a c c o u n ta n t........................................... A n d re w Y o u n g P rod, e x e c u tiv e ............................................... M ic h a e lLa ke[...]C a s tin g .........................................[...]...........J o y C ra s te P rod, c o -o rd in a to r..................................G in a B la ck P rod, a s s is ta n t................................................... M a rtin C a hoenigeh's g o t 'e m : n e ig h b o u rs . R a m s a y S t r e e t . . .[...]C a m e ra o p e ra to r s ............................................... G a ry P a ge, P rod, m a n a g e r........................................................ R a yH e n n1esstsaysst d ire c to r ........................M ic h a e l B o u rc h ie r[...]the stage for an exciting dram a serial . . . Tanya V iskich P rod, a c c o u n ta n t.................................[...]draw ing back the curtain to reveal the intrigue S t o iy b o a r d .............................................[...]t asst d ir e c t o r .................... R ic h a rd C le n d in n e n 3rd asst[...]...........................................M ic h a e lW h iteC o n tin u ity .......................[...]A n im a tio n d ire c to r ........................................W a rw ic k G ilb e rt 3 rd a s s t d ire c to r ............................................. M a u ric e B u rn sP ro d u c e r's a s s is ta n t.............................. S u e H u n[...]THE OZ SERIES[...]P a in tin g s u p e rv is o r .......................................... J[...].............. L e sle y F o rsyth C a s tin g .................................A n n C h u rc h ill-B ro w n S c rip t e d ito[...]......................................C o lin D e a n e[...]P rod, c o m p a n ie s ..........................E le c tric S h a d o w C o lo u r s ty lin g .................................................... A n g e la B o d in i F o cu s p u lle r .......[...]........................................C ra ig B a rd eCnla p p e r/lo a d e r .................................................. T r a d e G riffith s[...]ictures, A n im a tio n c h e c k e r s ................................................LizK a ne, C la p p e r/lo a d e r ..................................................... G a ry B o ttoKmeley yg r ip ................................................................... M e rv M c L a u g h lin[...]......................................... R o b H a n s fAosrsdt g r ip ...................................................... P a t N a sh[...]K athryn deK nock, A s s t g r ip ....................................[...]....................................J im B re n n a n C a rla Daley B o om o p e ra to r ...............[...]..............................................D e a n B rya n t[...]to r...........................................J a m e s L in g w o o d P re -p ro d u c tio n .......................................................A le x N ic h o la s A rt d ir e c t o r ........................................................A n d re w R e e seB o om o p e ra to r....................................................... P a u lG le eSsocnrip tw rite r......................[...].............J o h n E m e rLya yo u t s u p e rv is o r ................................................ G le n L o v e tt A s s t a rt d ire c to r .................................................... G re g ^ llis A rt d ir e c t o r ...............................[...]...C h ris tin e D u n sBtaansed on th e o rig in a l id e a[...]L a yo u t a r tis ts ........................................................Y o s h B a rry, C o s tu m e d e s ig n e r .............................. C la re G riffin A sst a rt d ire c to r s .................................................... K im D a rb y, b y ....................................................... L a u rie G ilb e rt,[...]Joanne Beresford, M a k e - u p .......................................[...]D avid Cook, H a ird re s s e r....................................................E liz a b e th H a rp eCro s tu m e d e s ig n e r .................................................J a n H u rlePyh o to g ra p h y .......................................................L a u rie G ilb e rt[...]Y aroslav Horak, W a rd ro b e ............................................................... K e e lyE llis M a k e - u p ............................................................. W e n d y S a in sSbouurnyd, r e c o r d is t ....................................... M ik e[...]Steve Lyons, S ta n d b y w a rd r o b e ........................................... M a rio n B o yce[...]...................................K e vin M cL e a n Neil G raham W a rd ro b e a s s t......................................... A n n e W e n t H a ird re s s e r..................................C[...]r......................... J o h n C o n e y (U S A ) B a c k g ro u n d la y o u ts .......................................... D a vid S k in n e r P ro p s b u y e r ..............................................Len B a rra tt W a rd ro b e s u p e rv is o r ...............H e a th e r M c L a re n[...]C a s tin g .......................................................... S p o tlig h t B a c k g ro u n d a r tis ts ............B e v e rle y M c N a m a ra , S ta n d b y p r o p s ..................[...].................................H e le n D ykeCs,a m e ra o p e ra to r ............................... L a u rie G ilb e rt[...].....................................S o u liL iv a d itis , M arcia Lidde[...]C a m e ra a s s is ta n t ....................... G ile s A n d re a tta N e g. m a tc h in g ......................................[...]A nnie M cCarthy,[...]G a ffe r................................................................. R ic h a rd P a rk hNilol . o f s h o ts ............................................................... 6 0 0 S c e n ic a r t is t ...............................................[...]M a k e -u p ............................................................. E ls p e th R a d foVrodic e tra c k d ire c to r ...........G e o rg e S te p h e n s o n C a rp e n te rs ........................................................M ic h a e lS h o tb o lt,[...]b y ........................................... M a rkR ive ttT, itle d e s ig n e r........................................................... N e ilG ra h a m Janis Erm anis W a rd ro b e a s s is ta n t......................................A m a n d a L o v e jo y[...]d L a b o ra to ry ..............................................................A tla b S e t c o n s tr u c tio n .............[...].............................60m in u tLeasb. lia is o n ....................................................G a ry K e ir C o n s tru c tio n fo re m a n ....................................... P e te[...]G a u g e ............................................................. B e ta c a m B u d g e t.................................[...]............. $ 7 6 0 ,0 0 0 D ia lo g u e c o a c h .............................................[...]....................... C o lin G ib s oCna st: D a m o n H e rrim a n (T o m m y), J a c q u i P ike[...].........G re g R o b inSspoenc ia l e ffe c ts m a k e - u p .............B o b M c C a rro n[...]eith Hind G a u g e ...........................................[...]..........................................C o n M a n cSuestod e s ig n e r.................................................... Ig o r N a y[...]........................ 7291 U n it p u b lic is t ...................................................... S u s a n W o o dS c e n ic a r tis t .................................... G il[...]N icholas (Glynn), John Em ery (The Doctor).[...].................................. H S V 7 C a rp e n te rs .......................................... A n d y T ic k n e r,[...]S y n o p sis: The funding pilot of a dram atized G eorge), Sim on H inton (Y oung C olin), Jane M ixe d a t ................................ C ra w fo rd P[...]d o c u m e n ta ry s e rie s on A u s tra lia . It w ill be Harders (Oina, M rs Stew art), B ruce S pence L a b o ra to ry ....................................[...](Duncan), N ick Tate (Rob Roy), A n dre w Lew is L e n g th ...................................[...]at the A m erican c h ild re n 's television m arket. (Ham ish), Ron H a ddrick (Killearn), A n dre w G a u g e ...........................................[...]................................................. A la n F le m in g[...]............5 2 9 1 ,5 2 9 2 A sst e d ito r ...................................[...]M u s ic a l d ire c to r ........................................................ B illM o tz iPnrgod, c o m p a n y ...........G ru n d y T e le v is io n P ty Ltd[...]S y n o p s is : R ob R o y M a c G re g o r is th e S c o ttis h A itkens, B radley K ilpatrick. E d itin g a s s is ta n t...........................................[...]................................................M a rie T re v o r[...]version o f Robin H ood, w ho cle v e rly tricks the S yn o p sis: The further adventures of Steve and[...]...........................................G ra h a m W a reD ire c to rs ....................................... K e n d a l F la n a g a n ,[...]evil Duke of M ontrose out of the taxes collected Tam ara Henderson and th e ir[...]S e a n N a sh , fro m th e v illa g e rs . H e is d e c la re d an o u tla w grips w ith life in a tou g h s u b u rb a n e n v iro n C a te r in g ................................[...] |
| [...]A rt d e p t r u n n e r ...................................S a m R ic k a rd S y n o p s is : Tw enty-tw o episodes dep icting the[...].............7 2 9 1 ,7 2 9 4 P ro d , c o m p a n y ...........G ru n d y T e le v is io n P ty Ltd S c e n ic a r tis t..........................................[...]lifestyle and expe riences of a fam ily-run[...]Cast: Terry Thom pson (U lam ina), A n thon y P r o d u c e r ................................................................P o s ie J a c o bSse t c o n s tr u c tio n .......................... G ra e m e G illig a n Q ueensland[...]............................................... M a rk P iper, A sst e d it o r ......................................M e lis s a B la n c h e[...]S y n o p s is : T h is is th e fo u rth in a s e rie s o f s h o rt[...]M u s ic a l d ire c to r ....................................A s h le y Irw in[...]dram as based on A b o rig in a l Iqgend. It is the A lister Sm art, A u d io d ire c to r .............................[...]P rod, c o m p a n y ...............S ta rlite F ilm P ro d u c tio n tale of a boy and his stolen canoe; o f selfish Pino A m enta M u s ic e d it o r .................................. G a rry H a rd m a n P r o d u c e r..............................................C a rl T. W o o d s ness a n d g re e d p e rs o n ifie d ; a n d a le sso n in[...]............................................... C a rl T. W o o d s sharing. M oreton Island lo cations becom e the S c rip tw rite rs .....................................................V a rio u s M ix e r s ..........[...]rite r..........................................C a rl T. W o o d s b e a u tifu l a u th e n tic e n v iro n m e n t in w h ic h th e[...]p h y ......................................... P a u l O z e rs k i story fi[...]e S tu n ts c o - o rd in a to r........................ B e rn ie L e d g e r Based on the o rig in a l idea[...].......................................... L in d a P a v ila c k S o u n d r e c o r d is t ................................ H a rv e y W e lsh b y .............................................................................R e gW a tsCo na te rin g .............................................. M M K C a te rin g E[...]................................................. A la n L ake THE FISH ARE SAFE[...].....T h e F ilm C e n tre S o u n d r e c o r d is t s ...........Z b y s z e k K rz u s z k o w ia[...]A s s t to p r o d u c e r ...............W ilh e lm in a S c h im m e z[...]M ixe d a t .................................................... A u d io Loc.[...]mPDprisostod. ,nc,coommppa a n y ..................................................... A B C[...]ington, L a b o ra to ry ....................................[...]................................................T a n y a T h o[...]................................................ A B C[...]n d by cam e S ally A nne Freney,[...]Lab. lia is o n ........................................K e vin A c k ro y d[...]M ichael H ag e n G a u g e ...........................................[...]o tape C la p p e r/io a d e r............................................[...]....................................... N o n i H a z le h u rs t ..[...].................................. D e b o ra h P a rso n s Prod, d e s ig n e r[...]...........................................D o nB a ttyCe ,a s t: G ra n t D o d w e ll (W illin g ), S h a n e W ith in g -[...]ton (Abel), R ebecca Rigg (A ngela Reddie),[...]Robso n B ased on the o rig in a l idea e b o ra h P a rso n s[...]G a ffe r .............................................................. S law om ir J a s t rz ebbys k..i.............................[...]......................................D o n B a One), Tina B u rs ill'[...]ark B o om o p e r a t o r ...........................................[...]to g ra p h y ............................ Ian W a rb u rto n A C S Assoc , prod u c e r ............................ G ra h a m M u rra y[...]S ta n d b y s o u n d re c o rd is t.............. P e te r C h a n n o n S o u n d r e c o r d is t ..........................................B ill D o yle P rod, m a n a g e r...................................... J a n e t V e a le M itchell (Dobson),[...]M a k e -u p ....................................................................D e siM a d dPorcokd, d e s ig n e r..................................................... F ra n k G a rle y U n it m a n a g e r......................................... R a y W a lsh P rod, s e c r e t a r y ......................................................L is a Dane Carson (Swann).[...]N eg. m a tc h in g ..................................................... C h ris R o w ePllrod, m a n a g e r...................................................... J o h n W in te r F lo o r m a n a g e rs ..............................S o re n J e[...]pSeastyrtniacobkplisshise:dWbiyllion g and A b e l is a sm all com pany M u[...]...............................................J a c q u ie L a m b[...]E d itin g a s s is ta n t..........................................[...]o ffe r th e ir se rv ic e s in a n y c a p a c ity , to a n yo n e , M[...].................................R odH e rb2enrtd a s s t d ir e c t o r ............................[...]C a te r in g ..................................................................Ire n e S a u nCd oe rnstin u ity ...........................[...]............. K e rry B e va n D irector's a s s t s .................................................J e ffre y G a le ,oinr situations that can[...], hum ourous L a b o ra to ry ....................................................C o lo rfilm C a s tin g ........................................................D in a M a n n[...]......90 m in u te s C a m e ra o p e ra to r..................................... R o d C o a ts[...]G a u g e ...........................................[...].... T re v o rM o o re S ta g in g s u p e rv is o r ....................................... G u n[...]C la p p e r/io a d e r..........................V ic to r G u g tie lm in o C a s tin g ...................................................................... S u e M a n a g e r[...]................. T o n y W o o lv e rid g e C a s tin g a s s t ...........................................[...]G a ffe r ................................................ A n d re w H o lm e s[...](Tony O resto), Leslie A sh er (Sophie), R obert[...]ro u g h POST-PRODUCTIONL ig h tin g s u p e rv is o rs ......................P e te r R ussell,[...]........................................IanC re g a n[...]A s s t a rt d ir e c t o r ....................................J u d ith H u rs t M a k e -u p ............................................................. J o a n n e S te ve n s[...]S y n o p sis: A suspenseful and m oving story of a[...]...........................G e o rg ie H o w e H a ird re s s e rs ................................ G re g H a n n e m a n ,[...]C a te r in g .......................................[...]P rod, c o m p a n y ........R o a d sh o w , C o o te & C a rro ll her[...]................................................. A B C W a rd ro b e s u p e rv is o r ....................R o b e y B u c k le y[...]r o d u c e r ................................. P a m e la H. V a n n e c k ignored by[...]M ixe d a t.................................................................... A B C W a rd ro b e a s s t s ......................M a rg a rita T a sso n e , D ire c to r...........................................D e n n y L a w re n ce the raw life and pitfalls of the city streets.[...]r ip tw rite r ..................................A n n e B ro o k s b a n k DREAMTIME -- THE CREATION G a u g e ...........................................[...]S y n o p s is : Lena, a 34-year-old w om an and[...]Based on a National Times P ro p s ................................................. A n d re w B a rra n t, a r a rtic le b y .............................................L y n d a ll C risp Prod, c o m p a n y ..............................................A B C TV Ned, a 60-year-old m an d rift[...]................................ R o ss B e rry m a n D ist. c o m p a n y ..................................A B C E d u c a tio n u n a w a re they are grow ing older dai[...]S o u n d r e c o r d is t .................................... R o b S ta[...]JCMaoumorpktedmhehseeuyvycehlomtpoes et at a country hotel, a friendship S e t d e s ig n e r ................[...].......................................... R ic h a rd H in d le y D ire c to r[...]e the irritation of both. M u s ic e d ito r............................................................G a ry H E xe c, p r o d u c e rs ..................................M a tt C a rro ll, V is io n s w itc h e r ......................K a th le e n H ln c h c liffe T e c h n ic a l d ir e c t o r s ................................ P a t B a rte r,[...]G reg Coote B a sed on a n ................................................A b o rig in a lle g e n d[...]P rod, c o -o rd in a to rs ...................................... B a rb a ra R in g ,S o u n d r e c o rd is t.................................... M el R a d fo rd THE HARP IN THE SOUTH G raham M anion C a te rin g ...............................................T a s te B u d d ie s R osslyn A b ern ethy E d[...]h o d e s P rod, c o m p a n y ........................... A n th o n y B u c k le y P o s t-p ro d u c tio n[...]Prod ,m a n a g e r........................... S a lly A y re -S m ith y L o c k P rod, d e[...]U n it ma n a g e r..................................................... D a n n eCtto m p o s e r............[...]....................................... A n th o n y B uck le y Thom pson), Ian R aw[...]L o ca tio n m a n a g e r..........................................P a tric ia B lu n tP rod, c o -o rd in a to r............................................[...].....................R o b e rt M e rc ie c a (Alison Carr), O riana Panozzo (Susan H a m il[...]P rod, a c c o u n ta n t.................................. C a tc h 1-2-3, Prod,[...]lie), D anny R oberts (Andy G reen). S y n o p s is : T hey w ere born tw ins, separated at[...].........................................In g rid A n d eSrscernip tw rite r ................................ E le a n o r W itc o m b e birth, and reunited 20 years la ter w ith out know ing th e ir relatio nship , and th a t w as ju s t the 1st a sst d ire c to r ....................................................J o h n W a rraSncrip t a s s is ta n t................................................... In g rid A n d eBrsaesne d on th e n o ve l b y ........................................R u th P a rk beginning of the in trigu e and dram a! O ne of[...]P ro d u c e r's a s s is ta n t........................................ In g rid A n d ePrsheonto g ra p h y ........................................................... P a u lM u rp h A u stralia's m ost popular and successful dram a[...]c to r.............................. P e te r K e a rn e y[...].......................................R o b in J a m e s S o u n d re c o rd is t......................S y d n e y B u tte rw o r[...]............................................... L a rra in e Q u in nLeigllh tin g c a m e r a m a n ........................................ P e te[...]................................................W a y n e Le C lo s[...]C a m e ra o p e ra to r ............................[...].......................................... B e rn a rd H id e s[...]C a s tin g ...................................M a ize ls & A s s o c ia te s[...]C la p p e r/io a d e r................................. M a rc u s H id e s C la p p e r/io a d e r.................................. C o lin H e rtzo g P rod, m a n a g e r .....................................................C a ro lH u g h e[...]C a m e ra a tta c h m e n t.................D o m in ic M c D u ffy C a m e ra a s s is ta n t.............................C o lin H e rtzo g L o ca tio n m a n a g e r ...........................................[...]..........................................Pip S h a p ie ra A sst g r ip s .............................................R o g e r C a rte r, U n it m a n a g e r ............................ R o x a n e D e lb a rre[...]A s s t g r ip ................................................. J a s o n H a rris[...]rod, s e c r e ta ry ......................... C a th e rin e B is h o p[...]G a ffe r..................................................................L in d s a y Foo teS p e cia l fx p h o to g ra p h y .................................... P e te rC o o kPero d , a c c o u n ta n t............ M o n e y p e n n y[...]r................................................ A n d re w D u n cCaons tu m e d e s ig n e r .....[...]A rt d ire c to r ...................................A n d re w B la x la n d M a k e -u p ......................................................................PiriW y n yParrodd, a s s is ta n t.................................................... N ic k y R o w n tre P rod, c o m p a n y .................... T h e W illin g a n d A b e l A sst a rt d ir e c t o r ................................................... M a rc R yanH a ird re s s e r...................................[...]..................................... B o b H o w a rd[...].................................. T e rry R yanW a rd ro b e .......................................[...].........................................L yn n B a yo n a s M a k e -u p ........................................A n n ie H e a th c o te P ro p s .[...]............................................... L a u rie M c G a3rrrdy asst d ire c to r.........................................M a rk D a y D ire c to rs ..............................[...]......J o h n P o w er, H a ird re s s e r...................................[...]C o s tu m e s u p e rv is o r .................L o u is e W a k e fie ld A sst e d ito r............................................R o g e r C a rte r C a s tin g ................................................................... S u s ie M a ize ls G a ry C o n w a y W a rd ro b e a s s t ............................G a b rie lle H e a le y N eg. m a tc h in g ..................................................... B a rry M c K nCigahsttin g c o n s u lta n ts ........... M a iz e ls & A s s o c ia te s S c rip tw rite rs ...........[...]............................................. J o a onMK ecnRnaCEeexadtymraesrac a s tin g ............................ C a roline Bonham[...]rops buye r/ dresse r..........C a th e rin e F in la y M u s[...]o p e ra to r.......................D a vid W illiam so n[...]s ......................................J o h n D a n ie ll M ix e r .....[...]...........................................M e lR a d foFrodcu s p u lle r ................................G e o ffre y W h a rto n[...].......................... C h ris M u rraNya, rr a to r .................................................................B e lza Low aCh la p p e r/io a d e r............................................[...]H ardle O p tic a ls ..............................................[...]..................................R o b in M o rg a n[...]H e ad c a r p e n t e r ............................ B o ri[...]a l S tu d io s A sst g r ip ......................................[...]rs, C a rp e n te rs .................................. M a x w e ll W o rre ll, M ixed a t ...................................................................A B C B ris bGa naeff e r ..............[...]Labor a to ry ...........................................[...]................................................D a n n y B a tteCrhoanms tru c tio n m a n a g e r ...................B ria n H o c k in g[...]David S candol S o u n d re c o rd is t...................................................... K e nH a m Amsosnt dc a r p e n te r ................................... D a n ie l B a x te r G a u g e ...........................................[...]m strong A sst e d ito r ........................................... P e te r M cB a in S h o o tin g s t[...].................... 7291 A rt d ire c to r ..................................V irg in ia B ie n e m a n P rod, d e s ig n e r ................................ M ic h a e l R a lp h D u b b in g e d[...].........Z o ltK ila rnCeayst: F red C h o n g (M a rm o o ), E d d ie H ahu A sst a rt d ir e c t o r ............................................ C a ro lin e P o lin E xe c, p ro d u c e rs ............................. Lyn n B a yo n a s, D u b b in g e d ito r ( f x ) .......................... A n d re w P la in (Baim e), Lorina W illiam s (Yhi), A ke David[...]r..............................................D a v id R o w e[...]D u b b in g e d ito r a s s ts ....................... S te lla S a vva s, (W oman), T[...]M a k e -u p ..............................................................W e n d y F re e m a n A sso c, p r o d u c e r ..........................[...]erner S y n o p s is : T h is is th e th ird in a s e rie s o f s h o rt H a ird re s s e r.............................................................T e rriM e is s n e r P rod, c o -o rd in a to r.............................. J u lia R itc h ie S tu n ts c o -o r d in a to r .............................. G u y N o rris d ra m a s b a se d on A b o rig in a l le g e n d s . It d e a ls A s s is ta n t m a k e - u p ..........................Iv o n n e P o lla c k L o c a tio n m a n a g e r..............................B e va n C h ild s S till p h o to g r a p h y ............................C a n d y Le G u a y w ith the C reatio n of M an and W om an in the A s s is ta n t h a ird re s s e r..................... K o re l S p o o n e r U n it m a n a g e r ............................. A n d re w M e rrifie ld[...]W a rd ro b e s u p e rv is o r...............K e rry T h o m p s o n[...]G e n e ra to r o p e r a t o r ............................................. T o m R o b inDsroena m tim e . P rod, a c c o u n ta n t...............................................C a tc h 1-2-3,B e st b o y .........................[...]DREAMTIME -- THE STOLEN CANOE S ta n d b y w a rd ro b e ............................................... J o h n S h e a[...]A s s t s ta n d b y w a r d r o b e ...............................H e a th e rL a u rie[...]................................................. A n to n y A d a re[...]itt C a te rin g ................................................F ra n k M a n le y P rod, c o m p a n y ..................................................... A B C W a rd ro b e a s s t..................................... F lo rin d a H a rt P rod, a s s is ta n t................................E m m a G o rd o n L a b o ra to ry ....................................[...]lo rfilm D ist. c o m p a n y ................................................ A B C T V P ro p s b u y[...]......................D e b ra O v e rto n 1st a s s t d ire c to r s ..................................................J o h n W ild ,Lab. lia is o n ............................... R ic h a rd P io rk o w s k i[...].......................................R o b in J a m e s S ta n d b y p ro p s ..................................... J o h n D a n ie ll[...]...................................... R o b in J a m e s A s s t s ta n d b y p r o p s ................... M ic h a e l M e rc u rio 2 n d a sst d ire c to r.................................[...]h y S c e n ic a r tis t ............................................................. R a yP e d le r 3 rd a sst d ir e c t o r .............................................A n d re w M e rriGfiealud g e ....................[...]...... 16m m B a sed on a n ................................................A b o rig in a lle g e nBdru sh h a n d ...........................................................D a v id D u ffin C o n tin u ity .............................................T ra c y P a d u la , S h o o tin g s t o[...].......................................... M ic h a e lF a n nCinogn s tru c tio n m a n a g e r....................................D a n n y B u rn e tt[...]S o u n d r e c o rd is t.......................................................M elR a d fCo radrp e n te rs .................................. G o rd o n M c In ty re , C a s tin g ........................ N a ta lie W e n tw o rth S h ie ld s[...]Con M ustard, L ig h tin g c a m e ra p e rs o n ...........D a n n y B a tte rh a m S y n o p s is : T he story of the tension that[...]M arcus Erasm us C a m e ra o p e ra to r .............................................. D a n n y B a ttedrheav emlo p s b e tw e e n tw o frie n d s w h o m a rry a rm y[...]............................................... H a rv e y S h o rAe s s t e d ito r ................[...]U n it m a n a g e r........................................... D a vid P a lm S u p e rv is in g s o u n d e d it o r ................................ D e a n G a w e n C la p p e r/io a d e r................................................. J a m e s R ic k a rd[...]P ro d u c e r's a s s is ta n t........................................ In g rid A n d eSrsoeunn d e d ito rs ......................[...]........................................ B re n d a n S h a n le y[...]C a s tin g ......................................A n n C la rk A g e n c ie s[...]C a thy Fenton G a ff e r ..........................................[...]C a m e ra a s s is ta n t................................................C o lin H e rtzSoogu n d e d itin g a s s is ta n ts .............P h illip a H a rve y, E le c tric ia n ............................................................ D a vid S ca n d o l[...]M a k e - u p ........................................... L y n d a l R h o d e s Paul Huntingford, A s s is ta n t e le c tr ic s ...........................[...]J o h n Lee P rod, c o m p a n y ...........In d e p e n d e n t P ro d u c ti[...]................................... L o rry M c G a rry[...]...........................................G ra h a m M c K in n e y[...]........................... P e te rF e n to n A rt d e p t c o - o r d in a to r ................A la n a h O ' S u lliv a n P ro d u c e r.............................................S ta n le y W a ls h A s s t e d ito r ...................................J e a n e tte M cG o w n S tu n ts c o -o r d in a to r ............................................[...]d e s ig n e r................................ D a v id R o w e D ir e c[...]...B ill H u g h e s, N e g. m a tc h in g ......................................................B a rry M c K nSitgilhl tp h o to g ra p h y ........[...].......................... J im T o w n le y M a k e - u p ........................................ M ic h e lle B a rb e r[...]......................... B ru c e R e d mRaens e a rc h e r................................................ K r is W y ld e H a ird re s s e r...................................[...]................................................M a rio M illo M ix e r ....[...]...........................................M e lR a d foUrndit ru n n e r ......................................................... A n to n y A d a re W a rd ro b e s u p e rv is o r.................K e rry T h o m p s o n[...]...... G e n e S c o tt N a rr a to r .................................................................B e lz a Lo w aAhrt d e p t ru n n e r ............................ S te p h e n W a rre n S ta n d b y w a rd r o b e ......................... H e a th e r L a u rie P rod, m a n a g e r..................................T e rrie V in c e n t O p tic a ls ..............................................[...]...............................J u d y B ro o k m a n , W a rd ro b e a s s t .................................... S h a u n a F le tt M ixe d a t ..............................................C u s to m V id e o M ixe d a t .......................................A B C T V , B ris b a n e[...]u y e r ..........................................A n d re w P a ul L a b o ra to ry .............................................................A tla b L a b o ra to ry ..................................................... C o lo rfilm C a te r in g ....................................... M a rik e J a n a v ic iu s A s s is ta n t p ro p s b u y e r .............. R o w a n M c K e n z ie Cast: G rig o r T a ylo r, P e n n e H a c k fo rth -J o n e s ,[...]............................. 2 0 m in uMteisxe d a t ...............................................[...]............................. R o b e rt M o x h a m M ouche Phillips, M[...]G a u g e .................................................................... 16m m L a b o ra to r y ............................[...] |
| Lab. lia is o n ............................... R ic h a rd P io rk o w s k i C o s tu m e d e s ig n e r .........................A n th o n y J o n e s P rod, d e s ig n[...]tw rite r s ....................................C a ro l S o b ie ski, B u d g e t................[...].............$ 4 .2 m illio n M a k e -u p ............................................ M a rjo ry H a m lin A sso c, p ro d u c e r................................. M ic h a e l La ke[...]y .........................................R on H a g e n G a u g e ...................................................................16 m m H a ird re s s e rs ......................................................C h e ry lW illiaPmrosd, , s u p e rv is o r ................................ E w a n B u rn e tt S o u n d r e c o r d is t ..................................L lo yd C a rric k[...]P rod, c o -o rd in a to r................................. G in a B la ck S h o o tin g s t o c k ......................................................A g fa W a rd ro b e s u p e rv is o r ................................... S h a u n a F le n aPdroy d, m a n a g e r ....................................D a rry l S h e e n E d it o r ............................................................G a ry B la ir C ast: A nne Phelan (M um m a), M artyn Sander S ta n d b y w a rd r o b e ...........................................D e vin a M a xwUenllit m a n a g e r................................... L e ig h A m itz b o ll P rod, d e s ig n e r ................................ S a lly S h e p h e rd son (H ughie), A n na H ru b y (Roie), Kaarin[...]e rs ............................. V irg in ia C a rte r, Fairfax (Dolour), G wen P lum b (G randm a), Syd[...]c re ta ry ............................ M e lis s a W ilts h ire[...]...................................... H e le n M a c aPsrkoidll, a c c o u n ta n t.................................[...]........................... R o b e rtM o xh1asmt a sst d ir e c t o r ........................................ J o h n W ild P rod, c o -o rd in a to r............................................L e o n ie J a n s e n Sheily), S hane C o nnor (C harlie).[...].....................................N e v ille M a xw2enldl, a s s t d ir e c t o r ............................................ M ic h a e lM c InPtyrroed, m a n a g e r............................................ G ra n t H ill S y n o p s is : A m iniseries based on Ruth P a rk's[...]....................................... P e te rN a thUa nn it m a n a g e r.................................................... M u rra y B o yd best-selling novel of the sam e nam e.[...]o g ra p h y ........................ N e ll C h a llin g s w o rth C o n tin u ity .......[...].................... LizP e rryP rod, s e c r e t a r y ...................................................J a n e tA d e s HUNGER[...]S c e n ic a r t i s t ..........................................P e te r C o llia s L o ca tio n m a n a g e r ................................ N e il M c C a rt P rod, a c c o u n ta n t......................R o b e rt T h e a d g o ld[...]...........................D e re k M ills C a s tin g ...................................................... G re g R o ss, P rod, a s s is ta n t.......................................................S tanL e a m a n P rod, c o m p a n y ................................................... A B C A sst e d ito r ........................................................J e a n in e C h ia lv o Dina M a[...]................................................J a n C h a pNmega.n m a tc h in g ............................................ N e g th in k L ig h tin g c a m e ra m a n .......................................J a m e s D o o la2n d asst d ire c to r ..................... H a m ish M c S p o rrin D ire c to r.............[...].................................. S te p h e n W a llaMcues ic a l s u p e r v is o r ...............................R on P u rvis[...]............................................... H a rry G ly n3artds isa sst d ire c to r ...................................................M a rkB ish o p S c r ip tw rite r .............................................L o u is N o w ra S o u n d e d ito r s .................................................J e a n in e C h ia lCvola, p p e r/lo a d e r ...............................G a ry B o tto m le y C o n tin u ity .................................. K a rin d a P a rk in s o n Based on the o rig in a l idea[...]........................................Ian B e n a lla c k C a s tin g .....................................................Liz M u llin a r b y ............................................................L o u is N o w ra S o u n d e d itin g a s s ts ..........................................[...]s,st g r ip ......................................A rth u r M a n o u s a k is L ig h tin g c a m e ra m a n ........................... R o n H a g e n P h o to g ra p h y ................................... J u lia n P e n n e y S o u n d r e c o rd is t...............................C h ris A ld e rto n[...]G a ffe r ......................................................Ian D e w h u rs t C a m e ra o p e ra to rs .................................................R onH a gen,[...]E d itin g a s s is ta n t.......................................... S u z a n n e M a b eEyle c tric ia n ............................................................... N ic k P a yn e Phil Cross A sst s o u n d re c o rd is ts ............................ G e o ff K rix,[...]............................................... W a rw ic k F ield,[...]A s s t a rt d ire c to r ................................B e rn ie W y n a c k Jo[...]u s c o - o r d in a to r ...........................................F[...]................. C la re G riffiCn la p p e r/lo a d e r ................................. L a u rie B a lm e r[...].......................... V ivia n Z in k , M a k e -u p ..............................................................M a g g ie K o le vKey g r ip .......................[...]H a ir d re s s e r ........................................D o u g G la n v ille A sst g r ip ..................................................................G re g T u o h y D e sig n a s s t..........................................P a ul H in d e re r O p tic a ls ................................................P e te r N e w ton W a rd ro b e s u p e rv is o r ........................................C la[...]e r ............................................N a th a n W a ks H o rse m a s te r ..................................... R a y W in s la d e W a rd ro b e a s s t................................................... M a rio n B o ycGe a ff e r ......................................................................B ria n A d a m s E xe c, p r o d u c e r ..................................Ja n C h a p m a n R u n n e r.................................................................. A lis o n M c C Wly ma rodnrto b e s ta n d b y ...[...]..................... B re tt H u ll, P rod, m a n a g e r ...................................C a ro l C h irlia n P u b l[...]............................................. C h a n n e l 7, P ro p s b u y e r ..................[...]Tim M orrison U n it m a n a g e r ............................... B e v e rle[...]n d b y p r o p s ........................... S h a n e R u s h b ro o k Boom o[...].... C h ris G o ld s m ith P rod, s e c r e t a r y ..................................................S u sa n W e llsC a te rin g .................................................................. J o h n F a ithSfuel t d re s s e rs ........................................B ria n D u stin g , A rt d ire c to r................................................................ P h ilE a g le s 1st a sst d ir e c t o r ..............................................G ra h a m M illa rM ixe d a t ...............................................[...]C o stu m e d e s ig n e r...................M a rg o t M c C a rtn e y 2 n d asst d ire c to r ..............[...]..................................................A tla b A rt d e p t r u n n e r.................................... T ris h K e a tin g M a k e -u p ............................................. L e a n n e W h ite , C o n tin u ity ..........................................................R h o n d a M c A vLoayb. lia is o n ................................................ D a vid C o le C a rp e n te r......................................[...]n Fiona Sm ith C a s tin g ..................................................J e n n ife r A lle n B u d g e t..............[...]...............................$ 2 ,5 0 0 ,0 0 0 (a p p rCo xo.n) s tru c tio n m a n a g e r .................................. R o b e rtH e rn H a ir d re s s e r ........................................R o c h e lle Ford C a s tin g a s s is ta n t ................................................ Ire n e G a s kLeell n g th ................................................3 x 120 m in u te s A sst e d ito r ............................................P e te r B u rg e ss W a r d ro b e ........................................................ J e a n n ie C a m e ro n L ig h tin g c a m e ra m a n ........................................ J u li[...].....16m m S tu n t c o - o r d in a to r ...................................................B illS ta c eWya rd ro b e a s s is ta n t............................................ M a rg D illo n F o cu s p u lle r ...............[...]................................B re ttJ o y c eC a st: M a tth e w F a rg h e r (Jo e W ils o n ), Kim S till p h o to g r a p h y .......................... M ic h a e l R a yn e r, P rops b u y e r.......................................................H a rv e y M a w so n C a m e ra a s s is ta n t............................. G e ra rd Q u[...].................................................A la n T re v e n a Brand), C larissa Kaye-M ason[...]............................. C o n ra d R o th m a n A sst g r ip ............................................. P a u l L a w re n c e A lan David Lee (Jack Barnes), Bill H u nte r (Bill[...]r..................................... S im o n C a rte r E le c tric ia n s ....................................... M a rtin P e rro tt, G alletley[...].......................................... L e xM a rtiCn a rp e n te r......................................[...]............ D o u g G re eCn o n s tru c tio n m a n a g e r ...................M ik e M cL e a n M a k e -u p .................................................................S u z ie S te wNa rotw le tt), S e a n S c u lly (H e n ry Law son).[...]..............................C ra w fo rd s W a r d ro b e ........................................................ C a ro lin e S u ffieSlydn o p s is : H e n ry L a w s o n 's 'J o e W ils o n ' C a te rin g ............................................................ B a n d a id A sst e d ito r....................................[...]......................................... R o y E a g le to n stories are the core of his achievem ent and his P o s t-p ro d u c tio n s u p e rv is o r ......... J o h n H o lla n d s Neg. m a tc h in g .......................................................U S A P ro p s b u y e r ........................................................A d ria n C a n nmoonst c o m p le te s e lf-p o rtra it -- e x c e p t th a t J o e 's L a b o ra to ry ....................................[...].........V F L S tu n ts c o -o rd in a to r............................................[...]................. T o n y W illialimfes e n d s h a p p ily a n d L a w s o n 's d id not. T h e y[...]............................................... L a u rie Faenalso c o n ta in m a n y o f his fin e s t c h a ra c te rs , G a u g e ...........................................[...]....................................J o h n E d w a rd s A sst e d ito r...............................................................S a s a V ita cienkc lu d in g M rs S p ic e r, J im m y[...]c k ...................................... K o d a k E C N R u n n e r.............................................. C a m e ro n M e llo r M u sica l d ire c to r .................................N a th a n W a k s Regan, Jack Barnes and the dashing M aggie[...]C a te rin g .............................................. D a n n y P o p p e r b y .....................[...](E dw ard Q uayle), C a the rine M cC lem ents[...]L a b o ra to ry ................................................................V F L A sst s o u n d e d ito r.........................T[...]u s e P rod, c o m p a n y ......................... C h a d w ic k /D o u g la s M acG ibbon), Ra[...]Lab. lia is o n ........................................B ill H a rrin g to n M ix e r .........................[...]...s.yi.n..tc....i:.g.p.irnp....:.e.stp.r..g.JC...a.eo..hp....e.adn.L.h..r.s...To.n..g.G...tr.eaW.s..a.ca.no..Aeyy..a..dh..h..e..e....t....tn.nuc.y..r.I..np..rh.n.ei...ior.....rV.....sly.h...i...y...l....lJ.y..s......r.H..a..i.....t....o.......Ea.........v.....O...........[...]....cO.............n.........b......n.Wr..........a...Js................a...a......y........U.e..........i..(.l..................l.....l(.....C.......sI....l............M.....i....L....a..............a........t..o.....................9..rA(..........S[...].....s..h...O.u....u............-............M....a.....u...G......a.m.e.m..........................N.....n.....l....e.....)..u........)..........O........i..a.......,.......l.n...JM.r..............)..........tr...........,..u...aOO...o....a........P.G....a..............ttc....PM.....y......u...hRe..r...De.......iq3.N.G..a.....i...la....te....o.e..lt..a..0....u...y....eou....Ti....n..Bl....yp.lt.....ii....reTl.l...e.em.ot...F...y...ri..m..a..G..lMP.Ol....lo..I...rl...e..i..L.1LM..F.aP.Cn..[...]pogoocsg.sa.gaato..rteo.ceg..ro.rr--ie.mbhri..ge..a.dtcm.sa...noc.ci.a.c.s.rM.o..rr.et.e.sc..o.n:.i..p.eodpri...as...ir.[...].t.e.eer...yt..k...e..ey.ri..ot...e......aole..rs.a.r.Sr..ya..rr.....t.....v......a....r.g...a.....rt.n..y.......H....S...n...o..........Ii.....[...]..........r....u...n....t.i............o..........a.A..n.....r..s........A.......t.......g..........r.....n..........i......n..a.......u......i...o.........e............s....L...[...].......r.....P........l.....M..................P..a..................e.......................r........................l.......r....ae.....o.........A.i.....................o......a.......................s..f..L....................[...]........n..BJ..l..........,R.......lg.....c....K..A...h.h..i...oc............r..Tn...........k.J........ei..i..y..eGr9....h....H..l..l...a...Toyi..t..l...l...c..n.$m6......i.n..ih......r.r[...].oCr...P..V.CS...0FRgC.C.o...rHor...P1.....r...i..a0.h..ia.ir..armnni.u..6oonB..eu.rAc.aBBrsA,ABiBBlB[...]a.ndiaa..cootisc.mst.s.dsot.Krt.cy.anaispCr.pedp.:a.ai.ria.iws..es.og.e.laespg.rh..are.u.mgani...te.t.te.Trn.r.nt.c.g.eay.a.n.as.orc.r.d......c..on..eh.ate...y..eP.rtn.ny..e[...].......,s.c.......e......................K........a...H.v..........t..........r...............h............e....la.s..........G...............A................e.C.........iyo...................d..............r............a........P..n.....a....a.........e...........(................f................p.J.th.....a.S....f...............h.............a.........a......o..a...........................o......b....i.......c..[...].s..........y.......u.o.e....na.........r..e...C..a..c.....)......MJ.J.ixlop.n....n.......y..si....b.o........he.....ue.P..f.c..hi..o.......c..M.etf.......A(.rB.B.Blf.e.t....e.er..u.CAi..Si.f.l.R...o.e.Ras.[...]rrgwep.hooGnoc..asytetLo..or.earrccs..egm..r)raie(a..v.da.oinsmss.h.at...ientBr....nitvceopsd.i...:.s[...]i....tnLJ.....rsk.Ls.orey..r......aM..r...........a.a....t..........i...r..L.......n.....g...a..m..v........a........T..............s....it.Y.n.....i..........[...]........eh..t...............d....o.......g........a.......s...e............................r....i..l...A.....)........ye.(.yt..................,......a...L.............i................N..d............[...].Me.....e...............D..................o...if.a...................t...e................v.z..G....[...].....r......Le........g........S.v.v......PP......a...D..D............i...i......ey.........z..bv.....t......A...rr.....a....a........no...roo.....i.........b.......n...........v.v...R..N.........dd...Go....a..........A)..ii................suus..,.....D.i.....n....T....a.......c.u..U............cc.r............FrF.h.vUU....uA.Js..JI.....ttLar..........a(..i..ii.ai...i....soot.n.A.n.oor..lrJ....l..ak..nr...m...m.....srsu...hhd.......aonn.e.ln..I.d........vu.u..al.......non.Ml..hss...a.e....a.a.i..&.....ln&l.MR..Ta.w.....aan...n.(.)..a3D.DPP.UKU....,FuKi.VVV.nid.CC5rSc.KK.icDattao.dnl[...].......................................... R ic h a rd W ilm Ao tstst art d ire c to r .......................................... C a it W a it P rod, c o m p a n y ..................................................B ilg o la B e a ch P roductions Pty Ltd[...]C la p p e r/lo a d e r............................................[...]s ig n e rs ...................D e id re D o w m a n , P roductio[...]Dist. c o m p a n y ...........L u c k y C o u n try D is trib u tio n Key g r ip ..................................................A la n T re v e n a P ro d u c e r.........................................A le x a n d ra C a n n P r o d u c e rs ...........................................B ill L e im b a c h , A sst g r ip ............................................ P a u l L a w re n c e[...]c ia n s ...................................... M a rtin P e rro tt, P r o p s ..[...]. ........................................T o r L a rse n , S c rip tw rite r.....................[...].................................. B ill L e im b a c h[...]Set d e c o r a to r ............................................[...]....................................... S c o ttT a y loSr e t c o n s tr u c tio n .....................................................T o rL a rse n , b y .................................[...]y ....................................... M ic h a e l D illo n M a k e - u p ...........................................................S y lv a n a V e n n e n P h o to g ra p h y ..............[...]p o s e r .....................................D a vid F a n sh a w e W a rd ro b e ................................................D e an P e a rce A lexis Raft, S o u n d re c o r d is t..................................................... P a u lB rin cBaut d g e t...........................[...]b u y e r ...................................Ian A n d re w a rth a C h[...]................................................L a u rie Fae n,M u sic p e rfo rm e d b y ......... ......... M ic h a e l A th e rto n P rod, d e s ig n e r................[...]..H e rb e rt P in te r G a u g e ...........................................[...]..................................... S ve n L ib a e k C ast: David Fanshaw e ([...]E d itin g a s sista n t.................................................. S a sa S o u n d e d ito r .................................................... Ian V a il[...]ot o grap h y ............................M a rtin W e b b e y V ita cSe ktill P rod, c o -o rd in a to r........................ M a rg a re t S la rke S y n o p s is : A fte r five years co lle ctin g over[...]Pup pho t og r a p h y ............................................. D e id re D o w m a n[...]pets de signed and P rod, m a n a g e r .............................. S te p h e n[...]..................G e o rg ie B row n U n it m a n a g e r........................................................... P h ilU rq unheasrtia , M e la n e s ia a n d P o ly n e s ia , w o rld C a te rin g ...................................................... T a k e O n e m a d e b y .................................... D e id re D o w m a n , P rod, a c c o u n ta n t............................................... C a tc h 1-2-3re kn o w n m u s ic c o m p o s e r D a vid F a n s h a w e is S tu d io s .............................................. A B C , G o re H ill Beverley C am pbell-Jackson P rod, a s s is ta n t.................................................. M a n d y C h a nrge a d y to p re p a re his n e x t m a jo r p ie c e ` P a cific M ixe d a t................................................................... A B C P u b lic it y ................................................E la n a M cK a y 1st asst d ire c to r ......................[...]th e 1988 L a b o ra to ry .................................................... C o lo rfilm C a te r in g ................................................ F e lic ity D a vis 2 n d asst d ir e c t o r ................[...]Lab. lia is o n .......................................................... D a vid S h u bMe rixt ed a t.................................................................... R B A 3 rd a sst d ir e c t o r ...............T o b y C h u r[...]................. 48m in u te s P ro d u c e r's a s s is ta n t........................M a n d y C h a n g[...](Patric), John S heerin (Jack). C a s tin g .........................................................A le x a n d ra C a n nP rod, c o m p a n y ...................C ra w fo rd P ro d u c ti[...]G a u g e ...........................................[...].......................................... B illH a m m o n d (C om m unicatio ns) Pty[...]AllenH ighfield, Richard Brad C la p p e r/lo a d e r.................................................. M a n d y K in g P r o d u c e r .....................................................R od H a rd y[...]................................... N o b b y S z a fra n e k E xe c, p ro d u c[...].H e c to r C ra w fo rd , A PLACE TO CALL HOME Jones. A s s t g r ip ............................... R o[...]S y n o p sis: A charm ing puppet story capturing G a ff e r ..........................................[...]P rod, c o m p a n y ....................................... C ra w fo rd s , the unique flavour of an A u stralian Christm as. E le c tric ia n s ....[...]........................................ B re ttJ a rm aDni,re c to r................................................... P in o A m e n ta[...]Sally w rites to S a nta to ask for rain to save her[...]............... M ike Lake , A ustralian native anim al friends. S anta brings[...]B a sed on a n o ve l b y ..................... J a m e s A ld rid g e[...]a s n o w b a ll, b u t it is to o h e a vy a n d th e s le ig h B o om o p e ra to r....................................................... P a u lG le e sSoonu n d r e c o rd is t............................. J o h n M c K e rr[...]c ra s h e s in th e b u sh . S a lly a n d h e r b u sh frie n d s A rt d ir e c t o r ....................................................... S te w a rtW a y E d ito r......................................[...].........................................R u ss M a y b e rry help S anta to[...] |
| [...]E te ric a ? ; |
| [...]t Outweighs sffi AGFA Professional Master Tape is the finest studio recording tape in the world! Beautifully[...]Why? Because AGFA Professional Master Tape is manufactured to meet the critical demands of the most exacting recording studio. No variations and[...]round noise and excellent dynamics over the entire frequency range. Available in all widths a[...], B risbane 352 5522, i AGFA A delaid e 42 5703 and Perth 277 9266[...] |
MD | |
| The author retains Copyright of this material. You may download one copy of this item for the purpose of your own research or study. The University does not authorise you to copy,[...] | |
| Issues digitised from original copies in the collection of Ray Edmondson | |
| Reproduced with permission of one of the founding editors, Philippe Mora | |
Click on the image to add
a tag or press ESC to cancel
a tag or press ESC to cancel
MTV Publishing Ltd, Richmond, Cinema Papers no. 59 September 1986 (September 1986). University of Wollongong Archives, accessed 04/04/2026, https://archivesonline.uow.edu.au/nodes/view/5068