VOLUME 18 - NUMBER 01 JANUARY-FEBRUARY 1982

to do with the film's visual style. He hired Laszlo, hired me, responded en- thusiastically when we came up with that Hopperesque look. But when Laszlo and I would go at each other like two deer locking horns, Byrum would stand back, wait to see who won-or if both were wounded-and then medi- ate. SPACEK: Jack turned down that as- signment once. He only took it because I was in the picture and asked him to do it. FISK: Hean Beat was my last picture as art director. I started passing the word around that I wanted only to direct. It meant turning down some interesting projects. The biggest was when Warren Beatty asked me to work on Reds. It was tempting, but I said, \"No, I'm trying to get a movie of my own lined up.\" He said: \"Don't worry, this'll only take a couple of months.\" Well, we were done shooting Raggedy Man long before he finished shooting Reds. Bill Wittliff is a screenwriter-he did The Black Stallion and Honeysuckle Rose -who grew up in a small Texas town during World War II. His mother, who was divorced, worked the town switch- board. And out of those memories came Bill's script for Raggedy Man. I'd grown up in small towns, too, and a lot of the visual stuff comes from my memory, as well as from the marvelous WPA photo- graphs of the towns, homes, and people of the place and the period. One prob- lem with most period films is that they try to slam home to you what period it is. If you were to go into someone's back yard today, you'd find very little that screamed out: \"This is 1981!\" I try con- sciously not to tell you. In Raggedy Man Fisk's storyboardfor the opening sequence of Raggedy Man. it could be 1944, or any of a dozen years before. Don't push too hard. Follow SPACEK: I was Jack's set decorator on passion. Staying up all night, pulling Edward Hopper: Go for the minimal! Phantom ofthe Paradise! your hair. It's like this: The director is the ulti- FISK: And you couldn't get into the There was a lot of that on Hean Beat. union either! I was production designer Now, Laszlo Kovacs is a great cinema- mate designer of the film. He has com- on Carrie-where the tone was subtler, tographer. What he gives you is a rich, more lyrical-but I shared credit with yellowy-brown look. I just didn't think plete input: what the sets will look like, another art director .... everything should look exactly yel- lowy-brown. I'd be sneaking around the how they'll be lighted, how the actors SPACEK: Who never set foot on the set, turning out some of the lights, to the set! point where Laszlo would say, \"Here's will fit into them and into the movie. my light meter, it's all yours!\" You see, a FISK: ... because I didn't belong to set can look great or bad-the look of a You have to be a pro, like Stanley the union. That didn't happen until picture can work or not work-depend- Movie Movie, my first \"legitimate\" film. ing on how it's lighted. You have to be in Donen. And controlled, like Brian De Since I didn't know old movies that synch with the cinematographer, be- well, I gave myself a crash course in cause he can enhance your work or sabo- Palma. You have to mediate, like John Busby Berkeley for Movie Movie. And tage it. You can lose any visual influence Stanley Donen was a great help-a you might have. John Byrum, who Byrum. In filmmaking there's a lot of young art director working with an old wrote and directed Hean Beat, had a lot pro. But in general my tastes run to the compromise: you start out with grand younger directors, with their energy and ideas that get whittled away by reality. But then, every once in a while, you get a gift-a sunset, or when an actor does something wonderful . ... SPACEK: Accidentally! FISK: And that's where you have to be like Terry Malick. To be open to the magIc. -C.C. & R.C. 49

Pass. Child in the House. Around the World in 80 Days. 10hn Paullones (shift Filmographies design for film released in 1959). 1957 Night of the Demon. 1958 Battle of the VI (aka V-I). 1959 Gideon's Day. Ten ALEXANDRETRAUNER Irma la Douce. 1964 Kiss Me, Stupid . Seconds to HelL The Angry Hills. Be- 1937 Gribouille. Orale de drame (U.S. : 1967 Night of the Generals. 1968 Up- yond This Place. The Rough and the Bizarre Bizarre). 1938 Quai des brumes Smooth. Let's Get Married. The Long (U.S.: Port of Shadows). Entree des tight. La Puce al'oreille (U.S.: A Flea Ships (research and preparatory workfor artistes. Botel du Nord . 1939 Le lour film released in 1964). 1960 In the Nick. se leve (U.S.: Daybreak). Mollenard. in Her Ear). 1970 The Private Life of The Trials of Oscar Wilde. 1961 The 1941 Remarques (U.S.: Stormy Wa- Hellions (first designer offilm released in ters). 1942 Les Visiteurs du soir (U.S. : Sherlock Holmes. 1971 Promesse a 1962). 1963 Sodom and Gomorrah. Dr. The Devil's Envoys), designed with No. In the Cool of the Day. 1964 Dr. Georges Wakhevitch. 1945 Les En- l'aube (U.S.: Promise at Dawn). 1975 Strangelove or: How I Learned to Stop fants du paradis (U.S.: Children of Par- The Man Who Would Be King. 1976 Worrying and Love the Bomb. Woman adise), designed with Leon Barsacq Mr. Klein. 1978 Les Routes du Sud. of Straw. Goldfinger. 1965 The Ipcress and Raymond Gabutti. 1946 Les 1979 Don Giovanni. 1980 The Curse of File. ThunderbalL 1966 Funeral in Portes de la nuit (U.S.: Gates of the Fu Manchu. 1981 Coup de torchon. Berlin. 1967 You Only Live Twice. Night). 1947 Voyage surprise. 1949 La (Trauner filmography compiled by El- 1968 On Her Majesty's Secret Service Marie du port. Maneges. 19501uliette liott Stein for Caligari's Cabinet and (initial location work for film released in ou la clef des songes. 1952 Othello, Other Grand Illusions, New York 1969). Chitty Chitty Bang Bang. 1969 designed with Luigi Scaccianoce. 1954 Graphic Society, 1977.) Goodbye, Mr. Chips. 1970 The Owl Du Rififi chez les hommes (U.S.: Ri- and the Pussycat. 1971 Diamonds Are fifi). 1955 Land of the Pharaohs. 1957 KEN ADAM Forever. 1972 Sleuth. 1973 The Last of Love in the Afternoon. 1958 Witness 1947 This Was a Woman. The Brass Sheila. 1975 Barry Lyndon. 1976 The for the Prosecution. 1959 The Nun's Monkey (aka Lucky Mascot). 1948 Seven-Per-Cent Solution. 1977 Salon Story. 1960 Once More With Feeling. The Queen of Spades. Third Time Kitty (aka Madam Kitty). The Spy The Apartment. 1961 One, Two, Lucky. Obsession. 1950 Your Witness. Who Loved Me. 1979 Moonraker. 1980 Three. Aimez-vous Brahms? (U.S.: 1951 Captain Horatio Hornblower. The Aquarius Mission (unrealized proj- Goodbye Again) . Paris Blues . 1963 1952 The Crimson Pirate. 1953 The In- ect). Destiny (unrealized project). Dress truder. The Master of Ballantrae. 1955 Gray (unrealized project). 1981 Pennies Helen of Troy. Ben-Hur (preparatory workforfilm released in 1959). Soho In- cident. 1956 Star of India. The Devil's from Heaven. -rh. 11t1l ' ..t.....ati_l RICHARD SYLBERT As art director: 1953 Crowded Paradise. -r...., •••s 1956 Baby DolL 1957 A Face in the Crowd. Edge of the City. 1959The Fu- JI..iaati... gitive Kind . 1960 Murder, Inc. As pro- duction designer: 1961 Splendor in the The latest and best of international animation from all over the world . A .sixteen-film package including Grass. 1962 A Walk on the Wild Side. Cannes Film Festival Winner. HARPYA from Belgium; Academy Award Nominees DREAM DOLL (from The Manchurian Candidate. Long Britain) and IT'S SO NICE TO HAVE A WOLF AROUND .THE HOUSE (from the US); Annecy Film Festival Day's 10urney into Night. 1963 All the Grand-Prix Winner. APRES LA VIE (from the National Film Board of Canada) . Way Home. 1964 Lilith. As executive A feature-length program available for rental from : producer: 1965 What's New, Pussycat? As production designer: 1965 How to 4530 18th Street Murder Your Wife. The Pawnbroker. San Francisco. Calif. 94114 1966 Who's Afraid of Virginia Woolf? Grand Prix. 1967 The Graduate. 1968 1415) B63-6100 Rosemary's Baby. 1970 Catch-22. 1971 Carnal Knowledge. 1972 Fat City. The Heartbreak Kid. 1974 Chinatown. 1975 The Fortune. Shampoo. 1979 Players. 1981 Reds. 1982 Partners. Personal Best. Frances. JACK FISK 1971 Angels Hard as They Come. 1972 Cool Breeze. 1973 The Slams. Bad- lands. 1974 Phantom of the Paradise. 1975 Messiah of EviL 1976 Carrie. Vig- ilante Force. 1978 Days of Heaven. Movie Movie. 1979 Heart Beat. 1981 Raggedy Man (director). 50

Oxford University Press A new edition of \"the best single work of its kind,\" * How to Read a Film The Art, Technology, Language, History, and Theory of Film and Media Revised Edition JAMES MONACO, The New School for Social Research Acclaimed as \"the best book of its kind . ... lucid, up -to-date, comprehensive, and intelligent\" (Film Quarterly) and \"a compliment to the reader\" (Film Comment), How to Read a Film has been thoroughly revised to cover all the recent advances in media technology, including video discs and cassettes, two-way television , cable, and direct satellite transmission. New photographs and diagrams-many from recent films-have been incorporated into the text, the chronologies have been updated, and the glossary has been expanded. 'American Film 1981 560pp. ;220illus. cloth$25.00 paper$ll.95 Film Theory and Criticism Great Film Directors Introductory Readings A Critical Anthology Second Edition Edited by LEO BRAUDY, The Johns Hopkins University, and Edited by GERALD MAST, University of Chicago, and MAR- MORRIS DICKSTEIN, Queens College, City University of New SHALL COHEN , The Graduate School, City University of New York. \"A mature response to the bewildering variety of prejudicial York. \"An excellent introduction to the thoughts about film express- film criticism .. . excellent; indeed, without competition among the ed by a wide variety of writers .... Easily eclipses in scope and stacks of new movie books .... Clear, logical , and well doc - value the few competing texts .\"-The Joumal of Aesthetics and Art umented .. .. Peppered with immensely enjoyable anecdotal infor- Criticism . \"Rich and thought -provoking.\"-American Cine- mation .\"-The New Republic. matographer 1978 778pp. paper $8.95 1979 896pp.; 57 illus . cloth$26.95 paper$l1 .95 Federico Fellini Essays in Criticism The World of Luis Bunue) Edited by PETER BONDANELLA, Indiana University. \"A brilliant Essays in Criticism collection of articles by and about the master, with a filmography as well .... Marvelous ... for anyone who loves Fellini.''-Los Angeles Edited by JOAN MELLEN, Temple University. \"A mosaic of com- Times Book Review . \"A judicious selection of critical mentaries on an extraordinary creator's incomparable work ... it views ... assembles opinions and essays about Fellini's films as well is by all odds the best single source on the indefatigable as interviews with and statements by the director himself.\"-Take surrealist .\" -Los Angeles Times Book Review. \"An insightful One study.''-American Cinematographer 1978 326pp. ; 20illus. cloth $13.95 1978 44Opp. ; illus . cloth $16.95 paper (A Galaxy Book, GB 515) $5.95 paper (A Galaxy Book, GB 543) $7.95 Visionary Film The Pleasure Dome Westerns The American Avant-Garde The Collected Film Criticism Aspects of a Movie Genre 1943-1978 1935-1940 Second Edition Second Edition GRAHAM GREENE. Edited by JOHN PHILIP FRENCH P. ADAMS SITNEY 1979 480pp.; 36 pp. photos cloth $22.50 RUSSELL TAYLOR 1977 2 0 8 p p .;i llus. paper (A Galaxy Book, GB 565) $7.95 1980 288pp.; illus . paper (A Galaxy Book, GB 521) $5.95 Indian Film paper (A Galaxy Book, GB 604) $8.95 Second Edition The Major Film Theories Alain Resnais ERIK BARNOUW and An Introduction JAMES MONACO S. KRISHNASWAMY 1980 352pp .; 82illus. cloth$16.95 J . DUDLEY ANDREW 1978 256pp .; l00illus . cloth$18.95 paper (A Galaxy Book, GB 540) $6.95 paper (A Galaxy Book, GB 592) $5.95 1976 288pp. Documentary paper (A Galaxy Book, GB 450) $6.95 A History of the The New Wave Ingmar Bergman Non-Fiction Film Essays in Criticism ERIK BARNOUW 1974 340pp.; illus . cloth $16.95 Truffaut, Godard, Chabrol, Edited by STUART M. KAMINSKY, with paper (A Galaxy Book, GB 451) $6.95 Rohmer, Rivette JOSEPH F. HILL JAMES MONACO 1975 352pp. 1976 384pp.; 51 illus . paper (A Galaxy Book, GB 432) $6.95 paper (A Galaxy Book, GB 516) $7.95 Prices are subject to change. Oxford University Press 200 Madison Avenue, New York, New York 10016

by David Chute nental Divide). The 32-year-old Kasdan says that he has never wanted to do any- For decades , but increasingly in re- thing except direct movies. And when cent yea rs, press coverage of movies has he stepped onto a set for the first time, placed too much emphasis on big film s, he already displayed a full y formed style big stars, and big stories-which almost that was both terse and sumptuous, im- always means phony stories, fabricated peccably controlled and ye t swe lling by publicity. Considered simply as a with emotion-a masterly blend of dis- film , Heaven's Gate deserved to be cipline and passion . In interviews, Kas- rudely dismissed in a few paragraphs . dan's evident sanity, integrity, and But how many critics handled it that stubbornness provide additional fuel for way? And how many editors of influen- our extravagant hopes. tial national magazines would dream of granting feature treatment-much less • cover space-to a good mo vie that wasn't already earmarked as a hit? The Joe Dante. After Kasd an, Dante ex- vaunted Power Of The Press doesn't hibits more raw moviemaking talent mean much anymore, because an undue than any other new American director. emphasis on \"news value\" inexorably In The Howling , Dante and screenwriter subverts criticism. John Sayles (Return of the Secaucus 7) mostly frittered their talent away. But And so, the hell with it. Let's have no more news for a while. Here are a few of sections of the film (the lurid, urban- the talented people whose work on film gothic opening, the werewolf copula- in 1981 fosters hype-free expectations of tion sequence) are among the wittiest good movies in years to come. and most vivid set pieces this side of Brian De Palma. Dante's wit, how- • ever, is much sunnier than De Palma's; he doesn't seem to have a nasty bone in Lawrence Kasdan. Nerve-broiling his body. When last heard from, Dante summer heat. A steamy sexual obses- had opted out of a planned film version sion. Deep-welled acting and bristly, of The Joy of Sex, a project that might stylized dialogue. Beautifully do ve - have allowed his knack for comedy tailed narrative craftsmanship that re- to blossom. Also in the works; an imagines film noir legends from the occult conspiracy thriller called The inside out. Body Heat , the best Ameri- Philadelphia Experiment, from a can movie of the year, was also the first script by (among others) John Carpen- film directed by screenwriter Lawrence ter. To my mind, there is no foresee- Kasdan (Raiders of the Lost Ark, Conti- able limit to what Joe Dante might yet accomplish . • Terry Gilliam. Once the \"token American\" in ~[onty Python , Gilliam pawed through his scrambled memories of children's books and fantasy films, and created an overflow grab-bag of goodies for the nasty-minded kid in each of us. Time Bandits, which may be the most purely enjoyable movie of 1981 , was passed up for distribution by every major studio in Hollywood. It was Avco- Embassy into the breach again. Gil- William Condon. 52

liam's next project is The Adventures of and scary, the most effective rock ' n' chested cover sto ries and embarrassing Baron Munchausen , modeled ontheGus- air-headed profundities, William Hurt is tave Dore illustrations. roll documentary since Gimme Shelter. a terrific actor-perhaps the best thi s country has produced since Robert De • No future? No way. Niro. Compared to Hurt, Treat\\Villiams is just another hype sandwich. Michael Laughlin and William • Condon. They wrote, and Laughlin di- • rected , the most original horror picture Jean-Claude Tramont. All Night of the year, Strange Behavior. Although Abel Ferrara. A dark horse. Fer- shot in New Zealand, it evoked the Long was essentially a dry French satire rara's seventy-minute action cheapie most richly textured American small Ms . 45 was controlled, forceful , and to\\·vn since Breaking Away. The film em- set in trash-urban Los Angeles-the sometimes eerily beautiful. It was also ploys a brace of terrific actors (Michael Murphy, Louise Fletcher, Dan Shor, strung-out, screwball milieu of twenty- utterly derivative, a tinker-toys pastiche Arthur Dignam), and generates a brand of Death Wish, Carrie, and Taxi Driver. of terror that confirms our affection for four-hour supermarkets. The cross-cul- The movie's ravishing star discovery, ex- the characters. It is a humane horror model Zoe Tamerlis, played a mute gar- movie. Coming up: the second install- tural friction , along with Gene ment worker who was raped , took up ment in a projected \"Strange\" trilogy, a firearms , and drifted into an increasingly UFO thriller (again starring Michael Hackman's rich performance as a re- psychotic mission of revenge agai nst the Murphy) entitled Strange Invaders. male population of Manhattan. Jean Keep watching the sky. pressed dreamer finall y blossoming in Rhvs would have loved this movie. • middle age, lent the film a unique, tart • Bill Murray. Unbeknownst to pro- emotionalism. Perhaps if the movie had Philip Schuman. An even darker fessional trend-watchers, styles of pop horse. Schuman made two films in 1981 heroism in America are changing. Of all been a French import, carnivorous that rank with the best in their respec- the mega-hit movies of 1981, only tive, puny genres: the on-set documen- Stripes was a triumph of sheer star critics could have overlooked a miscast tary The Making of 'Raiders of the Lost power. I n Ivan Reitman's punk-reac- Ark' (broadcast nationally over PBS) and tionary service comedy, Murray's Barbra Streisand. If Tramont is never the hard-core porn feature Randy, The cooled-out, mock-smarmy mannerisms Electric Lady. The latter is a priapic sci-fi became the expressive resources of a ro- allowed to make another movie, you'll farce that boasts a screenplay by the mantic leading man. And Murray can grand master of high-spirited filth , Terry get away with outbursts of flag-waving know who's to blame. Southern. Unfortunately, Randy wasn't patriotism that other leading men would a hit with the raincoat crowd, and very choke on. In Stripes, he makes jingoism • few other people would have been seem the latest thing in hip attitudes. caught dead looking at it. Pornography, And isn't it? Powers Boothe. A performer with in case you haven't heard , is anything but chic these days. • Boothe's reserves of smoldering men- • Penelope Spheeris. While still in her ace, not to mention his effortless knack 30s, Spheeris was far enough up the Jack Nicholson. His performance as Hollywood ladder to produce Albert for magnetizing a movie camera, is not Eugene O 'Neill is the only really excit- Brooks' innovative comedy Real Life. ing element in Reds, an impeccable epic And then , to the consternation of her something one stumbles over every day. that very nearly \"carefuls\" and \"taste- chums, she dropped out. A year was fuls\" and waffles itself to death. There devoted to filming concert and inter- In 1980 he was Jim Jones on TV. Last hasn't been a hint of this sort of concen- view footage of L.A. 's hard-core punk trated force in icholson's work since bands, outfits like Fear, X, and The year he was the dark heart and soul of One Flew Over the Cuckoo's Nest , and it's Circle Jerks. Her movie, The Decline of nice to see him burning holes in the Western Civilization, is tight, compelling, Walter Hill's brilliant, sterile Southern screen again. Promising prospects, in- deed.® Comfort. Rumor has it that Boothe will soon playa hard-boiled private eye in Hill's version of the James Crumley thriller The Last Good Kiss. Indeed , Boothe could easily become an action film icon on a par with Bronson and Eastwood, if that's what he 's after. But I hope he'll aim higher. • John Guare. Witl this year's answer to Steve Tesich turn into next yea r's an- swer to Steve Tesich? Although Atlantic City obviously owed a great deal to Louis Malle and Burt Lancaster, playwright Guare (House ofBlue Leaves) provided a deft, whimsical structure and characters with distinctive, written voices. Pray that Guare's next screenplay isn't Four Friends II. • William Hurt. In spite of the bare- Powers Boothe. Penelope Spheeris. S3

1981 And CAN'T THEY WRITE GOOD MATCH THE 'REMAKE' PARTS FOR MEN ANYMORE? WITH THE 'ORIGINAL' The French Lieutenant's Woman Mommie Dearest 1. Four Friends Only When I Laugh 2. Paternity Raggedy Man 3. Stripes Rich and Famous 4. Time Bandits 5. Victory ONCE A YEAR SHE ACTS IN 6. Any film written by ONE OF HER HUSBAND'S MOVIES AND MAKES 3 Lawrence Kasdan MOVIE CRITICS DELIRIOUS a. At War With the Army b. The Great Escape c. Invaders from Mars d. More American Graffiti e. The Tender Trap f. Any film made between 1930 and 1950 NOTHING LIKE A FUNNY CAR CRASH TO CAP A GREAT COMEDY The Cannonball Run Honky Tonk Freeway Stripes They All Laughed Richard Corliss Anne Thompson David Chute 1. The Mystery ofOberwald In alphabetical order: 1. BodyHeat 2. Thief Atlantic City 2. All Night Long 3. Reds BeauPere 3. Atlantic City 4. Napoleon Body Heat 4. Time Bandits S. BodyHeat The Mystery ofOberwald S. Blow Out 6. Excalibur Napoleon 6. BeauPere 7. Raiders ofthe Lost Ark Over the Edge 7. Strange Behavior 8. Let There Be Light Passion d'Amore 8. Messidor 9. Taxi zum Klo Raiders ofthe Lost Ark 9. The Howling 10. Alligator Reds 10. Stripes Time Bandits S4

That WHATEVER HAPPENED TO: The German art-film boom? The Canadian money-film boom? The annual Clint Eastwood movie? Film titles that started with \"The\" ? The third version of Heaven's Gate ? GOOD BOY, MR. CHIPS! James Cagney in Ragtime . ACOPPOLYPSE NOW: Henry Fonda and Katharine Hepburn In THE CASE OF On Golden Pond THE VANISHING STUDIO Francis Coppola's Zoetrope: One from Fred Astaire, Melvyn Douglas, Douglas the Heart , Hammett , The Escape Fairbanks J r. , and John Hou seman Artist, The Black Stallion-II in Ghost Story THE GOLDEN PACIFIER 32 octogenarian \" witnesses\" in Reds FOR METHOD YOU BECOME THE Billy Wilder's ' THUMB-SUCKING PARENT YOU HATE Buddy Buddy Bo Derek in Tarzan, The Ape Man Francois Truffaut, critic: George Cukor's 1B~ro~o~k~e....::S~h~ie~l~sd~~in~E~n~d~l=.:es~s...!:L::::o:..:v.::..e---'!!!!!!!!!:...!...!...!.!...-'--~~T \"A Certai n Tendency in the Rich and Famous John Huston's French Cinema, \" 1954 Victory and Annie Francois Truffaut, fil The Last Metro , The Woman Nex t Door, 1981 THE LORD SIR LEW GRADE AWARD FOR SUICIDAL GENEROSITY TO FILM ART The nominees are: ->]'I\\l~~ Filmways (BlowOut, Priest ofLove, Four Friends) '~~\"\",....,JJ Lorimar (Love and Money, The Postman Always Rings Twice, S.O .E.,Second- HandHearts, Victory) Time-Life'Films(FortApachetheBronx, Loving Couples, They All Laughed) ~~~~ And the winner is .. . Lord Sir Lew Grade! (Honky Tonk Freeway, etc., etc. , etc ,) -S.H.&R.C. Richard T. Jameson In alphabetical order: Elliott Stein Amor de Perdicao 1. Cutter and Bone Cutter's Way Not in order of preference: 2. Atlantic City Gal Young Un Ms. 45 3. Reds Hardly Working Cutter's Way 4. Chariots ofFire India Song The Funhouse 5. through 10. in alphabetical order: Mommie Dearest S.O.B . Excalibur NumeroDeux Pixote Eye ofthe Needle Reds Spetters Gal Young Un Shock Treatment Taxi zumKlo The Hand Taxi zumKlo Bhumika (The Role) Rich and Famous S.O .B . Chandralekha Ajantrik (The Mechanical Man/The As of 9:02 P.M. December 14 Pathetic F 55

by Jonathan Rosenbaum us up-thereby banishing him from chestrate spectators' feelings with very most of the restricted genre and market little content \"). When it turned up at 1. \"This is a movie, a way to speak. It classifications designed to protect us New York's Collective for Living Cin- from his scorn, under avant-garde and ema just before last Halloween, only a is bound, like all systems ofcommunica- mainstream umbrellas alike. In a man- smattering of curious people showed up tion, with conventions. Some of these ner that seems exasperatingly and ines- for the event, and a good handful of are arbitrarily imposed, some are im- capably American, that alternately these walked out during the first fifteen posed by economic or political pres- warms and chills my blood, Jon Jost em- minutes. To the best of my knowledge, sures, some are imposed by the medium bodies the dangers, limitations, and in- no New York publication deemed the Brezhnev, Carter and Schmidt in Stagefright. Tom Blair in Last Chants for a Slow Dance. itself. Some of these conventions are transigent strengths of isolation more film worthy of review-although an at- necessary: They are the commonality graphically than any other contemporary tack on the accompanying short, Godard through which we are able to speak with independent I know-with an authen- 1980, which managed to get its title one another in this way. But some of ticity whose challenges often leave a dis- wrong, appeared in The Soho News these conventions are unnecessary, and turbing aftertaste. twelve days later, by a reviewer who not only that, they are damaging to us, smugly concluded, \"I wish I could get a they are self-destructive. Yet we are in a An anarchist outsider by self-defini- crack at re-editing this footage .\" bad place to see this. We are in a the- tion, whose impossibly slim budgets- ater.\" Jon Jost, addressing the camera $2,500 for Speaking Directly, his first \"Personally, I much prefer to show and spectator in Speaking Directly feature, in 1972-73; $3,000 for Last my films in provincial places,\" Jost told (1974). Chants for a Slow Dance, his third , in me in Hoboken a couple of days later, 1977-are offered like tart reproaches to interpreting the Stagefright walkouts as • other filmmakers; Jost has tended to New Yorkers being trend-conscious and amass a reputation more than a following fad-oriented. \"I'd rather do a show in 2. Despite five substantial and in in the U.S. (In England and, more re- Omaha, because I feel people are more many ways remarkable features under cently, Germany, he appears to have receptive there. It's the contrary of what his belt since 1974, and nineteen shorts somewhat more clout.) people say.\" since 1963, Jon Jost at 38 is still a long way from becoming even an arcane His most recent and (by far) most ex- • household name in this country. Not perimental feature Stagefright was shot that he makes it easy on anyone. His for German TV in a somewhat Dr. Ma- 3. Filmography (includes only films originality, technical virtuosity, and po- buse/Strangeiove spirit (\"I wanted to with available prints, all available from litical sophistication have all tended to lock actors in a black room for four days Light Communications, P.O. Box 315, work against him by showing the rest of and see what would happen ... and or- Franklin Lanes, N.J. 07417): 1964- City (short). 1967-Leah, Traps (shorts). 56

1968-13 Fragments & 3 Narrativesfrom had already been deeply affected by dif- as she exits, playing with our sense of Life (short). 1969-Susannah's Film ferent attitudes toward collectivity spatial balance and perspective.) \"Then (short). 1970-Fall Creek, Flower which I'd been exposed to in Paris and it's basically the same thing, but dealing (shorts).1971-Primaries; A Turning London, I was at once attracted to and with facial expression. First, he's sort of Point in Lunatic China; 1, 2, 3, Four; repelled by Jost's entrenched, lonely spastic, then he goes through some ele- Canyon (shorn). 1972-A Man is More position, which seemed imbued with mentary expressions, like fear and sur- Than the Sum of His PartslA Woman is a cracker-barrel spirit that reeked of prise. Then he walks off, and next you (short). 1974-Speaking Directly: Some Thoreau as well as Mailer. As I put it in American Notes (feature). 1977-Angel Sight and Sound: see this actual mirror image where he City (feature), Beauty Sells Best (short), smiles and frowns to himself. The hand Last Chants for a Slow Dance (Dead End) \"I'm wary about the lure that can be comes in, the camera drops down-I (feature). 1978-Chameleon (feature). exerted by this brand of all-American wanted to suggest that expression takes 1980-X2: Two Dances by Nancy Karp, confessional-the note of cranky indi- some kind of self-consciousness. But Lampenfieber, Godard 1980 (shorts). vidualism which dictates that all the the mirror itself doesn't produce a dia- 1981-Stagefright (feature). most well-worn discoveries have to be logue or drama. reasserted anew, like home-made appli- • ances, as if no one had ever thought of \"In the next shot you see his face on them before. It's the precise reverse of one side and his infinitely repeated im- 4. My own first encounter with Jost's that assumed tradition of several centu- age in a mirror on the other side .... work came when I saw Speaking Directly ries, languages, and ideologies lurking Then comes a mock mirror shot when at the Edinburgh Film Festival in 1975, behind every gesture which I find in he smiles and frowns at once, and you which I wrote about at some Iength- Straub/Huillet. An American and con- get the introduction of conflict. You no along with Jean-Marie Straub's Moses temporary of Jost, I'm constantly longer get a mimicking, but a disagree- and Aaron, Michael Snow's \"Rameau's tempted to indulge in this rhetoric- ment.\" (After the same actor applies Nephew'\" by Diderot (Thanx to Dennis what else am I doing now?-which may paint to his face, there's an enormous Young) by Wilma Schoen, and Chantal give me a high tolerance for it, extended close-up of his mouth making lip and Akerman's Jeanne Dielman, 23 Quai de then guttural sounds, again moving to- Bob Glaudini in Angel City ... and Chameleon. Commerce-1080 Bruxelles (it was a further by a familiarity with the lifestyles wards greater muscular control.) \"I like meaty year)-in the Winter 1975-76 and idioms.\" the very end, when the camera pulls Sight and Sound. Made in Oregon and back and his expression really looks like Montana, it's a materialist exposition of • a Francis Bacon character. Then he's got all that the act of filmmaking entails; I clothes on-another level of conscious- can think of no other film like it. As a 5. The strange fruit borne by this ness and repression at the same time.\" radical critique of America in the early (Eventually he pulls out a book and Seventies, it is as essential a document, maverick stance in Stagefright belongs to reads a Serbo-Croatian myth.) in a way, as the collectively made Winter no acknowledged filmic or theatrical tra- Soldier (1972)-a straight record of the dition save the magical, yet Jost clearly \"Then you go to the alphabet that confessions of war crimes given by intends the first section of it to be a you hear in different languages and then American veterans back from Vietnam \"kind of history of mankind and the see in animated figures-again, starting -although the experiences it bears wit- development of consciousness.\" No from the earliest ones and going up to ness to are distinctly different. (Jost was fooling; and as Jost describes it all, it's the story of Cain and Abel, in Hebrew. \" imprisoned in federal custody from very schematic. What follows is his ed- (Blood-or, rather, Godardian red paint March 1965 through June 1967 for draft ited description (with my added inter- -splatters over the Hebrew text, and resistance. ) jections): there's a dissolve to a close-up of a woman whose face bears an animated At the same time, I had certain doubts \"You see the woman's body-egg- cartoon of changing make-up while one about Jost's self-willed isolation as it shaped, beginnings, right? Then she hears an audience working itself up into came across in the film. Writing from the sort of stumbles around and finally get rhythmic applause. End of section.) vantage point of an American who had up on her feet, and by the end of the been living abroad for six years and who sequence she's got her body under con- It seems to me that Stagefright is your trol, and she knows it and she smiles and first film that isn't about America. she walks off-screen.\" (A man suddenly enters the frame from another direction 57

Yeah, it's the first one that isn't deal- walks casually along a beach, is reflected joined by a third. ing with a specifically American back- in Jost's own frequent laughter, which Supposedly unable to find a job, al- ground or context. It's not dealing with some find unsettling. The hero of Last the German one, either-it's dealing Chants for a Slow Dance, played by though we never actually see him looking with the universal one. It's not a pretty drama teacher Tom Blair, exhibits a for one, Tom is cackling away to a male picture, I agree .... I was just trying to more advanced case of the same manic, hitchhiker in the opening scene about how deal with a more primal form of politics. inner-directed cackle.) he \"can smell pussy a mile away.\" When Most people wouldn't refer to it as poli- he asks, \"Hey, you got pussy waiting for tics, but to me it is. If the prime human • you?\" and the younger guy responds un- story is that we murder one another, easily, \"I got a girl-I don't think of her that's definitely a political story-but I 7. Are all yourfilms distributed by you? like that,\" Tom starts to get pissed off, was trying to phrase it in more primal Yes, and it'll remain that way. There gradually working himself up into a rage: terms, that this is something having to are distributors in America who would \"Fella, all girls are pussies . ... You ain't do with some very fundamental quality now like to handle my films. Unifilm one ofthose funnies, are ya?\" Before long, of the human species. And I was trying wanted to take them all. But then I he's ranting that he's paidfor his truck with to deal more on those levels and deal asked, \"What are the terms?\" \"Oh, you his own money, doesn't have to give any- with it so that the viewer received it the provide the prints, we take sixty per- body a lift ifhe doesn't want to, stops, and way you receive primal things-more on cent.\" I said, \"How many bookings can asks the hitchhiker to get out. Throughout the subconscious level. you get me a year for all four features?\" this one-take sequence, the camera, after \"Twenty-five.\" We11-I can get on the focusing on the moving highway, pans That somehow seems more Germanic phone and do that in a week. There's no over to take in first Tom and then the rider than your other movies. distributor in America who's willing to as well; the following long take pans be- take me until maybe I'm on the cover of tween Darleen in front of the bathroom Well, in a very real way my politics Time Magazine or something. [Laughs.] mi\"or and Tom standing beside a door have changed. Hopefully, they will con- behind her. ... After two encounters in his tinue to change as I learn more things. Stagefright. travels-with a hippie and a woman he picks up in a bar-he winds up killing a • Then, all of a sudden, I'll become of man he encounters on the road with car interest. Which I find embarrassing to trouble, for no apparent reason apartfrom 6. \"In all my films, I'm always testing some degree. I mean, there's no reason the pretext oftaking his wallet.) the limits of the audience. In Angel City, why Last Chants for a Slow Dance it was the part where he picks the jigsaw shouldn't book as well as a lot of Fass- • puzzle apart and gives you a very frontal binder. It's certainly no less accessible. lecture about what you get when you get 8. It seems to me that Last Chants is a story. He tells you what the etymology (I agree . At once the easiest and most one ofthefew films that combines elements of the word 'story' is, that it comes from disturbing of lost's features , and to my of structural filmmaking with a whole 'history,' that its origins mean 'to know. ' mind the best, Last Chants conceivably other tradition that's more verbal and is Then he gives a lecture about how story gets closer to the mentality ofthe alienated closer to someone like Godard. And the -as we think of it, fiction-means and seemingly motiveless killer than either structural and nG\"ative aspects set up a knowing the wrong things. Like, Rexon Mailer or Capote. Broken up into ex- very interesting tension between them in is a phony company when we should tremely long takes-some of them accom- relation to things like duration. I'm cu- talk about Exxon, the real one, right? panied by original country-western songs, rious, in any case, what structural films written and sung in part by lost himself, you've seen and how you relate to them. \"Then he walks offscreen, and you which are a lot more authentic than those just have this rather beautiful but barren in Nashville-thefilm chronicles the aim- I've hardly seen any. What little I've shot of the blue of the swimming pool, less wandering of Tom Bates in his truck seen strikes me as technical exercises, so with a woman's corpse laying on the around Montana , stopping only once to I end up not being too interested-or ground. And that's the point that's hard- see his embittered wife Darleen, living on I'm interested only if there's some tech- est for audiences, for two reasons. One is food stamps, who informs him during an nical thing I can learn from it. that they're being shown a long, static uglyfight infront ofa bathroom mi\"or that shot where the lead actor [Bob Glaudini] their two accidental kids are soon to be Have you seen any of Michael Snow's walks offscreen, and meanwhile they're films? getting a lecture about something they don't want to hear about. They don't Just two days ago in Pittsburgh, I saw want to hear about the real names, or a reel of The Central Region, and then I somebody telling them that they don't saw Wavelength for the first time. want to hear.\" Did they seem like technical exercises to (Angel City-a comic hard-boiled de- you? tective story intermixed with an elabo- rately detailed social, political, and Well, I didn't get bored with Wave- economic critique of Los Angeles-cost length, but I also didn't think it was all a little under $6,000 to make. Jost's om- that wonderful a film. A lot of the visual nipresent gallows humor, extending to intrusions struck me as arbitrary, just sort such sequences as an actress, who later of fucking around, mainly to maintain becomes the corpse beside the swim- your interest visually-all those filters ming pool, undergoing a screen test for a and multiple printing things. It occa- Hollywood remake of Triumph of the sionally got a very striking visual effect, Will, or a TV commercial for Rexon in but it struck me as arbitrary. . which the supposedly benign president What about the na\"ative intrusions? Well, they were there, but they were very skimpy, and then on another level 58

they weren't believable, because the hippie] was quite funny, so probably it out the room at night, turned on the TV, acting was so amateurish. It was very would have held without it. But for a crude that way. I mean, the idea was longer strategy in the movie, it was the and just shot it. interesting, and somehow, cumula- first step toward throwing it off this real- tively, you do end up watching it for ist mode. The intriguing thing is that you get two forty-five minutes. But I was surprised, after reading about it, by what I consid- Then it goes into a bar sequence, different time scales. ered the sort of sloppy way it was done. then the couple go up the stairs-which Yeah, there's the continuous take of All those flashes and the filters going is a multiple-image thing where their over it were a lot cruder than I'd thought image and their shadow become indis- the TV, which is fourteen minutes, and might be there. About the first reel of tinguishable. That's just a short shot, then the rest, which is twelve hours. You The Central Region, I dunno. It re- but it's usually one that's quite effective; see them fucking, and then there's this minded me of a shot in Speaking Di- I watch audiences, and one can just see real slow ninety-frame dissolve, and the rectly, the 3600 landscape. And I liked it this little ripple going through that says, light slowly fills the room, and the bed's -it was very sneaky as it changed your \"What is this?\" Then they go in the now different; he's sitting on it and mak- perspective. I remember having read bedroom, and here the strategy was on ing a telephone call, she's in the bath- years ago about those jumps that occur several levels. I knew it was going to be a room, and you can hear water running. when they changed magazines. I really very long shot-it's around fourteen Then when they come out and pass in wish I could have put a 7,OOO-foot reel minutes. There's a color TV on one side front of the TV set while it's still on, it on the camera. I find the cuts conceptu- (the left) in a black-and-white image, prints through them, and they turn into ally very disruptive. And I appreciate and you can hear the track of The Johnny ghosts. To me that had a kind of literary the technical problem, although he Carson Show, or whatever it was-so meaning, because in a sense they're not could h2ve dissolved them and masked you're listening, and it's kind of interest- there, mentally. them somewhat. ing, and at the same time you're subcon- But it was also part of the strategy to /'m curious about two sequences in Bob Glaudini in Chameleon. keep pushing further and further away Last Chants in which you hold a particu- from this realist mode. So by the time he lar fixed image for a long time. One's in a sciously trying to look around the door leaves her house, this whole thing with roadside diner, and the other's in a room on the other side of the set so you can see the mug shots (Tom looks at and reads with a TV set and adjoining bedroom. /'m them fucking. (As it is, one can see only \"Wanted\" notices in a post office, al- interested in how you arrived at these se- their feet.) Also, where the TV is situ- though we see only the notices and hear quences and what sort of function they ated, if you didn't have a wall there, him offscreen), and writing his postcards havefor you. For me, they both stretch and that's where their heads would be. That (again, in close-up, to Darleen), and the manipulate the narrative-illusionist pre- was like a discreet metaphor for what rabbit being killed (in excruciating close- cepts of the film in a very interesting way. their mentality was-this is the culture up this time with no discernible relation to (I like what Noel Carroll wrote about the they live in. And within the same shot, Tom), all of that has no plausible relation film, which applies especially to the Lauer there's also this compression of time, to narrative logic. What I was trying to sequence: \"Jost's strength in thisfilm is his because it starts off at night, and within do was put you inside the guy's head ability to portray the experience oftime of the same shot, although the TV program rather than have you outside looking at the lumpenproletariat who is outside the is continuous, it's morning. him. So it was basically a step-by-step regimented rhythm ofwork and sleep, who process away from a realist mode and lives without directions, schedules, and That's one of the things that reminded getting you into a psychic mode of some goals.\" ) me offilms like Wavelength. How did you sort. do that? To me, both sequences fall into a I tried to make an honest picture of a broader overall plan for the film, which It's ABC-rolled. One roll is nighttime small segment of American society. It was that it should start off seeming to be black-and-white stock, one roll is day- was definitely an outgrowth of my two in some sort of realist mode. I. wanted to time black-and-white stock, and they're years in prison, where I met lots of peo- start off with that and then slowly push dissolved together. The third roll is the ple like that. And I'm interested in those the viewer off that axis. The first signifi- color Tv. All I did was put a black piece characters. It has some connection to the cant place where that happens is the cafe of paper over the color TV while I shot Gary Gilmore case, which had hap- shot, which is a black-and-white shot the black-and-white. Then I blacked pened the previous yeal. with the word \"cafe\" in red, done as a multiple printing. I shot the black-and- • white shot, and then I slept in the place overnight and shot the red cafe neon 9. (Chameleon, my least favorite Jost sign that was in the background, al- feature, brings back Angel City's Bob though in the picture it reads as being in Glaudini, this time playing a Los the foreground. I knew it would create Angeles drug dealer who tries to con- confusion and be an ambiguous image. vince an artist to execute forgeries for Part of the reason I did it was I found .it him. Like Jost's other story films, it has a was going to be a relatively long take, narrative only in a quasi-deceptive and I have to throw in a little spice in the sense; like Stagefright, it seems image to make you go with it. As it freighted with a great deal of literary turned out, the improvisation that the allegory.) actors did [a scene between Tom and the I read somewhere that the initial ideafor Chameleon came from a shot which you weren't able to do in Angel City. It had something to do with color, I think. And I remember the changing color backdrops during the screen test in Angel City. Yes, and you see the same thing in the S9

. make-up shot in Stagefright. Actually, I right before Tout va bien. Later, a local \"My experience with Godard is that think what you're talking about is some- newspaper quoted him as saying ofJost, he's a lot more mellow than he used to thing I wound up not being able to do in \"He is not a traitor to the movies, like be,\" Jost told me in Hoboken. \"He's Chameleon, either. I was talking about almost all American directors. He makes much better with audiences in answer- the scene in the art gallery [with Gene them move.\" To the best of my knowl- ing questions-he doesn't get sucked Youngblood], where each shot has a dif- edge, Godard remains the only interna- into stupid arguments that aren't going ferent color. And originally what I tionally well-known filmmaker, living or to help anybody. I think he's learned a wanted to do was have a continuous dead, whom Jost respects, at least as a lot. Like I know when Sauve qui peut (la take, where the printer would step you filmmaker. (He has supported several vie) went to London, a lot of people through the spectrum. And the reason I lesser-known filmmakers in both Amer- were upset, because they were still sit- didn't do it was because the continuous ica and Europe.) Significantly, when ting there theorizing in a dry academic take wasn't strong enough on its own, Jost was initially helping to set up a film way about things that Godard had al- and I had to cut some flat spots out of it. project with Nicholas Ray and Wim ready said goodbye to, eight or ten years Also, I probably would have had to Wenders in 1979, which eventually be- ago. \" scream bloody murder at the lab I was came Lightning Over Water (see Jost's with, to go through a light change every article in the Spring 1981 Sight and • forty frames. Because you could gradate Sound), Ray had already seen at least it so there would be no sense of steps, it one of Jost's film, Last Chants, but Jost 11. At the Collective, you were very would just take you right through the had not recalled seeing anything by Ray. critical of what Godard's interviewers spectrum. The lab I'm working with were saying. Are you critical of what now in San Francisco could do that. The seventeen-minute Godard 1980, Godard says also? produced by Framework Magazine in • England, shows Peter Wollen and Well, I just feel like-I'm a film- Framework editor Don Ranvaud inter- maker, and I can sympathize and under- 10. When Godard and Jean-Pierre viewing Godard, who, to their conster- stand a lot more what Godard's situation Gorin came to the U.S. with Tout va bien nation, backs away from endorsing his and thinking is. But as it was, he wasn't in the early Seventies, Jost arranged five own Dziga Vertov Group films and some getting asked good questions, because west-coast screenings and drove them to of his other earlier practices: \"For a Don and Peter had pigeonholed him. each one, after picking them up in the while, I made movies for other directors, And they were too much in awe of him. Seattle airport. Godard saw three of or people who wanted to be directors, He's just a human being; if you want to Jost's shorts in Eugene-Primaries, A who were my real audience .... Loneli- ask him a question, you don't have to Turning Point in Lunatic China, and 1, 2, ness could be good, but isolation is not apologize about it before you ask it. 3, Four-and wound up forcing the San so good.\" [Laughs.] Francisco Film Festival to show them There's one moment that's quite strik- ing, when Godard says that even though he Jon Last Chants for a Slow Dance Jost Jost's I.ast-known film and in many ways hi. most impressive. After the fireworks of Ang.1 City, he decided to prove that he could handle actors and narrative in a relatively conventional way - but at $3000 the resulting 'sUce of Americana' is far from traditional Formally a road movie, La.st Chant! covers several weeks in the aimle.. Ufe of a truc\"lent braggart before he murders a ldranger without provocation or motive. Jost uses hi. habitual long take. to encapsulate. string of brilliant set-piece., within a deceptively casual chronicle linked by hi. own country and western baDads. (90 min...teo ) Chameleon Speaking Directly Cha\"\",ltm uses many of the elements of An.....' City - the actor Bob Glaudini, here a pusher Like a I.tter-day Thoreau. }ost speaks from the \"The most important and con-man, and the LA world of image and American film of the rural \"\"\"Iation of Oregon and Montana - about influence - to concentrate more specifically on him...lf. his relationships with thooe he knows early 70's.\" David Jamea. Hi11eniu. Journal the polltio; of illusion. The hem chan!!\"\" colour p\"\",onally (his girlfriend) and those he knows (literally at times) as he sUps in and out of roles \"A unique to .uit the rich and. the gu~ble . ~ is a pa~ite only from the media (Nixon); he speaks abo and powerful film.\" who brings colour mto their duO lives and III Noel Carroll. Soho ~ee~ly doing so loses any identity he may have had. .bout his plo\"\" in the world and about the place Daring audiences to call its bluff, Cha....km was of America. then raining destruction on Vietnam. With parts of the film reserved for blown up to 35mm and played the festival friends to have their say - even for the .audience to discus, it - Jost tries to create spa\"\" for the cin::uit in 1978, furthering Jost's reputation and discourses normaUy excluded from documentary and fiction alike. The result is unique and largely confinning his claim tl)at moDe)' =aesthetics. (90 minu tea ) fascinating. probably the moot revealing film autobiography ever attempted. (110 II1nutes) NEW RELEASE STAGEFRIGHT (74 minutes, 1981) Angel City An.....' City tackles LA. the private eye genre and For bookings and information multinational corrorations - with an aside on telephone (201) 891 8240 60 the parallel. between Nazi cinema and or write: Hollywood - all on the absurd budget of $6000. The !r··....~i. . ()./·4·1 / But }ost makes a polemical virtue of poverty .s filmwork ). he alternates one-shot essays on the city. of capitalism and the movi... with the progress of Jon Jost his shambling detective investigating the murder of a starlet. The film gambles. successfully, on striking a bargain with the audience: things you never thought you 'd .see in a private eye movie in exchange for a senos of political lessons that would otherwise find no audience. (7S dn·)

hasn't been to Vietnam and lu:zsn't been What Peter and Laura wanted to do tially made to demonstrate that he could under a tank, he's been in a Paris traffic make well-acted and attractive-looking jam . And the moment he says this, wlu:zt was sit down and have a big theoretical story films for practically nothing, that seems to lu:zppen is tlu:zt Don and Peter his ultimate goal is to make \"e ssay films become, in effect, members ofa bourgeois conversation, and I don't think Godard for mass audiences.\" audience responding to a Godard film : they're embarrassed, shocked, speech- gave a shit. • Toward the end of Stagefright, afte r a lot more magic and allegory and reflec- less . 12. What are we going to do about tions about acting, an actor gets a pie Well, they were taken aback. And thrown in his face. The sequence slows Jost? One critic of my acquaintance who down until it becomes a meditation on a then Peter says, \"There are some ways nearly static image (pie-in-the-face) that in which it's the same, and there are hates his work has a simple solution for seems to last forever. After one feels other ways in which it isn't.\" To which ready to scream and is ready to howl for Godard says, \"For me it's just the dealing with his combined brilliance and blood-without ever looking away, for same.\" And I put that in because I think Jost is cunning enough to hold one\\ it's provocative-especially so for peo- asocial tendencies. She assumes that he interest with the visual tease of quick ple who have these political brackets intrusions, like a stopwatch and a screw- that they' re operating in. All he was say- steals his ideas from other films, then driver that enter and exit the frame- ing was that, with the subjective experi- Jost suddenly cuts to another shot, taken ence of being under a machine, it lies when he claims that he hasn't seen directly from a 35mm print ofHearts and doesn't matter where it is-if you've Minds . It's footage of a Vietcong suspect been under it, that's what it's like. those films. According to this argument, being shot at close range through the head and is one of the most powerful I hear this interview really affected there's a lipstick scene in Angel City and shocking eruptions of violence I've Peter's opinion ofGodard,for the worse . ever seen in a film. Like the killed rab- that's a direct lift from Flaming Crea- bit in Last Clu:znts, it both gratifies our Well, there's another part of that, too . desires for meaning and action and Because he and Laura [Mulvey] went tures, and the black studio space of shows the resultant blood on one's hands out to dinner with him, and he didn't say in the process. As long as Jost goes on anything. Stagefright comes straight out of Le Gai making more films just as truthful, I don't expect him to win any popularity I hear tlu:zt he did the same thing in New Savoir. York with David Denby. It makes sense . As contests,\"~!.~ far as I can tell, Godard isn't especially I think that Jost tells the truth and friendly or warm to critics who consider themselves stars. hasn't seen either of the above films- which doesn't exactly prevent his work from remaining problematical, either. (In Hoboken, where these issues seem to matter less, he admitted that the opening shot of Godard 1980, which frames Godard from behind, comes di- rectly from the opening of Vivre sa vie.) Jost openly admits that all his films are mainly part of a learning process, that he wants to get a foothold (or even a toe- hold) in Hollywood , that Angel City and LastClu:znts, and Clu:zmeleon were all par- AN EXPANDED PERSPECTIVE ... '~\" '~\" '~\" ------»'\" »'\" »'\" NNN 000 000 .N0..,0._..0,M..0., A FILM QUARTERLY Volume 4 of Wide Angle features Alfred Hitchcock, Melodrama, Film and Culture, and the current issue on French Cinema Articles in the French Cinema issue range from covering Renoir in the Thirties to French mm during the occupation to the New Wave , including an interview with Fran~ois Truffaut. In Volume IV, Sam Fuller and Nagisa Oshima are interviewed; the Hitchcock issue stresses sexuality and authorship ; Melodrama analyzes women's issues; Film and Culture covers perceptual, historical, and psychoanalytic approaches. 61

Christopher Durang's uiltyPleasures by Christopher Durang Of those films, Going My Way nation of musical acuity, coquettishness, (1944, Leo McCarey) is the most criti- and nunly narcissism. ~Iess me, Fathe<, fot I have sinned, cally admired, I guess, and I do like Bing it's been twelve years since my last con- Crosby and Barry Fitzgerald and the I also think the ending is good in a fession, these are my sins: I like The scene with the 80-year-old mother re- mixed-up, corny sort of way. Sister In- Song of Bernadette and The Bells of St. turning at the end. And I rather like The grid, who has disagreed with Fr. Bing Mary's, I think Ingrid Bergman is very Song of Bernadette (1943, Henry about various things for the whole attractive as a nun, I like A Man Called King) because ofJennifer Jones and be- movie, is being transferred from the Peter even though it's about an Episco- cause anything with the Blessed Mother school she has just helped to build, and palian, I've missed Mass 624 times, I've appearing in it is usually fun (though feels heartbroken. Nuns and priests in written plays about Catholicism that my Linda Darnell was a very impious choice life always made a big point to us chil- relatives do not care for, and I like weepy to play the Virgin in my opinion; I feel it dren that they must never get too at- movies if they star Vivien Leigh, Jenni- should have been my mother). And I tached to any place or person because fer Jones, or Jean Simmons. like all the clerical discussions poor their real life was the next one, and be- When I was a parochial-school child in Bernadette must listen to about how the cause the Bishop could move them New Jersey, the Dominican nun who B.Y.M. would never say, \"I am the Im- about at whim at any moment. So being was the principal would rent Catholic- maculate Conception\" (which is the transferred from a place that she loved related Hollywood movies several times Catholic equivalent of \"I'm ready for my was a real issue for a nun. (Audrey Hep- a year. All the classes would be canceled close-up, Mr. DeMille\") but rather burn faced the same problem in The for the day (Who made you? Why did would have said, \"I have the Immacu- Nun's Story (1959, Fred Zinnemann) God.make you? What are the chief grain late Conception\" or \"I was born with the when she wanted desperately to go to products of Venezuela?), and the entire Immaculate Conception\" or \"We had the Congo, and they kept sending her to eight grades would gather in the school faces then; which is the way to Fatima?\" mental institutions in Brussels. It's hard cafeteria to be shown these films. Much But still the film I like best of that lot is being a nun.) to this Sister's credit, I don't think she the worst of them (not counting The felt that these movies would be benefi- Black Knight): The Bells of St. Mary's So Sister Ingrid prays and prays at the cial to us; I think she just liked movies. (1945, McCarey). altar to accept God's will and not hate Fr. (She also liked musicals, and twice a Bing for transferring her, but seemingly year would have the school put on very First of all, Ingrid Bergman is smash- she can't give up her anger. As she elaborate variety shows using Broadway ing-looking as a nun, and I disagree with leaves, Fr. Bing (well, Fr. O'Malley, as show tunes. Many of the mothers ob- James Agee's crack that she can't com- in \"Dial 0 for. .. \") calls her aside and jected to how \"worldly\" some of this pete with Barry Fitzgerald for sex ap- tells her that she is \"perfect,\" but not was, especially one number that, I real- peal, though I agree with his comments physically; she has a touch of tubercu- ize in retrospect, dressed the fifth-grade that \"she has and uses a lot too much to losis and that that's why she's being sent girls as sort of hookers, though as Sister playa Mother Superior, comes painfully away, to recuperate; and that she can correctly pointed out there is no other close to twittering her eyes in scenes return as soon as she's well. Sister Ingrid way to do \"Luck Be a Lady\" with fifth- with Crosby, and, in general, I grieve to cries, hate leaves her heart, and she grade girls.) say, justifies a recent piece of radio pro- floats out with the other nuns to the Anyway, the movies she showed us motion which rather startlingly de- waiting mist, happy to start her recuper- that I remember distinctly were The scribes a nun: 'Ingrid Bergman has ation. Ofcourse, in a religious sense, she Bells of St. Mary's, The Song of Berna- never been lovelier, hubbahubba- should have accepted her transfer with- dette, Going My Way, and, for some rea- hubba.' \" Agee also decries the movie's out bitterness no matter what, but if I son, The Black Knight (1954, directed use of the \"romantic-commercial values wanted Robert Bresson, I wouldn't be by Tay Garnett) with Alan Ladd, which of celibacy.\" Well, of course, he's right, had nothing to do with Catholicism and but that's why I like the movie. I love •watching this movie. which ended in a thwarted attempt to the moment when Sister Ingrid is play- The guilty pleasure of liking The Bells make a pagan sacrifice of Patricia Me- ing the organ while the other nuns go of St. Mary's is clearly a liking tied up dina in what looked to be Los Angeles or \"ding dong ding dong\" and Crosby with having seen it in childhood. I'm Stonehenge. burps out his mellow \"the bbbells of St. sorry to say I have some liking for things Mmmary's,\" and Sister Ingrid cocks her I saw in junior-high years as well. head and smiles to herself at the sound of his voice, her expression some combi- When I was in seventh grade, NBC started to show \"Saturday Night at the Movies,\" and I became quite enamored 62

of the Fifties films of 20th Century-Fox (and still am) to learn that. Ethel Mer- disgrace as a woman when she gIves which they showed weekly, for in- man and Marilyn Monroe made a movie birth during her Papal coronation. Con- stance, Titanic (1953) with Clifton together, and got to sing about sixty Webb and Barbara Stanwyck. I can songs each. There's a priest angle in this fusingly, this story is framed by a mod- never manage to sit though the British film too; the son of Merman and Dan ern segment in which a confused. Miss version, A Night To Remember (1958), Dailey, played by the inexplicable Ullmann wanders about Central Park which is supposed to be a good film; but Johnny Ray (a near relative of the Com- with psychologist Keir Dullea, telling I'm always riveted by the creamy black- parable Hildegarde?), takes a walk him her belief that she is Pope Joan and-white histrionics of Jean Negu- around the corner during a family gath- reincarnated. In any case, when I heard lesco's Titanic . ering, and comes back and renounces of this movie, I made a beeline for it and show business for th~ cloth. And I liked had a very jolly time. I wish Home Box In that film, Webb and Stanwyck's five minutes of Woman's World (1954, Office would play it soon. marriage is falling apart because he likes Negulesco) when Lauren Bacall and dinner jackets and the proper fork, and Fred MacMurray argue in the Lincoln Another film I enjoyed in the wrong she feels he's giving their children wrong Tunnel because it reminded me of my spirit was Pier Paolo Pasolini's 1968 values. He threatens to take the children parents arguing in the Lincoln Tunnel. Teorema. (I should feel very guilty with him , and she then reveals that his about this one probably, since Pasolini is son is not his son. At which point Webb • considered by many to be a great film- refuses to have anything more to do with maker, and I haven't really seen too the poor little boy, who's very baffled, Childhood connections aside, some many of his films , and have particularly although it ends \"happily\" with the little of my later guilty pleasures are for films avoided Salo as I always try to avoid boy, having been drilled in politeness by that are preposterously ill-conceived or movies in which people eat steaming Webb, giving up his seat in the lifeboat have gone very, very awry. (This is a sort bowls of feces.) Teorema is Catholic or to some faceless immigrant woman ; of camp liking, I guess.) One of these is Marxist or something, but I enjoyed it Webb and the child are reunited in love Pope Joan (1972, Michael Anderson) on its literal level as a lunatic story about and death , and go down to the bottom starring Liv Ullmann. (A critic reviewing a handsome stranger (Terence Stamp) singing \"Nearer my God to Thee.\" And the film at the time said that, in the light who wears blue sweaters and who arrives speaking of God , there is also on board a of this film, Forty Carats, and Lost Hori- at a house and one by one seduces the drunken priest (Richard Basehart) who's zon , Miss Ullmann appeared to choose wife, husband, daughter, son, and maid. just been excommunicated or some- her American vehicles with the judg- Given the gravity with which these se- thing, and he and Stanwyck share mo- ment of a kamikaze pilot.) In Pope Joan ductions are undertaken and received , ments of despair together. He redeems Ullmann plays a nun who , in order to he clearly represents God or Billy Budd himself by going into a boiler to hear the avoid a band of ravaging Visigoths who or the Ghost of Christmas Past, or per- confessions of the trapped men right be- are attacking Mother Superior Olivia De haps he's just a friendly guest. I am fond fore it blows up. \"For God's sake, don't Havilland and the other nuns, cuts her of the scene of his leavetaking when he go down there ,\" someone says to him hair and dresses as a monk. As a monk bids goodbye to the mother, father, right before. He replies, \" For God's she becomes very popular and influen- daughter, son, and maid, and then, intri- sake, I will.\" Now that's writing. tial in the Vatican and is eventually guingly, pats the dog on the head. For elected Pope, though she is revealed in those of you who don't know how the I also liked There's No Business story ends, bereft of Mr. Stamp, the Like Show Business (1954, Walter daughter becomes catatonic, the mother Lang) because I was thrilled as a child cruises the streets compulsively for 63

., young men, the son becomes an abstract 1 painter and urinates on his paintings, the father takes his clothes off in a railway station, and the maid eats nettles and levitates for a while until she is buried in molten ash of some sort, only her eyes visible, surrounded by little puddles made from her tears. Very odd. • My final sort of guilty pleasure film is more straightforward. I have a real liking for weepy, sentimental movies, what used to be called \"women's films.\" I have yet to be drawn to Douglas Sirk's critically admired weepers, probably be- cause I'm not drawn to some of the ac- tresses he uses (Jane Wyman, Lana Turner), and probably because his Fif- ties garish style doesn't spark my roman- tic musings. The weepers I like tend to feature sad-eyed women-often British or at least soft-spoken-who speak in sad, sensitive cadences. They rarely ac- tually cry, but they are accompanied by very melancholy musical themes wher- ever they go. Jean Simmons is one of my favorites. She walks somberly through Robert Wise's Until They Sail (1957) in a sta~e of rueful calm. All the men have left Australia to go fight World War II, and the women are lonely and, well, restless. Piper Laurie rushes to the big city and sleeps around. Sandra Dee fiddles with puppy love. Strait-laced Joan Fontaine \\ I1. Audrey Hepburn in The Nun's Story. 2. Going My Way. 3. Pope Joan. 4. Jennifer Jones in The Song of Bernadette. 5. Bing Crosby and Ingrid Bergman in The Bells of St. Mary's. 6. Ethel Merman and Marilyn Monroe in There's No Business Like Show Business. 7. Clifton Webb and son in Titanic. I

unfreezes a bit and gets pregnant, but try to buck-up while the man of the fRESH HOT SENOS3 it's true love and they get married and house is overseas, fighting World War II. VIDEO EVER! she's happy. At the end of the film Jean Jones starts out with a crush on her uncle TO GO! Simmons walks around by the ocean Joseph Cotten, but then has a grown-up looking sad and alone; she eventually romance with Monty Woolley's shy rJiit gets Paul Newman, I don't remember grandson Robert Walker. There's a how or why, except that in a Jean Sim- pleasingly unnecessary-to-the-plot seg- (MDmMOOm) mons film the hero normally realizes ment in this long, long movie in which that, though Piper Laurie may be excit- Walker and Jones meet a handsome Gefs 'em 'irs ! - ingly depraved and Sandra Dee appeal- sailor (Guy Madison) at a bowling alley, ha s ' em ../I ' ingly immature, it is romantic gravity, and the three of them wander around gentleness, and existential tact that mat- the town together, having ice-cream Movies Unlimited has 'em all: ter most in a relationship, and that's why sodas and worrying about dying in the it is Jean Simmons one always falls in war and whether people should get mar- • Hot new titles. Movie classics· ScI·FI love with. ried anymore with that danger. The next day Jones and Walker romp about in the • TV shows· Cartoons. Cult classics (Robert Anderson wrote the screen- countryside (lots of hay), and then he play for Until They Sail, and the exquis- goes off to war. She accompanies him to • Specialty 81 collector's items itely sensitive woman playeq by the station and, unable to quite bear his Simmons is very similar to his Deborah leaving, keeps running with the train, ~N1 rra~ Kerr character in Tea and Sympathy, play talking as long as she can (a scene which and film. He also wrote the aforemen- was briefly parodied in the beginning of Add an extra $1 for our tioned and excellent The Nun's Story, in Airplane!). Her overintensity makes the sizzling Adult Video catalog or which Audrey Hepburn was an exquis- scene and the film quite memorable, send $1 for our super Super 8 catalog itely sensitive woman who was also a and I must admit I have this soft spot for nun. Every few paragraphs I feel I need these pull-the-stops-out, is-it-corny-or- (catalog fees refundable with tlrst orde\" to mention nuns, or this essay will have is-it-sorta-good? emotional scenes that no through-line.) Hollywood used to try to move the MOVIES UNLIMITED country with. I'm also quite partial to Jennifer 6736 Castor Ave.• Phlla., Pa. 19149 Jones, especially in John Cromwell's I also like Vivien Leigh in Waterloo Since You Went Away (1943). James Bridge (1940, Mervyn LeRoy) for her 215·722·8298 Agee called her performance \"overin- intensity and beauty, and also because I tense,\" which is probably true, but what seem to like plots where misunderstand- does he want, Farrebique? Jones and a ings cause terrible havoc (if only she'd 14-year-old Shirley Temple play daugh- known that Robert Taylor was alive, she ters to Claudette Colbert, and they all never would have become a street- walker), and because you have to either give in to a film whose theme song is ••••••••••••••• CINEMA CITY is a complete service lor ••••••••••••••• \"Auld Lang Syne\" or simply leave the cinema collectors. dealing with original theatre (or turn the TV off; I rather pre- movie posters . photos and related collect- fer these sorts of movies on TV). I also ables . Original motion picture graphics are like the close-ups (often very badly sought b~ collector's throughout the world . matched) of Leslie Caron and Horst Bu- Onglnal film posters are a unique remem- choltz staring at each other tragically brance of a memorable film . and because while that infernally yearning music of their limited number, may become fine goes on in the background of Fanny investment pieces . Many items . with the ir (1961, Joshua Logan), though I admit I distinctive artwork . make attractive wall can't actually sit through the film and decorations that are sure to be the topic of have to keep going into the kitchen to discussion among movie lovers. eat cookies or make telephone calls. And although Strangers When We All material is original - we deal with no Meet (1960, Richard Quine) is a differ- copies. reprints . or anything of a bogus ent sort of film than these weepers (it's nature . Our latest catalogue lists thousands not a tragic weeper, it's sort of a \"Red- of items Ihat include posters . photos (over book Looks at the Sex Urge in the Sub- 30.000 in stock) . lobby cards. pressbooks. urbs\"), I find it very satisfying to watch and other authentic film memorabilia. If Kim Novak glide around tentatively, you 're looking for a particular item that is not in our catalogue . we Will try to locate it talking in her hushed voice, trying to for you . To receive our latest catalogue . make her undersexed husband satisfy send $ t .00 (refundable with first order) to : her so she won't be forced to find solace in Kirk Douglas' cleft. ICiI/!!!! IE~\\A\\ 'Clllr'o/ For these and all the sins of my past P.O.Box 1012. Dept. Fe life, I ask pardon of God, penance and Muskegon . Michigan 49441 absolution of you, Father, please.~ 65

The 1981 Book ReVUe'------__ _~ Dr_.CyclOP_s. old-timer games is to the baseball to the motion-picture rule , the famil y- TV Movies writer. How can you really appreciate a crisis-and-personal-relationship drama big leaguer unless you have the full is the very bread and butter of the tele- Movies Madefor Television: The Telefea- picture on how hundreds of directors film. In this field , Schaefer does hon- tures and the Mini-Series 1964-1979, by have managed to survive in America's orable work. So do Delbert Mann, Alvin H. Marill, 399 pp., illustrations, most significant alternative to the stu- Daniel Petrie, David Greene, Gilbert indexes (title, actor, and director), dio feature film? More than ever, Cates, Guy Green, Frank Perry, and Arlington House Publishers, $29.95 Marill's book confirms that the telefilm Anthony Harvey. American film drama hardcove r/Da Capo Press, $14.95 pa- has been the Seventies' B (for Backlot) is richer because of these directors' per. movie, in which a few major-league tal- work on television. When they try to ents have worked within a tightly con- come back, however, they make some The American Vein, by Christopher trolled scaled-down cinema. of the worst motion pictures on the Wicking and Tise Vahimagi, 261 pp., market. A~ a correlation, Martin Ritt, director index, E.P. Dutton, $ 12.95 Like any backlot, the telefilm Si.dney Lumet, and Arthur Penn can (paper version out of print). means work. I cQunt forty~four tele- still surprise because they never ac- films in October-November 1981 to cepted being farmed down from the I'm looking at the titles of .the first about fifteen studio releases in the big leagues. 1000 telefilms as indexed under direc- same months. This year and every year tors in Alvin Marill's hefty, encyclope- the spillover is also considerable. Marill's feast of credits inspires three dic tome on made-for-television Take , for instance , Michael Mann's other snap categories, which indicate movies. The sweep of emotions is sur- Thief, Steven Spielberg's Raiders ofthe the telefilm scene is not that simple. prisingly strong. The sprawl junkie Lost Ark, and John Badham's Whose The following directors with distinct and the credit hoarder in me who spent Life Is It Anyway?-three 1981 theatri- theatrical profiles brought the same all those long, lonely hours scribbling cal features that .,cover most of the values to telefilms that they brought to names, titles, and dates off the tube points of the artistic compass of today's features: Don Siegel, Irvin Kershner, can begin to let go. \"We\" are not alone. studio filmmaking. For anyo ne ac- George Cukor, Daryl Duke , Jan Guardians like Marill-and a few pub- quainted with these directors' televi- Kadar, Tony Richardson , Michael Ca- lications which proved remarkably sion careers, the movies are not acci- coyannis, Franco Zeffirelli, and John easy to research and which will be dents. They are inevitabilities. A Korty. listed later in this review-are keeping cursory glance at all of 1981 's film re- a comprehensive list of who's doing leases also reveals that half the direc- I have an even sneak.ier admiration what to whom within that part of the tors have either worked in telefilms or for those who took the TV experience infrastructure of American cinema learned their craft in some other TV and ran , and they deserve to be ranked known as the television movie. format. Indeed, in the farthest ex- by excellence according to their smart tremes , some 1981 releases like David exploitation of a limiting medium: Mi- For the wo rking critic, especially the Lowell Rich's Chu Chu and the Philly chael Mann, Steven Spielberg, Ri- auteurist, an intimate acquaintance Flash , Alan Aida's The Four Seasons, chard Pearce, John Badham, Randal with the telefeature directors of the Richard Pearce's Heartland , and Kleiser, Peter H ya ms , Michael Crich- Ia:st 17 years should have been the sin- George Schaefer's An Enemy ofthe Peo- ton, Frank D. Gilroy, Frank R. Pier- gle most important background refer- ple are only understandable in light of son, and Michael Ritchie. Other ence material. Knowing the telefilm the director's TV experiences to date. directors like Andrew V. McLaglen, should be to the film critic what know- Jack Starrett, Steven Hilliard Stern, ing the college leagues , the farm sys- Ah, George Schaefer! Should he Wes Craven, John Carpenter, Michael tems , the hot-stove play, and even the ever go on location and work in a studio Tuchner, Peter Medak, and the peren- again? While Kramer Vs. Kramer and nial Lamont Johnson have made very Ordinary People remain the exception smart pit sto ps in TV, but without nar- 66

rowing the gap between minor and ma- ter the fact. For those who would like ence, strikes me as the most dishonest, jor leagues. The early-December basic production, screenwriting, act- irresponsible criticism I have ever seen ing, and directing credits before the bound in book form . telefilm A Long Way Home by returnee Robert Markowitz (Voices) was ener- fact as a supplement to the lamentably Sarris's contribution to film criticism getically visualized, but you can almost credit-scarce daily newspapers and TV was to separate the wheat from the taste the desperation of a director who Guide. a mimeographed mailed publi- chaff in his most prized categories and couldn't find a second studio assign- cation from the Bronx called TV Tout to bring confusion to the non-auteurist Sheet ($20 annual; care of Barry Gil- enemy with such punningly naughty ment. lam, 4283 Katonah Avenue, Bronx, rankings as \"Less Than Meets the As a final category for the mean-spir- New York 10470) is the only source I Eye.\" Wicking and Vahimagi have know available. Gillam's expanding piled up the chaff so high in their ited, just think of all these dues-paying newsletter provides the same service credits and analyses of 242 TV direc- members of the Directors Guild toiling on rebroadcasts oftelefilms in the New tors that they have rendered them- away on TV: Milton Katselas, Harvey York area during the week as well as selves eyeless in Burbank. How else to Hart, Noel Black, James Goldstone, directing and screenwriting credits for explain lumping the aforementioned Stuart Hagmann, Daniel Haller, about twenty series episodes a day, William A. Graham, Daryl Duke, and Bernard and Vincent McEveety, and many of them nationally syndicated. Robert Markowitz with such abomina- Curtis Harrington. They are a small The most recent week, for instance, bles as Walter Grauman, William Hale, segment of the rejects who have been noted a Jack Arnold Love Boat. a Tay and David Lowell Rich? farmed down to the boonies and have Garnett Bonanza. and a Richard Sara- contributed, in their way, to unclut- fian Shannon. The Tout Sheet attempts Critics of the world: The facts are in. tering the American theatrical main- to red-flag the early works of name The field is still wide open for the first stream. directors like Robert Altman, Sam authoritative analysis of important Peckinpah, and Samuel Fuller when- telefilm directors. -TOM ALLEN Marill's work, then, is the first book ever they reappear on TV. in print to provide a base for a serious Animation study of the telefilm and its creators. • As a research tool from a commercial Disney Animation: The Illusion ofLife. by specialty house, the accuracy of its half Credits, of course, merely map out Frank Thomas and Ollie Johnson, 575 million or so credits is highly reliable, the territory. Only informed criticism pp., illustrations, Abbeville Press, even more so in the paper version can blaze the trails through the wilder- $49.95. where line corrections were made. ness. Lamentably, the first major book Marill's acute grasp ofthe nature of the to look at American television from the It was Walt Disney's \"historic feat,\" telefilm can be read between the lines viewpoint of directorial analysis comes wrote Peter Schjeldahl recently in The of his discreetly brief, highly informed from Britain. Wicking and Vahimagi's Village Voice. \"to make ingesting popu- Introduction. He suppresses the critic vaingloriously entitled The American lar culture feel like going to church.\" within him throughout in favor of the Vein states in its Introduction an inten- Verily, Frank Thomas and Ollie John- encyclopedist who adds production in- tion \"to produce a mixture of[Andrew ] son's Disney Animation: The Illusion of formation and industry awards to the Sarris and Vingt Ans-a book with silly Life is only slightly less hagiographic synopses. (Not incidentally, Marill categories, a few puns and analyses, than previous books by Christopher provides the critical squibs for tele- but above all a complete picture of the Finch, Bob Thomas, and Leonard films in Leonard Maltin's invaluable work of the practitioners of telefilm.\" Maltin, but reviewing this massive tome TV Movies. whose latest 1981-82 re- The authors instead frequently come -six pounds, 575 pages, 489 color illus- vised edition belongs on top of every up with a parody of the worst of both trations, and perhaps 2000 black-and- TV set in the land.) Vingt Ans and Sarris's The American white ones-is a bit like reviewing the Cinema . Along with the French book's New Testament. The opening chapter Marill's book ends in June 1979, generosity of credits (now up to Trente strikes the properly world-historic tone: making it already two-and-a-half sea- Ans). the British authors are frequently \"Through all the centuries, artists have sons out of date on telefilms. Only blind to the nuances of American tele- continued to search for a medium of reader popularity will insure periodical vision and the virtual insignificance of expression that would permit them to updatings. Meanwhile, there are cur- the director in most half-hour and hour capture [the] elusive spark of life.\" Al- rently no annuals with telefilm credits segments. They feel compelled to ana- lowing that \"certain artists have to fill the gap. The best of the annuals, lyze every director for whom they have achieved marvelous results,\" the au- Nina David's TV Season from Oryx compiled paper credits whether or not thors maintain that \"the illusion of life Press, was terminated after a four-year the major telefilms have been seen. ... was never really mastered anywhere run in the late Seventies. The worst, This type of bluffsmanship results, at than at the Disney studio.\" from Stephen Scheuer, never went random, in four fine paragraphs on Wil- into a second season. liam A. Graham (the type of working Thomas and Johnson are veteran ani- pro, like Buzz Kulik, John Llewellyn mators who joined Disney during the There are really only two practical Moxey, and Paul Wendkos, about mid-Thirties and remained to become ways to keeps tabs on the current tele- whom the book should excel) and two of the studio's Nine Old Men. They film. For the rich, Daily Variety pro- three paragraphs of vapid conjecture undoubtedly know where the lifeless vides full credits and trade-oriented on John Badham. That Wicking and bodies are buried, but a few telling anec- reviews on the day of a telefilm's show- Vahimagi can rate and categorize a di- dotes aside, there is nothing comparable ing (and on Fridays for weekend fare), rector like Badham, none of whose to the hilarious interview with their col- which is especially helpful for those seven telefilms they cite from experi- who have access to the paper on the day of publication. Otherwise the $70 annual subscription goes for credits af- 67

league Ward Kimball that appeared in and Dialogue,\" are the best treatments how glory and riches have come to those (like Steven Spielberg) whose ideas are Mike Wagner's You Must Remember This. of the subjects that I've ever seen. more interesting than their scripts or The Disney that emerges here is less their films, and even about how a film- Jonathan Swift than Tom Swift-an or- Several reviewers of last summer's maker and a film can make it almost ganizational genius and workaholic per- solely because ofan intriguing title (Paul fectionist. Totally identified with his \"Disney Animations and Animators\" Schrader and American Gigolo). But characters, Walt supervised the Seven there is almost nothing which tells you Dwarfs down to the size of their fingers. show at the Whitney Museum scored that this state ofaffairs is the result of the He not only supplied Mickey Mouse's so-called marketing revolution of the voice but improvised much of the ro- the exhibit's didactic presentation of early Seventies. One does not read dent's diitlogue and frequently acted it about the shift of first-run exhibition out. Thomas and Johnson concur with secondary materials. \"At almost every from big barns in the inner cities to mul- other accounts of their boss's brilliant tiplexes in surburban shopping centers, flair for pantomime. Even the cele- turn the curatorial decisions seemed in- which led to new films being immedi- brated sequence where Pluto wrestles ately available to suburban youth-and with a piece of flypaper that's become tent on diffusing the emotional impact meant that movies were made to satisfy attached to his posterior grew out of Dis- their tastes. It is not acknowledged that ney's bloodhound imitation: \"That that Disney labored to achieve,\" com- in an age when most movies open at dog's eyebrows could only have come hundreds of theatres at once across the from Walt.\" plained Richard Flood in Art/orum. For country, buttressed by network televi- sion advertising campaigns, the produc- As history, Disney Animation is no less me, this was precisely the exhibit's tion emphasis necessarily shifts from cautious than the Soviet Encyclopedia. story to premise (or even title). Each of its eighteen chapters begin with strength-as it is here (despite such rit- an appropriate citation from the wit and Like most newcomers to film trade wisdom of Saint Walt (\"Those who ap- ual obeisances as a list of pointers to reporting, the contributors to Anatomy of peal to the intellect only appeal to a very the Movies-most of them Britons who limited group\"); nothing is revealed remember when drawing emotion\"). began as critics-thihk that Hollywood about the disputed origins of Fantasia ; can be studied in and of itself. No way. there is only the most casual of passing I'll take my Disney deconstructed , Expect for a pathetic, superficial nine- references to Victory Through Air Power page entry on \"Promotion and Release\" and other World War II propaganda thanks. Whatever their intentions, Tho- by B.}. Franklin, the entire emphasis of films. Thomas and Johnson do a good this book is on production. To be sure, it job of individuating the studio's various mas and Johnson demonstrate once is often perceptive within that very nar- artists, but they never mention the bitter row framework. Laskos is good on the animators' strike of 1940. One does find, again that there is no other oeuvre in historical shift of studios from one-man however, a certain nostalgia for the tech- dictatorships to corporate divisions. nocratic optimism and romantic solidar- motion picture history where the parts David Pirie (who edited the collection) ity of the late Thirties, before the studio understands \"the game\" that goes into expanded and become more compart- are so emphatically greater than the making a deal, the power of agents, and mentalized. (The unelaborated com- the interplay of business and creative ment that, during the Depression, the whole. -J. HOBERMAN elements. Thomson draws a wonderful only two places where young commer- portrait of the contemporary director as a cial artists could find employment were The Industry combination of gambler, visionary, and \"the government-financed WPA and tragic figure. Disney\" is a resonant one in view of the Anatomy of the Movies, edited by David latter's creation of a more long-lived offi- Pirie, 320 pp., illustrations, charts, In- On the whole, Anatomy of the Movies cial culture.) dex, Macmillan, $15.95. draws a very benign picture of the cur- rent state of affairs in Hollywood. There Of course, the text of a volume like There is a reason why the best and is none of the anger, none of the moral this is only marginally more important most perceptive reporters on the film outrage, which informed James than C.LA exposes in Penthouse . The industry of recent years-Lee Beaupre, Monaco's American Film Now or Pauline authors calculate that it takes two and a Harlan Jacobson, and Art Murphy of Va- Kael's 1980 New Yorker article \"The half million drawings (from inspirational riety, Roger Cels of The Hollywood Re- Numbers.\" Everyone is pictured as do- sketches to finished cels) to produce an poner, Aljean Harmetz of The New York ing the best he or she can under trying eighty-minute animated feature, and Times, and, yes, Stuart Byron of The Vil- circumstances. The studio head has Disney Animation offers an amazing array lage Voice-have found themselves far pressure from the conglomerate owner. of these-plus cycles, character sheets, more often writing about distribution The producer has pressure from the di- gag sketches, story-boards, layout and exhibition than about production. rector. The screenwriter has pressure roughs, and backgrounds. When it You cannot study the field for long with- from the producer. It's all vaguely Marx- comes to the discussion of nuts and out realizing that the marketing tail wags ist; unlike American individualists like bolts, \"squash and stretch,\" drawing the production dog. And that this has Monaco or Kael, these Britons don't eyes, or analyzing the splash of a single been so since nickelodeon days. When seem to think that there's much room for raindrop, Disney Animation is incompa- Andrew Laskos, contributing the lead personal choice in a capitalist system. rable. The chapters, \"Principles of Ani- article to this collection of twenty-eight And yet, at the same time, they seem in mation\" and \"Animating Expression original pieces on the industry, writes, \"In 1919, [Adolph] Zukorwas the first to consolidate production with distribution on a large scale in Hollywood, by pur- chasing theatres across the United States -theatres in which he could screen his Paramount 'photoplays,'\" he gets things backward. Zukor (like William Fox, Marcus Loew, and the Warner brothers) did not buy theatres in order to exhibit his films. He started making films-in 1912-in order to have prod- uct for his theatres. There's an awful lot in this book, es- pecially by David Thomson, about \"the movie brats,\" and about how the direc- tors who succeed nowadays seem to have a taste for \"sensation,\" and about 68

thrall to American entrepreneurship and tha Ivers-let alone key precursors like I The Mogul enterprise. They think Hollywood Wake Up Screaming, The Seventh Victim, works because of this heritage. \"Behind or Stranger on the Third Floor. Hirsch All the Stars in Heaven: The Story ofLouis the elements and the money and the ignores the influence of Marcel Carne's B . Mayer's M-G-M, by Gary Carey, 309 lawyers and accountants and agents,» flashback-ridden Le Jour se leve and pp., illustrations, E.P. Dutton, $18.50. writes Pirie, \"hovers the dream, implicit other French crime passionel films on in every deal, of a perfect film, a leg- incipient nair, but uncritically repeats If you accept the premises under end.\" Perhaps this attitude is the Anat- the Parisian canard that the \"full flower- which Gary Carey has written All the omy writer's realistic response to the ing\" of film nair took place after World Stars in Heaven, this is an excellent moribund state of the British film indus- War II. Actually, as Parker Tyler (never book. Carey attempts to answer those try. At least Hollywood is alive . cited) pointed out at the time, the 1944- who have downplayed Louis B. Mayer 45 season was distinguished mainly by and upgraded Irving Thalberg in extol- The most interesting parts ofAnatomy the appearance ofsuch hard-core noirs as ling the glory days of Metro-Goldwyn- of the Movies are its charts of film hits Double Indemnity, Laura, Phantom Lady, Mayer. But, like Bosley Crowther in adjusted for -inflation. Here one learns When Strangers Marry, The Woman in the Hollywood Rajah, Samuel Marx in such amazing things as that, just during Window, and Murder, My Sweet, whose MayerandThalberg, and Bob Thomas in its initial release, Gone With the Wind success he attributed to the American Thalberg: Life and Legend, he believes took in rentals of $310 million in 1979 public's unconscious desire to distin- that there is a lot to extol. He apparently dollars, as compared to Star Wars' $181.3 guish the narrow margin between war believes that the glossy producer's proj- million. And that 1923's The Covered and murder. ects of the Thirties which made M-G-M Wagon , when an inflation factor of ten the most profitable studio in Hollywood times is taken into account, is the Although decently written, with en- were permanent contributions to Ameri- seventh-biggest-grossing western of all gaging dark-passage descents into delir- can art, and that therefore it is important time. These charts are accompanied by ium, Hirsch's text is repetitive and to defend Mayer's contributions to some excellent essays on the various contradictory-The Maltese Falcon is them. genres, of which by far the best is Tom cited for its \"sedate\" visuals on page 11 Milne on the western. Still, these are and for its \"bizarre angles and theatrical To Carey, Mayer's reputation has suf- critical studies in what is supposed to lighting\" on page 113. Hirsch can be fered for easily understandable reasons. be a book on the trade-and they dem- sloppy as well: Constance Towers beats He was an uneducated immigrant with a onstrate that there was room aplenty for up her pimp, not a john, in the opening fiery temper, therefore a vulgarian to the entries on marketing Pirie omitted. sequence of The Naked Kiss; the villains intellectuals. And unfortunately, Thal- Similarly, though some of the inter- of The House on 92nd Street are Nazis, berg was production chief during the views which also fill out the book are not Communists. (With little interest in early days of Mayer's tenure as vice- intriguing - they, too, make me placing his subject in a social matrix, president in charge of the studio, provid- feel that the book should have been Hirsch ignores the appropriation of nair ing commentators with another option called Anatomy ofMovie Production. stylistics by the \"red menace\" films of on which to heap praise for Metro's suc- the late Forties and early Fifties, hence cesses. But I think he misses the real -STUART BYRON his naive, raw-deal reading of Samuel point. Thalberg was an autodidact who Fuller's \"reactionary\" Pickup on South accepted the intellectual assumptions of Film Noir Street.) his era: all dramatic art was the responsi- bility of writers. And because he revered The Dark Side of the Screen: Film Nair, An associate professor of English and writers, writers returned the favor. Like by Foster Hirsch, 229 pp., A.S. Film at Brooklyn College-and the au- Thalberg, F. Scott Fitzgerald and all his Barnes, $14.95. thor of books on Woody Allen, Tennes- successors believed that directors did lit- see Williams, and Elizabeth Taylor tle more than move actors and cameras A heady brew of German expression- among others (is this gun for hire?)- around-that they were craftsmen, not ism, dollar-book Freud, sexual paranoia, Hirsch is strongest when writing on artists. hard-boiled pulp, and proto-existential- noir's literary antecedents (Hammett, ism, the films we call nair embody the Chandler, Cain, McCoy, Woolrich). He On this point, Thalberg and Mayer most potent trans-individual style to offers a competent account of noir stylis- were in total agreement. There was not a ever come out of Hollywood. Human tics, including some provocative asides single important American director desire being what it is, this big combo on theirconnection with naked-city afficio- whose career was launched at M-G-M has inspired some of the best genre criti- nados like the painters Edward Hopper until Vincente Minnelli in the early For- cism to appear in this magazine and and Reginald Marsh, and the press-pho- ties. Those great directors who labored others over the last decade. Some day, tographer Weegee. Had these been bet- on the Culver City lot in the Twenties someone will write the book on the ter set up, they would have been the and Thirties-Frank Borzage, Erich subject, but Foster Hirsch is evidently most original aspects of the book. von Stroheim, King Vidor, George Cu- the wrong man. The Dark Side of the kor-were developed elsewhere by pro- Screen repeats most of the cliches of nair The graphic material, selected and ducers like William Fox and David O. criticism, adding little that's not out of designed by Bill O'Connell, is generally Selznick. Any history of Metro, there- the past. evocative; the bibliography less com- fore, only has contemporary relevance if plete than that in Alain Silver and Eliza- Hirsch is seemingly immune to the- beth Ward's useful Film Nair: An ory and, as a historian, he's often on Encyclopedic Reference to the American dangerous ground. There's no mention Style; but the bottom line, beyond a rea- made of such standards as The Brasher sonable doubt, is D.O.A. Doubloon, Detour, Force ofEvil, Ride the Pink Horse, and The Strange Love ofMar- -J. HOBERMAN 69

it deals with the issue of a cinema of pro- tions theory, SemIOtiCS, structuralism, and the psychology of perception to pro- ducers and writers. The whole history of Structuralism vide a theoretical framework for such questions, which pose new relationships the American film during the last twenty Film scholarship will never be the between ideology and aesthetics. This same, despite periodic wailings of an old is a major work, one of the more impor- years can be seen as a reaction to M-G-M guard of scholars who have difficulties tant to appear in recent years. It is stimu- with generational changes, new ap- lating, deeply serious, at times abstruse, during the Mayer-Thalberg era: the proaches and , heavens!, new vocabu- far more often brilliant or brilliantly pro- laries. However, no matter how trendy, vocative both as to the questions it raises auteur theory of Andrew Sarris, the di- sterile, and unintelligible certain epi- and the ones it cannot answer. Hun- gones of the \"new methodologies\" are, dreds of frame blow-ups and stills. rector-oriented criticism of Pauline do their opponents, gatekeepers of an- cient traditions, really believe that the Decoding Advertisements, by Judith Wil- Kael, the director-as-superstar mentality door can be closed on Barthes, Eco, liamson, 180 pp., illustrations, Marion Derrida, Foucault, Jameson, and Lot- Boyars Publishers, $7.95 paper. in Hollywood. man? This heady confluence of East European formalism, Neo-Marxism, This study minutely examines over Carey barely considers this momen- semiotics, psychoanalysis, structural- 100 advertisements by means of post- ism, and post-structuralism, with all its Freudian psychology, semiotics, and tous theme. What matters to him is concomitant rivulets, tributaries, and Neo-Marxism. The author exposes the antagonistic offshoots, constitutes a techniques underlying their glossy sur- whether or not Mayer forced Judy Gar- strong, original presence that can be faces (designed to make us buy) and slighted only at one's peril. It demands systematically dissects the myths pro- land to take pills, whether or not Mayer's exertion, attention, seriousness; it dis- jecting the larger ideological message: plays a moral stance, unpopular in a cyn- maintenance of consumerism and the resentment of Thalberg's financial de- ical age; it lends itself to cheap value systems of contemporary capital- accusations of anti-humanism or disre- ism. Despite poor reproduction of the mands were justified, whether or not gard of content in favor of sterile stylistic stills, this is an important contribution, analyses; it is noisy and subversive in a alternately convincing in its clear-eyed Mayer was fair to Norma Shearer. He seemingly esoteric way; yet it illumi- deconstruction of \"hidden agendas,\" nates the dark underbelly of our suitably and exasperating in its vertiginous style wants to set the record straight on glossy societal surface, leading us (vic- and obsessional opacity. tims of visual manipulations, hypno- Mayer's contributions to Grand Hotel tized consumers, uneasy burghers The Cinematic Apparatus, Teresa De hearing strange rumblings beyond the Laurentis and Stephen Heath eds., 213 and Mutiny on the Bounty, two glossy ex- television screen) toward clari ty. pp., St. Martin's Press, $25.00 hardcover. ercises in impersonality which seem to As opposed to the 49th History of World Cinema (copied, including errors, Papers and discussions from a Center me quite minor compared to what Stern- from the other forty-eight), the coffee- for Twentieth Century Studies confer- table-size second-rate love-life of a ence at the University of Wisconsin ex- berg and Lubitsch and Ford and Hawks fourth-rate star, and the \"novelization\" plore the complex relationships of a third-rate film done after the fact, between the technical and social aspects were doing at competing studios. Be- each month brings testimony to the fer- of film-understandable, say the au- vor and strength of this new tendency. thors, only through close examination of tween Thalberg and Mayer, it never oc- Herewith, a brief, carefully chosen list- both the actual machinery and metapsy- ing of the most notable recent arrivals- chology of cinema. Topics include tech- curs to Carey that the correct response descriptive rather than evaluative- nology and ideology, avant-garde which, in varying degrees, reflect all or practice and technological determina- might be: \"A plague on both your most of the basic components of this tions, and the ideology of sound editing and animation. For once, technology is houses.\" • •\"new scholarship. \" integrated in the process of meaning and ideological signification, carrying for- Carey's treatment of the Greed matter Ideology and the Image, by Bill Nichols, ward the work of Cahiers du Cinema, 334 pp., illustrations, Indiana Univer- Tel-Quel, and Screen in this area. is symptomatic. He thinks Mayer and sity Press, $9.95 paper, $29.95 hard- cover. The Political Unconscious, by Fredric Ja- Thalberg had no choice but to cut Stro- meson, 305 pp., Cornell University To what degree does ideology inform Press, $19.50 hardcover. heim's film to shreds when they took images in film , advertising, and other media? Does the cinema or any other Another work by one of the most im- over the Goldwyn Company and inher- sign system liberate or manipulate us? portant contemporary Marxist critics and How can we as spectators know when scholars (Marxism and Form, The Prison- ited the project. \"One of the great mys- the media are subtly perpetuating spe- House of Language) who-in his own cific sets of values? Nichols draws on teries of film history is how Stroheim Marxism, psychoanalysis, communica- ever got approval for this insane proj- ect,\" he writes. It's no mystery to me: Going in, everyone knew that a unique \"event,\" comparable to the Royal Shakespeare Company's eight-and-a- half-hour Nicholas Nickleby, was in mind. And when the Goldwyn Com- pany was sold, its buyers should have been expected to assume its moral as well as financial obligations. As Paul Sylbert argues in his book Final Cut, the re-editing of Greed was the major event in the early history of Hollywood, the in- cident which established the primacy of the businessman over the artist. We are still suffering from its fallout. If your idea of a good book about M-G-M is one in which The Crowd is mentioned only in passing and Hallelu- jah! not at all, then All the Stars in Heaven is for you. As such, it's a good read, done in an intelligent style. But it's a disap- pointment to me that Gary Carey, who once wrote perceptive monographs on George Cukor and David Lean, has set- tled for becoming the thinking person's Bob Thomas. From a mind like Carey's, we have the right to expect more. -STUART BYRON 70

very different way-may well be as orig- ticulations of ideology, history, and the \"I read Hawks inal a thinker as Barthes or Foucault. human subject. The line from de Saus- on Hawks with Subtitled \"Narrative as a Socially Sym- sure to Levi-Strauss and Barthes is passion. 1 am bolic Act,\" this work opposes the view traced, as are Althusser and Lacan's con- very glad that that literary creation can occur in isola- tributions, and there are trenchant com- this book exists.\" ments on Tristam Shandy and Barthes' tion from its political context, and asserts provocative reading of Balzac in S/Z. -Franc;ois Truffaut the priority of the political interpretation \"An exceptionally of literary texts. Works by Balzac, pithy and entertai ning Gissing, and Conrad are examined, Pictures ofReality, by Terry Lovell, 112 book chockfu I of instruction for other approaches (Lacanian psychoanal- pp., British Film Institute, $21. 95 hard- the aspiring filmmaker.\" ysis, semiotics, dialectical analysis, alle- cover, $10.95 paper. -Publishers Weekly gorical readings) are explored; the gap HAWKS between theoretical speculation and The \"distance\" between current in- ON textual analysis is bridged by Marxism. tellectual thought in Europe and Amer- HAWKS The book-none of its richness and ica, between the British Film Institute By Joseph McBride originality can be approximated in a and The American Film Institute is no- $14.95 at bookstores summary-raises basic issues only im- where better exemplified than in the University plicit in Jameson's earlier works, particu- BFI's publication program. Besides fi- of California larly the relationship between dialectics nancing the iconoclastic and seminal Press and structuralism. The author's pro- Screen and the writings of its distin- Berkeley 94720 found originality makes this one of the guished scholar-director Anthony Smith ~~ more significant, rewarding, difficult -his first-rate The Geopolitics of 'lIllIFREE Catalog works of recent years. For once, an \"in- Information (Oxford) is significantly sub- Illustrated. The Greatest telligent\" rather than Neanderthalian titled \"How Western Culture Domi- ail Selection of Things to Show on critique of formalism; for once, an ab- nates the World\"-the BFI publishes a super 8, 16mm, slides, videocassette and VideaDisc. sence of obfuscatory vocabulary. wide range of increasingly left-oriented Movies from Laurel & Hardy Choplin to Goldie Hawn and texts and monographs which are scho- All guaranteed to be Two or Three Things I Know About Her by larly and of high quality. Lovell's contro- satisfactory. Our 54th year of providing great movies to own. Alfred Gussetti, 366 pp., Harvard Uni- versial , closely-reasoned revisionist SEND FREE CATALOG TO: versity Press, $27.50 hardcover. investigation challenges the domination of the realist aesthetics over Marxist _____ State _ Zip _ _ Blackhawk Filma. Inc. This close analysis of the themes and writings on art in order to bring Marxist Dept. 606 techniques in perhaps Godard's most aesthetics into alignment with contem- 1235 W. 5th St•• Davenport.IA 52808 complex work provides, in a veritable pO.rary criticism. It postulates that while tour-de-force, a new format for film \"realism\" tends to view art as a special books, which, one hopes, will be emu- kind of knowledge, questions of plea- lated and further developed by others. sure (\"desire,\" in the psychoanalytic The film's 227 shots are divided into sense), audience involvement, and poli- eighteen sequences. Each of these in- tics cut across the question of art's rela- cludes at least one frame enlargement tionship to knowledge and reality. from each shot, the spoken text in Lukacs, Brecht, and Gramsci make French and in English, the duration of their appearance, and Althusser is sub- each shot,. descriptions of c~mera and jected to refreshingly cogent and intense subject movements, sounds, and music criticism. Lovell also is a contributor to -thus coming closer to the simultaneity One-Dimensional Marxism (Alli~on and of impression characteristic of film. On Busby), the important British-left anti- facing pages, there is analysis, interpre- Althusser anthology. The BFI publica- tation, and commentary elucidating Go- tions are available in America from dard's stylistic methods and the social, James Monaco's New York Zoetrope, 31 political, philosophical contexts of the East 12th Street, New York, 10003. film . Language and Materialism, by Rosalind Television : Ideology and Exchange, John Coward and John Ellis, 165 pp. , Caughie, ed. , 92 pp., British Film Insti- Routledge and Kegan Paul, $15.00 tute, $5.75 paper. hardcover, $7.95 paper. A most provocative, useful anthology A particularly lucid and achieved from foreign sources, analyzing televi- work, of much significance to anyone sion as an \"ideological apparatus\" concemed with the role of ideology in through studies of the international flow art. A cr.itique of structuralism and semi- of programs and the nature of cultural otics \"from within.\" The encounter of communication and specific television psychoanalysis and Marxism in terms of programs. Kaarle Nordenstreng and Ar- their common \"problem\"-language- mand Mattelart (with Seth Siegelaub, leads to deeper understandings and ar- co-author of the famed How to Read 71

Donald Duck) are among the distin- help make it possible to continue the my body for science ... Somebody guished contributors. human enterprise before it is cut short. asked my wife once, 'What's your idea of We now have that power. your husband?' And she answered: 'He's A Critique of Film Theory, by a masturbation image.' Well, that's what Brian Henderson, 233 pp., E.P. Dutton, -AMos VOGEL we all are. Up there on the screen, our $8.95 paper. goddamn eyeball is six-feet high, the Movie Stars poor bastards who buy tickets think you This indispensable major study de- velops a critique of film theory by exam- The Movie Star, edited by Elisabeth really amount to something.\" But ining the theories of Eisenstein, Bazin, Weis, 416 pp., illustrations, Viking, Ebert's deference (also apparent on Godard, and Metz. The strength of the $25.00 hardcover/Penguin, $12.95 Sneak Previews with the uncannily Mit- work-Henderson's famed essays \"Two paper. chum-like Gene Siskel) is used to differ- Types of Film Theory,\" \"Toward a ent effect with Kirk Douglas; the Non-Bourgeois Camera Style,\" \"Cri- In this anthology, twenty-six mem- fan-like willingness to listen comes tique of Cine-Structuralism\"-also in- bers of the National Society of Film across as a yell of abused common sense dicates its one weakness: It consists of Critics hold forth on everybody from as Douglas deconstructs himself: \"'I individual, not fully integrated essays. A Mae Marsh and Douglas Fairbanks Sr. preceded a lot of this youthful revolu- must for anyone seriously concerned to Richard Pryor and Jodie Foster (with a tion,' he said. 'And Thoreau did, too, with film and film theory. few regrettable-in hindsight-omis- back in 1825.' \" sions, like Steve McQueen and William Film Art, by David Bordwell and Kristin Holden), in seventy-some essays, obits, • Thompson, 339 pp., Addison-Wesley interviews, newsmagazine cover stories, Publishing Co., $13.95 paper. Arts-and-Leisure thumbsuckers, and Movie stardom is a form of endur- cameos scissored from reviews. Ameri- ance, and too few of the critics here give Perhaps the very first textbook to deal can film critics aren't noted for theory, it its due with a proportionate willing- with cinema from an (intelligently) neo- but with the subject of movie stardom ness to sink into the star's personality. formalist perspective, properly empha- (as distinct from movie acting), it's just Glibness is an adequate response to ce- sizing style and structure as much as as well; Andre Bazin on Jane Russell lebrities, but not to stars. There's a dis- content. \"How\" film means rather that aside, reading theories of stardom is like heartening amount of writing in some \"what\" becomes a dominant concern in crawling under a wet blanket of mil- shallow limbo between description and chapters such as \"Mise en Scene,\" \"Nar- dewed Photoplays. American critics are generalization: pellets about so-and so's rative and Non-narrative Formal Sys- noted for their descriptive powers and low-key acting style, etc. But Dave tems,\" \"The Shot: Its Cinematographic for level-headedness-two qualities Kehr, the Chicago Weekly Reader critic, Properties. \" There are detailed analyses that start fighting with each other as soon is a revelation to me for his balance of of Our Hospitality, Citizen Kane, Tokyo as a bona-fide movie star comes shim- abandon and analysis. In one essay Story, Grand Illusion, AMan Escaped, La mying or ambling into view. (which appeared in the Jan.-Feb. 1979 Chinoise, and even of Makavejev's too- FILM COMMENT), he compares the little-known delicious masterpiece, In- Most of the really evocative pieces careers of John Travolta and Henry nocence Unprotected. This is a here are written by normally sane people Winkler, showing how TV feeds the stimulating, informative, and important in the process oflosing their heads, rush- movies, making stars and breaking ce- book, capably introducing difficult sub- ing to position themselves on the fan- lebrities-an eclec tic mixture of popular jects in clear, fairly non-specialist prose. star axis instead of looking at it from a imagery, sociology, improvised theory, The references and notes are most im- distance. Judith Crist, evidently writing and humor. And his review of Clint pressive. on the run to meet a deadline after Judy Eastwood's The Gauntlet-star as auteur Garland's death, babbles like a bobby- -is a model of how much you can find Many of us who have suffered from soxer about \"our Judy;\" it's not great in a movie like this without losing your the dry \"neutrality\" of pure structural- writing, but it gives you the essence of grip and getting cultish. ism and its principled refusal to deal what made Garland a star-the capaciry with notions of content may feel that to elicit just this emotional response. Pe- There are also inadvertent revelations this particular group of books-and the nelope Gilliatt's literary gifts let her be- in The Movie Star-things the critics converging preoccupations of their au- come W. C. Fields; she's crazy about couldn't notice as they were writing sep- thors-reflect an important attempt to him for saying, \"She dips her mitt down arately: a preoccupation with James go beyond the formal perspective to- into this melange,\" and she's able to be Cagney that percolated through the Sev- ward meaning, while simultaneously in- crazy like him, catching his eccentricities enties (when most of these pieces were tegrating the best features of that in her prose as he \"walks away with a written); Molly Haskell and Janet Mas- movement; reinserting its ethereal, skeptical expression somewhere around lin each looking for an excuse to men- morphological purism (itself a complex the hips.\" tion Robert Redford in The Way We Were new kind of mystification in the guise of and going off into a long digression about demystification) into the hot, messy, Roger Ebert interviewing Robert him. (I've done it too.) Mitchum is a fan at his most usefully contest-ful world of late twentieth-cen- self-effacing. Mitchum constructs his The Movie Star is illustrated with pho- tury class society with its national and own star image in the very attempt to tographs. Income from the book sup- international conflicts. One can only sneer at it: \"I have this rash that grows ports the National Society of Film hope that these concerns with an aes- on my back every 28 days. 1 was bitten Critics, which put out annual antholo- thetic aware of its inevitable social ma- by a rowboat when I was 13, in a park in gies from 1968-1974. The last volume, trix and role will, in some small way, Cleveland, Ohio, and every 28 days a on comedy, started this thematic for- rash appears on my back. I've offered mat. Next year's ought to be Critics Attack Critics. - VERONICA GENG 72

Family Freud by Richard Corliss Gotham and Elsewhere-there must be A few years back, the day's guests were information exchanged, embassies es- Susan BrownmiIler, author of a book on FAMILY FEUD. EXCERPT FROM tablished. America gets news of our rape called Against Our Will, and world from Dan Rather and Dick Eldridge Cleaver, the former Black Pan- SHOW #1784, AIR DATE: 2/20/82. Cavett, Sesame Street and Hill Street. We ther and a confessed rapist. As one (RICHARD DAWSON prepares to read get our news from abroad every week- Donahue staff member recaIls, ''The au- day, and the consuls are Richard Daw- dience favored Cleaver. They thought the show's first question. In front of him, son and Phil Donahue. BrownmilJer was a 'hard woman-one facing each other, are two healthy, hyped- of those hostile Women's Libbers. '\" up contestants: a Mormon DENTISTfrom Donahue comes from Chicago-\"the Salt Lake and a blond mother offour from undiluted U. S.A.,\" in Saul Bellow's No question that the studio audience LAGUNA Beach.) phrase: \"It's vulgar but it's vital and it's loves Phil. Loves him. They even learned to accept his divorce (after siring DAWSON: One hundred people sur- Phil Donahue . five children) and remarriage to Marlo veyed, top five answers on the board, more American, more representative.\" Thomas. They swoon when he you try and guess the most popular an- Phil, 46, is serious, sexy, an Irish-Ameri- scratches his mop of gray-cardigan hair, swer, here's the question: Name the can spieler, and maybe the last person adjusts his Foster-Grants, plays a game most controversial guest or guests ever around to admit to liberalism since the of pepper with his cordless mike, and to appear on the Phil Donahue show. death of Hubert Humphrey. His audi- belts his guests with a devil's-advocate ence-women, mostly, in the studio, query in tones of elfin exasperation. DENTIST: Gay atheists! and at home (\"Is the caIler there?\")-is Like that other renegade choir boy, Tom (A Bronx cheer BUZZER sounds.) impassioned, opinionated, and trou- Snyder, with whom Donahue played DAWSON: Sorry. (To mother offour:) bled, even scared by the parade of politi- bookends on the daily schedules of Okay, darlin', what's your answer? cal and sexual radicals who line up as many NBC stations until Snyder was, LAGUNA: The freaks from Barnum & Phil's guests. The meeting of these op- bounced last month from his satrapy on Bailey? (BUZZER.) posing forces can serve as a quick educa- Tomorrow, Phil can milk a viewer's adre- DAWSON: (to first person on DEN- tion on the feelings of Middle America. nal glands with \"tough\" questions and TIST's panel): Next? oddbaIl guests. But Snyder's was a Pyr- DENTIST'S PRETTY WIFE: Busi- rhic victory of style over substance; all nessmen's mistresses! (BUZZER.) his huffery seemed so much puffery; his LAGUNA'S HANDSOME HUSBAND: most deeply felt cause was The Wonder Hunchbacked abortionists! (BUZZER.) of Me. Donahue is different. He has DENTIST'S WILLOWY DAUGHTER: thoughts, ideas, political contentions Renegade Catholic priest! (BUZZER.) which, because he's stood his ground as LAGUNA'S SWEET-FACED MOM : the mainstream drifts rightward, strike Karen Silkwood? (BUZZER.) his audience as verging on socialism. DENTIST'S ADOPTED BLACK SON: He's in favor of feminism, affirmative The two lesbian women, one white and action, consumer protection. Opposed one black, who wanted a child so the to multinationals, sexual narrow- black one got pregnant through artificial mindedness, sugar-coated cereals. He insemination! (BUZZER.) strikes sparks, not just attitudes. DAWSON: Gee, I thought that was a good answer. Next and last? That's where the trouble arises- LAGUNA'S UNMARRIED SISTER-IN- and, for viewers, the excitement. A LAW: Marlo Thomas. woman may have waited two years to get (Bing! BELL indicates correct answer.) on Phil's show, to see him in the flesh . But put her on the air, let her lean into • him as he vaults over to her seat, and BANG! In a voice fuIl of hard-r Mid- We're isolated here in the fifty-first western common sense, she'Il stick it to state. And isolation breeds paranoia, anyone who may threaten her status xenophobia, simple or complex misun- quo. She can't believe the oil lobby owns derstanding. To the rest of America, the Congress. She doesn't want gays teach- only benevolent definition of Manhat- ing her kids. She can't trust the Rus- tan is \"a ladle of Four Roses with a sians, so we'Il have to stockpile more whisper ofvermouth.\" To our tight little weapons, even though there surely will island, America is a state of somebody else's mind. Before there can be detente between these warring nations- 73

COLLECTOR be a nuclear war in her life-time. God is SWEATSHIRTS good, and so is Ronald Reagan. Pigs have wings. And through all Phil's AND TEES pleading for the rights of adopted chil- SUITABLE FOR dren and PATCO employees, she stands her ground. The message has tri- FRAMING umphed over the medium. ~;I]~I!i!l~;E.~I~~~?~,I~if~IIY reproduced On Family Felid, message and me- detail from Tenniel's ' - - - - - - - - - R i~a:.;~~st edition woodcuts for Lewis dium play to a Mexican stand-off. The . Med T.e Perty (pictured), Whit. B......- - - - - - - \" ' \" ' 1 : I answers to the show's questions are based on polls taken by the Family Feud . Rebblt, Med Hett.r, Allc. & Caterpillar, staff of tOO ordinary people-Orange Country dotards, to judge from some Jabberwock Monater, Alice & Baby Pig. replies. (Surfboards, R. V. 's, Karen Val- entine.) Among the answers to the ques- Coct.au (navy or · black); Hitchcock (tan or tion \"Name an American, living or dead , whom you would not want your black); Garbo (navy); Stuntman (full\"i:olor on child to grow up to be like\": Richard Nixon, AI Capone, Billy Carter, Howard white); Bye Bye Brazil (full\"i:olor on white); Cosell. When asked to give an example of a party toast, like \"SkoaJ!\", one con- RKO (navy). Not illustrated: Rathbone's testant chirped out: \"French!\" One look at the show and you may want to send all Shertock Holme. (5\"i:olor on tan); Skating of middle-class America to a Remedial Education course. Cheplln (full\"i:olor on yellow or white); 7th One look may also have you hooked. I Seel (It. blue or black); Chaney's Phantom am. I don't care for the families on Fam- ily Feud. I'm not crazy about Richard of the Opera (white or tan). 100% cotton regular Dawson, who kisses every female in sight and purrs through the contestants' cut or, 50/50 unisex french-cut (runs small), inanities like a prissy puma in a three- piece robin's-egg-blue suit. But I do like S, M, L, XL, (Alice Tees available in kids (S,M ,L) the game. I find myself shouting at the TV set: \"Adventure Malagache is the too). T-Shirts: $9.95 or 4/$36. Sweatshirts missing Hitchcock movie!\" \"Santa Margharita Ligure is a popular vacation Trans : \" Long li ve the you ng Mus e, (white or black): $J5.95. Shipping: $1 each spot!\" I like thinking that this is a TV CInema , lor she P O S~S S 8 S the m ys- item. Cal. res. add 6% tax. Wholesale Inquiries game I could actually win, ifonly I could teries 01 8 dream and allO WS the invited. round up four telegenic relatives. And I unreal /0 beco me re a l.\" like peeking through my cathode win- . LITERA-TEE SHIRT CO. Dept. FC1 , Box dow at a simpler, happier America than - Jean Coe/ ea u the one outside my Manhattan bunker and-if only they knew it-their Sun- IF YOU THINK THIS LOOKS GRIM... belt ranch house. You should see the hundreds of other r1..'.n...\"I~.. • dangerous, improbable and inescapable predic- aments detailed in To Be Continued, a guide to DONAHUE. EXCERPT FROM every sound movie serial, with cast, credits, synopses and more than 400 action-packed SHOW #3873, AIR DATE: 2/21/82. photos. Available in bookstores, or from\" Star Tree Pre..; 114 Honeyspot Road, PHIL DONAHUE (to guest RICHARD Stratford, Conn. 06497 DAWSON): Okay, so you've got these families , they come to your show all •Add $2.50 postage duded up in their best polyesters, and they've got the 3.4 adorable kids and the station wagon in the suburban driveway, and Dad's got a pretty good job, and Mom puts up cookies for the P.-T.A. bake sale, and maybe they don't know Ashley Montagu from their right elbow -but just betweeq you and I, don't you think they have a little more to offer the people in Televisionland than pogo- sticking around your stage and scream- ing \"Good answer!\" when Aunt Mildred gives 1776 as a Civil War Year? DAWSON: C'mon, give us a kiss. ~ 74

by Linda Batty to volume 17, 1981 '81 , 9-15, ill, Attiludes loward women straight oul of the Forties or, maybe, the Slone Age. Includes De Palma. This index is based on indexing rules See also: Academy of Mollon Picture Art. and Science• . D laney, Walt and subject headings for film periodicals Awardo; Guilty PI...ura. Allen, Tom, Journals: New York. 17:5 Sepl-Ocl '81 , 8, 10. developed by the Federation of Interna- The Disney An im at ions and Animators exhibit at the tional Film Archives (FIAF). It is di- Billet, Jecquellne Whitney Museum, vided into four parts :a subject index, an McBride, Joseph and McCarthy, Todd. Jacqueline Bissel on Donegglo, Plno author index, a film title (English lan- O'Toole, Lawrence. Moving music. 17:5 Sept-Oct '81, 13-20. guage) index and a book review index. RICH AND FAMOUS. 17:5 Sept-Oct '81 , 45. ill, Inter- ill. History of the greal screen composers. Includes inset The names of directors of reviewed films view. on Donaggio (DRESSED TO KILL ), are included in the subject index. The Blackll.t 8 MM names of interviewers are included in Schickel, Richard , Return of the Ho ll ywood Ten , 17 :2 Hoberman, J. The super-80s. 17:3 May-June '81 , 39-43. ill. the author index. March-April '81 , 11-17. ill. Narrow-gauge avanl-garde filmmaking-history, pra c- Blue, Jam.. litioners (Harringlon, Markopoulos, the Kuchars, Jacobs, cop yright © 1982 Linda Batt y. All rights reserved Hitchens, Gordon. People we like. 17:1 Jan-Feb '81 , 68-70, Brakhage, Acconc i, Gladslone, DeLanda, lipton, Levine, ill. In memoriam. Beckman, Gibbons, Dick, the Bs, etc.). Subjects Book. Into Film. Ending. of Film. See: Adaptellon. Thomson , David . The end of the American hero . 17:4 Academy of Motion Picture Art. and Sclance• . Award• . Boorman, John July-Aug '81, 13-17. ill. Allernative movie endings. Ref. Kaufer. Scott. Buying an Oscar. 17:2 March.,tlpril '81 , 54- Yakir, Dan. The sorcerer: John Boorman interviewed. 17:3 THIEF (Mann) , ZABRISKIE POINT (Anlon ioni) , POINT May-June '81 , 49-53. ill. Career. Ref. EXCALIBUR. BLANK (Boorman), CITIZEN KANE (Well es), TAXI DRI VER 56. ill. Hucksterism al Oscar time. Includes 1981 Oscar Box Olllce (Scorsese), TO HAVE AND HAVE NOT (Hawks), ATLANTIC prediclions by David Ansen, Stuart Byron, David Denby, See: Indu.try CITY (Malle). Roger Ebert. Aliean Harmetz, Todd McCarthy, Andrew Cain, Jame. M. Expertmental Cinema Sarris, and Richard Schickel. Yakir, Dan. The postman rings six times. 17:2 March-April See: Avant- Garde Clnama, Independant Cinema '81 . 18-20. ill. Cain's novel on the screen: THE LAST Fa••blnder, Rainer Werner Acton and Actr..... TURN (LE DERNIER TOURNANT), Pierre Chenal; WED - Morris, George. Fassbinder's x5. 17:5 Sept-Oct '81 , 59-65. Harvey, Stephen. Les bonnes femmes. 17:6 Nov-Dec '81 , DING IN BLOOD (LES NOCES ROUGES) Claude Chabrol; ill. Fassbinder's lesser-known fi lms: I ONLY WANT YOU OSSESSIONE, Luchino Visconti; WHAT PRICE MURDER TO LOVE ME, JAIL BAIT, MARTHA, SATAN'S BREW, 40-47. ill. Les femmes fatales of 1930's French cinema: (UNE MANCHE ET LA BELLE) , Henri \\\\3rneuil; THE POST- WOMEN IN NEW YORK. Edwige Feuillere, Danielle Darrieux, Michele Morgan, MAN ALWAYS RINGS TWICE, Tay Garnett; THE POSTMAN See also: LILI MARLEEN Simone Simon, Marie Bell, Mireille Balin, Yvonne Prin- ALWAYS RINGS TWICE, Bob Rafelson. Favortta Film. lemps , Vivi ane Romance , Arletty, Madeleine Renaud , Cann.. Film Fe.tlval See: Guilty Plea.ure. Francoise Rosay. Corliss, Richard. Journals: Cannes. 17:5 Sepl-Oct '81 , 4, 6. Ferren, Bran Adaptation. Capra, Frank AIIering stales : Bran Ferren interviewed by Dan Yakir. 17:1 Yakir, Dan, The poslman rings six times. 17:2 March-April Jameson, Richard T. Stanwyck and Capra. 17:2 March-April Jan -Feb '81, 52-55. ill. Ferren's special effects work on '81, 18-20, ill, Screen adaptations of James M. Cain's The '81 , 37-39. ill, Capra / Slanwyck collaboralions: LADIES ALTERED STATES. Postman A/ways Rings Twice. OF LEISURE , MIRACLE WOMAN , FORB IDDEN , THE Fe.tlval. Anlmellon BIDER TEA OF GENERAL YEN . See: Berlin; Canne.; Gdan.k; Indian Film Fe.llnl (New Allen, Tom. Journals: New York: 17:5 Sept-Oct '81 , 8, 10. earn., Marcel Deihl); London; New Dlrectora/ New Film.; New York The Disney Animations and Animators exhibit at the Whitney See: ENFANTS DU PARADIS, LES FI.kln, Jeffrey Alan Museum. Carpenter, John Leydon, Joe. Ivan Passer and Jeffrey Alan Fishkin inler- Amaud, Jaan-Jacqu.. See: ESCAPE FROM NEW YORK viewed . 17:4 July-Aug '81 , 21-23 . ill . Re f. CUTTER 'S See: QUEST FOR FIRE Cavanl, Liliana WAY , Avant-Garda Cinema See: NIGHT PORTER , THE Midsection: the avant garde now. 17:3 May-June '81 , 33-48. Chabrol, Claude France ill. Contents: 3 mylhs of avant-garde fi lm, by J. Hober- Yakir, Dan, The postman rings six times. 17:2 March-April Midsection : Ah, the French .... 17:6 Nov-Dec '81 , 33-47. ill. man : The 'Presents ' of Michael Snow, by Jonathan '81 , 18-20. ill. WEDDING IN BLOOD as an adaptation of Rosenba u m (incl udi ng an interview wilh Snow) ; T he James M, Cain's The Pas/man Always Rings Twice. Conlents : Prevert: poelry in motion pictures , by Marc super-80s (narrow-gauge avant - garde filmmaking), by J. Character Acton and Actrelle. Mancini; Clouzot: Ihe wages of film , by Dan Yakir; Les Hoberman; A la recherche des punks perdus (New York's Thomson, David. Bits and pieces. 17:3 May-June '81 , 11-19. bonnes femmes (stars of the 1930's), by Stephen Harvey. punk movie scene), by Jonathan Buchsbaum; Scott Bart- ill. 50 01 the best. Overbey, David. Journals: Paris. 17:1 Jan-Feb '81 , 2-4. French lett in Hollywood (including an interview wilh Bartlett), by Chanal, Pierre film scene. Ref. old New Wave directors loday: Resnais Mitch Tuchman, Yakir, Dan. The postman rings six times, 17:2 March-April (MON ONCLE D'AMERIQUE ), Godard (S AUVE QUI PEUT), See also: Indapendent Cinema '81 , 18- 20. ill. THE LAST TURN as an adaptation 01 James Malle (ATLANTIC CITY) , Trullaut (LE DERNIER METRO), Avco-Emba••y M. Cain's The Postman A lwa ys Rings Twic e. and Chabrol (LA CHEVAL D'ORGUEIL). lncludes discussion Yakir, Dan. Industry: Bob Rehme: new power in Hollywood. China of earlier French cinema: Gremillon, Renoir, Daquin, Jouvet. 17:4 July-Aug '81 , 74-76. Rehme and Avco-Embassy. Allen, Tom. Journals: New York. 17:6 Nov-Dec '81 , 10. ill. Overbey, David. Journals: Paris. 17:6 Nov-Dec '81 , 6, 8, ill. Award. China Film Week : 5 feature films from Ihe People 's Notes on the French film industry, Ref. DIVA. See: Acedemy of Motion Picture Aria and SclenceL AwardL Republic: SONG OF YOUTH (1959), THIRD SISTER LlU G ance, Abel Bak.hl, Ralph (1961) , TWO STAGE SISTERS (1964), SECOND SPRING See: NAPOLEON See: AMERICAN POP MIRRORING THE MOON (1979), and BUS NUMBER 3 Garnett, Tay Bartel, Paul (1980). See: EATING RAOUL Cimino, Michael Yakir, Dan. The postman rings six times. 17:2 March-April Bartlett, Scott See: HEAVEN'S GATE '81 , 18-20. ill. Garnett's THE POSTMAN ALWAYS RINGS Tuchman, Mitc h. Scott Bart lett in Hollywood. 17:3 May- Clinton, Edward TWICE as an adaptation of James M. Cain's novel. June '81, 46-48. ill. Includes interview with Bartlett. O'Toole, Lawrence. Broadway to Hollywood, 17:6 Nov-Dec Avant-gardists in Hollywood. Ref. Bartlett. '81 , 22-25 , ill. Playwr ights who write for the screen . Gdan.k Belnelx, Jean-Jecqu.. Includes Clinton. Koszarski, Diane Kaiser. Gdansk macabre. 17:6 Nov-Dec See: DIVA Clouzot, Henrt-Georg.. Bergman. Ingmar Yakir, Dan. Clouzot: the wages of film. 17:6 Nov-Dec '81 , '81 , 55-57, ill. Ref. MAN OF IRON . Petric, Vlada. Bergman and dreams. 17:2 March-April '81 , 38-39. ill. Tribute to his talent. Garmany: We . t 57 -59. ill. Rei. HOUR OF THE WOLF and FROM THE LIFE Conner, Bruce Stein, Elliott. Germany in winter. 17:3 May-June '81 , 20-23, OF THE MARIONED ES. Tuchman, Mitch. Bruce Conner interviewed. 17:5 Sept-Oct Bertin Film Fe.tlval '81 , 73-76. ill. Financing independent/personal / political ill. West German film schools, studiOS, archives and the Stein, Elliott. Germany in winter. 17:3 May-June '81 , 20-23. cinema in the $ conservative 1980's. Berlinale. Ref. TAXI ZUM KLO, ill. The Berlinale and West German film schools, studios Coppola, Francl. Ford Gilliam, Terry and archives. Ref. TAXI ZUM KLO. Thomson, David, The direclor as raging bull. 17:1 Jan-Feb Thompson , Anne. Band it: Terry Gilliam interviewed . 17:6 Vogel, Amos . Independents: Berlin's independent forum. '81 , 9-15. ill. Attiludes toward women straighl oul of the Nov-Dec '81 , 49-54. ill, Career, style. Ref. TIME BANDITS. 17:4 July-Aug '81 , 72-73. International Forum of Young Forties or, maybe, Ihe Slone Age. Includes Coppola. Godard, Jaan-Luc Film at the Berlinale. See also: ONE FROM THE HEART Adair, Gilbert. Journals: London. 17:3 May-June '81 , 4, 6. Be.t Film. Crowther, Bo.lay Godard's video televi sion series: FRANCE / TOUR / DE- 1980 and all that. 17:1 Jan-Feb '81, 56-57. ill. The year's high- Sarris, Andrew. NOI to praise Bosley Caesar, but not to bury TOUR / TWO / CHI LDREN; SIX TIMES TWO . lights and lowlights plus the Ten Best selected by Richard him either, 17:3 May-June '81 , 70. ill. In memoriam. Grandperret, Patrick Corliss, Brooks Riley, Stephen Harvey, Richard T, Jameson, Cukor, Georga See: COURT CIRCUITS Elliott Stein and Dan Yakir. See: RICH AND FAMOUS Gusr., John Oawaon, Jan Rayns, Tony. People we like. 17:1 Jan-Feb '81 , 70-71 . In O'Toole, Lawrence. Broadway to Hollywood. 17:6 Nov-Dec memoriam. ' 8 1, 22-25 . ill. Playwrights who write fo r the screen . De Oliveira, Manoel Includes Guare. Clarens, Carlos. Manoel de Oliveira interviewed, 17:3 May- June '81, 65-68. ill. Career. Ref. DOOMED LOVE . Guilty Pleaaure. See also: DOOMED LOVE King, Stephen. 17:3 May-June '81 , 60-63. ill. De Palma, Brian Powell, Michael. 17:4 July-Aug '81 , 28-31. ill. Thomson, David. The director as raging bull. 17-1 Jan-Feb Spencer, Scott. 17:5 Sept-Oct '81 , 21-23. ill. Woods, James. 17:2 March-April '81 , 60-63. ill. He;o In Film. Thomson , David , The end of the American hero, 17:4 July Aug '81 , 13-17. ill. Ref. THIEF (M ann), ZABRISKIE POINT (Antonioni), POINT BLANK (Boorman) , CITIZEN KANE (Welles), TAXI DRI VER (Scorsese), TO HAVE AND HAVE NOT (Hawks), ATLANTIC CITY (M alle ). Herzog, Werner See: FATA MORGANA Hollywood Ten Schickel. Richard . Return of Ihe Hollywood Ten. 17:2 March-April '81 , 11-17. ill, Horror Film. Chule, David, Tom Savini: Maniac. 17:4 July-Aug '81 , 24-27. ill. Savini's \" shock special effects:\" FRIDAY THE 13TH, 75

MANIACI , DAWN OF THE DEAD, DEAD OF NIGHT , May-June '81 , 43-46. ill. New York punk scene. Includes Dec '8t , 34-37. ill. Prevert·s screenwriting career and his DERANGED, MARTIN . Mitchell: UNDERGROUND USA, and Poe:SUBWAY RIDERS. poetry. Ref. LES ENFANTS DU PARADIS. Independenl Cinema Mlyagawa. Kazoo Punk Mo.lel Insdorf , Annette . Journals : London Film Festival. 17:2 Allen, Tom. Journals: New York. 17:4 July-Aug '81, 10, 71 . Buchsbaum, Jonathan. A la recherche des punks perdus. 17:3 March-Aprit ' 81, 4, 6. American independents at the Mizoguchi retrospective at Japan House. Includes May-June '81 , 43-46. ill. New York punk scene. Ref. films of Festival. Ref. tndependent Feature Project. cinematography of Miyagawa. Amos Poe (SUBWAY RIDERS) and Eric Mitchell (UNDER- Lamont, Austin . Independents day . 17:6 Nov-Dec '81, Mlzoguchl. KenJI GROUND USA). 15-20, 69-77 . ill. Handbook for the independent: finan- Allen, Tom. Journals: New York. 17:4 July-Aug '81. 10, 71 . Chute, Davi d. Journals: Los Angeles. 17:4 July-Aug '81 , 2, 6,8. cing, distribution, festival slots, TV, etc. Mizoguchi retrospective at Japan House. ill. Los Angeles punk scene. Ref. THE DECLINE OF Tuchman, Mitch. Bruce Conner interviewed. 17:5 Sept-Oct MUllc WESTERN CIVILIZATION (penelope Spheeris). '81, 73-76. ill. Financing independent/personal/political O'Toole, Lawrence. Moving music. 17:5 Sept-Oct '81, 13-20. Puttnam. Da.ld cinema in the $ conservative 1'980's. Ref. Conner. ill. History of the great screen composers. Includes a Adair, Gilbert. Journals: London. 17:5 Sept- Oct '81, 6, 8. Vogel, Amos. Independents : two views 01 the money crunch. desert-island selection of soundtracks and an inset on Puttnam as producer. Ref. CHARIOTS OF FIRE. 17:5 Sept-Oct '81 , 70, 72 . Financing independent / per- Pino Donaggio (DRESSED TO KILL). Rabe.Da.ld sonal / political cinema in the $ conservative 1980's. New Deihl Film Felll.al O'Toole, Lawrence.Broadway to Hollywood. 17:6 Nov-Dec '81 , Vogel , Amos. Independents : Berlin's independent forum . See: Indian Film Felll.al (New Deihl) 22-25. ill. Playwrights who write for the screen. Includes 17:4 July-Aug '81, 72-73. Int'l. Forum of Young Film at the New Dlrecto,./New Fllml Rabe . Berlin Film Festival. Allen, Tom. Journals: New York. 17:3 May-June '81, 8, 73. ill. Relellon. Bob Vogel, Amos. Independents: on seeing a mirage. 17:1 Jan-Feb New Wa.e Thomson, David. Raising Cain. 17:2 March-April '81 , 25-28, '81, 76-78. See : Nou••lle Vague 30-32 . ill. Includes interview with Rafelson . Themes , Vogel, Amos. Stalking ASPARAGAS. 17:3 May -J une '81 , 78-79. New York Film Felll.al techniques, etc. in his films. Ref. THE POSTMAN ALWAYS See also: A.ant-Garde Cinema McCou rt, James. New York Film Festival: Cynicon: movies RINGS TWICE. India for cynics. 17:6 Nov-Dec '81, 50-60. ill. EL SALVADOR: Yakir, Dan. Jessica Lange: from KONG to Cain. 17:2 March- Stein, Elliott. Film India. 17:4 July-Aug '81, 60-65. ill. State ANOTHER VIETNAM (G lenn Silber and Tete Vascon- April '81 , 29. ill. Includes interview with Lange. Lange's role of the industry. cellos). THE GREAT MCGINTY (Preston Sturges), MIS- in THE POSTMAN ALWAYS RING TWICE. I,.dlan Film Feltl.al (New Deihl) SION TO MONGO (J. Hoberman), RAPID EYE MOVE- Yakir, Dan. .The postman rings six times. 17:2 March-April Stein, Elliott. Film India. 17:4 July-Aug '81 , 60-65. ill. 8th MENTS (Jell Carpenter), THE GREAT DICTATOR (Charles '81. 18-20. ill. Rafelson 's THE POSTMAN ALWAYS RINGS inl'l. festival . Chaplin) , THE PRIVATE FILES OF J. EDGAR HOOVER (Larry TWICE as an adaptation of James M. Cain's novel. Indultry Cohen), FIRST FAMILY (Buck Henry), WINTER KILLS See also: THE POSTMAN ALWAYS RINGS TWICE Chute, David. Industry: tumescent market for one-armed (William Richert), PUTNEY SWOPE (Robert Downey), AN Rehme. Robert videophiles. 17:5 Sept-Oct '81 , 66, 68. Hard-core, sexually ACQUIRED TASTE (Ralph Arlyck). Yakir, Dan. Industry: Bob Rehme:new power in Hollywood. 17:4 explicit film / video cassette industry. Includes Top Ten Stein, Elliott. The New York Film Festival: new films and July-Aug '8 1, 74-76. Rehme and Avco-Embassy. hard-core video cassette \"grossers.\" retrospectives. 17:6 Nov-Dec '8 1. 58, 61-66. ill. PASSION RellZ. K.el Meisel, Myron. Industry: the sixth annual grosses gloss. 17:2 D'AMORE (Ettore Scola). LOOKS AND SMILES (Ke n Kennedy, Harlan. The Czech director's woman. 17:5 Sept-Oct March-April '81, 64-72. ill. Trends, high cost of producing Loach), CHARIOTS OF FIRE (Hugh Hudson ), TAXI ZUM '81 , 26-31 . ill. Includes interview with Reisz and an inset on and marketing movies in 1980. Company-by-company KLO (Frank Ripploh ), MEPHISTO (Istvan Szabo) , MAN OF earlier films of Reisz. Ref. THE FRENCH LIEUTENANT'S analysis: Paramount, Columbia, 20th Century-Fox, Warner IRON (Andrzej Wajda), CONTRACT (Krzysztof Zanussi), WOMAN . Bros., Universal, UA, independents. THE BEADS OF ONE ROSARY (Kazimierz Kutz), BOB LE Relnall. Alain Yakir, Dan. Industry: Bob Rehme: new power in Hollywood. FLAMBEUR (Jean-Pierre Melville), ONLY A MOTHER (All See: HIROSHIMA, MON AMOUR: MON ONCLE D'AMER- 17:4 July-Aug '81, 74-76. Rehme and Avco-Embassy. Sjoberg), KARIN MANS DOTTER (All Sjoberg), THE WOMAN laUE I. .ael NEXT DOOR (Francois Trullaut), THE AVIATOR'S WIFE RUlh. Richard Erens, Patricia . Israeli cinema. 17:1 Jan-Feb '81 , 60-66. ill. (Eric Rohmer), BEAU PERE (Bertrand Blier). LE PONT DU See: STUNT MAN. THE History and state of the industry. NORD (J acques Rivette), MURAL MURALS (Agnes Varda). RUlleil. Ken Je_ In the Mo.le. Nou.elle Vague See: ALTERED STATES Midsection : Jews in the movies. 17:4 July-Aug '81 , 33-48. ill. Overbey, David. Journals: Paris. 17:1 Jan-Feb '81 , 2-4. Old Sa.lnl. Tom Contents: Mogul-that's a Jewish word, by Carlos Clarens; New Wave directors today: Resnais (MON ONCLE D'AM ER- Chute, David. Tom Savini: maniac. 17:4 July-Aug '81, 24-27. ill. Yiddish transit (Yiddish-language cinema), by J. Hoberman; IQUE), Godard (SAUVE QUI PEUT), Malle (ATLANTIC Savini 's \" shock special ellects:\" FRIDAY THE 13TH , The conversion of the Jews (images of Jews in silent films) , CITY) , Trullaut (LE DERNIER METRO ). Chabrol (LE MANIAC!, DAWN OF THE DEAD, DEAD OF NIGHT. DE- by Lester Friedman. CHEVAL D'ORGUEIL) . RANGED, MARTIN . Kudan Lawrence Oate., Warren Sayl.l. John Yakir, Dan. Lawrence Kasdan interviewed . 17:5 Sept-Oct Thomson, David. Warren Oates. 17:1 Jan-Feb '81 , 41-43. ill. Chute, David . John Sayles: designated writer. 17:3 May-June '81, 52-56. ill. Career. Ref. THE EMPIRE STRIKES BACK, Includes interview with Oates by F. Albert Bomar and '81, 54-59. ill. Career. Ref. RETURN OF THE SECAUCUS 7. RAIDERS OF THE LOST ARK, BODY HEAT, CONTINENTAL Alan J. Warren. Career. Ref. working with Sam Peckin- Schnee. Charlel DIVIDE. pah: THE WILD BUNCH , MAJOR DUNDEE, RIDE THE Scheib, Ronnie. Subconsciousness raising. 17:1 Jan-Feb '81. See also: BODY HEAT HIGH COUNTRY. BRING ME THE HEAD OF ALFREDO 24-32 . ill. Schnee's screenwriting career. Ref.EASY LIVING , Lange. J..llee GARCIA. I WALK ALONE, THEY LIVE BY NIGHT, TWO WEEKS IN Yakir, Dan. Jessica Lange: from KONG to Cain. 17:2 March- Olee,. ANOTHER TOWN , RIGMT CROSS , WESTWARD THE April '81, 29. ill. Interview. Lange's role in THE POSTMAN See : Academy 01 Motion Picture Artl and Sclencel . WOMEN, THE FURIES, THE BAD AND THE BEAUTIFUL, ALWAYS RINGS TWICE. Awardl. PAID IN FULL, THE CROWDED SKY, THE NEXT VOICE London Film Felll.al O'Toole, Peter YOU HEAR. Adair, Gilbert. Journals: London Film Festival. 17:2 March- McBride, Joseph. O'Toole ascending: Peter O'Toole inter- Schroader. Barbet April '81, 3-4. viewed . 17:2 March-April '8 1. 49-53. ill. Roles, directors See: MAITRESSE Insdorf , Annette. Journals : London Film Festival. 17:2 he's worked with, etc. Ref. THE STUNT MAN . Sco,.ele. Martin March-April '81, 4, 6. American independents at the Paa.er, Ivan See: RAGING BULL Festival. Jameson, Richard T. Passer in America, part 1. 17:4 July-Aug Scrlptwrlte,. and Scrlptwrltlng LOley. JOleph '81. 20-21 . ill. BORN TO WIN , LAW AND DISORDER, O'Toole, Lawrence. Broadw'ay to Hollywood. 17:6 Nov-Dec See: SERVANT. THE CRIME AND PASSION , SILVER BEARS. '81 , 22-25. ill. Playwrights who write for the screen: John Lo.e In the Cinema See also: CUTTER'S WAY Yakir, Dan. Danger: do not touch. 17:1 Jan-Feb '81 , 49-51. ill. Pecklnpah, Sam Guare, David Rabe, Michael Weller, David Mamet, Edward Phys ical contact /\"touching\" in recent films: ORDINARY Midsection : Sam Peckinpah. 17:1 Jan - Feb '81 , 33-48. ill. Clinton, Wallace Shawn, Steve Tesich. PEOPLE , BREAKING AWAY, TRIBUTE, HARDCORE , Contents : introduction by Richard T. Jameson ; Sam Second City TV THE GREAT SANTINI, KRAMER VS . KRAMER, RAG- Peckinpah : cutter (Peckinpah 's editing) , by Richard Jameson, Richard T. Television: satire comes to video. 17 :3 ING BULL, AMERICAN GIGOLO, RESURRECTION, Gentner and Diane Birdsall: Strother Martin (interview May-June '81, 76-77. ill. ALTERED STATES. about working with Peckinpah), by Richard T. Jameson; Sex and the Cinema Lueel. George THE BALLAD OF CABLE HOGUE, by Richard T. Jameson; Chute, David. Industry: tumescent market for one-armed Tuchman, Mitch and Thompson, Anne. I'm the boss: George Warren Oates, by David Thomson; Oates interviewed by videophiles. 17:5 Sept-Oct '81, 66, 68. Hard-core. sexually Lucas interviewed . 17:4 July-Aug '81, 49-57. ill.ILM, regional F. Albert Bomar and Alan J. Warren; BRING ME THE HEAD explicit film /video cassette industry. cinema, relationship with Coppola, present/future projects, OF ALFREDO GARCIA, by Kathleen Murphy and Richard T. Durgnat , Raymond. Skin games. 17:6 Nov-Dec '81 , 28-32. ill. RAIDERS OF THE LOST ARK, REVENGE OF THE JEDI , etc. Jameson . The rise of \" Eurodecadence\"-1960's to the present: Ref. MGM Pincul. Ed HIROSHIMA, MON AMOUR (Alain Resnais), THE SERVANT See: Metro Goldwyn Mayer See: DIARIES 1971-1976 (Joseph Losey), THE NIGHT PORTER (Liliana Cavani), Mamet.Da.ld Poe, Amol MAITRESSE (Barbet Schroeder), MON ONCLE D'AMER- O'Toole, Lawrence. Broadway to Hollywood. 17:6 Nov-Dec Buchsbaum, Jonathan. A la recherche des punks perdus. 17:3 IQUE (Resnais). '81, 22-25. ill. Playwrights who write for the screen. May-June '81, 43-46. ill. New York punk scene. Includes Shawn, Wallace Includes Mamet. Poe: TKE GENERATION, UNMADE BEDS, THE FOR - O'Toole. Lawrence. Broadway to Hollywood. 17:6 Nov-Dec Yakir. Dan. The postman 's words. 17:2 March-April '81 , EIGNER, SUBWAY RIDERS. '81 , 22-25. ill. Playwrights who write for the screen. Includes 21-24. ill. Includes interview. Mamet's THE POSTMAN Pollih Feature Fllml. Felll.al 01 (8th) Shawn. ALWAYS RINGS TWICE (Rafelson) discussed. See: Gdanlk Snow, Michael Martin. Strother Pornography and the Cinema Rosenbaum, Jonathan. The 'Presents' of Michael Snow. 17:3 Jameson, Richard T. Strother Martin . 17:1 Jan-Feb '8 1, Chute, David. Industry: tumescent market for one-armed May-June '81, 35-38. ill. Includes interview with Snow. 37 -38 . Includes interview. Acting for Sam Peckinpah : videophiles. 17:5 Sept-Oct '81, 66, 68. Hard-core, sexually Snow's films. Ref. PRESENTS. THE WILD BUNCH, THE BALLAD OF CABLE HOGUE. explicit filmlvideo cassette industry. Includes Top Ten Spheerll, Penelope M.tro Goldwyn Mayer See: DECLINE OF WESTERN CIVILIZATION, THE Midsection: the pride of MGM. 17:5 Sept-Oct '81, 33-47. ill. hard-core video cassette \"grossers.\" Spielberg, Ste.en Contents : Leo roars again (I~GM in the 1980's) , by Geng, Veronica.Spielberg's express. 17:4 July-Aug '81, 57 -59. Bernard Drew; Muscle for the future (purchase of UA by Powell. Michael ill. Career. Ref. RAIDERS OF THE LOST ARK. MGM) , by Seth Cagin; Carryon, Cukor (interview), by Adair, Gilbert. Journals: London. 17:1 Jan-Feb '81, 4, 6. BBC Stanwyck, Barbara Joseph McBride and Todd McCarthy; Jacqueline Bisset on Midsection : Barbara Stanwyck. 17:2 March-April '81 , 33-47. ill. RICH AND FAMOUS (interview), by Joseph McBride and Powell retrospective. Ref. A CANTERBURY TALE, BLACK Contents: The strange fate of Barbara Stanwyck (roles, Todd McCarthy. NARCISSUS, THE LIFE AND DEATH OF COLONEL BLIMP, persona, star quality), by Stephen Harvey; Stanwyck and Mitchell. Eric A MATTER OF LIFE AND DEATH, I KNOW WHERE I'M Capra (LADIES OF LEISURE, MIRACLE WOMAN, FORBID- Buchsbaum,Jonathan. A la recherche des punks perdus. 17:3 DEN , THE BITTER TEA OF GENERAL YEN). by Richard T. GOING, etc. Jameson; Stella Stanwyck (STELLA DALLAS), by David See also: Guilty Plealur.. Pre.ert. Jacqu.. Mancini, Marc. Prevert: poetry in motion pictures. 17:6 Nov- 76

Thomson: Stanwyck speaks (interview), by Bernard Drew: Tom Savini: maniac. 17:4 July - Aug '81 , 24 - 27. P.trlc, Vleda Class (tribute to her talent), by James McCourt. Tropic 01 Kasdan, 17:5 Sept-Oct '81,49 - 52. Bergman and dreams. 17:2 March-April '81 , 57-59. Star. Claren., Carlo. Powell, Mlch..1 See: Actore and Actr..... Manoel de Oliveira interviewed, 17:3 May-June '81. 65-68, bk. rev . O'Leary, Liam. Rex Ingram. 17:1 Jan-Feb '81 , 72. Studio. Guilty pleasures, 17:4 July-Aug '8t , 28-31 . Meisel, Myron, Industry: the sixth annual grosses gloss. t 7:2 Corti.., Richard Rayn., Tony Journals: Cannes, 17:5 Sept-Oct '81 , 4, 6. People we like (Jan Dawson) . t 7:1 Jan-Feb '81 , 70-71 . March-April '81, 64-72. ill. High cost 01 producing and 1980 and all that (Ten Best). 17:1 Jan-Feb '81 , 56-57. marketing movies in 1980. Company-by-company analysis: Television: the talk 01 the town. 17:1 Jan - Feb '81 , 74- 75. Riley, Brook. Paramount, Columbia, 20th Century-Fox, Warner Bros\" 1980 and all that (Ten Best). t7 :1 Jan-Feb '81 , 56 - 57. Universal, UA, independents. Denby, David ROienbaum, Jonathan See also: Avco-Emba..y; Metro Goldwyn Mayer; United Academy leaders: 1981 . 17:2 March-April '81 , 56. bk. rev. Bordwell, David. The Films of Carl- Theodor Dreyer, ArtI . . . Super-8 Drew, Bernard 17:6 Nov-Dec '8t , 77-79. See: 8 MM Leo roars again. 17:5 Sept-Oct '81 , 34-40. The 'Presents' of Michael Snow, 17:3 May-June '81 , 35-38. Tel.vl.lon Stanwyck speaks: interview. 17:2 March- Apr il '81 , 43-46. Adair, Gilbert. Journals: London. 17:3 May-June '81, 4, 6. Roth.teln, N.ney Godard 's video television series: FRANCEITOUR / DE- Durgn.t, Raymond bk. rev. Rosenbaum, Jonathan, Mo ving Places: a Lite at the TOUR / TWO / CHILDREN and SIX TIMES TWO. Skin games. 17:6 Nov -Dec '81 , 28 - 32 . Chute, David, Industry: tumescent market lor one-armed Mo vies. 17 :3 May-June '81 , 74-75. videophiles. 17:5 Sept-Oct '81 , 66, 68. Hard-core, sexually Eb.rt, Roger S.rrl., Andrew explicit lilm / video cassette industry, Academy leaders: 1981 . 17:2 March-April '81 , 56. Academy leaders: 1981 . 17:2 March- Apri l '81 , 56. Corliss, RiChard. Television: the talk 01 the town. 17:1 Jan-Feb Not to praise Bosley Caesar. 17:3 May-June '81 , 70. '81 , 74-75, Daytime TV talk-shows. Eren., Patricia Scheib, Ronnie Jameson, Richard T. Television: quality up the wazoo, 17:2 Israeli cinema. 17:1 Jan-Feb '81. 60-66. Subconsciousness raising. 17:1 Jan-Feb '81 , 24-32, March-April '81 , 78-79. ill. NBC-TV series HILL STREET Evereon, Wnllam K. Schlckel, Richard BLUES, The many lives 01 NAPOLEON , 17:1 Jan -Feb '81 , 21-23. Academy leaders: 1981 . 17:2 March-April '81 , 56. Jameson, Richard T. Television: satire comes to video. 17:3 Return of the Hollywood Ten. 17:2 March-April '81 , 11-17. May -June '81 , 76-77. ill. Second City TV. Geng, Veronica Schill, Stephen Spielberg 's express. 17:4 July-Aug '81 , 57 - 59. Camera man. 17:4 July- Aug '81 , 67-7 1. T\"lch, Steve Gentner, Richard Speneer, Scott O'Toole, Lawrence. Broadway to Hollywood. 17:6 Nov-Dec Sam Peckinpah: cutter. 17:1 Jan -Feb '81 , 35-37. Guilty pleasures. 17:5 Sept-Oct '81 , 21 -23. Stein, Elliott '81 , 22-25. ill. Playwrights who write lor the screen. Includes Greco, Mike Film India. 17:4 July-Aug '81 , 60-65. Tesich . Bakshi's Amer ican dream, 17:1 Jan-Feb '81 , 18 - 20, Germany in winter. 17:3 May -June '81 , 20-23. Th.ater and the Cinema Manoel de Oliveira DOOMED LOVE. 17:3 May-June '81 , 64. O'Toole, Lawrence. Broadway to Hollywood. 17:6 Nov-Dec Harmetz, Allean The New York Film Festival. 17:6 Nov-Dec '81 , 58,61-66. '81 , 22-25. ill. Playwrights who write lor the screen: John Ac ademy leaders: 1981. 17:2 March-April '81 , 56. 1980 and all that (Ten Best). 17:1 j an - Feb '81,56-57 . Guare, David Rabe, Michael Weller, David Mamet, Edward Harvey, Stephen ThornplOn, Anne Clinton, Walla ce Shawn, Steve Tesich. Les bonnes lemmes. 17:6 Nov-Dec '81 , 40-4 7. Bandit: Terry Gilliam interviewed by A.T. 17:6 Nov-Dec '81 , Touching In the Cinema 1980 and all that (Ten Best). 17:1 Jan- Feb '81 , 56-57. See: Love In the Cln.ma The strange fate 01 Barbara Stanwyck. 17:2 March- Aprit '81 , 49-54 . Vemeull, Henri I'm the boss: George Lu cas interviewed. 17:4 July-Aug '81 , See: Cain, Jam\" M. 34 - 36. Video Hltchen., Gordon 49-57. See: Televl.lon People we like: James Blue. 17:1 Jan-Feb '81 . 68 - 70. Thom.on, David Vidor, King Hoberman, J. Bits and pieces. 17:3 May-June '81, 11 - 19. See: Stella Dall.. The super-80s. 17:3 May-June '81 , 39-43. The director as raging bull 17:1 Jan - Feb '81,9-15. VI.conll, Luchlno Three myths 01 avant-garde film . 17:3 May-June '81 , 34-35. The end 01 the American hero. 17:4 July-Aug '81 , 13-17. See: Cain, Jam\" M. In.dort, Ann.ne Raising Cain. 17:2 March-April '81,25-28, 30-32. Wal.h, Raoul Journals: London Film Festivat. 17:2 March- April '81,4, 6, Stella Stanwyck. 17:2 March- April '81 , 41-43. McNiven, Roger. Orbits: Raoul Walsh 1887-1981 . 17:4 July· Warren Oates. 17:1 Jan-Feb '81,41-43. Aug '81 , 77- 79. ill. In memoriam. Jam\"on, Richard T. l\\Jchman, Mitch Watere, John THE BALLAD OF CABLE HOGUE. 17:1 Jan-Feb '81 , 38-40. Bruce Conner interviewed. 17:5 Sept -Ocl '81,73-76. Chute, David. Still Waters. 17:3 May-June '81 , 26 - 32, ill, BRING ME THE HEAD OF ALFREDO GARCIA. 17:1 Jan -Feb I'm the boss: George Lucas interviewed. 17:4 July-Aug '81 , Career, films , players, etc, Rei. POLYESTER. Weller, Michael '81, 44-48. 49-57. O'Toole, Lawrence. Broadway to Hollywood. 17:6 Nov-Dec Journals: SeanIe. 17:3 May-June '81, 2, 4. Journals: Bruce Peninsula, Ontario. 17:6 Nov-Dec '81 ,2, 6. '81 , 22-25. ill, Playwrights who write lor the screen. Includes 1980 and all that (Ten Best). 17:1 Jan-Feb '81,56-57. Scott Bartlett in Hollywood. 17:3 May-June '81 , 46-48. Weller , Passer's way. 17:4 July-Aug '8 1, 18-1 9, 21. Vogel,Amo. We.t, Mae Sam Peckinpah. 17:1 Jan-Feb '81 , 33-35. Independents: Berlin's independent forum . 17:4 July-Aug '81, McCourt, James, Mae West (1890's-1980) . 17:1 Jan-Feb '81, Stanwyck and Capra. 17:2 March-April '81 , 37 -39. 16-17. ill. In memoriam, Strother Martin. 17:1 Jan-Feb '81,37 -38. 72-73. Women In the Cinema Tetevision : quatity up the WalOO. 17:2 March-April '81 , 78-79, Independents: on seeing a mirage. 17:1 Jan -Feb '81 , 76-78. Harvey, Stephen. Les bonnes lemmes. 17:6 Nov-Dec '81, Television: satire comes to video. 17:3 May-June '81 , 76-77. Independents: two views of the money crunch. 17:5 Sept-Oct 40-47. ill. Les lemmes latales at the 1930's French screen: Kauf.r, Scott Edwige Feuillere, Danielle Darrieux , Michele Morgan , Buying an Oscar. 17:2 March-Aprit '81,54-56. '81,70, 72. Simone Simon, Marie Bell, Mireille Balin, Yvonne Printemps, Kennedy, Harlan Stalking ASPARAGUS. 17:3 May-June '81,78-79. Viviane Romance, Arletty, Madeleine Renaud, Francoise The Czech director's woman. 17:5 Sept-Oct' 81 , 26-31 . Rosay, Journals: Berlin. 17:4 July-Aug '81,8,10. Wood., Jam\" Thomson, David. The director as raging bull. 17:1 Jan-Feb '81, King, Steph.n 9-15. ill, Attitudes toward women which are straight out 01 the Guilty pleasures. 17:3 May-June '81 , 60-63. Guilty pleasures. 17:2 March- April '81 , 60-63. Forties or, maybe, the Stone Age. Rei. Coppola, De Palma Koezar.kl, Diane Kal.er Yaklr, Dan and Scorsese (RAGING BULL). Gdansk macabre. 17:6 Nov-Dec '81 , 55-57. Altering states: Bran Ferren interviewed by D.Y. 17:1 Jan-Feb Ylddl.h-Language Cinema Kroll, Jack Hoberman, J. Yiddish transit. 17:4 July-Aug '81 , 36- 38. ill. Heaven can wait. 17:1 Jan -Feb '81 , 58-59. '81 , 52-55. Lamont, Au.lln Clouzol: the wages 01 film . 17:6 Nov-Dec '81,38 - 39. Authors Independents day. 17:6 Nov-Dec '81 , 15-20, 69-77. Danger: do not touch. 17:1 Jan-Feb '81 , 49-51 . Leydon,Joe Industry: Bob Rehme. 17:4 July-Aug '81 , 74-76. Adair, Gilbert Ivan Passer and JeHrey Alan Fiskin interviewed by J.l. 17:4 Jessica Lange: Irom KONG to Cain. 17:2 March-April '81 , 29. Journals: London, 17:1 Jan-Feb '81 , 4, 6: 17:2 March- April '81 , Lawrence Kasdan interviewed. 17:5 Sept-Oct '81 , 52-56. July-Aug '8f , 21-23. 1980 and all that (Ten Best). 17:1 Jan-Feb '8 1, 56-57. 3-4: 17:3 May-June '81 , 4, 6: 17:5 Sept-Oct '81 , 6, 8, McBride, Jo.eph The postman rings six times. 17:2 March-April '81 , 18-20. Allen, Tom Carryon, Cukor. 17:5 Sept-Oct '81, 41-44, 46-47. The postman's words. 17:2 March-April '81 , 21-24 . Journals: New York. 17:3 May-June '81 , 8, 73: 17:4 July-Aug Jacqueline Bisset's RI CH AND FAMOUS. 17:5Sept -Oct '81 ,45, The sorcerer: John Boorman interviewed. 17:3 May-June '81 , O'Too le ascending: Peter O'Toole interviewed by J.M. 17:2 '81 , 10, 71 : 7:5 Sept-Oct '81 , 8, 10: 17:6 Nov-Dec '81 , 10. 49- 53. ill. An.en, D.vld March - April '81 , 49-53. Academy leaders: 1981 . 17:2 March-April '81 , 56. McCarthy, Todd Film Titles Be8llle, Ann Academy leaders: 1981 . 17:2 March-April '81 , 56, Journals: Sundance. 17:5 Sept-Oct '81, 2, 4. Carryon, Cukor, 17:5 Sept-Oct '81 , 41-44 , 46-47. ACQUIRED TASTE, AN (U .S., Ralph Arlyck) Blrd.all, Diane Jacqueline Bisset's RICH AND FAMOUS. 17:5Sept-Oct '81,45. See: New York Film Fe.llval Sam Peckinpah: cutter. 17:1 Jan-Feb '81. 35-37 . McCourt, Jam\" ALTERED STATES (U.S\" Ken Russell) Buch.baum, Jonathan bk. rev , Haver, Ronald. David O. Se/znick's Hollywood. 17:2 Altering states: Bran Ferren interviewed by Dan Yakir. 17:1 A la recherche des punks perdus. 17:3 May-June '81 , 43-46. Byron, Stuart March-April '81 , 77. Jan-Feb '81 , 52- 55. ill. Ferren's speCial effects work, Academy leaders: 1981. 17:2 March-April '81 , 56. Class (Stanwyck). t7 :2 March-April '81 , 47. AMERICAN POP (U .S\" Ralph Bakshi) C'gln, Seth Mae West (1890's-1980). t7:1 Jan-Feb '81 , t6-17. Greco, Mike. Bakshi's American dream. 17:1 Jan - Feb '81 , Muscle lor the luture. 17:5 Sept-Oct '81 , 38, New York Film Festival: cynicon: movies lor cynics. 17:6 Nov- Chute, D.vld 18-20. ilt. bk. rev. Russo, Vito, The Celluloid Closel: Homosexualily in Ihe Dec '81 , 59- 60. ASPARAGUS (U .S\" Suzan Pitt) McNlven, Roger Vogel. Amos. Stalking 'Asparagus.' 17:3 May-June '81 , 78- 79. MOVies. 17:5 Sept-Oct '81,78. Orbits: Raoul Walsh 1887- 1981 . 17:4 July-Aug '81 , 77 -79. AVIATOR'S WIFE, THE (France, Eric Rohmer) Industry: tumescent market tor one-armed videophiles. 17:5 ManCini, Marc See: New York Film Felllni Prevert: poetry in motion pictures. 17:6 Nov-Dec '81,34-37. BALLAD OF CABLE HOGUE, THE (U.S., Sam Peckinpah) Sept-Oct '81 , 66, 68. MeI.eI, Myron Jameson, Richard T. 17:1 Jan- Feb '81 , 38-40. ill. John Sayles: deSignated writer. 17:3 May -June '81, 54-59. Industry: the sixth annual grosses gloss. 17:2 March-April '81 , BEADS OF ONE ROSARY, THE (Poland, Kazimierz Kutz) Journals: Los Angeles. 17:4 July -Aug '81 , 2, 6, 8. See: New York Film F\"\"val Still Waters, 17:3 May-June '81 , 26-32. 64 - 72. BEAU PERE (France, Bertrand Blier) Morrl., George See: N_ York Film F\"\"val Fassbinder x 5. 17:5 Sept-Oct '81,59-65. BITTER TEA OF GENERAL YEN, THE (U.S\" Frank Capra) Murphy, Kathleen See: Capra, Frank BRING ME THE HEAD OF ALFREDO GARCIA. t7:t Jan-Feb BOB LE FLAMBEUR (France, Jean-Pierre Melville) See: New York Film F\"\"val '81 , 44-48. BODY HEAT (U .S., Lawrence Kasdan) O'Tool., L_renC<l Chute, Da vid. Tropi c 01 Kasdan. 17:5 Sept-Oct '81, 49-52. ill. Broadway to Hollywood. 17:6 Nov-Dec '8t , 22-25. BRING ME THE HEAD OF ALFREDO GARCIA (U ,S\" Sam Moving music. 17:5 Sept-Oct '81 , t 3-20. Overbey, David Journals: Paris. 17:1 Jan-Feb '81 , 2-4: t7:6 Nov-Dec '8t , 6, 8. 77

Peckinpah) COMMENT Thomson, David. St~lla Stanwyck. 17:2 March-April '81 , 41-43, Murphy, Kathleen and Jameson, Richard T. t7:1 Jan-Feb '81 , ill. See: Fallblndar, Rainer Wemer 44-48. ill, MEPHISTO (Wesl Germany, Hungary, Istvan Szabo) STUNT MAN, THE (U,S.. Richard Rush) See: New York Film Fnll..1 McBride, Joseph. O'Toole ascending: Peter O'Toole inter- CHARIOTS OF FIRE (United Kingdom, Hugh Hudson) MIRACLE WOMAN (U ,S.. Frank Capra) See . New York Film F..llvel See: Capra, FrInk viewed. 17:2 March-April '81 , 49-53. ill. Career. Ref. STUNT CONTRACT (Poland, Krzyszl ol Zanussi) MISSION TO MONGO (U .S., J. Hoberman) MAN. See: New York Film F..II.II See : Naw York Film F..II.al TAXI ZUM KLO (Germany, Frank Ripploh) COURT CIRCUITS (France, Palrick Grandperrel) MON ONCLE D'AMERIOUE (France, Alain Resnais) See: Berlin Film Fe.II.II, N_ York Film F••II.II Overbey, David. Journals: Paris. 17:6 Nov - Dec '81 , 6, 8. ill, Durgnat, Raymond. Skin games. 17:6 Nov-Dec '81 , 28-32. ill. TIME BANDITS (U nited Kingdom, Terry Gilliam) Thompson, Anne. Bandit: Terry Gilliam interviewed, 17:6 Noles on th e French fi lm industry. Includes COURT The rise of \" Eurodecadence.\" Includes MON ONCLE. Nov-Dec '81 , 49-54 . ill. CIRCUITS. MURAL MURALS (U.S.. Agnes Varda) WEDDING IN BLOOD (Les noces rouges, France, Claude CUTTER'S WAY (U.S., Ivan Passer) See: New York Film Fnllvll Chabrol) Jameson, Richard T. Passer's way. 17:4 July-Aug '81 , 18 - 19, NAPOLEON (France, Abel Gance) See: Cain, JIm.. M. 21 . ill. Everson, William K. The many lives of NAPOLEON . 17:1 WHAT PRICE MURDER (Une manche et la belle, France, Leydon, Joe. Ivan Passer and Jeffrey Alan Fiskin inlerviewed. Henri Verneuil) 17:4 July-Aug '81 , 21-23. ill. Jan-Feb '8 1, 21-23. ill. See: Cain, Jam.. M. DECLINE OF WESTERN CIVILIZATION, THE (U .S\" NIGHT PORTER, THE (Italy, Liliana Cavani) WINTER KILLS (U,S.. William Richert) Penelope Spheeris) Durgnat. Raymond. Skin games, 17:6 Nov - Dec '81 ,28-32 . ill. See: New York Film F..II.al Chute, David. Journals: Los Angeles. 17:4 July-Aug '81 , 2, 6, 8. WOMAN NEXT DOOR, THE (France, Francois Truffaut) ill. Los Angeles film scene. Includes DECLINE. The rise nf \"Eurodecadence.\" Includes NIGHT PORTER. See: New York Film F..II.II DIARIES 1971-1976 (U.S., Ed Pincus) ONE FROM THE HEART (U .S., in production, Francis Ford WOMEN IN NEW YORK (Germany, Rainer Werner Fass- Schiff, Stephen. Camera man. 17:4 July-Aug '81,67 -71 . ill. binder) DIVA (France, Jean-Jacques Beineix) Coppo la ) See : F...blnder, Rllnar Wemer Overbey, David . Journals: Paris. 17:6 Nov-Dec '81 , 6, 8. ill. Jameson, Rich ard T. Journals: Seattle. 17:3 May-June '81 , 2, 4, Notes on the French film industry. Includes DI VA. Book Reviews DOOMED LOVE (Portugal , Manoel de Oliveira) ill . Clarens, Carlos. Manoel deOliveirainlerviewed. 17:3May-June ONLY A MOTHER (Sweden, All Sjoberg) Bordwell, DI.ld '81 , 65-68, ill. De Oliveira's films considered. Ref. DOOMED See: New York Film F..II.II The Fifms of Carl - Theodor Dreyer. Berkeley : Un iv . of LOVE. OSSESSIONE (Italy, Luchino Visconti) Stein, Elliott. Manoel de Oliveira and DOOMED LOVE. 17:3 See : Cain, Jam.. M. California, 1981. 17:6 Nov-Dec '81 , 77-79, rev. Jonalhan May-June '81 , 64. ill. PASSION D'AMORE (Italy, Ettore Scola) Ros en baum. EATING RAOUL (U.S., in production, Paul Bartel) See: New York Film F..II.al Ha.er, Ronald Chute, David. Journals : Los Angel es. 17:4 July-Aug '81 ,2, 6, 8. PHOELIX (Uniled Kingdom, Anna Ambrose) David O. Selznick 's Hollywood. New York: Alfred A. Knopf, ill. Los Angeles film scene. Includes EATING RAOUL. Adair, Gilbert. Journals: London. 17:5 Sepl-Ocl '81 , 6, 8. 1980. 17:2 March- April '81 , 77. ill. rev. James McCourt. EL SALVADOR: ANOTHER VIETNAM (U.S., Glenn Silber Na.lsky, Vlclor and Tete Vasconcellos) Includes comments by Anna Ambrose. Ref. PHOELI X. Naming Names. New York: Viking, 1980. 17:2 March-April '81 , See: New York Film F..II.al POLYESTER (U.S\" John Waters) 11 - 17. ill. rev. Richard Schickel. Letters in reply by Lester ENFANTS DU PARADIS, LES (France, Marcel Carne) Chute, David. Still Waters. 17:3 May -June '81 ,26-32, Cole and Albert Maltz in 17:6 Nov - Dec '81 ,68. Man cini, Marc. Pre verl : poetr y in motion pictures . 17:6 PONT DU NORD, LE (France, Jacques Rivette) O'Leary, Llam Nov-Dec '81 , 34-37. ill. Prevert's screenwriting career and See: New York Film F..II.al Rex Ingram . Dublin: Academy Press, 1980. 17:1 Jan-Feb '81 , poelry. Ref. LES ENFANTS. POSTMAN ALWAYS RINGS TWICE, THE (U.S\" Ta y 72 . rev. Michael Powell. ESCAPE FROM NEW YORK (U.S.. John Carpenter) ROienbaum, Jonalhan Chute, David. Journals: Los Angeles. 17:4 July-Aug '81 , 2,6, Garnett ) Moving Places: a Lile at the Movies . New York: Harper and 8. ill. Los Angeles film scene. Includes ESCAPE. See: Cain, Jam.. M. Row, 1980, 17:3 May -June '81 , 74-75. rev. Nancy Rothstein. EXCALIBUR (Uniled Kingdom, John Boorman) POSTMAN ALWAYS RINGS TWICE, THE (U .S., Bob RUllO, Vito Yakir, Dan. The sorcerer: John Boorman interviewed by Dan The Cellutoid Closet: Homosexuality in the Movies New York: Yakir. 17:3 May-June '81 , 49-53. ill. Boorman's career. Ref. Rafelson ) Harper and Row, 1981 . 17:5 Sept-Oct '81 , 78. rev. David EXCALIBUR. Thomson , David. Raising Cain. 17:2 March-April '81 , 25-28, Chute. FATA MORGANA (Germany, Werner Herzog) Vogel, Amos. Independents: on seeing a mirage. 17:1 Jan - Feb 30-32 . ill. Includes interview with Rafelson. Themes , AUTHORS WANTED BY '81 , 76-78. techniques, etc. in Rafelson 's films . Ref. POSTMAN. NEW YORK PUBLISHER FIRST FAMILY (U.S., Buck Henry) Yakir, Dan. Jessica Lange: from KONG to Cain. 17:2 March- See: N_ York Film F..II.II Apri l '81 , 29. ill. Includes interview wilh Lange. Leading subsidy book publisher seeks manuscripts FORBIDDEN (U.S.. Frank Capra) Yakir, Dan. The poslman' s words. 17:2 March-April '81 ,21-24, of all types: fiction, non-fiction, poetry, scholarly See: Capra, Frank ill. Includes interview with scriptwriter David Mamet. and juvenile works, etc. New authors welcomed. FRANCE/TOUR/DETOURITWO/CHILDREN (France, See also: Clln, Jlme. M. Send for free, illustrated 40-page brochure H- 83 video TV series, Jean-Luc Godard) PRESENTS (Canada, Michael Snow) Vantage Press, 516 W. 34 St., New York, N.Y. 10001 See: Godard, Jean-Luc Rosenbaum, Jonathan. The 'Presents' of Michael Snow. 17:3 May-June '81 , 35-38, ill. Includes interview with Snow. PARADISE GARDEN (SCRIPT) FRENCH LIEUTENANrS WOMAN, THE (United Kingdom, PRIVATE FILES OF J. EDGAR HOOVER, THE (U .S\" Larry Karel Reisz) Cohen) \"Young anthropologist experiments See: Naw York Film F..II.II with mice in distant African laboratory Kennedy, Harlan, The Czech director's woman. 17:5 Sept - Oct PUTNEY SWOPE (U.S., Robert Downey) called \"Paradise Garden\" to prove his '81,26-31 . ill. Includes interview with Reisz. See: New York Film F..II.II theory about evol ution refused by OUEST FOR FIRE (U .S., Jean-Jacques Arnaud) scientific institutions. The experiment : FROM THE LIFE OF THE MARIONETTES (Sweden, Ingmar Tuchman, Mitch. Journals: Bruce Peninsula,Ontario. 17:6 Nov- works, mice develop like humans phy- , Bergman) Dec '81 , 2, 6. ill, On location. sically and culturally. But the high RAGING BULL (U .S., Martin Scorsese) productivity for which mice were cho- See: Bergmln, Ingmer Thomson, David. The director as raging bull. 17:1 Jan-Feb '81 , sen becomes a fearful threat for human GREAT DICTATOR, THE (U .S., Charles Chaplin) 9-15, ill. Attitudes toward women slraight out of Ihe Fort ies or, humans. The theoretic background of See: Naw York Film F..II.II maybe, the Stone Age: Includes Scorsese and RAGING this fiction is so well elaborated in GREAT MCGINTY, THE (U.S., Preston Sturges) BULl. details that the outcome looks highly See: New York Film F..II.II RAIDERS OF THE LOST ARK (U .S.. Steven Spielberg) realistic and plausible.\" For further HEAVEN'S GATE (U.S., Michael Cimino) Geng, Veroni ca. Spielberg's express, 17:4 July-Aug '81 , 57 -59. information, contact DOFSBT Box 414, Kroll, Jack. Heaven can wait. 17:1 Jan- Feb '81 , 58-59. ill. ill. Spielberg's films generally. Ref. RAIDERS. CH-2540 Grenchen, Switzerland . HILL STREET BLUES (U.S., NBC-TV series) Tuchman, Mitch and Thompson, Anne. I'm Ihe boss: George Jameson , Richard 1. Television : quality up the wazoo. 17:2 Lucas interviewed . 17:4 July-Aug '81,49 - 57. Ref. RAIDERS. WRITERS! SELL YOUR SCRIPT! RAPID EYE MOVEMENTS (U ,S., Jeff Carpenler) March-April '81,78-79. ill. . See: New York Film F..II.al FREE DETAilS! HIROSHIMA, MON AMOUR (France, Alain Resnais) RETURN OF THE SECAUCUS 7 (U .S., John Sayles) Durgnat. Raymond. Skin games. 17:6 Nov-Dec '81 ,28-32. ill. Chute, David, John Sayles: designaled writer. 17:3 May-June How to type and how 10 se l l your film or TV scnpt ! Author '81,54-59. ill. Sayles's career. Ref. SECAUCUS 7. works as P.A. for ma,or Hollywood film studio and revpals The rise of \" Eurodecadence.\" Includes HIROSHIMA. RICH AND FAMOUS (U .S.. George Cukor) latest info on selling and typing senpts. HOUR OF THE WOLF (Sweden, Ingmar Bergman) McBride ,Joseph and McCarthy, Todd. Carry on, Cukor:George See: Bergmen, Ingmer Cukor interviewed. 17:5 Sept-Oct '81 , 41 - 44, 46-47. ill. Write: JOSHUA PUBLISHING COMPANY I ONLY WANT YOU TO LOVE ME (Germany, Rainer Werner McBride, Joseph and McCarthy, Todd. Jacqueline Bisset on 8033 Sunset Blvd .. Ste. 306A, Hollywood, Ca, 90046 RICH AND FAMOUS. 17:5 Sept-Oct '81 , 45. ill. Fassbinder ) SATAN'S BREW (Germany, Rainer Werner Fassbinder) See: F...blnder, Rainer Wemer See: F...blnder, Rllnar Wemer JAIL BAIT (Germany, Rain er Werner Fassbinder) SERVANT, THE (United Kingdom, Joseph Losey) Durgnat, Raymond. Skin games. 17:6 Nov-Dec '81 ,28..32, ill. See: F...blnder, Rainer Wemer The rise of \"Eurodecadence.\" Includes SERVANT. KARIN MANSDOTTER (Sweden, All Sjoberg) SIX TIMES TWO (France, video lelevision series) See: New York Film F..II.al See: Godard, Jeln-Luc LADIES OF LEISURE (U .S., Frank Capra) STELLA DALLAS (U.s., King Vidor) See: Clpra, Frink LAST TURN, THE (Le dernier 10urnant, France, Pierre Chenal) See: Cain, Jam.. M. LlLI MARLENE (Germany, Rainer Werner Fassbinder) Kennedy, Harlan. Journals: Berlin. 17:4 July-Aug '81 , 8, 10. ill. Berlin film scene. Ref. LIlt MARLENE. LOOKS AND SMILES (United Kingdom, Ken Loach) See: Naw York Film F..II.II MAITRESSE (France, Barbet Schroeder) Durgnal, Raymond. Skin games. 17:6 Nov- Dec '81 , 28-32. ill. The rise of \" Eurodecadence.\" Includes MAITRESSE. MAN OF IRON (Poland, Andrzej Wajda) See: Gdlnak, N_ York Film F••II.II MARTHA (Germany, Rainer Werner Fassbinder) 78

Abel Gance: 1889-1981. diminutive shadow whose eyes and by Brooks Riley voice radiated a passion the body had 1981 was the year that Abel Gance long ceased to convey. Gance gave vent was reborn and died. His rebirth oc- curred in January, when Napoleon , his to eloquence that verged on poetry 54-year-old masterpiece, became the rage of New York and catapulted him when he talked about Telluride and cin- history of cinema since Napoleon could from relative obscurity into a promi- ema. On the latter subject, he was vi- be described as a narrowing process, one nence few nonagenarians achieve, un- sionary without being specific. He left which gave way to rules, definitions, less they've already gotten there room to dream the ideal without inhibit- and the congealing requisites of the mar- decades before. There was solace for the ing that ideal with definitions. More ketplace. The more the cinema came to living in the fact that he didn't die un- than once, he reduced me to tears. He be recognized as an art form, the fewer sung, and some urgency in that final was older than the medium itself, yet chances it took, and artistic achieve'ment recognition. younger than most of its current practi- came to be realized as the imaginative tioners. way certain directors expressed them- Napoleon's latter-day triumph was un- selves within imposed limitations. expected; even by Zoetrope Studios and Gance's known technical innovations Images Film Archive, who showcased need no more acknowledgments. Less No wonder Gance took the Eighties the film at Radio City Music Hall with a overtly dazzling, but in ways more fun- by surprise. Up through Napoleon, full orchestra and a new score by Car- damental, was his facility with narrative Gance had been free to make and break mine Coppola. By the time of Gance's -the consummate storyteller in Gance. the rules. It was in this rare period of death ten months later, Napoleon had Whether it was history, politics, or some freedom that he thrived. Many of his marched through a dozen American profound aberration of personality, later films, conceived ' within subse- cities and conquered Italy \"for a second Gance was able to give it an ingenious quent limitations, are merely the com- time\" at the Coliseum in Rome. On Bastille Day 1982, it will come home to context of expression-both illuminat- petent work of a journeyman-or a Paris for the first time since its world premiere in 1927. Gance was too ill to ing the subject in an accessible way, and genius stripped of the very atmos- take part in the American tour and didn't live to see the film presented in his na- at the same time removing it from the phere that could give vent to unlimited tive country. But he heard the applause predictable' regions of soap opera. In La inspiration. over trans-Atlantic telephone, and he read the volumes of praise lavished on Roue, the train conductor's appalling ilt- Many directors who saw Napoleon felt him by the press. He understood the irony of having a smash hit at 92, with a traction to his step-daughter is given ex- a kind of shame for not having taken film that overnight became one of the biggest-grossing foreign films of all cruciating legitimacy when Gance phenomenal risks with the medium at a time. shows the exquisite agony of his obser- time when the director has become om- But Gance's other films should also be remembered, among them: La Roue vation of her legs as she swings to and nipotent. And it is true that few directors (1921), whose innovative rapid-cutting technique influenced Sergei Eisent- fro. The visua'lization of both desire and have taken advantage of that power to stein's own theories of montage; The Loves of Beethoven (1936), with its bril- horror works for the audience as well as advance the form rather than to refine it. liantly integrated use of silence to evoke the protagonist. In Napoleon, Jose- But it is also true that no director will the composer's deafness; and J' accuse (1937), with its ferocious pacificism, phine's inconstancy is merely suggested have the freedom that Gance had, as made even more astonishing by Gance's newfound respect (like the later Eisent- by her reaction to the purity of Napo- much with his imagination as his stein) for the power of the image itself. leon's blindfolded recognition of her budget. No director today can un- I first met Gance at Telluride on the when Napoleon says, \"In love, one abashedly tinker with his medium with- eve of his tribute. The muscular, strong- should never see more than this.\" Vol- out confronting a conspiracy of featured man who cast himself as Saint- Just had been reduced by time to a frail, umes of known history about this pair established conventions dictated by have been reduced to a single, economi- public and businessman alike. cal, provocative encounter that has no And so, Napoleon in 1981 carries a surface relation to actual facts. Of the bitter message beneath its untimely great visua,l stylists, only John Ford and popularity. Gance, like Beethoven, may Akira Kurosawa come to mind as artists have been ahead of his time. But he paid with a balanced genius for form and con- dearly for it during his life, and his tent. Even so, Gance's mastery of form chance to have made Napoleon at all may and the expression of content is almost be due to circumstances that will never without equal. Like Jean Cocteau's re- again prevail. mark about La Roue, \"There is cinema In November of 1981, Abel Gance before and after La Roue the way there is died, not forgotten, not ignored, but painting before and after Picasso.\" rather, finally honored for his genius and Ga'nce's attempts, to stretch the cin- courage. Fate, in his very special case, ema-to broaden ' its vocabulary-did had the grace to allow him the pleasure not pave the way for other artists. The of that golden revenge. !i;' 79

The Fourth Big Muddy Film Fes- Video Products Company. The Festi- American Film Institute, The Ken- tival will be held February 2-7 at val will take place this year in both nedy Center, Washington DC 20566. Southern Illinois University. The Fes- Washington DC and Los Angeles. tival will feature a 16mm film com- Scheduled for June 10-13 at the Ken- The 14th annual Midwest Film petition open to all student and inde- nedy Center in Washington and June Conference will be held in 1982 at the pendent filmmakers. There are entry 24-27 at the AFI campus in Hollywood, Chicago Marriot O'Hare, February 12- fees and $1,000 in prize money will be the National Video Festival will in- 14. Approximately 170 new short films awarded. Deadline for entries IS Janu- clude premiere screenings with large and at least ten feature-length films, ary 25. Contact: Big Muddy Film Festi- screen video exhibitions, seminars on mostly by independent filmmakers, val, Department of Cinema and current video issues, and a national stu- will be presented. In addition to the Photography, Southern Illinois Univer- dent competition in video. Deadline screenings, the Conference also fea- sity, Carbondale IL 62901. 618/453- for entries in the student competition tures filmmakers and critics discussing 2365. is February 15. Details are available their work. Advance registration dead- through college and university video line is February 2. To receive other in- An expanded 1982 National Video production offices and the Television formation about the program, write Festival has been announced by The and Video Services program of The Midwest Film Conference, PO box American Film Institute and Sony 1665, Evanston IL 60204. CONTRIBUTORS other. Annette Insdorf teaches film at ERRATA Tom Allen writes for the Village Voice Yale and contributes to the New York In the November-December issue of and the Long Island Catholic . David Times, American Film and other publi- Chute writes about movies for the Los cations. Joseph McBride is writing FILM COMMENT, Stephen Harvey's Angeles Herald-Examiner. James The American Film Institute Salute to \"Les Bonnes Femmes\" essay de- Delson is a New York-based freelancer Frank Capra with producer George scribed a latexed, overstuffed franco- who contributes to Penthouse , Rolling Stevens Jr. Carrie Rickey is a Village phobe Queen Victoria played by Gaby Stone and the New York Times Syndi- Voice critic. Stephen Schiff is the Bos- Morlay in Entente cordiale. That should cate . Christopher Durang wrote the ton Phoenix film critic. David Thom- have been ·francophone. And within plays A History of American Film, Das son is a San Francisco-based freelancer the same piece, we promised an Arletty Lusitania Songspiel, (with Sigourney and the author of William Morrows interview which we deleted, alas, Weaver) , and Sister Mary Ignatius Ex- Overexposures: The Crisis in American at the last minute for space reasons. plains it Allfor You, and is collaborating Filmmaking. Carole Weisweiller is a And, to give credit where it is due, the with Wendy Wasserstein on one Paris-based producer and writer. excellent British photographer Robert screenplay, and Lily Tomlin on an- Penn took the color still from Time Ban- dits that graced our cover. PHOTO CREDITS: Photo by David Appleby (Paramount Pictures): page 11 (1 ), 15 (2), 16 (I ). Avco Embassy Pictures: p. 52 (I). Photo by Jim Coe (Avco Embassy Picrures) : p. 23 (I). Columbia Pictures: p. 24 (1),25 (1 ), 26 (1 ),52 (I). Photo courtesy James Delson: p 37 (I). Photo courtesy James Delson (Unired Artisrs): p. 38 (4), 39 (3) , 42 (I) . Photo courtesy James Delson (UA-MGM): 40 (2), 41 (2). Filmways Pictures : p. 54 (I). Original art courtesy Jack Fisk: p. 1 (1) , 46 (1), 47 (2), 48(1 ), 49(1). Photo courtesy Jack Fisk : p. 47(1 ). Photo courtesy Harlan Kennedy: p. 18(1), 19(1), 20(1). The Ladd Co.: p. 55 (I) . MGM : p. 1 (I) , 25 (I ). Moon Producrions: p. 54 (I ). Movie Srar News: p. 1 (3) , 25 (I) , 64 (6), 65 (I). Museum of Modern Art Film Srills Archi ve : p. 1 (I) , 54 (I) , 66 (I ), 79 (I). New Image : p. 53 (I ). NBC-TV: p. 73 (2) . Orion Pictures: p. 52 (I), 55 (I). Paramount Pictures: p. 12 (I) 13 (2), 14 (1),25 (I) , 26 (1) , 33 (1), 54 (I) . Photo by David Pe[[igrew: p. 56 (I ). Playw righrs' Horizons: p. 63 (I). Photo courtesy Jonarhan Rosenbaum : p. 56 (2), 57 (2) , 58 (1),59 (I). Original art courresy Richard Sylbert: p. 31 (1) , 43 (3) , 44 (1 ), 45 (2). Twentierh Cenrury-Fox: p. 23 (1), 24 (1) , 53 (I), 54 (1),55 (I). Unired Artisrs : p. 1 (I) , 25 (1), 54 (1 ). UA-MGM: p. 55 (I). Universal : p. 1 (I) 2 (I ), 23 (1 ), 55 (2). Warner Bros.: p. 23 (I), 24 (I), 25 (1),42 (1),63 (I). Photo courresy Carole Weisweiller: p. 34 (I), 35 (3), 36 (2). World-Northal Pictures : p. 52 (2), 55 (I). Photo courtes y Dan Yakir: p. 27 (I) , 28 (2), 29 (I). -------------- HERE'S THE PERFECT CASE FOR I j~~~~~n~~~o~~;P. / po. Box 5120 / FILM COMMENT II IAvoid misplacing valued issues and Philadelphia, Pa.19141 Please send me the following protect your copies from wear and FILM COMMENT Library Cases: tear with these handsome, custom designed library cases . Each sturdy I D $4.95 each I enclose $_ -- case, covered in washable dark blue I D 3 for $14 in check or money order D 6 for $24 payable to Jesse Jones Box Corp. IKivar with gold logo, holds one full Add $1 per file for postage outside U.S. I NAME year of FILM COMMENT and comes I ADDRESS with gold transfer so you can record the year on the spine. Order several Ifiles at once at reduced prices. Sat- CITY L-____________________________bis_afa_ckc_.t_io_n__g_ua_r_a_n_te_e_d__o_r _y_o_u_r _m_o_n_e_y__~I -ST-'~A-T~-E~_-_-_-_-__-_-__-_-_-_-__-_-_~-Z-~I-P-~_-_-__-_-_-__- 80

NEW RELEASES FROM NEW YORKER FILMS ISABELLE HUPPERT .. A CHARMING FILM GERARD DEPARDIEU ABOUT FRIENDSHIP loulou AND SENSUAL PLEASURE ,,:' - Oalll(j Denby New York Mag az ine J'~~~' a film by COCKTAIL ~....,..M. OLOTOV , l M~URICE ~- A 'Um by Olone Kurys, {~( ,r.i: ~IA~\\L\"A, T the dlrectol of v'\\ \"Pepper\"un'Soda \\ ~ t~~{J~'!. \" ~.~ I f ' ' ~riIj_J'iJ;i :\\.~ ¢C (-,., ~ ' ~ \\, $).\", . ~1 \\ A GAUMONT NEW YORKER FILMS RElEASE A P utnam So uare F ilms releaSt\" © lQ81 \"lliE ONE GREAT AUSTRAUAN ALM lliATI HAVE SEEN,- - Pauline Kael The New 't'or1ler fAfO S[HfPISIS THE CHANT OFJIMMIE BLACKSMITH ANew '101 kel filmsRelease © 1980 Plus: Istvan Szab6's Confidence, Wolfgang Petersen 's Black and White Like Day and Night, Jacques Doillon's La Dr61esse, Peter Handke's The Left-Handed Women, Yves Versin's Les Petites Fugues, Rainer Werner Fassbinder's In a Year of Thirteen Moons. Coming Soon: Louis Malle's My Dinner with Andre, Eric Rohmer's The Aviator's Wife, Krzysztof Zanussi's Contract, Fernando Trueba's Opera Prima, Pascal Thomas' Heart to Heart. CALL OR WRITE FOR OUR 1981 SPECIAL ATTRACTIONS CATALOGUE. ~~!fb1ea 16 West 61st Street, New York, NY 10023 (212) 247-6110