VOLUME 06 - NUMBER 01 SPRING 1970

Similarly , my children had grown up in innocence . \"A Breathless Eagerness in Boris was just a family-friend they saw from time The Audience . .. \" to time and adored . When he played Captain Hook in Peter Pan , my five-year-old daughter went back- Historical Notes on stage, but unlike other kids who wanted to touch Dr. Frankenstein And His the hook, Boris often recalled that she had refused . Monster She had merely wanted to meet Wendy, and when Boris saw to it that she did , she said \" Thank you By Gordon Hitchens very much .\" Boris was pleased . Mary Wollstonecraft Shelley, whom Leigh Hunt de- After playing in Peter Pan-he had previously ap- scribed as a \" sweet faced young lady ,\" wrote the peared on the stage in Arsenic and Old Lace-Boris novel Frankenstein during her brief marriage to began making children 's records and narrating Percy Bysshe Shelley, the British poet. Written partly stories, and his reputation altered a bit. Some peo- as a Gothic horror story but also as recreation to ple began to know a different Karloff-who pos- while away dark winter evenings, Frankenstein sessed a sometimes lisping , always mellifluous was an enormous hit in its time , both as a novel voice, and some even remembered his frequent and in stage adaptation . Louis Untermeyer has spec- appearances on the radio program , Information ulated that in terms of popular interest her work Please , when he was perfectly at ease among the far exceeded that of Shelley. She was a naturally intellectual giants of the 1940's. talented writer and had been reared in a lively household-her mother was a champion of women 's Boris' friends knew the thoughtful man he was . They rights and her father was William Godwin , the politi- knew he shared Evie 's love of gardening , home- cal philosopher. cooking , country weekends , cricket and The New Statesman. Still, he never referred to his fate-to \" It is doubtful whether Mr. Boris Karloff, with all the be typed as the monster of Mary Shelley 's imagina- aids which cinematic technique can give him , looks tion-:.with anything but affection . Publicly, too, he any ghastlier or frightens any more people into fits often acknowledged his gratitude to FRANKENSTEIN than did T. P. Cooke,\" writes historian Elizabeth for the munificence that the character had bestowed Nitchie. ';' Cooke was the foremost actor-interpreter upon him . The film had made him famous and well of the role of the Monster, in Presumption , Or The off, but he did not feel superior to it; not even pri- Fate of Frankenstein , written by Richard Brinsley vately did he show any holier-than-thou attitude. Peake. Boris merely accepted , as though his cup runneth Presumption was the first stage adaptation , in 1823, over, what life had given him . FRANKENSTEIN became his career symbol ; but Evie was his life. Together of Mary's novel. A frequent visitor to the theater, they made a handsome, loving couple, whose friendship was rare because they were concerned she later saw her characters in various other adap- (not about what you thought of them), but about you , about your life, your friends, your family. They tations, including burlesque and melodrama . In a were always ready to listen . letter to Hunt, she described the 1823 performances Similarly, Boris was always ready. to acknowledge others. He had often said that the man who de- of Wallack as Dr. Frankenstein and of T. P. Cooke served the real credit for creating the FRANKENSTEIN monster was the make-up man , Jack Pierce. It upset as the Monster-who was listed as _ _ _ _ _ __ Boris that no one had ever mentioned Pierce's con- tribution. Pierce was forgotten by all-e xcept Boris, in the program: who was grateful to him and who never mentioned the painstaking five hours that he had to endure But 10 and behold! I found myself famous . \" Frank- while the make-up was applied and Karloff's mon- ster-myth was born. enstein \" had prodigious success as a drama, and Perhaps it is only that monster-myth that has died , was about to be repeated, for the twenty-third night, because the memory of Boris Karloff the man will remain for those who knew him-urbane, dignified , at the English Opera House. The playbill amused affable , kind-even for those who did not know him closely , like a secretary I had-a New Jersey mother me extremely, for, in the list of dramatis personae, of four who had once seen him on a televison panel , and who later said , \" I have loved him ever since came \" , by Mr. T. Cooke;\" this then . I even told my husband . I don 't know why. Something in his eyes or voice-but I've always nameless mode of naming the unnameable is rather worshipped him . \" good. ... Wallack looked very well as Frankenstein. Can one love a monster?-one with a guileless smile, who nods with curiosity and interest when He is at the beginning full of hope and expectation. he's introduced , and who has a sense of gratitude, and who loves hyacinth and primroses and coral- At the end of the first act the stage represents a bells? room with a staircase leading to Frankenstein 's Yes, I believe so , if his name was Boris Karloff. workshop ; he goes to it, and you see his light at a small window, through which a frightened servant peeps, who runs off In terror when Frankenstein exclaims, \" It lives. \" Presently Frankenstein himself rushes in horror and trepidation from room, and, while still expressing his agony and terror, \" In her book , Mary Shelley, Author of \" Frankenstein ,\" Rutgers University Press, New BrunswiCk , New Jersey, 1953. Prof. Nitchie wrote many books and articles, was chairman of the English Institute and of two groups within the Modern Language Association . SPRING 1970 49

Fourteen years after his myth-making performance as the Monster in James Whale 's 1931 FRANKENSTEIN , Karioff in the 1945 HOUSE OF FRANKENSTEIN plays the scientist, Dr. Frankenstein. Karloff was directed by Joseph Pevney in THE STRANGE DOOR , for Universal in 1951 .

As \" creator \" of the role of Monster, Cooke is de- scribed in a contemporary magazine as of green and yellow visage , watery and lack-luster eye , long-matted and straggling black locks, with blue, livid hue of arm and leg, shriveled comple xion , lips straight and black, and a horrible ghastly grin. Al- though Wallack as Dr. Frankenstein was the star of the first adaptation , Cooke always stole the show and was much praised by critics of that period for his pantomime portrayal of the Monster's awakening to sense impressions and his embryonic human sympathy-as intended in Mary 's novel. Described as \" . .. the beau ideal of that speechless and enor- mous excrescence of nature, \" Cooke toured the provinces with the role and took it to Paris later. Karloff The Monster has died in various ways on stage, depending upon the adaptation : by avalanche, thun- ( \" \") throws down the door of the derbolt, fire , Arctic storm , drowning , suicide by laboratory, leaps the staircase, and presents his leaping from a crag , and by plunging into the vol- unearthly and monstrous person on the stage. The cano of Mt . Etna. So many characters in the Paris story is not well managed, but Cooke played version of the play died on stage that Le Journal _ _ _ _ _ _ _'s part extremely well; his seek- de Paris remarked that it would be difficult to do ing , as it were , for support; his trying to grasp at more, unless one killed also the prompter and musi- the sounds he heard; all, indeed, he does was well cians . In an English stage production of 1933, the imagined and executed. I was much amused and Monster was shot to death . In films , he has perished in ingenious ways , including extinction in a pool of it appeared to excite a breathless eagerness in the burning sulphur. audience. Among the burlesques, the well-intentioned doctor was variously named Frankenstitch and Frankin- There was no copyright hindrance in 19th Century steam , and the Monster appeared as a hobgoblin , theater, and many hack dramatists and producers bailiff, dwarf and mechanical man. In one burlesque , exploited Mary's highly original characters and her the Monster 's death comes in ..... an awful Ava- mysterious melodrama. But at first the play was lanche of Earthenware, a Tremendous Shower of picketed by orthodox moralists opposed to Percy Starch , and an Overwhelming Explosion of Hair Shelley's atheism and to the play's central action- Powder.\" the creation by man of another creature , usurping a godlike function. Producer S . J. Arnold , in rebut- Aside from the unacknowledged imitations, about tal , printed in the playbill the following state- fifteen different versions of Mary's novel were pro- ment- \" The striking moral exhibited in this story, duced, variously farcical or musical or serious, over is the fatal consequence of that presumption which the span of one century, and some enjoyed long , attempts to penetrate, beyond prescribed depths, prosperous runs . Sang one character in an 1849 into the mysteries of nature.\" The very title of the production- \" You must excuse a trifling deviation , play-Presumption, Or The Fate of Frankenstein- from Mrs. Shelley's marvelous narration .... \" emphasizes that moral, which has recurred endless- ly since then , and in various forms in films, perhaps The scenarists for the first FRANKENSTEIN film , best in THE INVISIBLE MAN . On a related theme , based Garrett Fort and Francis Edward Faragoh (it was on medieval Jewish legend , Paul Wegener's THE directed by James Whale in 1931 ), drew in part upon GOLEM (Germany, 1920, photographed by Karl Peggy Webling 's 1927 stage adaptation , particularly Freund) showed the terrible consequences of in the famous incident, both tender and terrifying , creating a great monster, fashioned by a wise but of the flower and the little peasant girl , whom Karloff heretical rabbi. Only THINGS TO COME , from the H. as the Monster kills . Certain elements in other stage G. Wells novel , directed by William Cameron Men- versions are echoed in subsequent Frankenstein zies in 1935, makes a total assault on nature's mys- films, wherein the brain of a dead criminal , cut down tery, arguing that Man must know it all. from the gallows, is used to create the Monster. Following the first adaptation of Mary 's novel, in Of course, the Monster far over-shadows the good 1823, four burlesques followed in rapid succession. doctor in having captured such public devotion for Cooke again portrayed the Monster three years later 140 years . He expresses our basic fascination with in Paris. A British company then presented an En- death and with an artificial creation of life-poten- glish-language translation of that French version . tially a theme of tragic grandeur. Critics in the Various melodramatic versions were done in the 1820's, as now , have lamented such depraved pub- following years. There were annual revivals , in lic curiosity. But the Monster persistently has been various forms , and as late as 1887 a burlesque was re-born , or rather , re-manufacturered , in film and produced at The Gaiety, in London. Since the theater, despite the critics. Mary Shelley, who creat- 1930's, there have been several serious British ed the Monster long ago , at the age of nineteen , stage versions , and in the U. S. five films, all with would doubtlessly have loved Boris Karloff, now Boris Karloff, as well as several non-Karloff Frank- recently deceased. Of the various monsters, per- enstein films. haps he was the monstrous-est monster of them all. SPRING 1970 51

Wilde , an accomplished swordsmen and winner of international competitions , co-starred with Maureen O' Hara in AT SWORDS POINT for RKO in 1952. Producer/Director Cornel Wilde

John Coen was born in Connecticut, studied at After 25 Years Northeastern University in Boston, served in the As An Actor, U. S. Army, and presently works in Hollywood as a free-lance actor, writer and photographer. A New Role for The Hollywood Star: When actor Cornel Wilde-he of the brilliant smile and flashing sabre-returned in a business-suit to his former home studio, MGM , in November of 1969, as a contract producer-director, the Hollywood word was that it couldn 't be done but he did it. Few stars in middle-aged decline can make a career comeback in the new and more demanding roles of producer and director, but Wilde has done that-first with his two highly acclaimed independent features , BEACH RED and THE NAKED PREY, both nomi- nated for Academy Awards . Wilde is presently readying NO BLADE OF GRASS at MGM , with a screenplay by Sean Foresta!, from the science-fiction classic of John Christopher. In 30 years as a film actor, Cornel Wilde has ap- studied a premedical course at the College of the peared in 40 films . During most of that period , he City of New York, finishing the four-year curriculum was a star. But in recent years Hollywood produc- in three years , and was awarded a scholarship to tion methods changed , foreign films and television the College of Physicians and Surgeons at Colum- made their inroads, new performers emerged , and bia University. During college, Wilde won several the studio star-system of which Wilde had once been Inter-Collegiate fencing championships with sabres a prominent part declined , and with it Wilde's popu - and foil , and the Junior Nationals. He worked at larity. For many actors these changes have forced nights and on Sundays in a pharmacy. them into graceless and premature retirement. A career in medicine faded when , just before his But not so with Cornel Wilde. Intelligent, talented , intended entrance into medical school, Wilde won but equally importantly adaptable and determined, the male romantic lead in Moon Over Mulberry Wilde created a totally new career for himself in Street, which opened at the Lyceum Theatre in New middle-age as an independent producer-director. In York and ran for over 40 weeks. He followed this this new role, the actor is not only surviving but with the Theatre Guild's Love Is Not So Simple, is striking out in new directions professionally as summer stock in New England , and then returned few of his contemporaries were able to. to Broadway in a series of roles , culminating with tt\".at of Tybalt in Romeo and Juliet , with Laurence Cornel Wilde was born in New York City on October Olivier and Vivian Leigh . Wilde then joined a group 13, 1918. His father, Louis B. Wilde, a former colonel formed by Lee Strasberg of the now famous Actors in the Royal Hungarian Army , was export manager Studio and chief exponent of the \"Method\" style for a Central European firm , handling perfumes and of acting . Wilde continued to win medals in fencing cosmetics. Wilde attended Townsend Harris High competitions while representing the Joseph Vince School (a three-year honor school) , studied art in Salles d ' Armes and , in 1940, he was a member of Budapest, and entered Columbia University just be- the U. S. Olympic training squad in sabre . For a fore his 16th birthday as one of its youngest under- time, Wilde wrote plays and radio scripts, using a graduates. His father became seriously ill at this pseudonym . point, and Wilde left college to embark on a series of jobs-selling in Macy 's, doing advertising art work Romeo and JUliet went into rehearsal in Holly- and layouts, selling newspaper advertising space- wood , because both Olivier and Miss Leigh were and also attending the Theodora Irvine School of completing films at that time . While there , Wilde Drama in the evenings on a scholarship. He later signed a term contract with Warner Brothers. After SPRING 1970 53

Wilde was the 6 months of bit roles , however, he moved over to by United Artists and starring Wilde, Rip Torn , Burr swashbuckling lover 20th Century-Fo x. After several bits there , he was DeBenning and Jean Wallace , the film uses Japa- of Linda Darnell, of the lent to Columbia for the role of Chopin in A SONG nese performers to depict the Japanese soldiers of TO REMEMBER , also starring Merle Oberon and Paul the story . The Japanese are characterized in human title role in FOREVER Muni . The film w as a tremendous hit. Wilde became terms , and the film in distinguished by its anti-war AMBER , for Fox in a star overnight and won an Academy Award nomi- tone. Wilde plays a sensitive army commander. 1947. nation . He alternated , in one big film after another , between 20th Century-Fo x and' Columbia and then Wilde is continuing with various projects as produc- was lent to Cecil B. DeMille for THE GREATEST SHOW er and actor, including what he has announced as ON EARTH , in the role of the French aerialist. Since \" .. . A big film , an off-beat suspense and adven- then he has made many films . ture story on the sea, to be called THE RAGING SEA. \" He also plans work-on a film to be called THE POWER Wilde speaks French , Italian , German , Hungarian , OF THE DOG , which he calls \" ... A western of the Serbo-Croat and Russian . An all-round athlete at Bonnie-and-Clyde period with the kind of suspense 6 feet , 1 V2 inches , and 185 pounds , he swims , rides , which makes it a western gothic in genre , like HUD , does deep-sea fishing , spear-fishing , hunting and although the characters and action are completely skiing . He is married to Jean Wallace , formerly different. \" married to Franchot Tone . She has appeared in several films with him . They live in Beverly Hills when For purposes of this article , I made an appointment not abroad on frequent location shooting . with Wilde for a taped interview. I was eager to meet him and was curious about his renewed career as In recent years Wilde has been producing and a producer-director. Usually , in Hollywood , when a directing films , in which he stars . These include former glamor-boy movie star gets older, he turns LANCELOT AND GUINEVERE for Universal , MARACAIBO to booze and temperament. Several contemporaries and THE DEVIL 'S HAIRPIN for Paramount, and STORM of Wilde , as waShed-up swashbucklers , became FEAR for United Artists . He produced THE NAKED PREY very messy in their decline , e.g , Errol Flynn . As I in Mozambique and other African locations . In the drove to Wilde 's office , Theodora Productions , in film Wilde portrays a member of a safari in the the Sam Goldwyn studios in Hollywood , I recalled 1850 's who survi ves a massacre and is then set free his many roles . In forty films in over a quarter-cen- by the tribesmen to be hunted like an animal. It is tury of work , most of them witrl good box-office, a story with a strong , basic premise for suspense Wilde had provided his studios with enormous in- and action . For BEACH RED , Wilde turned to a new come , and millions of Americans for years had been location, the Philippines, and a novel about World entertained by him . War II by Peter Bowman . Shot in color , released 54 FILM COMMENT

Wilde 's office is small but lived-in . An English sec- I must say that BEACH RED has had the kind of Wilde 's co-stars in retary serves tea . Cans of film , film posters , pho- release I think is right . It opened in New York first tographs and mementoes of Wilde's diversified ca- in a very good house . It ran 10 weeks and again CENTENNIAL SUMMER , reer fill the office . Now 51 , Wilde is still trim and we got some wonderful notices to come in with , so muscular, just a little grey, still a handsome man that at present in L.A ., we 've had the advantage for Fo x in 1946, were who wears the years well. of coming into a single house with the benefit of William Eythe, Jean reviews from New York that meant something. The Crain and Linda My first question to Wilde was of a business nature, New York Times-an absolutely marvelous review. Darn ell. because he is now more a producer than an actor. In fact, all the New York papers-New York Post. .. Playboy Magazine, a terrific review . It took eOEN: Your new film , BEA CH RED, is being released me about 20 minutes to get to the review . I got stuc k in an exclusive engagement situation around the on the center-fold . country, with obviously beneficial results both financially and critically. But what was your earlier By now we have so many good reviews from allover ex perience with your preceding film , THE NAK ED PRE Y? that when we took an ad in the trades , we had to WILDE : Well , the distribution arm generally tries to decide which ones to eliminate because there were release a picture the way they think it will make the so many. most money. They thought that THE NAKED PREY- because of its exciting action elements-would be eOEN: What is your reaction to critics, regarding a natural for multiple release. I didn 't, because I felt the violence in your films ? that it was such an offbeat picture that it needed WILDE : Well , I don 't make pictures with that in mind, build-up by word of mouth and a slow release in honestly . I thought in THE NAKED PREY I wanted to one smaller house, and let word of mouth gather. show, wanted to do a picture about Africa the way But they did what they thought was best. They I believed it should be done. I didn 't feel I should opened here in L .A. in 27 theatres at one time , and make compromises . Maybe si x people out of a at the end of the week there was a tremendous thousand might have found it was too tough to take , amount of talk allover about the picture, but the but the other 994 people I think would get more picture was gone-whiCh was very upsetting . Now, out of the picture because it was done honestly , in New York they changed policy and opened in without compromise. I don 't look on motion pictures a smaller theatre on Broadway and ran 11 weeks. as being cereal , where you want to please everyone We got marvelous reviews , and it was an Academy from a baby to a 70-year-old . That is fine if you are Award contender. producing cereals or toothpaste. SPRING 1970 55

Norman Panama and Melvin Frank wrote the screwball screenplay for IT HAD TO BE YOU for Fox in 1947 . Ginger Rogers starred with Wilde. There is violence in BEACH RED , which is perfectly I just have to go on my judgment, and I have no right because it is an anti-war film . I can 't under- particular ego about myself as an actor in my pic- stand making a film about war which glorifies what tures. Because what counts is the picture and not has been man 's greatest catastrophe through the my being in it, or my performance . I want to be as ages . good as possible but , as the reviews in BEACH RED pointed out, I let the two young actors who play eOEN: We know that in the motion picture business the biggest roles in it have the best parts in the good, small-budgeted films like yours occasionally picture. They should have the best parts, because do well artistically, but often find it difficult finan- that's what the story is about. cially. How is BEA CH RED doing financially, as com- pared to THE NA KED PRE Y? eOEN: What is the main requirement fo r an actor WILDE : Far better, because it started out right and who is directing himself? it had a very good advertising campaign . A very WILDE : You have to be objective . It is not always good release, good theatres, and a good playing easy , and some people are not capable of it. I don 't time . BEACH RED is definitely a good money-maker . think you can direct yourself in a picture properly In Tokyo it is opening next month in 3 theatres unless you can be objective and ruthless about simultaneously and on a road-show basis. So the yourself. I've cut a lot of my own scenes out of my Japanese think it is a very important film for them . pictures because I didn 't think they contributed anything , or they held up the story . In LANCELOT AND My war film on the World War II Pacific Theatre gives GUINEVERE I cut two scenes which had only my wife the Japanese dignity for the first time in an Ameri- and me in them . I didn 't think they were needed , can film . There has been a tremendous amount of and so I just took them out. space in the Japanese press about BEACH RED . In this picture they are not the grinning villains that eOEN: When did you first get interested in direcl- they have always been pictured . War is the villain ing? in BEACH RED . WILDE: Oh , I wanted to long , long back . I always wanted to . I felt when it came to be, the right time, eOEN: Do yo u find it diffi cult directing yourself in I could do it . I started 10 years ago when I thought it was time for me to make the switch . It was very a film ? difficult to be accepted as a director by the financial people-the distributors and the studios. And then WILDE : No , I can only say that it is not difficult for to be accepted as a good director by the reviewers m e . Th e best thing I c an say about it is the reviews , and the audience . There is a natural resistance and I must say in THE NAKED PRE Y I got better reviews as an acto r th an in any other picture I have ever done , including A SONG TO REMEMBER . As director, 56 FILM COMMENT

\\ \" ..., - - -.... ..,.: . .\"--\"'. '' - .... about that in connection with actors. Actors are THE NAKED PREY , supposed to be not very bright. They use most of their day standing in front of a mirror, putting on directed by and make-up , It's an old concept that is by now, fortu- starring Cornel Wilde, nately, largely gone, Actors now are in all branches and produced by his and walks of life , and some in which I don 't think Theodora Productions they should be. in 1964, was released by Paramount. Written The first picture I directed was STORM FEAR . In STORM by Clint Johnston and FEAR I played the head of a small gang of bank Don Peters, the film robbers. Dan Duryea, my brother, owned a farm in was an adventure yarn the mountains. I am wounded in the getaway and set in Africa and shot one man is killed , and we take refuge in my brother 's in Panavision and farmhouse . His wife , played by Jean Wallace, was Technicolor. It was formerly my girl-friend. There is a little boy in the promoted vigorously, house who is actually my son and not my brother 's, with Wilde making a The character I played , Charley , was a no-gOOd with nationwide a lot of charm . He had no character and just walked pUblicity-tour, out on the girl. The brother married her and in name appearing on many is the father of the boy , but he is an embittered man television and radio because the girl had never loved him . It was a tough shows, and with picture that got very good reviews and gave me a special recording and good start. newspaper tie-ins. Wilde played a I was very pleased with directing LANCELOT AND flamboyant French GUINEVERE and with the fact that it won the Gold aerialist in Cecil B. Prize at an Italian film festival in 1963. It got marvel- ous reviews in England and in this country the New DeMille 's THE York reviews were terrific . But I was not very happy with the release of the pictu re, because again it was GREATE ST SHOW ON treated like a swashbuckler, and actually it was not. As the London and New York reviews pointed out, EARTH , for Paramount it was a classic re-creation of the period of King in 1952 SPRING 1970 57

American troops storm Arthur with stress on the love story and the Civil picture to have some nominations and possibly ashore in the Cornel War that resulted . awards-the more the better. The same goes for Wilde production, films like FAR FROM THE MADDING CROWD , just as it Another film I directed , THE DEVIL'S HAIRPIN , was a was with DR. ZHIVAGO-very big and ex pensive films BEACH RED . good money maker that got good reviews . It was get very expensive and big campaigns. a picture that had not only the action of the race track , but also some good characters and character COEN: Would you tell us about your writing career? relationsh ips with the brother, the mother and the I understand that at one time you wrote under the mistress . pen name of Clark Wales . WILDE : Yes . I started out as a writer in New York COEN: Does directing your wife, Jean Wallace, pro- actually, and when there I sold options on three vide any special problems? plays. They were never done, but I must say that WILDE : No . I like directing Jean because she is a the Theatre Guild took an option on two of them very talented actress and a hard worker. At times and George Abbott on another. I did quite a few I demand too much of her if I am harassed or behind radio scripts, and I've done work on some of the schedule . When it comes to her scenes , I expect picture scripts that I've done. I used Clark Wales her to help me make up time and she generally as a pen name on some of the early things . It had does . She got rave reviews on LANCELOT AND the CW . in it . GUINEVERE . As a young man I did all kinds of odd jobs , because COEN: Your preceding film , THE NA KED PRE Y, was it was very hard to get any kind of a job when I nominated for an Academy Award. 00 you antici- was going to college . My father became very ill at pate the same for BEA CH REO? the time , and it was important for me to get through WILDE : I hope that it will get some nominations. school ing as quickly as possible . I was going to be I know that it's going to be an Academy Award a doctor at that time , and medical schooling is very contender, and there has been a great deal of talk long , so I went through high school in three years about it. But it is very hard for any picture of medium and college in three years , and worked evenings or modest budget, or without tremendous ballyhoo, and holidays . In the course of those years I tried to buck films that have ten-million-dollar budgets all kinds of things to make a buck . and which have commensurate advertising and promotional campaigns. Obviously a picture like When later I hit with A SONG TO REMEMBER I became CAMELOT is going to have a fortune spent on pro- a star overnight in a very exciting way , and then moting it for Academy Awards , because it would my contract was split between 20th Century-Fox and be very important for the financial results of that Columbia. I was shuffled back and forth and I never 58 FILM COMMENT

stopped working . I was literally worn out physically. Wilde starred in , The demands on me for publicity from both studios directed and produced were overwhelming , so I would just have no time BEACH RED for United to rela x or rest. It got to a point that I felt \" this is Artists in 1967 . His not living , all I am doing is grinding away , either wife, Jean Wallace, working or publicity , or some damn thing all the time also appeared , as did with no life of my own .\" the Broadway actor, Rip Torn . Now I look at it somewhat differently . For one thing , the whole picture has changed out here pUblicity- wise. When actors were under contracts to studios there was a steady progressive buildup of per- sonalities. Stars were made by being put into im- portant films, one after another, with a constant campaign . I think the lack of that today is one rea- son there are so few new important stars. Now , as a producer, I want my films to get as much publicity as possible , but I don 't believe in that sort of cutie, cutie publicity shots. It means nothing to do a picture to say \" so and so was at the beach with so and so ; or so and so was this or that , as the best dressed man of the year. \" That doesn 't mean anything to me. What counts for me are the reviews and the word of mouth about the film , and to publi- cize the exciting and unusual qualities of the film . I remember the earlier Hollywood well. Working with Paul\" Muni in A SONG TO REMEMBER was interesting because he was a very fine actor and a great tech- nician . It also was a bit disturbing because I admired him so much . When we started working on A SONG TO REMEMBER , I asked him to rehearse some of the scenes with me. I wanted 10 sit down in the dress- ing-room and go over the lines so we would know what each one would sound like. How he would do his role meant a lot to me as to how I would respond . Of course, I was very nervous about working with him and also because it was such an opportunity. Much to my amazement , he refused to do it and said \" I don 't care how you do your role or what you sound like. I have my own concept of Chopin and that's all. So you do anything you like , it doesn 't matter to me.\" It left me a little wounded , but I must say he did some absolutely marvelous perform- ances in ZOlA and PASTEUR and so on . I thought Linda Darnell was very wrong for Amber . She was a very sweet and lovely girl but completely different from the part as it was in the book , and it seemed to me that that was wrong . I wasn 't keen about FOREVER AMBER . I thought it was a stilted film of a very exciting period . It should have been full of turbulence and so on . THE GREATEST SHOW ON EARTH was one of my favor- ites. I thought it was an excellent film that turned out to be DeMille 's best picture and the only one for which he got an Academy Award . I just missed an Academy nomination on that-I was number six . It was a marvelous part and I really enjoyed dOing it . It was on television recently but I must say on television it lacks impact, with the constant inter- ruptions for commercials, and lacking size. DeMille was very demanding , but now that I'm on the other side , I don't think he was any more demanding than I am . He was an exciting man to work with and he had tremendous ideas, and he wanted what he wanted and that's all that counted and he didn 't care how he got it. In the final analysis , the audi- ences are what determines the future of the picture,

Wilde was a and they don 't care how you did this or what it took racing-driver in THE or cost to accomplish so and so. What counts is what 's on film . Everything else is forgotten . Maybe DEVIL 'S HAIRPIN for you hated so and so, and you were knocked silly Paramount in 1957 , with fatigue, but it doesn 't matter. What counts is Writer John Coen sits what's on film. beside Cornel Wilde COEN: As you know, many famous directors were below posters formerly actors. In fact, their current prominence advertising recent as directors has, .in some cases, over-shadowed Wilde productions, their earlier acting careers. Now that you are a 60 FILM COMMENT successful producer and director, owning your own company. making films that star yourself, what does the future hold? What project do you plan next? WILDE : One project is for a film from a novel called The Nowhere City, about Los Angeles . I have a script ready. It was a big seller in this country and number two on the best-seller list in England. It's very much of today, about Los Angeles, with five wonderful parts , It's frank and outspoken in its viewpoint and approach. It has some very hilariously funny things, some very sexy things, and some very poignant things-which sounds like Los Angeles. I will combine all these elements because I think it's right for the story. And I think that that's what life in general is-a combination of many emotions. That's certainly true of Los Angeles, with all its facets . I probably won 't be in it. At this point I am trying not to be in it. I'd rather produce and direct. If I can get somebody who is better for the role of the Beverly Hills psychiatrist than I would be-that's the only role I could play-then I would rather go that way. I will produce and direct only.

Cornel Wilde Filmography CALIFORNIA CONQUEST 1940 Columbia; Teresa Wright. THE LADY WITH RED HAIR 1953 Warners ; Wilde in a bit role ; also with Miriam Hopkins and SAADIA Claude Rains. MGM ; Rita Gam , Mel Ferrer. 1941 HIGH SIERRA THE TREASURE OF THE GOLDEN CONDOR Warners : Wilde in a bit as Me xican desk-clerk in hotel : with Fox ; An adventure in the Land of the Incas ; Constance Ida Lupino , Humphrey Bogart. Smith . 1942 1954 RIGHT TO THE HEART PASSION Warners ; Wilde in a bit ; Brenda Joyce . RKO ; Yvonne de Carlo, Raymond Burr. THE PERFECT SNOB A WOMAN'S WORLD Fox ; Wilde in a small role ; Lynn Bari. Fox ; Wilde was one of several aspiring assistants to tycoon Clifton Webb; June Allyson , Van Heflin . LIFE BEGINS AT 8:30 1955 Fox ; Wilde in a small role ; Ida Lupino , Monty Woolley . THE SCARLET COAT MANILA CALLING MGM ; A period adventure; Anne Francis, Michael Wilding , George Sanders. Fox ; Wilde in a small role ; Carole Landis, Lloyd Nolan . BIG COMBO 1944 GUEST IN THE HOUSE Allied Artists ; A gangster drama; Jean Wallace, Richard Conte, Brian Donlevy. United Artists; Wilde in a small role ; Anne Ba xter, Ralph Bellamy. 1956 STAR OF INDIA 1945 A THOUSAND AND ONE NIGHTS United Artists; Jean Wallace. Columbia ; Wilde has a small role as a she ik; Evelyn Keye s. HOT BLOOD A SONG TO REMEMBER Columbia; Wilde and Jane Russell were battl ing gypsy lovers. Columbia ; Wilde 's first starring role , in life of Chopin ; with Merle Oberon , Paul Muni . STORM FEAR LEAVE HER TO HEAVEN United Artists; A gangster thriller : Jean Wallace , Dan Duryea , and an early appearance of Dennis Weaver . Fox ; Wilde was framed for murder; Gene Tierney , Jeanne Crain , Vincent Price. THE DEVIL'S HAIRPIN 1946 Paramount ; Wilde as an egotistical racing-dri ver, responsi- THE BANDIT OF SHERWOOD FOREST ble for brain damage to his brother; Jean Wallace . Fox; Wilde was Robin Hood; Anita Louise. 1957 OMAR KHAYYAM CENTENNIAL SUMMER Paramount; Wilde in the title role ; Debra Paget , Michael Fox ; Jeanne Crain , Linda Darnell . Rennie . 1947 BEYOND MOMBASA HOME STRETCH Columbia; Wilde was a cynical safari guide ; Donna Reed, Fox ; Maureen O'Hara. Leo Genn , Ron Randall . FOREVER AMBER 1958 MARACAIBO Fox ; Wilde was a lover of Amber, played by Linda Darnell , from the Kathleen Winsor novel ; George Sanders. Paramount; Wilde was a daredevil underwater expert; Jean Wallace , Abbe Lane . IT HAD TO BE YOU 1959 Fox; Ginger Rogers. EDGE OF ETERNITY 1948 Columbia ; Wilde was a sheriff in the Grand Canyon ; Victo- ROAD HOUSE ria Shaw , Edgar Buchanan . Fox; Wilde was framed by partner Richard Widmark for 1962 robbery ; Ida Lupino sang One For The Road. CONSTANTINE THE GREAT WALLS OF JERICHO Embassy ; Wilde in the title role ; Christine Kauffmann . Fox ; Wilde as a small-town politician ; Linda Darnell , and 1963 Kirk Douglas in a small role . LANCE LOT AND GUINEVERE 1950 Paramount; A re-make ; Jean Wallace , Brian Aherne . FOUR DAYS LEAVE 1966 Film Classics; Josette Day. THE NAKED PREY TWO FLAGS WEST Paramount; Wilde was pursued by Africans in a race for Fox ; Linda Darnell , Joseph Cotton , and an early appear- life . ance of Jeff Chandler. 1967 1952 AT SWORDS POINT BEACH RED RKO ; Maureen O'Hara . United Artists; Wilde was commander of invading United THE GREATEST SHOW ON EARTH States troops; Jean Wallace, Rip Torn . I1111111 Paramount; James Stewart, Betty Hutton, Charlton Heston; directed by Cecil B. DeMille. SPRING 1970 61

ERNST A s a farceur, Ernst Lubitsch can be said LUBITSCH to have been the best that the cinema ever has achieved , close to the stature of the French playwright Georges Fey- deau , \" the Shakespeare of the boule- vard farce \" and the greatest comic dramatist after Moliere. (Chaplin? But he was the cinema 's Moliere l ) Ernst Lubitsch , while directing Emil Jannings for Paramount in Lubitsch and Feydeau had many things in common . 1928, pauses during shooting for a private moment at the studio Feydeau not only wrote and directed his own plays, organ . The film was shot at Paramount's Studios in Astoria, Long but he was never seen without a cigar-chomping ,Island, in New York . Photo: Herman G. Weinberg collection . or smoking it. Like Lubitsch , Feydeau began as an amateur actor, and by the merest chance (the tardi- A Parallel to ness of a theater manager), Feydeau became a playwright . He , too , had to make his farces as hilari- George ous as it was physically possible , and he, too , wrote down every bit of action , leaving nothing to chance. Feydeau Everything had to count and to be accounted for. by Marcel Achard's description of Feydeau 's method sounds exactly as if he were describing Lubitsch 's: HennanG. Weinberg \" 11 is impossible to cut anything in Feydeau 's plays. This was originally written for Weinberg 's The Lu- The most amazing thing about them is the infallibility bitsch Touch , published by Dutton, but completed with which all things are regulated , explained and too late for inclusion in the book. It will be included justified, even in the most extravagant buffoonery. in the revised edition . The extracts from Marcel There is not a single incident, once introduced , of Achard on Feydeau are from Eric Bentley's 'Let's which we cannot say, 'Yes, that's true-it could not Get A Divorce' And Other Plays (Hill & Wang , 1958). have happened any other way.\" originally the introduction to Feydeau 's Theatre Complet, copyright by Editions du Belier, 1948. The \" There is not a single detail , not one , which is not translation of the Achard passages is by Mary necessary to the action as a whole ; there is not a Douglas Dirks. single word which, at a given moment, does not have its repercussion in the comedy-and this one word, I have no idea why, buries itself into our subconsciousness, only to issue forth at the precise moment when it most illumines an incident we were not anticipating but which we find entirely natural, and which delights us because it sounds impro- vised-and because we realize that we should have foreseen it. \" Achard describes a characteristic example of the meticulous care with which Feydeau insured even the most minute of his desired effects: \"It happens in Occupe-toi d 'Amelie that two actors have to say in relation to each other and twice over: 'Ah-hah! That's it! ' \" Obviously, ' Ah-hah! That's it! ' can be said in any number of different ways, anyone of which may be funny . But we have reached the third act of a Feydeau play. By this time the audience is convulsed with laughter. It is now a question of getting bigger laughs than ever. Feydeau has no intention of leav- ing this problem to the possibly faulty inspiration of the actor. \" There is a way of saying, 'Ah-hah! That's it! ' the right way-Feydeau 's way . And I beg you to realize that it is not exactly the easiest way . He gave direc- tions for it. He wrote it down-on a staff with notes: he made his 'Ah-hah! That's it! ' into music. \" Achard concludes by quoting Jean Richepin 's amazement that Feydeau 's brain could give birth to so many buffooneries, so much sensible non- sense, without bursting . \" It happened at dawn , June 5, 1921 ,\" he says. \" He died from his desire to make us laugh , killed by his own genius .\" 11111111 62 FILM COMMENT

Bob Watson thought , safety belts were too 'Om: l.~~Tt.- \"~0\"4\"'So . Advertising contributed for the public good.'<,. ou\",c.' 'f',fIU I (\\'\\I.<:l

THE PICTURE PALACE AND OTHER the use of Renaissance , Far Eastern and Classical BUILDINGS FOR THE MOVIES motifs, elegance became the byword of the American BY DENNIS SHARP motion picture theater. Eberson wrote, \" We visualize and dream a magnificent amphitheater under a glorious Introduction and acknowledgements by the author; moonlit sky in an Italian garden, i:l a Persian court , in a Spanish patio , or in a mystic Egyptian temple-yard , Frederick A. Praeger; New York ; 1969; hard cover , all canopied by a soft moonlit sky .\" $12 .50; 224 pages ; illustrated with photographs, When Sharpe turns to the British motion picture the- ater, he adopts a colder, clinical , technical viewpoint. floor plans, drawings; sources of illustrations; bibli- The nostalgia and magic evoked by the American pal- aces disappear; the illustrations become less enchant- ography; index ; selected list of cinemas , Great Bri- ing ; and the reader is confronted with more floor plans and technical jargon. British cinema architecture is tain and the United States. more functional and colder, compared to its Baroque counterparts in other areas of the world . The book REVIEWED BY EUGENE FERRARO makes a quick jump to the sound era and to what Sharper calls \" the era of the super cinema .\" His de- Mr. Ferraro is research assistant for FILM COMMENT, scription again is very tech nical , and he emphasizes a Master's candidate in film production at Columbia the British movie houses, with some attention to the University 's School of the Arts, and is editing a docu- continental houses. mentary film on the advert~ ing world. There are interesting sidelights to Sharpe's account-a Enter the dreamhouse, brothers and sisters, chapter on drive-ins, material on news theaters and leaving Your debts asleep, your history at the on art houses-and a word on contemporary and future door: This is the home for heroes , and this loving cinema design. But Sharpe never regains the interest Darkness a fur you can afford. stimulated by the earlier portion of his book . C. Day Lewis , from Newsreel rc 1938 As a scholar and teacher of architecture , Sharpe cannot decide whether he is telling a fascinating story In recent years , the hitherto small volume of written or giving an academic lecture . The result is that his material on the motion picture has increased tremen- account vacillates between the two styles . His initial dously. The motion picture theater, nevertheless, has free story-telling manner becomes pedagogical in later received relatively little attention, with two excep- chapters. Admittedly , the fascinating historical back- tions-Ben Hall 's The Best Remaining Seats (1961) and ground comes first-once one leaves the palace archi- now Dennis Sharpe 's The Picture Palace . In The Picture tecture , the later material quickly becomes much less Palace , Sharpe takes on the ambitious project of interesting-but Sharpe 's change in style is also to chronicling the entire history of the movie house-from blame for the letdown. the days of the Edison Kinetoscope and the nickelo- deon to the motion picture theaters of today. Sharpe 's emphasis on British cinema design also is detrimental to the book, because the American the- Sharpe begins with an interesting glimpse of the pre- aters were simply more fascinating. Sharpe's vigorous history of the motion picture theater , in which he dis- enthusiasm in the chapters he devotes to American cusses the exhibition of effects produced by such theaters shows this. devices as magic lanterns and translucent colors . Then he turns to the kinetoscope parlor and the nickelodeon , But, in defense of Sharpe 's book , it must be realized and he provides a fascinating chapter on the itinerant that architecture is best appreciated in visual rather shows of pre-World War I-the bridge between the than in literary terms , because architecture is primarily cine-variety shows , which' had such a short life in the a visual and a functional experience . A full understand- early music halls, and the permanently based exhibi- ing of cinema design is beyond the capacity of an tion . This was a period of frantic activity-no sooner author using a printed page . In describing architec- did one mode of exhibition arrive than it vanished , to ture , therefore , photographs and illustrations are far be replaced by another . The Picture Palace recalls a more effective than words in creating the experience . fantastic period of growth , from 1910 , in which theaters As a result , a successful book on architecture , if there sprang up everywhere , dictated by the \" movie mad- can be such a book , must overcome its natural literary ness\" that pervaded society and brought a daily limitations , and this is difficult indeed . In The Picture average of si x million customers into 25 ,000 theaters Palace , the illustrations and photographs are very constructed between 1910 and 1920. good-so good that they dwarf the te xt from the outset. Anyone who loves the movies also cherishes the con- During these early days , it was customary to convert cept of the movie-house. These illustrations are a re- legitimate stage theaters into motion picture theaters. minder of just how thrilling those old movie-houses were At first, the exclusively film theaters were outclassed and how sad it is that so few remain . In such circum- in every way by the elegance of the legitimate stances , words must and do fail . houses-but not for long ... . In the most fascinating portion of The Picture Palace , Sharpe traces the ori- It is probably worth comparing Sharpe ' s account to gins, development and heyday of the American movie Ben Hall 's The Best Remaining Seats . Sharpe 's lively palace. The book's remarkable photographs and daz- account of the American palace era is the exclusive zling illustrations bring alive the building spree em- subject matter of Hall 's book . Hall lavishly endows his barked upon by John Eberson , Thomas Lamb , and the account with illustrations , and they recreate an era and \" Frank Lloyd Wright of the cinema world ,\" S. L. \" Roxy\" its architecture about as well as any book may hope Rothafel. The baroque reigned supreme, and throuqh to . There are photos , newspaper excerpts , programs, portraits of the contemporaries of the period , and more. But Hall 's book , too , suffers from the limitation that it must rely on words. His words , at least , are uttered with so much more emotion than Sharpe 's. Hall passes on to the reader his nostalgia, his admiration , and what is more , a sense of what motivated Eberson , Lamb and the others in their fantastic cinema design work. Hall 's book leaves the reader with more than unusual facts-it leaves him with a concept of an era and a sense of its passing , while Sharpe 's account merely prods our sensitivities . 64 FILM COMMENT

Only at Contemporary. MARCEL PAGNOL ECSTASY YOUNG TOR LESS harvest, letters from my gustav machaty / starring volker schlondorff windmill, the baker's wife, hedy lamarr cesar, fanny, marius, the HIROSHIMA MON AMOUR well -digger's daughter, THE GODARD REVOLUTION alain resnais breathless, my life to live, PIER ROT LE FOU alphaville, a woman is a IN THE YEAR OF TH~ PIG jean-Iuc godard woman emile de antonio ICONTEMPORARY FILMS McGraw-Hili Eastern Office Midwest Office Western Office 1714 Stockton Street, San Francisco Princeton Road, Hightstown , N.J. 08520 828 Custer Avenue , Evanston, III. 60202 Calif. 94133 (609) 448-1700 (312) 869-5010

notion that German comedy at the beginning of World War I was the most advanced and intelligent in the film world . Lubitsch himself was crude in his early work , but a Franz Hofer we saw in the recent Lubitsch cycle at the Museum of Modern Art was delightful , and Ma x Mack sounds magnificient. L'ECRAN DEMONIAQUE Following L 'Ecran Oemoniaque , Eisner wrote her book on Murnau, who hovers uncertainly in public esteem LOTTE H. EISNER between the known and the unknown . This , too , is understandable. The older generation was brought up Forward by the author; (French language); Eric on an image of Murnau , director of THE LAST LAUGH Losfeld , Le Terrain Vague, Paris, 1965, Edition defini- and SUNRISE, as the greatest glory of the Golden Age , tive, no price; 288 pages; stills and sketches; ap- one of the world 's supreme film makers. The new gen- pendices and filmography ; index . eration is all too apt to say it doesn 't like Murnau . When I hear this I usually say \" You haven 't seen the right F. W. MURNAU films ,\" although I can only add \" Neither have I. \" LOTTE H. EISNER I do question the grandeur of the well-known films , all the way from THE LAST LAUGH to TABU . THE LAST LAUGH , (French language); Le Terrain Vague, Paris, 1964; TARTUFFE , and FAUST are Golden Age films par excel- no price; 256 pages; stills, photos, and sketches; lence-too much so. One feels the presence of the appendices and filmography; index ; \" Textes addi- designer and the electrician all too painfully . There is tionnels de Robert Plumpe et Robert Herlth .\" not enough humanity under the decor. Visual quality can make a film-see BROKEN BLOSSOMS-but here it REVIEWED BY KIRK BOND does not. SUNRISE has nice things , but I am afraid it does not succeed as a whole . CITY GIRL, which I have The German Golden Age is not a favored period today just seen , is shockingly poor-and all undoubtedly shot among film buffs. Outside of Lubitsch, Lang, and per- by Murnau , not by some studio hack-and TABU is to haps Pabst, the German directors of this period are me not a great deal better. I cannot understand the not well known or highly regarded , and these few who praise showered upon it. are known are known in good part for films made outside of the Golden Age itself. One must look hard But NOSFERATU is wonderful , and everything indicates for something on Lupu Pick or Karl Grune or Paul Leni , that Murnau's other early films are also good. At least to say nothing of a Karl-Heinz Martin or a Reinhold four ·of these exist in one form or another in Europe- SchUnzel. GANG IN DIE NACHT, SCHLOSS VOGELOD , PHANTOM and DIE FINANZEN DES GROSSHERZOGS. It seems high time to have It is sad , for the Golden Age produced wonderful work. a Murnau retrospective in New York . But it is not hard to realize that the famous lights and shadows and artificial sets, streaming through so many Eisner, as I have implied , is on the side of the Golden of these films , put people off to some extent today. Age Murnau . Her book is not a biography , nor yet Modern audiences do not seem inclined to accept the exactly a study . It is more a collection of pieces on lichtspiel at its own value , but rather to question Murnau-most of them written by her. The biography whether it is as important as they have been told . and the study emerge , so to speak, from these various pieces. Eisner herself discusses Murnau and his script One person who has no doubts about the value of this writers, Murnau and the camera and lighting, the ques- period , however , is Lotte Eisner. Her first film book , tion of a \" realistic \" Murnau, and then a number of L 'Ecran Oemoniaque , is a familiar standard work , cov- specific filmS-GANG IN DIE NACHT, SCHLOSS VOGELOD , ering essentially the period from the end of World War NOSFERATu-the three Hollywood films , and TABU , and I to the early sound years. The volume under consider- in a separate chapter the \" lost\" films . ation here is her second edition containing new and fascinating stills and added material in the form of Accompanying these pieces is a piece by Murnau 's appendices. brother, Robert, on \" My Brother, Wilhelm \" and a piece by Robert Herlth, the set designer, on his work with If we are looking for a treatment of the Golden Age Murnau. Then there are several appendices and a of lichtspiel and vampires and all sorts of ancient leg - listing of Murnau 's unrealized projects, including a ends c ome to life , then this is the book . It is evocative , detailed summary of a wild and all but impossible plot often beautifully written , with that appeal to the great concerning 'a man who , during an eventful day, cannot German romanticism of a century earlier that is virtually use his hands in public because he is handcuffed . And dictated by the subject. Running through the book like there is a full filmography . a litany are the familiar terms-\" expressionism,\" \" fan- tasy ,\" \" horror,\" \" shadows.\" And the beautiful stills ,In her book , Eisner does break away at times from the amply illustrate these characteristics of the period . traditional Murnau figure . Her chapter on VOGELOD is entitled \" SCHLOSS VOGELOD is not a horror film ,\" and Only ... this was by no means all of the German film she details the dramatic values of the film . Still and of the twenties. Eisner duly discusses the kammerspiel all , she comes back to the dreamer with his head filled films-the more stylized the better-but she says little with lights and shadows. The paper cover of the book or nothing of the straight dramatic films that the Ger- has on one side a poster of NOSFERATU , but , of course , mans were making until she comes to Pabst, whom it is nothing but the monster and the rats . One would she cannot ignore. hardly guess from this , or indeed from Eisner's chapter, the warmth and beauty of this remarkable film. And another bone I must pick with Eisner is that she tends to dismiss as practically a total loss the early And I would like' to tell, in conclusion , a story : Willy German years from , say, 1900 to 1918. She finds a Hass, the script writer, wrote a piece about Murnau few interesting things , especially if, like the first STU- at the time of the latter's death. He said that both DENT OF PRAGUE, they anticipate the glories to come , Murnau and Lupu Pick had gone to Paris for the open- but that is all. Of course , like everyone else , I have ing of Chaplin 's A WOMAN OF PARIS . When it was over , actually seen few of these early films, but from what Pick said \"Murnau , Chaplin must have seen your films .\" I do know the Germans made many fine films in these And Murnau replied , \" Lupu Pick, I can say the same early days, including comedies. Indeed , I have the thing-Chaplin must have seen your films .\" And then Haas in his piece added \" And they were both right .\" But this was, remember, before THE LAST LAUGH. 66 FILM COMMENT

GOTHAM BOOK MART for art and literature FILM FILE No.6 35¢ THEATRE CATALOG (75 pp.) still available Always in the market to buy film books & magazines GOTHAM BOOK MART 41 W. 47, New York 10036 IF IIIL IM IIC IO IM IM IE IN IT I ELEMENTS OF FILM is distributed by B DeBoer LEE R. BOBKER, New York University 188 High Street Nutley NJ 07110 and Vision Associates. Inc. who also distributes of: FILMMAKERS NEWSLETTER A basic, thorough introduction to the cinema FILM CULTURE that combines information on the technical as- FILM HERITAGE pects of filmmaking - camera, lighting , sound, FILM QUARTERLY and editing - with a perceptive analysis of FILM SOCIETY REVIEW the art of the film . The text is supported by FOCUS! several complete sequences from actual film MOVIE scripts and by more than 60 photographs. five of them in full color. and many other periodicals in the fields of arts, humanities and politics. Book- Paperbound . 303 pages . $4.50 store and individual inquiries invited . Please write for list. \" I know of no book on the fundamentals of this fascinating subject which can touch Ele- ments of Film for clarity. comprehension , and the acuity and aptness of its discussions of technique . Even professionals established in the industry might read with profit Mr . Bobker's comments on the cited material and enjoy what amounts , in passing, to a valuable little anthol- ogy of screen writing and film criti cism. It is a book that belongs in every college and univer- sity film department in the country .\" - Norman Corwin University of Ca Iifornia. Los Angeles HARCOURT, BRACE & WORLD, INC. New York / Chicago / San Fran cisco / Atlanta

DAMES Darnell and Kim Novak get more space than the other actresses selected for Dame s. BY IAN AND ELISABETH CAMERON Frederick A . Praeger , Inc ., Publishers , New York , The other three Praeger books have some of the char- 1969 ; hardcover , $4 .95 ; paperback $2 .50 ; 144 acteristics of the first two-a sim ilar layout and a casual pages; Illustrations; Filmography. style ; however , the major part of Fritz Lan g in Americ a is qu ite different and of special interest. It is a first-per- THE HEAVIES son interview with the director that runs 103 illustrated pages . Similar to the lean but valuable Mark Shivas BY IAN AND ELISABETH CAMERON intervi ew with Lang in Andrew Sarris 's Inte r views with Frederick A. Praeger , Inc , Publishers , New York , Film Directors , this si x-day interview tape-recorded by 1969 ; hardcover , $4 .95 ; paperback $2 .50 ; 144 Bogdanovi c h in 1965 c ontains much insight into the pages; Illustrated ; Filmography. man and his work. Lang 's problems , concerns and interpersonal relationships cast light on his American FRITZ LANG IN AMERICA works. This interview and the filmography and bibliog- BY PETER BOGDANOVICH raphy that follow make up a permanently documented portion of Lang 's career. Frederick A . Praeger , Inc ., Publishers , New York , Possibly the most useful of the Praeger offerings is 1969 ; hardcover, $4 .95 ; paperback , $2 .50 ; 144 Ingmar Bergman , because it presents a complete pages; Illustrated ; Filmography. chronology of the director 's work . However , it is full of generalizations and personal judgments such as the INGMAR BERGMAN suggestion that Bergman is a Swedish George Cukor . B Y ROBIN WOOD The themes and characters in Bergman 's films are detailed with a psych ology-content oriented zeal. Much Frederick A . Praeger , Inc ., Publishers , New York , of the visuality of Bergman is left out in favor of the 1969 ; hardcover, $5.95 ; paperback , $2 .95 ; 192 traditional dramatic and literary view. The reader can pages; Illustrated; Filmography. go for several pages without being aware that the medium under e xamination is the cinema . Although ANTONIONI phrases like \" If my ten-years-old memory is correct B Y IAN CAMERON AND ROBIN WOOD . . .\" are disconcerting , the sequential analysis of Berg- Frederick A . Praeger , Inc ., Publishers , New York , man 's work is e xcellent ; it not only recreates and re- 1969 ; hardcover , $4 .95 ; paperback , $2 .50; Illustrat- minds the v iewer of the scenes from the film , but it ed ; Filmography. provides more understanding of the scenes in question . REVIEWED BY DONALD STAPLES Both Robin Wood and Ian Cameron are extremely honest chroniclers. Like Wood 's questioning of his Reviewing these fi ve new books from Praeger is like memory above, Cameron adds parenthetical asides interv iewing a set of new born quintuplets in the age of such as \" or perhaps it is their day 's sweepings ; I for- McLuhan . They look the same-with their almost square get\" in the last quintuplet, Antonioni. This honesty, quarter-of-a-square-foot, black cover and gaudy, full- however , is no substitute for accuracy , and their cava- frame jacket. Internally, they look good with their crisp lier dependence on memory rather than research does black and white photographs , nice paper and leg ible not encourage a respect for the credibility of their work . type; however, the bold section headings give the These last two books are very much alike in approach , feeling that something is wrong-that there is a per- with analytical summaries of the director's work, and vasive overdoneness to the design. After examining with script excerpts . It is a shame that Praeger did not the quintuplets , one senses an unexpected quality that see fit to use color illustrations for Wood 's section of is strangely satisfying-individuality . And in studying Antonioni dealing with his color films . them in depth , their differences in intellectual content and usefulness to a cinema society become more Even with such a great number of films books on the obvious. They are not the same: however, they each market , every new entry is gratefully received , and seem to be lacking something that another one might these five new books from Praeger are no exception . have. They are superior to many contemporary works ; how- ever, one wishes that they might have been a little Two of the books look like twins: Dames and The better. If the Lang book had more analytical material , Heavies. Each of them offers a paragraph or more, and if the other two directorial studies had been more plus pictures and a filmography , of seventy or more objective and had been researched more closely , they actors or actresses who come loosely und~r their would warrant higher praise. These editions, however, classification systems. The heavies are usually villains are nice additions to any library. or just bad guys , whereas the dames are not really the female opposite number. The dames are often just A NEW PICTORIAL HISTORY tough girls , such as the prostitute with a heart of gold , OF THE TALKIES and not true heavies. Both books concentrate on the last twenty-five years of film history and , according to BY DANIEL BLUM the authors , are intended \" for use in more or less the (REVISIONS BY JOHN KOBAl) same way as a picture book of butterflies .\" These are G . P. Putnam's Sons; New York; 1968 (first pub- casual , informal books that contain generalized com- lished in 1958); hardcover, $10 .00 ; 351 pages ; illus- ments and information from the Film Daily Yearbook, as well as informed guessing , personal asides and trated with photographs; index. opinions. Blum 's pictorial history of the sound-film, first published These two \" reference \" works are fun-reading for film in 1958, has now been expanded and revised , by histo- buffs who spend lots of time watching the Late Show, rian John I<obal , in a handsome re-issue with otl:ier and they could occasionally be used by serious schol- 4,000 photographs . The forty-year span of the sound ars to identify a character from a still photograph , film film is brought right up to the present , with special clip or complete film that has inadequate credits. The material on stereophonic sound , 3-D , wide screen , and collected filmographies would also be useful. Repre- the battle with television 's competition. More than nos- sentative or unique plots are summarized, certain talgia , the revised Blum / Kobal work is loaded with facts characters are described and snatches of sample dia- and credits , in addition to the many high-quality still logue are dotted throughout the books. The authors photographs. have acknowledged that their selection of actors and actresses is arbitrary , and they apologize for the omis- sions. Their rationale for the length of the inclusions is not evident and must be just as arbitrary . Linda 68 FilM COMMENT

THE EMERGENCE OF FILM ART EDITED BY LEWIS JACOBS Authors include: Alberto Cavalcanti , Aline Saarinen , Peter Cowie, Arthur Knight, Ingmar Bergman , Don- ald Richie, Michelangelo Antonioni , Stanley Kauffn,ann ; preface by the editor; Hopkinson and Blake, Publishers ; New York ; 1969; paperback , $3.95; 453 pages; illustrated with photographs; index of names and titles. REVIEWED BY HERMAN G . WEINBERG 'for This is a compilation of film writings from 1929 (Harry your old film Alan Potamkin) to the present (Paul ine Kael , Andy Sarris , Jonas Mekas). It is , as you see , quite a range, Whatever the condition of your and the subjects are as varied as the contributors , and film, Rapid can repair, restore as melodious-the latter including such prestigious and rejuvenate it. names as Rotha , Eisenstein , Dwight Macdonald , John No matter how scratched, brittle, Howard Lawson , Hanns Eisler (on film music) , Robert oil-stained or dirty it is. No Edmond Jones and Len Lye (on color) , Seymour Stern matter how badly spliced. Rapid and Richard Watts (on Griffith ), Flaherty (on NANOOK ) , can give it new life. Jonas on the American New Wave , etc .. In short , That goes for color as well as something for everyone. black and white ; 8,16, and 35mm . This book is certainly aimed primarily at the film stu- dents, who are plowing their way for the first time What's more, after we 've through the avalanche of film books that have , heaven revitalized the film we give it a help.them , descended upon us . Thanks to the catholi- special protective coating city of his selections , Jacobs has steered the reader that resists future damages. through a vast sea of film writings by providing him So why spend a fortune on new with stepping stones that will \" get him across \" to the prints? Come to Rapid Film \" other side \" where the aficionados dwell . Where the Technique and renew your student goes from there is up to him . But with this old ones. compendium as his guide he is in good hands and Use handy coupon below to send will not get lost. for your FREE Trial Certificate and see for yourself what Someone recently called my book , The Lubitsch Touch , dramatic effect rejuvenation can idiosyncratic . This book is not. Is that a good thing? have ... on your films and on I think it's a matter of personal taste . Certainly it's safer your budget. (not to be). Matter of temperament , quoi? MAIL COUPON TODAY! SIGHT, SOUND, AND SOCIETY- MOTION PICTURES AND TELEVISION IN AMERICA RAPID FILM EDITED BY DAVID MANNING WtilTE TECHNIQUE, INC. AND RICHARD AVERSON Contributors include: Gilbert Seldes, S . I. Hayakawa, Dept G 37-02 27th St., Walter Lassally, Robert Steele, Robert Vas, David T. Long Island City, N.Y. 11101 Bazelon , Clifford Odets, Andrew Sarris, Harry S. Ashmore , Hubbell Robinson , Arthur Schlesinger , Jr ., o Send me FREE Trial Certificate John M . Culkin , Stan VanDerBeek , et. a/. ; introduc- tion and preface by the editors; Beacon Press; series to test Rapid's rejuvenation process. in Contemporary Communications; Boston ; 1968; hardcover, $7 .50; 466 pages ; appendix: The Litera- o Send me FREE brochure, \" Rapid ture of Motion Pictures and Television : A Critique and Recommendations by the editors; indices of Gives New Life To Old Film .\" names and subjects. This book is an ambitious evaluation of the interplay o Please have a rejuvenation spe- of American social institutions with the sight-and-sound mass media . Its thirty-two contributors are highly- cialist call me to discuss my film qualified professionals of diverse disc iplines , writing of library and show me how to save various topics but perhaps emphasizing television 's money. impact upon politics, children , Negroes, education. The editors have grouped these essays under five topic- NAME ________________________ headings , each of which is preceded by their own introductory chapter . In all , this book provides an ex- COMPANY _____________________ cellent collection of pertinent, often amusing essays, with lasting reference value for the library of the cultur- ADDRESS ______________________ ed person concerned about the use and abuse of mass media . CITY _______________________ STATE ___________ ZIP _______ L_________________________ _

THE IMAGE CANDIDATES- There is no doubt AMERICAN POLITICS IN THE that sooner or later research AGE OF TELEVISION BY GENE WYCKOFF win And the ultimate cure The Macmillan Co .; New York ; 1968; hardcover, $6 .95 ; 274 pages ; illustrated with tables ; index for cancer. This book concerns the art of merchandizing political !We can help make it sooner. personalities , of winning elections for candidates by If you help us. enveloping and presenting them in a favorable aura to the voting public . The basic premise of this profes- Give aU you can to sion-which presents grave implications in a democra- the AmeriCan Cancer SOciety. cy-is that voters seek reassuring clues to a candi- date 's character , clues found in his appearance and Fisht cancer with a checkup and a check. • demeanor. Voters pay little attention to the rational import of a candidate 's utterances, and instead are influenced by their perception of his image . This fa- scinating book is an authoritative analysis of this single most determining factor in electing a candidate in this , the Television Age-the image of the candidate pro- jected by television . The book reveals the lively be- hind-the-camera stories of artful users of televi- sion-LBJ , Reagan , Nixon , Romney, Lindsay, Percy- and includes the complete scripts of successful cam- paign fi Ims about Lodge and Rockefeller . The author brings considerable expertise to his subject, having for twenty years written and produced radio , television and film promotion for various public figures . His book concludes with proposals for new legislation to control and improve the use of political television , in order to minimize propaganda and unethical broadcasting practises. THE TECHNIQUE OF TELEVISION PRODUCTION BY GERALD MILLERSON Preface by the author; a volume in \" The Library of Communication Techniques;\" Communication Arts Book; Hastings House, Publishers; New York; 1968; first edition 1961 ; current edition is revised and enlarged ; hardcover, $13.50; 440 pages; illustrated with drawings; bibliography; index. Now revised and updated , this textbook on the basics of television production includes a new section on color television , and other features . In this expanded and modernized form , this standard now acquires new rele- vance in the ever-changing technology and methodol- ogy of television . The book is part of the Hastings House continuing series of books on the communication arts, of special value to professionals, teachers and stu- dents. TELEVISION NEW-WRITING, EDITING, FILMING, BROADCASTING BY I. E. FANG, PH.D . Preface and acknowledgements by the author; A Communication Arts Book; Hastings House, Pub- lishers; New York; 1968; hardcover, $8.95; 285 pages; illustrated with photographs and technical drawings; glossary; appendices: AP Broadcast Wire, and transcripts of three news reports; index. This is a detailed guidebook on television news report- ing , excellent for students and a good reference for professionals. All the skills associated with the televi- sion journalist-writing , interviewing, filming , editing , broadcasting-are fully described . The book 's em- phasis is how-to, but several chapters stress broad- casting ethics . In addition to its informative t~xt, the book has specific information , in its glossary and ap- pendices, of value to specialists. 70 FILM COMMENT

THE NEW MEDIA: MEMO TO ...... .. ....:.:::. :..,.:..,...'........:..\"..:....:.:..::...:•::..:....::.:::.:.-.;.:.~.:::...;.:..:.::...~..:....::I::..:•..'.:.::.:.:'..:-.:::::.::...::::.~~'..{,~::.::.\":.~'::..,!'..'.:.,:..::.\"::~::.:::•i•~.:•:.•:..:~.::~...:::.'•.•.::.•~.•:..:.•.:.•..•::....:..::::j....:.~;:::.:::•:.:.:~•'.:~:,.:::..!:::~.;.~..::.~:::...' EDUCATIONAL PLANNERS BY WILBUR SCHRAMM , .;~.::.: ';.:'::.~.}\\~~~ :~:.\\~~i~1r::.:~{l~~·::::::~J~~~}~:;~~~~r.i~: PHILIP H. COOMBS, . •....... ::\",~~,,,,, :.':::!.\" .:::.: ' ••::.:::::: ...... . FRIEDRICH KAHNERT, JACK LYLE :: . •.:·::•..:•·..•::::::.=:.:::.:::::i:...:.~::.::::•..:•:.•:~..:.:-:.~..::.....::..::::•~.::•::~•:.:.:~.:.:.:~.~.:~:~:::.~:::.-::.•:.-•~:-•::••.::::~•~:•::•,.•.!::::::::e::.•:.:;•:.::•:::~•:.:•:.:•::.•.:•••::::•.~~::.•:..•:::.;:•::-:..::: Forward by Rene Maheu, Director-General, Un- ..:::: .. esco; Acknowledgements by the authors; Unesco; .•••.• ..... .\".. ..... . .. ........... ... ........... .... .............. ...... .., ....... ..........•. .....•.::,:.~#..:..-. . ed Nations: Paris, Amsterdam ; 1967; handcover, .. .......... ........... .............................. ......................... ............. ....................:... ...... .... ,.: $3.95; 175 pages; illustrated with photographs, ..: ......... :••• • ••••• ••• ••: ...::.::;... • •• t :~.:::! charts; index; available at special bookstores and . ... .. ......... . . .... .::.::::.:.::: ::: :' :.::: ::::: ~:.~:.: by mail-order from Unesco Publications Center, 650 t••• t . t•••• First Avenue, New York 10016. ........ ...............::::.:: : : ......:::::. ••..•::: ... ....: Although several years old, this book has continuing :.::~. :~: :::.::::~~:.:::::i:.~.:.~y.! value as a document on the application of the new :::~::::::.::.:~ electronic teaching media to the world's educational ::.: problems. In order to determine the effectiveness, cost, .. .. ...... .... .· . ... ... ............. ... :.•............... ..:::.:::: : : ::: :.\":: methodology, the how / when / whatlwhere for employ- ing audiovisual devices and concepts to diverse •• ::. •. . -.:::::.::.:i• •.i.: . -.....••.:.:. learning situations around the world, the International Institute for Educational Planning , established by Un- . .. . ......................... ........... ... .....:. esco in Paris, studied in detail nearly two dozen new ..:.•:•.. : ...:._:.t..:.:.: media projects in 18 countries . The projects ranged from primary schools to universities and adult educa- -:.:• •• fI : . •••• : •••••:.:•:•:·•t;.:.::•.~.::::~:..:::::..~::.::.:::.:t:.:::.::!:.. tion , in nations with widely varying cultures and levels ....··.~.:. . ..........~.:.: .: . ...........:..... :............:...;...~...:::.....•...i..·...·......... of development. This book , The New Media , summa- rizes the findings of this report. It suggests specific ..........::. guidelines for getting the best results from these new ..' educational tools. The main conclusion : \" The new ..• : . : •••• fl• • • • • media are not miracle drugs for educational systems ..... .-.......... ...-..:•:• • -•:• fI• . . . but they offer an uncommon opportunity, if used .....•....'.'' effiently and appropriately, to help education go further, : from ::: ... . .......:. po more, and do it better.\" ::...::~....'...... - :..:.~: PARADIGM THE TECHNIQUE OF EDITING 16MM FILMS the arousing ....: /.. BY JOHN BURDER Forward by the author ;'A volume in The Library of A mela nge of images and impressions, swift and Communication Techniques, published in associa- sensuous. One of t he most provocative, beautiful tion with Focal Press Ltd ., London; Communication fi lms to come out of contem porar y Engla nd. Arts Books: Hastings House, Publishers; New York; 1968; hardcover, $9.50; 152 pages; glossary of 15 min. 16 mm color Rental minimum $35 technical terms; index. ONC E UPON A LINE High in price, but also in quality, Burder's book reflects his extensive editing experience. He starts with basic T he ani mated adventures of our hero - who matters of film gauge, equipment and editing facilities, strangely resembles a garbage can. turns to the mechanics of editing, then goes into sever- al long chapters on producing and editing sound- 6 ' ~ min . 16 mm color Rental minimum $20 tracks, typically so baffling and hazardous for the new- comer. Other sections deal with opticals, titles, out-wit- SECRET CINEMA ting the monsters in the lab , and the care and storage of prints, outakes and editing equipment. A practical \"A cool, hilarious study of madness that is abso- how-to book , it is always cogent, brief 'and useful. lutely believeable.\" N ew York Times THE MARX BROTHERS 30 mi n . 16 mm b/w Rental minimum $45 AT THE MOVIES BY PAUL D. ZIMMERMAN 13UCPCP€Rqr1:;'P AND BURT GOLDBLATT Introduction by the authors; G. P. Putnam's Sons; A mirthf ul tale of a m agic chrysalis, a nd its magic New York ; 1968; hardcover $7 .95; 224 pages; illus- ingredient. ( Platf ormate?). trated with photographs. 5 min. 16 mm color Rental mi n imum $15 Here is another pictorial career-survey book , this time not of a single star but of the four Marx Brothers. The plus a 60 second extra authors do a good job. The book covers the twenty-year span of the Marx Brothers's thirteen films, from (1929) added attraction . . .... . THE COCOANUTS through LOVE HAPPY (1949) . Over 200 photographs are used, some of double-page size, and RAVI DUCK of great reference value are detailed cast and produc- tion credits , with backgrounct information on each of Animated Raga, as performed by t hree eastern the films, and long plot-synopses, including passages ducks. of zany dialogue by George S. Kaufman and other scenarists for the famous Marx Brothers comedies . In 60 sec. 16 mm color Rental minimum $5 sum : a good addition to the film buff's library. PARADIGM FILM DISTRIBUTION 1356 No. Genesee 246 West 80th Street Los Angeles, Calif. 90046 New York, N .Y. 10024 (213) 461-5762 (212) 874 -3220

BilKS from lubitsch to barrymore A GUIDE FOR FILM TEACHERS FILM FAN MONTHLY presents in-depth coverage of films TO FILMAKING BY TEENAGERS of the past, with detailed career articles, filmographies , BY RODGER LARSON exclusive interviews, photographs , and special features . Alfred Hitchcock 's TV Films ; The Career of Robert Donat ; Introduction by the author; Forewords by August An Analysis of the American Film Institute 's Film Dis- Heckscher and Doris Freedman ; Cultural Affairs coveries by William K Everson ; Burgess Meredith inter- Foundation ; 1968 ; paperback ; $1 .00 ; 48 pages ; il- view ; The Independent Sound Serials of the 1930s; Charlie lustrated with photographs by Hella Hammid . Chan on the Screen ; Elliott Nugent interview. These are just a few of the 'special features in previous issues of FFM- The special work of former painter Rodger Larson , in designed to be lively, factual , and informative . teaching film making to Black and Puerto Rican slum If you 're a film student, film scholar , or a devoted film buff, teen-agers in New York , is one of the few reassuring FILM FAN MONTHLY is for you. Just $4 .25 a year, $5 .00 and heart-warming aspects of the American film via First Class Mail. 50<1: a copy . Back issues available . scene . Yes , heart-warming is the cliche of the lazy FILM FAN MONTHLY 177 GRAYSON PLACE/ reviewer of the Radio City Music Hall 's newest fami- TEANECK, N, J. 07666 ly-comedy , but in the case of Larson and his Young Film Makers Foundation work , the word really applies . I .-filmmakers everywhere read Larson dedicates himself to the realization of his stu- '~ dents-perhaps an inaccurate description of the some- ~ what shifting and floating group of young film learners . \" ' ~L_ ~- whom Larson trains in the use offilm equipment , fortheir self-expression on film . But they learn through Larson a great deal about film , and a great deal also about the value of themselves. Larson 's short book, based on teaching experiences in East Harlem and in the Lower East Side of New York , is no euphoric social- welfare tome but instead in loaded with solid how-to information, budgets, and instructional insight for readers seeking to learn something of film teaching to teen-agers . SCREEN WORLD 1968 BY JOHN WILLIS Volume 19 ; Crown Publishers , Inc .; New York ; 1968; hardcover, $7 .50 ; 256 pages ; illustrated with pho- tographs; index. SCREEN WORLD 1969 BY JOHN WILLIS Volume 20; Crown Publishers, Inc. ; New York; 1969; hardcover, $8 .50 ; 256 pages ; illustrated with pho- tographs; index. Volume 19 and 20 , of the continuing Screen World series, again bring us annual records of the current movie season-1968 and 1969, respectively. These handsome and informative books are comprehensive pictorial and statistical accounts of fiction feature-film production in the U. S. and western Europe-with only cursory attention to film making elsewhere in the world . Still , the series are excellent sources of data, and the 1OOO-plus photographs per volume nail down the image of western film for that year. Of special interest are the features : obituaries of stars , all Academy Award winners , listings of domestic and foreign titles released each year in the U.S., biographical data on performers , and other information. MIRACLE IN MILAN Filmmakers Newsletter BY VITTORIO DE SICA \"How I Direct My Films\" and \" What I Wanted to $4 yearly in USA. 80 Wooster Street NYC 10012 Say in Miracle in Milan \"; The Orion Press, distributed by Grossman Publishers, Inc. New York ; 1968; hardcover, $5.00; 121 pages; photographs; filmo- graphy . Like THE BICYCLE THIEF and several other classics of Italian neo-realism , MIRACLE IN MILAN combines the tal- ents of Vittorio de Sica and Cesare Zavattini. But it is in strange contrast to its fellows , perhaps in uneasy con- trast . The latter film is a stylized fantasy , albeit with a poverty environment and the compassion and latent social protest typical of these collaborators. Having the screenplay, the strengths and weaknesses of the film can now be better analyzed The 50-plus photographs, and De Sica 's introduction , add to the value of this book. 72 FILM COMMENT

BUSTER KEATON NTS FilmS BY J .-P . LEBEL prasants Biographical introduction by the author; translated from the French by P. D. Stovin ; A. Zwemmer Limit- Arthur Barron's ed , London ; A. S. Barnes & Co ., New York ; (pre- (Director, Columbia University's pared by The Tantivy Press); English edition first School of Film) published 1967 (originally published in 1964 by Edi- tions Universitaires , Paris); paperback , no price ; 179 Birth and Daath pages illustrated with photographs; filmography . BIRTH AND DEATH is not only a rare film Th is Keaton book is another in the International Film but also one of the most highly-acclaimed Gu ide series , edited by Peter Cowie . Although several films of its kind. It teaches, it moves the heart, years old , the book is by no means dated , as its subject it stirs the soul. BIRTH tells the story of a is timeless . It can be found in specialized film book- young couple eagerly awaiting, and finally stores and is well worth the search , as it is packed having, their first child. DEATH tells the story with information . The filmography is done with great of a 52-year-old man awaiting, and finally care, and other features make this small book a handy, meeting, his own death. informative tribute to the great clown . BIRTH AND DEATH was the premiere tele- SUSPENSE IN THE CINEMA vision program of the 1968-69 season of the BY GORDON GOW Public Broadcasting Laboratory of the Na- Introduction by the author; A. Zwemmer Limited , tional Educational Television Network. London ; A . S. Barnes & Co ., New York ; (prepared by The Tantivy Press) ; 1968; paperback , no price; Following its telecast, BIRTH AND DEATH 167 pages; illustrated with photographs; books consulted ; filmography. was acclaimed by the press around the Available in special bookstores , this book attempts to nation. find the main recurrent themes and devices of cinema suspense. Gow works not only the predictable horror \"A documentary which may just have been films but dramas and even comedies . The result is a of revolutionary importance to the arts.\" continuous series of digressions, as this or that scene in discussed in terms of its suspense . At no times is Life Magazine it possible to probe deeply, as perhaps a hundred films are touched. But the book contains much of value , \" ... one of the most profoundly real and yet including a filmography with full production credits , and many high-quality photographs. poetic documentaries ever seen on television BRITISH CINEMA-AN ILLUSTRATED GUIDE -or anywhere else.\" Village Voice BY DENIS GIFFORD Introduction by the author; International Film Guide \". . . a remarkable and revealing portrayal of Series; A. Zwemmer Limited , London ; A. S. Barnes & Co., New York; (prepared by The Tantivy Press); the drama implicit in the life-and-death 1968; paperback, no price; 176 pages; illustrated with photographs; index. cycle.\" Denver Post This book will have to be sought in film buff shops \" . . . a remarkable portrayal of the joys, hu- but for scholars it is worth the trouble . Where else can you find in a five-ounce paperback a comprehensive mors and anxieties of life's constant renewal listing , with a hundred photographs , of the leading and the inevitability of its lonely termination.\" players and directors of British cinema , and an index with 5,000 titles? A marvelous if very simple reference The New York Times tool. For Immediate Booking Write or Call: THE CINEMA OF ALAIN RESNAIS BY ROY ARMES National Talent Service, Inc. A . Zwemmer Limited , London; A. S. Barnes & Co ., Suite 1202 New York; (prepared by the Tantivy Press); 1968; paperback, no price; 175 pages illustrated with 136 East 57th Street photographs; filmography; bibliography. New York, N.Y. 10022 (212) PLaza 9-8735 Small in size, big in value , Armes 's book on Resnais surveys his entire career, with commendable attention to his formative documentary years . A long chapter of biography is instructive, in establishing Resnais's place in the intellectual community , his ironic idealism , and his attachment to themes of time and identity. No less valuable than the detailed filmography is the list of abortive projects : we don 't often see that kind of ac- knowledgement. And the bibliography reflects the unique personality of Resnais: hundreds of articles, interviews and essays , by and about him .

TWO SCREENPLAYS- students and faculty THE BLOOD OF A POET, are invited to join THE TESTAMENT OF ORPHEUS BY JEAN COCTEAU The University Film Association Preface Oy the author; translated from the French To further and develop the by Carol Martin-Sperry; The Orion Press (first pub- potentialities of the motion lished in 1957 and 1961 by Editions du Rocher- picture medium for purposes of Monaco); New York; 1968; hardcover, $5 .95; 149 instruction and communication pages; illustrated with photographs appendix: Films throughout the world . . . directed by Jean Cocteau . for information, please write: This volume includes complete screenplays of the first of Cocteau 's films, THE BLOOD OF A POET , and the last, C. Dennis Lynch, Membership THE TESTAMENT OF ORPHEUS . The range of his poetic University Film Association genius is demonstrated in the two films, and publishing University of Iowa TV Center them in this fashion in a major service to film culture Iowa City, Iowa 52240 by Orion Press. The book includes also about sixty photographs from the films and of Cocteau at work, ANNUAL CONFERENCE as well as some of his important writings on cinema , The Ohio State University plus production credits, cast listings, and other materi- als . 17-21 August 1970 SHAKESPEARE ON SILENT FILM- A STRANGE EVENTFUL HISTORY BY ROBERT HAMILTON BALL Preface by the author; Theatre Arts Books; New York ; 1968; hardcover, $12.50 ; 403 pages; illustrat- ed with photographs; Supplementary section : Ex- planations and acknowledgements about informa- tion in previous chapters; bibliography; index of films; index of names. Herbert Beerbohm Tree portrayed King John in 1899, when film was in its infancy, and in the thirty years of the silent period that followed, dozens of great tal- ents of the legitimate theater-American , British and continental-appeared in many screen adaptations of Shakespeare . Prior to sound , before Shakespeare's verbal poetry could be expressed , silent films brought his dramatic poetry to new mass audiences in many lands that had never seen him in the theater. Pro~essor Bali's book details this early period of the silent Shake- speare in film . It includes excerpts from scenarios and from reviews in early film journals, and many still pho- tographs, including frames from the films themselves. Among those seen is Shakespearean roles are Buster Keaton , Asta Nielsen , Francis X. Bushman , Emil Jan- nings, Will Rogers, Clara Kimball Young, Harry Baur and James Cruze . Melies is seen not only as Hamlet but as Shakespeare himself, in his SHAKESPEARE WRITING JULIUS CAESAR (1907). Professor Ball , a Shakespeare specialist has three de- grees from Princeton , has published widely in books and periodicals, and teaches English at Queens Col- lege, the City University of New York THE FILM EXPERIENCE, ELEMENTS OF MOTION PICTURE ART BY ROY HUSS AND NORMAN SILVERSTEIN Harper & Row; New York City and Evanston ; 1968; hardcover, $6.95; 172 pages photographs and dia- grams; appendix, index. The purpose of this book is to broaden the intelligent moviegoer's perception of film and to increase his pleasure through elevated taste . To this end , the au- thors discuss films of various types, emphasizing Griffith , Bunuel, Godard, Kurosawa, Lang , Von Stern- berg, Antonioni, Resnais, Eisentein, Hitchcock, Fellini and several of the American \"Underground \" film makers. Stills, diagrams, an illustrative story-board , but most importantly an informed and detailed text, make this an important addition to film literature. Tech- nical aspects of film making are kept relevant to the inexpert understanding of non-professionals. The au- thors are members of the English Department at Queens College, in New York City , and they have con- siderable experience in writing, broadcasting and teaching about film . 74 FILM COMMENT

THE BAD GUYS- Film Libra~ A PICTORIAL HISTORY OF THE MOVIE VILLAIN Quarterly BY WilLIAM K. EVERSON Forward by the author; Citadel Press; New York; published by the Film Library Information Council. 241 pages ; illustrated with photographs ; index . 101 West Putnam Avenue, Greenwich, Conn. 06830 With his customary lively yet historically detailed text, Timely articles and reviews on Bill Everson offers us here a valuable survey of the the documentary and short film bad guys of movies-the western heavies, gangsters, hoods , gunmen , mad doctors , super-criminals , psychos , even the serial villa ins. Re-issued this year in paperback , the Everson standard retains its 500 excellent photographs and its value as reading enter- tainment and as a reference source . FELLINI BY ANGELO SOlMI Forward by the author; translated from the Italian by Elizabeth Greenwood ; Humanities Press, Inc. ; New York ; 1968; Originally published in 1967 by the Merlin Press; hardcover, no price; 183 pages; illus- trated with photographs; bibliography; index of films. Here is a welcome addition to the growing literature on Fellini. In the first part , Solmi trac'es the recurrent themes in the Fellini films , relating them to Italian concerns generally and to the director's personal ex- periences. In the second part, Solmi makes a closer examination of Fellini's childhood , youth and adult life , showing how these periods are directly expressed in the films . But Solmi does not presume that the estab- lishment of Fellini's eminence was a quick or easy matter. The book treats the long development, the successes and failures, the compromises and adapta- tions to an industry-environment, the technical diffi- culties, the occasional rejection by critics and the public . The sad-bitter tone within the Fellini films , the capricious events , say something as well of the Fellini career-a hard struggle, full of triumph and reversals. THE FILM EDITED BY ANDREW SARRIS Essays by Pauline Kael, Eugene Archer, Hollis Al- pert, Roger Gr.eenspun , Richard Roud , Joan Fox, Arlene Croce, John Simon, Dwight MacDonald and the editor; Introduction by the editor, The Bobbs- Merrill Company, Inc.; New York; 1968; paperback, $1.00; 64 pages ; afterword by Dwight MacDonald . This short anthology deals with three topics-American , French and Italian directors-at three essays each . The volume is part ofthe Bobbs-Merrill Series in Composition and Rhetoric , which includes such titles as The Con- temporary Religious Experience by Edward B. Fiske and Student Activism by Irving Howe. The Film , like the Series as a whole , includes varied and contrasting readings selected and introduced by a distinguished editor . Each essay is followed by the editor's half-dozen provocative questions for class discussion and writing . THE STUDIO BY JOHN GREGORY DUNNE Farrar, Straus & Giroux; New York; 1968; hardcover, $5.95; 255 pages. This book describes itself as a cinema verite study of Twentieth Century Fox , and it certainly strives to be closely observed and ironic , as so much of the best cinema verite documentary is , but the total effect is

contrived and forced . \" Less art and more matter,\" said The Magazine of Film covers all aspects of the lady. And here , less portent and more fact. The British World Cinema. Interviews Federation of with Directors - Deville Dunne, a free-lance writer whose Delano concerned Film Societies Satyajit Ray. Festivals - - the California grape strike , was present at sundry script- Berlin, Cork, Venice, Locarno. conferences , sound-stage hassles, commissary ma- Quarterly. 36 pages Animation, Shorts, Books, neuvers , etc ., affording him various facts and revelation Illustrated Reviews. about such films as HELLO , DOLLY ; STAR! ; DR . DOLITTLE ; New Cinema - Canada, THE BOSTON STRANGLER and THE MAN FROM THE 25TH Switzerland. Critical CENTURY . He recaptures these experiences , name-drop- appraisals - Fuller, Oshima, ping and quoting verbatim at least fifty top Hollywood Ford. personalities . But to serious students of cinema , these films and their stars and their business gyrations are Write forto not terribly significant. And so a book about them . ? Film FILM SCHEDULE MUSEUM OF MODERN ART 21 Larchwood Road The Museum of Modern Art has announced its ten- Subscription St Johns tative schedule for special film programs for Spring 1970. The schedule is: $1,50. Waking Continuing through March 24: A Tribute to Hal for four issues Surrey England Roach . ., Clneaste March 26-April 1: Films from Ceylon by James Lester Peries. A MAGAZINE April 2-11 : Nine New Hungarian Films. April 12-July 22: The Japanese Film. FOR THE FILM STUDENT April 24, 8PM : Marco Ferrari . \"It's refreshing to read student articles that express con- cern about content in films.\"-Richard D yer MacCann Cineprobe presents independent filmmakers and Author of Hollywood in Transition, Film and So ciety their new films . There is always a discussion with the filmmaker following the screening. Cineprobe \"You have a lot going for Cin easte ... I feel human is on the first and third Tuesday of each month at beings - nice ones - are behind Cineaste.\" - Robert 5:30PM . The schedule is: Steele, Ph .D. Professor of Film , Boston University March 17: St. Clair Bourne \" . .. most interesting, with material in it I don't find April 7: Bruce Baillie elsewhere.\"-Herman G. Weinberg, Author of Jos ef von April 14: Hollis Frampton Sternb erg and Th e Lubitsch Tou ch May 5: Walter Gutman May 19 [tentative]: Shirley Clarke June 16: G. Romero June 23: Jonas Mekas In addition to these special programs, the regular film showings will continue. Confirmation of these tentative schedules will appear in the Museum's monthly calendar; and all information is posted daily in the Museum lobby, where tickets are available for all programs. The Museum of Modern Art is located at 11 West 53rd Street, Manhattan . CINEMABILIA I enclose $2.00 in check or money order ($3.00 au tside the U .S. and Canada ) for a one-year ( four issues) sub- FILM BOOKS : Technique I Criticism I History I scription to Cineaste. Personalities and their work, NAME_______________________________ FILM PERIODICALS: A wide selection including foreign. ADDRESS___________________________ FI~ GRAPHICS, STILLS, EPHEMERA C I T Y_ __ _ _ _ _ _ _ _ _ S T A T E_ __ __ _~ZIP_ __ _ All books reviewed in FILM COMMENT may be ordered through us . cin easte 10 Cornelia Street (off W 4th & SIXTH) NYC 10014 27 WEST 11TH STREET, NEW YORK, N. Y. 10011 hours 1-7 man-sat telephone : (212) 989-8519 76 FILM COMMENT

if you think that GIVE ... heart disease and stroke hit only the other so more will live fellow's family. HEARl FUND

IF IIILIM IIC IDIMIM IEINITI volume 1 number 5 Interviews with Two American Directors: contents James Blue Mary Batten Frank Perry William Bayer, Jr. of back issues The Business of Making Art Films 42nd Street George Schiffer On Approaching the Fil m as Art Clara Hoover and Bill Troy Film Festivals : Alan Casty San Sebastian Edith Laurie Cannes Nelly Kaplan Ottawa Edith Laurie There is as yet no index to FILM COMMENT, and back Midwest Gordon Hitchens issues are in constant demand . Therefore we print below the contents of every issue through volume 5 Ann Arbor George Manupelli number 4. Ordering information follows the final listing . New York Film In and Out Herman and Gretchen Weinberg Student Film Workshop Sol Worth Place of Cinema in N. Y. Public Library George Freedley Film' Reviews: a y, Mary Batten volume 1 number 1 M Y NAME IS IVAN Peter Goode Guest Contributor, Morris L. Ernst Issues Overlooked The Experimental Film Joseph Blanco volume 1 number 6 Thoughts On Movement Hilary Harris Film Festival in New York Film Festivals: Emily S. Jones New York The Teen-Age Box Office Gretchen Weinberg Gordon Hitchens Josh Logan-Watermelons and Sex Barbara Miller Locarno Clara Hoover ANTIGONE John Gallea Flaherty Seminar Austin F. Lamont Mannheim Gordon Hitchens A Report On the Films of Rudy Burckhardt: Bergamo San Francisco Clara Hoover A view of Burckhardt P. Adams Sitney John Fell and Joan Reynertson Notes on Ruby Burckhardt . .. Motion Seen Mary Batten Adventures in the Sin Game David Moller Pula Fitzroy Davis On Making SUNDAY Dan Drasin Anti-Negro Propaganda in Films Midwest William Routt and Sidney Huttner Prospects of CLEOPATRA P. Jay Sidney Owen Rachleff Ed inburgh Clara Hoover and Edith Laurie STARS Gordon Hitchens William D. Routt Exploitation Films Frank Ferrer The Documentary Film Group of Chicago Three Italian Films Robert Connolly The Law and the Use of Music in Film George Schiffer MOTHER JOANNA OF THE ANGELS Gordon Hitchens Michael Cacoyannis Athena Dallas Symposium Toward a New Narrative Form in Motion Pictures The Experimental Film Joseph Blanco Gregory Markopoulos Alvin Fiering volume 1 number 2 Reflections on Making SCULPTOR Operation NARQO , A Work in Progress Film , The Rival of Theatre Edith Laurie The Karlovy Vary Film Festival Back to the Greeks Lionel Ziprin Book Reviews The Eighth Flaherty Film Seminar Edith Laurie Nuderama Harry Feldman Letters to the Editor Towards an Abstract Cinema ... Not Yet Gordon Hitchens An Interview With Jose Luis Font David Moller Issues Overlooked Guest Contributor, Morris L. Ernst A Film Society Takes Root John Craddock Demonstration and Discussion In Memorian (for President Kennedy) The Films of Mary Ellen Bute: Jon Katz Maggie Dent volume 2· number 1 (out of print) Beyond Audio-Visual Space Maxine Haleff Actuality and Abstraction Issues Overlooked Guest Contributor, Morris L. Ernst The DEFA Studio for Animated Films Gregory Markopoulos New Documentary Goal Mary Batten Britain 's Bus iest Angry Young Man (Tony Richardson) Stereotypes of Negroes in Film Recurrent Themes in East German Film Stewart Wilensky David Moller Whither the Charles? Robert Williams The Festival of the People Gordon Hitchens Joseph Blanco Summary Gordon Hitchens Statement By Robert Gardner at the Opening Ceremony DEAD BIRDS Robert Gardner A Savage Paradigm Margaret Mead Some Thoughts on Film Technique William C. Jersey, Jr. Films of Social Comment Prof. Eric Barnouw The Long Courtship: Films of Social Inquiry in Television volume 1 number 3 Ray Sipherd FILM COMMENT Anniversary Awards Interview with George Stevens, Jr., of U.S.I.A. Privacy , Public ity and Unfair Compet ition : Gordon Hitchens The Business of Making an Art Film George Schiffer Notes From the Venice Film Festival Edith Laurie More Than Nostalgia Edward Crawford Another Kind of Cinema Marcel Marien Background to POINT OF ORDER I David T. Baze lon Triumph of the Symbol Gregory Markopoulos The Point of View in POINT OF ORDERI Emile de Antonio Freedom and Film compiled from the A .C.L.U. annual report Film Reviews The San Francisco Film Festival 1962 Book Reviews John Fell , Richard Kobritz , Frank Smith Letters to the Editor Ron Rice and His Work Mary Batten volume 2 number 2 Comments on new Books Robert Windeler The Museum of Modern Art Film Library The Truth , The Whole Truth and Nothing but the Truth Gregory Markopoulos About Exploitation Films Barry Mahon interviewed by Gordon Hitchens Children 's Film and Screen Education Tony Hodgkinson volume 1 number 4 The Maysles Brothers and \" Direct Cinema \" Maxine Haleff An Interview with Ephraim London Mary Batten Something Special Donald S. Hillman More About Novosti Tanya Osadca Film in the Chinese People 's Republic Film Appreciation in Di xie Gordon Hitchens Candid Cannes Max Weinberg Chicago 's Midwest Film Festival Interview with Shirley Clarke Harriet Po It An Interview with Hugh Hurd Clara Hoover The Benshi Tats Yosh iyama AN AFFAIR OF THE SKIN Gordon Hitchens Cinematic Politics Yale Udoff Film Reviews : The Si xth Annual Amer ican Film Fest ival Paula Zweifach ELECTRA Anna de Varis Film Making in Bulgaria Edith Laurie THE FOUR DAYS OF NAPLES Peter Goode, Robert Connolly The Boston University Film School Aust in F. Lamont The San Sebastian Festival in Spain Jose Luis Torres Film Censorship in the Nation 's Capital Film News From the Fiftieth State Tats Yoshiyama A Statement by Michael F. Mayer Movies Without a Blush Mrs. Louis E. Schecter Jurors Named for FILM COMMENT Anniversary Awards Must Movies Talk to Teach? Edith Laurie The Chicago Film Scene Film Reviews Carol Brightman Book Reviews Book Reviews Letters to the Editor

volume 2 number 3 To Have or not To Have a Film Festi val Edith Laurie Anniversary Awards-Announcement of Winners The Literary Soph istication of Fran c ois Truffaut Michael Klein Ernest Pintoff, Fireman Stuart A. Selby Three Films from Paris Frederick Wellington Survey Among Unsuccessful Applicants for the Ford Foundation New Perils Awaiting the Serious Drinker Ho ward Junker Film Grants TOK YO OLYMPIAD Cid Corman Moravia on Italian Film The Death of Mickey Mouse Robert Connolly A Letter from Peru Edward Dew , Jr. Harriet Polt Trends in the Short Film Hilmar Hoffmann Carl Foreman In Israel Uri Oren Editing Cinema Verite Patricia Jaffe Toward Visual Cinema Kirk Smallman A Report from Detroit on 16mm in '65! Willard Ewald Some Good New European Features Gideon Bachman The Film Lectures of Slavko Vorkapich Carl Lerner Notes on the Fordham Film Conference Stephen Taylor Sex and Dr. Strangelove F. Anthon y Macklin Film Reviews Civil Liberties News THE ORGANIZER Yale Udolf Films News from the Museum of Modern Art THE SILENCE Stephen Taylor Book Reviews Book Reviews Letters to the Editor Harlow : An Intimate Biography Harry Feldman volume 3 number 4 Copyrights George Schiffer Man 's Right to Know before He Dies The Contemporary Cinema James Blue A Powerful New Anti-War Film from Britain , THE WAR GAME The Cleopatra Papers Harry Feldman Peter Watkins Discusses His Suppressed Nuclear Film Letters to the Editor James Blue and Michael Gill Pier Paolo Pasolini and the Art of Directing volume 2 number 4 Odyssey from Hollywood to New York Carl Lerner Greatest Story Ever Told by a Communist The Second New York Film Festival Andrew Sarris Maryvonne Butcher The Achievement of Roberto Rossellini Alan Casty To a Pope Pier Paolo Pasolini Thoughts on Cinema Verite and a Discussion with Pasolini Interviewed by James Blue The Maysles Brothers James Blue Manipulation of the Masses Through the Nazi Film The British Film Institute Tony Hodgkinson Hilmar Hoffmann Erwin Leiser Footnote Gene Stavis GERMANY AWAKE! Newsom on Film Hidden Cameras and Human Behaviour New Changes on the Spanish Film Scene Edith Laurie Allen Funt Interviewed by Harrison Engle Film Scholars at The New York Film Festival Robert Steele Similarity with a Difference Robert Connolly Impressions at Venice Carl Lerner That Meeting at Dartmouth Anthony Hodgkinson The Films of Bruce Baillie Harriet Polt Jail , Freedom , and the Screenwriting Profession Al vah Bessie Random Notes During a Two Week Lecture Tour Statements by Dore Schary and John Howard Lawson The American People and Freedom on the Screen of The United States Gregory Markopoulos Motion Picture Censorship and the Exhibitor Barbara Scott Herbert Biberman The Blacklist-What is Was Like and Why it May Return : Book Reviews volume 3 number 1 A Review and discussion of John Henry Faulk 's Interview with a Legend Gordon Hitchens FEAR ON TRIAL F, William Howton Biographical Sketch of Leni Riefenstahl Pornography in Film F. William Howton Book Reviews \"The Future is Entirely Ours\" Letters to the Editors TRIUMPH OF THE WILL volume 4 number 1 A Comeback for Leni Riefenstahl? Ulrich Gregor The Film Comment Foundation The FILM COMMENT Foundation Can the Will Triumph? Robert Gardner Propoganda Films about the War in Vietnam The Chronic Crisis in West German Film Jules Cohen Clean Germans and Dirty Politics Martin S. Dworkin Viet Cong Film # 1, Visuals Viet Cong Film # 1, Narration Film Marathon at Mannheim Gordon Hitchens Viet Cong Film # 2, Visuals and Narration U. S. Army Film WHY VIETNAM? , Narration Notes on the Documentary Film Week in Mannheim North Vietnamese Feature , LA TEMP~TE SE LEVE (THE RISING STORM) DAYS OF PROTEST Erwin Leiser \" Choose Life\" WOMAN IN THE DUNES Book and Film Review Adrienne Mancia A Conversation with Two Japanese Film Stars . Introduction to WHILE BRAVE MEN DIE A Statement by Fulton Lewis, III Review Kirk Bond Thoughts on WOMAN IN THE DUNES Clara Hoover Biographical Sketch of Fulton Lewis , III Book Reviews Biographical Sketch of Donald Brice, Newscope, Inc. Film Reviews Complete Transcript of WHILE BRAVE MEN DIE THE RED DESERT Jules Cohen The Man with the Movie Camera Herman G. Weinberg NOTHING BUT A MAN F. William Howton Elia Kazan and the House Un-American Activities Committee Roger Tailleur , Translated by AI~ah Bessie BAY OF ANGELS Dolores Hitchens Report from Cannes San Francisco Forecast: Continued Fog and Drizzle Nelly Kaplan Harriet Polt \" My Way of Working is in Relation to the Future\" : Letters to the Editor An Interview with Carl Dreyer Carl Lerner volume 3 number 2 (out of print) The Basic Demand of Life for Love Kirk Bond Three American Film Makers To Rescue GERTRUD Don Skoller Robert Rossen and the Filming of LILITH Michael Roemer and Robert Young Saul B. Cohen \" I Was Born for the Cinema\": Film Makers of NOTHING BUT A MAN James Blue A Conversation with Federico Fellini , Irving Levine One Man's Truth Harrison Engle Book Reviews An Interview of Richard Leacock Willard Van Dyke volume 4 numbers 2 and 3 Thirty Years of Social Inquiry Pare Lorentz An Interview of Willard Van Dyke RUSH TO JUDGMENT, A Conversatiion with Jacques Demy Filmography of Willard Van Dyke Stephen Chodes Mark Lane and Emile De Antonio Letters from THE RIVER The Narration of THE RIVER Birgitta Steene Homo Americanus Louis Marcorelles I Prefer the Sun to the Rain THE UMBRELLAS OF CHERBOURG Complete Transcript of Sound-track of U. S. Information History and all that Jazz The Isolated Hero of Ingmar Bergman Agency Film on President KennedY-YEARS OF LIGHTNING , Book Rev iews DAYS OF DRUMS Letters From Readers The Kennedy Film at Warrenton Martin S. Dworkin Background to The Kennedy Film Use and Abuse of Stock Footage William Sloan Two Sides of The Civil Rights Coin HOME FOR LIFE volume 3 number 3 \" My Need To Express Myself in A Film \" - Erwin Leiser Interview with Ingmar Bergman Cecile Starr A Story About People-That's My Clay Bergman 's PERSONA , reviewed Ralph Nelson Interviewed by Alan Casty Selected Short Subjects Preminger's Two Periods , Solo and Studio Andrew Sarris Elmar Klos and Jan Kadar, Czech Directors of SHOP ON MAIN STREET

Japanese Underground Film Robert Steele Newsreel and Documentary Photography in North Vietnam Direct Cinema James Blue Ma Van Cuong Book Reviews The Films of Jean Rouch James Blue Jean Rouch in Interviews with James Blue and Jacqueline Veuve volume 5 number 3 The Films o f Da vid Wark Griffith Richard J. Meyer Lost Ones Herman G. Weinberg Book Reviews The Study and Preservation of Films Letters to the Editor At the Museum of Modern Art Lillian Gerard volume 4 number 4 \" Les Allures du Cheval \" Erwin Panofsky, A Tribute Robert Gessner Eadweard James Muybridge's Contribution Satyaiit Ray Interviewed by James Blue to the Motion Picture Harlan Hamilton Ray Filmography and Biography In Memoriam A New Film on the Genius of Eugene O 'Neill Robert Steele H. d 'Abbadie d'Arrast 1897-1968 Herman G. Weinberg The Serious Business of Being Funny Harold Lloyd A Statement on Ex perimental Work in Cinema Basic Guides for Student Film Production Two ... But Not of a Kind Thomas J. Genelli Herman G. Weinberg Film and Catholicism : WARRENDALE and TITICUT FOLLIES Television Station Breaks The Leg ion of Decency Richard Corliss Dr. Paul Bradlow Film and Catholicism : A New Art Form Richard J. Meyer Television for Children EVERY SEVENTH CHILD-A Panel Discussion Jack Willis.; Father John McLaughlin ; Father .Michael Allen ; Socialist Style Rose Forman A Report on the Bergamo Festival Frank Nulf Gordon Hitchens, Moderator Rise of The American Film Biographies of Panelists volume 5 number 1 Book Reviews Roman Polanski in New York Interviewed by Harrison Engle volume 5 number 4 Polanski Biography and Filmography 200\" A SPACE ODYSSEY The Eternal Renewal Jerzy Skolimowski Interviewed by FILM COMMENT The Comic Sense of 2001 Elie Flatto Bruce Conner F. A. Macklin Skolimowski Biography and Filmography A Mosaic of Soviet Writings on the Film Selected and translated by Stephen P. Hill Two Sidney Poitier Films Maxine Elliston Inquisition in the Other Eden- Charlie Chaplin's MONSIEUR VERDOUX Press Conference The Blacklisting of a Film Writer in the USSR Accusations Against Charles Chaplin For Political and Eugene Gabrilovich Moral Offenses Terry Hickey John Schlesinger, Social Realist Gene Phillips Gabrilovich Filmography Schlesinger Filmography A Soviet Reporter 's View of Cinema in the Chinese People 's Republic A. Zhelahovtsev Some Thoughts on Student Films Professor O. W. Reigel The Mastery of Movement A Tribute to Boris Barnet Ellen Kusmina A Tribute to Ivan Pyriev Mark Donskoy an appreciation of Max Ophuls Forrest Williams Book Reviews Soviet Theatres: To Build or not To Build E. Zusman Letters Shadows of Our Forgotten Ancestors Serge Paraianov Ordinary Fascism Erwin Leiser Ivan the Terrible : A Peak in Darien Evelyn GerstElin Istvan Szabo Interviewed by Bob Sitton FILM COMMENT sells Single copies of back issues, All magazines are $2 each , Reprints are on matte The Reckoning of a Miracle-An Analysis of paper with slightly lower quality photographs, they are otherwise identical to originals. Volume 1 num- Czechoslovak Cinematography Antonin J. Liehm bers 1 and 2 were originally smaller, they are re- printed same size as the other issues. Out of print The New Czech Film Kirk Bond issues may be obtainable at the specialty bookstores which advertise in FILM COMMENT, otherwise only Czech Book Review on microfilm or as bound reprints, when available in the near future, In some cases , there are less than Animation from Zagreb Ronald Holloway 25 copies of an issue left, and they will be sold on a first come , first served basis. Payment with order is volume 5 number 2 urged, US funds please , Allow six weeks for process- ing and postage-paid delivery. Destroyed American Film Collection in Florence Italy Film in China Mark J. Scher Documentary in Uzbekistan Malik Kayumov Susumu Hani Interviewed by James Blue Hani Filmography Interviewed by FILM COMMENT Films in Vietnam USIS Film Officer U. S. Government Films on the Vietnamese War Films from North Vietnam Filmmaking Under the Bomb We can't know where we're going if we don't know where we are. CENSUS DAY IS APRIL 1 oU~2Of Cl advertising contributed for the public good C'OU!'4c\"v®

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Film These people are all film heads. And filmmakers. Some of the other titles by young directors in Each has a film in Universal Kinetic's the three student film programs are \" Do Blondes Take One! Student Films. Have More Fun?\" \"Wipeout,\" \"Bananas,\" \"Viking Women Don't Care,\" \"Marcello, I'm So Take One! Student Films is three programs of Bored,\" \"Word from Our Sponsor,\" \" Don't the best student films from the University of Squeeze My Fat,\" \" The Great Walled City of Southern California student film collection. Films Xan,\" \"Dr. Strangeball,\" \" The Electronic made by students at USC, UCLA, NYU, Yale, Labyrinth (THX 1138),\" and many, many mo re. Simon Fraser University, The Vancouver School They're all mind blowers. of Art\"OhiojState University, University of New Mexico and Florida State University. Write us about programming Take One! Student Films for your campus, fil m group or any other The 40 films in Take One! Student Films are non -theatrica l organization. Preferably one with saying it like nobody has. About the country. a lot of film heads. So we can turn the m on. The world. The war. Sex. Violence. Love. [! II KI\"\",',TUAoKEl\"O\"\"NE! STUDENT FILMS The six filmmakers are 21 -year-old Terence A part of Universa l Edu catio n Winkless (top left), \" The Race Problem;\" and Visual Arts 24 -year-old Millie Paul (top right), \" Forgotten Division of Universal City Stu dios Faces;\" 22 -year-old William Phelps (middle left), 221 Park Avenue South, New Yo rk City 10017 \"Sweet Return;\" 23-year-old Steven Seth Gaines (212) 777 -6600 (middle right), \"A Giant Step;\" Tee Bosustow (lower left), \" Put A Medal o.n the Man;\" Peter L. Belsito, \"Souvenir.\"