.. proper word for that is appropriation, Andrei Tarkovsky, \" says Holland. \"His ments were internall y motivated . We but I call it stealing. For the same films have distinct vision. He designs had small models of houses lit very piece, I stole an image from The Trouble his sets, and you can see a lot of love- specifically, and then suddenly this with Harry.\" almost obsession-in his work. He had abstract film is projected on the wall. It obvious opinions about what he wanted completely changes your focus.\" Petronio keeps the television on and to do and assumed that the audience scavenges inspiration ' from it and the was intelligent enough to follow. He W hile he often uses the projected world around him. \"Often the things I took as much time as needed to recreate film image to add additional see on a given day will end up spliced a landscape or to introduce characters. layers of atmosphere to his pieces , like together in a piece. I may see a home- He allows you time and gives you space Petronio and Chuma, Holland also less person on the subway nodding out, to enter his films .\" refers to movies for inspiration . and something about his or her shape or emotion will interest me. My editing What I Like About Us, Holland's most \"Hitchcock's The Birds was an early process is so fast that I don ' t expect recent work, is based on a book and BBC influence in the Gibson twins piece,\" anybody to recognize the images that program, The Silent Twins , about the Holland says. \"We started out perform- inspire me. I'm more interested in silent Gibson twins incarcerated in ing in silhouette, playing with cutout making non-representational com- Wales. Dressed identically in schoolgirl cardboard birds. I liked the sense of ments in my dances around a theme uniforms, Holland and performer attack and inner flight, the conflict bet- like ecstasy or abandon or danger. It's Robbie McCauley used subtle move- ween individuals, an outside force , and not an exact portrayal. \" ment and gesture to become the twins. something inside themselves. It's the They moved about in an eerie, private image of those birds attacking that also F red Holland was a painter before world, suggested onstage by carefully represents what's going on inside a he veered toward dance. His character's mind. I also like Hitchcock's Petronio and glass of mifk in sense of the implied. In Psycho you see work, which crosses the boundary appointed objects, spare, poetic light- the knife, then you see the body on the toward performance art and vrsual thea- ing, and a murmuring music score. To ground, so that you have to create the ter, fuses movement, sound, texts , open up the close-up intensity of focus murder. My work is like that. I'm not props , films, and video to create sen- on the stage world he had fabricated , into handing people too much of any- sual meditations on widely varying sub- Holland also projected an abstract thing. It makes them dumb.\" jects. His resume includes, among black-and-white film by Cathy Weis other works, a silent, brooding and two minutes of a color cartoon on Holland's work, like that of some of \"performance/i nstallation'\" depicti ng the back wall of the space. his postmodern colleagues, including the routines of an isolated elderly cou- Johanna Boyce, Dana Reitz, and Pooh ple and a dance inspired by some 1915 Holland often pushes the abstract, Kaye to name a few, retains a subtlety film footage of black heavyweigh t dreamlike possibilities of the film and thoughtfulness of pacing that, champion Jack Johnson. Before that, image to suggest other levels of the while rich in connotation and playful- Holland performed with choreographer/ dramatic experience he's performing. ness, does not overload the viewer. He filmmaker Meredith Monk in the early \"The audience is watching something is an artist who quietly opposes the Eighties. Like Monk, who has just fin- live and then the film comes on and it trend of speedy pacing and slick pack- ished her first feature-length film, he is makes them turn, \" he says. \"It's like in aging that has , perhaps by necessity, attentive to the design of each aspect of Salaam Bombay!, when you're follow- forced many avant-garde choreogra- his work and fashions symbols drawn ing all those street kids around and phers to think bigger and bolder. With out of the visceral world of his suddenly the camera turns and you're the mass marketing of the international imagination. inside an institution. All the elements avant-garde here and in the opera become new, and it changes your focus. houses of Europe, choreographers who \"One of my favorite filmmakers is In What I Like About Us, our move- want big tours and the attention they bring must create work that, like com- mercial film and music video, barrage audiences with image and high-volume music . Upsetting audiences is still fine, but boring them is deadly. As part of a true avant-garde, the early postmodern choreographers, like' experimental filmmakers , were expres- sing a way of seeing through dance that had previously been invisible to the world. It was accepted that this required endurance and thoughtful participation. Audiences who wanted grandeur and virtuosity could go to the ballet. Now if they wanted entertain- ment, they could go to the movies . For better or worse, today's choreographers, born into the media age, are forced to speak a language that all audiences will understand. ~ 49
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Cindy Sherman stars in one of her untitled film stills (1979). by Rick Woodward The emergence in this decade of her choice of wigs, costumes, decor, photographers Cindy Sherman and facial expression, lightin g, and camera T he relationship between still Bruce Charlesworth, whose work shows angle. photography and cinema-one a knowing regard for cinematic story- of the most profound , compli- telling, has brought the issue into criti- Her teen age r on a mountain road cated, basic issues in the hi story of cal fo cus . They are the media with her back to us looks like Hayley either medium-has never been the generation after Warhol. While Warhol's Mills in a remake of They Live By Night. subject of a major museum show. The head swam with images from ads and There's a suitcase at the girl's feet-she literature on the subject, outside of cele-shots in Life magazine , Sherman perhaps is running away from home , studies that discuss photographers who and Charlesworth were rai sed on sit- from a hu sband who beats her, pregnant also made films (Moholy-Nagy, Man coms, Disney, Fellini, Warner Bros. and unwanted , or a small town girl Ray, Paul Strand, Charles Sheeler) is crime film s on late-night TV, cheesy waiting for the bus to take her to th at barren. Everyone knows that cine- horror and suspense dramas, and soap not-so-small city. In looking at Sher- matographers borrowed from photogra- operas. Warhol's humor was so deadpan man's sti lls the viewer sifts ge nres , the phers in the early days of fi lm ; the about his icons, it was upsetting; he conventions of plot and art direction. power of the still and motion picture perfected an amoral persona that One character has a hand on her hip like cameras and their contrad ictory rai sons resisted judgments and outrage. He Sophia Loren in aples-but the shoes d'etre-to capture motion and to halt loved to present him se lf as inhuman, a look Slavic. Is she threatenin g to walk it-are obvious. machine , a whore. Hi s offspring, how- out that scuff-m arked door, or is it the ever, take a much more critical-bitter tou g h sta nce that precede s an But the borrowings between the or funn y-attitude toward the images embrace? Without the surrounding nar- mediums-in framing, close-ups, light- that pervade our lives. rative that a feature film provides, these in g, equipment. and emulsion innova- photo g raphs are c harged with tion, their differing problems with All Americans under 40 grew up in a suspen se. narrative and \"objectivity\"-have media culture, which is one reason why never been seriously addressed by Sherman enjoys a wide spectrum of Women have been quick to read either film or photograph y scholars. popularity. In her series of black-and- Sherman's pi c ture s as critiques of Throw into this historical maelstrom white \"film stills\" from the late Seven- fem ale stereotypin g (in the movies and the links of film and photography to ties, Sherman ·casts and shoots herself in life ), the roles and make-believe th at painting, TV, and advertising with its in various roles, neve r borrowing from a gi rls are forced-or love-to play. Sher- mixture of text and image, and you ca n single film but from ge nres-kitchen man treats herself as if she were one of understand why no museum has touch- drama, film nair, Italian neo-realism, her dolls. But her photographs ca n be ed the issue. It is huge , amorphous, and always \"women's pictures .\" Sher- widely interpreted; they only require a cross disciplinary, international-an man's photographs often interrupt a knowled ge of movies and TV. Unsee n encyclopedia of visual conventions. story in progress. She offers clues to the in her pi ctures stands the director, genre, to the type of woman, through designer, crew, and scriptwriter who wou ld have imposed thi s \" look\" on the 51
actress. The passivity of all actors-not period, photographer Duane Michals E ~dweard Muybridge and just the helplessness of women in most has been making his \" parables\"-The Etienne-Jules Marey belong to movie genres , the performing self that Return ofthe Prodigal Son , The Chance both the history of film and photogra- seeks clues to behavior by acting like Meeting, Death Comes for the OLd phy. Pioneer figures of the former, they someone else-all are subtly addressed Lady-by shooting sequential photo- are eccentric tinkerers to most photo- in her work. graphs that are simple and clear, like a graphers. But their experiments in the comic strip. Michals wanted to photo- 1870s and '80s not only showed ways to Ultimately, Sherman is the trium- graph \"big ideas\"-death, loneliness, capture figures in motion but how to phant figure behind her work, for she desire, God-and he turned to cine- stop them . Muybridge froze a horse has planned the entire production her- matic models. Long before Sherman, with its four hooves off the ground, self. She is an entire studio; and she can he starred in and directed his own changing forever how a painter should have it both ways: Her photographs can work. depict a \"real\" horse race; and Marey's be read as feminist deconstructions and work , combining a camera and micro- also as campy takes on the media-as Sending up the formulas of movies scope, was crucial for scientific photo- serious/fun. She explodes and cele- and TV has itself become a formula . graphy. At the same time that they brates pictorial traditions in the movies , David Letterman's vast store of ad jin- developed new standards of objectivity which she bends to suit her own needs. gle punchlines , the boxoffice clout of and realism, their work subverts our instincts about these notions. Their B ruce Charlesworth also casts him- Charlesworth's suspense in astill. photographs show how quaint and self in some unnamed drama. A Eddie Murphy and Bill Murray, who strange a simple act like walking can video artist as well as a photographer, he became famous for ironizing stereo- be. seems possessed by the allure of the types on TV, underlines how saturated movies. He has taken self-portraits we are by the words and images of a In their indispensable book , The below movie marquees and as a man media culture. Letterman isn't funny CLassicaL Hollywood Cinema, David alone in the theater, staring at the unless you grew up loving/loathing TV; Bordwell , Janet Staiger, and Kristin screen as the film leader runs through Sherman and Charlesworth aren't inter- Thompson have begun the dirty work the projector. esting to those who want photography of establishing early relationships be- to take a stand against , and pull its tween still photography and cinema. Charlesworth's favorite film is Touch material from, the world outside the of Evil. In his series from 1983-84, he media. Both Monty Python and SCTV Having read old manuals on lighting plays a frenetic hero-swimming a moat have more brilliantly dismantled media and camerawork published in the early after a prison break, slipping past the conventions than either artist, but pho- decades of the century, they discuss security guard, and the ordinary (but tography's new awareness of other picto- problems faced by Karl Struss , Henrik corrupt) businessman who has survived rial traditions has opened up lots of Sartov, and Karl Brown when they took an explosion. The suspense is exagge- questions for art history. their training as portrait photographers rated in these \" men 's pictures ,\" the into the realm of moving images in color deliberately hokey, overdone. He work for D. W. Griffith . keeps the composition simple. If movies fake real Iife , Charlesworth Many of Griffith's innovations-the likes to fake his fakes. He's not after an close-up, backlighting, fade-in-were illusion of reality; he wants to expose photographic conventions; others, like the Wizard of Oz-to show the neatly the doll y shot, were uniquely cine- sawed lumber that surrounds him after matic. Nathan Lyons , who runs the the \"explosion. \" Visual Studies Workshop in Rochester, has discovered a close-up in a serial Sherman and Charlesworth are book called The FLying Dutchman, sort hardly the first artists to key off film of an early comic book, that dates from imagery. Since the late Sixties, John 1862. Thompson says that Billy Bitzer Baldessari, a California conceptualist, and other cameramen in the 1920s has doctored film and TV stills with looked to photo-secession figures like hand-painted additions-colored cir- Alfred Stieglitz and Clarence White for cles that blot out a figure 's \"person- soft lighting and linear compositions, ality;\" odd captions and the although she doesn't mention that both assemblage of images from different photographers were already leaning on films, or different scenes from the same Sargent and Whistler for their effects. film that make up a screwy but often portentous narrative. \"John under- The lighting of cinematographer stands that art is based on the relation- William Daniels, whose style created ship between human beings ,\" says the look for Von Stroheim in the Twen- friend and fellow conceptualist, Law- ties and later for MGM, owed much to rence Weiner, \"and we, as Americans, Edward Steichen's fashion photography understand our relationship to the over the same period. The British pho- world through various mediums . We tographer Bill Brandt changed his light- think of any unknown situation in ing after 1942 when he was assigned to terms of something we've seen at the cover several British films then in pro- movies. \" duction . His experience of shooting under tungsten lamps, set up by the In New York , during this same lighting cameramen, led to his more 52
Victor Sjostrom: His Life and His International Film Guide 1989 The Screenwriter's Guide (Second Work Peter Cowie, ed. The 26th edition Edition). Joseph Gill is For current Bengt Forslund of the world's most respected film and would-be screenwriters , here is This thorough biog raphy chronicles annual features reports from 60 an up-to-date gu ide to film and televi - the life and wo rk of Victor Sjostrom countries. This treasure for every film sion sales with valuable tips on how whose influence on Ingmar Bergman buff and filmmaker includes over 300 to present , market , and protect you r and the Swedish screen and stage is photographs . \" The International Film work . With an annotated list of ove r unparalleled . It is a history of the actor, Guide is about the best annual world 2100 producers , agents , d istributors , the director and the man revealed survey there is, \" writes Derek Malcolm in and industry contacts in NY. Hol- through interviews , analyses and The Guardian. Available December 15th. lywood , Canada . and Europe Fea- excerpts from Sjostrom's own letters. 496 pp. Paper. $15.95. tures a new section listing screenwrit- 324 pp. Cloth. $24 .95 . ing software plus an intervi ew with a MOVIES prominent screenwriter The Encyclopedia of TV Game Shows 160 pp . Paper. $9 95 David Schwartz , Steve Ryan , Fred MADE FOR Wostbrock Th is entertaining and lact- Who's Who in American Film Now filled reference feature s over 550 rare TELEVISion [Updated Edition) photographs and cove rs more than 450 James Monaco , ed Who d id what , and shows Each listing inc ludes a brief TELEFEATURE when , In recent Amer ican Cinema Th is hi story, hosts, announcers , celebr ities . updated and re Vised edit ion Ilst·s the show desc ription s. chronology and lots ~~~MINI-SERIES key people who make movies today It of amusing anecdotes and triVia 1964-1986 features thousands of c ast and crew Introduction by Mark Goodson . members from the past decade In 13 600 pp Cloth $39 95 ALVIN H.MARILL separate categories - each an al- phabet ic al list of names with the title Journey to a Legend and Back: and date of their film c red its A running The British Realistic Film commentary on today 's mOVi es , th is Eva Orbanz. Essays, biographies , gUide IS an Invaluable resource for filmograph ies and bibliographies on libraries . profeSS ionals. film historians 45 selected filmmakers. and fans al ike Il lustrated c 600 pp 213 pp . Paper. $9 .95 Cloth $3995 Paper $19.95 Salt of the Earth: The Story of a Film Movies Made For Tefevision : The Tele- Herbert Biberman. Black li sted director feature and the Mini-Series, 1964-1986 Biberman wrote this compelling story [Updated Edition] Al vin H Mardi Up- about the making of SALT OF THE dated to include entries from the '84- '85 EARTH . It is a graphic record of the and '85- '86 seasons . th is giant volume ravages of McCarthyism, but ultimately, lists ove r 2000 te lefeatures and mini- it is a story of courage and triumph series . Titles are listed In alphabet ical Includes screenplay. and ch ronolog ical orde r, each Includ ing 373 pp . Cloth. $5 ,95 cast. production cred its . plot synopsis. relea se dates . and notes by the author The Laser Video Disc Companion: A A comprehensive companion to televi sion Guide to the Best (and Worst) Laser viewing Video Discs Douglas Pratt. Features a complete listing of over 2000 Illustrated 500 pp . American discs and a selective listing of Cloth.$39 .95 Paper $19.95 1900 Japanese discs released in the U,S. from 1979 to the present. Over MJ'\" Ihan I!OOO peopl' - Over !OOO mov\", 1200 films , music videos, imports, and educational discs are reviewed for the ----------------- - - - - - - - - - - - - ~ -- - - -- -- quality of the finished transfer. Also included is a guide to forthcoming A special 20% discount for Film Comment readers! CD-Videos . 432 pp. Paper. $16.95. o Please send the following books . o Please send me your free ca talogue . Louise Brooks: Portrait of Enclosed is the proper amount pl us NAME ______________________ an Anti-Star Roland Jaccard , ed. $1.50 for postage ($200 for c loth & ADD RE SS ___________________ Translated by Gideon Y. Schein , Louise orders of 3 or more books) . Brooks - the legendary actress who Or cal l 1-800-CHAPLIN (in NY rebelled against the idolatry of Holly- wood to preserve her independence and 212-420-0590) Visa, MC , Ame x individuality. Illustrated with over 90 accepted . photographs. 160 pp . Paper. $19.95. Please allow 4-6 weeks for del ivery. _ _ _ _ _ _ _ _ _ ZIP _______ NY res idents must add 8'/4 % sales ta x. New York Zoetrope 838 Broadway Dept FC New York , NY 10003
stylized and stark, less natural look. and more sensitive film stock- temporary life among cinematic lines. governed the innovations of both Like Sherman's photos, his paintings An impressive number of people Cartier-Bresson and Godard. interrupt a narrative that has kinky, have worked in both medium s-from forbidden, deeply voyeuristic over- Ralph Steiner and Paul Strand to Hollis T he machinery of star-making that tones. Fischl's people live in warm cli- Frampton and Michael Snow. William has run the movie business from mates and wear few clothes-or nothing Klein did grainy, unglamorized fashion the early teens to the present depends at all. The feeling of having walked in photography for Vogue in the Fifties/ on the publicity still for fan magazines, on a secret-sexual or violent- Sixties, then worked as an assistant to newspapers , ads. Critics and historians pervades his work. Educated in south- Louis Malle on Zazie Dans Le Metro of both photography and cinema have ern California, Fischl combines plein- before making documentaries on his shown much recent interest in publicity air impressionism with these steamy own. stills-as tools in the creation of celeb- subjects, as if he had set up his easel in rities and strange images in their own the backya rd and bedroom of a Holly- In 1986 at NYU, Katherine Schle- right. wood producer. singer put together a number of these films by photographers , including For their book Still Life , Marvin In many of the feature films about Robert Mapplethorpe's Patti Smith : Heiferman and Diane Keaton collected photographers-Antonioni's BLow Up, Still Moving (1978) and Mary Ellen Malle's Pretty Baby, Kershner's The Mark's Streetwise (1985), that let the An untitled painting by Eric Fischl . Eyes ofLaura Mars , Stone's Salvador- two mediums rub against each other. It color stills from the Fifties to prove how the protagonist is always a witness to a would be easy to reverse the principle of eerie they can be when severed from crime and sometimes an accessory to it: this show and feature the work of Stan- their express purpose of showing the government violence, prostitution and ley Cortez, who shot The Magnificent star in private or in costume from his or pedophilia , or murder. Maybe that's Ambersons for Welles and began his her latest film. The importance of sur- why film s about photographers' lives career in the portrait studio of Edward realism for advertising imagery is a hot and milieu are always better than sto- Steichen. And , of course, Stanley topic. How photography markets celeb- ries about painters, who rarely look at Kubrick was a staff photographer at rities was the subject of a recent series anything outlawed or terrifying. Look for fi ve yea rs before he made his called \"Talent\" by David Thomas, who first documentary, Day of the Flight made a series of airbrushed \" head Fischl and the artist Leon Golub, (1950 ). shots\" of young art stars Sherman, Ash- who depicts scenes of political torture, ley Bickerton , Robert Longo and others have tried to reclaim for painting the C ritics of photography continue to as a slick satire on the new status of the charged material ceded to photography, battle those who elevate any work Eighties artist and on thi s basic tool in video, and film. Artists everywhere because it emulates painting; it has the kit of an aspiring actor. acknowledge the pervasive power of the taken hi storian s a long time to establish camera-the \"spy in the sky\" surveil- what a di sti nct photographic aesthetic The painter Eric Fischl, another lance and \"catching someone in the might be. For man y people, the young artist, frames hi s scenes of con- act.\" Paul Schrader's Patty Hearst is a supreme Ameri ca n photog rapher is portrait built from that widely printed Walker Evans, whose \"documentary poster of the tycoon's daughter dressed style\" eliminated the traces of narrative as urban guerrilla, a film made to expli- and pictorial highlighting he disliked in cate a photograph. the work of Stieglitz and Steichen. He was photography's Flaubert, observing The \"Film und Foto\" show in Stut- wit h 0 u t se n sat ion a li s m-o r tgart in 1929 had divisions for the two personality-the facts of the world : traditions; film was overseen by Hans shop signs, a car graveyard, a sharecrop- Richter, photography by Moholy-Nagy per's family, factory towns. He tried and others. It was one of those shows film , didn ' t like it, and instead defined th at acknowledged counter-influences, hi s aes thetic in opposition to its dra- later enshrined at the Bauhaus and the matic and political cliches. Museum of Modern Art. MoMA has tried a couple of times to launch a com- Robert Frank looked hard at and prehensive historical show using all its expanded upon the work of Evans, who departments , but it proved too wrote the Guggenheim recommenda- unwield y and vast. tion that produced Frank's The Ameri- cans (1959), a landmark of post-war The activity of artists who use photo- photography. Soon after its publication , graphy and film as points of departure , Frank gave up photograph y to devote and the theoretical work by the \"three him self to underground cinem a. B's\" of art critici sm (Walter Benjamin , Rol a nd Ba rthes , Jean Baudrillard) The cine ma-verite movement of the make a cross-disciplinary examination Fifties and Sixties-often sa id to deri ve seem urgent. The upcoming \"Media from the film documentaries of Robert Culture\" show at New York's Whitney Flaherty-has more the flair, the hur- Museum in the fall may get things ried nonchalance of a photograph by rolling. But the hard work of establish- Capa or Kertesz than the look of ing ties between two picture-making Nanook of the North. Emerging machines , once so close and now on technology-fast, lightweight ca meras separate tracks, has barely begun. ~ 54
The Centers of Italian Design: *Except June 13-18th. .. . . ; .' l. ;.: .~ ., ~ c oI ~ \" . :' : 1 .: ..... .: \" I For one week, the true center of Italian design Ne~.ma~I-nte-rna-tio-na-l D-es-ign-C-onf-ere-nc-e i-n A-~p-en-----Ju-ne-13-·18-, 19-89~ will be Aspen. That's where outstanding design- $475 for regular registratio n ers, artists, architects, and writers will unite for $250 for o ne additional househo ld me mber \"The Italian Manifesto: The Culrure of Nine Hun- $125 fo r full-time student~ (photocopy of curre nt 10 required with dred and Ninety-Nine Cities:' Speakers will in- registration) clude architects AIdo Rossi, Renzo Piano, joseph Rykwert and Tobia Scarpa; designers Mario Bel- ___________________________________ lini, Michele de Lucchi, Achille Castiglioni, and Emilio Ambasz; fashion designers Luciano Benet- Addre _~,,-s ________________________________ ton and Gianfranco Ferre; and museum direaor Philippe de Montebello. Italian design will never Cityl_ _ _ _ _ _ _ _ _~State= _____ Zip,- - - - be more accessible. Professio n______________________________ Firm Affiliation____________________________ Whe re you are staying in A~penl------------------- Make check payable to IDCA and mail to: IOCA, M ention Registrar, PO Box 664, Aspen, CO 81612 L ~~~~ ~~~t~~~r:.~~l~~~~.~~ ______ .J IDCA
Britain's Big 'Scandal' Undercovers \"What'sby Graham Fuller her affair with the wa r minister. During T he Profumo Affair is now regarded BIi am az in g is t hat a debate on press free dom in the House as the nominal excuse for such everyone knows about it. of Co mm on s on Ma rc h 21, 1963, phe nome na as checkbook journali sm Joa I was born abou t the L abour M P George Wigg dem anded and the \"swin ging\" Sixties. In the mi s- time it happe ned , and I know about it. e rable British summer of 1988, Scandal People born te n yea rs afterwa rd know Fleet Street played an seemed a peculi arly appos ite film to go about it, eve n my little b rothe r knows before the came ras. It was the silly about it. It must have bee n incredi ble astonishing part in season of \" bonk\" journali sm and the whe n it broke,\" says Briti sh actress \" bimbo-in g\" of publi c fi gures, which Joa nne W halley, cas t in Pa lace Pictures' exposing the brought the abuse of press freed om to Scandal as C hris tine Kee ler, the 21- an all-time high. It was a period of yea r-old ex-showgirl at the hea rt of the government-a lesson creepin g ce nsorship, too, with F lee t 1963 John Profumo Affa ir. T he reve la- Stree t's jamboree counte rpointe d by tion th at , durin g 1961, Kee ler had bed- that the Tories t he immine nt e mascul ation of televi- hoppe d betwee n Secre tary of State for sion journ ali sm and the dawn of new Wa r John Profumo and Sovie t Ass istant obviously learned, as sec recy laws. Nava l Attac he (a nd spy) Ca ptain E uge ne Iva nov had , indeed , rocked they have since taken No r was director M ic hae l Caton- White hall , F lee t Street, and every pub Jones and produce r Steve Woolley's in Britain in 1963. control of70 to 80 mov ie immune fro m Es tabli shme nt o p pro brium . Do uglas Fa irban ks, J r. , Although L ord D e nnin g would offi- percent of the papers name d by Rice- D av ies as one of he r ciall y re port the re had been no b reach lovers durin g Wa rd 's tri al, threate ne d of national security, Profumo had laid read in England. laws uits if he was named in the film him self ope n to bl ackm ail at the he ight (ac tor Trevor Eve pl ays a \" matinee of the Be rlin C ri sis. Iva nov had re port- the truth . Profumo told the House th at id ol\" rompin g in bed with Mandy and e dl y asked D r. S te phe n Wa rd , the \" the re was no imp ro pri e ty be twee n C hri sti ne). John Hurt (cast as Ward ) soc ial-c limbin g os teo path and roya l myse lf and M iss Kee le r,\" a lie th at and Ian McKe lle n (as Profumo) were arti st who had introduced him to Pro- fi nall y led to hi s res ignation in June . mea nwhile as ke d by Jim T hompson, fumo and Keeler, to fi nd out whe n the Bi shop of Ste pney and a friend of nuclea r wa rheads were to be de live red T he Es tabli shme nt closed ranks and the di sgraced mini ste r, not to partici- by the U.S . to Wes t Ge rm any. Pro babl y sought a whi pping boy. O nce sought as p ate in th e projec t. Says Woolley: ope ratin g as a stooge fo r British inte l- a proc ure r of po psies for the rulin g \"There's bee n some public oppos ition li ge nce's M I S, Wa rd un ava ilin g ly e lite , Dr. Wa rd beca me the obj ect of a from papers like The Daily Mail and The pressed Kee le r to pillowtalk thi s se nsi- police witch-hunt and was vilifie d as a Standard , which have e ditori ally con- ti ve in fo rmation out of Profumo. MIS common pimp. Eve n as the jury was de mned any attacks we might make on doubtless wa nted Profumo to se ll di sin- finding him guilty on trumped-up Profumo . But th e re's b ee n nothin g fo rmation to the Sov ie ts and pl ay hi s charges of livin g off the immoral earn- offi c ia l-n o bod y's fa ll e n und e r a ny part in e nsnarin g Iva nov as a defector. in gs of Kee ler and Ma nd y Rice-Davies, train s, had the ir ph ones tappe d , or he took a leth al overd ose of Ne mbutal bee n take n for drinks in So ho pubs.\" But the sex trap didn ' t sprin g. at a frie nd 's C he lsea fl at and die d three Alread y compromi sed ,. Profumo e nd e d days late r. T he ri ght- win g Briti sh press has hi s affair with Kee le r. Iva nov left Brit- e ndl ess ways, howeve r, of traducin g ain in Janu a ry 1963 . By the n , F leet T he fa ll out includ ed the de parture anythin g re mote ly subve rsive. Rice- Street and Profumo's e ne mies in the of Prime M iniste r H arold Mac millan D av ies, the still-glamorous survivor of L abour party we re intent on draggin g (on ground s of ill hea lth ) in Octo be r, the Profumo Affair (a star of Palace's the Profu mo Affai r into the full glare of and th e Co nse rva ti ve gove rnm e nt 's A bsolute B eginners) is pl ayed in Scan- the med ia spotli ght. e lection defeat in 1964. Kee le r served a dal by Bridget Fond a, cas t with an eye nine-month prison se nte nce for pe rju ry to th e Ameri ca n marke t. (Wish You I t was the su bpl ot of the ugly at the tri al of Lucky Gordon; Ma ndy Were Here's Emily Lloyd was originall y scenario- a tri al involvin g Kee ler's Rice-Dav ies bega n a new life working slated and liked the script but didn ' t possess ive Wes t Indi an love rs, Johnn y Ge rm any's ni g htc lubs. The tre mors wa nt to pl ay another chee ky, promis- E d geco m be a nd Aloys iu s \" Lu c ky\" we re also fe lt in the White House , since cuous tee nager. ) Fond a, the newcomer, Gord on , who had fought publicly over John F. Ke nne dy, had , as pres id e nt- was swiftl y targeted by Fleet Street and he r w ith gun s and kni ves-that e nabled e lect, sa mpled one , if not twO, of\\Va rd 's blatantly mi squoted in interviews th at some pape rs to make ve ile d allu sions to protegees. T he late orgy hos tess·Ma r- di storte d he r di slike for Seventies cin- ie ll a Novotny (pl ayed in the film by e ma into an attac k on her aunt. Britt E kl a nd ) was th e mos t like ly \" Bridget doesn' t wa nt to be hound ed or ca ndid ate. 56
hate d-like famous Aunt y Jane,\" the n a broadsheet, th at fin all y p ub- the m ove r its location report . But Wool- lee red the News of the World's color li she d Ke el e r's co nfess io n in 1963, ley, N ik Powell 's partne r at Palace since magazine. \"The press threw in Jane boos tin g its sa les by 250, 000. T he key, 1982, says he is \" not go in g to pe rpe tu- and sugges te d I hate he r and he r poli- as always, is ye llow journ ali sm's ability ate a lie about the re be in g an Es tablish- tics, whi ch reall y upset me,\" Fond a to manipul ate Briti sh sexual hypoc ri sy, me nt conspiracy aga in st thi s film confid es . \"They also· gave the ir opin- th at unfailin g combin ation of pruri e nce simpl y because it makes good co py. We ions about Ma nd y and made the m out and outrage. don' t wa nt it to be see n as e ither an to be mine , w hi ch isn' t fa ir. Ca lling he r incredi bly sleazy film or a wi tch-hunt things like ' the Quee n of the Tarts' isn' t S candal is undeni abl y raunchy, and for Profumo. Palace will be put in jeop- nice-Ma ndy's still with us, you know? Woo lley now reg re t s s uppl y in g ardy if it isn' t a success, but I'm not But it suits the m dow n to the ground .\" \"orgy\" production stills to the L ond on go in g to allow hi story to repeat itse lf- wee kl y Ti me Out , w hi c h pl as te re d we' re not go ing to be victimi zed .\" Britain 's top-sellin g Sund ay pape r, with a 5.25 million circulation, News of Macmillan, tormented Inspire d by a meetin g with Lucky the World, also atte mpted to trans- throughout his married Go rd on , reco rd pro du ce r Joe Boy d mogrify Scandal as soft porn: \"Ju st wa it life by his wife's affair brou ght the id ea for Scandal to Woolley until her straitl aced critics see what seve n yea rs ago. Palace deve lope d it Bridget's been doing over he re in Brit- with his friend, was with the BBe as a four- and-a-half hour ain for the las t month . She stars in the shocked when IFK told mini se ri es writte n by Australian M i- sex shoc ker Scandal . . .a nd , as ce le - chael Thomas . \"The BB e liked the first brated ca ll-g irl Ma nd y Ri ce-D av ies, him, in Nassau in sc ript ,\" Woolley reca lls. \"The n they gets up to all sortS of kinky cape rs. December 1962, that told us they couldn ' t go any furthe r Brid ge t eve n d oes a te mp e rature - with it. \" (A proposed BBe doc ume ntary raising topless dance !\" \"ifI go too long in ves ti ga tin g \\Va rd 's tri a l was a lso without a woman, d ro pped in 1987.) lTV companies and Sca rcel y aimed at titill atin g its I get a headache.\" Robe rt Maxwe ll flirt e d with Palace re ade rs into theaters, thi s bale ful com- until Woolley rea li zed th at none of the m mentary is the kind th at has a negative would have the courage to broad cas t a e ffect: The power of the News of the mini seri es. \" I'd always ca mpaigne d to World and the res t of the Briti sh g utte r ma ke it as a mov ie, so N ik and I se t press to taint the film s in the eyes of about getting the money.\" Caton- p otenti a l wo rkin g-c lass audi e nces Jones , director of The Makin g of A bso- month s be fore it ope ns shouldn' t be lute Beg inners and C hanne l 4's slick unde res timate d . It was the sa me paper, se ri es Brond, was hire d to cond e nse the sc reenpl ay to a managea ble two hours; the $7 million bud get was raised from Palace's two me rchant banks on the Bridget Fonda as Mandy Rice-Davies and Joanne Whalley as Christine Keeler in Scandal. /
WOMEN strength of foreign presales and from kinson's indiscretion a \"private affair,\" U. S. distributor Miramax. even though the question was raised by on the verge of Labour MP Tam Dalyell whether the \" When we started work on this minister had breached the Official a NERVOUS film ,\" says Woolley, \"we'd already had Secrets Act by discussing War Cabinet a Thatcher government for four years, business with his mistress during the BREAKDOWN so it seemed particularly appropriate. Falklands crisis, as Keays alleged in The hypocrisy that brought down the excerpts of her memoirs published in Even if you didn't make it to Mac mill an government has also the Daily Mirror. But as Woolley sug- New York for the Film emerged in this government. And gests, the Tories learned the Profumo Festival this fall, you can be though they were so-called hacks , the lesson well: The right-wing press part of it with a T-shirt from F leet Street people of the day played an steered public scorn from the sacrificed the opening night film, as toni shin g part in exposing the golden boy toward his \"vengeful\" Women On The Verge OfA government-a lesson that the Tories female nemesis-Sara Keays became Nervous Breakdown. obviously learned , as they have since both the Christine Keeler and the Ste- Silkscreened in 6 colors, the taken control of 70 to 80 percent of the phen Ward of the Parkinson affair; even shirts are 100% pre-shrunk papers read in England .\" cotton. Available in sizes M, L, X-L, the shirts cost $15 T the liberal-left papers reproached her including postage and he paradigm of recent hypocrisy during her pregnancy. handling. in Tory politics is the return of prodigal son Cecil Parkinson . In 1983 WO he was driven from office at the Depart- T he build-'em-up-to-knock-'em- ';1~;':~ ment of Trade and Industry following down strategy of British news- -~ revelations by his former secretary, Sara papers can also work in reverse , and Keays , that he had made her pregnant, Parkinson's return was fanfared with on tllever reneged on hi s promise to leave his wife full-blooded media exoneration. Gary Hart could take heart from Parkinson's (lNERVOU ..,~~~ Profumo's lie to the comeback-if the American media BREAKD were as forgiving . But as British public a film by ALMODOVAR House- \"There was no figures build up a precarious immunity to the tabloid disease, so America's I enclose $ _ for _ T-shirts at $15 each. impropriety between become ever more' susceptible. The M_ _ _ _ L _ _ _ _ X-L _ _ __ myselfand American media handled sexual misde- meanors by high-ranking officials by Name ________________ Miss Keeler\" omission until Ted Kennedy went over the edge at Chappaquiddick. Address ____________________ -finally led to his \"From that point on,\" wrote Shelley City/State/Zip ___________________ Ross in her exhaustive catalog of duplic- Daytime Phone ________________ resignation in June. ity, Fall From Grace: Sex , Scandal and Corruption in American Politics, Please mail coupon with check or money order payable to The Film Society of 1702-1987 (1988), \"[The media] aban- Lincoln Center, 140 West 65th Street . NY NY 10023. You may use the postage- paid and marry her, and dumped her after a doned its unspoken policy of looking envelope in magazine. Allow 6 wee ks for deliver y. 12-year affair. Keays was branded by the the other way. Never again would the Conservative party as a spurned mis- memos stop at the editor's desk. In fact, tress intent on destroying her ex-lover's the personal lives of all the Kennedys- career. Among her sternest critics was including the martyred president- party chairman Jeffrey Archer, whose were now considered fair game. \" ow n politi cal comeback would be The adulteries of Warren G. Hard- derailed by a prostitute scandal. ing, Franklin D. Roosevelt, JFK, and The shift in the moral climate since Lyndon B. Johnson were never exposed the early Si xties-for star Tories , at during their lifetimes; indeed , JFK 's least-is demonstrated by the ease of satyriasis during the Camelot years of Parkinson's rehabilitation in just five his administration was a locker-room years and thanks largely to the prime secret enjoyed and protected by the mini ster's personal patronage. Now press. It comes as no surprise to learn bac k in Mrs . Thatcher's cabinet as that Macmillan , tormented throughout Energy Secretary, he is tipped as a his married life by his wife's affair with future chancellor or foreign secretary, his friend , was shocked when JFK told even as a candidate for 10 Downing him , in Nassau in December 1962, that Street. (Profumo , now, as then, married \"if I go too long without a woman, I get to former ac tress Valerie Hobson , was a headache,\" or that the president (who unable to rescue his career but in 1975 had recently had affairs with Judith was made a Commander of the British Campbell and Marilyn Monroe) would Empire for charity work in London's sympathize with Profumo's plight in East End .) Mrs. Thatcher, unmoved the coming months. \"Jack also thought by criticism , has always designated Par- the girls involved were kind of cute,\"
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AKER MAN ti ARTH URti B0 R Charles Spalding states in Anthony Cleveland was elected president after DENtiBOYLEtiCHOPRAti Summers and Stephen Dorril's book he readily admitted he'd sired an ille- COO LI DG EtiDEITC HtiGRANT about the Profumo Affair, Honeytrap. gitimate child, as charged in the Buf- HAl NEStiH EC KER LI NGtiH EP falo Evening Telegraph. ''A model of BUR Nti KIDDE Rti LA NSIN G A t the end of the Eighties, there's a official integrity,\" although \"culpable PALC Yti POWERSti RESN ICK case to be made that the differ- in personal relations,\" he beat James G. SEIDELMANtiSHAVERtiSILVER ence between Britain and America's Blaine-public morality superceding ti SPHEER ISti TEWKESB URY cultural identities has been blurred. private. Today, apparently, Americans VARDA ti VON TROTTA ti WEILL The complex moral gulf, once symbol- prefer the reverse. ized by Macmillan's gentlemanliness, ... and many others emotional reticence, and genuine con- W ith five days of the grueling servatism on one side, and JFK's sexy, nine-week shoot left to go, Jo- ARE energetic, and televisual New Era poli- anne Whalley smiles wanly as she flits tics on the other, has closed a little. For by in a baby-blue dressing gown at Lee CALLING all of Mrs. Thatcher's personal puritan- International studios in Wembley, ism and political effectiveness, she North London. Diminutive, coldly THE SHOTS rules a Britain-its vulgar free- beautiful, a tarty Nefertiti, her Keeler enterprise system and consumer greed is a dead ringer for the original. The A new feature-length documentary imitating America's-whose stiff upper raised interior set is what Caton-Jones, a about women in the film industry lip has never been slacker, where rangy, 30-year-old Scot, describes as media-driven philistinism , salacious- \"as accurate as it needs to be\" to the \"[An] accomplished and detailed documentary ... pungent, probing, and witty.\" - Daily Variety A Cineplex Odeon Film Produced , Written and Directed by Janis Cole and Holly Dale Now exclusively from Direct Cinema 112\" VHS Video for only $79.95 postpaid (Foreign orders add $5.00) To order this exciting behind-the-scenes look at the film industry, call or write: ~,g Direct Cinema Limited P.O. Box 69799 direct ~ Los Angeles , CA 90069 cinema 9 Phone (213) 652-8000 1· ·ted VISA/ MC/ AMX lIDl NOSTALGIC SCI-FI & HORROR ON VIDEO! John Profumo (Ian McKell an) trysts with Christine Keeler (Joanne Whalley). iinister- £inema ~8 ness, and public Peeping Tomism have living room at 17 Wimpole Mews, never been more pronounced. Ward's Marylebone flat where Keeler With over 700 shock filled titles available, entertained Ivanov and Profumo in the Sinister Cinema is truly the leading source for The virile political candidate, mean- summer of 1961. Production designer your favorite sci fi and horror oldies on video. while, has long outlived his usefulness , Simon Holland has re-created it as a Just send $2.00 for our eye popping catalogue, if not electability, in America. The first repository of ghastly period furniture or receive it free when you -order any of the HoHywood president's bluff sincerity and knickknacks enlivened only by following films at the low price of ... and managerial ineptitude coincided framed reproductions of Ward's wispy with a face-lifting, holier-than-thou nudes . $16.95 ~I~E Moral Majoritarianism, Born Againism, and self-righteousness. No matter that, \"This is a good woman's picture,\" 1. Bloody Pit of Horror 1965 according to Ross , \"over 225 Reagan adds Caton-Jones, \" because it presents 2. Carnival of Souls 1962 appoi ntees have faced allegations of the other side of women's lives around 3. The Killer Shrews 1959 criminal or ethical wrongdoing,\" Wed- 1960, which the media then certainly 4. The Ghoul 1933 tech and Irangate, not debauchery, set didn't. This was before the sexual revo- 5. Hercules in the Haunted World 1961 the tone. Still , an indiscreet poke or a lution, but Mandy and Christine did 6. Assassin of Youth 1937 long-forgotten toke has sent would-be just what they pleased-they used their 7. Castle of Blood 1960 (British Edition) White House residents or Supreme sexual power. The Profumo Affair was Court nominees running for cover from the straw that broke the back of the Age Please add $2.05 per title for packagi ng . handling . and media flak more sensationalistic than of Austerity, and it's difficult to think of postage. Specify VHS or Beta. California residents please that elicited by financial chicanery. In anything else that has so caught the add 6 1h% sales tax . Sorry , not available in PAL . Make checks 1884, Democratic candidate Grover public's fantasy. Because my percep- or money orders payable to: Sinister Cinema P.O. Box 777 . dept. FC Pacifi ca . CA. 94044 Ouestions ??? Call us at 415-359-3292 60
tions of the pe riod are based on all those $19.95 each* $24.95 each* black-and -w hite photos and news ree ls, I wa nted to go for th at kind of mono- ALFRED HITCHCOCK THE BREAKFAST CLUB ch romati c loo k, even though we' re THE DEER HUNTER shootin g in color. As we move into the THE BIRDS DUNE 'swi ngin g' S ixti es, ' th e colors w ill FRENZY E.T. become riche r but cold er, because the s t o ry b eco mes e mo ti o n a ll y bl ea k MAN WHO KNEW TOO MUCH HIGH PLAINS DRIFTER towa rd the e nd , and the style needs to PSYCHO MASK reflec t that.\" ROPE MISSING He r dress ing gow n replaced by a REAR WINDOW REPOMAN cli nging green towel, Whalley's sul ky TROUBLE WITH HARRY SCARFACE Keeler sits smokin g a joint on a leathe r- SHENANDOAH covered sofa and bic ke rs w ith John VERTIGO SIXTEEN CANDLES Hurt 's Wa rd. Ga unt , see d y, a nd STREETS OF FIRE bes pectacled , he casually recom mends CLASSIC HORROR TO KILL A MOCKING BIRD that she bed Iva nov (]eroe n Krabbe)- bound to be a spy since \"a ll Russ ians BRIDE OF FRANKENSTEIN $29.95 each* are. \" DRACULA (1931) ANAMERICAN TAIL Whe n cinematographe r M ike Molloy FRANKENSTEIN (1931) BACK TO THE FUTURE shoots a reverse-angle close-up, C hri s- THE MUMMY THE BANK DICK What the Profumo PHANTON OF THE OPERA (1943) DESTRY RIDES AGAIN WOLFMAN Affair made clear, DOUBLE INDEMNITY FAVORITES THE GREAT MCGINTY however, was the THE INVISIBLE MAN AMERICAN GRAFFITI THE JACK BENNY SHOW British public's ANAl MAL HOUSE CAT PEOPLE KING OF JAZZ unquenchable thirst THE LADY EVE THE EIGER SANCTION LIVES OF A BENGAL LANCER for the devil's brew of GLENN MILLER STORY OUT OF AFRICA RUGGLES OF RED GAP upper-class depravity GOING MY WAY SHE DONE HIM WRONG HOLIDAY INN SORROWFUL JONES and political perfidy- JAWS SHADOW OF A DOUBT TOUCH OF EVIL and the lengths THE MONEY PIT WRITTEN ON THE WIND PLAY MISTY FOR ME the press would 'PLUS SHIPPING AND HANDLING. THE THING go to supply it. TOBRUK TO HELL AND BACK tine curls he r lip. \" You'd be the worst WAR WAGON spy in th e wo rld ,\" she taunts he r Sve nga li . \"You can' t eve n keep your J-MCA~ mouth shut for fi ve minutes.\" T he line fores h ad ows th e d ow n fa ll of th e [ HOME V1DEO os teopath-a politi ca l na'if and invete r- ate name-d ro pper. OUR NEW CATALOG IS HERE - ONLY $4.95 The re were doze ns of wome n in CONTAINS LISTINGS FOR OVER 10,000 MOVIES AVAILABLE NOW Steph e n Wa rd 's life-a lth ou g h he bonded with , rathe r th an bedded , mos t WE' RE JUST A PHONE CALL AWAY: of the m. A clergyman's son born in 1912, Ward was a mu c h-trave led, 1-800-533-4557 middle-class dile ttante whose os teo- pathic skills, acquired at Kirksv ille Col- WE ACCEPTVISA-MASTERCARD-AMERICAN EXPRESS-PERSONAL CHEC KS lege in M issouri in the mid-Thirties, brought ma ny ari stocratic and influe n- SENSES tial clie nts to his practice near London's H arley Street. He was a consumm ate THE HOME ENTERTAINMENT COMPANY c ha rme r a nd sex ual aes th e te, w ith vica rious low life predilections and a hi s- SATISFACTION 11941 REISTERSTOWN ROAD MONEY BACK tory of emotional in stability. Wa rd 's SUITE 800 BALTIMORE, MD 21136 GUARANTEED OR YOUR 61
Michael Caton-Jones (r.) directs John Hurt (/.) on the set of Scandal. (unpublished) story to the Sunday Pic- torial for £200 down and £800 prom- tragic flaw was the delusion that hob- of the Duchess of York. You could read ised. (She eventually got £23 ,000 from nobbing with the likes of Profumo and stories savage ly besmirching senior the News of the World; Fiona Wright Ivanov had thrust upon him the mantle trade union official John Golding, made £250,000.) What the Profumo of James Bond. In reality, he was hope- whose career was wrecked; Captain Affair made clear, however, was the lessly out of his depth and quickly Mark Phillips; actors Patrick MacNee, British public's unquenchable thirst for dese rted by all his powerful friends Rupert Everett, and any number of the devil's brew of upper-class deprav- when the poli ce began its ruthless soap stars (whose series are champi- ity and political perfid y- and the sea rch for prosec ution wi tnesses to oned by the tabloids for headline fod- lengths the press would go to supply it. incriminate him . der) ; Eng land's cricket and soccer If the papers were legitimately con- captains, Mike Gatting (sac ked) and cerned by the security scare, their pil- \" It was very hard to find Stephen at Brya n Robson ; TV hosts Frank Bough lorying of the public quail reeks only of first ,\" Hurt admits, \"but I love him and the dying Russell Harty; and Ma- malign, working-class jealousy. now. He wasn't a regular guy. He was donna and Lionel Richie. Where rele- eccentric in hi s own way, although he va nt, rent boys or prostitutes were paid Anything goes in the ratings war: As had a tremendous ability to enjoy peo- huge sums to tell all, but the trans- Paul Johnson wrote in The Spectator in ple and make them enjoy him. But as gressors were the reporters who May 1988, \"The tabloids have no case someone who wanted to be a member bugged, staked out, and stalked their whatever for their persecution of the of the Establishment and was also anti- prey for the dirt-and the agencies tout- Major [Ferguson). He holds no office of Establishment, he was playing a double ing the whistle-b lowing bimbos. profit under the crown. He is not a ga me-and th at undid him. Poor little repository of defense secrets. No pub- Stephen was no one, yet it was a traged y The Sun didn ' t check its facts, how- lic interest whatever is served by expos- that his life could just 'be taken away. ever, when it ran front-page stories ing his personal habits to the gloating But don't ask us to talk about the pain- alleging that Elton John had partici- gaze of millions of readers. Nor should yo u can read about that in the pated in cocaine and rent-boy orgies tabloid editors suppose that, just newspapers.\" and ended up paying him £1 million in because readers gloat, they do not also libel damages in December. It was a hate themsel ves for gloating and hate I n British tabloid newspapers last historic case that may yet deter the the tabloids for providing what moral summer, you could certain ly see a \"harlot of Fleet Street\" from its policy theologians ca ll 'the occasion of sin.' lot of pain being inflicted. You could of \"publish and damn\" where public The Ferguson case will provide another read about \" Page Three\" girl Fiona figures are concerned. nail in the coffin of press license.\" Wright's account of her affair with \"five-times-a-night\" Sir Ralph Hal- B onkjournalism was not, of course, British trial by media should not nec- pern , chairman of the Burton clothing unprecedented when, in 1963, essarily be confused with its American chain. You could read about the brothel Christine Keeler sold her first counterpart, where every minute action visits of Major Ronald Ferguson, father of a political candidate is scrutinized, every past misdemeanor exhumed in the papers and on TV to ensure he or she has whiter-than-white credentials. To maim is the aim of Fleet Street-and it excels at it. But it has sacrificed its once-unquestionab le right to press freedom , and new laws will soon be passed in Britain enabling individuals to legally prevent the publication of information secured without their con- sent (Protection of Privacy Bill) and empowering them to require news- papers to retract inaccuracies with due prominence (Right to Reply Bill). But more worrying legislation is also imminent, namely the reform of the 1911 Official Secrets Act, which wi ll sanction a blanket ban on disclosures of any information by the security and intelligence services without prior permission-a legacy of the Spycatcher debacle. This would leave Britain vir- tually the only Western democracy without a Freedom of Information Act or an impetus toward one. The Com- munist Party may have determined the need for such an act in the Soviet Union, but the spirit of perestroika has yet to reach the U. K. ~ 62
TWENTy-SIXTH NEW YORK FILM FESTIVAL This year's New York Film Festival poster is a I enclose $ for _ _ _ _ _ _ 26th New York bold graphic statement from the well-known Film Festival posters. designer, Milton Glaser. Silkscreened in five SIGNED UNSIGNED colors, Glaser's design harks back to the Art Deco era. Name The poster measures 30\"x45\", and is silk- Address screened on high-quality stock. It is suitable for framing. The signed, limited edition is $75; City/StatelZip an unsigned limited edition poster $35. Price includes postage and handling. Daytime Phone Please allow 6 weeks for delivery. Offer good in US only. Mail check or money order payable to: Film Society of lincoln Center , 140 West 65th St., New York, NY 10023. You may use postage-paid envelope in this magazine .
John Hurt interviewed gone from disposable Hollywood excur- of the English national character, where sions like Partners (1982) and From the words like \"love\" are never uttered and by Gavin Smith Hip (1987) to prestige TV work includ- it's only the Englishman's upper lip ing playing the Fool in Olivier's King that's stiff, Hurt's Ward is a genuinely F or somebody who's been acting Lear (1982). In the Seventies, with moving creation, apologetic even in sui- since 1962 (his first credit is The British cinema in seemingly-indefinite cide, writing with true British reti- Longest Day), John Hurt hibernation , he delivered three TV per- cence, \"1 do hope I haven ' t let people remains unfamiliar and elusive. Each formances that made him a household down too much ... The car needs oil in new performance is oddly unexpected name: as Quentin Crisp in the ground- the gear box.\" In scenes like these, and yet you're left unable to imagine breakingly gay The Naked Civil Servant Hurt continues to define the English- anyone but Hurt being right for the (1975); as the demented Roman man as an emotional wallflower. part. He hits you out of nowhere with emperor Caligula in the BBC's I, Clau- acting that's full of authentic life-like dius (1975); and as Raskolnikov in a -G.S. the performance he gives in Scandal. BBC adaption of Crime and Punishment (1979). T he character of Stephen Ward is Hurt brings freshness and unforced hard to define, contradictory. believability to even the most thinly- For a long time Hurt was cast for his I'm always fascinated by the under- written roles-such as the ill-fated youthful , fresh looks-most memorably dog , in various different ways, from astronaut in Alien (1979) who gets one as Richard Rich in A Man for All Sea- of cinema's greatest cases of indiges- sons (1966). Now, at 48, you look at that John Hurt as Stephen Ward in Scandal. tion. He has the rare ability to find the face and know that the man has lived. Quentin Crisp to Timothy Evans to vulnerability inside characters, and so The change in his screen presence Caligula. Ward was an extremely diffi- he's often been cast as victims: real-life seems to have happened in the mid- cult character to start playing. He Timothy Evans, wrongfully hanged for Eighties. It's probably no coincidence seemed to have an almost metaphorical the murder of his wife in 10 Rillington that it was at this time that his partner of existence at the same time as the real Place (1970) (the real killer was creepy 15 yea rs , French-born Marie-Lise Pier- one, in terms of where he stood in the Sir Dickie Attenborough, never better rot, was killed in a riding accident- history of Britain between the bleak cast); Max, doomed heroin addict immediately prior to his beginning Forties and Fifties, and then what hap- inmate of a Turkish jail in Midnight work on Champions. Emerging from pened in the Sixties. Express (1978) (for which he was Oscar- this period, Hurt seems to have gained nominated as best supporting actor); in strength and emotional power: his Ward had the same background as 1 the lost, embittered alcoholic Irvine in performance as Scandal's initially care- have. His father was a clergyman [too]. Heaven's Gate (1980); and most of all, free bachelor and political scapegoat, He's a difficult man to talk about-as two roles that he was born to play-the Stephen Ward, another real-life charac- difficult as anyone I've ever played- deformed John Merrick in David ter, is one of his best. full of complexity, which is why he L y nch 's The Elephant Man (1980), lends himself to the screen. which earned him a best actor nomina- Hurt charms us with someone who is tion , and.Winston Smith, the hopeless dissolute, superficial, frivolous, a social On the one hand Ward was a snob, on thoughtcriminal marked for destruction hanger-on with almost voyeuristic ten- the other he was extremely kind to in 1984. dencies , by playing him with an over- whelming humanity underneath an Even in the otherwise unmemorable archetypal British reticence. Ward's Champions (1984) as the real-life cancer bas ic decency-his warmth, generosity, victim jockey Bob Champion, or The and fatherl y encouragement of Chris- Osterman Weekend (1983) as a Byza n- tine Keeler show through . A product of tinely vengeful CIA agent, or in White the public school, conservative \"estab- Mischief (1987) as a taciturn Brit colo- lishment, Ward, like all Englishmen, is nial \"gone native,\" Hurt's presence, both a conformist and a rebel , irrever- and that voice, stay with you. He has ent (\"Never say no to a dare\") and authority. In Stephen Frears' souped- hedonistic (\"Everybody's afraid to up existential thriller The Hit (1984), enjoy themselves-or they' re too afraid where he plays a hired killer like a to admit it\"). Yet he's ultimatel y sub- clenched fist, there's a granite-hard missive to the establishment: \"It goes menace side-by-side with a trace of without saying,\" he replies when Ian something else-puzzlement, tender- McKellen's John Profumo denies his ness, vulnerable as ever. affair with Keeler. A veteran of some 50 films , he has Founded in the basic contradictions 64 I h
peo ple and not a snob as far as C hri stine was co ncerned . He was wild yet ex tre me ly co nventi ona l. H e was a strange mixture . If you ' re go ing to try to pl ay Ste phe n consiste ntl y it's imposs ible, but the n the inte res tin g thin g about a charac te r is inconsiste ncy reall y-that's whe n you say, G od that' s a character. How do you play an inconsistent character ? From day to day. I never fo und him poss ible to pl an from sce ne to sce ne- rather like H amle t. In the se nse th at H amlet is constantly surpri sin g in every sce ne he pl ays. T he re's no throu gh line to H amlet- or Ste phe n e ithe r. With all the scenes th at he has to play, none of them are exac tly the sa me . They all see m to be a sli ghtly diffe re nt person , or a di ffe re nt area of the sa me person, at any rate. You knew ce rtain things about him .. .th at he was upstandin g until the downfa ll. It's a mode rn tragedy, it does involve an inev itable fall , the Folle t speech [about Wa rd 's punishme nt at publi c school for so mebod y e lse 's mi sdee d] indi cates \"Dame Edith Evans Heaven 's Gate The Elephant Man gave the best answer. She said, '1pretend, Alien dear boy.'\" 1984 th at. He li ved all hi s life bl ame d for The Naked Civil Servant 65 some thing th at he shouldn ' t be bl amed for. He actu all y did say that to C hri s- tine. It's not made up by the writer. W he n I fi rst starte d pl ayin g Wa rd , I just thought, thi s man's so fuckin g sleazy, it's awful. I don' t wa nt to get up in the mornin g and do it. Ye t, esse nti all y he was a we ll b rought up man, in the old se nse of the word . Wa rd was obviously a very tactile , sexual man in many ways. He wouldn ' t have bee n an os teo path if he was n' t tactile for a start. He was also a great apprec iator of beauty, adore d wome n. Not necessa ril y for him se lf. T hese thin gs are sort of facts, but it's not easy to pl ay, a fac t. One just has to bump into the m and see how you' re go in g to cope with the m , how thi s pe rson stand- in g up in thi s suit is going to deal with thi s situation. How did he manage to be so f ree of conventional mores? But he was n' t reall y. Th at's one of the reasons everybody closed ranks on
Hurt with Joanne Whalley in Scandal. What is your responsibility to Ward ? thing. Not ofte n, because the better Whe the r it be fac t or fi ction , truth is the director the more he's goin g to feel [the film production]-trying to get a the curre ncy you' re dea lin g with-an it if he doesn't see it. Often , I' ve actu- house location to stand as C lifton . They extre me ly di ffi cult commodity, I might all y had the arroga nce to say to a all sa id , \"Oh , poor John [Profumo ], we say. It's the pe rformer's business to love director-whe n they' d say, \"Well , I ca n' t put him throu gh it aga in. \" Which a character th at you pl ay, the same way think we' ll do another take because I is not really what they mea nt-I rathe r that we all love ours elves, and I know wa nt a bi t more of th at\" - \"Well , I th ink suspect they were all at those parti es, very few people that don' t love them- you' ll find when you see the ru shes, anyway. se lves. I know two, both of whom com- th at it's the re.\" And on more than one mitted sui cid e. G enuine ly didn ' t. occas ion I' ve had the director come by W hy is the sexual potential be- Rathe r des pised the mse lves. and say, \"You' re absolutely right, it was tween Ward and Christine unre- T he business of performin g is not cut there. \" But you ca n' t se e it on the fl oor. alized ? / wondered if Ward was gay. and dried ; it would be so much eas ie r if it was. If you' re doing Dynasty I guess Do you look at rushes to help you It was a strange love affa ir altogethe r. it is. \"Alexis is thi s sort of a pe rson , she build a performance? I didn ' t go into it sayin g this is a love does thi s. \" With some body as complex affair, but I certainly fe lt by the e nd of it as Ste phe n, you don' t know what he No, I never look at ru shes, ever. that I had pl aye d one. O ne th at never does , or where it comes from or how T here's two schools of thought there , I got going. It was mi stime d between the much of it the re is. know. Dustin Hoffm an would say that two of the m . everyone's a comple te idiot not to look T· he creativity ofacting often seems at rushes. I go the other way, I'm trying The chemistry between you and 10 - pretentious to non- actors, and to see myself from the othe r sid e of my anne Whalley is so develop ed that / eyes , and whateve r I do, I'm not go ing tried imag ining your rehearsals. evenfilmmakers. to sati sfy myse lf that I'm anywhe re It's li ving on your nerves, a lot of the nea r what I wa nt to be whe n I see it. We didn ' t rea lly work together at all But I know what my connection with until we actu ally got on.to the fl oor. I did time. We create a lot of difficulty for the lens is, in the best of all poss ible a lot of work with Jo, my girlfrie nd-we ourse lves-I say we , because I ca n' t put world s. Sometimes a film does n' t get had hys te ri ca l d ays, we' d go over myse lf apart from the rest of the profes- off the ground , there's not a sensitivity sce nes in all kind s of ways that I was sion. And we' ve got a lot of very sill y certainl y never go in g to play. Ju st have peo ple in the ga me as well who be have \"I know what my fun with it. You play it-it's ca lle d a like prim a donn as with no rea l reason . connection with the \" pl ay, \" it's not ca lle d a \"work .\" Whi ch is a shame because the othe rs have to take the count for the m as we ll. lens is.\" H alf of drama is the choice m ade. And whe n you don' t like some thing, Ha ve you ever insisted on another on the fl oor, but if it is go ing we ll , then pa rtic ul arl y w he n it's some bod y ta l- take, even though everybody's happy? you definite ly know what your re lation- e nte d , it's whe n they ' ve mad e the ship with the le ns is. T he sa me way th at w rong c ho ices. So yo u d on ' t say, Yes, definitel y. It's very hard whe n you would know on stage what your \"That's a te rrible actor. \" You just say, you know th at it just lacks that some- re lationship with the audience is. \"Well , he didn ' t get that pe rformance right , just chose the wrong thing.\" When ca n you tell somethin g isn' t go ing well ? Oh , I don' t think the re's any diffi- culty in being able to recogni ze when it's not go ing well [smiles]. In cinema grammar te rm s, if you' re working with a direc tor th at quite clea rl y does n' t know hi s grammar, and you know the im age on the sc ree n is goin g to be the wron g on e .. . fo r in sta nce , if yo u ' re doing a comedic scene between two peo ple or some thing whi ch has got come di c poss ibility, and he starts doin g sin gles [one pe rson shots]-you know you' re almos t sc rewed . W ere you surprised by how good Sca nd al's director Mi chae l Caton-lones was? We ll , it would be a bit patronizing to say that I was surpri sed by it. He is quite young to be making full features now, but I was n' t at a ll surpri sed 66
because I had met him, and you sort of Some people need to go away and ago. they sit in a corner and don't talk to Has your painting affected your felt that he was going to be good. He anyone. It's their way of doing it. I like to walk in straight off the street. I might acting ? knows exactly what he's doing. You feel be talking to a spark [electrician] and Indirectly, because painting is the then turn around and do it. Click! it on the floor immediately. When he's Sometimes, but not always. Doing the ultimate in observation and it 's also Follet speech in Scandal-which is describing reality in a different kjnd of moving a shot, you kn'lw why he's mov- quite a long piece for a film-I was a way. It helps the mind in the same way sitting on the bed . I made myself per- that it would if I was a writer. There's ing it, why he's tracking. fectly comfortable. Half my mind was too many writers anyway. where it was going to be and the other He rarely shot you and Joanne in half was sort of chatting wi th the people Y ou've said that you're drawn to around and having a bit of a giggle. outsider characters. separate shots once Stephen and Chris- Suddenly it's \"OK , turn over,\" and I The point is , I'd almost turn any- just let the speech come out in the same thing into an outsider. I'm often told , tine became friends . way I was talking to the people-so it Well , you ' re always playing fantastics relates to a kind of reality. and peculiar people, and when are you He did want to create, when Chris- going to play a regular gu y? And in all You studied at RADA [Royal Academy truth, I don 't know what a regular guy tine and Stephen were together, a sense ofDramatic Arts}. What did you learn ? is. But the business of drama is that it gives the audience the privilege to see that they were a unit. But I love two- Technical things to do with voice things they'd not normally see. and movement. What was most inter- shots anyway. If you can find your way esting about it was having the luxury of What did you base your characteriz- working with your contemporaries for .ation in The Elephant Man on? to doing a two-shot with only two peo- two years. I was quite lucky, there was a very good crop of people there at the I thought, \"Hello, here we are, it's a ple in the room, all the better. I'm a big grotesque .\" Well , the one thing you \"The business ofdrama don ' t do is play it grotesquely. So I Bunuel fan. Toward th~ end of his life, thought, \" Let's cheat a little , and play is that it gives the him the opposite of grotesque. \" It's not he would never shoot a single shot, much of a cheat because John Merrick audience the privilege was a romantic creature by nature. I unless there was only one person in the gave him a kind of Victorian gentility to see things they'd not that he would not have had if we wanted room. And even then he'd like to have to be real for the sake of being real. normally see.\" it in long shot rather than close, unless Is it hard playing someone still liv- time: Tom Courtenay, Sarah Miles , ing , like Quentin Crisp or Bob he really needed to be in close in order David Warner, Ian McShane. Champion ? to tell us something up front. So it How did your acting start out ? Bob was pretty good about it. Quen- When I first mooted to my parents tin was excellent about it. He's a philos- means more rehearsal obviously, that I would like to go into the theater opher par excellence anyway. As he says rather than university, they thought it in the introduction to the film, \"Any- because it's got to go more smoothly and was too dodgy a game, too precarious. body playing me has got to do it better And I thought the only other thing I than I did it myself.\" When we came as fast as it can. Can't hang around with really wanted to do is paint. Actually I out he said [mimicking Crisp]' \"Well , was very glad that I went to art school. I it looked better than real life because all those long method pauses when was very glad of the experience and I it's so much shorter. \" He calls me his still do paint. representative here on earth. you're in two-shot. I decided to make the leap and leave art school and try to get into drama What about you and Mel Brooks? He I often say with interviews there are school. I managed to get a scholarship keeps calling you to do cameos in his to RADA. I expected everybody to be films. only about six questions and all of them Gielguds and Oliviers. I thought that I would be snowed under by them, and Yeah, he does, and gets me for noth- are \" How do you act?\" Dame Edith might scrape through and make a liv- img every time [chuckle]. He says , \" It's ing. I certainly never saw myself any- a bit of a favor, John,\" and you get there Evans gave the best answer, really, where near the position that I'm in. I and suddenly realize that the whole discovered later that all the people that sequence depends on you doing it. when being interviewed by a young I admired felt much the same. The people who thought they were going to So you did Christ in History of the man from TV. He said, \" Dame Edith, be the best were the people that actu- World. ally dropped out of the profession years how do you approach your parts? How Then I re-did the Alien thing as a spoof in Spaceballs. And they were do you go about researching? How do both films' funniest scenes, which annoys me because people tell me that I you fill. .. \" She just stopped him and can ' t play comedy. said, \"I pretend, dear boy.\" And in a So think he'll call you again ? He probabl y will, the old bugger. sense , she's absolutely right. A lot of it's And I'll bet I'll do it. ® waffle don ' t forget. • I once said in front of Lindsay Ander- son, \"Well, come on Lindsay, let's face it. Acting's just a rather more sophisti- cated way of playing cowboys and Indians.\" And he went bananas: \"How could you say that? How could you say that?\" I knew that would rile old Lind- say something rotten. That's why the Method School, I think, is barking up the wrong tree. Everybody has their own method of getting to the truth. But I don ' t think you can put too much store in research, in observation. All of those things you have to do, of course you do , but the essential thing that takes the audience on the journey that you want them to go on is imaginative. That's what flies. Or something changes because of whoever you're working with. T he question of technique always comes up because screen acting is a peculiarly difficult job-the pressure, the difficulty in concentrating on a set. 67
~bndy Rice-Dm·ies. Gift compa res his way. Like once, I dyed Ill\\\" hair blond , you sal\\\". And he was good.\" role s: :'Whereas Dan ny is sort of a pacif- ist , Johnn,' is an out-and-out psycho- anj this \\\\'oman \\\\\"11(; was a' friend of the Gift wou ld not let himself be intimi- path . 1nto violence. He razored ·one g UY'S face and took a gun ' round to familv said I was a traitor to the race. dated b,; the lack of black faces or Christine l\\:eelds tlat. So he's kind of a rough character. But, then, London was And I hal'en't spoken to her since drama that was predominant ly class and a rough place , particularly for black men in those days.\" because I just thought, HoII' dare she? class ics oriented. \"People have got to Edgecombe was a West Indian What a stupid, narrow-minded thing to realize not to be frightened of it,\" he migrant in a Britain sudden ly bom- barded with an intlux of nonwhite say. When people ask me my racial exp lains. \"Don't be put off just immigrants ~.Iil wanting work. \"They had heard stories about what England link , sometimes I feel like say in g, 'Oh, . because these people have different \\\\\"as go ing to be like and ho\\\\' they' d be YOU mean \\\\'hat kind ofnigge~ am J?' treated really II'el l-it 's the \\Iother accents from you. The people on the Countr\\', \" explains Gift. \" But when they actually got there , it \\\\\"as not \\\\'hat . \"I think it shou ldn 't be an issue,\" . stage aren't necessarily like the people they expected. And it's incrediblv cold. And they had chimneys, which West Gift continues, \"and I'd like it not to be in the audience. A lot of my friends are Indians had nel'er seen before. It was a complete shock.... an issue. I am black, but don't forget middle class, but they had to declassify \" I can understand Edgecombe,\" I'm half II·hite . But I do id entify as a themselves in order to work. Don ' t just Gift continues. \")ou were considered to be a pimp or a drug dea ler just because black person . Because I might be \\Ir. sit there and suffer or say, 'Oh, it's just a Y. OU \\\\'ere there . And because Y. OU are black. And he used to wear quite sma rt Ce leb rity Roland Gift, but nl\\\" sisters pile of snobbish shit.' Just change it. gea r, \\\\'hich gets people's backs up. And knocking around with white women as aren't. Or my friends. They're not in Change the atmosphere. l\\lake it your \\\\·ell. \" o\\\\'n . Tha.t's the creative thing to do.\" .m\\., position. So I can't escape f.rom it. G ift is one of the few I'isible blacks Gift keeps his film and music careers in British films, and Danny and \"W hen I was re,lily little ,\" G ift separate. \"They fulfill different needs. Edgecombe arc (\\\\\"0 of the fe\\\\· black roles. Both are black men \\\\'hose sexua l recalls, \"all I el'er wanted to I don ' t want to do a film about a rock allure (\"But that's \\\\'hat you picked up on,\" counters G ift) attracts the \\\\'hite be \\\\'as a cosmopolitan person. I \\\\'anted singer who goes on tour in America- female lead s (who instigate the affairs). to be able to go to an\\' cit\\' in the world. that's the kind of dangerous thing that \" In most films,\" Gift responds, \" therc is a romantic element. It would )ou used to hal'e Simon Templar, The happens \\\\'hen the accountants make be silly t()r nK not to take a film with that elemcnt in it because I'm black. I Saint , on TY , and he l\\\"Ould , say, go to artistic decisions. The musicians end don't want to censor nl\\\"self. I've been offe red roles \\\\'here I'lll just b~lsicallY a Genel'a, and he'd know people and the up loo king I'ery stupid-not because stud , and I \\\\'mIidn ' t do that. And I don't think I \\\\'as just a stud in Sammy good restaurant to go to. Or Paris . I the~' can't do it , bur-because they're not alld Rosie.\" want to be able to do that. I don't \\\\'ant being treated as actors . They're being But reminiscent of srereot\\'pical black Amcrican roles, neither Danny to restrict nwself. And also, if you're treated as musicians. \" nor .lohnl1\\· hal'e jobs or Llmily. :'\\or do British fi lm 's few black fema le leads going to be an actor, \\\\Titer, painter, or T he new Fine Young Canniba ls fare much better: MOlla Lisa's Cathy \\\\'hatever, YOU can ' t limit yourself.\" aibum, The Raw and the Cooked 'I\"\"son was ,I prostitute. For the performing artist as young SimplY lw virtue of his partlY black lineage (and therefore his beingconsid- man, inspiration came in the form of (21 Ia C laude Le\\'i-Strauss' book of the ered black), Gift asserts he should not be expected to shoulder a racial crusade music and films. \"I used to like The same title), \\\\'as released in February and strive s for freedom to choose his artist ic I'oice, whether or not it carries a Clash a lot. Punk at first seemed like a and includes cuts from the Tin Men racial message. I'e ry \\\\' hite thing. So I \\\\\"as really soundtrack, more dance-oriented \" It used to annoy me , because peo- ple would expect mc to be black, to do pleased when they used to do this reg- music , and ~l more produced sound. the black th in g. It was racist, really, expeqing someone to behan: a cerui'n gae song because it a ll o\\\\'ed black peo- (;ift \\\\Tites the lyrics, while Cox and ple to take part as well. And Otis .Steele create the music. A strong sense Redding, I liked him . It's just the of social consciousness permeated the sound-somet hin g I'ery human that Sixties beat of the first album, which speaks to me. \\Iostly the singers I used also included a love ballad, \"Ful1lw to li sten to were sou l singers- Ho\\\\' LOI'e Is ,\" and a rel'yed-up rendi- American black sou l singers . When I tion of EiI' is Presley's \"Suspicious see somebody has created something, \\Iinds.\" But Gift resists categoriz in g it rea ll y excites me, I feel I can go out his lyrics. \" If it isn't a good song, then and do anything.\" there's no point. It's no good hal'in g the He \\\\'as especiallY charged by l\\:arel greatest political philosophy if there Reisz's Saturday Night and Sunday isn ' t a good tune there . Morning, ' lemy Richardson 's The Lone- \"There's a song, 'B lue,' \" Gift adds, liness of the Long Distance Runner, '\\I\"!lich is about the Consefl'ative gov- Lindsay Anderson's This Sporting Life, ernment. But yOU might think it's a 100'e and l\\:en Loach's Kes. \"There were song. And I can ' t say, 'Listen, thicko , loads of British films in the late Fifties , it 's about politics.' Because it isn't, early Sixties that were wonderful, very necessarily. different, and I'ery often about ordinary \"I Im 'e performing because it's some- people . The kitchens in the films thing that vou never need to stop doing. \\\\\"(lldd be like the kitchens of people You're 'alwa\\'s learning. If you're a \\UU knew.\" craftsman and YOU can create, then it's \". When asked \\\\'hom he identified always going to be different and a lways \\\\'ith, Gift quickly quips, \"the hero,\" changing. It's more than wanting to be then continues, \" Tom Courtenay or famous. It's more than wanting to be a Albert Finne\\,. I could identify with star. It's about wanting to be iJ1\\'olved in Sidney Poitier as well, especiall\\' Poi- some kind of creation. That's what it's tier, because he \\\\'as one of the only ones about.\" ~ 69
points out, they have hovered at an annual 1. 05 billion, more or less, since the early Sixties. The 14th Annual Grosses Gloss T he final 1988 tally proves that among the studios, front-runners by Anne Thompson W ith unpigeonholeable product, Disney and Paramount have the art of limited access to theaters, and producing and marketing movies down T he big fi,sh ate the little fish in little Wall Street support in a post- to a science. They manufacture their 1988 , but few were carping, Crash year, many independents found product almost as other giant corpora- The year's boxoffice take of they had to reorganize in order to sur- tions do, drafting and marketing each $4,38 billion eclipsed the '87 record by vive. (The dishonor roll, in alphabetical movie to appeal to a target audience. three percent, while releasing a near- order: Atlantic Releasing, Cannon, Over the past two years, these studios record 513 films. Many of this numb,er Cinecom, DEG, FilmDallas, Island , have dominated the industry in both went straight to the video rack; many King's Road , Lorimar, New Century/ market share and net profits. Analyst more achieved only whimsical distribu- Michael Mahern reports that about 70 tion . Still others (Bird, White ofthe Eye, Vista .) Other indies find they can't percent of Paramount and Disney films High Tide , Dead Ringers, Patti Rocks , coast forever on one blockbuster. Ves- have been profitable. Clean and Sober) hung around just long tron hasn ' t had a single hit since 1987's enough to catch the kind of critical Dirty Dancing. First developed at Paramount during raves suitable for printing on cassette the Seventies, the \"Paramount style\" of packages and get-well cards for dis- And as the home-video industry has glossy, easy-to-market movies has been tressed auteurs. Warners suffered with matured , video companies have refined by Disney chiefs Michael a string of these boutique movies in a become more conservative; they want Eisner and Jeffrey Katzenberg into an shopping-mall yea r. But the indepen- theatrical hits. \" It will be interesting to effective-if mechanical-system of dents showed the worst bruises. \"There see how the indies cope with an A-title house production and distribution that was a time ,\" New Century/Vista's business ,\" says entertainment attorney is the envy of the industry. \"Every Richard Ingber lamented to Variety , \"a Peter Dekom. In less than a decade, financial institution would like to be picture could play in a theater and videocassette sales have become the like Disney,\" says one studio president. hopefull y find its audience. And maybe movie industry's largest revenue \"Their costs are lower; they don't really if it doesn ' t find it in its first three days , source , well exceeding theater admis- care if their movies lose some sparkle. it would still have a chance to find it sions. \"Videocassettes are the second Everyone would love to have all their later. Now they' re just ruthless.\" run now,\" notes Variety analyst A. D. Cocktails and Beaches.\" Murphy. \"The boxoffice is shrinking as That left the major studios cuddling a percent of ultimate revenues , but it is The studio can't expect to sustain its their grosses while trying hard not to still the launching pad. \" Contrary to IvlVP batting average (seven for twelve look like ruthless people. Disney, industr y fears, ticket s~les have in ' 88, nine for ten the yea r before), but 1987's second place studio, galloped remained unaffected. As Murphy Disney is doing so well that in anticipa- through early '88 on holdover hits tion of a product slump in the early (Three Men and a Baby, Good Morning, Nineties, it plans to double its output Vietnam), then solidified its champ sta- with two separate adult-production tus with cartoon animals (Who Framed units: Touchstone and Hollywood. Roger Rabbit) and cute-as-a-bunny Tom Cruise (Cocktail). Paramount con- Moreover, Disney was not afraid to tinued to cash its checks at the Eddie gamble big bucks-$100 million, Murphy bank (Raw, Coming to Amer- including prints and advertising-to ica) and the Paul Hogan trading post launch Amblin's Who Framed Roger (Croc II). Fox revived with canny Rabbit, which was far from a cinch to recyclings of body-switch comedy (Big) wind up the year's number one picture. and macho mayhem (Die Hard). A few In order for Roger Rabbit to compete majors-Warners with Beetlejuice , successfully against the summer's big Orion with Bull Durham, MGM with A guns, Disney laid out its most expen- Fish Called Wanda-even found that sive promotional campaign ever. The quirky quality sells. And at yea r's end, studio had little choice, as the mar- twO studios turned the separated-at- ketplace was engorged. Willow opened birth plot into boxoffice pedigrees. on 1,045 screens, Rambo III opened on UA's Rain Man pulled $100 million in 2,562, Crocodile Dundee II on a record its first nine weeks, Universal's Twins , 2,837. The three nabbed 75 percent of about the same in eleven weeks. the Memorial Day weekend boxoffice. Each year the studios seem to inten- sify their annual pissing contest: Who can grab the most screens? Who can break the opening-weekend record? Who'll be number one at the top of the summer? Conventional wisdom says you open big movies, especially presold sequels, as wide as possible in order to 70
nab the greatest share of the boxoffice sequels,\" says Fox's Sherak, \"because combo hardly spe lled easy marketing. take divided up between distributor the original films were not that big.\" Universa l bet on tale nt ove r a guaran- and exhibitor. (With each succeeding Phantasm , Short Circuit, and Cad- teed ope nin g weeke nd and lost. The week, the percentages increasingly dyshack were only modest hits in the action crowd wants its stars to have favor the exhibitor.) But the downside first place. And \"you can't do sequels biceps not brain s, and to se rve u·p is that you run out of steam faster. for geriatrics,\" sniped one marketing cheeseburgers, not filet mignon. Rambo III had 1988's fourth biggest maven of Cocoon: The Return, another opening weekend but wound up 13th sequel that should never have been A lthou gh 1985's Ja gged Edge reju- on the year's top-rentals list. It earned made. \"It's young audiences that want venated the Hitchcockian an amazing half of its $28 million in to see the same thing again and again,\" romantic thriller, a late spate of anemic rentals in its first five days . says consultant Marvin Antonowski . imitati ons may h ave exhau sted the \"For audiences 40 and up, if they've genre. Audiences shunned Roman Pol- O the other hand , 20th Century- seen it once that's enough.\" anski's very European Frantic , sta rrin g Fox's swee t-tempered Big Harrison Ford; the overb lown Forties- opened on 1,132 screens with ebullient H ollywood reacted nervousl y style A Time of Destiny, sta rrin g Will- critical support and breezed past the when its current favorite genre, iam Hurt; the elaborate Fifties-period summer bullies with the best per- the action movie , showed signs of lassi- Hou se on Carroll Street , starrin g Kell y screen average three weeks running. tude. If Rambo III and Red Heat McGillis; the mannered Masquerade , \"The top 800 to 1,000 screens account weren't sure things, nothing is. Even starring Rob Lowe and Meg Till y; and for 80 to 85 percent of revenue ,\" says The Dead Pool didn ' t score in the usual Dennis Quaid in the stylishly jumbled Fox distribution president Tom Sherak. Clint Eastwood range. Among the D.O.A. \" If the picture is there , it's not the casualties: The Presidio , Midnight Run , number of prints , it's the average for the Shakedown , Above the Law, Dead Heat , The Hollywood powe rs became number of runs. If we opened Star and Off Limits , which shows how even more nervou s when a slew of origi- Wars IV tomorrow, we wouldn't go with important it is to cast the ri ght ac tion nal movies did boffo biz. Roger Rabbit more than 1,300 prints.\" Roger Rabbit hero. and B ee tlejuice offered a plethora of opened on a respectable 1,045 screens, visu al and comic surpri ses; A Fish the yea r's eighth biggest opening, and Accurately sensing a genre that had Called Wanda and Bull Durham dis- held strong for the rest of the year. gone stale, Fox disguised its buddy-cop played inve nti ve dialogue and in sp ired flick Alien Nation as a sci-fi thriller perform ances. And their marketers Disney's successful reissues of ani- (which did well until audiences discov- wisely exploited their o ri g inalit y. mated classics and their torrid perfor- ered the truth) and sold Die Hard as a \"They' re indicative of a new trend ,\" mance on videocassette has fueled a terrorist disaster movie starring the Fox says sc reenwriter Mike Mahern , \"fresh return of the animated film. And Tower. States Sherak: \"Audiences are and different. \" Significant entries in Steven Spielberg is shaping up as a tired of the buddy-cop film.\" the fresh-and-different (or so-old-it- more likely heir to Walt Disney than to might-seem-new-again) ge nre: Orion 's David Lean . Spielberg's 1987 epic Fox initially assumed that TV sensa- L.A. gang movie Colors ; Uni ve rsa l's Empire of the Sun was a costly flop, bu t tion Bruce Willis would boost Die Biloxi Blues, which confirmed the Amblin'/Universal's An American Tail Hard's chances and paid him an aston- strength of the old-fashioned service was the industry's most successful first- ishing $5 million. But audiences, noto- comedy; and Morgan Creek/Fox's brat- run animated film-until Disney's riously resistant to cross casting, booed pack horse opera, Young Guns. \" It was Oliver and Company, which beat out wiseacre Willis as a muscle-rippling the Towering Inferno syndrome for the Amblin'/Universal's Land .{3efore Time. terrorist-buster in the Die Hard trailer, youth market ,\" says one production so Fox abruptly changed direction: Its executive . \" If you put enough of these A lthough summer '88 cadged a teaser ads featured a burning sky- guys in one movie , all their fans will record-breaking $1. 7 billion , scraper and buried Willis' name in the show up. \" Hollywood has not produced a bona credit block. Fox then platformed the fide blockbuster since 1985's Spielberg/ opening in 21 theaters to build word-of- Tom Cruise doesn' t need a pack: He Zemeckis' Back to the Future , the last mouth-another indication that the stu- shored up hi s star status with the double picture to earn more than $100 million dio lacked confidence in Willis' ability whammy of the review-proof Cocktail in domestic rentals . And with the to carry the picture. The strategy and Oscar front-runner Rain Man. Hol- exception of Nightmare on Elm Street 4 worked: The movie was a hit , and Fox lywood sighed with relief when three and Crocodile Dundee II, sequels fared became the first studio to pay $5 million costly high-concept packages from the dismally this yea r. The brand-name- to turn an actor into a star. CAA talent agency hit Christmas pay- oriented groups that respond to sequels dirt. Barry Levinson's Rain Man , the tend to be young, blue-collar mov- Universal took a $48 million gam ble yea r's upscale dramatic smash , lured iegoers who \"don't want to take a on producing and marketing the action patrons with its Hoffman/C ruise star chance on quality,\" says Mahern comedy Midnight Run. Director Martin combo and has been going on word-of- (which is why horror mavens flocked to Brest had refused to buckle to Para- mouth ever since. Ivan Reitman 's· ulti- Nightmare 4 and ignored the well- mount's demand that he cast a major mate hi gh-concept Twins, co-starring reviewed George Romero shocker Mon- star (Cher) opposite great actor, non- Arnold Schwarzenegger and Danny key Shines.) Also, today's teenagers star Robert DeNiro. At Universal, DeVito, was imposs ible for Un iversa l to aren't old enough to remember Arthur, Brest could have had Willis or Robin mi smarket. And Paramount's Scrooged Caddyshack , or the original The Blob. Williams but insisted on the sly, self- proved that Bill IVlurray (who hadn' t \"A lot of movies shouldn ' t have effacing prese nce of Charles Grodin. top-lined a film in four years) could Universal accepted the package know- carry a C hri stm as- themed picture that ing full well that the DeNiro/Grodin 71 bz
had to make all its money between have performed better with a more con- bia ignominiously lacking a Christmas Thanksgiving and Christmas Day. fident administration. The $18 million locomoti ve. Vibes, starring Cyndi Lauper and Jeff S till reeling from a succession of Goldblum as ps yc hics on a South Tri-Star and The Weintraub Enter- management changes, the Colum- American spree, earned less than $1 tainment Group also neglected to bia Pictures Entertainment combine million , the year's biggest flop. deliver hits to the thirsty Columbia finished dead last among the nine Punch line failed to live up to its com- distribution pipeline. It's hard to argue majors with a measly 3 percent market mercial expectations: It should have with New York Post critic David Edels- share. New studio chief Victor Kauf- opened wider on the strength of its Big tein , who was banned from screenings man purposely threw away a slew of star Tom Hanks. Instead, Columbia for suggesting that Tri-Star has never Puttnam-era trifles that might have treated the comedy as an adult drama. produced a good movie. After all, the accumulated some earnings with a little And postponements ofJane Fonda's Old company was zero for 16 last yea r. Both help ; the 1987 Oscar nominee The Last Gringo and Terry Gilliam's The Adven- Caroleo's Rambo III and Red Heat were Emperor and Hope and Glory might tures ofBaron Munchausen left Colum- disappointments, along with several Hemd ale acquisitions (Hemdale has Everything for the filmmaker, since seve red its relationship with Tri- producer, actor & film buff Star); the forgettable sequel Iron Eagle II was probabl y the company's most Samuel French successfu I effort of the year. Theatre & Fillll Bookshops When mogul Jerry Weintraub (pro- ducer of the Karate Kid series) split PLA YS, and BOOKS Hollywood: from Kirk Kerkorian's United Artists, on fI LM, THEATRE and the 7623 Sunset Blvd. he used some of his $11 million settle- MOTION PICTURE INDUSTRY (213) 876-0570 ment to establish his own company, The Weintraub Entertainment Group, Business of Film Film History Studio City: at Columbia. Thus far WEG has spent 11963 Ventura Blvd. million s on three strikeouts: Luc Screenplays Documentary Besson 's arty water ballet The Big Blue , (818) 762-0535 Ringwald and McCarthy's unsexy Screenwriting Music Fresh Horses , and the Dan Aykroyd Samuel French, Inc. misfire My Stepmother is an Alien. The Professional Directories Video Play Publishers and company has been scapegoating various marketing executives, while optimistic Reference Television Authors Representatives banks continue to supply cash. 1989 may bring us WEG: The Final Chapter. Cinematography Opera T he movie industry learned some Animation Dance valuable lessons during Black History month last yea r, when the Special Effects Directing simultaneous release of School Da ze, Action Jackson , and Shoot to Kill Directing Biographies proved the scale and diversity of the black moviegoing audience. But noth- Film Theory Film Genre ing in 1988 crossed over quite the way La Bamba did . Spike Lee's low-budget Acting Largest selection School Da ze was probably Columbia's most profitable release of the yea r, even of PLAYS thou gh it mainly appealed to a middle- class black constituency. Similarly, in the world Warner Bros.' Latin-themed Stand and Deliver and Robert Redford's The Mil- ...and more agI'o Beanjield War (which cost five times as much) reached mainly white- WORLDWIDE MAIL ORDER collar crowds. phone: (800) 8-ACT NOW (US) Orion Pictures tends to make lower- (800) 7-ACT NOW (CA) budget and higher-quality films than the other majors , mostly for adults. mail: 7623 Sunset Blvd., Hollywood,CA 90046 This makes things tough for Orion's marketing staff, which struggled with send for a copy of our current the hard-sells Dominick and Eugene, FILM BOOK CATALOGUE (free) or Without a Clue , and The Unbearable BASIC PLAY CATALOGUE ($2.25 postp<lid) Lightness of Being, but fared better with Colors, Married to the Mob, Dirty VISA • MC • Am EX Rotten Scoundrels, and Bull Durham . Its subsidiary Orion Classics scored with classy foreign imports designed to 72
earn rave reviews and great boxoffice. Bird, Eight Men Out, Things Change, 1988 NORTH AMERICAN 1988 art houses proudly showed Oscar and Madame Sousatzka. In retrospect, winner Babette's Feast, Oscar nominee Atlantic's A World Apart campaign THEATRICAL RENTAL Au Revoir Les Enfants, Eric Rohmer's might have focused on the film's warm Boyfriends and Girlfriends , Wim mother/daugh ter relationsh ip, rather MARKET SHARES (BASED Wenders' Wings of D~sire , and Women than the grim setting of South African on the Verge of a Nervous Breakdown, apartheid. Similarly, Warners sold Run- ON VARIETY FIGURES) which introduced a hot new bona fide ning on Empty as a Sixties political auteur, the kind of brand-name director drama starring Christine Lahti and Disney 20 % who sells at the boxoffice : flamboya nt Judd Hirsch , rather than spotlighting Spanish filmmaker Pedro Almodovar. the splendid River Phoenix and Martha Paramount 16% Plimpton in a Splendor in the Grass- American or Anglo, low- or high- style Eighties love story. Platoon and 20th Century-Fox . 11 % budget, many adult films failed to Full Metal Jacket were the exception reach beyond limited urban audiences. that proves the rule: Vietnam and the Warner Bros. 11 % Dramas have it tough , says Ant- Sixties clearly did not sell tickets to BAT onowski: \"When a drama gets good 21, 1969, or Distant Thunder, which M G M / UA 10 % reviews, people still want to know what \"was the wrong picture at the wrong time,\" according to Paramount motion- Universal 10% it's about, who's in it.\" Clean and Sober picture group president Barry London. and Tucker , both well-reviewed, foun- Orion 7% dered. Warner Bros. blames a lack of Even though the manufacturers won audience willingness to face the sticky the 1988 sweepstakes with the most Tri-Star 6% subject of alcoholism, while Paramount accrued rentals , there's a lot to be said contends it would have garnered much for the majors who spent less and Columbia 3% ofthe media space accorded Universal's achieved more. Many of the popular precipitous opening of The Last Temp- movies-like Big , Bull Durham , Cross- TEN BEST MARKETED tation of Christ. Although Gorillas in ing Delancey, Beetlejuice, and A Fish MOVIES OF 1988 the Mist and The Accused were well- Called Wanda-had inspiration going promoted by their studios, many other for them , which proved infectious. Who Framed Roger Rabbit The Accused serious fall dramas failed to cross over Safer, assembly-line products have all beyond the big cities, including A Cry the juice squeezed out of them. Gorillas in the Mist Good Morning , Vietnam in the Dark, Everybody's All-American, Die Hard Beetlejuice A Fish Called Wanda Moonstruck Twins Rain Man TEN WORST MARKETED MOVIES OF 1988 My Stepmother is an Alien Punchline A World Apart Stormy Monday Running on Empty The Last Emperor Housekeeping High Tide White ofthe Eye • h • .........:,..... .. .;,.•...... An intensive five-day seminar with leading For further information, call or write: industry professionals including observation Directors Guild OfAmerica/Special Projects of contemporary practices in filmmaking on 7920 Sunset Boulevard the sets of current productions. Los Angeles, CA 90046 (213) 289-2034 73
REVIEW-PROOF SURPRISE HITS/SLEEPERS Coming to America Cocktail Mystic Pizza Action Jackson Young Guns Shoot to Kill Young Guns Scrooged A Fish Called Wanda Child's Play Colors Bloodsport Beetlejuice I'm Gonna Git You, Sucka Bull Durham Crossing Delancey School Daze Married to the Mob 1988 WINNERS AND SINNERS (1988 domestic rentals in millions of dollars ; source: Lightness of Being, 4.3; Bad Dreams, 4.2; U2 Rattle and Variety; some late-December releases estimated by author) Hum, 4.1; Clean and Sober, 4.1; Dead Ringers, 3.9; A New Domestic renta ls are the yardstick that determines all Life, 3.5; Stealing Home, 3.5; Without a Clue, 3.3; Satis- broadcast and syndicated TV, pay cable, hotels, airlines faction, 3.3; OffLimits, 3.2; Hot to Trot, 3; Fresh Horses, 3; and foreign theatrical. In 1987, home-video revenues alone Phantasm II, 2.9; A Day in the Life ofJimmy Reardon, 2.7; outstripped theatrical rentals. Today only 20 or so studio MacandMe, 2.6; Braddock: Missing inAction III, 2.4; The pictures (of 500 total releases, mainly independent) really Rescue, 2.4; The Unholy, 2.3; Monkey Shines, 2.1; Clara's earn the lion's share of their profits from theatrical Heart, 2; Heartbreak Hotel, 1.9; BAT 21, 1.6; The New boxoffice. Adventures of Pippi Longstocking, 1.5; Dead Heat, 1.5; BLOCKBUSTER: Who Framed Roger Rabbit, 78. Feds, 1.5; Imagine : John Lennon, 1.5; Sweet Hearts Dance, SMASHES: Coming to America, 65; Rain Man , 60; 1.2; Critters 2: The Main Course, 1.5; Barfly, 1.3; White Good Morning, Vietnam, 58; Crocodile Dundee II, 57; Mischief, 1.3; 18 Again, 1.3; Memories of Me, 1.3; Things Big, 57; Twins, 56. Change, 1.3; Dominick and Eugene, 1.1; House of Games, HITS: Die Hard , 35; Cocktail, 35; Moonstruck, 34.4; 1.1 . Scrooged, 34; Beetlejuice, 33; Naked Gun, 32; Willow, BIG BUDGET DISASTERS: Caddyshack II (budget: 27.8; A Fish Called Wanda , 26; Working Girl, 25; Oliver $20 million), 6.2; My Stepmother is an Alien (budget: $16 and Company, 23; Bull Durham , 22; Colors, 21; Dirty million), 4.2; Switching Channels (budget: $18 million), Rotten Scoundrels, 21; The Land Before Time, 20; Tequila 3.6; High Spirits (budget: $17 million), 3.5; 1ronweed Sunrise, 20; Young Guns, 19.5; Biloxi Blues, 19.5; The (budget: $27 million), 3.5; The Blob (budget: $15 million), Dead Pool , 19; Bambi (reissue), 18.8; Big Business, 17.7; 3.4; A Cry in the Dark (budget: $15 million), 2.5; Cry The Last Emperor, 16; The Accused, 14; Child's Play, 14; Freedom (budget: $23 million), 2.3; Sunset (budget: $19 Shoot to Kill , 12.5 ; Ernest Saves Christmas, 12; The Fox million), 2; The Good Mother (budget: $14 million), 1. 7; and the Hound (reissue), 10.6; /' m Gonna Git You , Sucka, 7; The Big Blue (budget: $17 million), 1.2; Little Nikita Crossing Delancey, 7; School Daze, 6.1; The Manchurian (budget: $15 million), .7; Vibes (budget: $18 million), .4; Candidate (reissue), 1. The House on Carroll Street (budget: $14 million), .2. RECOUPERS: 'License to Drive, 9; Friday the 13th Part BELOW THE $1 MILLION MARK: Running on Empty; VII-The New Blood, 9; Police Academy 5: Assignment Bird; Distant Thunder; The Kiss; Rocket Gibraltar; The Miami Beach, 9; Married to the Mob, 9; The Serpent and Beast; A Handful ofDust; A Summer Story; Teen Wolf Too; the Rainbow, 8.6; Above the Law, 8.2; Johnny Be Good, Permanent Record; Housekeeping; The Glass Menagerie; 7.8 ; They Live, 5.3; Shakedown, 4.3; Hellbound: Hell- Five Corners; Patti Rocks; And God Created Woman; Shy raiser II, 3.5 ; Return of the Living Dead Part II, 3.2. People; High Tide; The Family; Anna; Appointment with INDIE SMASH: A Nightmare on Elm Street 4: The Death ; Cop; A Time of Destiny; Zelly and Me; Tokyo Pop; Dream Master, 22. Stars and Bars; Lurkers; Assault of the Killer Bimbos; INDIE HITS: Halloween 4 : The Return of Michael Spike of Bensonhurst; Hanna's War; Buster; Full Moon in Myers , 8.5; Action Jackson, 8.5; Mystic Pizza, 6.5; Blood- Blue Water; Red Sorghum; Bellman and True; My Best sport, 4.6; Salsa , 3.3; Hairspray, 2.7; Au Revoir Les Friend is a Vampire; World Gone Wild; Rent-A-Cop; Big- Enfants, 2.5; Babette's Feast, 2; Manon of the Spring , 2; gles;Anguish;PlainClothes; YouCan'tHurryLove;Prom- Bagdad Cafe , 1.5; Wings ofDesire, 1.5 . ised Land; Slugs; Apprentice to Murder; Sister, Sister; DISAPPOINTMENTS (in relation to cost): Rambo III Scavengers; A Tiger's Tale; Aloha Summers; Braddock; (budget: $58 mi ll ion), 28; The Great Outdoors (budget: Missing in Action 3; Mr. North; Pascali's 1sland; The Thin $24 million), 19; Midnight Run (budget: $30 million), 18.2; Blue Line; Track 29; Big Time; Platoon Leader; Split Red Heat (budget: $30 million), 16; Gorillas in the Mist Decision; Paramedics; Waxwork; Patty Hearst; Night ofthe (budget: $22 million), 12 ; Funny Farm (budget: $19 mil- Demons; Tapeheads; Ground Zero; The Year My Voice lion), 11.8; Alien Nation (budget: $16 million), 11.3; Broke; Business as Usual; Miles From Home; The Betrayed (budget: $15 million), 11; Punchline (budget: $15 Deceivers; Shame; Boyfriends and Girlfriends; The Prince million), 10; Return to Snowy River, 6.1; Stand and Deliver, of Pennsylvania; Love at Stake; Spellbinder; Some Girls; 5.7 ; The Last Temptation ofChrist, 3.7; Elvira, Mistress of Nightfall; Freeway; The Wizard of l,oneliness; Obsessed; the Dark, 2.5; Eight Men Out, 2.2; 1969, 2; Hero and the Stormy Monday; The Blue 19uana; The Decline of Western Terror, 2; The Dead, 1.6; Madame Sousatzka, 1.4; Tougher Civilization, Part II: The Metal Years; Eat the Rich; Da; Than Leather, 1.3; Messenger ofDeath, 1.2; Kansas, 1; The Pass the Ammo; Sticky Fingers; Jack's Back; The Grand Moderns , 1; A World Apart , 1; Night of the Demons, 1; Highway; Aria; High Season; Consuming Passions; Beat- Pumpkinhead, 1. rice; A Month in the Country; Powaqqatsi; The Kitchen FLOPS: The Presidio, 9.6; Cocoon: The Return, 9; Toto; Judgment in Berlin; Two Moon Junction; The Lady in Tucker: The Man and His Dream, 8.9; Short Circuit 2, 8.5; White; Light Years; Matador; A Killing Affair; 1tTakes Two; Frantic, 8.4; The Seventh Sign , 7.5; Arthur 2 on the Rocks, Rikki and Pete; Call Me; The Family; Salome's L'ast Dance; 7.5; For Keeps, 7.2; Big Top Pee-wee, 7; Everybody's All- Penitentiary III; Midnight Crossing; The Beat; White ofthe American, 7; Bright Lights , Big City, 6.9; Masquerade, Eye; Killer Klownsfrom Outer Space; Not of This Earth; 6.8; She's Having a Baby, 6.8; Poltergeist III, 5.8; Vice The Wrong Guys; Maniac Cop; Mondo New York; Commis- Versa, 5.8; The Milagro Beanfield War , 5.7; Moon Over sar; Dark Eyes; Dead Heat; Illegally Yours; The In-Crowd; Parador, 5.3; D.o.A., 5.3; Casual Sex? , 5.2; Moving, 5; Verne Miller; Hearts ofFire. ® The Couch Trip, 4.6; Iron Eagle II, 4.5; The Unbearable
\"We are dealing with facts, not realities.\" Every Goldwyn movie was treated as an event, and the producer campaigned by Andrew Sarris Since 1978 Berg has had the com- incessa ntly against the double feature, plete cooperation of the two Goldwyn that great boon to the B-picture. Still, S amuel Goldwyn (1879 or children from different marriages : he was only as good as the people he 1882-1974), the most publicized Samuel Goldwyn, Jr., by the second re cruited, most significantly the producer in Hollywood history, Mrs. Goldwyn, Frances McLaughlin; strong-willed John Ford, Howard lived long enough to be a dinosaur on and Ruth Capps, daughter by his first Hawks , King Vidor, and above all, the edge of extinction. He left behind marriage to Blanche Lasky, which William Wyler; innovative cine- an estate of $19 million , his adopted lasted only from 1910 to 1915. He has matographers Gregg Toland and name on credits of more than 100 George Barnes; and fashionable but movies in a career ranging from The Merle Oberon, David Niven and Goldwyn. adaptable writers Robert Sherwood, Squaw Man in 1913 to Porgy and Bess in gone through vaults of private papers Lillian Hellman , Sidney Howard , and 1959, and a collection of malapropisms and has interviewed dozen s of wit- sadly for a brief and grotesque inter- prodigiously circulated by a small army nesses. He nce, Berg's should be the lude, F. Scott Fitzgerald. Goldwyn also of press agents and gossip columnists. definitive biography of an extraordi- utilized skilled wordsmiths Ben Hecht, E ven Jean-Luc Godard has gotten into naril y unpleasant and unedifyi ng movie Charles MacArthur, Charles Brackett, the act by having Fritz L ang say to mogul. Billy Wilder, Dorothy Parker, and Alan Michel Piccoli and Brigitte Bardot in Le Campbell, even though Goldwyn him- Mepris (1963): \"Include me out.\" Lang Not that Goldwyn was by any means self remained ragingly inarticulate to then goes on to attribute the quote to the worst of the lot. He behaved better the end of his days. Sam Goldwyn, a real producer, pre- during the blacklist than most of the sumably in contrast to the evil producer other powder-puff potentates. He was It was no accident that his best played in the Godard film by Jack far from being the most assiduous wom- period-roughl y 1936 to 1946- Palance. ani,zer, though perhaps less from virtue happened to coincide with the best than maladroitness. Despite all the periods of William Wyler and Gregg Two new biographies-one amply attributed Yogi Berra-isms- \"Anybody Toland. Subtract the Wyler-Toland col- authorized (Goldwyn: A Biography by who goes to a psychiatrist should have laborations Dodsworth and These Three A. Scott Berg , Alfred A. Knopf, hi s head examined,\" \"A verbal agree- (1936), Dead End (1937), Wuthering $24.95), and one sketchily and skep- ment isn' t worth the paper it's written Heights (1939), The Westerner (1940), ti ca ll y unauthorized (The Search for on,\" \"You gotta take the sour with the The Little Foxes (1941), and The Best Sam Goldwyn: A Biography by Ca rol bitter,\" \"We are dealing with facts , not Years of Our Lives (1946) from the Easton, QuilllWilliam Morrow & Co., realities, \" etc.-Goldwyn seemed sin- Goldwyn roster and you end up with $12.95)-should put a lid on the subject gularly humorless. His life seems to more Eddie Cantor and Danny Kaye once and for all. have consisted mostly of noisy quarrels vehicles than posterity can endure. with riva ls and subordinates. Take away King Vidor's Street Scene The Berg book, particularl y, is so (1931) and Stella Dallas (1937), John scrupulously researched that the very As an independent producer in a Ford's Arrowsmith (1931) and The Hur- first sentence and the paragraph that jungle of studio monsters, Goldwyn ricane (1937), Howard Hawk's Come follows casts into doubt everything that was able to avoid some of the standard- and Get It (1936, with Wyler) and Ball has ever been written about a creature ization of the Hollywood assembly line . of Fire (1941) and you are left free to born Schmuel Golbfisz, in Warsaw, Pol- contemplate such disastrous Goldwyn and, \" probably\" in July 1879: \"Sa muel \"discoveries\" as Anna Sten and Virginia Goldwyn was not borl\\ on August 27, Mayo. 1882. For most of his life he swore it was his day of birth , but both the name and Berg's impressively ambitious biog- the date were fabrications. He promul- raphy seeks also to provide a historical gated other distortions of the truth as and sociological context for the rise and well, liberties he took for dramati c fall of Samuel Goldwyn. In doing so, he effect. He spent yea rs covering his covers much of the same ground Neal tracks , erasing those details of hi s ori- Gabler recently explored in An Empire gins that embarrassed him. The rea- of Their Own : How the Jews Invented son, he revealed to a psychotherapist at Hollywood. And like Gabler, Berg the pinnacle of hi s career, was that ever induces in us a deep nostalgia for those since childhood he 'wanted to be some- shameless arrivistes who nonetheless body.' Starting at an early age, Samuel were obsessed more with movies than Goldwyn invented him self. \" with money, unlike the current crop of bottom-line MBAs who know the grosses of everything and the value of nothing. Goldwyn clearly had a hanker- ing for the finer things , even ifhe had to go all the way to New York (for writers) or London (for tailors). This painfully acquired veneer of cosmopolitanism served him in good stead when he had to beard the bankers for backing. The 76
sheer fact of hi s profitable survi va l ove r ge rl y around th e 1922 and 1937 hit I.V. MAGAZINE half a century of almos t continu ous liti- versions of Stella Dallas , the forme r gation and impe ndin g bankruptcy is an with Be lle Be nne tt and the latter with The perfect alternative to the awesome tes tame nt to hi s te nac ity. Barbara Stanwyc k. Berg, prev iously the white bread blandness of author of a much-admired biograph y of network T. V. magazines. Berg has done an admirable job of Maxwe ll Pe rkin s, still sports a bit of the pene tratin g the inne r,life of hi s subj ect Algonq uin C irc le smu g ness towa rd An upbeat amalgam ofinterviews, satire without resortin g to the stratage ms of Holl ywood , though he has imme rsed and music, LV. MAGAZINE reveals the d oc ufi c tio n. Th e e ndl ess d ays and him se lf sufficie ntl y in rev isioni st film irony and absurdity of modern life with ni ghts of cutthroat croquet matches and criti cism to avo id the ca re less de ri sion humor powered by kinetic tension. gin-rummy ga mes, the compulsive and of hi s lite rary predecessors. almos t ruinous ga mbling sprees, the -Arts & Entertainment orchestrated sli g hts and snub s, and Ca rol Easton is a diffe re nt ke ttle of inevitably, the alie nation from hi s mos t cultural complexes e ntire ly in as much Now available for your home viewing. trusted comp anions add up to a as she \"grew up lite rally in the shadow pess imisti c Citizen Goldwyn sce nario. of Sam Goldwyn , in a stucco duplex a VHS • Beta • Video 8 bl oc k away from his studio.\" As he r Toland die d bitter because Gold wyn curious biographica l e nte rpri se unfold s, LV. Studios 985 Regal Rd. never gave him a chance to direct hi s howeve r, she makes it q uite clea r th at Berkeley, CA 94708 own film s. Wyle r e nde d up suing hi s she has not re mained e ntranced by the e rstwhile patron , and vowing never to dear, dead pas t-Go ld wy n's , H olly- Call or write for a catalog work for him aga in afte r Gold wyn ins is- wood's, or her ow n. She gets no coo pe r- (415) 841-4466 ted on hoggin g all the credit for The ation from the \"famil y\" (could Berg Best Years of Our Li ves. O nly hi s pas- have signe d them up for the duration ?). sionately loya l wife , Frances, ke pt hi s As she describes fru stration afte r fru s- banner hi gh to the e nd , and that is tration in he r res e a rc h e ffort s, she about as much or more th an mos t me n , begin s to hint at a vague conspiracy to high or low, ca n hope for on thi s Earth. kee p the rea l Sa m Gold wyn hidden from publi c view. Along he r se re n- Hi s contract stars-Ronald Colman, dipi tous \"sea rch\" she interviews a fas- Ga ry C ooper, D ana Andrews, Fa rley cinating assortme nt of su rvivors from the Goldwyn yea rs with not always pre- \"You gotta dictable results. H er book , like Berg's, take the sour with is ri ch in detail and di gress ion. C uri- ously, the two books do not ove rl ap th at the bitter.\" much , nor do they confli ct. In a sense, they confirm each othe r's ind efati ga ble G ranger, e t al.-always grumbled th at re se arc h . they made their best movies on loa n to othe r studios, whic h paid Gold wy n Gold wy n does not lend him self eas- much more th an he paid hi s wa nd e ring ily to compari son with othe r producers . fl ock. It ca n be argue d in miti gation of He was by te mpe rame nt and ability Goldwy n's sharp dealing, however, that more a kib itzer th an a fru strate d artist. he did not possess th e bi g studio He ge ne rally wante d more close-ups, leverage of the Mayers, the Wa rne rs, a nd in at leas t one in stance-The the Z anucks, and the Zukors to punish Hu rricane-he was ri ght and the illus- rebe llious stars. He was outside the trious John Ford was wrong, and Ford club , sc rambling for every adva ntage. was the first to admit it. He could be That is perh aps why he in siste d on praised for puttin g togethe r compara- pl as tering his name all ove r the pl ace: it was hi s major asset. Hence, he was the tively downbeat and supposedly \" rea l- onl y produce r who eve r in siste d on istic\" projects such as Dead End and plac ing hi s name las t on the credits Th ese Three and then be ridi cule d for eve n afte r the director. By contras t, trying to pre tty every thing up, eve n on the set of a slum. Irving J. Th albe rg never put hi s name If I have one pet peeve with both on anythin g, thus pl acing him self in a boo ks it is the careless way they di smi ss pos ition to take cre dit for the hits with- a nice tearj e rke r like My Foolish Heart out takin g the blame for the fl ops. simpl y b ecause the sacred lite ra ry Gold wy n had more than hi s share of name of J. D. $alinger is invo ked for a fl ops, but ne ithe r ofhi s two biographers give him enough credit for his hits in New Yorker story, \"Uncle Wiggly in the one ge nre th at he can be sa id to Connecti cut ,\" th at, as it stood , would have excelled : the sentime ntal me lo- not have constituted a feature-le ngth dram a. Both Be rg and Eas ton ste p gin- film in a million years. But thi s is from the point of view of a mov ie buff, not that of literary lights with an acquire d know le dge of the movies . ® 77
Richard Roud: 1929-89 by Richard Corliss R ichard Roud, who died Febru- first trip, without parents, to New York: seeming anomaly, he said he liked slow ary 6 in Nimes, France, at 59, dinner at an Italian restaurant in Green- films precisely because he was so fast; was the impresario of world wich Village called Peter's Backyard, he thought art should complement, cinema. As director of the London Film and then a foreign film , Dr61e de rather than validate, a person's style and Festival, then begetter and nurturer of drame, afterwards. But most likely my prejudices. Similarly, he was famous for the New York Film Festival for its first activities on this first trip to New York his championing of French films; he quarter century, Richard served as god- wer~ conditioned by what I had already wrote books and monographs on Max father to whole movie movements , seen in the movies (Nature imitates Ophuls, Jean-Luc Godard , Jean-Marie bringing French, Italian, Czech, and Art). It would be interesting-if Straub, Henri Langlois, and Fran~ois young American filmmakers to audi- terrifying-to learn just how much the Truffaut. But he was more than just ences and distributors . To Richard, movies have formed the fantasy life and \"Francophile Roud ,\" in Variety's term. film was an international banquet, and even the romantic life of the As Thomson writes: \"Richard Roud he was happy to play host. moviegoer. \" simply loved good French movies-not all French films-and at the National Was he charming? Seductively so, as Richard was like the best movies he Film Theatre he did a lot to present the men and women who knew him will grew up on: fast-moving, snazzy- those American directors generally dis- testify. Opinionated? Sure: he spat out looking, abrim with wit and melo- dained in England, notably a full How- judgments like jelly beans. Infuriating? drama. It happens that many of the ard Hawks season.\" I should hope so. Richard always ran an films Richard promoted at the London emotional fever, and it could be conta- and New York Film Festivals were just R ichard rollicked in paradox. In his gious. But his was a passion contained the opposite. They were often mini- 1968 book on Godard, he pointed by irony. He told a story about an argu- malist; he was the complete maximal- admiringly to the basic film dialectic ment he once had with his dear friend ist. When I asked him about this Jean-Yves Mock. They were in their London apartment, and in a fit of rhe- torical rage Jean-Yves picked up a piece of bric-a-brac, ready to smash it against a wall, then noticed it was delicate and expensive, put it back, selected a cheaper bauble, and threw it. I always thought the spectrum of emotions that story suggested in Jean-Yves-anger, mandarin poise, quick wit, a flair for the grand gesture-resided in Richard as well. He was larger than life, as big as the screens in the Boston movie palaces of his childhood. David Thomson sent me a clip from Sight & Sound, 1965, in which a few people reflected on old.film stills. Rich- ard chose one from Daisy Kenyon and wrote: \"Night and the City. This nos- talgia is shared by many. For me, how- ever, it is not the sinister night world that is appealing; rather, it is the night seen as the time when Things Happen, the time of adventure in the Big City. This still from Daisy Kenyon sums up a lot of it: the lonely man , the little ital- ian restaurant with the red-checked tablecloth, the movie marquee outside, the inviting, semi-deserted streets. Perhaps this nostalgia ties in with my 78
between truth and beauty, documen- ~etters ERRATA tary and fiction , abstraction and reality. Randa Haines is the sole director on a These contradictions might never be \"None of the best known pop film project to be produced by Roland Joffe reconciled, but for Richard that just reviewers attended the conference,\" for Warner Bros. , not Paramount, as added to the intellectual tang. And as Armond White writes in his coverage of erroneously reported in the Jan .-Feb. in the art he loved, so it was in the life the NYU screening and discussion of '89 issue. he lived. He wanted' his colleagues on Orson Welles unfinished works. He In Nov-Dec '88 in David Chute's arti- the selection committee, and his finds this to be \"criminal evidence of cle, \"Toronto the Good,\" a photograph friends everywhere, to challenge and the lapsed film knowledge that leads to mistakenly identified the actress in the entertain him; he was not looking for bad film criticism\" and then goes on to picture on page 64 as Genevieve yes-men. He led the committee, not by mention my name in a sentence that Bujold. The actress is, in fact, Heidi benefit of a voting system weighted in only a cryptologist could love. von Palleske. his favor, but by force of personality. The tone he set was charged but infor- Of all the film critics he could have And a passage in the discussion of mal , like a round table at the Algonquin chosen for this insult, he got the wrong Talking to Strangers was garbled in the or Cafe Flore or the Bronx High School guy. I am happy to inform Mr. White editing. It originally said the reverse of of Science cafeteria. I was lucky to sit at that one reason I did not attend the what it now appears to say: that table, with Richard and his circle conference is that I had already seen of bright friends, for 17 years. the Welles footage some months earlier \"If I was more comfortable with the at the December 1987 Hawaii Interna- term I'd call this one 'decadent.' It Richard was a cultured man, with a tional Film Festival, which was dedi- represents some kind of perverse art- catholic range of intellectual interests. cated to Welles . At the event, I for-art's-sake triumph of film-school But he wore his erudition lightly. In a conducted a IS-hour, five-day, shot-by- noodling over moviemaking-and over way, everything that touched his shot, stop-frame analysis of Citizen a sense of film as an expressive narra- curiosity-the latest Degas exhibition, Kane with the invaluable participation tive medium that can bring us closer the debate over semiology, the pronun- of Oja Kodar, Richard Wilson, Richard than any other to a sense of first-hand ciation of recondite words, the food at a Jameson and Gary Graver (the cine- sensuous contact with people, soci- new restaurant-became a form of matographer for much of the later eties, landscapes, city streets, clashes inspired gossip. He had the soul of The Welles footage). This event was similar of personalities.\" to the shot-by-shot analysis of Kane and There was no Pulitzer in our pocket, we Spectator and the tongue of The Tatler. other films that I have conducted annu- were just glad to see him: The Jan-Feb For him, ideas were people; they were ally for the past 15 years at the Univer- '89 issue referred to Harvey Fierstein as worth entertaining. And Richard was a sity of Colorado, and in my class at the having a \"Pulitzer in pocket\" for Torch superb entertainer. That was his job, University of Chicago (one semester of Song Trilogy. The prize in Harvey's his joy, and his genius. which was recently devoted to Welles). pocket is actually the Tony. My article about the Hawaii event was To call Richard reasonable would be syndicated to some 100 newspapers, ur newest catalog is 48 to defame him. He cultivated friends none of which unfortunately crossed pages (8%\"x 11\") , illustrated and adversaries with almost equal Mr. White's desk. with over 300 photos & ac- enthusiasm. You might not like his companing text. 100 photos opinions, or him, but don't expect him In an otherwise interesting piece, in full color, including front & to moderate either one. And yet he why did Mr. White have to descend to a back covers! Mailed with out- could often undercut his own fondest gratuitous attack on somebody who (I side protective wrapper on biases. In his 1958 booklet on Ophuls admit in all modesty) possibly knows receipt of $7.00 U.S. funds he lovingly described an elaborate Welles' work as well as he does? Such for each copy. Our location, tracking shot past the windows of a careless reporting leads, I must warn a gallery at 1932-FC Polk St. brothel in Le Plaisir, then wrote, \"But, him, to bad film criticism. (near corner of Pacific Ave.), after all, if there is one significant thing San FranCiSCO, CA is open about a maison close, it is surely that it Roger Ebert Mondays through Saturdays is close!\" The idea was to temper 11 AM to 6 PM Pacific time enthusiasm with common sense. That Armond White replies: I never is a tough enough balancing act in film intended to confuse Mr. Eberts part- ~ criticism or film selection, but harder to time Welles seminar with the full-time 1932-FC POLK STREET realize in life. Still, Richard was up to scholarship of Noel Carroll, only their SAN FRANCISCO, it. In 1987, when the New York Festival deliveries. They differ because Mr. Car- CA 94109 maison was abruptly close to him, he roll doesn't stint on his serious appre- responded with surprising moderation , ciation of mo'vies as Mr. Ebert does gratitude to friends who supported when he saves thought and scholarship him, and an eye to completing his biog- for one audience and glibness for raphy of Truffaut. Lucky for us, he did . another. My point about the failure of pop film critics to attend importantfilm The last time I spoke with Richard , I events still holds. Roger, a good critic's said I'd see him in Cannes, and he work is never done. replied, as always, \"If we're spared.\" He wasn't, and neither were we. But somewhere, if only in our memories of Richard, there's a festival going on, and we're all invited. ~ 79
JOURNALS (Continued/rom page 8) voting members, has also won two foreign-language Oscars (Dangerous Moves and Black and White in Color). And so, it seems, a very small Quiz #36: Their Satanic Majesties Resent number of voters determines a very large award. \"Moscow Does Not Believe in Tears,\" says one source, \"was given This just in from the Ayatollah. The on (Chief Yellow's on Paul). 41. San-tell an Oscar by the votes of82 people.\" Islamic Republic of Iran has ordered (King, tell Alfred). 42. Saval-as (Dany Davis answers, \"The nomination FILM COMMENT readers to compile as Telly). 43. Schell-hammer (Maria, selection committee now numbers the longest possible list of movie titles hammer Edmund). 44. Sher-met (Jack more than 400, and more than half of using any of the following words: Satan, met Hazel). 45. Sokol-off(Marilyn! Off that number qualify for nominations Lucifer, Devil, Mephistopheles, Vladimir!). 46. Sti-van (Rene van Giu- voting by seeing at least 80 percent of Belial , Beelzebub, Asmodeus, Apo- lio). 47. Tan-alkla (Alan a/kJa Kinuyo). the red or blue entries. It seems fair to lIyon, Demon, or Salman. All entries 48. Van Every (Bobby, every Dale). 49. assume that all of that sub-group also must be sent to FILM COMMENT Quiz Will-i-am (George, I am Warren). SO. care enough to vote for the final winner. #36, 140 West 65th Street, New York, Young 's-on (Robert's on Robert). Add to those participants the other N.Y. 10023, and received by April 17. committee members who weren't able Winner gets a free year of the maga- to see 80 percent of the films submitted zine. Losers get an eternity of burning CONTRIBUTORS but who nonetheless have a demon- in hell. Graham Fuller is film and theater editor at strated interest in foreign-language pic- Elle. Karen Jaehne is a New York-based tures, plus the additional Academy On QUIZ #35, you were asked to freelance writer. Chuck Jones is an anima- members in New York and Los Angeles tor director and creator of Road Runner and who don't serve on the committee but decipher 50 phrases (e.g., Woody by Wile E. Coyote. Marsha McCreadie has who make it a point to see and vote on Frank) into the similar surnames of returned to New York after a five- year the five nominees, and I think you can movie personalities. E.g., 1. [Woody] absence and is working on a collection of see that we're talking about a fairly Allen by [Frank AlIenbyJ). The names film reviews for Praeger. Bob Morris is a substantial group of participants.\" were in alphabetical order. The rest of playwright whose work includes Waving the lists is as follows: 2. Anders-on (Luana on Lindsay). 3. Ant-on (Adam Goodye and A Circle, recently performed at One committee member adds, \"By on Susan). 4. Ast-or (Pat or Mary). 5. the New York International Festival. How- and large, it's as attentive a jury as I've B-are (Scott & Beth are Richard). 6. ard A. Rodman's novel about Fritz Lang, seen anywhere. \" He lauds the red/blue Barr-is (Roseanne is Chuck). 7. (Beck- Destiny Express, is forthcoming from Ath- team experiment, which he sees as with (Reginald with Reginald). 8. Berk- eneum. Andrew Sarris is Professor of opening up the committee to a broader off (Irma! Off Steven!). 9. Bol-and Film at Columbia University and is com- spectrum of Academy cineastes, and in (Manute and Mary). 10. Bow-i.e. pleting a book on the American sound film particular praises exec director Davis as to be published in 1990. Richard Schickel \"one of the four or five best people on (Clara, i.e. David). 11. Cros-et (Jean- is film critic for Time. His new book, Schic- this planet. \" kef on Film , will be published by William Louis et Paule). 12. Dix-on (Richard on Morrow next month. Leon van Schaik is Says a veteran publicist, \"What's Jean). 13. Garr-is-on (Teri is on Greg). 14. Good's-child (Peter B. 's child Head of Architecture at RMIT, Melbourne, interesting is that, generally speaking, George). 15. Good-wins (Jack wins Australia. Beverly Walker is a screenwriter the committee's work is honorable and Leslie). 16. Gray's-on (Nadia's on and journalist based in L.A. Armond fair. Last year, for instance, everyone on White writes for New York's Paper and City the committee said, 'Louis Malle is a Kathryn). 17. Harris-on (Rosemary on Sun . Rick Woodward is an editor and shoo-in.' Babette won. So go figure.\" writer in New York. Rex). 18. Ho-over (Don over J Edgar). HOWARD A. RODMAN PHOTOCREDITS 19. Ike-be (Baby, be Ryo). 20. John's- Columbia: p. 16(2). Film Society of Lincoln on (Elton's on Carmencita). 21. Jura-do Center: p. 3, 30, 35(1,2). Courtesy Steve (Walter, do Katy). 22. Kar-in-a (Nigel Ash in a Sandra). 23. K-under-a (Joseph under a Milan). 24. Le Hung (Lam Grenyo: p. 78. Courtesy Richard Hamilton: hung Eric). 25. Lind-say (Georgia, say p. 29. Courtesy Ron Herron: p. 34. IRS: p. \"Howard\"). 26. Lupi-no (Mario? No, Ida). 27. Ma-met (Yo-Yo met David). 68. Courtesy Bill Kenly: p. 24(1,3) Kobal 28. Mara-is (Adele is Jean). 29. March- and (Fredric and Nancy). 30. Mas-in-a Collection: p. 20-21, 22(all), 23(2). Courtesy Carlos in a Giulietta). 31. McGill-is (Everett is Kelly). 32. Min-am-i (Shen, Robert Longo: p. 42. Babette Mangolte: p. am I Yoshie?). 33. Mir-and-a (David and a Carmen). 34. More-no (Kenneth? 47. Donna McAdams: p. 48(2). Metro pic- I-;:==============~ tures: p. 44, 51. Miramax: p. 57 , 60, 62, 64, 66. MoMA: p. 33(3) 65(1,2,4,5,6), 76. STAR PHOTOS' MOVIE POSTERS' MAGAZINES Ralph Nelson: p. 16(1). New CenturyNista: FREE CATALOG p. 11 , 13 , 15. Ockenfels: p. 43. Photofest: p. \"\"Hn Y OHI.I,\\ ·6En·!'I@ 65(7,8). Recorded Releasing: p. 33(1). :\\11\"' 1I! :\\1i\\Tl!llI ,U. STOI'I!. Int'. No, Antonio). 35. Nes-bit (Ole M. bit Thomas Barry Fine ArtS: p. 27, 52. Tri-Star 242 W. 14th Street Evelyn). 36. Pa-get (Solomon, get Pictures: p. 6, 14. 20th-Century Fox: p. 19. New York. N.Y. l00lt Debra). 37. Rand-one (Ayn-one United Artists: p. 65(3), 70. Courtesy Leon Salvo). 38. Ras-had (Eva had Ahmad). van Schaik: p. 33(2). Zindman/Fremont: p. (2121 989-0869 39. Ray-nor (Aldo nor Hal). 40. Robe's- 54. Ion'WuUnNuIyt..OAA•f•'7'1.'U'f~l\"U'E '.D. SU'.if • . letlinlEn lTor 80
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