VOLUME 22 - NUMBER 06 NOVEMBER-DECEMBER 1986

Brazil's most renowned musicians), the MOVIBS UNLIIITBD film stars Claudia Ohana, last seen in the U.S. in Guerra's Erendira. VIDEO CATALOG Less delirious than Erendira, Malan- Please Send Me: dro is also less elegant a musical than the dancing and singing that Brazilian Movies Unlimited Video Catalog S 5.95 6736 Castor Ave. - Phila., PA 19149 -1215) 722-8298 carnaval would promise. And yet Guerra plus periodic updates of new S 3.50 claims that he was aiming for just that releases &sale items PHONE [ill uneasy ground, past reality but not yet S 2.00 fantasy, just as he had used Brechtian Adult Video Catalog S18.00 distance as a ploy in earlier films. The The most comple te listing TOTAL story, on one level, is a hustler-meets- anywhere. I am over bad-girl tale. On another, it is a moral tale 18 years old. of corrupted national development (Mac the Knife has become Max Overseas, Shipping/Handling Fees S 2.00 into profits through imports). AddT Foreign Shipping/ Musicals are a kind of measure of the Handling Fees (APO, maturity of Latin American cinema- Canada, Mexico excluded) they take huge resources and the confi- dence to play with a genre born in the (Cash. cinheuckss. and money center of pop-culture empire. Cuban orders funds only) filmmakers, for instance, have talked for more than a decade about mounting a musical. And at the retrospective, Cuba's first, and utterly unpredictable, musical was showcased: Patakin, made by the formally inventive and thoughtful Manuel Octavio Gomez (First Charge of the Machete). The film received mixed reviews in Cuba, and at the delegation's Toronto press conference ICAIC's foreign affairs rep , director Pastor Vega, expressed his personal dislike for the film. Indeed, the film challenges any simple expectation: it's ironic both about the musical form and also about the heroes and myths of the new socialism. The musical is spectacular and theatrical in a way that Francis Coppola intended in One from the Heart. And it's probably the best evidence that daring (and even insolence, it if comes to that) is possible in state-sponsored cinema. The third musical from the recent crop of Latin American films on display in Toronto is equally improbable: Tangos by Fernando Solanas (The Hour of the Furnaces), who worked on it for more than a decade in exile. Highly political, Solanas has been vocal.about the need to find new forms. Tangos is a musical poem, based on Argentine popular music, dance, and images of loss and longing. No ironic commentary on musi- cals of the past here; Solanas is working to stretch the genre. Latin American cinema lives in the contested territory between aesthetics and society, and it was the achievement of \"Winds of Change\" that 96 films from 12 countries managed to display that cinema with historical depth, and in its bedevil- ing complexity. Facile pigeonholes are gone, with this retrospective. ~ 49

The Marlene. the festival's faithful public, either. The Decline of the American Empire. Just for nostalgia's sake, the festival by Stephen Harvey by Elliott Stein committee did come up with a couple of T he last couple of New York Film ripe candidates for Homecoming Queen T he original title of Denis Arcand's festivals were, let's face it, pretty of the Living Dead ; of those I saw, the The Decline of the American bottom-heavy affairs. A few certifi- win ner, barely, was Paul Cox's Cactus Empire (* * * *) was Dirty Con- able candidates for posterity (A Sunday in (e), a withered succulent if ever there was versations. He might have been well the Country, Ran), the occasional one. Lonely Hearts, Cox's first film to be advised to retain it. In this novel, French- sprightly oddity from an unfamiliar cor- seen in these parts, was a mildly touching Canadian epic of sexual banter, conversa- ner of Mars (Stranger Than Paradise , Australian variation on Marty; the three tion is character, and miles of ribald talk Sugarbaby), and scads of celluloid Flying that have followed all confuse lethargy are blocked out in surprisingly cinematic Dutchmen (The Holy Innocents, A Hill with depth, their inert narratives of terms. The political subtext- more on the Dark Side of the Moon , Three th~arted lives punctuated with self- distinctly Canadian than American - is Crowns of the Sailor, Boy Meets Girl, consciou s metaphors shot in a remark- tucked away under the sheets. Oriana , Bliss) sailing with their zombie ably convincing facsimile of faded East- crew to haunt film festivals on four man Color. This one takes a The film follows a day in the life of a continents before expiring unmourned in Photoplay-era plot - girl on holiday suf- group of close friends, most of them aca- the abandoned storage crypts of their fers fading vision after brutal accident, demics attached to a university's history deservedly bankrupt producers. Any but finds new meaning in the company of department. One splendid autumn after- masochi sts longing for another two-and- a heretofore embittered blind man- yet noon, while the maple leaves turn red a-half-week siege of torpid REM cycles lacks the vitality and conviction of around Lake Memphremagog, four men spiced with turgid symbolism were in for authentic kitsch. Its artsy aspirations are are preparing a gourmet meal in a country a disappointment this year. In fact , the revealed by dream montages of careening house and nattering like magpies about 1986 lineup had the shapeliest contours foliage mingled with surgically plucked their sexual conquests. The women of any New York Film Festival in recent eyes, rarefied monologues on the mean- invited to dinner are all in town at a spa memory. There may have been no ing of life that suggest Warner Bros. and , while working out, also engage in sudden revelations from unheralded screenwriter Casey Robinson spoiled by graphic fuckchat. It seems a jolly and quarters, or transcendent capstones to a postgraduate colloquium with Werner expediently incestuous faculty. long-lionized careers, but the festival was Erhard, and the needle-ridden symbol- graced throughout by an array of ism surrounding its male protagonist. When the women arrive at the house , resourceful , lively movies that did credit (He surrounds himself with flora because Masters and Johnson meet Julia Child. In to their creators and didn't do badly by the course of the usual mealtime banter (Continued on page 56) and streams of white lies , Dominique (Dominique Michel) , the most assertive 50

FIlm Festival of the women, reveals that she has been Down by Law. busted for all the wrong reasons in a neutron-bombed New Orleans that's sleeping with two of the men at the table, by Harlan Jacobson empty of everything except garbage. In prison they meet up with a cracked one of whom is seated next to his wife. It There's so much surface goings-on Italian, who leads them out of jail, in Jim Jarmusch's Down by Law, through a swamp, puts them back on is the tight group which is now in a state the follow-up film to his 1984 their aimless roads, and then settles Stranger Than Paradise , that it's almost down to live the American Dream: a of sudden decline; by the end of the eve- too easy to overlook - or is it simply fail house with a picket fence, a yard, and a to hear?-what he's actually written. wife from back home. ning, several ex-friends are no longer on While hailing the filmmaker as a true original, the Times called the film \"an I don't know whether this is campaign speaking terms. existential shaggy dog story:' the Voice fodder for Republicans or Democrats, and USA Today thought the film a come- but Jarmusch has the devil in his brilliant Arcand's film is an adroit mix of bitch- down from Stranger, the Wall St. Journal black-and-white eye for what the country even slammed Stranger as \"slight. ..with has become: a dump filled with smarty- ery and deep feeling, impeccably per- an interesting look ...\" favored by \"people pants failures. who lounge around bemoaning the noth- formed by a fine cast. The group includes ingness of 'being\" (as opposed to the In the film's opening prelude, Jarmusch somethingness of the Dow Jones aver- develops the parallel tracks of his Ameri- a gay professor (Yves Jacques) who is a ages, eh?), and too many other critics can characters: Zack (Tom Waits) is a disc approached Down by Law as a prison jockey who's been bounced from every compulsive cruiser, and a bored and escape film-say, like Papillon-or radio station from here to Akron Oar- worse, as one out-of-town critic wrote, \"a musch's hometown), and who girlfriend betrayed housewife (Louise Portal) who fill-in-the-blanks puzzle:' Ellen Barkin berates as unwilling \"just to jerk off' his bosses a little to keep his job. has recently discovered the joys of S & M Jarmusch has fashioned a funny parable Jack Oohn Lurie) is an incompetent that looks at America and satirizes why pimp, who main squeeze and prostie with a raunchy biker. Arcand is as the country doesn't work anymore- Billie Neal sneers is \"always makin' big unless you're an immigrant too ignorant plans for tomorrow, cause you fuckin' up nonjudgmental about them as he is about to know what the rules are and that today... :' Then she announces the film's they've choked off the \" natives' \" air main proposition: \"America's a big melt- the other characters. He obviously likes supply. His American characters are ing pot. ... You bring it to a boil and all the two East Village weasels, set up and scum rises to the top :' this bunch; the sympathy is contagious. Although the point is not hammered home, it is clear that Dominique, a writer whose most recent book has attracted attention, is brighter than the male col- leagues she has been balling; she breaks silence on these affairs when she realizes that sex with her may have been some sort of revenge for her accomplishments. These aging academics are surely disillu- sioned survivors of the Quebec separatist movement of the late Sixties and early Seventies . Their silence on the matter speaks volumes on its failure-and theirs . (Continued on page 59) 51

The America we enter in Down by Law things fail , the mix of character quirki- Building, where the guacamole was real R is marked by the graffiti of the young ness, situational improbability, and the good - not the usual kind looks like A dead: \"It's not the fall that kills you - it's look and logic of the world view here Lifebuoy-and where a lot of dangerous B the sudden stop ;\" and \"Life is a limbo keep the seduction in motion. The film looking girls came in wearing \"Sid & t dance . .. it's where you get down, not how more than simply trades on Robby Nancy\" buttons. I suppose Alex Cox is low you can get :' The axioms here are not Muller's stunning black-and-white pretty pink about their having died too, unlike those found operating in the images. Jarmusch has found a camera since he got to make Sid & Nancy, and subtexts of Michael Apted's 7128 Up, rhythm that matches his writing and uses be the reason for the party and eat the Stephen Frear's film of Hanif Kureishi's it to perfection. He simply sets up and guacamole even if the producer-restaura- My Beautiful Laundrette or even Alex then juxtaposes the absurd with the teurs take Glop Cost off the top. Cox's deficient , punked out Sid & Nancy, expected. Only problem is , it took longer for Alex all about Britain. But Jarmusch takes his So when Bob, the Italian-a role with Cox to kill off these two mutants than nowhere-to-go characters, screws them , which Benigni purloins the film-amid they did, and they acted for cause. At no then puts them in the company of Bob hiccups asks Jack for a cigarette, and Jack point do we blubbering bourgeoisie get to (Roberto Benigni) - an Italian whose replies , \"Cigarettes don't help hiccups ... find out who they were before Sid added dazed hummingbird look belies his not in this country anyway;' Jarmusch gets Vicious and Nancy dropped Spungen, abilities to get things done-and so at the truth of Jack's tattered authority in how the Sex Pistols shot up , why they arrives at an ironic end point: you can't one line of dialogue that puts together had bad table manners and regarded their know too much or you can't move; you're two dumb thoughts. That is precisely the feet, fists, and face as five convenient just doomed to wander. Jarmusch's Bob model for his camera movements, which clubs. Sid & Nancy is a peeper's paradise: even quotes Whitman in priso n and later typically start on one side of the room front-row seats to ogle two freaktoids \"Bob\" Frost's \"T he Road No t with the setup and end with the splattering themselves all over the walls Taken\" not only to set up the end of punch line on the other, waiting for the ... and building to the scene in the th e picture, but to limn the end of his characters to turn into the camera and Chelsea Hotel where Sid cleans Nancy's arc. He's home; we' re on th e road. reveal their single-most present thought: trout. So, Zack and Jack have met the enemy \"How did I get here?\" There's nothing as banal as character (eternal thanks to Walt Kelly, whose Pogo Too much has been written about \"the development or disintegration here. Cox could've inspired this film) and they are Absurd\" showing up in Jarmusch's two allows his characters even less room than us: two city schmucks, psycho-blasted by films , as if absurdity were a character here Fassbinder gave Petra von Kant to knowing too much to function and too instead of a vector, and so legitimates unwind. They start at the bottom and little to escape. Zack is the embodiment them as Art. Jarmu sch, however, knows head for Hell. In fact , the film has a shelf of working men sickened by the real how to deal a cinema wild card. Things life of about two years, since it depends demands of their jobs , and Jack the happen to Bob-offscreen a rabbit hops upon the viewer's bringing into the reductio ad nauseam of what manage- into his hand , a hut in the forest turns out theater the Time magazine rendition of ment has become ... foolish pimps. God to be an Italian restaurant - the way the punk to set the social context. The knows where the rich are-they're bike fell into Belmondo's hands in That nihilism - not rebellion - that fed punk nowhere visible from the bottom of this Man from Rio. Jarmusch's script is filled exists in Cox's Sid & Nancy the way the heap. It's all held down by law by witless with wry twists , and he can play a close-up on Brando's bellybutton cops. screwball scene like a near-prison riot (\"I revealed the heart of darkness in Coppo- scream for ice cream \") for Marx Brothers la's Apocalypse, Now-only not as This is a fairly sophisticated, if jokey, or Abbott and Costello laughs. But his clearly. There's no culture to reject, just a vision Jarmusch has perpetrated cheekiness is purely cinematic; entering coupla fleas rolling around in the dark here , certainly in line with Stranger Than a deserted house in the bayou, the three fighting over the lint. Paradise's paean to American stupidity. look around. \"This looks familiar;' Jack Perhaps Stranger only seemed to possess mumbles . Sure does- it's the jail-cell set Worse , Cox wants to slip by the more energy because Jarmu sch practi- with a window. motivation problem by trading off a cally invented his own genre, or at least primary post-New Wave cliche: A nice twisted the head off the road genre and There's more in a Jarmusch line (\"Why boy, a nice goy!. .. until they became ... poured black blood into its body. Or don't you just go back home to New York OBSESSED! So, periodically a cooler maybe, like Fellini, he just understands ... or Baltimore ... or Detroit- you said head like Johnny Rotten(!) will come over how to impart vision into a simple you liked it there\") and direction (the to Sid and -looking like he's just barfed storyline and suffuse character with what choreography of Jack rejecting Zack's on his shoes and squeezed out some hot it doesn't see about itself. Underneath all opening conversational gambit in jail is cat shit for dinner- mewl, \"Nancy's no Jarmusch's humor about the out-of- masterful in the way its blocking and good for ya, Sid;' before sliding off the harm's-way triumph of the funny little guy camera movement underscore the mutu- bottom of the screen. who doesn't know enough to know he ality of their predicament) than that of ain't entitled, and about the two hipsters' almost any American I can think of, Cox never establishes obsession as the menial idiocy, is a story about lost except for Martin Scorsese. But now root of Sid's and Nancy's downward(?) we're talking Masters and Hell-raisers. spiral; in fact , in portraying the good old purpose. Jarmusch has crazy fire. And he's got early days of their locking horns , he Jarmusch has lost neither his purpose Rome to burn. inadvertently subverts his Obsession Kills contrivance with their tentative nor his craft, which simply mesmerizes. First off, I want to thank Sid and willingness to like each other. Liking each Momentarily, you think that the swamp Nancy for dying for us, because I other is the only thing these two plasma- walk has gone on too long for these guys got to go to a nice party at the Puck morphs ever did right-certainly in the to look this clean. But when the little film - though Cox would have it the other 52

Feature Films from Direct Cinema Limited All American High New Directors Series Th e observations of Rikki Rauhal a Perfect Harmony: provi de a way to re-evaluate not The Whiffenpoofs Museum of Modern Art 1986 only our edu cational sys tem, but in China the values and attitude s of th e Broken Rainbow ALL AMERICAN HIGH is about a middle-class teenagers who PERFECT HARMONY documents unique ly American experience- wi ll guide American into the Ya le Uni ve rsity's Whiffenpoofs' senior year in a middle-c lass 21 st century . highly success ful 1985 tour of suburban high school . Through The People's Republi c of China . the eyes of a visiting fore ign Directed by Keva Rosenfeld exchange student from Finland , Produced by Keva Ro senfeld Produc ed by David and this documentary presents new and Linda Maron Megan Callaway perspectives on the time less 60 minutes Directed by Megan Callaway social rituals of American 28 minutes Navajo who have already 1educational institutions. been relocated into tract Produced by Maria Florio ACADEMY AWARD houses off the reservation , and Victo ria Mudd BEST DOCUMENTARY we explore the tragic and far- 69 minutes reac hing effects of this ill- FEATURE 1986 conceived program . BROKEN RAINBOW is about \"B ROKEN RAINBOW speaks the Navajo Indians of Arizona , eloquently for a si lent minority 10,000 of whom are being and . .. cou ld lead to reason. \" relocated by the Federal Variety Government. Through inter- views with traditional Hopi and Navajo leaders, and with Contrary Warriors: CONTRARY WARR IORS \"The no-nonsense, informative Cowgirls: Portraits A Film of chronicles the Crow Indians ' narration by actor Peter Coyote of American Ranch the Crow Tribe century-long struggle fo r survival tells all one needs to know about Women through a moving examination of the attempted US. government the life of 97-year-Old tribal leader, subjugation of the Crow \" Variety The cowgirls in thi s new Robert Yellowtail . documentary are modern-day Produced by Connie Poten women aged six to sixty , who ride , and Pamela Roberts rope and tough out the elements Co-produced by Beth Feris just as well as their more famous 60 minutes cowboy counterparts. A film by Nancy Kelly 29 minutes Half Life: First Peace Prize Islands , tiny atolls in the mid- \"Shocking and powerful ... a A Parable for Winner 1986 Pacific . With dec lassified memorable film. \" David Stratton , the Nuclear Age Berlin Film Festival government archival film and Variety contemporary interviews, HALF \"A devastating investigation .. Director's Award LIFE presents a restrained but astonishing contemporary record for Extraordinary chilling picture of a cynical film .\" David Robinson , Achievement 1986 radiation experiment on human London Times U.S. Film Festival populations . Its parable is a true one that haunts our past, present Written and Directed by This compelling and beautifu lly and future . What ATOM IC CAFE Dennis O'Rourke crafted film reveals the effects of does for laughs , HALF LIFE does 86 minutes US. nuclear testing on th e for politics and morality. inhabitants of the Marshall In Her Own Time IN HER OWN TIME is a personal has tremendous impact. When I 1Number Our Days as well as social exploration of ' saw it in the theatre , the audience Academy Award Winner 1977 Orthodox Judaism in modern Los responded with sobs you could Best Documentary Short Angeles. This compelling hear- and then with a standing document records the final ovation .\" Michael Medved .. . . The film recounts the earlier spiritual search of anth ropologist Sneak Previews collaboration between Littman Barbara Myerhoff in a way that and Myerhoff and their work with speaks to people everywhere . elderly Jews. \"As a portrait of an exceptional Produced by Vikram Jayanti Produced by Lynne Littman woman , who found new dignity and Lynne Littman and Barbara Myerhoff and insight at the end of her life, it Directed by Lynne Littman Directed by Lynne Littman 58 minutes 28 minutes For information contact: ~, ~dIrect g Direct Cinema Limited cinema ru) PO . Box 69589 limited Los Angeles, CA 90069 (213) 652-8000

way. Sid & Nancy is mostly hack thinking, dressed up in leather and snot and pretty balls of color and light. It's not that Cox's talented production team can't compose a camera frame, or that Gary Oldman and Chloe Webb don't acquit themselves as actors willing and able to rat-puke all over the screen. It's that Cox and co-scenarist Abbe Wool don't sub- stantiate Sid and Nancy as human beings headed for a calamity, and so didn't touch my sympathy to see their sentence repealed. At bottom, they play two colonels of punk blown into pop corn, in a script that piles cliches on top of banalities: The cops arrive; Sid quivers; \"Who was the girl?\" Sid quivers; \"I met her at Linda's:' Flashback to Sid and Johnny kicking in the window of a Rolls before stopping off at Linda's to smear baked beans on the Queen's mug shot. And we're off into the way we wuz, mate. Not that there aren't tiny endearments along the way. Lots of belching, some good shooting up, bloody bandages, a totaled phone booth, a baby with an Isaac in America. aquamarine mohawk, a cute scene of silver prom dress, she's a 42 year-old Working on someone else's dime for the public school girls whacking parked cars mother of two about to be divorced from first time in well over a decade, Coppola with their lacrosse wickets, good zit Crazy Charlie the philandering Appli- stepped into the breach created first by popping and fan bashing, and Sid singing ance King-only she gets to go home Penny Marshall, and then by Jonathan \"My Way\" before shooting the artsy-fartsy again and take a whack at undoing it all . Demme and delivered a Peggy Sue that is audience to death, and on and on till we more than simply Back to the Future with get to the film's coda. Now this may sound a lot like Robert a woman. Whatever else it is not, Peggy Zemeckis' and Bob Gale's Back to the Sue luxuriates in constructing an avenue Released from jail after Nancy's toilet Future, which was written after Jerry to go back and touch the people and La Traviata finale, Sid stumbles out to a Ldchtling and Arlene Samer wrote objects in a world that was relentlessly pizza parlor at the end of the world. His Peggy Sue, even down to Kathleen slipping away, even as it was taken for time is up. Nothing to live for Turner's protagonist Peggy Sue wrestling granted. Now that may not be much to go (!!!???!!!!????!!!!). He breakdances with a with whether or not she should move the on, but it does enliven a frame with the few black kids till up drives a taxi carrying gearbox of history a notch and so bypass piquance of every particle acting as a Nancy trimmed out in a white bridal veil. her marriage to a moron (Nicolas Cage) . character. He gets in. But there's an important difference. When Steven Spielberg \"executive pro- Peggy Sue's script plays on Turner's The end credits roll, to which Cox duces\" (read : \"stands over director's comic beat, which arguably has served to thoughtfully added: \"Sid and Nancy- shoulder\") a movie, as he did Back to the extend her career beyond the confines of R.I.P.\" \"OFF\" must have been edited out Future, the result is a movie that culls her other real talent- stalking the men in -to help the film come in at just under from movie watching; when Francis her age group with the thrill of danger, as 147 hours. she did in Body Heat and the quintessen- tial this-is-what-L.A.-thinks-is-psycho- Coppola directs, no matter how awful the therapeutic Crimes ofPassion. Forgetta- Ie in Romancing the Stone and Jewel of To be purely merciless about it, it's result-i.e. the Matt Dillon fiascos-the the Nile, Turner in Coppola's hands is not so much that Peggy Sue Got movie culls from life. sunny even as she hops through all the Married in Francis Coppola's script contradictions-which are beside film, as got laid. This observation by a the point. As her pathetic teen idol-cum- adult idiot husband, Cage makes her Wfriend nearly sums the net difference in hile Spielberg doesn't know where or how to risk, Coppola has almost Peggy Sue's life after she passes out at her 25th reunion and wakes up in a hallway at always pushed the boundaries of experi- Buchanan High in 1960. Squeezed into a ence into contradictions of the heart. 54

Smonkeying with history and seeking out inger's own refusal to sentimentalize is Cinema both honored in Isaac in America and Studies: the slide rule kid the only reasonable alternative; that is until rebel without a subverted: by its essence, the documen- An education for our time pause Kevin J. O'Connor spouts doggerel tary memorializes, and even by its Film is the art form that defines our (\"I shoot myself out of a cannon into the structure, Isaac is filled with small time. Films by Eisenstein, Godard, and Fassbinder, for instance, offer pen- Energy... I check out of the bourgeois moments of farewell. \"That all these etrating insights into human behavior, cultural change, life as we live it and motel, push myself from the dinner table people and places would die out and I perceive it At New York University'S Tisch School of the Arts, we believe and say 'No More Jello For Me, Mom\"') would be one of the last. .. never occurred the study of film develops analytic skills, hones critical thinking, and and takes Peggy Sue by sturm in a to me;' he says. Nowak rightly chanced broadens perspectives. It offers under- graduates superb preparation for many moonlit meadow. Judd Hirsch's reading a passage from of life's callings. Ah, well. Peggy Sue and Crazy Charlie Singer's story, A Day in Coney Island, as Our program in cinema studies allows undergraduates to study film work in the company store, you realize, the camera weaves in and out of a white with the same distinguished scholars who teach our graduate students. The and there are a lot of Senior Corporate light fictional Coney Island and the department's film archives, variety of courses, and viewing facilities are Managers in the audience tonight who tattered survivor of today. Singer comes exceptional. And, students have access to all the film screenings that make are only there so long as you sanctify their upon his Sea Gate landlord, who is now New York City the richest film center in the world. holy grit-your-gums marriages. So, Peggy 102. \"In my life, I have many miracles;' he Because film is a truly interdisciplin- Sue goes back to the future and throws tells him. \"This is surely one of them:' ary art form, the program includes the study of related subjects: art, history, the towel into the boxoffice. \"It's a miracle,\" he says also of the psychology, and even film production. As a result, our students get a broadly Corseted, Coppola has likely given the Forward's survival, \"it's been losing based education as they undertake a serious study of cinema Tri-Star Delphi Dentists-Who-Would-Be- readers since 50 years ago.\" From which For more information, return the Movie-Moguls some profits to hide and he extrapolates that all the mighty coupon below or call (212) 598-7777. honorably bought himself some time. newspapers in New York that died did so NBVYORI( RSI1Y \"I'm grounded?;' Peggy Sue guffaws at her because they could afford good book- Tisch School of the Arts father in one of the film's better comic keepers who could tell them when they New York University passages. ''I'm going to Liverpool and were bankrupt. Since the Forward could 721 Broadway, 7th Floor New York. N. Y. 10003 discover the Beatles:' This one may be never pay top dollar for bookkeepers, it Attn: Dr. Roberta Cooper Please send information on the cinema studies novocaine for the brain, but what the hell. has gone on living. There's a lesson in program. 0 undergraduate 0 graduate As Peggy Sue's classmate-turned-dentist that, Singer says, and it is the strength of o I am also interested in summer sessions. says while sniffing two trails of coke at Isaac in America that one wants to Name the reunion: \"Coupla lin@s like this, I believe in his sly grace. could drill my own teeth.\" Addres!'> Singer's men steal other men's stories City / State / Zip or their wives, his women grow beards 55 T he passage of time is at the heart of and teach men dignity. All are used to Amram Nowak's Isaac in Amer- living in a world with ghosts where things ica, though it permits the man just happen. At the Nobel ceremonies, with the moon in his face, Isaac Bashevis he asserts that \"Ghosts love Yiddish ... Singer, to say why time's tide has not they all speak it:' And that on the day the swept him away. Even as he tells the messiah finally comes, millions of Yid- screen that \"Yiddish has been dying for dish corpses will rise from the grave and 50,100,200 years-it began dying when ask, \"Are there any new Yiddish books to it was born ... and like the Jewish people read?\" ... (it is) always surviving;' it is impossible It's odd that Singer has been embraced not to think that with Singer goes not by the Temple Beth Geldt Jews now after simply a Nobel laureate but Yiddish- so many years of being the property of keit's last breath. \"Being an exception the penniless poets and free-thinkers is to my mind the essence of being who came to the Forward each day. Jewish,\" Singer says. Yet death is shot Perhaps it's because the rabbinate has all through Nowak's and producer Kirk become irrelevant (sounds like \"rabbits Simon's wonderful portrait of Singer. have become'elephants\"), and all over the Everywhere, it seems, the Jewish world wisdom is in short supply. Isaac in world that had tam either fell to Hitler, or America is a chance to see and hear a now simply melts away: Singer's beloved mensch. There aren't many of them left. Krochmalna Street (\"the center of the Beats me what all the fuss is over universe\") seen here in Roman Vishniac's True Stories. It was niiiiiiice. last 1938 photographs of Warsaw; the When Louis the Country Bachelor cafeteria culture of New York, including sings, \"We don't want freedom, we don't the Garden (where the filmmakers record want justice, we just want someone to Singer arriving on its closing day) and love;' it brought tear gas to my eyes. Dubrow's (where they shot Singer's The David Byrne seems niiiiiiiice. Oughta Cafeteria for PBS several days before it name a shopping mall after him. closed); Workmen's Circle; the shuttered Byrnewood. Funny is smart that doesn't and abandoned Sea Gate Brooklyn wink at itself. Or if it winks at itself, boarding house of his immigrant youth; like Terry Gilliam's Brazil, it's because the Forward. it's hot stuff. I'll take Brazil. fIe

STEVE HARVEY wise, the heroine's own obliteration at the With movies like Barocco and Les close seems superfluous - there really (Continuedjrompage 50) isn't any difference between a suicide's Soeurs Bronte (which made even Devo- Purgatory to come and Kieslowski's he can't deal with the thorny demands of Limbo on earth. Whereas Andrzej Wajda tion look good), Andre Techine sweated two-legged fauna - not the freshest of managed in the past to infuse films on brainstorms the first time Cox resusci- similar themes with an authentic tragic to prove he was the best deconstruc- tated it for Man of Flowers .) Add a momentum, Kieslowski's film is merely performance by Isabelle Huppert that dour and inert. Which may be depressing tionist in tout Ie show-business, winking evidently confuses blurred vision with testament of all to the impotence of art in catatonia, and Cactus makes you long for a land without hope. as he tinkered with his deliberately pulpy the days when Jane Wyman suffered in Douglas Sirk close-up. T his year, the New York Film Festival narratives inhabited by marionettes with renewed its lease as the West Side Dancing in the Dark (*) is the sort branch of the Alliance Fran~aise, with no star names. His Hotel des Ameriques of Anglophone Canadian art picture that less than five feature entries from la begs to be satirized by SCTV. Edna patrie, plus one co-production (The lurched halfway toward embracing an old (Martha Henry) is an agoraphobic Step- ford Wife, whose mission is to turn her genre (the so-called realism poetique of suburban abode into an immaculately sterile facsimile of a B. Altman model the French Thirties and Forties) before room. When her harried-businessman spouse seeks stimulation elsewhere (and (* *he goosed it with too much cleverness. In who could blame him?) , she bludgeons The Scene of the Crime 1/2), his him with a chefs knife . This of course is seen as her one triumphant moment of 180-degree turn is complete; for the first self-assertion; too bad that her reward is a lifetime stint in the loony bin . time Techine invites a heartfelt examina- Director-screenwriter Leon Marr is tion of his characters, whose bonds of not without visual resources , alternating the Lemon Pledge-gold and steel-gray guilt, complicity, coincidence, and fate hues of his heroine's twin domestic and institutional prisons. But the writing is require no ironic filigree on his part. numbingly inauthentic throughout. Her voiceover diary entries sound like ersatz Although Techine's relentlessly noir Sylvia Plath , and Marr's \"You-sure- deserve-that-promotion-dearl This-sure- plot is a flimsy piece of machinery, it is is-delicious-honey\" marital exchanges are the product of someone whose loathing triumphantly upstaged by the film's real for the suburban bourgeoisie was learned secondhand from a lifetime of watching subject: the melancholy pathology of a American sitcoms. Worse yet, the would- be feminism of its premise sabotages family in terminal disarray. A mother and itself by utterly infantilizing its subject; her passivity, it's implied, is the inescap- son, both moody small-town outcasts able hallmark of the female condition. What's trapping Edna here is her creator's bound by their understanding of the need own suffocatingly schel1)atic take on the possibilities of art and life alike. for deceit to survive, baffle grand-mere; Polish director Krzysztof Kieslowski is for grand-mere, heaven on earth is party afflicted with a similar tunnel vision. As an intelligent artist trying to tell the truth manners every day, and small talk at table in a climate of martial law, Kieslowski has certainly earned his despair. Yet the with grand-pere, the local priest, and her uninflected lugubriousness of No End (* *) suggests that he has been immobi- ex-son-in-Iaw, who is a well-heeled lized as a filmmaker by the very bleak- ness he seeks to convey. No End's sense sleaze. But a homicidal interloper with a of paralysis extends to its very structure: its heroine spends the entire film in quest boyish face tips this domestic dishar- of the deeper truths about her late husband , an idealistic young lawyer, and mony into anarchy. Like some non- learns no more about him than she knew before his demise. (The husband appears Maigret Simenon, The Scene of the fitfully as a sort of guardian angel to the suffering survivors, but in death he's even Crime is haunting (if insignificant), more powerless than the living.) Like- Police. thanks in no small part to the impeccable mother-daughter act of Danielle Dar- Sacrifice) and one hybrid ('Round Mid- rieux and an unusually expreSSive night's American-financed, French- Catherine Deneuve. inflected saga of an American in Paris). (* * *)Alain Cavalier's Therese (* *) and Most demonstrated an abundance of Bertrand Blier's Menage made style and smarts, even when expended neatly matched bookends of the spiritual (* *on material that was very vieux chapeau. and the scabrous. In both cases, the Maurice Pialat's Police 1/2) novelty of their content was frequently presents Gerard Depardieu squeezed outshone by their swanky mise-en-scene. into Jean Gabin's old gumshoes. The tale Visually, Therese is a kind of celluloid of a hard-shelled detective enmeshed in equivalent of the illuminations in a the demimonde he's pledged to ensnare medieval hagiography: quicksilver and fleeced by the doxy at the center of vignettes of the 19th-century Carmelite the trouble, Police is Pialat in respectable nun's ascension to death and sainthood, second gear so long as he skews it away with Therese and her sisters artfully from its source in the direction of posed with a few soigne props against claustrophobic comedy. Although the abstract backgrounds of stippled gray- marvelously petulant Sophie Marceau is green. Within this stylized frame, a plausible updating of the streamlined Therese is a winsomely human figure; tramps Mireille Balin patented in the Catherine Mouchet infuses the Little Thirties, Depardieu's modern take on Flower with a homely glow as she Gabin's romantic masochism becomes a struggles with a lobster in a manner trying conceit by the film's conclusion. (It worthy of Annie Hall and chats about her was one thing to persuade fans over three bridegroom Jesus as if he were the boy decades that Gabin was existentially next door. Many people, doubtless relieved by lonely; it's quite another to persuade me that Gerard Depardieu, of all people, Cavalier's lack of rose-perfumed rever- can't even get laid.) ence, compared Therese to the work of 56

These words cahiers till inspired CINEMA a thousand pi•ctures. Here is the second volume of a collection that the New York Times Book Review called \"rare and intriguing- the documentary history of an important intellectual shift:' Written in the 1960s - when Cahiers du Cinema was at its most influential and controversial- these selections chronicle the significant new directions in filmmaking and film criticism of the decade. Cahiers du Cinellla The 1960s: New Wave, New Cinema, Reevaluating Hollywood Edited byJim Hillier Harvard Film Studies $25.00 Harvard University Press, 79 Garden St., Cambridge, MA 02138

Dreyer and Bresson; as far as I'm rapturously tracks past the minutia of a ated filmmaker's perspicacity of craft and world more treasurable now that it's concerned, they've confused genuine vanished; here he snakes through Alexan- sureness of instinct. The liveliest witness dre Trauner's shimmering studio-bound austerity with minimalist chic. With dream of St. Germain-des-Pres in the late of all is the director himself, seen at his Fifties, seductive and claustrophobic. impeccable taste, Cavalier has con- best self-deprecating form just days 'Round Midnight's ambling tempo has structed an artful series of natures morts, the deceptive casualness of one of before his death. Gordon's smoky solos; the musician's in which you're continually distracted slow fade is made all the more poignant It's a backhanded compliment to by the inexorable detachment with which from Therese's passionate progress by Tavernier gradually reveals the details. In complain that this film's main flaw is its fact, the film only falters when it strains to the exquisite folds in her infirm ary bed find a conventional movie spine. brevity. Shaved to an hour (presumably to Although amiably played by Franc;:ois linen and the delicate whirls of blood Cluzet, the French groupie who seeks to suit a PBS programming slot), Directed by rehabilitate his hero stubbornly remains traced in the depths of her sputum cup. more plot device than flesh , and their William Wyler feels cramped and rushed, parallel failures as spouses and fathers Menage is itself something of an seem too schematic in this otherwise in ironic counterpoint to the measured reticent movie. Considering the sorry aesthetic treat: highly saturated colors track records of such cross-cultural amplitude of the director's best work. His brainstorms in the past, the fact that (****),1936 Dodsworth splattered across a wide screen , sound- Tavernier's movie has the same elusive shown beauty as its subject is a small miracle in stage backdrops of Montmartre as exqui- itself. with the documentary, is an indelible case sitely phony as the rooftops of Rene Clair. 'Round Midnight. in point. Given an extraordinarily All of which serves to illustrate Blier's Two celluloid legends made of more nuanced screenplay by Sidney Howard durable stuff than Tavernier's Dale most distilled essay yet on the irresistible Turner were the objects of veneration in a from the Sinclair Lewis novel , and a pair of documentaries this year. Aviva pull of irrational carnal impulses . Menage receptive cast led by Walter Huston, (* *Siesin's Directed by William Wyler is a kind of sex-reversed mirror image of I/Z) is by far the more conventional Ruth Chatterton, and Mary Astor, Wyler of the two, a straightforward mixture of Get Out Your Handkerchiefs; this time film clips and a sprightly array of talking forged the most observant study of the heads (Bette Davis, Lillian Hellman, around it is the male duo whose instincts Billy Wilder, Barbra Streisand, Audrey clash between American pragmatism and Hepburn , et al.) celebrating this vener- are unfathomable and the female fulcrum Old World pretense that Henry James who becomes superfluous within Blier's never wrote. erotic equation. With Menage, Blier While Directed by William Wyler is emphasizes mirth over rue, and for my upbeat 'homage, Maximilian Schell's (* * *)Marlene taste his obsessive theme works far better is a despairing gotter- as bleak farce than his usual slapstick dammerung. What makes this movie so tragedy. creepily compelling is that it feels like a Blier's script is an invigorating blend of posthumous portrait, autographed by the puns , innuendo, and argot, and the sight ghost of its subject. Dietrich authorized of grizzly-bear Depardieu lunging for gray the making of this documentary and titmouse Michel Blanc (teensy shoulders designated Schell, her co-star in Judg- hunched inward to protect his virtue) is ment at Nuremberg, as its director. She the funniest same-sex visual gag the likewise decided that what became an movies have given us since Joe E. Brown octogenarian legend most was to remain pinched Jack Lemmon's bottom in Some resolutely off camera for the duration. Like It Hot. The consensus on Menage is Hence the thickened husk of that voice that the film disintegrates into desperate haunts a succession of clips of Marlene as gimmickry once the mismatched lovers Sternberg diva and the Lorelei of the don wigs and girdles to ply a new trade; European front, interspersed with the yet I don't see how this is any less illogical gams of a Schell assistant prowling a than the hour that precedes it. Having reconstruction of Dietrich's Paris apart- never quite fathomed Blier's reputation as ment whenever the archives run out of a profound philosopher of the erotic, I magic. find the hallucinatory artifice of Menage Marlene is shatteringly eloquent on his most satisfying achievement to date. the ambivalence felt by the star-any star Just as Menage is quintessential Biier, -toward that dream creation whose (* * *)Bertrand Tavernier has suffused 'Round kinship to the person lurking beneath is Midnight with all his charac- fitful at best. Dietrich bellows her desire teristic strengths. Although the subject is to· set the essential truth down at last, the waning age of bebop, in its moods and then mutters the same fanzine facto ids rhythms this film is an eloquent compan- that have sustained the legend for half a ion piece to A Sunday in the Country. century. On the events she observed- Dexter Gordon's disintegrating sax player the rise of Nazism, the winning of the war and the venerable salon painter of - Dietrich is lucid and observant, but Tavernier's last film are unexpected soul when it comes to analyzing the nature of brothers; both are terse, rheumy-eyed her own achievements, she remains introverts, whose awareness of their own egocentrically mute. Alternately playing capacities is rekindled only when outsid- the querulous victim and arrogant kaise- ers dare to break through their solitude. rin, she treats her inquisitive pal Max like Perhaps no other filmmaker has better Max von Mayerling. As an epitaph to a captured the connection between the art movie era, Schell's Avenue Montaigne is a of an age and its physical context, and the worthy real-life successor to Billy Wilder's ephemeral nature of both. Tavernier's eye Sunset Boulevard. ® S8

ELLIOTT STEIN MOVIE DON'T READ THIS.. .- (Continued from page 51) STAR unless you want videocassettes you can afford! Charlotte and Lulu (***), its PHOTOS American title, is less appropriate Our used videocassettes are in excellent than The Impudent Girl, the English One of the world' s largest collectio ns of film condition, and $39.95 is our HIGHEST release title of Claude Miller's L'Effron- perso nality photOgraphs, with emphasis o n price! Enclose SASE with your want list tee, an uncredited free adaptation of rare candids and European matenal. Send a for a prompt reply, or simply send for Carson McCullers' The Member of the S.A.S.E. with want-list to: our FREE information: Wedding. MiltOn T . Moore, Jr. (j Peng\\;lin julie Harris never convinced me as a Dept. Fe homeVideo frustrated 13-year-old in Fred Zinne- mann's famous 1953 screen version of the P.O . Box 140280 86 Tomlinson Road , McCullers work; at twice the character's Dallas, Texas 7521 4-0280 Huntingdon Valley, PA 19006. age, she exploited her gamine appear- ance in a showy tour de force. Charlotte AMERICAN VISION Gainsbourg is letter-perfect and extremely appealing in more or less the THE FILMS OF FRANK CAPRA same role in Miller's movie, the best coming-of-age film in years, set in a small Raymond Carney town in the French Alps. Charlotte, fed up with family and town, overreacts to Frank Capra - the creator of everything and is cross with one and all. such classic American films as She lives with her widowed father; her Mr. Smith Goes to Washington, only companions are a sickly younger It Happened One Night, and girl , Lulu Gulie Glenn) , and Leone, the Lost Horizon, is probably housekeeper. In a triumphal bit of offbeat America 's best known and casting, Bernadette Lafont, the saucy most beloved filmmaker. Ray- diva of the early New Wave, is seen here mond Carney 's AMERICAN in a role similar to that created by Ethel VISION : THE FILMS OF Waters. Waters was a wise earth mother; FRANK CAPRA, published in Lafont, in her first middle-aged part, is this 40th anniversary year of merely down to earth, and excellent. It's a Wonderful Life, is the most comprehensive study of Ca- The anecdotal story involves Char- pra 's life and work ever lotte's crush on Clara, a concert pianist published. her own age, played by Clothilde Baudon (she looks like a miniature Grace Kelly \"The most detailed , intel- impersonating Alice in Wonderland), and a brush with a sailor-drifter who nearly ligent, original, and accurate Raymond Carney rapes her. jean, the sailor (a beautiful , complex performance by jean-Philippe interpretations of [Capra 's] Ecoffey), comes on as something of a work ... The knowledge that Carney has of the Hollywood classical threat, but at heart he and Charlotte, film , and of other filmmakers that are Capra 's contemporaries is without realizing it, are brother and sister excellent :' under the skin-two lonely, restless - Jeanine Basinger, author of The \"It's a Wonderful Life \" Book, and souls. Curator, Capra Archives , Wesleyan University Miller began as an assistant to Bresson \"I share [Raymond Carney's] love for Capra ... in my estimation and Godard. This is his best film to date, the greatest of all Atnerican directors . more gentle and good-natured than the - John Cassavetes work of his old master mentors. He has a good eye for detail, a wry feeling for 530 pages illustrated $24.95 human idiosyncrasy. L'Effrontee is a big little film. At bookstores or call 1-800-431-1580. In NY and Canada 914-235-0300 . MasterCard and Visa accepted . The festival surprise arrived with a first film from japan, Kaizo Hayashi's To Cambridge University Press Sleep So As to Dream (***). There 32 East 57th Street. New York. NY 10022 have been enough feeble and foolish attempts to re-create the glories of silent cinema to make it clear that nostalgia, affection, and a taste for \"retro\" camp are not by themselves enough to do the trick. Hayashi's grasp of the structure of the diverse modes of the silent era and his firm sense of design have resulted in a 59

striking work which is far more substan- recognized Darwinian evolutionary peri- was lit by Sacha Vierny, the world-class tial than an homage, more dense than a ods:' Some will be interested to learn that cinematographer whose films include conceit. the eleven principal characters of this English film, shot in Holland, relate to aHiroshima mon amour, L'Annee derniere No dialogue is spoken in To Sleep-the the Roman pantheon (Castor and Pollux, Marienbad, Muriel, and Belle de Jour. characters \"talk\" in captions. Its plot is Juno, etc.). I suggest, however, that close If this man lights it, go look at it. convoluted: the first rattle emerges out of analysis be dropped in favor of sitting the box during the 1950s, when an old back and enjoying this ghoulishly stylish Never to see another movie about a film star is seen watching The Eternal goulash of a shaggy zebra.story. couple of junkies may be too much to Mystery, an early samurai film whose last hope. I do think Jerry Schatzberg did it reel is missing. She hires a detective; the Near a zoo an accident occurs when a once and for all in his superb 1971 Panic pretext is the rescue of her kidnapped swan crashes into the windshield of a car in Needle Park. Alex Cox's Sid & Nancy daughter. At the end of a long melodra- driven by a mysterious woman named (*) adds nothing of interest to the junkie matic trial, in the course of which the Bewick, who has her legs amputated and genre. It barely suggests the subversive film comes to resemble a squashed or falls in love with a pair of lapsed Siamese power of the punk movement, and there imploded serial, it is discovered that -now separated-twins (two Deuces, is even precious little about the Sex there is no daughter. The daughter is the Oswald and Ollie) whose wives were Pistols. The merchandise is not misla- mother, who all along had really been killed in the crash and who assuage their beled; the film is, after all, called Sid & searching for her lost youth, along with Nancy, but who wants to spend two hours the end of the missing film-which had Sid and Nancy. in the company of the Pistols' untalented never been finished. grief by recording the rotting processes bassist and his American groupie of dead animals in the zoo and finally girlfriend, who died accidentally or was Hayashi's film is a triple-layer cake, all stage an experiment involving their own killed by him in the Chelsea Hotel in of whose flavors come through simulta- suicide. 1978? In spite of an occasional touch of neously: although it begins in the Fifties, humor, this is the unremitting saga of a characters and imagery derived from a This mannered and eye-popping ba- couple of sniveling addle-pated inno- Japanese detective movie of the Twenties roque high-tech-designed film is punc- cents, shooting up and carrying on in a are soon interacting with elements from tuated by some Ronald Firbanksian dia- wicked world-yet another showbiz samurai films of the Teens. After a while, logue and is often quite funny; when autopsy movie. It should get the Whiners I felt trapped in a film within a film within Greenaway isat his most self-indulgent, it Club Award. a... .It was not unpleasant. The interpen- is boring and frustrating. Underneath all etration of pasts and present-and here, the fashionable rot is a kinky porno film It is extremely well-acted by Gary of course, the present is also a past- trying to get out. Zed seems to have been Oldman, who plays Sid as a pre- never seems a gimmick, and is always directed by a petulant ten-year-old idiot conscious, pathetic zombie, and Chloe very Japanese. savant who has discovered that he cannot Webb, remarkable as Nancy. Webb is explain the world and is very annoyed. It The director has assembled a stellar reason enough to see the film, which group of living icons. The old actress, does begin promisingly with a few good Madame Cherry Blossom, is played by scenes, softens up as it goes along, and Fujiko Fukamizu, a leading lady of the ends with a mushy misguided fantasy Thirties; the benshi, by Shunsui Mat- sequence after Nancy's death. suda, one of the surviving silent film After they have made the rounds, some commentators; some smaller roles, by enterprising art house programmer might Mizoguchi veterans returning to the think of booking Sid & Nancy an~ Andrei screen after a quarter century in retire- Tarkovsky's The Sacrifice (* *) on a ment. Hayashi has stated that he has double bill. It could be called An Evening been most influenced by the work of with the Decline of the West. These two director Daisuke Ito. I .was reminded of films might playoff each other most Louis Feuillade and of the visual style of interestingly. the great Fritz Lang films of the Twenties, especially Spies. In Europe, The Sacrifice has been hailed as a great work. Several times In A Time to Live and a Time to during the festival I heard the old bro- Die (*), an understated family tragedy mide applied to it: \"Well, it's a great film, if from Taiwan written and directed by Hou you like that sort of thing:' Well, no. I do Hsiao-hsien, details are piled up during like that sort of thing. And it's not a great long takes and slow scenes for two and a film. The Sacrifice does have much in half hours. Father dies; grandmother, a common with the earlier Tar- striking, birdlike creature, grows senile kovsky films, nearly all of which are and dies; and all the while Wu Ch'u-ch'u's concerned with matters of faith - the slobbery Western-style music keeps on conflicting demands of materialism and rolling along, its vulgarity at odds with spirituality-and nearly all of which take Hou's uncompelling but dignified quotid- place in some sort of no man's land, a ian chronicle. place between \"here\" and \"there,\" past and present, dream and reality. The Sacrifice I ts perpetrator, Peter Greenaway, main- lies in a \"Zone\" as much as Stalker did. tains that A Zed & Two Noughts (* *) is \"about the eight conventionally The new film, I am sad to report, is at best an ordeal of high quality. It falls all too neatly into three parts: an extraordi- 60

nary visual overture, a single ten-minute fluous employee:' You name it. It has the SC1U·p ~BOOK-CLUBF~ shot with three characters mostly at a pretentions of a Lehrstuck or didactic distance from the camera, a take of piece, but to my dismay, all that I learned How to Write/Type/Sell/Protect breathtaking beauty which could only be was that Kluge appears to be suffering the work of a master talent; a central from director's block these days. Your FilmlTV Script! section of about two hours , the heart of the film ; a \"final sequence shot,\" in the Little need be said about the retrospec- Scriptwriting & Filmmaking books and reference course of which Alexander, the protago- tive showing of the Cinematheque Fran- works for the Entertainment Industry Professional nist (saint or psycho?) sets fire to his pise print of Erich von Stroheim's 1928 house and is taken away by some men in masterpiece, The WeddingMarch. The FREE INFORMATION white coats. This last, long take is every film is amply documented. A good case Write: SFBC, 8033 Sunset Blvd., #306C bit as staggering as the overture. can be made for it as Stroheim's finest work. And for once, The Man You Love West Hollywood, CA 90046 The murky and somnambulistic cen- tral section (in spite of two little inci- to Hate is seen in a sympathetic role. '$ dents: the end of the world and its salvation) is a long, slow dirge. I found it dramatically unconvincing, philosophi- cally simplistic to the point of absurdity, and played out in sets which are mad- deningly dainty-chic and \"pretty:' This Swedish-French production was made in Sweden in Swedish, shot by Sven Nykvist, and is dominated by the presence of Erland Josephson as Alexan- der, Tarkovsky's protagonist and spokes- man. At one point, the puritanical Alexander defines sin as \"that which is not necessary:' By his terms , much of The Sacrifice would be a sinful movie. Ruy Guerra, born in Mozambique, LIMITED NAME,_ _ _ _ _ _ _ _ _ _ _ _ _ _ __ studied film in Paris, then worked in Brazil as a charter member of the Cinema TIME OFFER Novo group. After the demise of the movement, he returned to Mozambique ONLY AD to help the new Marxist state develop its $ 2 9 9 5 CITy/ STATE_ _ _ _ _ _ _ _ _ _ _ __ own educational television. Opera do Malandro(*), a Brazilian-French co-pro- (U .S. Funds) ZIP_ _ _ _ _ PHONE_ _ _ _ _ _ _ _ __ duction, is Guerra's plunge into commer- cial filmmaking, an attempt to mix Indicate,_ _ VHS _ _ BETA 0 0Please Charge My: MasterCard I_ I I .... I Hollywood musical modes with a touch VISA of Brecht. The film is loosely based on The Three Penny Opera , set in Rio in Number_ _ _ _ _ _ _ _ _ _ _ _ _ Expiration Date _ _ _ _ _ _ _ _ __ 1942 . It doesn't work. Chico Buarque's music is pleasant, but Malandro has no Signature' _ _ _--;r:;,;;::;;:;-;;:-;:;-:=:::-::-=~=~~~-:-;----_;;__------- backbone, and the dance scenes never really take off. It's an amiable curio with (Credit card orders without signature cannot be processedj one good number, set in the gentlemen's lavoratory. That's a first. o Enclosed is my Check or Money Order. U.S. and Canada add $2.50 Shipping. IL Residents add 6% tax. Alexander Kluge, one of the prime SEND TO: MEDIACAST TV Dept. KK PHONE ORDERS movers of the Oberhausen Group and the Young German Cinema movement, 300 W. Washington 1·800·537·1600 made Yesterday Girl (1966) one of the finest German films of the Sixties. The Chicago, IL 60606 SatIsfaction Guaranteed Blind Director (e), his latest work, is a Allow 4·6 weeks delivery huge disappointment. (Its German title, literally translated, would be The Assault NOT AVAILABLE IN VIDEO STORES! of the Present upon the Rest of Time.) This rambling essay does include some scenes of a legally blind film director making a movie, plus the murder scene from a production of Tosca, and scenes with various nameless characters: \"the big boss;' \"a man in a hurry;' \"the super- 61

Ie telzen Easy Rider. Blue Velvet. by Chris Hodenfield Sure, Dennis Hopper says, he really did once sit in a circle of exploding dynamite. It was all part of a retrospective of his life's work, called , fittingly enough, \"Art on the Edge:' It happened about four years ago, shortly before he had himself committed. After an exhibition of Hopper's movies and photographs at Rice University in Houston, culture lovers expected to see Hopper make an appearance. But those filing into the auditorium found instead a barrage of images being flashed on the screen, and sound booming from the seats and walls. A closed-circuit hookup beamed the image of Hopper, speaking from elsewhere on campus. The only way they would see him in person, Hopper told them, was to get on the bus for the Big H Speedway, a racetrack outside of town. There, surrounded by a race-night crowd, they would see Hopper blow himself up in the Russian Suicide Death Chair. He had seen the stunt done once when he was a child in Kansas. The reasoning went like this: Someone surrounded by dynamite would be in a safe vacuum, as if in the eye of a hurricane. If three sticks did not explode, it would , however, mean death. Hopper had heard the stunt was once used after the Russian Revolution by Bolsheviks who wanted to ceremoni- ously \"execute\" noblemen whom they really wanted to save. Hopper originally wanted to incorpo- rate the idea in his movie Easy Rider, but it was never filmed. So he did it in front of a crowd of university students and race- car fans in Houston. All his friends flew in for the party, too , expecting to see Hopper finally kill himself. Besides acting on the artist's urge to make a statement, Hopper delivered a

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perfectly symbolic statement of his life at and striking, and, through the usual Apocalypse Now, Hopper flew from its the time. indefinable cinemaphotographic location shoot in the Philippines to the \"People;' he concurs now, \"were wor- ried about my sanity;' alchemy, he does cut a figure . He's always German set of Wim Wenders' The When Hopper was a boy in Dodge worth watching. And he has that legend. American Friend, and a day later was C ity, he came across a book that would change his life. He read it over and over If you know only two or three things playing someone entirely different- until he almost had it memorized. Young Hopper, who had known since the age of about Dennis Hopper, you just assume someone combed, quiet, and dangerous. seven he was destined to be an actor, had not picked out some noble testament of he goes to sleep at night with a gun under Suddenly this year he is the hardest the theatrical life. He had found his truth in Gene Fowler's Minutes of the Last his pillow. A remarkable number of working man in show business . Here he Meeting, a recounting of Hollywood's mad, drunken bohemia of the Thirties people in Hollywood , his industry town, is as Frank Booth in Blue Velvet , viciously and Forties. do not know that he is not necessarily inhaling on a gas mask as he sexually Providing potent images for the Kansas youth were gaudy drunks like John living up to his legend anymore, that for mauls Isabella Rossellini. Being so damn Barrymore and W. C. Fields. Barrymore had descended from his status as Ameri- three years he has been a model citizen. creepy and vile and violent that just by ca's greatest Shakespearean actor to a legendary sot who would , on occasion, Director David Lynch , for instance, did the force of his voice and the threat of his rise before the microphones and portray himself as a legendary sot. But brightest not know that the actor was clean, sober, suddenness he makes the moviegoer sink of all in this book was a man called Sadakichi Hartmann, a German-Japa- and good-looking when Hopper was down in his seat. Later, he plants a nasty nese art critic , poet, and \"fuming savant;' who, Fowler says, \"pranced like an suggested for the role of the hopped-up kiss on the face of the whey-faced accelerated zombie among the easels and the inkpots of the elite, entering the psychopath in Blue Velvet. Lynch just protagonist, played by Kyle MacLachlan, ateliers without knocking, stepping on the toes of his apostles, heckling his assumed that Hopper was still, you know, and hisses, \"In dreams .. .! walk with you;' perso nal benefactors , drinking on the cuff, dancing with gargoyle attitude, and Dennis Hopper. Still zany. Still rip- It is a voice that promises the flash of a mumbling his own weird rondels over the briskets of dowagers slumming in snortin' and rootin'-tootin'. Especially razor. When I saw the movie , three Greenwich Village ... ;' snortin' and tootin'. And still clutching the women walked out of the theater during It was a hell of a blueprint for the artist's life. Hopper, now 50 and being pursued gun under his pillow. this scene. by publishers for his own wild autobiogra- phy, still recalls the book with warm The public doesn't know what to \"I don't know where Frank Booth came fer vor. \"This was not sentimental!\" he said the other day in his explosive cackle. think, either. This is the former juvenile from ;' David Lynch says. \"He just \"So mebody leaves Sadakichi Hartmann this big mansion in Beverly Hills while actor from the Fifties who was black- appeared one day. There's nobody that [ they go to Europe. When they come back he's turned out all the lights and painted balled from movies, then made a come- based anything on. For me, he's like an ' Let there be light!' all over the ceiling. He's torn down this very elaborate back and a fortune directing and co- archetype. He's a guy I somehow know bannister and used it for firewood. He decides he's going to die, so he takes this starring in Easy Rider. Then he from small towns. He's an American coffin out in the desert and takes a bunch of liquor with him. He lays out in the immediately goes to Peru to make The heavy. He has to be American, and he has desert for two days and he doesn't die. I mean , it's great stuff' Last Movie , with peyote stoking the fires, to come from either a desert small town And if this book was read over and and everyone is there to record the joy or a Midwestern small town . And he just over? ride , from Esquire to Seventeen to started talking, and I started writing. \"Then you knew what an artist was. A drinker. A drinker-druggd' Rolling Stone. Life's 1970 cover story \"I never knew who was going to play y ou can hire a living legend. He'll starts this way: \"Furor trails him like a pet this part. I interviewed lots and lots of come to your movie set and be a noticeable presence. He is short and not anaconda. At 34 he is known in Holly- people, including Bobby Vinton [the phys ically imposing, but his head is large wood as a sullen renegade who talks singer who had a hit with \"Blue Velvet\" in revolution, settles arguments with karate, 1962) , and they were real keen to play the goes to bed with groups, and has taken part. One guy, who I really wanted to play trips on everything you can swallow or it before Dennis came along, kept saying, shoot;' 'I don't know how I could play someone From there it only gets more colorful. so horrible, but then I don't know how I Hopper hastily writes a letter to lilriety, could turn this part down; I couldn't protesting that the only thing in his life he believe he wouldn't commit to it if he has ever shot up is vitamin B-12. The Last loved it so much. But it was just fate, Movie flops, and for years he works only buying time for me;' sporadically, only once more as a director, For it was Dennis Hopper who brought taking the helm of a scuzzy Canadian Frank Booth to skin-crawling life. \"Den- melodrama called Out ofthe Blue (1980) . nis had been on earlier lists;' Lynch says, In photographs he has angry eyes. In \"but because of his reputation, I never Francis Coppola's Apocalypse Now and even thought twice about him. Because if Rumble Fish, he has the face of a human I'd thought about him , I'd freak out and train wreck. want to work with him no matter what he The popular image of Hopper con- was doing. But when I heard that he was cealed another person. There was totally on the wagon and had cleaned up another person there somewhere, a his act, I got real excited. His manager person with some very serious views on said, 'David, look, please talk to the art. Easy Rider, for instance, may now be producers who've worked with him laughed off as a period piece, but it details recently, they'll tell you he's fantastic. I its era with a gothic perfection. The wouldn't tell you this if it weren't true. hilarious stoned rap about spaceships was Dennis is in love with life, he's really got it not an improvisation by Jack Nicholson together and he really loves this part and but, according to Peter Fonda, a scene can we have Dennis call you?' I said sure. written by Dennis Hopper. Dennis called up and said, 'I've got to play this part, David, because I am Frank; As for that typecast wreckage seen in 64



WORKSHO.P conducted By And that almost killed it right there. drink if that would help me with a scene; I A2-Day IntenSive \"Dennis is the only guy who could have would take some cocaine if that would help me:' SYD FIELDft rscreenwritingteaCher played that part. What he offered was the \" The most sou\"ghTth-ae e orter life of Frank Booth. You see a much more His eyes are clear and level. \"So to do Hollywood Rep complicated Frank and a guy who these roles sober is an experience. I have definitely has so much love. And maybe no problem, really;' he hastens to add, in the world ... . it's twisted love and complicated emo- \"reaching the emotional depths without .\"SCREtEthNe PBeLstA-S~ei~lin~g9S WORKBOOK\" tions going on inside the guy. So you say, any artificial help like drugs or alcohol. It's 1S~SE:C9A~RT81rE6LElE-N~/8DW;7E~R~T;~.OMHCBU.E/RRFEBRUARY this is not a one~note person, this is a a lot easier without alcohol; you don't ~~~~fm~ion capII LAY ENTERPRISES person who is very complete, although have the mood swings, the anxieties. I fell SCREEN very dangerous at the same time. back on my training: Strasberg, emo- tional memory, sense memory:' Summer '87: June 22-August 14 \"He's got so much power, and he's got a quality like Jack Nicholson has-and that Hopper's health is reassuring. I first Do you want to make films is, you can't stop watching the guy. He's met him four years ago on the set of The got a presence. A punch in the nose is Osterman Weekend. A strong dramatic or sit. in a classroom? one thing. But a thought introduced into current adorned that movie set because it the mind lasts so long, it doesn't seem to marked the return of Sam Peckinpah If·you 'want to make films, our intensive, shake loose. And Frank seems to under- after many years' battling with heart interdisciplinary 8-week summer stand these things. ailments, movie woes, and bottle prob- . session is for you. lems. Hopper had known and admired \"My first impression of Dennis? Well, him since 1958, when Peckinpah Refine yoUr craft while earning an M.FA he's one suave fucker. That's what Frank directed the young actor in the pilot for in Filmmaking. A working filmmaker says to Ben [Dean Stockwell). That's the TV show The Rifleman. In his Frank, too :' Osterman Weekend dressing room, he will .be your advisor, while all the other was pale and thin, with his shoulders artists-photographers, sculptors, T o do what he has been doing, the hunched up sorrowfully. The voice was actor has had to cut a deal with his high, plaintive, and reedy. Reflecting on composers. wrifers, and painters will vanity. Consider two other recent mov- Peckinpah, Hopper offered the doleful be your responsive audience. ies. In Tim Hunter's River's Edge , he is a warning that, although a director may be biker who talks romantically of the surrounded by people, he is still isolated Milton Avery woman he killed , who sells dope to kids , and lonely, an artist-hermit. The actor who goes everywhere with an inflatable prepared for his scene with a beer and a Graduate School doll. In Hoosiers, he portrays a former joint. He was a devoutly thoughtful , of the Arts at' small-town basketball star who has fellow, ready to analyze any subject, but become a hangdog town drunk. In all his condition did seem a little shaky. 'PARD three movies , he only gets marginal opportunity to say, \"Hey, it's really only You can see the same pitiful hunched- For a descriptive brochure and application me here, Mr. Wonderful , the guy you shoulder wino posture in Hoosiers, but in write: Milton Avery Graduate School of know and love:' And how could Tobe person Hopper is much more solid and the Arts. Bard College. Box FA Hooper have resisted casting him in The substantial. He carries a little more Annandale-an-Hudson. NY 12504 Texas Chain Saw Massacre II, or Mick weight now, and it agrees with him. An Or call: 914-758-6822. x183 Jagger's first feature-length video? In the executive-strength forehead looms over a upcoming James Toback picture, The craggy brow and a noble nose. He has - FINANCIAL AID AVAILABLE - Pick-Up Artist, Hopper plays an alco- this big strong chin and a delicate mouth, holic compulsive gambler. About the and the years and the graying hair have only serious change of pace in the awarded this face a fine prairie dignity. schedule is the Easy Rider sequel That is, until he laughs. He still cackles planned by producer Bert Schneider. To like a teenager. be called Easy Rider, or perhaps Don't Tread on Me , and again costarring Peter His house is a Frank Gehry-designed Fonda, it would be a post-apocalypse cube set down in the seedier fringes of black comedy. There's something hyp- the beach town of Venice. You find his notic, something entrancing about seeing house by going down a graffiti-encrusted this famous old bozo tryon these motley alley. Inside the cube is an angular blend suits of clothes and stomp around the 50- of styles put together by decorator Brian foot (or the 21-inch) screen. Why is he Murphy. Industrial-looking planes of gray doing this to himself? walls and glass were set off by a bare lumber staircase. Film magazines and I 'm doing these roles sober;' reported a scripts were piled up on ancient wood very sober Dennis Hopper. \"Which is tables; Hopper had liberated the furni- interesting, because I used to do a lot of ture from the Mabel Dodge Luhan house my roles on drugs or alcohol. I used to that he once owned in Taos, New joke around and say I was going to write a Mexico. book someday on 'The Six Drugs and How to Use Them in Acting: I would Everywhere you looked was the evi- dence of somebody consumed by art. Paintings, portraits, postcards broadcast

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Beyond redemption as Frank Booth. modern messages on every wall. In the Harry Dean wants to be a leading end. When [ saw it put together, it didn't highest corner of the tall ceiling, hanging man. really work out that way. There are on a little stage, were three papier-mache different colors. It's not just a one-note skeletons from Mexico's Day of the Dead [ can understand that. thing. celebrations , engaged in swordplay. The How about you? living room was dominated by a 15-foot- I'm happy to be working. About the only role you've played high painting by Chuck (Arnoldi) , lami- David Lynch said you had to play this lately that resembles your walking- nated wood splashed with blues and role, and that you said you were the around persona was a cop in a TV movie, greens and slashed up with a chain saw. It character ofFrank Booth. Stark. had a certain eye-opening quality. Well , that's the way he tells it. I don't know how [ got involved with this movie. You saw that, huh? Kinda dull. To open up his own eyes on this bright [ did call him and tell him that [ have no In an interview you gave to the Los and early Sunday morning, Hopper problems with this role. I understand Angeles Times in 1958, being the latest insisted on shaving before beginning the Frank Booth totally. We were on the radio pretty-boy young actor, you talked even ' interview. When he sat down on the gray in New York and David said that . The then of wanting to direct. What started couch by the window, nursing along a cup announcer said, \"How do you feel about that desire? of coffee, he looked as solid as ajudge. As that?\" David says, \"I thought it was great, I wanted to direct since [ was 13 and we talked , he fielded phone calls from but [ wasn't sure I wanted to have lunch playing Shakespeare in a theater in San producer Fred Caruso. If the financing with him:' Diego. I went under contract to Warner came through on something called [n all three of these pictures, I didn't Bros. because Nick Ray said [would get a Markedfor Life, Dennis Hopper would, have problems understanding the charac- part in Rebel Without a Cause, and there after years of waiting, be back in the ters. And David Lynch is wonderful to was a possibility of a part in Giant. That director's chair. work with. He knows what he wants. was how I got my contract. [ had the lead There was no improvisation on Blue on a Medic. I played an epileptic. It was Blue Velvet was a particularly brave Jtelvet - that was all line by line stuff. The called \"Boy in the Storm:' Seven studios picture to do because there are a few work was very demanding, but Isabella called me the next day and asked to put people who have come to associate you was very free, very open. And it was just me under contract. with that kind ofmad activity. wonderful, like a nice picnic in the park. When I got to Rebel Without a Cause, [ The thing I was worried about with realized it was a director's medium. In I guess there are a lot of people like David - but [ trusted him because [ really those two pictures , I was fortunate, or that. The way agents and managers put respect his films - [ felt I was reaching an unfortunate, enough to realize that it, \"This part has no redeemable charac- area there was no coming back from. [ Nicholas Ray and George Stevens were ter. It's beyond redemption:' And I was thought [ got so high, and to that running the shows on their pictures- told the same thing about River's Edge. emotional level so quick and so soon in that they were involved with the writing, Harry Dean [Stanton] turned down the movie, there's not going to be any the directing, and so on. And that an River's Edge, and I'm not sure he didn't color to the part. It was just going to be a actor-with the exception of James turn down Blue Velvet also. So I'm sorta one-dimensional thing, just screaming, Dean, who was doing his own blocking picking up Harry Dean's things after he screaming, screaming, from beginning to and his own stuff-was basically being changed his image on Paris, Texas. used by the director. I got very interested 68

in directing. Also, Dean talked about Marlon Brando and Montgomery Clift in He was doing things you don't really see directing. movies in the same week and it changed -except for maybe Crispin Glover [in Could Dean have been a director? my life tremendously. Place in the Sun River's Edge], who does such bizarre, Oh, yeah. It's not a matter of \"could and Zapata. My thinking about acting strange things, almost like a dancer. have:' He could have done anything he changed from this grand, classical kind of Jimmy was like that. He had a tremen- wanted. A producer on Giant was going thing to trying to figure out what was an dous emotional life going on. This is at a to sign him to direct The Actor, which was internal actor and what were these people time in the Fifties when actors only did sort of a cheap paperback novel. That's doing. the script. But Jimmy did the script and where I started thinking about it. Jimmy Then meeting James Dean, certainly. I then some. Like in Rebel Without a said, \"You gotta go out and take photo- saw the work close at hand. There was a Cause, when they arrest him for being graphs, learn about art, learn about lot more to the picture than meets the drunk and disorderly, they start searching literature, even if you want to be an actor:' eye. Dean was working in areas that were him and he starts laughing like they're I carried a camera with me wherever I way over my head. He was doing things tickling him. Or making the siren noises. went. That's how friends related to me, as that weren't written. He was working There was nothing written about that. The Tourist. \"Here comes The Tourist:' I internally and externalizing real feelings. Those things changed me. As far as had a probkm-or thought I had a ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~. problem - communicating. So it was a lot easier for me to focus a camera on somebody than to deal with one-on-one communication. When I started directing D Easy Rider, I stopped taking pictures. I didn't think that I could write, act, direct, and concentrate on taking photographs at the same time. Because for years that's all D I did. I did some stuff for Vogue and Harper's Bazaar. I did some mother-daughter fashion stuff. Because I was in California, I could get away with things. I could shoot D at a bus stop rather than in a studio. I did a series of musicians for Vogue: the Lovin' Spoonful, Jefferson Airplane, the Grate- ful Dead, the Byrds. When I started out taking photographs, I did abstract things, like walls. That was what I considered my serious work, because people photographed me and I considered it an intrusion. And then I got into my Decisive Moment, Cartier- Bresson thing, where I would see a composition in the street and wait for something to happen in it. So I did a series in New York. I was sort of a gallery bum; I always D hung around art galleries. Irving [Blonde], who ran the [Ferris, Paris) gallery out here, asked me to start shooting some of the artists for their CINEMA DRAMA SCHEMA announcements. He gave Andy Warhol his first show, Roy Lichtenstein, the Eastern Metaphysic in Western Art whole pop movement started out here before it hit New York. So I'd take the HECTOR CURRIE artists out to where I thought the light had some meaning to their work. I have a book coming out called Out of \".. . finds amazing connections . .. \" the '60s. It's the photographs I took from 1961 to 1967. Artists and civil rights and -Ernest Callenhach love-ins. Sixties stuff. I have a bunch of photographs in the closet here. [Hopper's Film Quarterly closets are lined with photographs of artists.) Who were the significant influences? Philosophical Library, 200 West 57th St., New York 10019 When I was a kid it was Orson Welles $14.95 t212) 265-6050 and John Barrymore. Then in 1952 I saw 69

artists, I think Marcel Duchamp. He said wanted to direct. went and made The Last Movie right the artist of the future will not be a painter after. I didn't take a break. I won the but a man who points his finger and says, H opper's opportunity grew out of the Venice Film Festival for The Last Movie, \"That's art;' and it'll be art. Duchamp wa~ burgeoning film scene sponsored by and it's a movie I'm proud of. But I certainly the greatest thinker of 20th Roger Corman's speedy cheapos at AlP. overestimated my audience. I'd gone century art, as far as innovations. I think His friend Peter Fonda had scored with around to universities selling Easy Rider, Jackson Pollock and Franz Kline and The Wild Angels, and Hopper had starred and everybody was saying, \"We want new Willem DeKooning and the whole in a wholesome embroidery called The movies, we want new movies:' I said, Abstract Expressionist movement was Glory Stompers. Scuzzy though they \"Boy, have I got a movie for you:' the first time America had an art form of might have been, the motorcycle flicks its own, as far as painting goes. Watching were hugely profitable. The movie poster In point of fact, what they really wanted that as a kid, I was an Abstract Expres- alone of Peter Fonda sitting on his Wild was a 1940-opiate kind of movies where sionist before I knew there was such a Angels chopper sold something like 16 they didn't have to do a whole lot of thing. million copies. But while they knew a thinking-what Spielberg and Lucas huge market was out there, both had came up with. But I didn't even get the As an actor you weren 't often getting resolutely sworn off doing any biker opportunity to go that far. Universal said away with such abstractions. There were movies. they wouldn't distribute it but for two your famed contretemps with director weeks in Los Angeles, three days in San Henry Hathaway, for instance. Apocalypse, Now. Francisco, and then they'd shelve it. It never even played in New York, where I Hathaway changed my life a lot. I did Then Fonda came up with the idea of wanted it shown. So there went my three movies with Hathaway. I think by doing one as a modern western: Easy career as a director. I never even got a this time everybody knows the problems Rider. With its apocalyptic-blast-of- third time at bat until Out of the Blue, I had with him. But he hired me twice doom finale (which was then as necessary which I made in four weeks and two days. again. And I learned a lot from him. First, as an ersatz-Rocky finish is to an Eighties you've got to listen to the director if you movie like Hoosiers), the $420,000 film I should have stopped and not made want to be good in his movie. If you want brought in a fast $40 million. These The Last Movie, which was the first film to be in his movie. I had the big fight with shattering profits , coming at a time when I'd written [in collaboration with Stewart him on Hell to Texas (1958) and I was Hollywood was swamped by $20 million Stern, who had written the screenplay for bad. It was like I was in another movie. In flops like Star! and Hello , Dolly!, helped Rebel Without a Cause). I should have The Sons ofKatie Elder (1965) and True bring about the era of interesting film- made a more linear film, something more Grit (1969), I hated my performance, but making that existed in the early easily understood at the time. I did what he said. Seventies. Also, I'd left Los Angeles. I'd moved to The point is, Hathaway couldn't com- Your cut was seven percent of the Taos, New Mexico. Did my editing municate. He never moved his camera, gross. Did all that money and success there. Never came back, until recently. but he would give you very awkward throw you a curve? It's like, any story they want to tell about things to do, very odd movements. But Dennis Hopper, some are true, some are his whole film was like that, and if you're No, what threw me a curve is that I not. There was no Dennis Hopper out of step with the film, then you're ... around to defend himself. I wasn't out of step with the film. And he was a around. I didn't have anything going. The screamer-yeller-maniac. But he made his only work I could get was in Europe. I movies. can't say I wasn't angry and upset during that time, because I was. And you couldn't appreciate it at the time? So there are two perspectives to your career: the not-sober view and the sober At the time, somebody screaming- one. yelling at you to imitate Marlon Brando is not my idea of a great director. And he This is true. However, so were a lot of wants you to do every gesture he gives other people who were successful during you. It's like a schoolmarm. So we had a that period of time. They were going hassle and I ended up doing 89 takes or through the same changes and mood whatever. And never working again, for a swings and were very successful and still long time, because I was blacklisted. are today. Their personal lives might be even more messed up than mine was. I could only do television for years after Fifteen, 16 years is a long time to not that. I guest-starred in over 140 television have been directing movies. shows. Wagon Train-ah, God-Chey- enne, Sugaifoot, The Defenders, Naked The new project, Marked for Life, City, I mean , every television show. My would be produced by Fred Caruso, who personal feelings about it? I was doing did Blue Velvet and Once Upon a Time incredible work. I think it's unfortunate in America. that these things weren't saved. I had some great experiences. Natalie Wood It takes place from 1944 to 1965. It's and I starred in a Kaiser Aluminum about four kids who tattoo themselves directed by George Roy Hill. Did a great between the index finger and the thumb. Studio One with John Frankenheimer. I Three of them stay in the old neighbor- was doing leads, and great work. But hood, the Italian district in Philadelphia, obviously I wanted to do films. And I and one guy comes back 20 years later. One's a construction boss, one's a guy 70

THE RBIBLE B ER! ROGER EBERT IS BACK! Roger Ebert's Mavie Home Campanian has become the bible of VCR owners, selling almost 100,000 copies in less than a year! Now, in time for Christmas, the 1987 Edition is bigger and better - with 50% more reVIews. 200 NEW REVIEWS! The 1987 edition bas been expanded to include reviews of movies released in videocassette since pUblication of the ftrst book, as well as must- see fllms from earlier years. A11600 full-length reviews contain cast, credits, running time, MPAA rating, and year of release. Roger Ebert's Movie Home Companion, 1987 Edition ISBN: 6211-5; Size: 6 x 9; 656 pages; paperback; Suggested Retail $9.95 ANDREWS McMEEL' & PARKER A Universal Press Syndicate Affiliate 4900 Main Street, Kansas City, MO 64112 / 1-800-826-4216 I Pub. PrefIx: 0-8362 America's most surprising publisher is in Kansas City.

Safe from talking telephone wires. Now is the time to do it. The country's a It'hen did you finally say, \"No more\"? mess anyway, and they're putting out that When I ended up incarcerated. And who wanted to be a Frank Sinatra-type they're not going to make a movie about hearing voices out on the telephone lines. singer and is now a bagman for the Mafia. it. It was a progressive trip. The hard part is The Irish guy's a crooked cop on the getting over your obsession. I'm over that street. It's basically about these four guys It'hat led to your own sobriety? now. I don't give a fuck if you put a pound trying to get back together. But it's not a What led to it? I was a mess, hearing of cocaine on the table, I don't want it. Mafia-type picture. voices, going crazy. I was incarcerated. People drinking doesn't bother me. I You don't know whether you're going to have no desire to drink. I have no desire I read a lot of scripts, and it's the only get out or whether you're going to stay in. to alter my mind in any way. I don't want one I couldn't figure out by page 20 what The only way to get out is to be sober and to open my mind; I'm lucky I have a mind was going to happen. I didn't know until sane. Or else be in-sane and in-side. to open up. the last line what was going to happen. I was in New Mexico, Houston, Actually, [Easy Rider producer) Bert But even though I like this project, it's not Schneider got me out. I was in a lockup really what I want to do. I'm not Austin, Mexico. rended up here. I heard for the drug situation. I couldn't get out. I interested in doing period things. I want was taken out of there and put in Cedars- to do things about now. That's my forte. voices. I heard my friends being mur- Sinai Psychiatric. Bert said, \"Come on dered in the next room, that shit. Three out to the house:' I'd still be there if it It'hat would you like io do most ofall ? years ago. weren't for him, who knows? I was pretty I'd really like to do a drug picture. It's lucky in that there was no kidney or liver not a popular time, everybody's going r was doing half an ounce of cocaine damage. Just the mind went. It's really around saying, \"We don't do that any- every few days. r was drinking like a half- amazing when the telephone wires start more:' They don't want to use that as a talking to you. device to show the underbelly of Los gallon of rum, then a couple bags of coke One way to reprocess all that turmoil is Angeles, Hollywood , Beverly Hills. It's to act it out in pictures. In all these recent all over, from wealthy people to poor to sober up. And rwasn't like falling down screen roles, you seem to have cast aside people. Show the street gangs, the Valley any vanities. gangs, the barrio gangs. Show the drunk and wondering where people were. Yeah, well, my personality was never producers , the rock stars, the musicians , my forte. Most of the time it got in the that whole area. Use a surfer as the key I was pretty straight when r made Rumble way, you know, in my dealings with figure. people. I really admire Jack. [Only one I've talked with various people, but Fish. they just hang up; they don't want to be On The Osterman Weekend ... associated with a drug picture. But in I wasn't drinking. r don't think I was point of fact, it's a perfect time to do it. drinking. You were pulling on a beer and a joint at the same time. Was I? [Laughs] r was trying to get sober. r had tried to stop when r came on that picture. 72

man simply goes by the name \"Jack;' and \"I just felt that I couldn't do it;' he says at THE COMPLETE HISTORY that would be Nicholson.] Not only is he last. \"The more I thought about it, the OF THE STUDIO AND a wonderful actor, but he's a great more I thought that it was not the time for ITS 1302 FILMS personality. He's great at selling himself, me to be honest about my life. I thought By Ronald Bergan and I have a difficult time doing that. I'm that maybe it would be better to have a not terribly amusing or quick-witted. But career for a while first!\" He laughed Each and everyone Jack isn't vain. He's a joy to be around; suddenly and continued: \"I mean, I'd he's intelligent, bright, witty, and he's fun. have to deal with a lot of stuff in an of United Artists' These things I'm not. And these are autobiography. Or not deal with it. And things that sometimes get you work in I'm just not the kind of person who can 1302 feature films movies. not deal with things. It'd be more painful not to tell the truth. In 1919, OW Griffith, Douglas Fair- I'm lucky to be working, man. When I banks, Mary Pickford and Charlie first came to Hollywood, 98 percent of \"What would be difficult to deal with? Chaplin fulfilled a dream when they your stars had three years of working. Uh , drug dealing. Relationships. My look formed The United Artists, a haven Now I've never really seen myself as a at the things that happened . Guns, etc. star, you know, but you can go from It's just not the time for me to look at that. for creative, independent filmmak- Edmond Purdom to Tab Hunter to ... I'd much rather work:' A hopeful smile ers. Here is their story, along with who was the guy in J#st Side Story? came over him. \"Otherwise, I would feel complete cast and production Richard Beymer. You can go on and on that I cheated myself. It's not a pretty credits for everyone of the more with these people. A lot of them are not story and I don't feel at this time that it than 1302 movies UA has produced . even working. would be conducive to my career!\" He Like the other titles in our acclaimed laughed again in that boyishly infectious Take Dean Stockwell. Dean is a way. \"Or healthY:' series of Hollywood studio books, wonderful actor. He has difficulty getting The United Artists Story features ap- work - after all the films he's done. A guy There is no doubt that someday proximately 1000 stills and other like Russ Tamblyn, who is very talented, biographies will be written about the photos, reproduced in color and I don't think he's had any work in five long, strange voyage of Dennis Hopper. black-and-white . years. I find that really sad. Like John Barrymore, his life is the stuff of legends. But unlike John Barrymore, A year ago, Dennis Hopper was plan- who was resolute in his embrace of ning to sit down with a writer and oblivion, Hopper is showing that a living prepare his autobiography. Mention it to legend can keep on living. Even with all him now and he blanches and withdraws. that past, he can still look for a future . ~ The Films and Career of Over 1000 Photos ROBERT ALDRICH Size 9%\" x In\" S35 00. now ot your bookstore. or use coupon to ord er. Edwin T. Arnold and Eugene L. Miller rc:::~WN PUBLISHERSliil This first book-length critical study, based on interviews CROWN PUBLISHERS. INC . Dept 5B6 with Aldrich himself, his family, and film-industry col- 34 Engelhard Ave.• Avenel. N.J. 07001 leagues, assesses the director's controve\\sial career. 296 pages. Illustrations. Please send me THE UNITED ARTISTS STORY. I $24·95 enclose 535 plus 52.75 postage and handling. N.Y. and N.J. residents. odd sales ta x. TO -day money-bock guarantee. D En closed is my check/ money order. OR charge my D VISA D MasterCard # Exp. Date _ _ _ __ Signature _ _ _ _ _ _ _ _ __ Name _ _ _ _ _ _ _ _ _ __ Address _ _ _ _ _ _ _ _ __ City _ _ _ _ _ _ _ _ _ __ State Zip _ __ ______ .J L

Jud Suss. primarily for its work in film preservation known to have been shot by the Nazis and restoration, concentrating not only inside an operating camp), and the by Daniel M. Kimmel on Jewish images on film, but on the infamous Jud Suss, a popular 1940 drama dozen or so Yiddish films that they've depicting Jews as thieves and rapists. We respect his privacy, so we won't pieced together and distribute. ask his name. He lives in Florida Clips from Jud Suss were incorporated and, as a survivor, took more Now Krant and Executive Director by Marcel Ophuls into The Sorrow and than a passing interest in the Holocaust Sharon Rivo, who started the center the Pity, the benchmark film on collabo- Awareness Week activities sponsored by together, have concluded an agreement ration in occupied France. The Nazis the Southeastern Florida Holocaust with the Bundesarchiv (the official West dubbed Jud Suss , Ophuls recalls , and Memorial Center. German film archive) that will bring anti- presented it as a French film. Semitic Nazi propaganda films to the One event, in particular, warranted center, which plans to subtitle them for Brief descriptions, though, can't special attention. It was the showing of a academic use. Included in the deal is the really convey just how frightening documentary film called Bound for most notorious anti-Semitic film ever these films are. They are works of Nowhere, about the plight of the St. produced, Der ewige Jude (The Eternal evil genius that beg study. Louis, the ill-fated ship of refugees that Jew). The center will produce special was refused admission to Cuba after study guides as well as filmed additions Der ewige Jude, for example, is a one- fleeing Hitler's Germany. He had been a that will be cut into the American prints. hour \"documentary\" that was shown passenger on that ship. This newly researched material will put throughout Germany and the occupied sequences in context-e.g., \"the follow- territories. In his Nazi Cinema (Macmil- One can only imagine what he felt ing footage was shot at gunpoint.\" lan , 1968), Erwin Leiser quotes an when, as he watched the film, he saw official Reich document stating that the friends and family, including his own Terrence Des Pres , professor of \"politically active sections of the popula- parents, for the first time in 43 years. English at Colgate University and author tion\" expressed \"considerable apprecia- Afterward, he wanted to know if it would of The Survivor: An Anatomy of Life in tion\" for the film as a \"remarkably be possible to get a copy of the film. Who the Death Camps , sees the project as impressive document.\" should he ask? \"especially valuable.\" In his course on the Holocau st he uses what few propaganda The film's narration begins by promis- The film had been produced in 1939 films are currently available for classroom ing to show \"Jews as they really are, by the American Jewish Joint Distribu- use. He says they often leave his students before they conceal themselves behind tion Committee, and had been deposited wondering, \"How could anybody be the mask of the civilized European.\" The with the National Center forJewish Film. fooled by this? This is so simpleminded.\" image of a subversive people trying to Miriam Krant, associate director for the pretend they are part of normal society is center, was only too happy to arrange for a Some of the available films , like Leni one that will be continually repeated. videocassette copy to be sent to the man Riefenstahl's Triumph of the Will and Over- staged scenes of poverty in the in Florida. She hopes \"it will help him put Olympiad, present a picture of how the ghetto, the narration says that these Jews, his dybbuks to rest.\" Germans wanted to perceive themselves. living amid filth and vermin, are not poor. They do not begin to explain how the \"After decades of trading, they have Founded in 1976, the center is known Nazis used film to reinforce prejudices hoarded up enough money to buy clean against Jews and other groups. Says Des and comfortable homes, but they have Pres , \"I can anticipate exactly what their lived for generations in the same dirty, most troubling question will be: 'How infested holes .\" Pictures of pushcarts and could ordinary, decent citizens be per- stores serve to illustrate the narrator's suaded to support Hitler's plans? ' \" declaration that \"for the Jews, trade is a kind of holy transaction. For non-Jews The most horrifying things about Der this is completely incomprehensible .... ewige Jude are not its lies or distortions, The Jews are a race without farmers and but its professionalism and, implicitly, its without workers. A race of parasites.\" An authority. \"Hitler himself had a special image of scuttling rats drives home the liking for film; notes Des Pres . Under the point. direction of Dr. Joseph Goebbels , the Nazis took cinema's power to the limit as After an array of statistics linking Jews a tool of propaganda. with \"most international crime\" (e.g., \"92 percent of prostitution\"), the film reveals The center's \"Nazi Anti-Semitic Films\" how Jews get away with it. In a series of project features six titles, including not shots we see one smiling, bearded man only Der ewige Jude but also The Fuhrer after another shorn of his hair until \"only Gives a City to the Jews, which portrays the astute can recognize his racial the Terezin concentration camp as if it origins.\" were a summer resort (it is the only film 74

A clip from Nunnally Johnson's 1934 where \"the eternal law of nature to keep to do Goebbels' work for him ,\" Rivo says. 20th Century-Fox feature The House of the race pure\" has been secured by the The agreement with the Bundesarchiv Rothschild is then shown (without credit) Nazis . prohibits use of the films outside of to illustrate how the Rothschilds deliber- \"closed meetings [at) educational. and ately conspired to control international Without seeing the film, it is hard to cultural institutions in the United States.\" banking. Jews, the audience is informed, imagine its effects. Even for German It further stipulates that the center \"loan 'have taken over American businesses and audiences predisposed to the film's the film only tooo.persons or institutions its government as well. Then the litany of message, it was too horrifying. People known to it [and must) require ... a written names and faces: Bernard Baruch, Felix fainted during the slaughterhouse declaration confirming\" the purpose of its Frankfurter, Henry Morgenthau, and sequence, so shorter versions of the film use. Additionally, the center's proposal Fiorello La Guardia - \"the half-Jewish were prepared for \"more sensitive\" audi- states \"that anti-Semitic propaganda Mayor of New York.\" ences. It was a film, in the words of Rivo , should not be distributed to uninformed that \"prepared people to exterminate audiences unless the distortions it con- Leaders of England, France, and pre- people.\" The response is to loathe, yet tains have been neutralized by the war Germany are similarly denigrated. even skeptical audiences must resist the addition of factual data.\" Maps and animated graphics reinforce tendency to believe that \"pictures don't the narrator's assertion of spreading lie.\" Rivo hopes to have researchers review Jewish power. German newspaper files, records kept by Philanthropic agencies are not eager Goebbels and the SS, and diaries of The most curious section of the film to associate themselves with the people from the Warsaw, Lodz, and other essays that the \"rootless Jew has no center's project. \"To date [they've) ghettos for information on the making feeling for the purity of German art.\" been reluctant to get involved; says Rivo . and exhibition of the films to be added to Modern art (\"fevered fantasies of incura- Several organizations have quietly the films themselves or to the study bly sick minds\") is equated with Jewish encouraged Rivo to look elsewhere for guidelines. Further, interviews with Hol- influence. Clips of filmmakers Ernst funding. Part of the reason is undoubt- ocaust survivors forced to participate in Lubitsch and Charles Chaplin (referred edly the shocking nature of the materials the filming of the \"documentaries\" may to as \"the Jew Chaplin\") flash by, then a involved. Der ewige Jude has such be edited into the center's copies of the scene of Peter Lorre as the child horrifying power that many prefer not to films . \"As long as one print or negative murderer in Fritz Lang's M, which deal with it. Professor Jehuda Reinharz, remains intact,\" Insdorf argues, \"I see no proves, the voiceover says, that \"the Jew director of Brandeis' Tauber Institute for problem with educationally distributing is interested instinctively in everything the Study of European Jewry, counters, an edited version.\" abnormal and depraved.\" A photo of \"Ignoring the films won't help. They will Albert Einstein is identified as that of \"the be discovered sooner or later.\" Such interpolations violate the holding 'relativity' Jew,\" who \"hid his hatred of that a film is a historical document that Germans behind his obscure pseudo- Complicating the center's situation is should be available in unadulterated sC.Ience.\" the current circulation of some of the form. However, all parties , including the films in the U.S. in violation of copyright. Bundesarchiv, feel that the inserts are Finally, the film turns from Jews to Before the center negotiated its agree- necessary both to fend off critics who say Judaism. The festive holiday of Purim is ment with the Bundesarchiv, the only that the films should never be seen and to described as the commemoration of \"the place a scholar or historian could see Der facilitate the project's finding support and slaughter of 75,000 anti-Semitic Per- ewige Jude or Jud Suss was at the Library the films being shown. sians.\" Footage of Yeshiva students is of Congress, which did not loan out its accompanied by narration that says the copies. Nonetheless, J1zriety reported Rivo says she can't predict the source Talmud teaches \"love each other, love (Oct. 31, 1984) that pirated copies of of the project's funding, but thinks that pillage, love excess, hate your master, and Nazi propaganda films \"are openly and individual donors may best understand never speak the truth .\" A Sabbath service illegally distributed in the U.S.\" A spokes- the problems Nazi propaganda films is depicted as a marketplace, while the man for the German government-owned raise. The center isn't competing with Torah is presented as being at the root of Transit Film related that American dis- Holocaust memorial organizations, the \"conspiracy of a sly, sickly contami- tributors \"crop up in Los Angeles or because this project is less about the nated race against all non-Jews.\" Dallas and are constantly changing Nazis' persecution of the Jews than it is addresses and names.\" about propaganda itself. Cripps concurs, The most perverse mockery in Der saying the films can \"teach how the ewige Jude is saved for the end. A title There is a related complication in documentary format is used to propagan- card informs us that we are about' to attracting spoflsors, one harder to negoti- dize.\" The scenes from The House of witness pictures that are \"among the most ate. Dr. Annette Insdorf, author of Rothschild, for example, about how Jews horrifying that a camera has ever taken.\" Indelible Shadows: Films and the Holo- faced oppression were used in the Nazi As kosher slaughtering, which seeks to caust, says that while it is .\"extremely films out of context to illustrate \"Jewish avoid inflicting pain, is described as the unlikely\" that the films will be misused , cunning.\" \"It becomes a bit easier to \"cruel torture of defenseless animals,\" we \"so me people might be afraid that they comprehend how people could close see scene after scene of cattle bleeding to might get into the wrong hands.\" Thomas their eyes to atrocities dl,lfing World War death while onlookers smile. Only one Cripps, author of Slow Fade to Black: II,\" says Insdorf, \"when we see what their problem here: the sequence includes The Negro in American Film, 1900- eyes were open to on film.\" Understand- frames in which one of the \"Jewish 1942, says similarly that the availability of ably, many would prefer not to look at or butchers\" apparently waits for a signal D. W. Griffith's Birth of a Nation has not think about the films at all. Jehuda from the off-camera director to begin . resulted in its use by the Ku Klux Klan as Reinharz sympathizes, \"It's not very a recruiting film. palatable material.\" However, as a histo- Then, the solution not only to such rian, who has \"an obligation to get to the crude practices but to the problem of the Though misuse is predicated on an source of historic truth,\" he says, \"J. don't \"whole Jewish race\" is proposed- audience's taking on faith a Forties film see any alternative.\" ~ National Socialism. Der ewige Jude ends made by the Third Reich, \"We don't want with Aryan youth looking toward a future 75

cloister where he'd often go to pray usually for the souls of those he had killed [bursts of laughter). And it's a very sinister interview indeed, and I think quite amusing apart from anything else. I see no harm in that. We did Catherine the Great in the park outside St. Petersburg, Peter and Pee Jtee Leningrad. We did Peter the Great on a sailing ship in the Baltic. We did Alexander I in an office in the Winter presumably, of conjugal life, it's a habit Palace. We did Dostoyevsky by the Ambassador Ustinov and a tradition to place the flowers they canals where he used to rove. We did receive at their wedding on the tombs of Tolstoy in Yasnapolanya, in his house at Peter Ustinov-film star, director, various unknown warriors. Simply, I his desk with his old Remington type- playwright, raconteur, and Belgian suppose, as a compensation for the writer behind him. We did the young detective-sat enthroned in the presumed happiness they're going to Lenin on a rather decrepit staircase, and Excelsior Hotel , Venice. The man of enjoy. They're passing on something to finally Oblomov, the fictitious character many roles was serving on the Venice people who are not there to enjoy it and who is Russia's scourge in a way. (It is the Film Festival jury: a job he could surely who may, it can be interpreted, have only country where you can still get a have performed all by himself, with a sacrified their lives for those that sur- ticket for having a dirty car. Oblomov - a suitable plenitude of faces, voices, and kind of Rip Van Winkle who's been accents. But between sitting in judgment asleep since 1864-wakes up the on epic Greek movies about beekeepers moment I come in and says, 'Why didn't or Danish biopics of Gauguin, he was also the dog bark?' And I said, 'I have no idea, I at the end of an international telephone passed him but he was asleep: And line. Oblomov, in bed, says, 'Yes, they say that News broke from Canada at 2 a.m. that owners and dogs become more and more Ustinov's new television series Peter similar: [more laughter).) So anyway, the Ustinov's Russia , written by and starring big difference is .that the Russians speak himself, in conversation with such Rus- in Russian with subtitles, and I speak in sian notables as Dostoyevs ky and Ivan English:' the Terrible , had been bought by BBC:rV. Canada called because Canada produced Did you have an all-Russian produc- the programs . They've already been tion team? premiered there to runaway ratings. \"The production 'team; as you call it- Ustinov has long been everyone's well, we were desperately understaffed , favS)fite ambassador of world culture. Every country on the map would like to which is the way I like it. There were six deploy him as their envoy to every other country. At the moment he's a self- of us in all, including me and three appointed pioneer in the prickly entente between East and West. A keen worker Russians. So in fact there were nine for UNESCO, and a critic of Britain and America's withdrawal therefrom , his TV people traveling [here I put away my series sets out to be both a giant helping of entertainment and education, and an Asort of Candide. pocket calculator in despair) two of information source to Soviet Europe. whom went on ahead to arrange things Today's Russia is not so different from yesterday's czarist Russia, he thinks , nor vive d :' locally and bully their way through the so different from today's America. How long is the series, how structured, red tape:' \"I try to explain why they are as they are;' says the genial mage, \"and that they and how large does Ustinov loom? Much ofthat? have suffered at our hands at least as much as we have suffered at theirs . There \"I appear in it myself ad nauseam,\" \"No, very little. I went four months is hardly another country of that emi- nence or importance, or consequently chuckles Ustinov. \"And it's in six parts , six before we started shooting to see the danger, that has lost more people within its own borders. Considerably more than hours , and we interspersed it, in order to minister of culture. And we talked about they have ever lost abroad. And I think that's indicative of a whole mental liven it up, with eight interviews with nothing for an hour, with little bottles of attitude even today. It's part of the mores and not at all something imposed by the celebrated people played by Soviet actors mineral water and sweets, and suddenly Party, or something as ridiculous as that . When people get married in Russia and whom we don't recognize here in the he said [Ustinov slips into high minister before they go to taste the 'delights; West. We don't say, however welcoming of culture accent)' 'Meester OOsteenov, we are, 'Oh , there's Alec Guinness with a there must be a reeeson you want to see beard, or me with a wig! I'm there as a me: And I said (brightly), 'Ah, yes: And I sort of Candide, a journalist that doesn't came out with this scheme. And he held really know what it's all about, especially his hand out, a peremptory hand, and when asking questions of Ivan the said, 'There's no reason for this conversa- Terrible. We shot that in minus 40 tion to continue: And I thought, 'Oh my degrees , and every time our mouths open God; and I looked at him . And he looked captions shoot out, except that there's at me, and then he said, 'Because we like nothing inside the balloons . All the your work here, and more important, we sequences were photographed in places trust you. So far as we're concerned you where one really could have met these have carte blanche in the Soviet Union. people; Ivan the Terrible was in the Now we can continue to talk about 76

nothing:\" [Laughter.] when somebody like Dostoyevsky dies , The cinema's But who once said, \"Nothing will come elderly vestal virgins appear out of the youngest classics woodwork. And they begin to guard his of nothing?,' Answer: King Lear, another memory with a jealousy and ferocity From Cabaret to Annie Hall, favorite Ustinov role. Seventy hours of worthy of the ancient Greeks. They sit from Night oj the Living footage came out of this \"nothing:' as there . Dead to The Leopard, here, Ustinov's Magnificent Six or Seven in one rich volume, is a sashayed across the USSR. \"That's about \"We went and shot in Dostoyevsky's lively tribute to 50 Holly- right:' he says, \"to select six hours from:' room , and we begged these old ladies not wood blockbusters, cult He adds, \"Our Soviet hosts never saw any to enter the room while we were working. classics, foreign favorites, of it except at our insistence, when we They looked noncommittal and danger- and nifty litde sleepers- said it was very rude for them to let us go ous and shot looks at each other like in a with over 240 great stills without looking at any of it:' western. Sure enough, right in the middle plus exclusive, provocative of a 'take' one of these old biddies broke interviews,production anec- And what is the look ofthe film? Or are open the door and came in with fresh tea, dotes, and plot oudines. there different looks for different peri- not for me-for Dostoyevsky. Because ods? ( the glass of tea was on his desk where he - with Interviews with Their Stars, had left it. There was a little dust on its Directors and Screenwriters \"Different looks? The look is really surface. But this tea was hot and steaming imposed by nature. We were there, in all, so we had to start again because we now by DAVID ZINMAN about just under four months, but we had hot tea in the background with a wisp came and went so we didn't want to give of smoke which was curling up from it. Size aw' x ll'~ 52-+ .95 , now at your bookstore, the impression that it was always under snow. But, of course, snow imposes its \"Russia venerates the past to such an or use coupon to order. own look, which is very extraordinary. I extent that it becomes a reality. They had did a lot of photographs myself, and they no need of ghosts as they do in England IC~ PUBLISHER~ seem to be in black and white but they're and Scotland because to them the ghost · actually in color. And so snow has its own is there and might come in at any CROWN PUBLISHERS, INC., Dept. 934 mysteries, and then there ' are those moment and might need tea.... 34 Engelhard Ave., Avenel, N.J. 07001 golden domes in the distance. I realize Chekhov's birthplace is absolutely min- Please send me FIFTY GRAND MOVIES OF that the churches, whatever religious ute, so you have to go in one at a time and THE 1960's and 1970's. I enclose $24 .95 plus significance there is in that particular you're at the mercy of an old woman with $1 .85 postage and handling . N.Y. and N.J . resi- kind of construction, are in -fact like a spun glass pointer. In that kind of room . dents add sales tax . 10-day money-back lighthouses on land. And the traveler it's extremely dangerous because she guarantee . could see them for miles off. It sufficed swings it without looking and you're often for a glimpse of sunlight to suddenly be impaled against the wall by this thing. o Enclosed is my check/money order. OR blinded by a nugget on the horizon:' Everywhere there is this veneration of the past. And even people who have both- charge my 0 VISA 0 MasterCard Soviet television is not the liveliest. Are ered them, such as Bulgakov, who had # _ _ _ _ _ _ _ _ Exp. Date _ __ cinemas doing well? endless trouble when he was alive Signature _ _ _ _ _ _ _ _ _ __ censorship - now his house is a place of Name_ _ _ _ _ _ _ _ _ _ __ \"Cinema in Russia is still a great reality. worship in Kiev. And you get the same Address _ _ _ _ _ _ _ _ _ __ They have, on capacity, slightly over half treatment from addicts, elderly addicts City______ State_ _Zip_ _ the cinemas in the world . I know that hooked on Russia's past, who sit in the India has an enormous industry, but the corridor and wait for victims like spiders 77 cinemas themselves aren't very big. on a web:' They're usually out-of-doors or half out- of-doors, with rows of crows adding their But the USSR does repress free own contributions to the dialogue and expression and opinion? Doesn't it? songs:' \"I've always had this debate with Mrs. Of course anyone, I said to Ustinov, Thatcher. She's a very open arguer and a can fall in love with the Russia of very likable person, although I don't churches, samovars, and 800-page nov- agree with her about anything. She els. The problems come for the person always maintains that Russia has no trying to present modem Russia with its public opinion. And I respond to that by reputation as a graveyard of artistic and saying that that's why in this century political freedom. they've had two major revolutions and you've only had football riots!\" \"I can see that, of course. I'm not letting out any secrets, but even many of Did you ever have these conyersations the Venice jury members can't believe with the Man in the White House? they've seen a Russian film when they've seen it because they think it must be an [Ustinov pauses tactfully.] \"I'm not sure exception to the rule. The point is that that I have made myself understood with nearly all Russian films are exceptions to him:' [Another pause.] \"I'm not sure that I the rule, once you accept the idea of a have ever made myself understood with grim, gray civilization. As I had the Mr. Reagan. I went to a gala White House pleasure of telling Maggie Thatcher the evening last year, in honor of Prince other day, Russia is still the most Charles and Princess Di. And after conservative country in the world . And dinner, just for something to say to him

before 1 left, 1 said, 'Mr. President, 1 so \"I say in my series that only 50 or 60 this in Hollywood we'd have to recast you enjoyed the dinner in London we had years ago Britain had her Siberia. It was all. You're not grim enough. And also many years ago, at Les Ambassadeurs: I called Australia. And look at it now. In you're in shirtsleeves. They'd put you all waited. Mr Reagan nodded his head, point of fact, Siberia is going the same into uniform. I mean, this is not even like seemed at a loss for words, and then said, way-it's as exciting as Australia about Moscow. And the chief scientist said, 'Ah, 'Which ambassador was that?' '' now. And it's quite different, much more but why do you think we're here!' open; the distances are enormous, there- Which brought us, by the smoothest of fore people are extremely friendly. \"It's quite normal for the press and the segues, to the question of USA versus They're terribly glad to see anyone. politicians to emphasize the differences USSR-which Ustinov sees as the land of They're wonderful audiences for orches- all the time. But when you're actually many colors (Russia) versus the land of tras and things like that. And you get a there, with your own family-my moth- shake-and-stir homogeneity. feeling of intense excitement in Siberia er's family is still there-you are inevita- and also clarity of vision, and simplicity, bly, because of the pressure of reading \"The Soviet Union is the absolute generosity, and openness. There is a little and hearing the television, you are struck antithesis of the United States. The USA city of scientists - it's called Aca- by the similarities between people. has invented the cocktail not only in the demgordno, which is 15 kilometres from Because really human nature is much bar but outside it. So that you now get Novo Sibersk. I watched them at work more powerful than politics :' Polish immigrants putting their hands on and 1said to them that if we made a film of their hearts and talking about [Polish - HARLAN KENNEDY accent) 'this great country of ours'; ·e'mon, Scream!\" because they haven't yet learned to speak promise. But now we have the fastest, English better than that but they have PEE WEE TV funnest show ever, ever: Pee Ui?e's already taken an oath of allegiance and Playhouse. know something about American history \"Us kids don't like to be bored. Ui? and so on. In the Soviet Union the The opening theme of Pee Ui?e's concept is quite different. They pay realize movies have to be at least as long Playhouse is so rapid-fire exhausting it much more respect to the maintenance of can only be followed by °a commercial. individual cultures, not just for propa- as mom:SO beauty shop appointment The friends and furnishings of the ganda; it's absolutely genuine, absolutely Playhouse- including Globey, a French- true :' though not so long they won't fit on one accented globe; Terry the Pterodactyl; Knucklehead, a talking hand; and Homogeneity in its people and harden- cassette. But why is every single movie Chairry the Chair - sing and sway mer- ing arteries in its government are two rily. This inspired array of anthropo- attributes usually associated with the TOO LONG?\" -A KID morphs would be darn scary if they USSR. For Ustinov they now character- weren't all so amiable. ize the USA. It's an irony he hugely Well, kid, that's what happens enjoys that for the first time in memory when filmmakers are allowed to Pee Wee's small adventure begins with the Russian delegation at the Geneva pursue their own visions in a free the secret word, something common like peace conference is younger than the society. \"I love this shot;' they squeak. \"It \"fun ;' \"help;' or \"little:' Each time the American. And then , of course, there is must stay in:' You're right: there never has word is repeated during the show, kids at Boy Wonder Gorbachev. Anti-alcohol been a film that isn't TOO LONG. home are encouraged to SCREAM. If drives apart (and the taking of Western Mom and Dad are still asleep - tough. journalists as hostages), Comrade On TV, time limits self-indulgent flab, They ought to be watching. Mikhail is hewing out a mighty reputation when it's not puffing a ten-minute notion as a liberalizer. into 30 minutes of electronic wallpaper. Check it out, parents: What could be Theoretically, with enough ideas, a TV freakier than swirling colors, manic \"One of the great safety valves is comic show can provide nonstop fun. Until stories;' says Ustinov. \"And the latest one recently, this was but an unfulfilled to come out of Russia is about the factory owner who's working late one night on papers. And suddenly the door opens and a rather attractive charwoman enters with her broom and pail and says, 'Ivan, you're working as late as this? Nearly everybody else has gone home: And he answers, 'Yes, but I've got to prepare these papers for tomorrow's local Soviet meeting. I don't know how to make any sense of them: And she says, 'Come, I'll help you: And she puts down her broom and they work on the figures for a while. And their conversation becomes warmer, and they begin to flirt and then kiss, and then items of clothing begin to drop to the floor. And she gets up and says, 'I'd better lock the door: And he says, 'Why? We're not drinking.'\" What about that proverbial frozen hell, Siberia?

THE DEFINITIVE mutant puppets, and a cast of neutered ACK POSTER CATALOG neighbors parading before your blood- shot eyes, while Pee Wee bends your ON The country's paramount col- pounding brain with such soliloquies as lection of original movie pos- (eating a carrot), \"I'm a bunny! HaHa!\" or ACK ters - rare, classic, contem- (eating salad), \"Ummh... Salad-y!;' or porary - such as \"Maltese Fal- \"Connect the dots, la-la-la-la, connect the Be a star in the 24th New York con,\" \" Snow White,\" \"Jezebel.\" dots, la-la-la-la;' or (eating chocolate Film Festival's T-Shirt. Our Comprehensive catalogue with cake), \"Ummh ... Chocolate-y!\"? tribute to film noire, the over 350 prime lithos. Your black-on-black T-Shirt has the chance nowto acquire previously How about a strange little (There's the Festival's logo on front and a star inaccessible graphics. $6 .00 SECRET WORD-Clang clang: Aga on the back. 100% cotton. Sizes aga Augggh11) guy shaving whipped S, M, L, and X-L. $10 each, CINEMONDE cream off his face with a spoon, delight- including postage and handling. ing, \"Just like daddy! HaHa!\"? Open the STATEMENT OF OWNERSHIP, MANAGEMENT, fridge, and a raucous rock band of frozen I enclose $ _ for _ T-Shirts at $10 each . french fries (The Crinkle Cuts) disturbs S _ _ M _ _ L _ _ X-L _ _ AND CIRCULATION (Act of August 12,1970: Section the other food-ys with, \"It's Cold Inside:' Name ___________________________ 3685. TItle 39. United States Code) 1. title of publication The whole deal speeds along so rapidly Address _______________________ Film Comment 2. date of filing October 1,19863. fre- and rides such a fine edge between City/State/Zip ____________ quency of issue bimonthly 4. location of known office of tongue-in-cheek moron humor and Daytime Phone ___________________ publication 140 West 65th St., New York, NY 10023 5. ingenuous delight, there is no time to get Please mail coupon with check or money locatiO/! of the headquarters or general business offices of tlte annoyed, Try saying that about any other order payable to The Film SOCiety of publishers 140 West 65th St., New York, NY 10023 6. movie or TV show. Try saying that three Lincoln Center, 140 West 65th Street, NY names and addresses of publisher, editor, and business man- times real fast. NY 10023. You may use postage-paid ager: publisher Joanne Koch, 140 West 65th St. , New envelope in magazine. Allow 6 weeks for York, NY 10023 editors Harlan Jacobson, Richard Cor- Only Cartoon King, a distinguished- delivery. liss, 140 West 65th St., New York, NY 10023 business looking black dude, betrays himself as a manager Sayre Maxfield, 140 West 65th St., New York, normal person forced to accept Pee Wee 79 NY 10023 7. owner The Film Society of Lincoln Center, reality. He stumbles in each week, as if 140 West 65th St., New York, NY 10023 8. known bond- late, almost dropping his film projector, holders, mortgages, and other security holders owning or pronouncing, \"Let the cartoons begin!\" holding 1percent ormore oftotal amountofbonds, mortgages, or other securities none 9. the purpose, function and non- When a hip, ironic comedian wants to profit status of this organization and the exempt status for do a Saturday morning kids show, Federal income tax purposes has not changed during the you'd expect it to be like Rocky and preceding 12 months. 10. extent and nature ofcirculation: Bullwinkle, with sophisticated puns and concepts that go over kids' heads. But actual number ofcopies ofsingle there's no hidden agenda at the Play- issue published nearest to filing date house. Pee Wee might make a slightly naughty \"beans\" noise, but it's all good fun T (Clang Clang SECRET WORD: 000 Blaaa Uoiea1l). The only sexual imagery auerage number ofcopies each issue is in the commercials, where voguette Barbie has a new Hot 'Vette, and bikini- ,.during preceding 12 montlls clad children are ogled by eight-year-old studs at the beach. A. total number of copies printed (n et press nm) 42, 794 42,100 B. paid circulation 1. soles through dealrnand Pee Wee keeps things light, however, 10, 136 11 , 197 with no concession to the modern age or carriers. strtN vmdors,Qnd countersa/es 24 ,871 24,066 the grownups in his audience. It was 2. mail subscriptions 35,007 35,263 rumored that the show might be rebroad- cast for late-night viewers. That would be C. totaf ptlid cirOlla/ion 500 500 like putting a,frame around it and saying, 35,507 35, 763 \"This is hip and ironic:' D. freedislributioni1ymaif, mme\" orother 1, 217 594 Pee ~e 's Playhouse is best viewed on means- SIlmplts, complimentary. Qnd other 6,070 5, 74 3 Saturday morning, commercials and all. It might easily grow tired week after [rte copies 42,794 42,100 week, but it's still the most imaginative and visually sumptuous program on TV, E. total distn\"bution (sum ole arid 0 ) like a fast-paced technologically updated Ernie Kovacs in color. The music is a F. copies 110/ distributed 1. office use, left-cnJtT, pleasure, with contributions by Devol unaccounted. spoiled a/ferprinting Oingo Boingo-types, And if Pee Wee has 2. returns/rom lIt'WSagmts to have an inordinate number of hand- some young men on the show, that's his e. total (sum olE and F) (should equal net press business. You just have to take Pee ~e S Playhouse at face value. run shaUln i\" AJ -JACK BARTH 11 . Icertify that thestatm1rnts made by meabove art. correct and camplete. (signed)Sayre Maxfield Business Manager

Quiz #22: Katz People 20. In 1926 he co-directed Theda Bara's last film. For this quiz you need consult only one 7. Drove an ambulance in World War I; refere nce book. Of course it runs 1,266 directed WAC training films in WWII. 21. Mysteriously and fatally injured pages and contains more than a million aboard William Randolph Hearst's yacht and a half words, but Ephraim Katz' The 8. Married her fir st husband at the age in 1924. Rumors persisted that Hearst Film Encyclopedia ($ 15 .95 from Perigee shot him in a jealous rage over the man's Books) is still the movie scholar's best of twelve. affair with Marion Davies. read: comprehensive, pretty accurate, and all in one volume. Along with film- 9. Dean of Women at Howard College, 22. Had her first nervous breakdown ographies, you get capsule biographies of at the age of nine, began drinking heav- film folk , including many little-known then runner-up in Paramount Pictures' ily at ten , attempted suicide at twelve, facts, 25 of which we have chosen for \"Panther Woman\" contest (193 2). made first film at 13. your enjoyment and perplexity. Correctly identify the actor, director, producer, or 10. Son of an orchestra leader and a 23. Runner-up to Sonja Henie in the whatever, and send your list to FILM COMMENT Quiz #22, 140 West 65th ballet dancer ; 16 years in the U.S . Army, ice-skating competition in the 1936 Win- Street, New York, N.Y. 10023, before then technical adviser to The Phil Silvers ter Olympics. December 15. As an aid to solving, the Show (Sgt. Bilko). answers are in alphabetical order. Good 24. Convicted in 1952 of shooting his browsing to all! 11. In 1926, dejected and forgotten, he chanced upon one of his former stars , actress wife's agent. Winners of Quiz #21will be announced now running a toy concession at the Mont- in the next issue . 25. Jean Arthur, Mary Astor, Julie parnasse railway station; they married 1. N amed Miss World's Fair (New York and managed the concession together. Bishop , Joan Blondell, Eleanor Board- City, 1939) . man , Clara Bow, Joan Crawford, Dolores 12. Married an actor who played her Del Rio, Janet Gaynor, Rochelie Hud- 2. Goebbels offered her her own film son in a film for which she won the Oscar son, Anita Louise, Bessie Love, .Ginger for best actress. Rogers , Lupe Velez, Fay Wray, and Lor- studio; she turned him down. etta Young, among others. 13. The crash of a bomber that he was 3. Son of a Mack Sennett bathing piloting during World War II resulted in CONTRIBUTORS beauty and an Air Force general turned severe burns and plastic surgery. Pat Aufderheide rece ntly visited Argentina with \"La Dtra Cara: successful Wall Street stockbroker. 14. Leon Trotsky played a small role in The O ther Face,\" an exhibit of U.S. inde pendent fLl ms. Jack Barth 4. At age 64 she received her bache- this director's My Official Wife (1914). is ed itor of our French edition, Film , Comment? Ste phen Harvey lor's degree in political science from New 15. In the Thirties and Forties he earned is assistant curalOr in the Mu seum of Modern An 's De partme nt of York's City College. Fil m. Chris Hode nfie ld has been writing about movies for 16 the highest annual salary in the U.S. years. Daniel M. Kimme l reviews film fo r the Ubrcesler Telegram 5. Committed suicide two days after and (he Bosto n-based This Week. Pat McGilligan is a regular o n [he 16. In 1935 she was the highest paid Milwaukee-to-L.A. run and writes on fi lmmakers. M a rda Pally the death of his wife of 44 years . lives in New York and writes on the arts. David Paul is an woman in the U.S. indepe ndent write r and critic, 3S well as an Assoc iate of the: Seattle 6. Armed with a pistol he had bor- 17. Escaped from a N azi labor camp C ine matcque. Stephen S chae fer lives in New York and writes on rowed from Buster Keaton , he shot him- film . Elliott Ste in teaches film at Fairfie ld Univers iry. Dan Yakir self to death in the rest room of a Holly- and spent the rest of the war hiding in a lives in New York and writes on film. wood restaurant after a meal for which he Venice attic. could not pay. PHOTO CREDITS 18. On their wedding night his first wife locked him out of their bridal suite; By Nancy Ackerman: p. 46. Azteca Films: p. 45. C BS-TV: p.78. The the marriage was never consummated. crvC inema Guild: p. 48. Columbia Pictures: p.62 (I ). Television 19. Caricaturist under the pseudonym Network: p. 76. De Laure ntiis Enterprises: p. 62 (2), 68. Courtesy \"Sir Gay;' later lured to Hollywood when Mary Pickford and Douglas Fairbanks Film Society of Lincoln Center: p. 6 (2). 16. 5().60. By C hris Hoden· promised help in securing him a contract feld: p. 65. 72. Courtesy H arlan Kennedy: p. 34 (1.2). 35 ( I). 36 (1 ). with United Artists. MGM/UA: p. 30. 70. The Museum of Modern An Film StiUs Archives: p. 9. 10, 11. Courtesy The National Center for Jewish Film: p. 74 (1). By Frank W Ockenfels: p. 2. O rion Pictures: p. 4. 6 ( 1). Paramount Pictures: p. 28. Courresy David Paul : p.38 (I . 2). The Saul ZaentzCo. : p. 23. 24 . 27. 1\\ventiem Century Fox: p. 18 (I). 19. 20.22. ERRATA When Vincente Minnelli died this past summer, he was 83 - but not if you read our October issue. We took 1910 as his birth date from The Film Encyclopedia by Ephraim Katz. The 1979 book has not been revised. * *RARE VIDEOS Pin· Ups • Portraits • Posters • Physique IT'S RTS FOR NOW AVAILABLE! Poses • Pressbooks • Western • Horror • SOUNDTRACKS & VIDEO MOVIES! Science Fiction • Musical s • Color Photos • RARE CLASSIC TV. MOVIES &. SHORTS. 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