VOLUME 23 - NUMBER 05 SEPTEMBER-OCTOBER 1987

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Morris. And she was sent to Rome to meet was of considerable help in the festival's sent letters out to everybody who had me. mid-Seventies porno battles. bought tickets to it, so that they could come to see it at The Museum of Modem Were you auditioning her, so to speak, We showed Dusan Makavejev's Mys- An later that year. or had she already been hired? teries of the Organism in '71, Last Tango in '72, Exhibition in '75, In the Realm ofthe The Customs Office might have been I think we were supposed to be audi- Senses in '76, and Salo in '77. balky, but you werefinding some sup- port among another influential agency- tioning each other. But we got along quite These werefilms notonly likely to cause the Hollywood majors-which had long controversy, but occasionally to incite the been skeptical ofthefestival. J believe that well. She got her job and I kept mine. customs officials. Paul Mazursky's Bob & Carol & Ted & Alice was the first mainstream Hollywood Joanne, with her experience at Grove The original arrangement was that in- film showed. It was surely the first shown Press during the I Am Curious fracas, stead of viewing the films in customs and on opening night. then saying it's not pornographic, they Yes. Opening night, 1%9. would release the films and come to a Was Columbia pushing for it? press show. Which was SOlt of a technical- No. They wouldn't let us see it. \"It's ity. Except for In the Realm ofthe Senses. not for you, it's not for you.\" So Sallie and Bill May urged someone on the Columbia Joanne, who was very good at this SOlt board to give us a look. We saw it and we thought it was terrific, and they reluctantly of thing, had told the producer of In the gave in. Well, it got a terrible review in The Realm ofthe Senses, Anatole Dauman, to Times, and several more mentions by send it into New York. She'd had her ways Vincent Canby about how awful it was worked out here of how to deal with it. that this film should be shown in the New Well, he didn't take her word, and instead York Film Festival. We thought that our relationship with Columbia, the friend- sent it into Los Angeles. At that time there liest studio, was dead. But no, they wel- was no law binding all of the customs comed all the extra publicity; they thought it made people want to see the offices; if Los Angeles accepted a film, film. New York could still say \"no.\" And so This was the era of the Festival's con- New York was pretty miffed that we'd cir- nection with anotherColumbia production cumvented and with a really \"dirty\" film. unit, BBS. You showed Five Easy Pieces, The officials came to at the press screen- The Last Picture Show, Directed by John Ford, A Safe Place, The King of Marvin ing, and at the end they took the offend- Gardens. ing cans away. So we showed a substitute And, almost, Easy Rider. We'd seen Oshima film, The Ceremony, and Joanne and liked it at Cannes. When we came BEST WISHES back, we asked for the film, but Columbia RENEEFURST so

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Opening night 1973: Jean-Pierre L.eaud, Jacqueline Bisset, John Lindsay, Richard Roud, Lillian Gish. had decided to release it in the summer. went ahead and did it. The Confonnist was late; they'd changed their minds. Had we Was BBS seen as such a maverick that it shown at the Festival and became a con- responded instantly, I don't know. It may did not reaLLy help the film festival to be connected with it? siderable art-house hit. Now, he may have have been not that we changed our minds No, no. Those films were successful. been annoyed at me because I'd told this but that enough UA people had been at They weren't epics, but they didn't cost any money. And it helped the Festival's story. It may well be; I've got a big that screening who'd changed their minds reputation as a place to try out new things. mouth-one of my worst failings. But he and decided it was going to be a big hit. What about the reception ofthe Benton- Newmanfilm B~d Company in 1972? may have also been chagrined that a film And the winner ofthe Academy Award That was a disaster. he didn't want to release became a hit. for best picture of 1978 was The Deer The audience reaction was fine· But the executive reaction wasn't. Which is not to say that the selection Hunter. Frank Yablans ofParamount accused us of not having enough clout to get Vincent committee had an unfailing nose for criti- Yes. The Deer Hunter was rejected by Canby to review the film; Abe Weiler had written the review. Yablans was also an- calor popular truffles. As with The us, I think, largely on political grounds. noyed by another story-which had got out because I'd told it-that in 1970 Pa- French Connection in 1971. That is to say that we thought it was a dis- ramount had no plans to release The Confonnist to the committee. And they A whole bunch of us saw that picture. honest film; everyone was very annoyed weren't going to release the subtitled ver- sion. Who cared for this kind of thing any- Then we went out to lunch, and hardly by the Russian roulette sequence, which how? I said, Look how much does it cost to subtitle? And he said $2000, in those anyone said anything about the film, until was never reported before or since, a total happy days. I said, Well, the Festival's got no budget for subtitling films any more, I said, \"Well, we've got to give them an invention. Also it was kind of draggy. but I'm so eager to have this film that I will personally pay you $2000 to subtitle it. answer on the film.\" And everybody said, /'m pretty sure it was submitted onlyfor \"We don't need your money!\" So they \"Enh.\" That was that. And 10 and behold, opening night, like Blue Velvet last year it became a great hit. and The Glass Menagerie for opening or And lower and beholder, it won the closing night this year. Academy Awardfor best picture. That I can't remember. IAs did Rocky in 1976. n the Sixties there were so many vital na- tional cinemas, which hardly need men- Rocky was more complicated. We were offered the opportunity to see Rocky; we tioning , so I won't. In the Seventies one went to a screening that was also attended thinks of the Gennans. So who's making by Bernardo Bertolucci; he was really noise now? From the makeup ofthe Film pushing for the film. None of the commit- Festival this year, one would think it's the tee was as high on the film as he was. But a British, who have three films represented. few days later I called UA and said, \"Lis- Yes. And I think their renaissance is go- ten, we're thinking about it.\" It was too ing to be far more durable and far more ex- S2

CINECOM SALUTES FILM COMMENT AND THE NEWYORK FILM FESTIVAL

Opening Night, 1986 (from left): David Denby, Marcia Froelke Coburn, Dave Kehr, Mary Corliss, Richard Corliss, Wendy Keys citing than the New Zealand-Australian of ticket buyers. They look first to see if a Right! renaissance of a decade ago. film has a distributor; if it has, they rule it And having done so, may broaden their out, and go see the other films they might idea ofwhat afestivalfilm is. The Festival has also in the last ten not have a chance to see again. Maybe they' II learn whatwe know: that years discovered seedlings in Eastern Eu- there is no such thing as a \"festival film.\" ropean cinema. Perhaps you hope this year they will dis- cover an auteur named Jackie Chan. I n the quarter century ofthe Festival, we The Hungarians most of all. Because have seen a generation of American Oh, indeed. Oh, we do, we do. filmmakers grow up knowing both the Hol- they were allowed more freedom. Were you surprised by your affection lywood B-picture tradition and the foreign And in the Festival this year there is the for Police Story? films that were shown at the New York I have to admit I was. It was recom- Film Festival. We might say that Martin first \"official\" Soviet film since The De- mended by Dave Kehr, a committee Scorsese and Jonathan Demme, to name but in 1977. member and the movie critic of the Chica- buttwo, got their graduate education in in- go Tribune. I respect Dave, but he like ternational cinema from the Festival. In fact it's directed by Gleb Panfilov, anybody else is capable of having his own who did The Debut. It's called The Theme. folly. I've had my own follies: the Straubs, Not only can we say it, they have said it. perhaps, or Marguerite Duras. I thought, And also European directors like Godard This year in Berlin and Cannes, did you well, Dave is young, he's got to have some have said they learned an awful lot from see other indications of Glasnost on cre- director he can claim as his own after the looking at Underground films and going ativity in film? great ones were discovered by us and earli- down to the Warhol Factory. Warhol had a eron. I thought that for all offour minutes. great, indirect influence on European Some. I think Repentance was an inter- Then Jackie went on a car chase smack filmmaking. They were learning all kinds esting film. It didn't really work but it had through a Hong Kong hill village-and I of things that could be done that they just was hooked. hadn't thought of. It's like the four-min- some interesting ideas in it. Now Police Story is, without meaning to ute mile, after the four-minute mile was prejudice it, nothing more than a splendid nm, suddenly a lot ofguys were able to run It would be appropriate if Soviet-bloc entertainment. a four-minute mile, because it was shown Oh, it is much, much more than splen- that it was possible. Once somebody does films, which the Festival has encouraged it, everyone else can push a little harder, over 15 years, were to include Sovietfilms did-Well! maybe. as well. All right. It's a splendid entertainment And the New York Film Festival, by Well, you've got to begin some place. and much, much more. showing that it was possible to have a suc- This festival, though, has never chosen To me it's got all the excitement of a cesiful film festival in North America, films based on their nationality. spawned many children. It was the Roger The two big differences between our ballet, where you're working on pure Bannister ofAmericanfilm festivals. festival and all the others are the shortness movement. You're excited not by what the story is telling you but just sheer move- And Sir Edmund Hillary? Oh, sorry. of the program and the fact that we don't ment. Dance has always worked like that. He climbed Everest. A Ballachine dance doesn't tell much of a owe any dues to any country or any organi- story. It just does things, and people seem Yes? to enjoy it. I think they'll enjoy this. It's But now we hear that Everest might not zation. Lincoln Center allowed us to do pure action. That's why it's so good. To be the tallest mountain in the world. K2 this in the beginning and the Film Society see somebody do something like that. might be taller. So you're saying that New York isn't the has continued this policy. We're not the One other thing that pleases me about Everest offilm festivals? the inclusion of this film in the Festival is Who knows? Maybe we're the K2. ~ biggest festival, of course. Cannes is that. thatpeople may well ask, \"What's thisfilm But people say it's the most respected. Be- doing in the New York Film Festival?\" cause however quirky our judgments may be, they are our judgments, and not in- fluenced by having three Italian films, three French, something from the Soviet bloc, and so forth. And the pleasant irony is that people will stampede the Alice Tully Hall box office to see films that one could not give away in regular theaters. In recent years we've seen a new school 54

COLUMBIA PICTURES CONGRATULATES THE NEW YORK FILM FESTIVAL AND FILM COMMENT ON THEIR 25TH ANNIVERSARIES. Columbia Pictures A unit of YJ; ~t:lI~ c 1117 COl~~a::~=:\"~~TR1ES. IHC.

Despite notorious program-committee in-fighting, embarrassing screening-roo screeching tantrums like you wouldn't even believe, the LINCOLN CEN SOCIETY Proudly Presents Matt Groening's eWlor stival THIS IS YOUR GUIDE We urge you to set aside a few hours and sit down in a comfY chair with a double espresso to get through this handy little filmic guide with a minimum of muss, fuss, and eyestrain. cunningly summarized in ways designed to lure unwary patrons into theaters, because if w some of these dogs we wouldn't have much of a festival, now would we? So, if you are una find yourself sitting through a three-and-a-half-hour silent Bulgarian agricultural tragi-dram had it up to here with you unappreciative whiners, so pay up and shut up. Thank you for RULES 1. No one will be admitted after the feature begins. Ushers, however, will be glad to ch forgeries, admitting no one before the feature begins either. 2. Projection adjustment: Theater projectionists are carefully trained to ignore outside d audiences to scream randomly about such niggling details as focusing, framing, or running r ly case of projection foul-up, stuff it. 3. Talking in the theater: There will be no talking, singing, humming, or whistling at a unless you are asking your companions to pass the ketchup, or to explain what is about to h seated near you. Patrons who are bored are encouraged to moan in exasperation, and thos stage-whisper sarcastic comments whenever the whim strikes. And so that everyone can k bers with beeper watches should keep their hourly alarms turned on. 4. Meeting the directors: Directors are often present at festival screenings, and sometim and insipid questions following a presentation. Fisticuffs on the premises, however, is stri director in the mouth, please lure him or her onto the sidewalk outside. FESTIVAL HIGHLIGHTS Plow, Y The Disorderly Comedic Hulber's buco Genius. It's every man for himself in meal the accl this first \"semiserious\" breakthrough film by

om denunciations, and bitter NTER FILM BUFF , o and a strong magnifYing glass in order Each movie listed below has been we wrote what we really thought about able to read between the lines, and you ma, don't come sniveling to us. We've your cooperation. huckle wryly and call your tickets clever Rnnlsh film critic Ula Kariburg & fiance at opening night ofWopens Silentz, Mog Weenls-wlnner of distractions, so it will do no good for the Golden Icicle AIKln1, Oslo RIm Festival, 1986. reels in the correct order. In the unlike- any time once the lights have dimmed, happen onscreen for the benefit of those se who believe they are clever should keep track of the time, audience mem- mes they will answer the most insultiAg ictly forbidden. If you must punch a Yeoman, Plow. Brun Love in a Toolshed. With all olic comedy, inspired by a bad laimed director are in a small

from the adoring French people, d,e ious ambigui antics of ne'e fearures Lewis playing a schizophrenic Las gettable in S farm to farm, Vegas egomaniac who is possessed by the ing the disgu devil. Co-starring a clever latex Frank Sinatra side. Winner Oregon, Lum audio-animatron and fearuring Charlie Callas 1986,273 m as the Toady. France, 1987. 69 mins. **** -R Opening Night 1A. Fri., November 27 at Gesund 7:45p.m.- Alice Tully Hall Dull as Dirt. This masterpiece of The Disorderly Comedic Genius. ling. A m Eastern African rural tragicomedy by veteran the short-live director Ulo Mondobi (Slapping at Flies, 1984) epic (not inc concerns the often amusing daily foibles of the ple yelling a nomadic Glondobi tribe as they forage for less rooms is vicious stinging beetles as pan of a mystical mare of direc rirual they only half-remember. To heighten stunning in t this stinging indictment, acrual stinging bee- emotional va tles will be released in the theater during the will, of ambi srunningclimax. Antidotes will be available in professional limited quantities at the snack counter imme- Ribbon at th diately following the screening. Sorry, we can- many, 1987, not be responsible for lingering welts. Pee- 3D. June pie's Republic of Fongo, 1987,423 mins. Battle o Critics. 2B. Tues., October 12 at 9 p.m.- eo titans Ge Fat Fongo's Takeout Siskel, Roge Land og Icen, Land og the mustach Sighs (Land of Ice, Land You won't w brawl, when of Sighs). The crushing boredom of a ; will strip dow listless reindeer shepherd is examined in un- haps the sca flinching detail in this involving sequel to live or dead Soren Kierkegaard III's magically enchanting 1987,23 min Even the Grass Is Frozen (1956). Bleakrundra buffs won't want to ~iss the crucial middle 8lh. Sep third of the film, when our aged but undefeat- j 11:30 p.m ed hem clutches his head and bemoans his horrible fate. Among other distinctions, the Wopen Weenis movie boasts the longest human wail ever re- Land of Ice, Land of Sighs. Little O corded on film. Self-flagellation buffs take note. Sweden, 1987,285 mins. farmer and h 27C. Fri., December 24 at ents in this s Midnight- protest again How the far William Alanson Whoa Scream- in the big ci Room controversia tainment tre taneously ba were when w 1987,321 m Closing N 13V. Sat Gesundheit, Meln Dumpling. Fisher H A FINAL NOTE DucksR Ifyou have any suggestions, complaints, or questions about the 25th New York, New York town. Again, we thank you.

ity as we follow the bumpkin-like filmed entirely in one take er-d<rwell Ullwer Hobb (so unfor- camera in a tiny vredJok (toolshed) outside Stale Biscuits) as he wanders from Leningrad, this filmic wonderpiece has been , peeking in windows and watch- likened to such Russian classics as The Magic usting activities of the peasants in- Wrench and The Chilly Proposition. USSR, r of the esteemed Cannon Beach, 198?, 109 mins. mpy Haystack Award. Yugoslavia, mins. 17B. Sun., October 11 at 20 hours. oger Ebert. The Tender Tea Sippers. dheit, Mein Dump- An unforgettable visual poem. No dialogue. mighty landmark. Originally sl'lot in No action. A minimum of motion. Just tea. ed Super-7 process, this nine-hour Being sipped. Tenderly. Filmic. Ambiguous. cluding missing reels) about peo- Dreamlike. An unforgettable visual poem. at each other in poorly lit window- Viewers of this film are advised not to operate s based on a still-recurring night- heavy machinery for several hours afterward. ctor Kasper Breun. The work is Japan, 1987, 189 mins. the subtle layering of its intense acuum to create a mood, if you T42 (U4ME). Mon., December iguous filmic subversion, says one 7 at 11 a.m. critic. Winner of the Angry Red Love in aTool Shed. his year's Tulsa Flimfest. W. Ger- Plow Yeoman, Plow. , 54G·mins. e 6 at 7 a.m. ofthe TV Movie . A gripping debate between vid- ene Shalit, Leonard Maltin, Gene er Eben, Rex Reed, that guy with he, and those PBS guys in sweaters. want to miss the exciting climactic n our beloved puffy chatterboxes wn for some nude wrestling-per- ariest sequence ever committed in front of Ted Koppel. USA, ns. tember 30, Nightline, m. ns Silentz, Mog s (Sob Quietly, My Ones). A pervened duck his darkest secret are the ingredi- surprisingly warm and human nst our antiquated bestiality laws. rmer and his ducks adapt to life ity after years in rural solirude is a al statement about cmrent enter- ends that will leave you simul- affled and aroused. At least we we booked this film. Finland, mins. Night t., October 10, Avery Hall. Reception at R Us. k, Film Festival, please feel free to leave

• Inee The Princess Bride Rob Reiner Rob Reiner interviewed he calls it, a \"close to the bone\" cut that nal Tap was the collaborative work of Har- ro' By Harlan Jacobson satirizes more than rock-'n-roll culture. It ry Shearer, Christopher Guest, and Mi- goes on to wipe out documentary chael McKean with Reiner offering I H ere's a sentence Rob Reiner never filmmaking for its pretentiousness. And himself up as the pin cushion. B~cause I hears: So, how's it feel to be the then, since its power resides in its convic- Spinal Tap takes no prisoners. I son ofEstelle Reiner? Now this is tion that you might as well be watching I not Estelle's fault; she did lots of things the fall of Rome Redux with the Spinal The Sure Thing a year later seems more I well, apparently-play the piano, rklbble Tappers as with Rod Stewan-both the truly to be Rob's first film, tentatively I in art, put up with a joker husband and his bogus and the real rockers are essentially sniffing out the youth marketplace as the I nutball friends . So how come Rob never penises poking up through their collars to breeding pool ofJohn Hughes at the shal- talks about his mother? \"Because she wink and fiddle-Spinal Tap also reduces low end and Ron Howard at the \"deep\" I wears army boots,\" he snorts. \"She just American culture to cannibalism, to (sigh) end. In it, Reiner eamestly, maybe I got a pair at Bendel's. Norma Kamalis.\" marketing. In it, Rob plays a gasbag direc- mawkishly, connects up sex and love in I We're in a conference room at Fox's tor making a rockumentary that takes the the head of a kid who passes up a freebie I offices in New York, wolfing down pastra- Spinal Tap trolls for trailblazers. Meaning: with a cheerleader in favor of More with mi and turkey sandwichesfrom the Carne- there's no one here to trust. the girl who has gotten under his skin. gie Deli. Itfeels like Stand By Me's back- Best of all, teach reads his story about the story: I'm at Rob's and we're twelve and (Or, as the Man in Black tells beautiful incident to the class, an echo of Reiner's making combat-boot jokes about our Buttercup in The Princess Bride, \"Life is favored approach to storytelling: narra- mothers. Next we're going to sing ' 'Great pain, Highness; anyone who says differ- tion . But above all else, The Sure Thing green gobs ofgreasy grimy gopher guts\" ently is selling something.\" All good and was a film that said, \"Like Me, Girls. I'm andflick boogers at each other. well, you think, in light of the emergence Into Intimacy.\" It was a Personals writ of Reiner fils. The kid is a chip off Dad's large: \"SJM, funny, hates ads. You must This is a man-6'2/1 and a couple hun- old block: sharp, funny, a killer around be 22, slim, serious but luv to lafT. Or will- dred pounds-who wants to be liked but vulnerability-the quality we Jews know ing to fake it.\" sits anywhere he wants to. And before you as cynicism.) ask what's that got to do with his filmmak- Butdon'tsell Robshon. He dug deeper ing, stop to consider his brief directing ca- Except, then comes Rob's second film, in Stand By Me. The pivotal scene oc- reer, as it arrives at The Princess Bride. The Sure Thing, and it sits on this side of curs not at the end of the quest by three the divide, along with Stand By Me and adolescent friends, confronting \"The First comes Spinal Tap in 1984. It is, as now The Princess Bride: it wants to be sweet. It makes clear just how much Spi- 58

year after year after year..1RE INDISPEN~BLE I14IR... now with comprehensive coverage of the Home Video industry added to the Television Almanac...more indispensable than ever... introducing: Television &Video Almanac MOTION PICTURE YEAR IN Contan\" STATISTICS TELEVISION YEAR IN REVIEW . . . 8-A THE GREAT HUNDRED .... . . STATISTICS . ............. 12-A AWARDS AND POLLS .. . ... . .... 22-A WHO'SWHO SERVICES .. . · · .. . 1-309 PICTURES (1970-1985) ..... . .... 310-328 TALENT AND LITERARY ADVERTISING AND pUBLICITY 1987 Home Video P~~du~er~ ' ........ 329-331 EQUIPMENT AND SUPPLIES INTERNATIONAL PrOduction Componies . . .. 332-355 CORPORATIONS THEATRE CIRCUITS Television Wholesole Distribulors · . . . 356-383 BUYING AND BOOKING . . . . INDEPENDENT THEATRES .. &Video Video Reloil Slores ...... 384-410 DRIVE-IN THEATRES . . . . . . AlMANAC Equipmenl Monufac~;e~~ . . ... 411-449 NON-THEATRICAL MOTION ORGANIZATIONS . . .... . . QP Trade and Consumer Assoc' 1.'0I\"Io\"ns . . 450-465 STATE FILM COMMISSIONS Trade ASSociations · 466-46B THE PRESS Video Produclions S~~'~~ .' . · .. 469-4n CLASSIFICATION AND ADVERTISING CODE Home Video World Markel · . . 472-494 THE INDUSTRY IN GREAT THE INDUSTRY IN CANADA .... . .. .. ... 49&-499 THE WORLD MARKET . . . . ..Jt!rlCOMPANI a 81 520-536Lkl'~CABLE TELEVISION . 500-519 INTERNATIONAL FILM 537-560 ~,qPRODUCERS-DISTRIBUTORS STATIONS \".,. .- . 561-576 ADVERTISING AGENCIES-STATION REPRESENTATI~E's' .. 571-640 PROGRAMS . . . 641-647 ORGANIZATIONS ......... . ... \" .... 648-655 THE PRESS \" \" 656-670 THE INDUSTRY IN GREAT BRITAIN-IRE~ND . . .. 6n-676 .... 671-703 THE WORLD MARKET INTERNATIONAL FILM FESTIVALS ' .............. 704-nl ..... nB-m r----------------------------------- ORDER FORM Please ship 1987 edition(s): Total Take advantage of the savings. o MOTION PICTURE ALMANAC . . . ... ... @ $55.00 + 3.50 . . . 58.50 o TELEVISION &VIDEO ALMANAC .. .... @ $55.00 + 3.50 . . . 58.50 Order Both Almanacs as a o Companion Set (BOTH ALMANACS) .. @ $88.00 + 5.00 . . 93.00 Companion set. PAYMENT MUST ACCOMPANY THIS ORDER. [New York residents add sa les tax] MAIL TO: Name' _ _ _ _ _ _ _ _ _ _ _ _~----------------------------------- ( Pleo~ tyoe Of OMI Cl9OflV) Campony ______________________________________________ Qe..,O\"y '.'\"'.'NO COM,ANY,'NC. Street Address - - - - - - - - - - - - - --;;;;:,-;;-::-:-c::-:--:c=::-::..,--,--:----------------- 1 I ( PO So l Nos WIll dela y deliverv) I I City _ _ _ __ _ _ _ _ _ _ State _ _ _ _ _ _ _ Zip code ___________ I 159 WEST 53rd STRE ET . New York. N.Y 10019 I I JL _____________________________________________________ - - - - - - - - - - - - - - - - - - _____________________ I

Body\" (the name of the original Stephen ties. At times River Phoenix, playing a kid the guy whose ex-writing partner on The King short story), but rather in a junkyard. whose father is a wreck, had to deliver Dog-tired, sore, hungry, scared by their lines too weighted with wisdom, but SBM Smother Brothers, Steve Martin, has independence, they are chased out by the explores how one Ieams to accept worth in grizzly proprietor and his snarling dogs. It a friend's eye when, back in the house, made four films with his father to one bit is the image of the adult world in these the lights are on but nobody's home. Or kids' eyes: outside looking in on an Alps of nobody who knows you very well. Ah part Rob got in Where's Poppa? Perhaps junk tended by a corrupted heart. \"I'll rip well, they had the Great Depression; we off your head and shit down your neck,\" get the little ones. It does not take a shrink all this is as it should be~ne should audi- screams one kid at the junkman. It's the to see what Rob saw in the project. line that sticks, like peanut butter, to the tion for any part-the dynamic comes out roof of your mouth. This is, after all, the kid whose sense of humor was discovered by family friend in the son's films, which practically dare The subject here is parents causing Norman Lear; the actor who auditioned their children pain, either through mis- for his father for the lead in Broadway's critics to find a way around \"A Heartfelt deeds, misspent lives, or misplaced priori- Enter Laughing and didn't get the part; Fable for the Whole Family.\" Even Dad. The Princess Bride had a hell of a time being made. William Goldman's script, based on his book, bounced around Holly- wood for a decade and a half, with at least one stop at Norman Jewison's desk, a pingpong tour of the studios, and on bud- gets that went up and down like a binger's calories. Its time has come. Lots of good Garment District shtick puncturing the polite gentile balloons ofa fairy-tale world, with curtsies to Mel Brooks here and there. Everything, even the Dread Pirate Roberts, is a franchise. Like StandBy Me, The Princess Bride has a narrative wrap, this time featuring a kid and his grandpa reading the central story. UnlikeSBM, the wrap is not about trusting the audience. It even pokes fun at itself Rob and I hit the street, and are blinded by the sun. We walk up Fifth Ave. and tell Congratulations to stories. Does he know the creature that the very special people lives in a cave and only comes outfor ice who make possible cream and sex? I stick out my tongue. He knows a major-league pitcher who threw a no-hitter. On acid. Rob wins. Maybe I can come over again. -H.J. Film Comment and I t was hard getting someone to say yes to the New York Film Festival. this 'Bride.' How come? ROB REINER. I read The Princess PUB L c RELA T oN5 Bride when it first came out-I was about 26-and I fell in love with it. One of those A DIVISION OF AC&R/DHB & BESS experiences where you feel someone is 1515 BROADWAY, NEW YORK, NY 10036 212-819-1919 speaking in the same language and has the same sensibility as you have. I read it again a dozen years later and I wondered if that would be a good film. God, I thought, it still holds up, I still like it. I was real naive, I went about trying to find out if anyone ever tried to make it. It turns out there were a million people. For some people, though, the budget was too high. When Norman Jewison was prepar- ing to make it in 1981, he projected $22- 23 million; six years later we made it for $17 million. Other people were afraid no one would understand a film like this. The book is a lot more satirical and harder edged than the film, but it is a tricky film to pull off. .. What did you do? We beefed up the love story. The book 60

staltS with Buttercup and Wesley falling in love, being torn apart; he's been \"killed\" VIDEO MOVIE on the high seas by pirates. Then they re- FINDERS unite and fight to overcome the evil prince. In the screenplay that I read, you We locate and obtain any obscure or STAR didn't know about Wesley and Buttercup hard-to-find films on video tape. PHOTOS until about 50 pages in. It opened with Buttercup being introduced to the crowd, We're expensive, but we're very good. and you didn't know what the back story 5 Searches $5 & SASE One of the world's largest co llections of film was. I felt that the audience would be personality photographs, with emphasis on more involved and have more of a rooting VIDEO FINDERS rare candids and European materiaL Send a P.O. Box4351 , Dept. FC S.A.S.E. with want-list to: interest in Wesley and Buttercup if they Los Angeles, CA 90078 know the guy in black is Wesley. Milton T . Moore, Jr. The film is about a little boy who is sick Dept. Fe in bed and his grandfather comes over to P.O. Box 140280 Dallas, Texas 7521 4-0280 read him a book. And the little boy is resis- tantto~cingh~grandfu~crandtohea~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ing the book read to him. And by the end Samuel French's ofthe film he's brought closer to his grand- father and he is now interested in books. T HEATRE & FILM That's what ~e film is about. Even BOOKSHOPS though the story of The Princess Bride is PlAYS and BOOKS on the taking up 85-90 percent of the running MOTION PICTURE INDUSTRY time, the film is really about that wrap- around 10-15 percent. Because we're not sendfor a copy ofour saying these things are happening-~at a FILM BOOK CATALOGUE containing giant could carry three people up a moun- Business ofFilm • Directories • Screenwriting tain. We're saying that this is in a story- Screenplays • Directing • Cinematography book and that to me is what grounds it. Biographies & Studies ofDirectors • Editing Lighting • Animation • SpecialEffects It also differentiates our film from something Iike/shtar, where the audience Makeup • Acting • more is told that this is something that really happened. I have a hard time believing Order by that two 50-year-old guys, one of whom PHONE: looks like Warten Beatty, are struggling to become songwriters. Because I know who (800) 8-ACT NOW (US) struggles to become a songwriter at age 50. (800) 7-ACT NOW (Calif) They're the guys who drive cabs in New York and say, \"Mr. Reiner, Mr. Reiner I MAIL: could write songs. Listen, listen to this.\" They don't usually get beyond doing what 7623 Sunset Blvd. they're doing. And they don't look like Hollywood, California Warren Beatty. But we're asked to believe that reality in Ishtar, and that's a tough 90046 buy. You have to give the audience a reali- VISA • Me • AMEX ty base somewhere. Then you can go as wild as you want. And that's what I feel When in Los Angeles visit our works with The Princess Bride. 2 locations It is a classic device ofstorytelling. 7623 Sunset Blvd. Yes, we had a narrator in Stand By Me, Hollywood,California 90046 but it's a little bit different. There the nar- rator is the writer of the film we've seen (213) 876-0570 who is recounting his childhood and what led him to become a writer. Ifyou read the Mon.-Fri.10:00-6:00 Sat.11:00-5:00 original story, \"The Body,\" you see it's a character study, and semi-autobiograph- 11963 Ventura Blvd ical. Ray Gideon and Bruce Evans did a Studio City, California 91604 very faithful job transferring it into screen- play form, but there was something lack- (818) 762-0535 ing in focus. There was no real point to it. Then I started thinking, what made Ste- Mon. - Fri. 11 :00-10:00 phen King write this? What happened in Sat. 11 :00-5:00 Sun.12:00-5:00 that two-day trip that led that little boy to eventually become a very successful writ- 61

~ Keillor, who may be the best satirist in the country-he's Mark Twain, this guy. But Mandy Patinkin, Cary Elwes & Andre the Giant: The Princess Bride. either they never heard of Garrison Keillor or they love him. There's no middle er? And that's what I decided to make the No question about it. Spinal Tap was ground. And that's the broad ground TV ' focus of the film. created by the four of us: Mike McKean, wants to hit. Harry Shearer, and Chris Guest. And it's It wasn't so much that I wanted a narra- very much like what they used to do on Would you ever do your dream variety tor. It's that the narrator was best used to Your Show ofShows: just hard-core satire. show instead offilms? tell this particular story. That's the way Of course in Spinal Tap, the satire is finer, you have to work with all films: you find c1os~r to the bone, just ever so slightly tilt- No, I like both. But I don't have any the best way in which to tell that particular ed . On Show ofShows they took really big preference for one or the other. The rea- story. You don't work from the outside in. right turns. son I do film is that they don't let you do You ask yourself: What story do I want to good stuff on television. I'm not saying tell? And what's the best way to tell the But one is no better than the other. It's that films are the greatest thing in the story? To me the story is about a little boy just a different style of approaching it. In world-because for every Ordinary Peo- who's reluctant to see his grandfather, and fact, Show ofShows and, after that, Cae- ple you get a Rambo, or a girl running by the end of the film he is asking his sar's Hour were brilliant, brilliant televi- around with tits. But you can do better grandfather to come back and read it again sion. And I've seen a lot of them, not just work on film; they let you do good work if tomorrow, and the guy says, \"As you the ones they could legally put on cas- you're capable. Artists go where they can wish\"-which says, \"I love you, and of sette. People see Honeymooners episodes best express themselves. I'll go anywhere course I will.\" over and over-and The Honeymooners I can have a free rein and express myself were very funny-but they can't touch I'd much rather do it on television, be- Do you remember your own grandfa- the intelligence and sophistication that cause TV reaches more people. Even a ther? came out of Caesar's Hour. bomb of a television series reaches more people than a film. But they won't let you I don't really remember my grandfather Was yourfather writing them? do it easily. on my mother's side, because he died My father was hired on as an actor, but when I was two. But I do remember my he was let in on all the writing sessions and It's not that easy in film either, where grandfather on my father's side quite well. was a major contributor. They had the everything has to sell to payoffthe cost of He was an inventor; he developed a clock greatest writers in the world, I mean, Mel the production. So you don't get great in- that could keep perfect time for a hundred Brooks, Neil Simon, Larry Gelbart, Joe novative risks being taken. years. Hard to market a clock like that. I Stein, Mel Tolkin. Woody Allen eventu- didn't have experiences with him like the ally wrote a little bit for them. The great- It costs a lot to put a film out. Even if boy in The Princess Bride. But I do have est comedy writers in the world just hap- you make a film for $4-5 million, it's wonderful memories of my mother's pened to come together. gonna cost you up to $10 or more. There's brother Eddie. Every Sunday morning, in Do you miss not having that in Holly- no real small investment. That's what the Bronx, my sister and I would wake up wood now? makes it tricky. But there are always a few bursting with excitement because we I sure do. I've always wanted to do a good things that filter through, no matter were going to have breakfast with Uncle comedy variety show, just to prove it can what. Nobody wanted Stand By Me. We Eddie. Aunt Sylvia would make us these be done. In fact, I had one called The TV were lucky to get it made, and we were great pancakes and Eddie would tell us Show, which was like SCTV, satire ofvar- lucky to get it picked up by a studio. No- these stories. And what was great about ious things on television. But I don't know body wanted it. them was that we'd be in the stories. ifbroad, broad audiences really get satire. I mean, how many people love Gary Lar- This is chicken-and-egg: Nobody makes Spinal Tap seemed much more like son? How many people love Garrison the \"good stuff\" because the public won't something your father might have done, come. Ofcourse, they don't come because only 30 years later. there isn't enough \"good stuff' to create an appetite for it. Here's my theory. There are four cate- gories of film: garbage-y films that make shitloads of money; garbage-y films that make no money; really good, classy films that make shitloads of money; and really good, classy films that are disasters at the box office. Nobody has proven to me that, if you set out to make only good, intelli- gent, classy movies, you couldn't make a lot of money. I believe you can. I believe that some of the movies you make will be successes and some will be failures, just as some of the blockbuster or garbage-y types are successes and failures. Ultimate- ly you will turn .a profit. And what you will also have done is not litter the screens and people's minds with this garbage. Say I'm a studio head, and I set out to make just good films and I made Room with A View, Trip to Bountiful, Tender 62

AMERICA'S CONTROVERSIAL CULT FILM MAGAZIN, ,.E· FILM THREAT is not packed with Holl . ood . press releases but jammed with articles a out underground and cult films. All the writers are filmmakers so their experience of the medium is better than some critiquing, pre.tentious, bore. . Recent issues have contained; John Waters • Kenneth Anger ~'\\ Charles Bukowski • Sam Raimi ' Terry Gilliam • John Hinckley. Harlan Ellison • Lydia Lu H Richard Kern • Nick Ze~ . Emile de Antonio • Alex ·Cox.·.... ~ Alan Moore • Jello Biafta Nicholas Roeg • Christian .GQre- . Rosa Von Praunheim ~ \" , .' '- 0 ~ -. . ..._.~'..\" . . . ..,~-.,--~ .~.~ . - . ~ .. . .' Send $3 .50 for a sample copy or $15 for a one year, \" six issue special introductory subscription , \"...the magazine for the jaded moviegoer.\" , . Mail to : FILM THREAT C .S. Jones P.O. BOX 951, ROYAL OAK, MI 48068 USA \"Film for the BLANK generation. \" NAME ___________________________ Lee Clayton ADDRESS ________________________ C I T Y - - - - - - - - - - -_ _ __ \"Film is the only medium left to destroy, STATE _____________ ZIP._ _ _ __ and they're doing it!\" Sam Right

YMercies, Stand By Me, Chariots of Fire, ourfilms are often described as \"per- is joyous and happy and wondrous.\" And I sonal.\" They quest rather than com- would say, \"Yes, it is at at times, but for and I don't know, Stranger Than Para- me personally most of the time it is a vale dise. That's my slate, I wind up with a ment. Do you think that s what differenti- of tears and all those other cliches.\" Stand By Me, that's going to gross close to ates you from yourfather? Like when you got divorced? Those things are rude awakenings for $75 million worldwide, and Room With a It's not that he isn't interested in those you. You could go a long time feeling fine and then something really painful will View , that's $68 million, and I don't know problems, it's just that our minds run in happen to you and it changes the way you think about it. It doesn't make life any less how Chariots ofFire has done worldwide different modes. My father is a performer precious or any less interesting-even through the pain it's fascinating-but it and I have these other films that didn't do at heart. He loves to make an audience definitely changes how you perceive things. I'm wary of people who have terri- as well, but they' re all decent films, laugh. He gets a tremendous thrill out of ble tragedies happen to them and bounce back immediately. Part of living life is ac- they're not polluting anybody's mind. You performing. He really thrives on it. I get a cepting the pain. A quest is a good thing, because in the may like them ordislike them, but there's kick outofit too, bl!t not the way he does. last eight years that's what I've been going through, it has been defining something: nothing that's excessive violence, that's I'm trying to find ways to like myself I'm me mostly. But also defining love. And maybe if I ever get to a point where I'm not thoughtful, that doesn' t have some- struggling my fucking ass off to try to feel happy and content, I'll make some other kind of film. I don't know. thing to say, that isn't about something. good about myself. If you're doing that, I've also resisted doing films that don't have some comedy in them. Stand by Me You'd be very, very successful. you make these films that have these does have less comedy than the others, and it is more reflective of me. I'm closer Why is that a disrespectable position to quests. Ten years from now, there may be to it. At times, making The Princess Bride, take ifyou're a studio executive? I felt I wasn't really going in the direction I other thiflgs I'm thinking about. It's true, wanted. I thought I should be going in the Stand by Me direction. But I had commit- Because everyone is looking for the real though: The Sure Thing , and StandBy Me, ted to the picture, and I always live up to my commitments. I was cursing when I home run-the Beverly Hills Cop or and The Princess Bride-there is me in was making it, because making any film is very painful work, physically taxing, and Ghostbusters. And none of those pictures there, no question about it. no matter how much I love the film at the start, I wind up hating it because it's caus- do that kind of business. They're more in- Even in The Princess Bride, you use a ing me such physical and emotional pain. And I say God damn this thing. But now terested in finding the $200-300 million line about masks to refer to some fairly I'm so proud and grateful that I made it. And it may be that now I'm starting to ac- film. But you know what David Picker dark feelings. cept the comedy parts of it that came from my father. said: If I had made all the films I had There was a line that said: \"Who says If this is also hard-apart from spend- passed on, and passed on all the films I life is fair? Life isn' t fair. It's just fairer than ing the money-how do you get up each made, I'd pretty much end up the same as death.\" And my feeling was, I don't know day, go out on the set, and present yourself as in charge? I am now. Well, if that is so, and I believe that. I do believe that life is pain-mostly I'm not great at anything, but I'm real it to be so, why not make just good films? pain, with a lot of moments ofjoy and hap- good at a lot of things. I'm a pretty good actor, a pretty good writer, I have pretty Make good films. So you fail at half of piness here and there. But that's my per- good music abilities, pretty good visual and color and costume sense. I'm not great them. You're gonna fail at half anyway ception, and someone else might say, at any of these things, but as a director I have the opportunity to utilize all these with the rotten films you make. \"You're just a morose asshole. I think life things in one job. Which is why I like do- ing it. I don't like having to act like an au- Happy Anniversary! thority figure all the time, which is what you have to do. Luckily for me, I'm smart MIS BILLINGS PUBLICITY, LTD. enough to pick people who are tolerant of me, because I do have moods and I do get 250 West 57th Street, New York, New York 10107 (212) 581-4493 depressed a lot. They know I'm not evil and mean; I'm just struggling with myself. I pick people who are creative and gentle 64

- and are willing to struggle along with me a pressing but true: that people's attention struggle to differentiate yourselffrom him. little bit ifI'm not exactly sure. People say it's a real sin for a director to ever admit he spans are so short, you have to do every- And it's true. doesn't know what he wants. But I'm as confused as the next guy. thing for them. We're getting images that Men ofthat generation tended not to be The director is the one guy on the pic- don't stay with us. With MTV they don't introspective. They didn't lookfor motive, ture that is worse at what everybody else does. The guy who yells focus, the guy stay with you. I try to give them some- or look inside. who lights, the editor, the production de- signer-they all do their jobs better than I thing that will stay with them a little bit. I I think my father has, though not nearly do. The one thing I need to have is an overview. IfI have in my mind what is the had a great experience recently. This guy to the extent that I have. Different gen- film about, what is the specific vision of the film, that's all I really need to know. walked up to me and said, \"I just want to erations face different challenges. The They say, \"How do you make a statue of an elephant? You cut away everything that tell you that you and your father have giv- generation just prior to my father's genera- isn't an elephant. \" That's all I have to be able to do. en me 35 years of pleasure, and I just want tion were the immigrants. Just to survive How about working with actors? to thank you.\" And, for the first time, I let was their thing, to get a foothold in Amer- Actors I have it easy with, because I know what they go through. I know how it in. Something has happened to this guy; ica. And the next generation, my father's, embarrassed and naked they feel, so I know how to make them feel comfort- because of my existence on this planet this was to be successful and make money so able. I try to let the staging of the actors dictate where the camera goes rather than guy feels a little bit better. You have x that their children would never want for the camera dictate where the actors go. There's nothing more difficult than to be amount of days on this planet, and if the money and food and clothing they making arbitrary moves that don't connect with what you're doing. you've given someone more pleasure than wanted for. And I think our job is to give How do you tread the line between en- ticing an audience and then showing them he would have gotten, wow, what a thing our children what we never got-more of things about themselves they may not want to see? to be able to do! It's pretty fucking great. an emotional foundation, a little more We spend so much time in our business creating images, trying to get people to emotional support. That's a much more like these things. Obviously, there so how come nobody ever asks you difficult job. wouldn't be Madison Avenue if the world about your mother? How does that jibe with making movies didn't buy into fantasies-we'd buy into perceptions. But I think there is an audi- Well, obviously, they never ask me for the marketplace? ence out there that likes to be told more how things are. I don't think you can give about my mother because of who my fa- The hippies, the political unrest, the them the harsh realities-people have much too tough a time with that-but you ther is. sexual revolution, and the women's can get closer to the bone than a lot offilms do. It's a lot of people's idea that you can't Can you tell the parts of you that are movement of the sixties were all about even remotely get to the bone. Stand By Me gets pretty close; we heightened it your mother? self-realization. The generation before slightly-with the leeches-but not very much. You can get close to the bone and Sure. She's a great musical person; didn't have the time to do that, they need- still make it something the audience wants. she's an artist. She's very smart and very ed to make a living. It didn't matter Do you think there are fantasies that sensitive, a talented person. I've got a lot whether you liked it or not, you got a job. shouldn't be put on the screen? of her in me. But they always ask about Now we value doing the thing that you No. If something is done in the right context, and there's a real point of view my dad because he's more visible. love, that you were meant to do. And to do behind it, and it's there not just to shock or excite, then no. I think anything can be And there is always the assumption of that, you really have to know yourself ~ done as long as there's a viewpoint. Iob- ject to showing images for shock, or trying ON THE OCCASION OF IT's 10th ANNIVERSARY to jerk the audience around. The really good work is when we manipulate less, N T ERN A T o N A L and let the moviegoer make more of an in- vestment himself. SALUTES I read something in Omni which is de- THE NEW YORK FILM FESTIVAL ON IT's 25th 35 YEARS OF GREAT FILMS KINO INTERNATIONAL CORPORATION 333 West 39th St. New York, New York 10018 Tel: (212) 629-6880 Telex 221190 65

The Brothers M-K by Karen Jaehne Dark Eyes: Mother Russia or LA-La land? pression, in either East or West. An actor L umiere, Marx, Coen, Taviani- once or twice a year,\" adds Konchalovsky, from Maria's Lovers tells the tale of Men- the brotherhoods of film history \"on a tourist visa.\" who offer schizoid examples of au- achem Golan invading the set during the Is there any enmity between Koncha- shooting of Keith Carradine singing his teurism. The question always looms, lovsky and the state? To this uncomfort- ballad alone on a stool isolated in a vast bar- \"How do they work together?\" But not ably direct question, he offers an unusual- room. \"Close-ups! Close-ups! Action! Ac- ly frank answer. \"There is definitely a tion! cried Golan, \"Dot's how ve do it in since Herman and Joseph Mankiewicz friction between the situation I am in and the situation they would like to see me the Vest!\" A stomp and a geschrei later, have we marveled because they do not in.\" What kind of situation would that be? \"A situation,\" he continues, \"where I Golan left, and Konchalovsky simply con- work together. That's the rub with Andrei would be less independent. They'd like tinued as before with his simple, lyrical me to work in the Soviet film industry, I nesKonchalovsky and Nikita Mikhalkov, would say. But up to now, it's been very mise en scene. difficult for me to work in Soviet films or in the Brothers Mikhalkov-Konchalovsky. their co-productions. They think of me Compare that to the short leash, if not These nice boys from an aristocratic Rus- like a piece of pie fallen on the ftoor.\" muzzle, put on Mikhalkov about the same sian family working on opposite sides of the political track met up at Cannes this No definite \"kersplat\" took place. Kon- time. While Oblomov was still a matter of year, and inquiring minds immediately chalovsky rather worked his way west, wanted to know why, as regards their beginning in the United States with an some dispute back home in Moscow (for Mother Russia, one clings but the other almost unknown half-hour film for The its sympathetic portrayal of the officially doesn' t. Learning Corporation of America called intolerable \"superfluous man\" theme), Mikhalkov visited an illustrious leftist cin- Back in the USSR Konchalovsky, direc- The Learning Tree, about a boy's struggle ematheque in West Berlin to unveil his work. Accompanied by two no-neck of- tor of Maria's Lovers, Runaway Train, against his farmer-father to learn to read ficials, Mikhalkov was restrained from and now Shy People, was almost as well and write, a tale as much at home on the \"close-up\" interviews or too much action. steppes as in the South. At his press conference he spoke, but he known a director as his brother still is an spoke carefully-unlike his brother, actor/director. Nikita Mikhalkov is the Konchalovsky does not consider him- whose silent slipping away had made Robert Redford of Russia and can afford, self an emigre. \"I would like to go back many people more nervous than raised despite his distinction as a director, to play right away,\" he says, \"and do a film about vOices. the life of Rachmaninoff, but the situation roles such as the decaden t lover in ACruel is that 1 will only go on my own terms. I Konchalovsky's Southem Californian don't want to make compromises. 1would style of success is, like his sunglasses, a Romance, in which he gives the film a like to make my own choices about what screen for the apparent struggle within. kind of films I make anywhere in the His frequent voicing to the intemational jump-start by galloping in on a white horse world. \" press a desire to make a film unencum- with his own white cape billowing in a bered in the USSR raises a challenge to the cloud around his white uniform, cutting a One characteristic these brothers share daredevil profile. Of course, they drop is a reluctance to discuss episodes of re- bearers of the glasnost standard. They're their babushkas. not exactly singing, \"Won't you come At Cannes, these roles seem reversed as home, Bill Bailey,\" and he is the brother the sober Nikita sits quietly next to An- of the man who vociferously defended the drei, who is sporting aviator glasses and a photo-op smile. Although Nikita would ancien regime against the tide that swept appear to be the elder statesman here- he, after all, was involved in the struggles Klimov into power. that took place when Elim Klimov wrest- ed control of the Filmmakers Union in F rom the ideological aerie of Mosfilm 1986-Andrei is the first to offer a political Studios, Konchalovsky has descended analysis of their respective artistic stations. into the Capitalist pits and devoured the lions, but not without incurring some \"I simply live out of our country,\" de- wounds from the claws of Materialism. clares Konchalovsky. \"I never did get per- Still, his value to them as a filmmaker of mission. I left Russia as a private citizen to movies that will be recognized on Oscar make films.\" His French wife, sitting be- night-from Peoria to Petrograd (whoops! tween the brothers to provide constant Leningrad)-is seldom understood by translation for Nikita, provides furtherevi- westerners as an example of national pride dence of his reason for staying abroad. embracing its own rather than national \"We live in France, Califomia, New embarrassment at Konchalovsky's cold York,\" she says, smiling at the obvious- shoulder amid a Cold War. What he can ness of their situation, \"anywhere where do for Cannon, they figure, he can well do Andrei is making films.\" Quite clearly, he for Sovexport. And he is signaling that the is not making films in the Soviet Union. apparatchik don't need to go through his They don't live there. \"But I visit Russia agent. 66



Several years after it was made, the Russia next, but it is a Russian subject, gurated in Moscow in the past year, and 1979 Siberiade, an epic vision of the Rev- and I will know in advance to whom I am the film business is a private language, olutionary Agenda of Change among responsible. Or I can shoot another film Mikhalkov asserts, \"understood only by recalcitrant Russian peasants, became outside of Russia. Or I can even make a initiates,\" adds Konchalovsky, as if Konchalovsky's calling card to Westem film in Russia on the money supplied by they've had this exchange before. Their producers. It's a kind of Siberian Gone another country. But I will not be part of a silent simultaneous laugh bridges the dis- with the Wind that kept Hollywood tushes co-production. \" tance one imagines between the brother from twitching only because it boasts sub- who has swung with Shirley MacLaine titles and politics too obscure to exact any- Is it difficult for a Russian director these and the brother who stands stalwart and thing more than a sage nodding of the days to shoot in Russia? Both Mikhalkov firm against radicalism. head. Voila, Konchalovsky in Hollywood! and Konchalovsky show irritation at this But his younger (by ten years) brother Ni- question; they've clearly never gone beg- \"The most important thing is not free- kita, who starred in the movie, was over- ging. \"It is always difficult to shoot a mov- dom,\" says Mikhalkov, \"but the ability to looked--or, at least, took no curtain calls. ie,\" says Mikhalkov instructively, \"a good make a film so that, even if your name is Five years later, producer Jon Gordon one as much as a bad one. The important cut off, your style is identifiable, even if would retum from multiple trips to the So- choice is which kind you're going to make you don't know the title.\" viet Union, swaggering about his \"discov- and then take the appropriate measures. ery.\" \"I want him to make the Isadora Co-production is not the right path. The \"Movies are not only related to mon- Duncan story with Meryl Streep. situation is changing now, but not because ey,\" advises Konchalovsky, \"but also to I have made a movie abroad. It is far more power. Nikita and I disagree, but I speak \"There's a guy over there,\" said Gor- complex. Half of my movie was shot in- as someone who didn't work for three don, \"who can direct one hell of a movie. I side Russia, but it is entirely Italian years.-by choice. I always had my ticket bet you've never heard of him!\" Wrong financed. back home. But it was very difficult work again, but Mikhalkov's reputation has penetrating American filmmaking. Do been carved on the film festival circuit, not \"Its pockets may be full of lire, but its you know how many foreign directors in the Polo Lounge, where each new film heart is pure Russian,\" says Mikhalkov. come to the United States every year try- arrests the attention of critics interested in \"My only problem is that each of my films ing to work their way in? It takes a certain this successor to Chekhov. Mikhalkov's grows out of the previous one, no matter amount of stubbomness and determina- Dark Eyes won Marcello Mastroianni a whose money I am using. I don't see my tion. And humility. Best Actor prize at Cannes and was gener- work as different movies but just one sin- ally agreed to be the best picture in com- gle movie with different by-paths. Even \"I thought I had already paid my dues. I petition, even by jury president Yves though I shot this movie In Italy, I can't have been in the film business 30 years, Montand, but it was Mikhalkov's first of- say I have done anything in it that I could and I thought I could go to America and do ficial Cannes outing, and a Palme d'Or not do inside Russia. whatever I wanted to do. Then I had to would have been premature perhaps. Any start from scratch.\" overt hustle from the West might be pre- \"I do not want to see myself divided mature for the restrained , thoughtful Mik- into the Mikhalkov in Russia and the Mik- This confession in English is clearly un- halkov. That he would ever be happily halkov abroad, as if I had two periods. I derstood by Mikhalkov, whose English embraced in Hollywood seems to depend wouldn't want to change. I'm not saying rarely reveals itself. Nikita smiles wryly, as more on his ability to disentangle himself that because I think I'm so good, but I Chekhov might, at his big brother's naive- from Soviet film politics and less on an of- wouldn't want some exterior reason deter- te. He leans back on two legs of the chair fer he can't refuse. mining changes in me. There is an old and slaps his brother on the back, craning Russian saying that if the actions and ideas his neck around to marvel yet again at the \"I am not involved,\" Konchalovsky of a man are not bom inside himself but particular color of blue shining off the told a group of reporters, \"in any co-pro- come from outside his own heart, he be- Mediterranean on this day. duction discussions, nor is my brother. Ni- comes a slave and loses his courage. \" kita's first film abroad has given him the \"That's a very difficult color to get on opportunity to get exposed to the Westem What about the changes going on at film,\" he remarks, \"so that it looks right. film industry, and his film is ... uh ...\" home? Are those only extemal? \"The That's the measure of a filmmaker. Do Konchalovsky's eyes shift nervously back most significant effect of the new spirit,\" you know when blue is too blue, no matter and forth, then rest on his brother. \"He explains Mikhalkov, \"is that films are what continent you're on?\" will speak about it himself,\" concludes the coming off the shelf. Not all of them are big brother, backing off. good films, you must understand. It's like To Mikhalkov, tone and irony is every- an amnesty. Both good people and crimi- thing. Konchalovsky seems to have al- \"I do not want to take part in any co- nals go free. Some of these films are cri- lowed that sophistication to be eclipsed by productions,\" announced Mikhalkov. \"I minally bad.\" the kind of savage insight that made him do not want to have two masters to feed.\" direct Jill Clayburgh being chased across (Here his choice ofwords is not accidental- As Mikhalkov loosens up, he specu- the bayou by an alligator. Which made the ly unidiomatic.) \"Dark Eyes, for example, lates on the star system, noting that it ex- audience cheer on the alligator. is an Italian movie, not a co-production. ists, too, in Russia, without confessing The Russians were helpful in many ways, that he is part of it. \"This new system is \"I remember not so long ago in Holly- but I went through a different process to bringing in new stars, too, of every sort. wood some producer saying to me, 'Oh make this one. My screenplay had to be The danger is in believing that it's all just yeah, you're from Turkey. Somebody translated, my films had to be shown. now beginning, as ifwhat went before was told me about you.' You suddenly realize Then they said this is okay, this is not not also history. We forget that we also had you're not at all what you think you are.\" okay. And I proceeded, step by step. a history before November 1917.\" America is Konchalovsky's opportunity \"I want and am ready to shoot a film in Prizes like the Oscars have been inau- to find out who he is. Glasrwst has pre- sented Mikhalkov the rare chance to be more-revolutionary-than-thou by staying home and being Nikita Mikhalkov-Kon- chalovsky more than ever. ~ 68

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Rosie' London Britches Falling Down Sammy and Rosie Get Laid: Sammy (Ayub Khan Din) helps Anna (Wendy Gazelle) with her accounts. L ast year the U.S. anhouse theatres move into films (he plans to collaborate mainstream British culture, and the pre- were taken by storm by a small, low regularly with director Stephen Frears) al- vailing, TV-derived docu-drama realism budget film about Pakistani immi- though apparently Kureishi's real aim is to that has dominated British cinema since grants making good in Thatcher's Britain, be a novelist. His latest film is Sammy and the Sixties. Casting themselves as low- Rosie Get Laid, which Kureishi, with cus- budget renegades (Frears has stated that My Beautiful Laundrette. That film was tomary bluntness, has described as his and they could have had a higher budget on Frears' declaration of war against Thatch- Sammy, but preferred the paradoxic free- written by 31 year old Hanif Kureishi, a erism in England. dom of a smaller financial commitment) British-born Pakistani playwright who had they have concocted a penthouse-and- built a reputation for leftist provocations The surrealism latent in Laundrette is pavement critique of the New Britain. It is and cheeky wit at the Royal Coun The- now made manifest in the new work, and this that places them on the cutting edge atre, where he set himself up as resident is seen by Kureishi and Frears as pan of of the new British cinema-ironically, by iconoclast and subvener of middlebrow their aesthetic strategy for confronting good taste. It seemed a logical step to 70

going back to the stylistic and the matic concerns (chiefly class and sexuality) of Michael Powell and Emeric Pressburger, whose stylized fli ghts of imagination stand out amid the dreary staginess of Forties English film . What Kureishi adds to this is his Brit- Pakistani cultural voice . He surveys the landscape of sexual politics, class, and ra- cial conflict with a flinty, satiric eye: build- ing upon the homosexual cheekiness of Laundrette, Kureishi here peers into the sexy give and take between Sammy and Rosie, to end up with some knee-to-groin social criticism guaranteed to upset all ad- vocates of good taste. Kureishi is, from his ostensibly marginal position in British cul- ture, ideally-placed to be pointman for the return of the (socially) repressed. We are pleased to excerpt three sec- tions from Kureishi's screenplay for Sam- my and Rosie Get Laid, due for stateside release at the end of October. 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the yard. The DOG goes berserk. Rafi (Shashi Kapoor) and Sammy (Ayub Khan Din): fast food and firebombs. CUT TO: don Heathrow and will be landing short- a moment and we hold on her face. We ly. ... The temperature in London is. . . hear SAMMY'S VOICEOVER: Police breaking into the front of the house. INT ANNA'S STUDIO-DAY SAMMY (VOICEOVER): There's two things my main squeeze Rosie doesn't be- CUT TO: SAMMY and ANNA are in bed. ANNA lieve in. Getting the dinner on and sexual laughs as SAMMY tries to get up, against fidelity. She says jealousy is wickeder than At the tied-offsection ofthe street, DAN- her wishes. adultery. NY presses against the tape, looking anx- iously toward the house. SAMMY: As your accountant, Anna, I CUT TO: think we should look for some off-shore CUT TO: investments for you. PAUSE. Now I gotta ROSIE pushes open the door of the old go, baby. Meet someone at the airport. man's bathroom. In the kitchen MICHAEL sees the police coming over the wall. He stands up and ANNA: You'll get pimples on your SAMMY (VOICEOVER): Rosie sits down, then runs to the door of the tongue for telling lies. You mean your doesn't want to possess anyone. If she kitchen. This door leads to a hall. wife's got the dinner on and you gotta get could see us now doing your accounts home. she'd feel so unpossessive she'd open a CUT TO: bottle of champagne. SAMMY: My wife. It's funny, Anna. DANNY, at the tape, takes out a knife The more Rosie hears about you, the EXT. HEATHROW AIRPORT-DAY and cuts through the tape. People surge more she's knocked out by you. forward IWW past the police. Surrounded by suitcases, RAFI stands ANNA (PULLING HIS OUT- waitingfor his son SAMMY outside the air- CUT TO: STRETCHED TONGUE): That's another port terminal. He is getting very impatient. one-right there. Finally he waves at the nearest cab and The WOMAN'S HALL is full of police. picks up his suitcases. They are trying to grab MICHAEL. The SAMMY: She's especially intrigued woman runs screaming into the hall. She and totally knocked out by you having a INT ANNA'S STUDIO-DAY carries the chip pan. She hurls it at the po- lice, spraying them with boiling fat. \"w\" tattooed on each buttock. Rosie SAMMY lies there, greedily cracking an- other beer. Meanwhile ANNA has got up A young hysterical cop at the end ofthe wants to know if it's some kind of New and is adjusting photographic screens hall, frightened and confused, blasts two York code. around the bed. bullets into the woman's body. Screaming, she falls to the ground. ANNA: You know what it is, you SAMMY: I haven't seen myoid man couch potato. It's just so that ifI bend over for five years. When he was young and CUT TO: it spells \"wow\"! poor he lived in England. Then he went home to get powerful. He dumped me Outside, DANNY reaches the house. He INT COUNCIL FLAT-DAY with my mother when they split up. He hears the SHOTS. There is chaos. never wanted me. He left me here. I think ROSIE, beautiful and well-dressed, I must have been the result ofa premature CUT TO: about 30, a social worker, walks through ejaculation. an old man's filthy, falling-down council CREDITS. fiat. There are many photographs of his EXT. AIRPORT-DAY children and grandchildren. ROSIE looks INT ANNA'S STUDIO-DAY for him. RAFI gets into the cab. The cab drives away. The CABBIE is an ASIAN MAN in a A WHITE WOMAN'S ARSE FILLS THE ROSIE: Mr. Weaver, Mr. Weaver! It's brown suit. One eye is bandaged and part Rosie Hobbs! SCREEN. She has a \"W\" tattooed on each buttock. Behind it the sound ofa man and She sits down in the middle ofthe room woman in bed together. The woman is on top ofthe man. They are not copulating but playing. Numerous official papers are spread everywhere. SAMMY tries to write something down but ANNA bites him. She is American. SAMMY, a Pakistani in his late 20's, wears an open black shirt. We are in ANNA'S PHOTOGRAPHY STUDIO. It is a huge room in a converted warehouse, rather like a New York loft. Video and photographic equipment. Also many Indian things: fabrics, carvings, carpets, pictures ofplump gurus, etc. On the table next to them is a cat. Through the open window trees are visible and the sounds ofkids playing. The sound ofan AIRPLANE. INT AIRPLANE-DAY CROSS FADE onto each BUTTOCK of the swaying arse to TWO SEATS in the plane. One is empty. In the other sits RAFI, a suave old man with an angelicface . He is always exquisitely dressed in English suits. RAFI takes a large sherbet out of a paper bag and pops it into his mouth, suck- ing contentedly, with white sherbet on the end ofhis nose. The captain addresses the passengers: \"We are approaching Lon- 72

of his skull has been smashed in. RAFI a FESTIVAL *jf doesn't notice. * * of FILM BO*OKS * SAMMY (VOICEOVER): Rosie and I visited him there. He's a great patriarch FROM DA CAPO PRESS and a little king, surrounded by servants. STAGE TO SCREEN CINEMA IN CUTTO: REVOLUTION Theatrical Origins of Early Film: In the studio ANNA is ready to photo- David Garrick to D. W. Griffith The Heroic Era of the graph SAMMY. Soviet Film \"His book is of permanent value and has ANNA: You worship him, don't you? Edited by Luda and Jean Schnitzer and Does he have any other kids from his other been acclaimed internationally as the basic Marcel Martin wife? work on the relations between early film This splendid collection brings together SAMMY: Not really. Only daughters. and other arts. No thorough study of writings by Eisenstein, Pudovkin, Dov- They laugh. zhenko, Vertov, A1exandrov, Gabrilovitch, SAMMY: Give me a comb, will ya, American films between 1895 and 1915 can and others who describe the new techniques Anna? be attempted without consulting this fun- of montage, documentary, unstudied act- INT. COUNCIL FLAT-DAY ing-the debuts of a revolutionary art. SAMMY (VOICEOVER): Anna, he's damental book.\" -Jay Leyda 208 pp., 86 photos/ $9.95 paperback got to see me at my best tonight-plenty of dough, decent flat, Rosie not looking 358 pp., 46 illus.l$12.95 paperback Available at bookstores or directly too tired. from ROSIE has pushed the bathroom door. ENCOUNTERING She goes into the bathroom. The walls are DIRECTORS DA CAPO PRESS 233 Spring St. peeling. Water drips from the walls. The OLD MAN is dead in the bath, his thin by Charles Thomas Samuels New York, NY 10013-1578 body under the water. His head isjaundice yellow. The water steams. She stares at New introduction by Stanley Kauffmann him and pulls out the plug, accidentally touching his leg. \"His penetrating mind and thorough INT. /EXT. CAB, LONDON-DUSK RAFI in the cab is well into London, knowledge of each director's work have heading toward the grimmer stretches of South London. produced a unique book of lasting value.\" RAFI (TO CABBIE): For me England is hot buttered toast on a fork in front of an (8Y2 x II) -Stanley Kauffmann open fire. And cunty fingers. The cab stops in traffic. RAFI pulls 256 pp., 183 illus.l$14.95 paperback down the window and sticks his old gray head out. The cab accelerates. Above RAFI and around him, he sees criss- crossed motorways, flyovers , huge direc- tion indicators, and a swirl offast-moving traffic, dreamlike, noisy, strange. We see it through his eyes as iffor the first time. This isn't the England he remembers. WHAT A RIOT INT ROSIE'S STUDY-NIGHT. RAFI lies in bed in the half-lit room. He's asleep, having a nightmare. He cries out and then awakes. INT LIVING ROOM-NIGHT. SAMMY is swigging a beer. An unnatu- rally large half-eaten hamburger and milkshake are on the table next to an open porn magazine. SAMMY'S trousers are round his ankles. He's listening to a CD of something loud and noble-Shostako- vitch,for example. With halfa straw stuck up his nose, he leans over a line of coke he's laid out on the glass-topped table. Now RAFI is at the door. He yells but cannot be heard above the music, and 73

ThinJdng SAMMY sits with his back to him, having snorted the coke, bitten into the giant ham- Pictures: burger, and eagerly turned over a page of the magazine. The Making of the Movie Matewan Disturbed, SAMMY turns to see, over John Sayles the back of the sofa, his father gesticulat- ing at him. Determinedly, RAFI goes to the John Sayks (Return of the Secaucus Seven, The door ofthe flat, picking up his overcoat as Brother from Another Planet) knows movie-making he goes. SAMMY stands up, trousers round from the ground up, and his account of the making his ankles, and falls over, the rest of his of Matewan illuminates the creative and technical coke flying everywhere. He could try to choices that lie behind this and every movie. With a snort it out ofthe carpet. novelist's eye and ear, Sayles captures for film buffs and professionals alike the complex magic of story- GUT TO: telling on film. Included are chapters on screenwrit- ing, directing, editing, and more; sketches, photos, SAMMY stands at the top of the stairs, and the entire shooting script accompany the text. pulling up his trousers as RAFI runs down- stairs . Of Thinking in Pictures, Studs Terkel says, \"John Sayles is in a class by himself. No film-maker or novel- SAMMY (YELLS AFTER HIM): ist touches him in the art of creating the community as hero.\" Haven't you got jet lag, Dad? RAFI: I have seen wars, you know! For Visa or MasterCard orders, $19.95 (cloth ) $9.95 (paper) SAMMY: Don't go out there, Dad! call our toll-free number: 1-800-225-3362. ~ Houghton Mifflin Company EXT. STREET-NIGHT. 2 Park Street Boston , Massachusetts 02108 RAFI is now in the street and headingfull tilt toward the riot area. SAMMYcomes out LICENSE TO THRILL! of the house, hamburger and shake in hand, and down the street cifter him. • 200 dynamic photos, more than half in color There is much more running about in the street. The street is covered with de- • Synopses, casts, credits for every bris. RAFI stops by the car that ROSIE saw Bond film in flames . It is burnt out now, but little flames unnaturally flicker all over it. • Special sections on 007's women, colleagues, adversaries, gadgets RAFI: My God, I can't understand it, and weaponry. why ever do you live here? SAMMY: It's cosmopolitan, Pop. And • Includes material on the latest blockbuster, The Living Daylights. cheap. Come on. Let's go, eh? Please. RAFI: No, I want to see this. r - - - - - - _ [Q~N PUBLlSHERSl!iI _ - - - - - - RAFI pulls away from him. A young The Official James I CROWN PUBLISHERS, INC., Dept 690 I Bond.007 Mov\"le Book I 34 Engelhard Ave., Avenel, N.J. 07001 black man comes out ofhis house and runs Special 25th I down the streetpursued by hisfather, who Please send me THE OFFICIAL JAMES BOND 007 MOVIE is trying to stop him going out. His mother I BOOK. I enclose S14.95 plus S1.50 postage and handling . I stands at the door. Father and son strug- Anniversa!y Edition I g~~on;~~f(~~g~~~~~~~~~ order. OR charge my gle. by Sally Hibben I I 0 VISA 0 MasterCard 0 Amex I SAMMY: Leonardo Da Vinci would Foreword by I# Date Exp . I have lived in the inner city. RAFI: You know that for certain, do Cubby Broccoli I Signature I you? 8W'x11W' S14 .95. nowat I Name I SAMMY: Yes, because the city is a your bookstore. or use I Address _ _ _ _ _ _ _ _ _ _ _ _ _ __ mass of fascination. . ._cou_pon_to_ord_er._ _ _ _ L _Ci_ty ______S_tat_e ___ - - -Zip- - - - - - - I Now we see RANI , VIVIA, EVA, ~ MARGY, BRIDGET, (ROSIE'S radical feministfriends), taking care ofeach other, watching the riot. RANI screams abuse at the violence of the police in dealing with the people. MARGY is disgusted with the violence ofthe entire thing and by the sym- pathy ofthe other womenfor the rioters. MARGY: But it's just men, men, be- ing men! EVA is sympathetic to the rioters and carries an iron bar threateningly. Sudden- ly, a brick comes from somewhere and smashes VIVIA in the side ofher head. She goes down. The women gather round her. They pick her up and rush her away as a phalanx ofpolice with riot shields make to- 74



Rosie (Francis Barber) and Danny (Roland Gift) aftergetting laid . .. ward them. EVA throws her iron bar at the the distance we see the backs of a line of RAFI: One of my main purposes in police. police, as they charge the screaming mob. coming here is to transfer that money to SAMMY is more concerned about the car your account. As SAMMY and RAFI flee , we see in- and he kicks it wildly. CUT TO: jured people lying in the rubble, some at- SAMMY: For fuck's fucking fuck Now they are in the comparative silence tended by friends and ambulance people. sake, fuck it! ofthe stone hallway. A young white man squats under a hedge RAFI: You can have the money pro- crying. RAFI: Boy, didn't they teach you vided you buy yourself a house in a part of more than one word at the school I paid England that hasn't been twinned with SAMMY: Rosie says- through the arse for you to attend? Beirut! Is there anywhere like that left? I RAFI: What does the great Rosie say? would also like some grandchildren. SAMMY: Rosie says these revolts are SAMMY: But this is my fucking car! Please. There is money for them, too. an affirmation of the human spirit. A kind RAFI: Surely an affirmation of the hu- SAMMY: How much? ofjustice is being done. PAUSE. The situa- man spirit? lion becomes more dangerous. But SAM- INT. MORNING-OFFICE. MY is excited. Let's get the hell out of CUT TO: The office ofan organization rather like here! SAMMY and RAFI walk through gloomy Amnesty International. VIVIA and RANI RAFI stumbles. Now ANNA runs toward reverberating alleys back to the house. sitting across the desk from a young JAPA- them, taking pictures. A bunch of white RAFI has his arm around SAMMY now. and black kids run past RAFI. RAFI: I don't want anything anymore. NESEWOMAN. SAMMY (TO ANNA): What are you The things I own are a burden to me. So JAPANESE WOMAN: Rafi Rahman. doing here, Anna? This isn't your part of I've given the factory to your cousins. RANI: Yes, I rang you yesterday to ask town. SAMMY: What, those idiots? RAFI: These are fools and madmen! RAFI: They are going into air condi- for information. tioners. I think making heaters in one of The JAPANESE WOMAN rises, smiles. SAMMY (AS SHE PHOTOGRAPHS): the world's hottest countries was not good JAPANESE WOMAN: I remember. Anna, cut it out! This is my father! business sense. Let me get the file to show you what ANNA (SHAKING HIS HAND): CUT TO: we've got. Pleased to meet you, sir. Welcome to The steps ofthe house. On the steps an England. I hope you enjoy your stay! SHE injured white kid is with his black girl- She goes. VIVIA and RANI hold hands KISSES SAMMY. I'll give you a ring. friend. nervously. RAFI: The money I've managed to She goes. get out of the country, and it's a lot of VIVIA (TO RANI): Suppose we find CUT TO: money- out stuff about Rafi that you wouldn't SAMMY: Which total prick have you want to hear while you were eating break- Later. SAMMY is hurrying RAFI back. thrown that at, Pop? fast? What do we do then-just tell Rosie A CAR. The windows have been smashed, and let her get on with it? the radio and speaker ripped out, etc. In RANI: Wouldn't it be worse to conceal 76



something we knew? weight-training and body-building exer- EATING OUT VIVIA: I know, I know, but we'll be cises to the sound of Mozart's \"Requi- em\". INT. RESTAURANT-EVENING putting her in a difficult position. ROSIE, SAMMY, and RAFI are eating in The JAPANAESE WOMAN returns with CUT TO: a smart, expensive London restaurant. A little later. ROSIE is dressedfor work a thick file and puts it down on the desk. now. RAFI, walking about the flat, drops This is affluent, attractive London for a RANI andVIVIA leanforward to look at it. the postcard and bends over stiffly to re- INT. MORNING-UVING ROOM . trieve it. ROSIE picks it up for him. change. A string quartet ofbeautifUlpunks ROSIE: Writing home already? But RAFI eats breakfast in his silk pajamas. you've only been here a few days, Rafi. play Mozart at the far end of the restau- In front of him is his checkbook. He has And you've hardly been out. written a check and it lies on the table. RAFI: Sweetie, read it. It's to my rant. SAMMY leaves the table a moment, Now he writes a postcard. It is a few days fondest relatives. excusing himself. later. ROSIE (READS): \"Streets on fire- wish you were here!\" RAPI: He hardly speaks to me, Rosie. He looks across the flat, fascinated by Why doesn't he look after me and spoil his the sight of ROSIE, who is in a T-shirt and only father? Has he no feeling for me at all? shorts doing muscle-bursting vigorous ROSIE: Why doesn't he carve mini::t- As long as there are movies, Cary Grant's legend will tures? live on. He was an artist of sophistication. .. the model of the urbane entertainer. Grant's charm captured the hearts of mil- RAPI: Perhaps he should. But why lions allover the world and earned him a permanent place doesn't he? among the greatest superstars. ROSIE: Rafi, he doesn't know how to Now, in the first major biography since Grant's death, love you. the author of Cable and Lombard presents a moving and fasci- RAFI: Perhaps being ignorant of feel- ings helps him in his career. nating portrait of a man in a class all his own. Well-researched and revealing, CARY GRANT leaves no ROSIE: He isn't completely ignorant stone unturned as it celebrates the of feelIngs. You did reject him. triumphs and tragedies that created this Hollywood classic. RAPI: It was his ugly mother I reject- ed. I was made to marry her. So I sent her A TOUCH OF to London and married again. You are ELEGANCE very loyal to Sami[ SAMMY REJOINS THEM. TO SAMMY. She is a decent wom- an. PAUSE. TO SAMMY. So you got the nice check I gave you? SAMMY (NERVOUS): In my pocket, Daddie. ROSIE (TO SAMMY): Let me have a look at it. SAMMY: You know what a check looks like, don't you? SHE NODS. Well, it's just one of those. ROSIE: I want to know if you're going to return it to your father as you said you would. SAMMY: Why should I? Rosie, we're all set up now. RAPI (TO ROSIE): Yes. Your princi- ples annoy me and will pull down my son. There is a pause. ROSIE isfurious with both ofthem. RAPI: Cheers to you all. ROSIE admires a drag queen in the res- taurant. ROSIE: That woman is a real star. RAPI: Now you're talking like a damned dyke. ROSIE (TO RAFI): More wine? PAUSE. By the way~ RAPI:Yes- ROSIE: Didn't a journalist, who once described you as balding, have his teeth smashed in? RAPI (CAREFUL): If his face had a mishap it improved his appearance. TO SAMMY. Besides, his wife stole from Marks and Spencers and lowered the 78

reputation of my country. cerned with poverty, imperialism, feudal- come from a land ground into the dust by ROSIE (TO RAFI): When you were in ism! Real issues that burn people! 200 years of imperialism. We are still dominated by the West and you reproach government there, people-opposite ROSIE: We' re only asking what it is us for using the methods you taught us. I people sometimes-were tortured and like to destroy another life. helped people for their own good and murdered, weren't they? damaged others for the same reason-just The MANAGER stands there beside like you in your feeble profession! SAMMY: Rosie, let's enjoy our meal. them, angry himself. ROSIE: I want him to answer. It's im- EXT. SOUTH KENSINGTON-NIGHT MANAGER: Please- They walk through South Kensington, portant. ROSIE (TO HIM): All right, we're go- from the restaurant, to the car. RAPI (THREATENING): Be careful RAPI (TO ROSIE): Sometimes. A little ing! what you say to me in future , little girl. Re- bit. It happens in the world. It is necessary RAFI (PULLING HER TOWARD member who I am and have respect. at times, everyone will admit that. ROSIE: Who are you, Rafi? Who? HIM): A man who hasn' t killed is a virgin SAMMY: Rosie, he's my father. ~ RAFl, finishing his meal, jabs his fork and doesn't understand the importance of into a piece of meat on his plate. As he love! The man who sacrifices others to raises it to his mouth we can see that it is a benefit the whole is in a terrible position. dead and bloodyfinger with a long finger- But he is essential! Even you know that. I nail. What Killed We are aware of the people at the next table, very straight yuppies in striped BONNIE shirts and pearls, close enough to hear ROSlE. RAFI places the indigestible & CLYDE? fingernail on the side of his plate, deli- cately. I t was pan-and-scan, the process used to transfer this wide-screen film to video. In The Perfect Vision's current issue, ROSIE: Didn't they have to drink the John Belton's Pan-and-Scan Scandals tells how technical limits and urine oftheir jailers? SAMMY SPLUTTERS bad judgment often destroy the director's intentions and the actor's INTO HIS DRINK. Didn't you hang mul- performance. Why are so many great classics released on video lahs-religious people-upside down on with missing footage and without stereo? Fox Film Fanatic skewers and weren't red chilis stuck up Joe Caporiccio found negative inertia in CBS IFox Videoland, their arses? and describes how he lobbied for stereo on South Pacific-and won . The yuppies call over the waiter. RAFI: If they were, it was a waste of Dan Sweeney shares the history food. Let's have some more wine. Waiter! of television and Part II of our sur- SAMMY (TO ROSIE): I think Rosie round-sound hardware round-up; wants to say that charm is no substitute for also, the definition of High Definition virtue. TV and the inside line on your VCR's RAFI (EXPLODING): Our govern- insides. Proton's top monitor, ment awoke the downtrodden, and ex- Chaplin's Gold Rush and more-in pelled Western imperialists. I nationalized the video journal film-lovers love. the banks! I forged links with the Palestin- ians! Remember that! (IRONY) Comrade. A four-issue subscription costs $22 Khrushchev and 1- ($35 US outside NA). Single back ROSIE: I just want to know- issues are $6.50. The MANAGER hurries toward them. RAFI: You know nothing but self-righ- Make checks payable to The Perfect ViSion, PO Box 357 Sea teousness! ROSIE: What does it feel like to kill, to Cliff, New York 11579. Or call and charge it to your Maste;Card torture, to maim, and what did you do in the evenings? Visa, or Amex at (800) 222-3201 or (516) 671-6342. ' MANAGER: Please could you keep the noise down? SAMMY: Yes, I'm terribly sorry. RAFI: I was imprisoned myself, you know! For ninety days, ill with malaria, I didn't see sunshine. In the next cell luna- tics screamed. Their voices were even more irritating than yours! ROSlE: You have increased the amount of evil in the universe. RAFI (FURIOUS): You've never suf- fered. Never had to make hard political decisions. ROSIE: Yes, every day in my work! RAFI: You are only concerned with homosexuals and women! A luxury that rich oppressors can afford! We were con- 79

Goes to Hollywood Lynn Seymour, Herbert Ross and Mikhail 8aryshnikov: staging Dancers. by Marcia Pally the beautiful, naive Giselle. She falls in When Giselle begs the queen of the Wilis love with him, only to leam from her to let her dance instead ofAlbrecht, we re- y ou can't go wrong with the second fiance, a young gamekeeper named Hilar- member those times when we looked for act of Giselle. This shadowed, ion, that Albrecht is already betrothed to a things to give up for a lover's sake. Or we moonlit ballet in which the wom- woman of rank. Bereft, Giselle goes mad hope that we have such a time in our lives. and dies, and is buried among the Wilis. en never raise their eyes is Romantic dra- The Wilis are virginal ghosts, abandoned D ancers is not simply a filmed record of ma at its most disarming. In Herbert Ross' by their lovers in life, who rise and dance the traditional Giselle. Ross created a in the forest each night, enticing men to new film of the ballet, Dancers, Mikhail dance with them till the poor fellows die of parallel, contemporary love story and exhaustion. When Albrecht, longing for threaded it through rehearsals and Baryshnikov plays leading man and Gi- his lover too little and too late, places perfonnances of the ballet. A few years selle is done by that dewy, Dewar's scotch flowers on Giselle's grave, the Wilis en- ago, Carlos Saura employed a similar de- girl, Alessandra Ferri. Baryshnikov also snare him in their treacherous bacchanal. vice, complete with rehearsal sequences created a new production of the original But Giselle, caring more for Albrecht than 1841 choreography by Jean Coralli and for vengeance, saves his life. and parallel plot, for his film Carmen. And Jules Perrot, American Ballet Theater as in Carmen, the modem romance in [ABT] danced it, the London Symphony Nothing more than a fanciful story on Dancers is not nearly as powerful as the Orchestra played Adolphe Adam's score, and Michael Tilson Thomas conducted. the face of it, Giselle becomes, on stage, a old-fashioned one. \"I was looking for a way ou t of a concert Dancers is dedicated to Nora Kaye, for- whopping emotional drama. In this ballet, devotion outlasts both seduction and its version of the ballet,\" Ross told me from mer Ballet Theater ballerina and Ross' betrayal. Love is as selfless as we find it in his home in L.A. \"I didn't want to be wife, who collaborated closely with him William Blake's poem: limited to a frontal view. Your eyes get till her death last February. tired of it even if you move the camera to Love seeketh not itselfto please, the extreme right or left. That's what's Wi th some of the most evocative move- Nor for itselfhath any care, wrong with a lot of dance on TV.\" Butfor another gives its ease, ment in the classical repertory, Giselle And builds a heaven in Hell's despair. Ross began his career as choreographer for Ballet Theater (as ABT was then tells the story of Count Albrecht, who dis- guises himself as a peasant and seduces 80

Baryshnikov: No Timefor Conflicts I t was hard to find Mikhail Baryshnikov. to be in New York on a certain date to re- Whirling around the country this sum, mer like a vaudevillian, he and his cham- hearse. We couldn't go over schedule- ber ballet company toured 27 cities in 42 days with a tough repertory to boot-a no w,ay.\" spitfire suite of dances from Don Quixote and two ballets by George Balanchine, When Baryshnikov first approached Apollo and the toU! de force Who Cares? When they weren't dancing, they were Ross and his late wife, Nora Kaye, he traveling. Baryshnikov hurt his ankle and lost a day to therapy, straining his schedule wanted to make a movie \"like a Zeffirelli and his tendons. opera-just film the ballet from start to The centerpiece of Herbert Ross' Dancers is Baryshnikov's staging of Gi- finish. I thought,\" Baryshnikov said, \"that selle. Both the original ballet and the film's modem story framing it are per- Giselle could sustain dramatic continuity formed by Baryshnikov and artists from American BaIlet Theater, which he's di- for a film audience. Herbert was intri- rected since 1980. When I finally caught up with Baryshnikov in Atlanta, I asked gued, but he wanted to do more than just him how he altered the ballet to suit cmema. the ballet. He wanted a story about the \"I didn't rechoreograph the dancing or making of a ballet; he wanted rehearsal even change the focus of the mime,\" he said. The PR people had said his accent scenes to explain how the dance develops. would be hard to understand. He was as clear as the sky over the Volga. Why not? I thought. It's been done suc- \"Herbert liked my staging-that's why , cessfully. Look at Truffaut. we did the film. There was no need to ' change it. Of course, on the set, I made \"I didn't know [screenwriter] Sara Ker- adjustments with the geometries of the choreography to emphasize things for the nochan. But after she presented her first camera or to accommodate the set. But mainly I changed the production. few ideas about the script, I saw that she \"Movie realiry is so different from the understood how real the romance is. The stage. The sets and costumes have to be richer. In the village scenes in the first act, . emotions in Giselle are the same human the colors have to be riper, more aurum- nat. The grape harvest has to be more visi- feelings people in Des Moines have. I ble to sustain the interest of the camera. Film is more realistic than theater. The read the first draft-though this is hard for costumes have to be more detailed, down to the jewelry and the color of the thread. me, I still don't know how to read a \"In the second act in the graveyard, the filmscript-=--and I had some objections. mystery has to be exaggerated by the lighting and positions of the camera. But They listened and made some changes.\" with this, I let Ross and [cinematographer Ennio] Guarnieri alone. I didn't have the Kemochan developed her screenplay strength to watch the dailies. I was on my feet 18 hours a day dancing and directing. by talking to each of the dancers in the And I trusted them. movie and creating characters loosely \"Ross knew exactly what to expect from film lighting-it's completely differ- based on their personalities and careers. ent from lighting the stage-and he knew exactly what he wanted. My expertise is Baryshnikov allowed his alter ego to be senseless here. So you see, I put all re- sponsibility on his shoulders.\" somewhat of a ladies' man. ABT dancer Baryshnikov and Ross have known Leslie Browne plays an energetif cynic each other since their collaboration on The Turning Point ten years ago. Were there who tells her infant daugl'iter, \"Just re- any conflicts over the shooting or the membet: all men are sluts. \" What kind of material, I wondered, didn't make it into the script? \"I can't recall. It's the fashionable re- sponse these days not to be able to re- member anything. I think we'll keep this to ourselves. \" Baryshnikov is now considering several screenplays, both with and without danc- ing, for possible production next year. He does most of his performing in the sum- script? mers-this is the fifth year that the cham- ''There was no time for conflicts. There ber ballet company has gone on summer was barely time for discussion,\" Baryshni- tour-beCause of his obligations as artistic kov said. \"We did the whole film in six director of ABT. \"But also because,\" he weeks. There are certain things I says, \"there are fewer politics involved. would've done differently, but that's nor- There are always differences of opinion mal for a collaborative work. If you have about how well the dancers are performing tl-)ree cooks in the kitchen, you don't al- or what direction the company is taking. I ways have unanimous opinions. But we prefer that audiences and critics see the had no real conflicts. The tension came company without me. They see it with from time. Sometimes the take would go clearer eyes. well for the dancers but not for the camera. .\"And there is the financial side. The Sometimes it'd be okay for the camera and summer tours are a source of income for not for the lighting. The dancers were un- me. That's why I can do what I want the der pressure; they have to do things over rest of the year. I'm not working for a liv- and over. They get nervous. But they had ing.\" -MARCIA PALLY 81

known) and did the Broadway shows To- Alessandra Fe\"i & 8aryshnikov. begins Albrecht's solo (it is one of the few varich, On a Clear Day You Can See For- times in the film that Baryshnikov ever, and Neil Simon's Chapter Two. joke throughout the film, Anton's Don dances), Ross places the camera at an an- Juanism is what hurts Lisa and provides After choreographing the musical se- the final link between the 19th century gie that benefits both the height of the tale and the 20th century film. cabrioles and the absolutely clean line sus- quences in the film Funny Girl, he direct- pended in air. ed Goodbye, Mr. Chips, Funny Lady, The Of the original first act, Ross shot only Seven-Per-Cent Solution, The Turning the passage in which Giselle goes mad \"I saw every available film or tape ofGi- Point and The Goodbye Girl in the same and dies. And so film viewers miss the lyri- selle,\" says Ross, \"and practically memo- year, California Suite, Nijinsky, Pennies cal, innocent duets in which Albrecht and from Heaven, and Footloose. Giselle fall in love. Ross felt that \"a lot of rized the second act. Then I analyzed the dancing in Act One isn' t rewarding, where the camera should be to best serve Ross continued, \"I wanted to put the and in film you make a lot of decisions the event. There are a few basics to keep camera on the stage and show the wings based on time. Act One is time-consum- in mind, like putting the dancer's feet at and the lights-but you have to have a ing to shoot. You select key moments and the bottom of the frame. Your eye does reason for doing that. You have to justify cross your fingers that you get the right that automatically for you when you're sit- the camera. IfI were simply recording the ones.\" ting in the theater. And you should try to ballet, I'd feel inhibited about shooting from onstage. So I began thinking of an Ross felt that Act Two was one of the observe the musical phrasing. In the chan- approach that would allow it-that would right ones, and shot almost all of it intact. gements section, I didn't do an insert shot let me show the ballet from the perform- It is wonderfully done. Whereas the acting ers' point of view.\" in the modem passages is uneven-Julie of A1essandra's feet because that would've Kent is sweet, Leslie Browne quite credi- meant cuts in the film while these are no Ross arrived at the basic idea for the ble, Alessandra Ferri unremarkable-the cuts in the music or dance sequence. contemporary story and Sara Kemochan dancing in Act Two creates a misty world wrote the screenplay in six weeks while in which private fantasies spin themselves ''The camera should not track with the out. And the camerawork, if ornate, is Ross was filming his last movie, The Secret smart. dancers. We learned that in Turning ofMy Success. In the Kemochan script, a Point. Dance is about movement and Giselle's entrance in Act Two begins troupe of dancers prepares to shoot a mov- with a series of rapid, backward turns in space, and if you move the camera along with the dancers, they.appear static. You ie of Giselle. Anton Sergeyev, leading attitude. Ross placed the camera on stage, have to let the performers dance their way to the edge of the frame. I let Alessandra danceur of the company and a transparent behind Ferri, facing out toward the the- dance all the way to the left of the ft:ame role for Baryshnikov, takes a fancy to one ater lights. As she whirls around, her body till she has her back toward the camera and of the sweet young things in the corps de altemately blocks the light and lets it I let Baryshnikov's head go out of the ballet. Lisa, like Giselle, is bowled over. through, creating a strobelike effect that frame once or twice to emphasize the Paolo, a boy her own age with the thank- adds to the speed of the spin. height of his jump. The idea is not to less role of a modem Hilarion, tries to tell move the camera till the dancers force her that the glamorous Anton is a cad. \"I knew that would happen ,\" Ross you to.\" said. \"Film slows movement down, and I As rehearsals for the ballet-within-a- knew that the strobe effect would speed it Only twice did Ross' camera falter. Both film continue, the ingenuous Lisagets the up again. I did this kind of analysis for ev- times he superimposed the image of message. Hurtand confused, she runs out ery phrase. I'd run it with the dancers, Lisa's face on Anton, to convey her role as of the theater. Act One of the original bal- then layout a cutting continuity.\" his inspiration. let ends with Albrecht and Hilarion blam- ing each other for Giselle's death. The When Ferri does a long series of \"I discussed it over and over,\" Ross first half of the movie ends with Anton and said. \"To be honest, I did it out of anxiety. Paolo b!aming each other for Lisa's disap- changements (small, fast jumps), Ross be- There's 30 minutes of straight dancing, pearance. and I was worried that a non-dance audi- gins with the camera close to her feet. ence wouldn't sustain the story. I thought To those familiar with the ballet, the After a moment, he pulls back for a long I needed it to keep the parallel plot alive. parallel may seem overly close. But it's not Who knows? Maybe it's too much. With a nearly as risky as the parallels between the shot so that you can see the ballon of her movie, you have to worry about a lot of fictional story and the real lives of the ABT things that you don't worry about with a jump, but he's already told you to keep an bunch of ballet buffs.\" dancers. In order to create the screenplay eye on the footwork. When Baryshnikov for Dancers, Kemochan talked to each of Though Lisa doesn't die of a broken heart, the contemporary love story follows the ABT dancers who act in it, and she de- the ballet closely straight through to the veloped what Ross calls \"fictitious ver- finale. At the end, both Lisa and Giselle sions of who they are.\" Julie Kent, 17 have learned that the experience of love is years old and a newcomer to ABT, is the precious, whatever its aftermath. ingenue in the movie. Leslie Browne, Baryshnikov's ingenue ten years ago in Lisa explains to Anton that, though she felt duped for a few teary hours, her few The Turning Point, is here a mature dancer days with him were worth having. Giselle argues for Albrecht's life because loving cynical about romance and especially him is more important than evening the about Anton. (Doubling the point, score between them. It is more important Browne dances the role of Queen of the to have that short time when being in love Wilis, who really has it in for men.) An- makes you believe the world's graces were ton's way with women echoes Baryshni- put there for you. kov's reputation, which got its most recent trashing in Gelsey Kirkland's autobiogra- phy, Dancing on My Grave. A running 82

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Le Chaud Must Go On Kurys Makes HerBed Diane Kurys on the set ofA Man In love. Greta Scacchi & Peter Coyote: \"a love scene that wasn't boring.\" by Marcia Pally Italian poet who committed suicide in the she leaned seductively into one hip and early 1950s. Jane, the young actress who is asked if I'd like some coffee-yes-and T he best thing about Diane Kurys' Steve's leading lady, is played by leading some pas-ter-ies?-no. \"Oh,\" she cooed, new film, A Man in Love, is the peach Greta Scacchi (more beautiful here \"let's share an e-claire.\" We got right sex. Kurys has shot one of the hot- than in the Taviani brothers' Good Morn- down to talking about sex: sex on the set, test love scenes since Don't Look Now, ing Babylon but not nearly as haunting as sex in backers' offices (also sexism in back- and I'll remember it along with Last Tan- she was in Heat and Dust). Falling in love ers' offices), sex on TV, even sex in bed. go in Paris and the last tango in The Con- on the set, Jane and Steve fall in love for On this visit to the States, she talked to me formist-though Bertolucci is far nastier real and have a not so clandestine affair in about sex in A Man in Love. in the former and more cynical in the lat- Rome, while Steve's wife (a thankless role ter. There have been scenes that are more played sympathetically by Jamie Lee Cur- \"The big issue in the film was to make a graphic~'me need remember only the tis) is in New York with the kids. Jane's love scene that wasn't boring. It's so rare opening shot of lovers screwing in Jean- boyfriend waits for her in their apartment that they tum you on, and I wanted to Jacques Beineix's Betty Blue. And there in Paris. make one that tumed me on. My assistant have been films with more sustained sen- and I made a list of all the great film sex suality. Consider Marco Bellocchio's ap- When Steve and Jane make love for the scenes-from The Postman Always Rings preciation of Maruschka Detmers as she first time, they stand together, her back Twice, A Man and a Woman, Last Tan- dances, dresses, sweats, and makes love against a door. He doesn't kiss her at first. go-and put them together. We called it in Devil in the Flesh. But Kurys does a first Haltingly, he lifts a hand and slowly low- 'the fucking tape.' It didn't tum me on. rate job with the slow release ofsexual ten- ers his palm to her chest. It begins. From Out of context, sex scenes are banal. I sion. And I'll remember it, that love that moment on, there's no actual sex on- studied the tape for camera angles and scene, even though I didn't love the screen-not even enough to trigger an R lighting. Then I decided to try to do some- lovers. rating. You see only the reaction in the ac- thing that wasn't in any of them. For in- tors' faces, in their breathing, in the flush stance, I wouldn't use any music. The In A Man in Love, Peter Coyote plays ofa cheek. scene is more real, more of a tum-on with- Steve, a hotshot American actor who is starring in a film about Cesare Pavese, the The last time Kurys was in New York, \"Tout it. we talked about her film Entre Nous. he love scene in Don't Look Now is When I walked into her hotel room then, very powerful because it deals with 84

memory. When you're rumed on by a film to devour the posies he bought for her.\" it's because it reminds you of something. His mouth full of purple petals, he cocks liSCH It has a souvenir of sex that you've had- his head and sends Jane to his rival, \"He's orwanted. InDon'tLookNow, the sex be- over there-you're allowed to run.\" She tween Julie Christie and Donald Suther- does, but I'm ready to move to Flatbush. land is intercut with shots of them getting Michael is just one of the gems in A dressed a little while after they've made Man in Love. Elia Katz, as Steve's lovably love. The dressing is intimate because tacky but keen agent, stays in your mind they remember. ''That's why I intercut the sex in A Man in Love with shots ofJane and Steve walk- NYU Film Program Alumni ing on a bridge the next day. On the (partial listing) bridge, it's love and tenderness; they Martin Scorsese laugh. Then they remember. The feeling director they have on the bridge contains that The Color of Money memory. Oliver Stone director \"We shot the love scene on the very last Platoon day, and the actors were ready for it. Joel Coen director There were only a few people on the set. Raising Arizona We shivered watching them. I'm not say- Marty Brest director ing that actors have to fall in love to do love Beverly Hills Cop scenes, but it's hard to resist. They have to Susan Seidelman play lovers; why should they resist? They director feel it, if only for two weeks or three min- Making Mr. Right utes.\" They learned filmmaking making films at NYU I felt, at that moment in the film, that You could too. Steve and Jane-orCoyote and Scacchi- NtwYORK loved each other. But I did not love them RSI1Y very much. He seemed a bit of a brat; and she, a blank. And so I missed out on one of film's greatest pleasures: falling in love with the hero. Instead, I fell in love with the gofer. I want Steve's personal assist- ant, Michael. It doesn't matter to me that Michael comes from Flatbush, where he ran his fa- ther's kosher butcher shop before becom- ing what he cheerfully calls \"Steve's slave.\" In Peter Reigert's hands, he's irre- sistible. Sharp as horseradish when he's ki- bitzing, gentle when he's not, he's Woody Allen only softer. And sexier. And a little needy, what with those big brown eyes. And you can tell he really likes women. In particular he likes Jane. But Jane likes Steve-such are the perks of being lead- ing man-though I don't know why. Next to Michael, Steve is a man of medio- cre intelligence and no wit who doesn't deserve the center of the world he thinks --Jamie Lee Curtis & Peter Coyote. Tisch School of the Arts he occupies. Kurys told me Steve's appeal New York University was \"mysterious.\" It sure beats me. 721 Broadway, 7th Floor New York, NY. 10003 Mter asking Jane to leave her boyfriend Attn.: Roberta Cooper in Paris and return to Rome, Steve doesn't Please send more information on bother to meet her plane. When Jane first out of all proportion to his one scene. Vin- the Department of Film and Television. comes up the escalator, she's greeted by cent Lindon, playing Jane's French boy- oo undergraduate 0 graduate summer sessions Michael, carrying a bunch of posies. He friend, loses her to Steve with integrity knows he's not the person Jane wants to punctured by sheepish longing. With a _Nrurne~ ______________________ see. \"Jane looked all over for Steve,\" Mi- few more scenes, he'd give Michael some Adm~·~_______________________ chael sing-songs, teasing her. \"But only serious competition. Jane's mother is saw Michael. Disappointment clouded played by the ever-radiant Claudia Car- her face. Feeling his innermost expecta- dinale, who never needs more scenes. City/State/Zip Codp\"-_ _ _ _ _ _ _ _ __ tions dashed\"-he's playing errant knight Kurys wrote as well as directed A Man New York University is an affirmative action / equal to his lady-\"Michael unwittingly started in Love, and gave these characters dia- L op_por t_wli_ty i n_sti t_utio_n. _ _ _ _FC_S_ep/_Oc_t '8 7 ~ 85

logue so tight and on the mark you wish the film; maybe Jane falls in love because daughter is Diane. In A Man in Love, the the movie were about them. I don't quite Steve says he loves her. We do that-fall device seems overdone. understand what Steve and Jane see in in love with the people who love us. You each other. never really understand. We always fall in \"It's not just a love story,\" says Kurys. love before we know why.\" \"It's also about Jane growing up, She falls \"I don't really know Steve,\" Kurys tells in love, leaves her boyfriend; her mother me, though reportedly he is based on KuryS has always had a talent for enliv- dies. The film really is her story.\" Donald Sutherland, whom she met in ening her minor characters. Entre 1976 when she had a small part in Fellini's Nous, focuses on two women who give Is it Kurys'? Casanova. \"He's selfish and egotistical, each other the gumption to leave their \"The story is not precisely mine, but the way many actors are. But I feel that husbands in the emphatically pre-feminist it's close to who I am and who I've been. he's also appealing. I don't know why they Fifties. But the men, who have only a few My mother died; each character is a me- fall in love. You never know why. Maybe lange of people I know. Steve is two or they fall in love because they have to play fleeting scenes, seem neither mad nor three men.\" lovers and then they get caught in their mean. Drawn warmly and well, they have Lovers? own game. Maybe Steve falls in love be- our sympathies. Ifanything, Kurys' regard \"Of course, I won't tell you who.\" ~ cause he wants company while he shoots for supporting players is even greater here. 12th FOR THOSE \"When I write, I say the lines out loud,\" Kurys says. \"Maybe it's because I Hong Kong FILM was an actress. I say what they say, scream International if they scream. I even set up the mise en Film Festival WISE scene and move through it like they do. I'm them. That's how I find out what they March 31- April 15, 1988 A new film magazine might seem a boring event to some, say next. And I work with the actors. When actors understand what you're look- Accredited by the but FILM WISE 'Is different! Interesting enough to read ing for, they bring you things to help you International Federation of Film find it. Peter Reigert brought 26 shirts to more than once, attractive enough to leave on the coffee Rome. Producers Associations table. FilM WISE digs deep for articles and interviews \"In an interview with a French maga- overlooked elsewhere. Our writers are aware of the art and zine I said that French actors were lazy and Isabelle Huppert wouldn't speak to me for value of all cinema in their unique, one-of-a-kind genre three weeks. I told her I didn't mean studies. artist profiles. reviews and personal journalism. Our her-she's an exception. But in general, interviews are with important individuals who have been it's true. They're lazy. They don't prepare neglected - until now. like American actors. The competition here is so strong the actors have to be bet- ter. I can say this because I'm in America.\" The premiere Issue of FILM WISE, to be published in I n the second halfofA Man in Love, Jane For further information: January/February, 1988, can be reserved now. In it you'll begins to comment on the action in Hong Kong International Film Festival. find an account of the mysterious. turbulent making of F.W. voiceovers addressed to the audience. Hong Kong Coliseum Annex Building, The POV, previously Steve's, switches Murnau's last film . TABU, by Wilmon B. Menard. whose from his to hers. Par1<ing Deck Roor. father attended production. Joseph Marzano talks about his KCR Kowloon Station. involvement with the 1960's Underground, and the dif· \"If! could make a film that moves from ficulties he faced trying to break into commercial filmmak- one character's point of view to another's, 8 Cheong wan Road. KcPNtoon, ing. Jesse Kulberg , a movie·extra in the 1930's, shares his I'd be happy,\" Kurys said. \"I want to show them all. It's not a criticism for me that the HONG KONG. memories of Hollywood. Also in FILM WISE are sections film goes from Steve's POV to Jane's. It Telex: 38484 USOHK HX devoted to contemporary films and videos by up-and-coming also goes to Jane's boyfriend, to Michael, artists, fan interests and hobbies, dozens of rare photos, and and Jane's mother. It's not a traditional cable: FESTUSDHK much, much more. way to tell a story and some people will be Telephone: 3-642217 annoyed, but Entre Nous wasn't a tradi- To reserve this collector's edition send $4.95 to tional way to tell a story. No one jumps to <& FILM WISE the Fifties after a 20-minute sequence of World War II. People said the film starts Presented by the Urban Council, Dept. F·e twice. So? Then they accepted it.\" Hong Kong P.O. Box 523 The last section of A Man in Love is al- Lynbrook, New York 11563 most entirely about Jane's introspection. The film closes self-consciously, with Jane wE A RE at her typewriter beginning to write a story called A Man in Love, as though Jane had FILM been Kurys all along. It echoes the final frames ofEntre Nous in which we discover WISE that one of the women who chucks do- mestic life is Diane's mother and her 86

FCC Douhlespeak FCC Chairman Dennis Patrick- \"decency\" anyone? George Carlin--still dirty after all these years? by Lois P. Sheinfeld Dennis Patrick: \"We seek to extend to the the rance of deregulation for maximum electronic press the same First Ame nd- profit. But whe n the issue was \"indecen- The Federal Communications Com- ment guarantees that the print media have cy\"- a crime against the Meese Commis- mission has gone out of the busi- enjoyed since our country's inception.\" sion-free-speech principles were too ness of regulating the broadcast constraining and had to be tras hed in turn . media for \"fairness\" and has plunged into But scarcely four months earlie r, the Differe nt strokes for diffe re nt stroke rs. the business of regulating the m for \"de- commission reaffirm ed and dramatically cency.\" This schizoid behavior is symp- expanded its authori ty to regu late and re- Broadcast morali ty regu lation originat- tomatic of a severe case of political expedi- press broadcast speech it conside red \" in- ed in a 1973 com plaint filed with the FCC ency partly covered over by hypocrisy: decent.\" Whe re the n was the FCC's pro- against Pacifica Sta tion W BAI for airing it demonstrates why government agen- fessed devotion to print and broadcast Geo rge Ca rlin 's m o no logue \" Filth y cies cannot be trusted to censor any sector equality? The re are no governmental re- Words,\" a 12-minute satire on the seven of the media, on any pretext, in a free straints upon \" indecency\" in the print me- di rty words. T his was heard by the com- society. dia; nor would such restrain ts be constitu- plainant, a membe r of the National Plan- tional. And where was the commission's ning Board of Morali ty in Media, at two In August, the FCC re pealed its long- allegiance to \" the robust and unfettered p. m. in the afte rnoon while he says he was standing Fairness Doctrine, a rule requir- exchange of ideas\"? driving in a car with his \"young son\" (age ing radio and television broadcasters to air 15). The FCC found the broadcast \" inde- contrasting points of view on public issues. Constitutional amnesia? A more likely cent\" and sanctioned WBAI. The case According to the commission, the rule was explanation for this strange mixture of eventually went to the Supreme Court, improvident because \"[t]here is no way for First Ame ndment cant and can't is that which upheld the FCC in a 5-to4 decision government to restrict freedom of speech the Reagan FCC will don the mantle of resting on extremely narrow grounds. or the press and foster a robust and unfet- free speech only when it fits the commis- tered exchange of ideas.\" Said FCC Chair sione rs' political agenda. The mantle fit The Court acknowledged that the well enough over the Reaganomic deci- monologue was not obscene, and there- sion to trash the Fairness Doctrine in fur- fore would be protected by the Fi rst 87

Proponents ofthe Fairness Doctrine are well intended, but they would both sacrifice too much to censorship and expect too muchfrom it. Fairness, like decency, cannot be legislated. Amendment if disseminated in forms oth- content, of excerpts from ierker, a play David Salniker, Pacifica Foundation ex- er than electronic broadcasting. But \"of all about the prevention of AIDS in the gay ecmive direc[Or, they have already taken forms of communication, it is broadcasting community. Unsurprisingly, the com- programs off the air \"that are not consid- that has received the most limited First plainant in this case was a minister who ered controversial ordinarily\" because Amendment protection.\" (Significantly, heard the broadcast while driving around \"we simply don't know what's appropri- the Court's support for this point was its in a car with his child. The play contained ate.\" To the extent that self-suppression 1969 decision in Red Lion Broadcasting sexually explicit language, and the FCC continues, the FCC is empowered to re- Co. v. FCC, which sustained the Fairness even referred the case [0 the Justice De- duce the entire adult population [0 hear- Doctrine and required the broadcaster [0 partment for criminal prosecmion under ing only what is fit for children, withom give author Fred Cook on-airtime [0 rebut the obscenity law. (The department de- having [0 take further enforcement action. a personal attack on his patriotism made clined.) by Rev. Billy James Hargis.) Under this The FCC'S semblance of solicitude for precept, the FCC's \"indecency\" determi- Second, a post-ten p.m. airing of a rock children only adds insult [0 injury. This is nation was constitutional. However, the and roll song, \"Makin Bacon\" by KCSB- the same FCC that turned a deaf ear [0 Court sharply limited its decision [0 the 17M, a student-run, non-commercial sta- child-advocacy groups and individuals \"Carlin monologue as broadcast,\" empha- tion at the University of California. The concerned about children's programming sizing that the monologue repeated the station had a capacity of 10 watts; the com- on television. It is the same FCC that re- seven dirty words more than 100 times in plainant, PM RC, must have armed its late- fused to enforce guidelines prohibiting 12 minutes, and that children were pres- night mobile patrols with ear trumpets. the linking of commercials and children's ent in the afternoon listening audience. Here, the FCC went on to open an investi- programs-which in effect authorized gation \"as [0 whether the University of network programs [0 become virtual com- The FCC promptly announced that it California exercises the degree of control mercials for [Oys-until ordered by a fed- would \"strictly observe the narrowness of over KCSB required by Commission li- eral appeals court [0 review its deregula- censes.\" tion policy. On this issue, FCC the Pacifica holding,\" and it did so for Commissioner James Quello said, \"This Third, Infinity WYSP-FM's six-to-ten FCC doesn't believe in intruding itself in more than a decade. Other than forbid- a.m. broadcast of the Howard Stem pro- program decisions.\" Said the same com- ding the seven dirty words prior to ten gram, which contained \"sexual innuendo missioner in support of the FCC's Inde- p.m., the FCC took no enforcement ac- and double entendre.\" The program did cency sanctions: \"Garbage is garbage no tion , and the issue lay dormant until April not, however, contain any of the seven matter what time.\" Palpably, FCC con- dirty words. cern for children is as phony as its concern of this year. for the protection of First Amendment Confused by such actions, stations de- values. Then the Reagan FCC repudiated Pa- manded specific guidelines and direc- cifica's limits and announced that it would tion. The FCC refused. Perhaps clear, The present broad Indecency Standard precise rules providing meaningful guid- will never survive judicial review. A court no longer confine actionable \"indecency\" ance would not serve the commission's action is already pending; the result is only [0 the seven dirty words or [0 airings before goal of frightening broadcasters in[O self- a matter of time. Abundant Supreme ten p.m. Linking arms with the morality censorship. The sanctions suffered by Court case law protects free speech and complainants-Morality in Media, the some stations for airing programs at ten press from regulation that chills protected Parents Music Resource Center, the Na- p. m. demonstrate that, in the FCC's view, expression by prohibitions cast in vague tional Federation for Decency, and the \"there is a reasonable risk that children and overbroad terms. Insofar as the FCC like-the FCC resurrected the vague, will be in the listening audience\" at that sweeping definition of indecency that had hour. When can a station avoid the risk? has exceeded the narrow license of Pa- failed to win Supreme Court approval in Eleven p.m.? Two a.m.? The FCC won't cifica, it has run afoul of that case law and say. Better to let stations fear that there Pacifica: will always be a risk so that programs will condemned its handiwork to sure invali- never be aired. Thus can the FCC expand language or material that depicts or a purported \"time/place/manner\" regula- dation. describes, in terms patently offensive tion into a no-time/no-place/no-way form But the FCC has done far more than as measured by contemporary com- of censorship. munity standards for the broadcast that. It has shown convincingly why the 5- medium, sexual or excretary [sic] ac- In essence, the promulgation of an In- to-4Pacifica decision itselfwas wrong decency Standard so vague that program- and should be overruled: tivities or organs. mers must guess at its meaning, coupled And henceforth: with the imposition ofsanctions on a wide First, the majority in Pacifica relied range of programming, makes self-sup- Indecency will be actionable ifbroad- pression the only safe course for the broad- on FCC assurances that its regulation cast at a time of day when there is a caster. It has already begun. According [0 would be narrowly tailored and limit- reasonable risk that children are in the ed. Justice Brennan, in dissent, said: \"I am far less certain ... that such faith audience. in the Commission is warranted.\" Under this standard, the FCC has al- Time has proved him prophetic. Once ready made the following determinations again, as so often in the his[Ory of cen- of \"actionable indecency\": First, Pacifica Station KPFK-FM 's ten p. m. airing, preceded by a warning as [0 88

Classics ofthe American sorship, it has demonstrated that gov- Cinema Avant-Garde Cinema e(nment officials given censorial power Studies: cannot be trusted to observe principled ANGER MAGICK LANTERN CYCLE limits in its exercise. An education The Films ofKenneth Anger for our time Second, the FCC's own di savowal of MI03 Vol. 1: Fireworks, Rabbit's Moon, the Fairness Doctrine undercuts Pa- Film is the art form that defines our Eaux d 'A rtifice . . . . . . . . . . . S 50 cifica. Belatedly and for political rea- time. Films by Eisenstein, Godard, and Fassbinder, for instance, offer pen- MI04 Vol. 2: The Inauguration ofthe sons to be sure, but nonetheless per- etrating insights into human behavior, Pleasure Dome . . . . . . . . . . . 50 suasively, the FCC has now renounced cultural change, life as we live it and perceive it At New York University's MI05 Vol. 3: Kustom Kar Kommandos, the authority it was granted in Red Lion, Tisch School of the Arts, we believe Puce Moment, the principal precedent on which Pa- the study of film develops analytic Scorpio Rising . . . . . . . . . . . . 50 cifica was based . It has done so upon skills, hones critical thinking, and broadens perspectives. It offers under- MI06 Vol. 4: Invocation ofMy Demon the explicit ground that the broadcast graduates superb preparation for many Brother, Lucifer Rising . . . . . 50 media deserve no less protection from of life's callings. the First Amendment than the print SET! Kenneth Anger Boxed Set of 4 tapes Our program in cinema studies with 24 pp. monograph & complete media. \"Indecency\" restrictions of the allows undergraduates to study film filmography ......... .......... 200 print media are unquestionably uncon- with the same distinguished scholars stitutional, and the same degree of who teach our graduate students. The Mill Stan Brakhage's Dog SfIlr Man . . . . . 75 freedom from restraint should apply. department's film archives , variety of MI08 ]aII\\es Broughton's Dreamwood . . . . 50 courses, and viewing facilities are Third, the Reagan FCC's expansion exceptional: And, students have access MAYA DEREN'S COLLECTED FILMS of \"indecency\" regulation while itcon- to all the film screenings that make The Authorized Editions tracts its \"fairness\" regulation-to the New York City the richest film center tune of pious First Amendment pro- in the world. MI02 Vol. 1: Experimental Films . ....... S 75 nouncements-is hardly surprising. It M101 Vol. 2: Divine Horsemen: is in the nature of government, in pur- Because film is a truly interdisciplin- suit of its particular political vision, to ary art form , the program includes the The Living Gods ofHaiti . . 60 seize any opportunity to control and study of related subjects: art., history, manage the flow of information to the psychology, and even film production. MI09 Carolee Schneemann's Fuses . . . . .. 40 public. That is precisely why the First As a result, our students get a broadly MI07 Harry Smith's Early Abstractions . .. 40 Amendment was erected as a barrier based ed~cation as they undertake a against governmental dictation of what serious study of cinema Portraits and Biographies we may see and hear. It was not be- cause the authors of the Constitution For more information, return the MIlO VaI;- The Witch ofPosifllno . . .... S 60 approved every word or picture, but coupon below or call (212) 998-1600 . T101 Tantra ofGyUto: Sacred Rituals because they knew that if a govern- ment censor would be empowered to Tisch School of the Arts of Tibet . .. . . .. . .. . . . . .. . . . .. 60 approve some while disapproving oth- New York University T! 02 Tibeflln Medicine . . . . . . . . . . . . . . . 50 er, all speech would be put at risk. Paci- 721 Broadway, 7th Floor T!03 Nepal: land ofthe Gods. . . . . . . . . . 60 fica's flaw was precisely that it let the New York , N.Y. 10003 BIOI Wendy Clarke's Love Tapes. . . . . . . . 40 camel's nose into the tent. Attn: Dr. Roberta Cooper BI02 When I Think ofRussia . . . . . . . . . .. 60 Please send information on the cine ma studie, BI03 Ciao Federico! . . . . ....... . ..... 70 Fourth, the FCC has now revealed program. 0 undergraduate 0 graduate BI04 Paul Bowles in Morocco . . . . . . . . . . 60 plainly that its use of the Pacifica power BIOS Gore Vidal: The Man Who Said No . 60 overreaches not only First Amend men t o I am also interested in summer sessions. BI06 Rufino Tamayo: The Sources freedoms but the time-honored right of parents to raise children in the manner Name ofHis Art ·. . . . . . . . . . . . . . . . . .. 50 they see fit, a right vigilantly and con- BI07 L.A .-Suggested by the Art sistently upheld by the courts. Respon- Address sible parents are not without recourse ofEdward Ruscha . . . . . . . . . . . . 50 to control and guide their children's lis- City /State/Zip BI08 Shirley Clarke: Portrait ofJason ... 60 tening habits. It is inappropriate and dangerous for the government, at the N~ Yurk U nl vc r \\ll~ i ~ an allirm ll l l\\'l' al'lIt1nll' 4ual llpPtlr!u nl1 ), ORDERING INFORMATION: Alltilles are approved for insistence of a few parents, to assume _m ~l~un._ _ _ _ _ _ I F~epJ Oc l 87 library and classroom use. Institutional purchase orders, the role of Moral Big Brother for all par- prepaid orders, and MasterCardlVisa orders are accepted. ents. It's time to get the FCC out of our 89 Please add $2 per tape for shipping and handling, and living rooms and out of our bedrooms. specify VHS or Beta. For NYS orders please add 8'/4% sales tax). Prices, specifications and availability subject to Similarly, the courts as well as the change without notice. FCC should repudiate the Fairness Doctrine. Congress will attempt again mystIc ~IR£ \\'Iu£o this year to write the doctrine into stat- utory law-its first attempt in June was 24 HORATIO ST., #3F, N.Y., N.Y. 10014 vetoed by President Reagan-and the constitutionality of \" fairness\" regula- 1-212-645-2733 tion will then probably come once more before the courts. Free Descriptive Brochure Available Upon Request

Serious about writing When the o riginal FCC Fairness Doc- STAR PHOTOS· MOVIE POSTERS' MAGAZINES forfilm? trine was sustain e d in Red Lion al- FREE CATALOG most 20 yea rs ago, the Supreme Co urt \"IThis bookl speaks directl y to the justified the FCC's right to reg ulate the .II,·'U' ,.(lH'.I.' ·(;\"\" .... yo un g sc ree nwrit e r, a ddress ing electronic media because of the per- cruc ial questions of development , ceived \"scarcity\" of broad cast frequen- .\\10\"1 1-: '\\1 .\\TI-:1U ,U . STlIIU:. Inc. treatment, the rewriting process, cies . Since 1969 the re has been a 48 242 W. 141h Street and th e subseq ue nt age nting of pe rce nt inc rease in radi o s tati o ns material with clarity, honesty, and (which now number 10,000) and a 44 New York, N.Y. 10011 inte llige nce. It rema ins practical perce nt increase in TV sta tions (which (2121989-0869 and realistic , and reads like a good now number 1300), while cable sub- stor y should. \"-JANET NE IPRI S, scribers have increased by 975 percent. OP EN EYElY DAY I :DO-8:00pm Chairman, The Dramatic Writing Co mpare this with a mere 1700 dail y 8ETWEEN 8th AND 7th AVENUE Prog ram, In s titut e of Film an d newspapers-all published free ofgov- IND. SUBWAY W. 141h SlRUT STOP TeleviSion , New York University e rnment regulation . Pin· Ups • Portraits • Posters • Physique Paper. 224 pages. In 1974, in TorniLLo v. Miami Herald, Poses • Pressbooks • Western • Horror • ISBNO-091J 729-J6-1. 158.95. Science Fiction • Musicals • Color Pholos • Now at fine bookstores, or from the th e Supreme Court una nimously re- 80 Years of Scenes From Motion Pictures publisher: jected gove rnm e nt impos ition of a Rush $i 00 FOR OUR ILLUSTRATED BROCHUR E \" fair-reporting\" obligation on the print ~ PARAGON HOUSE media, by declaring Florida's right-to- 134 WEST 18th STREH, DEPT. FC rep ly sta tute uncons titution a l. Pat NEW YORK, N.Y. 10011 90 Fifth Avenue, New York, NY 10011 Tornillo, a political candidate, was de- (212) 620-8160-61 I-BOO-PARAGON ni ed the ri ght to respond to c riti ca l e di- torials in th e newspaper. C hi e f Ju stice AUTOGRAPHED PHOTOS Our most current poster catalog, Burge r 'sa id for the Co urt: Hollywood legends , superstars, show biz 44 pages (8 '/2' x 11 \") with over 300 personalities. Quality collection . Authenticity photos & accompanying text The choice of material to go into a guaranteed. Brochure: (about 85 in full color, including newspaper, and the decisions front & back covers!). Mailed m ade as to th e limita tio ns o n the L.&M . Gross with outside wrapper on receipt size an d co nte nt of th e paper, and 2675·F Hewlett Ave. of $7.00 U.S. funds by first class treatm e nt of public issues a nd Merrick, N.Y. 11566 mail. public offic ials- w he th e r fair o r Our new location , a gallery on unfair-co nstitute th e exe rc ise of BOOKS ON CINEMA. Send 88¢ 1932-F Polk St. (near corner of editori al control and judgme nt. It in stamps for catalog of 700 out- Pacific Ave .), San Francisco, CA has ye t to be demo nstrated how of-print volumes. Blue Lantern 94109. Open Mondays gove rnm e ntal regul ati o n of thi s Books. P.O. Box 8009. San through Saturdays, 11 AM to 6 c ru c ia l process ca n be exe rc ised Diego, CA, 92102. PM Pacific time . co nsiste nt w ith First Am e ndm e nt g ua ra ntees of a free press as th ey CONRAD VElDT CINEMONDE have evolved to thi s tim e . No less ca n be sa id of broadcast pro- Material wanted, biographical or other- 1932·F POLK STREET g ra m decisions. First Ame ndment pro- wise. Contact: SAN FRANCISCO, tec tio n is not just a p rocedural nicety to be discarded at w ill w he n it inte rferes Pat Battle 94109 with good intentions. Proponents of 100 Belmont Place th e Fairness Doctrine are we ll inte nd- Staten Island, N.Y. 10301 90 ed, but they wo uld both sac rifice too muc h to censo rsh ip and expec t too SC1U'p ~BOOK-CLUBF~ mu c h from it. Fairness , like decency, can no t be legisla ted. How to Write/Type/Sell/Protect Freedom of speech and freedom of Your Film/TV Script! th e press are th e ha llmarks of a free so- c iety and a free people . Mistrust a nd Scriptwriting & Filmmaking books and reference fear of th e m e di a ca n never ju stify gov- works for the Entertainment Industry Professiohal e rnm e ntal control of co mmuni ca tion. Ce rta inl y we a ll want th e press-both FREE INFORMATION print a nd broadcas t-to re po rt fairly and we ll. But so me tim es they will nOt. Write: SFBC, 8033 Sunset Blvd., #306C So m e tim es th e re will be programs we West Hollywood, CA 90046 dislike an d news sto ri es we ab hor. Who sa id de m oc racy was easy? \"De moc racy,\" Winston C hurc hill sa id , \" is th e worst fo rm of gove rnment excep t for a ll th ose o th e r forms th at have been tried from tim e to tim e .\" ®

Astaire Way to Heaven by Harold Meyerson writers of the years between the two world Take That Away from Me,\" \"Nice Work wars. More great songs were written ex- If You Can Get It,\" and \"A Foggy Day.\" The day after Fred Astaire died, the pressly for Astaire than for any of the lead- It would include some of the best songs of one obituary notice placed in The ing singers of his time-more than for Vincent Youmans and Harry Warren, of New York Times came from AS- Bing Crosby or AI Jolson or Ethel Merman Burton Lane, of Arthur Schwartz and CAP, the songwriters' association, moum- or Frank Sinatra. Howard Dietz. It would omit some songs ing the loss of\"a beloved member and col- initially written for others, such as \"Puttin' league.\" Astaire actually wrote a number A short list would include Cole Porter's on the Ritz\" and \"I Won't Dance,\" which of pretty good songs, among them \"Not \"Night and Day\"; Jerome Kem's and Astaire performed so indelibly that he won My Girl\" and \"I'm Building Up to an Aw- Dorothy Fields' \"Pick Yourself Up,\" permanent custody. Beyond question, ful Letdown.\" But his signal contribution \"The Way You Look Tonight,\" and \"A Astaire was a catalyzing figure for an entire to American music wasn't the songs he Fine Romance\"; Irving Berlin's \"Top generation of songvvriters, with the single wrote; it was the ones he sang, danced, Hat, White Tie, and Tails,\" \"Cheek to exception of Richard Rodgers, with whom and inspired. Cheek,\" \"Let Yourself Go,\" \"Let's Face he never worked-and even Rodgers and the Music and Dance,\" and \"Change Lorenz Hart originally planned On Your Fred Astaire holds a distinction more Partners\"; the Harold Arlen-Johnny Mer- Toes as an Astaire vehicle. historically specific than having been our cer \"One for My Baby\" and \"My Shining greatest dancer. He was also the pre-emi- Hour\"; and Mercer's \"Something's Gotta Whence this centrality of Astaire to nent performer of the American musical Give.\" It would include some of the first American theater song? Why did Irving and of American theater song, and his ca- and last songs by George and Ira Gersh- Berlin once say, \"I'd rather have Fred As- reer is inextricably linked to those of the win: \"Fascinating Rhythm,\" \"Funny taire sing my songs than anyone else\"? It best Broadway and Hollywood song- Face,\" \"They All Laughed,\" \"Let's Call only begins to answer the question to say the Whole Thing Off,\" ''They Can't that Astaire could develop every dramatic 91

implication of a song and manage at the neering Princess Theater shows that choreography together. The audience was same time to keep it light. For it is just as Kern, P.G. Wodehouse, and Guy Bolton quite stunned. We went ecstatic, giving significant that during the interwar period had written in the mid- and late Teens- them a standing ovation for ages and these were precisely the abilities the me- those light, intimate comedies about con- ages. \" dium most required and the songwriters temporary characters. Lady, Be Good! most sought. kept the Princess framework (and Bolton, It was Adele, not Fred, to whom the ro- the Princess librettist) but superimposed mantic ballads were entrusted. But this Time and again throughout the Twen- over it a star vehicle. Lady, Be Good! be- quintessential Twenties flapper could not ties and Thirties, when the musical could gins with the Astaires, evicted from their carry the songs: the Gershwins had to drop have developed in any number of direc- apartment for non-payment of rent, \"The Man I Love\" from Lady, Be Good! tions, the direction in which it developed blithely adapting to life on the sidewalks and \"How Long Has This Been Going was Astaire's. His breakthrough show on with a tune of sibling solidarity, \"Hang on On?\" from their 1927 show Funny Face. Broadway, the Gershwins' Lady, Be to Me.\" The book serves simply to estab- To everyone's surprise, it was Fred who Good! in 1924, set the mold for the Ameri- lish the situation; the story and emotions could sustain and perform a serious ballad, can stage musical until Oklahoma! and are carried in the song and dance. though this did not become apparent until rang the death knell for operettas and Adele quit the stage. In his first post- vaudeville revues. His breakthrough film , And the score, which includes \" Fasci- Adele show, Cole Porter's 1932 musical The Gay Divorcee, turned the film musi- nating Rhythm,\" and \"The Man I Love,\" Gay Divorce, Fred first performed the ro- cal definitively away from the operetta virtually inaugurates modern American mantic adagio dance which gave full rein (some of which, notably One Hour with song. The rhythmic complexity, blue am- to his dramatic impulses. \"Night and You and Love Me Tonight, were brilliantly bivalence, and lyrical wit that suffuse the Day,\" the number to which Astaire set his realized) and, in time, from the Busby score are obviously the Gershwins' doing; dance, broke over his audiences with the Berkeley musical style of stationary danc- but the Astaires also encouraged songs of shock of the new: it propelled Gay Di- er and moving camera. The Astaire way greater drama and complexity. Their vorce to its long run. When Astaire and was the musical's way. His biography is dance style-an amalgam of tap, ball- Rogers brought the number to the screen not merely personal; it is history. room , and ballet-fused with their dra- two years later, RKO executives were sur- matic sensibility to produce dances that prised to discover audiences clapping T he first Astaire musical was a dual sib- were new to the musical stage. \"We thunderously at its conclusion. ling creation. Lady, Be Good! marked couldn't believe they were quite human,\" the first successful show composed by wrote English actress Hermione Baddeley 10 follow Astaire's career, then, is to George and Ira Gershwin even as it of the Astaires' performance at the show's see American song and its performance brought Broadway stardom to the team of 1926 London opening. \"They were mag- come of age together. Songwriter and Fred and Adele Astaire. Lady, Be Good! ic, covering the stage with this ... gorgeous dancer reinforced each other in the seri- took the musical one step beyond the pio- rhythm, bringing the best of American ousness of their ambition. \"In an Astaire- Rogers film,\" Arlene Croce wrote in The 92

SALTOFTHE EARTH: INTERNATIONAL FILM GUIDE 1987. The Screenwriter's Guide (Updated THE STORY OF A FILM. Peter Cowie , ed . Now in its 24th edition , Edition). Joseph Gillis . For current Herbert Biberman. This classic chron- the world's most respected film annual and would-be screenwriters, here is icles the twelve year struggle to bring now includes a special \"Dossier\" on an up-to-date guide to film and televi- Salt of the Earth-winner of France's Canada, tributes to the Locarno and sion sales with valuable tips on how In!'1 Grand Prize for best film of 1955-to San Francisco Festivals, plus the usual to present, market, and protect your the screen . Written by Herbert Biberman, medley of reports from 59 countries . work. With an annotated list of over one of the \"Hollywood Ten \" jailed in 1947 504 pp . Illustrated . Paper $14 .95 . 2100 producers, agents, distributors, and blacklisted by the movie industry, it and industry contacts in NY, Hol- is a graphic record of the ravages of MOVIES lywood, Canada, and Europe . Fea- McCarthyism, but ultimately, it is a story tures a new section listing screenwrit- of courage. Includes screenplay . MADE FOR ing software plus an interview with a Illustrated . 373pp . Cloth $5 .95 . prominent screenwriter. TELEUlSlon 160 pp . Paper. $9 .95 . LOUISE BROOKS: PORTRAIT OF AN ANTI-STAR. Roland Jaccard, ed . TELEFEATURE Who's Who in American Film Now Translated by Gideon Y. Schein . Louise ~~MINI. .SERIES [Updated Edition] Brooks - the legendary actress who James Monaco, ed . Who did what , and rebelled against the idolatry of Holly- [l~N~~ when , in recent American cinema. This wood to preserve her independence updated and revised edition lists the and individuality. Illustrated with over Movies Made For Television: The Tele- key people who make movies today . It 90 photographs, this is a tribute to a feature and the Mini-Series, 1964-1986 features thousands of cast and crew woman, Louise Brooks; a film, Lulu ; a [Updated Edition] Alvin H. Marill. Up- members from the past decade in 13 director, GW. Pabst; and to an era of dated to include entries from the '84-'85 separate categories - each an al- German Expressionism . Brooks' own and '85-'86 seasons, this giant volume phabetical list of names with the title lucid reflections give new insight to the lists over 2000 telefeatures and mini- and date of their film credits . A running woman behind the myth . series . Titles are listed in alphabetical commentary on today's movies, this Illustrated . Paper, 160 pp . $19 .95 . and chronological order, each including guide is an invaluable resource. for cast, produGtion credits, plot synopsis, libraries, professionals , film historians release dates , and notes by the author. and fans alike . A comprehensive companion to television Illustrated. c600 pp . Cloth . $39 .95 . viewing. Illustrated. 500 pp. Cloth $39.95 Paper $19.95 . WERNER HERZOG. Images at the Horizon. A provocative interview with this important contempora ry filmmaker , con· ducted by critic Roger Ebert. - - - - ----- -- -- --- ---Filmography. Illustrated. Paper $4.50. ... -- - - - - - - - - - - ,. - -- -- Hello Zoetrope: o Also please send me your free o Send 'me the following books . I've catalogue . enclosed the proper amount plus NAME ____________________ $1 .50 for postage and handling ($200 for cloth & orders of 5 or ADDRESS _________________ more books.) Or call1-800-CHAP- LIN (in NY 212-420-0590) Visa & Mastercard accepted. Thanks . Please allow 4-6 weeks for delivery. ______________ ZIP_______ NY residents must add 8'/4% sales tax . New York Zoetrope 838 Broadway Dept. BB New York, NY 10003

Fred & Ginger the way they were, in Roberta. all times light, clean, crisp. His is a more precisely to allow Astaire full rein to ex- staccato style than those of most of the oth- ploit the duality of a cool distancing FredAstaire & Ginger Rogers Book, \"the er popular singers of his time. He swings through metaphor and a sudden, ecstatic dancing is the only real, the only serious \"Puttin' On the Ritz\" far beyond the ca- outburst of emotion. The first release- business. Their way of dancing up to a pacity of Harry Richman, for whom the \"Oh, I love to climb a mountain, And to song, rather than down to a plot, is what song was written, by singing just a fraction scale the highest peak\"-has a pitty-pat takes you by surprise; that, and the way behind the beat on each of the notes, ren- tune and a light, very distanced lyric, a list they give each song all the emotion that dering an already vertiginous song even of experiences that don't thrill him half as belongs to it, even if it is deeper than the more so. much as dancing cheek-to-cheek. It is fol- plot and characterization allow for.\" lowed immediately by a much more dra- It's not just the rhythm numbers that matic passage, both musically and lyrical- This principle can be generalized to the the Astaire style defines; it's the ballads as ly, the melody not stepping but leaping, entire musical theater in the interwar peri- well. The key here is Astaire's capacity to the words for the only time in the song di- od. Whatever depth and even genius that balance passion with reticence, to erect a rectly importuning Rogers: \"Dance with theater had was in its songs and their pre- scrim behind which the feeling suddenly me! I want my arms about you!\" Surely, sentation. We remember \"Embraceable flares . The Astaire cool predated his per- the first release was written for the wary, You\" and not its show, Girl Crazy; formance of ballads; it was something he tentative mating ritual that \"Night and \"Someone to Watch Over Me,\" not Oh, cultivated in his dances with Adele. \"As Day\" had stamped as part of any Astaire- Kay!; \"My Funny Valentine,\" not Babes he danced,\" write Marshall and Jean Rogers seduction dance. Surely, the sec- in Arms. We remember \"Cheek to Steams in the book Jazz Dance, \"he gave ond release was intended for that moment Cheek\" and \"Night and Day\" and try to the impression of thinking, 'Okay, when the wariness cracks, when they swirl forget Edward Everett Horton and Eric Adele's the star, so I'll help her out, but across the dance floor in their balletic ball- Blore. The form remained unchallenged I'm bored to death.' And, of course, it in- room style. (\"Night and Day\" also began .until Oklahoma!, in 1943, asserted the eq- fluenced the development of his style of the Astaire-ballad pattem of having the re- uity of book and performance. The whole dancing: the fine art of understatement.\" lease serve as the dramatic high point of would now overshadow its parts, for better the song. The melody moves around or worse. This e1iptical, oblique style beneath more; the lyric achieves passion through which emotion percolates is the key to the sheer bravado of rhythm and rhyme.) But Astaire didn't just help facilitate a many of the numbers composed for As- new kind ofsong. He was also a forma- taire. In \"Cheek to Cheek,\" Berlin wrote The Gershwins' \"They Can't Take tive influence, through both his singing two release passages (the middle part of That Away from Me\" is as great a song as and dancing, on its style. An Astaire song the song), rather than the customary one, any written for Astaire. (He sings it to Rog- and dance, no matter how dramatic, is at ers in Shall We Dance, but, by virtue of one of the most lunkheaded decisions in Hollywood history, they do not dance it.) The first two lines of each chorus recount casual memories to a rather tight melody; the third line suddenly makes clear the se- riousness of the relationship to a melody that rises to a higher level; and the fourth line breaks dramatically from the melodic pattem of the first three while the lyric for the first time directly expresses Astaire's emotions. Look at the song's final stanza: The way you hold your knife, The way we danced till three, The way you changed my life, No, no they can't take that awayfrom me. The lightness, the concealment of emo- tion, the sudden and radical raising of the stakes-that's an Astaire song. But it's a Gershwin song, too, and very much a Twenties-Thirties theater song in its balancing the demands of the romantic ballad with a cool astringency. On one lev- el, the unending demand for ballads drove the more conscientious lyricists to novel and elliptical formulations. On a deeper level, though , the best songs of the inter- war period strive for emotion devoid of sentimentality. They are a piece of a new culture that is shattering the remnants of Victorianism and its constricting hold on American art and imagination. 94

I n this sense, then , Astaire sings and \\NDEPENDENl lR\\LOG'I dances for a distinct generation. H e and ON ,,\\DEO the Gershwins belong to the C lass of 1924, along with the Marx Brothers, who During the heyday of Black Humor literature in achieved Broadway stardom in the same year; along with Ernest H emingway, the early 60s, the core of darkness (inspired by whose stories were just reaching Ame rican critics. He joins the Marxes in overthrow- the Cold War, the Death of God , and many other ing an older theater, in supplanting it with a freer, more joyous stage that celebrated then-burning social issues) was generally tem- new talent and the new, urbanized nation. He joins He mingway in employing a dry, pered by the humor wrapped 'round it by the clean style that simultaneously conceals and expresses feeling. The Astaire style- relentlessly grinn ing author. There 's a long more exultant and more purified than its predecessors and its successors- is very tradition of gallows humor, stretching back much the Twenties style, and more of the T wenties style permeated the T hirties beyond Shakespeare to Chaucer, and forward than we usually realize. to ... well ... 1988. With this film the tradition of Astaire made musicals th rough the late F ifties, and one in 1968, all of the m with the independent cinema's mock-Hollywood scores from songwrite rs of the interwar generation. He sang and danced old Ber- humor is turned inside out. lin or Gershwin songs, or new songs from Porter and Mercer and Burton Lane. His B. Ruby Rich temperame nt kept him from a range of What's Inside These Shorts? newer music; as he told critic Rick Du- A MAN, A WOMAN, AND A KILLER is a tragic What Indeed! Brow, he was uncomfortable with those epic, a love story, a documentary about drug \" nothing-can-stop-me-now songs. I guess addicts, a comedy, a portrait, a commentary and JUGGlING- how to survive the pressures of combining others can do the m and I envy the m. But a tapestry. Mostly, however, it's a film about motherhood and work. they' re not for me.\" It's equally inconceiv- violence. Not Peckinpah spleen-punching able that the Gershwins or Be rlin could violence or Coppola bleeding-horses-heads BEAT IT- an exercise in frustration with rubber moles. have written songs such as these; they are violence-by comparison these are cartoons, WASH IT- low riders get squeaky clean at the car wash. the product of a more insecure and ego- embarassingly vapid , self indulgent and boring . THE TRAINING-a serious look at potty training (???) centric time. -Linda Taylor and more! The great creators of the T wenties and 1 hour video cassette VHS, BETA, Video 8 T hirti es-the nove li sts, so ngw rite rs, filmmake rs, jazz musicians, comics, and Send $45 plus $5 shp'hndlg to ente rtaine rs who created modern Ameri- ca n culture-are almost e ntirely gone I.V. STUDIOS 985 Regal Rd Berkeley, CA 94708 now. The world they found and made is Call or wr~e for catalog (415) 841-4466 long since history--or myth. With Be rlin and one or two others, Astaire was our last living link to that world , the last surviving While Americans were paying $4 or $5 to have featured pe rforme r at that all-night sum- their jangled state mellowed by Steven Spiel- mer party spread out across Jay Gatsby's berg 's fantastically successful fantasy ET, San lawn. Fortunately for us, somebody Francisco filmmaker Rick Schmidt was creating filmed it. EMERALD CITIES, his provocative, compassion- ate \" howl \" at the gathering tide of nuclear \" Iuna-cy,\" the psychic and physical violence, and the deepening affliction of numbing cultural malaise. Vic Skolnick NEW COMMUNITY CINEMA On August 16, Steve Seiffe rt died of Purchase your 3 cassette trilogy (specify A IDS. E ne rgetic, smart, and thought VHS or BETA) for the special price of out, Steve was honest, and his honesty $100 (plus $5 shipping/handling. Please marked his work-film publicity in New send money order payable to: York-and his life. It would have been easier for him to hide. He didn' t. He will :....,) j ..../:. be missed. .....,; .::! ' ) ~ And on August 19, T yrone Oberman died of cancer. Funny, street-smart, guile less, T y worked in the editorial room on the second floor of Variety for some 20 years. He beat back heavy odds. \"L emme axe you a question,\" he' d begin and chop at the air. People could learn from Ty. ~ 95

Quiz # 27: M * A * T * H Pertonn the following computations, aided by Ephraim Katz, Clive Hirschom, and a names with movie title nicknames. We few back issues of Time (12/5/83 , 5/21184, 3/4/85) and FILM COMMENT: were tickled by your punning outrages. From just one entry, submitted by three The number of people listed in the credits ofIndiana Jones and the Temple ofDoom; deranged Texans: Danny (A Clockwork Or) Ainge, Cap (Harry) Anson, Rod (The - the number of times \"fuck\" is uttered in Brian De Palma's Scarface; Wrecking) Carew, Dwight (What's So Bad About Feeling) Gooden, Bill (The Good, + the number of issues of FILM COMMENT published to date; the Bad, and the Ug) Lee, and Steve (Ev- erything You Always Wanted to Know + the number of films in the series directed by Conan Le Celaire; About) Sax. But the winner, with a Ber- maniacal 337 names, is Nonnan C. Swan- + the number of primary languages spoken in films directed by Edgar G. Ulmer- son of South Nashua, N.H. Congrats to him, and a hearty high five to the rest of we think-anyway, ours is an even number; our contestants. Many of your entries were worthy of Bennan at his best: e.g., + the number of ceremonies in which either Mickey Rooney or Ava Gardner was Joaquin (The Dog) Andujar, Jim (Two Sil- houettes on) Deshaies, Bruce (Two Minutes married; for) Ruffin, Ozzie (Like a) Virgil, and the immortal Jose (Game Winning) Uribe. - the number of films in which any of the Marx Brothers appears; -RJCHARD (Rotten to the) CORLISS x the number of films released in the U.S. this summer whose titles are based on well-known phrases from a single stanza in T.S. Eliot's \"The Love Song of J. Alfred Prufrock\"; + the number offeature films directed by R. W. Fassbinder between February 1969 Contributors and August 1970; Matt Groening's latest cartoon collec- tion , School Is Hell was published in Au- - the number of movie songs written by the composer of Young at Heart. gust by Pantheon Books. Karen Jaehne is a New York-based freelance writer. Send your calculations to FILM COMMENT Quiz #27, 140 West 65th Street, New Hanif Kureishi wrote the screenplays for My Beautiful Laundrette and Sammy York, N.Y 10023 by October 19. The winner (who comes closest, or, in case of a tie, is and Rosie Get Laid. Richard LeCayo is a writer at Time . Marc Mancini teaches drawn in our out-of-a-hat lottery) gets a free year of this magazine. at Loyola Marymount University. Har- old Meyerson writes on political and cul- Catching up: On QUIZ #26, you Tinsel). 13-p. Another Country (North to tural affairs for a wide range of publica- Eunacry). H-f. With Six You Get EggroLl tions. Marcia Pally lives in New York were asked to match 25 English-language (You Twilight Sex Logger). 15-0. Crimes of and writes on the arts. Lois P. Sheinfeld, Passion (A Mic's Profession). 16-c. Pat and an attorney, teaches media law and ethics films (cunningly anagrammed) with their Mike (A Taped Mink). 17-s. Racing with the at New York University. Wieland titles as released in France. \"This one cer- Moon (Two on the Grim Chain). 18-n. The Schulz-Keil is a writer and filmmaker tainly wasn't too easy!\" wrote Heiner Gas- Karate Kid (I Take the Dark). 19-v. She's based in New York and Paris. Gotta Have It (The Ghost Ate Avis). 20-j. sen, of Munich, W. Ger., who becomes Rocky /I (I Cry K.O.J-/). 21-1. Rumble Fish Photo Credits (Mr. Bluefish). 22-x. Manhunter (The Nun our first international winner with his per- Ram). 23-g. Play It Again, Sam (Amy Is a Cannon: P. 80, 81, 82. Cinecom: P. 70, fect entry. It matched up like this: Giant Pal). 24-m. The King ofComedy (On 72, 76, 84, 86: Film Society of Lincoln My Deck of Eight). 25-t. A Zed and Two Center: P. 35, 36, 38, 42, 44, 54, 55. Is- 1-r. Romancing the Stone (Tonto Seen Naughts (Watt Had a Dozen Guns). land: P. 66, 67. Museum of Modem Art: P. 94. Orion Classics: P. 29. Tri Star: P. Marching). 2-b. Flamingo Road (Forming On QUIZ #25, you were asked to 25. Twentieth Century Fox: P. 4, 58, 62. a Load). 3-z. Over the Top (The Poor Vet). Vestron: P. 19,20,22. Warner Bros. P. 11, 4-e. Rally 'Round the Flag, Boys! (Long folllow the lead of sportscaster Chris Ber- 13,14. man-who entertains ESPN viewers by la- Daysfor a Hurt Belly). 5-w. Stand By Me beling athletes with such tortuous ep- onyms as \"Bob (Ice Station) Sebra-and (My Bad Nest). 6-d. Dial Mfor Murder (R. devise major-league baseball players' RoudFilm Dream). 7-k.... All the Marbles (MaBell's Halter). 8-h.Lastofthe Red Hot Lovers (Harlots Vote for the Sled). 9-y. The Bedroom Window (Bore with Odd Women) . lO-u. Off Beat (Eat Boff). ll-a. High, Wide, and Handsome (When Dadn's Home Hiding). 12-q. Sixteen Candles (Sex Dance %