VOLUME 25 - NUMBER 05 SEPTEMBER-OCTOBER 1989

\"By lighting halfthe face, I show the unccoonnSsCc.iloouuss-aand separation, like man and woman, sun and moon, light The face of Maria Schneider in Last Tango in Paris. energy giving us a sense of unity. My . and shadows.\" photography is now about opposition light only slightly changes, so it's hard to and a disparity of elements, and my with monochromatic concentration- show differences between noon and work represents what I'm searching for camp sequences. Birth was red ; child- afternoon. When a script shows \"day:' I personally. By lighting half the face and hood was orange and the conscious want to know if it's 8:00 a.m. or 3:00 leaving the other half in shadows, I show adult was yellow. Green represented p.m ., because of differences in one's the unconscious and conscious-a sepa- maturity, blue the intelligence and energy and attitude. I try to convey this ration, like man and woman, sun and strength of the Forties, indigo the power even in interiors. moon, light and shadows. of the Fifties and violet the end of life and transfer of knowledge to someone What about the dusk sequence in When you lit Marlon Brando's Kurtz else. Coppola's \"Life without Zoe\" chapter in Coppola's Apocalypse Now, anyone in New York Stories? view showed very little, but the com- S hould lighting refer to an implied bined shots revealed the total landscape source, or is any lighting okay as Yes, there's a sunset in the finale, but of his face and scalp. What were you long as you achieve the desired effect? you first have to understand the story. after? \"Life without Zoe\" is about a little girl I may have pioneered this discussion. living in New York at the Sherry-Nether- Francis and I felt Kurtz represented In Italy, lighting used to come from the land Hotel, who is trying to find balance our hidden unconscious, or secret side. set's ceiling. When I started 20 years between her parents . We represent her So we wanted to show him coming out ago, I rejected this and insisted for a father through sun and her mother of darkness like the title of Joseph Con- long time on using real sources like through moon. These conflicting solar rad's novel , Heart ofDarkness, suggests. lamps and windows. I adjusted lighting and lunar colors represent warmth and Only with light can one create darkness based on the actor's changing proximity cold, daylight and night light. and shadows. The film verbally builds to to the source. Apocalypse Now marks Kurtz for two hours, so when he's finally the end of my natural and artificial light This girl lives more in her father's seen, we couldn't possibly show him lit conflict. influence, so we use sunlight when she like anybody else. probably belongs in moonlight. All three I no longer needed real light, or come into balance in the last scene at We were really worried about this sources implied off-camera by the set, the Parthenon. Her father is performing because actors want to be seen. Francis starting with Bertolucci's La Luna. This music at sunset, but this shot continues and I have to thank Marlon for insisting opera is a psychoanalytical story of a son through dusk and evening and we dis- that Kurtz be slowly revealed, thereby and his mother, expressed in Freudian cover her mother. They all come keeping the character a symbolic figure dream analysis terms. In investigating together and the opera ends with white in the viewer's mind. color symbolism, we rejected realism; it light signifying life and maturity. was my first serious experiment with fig- Does Coppola preplan his mise-en- urative expression. Now, if natural or What about the mixed lighting in Cop- scene thoroughly? implied sources don't suit me, I invent pola's Tucker for the telephone calls the appropriate lighting. between Tucker and his wife? One From the Heart was carefully planned , but Apocalypse Now was ruled Why do you often shoot at sunrise In the 1940s, many movies had split by the moment. In the Philippines, and sunset? screens, showing two spaces with con- Francis went with the spontaneity he versing actors. Dean Tavoularis wanted seeks from actors . One From the Heart If I shoot 15 minutes before sunset, to duplicate this idea in a new way. We was designed to evoke a specific emo- and continue long after, many types of had two rooms beside each other photo- tion during a given sequence. He lighting occur. Daylight streams in the graphed by one camera. Tucker would planned everything from script to window, followed by sunset's phases, be in Washington with his wife in Chi- recording actors' lines like a radio play. then near darkness and artificial light cago. I decided to light each room differ- He also staged and rehearsed in empty from 'the street, followed by the set's ently, because of time changes across stages like theater, until he was ready for artificial lights . America, where one location could electronic cinema rehearsals. Finally we already be night. Also, Tavoularis built filmed. Light evolves from matter to energy, two sets, so that one tilted up and the and I try to record energy's path. Time other down, to duplicate the split Francis' Megalopolis will begin is marked by conflicts between natural screen, where one camera looks up and shooting in two or three years and will and artificial light and outdoor lighting the other down. be planned like One From the Heart. shifts. We can feel the movement of the Now I have a year to study and ponder earth's rotation around the sun. Why do so many of your close-ups the possibilities.~ show only half the face l~t? We see dawn, morning, noon, after- noon, sunset and night. During the day, Light is a different wavelength of 50

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Unbearable Lightness Sven Nykvist Sven Nykvist interviewed \"IfI have a good lens saturated storyline. He distilled the dif- by Armond White ferent kinds of light (and vision) like a and a camera that is prism , giving Persona a hyper-realistic A merican filmmakers who hire look. Shooting close-up, the cinemato- Sven Nykvist hope that some steady, that's enough.\" grapher caught Bibi Andersson's and Liv of Ingmar Bergman's magic Ullmann's most intimate expressions. Unlike the glamorous star close-ups of will rub off with Nykvist on the set. The the 1920's which implied adoration, Nykvist gave Bergman the effect of result, however, is that Nykvist's Ameri- into the script:' looking at the actors from the inside out: a post-analytic God's-eye-view. can filmography is almost entirely a list Nykvist's cultivation serves him well; He further refined this crystalline of far-from-Bergmanesque movies: The he respects both high and middlebrow b&w style in Shame (1968), followed by two Bergman color experiments, The Dove (1974), Pretty Baby (1978), Hurri- intellectualism , making him the rarest of Touch, (1971) and The Passion of Anna (1970). But he achieved absolute chro- cane (1979), King of the Gypsies \"techies:' He is, after all, the cinemato- matic mastery with Cries and Whispers in 1972, and the whole world widened (1979), Starting Over (1979), Willie & grapher who moved hi s craft onto a its eyes. The film had the richest red , white and black color scheme while Phil (1980), The Postman Always Rings philosophical plane. keeping the images cooly distinct. In his Twice (1981), Cannery Row (1982) , Born in Sweden in 1924, Nykvist close-ups, Nykvist created a breathtak- Agnes of God (1985), Dream Lover spent almost two decades working as an ing balance between the red back- grounds and Ullmann's blue eyes; the (1986), The Unbearable Lightness of assistant photographer at Sandrew exteriors were vibrant, almost fier y, summer landscapes. Being (1988), Another Woman (1988) , movie studios, studying at the Stock- This visual intensity marked the end and the \"Oedipus Wrecks\" chapter of holm Municipal School for Photogra- of the art-house phenomenon that inspired two, perhaps three generations New York Stories (1989). phers and working at Cinecitta in Rome. of American filmmakers. It was also the last great moment when an international Gentlemanly and kind-eyed, Nykvist He shot documentaries in Africa where audience, representing a vanguard of doesn't resent being reduced to a brand his Lutheran parents were missionaries , name. He speaks quietly in firm , socia- and was director of photography on ble Swedish-accented English and talks dozens of feature-length films . Then, of his gratitude at being accepted by the in 1967 , he shot Bergman's epochal American film industry. \"I have a little Persona. difficulty with American scripts,\" he It was Bergman's first film to show a explains, \"because they don't mention consciousness of modernism, mixing mood or atmosphere or how it looks. scenes of artistic process and female You just read dialogue. With Bergman psychological stress. Nykvist stylized how the scene must look , the atmo- silent film parody and theater and sphere, and the weather were written soundstage verite, with the emotionally 52

cinematic taste, responded en masse to on the lens. I use color filters on the lights, because if you use it on the cam- a specific (cerebral Scandanavian) cul- era and it's not right, then the labs can- not do anything about it. But if you are tural expression. And the triumph was clean-no filters at all-you can get the same result in the lab. the cinematographer's: he added a On Winter Light (1963) we tried to dimension to how we perceive natural find out something about film lighting: how do we light to make it look real? lighting. The French Nouvelle Vague directors were then shooting on location. So, we Nykvist's subsequent ambassador- started to shoot on location in Sweden, and I found I could get a much more ship across Europe (Conrad Rooks' Sid- realistic atmosphere. dhartha, 1973; Roman Polanski's The This also applied to composition. We were so restricted that we were simple, Tenant , 1976; Andrei Tarkovsky's The because we didn't have a choice. That helped me later when I came into the Sacrifice, 1988; Volker Schlondorffs studio. I asked for a ceiling on the set so that I wouldn't be able to use lights. Swann in Love, 1984-continues the Bergman and I promised each other that we would not have any shadows at all. artistic advances made under Bergman, So we started to use indirect lighting - bounced lighting. Except for the 30 sec- though so far it's been like watching onds when sunlight walks through the church; the light we used is important Albert Einstein on speaking tour open- and has meaning. ing supermarkets. The relativity of D o you prefer color or black-and- white? Nykvist's natural lighting theories how- I always said I preferred b&w but I think it's almost impossible now. Labs ever, are inappropriate for directors with- often cannot time it right or they're not used to it. We had a terrible problem out Bergman's visual sense. This is most Liv Ullmann in Persona. with Life of the Marionettes . On The Sacrifice , or the night sequence we took embarrassing on faux Bergman projects HI always try to catch away red and blue in the lab. So it was light in the actors' eyes not b&w, it was color; but different- like The Sacrifice , a dark-on-dark atten- because Ifeel the eyes monocolor. uation of Shame, and the brownnos- are the mirror of Doesn't that devalue your craft? the soul.\" No. Even if the audience did not see ing Woody Allen films like the drab, what we did-and they shouldn't have - What do you think of the way Interi- it gave a dramatic feeling to that static Another Woman or \"Oedipus ors imitated the compositions in Cries sequence. Do you think it was too dark? and Whispers? ~s. Absolutely. Wrecks,\" which was a visual affront. That could be just the print. You I was a little surprised. [According to know we are in the hands of the labs. Billed alongside his peers Nestor a source], they studied Bergman pic- You have said that you cannot put tures at the editing table. But that's OK. straight light into the face. Your close- Almendros and Vittorio Storaro on New It's not so easy for one cinematographer ups with Bergman are very special. Why to copy another's work, because it goes is that? York Stories, Nykvist's work seemed pit- against his will, because he wants to add The face is a world in itself. I think it his style to the picture. I once met with is almost my specialty. If you are inter- ifully unaesthetic. Bergman and Fellini, and Fellini said, ested in human beings, you must be \"Oh, that shot (and so on) I stole from interested in faces . I always try to catch Unfortunately, Nykvist has yet to you, Ingmar. And Ingmar said, ')\\nd that light in the actors' eyes, because I feel shot I stole from you:' So we give and the eyes are the mirror of the soul. meet his match in an American director. take, and there's nothing wrong with Some directors are annoyed at seeing that. That's how you get ideas. reflections in the eyes. But there are However, the cinematographer whose always reflections in the eyes; some peo- Do you think you have a recogniz- ple just don't think about it. I feel that if 16mm The Magic Flute (blown up to able style? I have that reflection , you can see the human being thinking. There's a pres- 35mm) has the finest color resolution The most important thing is to ence there. ~ change the style for each picture. I ask ever seen in that medium can't be dis- myself how can I help the audience to look at the right thing: is it the actors, or counted yet. Someday his Bergman will the dialogue, or the mood , or so on. I am not a good technician, although come. -A.W. that's my background. A re American directors intimidated Isn 't the essence of a good technician by your reputation? knowing what's needed? I usually don't have any difficulties. We find a way to talk very quickly. As If I have a good lens and a camera soon as you talk about films, it's very that is steady, that's enough. I'm not easy. I know about their work, they crazy about the new toys that come up know about mine, so we don't start from each year. I like simplicity. It's taken me scratch. And then , of course, we start to 30 years to come up with simplicity. So I discuss the pictures we are going to don't use diffusion filters or color filters make. Do American directors want you to repeat your work for Bergman? They want to know a little about the work with Bergman, but it's important for me to change my style for every pic- ture. The crucial thing is the script and my relationship with the director. Then I can say yes or no to a picture. Woody Allen is known for his Bergmania. Did he press you on that subject? I wondered about that myself. Is he going to talk about Bergman? But he had his script, and I had to follow it. I don't think we ever mentioned Bergman . We always had a very good collaboration. 53

sponsibility, a director, (and later a pro- ducer or studio head), could regulate and control the participation of various unit members who contributed to a film's efficient, quality-controlled pro- duction . It was the goal of making a dis- tinctly representative film for a company that pushed a unit's technical practices toward style, toward art. Orson Welles (I.) with Gregg Toland on Citizen Kane. I t's here, where know-how and ingenu- ity combine, that the functions of a by Armond White the cameraman was all-a single person photographer and a director blur. The who selected material to be photo- desire to make an idea visible-the L et's dispense with the false graphed and did so. Janet Staiger's The prime \"impossible\" task of cinema- modesty of \"lighting camera- Classical Hollywood Cinema dates the forces a director and cinematographer to men ,\" as cinematographers or first' official U.S. assignment of the posi- work interdependently. At a basic level tion \"director\" as 1904 , at the Vitagraph the photographic quality of a shot is as directors of photography are sometimes Company of America. Film producers much a part of its meaning as its subject. borrowed from theater the concept of Studio executives realized this, as they known . The claim that a cinematog- stage director to block out action and turned out stylistically uniform pictures; assigned a craftsman to record the through the lighting and processing rapher's style should be invisible, or action on camera. To keep up with the techniques standardized at each com- demand for product, this division pany it became possible during the changeable from film to film , is just a expanded around 1911 to directors D.W Thirties, Forties, and Fifties to identify Griffith and Mack Sennett in New York a Paramount (soft , kinetic, artsy), an tired shibboleth from the American or and Francis Boggs in Ca lifornia, who MGM (glossy, static), a 20th Century- headed filmmaking units committed to a Fox (dense, creamy), or a Warner Bros. British Society of Cinematographer's divisions of labor for faster, autonomous (brittle, documentary). production. This was an auteur hierar- manu al. DPs paid lip service to that chy in prototype-the basic model that Studio style consistently trade- exists today. marked films despite genre, b&w or notion the way they paid union dues. color stock. Directors and cinemato- Assuming creat ive-manageria l re- graphers invariably made their impri- Under the studio system this attitude matur whether within studio sty le or outside it. The itinerant Joseph August's would make them seem cooperative and mystifying halation lends the same tone of fable to Sylvia Scarlett, Gunga Din , \"professional\" - a team player rather They »-ere Expendable, Portrait of Jen- nie and Damsel in Distress. Similarly, than a persnickety stylist or, God forbid, Gregg Toland's high-intensity contrasts created the same dazzling spatial dimen- a pretentious artist. This fallacy of pro- sions in Dead End, Long Voyage Home, Citizen Kane and The Best }ears of Our fessional integrity stems from the earli- Lives. August and Toland worked in a simi lar range of psychological chiaro- est period of film production. Before scuro but each was distinguishabl y exquisite. film labor became uniformly divided , August based his b&w palette on nat- ural visual phenomena featuring the varied qualities of daytime or the spook- iness of night. Toland depicted similar atmospheres with rational clarity-a modern skeptical toughness. The case for the distinctiveness of Toland and August is made by comparison of their respective films for John Ford-The Long Voyage Home and They Were 54

Expendable. Each picture, filmed during creative limits on film artists-a kind of In every movie, nature is selected and the peak of the studio system, has a pic- fiat censorship. Although imagery that angled through the cinematographer's torial style (and a similar light/dark play) reproduces the known world is as far as craft-a process that is as axiomatic as it that suitably expresses Ford's interest in most people understand the visual is deceptive. The realism of a standard melancholia and masculine fellow- aspects of film-what Andre Bazin dis- narrative film is an illusion reinforced by ship. But August exalts the drudgery of cussed as the ontological nature of the the dramatic expediency of what is military duty, exhilaratingly conveying cinema-the cinematographer's skill onscreen, gainsaying the DP's an, even patriotism, while Toland's hard- goes beyond that. when his work is poor {Michael edged romanticism epitomizes a poetic attitude in a way that isn't merely ade- quate to the Eugene O'Neill text but elevates it. August has, unlike Toland, no Citizen Kane to represent his genius, so he isn't remembered even though his work man- ifests a consistently personal style. His obscurity typifies the tendency never to look beyond a cinematographer's tricks or notice his individuality. Toland's visi- ble personality or sensibility is not stud- ied either; it's left mysterious to us through an insulting reverse-parochial- ism that suggests film art is too ephem- eral to be approached through investigation of its highly technical aspects. O ther auteurships-the director as r;;, superstar, the screenwriter as intellectual valiant- stem, basically, Top to bottom: To/and's The Grapes of Wrath; Seitz's The Big Clock; Musuraca's Out of the Past; from an educationally traditional literary Mate's It Had to Be You. bias. The forms of narrative, the various patois of dialogue, can be appreciated and understood conventionally. Cer- tainly it is the literary genesis of Ford's The Grapes of Wrath that accounts for that woefully overrated film's reputation when, indeed, Toland's photography is its only interesting feature: the ominous early sequence with Casey in the dark and the montage of farm machinery. One imposes an emotional gravity, the other a documentary frankness upon the general style of working-class romanti- cism, lending Ford and Steinbeck's sanc- timony some brief but incisive integrity. The complexity of visual art is often taken for granted by filmgoers. Cinema- tography may be the only honest art being practiced in The Grapes of Wrath, although viewers recognize only the film's obvious literary intentions. Romance with the word becomes an intellectual dependence that only notices creativity in the more blatant pretenses of writing and drama. Literary imitation of life wins audi- ence approval because aside from being familiar, accepting the conventions of such narrative forms establishes a view- er's \"control\" over the art and automati- cally defines the extent to which interpretation may be stretched. Our command of language helps us impose 55

Ballhaus' Broadcast News, James Crabe's like Arthur Miller (How Green Was My Rocky) . Ironically this happens most Valley, Anna and the King of Siam) , when the photography shows special more closely represented the conformity imagination and skill. of a studio style (Miller was to 20th SCreYateDd byfifLreDenwn.tm'g F ilm noir is probably the foremost Century-Fox Forties b&w as Cadillac to example of a style scarcely credited General Motors). to cinematographers . The moody cyni- cism of noir is readily comprehended as C inematographers often work under a paradox: the phenomenon of the the expression of a writer or director's medium itself obstructs the appreciation sensibility, as if its visual aspect were of their painstaking expertise. The Ttehaechleeg~eanudtahfroythrse0CffiSlmCRinEdEusNtrPyL\"A-Y achieved automatically, without the spe- reviewer's cliche, \"every shot is a master- \"The bible 0 m. e r cial sensitivity of the DPs involved. piece;' generally holds true for the work Noir's etymology traces the significant of Edouard Tisse (Potemkin, Que Viva LA Herald· Exam cycle in which European influence on Mexico , Aerogard, Alexander Nevsky , American film practice set an interna- Ivan the Terrible) and Rudolph Mate • wMiathst\"etrhthee'!sI.kOl.lSlStt~eOfasUccgrhhetee.rnawifnrtitteihnreg tional standard . The art consciousness (The Passion of Joan of Arc, Vampyr, screenwr.tmg dReporter of German Expressionism in the Twen- Dodsworth, Love Affair, Foreign Cor- world'!.-HoIIYWOO ties and Thirties was imported here by respondent). The photographic quality the emigration of filmmakers like Mur- of any single frame entitles them the nau, Siodmak, Wilder and Lang. This esteem of a Steichen, Steiglitz, or Car- trend influenced studio style, allowing tier-Bresson. Giants like Tisse and Mate • Receive~~ ~:apnesrltagteuiydoaunrce more noticeabl y artistic lighting pat- endure the lingering disrespect towards ~y~o~u~;nfe~e I.t~~a~.~vtoacaysoaflayboluer terns. In horror films and thrillers, noir cinema as art plus the relative obscurity own home. became the first Hollywood trend to of doing their finest work in difficult art create meaning through visual effect. films. In the decade that Cartier-Bres- Chiaroscuro indicated a psychological cast rather than simply accented a line It's here, where of dialogue or physical action. fsyd Field's In this phase, cinematographers know-how and ingenuity combine, • Become one °dents like \" thanklessly utilized b&w and exercised that the functions ofa sCuacrcmeesnsfuC~l lsvteur, \"The Thornbirds; helan \"Mask;\" their mastery of light and shadow. Stal- wart noir DPs like John Seitz (This Gun for Hire , The Lost Weekend, The Big Anna Haml/ton'P \"so'uthern Clock, Double Indemnity) and Nicholas photographer and aMusuraca (Cat People, The Seventh Vic- aCnodmMfoircth.\"ael Kane, tim , The Spiral Staircase , Out of the director blur. Past, The Blue Gardenia) were not just lighting for exposure. Their expertise • Be personally gU~'dteadge of the greatly distinguishes the look of these son was shooting his famous Spain through. ~ve~ocess by Syd films from most noirs. If one developed series, Tisse took his own erotic, screenwntmg P ff findustry an artiste theory in counterpoint to the immortalizing lighting to Mexico, Field and hIS sta 0 professionals. auteur theory, noir would by revealed as achieving pictures of extraordinary sen- For intormter~r~~cnocrpoonratatecdt more than a director's form. It peaks in suality. PscOreBeonxw6n979~A 90069 Out of the Past, in which glamour and Tisse's style is famously entwined Los Angeles, stealth become one visual mode. Seitz' with Eisenstein's, but where the latter's 213 659·3811 decadent naturalism transfers the les- theories can be studied in 16mm prints sons of noir to give the sardonic Sunset or on television , Tisse's art only gets Boulevard a kind of ethical density, released when seen in 35mm. The combining a reflective (movie-derived) enlargement actually opens up the lumi- visual style with blunt, modern observa- nosity that Tisse found in both the dark- tion. Even Robert Krasker's delineation ness and rough texture of flesh. Beyond of noir for British films (Brief Encoun- the \"beauty\" or \"perfection\" of images- ter, Odd Man Out , The Third Man) the cinematographer's basic concern- shows an identifiable vision , serving Tisse gleaned additional sculptural value directors as unlike each other as David from Eisenstein's close-ups and tab- Lean and Carol Reed . Of Krasker, leaux. Musuraca and Seitz, only Krasker was Likewise, Mate both serviced Drey- awarded an Oscar, which suggests er's vision-depicting both the absolute America's inability to recognize home- and the uncertain-and enhanced it. grown art and style. In the Forties, the Over and above Breyer's other DPs, he Academy Awards bypassed \"artistic\" cin- made vivid and special the director's ematography, more regularly honoring customary interest in physical and meta- simpler pictorial efforts by DPs who, physical portraiture. Appreciating this 56

takes more th an me re observatio n ; But Co rtez was also co ll abo ratin g AVAILABLE Mate's multifa rious capability as a cine- with two idiosy ncratic fi lmm akers. Both ON VIDEO matographer demonstrates an un spoken Welles and C harles Laughto n wa nted cath o lici ty of visual mann e rs li ke a si nger w ith a twe lve-oc tave range, co nspicuously artistic photography, fo r- full of unexpected mome nts of subtle virtu osity. ging a n aggress ive p icto ri alis m th at 'Director's Choice' Ann Arbor Film Festival In Leo McCarey's Love Affair, Mate wo uld challenge audie nces and raise the shoo ts a sh ipb oard co nversati o n bet wee n C harl es Boyer and Ire ne stakes of the cinematograp her's game. Dunne away from a cabin's source light, withi n the shadow of a half-open door: Surely one reaso n for the enduri ng fasc i- A MAN 75B~:' all three diffe rent light levels in the shot nation with Ambersons and Night of the offer clear, distinct detail. Cinema cul- Hunter are their layered visual planes, ture offers no und erstanding of such unprete ntious artistry, no clue to the A WOMANrthe nocturnal sequences and dark interi- perso nality th at devised arM.. expedited AND A KILLERors that play peekaboo with mood, ani- it . Better-th an-adequate technique gives mating the almost brocade surfaces . By express io n of so meo ne's so ul (o r genius) . It's mystify ing when that is sub- increas ing the significance of visual style If someone asked me, in conversation , what I mitted to someone else's (a director's) these fil ms made the case fo r the pri- thought of \"A Man , a Woman and a Killer,\" I'd des ign. macy of the cinematographer's artistic say it was interesting and stop at that. I'd be afraid ro le. of shortchanging the film by describing it too Mate's Love Affair. Betwee n Ambersons (1942) and much . This is probably best perso nified by Night of the Hunter (1955), mai nstream For one thing , it is in part a film about the mak- Ame ri ca's mos t e nigmatic cine mato- DPs had opp ortun ities to make pos i- ing of the film . This is an idea that has endless grapher, Stanley Cortez, DP on the two tives out of th e negatives of stu dio- appeal for young filmmakers, who are obsess- most striking b&w film s ever shot, The e nforced style w ith th e adve nt of ed with what they call \" process\" - that is, the Magnificent Ambersons and Night of the widescreen co mpos ition and increased hardware of their craft. By calling attention to the Hunter. Not even th ese cult legac ies use of color. Right on the verge of Pop, artifice of film , they are aiming to seem artless. have secure d Cortez th e ve ne rati o n both D ouglas Sirk, in his use of color But artlessness is artifice, too, 50 the technique found by other colleagues of his genera- and b&w, and Nicholas Ray employed tion. Cortez has the unknowable bril- journeyman DPs to outstanding effect. defeats itself. li ance of a pin ch-hitter who, out of For Sirk it was Ru ssel Metty. And for his For another, the film uses English subtitles at cer- nowhere, when it counts, supplies the series, on Bigger Than Life Ray used tain moments to \" translate\" its English dialogue, miracle needed . The undi stinguished Joe Mac D onald ; for Party Girl, Robert a technique I dreaded when I read the publicity .works in Cortez's fi lmography suggests th at he responded bes t to inspiratio n material because it seems just too cute. rather th an consistently pursuing a But because of these devices, rather than in spite perso nal cine matic loo k. Hi s intrans i- of them , \"A Man , a Woman and a Killer,\" works gence suggests a rare heroic individual- in a way that makes it one of the most absorb- ism for cinematographers -making his ing films I've seen of what is generally called the mark without quite making a name fo r him self. independent filmmaking movement. Bronner; for Johnny Guitar, H arry Stra- dling; and for Rebel Without a Cause, Ernes t H aller. L ike the MGM musica l, F ifties mai n- stream cinematographers - George Fo l- sey, John Alto n, H arold Rosson and Fox's L eo n Shamroy - ap pealed to the audience's eyes yet stayed with in a gen- eralized gaudy-electric visual movement. T his buried the cinematographer's co n- tributio n in the monolithic creative pat- te rn of eac h studi o's me th od. A heav ily-lit, hard , glossy look became the standard of American taste - a loo k that, * * *_Mov/es on TV not co incide ntally, co nveyed the mortifi - cation of American stud io filmm aking pr ac t ices. Robert Burks' work fo r Hitchcock in A FI LM CREATED BY the F ifties literally gave color to H itch- DICK RICHARDSON, RICK SCHMIDT cock's storyboard s- a deliberate ly nonre- AND WAVNE WANG alistic look rendering the wo rld in pastel A MAN, A WOMAN, AND A KILLER is now and neon hues . (Today only Burks' b&w available at the following video stores: work-Strangers on a Train, I Confess - looks fres h). It was Burks' special flue ncy ••••••• VIDIOTS (Santa Monica) ••••••• • ••••• TLA VIDEO (Philadelphia) •••••• within Ase gu ide lines and his particular • • • ••••• CAPTAIN VIDEO (S.F.) • • • • •• • •• • • • •••• VIDEOACTIVE (L.A.) • • • •• •• •• ph otographic perso nality th at explain s •••••••• • NEW VIDEO (N .V.C.) •• •••••• Hitchcock's hiring John L. Russell for the gari sh B-movie look of Psycho . Hit- Or purchase your VHS/BETA (please specify) chcock intended it to co ntrast with Burks' cassette for $49.95, plus $2.00 per copy for visual style that came to be identified as shipping I handling . Hitch's own. Please send R ao ul Co utard's wo rk with th e money order French New Wave revo lutio nized payable to film watching. As the custodian of a new 57

AVAILABLE filmmaking epoch, Coutard's fluency Nouvelle Vague, interpreted the politics ON VIDEO introduced to film an aesthetic sensitiv- behind Hollywood style and the tradi- ity so exciting that only an oxymoron tion of quality, and purposely opposed Selected as an outstanding film of the year. could describe it: \"visual literacy:' Actu- it. When the next cycle of European London Film Festival ally it was not new but a renaissance of infiltration into American filmmaking the visual awareness pioneered by silent occurred, it happened partly out of cul- 93 minutes, color I B&W. filmmakers; the Nouvelle Vague was tural upheaval-when Europeans like simply the first movement to address Vilmos Zsigmond, Lazslo Kovacs and A FILM BY RICK SCHMIDT the fundaments of cinema since the Miroslav Ondricek sought refuge in the silents. American economy, just as contempo- The big hit of the Ann Arbor film festival in 1978, rary American filmmakers were search- Rick Schmidt's 1988·THE REMAKE is currently Coutard did more than bring skill to a ing for new ways of telling fiction. It also enjoying cult status in other cities. It's easy to see movement-which is what Freddie happened as a fad . why: the film has carved a unique niche for itself Francis (Sons and Lovers, Saturday somewhere between FREAKS and Fellini's B!I2 . Night and Sunday Morning) and Oswald Alan]. Pakula is probably the worst Purporting tohe the first musical \"with the stench Morris (Look Back in Anger) did for the example of trendoid collaboration, mak- of death about it\", and ending with the message corresponding Kitchen Sink Drama/ ing pointless use of big-name European \"be the star in your own life\", 1988 mixes deadly Angry Young ' Man films in Britain . DPs : Giuseppe Rotunno in Rollover, seriousness and high camp, avant-garde Coutard also brought a definite zeal. Sven Nykvist in Dream Lover, Nestor aesthetics and transsexual athletics with an at- The range of his work still amazes: the Almendros in Sophie's Choice, and the mosphere that is alternately sordid and seductive. freedom in Breathless' camera set-ups, Australian Donald McAlpine, whom he the lyricism of Jules and Jim, the sun- got to imitate former collaborator Gor- David Harris light beating at the door to burst in on don Willis for See You in the Morning. The Boston Phoenix the lives of Lola's characters, the Pakula enlists artist-cinematographers 1988 recounts the fictitious tale of a middle-aged urgency of Z, the classical contrasts in like a Soho gallery culture vulture. His librarian's attempts to finance and remake the film Vivre sa Vie and all the rich , disciplined musical \"Showboat\" in contemporary terms. The color films from A Woman is a Woman The desire to make an auditions are arranged on a San Francisco stage, and Contempt to Pierrot Le Fou and La idea visible-the prime and range from incredible to merely bizarre. Chinoise. \"impossible\" task of Variety By the late Fifties, the director-cine- cinema-forces a matographer filmmaking axis had estab- , director and * * * Movies on TV lished a space in which Coutard's work cinematographer to could be better acknowledged than was work interdependently. Featuring SYLVESTER, JESUS CHRIST SATAN, Billy Bitzer's for Griffith. Yet Coutard LINDA MONTANO, RAL·PHENO, BILLY shook the hierarchy. Coming at the end quest only proves the importance placed BARKSDALE, DICKIE MARCUS, JON of a decade in which international cin- on a DPs sensibility and on subjective CARROLL, NUNS and NUDIST, many others ... ema exploded, Coutard's use of new film art over objective craft. For example, stocks and lighter equipment made him Gabriel Figeroa demonstrated the result 1988 is available for sale or rental at the the first superstar cinematographer. The over the decades with John Ford (The following video stores: fact of Hollywood's predominance over Fugitive) , Luis Bunuel (Los Olvidados) ........ ROCKET VIDEO (L.A.) ••••••• worldwide distribution and technical and John Huston (Night of the Iguana) , ••••••• VIDIOTS (Santa Monica) ••••••• standards actually insured that this posi- each time giving a bejeweled aura to ••••••••• ,. DR. VIDEO (S_F.) ••••••••••• tion would be taken by an outsider not nighttime sequences and showing tropi- • ••••• TLA VIDEO (Philaderphia) ••••• subject to industry uniformity. Coutard's cal heat and dazzle in b&w. ••••••••• NEW VIDEO (N_V.C.) ••••••••• work with a bunch of cineaste upstarts transgressed Hollywood style-and by Similarly Giuseppe Rotunno became Or purchase your VHS/BETA (please specify) the simplest means : natural light, the a favorite for American directors Mike cassette for $49.95, plus $2.00 per copy for great poetic concept of the modern era. Nichols (Carnal Knowledge), and shipping I handling. Robert Altman (Pop eye) , although Please send T he rigidity of American filmmak- Rotunno has yet to match his name- money order ing looked tired next to the making masterpieces for Luchino Vis- payable to expressiveness and fluidity of films from conti (White Nights , Rocco and His Japan , Italy, France, India, Sweden and Brothers, The Leopard). John Huston Great Britain. Here they let in a little hired Aldo Tonti (the DP on Visconti's more sunlight, a little more realism and Ossessione) for Reflections in a Golden a sense of scope more defined by imagi- Eye, Arthur Penn used Ghislain Cloquet nation than by an anamorphic lens . for Mickey One , Joseph Manckiewic,z International cinematographers followed used Gianni DiVenanzo for The Honey a painterly tradition, embracing rather Pot and Woody Allen recruited Carlo than avoiding accentuated style. Holly- DiPalma (Antonioni's Blow Up, wood cinematographers promoted a technology - based fallacy of perfect vision-clear focus concealing manipula- tion and artifice. Art filmmakers like, those of the 58

Zabriskie Point) to shoot September and long desp ised and resisted . T he ir light- AVAILABLE Radio Days. ing ca ptured fam ili ar la nd scapes and ON VIDEO local ico nography with a sense of discov- They were all after the sensitivity of ery. T his really did seem to be a new One of the best independent films we've seen light which has been the major issue for Ameri ca n cin e ma whic h refl ected th e the look of film s in the mode rn period. co untry in del icate details (In the Heat all year. L.A . Weekly After Coutard , the standards for ci ne ma- of the Night, Deliverance) , or in visual tography were set by Storaro's Ihe Con- sche mes th at put co nte mporary experi- A FILM BY RICK SCHMIDT formist, G ordon Willis' The Godfather e nce in special, illuminating co ntexts film s, N ykvist's Cries and Whisp ers , (American Graffiti , Close Encounters). E ERALD John Alcott's Barry Lyndon and Nestor Wex le r's im ages are always ecs tatic, ITIESco~~: Alme ndros' Days of Heaven. G iven the Zs igmond's always newborn . T he ir art- qu ality of th ese achieveme nts-refin e- istry is in m ak ing eve n co mm e rcia l For lovers of weird movies, independent direc- me nt thro ugh minim al means-th ey ass ignments look perso nal. tor Rick Schmidt is the king . have been difficult to surpass. Most cin- e matographers work in reaction to those T hat's the new challe nge to cinema- Robert W. Butler mov ies, sy nthesizing their examples of tograph e rs: th ey must be familiar KANSAS CITY STAR craft and artistry. with the land marks of natural an d unor- C ine mato graph e rs H as ke ll Wex le r Cameraman Stanley Cortez's The Magnificent Ambersons. EMERALD CITIES features Ed Nylund as an alcoholic, part-time Santa who runs a cafe in and Vilm os Zs igmond had anticipated thodox lighting and yet mu st innovate to Death Valley with his actress daughter (Caro- these shifts in their own phe nome nal, if interest a visually surfe ited public . Co n- lyn Zaremba) . When the daughter runs off to less heralded , pictures . Wexler's In the rad H all's caree r co me bac ks, Black San Francisco with a punk (Ted Falconi of Heat of the Night, The Thomas Crown Widow and Tequila Sunrise, were both FLIPPER), Ed follows. He encounters a politi- Affair, Medium Cool, American Graffiti, glam our-stru ck ge nre rejuve nati o ns, cian who wants the country to be one big Bound for Glory and additio nal photog- li ghtin g fo r bea uty but kee p ing th e National Park with himself as head park ranger raphy on Days of Heaven were, subject im ages un stu c k and agil e in stea d of (Lowell Darli ng) , an ex-con in a Martian mask by subject , a glorifi cation of the new p osed , vibrant wi th hidd e n facets of (Dick Richardson) , punk rock bands FLIPPER ph otographi c poss ibilities. Z sigmond's light . T his neo-class icism also marks and THE MUTANTS, politicians and priests McCabe & Mrs. Miller, Images, Deliv- Bruno N uytte n's lighting for Godard's justifying limited nuclear war as manifested on erance, Th e L ong Goodbye, Close Detective and C laude Berri's Jean De TV, including street interviews (by Wille Boy Encounters of the Third Kind, Th e Deer Florette and Manon of the Spring, mas- Walker) about the death of Santa Claus . Hunter, Heaven's Gate and Blow Out tering both the Nouvelle Vague and the Although the more bizarre components make tapped the freshness of their subjects. trad ition of quality. this film excellent late night fare, with its allusions to mass media and the health of the Wexle r and Z s igm o nd's definiti ve Na turali s ts co me in two fo rm s - nation , it 's much more than just a freak show. works, Bound for Glory and McCabe & C hris Menges' docume ntary-like imme- Or is it? Mrs . Miller Americani zed the photo- diacy and th e work of John Seale, who graphic sophistication th at Hollywoo d gives diffe re nt texture to his subjects Jo Comino CITY LIMITS (LONDON) EMERALD CITIES is now available for rental and/or sale at the following video stores : ........ ROCKET VIDEO (L.A .) • • ••••• ••••••• VIDIOTS (Santa Monica) ••••••• ••••••••••• DR. VIDEO (S.F.) ••••••••••• • ••••• TLA VIDEO (Philadelphia) ••••• ••••••••• NEW VIDEO (N.V.C.) •••• • • • •• Or purchase your VHS/BETA (please specify) cassette for $49.95, plus $2 .00 per copy for shipping I handling. \",. Please send money order payable to /' . 59

I Woody Allen and Jessica Harper in Stardust Memories. THE LIBRARY SERIES with the subtlest light, as in the opening Romance with the word of Witness and the Edward Weston-style becomes an intellectual • Dancing on the Edge of Success with road study The Hitcher. In Therese, dependence that only dancer/choreographer Margaret Jenkins Hope and Glory and Dangerous Liai- notices creativity in the sons, Phillippe Rousselot brings a realis- • Women by Women at San Francisco's famed tic integrity to artifice. For Diva, Galeria de la Raza, Latino women speak Rousselot shot for contemporary sur- about their art face, borrowing graphic chic from out- • How to Market a Body of Art-guidelines side movies-an explicit hybrid like Jose more blatant pretenses from the studio to the market place Luis Alcaine's juxtaposition of the lac- ofwriting and drama. quered Sixties, Hollywood look with the • Interviews with Artist Program I-Survival present-day in Women on the T-erge of a Research Laboratories mechanical per- formances, Lucy Lippard discussing cultural Nervous Breakdown. responsibility plus 5 more This kind of stylistic lighting requires Africa and underlines the impoverish- • Interviews with Artists Program II-three a visually conscious audience that, in ment of the critical lexicon. minority artists reveal their genesis and motivations the past decade, was proven to exist by Too often a cinematographer's work • Interviews with Artists Program III-from the popularity of Caleb Deschanel (The is dismissed as gimmickry rather than performance art to dollmaking to the Church Black Stallion), Andrew Lazslo (The aesthetic daring. TIvo instances: Gordon of the Subgenius Enlightening' Entertaining' Economical Warriors), Alan Thomson (Excalibur), Willis' single Academy Award nomina- VHS • Beta' Video 8 Jordan Cronenweth (Blade Runner) and tion was for the trick matte effects in I.V. Studios 985 Regal Rd. Berkeley, CA 94708 Frederick Elmes (Blue Velvet). Zelig. Likewise, his rather lame resusci- Call or write for catalog (415) 841-4466 However the most visually exciting tation of b&w in Manhattan won more From P,lntlng by John King films in the Eighties have strained the praise than his miraculous second b&w triumph of \"visual literacy\"-Aleksandr effort, Stardust Memories, in which he Knyazhinsky's Stalker, Willis' Pennies surpassed Woody Allen's trite imitation from Heaven, Thomson's Legend, of Fellini's 80 and recaptured the star- Seale's The Hitcher, ~obby Muller's tling moral-graphic contrasts of Gianni Down By Law, Stephen H. Burum's DiVenanzo's original lighting but with Rumblefish, Lazslo Kovacs' Heartbeat. Willis' own distinctive lambent grain. In the Forties, James Wong Howe These films used cinematography more expressive and original than the scripts hooked himself into legend by putting on roller skates to shoot the rapid, jittery they illuminated but they lacked fight scenes of Body and Soul. This cute deserved acclaim. And even European device is more heralded than the con- star-cinematographers like Storaro, Nykvist and Almendros only seem able ventional but dynamic craft of Howe's to reach viewers in the most banal con- Yankee Doodle Dandy. Masters like texts (such as Storaro's non-Coppola Howe, DiVenanzo, Willis and Alcott are given the status of technicians uncon- work). nected to emotional and thematic aspects of a film's meaning. But the B ack in the days when Alcott's director-cinematographer collaboration cinematography in Barry Lyn- don seemed the apex of techni- cal invention and artistic sophistication is an exchange of ideas , a coordination (Kubrick and Zeiss meet the Zeitgeist), of sensibilities. Like the symbiosis of one press screening viewer was heard lyricist-composer songwriting teams, whispering to another, \"Don't you wish cinematographers can help to carry a you were there!\" Such tourist's awe takes director's ideas , while the director's ideas the place of aesthetic response even support the cinematographer's craft. today at screenings of A Room With a That's the story behind every movie View, The Last Emperor, and Out of image that sings.® 60

Victor Sjostrom: His Life and His International Film Guide 1989 The Screenwriter's Guide (Second Work Peter Cowie, ed . The 26th edition Edition). Joseph Gill is. For current Bengt Forslund of the world 's most respected film and wou ld-be screenwriters . here is This thorough biog raphy chron icles annual features reports from 60 an up -to-date gu ide to film and televi- the life and work of Victor Sjostrom countries . This treasure for eve ry film sion sales with valuable tips on how whose influence on Ingmar Bergman buff and filmmaker includes over 300 to present. market . and protect you r and the Swedish sc reen and stage is photographs. \" The International Film work With an annotated list of over unparalleled . It is a history of the actor, Guide is about the best annual world 2100 producers. agents . distributors . the director and the man revealed survey there is,\" writes Derek Malcolm in and industry contacts in NY. Hol- through interviews , analyses and The Guardian. 496 pp. Paper. $15.95. lywood. Canada . and Europe . Fea- excerpts from Sjostrom 's own letters . tures a new section list ing screenwrit- 324 pp . Cloth . $24 .95 . Iribllfes ~~~~~~j(~\\I:~M6:S~ ~~Sr ft~i t,,~/~ Ing software plus an Interview with a d O.'sic l' SOV IET CINEMA NOW prominent screenwriter The Encyclopedia of TV Game Shows 160 pp . Paper $9 .95 David Schwartz . Steve Ryan . Fred .£8 9,is/) .95 Wostbrock Th is enlertalning and fa ct- Who's Who in American Film Now filled refere nce features over 550 rare [Updated Edition] photographs and covers more than 450 James Monaco. ed Who did what . and shows Each lisllng inc ludes a brief when . In recent American ci nema This history. hosts . announcers . celebrilles. updated and rev ised edit ion Ilst·s the show descriptions. chronology and lois key people who make movies today It of amusing anecdotes and tri Vi a features thousands of cast and crew Introduct ion by Mark Goodson members from the past decade In 13 600 pp Cloth $39 95 separate ca tegories - each an al- phabet ical list of names with the title The laser Video Disc Companion: A and date of their film cred its A running Guide to the Best (and Worst) laser commentary on today 's movies . this Video Discs Douglas Pratt. gUide IS an Invaluable resou rce for Features a complete listing of over 2000 li braries . professionals. film historians American discs and a selective listing of and fans alike Illustrated c600 pp 1900 Japanese discs released in the Cloth $3995 Paper $19.95 U.S. from 1979 to the present. Over 1200 films , music videos , imports, and Movies Made For Television: The Tele- JA\\US MO\\ACO educational discs are reviewed for the feature and the Mini-Series, 1964-1986 quality of the finished transfer. Also [Updated Edition) Alvi n H Mar lll Up- ~O'~ included is a guide to forthcoming dated to Include enlrles from the '84- '85 CD -Videos . and '85- '86 seasons. th is giant volume :I~&.h. 432 pp. Paper. $16.95. lists ove r 2000 te lefeatures and min i- series Titles are listed In alphabe tical ..SN9 louise Brooks: Portrait of and chronolog ical order. each Including an Anti-Star Roland Jaccard, ed . cast. product ion cred its . plot synopsIs. MOl! Ihan 11000 peopl' - O,er 7.000movl1' Translated by Gideon Y. Schein . Louise release dates . and notes by the author Brooks - the legendary actress who A comprehensive companion to television rebelled against the idolatry of Holly- vi ewin g wood to preserve her independence and Illustrated 500 pp individuality. Illustrated with over 90 Cloth .$39 .95 Paper $19.95 photographs. 160 pp . Paper. $19 .95. ----------------- ------------~-------- A special 20% discount for Film Comment readers! o Please send the followi ng books . o Please send me your free cata logue . Enclosed is the proper amount pl us NAM E _ _ _ _ _ _ _ _ _ __ $1. 50 for postag-e ($200 for c loth & ADDRE SS __________________ orders of 3 or more books) Or call1 -800-C HAPLIN (i n NY 212-420-0590) Visa . MC . Amex accepted . Please allow 4-6 weeks for delivery. _ _ _ _ __ __ ZI P_ _ __ NY res idents must add 8'/4 % sales ta x. New York Zoetrope 838 Broadway Dept FC New York . NY 10003

oIly \"I by Karen Jaehne play Truvy: ' says Dolly Parton about her role in SteeL Magno- Lias. \"My character is the kinda gal I'da been, if I'd never left home. I'd be somethin' like a beautician , 'cause I just love all the makeup, fingernails, hair and stuff. \"You got no privacy anyway in a family as big as mine or in those small towns. I skedaddled outta one, where everybody knew what you were gonna do weeks before you did it. But what I do like about country folk is the way they ask their questions straight but know when not to ask . That's what I loved about bein' Truvy. She keeps the peace by jokin' around, and that's what I do:' PHONY BUT REAL \"Runnin' a beauty parlor, like in SteeL Magnolias ...is like bein' a psychiatrist, only yo u look better when it's over. Look at me! If I got any charm it's that I look totally phony but I am totally real. \"It makes ya feel real real , when ya got 25 real pounds to get rid of. I'll tell ya, success didn't go to mah head , it went straight to mah ass. Who needs to show off that much success? I'm still more real than meets the eye:' DOLLY's IMAGE \"My image get in my way? Ya gotta be crazy. My image gets me most every- thing I want. I created the whole thing. My gimmick and my look, it all comes from a very serious place. Country girl plays dress up. \"To alotta folks , I'm Cinderella, but I don't think anybody who talked to me seriously for very long finds me anything but gen-you-wine. Think a' me as your sister all dolled up an' goin' somewhere ... these days usually back home to Doll ywoo d .\" ON PHIL-AN~HRO-PEE \" Doll ywoo d Theme Park is open from May to October, and we have con- certs 'most every night. Now, all that money goes directly to the Dollywood Foundation. One don't work without the other. \" 62 L

\"Anything we do at Dollywood is to owned the real beauty shop. We're not at circus. The stories were just spill in' outta see to the health of Sevier County, Ten- all alike, but there was a magic about that town. We'd get up and run to get the nessee, where I grew up, and is not only knowin' the people we were all playin'. papers to see what we'd been up to the stimulatin' the economy but makin' sure We created something so personal to all day before.\" the babies get born , the burn center's of us that we became those people. ON BABIES endowed , all that. \"I wasn't a Dolly-style character. And \"I got this goin' for the young people we weren't a bunch of wranglin' women \"Then there was the picture of me like everyone wanted us to be. I get holding a baby with a report that I'd of Sevier County. I'm no society matron along great with women, but it was like adopted. I can't have kids. That was my out there passin' the hat in mew-zee- when we did Nine to Five with Jane nephew. Ten years ago, my sister took ums. Charity, to me, begins at home, (Fonda) and Lil y (Tomlin). There's that picture when I was doin' the Dolly and back home the dropout rate's so always folks who say, 'I'd give anythin' to Show. They asked me on the Today bad , they don't know it's drop out. They be a mouse in the corner and watch Show if I was plannin' to adopt, because don't have clothes or books or enough to them scratchin' anda bitin'. And they I talk about it from time to time. eat to afford school. So, our 'college made up stories about us tearin' each other's hair out. It was all hooey. \"But right now I don't want a baby scholarship program' is really to get around 'less he can playa guee-tar. I got them through high school. We make \"Everybody just expects that. We had a group together to go on tour, and it's deals with eighth and ninth graders to more trouble with Herbert Ross than like adopting ten babies , puttin' them all team up in a buddy system, and if they any of us. He was more difficult 'cause on salary.\" he was thinkin', 'Boy, if these women both graduate, each gets $1,000 toward college. We have a hotline to help out, if they think of quittin'. This is real close ever teamed up against me, I'd be a DOLLY'S MAN to my heart.\" goner: It wasn't long before he settled down and realized we were all too old \"My husband moves heavy equip- My DADDY and ugly to be like a bunch 0' yowlin' ment, clears land , rebuilds, sometimes sells it. He doesn't expect me to be \"My daddy can't read or write. There polecats:' home. He don't want me there half the are 12 of us, and I'm the first person in time. He doesn't even like country. He my family to finish high school. It wasn't likes hard rock, blues , and blue grass. easy, but I had the spunk and the guts to stake my claim. I get my focus and my \"We're both independent as a deaf ambition and drive from my daddy. My drummer. We been together 25 years Momma's people are more creative. 'cause we don't get iri each other's face They like singin', not workin', but my all the time. He's not a fan of mine. He Daddy's at it mornin', noon and night. respects me, but he's never liked any 0' I'm like that:' my movies. Maybe this time... he's from a small, nice, reserved Nashville family, so my clan's been this weird trip for him. ON POLITICS My people are always gettin' up to some- thing, and he gets some kick outta us. \" I don't get involved in politics , I'll always be with him :' unless it's to walk up to the governor and tell him we need a new road up to the hospital. I'm fulla shit enough without Luv Ar FIRST SIGHT tryin' to get involved in politics. \"We met when I was 18, my first day \"I don't wanna get caught at politics in Nashville, my first time at a laundro- like politicians do. I speak out for the mat, a Wishy-Washy. Yup. In my haste to people, but runnin' for office mucks leave home the day after I graduated, I'd that up:' brought all these dirty clothes, so I was ON FILMMAKING With Olympia Dukakis in Magnolias. wash in' and got myself a soft drink and was strollin' around a corner just gawkin' \"What I like about Steel Magnolias is ON GoSSIP and this guy in a '63 Chevy drove by and it's a true story, done on location in Nat- hollered at me. Bein' from the country, chitoches, Louisiana. Think southern. \"We heard all the local gossip and where everybody speaks to ya, I hol- Deep South. Even Herbert Ross-he's were the center of a great deal of it. lered back, and he slowed down and from New York and so city-became a Especially me. They were say in' that said, 'You're gonna get sunburned out 'suthun directuh: We had a whole lotta people were knockin' on my door tryin' here: I told him that was my beezwax. fun. It didn't seem Holly-woody to me.\" to get in, and I had to resort to the hills So he goes around the block and comes and rent a house in the woods. And that back and pulls over and we got to talkin' ON THE SET finall y I had to go to Shreveport and and .... commute by helicopter. Such lies! I sat \"It was kinda like that song I sing on \"We met lotsa folks who'd been part right there in Natchitoches with my feet my new album, 'Why'd ya come in here 0' that true story and knew the charac- on my kitchen table read in' all about it. lookin' like that, with your high-cut ters. They came in as extras for Julia \"Some tabloid ran a picture of Sally boots and your painted on jeans, all Roberts' wedding and funeral. To them, Fields and Shirley MacLaine, sayin', dressed up like a cowgirl's dream?' I it was like goin' to the same funeral 'Shirley Devastated 'Cause Sally Says guess that's what love's all about. .. makin' twice. I also got to know Liz, who Shove It: We found it funnier than a flea it hurt in all the right places :' ® 63

Euzhan Paley s 'Dry White Season' Euzhan Paley interviewed Jonathan Ngubene is one of them. longer accept state word nor his own by Marlaine Glicksman But when Gordon inquires about the complacency. When an inquest appeal boy's disappearance, the police first deny by Ben and civil rights barrister Ian O n a verdant stretch of grass , detaining him, then aver that he died in McKenzie (Marlon Brando) fails to two young boys , one black, the street. Gordon is unable to see his shake out the truth, Ben learns that the one white, play soccer. The son's body \"until the time is right:' system is not and never has been judi- ball sails, the boys embrace with a back cial. Together with Gordon's friend , the slap. The image is life as usual, so nor- Though Ben du Toit (Donald Suther- black taxi driver Stanley (Zakes Mokae), mal, almost idyllic. land), Gordon's employer for 15 years Ben pursues justice aided by journalist and a schoolteacher, accepts the official Melanie Bruwer (Susan Sarandon). Yet it's deceptively normal. In story, Gordon pursues the matter with Branded a traitor to the white commu- Euzhan Paley's A Dry White Season , the the help of witnesses who saw his son nity, he loses his job, his family, and turf on which the boys play is South tortured in police custody, until he him- eventually his life. Africa. The moment is one of the last self is abducted by the police for ques- that Johan du Toit and Jonathan Ngu- tioning; surely no black man could make A Dry White Season is the black 32- bene, son of the du Toit's black gar- this inquiry unaided. year-old Palcy's second feature. dener, Gordon (Winston Ntshona), will Her first , Sugar Cane Alley (Rue Casses share together. The families are soon to Ben remains relatively untouched by Negres , 1983) was set in her native Mar- be torn apart; so is South Africa. all this, until one day, after teaching his tinique in 1931 and told the story of an history class-about the travails of the eleven-year-old orphan, Jose (Garry In 1976, in Soweto and other South brave Africkaaners , persecuted by the Cadenat) , and his grandmother, M'man African townships, black children rose up English, attacked by the African tribes, Tine (Darling Legitimus) with whom he in organized protest against their inferior but ultimately triumphant in the crea- lives on a sugar plantation. As in A Dry education and their foreclosed futures: tion of the South Africa of today- he is White Season, the film portrays a native why were they not taught in English, the summoned by Gordon's wife, Emily people .struggling to recover from the language of access , but in Afrikaans, the (Thoko Ntshinga) . It is the first time he devastation of colonial rule and slavery. language of their captors? Thousands of has ever met her. She carries with her children died, killed by the South African Gordon's teeth. police. It's only when Gordon's death in I police custody at the notorious prison, John Vorster Square, is , like 37 others , / officially ruled a \"suicide;' and Ben sees I the body, that he knows he can no I Warners decided not /' to make the film, / because Cry Freedom dJdn't work and they were scared that people wouldn't go to I e anotherfilm about South Africa.

\"We were free;' remembers Jose, \"but 11'1IJ1l')1'\\1l1J comefrom? our bellies were empty:' ~t's a story based on an autobiographi- Sugar Cane Alley won the French cal novel by Joseph Zobel , called Rue Cesar for best foreign feature in 1984 for Casses Negres. The white owner of a its subtle depiction of the relationship factory comes with a big crucifix to between blacks and their colonizers, donate to the church. In the film the and between blacks themselves. In the black priest who welcomes him is film, Paley elucidates the way power cor- Zobel. I worked on the script until 1980 rupts the dialogue between man and when I got a grant from the French gov- woman, between workers and bosses, ernment for best screenplay. and between blacks with some access- as with one black woman married to a It was very difficult to find a pro- white factory owner and their mulatto ducer. Finally, I found Claude Nedjar, son-and blacks with none. who used to produce women's films, to produce and distribute the film. After Paley graduated from university in Martinique, she went to work for the Truffaut and Schiffman helped me to local TV network, where she wrote and pick up a small crew which I took to directed a featurette, La Messagere , a Martinique. It's a very low-budget film, political fairy tale about a grandmother less than $1 million. The whole country who works on a banana plantation and was behind me, helping. her granddaughter who wan~s to escape it. To make the 52-minute film, Paley How did Sugar Cane Alley lead to A diverted a crew and equipment from Dry White Season? routine news coverage. She then went to Paris, where she still lives, to the After Sugar Cane Alley, I wanted to Vaugirard film school and the Sorbonne. make a movie about South Africa . I wanted a story about blacks in Soweto Palcy, likes Hitchcock, but says Truf- or another township, but I immediately understood that the people who have the money, the power to say, \"Okay;' are faut, Welles, Fuller, Cassavetes and Fritz white and don't give a damn about apart- Lang also influence her work. A singer, Garry Cadenat in Sugar Cane Alley, heid and so will never put one dollar into she has recqrded two albums of songs it. For them black is not commercial for children, \"Reggae Timoune\" and and not write novels? except as comedy. The desire to be a director came out \"L:Ecole des Oiseaux:' When I found the book, A Dry White The blacks of Sugar Cane Alley and Season-a white man's story but I didn't those in A Dry White Season, though of rage, anger. I was so upset when I care- I saw, without betraying the book, separated by an ocean and half a cen- would see all these stupid portrayals of what I could do. I wanted to make white tury, live in shacks and disposed car black people in American movies. I people who don't know anything about crates. Both Jonathan Ngubene and Jose knew that music, books and theater apartheid, who don't feel concerned or want educations, \"the key,\" in Joses could change that, they could help, but who forget what it is, to understand it. words, \"that opens the second door to they could never compete with film. Because black people know what apart- freedom:' One wants release from the The power of film is incredible to heid is. \\ cane fields, the other from the ghetto change people's minds, open their eyes , For instance, in the film, the police ghost state of oblivion. their vision of the world. say' [to Gordon's wife, Emily], \"You are a Though there have been other anti- So I went to film school in France. widow now, you can't keep the house, apartheid films, Cry Freedom and A My father helped me a lot. He is my you are Zulu so you will be deported to World Apart most recently, Palcy alone first reader for everything I write. He's a Zululand:' That is true today in Soweto. looks at black South Africans who are very feminist and progressive man. But You are Zulu even if you don't know neither leaders and intellectuals, like people told him, don't let your daughter where Zululand is. They put you in a Steven Biko, nor the usual house help. go, there is racism in France, she's black truck with all your stuff and drive you Nor are they silent or symbolic faces. In and there are no black filmmakers. But there. And they leave you in the middle A Dry White Season, Paley does not he said, \"No, I know her and nothing of the desert. On the rocks and grass. If spare us the savagery committed against will stop hd' you survive, you survive. If you die, you blacks: young children are shot before When I arrived in Paris I met Truffaut die. They don't give a damn. That's the our eyes, people are tortured. Not only -thanks to his daughter, Laura-who way it is. is it rare for a female director to make read my script, Sugar Cane Alley. I was That wasn't in the book, then. such a brutal film (the kind it's said that very impress~d and shy. He and his col- No, that wasn't in the book. The tor- a woman can't direct), it is rare for any laborator, Suzanne Schiffman, loved the ture scenes are not in the book. I went filmmaker to convey ideas so forcefully script and made very positive critiques. to South Africa and met people who and yet so humanely, with such nuance. Anq we became friends like that. showed me their bodies and what was As petite and beautiful as Paley is, she is I was part of the family. I would call done to them. The killing of the chil- also fiercely and passionately out- him at any moment-if I had some trou- dren in Soweto-I didn't invent that. It's spoken. Listening to her, one knows her ble or felt sad or desperate, he would in the book, but it's not described in films are no flukes. -M.G. talk to me. I wrote him a lot. He loved detail. I heard from mothers about chil- S ince you began writing at age 10, that, you know. dren who were in the battle. They talked why did you decide to make films Where did the story Sugar Cane Alley to me. I learned. I read. 65

l• be soh and say, \"Okay, 1 won't go that far, 1 won't tell the truth :' You have to Ben du Toit (Donald Sutherland, center) joins the angry crowd after Gordon's inquest. choose the truth . Stanley's character is a very strong The novel , A Dry White Season was My characters are evil because it's an representative of the black community. written by a militant white South African evil system. How else do you explain Gordon belongs to a generation of black writer, Andre Brink. The title came how these few white people hold 25 mil- men from another time who decided to from a poem. In Soweto it's said apart- lion blacks? How can you explain that submit-but he is not stupid. He under- heid is a season, it's a dry, white season, and be gentle and nice? Yet these char- stood there is nothing he can do about it and seasons don't stay, they are just acters are normal people. Stoltz [the except work, have some money, try to passing. So apartheid cannot stay for- Special Branch police captain who is du have a decent but poor life with his fam- ever. Toit's main antagonist, played by Jurgen ily, educate his kid , and not question Prochnowl is a handsome, charming anything. You needed one of the main charac- guy. He's smiling the first time we see ters to be white to get financial backing? him . He's very attractive. And this guy is Emily is a normal woman who will terrible. become a fighter. I met a woman who No, that's not what I said. 1 wanted to lost three of her sons in one week. And 1 do it about black~ but knew that I would You see a beautiful girl or a beautiful asked, \"What did yo u do?\" She never be able to find the money. So I boy. You talk to him, he can be the love- answered , \"What do you want me to found the book, which was a white liest person in the world, but as soon as have done?\" I became enraged, and I man's story, and changed it. But 1 you get onto apartheid, you will be so said, okay, I have to fight back. So that's needed to show all the faces of apart- shocked. This person is so honest about Emily. heid. And whites are the cause of the what she's saying, it's even more scary. problem . So I made it a story about peo- That's the reality of South Africa. Every- Jonathan, the boy who died, symbol- ple in SOllth Africa. You have a black body in South Africa, they know the izes the young generation of blacks who family and a white famil y. This black truth .... Ben du Toit couldn't accept have had enough. They are saying, \"Our famil y is totall y destroyed . And the belonging to a community of people fathers were kicked , they were treated white family is just torn apart. who are murderers, liars . They are cor- like dogs. They already paid the price rupt. That's why he did what he did . for us. So even if we have to lose our B.en duToit is like thou sands of Afri- lives to change things, we are ready to kaaners. They know about apartheid but H OW did you want your film to dif do it:' They have nothing to lose. they turn a blind eye. He possibly fer from Cry Freedom or A World doesn't know that they are torturing and Apart? 1 wanted to show that the blacks in South Africa are not just troublemakers. killing people. It's like in Germany when 1 loved A World Apart and the first And to appeal to the human side of they were killing the Jews, putting them half of Cry Freedom , and the funeral. everybody, to just see these people as into crematoria. Many people were sin- The rest 1 liked less , but I'm pleased it human beings , and not as \"black peo- cere when they said, \"I smelled some exists, because people at least learn a lot ple.\" 1 said, \"My God, that could happen about apartheid. to me.\" And that happened here in bad smell, but 1 would never have imag- America. They abolished apartheid, but ined for one second what was going on.\" Here, in my film , the black people the problem is not really entirely solved But now they cannot say that they don't have great dignity. They are very strong. here. They should remember that. know. For example, [after Jonathan has been W hat does the title, A Dry White Apartheid films tend to portray incarceratedI Ben asks Gordon, \"Why Season refer to? blacks as innocent and whites as evil. DuToit's own daughter betrays him. didn't you come to work these past two days?\" At first , Gordon won't answer You cannot talk about Mississippi him. When he finall y tells him that his Burning , or Costa-Gavras' Betrayed, and son has been arrested, Ben sees this man for the first time as a father. He's used to seeing him as a garden boy. And when Ben says, \"Why didn't you come and tell me?\" Gordon looks Ben straight in the eye and says, \"I am telling you:' I'm sure that no white director would do that. They portray blacks as weak, they make them dependent on the white man. They give all the initiative to the white hero. H OW did Marlon Brando become involved with the project? When we were talking about McKen- zie, the English South African anti-apart- heid barrister, we wanted somebody with the ability to reach the audience right away. We thought Brando, Brando. Brando saw Sugar Cane Alley-and loved the film. He read the [Season I 66

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script and wanted to be part of the and I went to MGM, and Alan Ladd said, est process. He did it for no money. And \"Yes, no problem, we'll do it:' \"I would call Truffautint because Susan Sarandon and Donald Do you feel there's a message in this Sutherland also cut their price, MGM film for blacks? will give this money to some South at any moment-ifI There is a message for everybody. African foundation. But for blacks who are not in South Africa, they should wake up a bit. had some trouble orDid you have a hard time getting the Where was it shot? let, project off the ground? In Zimbabwe. felt sad or desperate,We started with Warner Bros. I went through many screenwriters and in the he would talk to me. \" The film starts with a group protest, aws end wrote the script myself. Then War- but ends with Stanley's individual ln5, ners decided not to make the film, action. 'ves because Cry Freedom didn't work and Stanley is part of the future- he rep- they were scared that people wouldn't Africa. resents the black struggle. You cannot go to see another film about South So my producer, Paula Weinstein, have a group do what Stanley does, because it's not easy. You have to be as & smart as he is, and he doesn't do it just Everything for the filmmaker, because they killed Ben. He does it for everybody. producer, actor & film buff I'm not advocating violence. I'm try- ing to explain that no matter what, black Samuel French people in South Africa won't allow this to keep going on-even if the outside world doesn't help. Theatre Filtn Bookshops&Ivs America and England have the power to stop apartheid, if they really want to. And they don't do anything. So black PLA YS, and BOOKS Hollywood: people understand that they have no on FI LM, TH EATRE and the 7623 Sunset Blvd. alternative other than to fight back. At MOTION PICTURE INDUSTRY (213) 876-0570 the end, it's a black struggle. Business of Film Film History Studio City: y ou seem fascinated with the com- 11963 Ventura Blvd. plexity of social roles that each Screenplays Documentary character must play. Screenwriting Music (818) 762-0535 The world is not composed of good Professional Directories Video people and bad people. To explain the Reference Television conflict, it is important to show the dif- Cinematography Opera ferent faces of apartheid. Animation Dance It's also a very brutal film for a Special Effects Directing female to direct-almost a war film. Directing Biographies That's something they always said a Film Theory Film Genre woman couldn't do. Acting Largest selection One journalist told me, \"You seem so of PLAYS Samuel French, Inc. fragile, so sweet, so young, to have done in the world this movie. Usually men do that:' And I Play Publishers and said, \"This one will prove that you're ...and more Authors Representatives wrong. We can be all of that, too.\" How does being from a Third World country, Martinique, influence your view of the world as afilmmaker ? WORLDWIDE MAIL ORDER You take a child who comes from a very poor family. They are used to work- phone: (SOO) S-ACT NOW (US) ing with principles-how to respect (SOO) 7-ACT NOW (CA) money, the value of things. They cannot give a child money or make him rich, mail: 7623 Sunset Blvd., Hollywood,CA 90046 but they have values. When the child goes into the world, he's very strong, he send for our NEW 1990 FILM BOOK CATALOGUE has a different vision of the world than a rich kid who got everything. And that 132 pages - list over 1700 titles ($3.00 postpaid) protects you. That's a weapon for you to BASIC PLAY CATALOGUE ($2 .25 postpClid) fight with. To survive. VISA • MC • Am EX That's the way I feel coming from a Third World country. I cannot have the same vision of the world. @ 69

a LiaIsons by Lois P. Sheinfeld teenagers:' No ads, no deal. No deal, no his analysis couldn't be more apt. video hardware. Simple. Quality is not the issue. \"The news;' Ted Koppel: '.:4re you all in favor of bringing other commercial things into Six public schools participated in a said Whittle opponent Peggy Charren, a March/April test run, and Whittle is now founder and president of Action for Chil- the schools? In other words, if someone actively recruiting across the country. dren's Television, \"is just the glue to hold The company is confident of signing up these commercials to the screens. The else were willing to bring in books as at least 8,000 public junior and senior goal here is to sell product:' And that is long as they could set up a stand and high schools by September of 1990. why Whittle's scheme founders, both sell their t-shirts, would that be a good ethically and legally. thing to do, too? ... Should we commer- What may appear to be a large finan- cialize the whole thing while we're about cial windfall to the public schools is, to Courts have given great weight to the it? \" Whittle, a relatively modest investment. decision-making authority of public In return for handing over millions of school administrators in the academic Christopher Whittle : \"/ think the captive teens to its commercial clients, arena, even when their decisions have important thing is we should weigh Whittle stands to profit in the hundreds come under constitutional challenge. every new idea that is brought to Ameri- of millions. Corporate America is queu- But the judges have insisted on one ing up to pay Whittle megabucks for a essential imperative: decisions must be can schools on the basis of results. If it guaranteed daily teenage audience, made in furtherance of the \"educational which not only spends an estimated $81 mission\" of the school. Whatever its aim produces, then I think it's a good idea.\" billion a year but will be unable to zap or its justification, selling students to the -Nightline, ABC~V, March 6, 1989 away targeted commercial messages. It's highest bidder will simply not wash in nothing short of Madison Avenue Cor- the nation's courthouses. Legal scholars O n the morning of March 6, porate Heaven. fond of the \"slippery slope\" principle will 1989, the Devil packed a have a field day with the infinite array of school lunch and oozed into This numbing deal went down in the projects for which creative entrepre- America's classrooms. Outdoing Faust, name of education. A company with the who never purported to deal in anyone's soul but his own, public school authori- profit-making pizzazz to attract pre- neurs would love to buy and sell stu- ties proffered thousands of our children Warner Time, Inc. in for a 50 percent dents. for sale when Christopher Whittle, interest, Whittle isn't stupid. Heavy on chairman of Knoxville, Tennessee-based slick kinetic tech but light on sUDstance, Admittedly, school administrators Whittle Communications, dangled a Whittle's \"relevant-to-teenagers\" news- who invited Whittle into the classroom golden carrot. cast is its prize educational sales gim- may have acted with good intentions. mick . As TV journalist Bill Moyers Year after year, study after study docu- Under the terms of the Whittle deal, pointed out in a May New York Times ments the abysmal conditions of our the media company donated TVs, VCRs interview, \"You can tell a lot about a tele- public schools, particularly in large and satellite dishes worth $50,000 per vision producer if you know whether. . . urban centers . Inadequate budgets, school. As the quid pro quo, the public he looks out and sees a nation of con- crumbling facilities , overcrowding, too schools aired over this equipment a daily sumers or a nation of citizens. If he sees few teachers and textbooks are all too Whittle-produced newscast consisting of them as consumers, then the truth common. Whittle executives have done two minutes of commercial advertising becomes that which sells, nothing their homework. They cite chapter and -promoting Levi's, Snickers, Head & more.\" Moyers wasn't addressing himself verse on these ills, literally ad nauseam, Shoulders and the like-woven into ten specifically to the Whittle newscast, but in order to preserve the fiction of Whit- minutes of news touted as \"relevant to tle's largesse. 70

In addition, as students in the test simply enough, when Hollywood recog- in Top Gun, and sales similarly soared. nized that it was cheaper to borrow No wonder it is the rare film today that run-and their parents-pointed out, props from manufacturers and showcase does not double as a commercial adver- when kids are out of school they see them in a movie than to buy or rent tising vehicle. In one year alone, Kovo- hundreds of commercials a day. So them. loffs company, Associated Film Promotion s, placed clients in more than what's a few more? \"What is the harm?\" Then entered marketing guru Robert 17 S features. The following are just a Kovoloff. Kovoloff learned a lot from his few examples of corporate America's big asks Christopher Whittle. World War II stint in the psychological buys: Beverly Hills Cop , Ghostbusters , warfare division of the armed services, Being There , Urban Cowboy, Short Cir- What is the harm? In 1988, ad reve- namely, that subtle cues could trigger cuit, Terms of Endearment, Desperately predictable positive responses. He Seeking Susan , Tootsie, Moving, Baby nues for the three major TV networks helped parlay this idea into a multi-mil- Boom , Moonstruck , and Wall Street. reached $9.3 billion, and for cable $1.1 lion dollar industry, which includes inde- billion. A good portion of this revenue pendent marketing companies, as well For the commercial seller, liquor, was derived from ads shown during chil- as product placement divisions within beer, candy and other salable commodi- dren's programming; in fact, when the ad agencies, corporations and motion ties are the real stars in film today. And Reagan FCC voided longstanding adver- picture studios. competition to place them is fierce. It tising regulations protective of children, wasn't a screenwriter who chose to manufacturers developed whole shows Brand-name products are now delib- showcase Mumm's Champagne in based on toys, which broadcasters aired erately placed in films in return for Moonstruck. \" In the script, another in exchange for a percentage of the upfront fees exceeding $100,000 and far champagne was used; ' said Sam Baldon i more valuable back-end benefits , includ- of Baldoni Entertainment, who repre- profits on toy sales. ing licensing royalties and manufacturer sents Seagram's, \"and we asked them to When in 1988 Congress overwhelm- financed promotional campaigns- change it:' It was an offer they couldn't arrangements that have paid off in refuse. ingly approved a bill reimposing time countless millions of dollars to movie limits on ads during children's program- producers and studios. Everyone is read- Writing in The Hollywood Reporter, ming-10.S minutes per hour on week- ing movie scripts these days for product Russ Krasnoff, president of the Krown ends and 12 minutes per hour on placement breakdown. Entertainment Marketing Group, weekdays - President Reagan vetoed the reflected the industry mindset: \"If an bill. Children's advocates call~d the veto With 30 to 40 million viewers for a advertiser is willing to pay money and \"another example of the ideological film's first release and with ov€r 200 mil- support the marketing effort on a film to child abuse prevalent in the Reagan- lion thereafter on cable, videocassette, have his product appear rather than his Bush adminis\"tration:' First Amendment network TV, and foreign di stribution, competitors, I'm all for it:' advocates were stunned when Reagan, movies have unique advertising legs. Moreover, \"Most movies reach the very- Thus Angelo Anastasio, national the architect of Fortress America-eight years of information blackout and disin- formation-conveniently discovered the First Amendment in order to justify his veto. Video's multi-billion-dollar cut ac- counts for only a fraction of corporate hard-to-reach 12- to 24-year-old market;' entertainment promotion director for America's advertising budget. Ads spew explained Scott Dorman, creator of the Adidas, managed to place a whole Adi- from billboards, posters, magazines, motion picture product placement divi- das commercial in Orion's Johnny Be newspapers, mail-order catalogues, fax sion of Ted Bates (now owned by Saat- Good. \"It tied in visually so well;' said machines, and soon, thanks to a new chi & Saatchi, th~ largest ad agency in Orion exec Jan Kean, \"you didn't even Whittle scheme, from books. the world). \"It is particularly difficult to know you were seeing a commercial.\" reach this market through traditional Everyone was \"absolutely delighted :' W hile these straightforward Big media because they are constantly on Sell models-ads that proclaim the go. Advertisers need to capture them Why wo uld film producers and stu- \"I am an ad\"- permeate our society, for to g~t their attention.\" (Christopher dios sell out to the Kovoloffs , who dic- years the motion picture industry has Whittle must have been listening.) tate that clients' products be presented been heavily invested in a far more crea- in a \"positive manner\" or to the Baldonis tive and subtle advertising approach, So Reese's Pieces was embraced by and Anastasios? Rusty Citron, then-vp product placement. This practice began E.T., and the candy's sales went up 62 of marketing at New World, explained, percent. Tom Cruise donned RayBans 'i\\t a time when skyrocketing costs are 71

making it more difficult than ever to correspondent, drew the logical implica- appropriate agenda is the critical study finance films and market them effec- tively, the clout of corporate America is tion of television's pervasive pretty-face, of society, including the economy and a valuable resource:\" sound-bite mentality. He roundly criti- its commercial wheelers and dealers. This isn't the only time that the film industry has messed with the content of cized the House Special Commiqee The schools' fundamental task is to the art form because of the Almighty Dollar, or the only time that others have Investigating the Iran/Contra Affair for teach students to think hard and inde- sought to mirror the industry's example. (See \"Ratings: The Big Chill\": FILM its poor judgment in selecting John pendently, to evaluate information wit/\"! COMMENT, June 1986.) All Christopher Whittle wants to do is to bring some of Nields as Chief Counsel. Hume con- a probing and discerning eye. That that same valuable corporate clout into the public schools. So what's the harm? includes giving them the analytic equip- One example of the harm resulting It wasn't a screenwriter ment to see through the huckster's from the dependency of educational and pitches that will be made to them daily cultural entities upon \"beneficent\" cor- porate America is public broadcasting. who chose to showcase for the rest of their lives. Obviously, Largesse dispensed by corporate execu- Mumms Champagne then, the pitchmen cannot be permitted tives has exerted a powerful and baneful to prescribe the content and format of influence on program content through- in Moonstruck. It was the educational process. As the sorry out PBS. As John Wicklein, director of history of product placement and public the Mid-career Program for Journalists at Ohio State University and the first Sam Baldoni, who television teaches, where the economic news director for New York's channel stakes are high, the pressures to subordi- 13, wrote in the New York Times: \"Since almost no private corporation wants to represents Mumms. nate professional integrity to the sales finance controversial programs ... with agenda of the highest bidder are irresist- few exceptions, viewers get 'safe' pro- gramming that breaks no new ground, ible. advances no troublesome ideas and defeats the original intention of public ceded that Nields was an able, intelli- William Walstad, director of the Uni- broadcasting: to provide imaginative alternatives for viewers surfeited by the gent lawyer but observed that he was versity of Nebraska's National Center for commercial networks with programs rat- ifying the established wisdom .... When not photogenic. In Hume's view, Nield's Research on Economic Education, producers succumb to this 'goldmail' they abdicate their own judgment to face just didn't come across well on TV. recently surveyed 8,200 high school stu- executives whose chief concern is their company's image.\" Wicklein and others The next step in the logic should be dents across the country and found that have organized an appeal to urging Con- gress to revamp the Public Broapcast obvious in an era when the media are two-thirds of them could not define a law in order to eliminate the public channel's reliance on corporate money. pushing relentlessly to get courts and basic economic principle like \"profits.\" Scarcely less obvious has been the other governmental agencies to open These kids are perfect prey for Whittle's harmful impact of Madison Avenue and its trained salespeople on the electoral their doors to the TV camera. The Bar razzle-dazzle productions, and they are process. Former ad-men and women calling themselves political consultants Examiners will have to hire L.A. Law's hardly likely to be given the training sell candidates the same way they sold Coca-Cola. Instead of winning Clios, casting director. needed to make them any less gullible they are winning elections. Thanks to them, style and smile have been ele- C hristopher Whittle certainly has once the schools have abandoned their vated over issues, and the broadcast his. All of the anchors and corres- educational responsibilities in a rush to media spits their PR out at us the same acquire television equipment dependent way the media takes it in, without criti- cal inquiry and without the exercise of pondents on Whittle's newscast have on Whittle's advertising clients. independent analysis and judgment. As John Kenneth Galbraith noted, it's the pretty faces, and there are pretty graph- To its credit, the New York State only successful system America has devised for the recycling 'of garbage. ics and pretty colors. According to ~ Board of Regents has de~lared the state At a Center for Communications Whittle spokesperson, the ads will be a Whittle-free zone. But on the whole, seminar attended by university journal- ism/communications faculty and stu- the prettiest of all. Not surprising. As society has not given the nation's public dents, Brit Hume, ABC Washington Neil Postman pointed out in his book, schools either the attention or the finan- Amusing Ourselves to Death: Public cial support necessary to help them turn Discourse in the Age of Show Business Whittle out the schoolhouse gate. It is (Viking, 1985), \"The problem is not . not too late. Or must we witness once that television presents us with enter- again, as Faust sadly discovered, that taining subject matter but that all sub- the devil always gets his due? ® ject matter is presented as entertaining:' SQ what exactly is the harm? 'The movie industry may not realize the legal The harm is the invasion of the edu- problems attendant upon this \"valuable resource\" cational preserve by the Big Sell. It is and the commercialization of film. Take, for exam- the abdication of sound educational ple, a movie version of Macbeth. What if Lady M. judgment to those whose only concern tries to get the damned spot out with a can of is the Big Buck. It is letting salespeople instead of educators determine what Ajax? If Ajax is Kovoloffs client and has to be pre- will be presented to children in the sented in a positive manner, then naturally the classroom, and how it will be presented. Lady will get the spot out. Well, that's a problem. It is putting the imprimatur of the No matter that Shakespeare didn't want her to get schools on the Madison Avenue version the spot out. He's dead and can't complain. The of reality served up by Whittle and its problem is Truth in Advertising. Can Ajax get out corporate clients without giving students a blood spot on the brain? Aye, there's the rub! the perspective or the training to scruti- nize that version of reality with reasoned Maybe studios ought to have product testing objectivity. divisions. Certainly, to keep government regulators Schools do not imitate the fashions of at bay the MPAA should establish a Truth in Adver- the world that kids see out of school. tising Review Board, like its Rating Review Board. They aren't supposed to. The schools' Films could be product-rated T for Truthful, NT for Not Truthful, and DT far Difficult to Tell. I'm sure that like the MPAA poll that tests the useful- ness of the Ratings system, if asked, 72 percent of consumers would also find product ratings very useful to fairly useful. It's just a suggestion, Mr. Valenti. 72

The zNew by Harlan Kennedy to My Brilliant Career. And male direc- The only prominent filmmaker to tors like John Hillcoat and Richard defy typicality at this time was Paul P eter Weir? Fred Schepisi? Lowenstein have turned Australia's more Cox, and he hardly seemed Australian at George Miller? Gillian Arm- macho movie traditions (truth at 24 Fos- all. In a sense he wasn't. The Dutch- strong? ters per second) on their sun-bronzed extracted director's resolutely artistic Forget them. The most influential heads. For them the era of George Mil- films-Man of Flowers , Cactus, Vincent figure in Australian cinema in the Eight- ler's Mad Max is over; and Crocodile -were more like film-fest bouquets nur- ies has been Al Batross. Giant, clumsy Dundee is a bland comedy blockbuster tured in an acutely personal hothouse and bird-shaped , Batross has a fondness telling us more about world boxoffice than tough plants rooted in the Austra- for wearing white feathers and squawk- tastes than about life in Australia today, lian soil and redolent of its native ing out, in reproachful litany, the names yesterday or ever. dreams and anxieties. of the best-known Australian films of the Seventies. His specialty is draping him- During the early to mid-Eighties, all By the early Eighties most of the self around the neck of second-genera- the Antipodes seemed able to throw up original New Wavers had brain-drained tion Aussie New Wavers and making on the shore of world cinema were pale to Hollywood. Here they either flour- them think, ')\\nything past Australian imitations of the First Wave movies: ished (Peter Weir, Fred Schepisi, filmmakers could do, we can't do better.\" films of golden-lensed gentility about George \"the original\" Miller) or flailed growing up in the Outback, or backing about bravely for survival (Gillian Arm- But that second wave of down-under out of growing up, or growing back to strong, Bruce Beresford). Meanwhile, directors is at last beginning to try. And nature by dropping out. Sylvie , Con- Australia's historical-cultural affinity with even succeed. In recent years, movies stance, Phar Lap , The Man From Snowy America- a shared 'new world' experi- like Ann Turner's Celia and Jane Campi- River, ~ of the Never Never: the clone ence-presented a choice: either to con- on's Sweetie, shown this year in compe- factory seemed unstoppable. There trol the fiercer bacterial trends from U.S. tition at Cannes and set for the current were even directors with clone names, cinema or to create authentically Austra- New York Film Festival, have radically like George \"Not the Mad Max one\" lian film culture to keep artistic conta- rewritten the feminist gospel according Miller. gion at bay. For the first time in over a decade, Australian cinema looks new, combative and exciting. A bunch of Aussie films have appeared that put discord before decorum, nuisance-making before nos- talgia. These directors are mostly under 30. And all dare to introduce Australian cinema-hitherto home of the Golden Narrative-to shifting perspectives, structural experiment and highly dis- comforting stories and characters. R ichard Lowenstein laid the ground plan. A child of the Sixties, he rel- ishes hounding the Establishment, wherever and in whatever guise it shows Jane Campion'sSweetie. 73

itself. His 1983 feature debut was secure than our own. She has nightmare into the artistic mainstream. The two Strikebound, which though it suffered visions (in broad daylight) of a slimy, boldest bids to do so thus far are John from a holier-than-thou radicalism in its monster hand at the bedroom window. Hillcoat's Ghosts of the Civil Dead and reenactment of a historical mining dis- She likes to press a glass tumbler to her Jane Campion's Sweetie. pute, occupied ruggedly original grouhd bedroom wall to hear Mum and Dad These two films broaden the hint of a somewhere between B-movie and making love. With her pals, she impales multi-perspective style in Dogs in Space Brecht. voodoo images of least favorite grown- and Celia into an all-encompassing strat- Dogs in Space (1987) is even more ups. When she plays in the woods, they egy. This kaleidoscdpism is boldly novel. It comes on like a post-hippie take on a sinister, heavy-breathing life. upfront in Ghosts of the Civil Dead. musical with a cast too zonked out to And finally, in a moment of brisk, affect- Wpere Dogs in Space offered muitiple sing or dance. Crusadingly structureless, less panic, she murders someone. viewpoints through which we see the the film chronicles the overlapping des- Celia is the identikit Australian com- story-and where Celia shifts with teas- tinies of a houseful of Melbourne squat- ing-of-age movie parodied and dismem- ing ambiguity between an objective, ters in the Seventies. While Peace and bered. Even its faux-innocent vein of outside point-of-view and an inside, sub- Love yields to the Punk era, they hold social history-the myxomatosis alert- jective one- Ghosts refracts its jail out in their disheveled commune as if it takes on meaning as a prankish fable of drama through a maximum-security were a counterculture Alamo. anti-Communist persecution. And the pnsm. While the music soundtrack explodes The era ofGeorge \"We are the future in containment;' with formative hits, the characters' lives Miller's Mad Max is chants the Disneyland-robotic voice as implode with formative misses. What over, and Crocodile we're shown into the New Generation they can't do or refuse t6 do-manage Dundee is more about desert penitentiary. Here scenes are their love lives, get a job, respect the world boxoffice tastes fractured and non-sequential, color can neighbors, honor their parents, be nice suddenly modulate into surveillance- than about life in screen black-and-white, sound and to the police-is as much an affirmation Australia today, image seldom match, and none of the of who tlley are as what they can do. yesterday or ever. cast of characters comes forward to Meanwhile, the Skylab satellite rains claim the role of hero or protagonist. down junk around them, as if the break- film's heroine is not so much a three as ing up of outer space were parodying the four-dimensional character. Not tied to The ghostliness factored into the film disintegration of their own inner space. anyone space or time, this riveting little by its title is evident in the movie's sense refusenik belongs to a radical contin- of a community where a trance-like pre~ On the surface Ann Turner's Celia determination governs all, even violent seems better behaved. Indeed, it's eerily or \"spontaneous\" events. Just as the riot reminiscent at first of the \"old\" New that le~ds to the climactic lockdown is Wave, as, with photo-album wistfulness, provoked by the authorities, so are the powers-that-be tyrannized by machines it jaunts through a remembered past and routines, surveillance and counter- surveillance. (postwar Australia) in company with a little girl growing up. But this little girl is not a test-tube feminist (My Brilliant Career), or a victim of the education system (The Getting of Wisdom), or a uum. She's an Alice in Oz, riding the In Hillcoat's Ghosts, no white knight, pretty young thing steered toward the surf of subversion. Celia, one feels, no Alcatraz Eastwood, stands up for treadmill of job-getting (Caddie). She's a could pop up in any generation wreaking truth, justice and the Australian way. paranoid schizophrenic. near-identical havoc. Even worse, no figure singles himself Growing up in late-Fifties Mel- T his bid to uproot their country's out as a villain, a walking voodoo doll in bourne, she adores her Marxist granny, cinema from the parochialism of whom we can stick our mental pins. whose room she venerates and tres- Everything, from the characters to the passes even after Gran's death. She's nostalgia is the best and bravest thing camerawork to the chimera of moral cer- annoyed when forbidden to play with the new filmmakers have done. Austra- titude, is a moving target. the neighbor kids, just because their lian cinema got its national history off its J ane Campion's Sweetie, the story of mum and dad have Communist lean- chest under Weir, Schepisi, Armstrong two deeply weird sisters, synthesizes ings; And she's mad as hell when pet and Co.. The only significant exception rabbit Murgatroyd has to be surrendered to the slew of films about the past was the best features of all these new Austra- -along with all other privately owned films about a garish, gaga post-apocalyp- lian movies. It blends the dissenting bunnies-to the government's \"rabbit tic future. If nothing else, the Mad Max punk affectlessness of Dogs in Space master\" during the myxomatosis scare of series attacked the unspoken rationale with the caged frustrations and night- 1957. \"Rabbits are a serious menace to for staying in Australia: at least we'll mare predeterminism of Ghosts of the Australia's economy;' booms a movie- survive World War Ill. It was, more pro- Civil Dead. (\"Some animals won't mate theater newsreel over shots of the furry saically, the primal yell of the one guest in captivity;' boyfriend Lou comments disease-spreaders taking over the at the meal who couldn't take any more ruefully on his relationship with Sweet- landmass. good manners of \"Pass the port:' Max ie's sister, Kay.) And Campion's picture was vivid, commercial, brutal and defi- of the female psyche adrift in an Austra- So far, so sane. Celia sounds like any nitely not \"one of us:' lia still stubbornly obsessed with normal kid. But Turner keeps tweaking machismo and male-order family values the perspective and punching dents in The new Australian filmmakers are has the surreal inflections of Celia-and the movie's naturalism. Soon we wonder now tryIng to retrieve that primal yell if Celia's grasp on reality is any more from profit-making purdah and put it then some. 74



MOVIE What My Brilliant Career was to the moral omniscience of My Brilliant First Wave in new Australian cinema, Career: we are not being guided toward STAR Sweetie may be to the Second. Gillian any discernible evo lutionary message Armstrong's film was made in the gilded about humanity. And it hurls out th e PHOTOS dawn of the feminist movement. Judy window the radiant aesthetic proprieties Davis-tough, spunky, ruggedly attrac- of Picnic at Hanging Rock. Campion's One of the world's largest collections of film tive-was the New Woman, time- style is one of witty disruption: sudden personality photographs, with emphasis on warped into the Aussie cinema's then overhead shots, bulging close-ups, char- rare candids and European material. Send a all-purpose golden age (circa 1900). In acters bunched asymmetrically on one S.A.S.E. with want-list to: Sweetie, the two sibling heroines , meek side of the screen. and phobic Kay (who's frightened of Milton T . Moore, Jr. trees) and deranged and extroverted Above all, it parodies and subverts Dawn (alias Sweetie), are post-femi- the classical time-sense of the Weir- Dept. Fe nists , or what-price-women's-libbers. Armstrong-Schepisi movies. With Cam- Feminism may have taught these two pion-whose earlier short films, like P.O. Box 140280 women the virtues of an independent Peel (1982) and A Girl's Own Story Dallas, Texas 75214-0280 mind, but when yo ur mind is coming (1984), were five-finger exercises for the apart at the seams, who cares about surreal sonata of Sweetie-a movie has By listing your story idea . oulline or screenplay In the independence? Feminism may have not so much a beginning, middle and THE HOLLYWOOD PRODUCERS ' STORY taught them to fight , but they've lost end as a life-and-death struggle with the DIRECTORY , it is presented direclly 10 buying pro* touch with whom or what they're sup- who le concept of time. Inserted into ducers al MGM . TWENTIETH CENTURY FOX , posed to be fighting. So they fight them- Sweetie's early scenes are black-and- UNIVERSAL STUDIOS , WARNER BROS .. ORION . selves and each other. white time-lapse shots of plants pushing TRI-STAR, PARAMOUNT. DISNEY , and more than through the earth. As well as dramatiz- three thousand Independent HOllywood Producers all Shot with Diane Arbus close-ups and ing Kay's phobia about trees, these sug- looking lor thai ned bi g commercial feature IUm or a crazed color palette, Sweetie is the gest the awful uncontrollability of the lelevision projec1. First Wave turned on its head: it's Hang- processes of growing-whether animal, vegetable or human. \"Co ming of age,\" TO RESERVE YOUR LISTING CALL ing at Picnic Rock or The Losing If We which in the First New Wave movies (213) 858 -8560 24 hrs. a day . was a synonym for moral victory and Ever Had It of Wisdom. Every time the self-fulfillment, is in Sweetie a concept \" THE HOLLYWOOD PRODUCERS ' movie looks set to give us an interlude either unrealizable or full of nightmare STORY DIRECTOR Y\" from the comic mayhem of home life terrors. with Kay, Lou and live-in Sweetie, it 1900 Avenue of the Stars, a670 bounces us into an anarchy even fiercer. D irectors Lowenstein, Turner, Los Angeles. CA 90067 When Kay, Lou and Kay's dad decide to Hillcoat and Campion are a col- FAX: (213) 785 -1299 have a holiday from the uncongenial lective reaction against the c loying Sweetie by going on a weekend drive humanism of Seventies Australian cin- Catalog your MOVIE LIBRARY with MOVIE into the Outback to see mum, who has ema . Weir, Armstrong, Schepisi and put that great Australian utility that is Beresford mediated their dissidence BUFF PC For each movie you can designate: the equal of gas, electricity and water- through an (often facile) optim ism about namely, space-between her and the the end results of human courage and • Actors, directors, writers, editors, etc. family, the film's bred-in-the-bone struggle. These qualities would always bizarreness is fully revealed. They find win through, the films suggested-if not • Year, country, awards. ratings, etc. Mum living and working in a sort of with an immediate, personal victo ry, shantytown for jackaroos (Australian then by their examp le for future genera- • Personal coding and comments including cassetle cowboys), where she's the resident cook tions. Indeed, most of the best-known and chanteuse. The jackaroos dance First Wave films were based on books , number & location with each other by moonlight in the memoirs or true-life stories that had main street while Mum croons . already established such heartening Full film profile at a glance. immortality. Nothing so inspirationally dotty has Powerful search tool. list movies.with Bob Hope been seen since Blazing Saddles , and The new Australian movies are less Sweetie does it all with a straight face. dependent on the crutch of adaptation • All movies directed by Hitchcock And keeps it straight for the finale. and far more venturesome and gymnas- Returning home, Kay and company find tic in marrying dissident themes to dissi- • Science Fiction movies from the fifties that Sweetie, furious at their desertion , dent styles . As one critic points out in has decided to turn into a dog. She Don't Shoot Darling!, a recent book of Truly organizes all information about your films. barks at them in the kitchen. Then she essays about new ,,,,omen directors in takes off her clothes, paints her body Australi a: \"The films of the Seventies Only $89. Runs on IBM & compatibles IHD 256k). black, climbs a tree and bays blue mur- constitute 'difference' because of their der across the neighborhood. challenge to prevailing ideologies and EIS - Dept F their form of political address. The Reportedl y loathed and loved in Eighties films have been more con- 2500 Maryland Rd., Willow Grove, PA 19090 equal measure at Cannes (and cold- cerned with challenging the audience shouldered by a jury under the sober relationship to film and traditional gen- Visa/Me welcome. 1800) 447-3725 presidency of Wim Wenders), Sweetie may be the crowning achievement of the ne,.~ Australian modernism. It rejects the 76

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And Bill American Movies Be nnett's e lectrifying docudrama Mal- • Foreign Films practice (1 989), about a botched de liv- ery in a h os pital m ate rnit y ward , so • Unusual Hollywood Releases powerfully blurs the line be tween fact • Cult Classics and fi ction th at we hardly kn ow who's • Ill ustrated an actor and who isn't , or whe re the sc ript sto p s a nd th e improv isati o n - - - - - - - - - - - - - - - - - - -Poperbrund, S1.4 95, IJOW at your bookstore, or use coupon 10 order Or taUlolt-free 1-800-733-3000 Oapl . 010·10-11B begins. Instead, the viewer, trained by CROWN PUBUSHERS, INC. OOpt. 010·10·118 tF\\ HARMONY BOOKS an increas ingly lithe Australian cine m a, 't;;V Adivision of The Crown Publishmg Group leaps happ ily ac ross e llip ses and sha- 400 Hahn Road , Westminster, MD 21157 I dowlines: invited to seek and chase the I truth rath er th an to let it wash soo th- Please send OFF·HOLLYWOOD MOVIES (0:517·56863·7). I enclase $1 4.95 plus S1.50 lor packaging, shipping, and I ingly over him at 24 gorgeo us frames guaranteed dehvery plus SO¢ for earo addit!onal copy. Please add applicable sales tax. 1O-day money-back guarantee. I per second . Enclosed is my check/ money order. Or charge my 0 VISA 0 MasterCard 0 Am Ex By ceas ing to m ake fi lm s about co m- ing of age, Australi an ci nema has come ,_ _ _ _ _ _ _ _ _ _ _ _ _ _ _[ xp. Oate _ _ _ _ __ of age. By shunning the invitation to look back , it is at las t looking forward . Signature, _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ .Farewell , Eurydice. Welco me, Orphe us. And cheers, m ate. ~ Name_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Address _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ I L -~_ _ _ _ _ _ _ _ _ _ _ _ _ _ _~ _ _ il2Q;!0:22!!. ---lI 77

free spirit with all its tics and irregulari- ties seems hopelessly out of place, espe- cially in the complacently hoggish age of Reagan and Bush. It is not that Altman had any coherent politics to sell in his movies, but rather that his ingrained fondness for losers, his mystical obses- sion with the mysteries of women, his career-long disdain for HoUywood's feel- Altered States good happy endings, and his often mis- guided desire to overturn genre conventions, have all conspired to by Andrew Sarris remained too much the irascible maver- reduce his bankability virtually to the ick ever to became part of the Holly- vanishing point. D on't fret over the posted length wood establishment. The dark side of the Altman legend- (652pp) of Robert Altman: McGilligan has encapsulated his the prodigious womanizing with its com- Jumping Off the Cliff($24.95, pulsive adulteries and infidelities, the richly mixed feelings about Altman in professional and personal paranoia, the the last paragraph of the introduction: St. Martin's Press). Patrick McGilligan's \"This biographer crosses the finish line cruelties and betrayals, the Micawberish extraordinarily insightful and expansive with a sigh of relief. Much has been attitude toward financial obligations, a biography of Robert Altman is not only found out-and much remains a mys- tendency perhaps inherited from a an enthralling page-turner, but is also tery. I am happy to say that Altman, like charming con man of a father-is not printed in the largest type with the wid- any challenging subject, remains an elu- neglected in these pages, but neither is est margins I have seen in many a moon, sive figure in part, but that in the proc- it exploited gratuitously for the sake of and festooned besides with a chronolog- ess of investigating his life, my sensationalism. Even when McGilligan ically arranged array of candid illustra- enthusiasm has not been dulled for his ventures into the venue of the scandal- tions that tell their own story. And what work. No matter how many times I see mongers , he manages to relate the life- a story! A veritable Shakespeare chroni- the best films , they remain a joy and a style to the art works. Altman's modus cle play of the entertainment industry, revelation . No matter the ungainly, operandi, and a recurring scene in most full of rise and fall, tumult and havoc. It sometimes unattractive strands of his of his movies, is the wild party. In a goes almost without saying that this is life, his stature as a serious and influen- sense, Altman's adult life has been an not an \"authorized\" biography, though tial filmmaker-not to say, sometimes an extended binge with countless hang- Altman did not throw any roadblocks in extremely entertaining one as well-has overs. Howard Duff, a long-time Altman McGilligan's path. For his part, McGilli- not been diminished in my eyes. drinking buddy, asks with rhetorical gan has painted a detailed portrait of Indeed, Woody Allen seems to be the incredulity of an abstemious character in Altman, warts and all, but with the sub- only other film artist who could give him A Wedding (1978), \"So the way you feel tle coloring of clear-eyed affection and a run for his money as the great Ameri- when you get up in the morning is the admiration. Altman may inspire more can director of our time:' way you're going to feel the whole day?\" kindness in a future biographer, but cer- Altman has recently fallen on difficult Altman was into alteration of feeling tainly no more fairness. times without becoming terminally throughout the late Sixties and early One of McGilligan's most remarkable blocked or pridefully inactive. When he Seventies, which were the \"real\" Sixties, achievements is his vivid recreation of can't make a big-budget movie, he but more through alcohol than other the grubby underside of television and makes a small-budget movie, and when chemicals. Still, it was Altman's idea to movie careerism through four decades . he can't make a small-budget movie, he end McCabe and Mrs. Miller with Julie For the first time ever we are given some makes a television feature, and when he Christie in an opium den. One wonders idea of where Altman has been coming can't make a television feature, he how Altman's projected Petulia would from all these years . Not just from Kan- directs a play. He has averaged more have differed from Richard Lester's. sas City, Missouri, where he was born than one credit for every year of his life, More zoom shots and fewer jump-cuts, July 20, 1925, to comfortably middle- and he has a body of work of distinctive McGilligan speculates. Steven Spielberg class parents, but also from his five to quality and impressive quantity compa- was originally supposed to direct what six years of technical apprenticeship at rable to any other American or foreign turned out to be Altman's California the Calvin industrial film company for director working in the cinema for the Split . Spielberg suggested graciously which he made 60 productions, then past two decades. that while his version would have participated in over a score of television \"Bob is like a huge furnace that will grossed more, Altman's was probably a series in the Fifties and Sixties, suffered burn forever;' says Alan Rudolph, in the better movie. It was the difference per- several false starts on the Hollywood next-to-last judgment in the book. haps between Spielberg's more exciting movie merry-go-round, interspersed \" Robert Altman keeps-a-goin'\" are editing, and Altman's more resonantly with all sorts of entertainment miscel- McGilligan's last words on this director communal framing. Ultimately, McGilli- lany. Finally, he made his commercial of dissonance. gan has very skillfully and very gener- breakthrough with M*A*S*H in 1969, A s this reviewer grapples with the ously illuminated the life and art of a and consolidated his artistic reputation Altman phenomenon in the gen- man so astoundingly messy in both that with McCabe and Mrs. Miller (1971) his biographer and the rest of us can and Nashville (1975) . But like Von Stro- erally dispiriting bottom-line atmo- only guess at exactly how much of his heim and Welles before him, Altman sphere of 1989, Altman's audaciously soul has been revealed on the screen. ~ 78

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CONTRIBUTORS Miriam Hansen is Professor of English and Film at the University of Chicago. Her book, Babel and Babylon: Spectatorship in American Silent Film is forthcoming from Harvard University Press . Karen Jaehne is a New York- Quiz #39: Daisy Chain based freelance writer. Marc Mancini teaches at Loyola Marymount Univer- Gladys George Sidney James Donald Gunsmoke (Dodge City, Kan.). 16. Just sity. Former Variety critic Todd Keith Richard Jordan Christopher the Ten of Us (Eureka, Cal.). 17. The McCarthy is writing upcoming docu- Arthur Elton John Candy Clark Gable. McLean Stevenson Show (Evanston). mentaries on Preston Sturges for PBS Who is this person with a longer name 18. The Fitzpatricks (Flint). 19. Joe and Alfred Hitchcock for HBO. Marcia than all of Mary Elizabeth Mastranto- and Sons (Hoboken). 20. Hawaii Five- Pally lives in New York .and writes on nio? In fact, it's the names of 14 movie the arts. Andrew Sarris is Professor of people strung together (Gladys George, o (Honolulu). 21. Juddfor the Defense Film at Columbia University. He is cur- George Sidney, Sidney James , etc.). rently completing The American Sound Your challenge for this quiz is to compile (Houston). 22. One Day at a Time Film. Lois P. Sheinfeld, an attorney the longest possible daisy chain of film (Indianapolis) 23. Pete Kelly 's Blues and educator, is a member of the Educa- folk whose surname is someone else's (Kansas City, Mo.). 24. Blansky's Beau- tion and Law Committee of the Associa- first name. One point for each person, ties (Las Vegas) 25. S.W.A .T (Los tion of the Bar of the City of New York. plus ten points if the chain is completed, Angeles). 26. The Odd Couple (Man- Richard Schickel is film critic for i.e., if the first name at the top is the last hattan , NY.) 27. The Golden Girls Time. His new book, Schickel on Film is name of the person whose first name is (Miami). 28. Happy Days (Milwaukee). published by William Morrow. Jay at the bottom. Crystal clear? Good. 29. Mary Tyler Moore (Minneapolis). Scott is film critic for the Toronto Globe Then get your list to FILM COMMENT, 30. Nashville 99. 31. Longstreet (New and Mail. Armond White writes for Quiz #39, 140 West 65th Street, New Orleans). 32. The Dick Van Dyke Show New York's The City Sun. York, N.Y. 10023, by October 18. And (New Rochelle, N.Y.). 33. Toma (New- may the sp irit of actress Evans Evans ark). 34. The Bionic Woman (Ojai, PHOTOCREDITS guide your research . Cal.). 35. Family (Pasadena). 36. The Arena Film: p. 73. Avco-Embassy: p. 39. Tony Randall Show (Philadelphia). 37. Cannon: p. 43(2). Columbia: p. 6,44(1), In Quiz #37 , yo u were asked to Alice (Phoenix) 38. Mr. Belvedere 48. Film Society of Lincoln Center: p. match American towns and cities with (Pittsburgh). 39. All in the Family 23,24,53,55(2,3),57. By Brian Hamill : TV shows located in them. The answers (Queens). 40. Eight Is Enough (Sacra- p. 46, 52. Island Alive: p. 44(2). By Joyce (others may be possible): 1. Designing mento). 41. Simon and Simon (San Jesionowski: p. 29(3). Library of Con- Women (Atlanta). 2. In the Beginning Diego) . 42. Phyllis (San Francisco). gress: p. 29(3). MGM: p. 64, 66, MK2/ (Baltimore). 3. The Beverly Hillbillies 43. Three's Company (Santa Monica). NewYorkerFilms:p.17,20(1,2).MOMA: (Beverly Hills) . 4. A Year at the Top 44. Here Come the Brides (Seattle). p. 29(1, 2), 54, 55(1, 4). Movie Star (Boise). 5. Mork and Mindy (Boulder). 45. The Alaskans (Skagway). 46. The News: p. 26,59. By Ralph Nelson Jr: p. 6. Car 54, Where Are You ? (Bronx). Pruitts of Southampton. 47. Maude 47. Orion: p. 36(2). Photofest: p. 33(1), 7. Welcome Back, Kotter (Brooklyn). (Tuckahoe, NY.). 48. The Farmer's 37 (2). By Zade Rosenthal: p. 62. By Mar- Daughter (Washington). 49. Lucy in ianne Rosenthiel: p. 2, 4. By Susan 8. The New Dick Van Dyke Show Connecticut (Westport) 50. Wichita Faulkner Stevens: p. 22. Touchstone (Carefree, Ariz.). 9. The Young Rebels Towil. p. 36(1). Tri-Star: p. 32(2), 38(1), 63. (Chester, Pa.) 10. The Untouchables UA: p. 32(1), 38(1), 50, 60. Universal: p. (Chicago). 11. WKRP in Cincinnati . In Quiz #38 , you were asked to list the 8,31,33(2). Warner Bros.: p. 11 , ·12 , 13, 12. I Dream of Jeannie (Cocoa Beach). proper pronunciation of 50 movie people. 14, 38(2), 44(1), 45. Whittle Communi- ·13. Dallas. 14. Dynasty (Denver). 15. The answers (as best we could figure): cations: p. 70(1, 2, 3), 71(1, 2, 3). Lb. 2.b. 3.c. 4.a: S.b. 6.a. 7.c. 8.b. 9.c . 10.a. H.c. 12.a. B.c. 14.a. 15.b. . - - -~~- - - - -~C-i-Ll-~-~L-.U,-;;JW-Z-:;; 16.b. 17.c. 18.b. 19.c. 20.a. 21.c . 22.c. 23.c . 24.a. 25. c. 26.a. 27.c. Pin· Ups • Portraits • Posters • Physiq ue 28.b. 29.c. 30.b. 31.a. 32.c. 33.c. Poses • Pressbooks • Western • Horror • 34.b. 35.c. 36.a. 37.c. 38.c. 39.c. Science Fiction • Musicals • Color Photos • 40.b. 41.a. 42.c. 43.b. 44.c. 45.b. 80 Years of Scenes From Motion Pictures 46.a. 47.b. 48.b. 49.a. 50.b. Rush $2 .00 FOR OUR ILLUSTRATED BROCHURE 134 WEST 18th STREET, DEPT. Fe NEW YORK, N.Y. 10011 (212) 620-8160-61 .lBftft\" tlHI,I.W;Eft·. ,,, ~UI\\' 11! ~I\" TI!IIIAI. STOHl!. In... 242 W. 141h Street IIew York. II.Y. 10011 (2121 989-0869 art. E,ny DA' 1\"\":OOpM .n.uN ....Ia 1I1t AVENUE liD, IUIW.' • . I.tlt ITREET ITa, J80

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