VOLUME 22 - NUMBER 02 - MARCH-APRIL 1986

by Pat Aufderheide too recent past. laboratories and backlots of this south- In this huge, mostly agricultural coun- ern-cone Manhattan, a peculiar hybrid is A fter years of military rule that made being created: Hollywood-quality cinema Argentina a torture chamber for try, half the population lives in Buenos drawing its central conflicts - and its thousands, a prison for more, and an Aires, where descendants of Italian and crowd appeal- from the tense themes of international pariah, the country's shift to Spanish immigrants give the city the look national identity, of historical and self- civilian democracy has triggered a burst of a displaced Madrid. The denizens of awareness. of production as varied and contradictory the skyscrapered port city are addicted to as all Argentine society. Camila, The the best in international filmfare: The Argentina at one time had several film Official Story, and more recently Tangos: Purple Rose of Cairo sold out for weeks studios which cranked out melodramas, Exile of Gardel all reflect Argentina's old last summer in the largest theater in Latin love stories, and musicals; it also had a passion for film and new resolve to America (Woody Allen is a likely hero for sideline of quality cinema, like that of examine, explain, and air the truth of the a city where, until dictatorship destroyed Leopoldo Torre-Nilsson, in the tradition it, the Argentine Psychiatric Association of European alienation. As the industry was the third largest in the world). In decayed in the Fifties, Argentine filmma- 51

kers- inspired by Italian neorealists and he said. \"Those who oppose it are drug But if there was a watershed, it was the burning with a sense of social injustice- addicts, nightclub owners, and pornogra- astonishing return by Fernando Solanas revived the art form. At the Santa Fe Film phy peddlers.\" Argentines were protected to Argentina in 1983, not only to visit but School, six hours upriver from Buenos from seeing The Front , Norma Rae , to film . He had lived in Paris for years , Aires, an improbable but influential film Coming Home , and the Soviet film Slave working on an epic of exile, a never- movement began to reveal the hidden of Love. One film buff recalls that any completed elegy in song and dance Argentina on film. Fernando Birri , who spare flesh was pasted over with a green faithful to the spirit of suppressed made the neorealist Los Inundados strip: \"It was really quite erotic.\" Argentina. The word went around the (Victims of the Flood)-a hilarious, Buenos Aires artistic community: Work perceptive X-ray of fraud and corruption Forbidden culture was still available- on the film lots! Dancers needed! In seen from the angle of poor folk living on at a price. In upscale Argentine sub- September 1985, Tangos: Exile of Gar- the flood-prone river plain -led the way. urbs-where hamburger stands and del finally debuted at the Venice festival , supermarkets copy American consumer where it took top awards. Emerging from this, and with more fashion - VCR libraries grew. An impor- sharply political goals, the Cine Libera- tant advantage for the wealthy, says a Tangos is a one-film statement about cion movement coalesced in 1967. Call- video rental-chain owner, was security the current contradictions of Argentine ing boldly for a cinema that would from the threat of kidnapping during an cinema. A French-Argentine coproduc- challenge Euro-American dominance, evening on the town. Besides, there tion , it is as much about Paris as it is about Fernando Solanas and O ctavio Getino wasn't much to see on the Broadway of Buenos Aires. Passionately patriotic, it wrote fiery manifestoes and made the Buenos Aires, Corrientes Avenue. takes two exiles as heroes: San Martin , inflammatory Hour of the Furnaces, an the hero of independence who spent the anti-imperialist essay that won first prize These days, Corrientes at midnight is last 25 years of his life exiled in Paris; and at Pesaro in 1968 and just as promptly filled with wandering couples, leaving the French immigrant to Argentina who became cinema non grata in Argentina. screenings of films as varied as the latest became a pop culture star for his tango While Alberto Fischerman aspired to a Argentine comedy, Rainer Werner Fass- tunes, Carlos (ne Charles) Garde!. And in personal style within commercial binder's Querelle, and the new and groping for a new cinematic style, Tangos bounds , others simply sought boxoffice heralded Fischerman film, Dias de Junio takes its raw material from Argentina's success, producing dozens of films a year. (Days of June) , a sobering look at schlockiest entertainment forms: its political resistance. mu sicals , film extravaganzas, and, of And then Argentina began to unravel course, the tango. politically. The fruitless wait for the \"It's a unique moment ,\" says film critic return of Peron, followed by a vacuum of and historian Jorge Abel Martin. \"Our There's a sharp and fitting irony to leadership, brought on the generals. liberty of expression is still so new. In this Solanas' use of the tango to express the Solanas, Getino, and many others fled 'first wave; people have rushed to say Argentine crisis of identity. A hybrid the country. Artists who stayed suffered what they'd been kept from saying, and cultural form, both nostalgic and archly the terror directed at any public expres- the audiences have rushed to see it. Next sion: among the desaparicidos (the we have to prove that we have talent as disappeared) is filmmaker Raymundo wei!.\" Gleyzer, who at 34 was kidnapped in 1976 and simply evaporated-to world T he transition began before democ- outrage. After a bomb killed a spectator racy arrived in '84 . The 1982 during si nger Nacha Guevara's perfor- Malvinas /Falkland Islands war marked mance, she left the country, joining an the beginning of the end for the generals, exodus that included actress Norma who had hoped to win back a public Aleandro. Film clubs, once little bastions bruised by repression and recession. of urban culture in interior towns, Filmmakers seized the moment, capital- became targets of right-wing terror. izing on public discontent, and launched a host of projects with political overtones. Repression was the enforcer for a new A harshly critical documentary, The economic policy, based on Milton Fried- Malvinas: A History of Betrayal, was man's \"Chicago school\" free-market the- produced by Argentine exiles, while ory. For a while, openhanded interna- inside the country volatile film subjects tional loans and low interest fed by an were approved. One was Adolfo Arista- inflated currency made this the time of rain's Timefor Revenge, about a man who plata dulce, \"easy money,\" for the white- attempts to rig a mining disaster for the collar class. insurance money: the allegory of corrup- tion and complicity became both a Cinema fared badly in these years: film national hit and international award- productivity paralleled the decline in winner. Also a boxoffice winner was Plata other industries , dropping dramatically. Dulce (Easy Money) , an acerbic comedy In 1982 , only 18 films were made. The about the ironies of speculation-fed national censor proudly prohibited one in affluence. Pressured by filmmakers, the four film s, including one he'd approved in government put financial teeth and script form, thus forcing the producing bureaucratic backbone into the National studio into bankruptcy. Even today, with Film Institute (INC), naming filmmaker censorship abolished, the censor is Manuel Antin head and giving him funds unrepentant: \"Censorship isn't directed to run it. against cinema, but against bad cinema,\" 52

sophisticated, the tango has always had part tango , tragedy, and comedy. The exile. Success meant just surviving. And an international flavor: it has recently tanguedia is part of Solanas' lifelong we never felt that those who left were returned as the height of fashion, with a mission to find an authentic, uncolonized really separated from us. Now that they're popular Broadway show, Tango Argen- language for Latin American cinema. \"If coming back, Argentine cinema is under- tino, and a Women's Wear Daily center- you go back to The Hour ofthe Furnaces ,\" going a rebirth.\" spread on tango outfits. And yet it's he says, \"you can see that my primary irrevocably Argentine as well. concern has always been to confront the W hile exile is perhaps the theme that Euro-American language that dominates dominates this renaissance-every For two hours , Solanas' dreams and us. And it is precisely because I'm returning director seems to have a script nightmares of self-expression are devel- Argentine-the product of a Eurocentric on the subject - arch-veteran of exi le oped in dance episodes set to tangos he culture- that I felt the necessity to do so. Fernando Birri is more prescriptive than wrote himself. There's a plot of sorts, a So, my films, which embody the criti- bitter. In the Sixties, Birri emigrated to bone thrown to the narrative-addicted: cism of dead models, have been treated Italy, where his political exi le tripped a Argentine exiles in Paris try to stage a by Argentine critics as non-cinema. psychological trap. For eleven years he theatrical production written by an worked on an abstruse experimental film, Argentine trapped in internal exile. The \"Tangos is an approach from a variety of ORG, which today even he admits is performers battle with how to make the angles, a cubist approximation of a film. I virtually unwatchable. Recently he sur- production political, how to communi- express myself very much by metaphor faced with films produced for Italian TV. cate, and, crucially, how to find an and ellipsis, trying to make a freer My Son Che focuses on Ernesto (Che) ending. cinema. It's the risky voyage to find Guevara, intimately weaving family snap- yourself. The film's structure is built on shots and home movies of the child C he That last problem is basic. Exile, the wonder-filled interview we all have riding a tricycle. And RTE: Nicaragua Solanas understood, is a non-story ; it is with life itself.\" is a personal-but-political tour of that about absence, longing, a void in life. And country. so Tangos is about frustration : that of the Solanas knows that his work has never impatient author, Juan Uno; of the fully reached his own public . Not only \"It's all about hope , for the next impoverished producer, Juan Dos; of the has he been censored, but the films have generation,\" says Birri, wearing his trade- baffled French funders-in-furs; and that often been regarded by audiences as mark black hat. \"You don't find bitterness of a confused actress and her conflicted elitist and not entertaining. \"Because in in my films. Everything we did, we did in daughter growing up far from home. As each film I break out of old patterns, I'll the struggle to celebrate life , to defend it. the film develops its theme of frustration always have problems communicating If we struggle but don't love life in the with the tools of joy - poetry, music, with the public; he admits. \"But Tangos is process , then it doesn't mean anything.\" dance-the viewer is thrown into a rich in entertainment, and it may be the The doyen of the Havana festival, where dialectical process of creativity. breakthrough film.\" his films were shown in a retrospective, Birri explains that ORG was produced in Solanas calls the film a tanguedia- Even before its Argentine release, what he calls \"my second exile, the Tangos caused a furor among critics. nightmare I lived with my eyes closed, in Some, looking back nostalgically to the between two dreams I lived with my eyes strident tone of The Hour of the open.\" Furnaces , find Tangos full of fluff. Recalling the intensity of repression, the That might be the definition of the critics can't find in its songs and dances challenge facing the Argentine filmmaker the horror of the epoch. And some find today: how to dream with your eyes open. its popularity abroad proof of the film's Because the news is not all good. Eurocentric bias. When the film was Argentina's economy teeters on the brink shown in December at the new Latin of collapse. It is also not clear how much American Film Festival in Havana - a the Argentine public wants to dream with festival designed to promote Latin Amer- its eyes open. ican film as a culturally nationalist project - it drew top awards and also \"In the first year of democracy; says criticism. Marisa Grieben, editor of the Argentine film industry trade paper HeraLdo de \"I'll tell yo u what this film is about,\" says Cine , \"everyone wanted to make political an acerbic, leftist filmmaker who refuses films. But the most interesting, most to be named. \"The dream of every innovative ones, were the ones the public Argentine intellectual is to go to Paris. rejected . The wounds are still open. We And political repression makes his dream still haven't made the film that shows come true- he can go to Paris without what really went on here.\" guilt!\" The price of the recent past is But to others, Tangos' aesthetic tri- registered in a grim statistic: 30,000 umph builds on its unstated wish for disappeared, seized from homes or Argentina's film artists to work together streets by official or para-official forces . again. \"Exile has to be the worst Some were pregnant women; some were condition for a human being,\" says small children who, along with new- Furnaces producer Edgardo Pallero, who borns, became fodder for a black market lived through military rule by making in adoption. This is the subject of commercials. \"Those of us who couldn't Argentina's best-known recent film, The work inside the country also suffered 53

Official Story. Hour of the Furnaces. pointing out its divergence from the high- Unlike a host of recent documentaries impact visual style he developed over 20 That battle rages in The Official Story's years of making commercials. \"But it on the subject, focusing on militant script, which makes Norma Aleandro a does exist within a kind of aesthetic protest and testimony by Mothers of the history teacher retailing \"official history\" corset. And it's impossible for a truly vital Plaza de Mayo and other desaparicidos' to rowdy youngsters who prefer their new Argentine cinema to develop within kin, The Official Story zeroes in on the favorite heroic myths to reality. And it this model. Look, for one thing, at its adoptive mother, the woman who refuses flourishes in other big production films cost. For us, The Official Story was to think she's part of the problem but that use history to raise political issues . expensive [half a million dollars]. You painfully realizes her complicity and Asesinato en el Senado de la Nacion can't experiment on budgets like that. responsibility. Following its showing in (Assassination in the Senate) recounts Furthermore, almost all our films are Cannes in 1985, it attracted large North the unholy alliance of cattle ranchers with about a small urban middle class, with a American audiences; but it was made for English meat exporters in the early 20th subgenre in the 'well-made' historical the folks at home. century, and the attempted murder of the film . The experiences of Birri, Solanas, senator who tried to expose the conspir- and others are examples from aborted \"At the time I was formulating the acy to siphon off money from the national movements.\" project,\" says director Luis Puenzo, coffers . \"there was enormous resistance to the Yet there are filmmakers eager to subject of the disappeared. It had gotten This appetite for social drama may be experiment with the \"well-made\" movie. to the point where people would turn off merely a passing phenomenon, a reflec- Adolfo Aristarain finds in the thriller a the radio if there was news about it. And I tion of novelty's ability to sell; saying the way to raise moral issues, and in the past was looking for a way to break through truth out loud is now Argentina's novelty. two years he has been able to address the passive resistance. We'd gone too Also the sentimental quality to much of them openly - for instance, in the life rapidly from a time when everything was the most successful recent production story of anarchist Severino DiGiovanni. prohibited to a time when people heaved lends credence to charges that recent \"I don't believe in the nationality of a sigh of relief and said, 'Well, it's all Argentine films are feel-good movies- cinema,\" he says, however. \"The goal is to behind us now: So I told the story from soap operas meant to sanitize the sordid tell a good story, and to have the film be my own perspective, that of the great recent past. Can these movies lay the intelligible to everyone. Of course there's majority who never participated in groundwork for the next generation, always social context, but the stories are repression but who felt complicity. It is when people aren't simply anxious for a universal. The Americans, as far as I'm not a heroic stance, but it was the good cry in a darkened theater? concerned, know how to tell stories position I was in.\" better than anyone else. I'm a fan of Director Puenzo has a certain sympa- Hawks, John Ford, Hitchcock. I'm not T he Official Story became a block- thy for criticism of The Official Story's sure how many other languages there are buster. The Argentine public widescreen style. \"I think it's a good film in cinema that really work. It's too seemed primed to use the darkened within a traditional mold,\" he says, expensive a medium to make for a few movie house like a confessional. Only a friends , or a small crowd of politically national need to perform such rituals conscious people~ could account for the widespread popu- larity of an otherwise rather ordinary The aesthetics of new Argentine hospital drama, Darse Cuenta (Paying cinema are intimately linked to eco- Attention). When a doctor attempts to nomics. The national market isn't big save the life of a borderline accident enough to guarantee even a popular film victim, he encounters apathy and selfish- like The Official Story a return on ness all around him - even in the patient, investment. Occasional titles get picked who can't find a reason to live without up by American distributors, but most family or social support. Los Chicos de la are a hard sell. \"Los Chicos de la Guerra Guerra (The Boys Who Fought the War), played well at Filmex,\" says director Bebe made from a bestselling oral history of Kamin, \"and it's about a lot of the same young Malvinas soldiers that became an issues as Americans faced in Vietnam. expose of the military, brought out record But it hasn't had a single international numbers of youngsters, many of whom buyer. Even in Argentina, it's only the saw the movie repeatedly and chanted kids who go to it. 1 don't think the adults lines along with the fresh-faced protago- like what they see there~ nists . Its choppy editing and unabashed tugs at the heartstrings didn't undercut its While recent INC-sponsored film popularity. Even lightweight comedies weeks throughout Latin America have reflect an appetite for social issues: been sellouts, \"Argentine films can cross Esperando la Carroza (Waiting for the over into some Latin American markets, Hearse) makes sharply critical slapstick but you run into a major problem,\" notes out of the plight of the elderly. editor Grieben. \"Other Latin American films usually don't work here, where \"We're suddenly seeing our reality on 'quality' U.S. and European cinema is the screen,\" says critic Martin. \"It's part of a continuing battle in Argentina, to fight a favored~ tendency to have an absolute disrespect for the past ~ The problem, Argentine filmmakers say, is that it's cheaper and more lucrative for Argentine distributors to buy rights to 54

u.s. films than to invest in local action, not the politics, that se ll s . For INC director Antin, Argentina is While some filmmakers play with the now in th e business of washing its dirty production. Argentine filmmakers want linen in publi c, and thu s clea ning up its protective regulation requirmg one co nvention s of ficti on features, docu- image. \"The ci nema occ upies an impo r- national film for every six imports shown. mentaries continue to thri ve - s ubject to tant ideological space, as yo ur own To INC director Antin, however, U.S. the limits of distribution . Young filmmak- cinem a shows;' he says pointedly. \"C in- cinema is a salutary example, not a ers, whether in the socially co nscious ema offers a way to fill a cultural vac uum. problem: \"A merican filmmakers are pro- Cine Testimonio gro up , film schools, or The Official Story demonstrates our ducing some of the best films in the publicity production houses, are try ing to capacity to critic ize ourselves, to submit world, and now that we have freedom, protect these interests. Says Victor ourselves to the judgment of the wor ld our job is to meet that standard. We are n't Benitez, a documentary filmmaker and and of our ow n co nsc iences .\" in competition, because our production organizer of the Documentary and Short capacity is so small. We can only make 20 Subjects Filmmakers Association, E ven as Antin talks, on th e big board of or 30 films a year.\" \"When features were spurned by interna- the major lab ac ro ss town severa l tional festivals as part of a general protest films are s hown in their final stages. It is a For Hector Olivera, co-owner of the against Argentine repression , our shorts sign of the ferment in the industry that largest film distributor and director of a still won prizes . Commercial cine ma is The Official Story and Camila are hard-hitting historical drama, Rebellion just beginning to broach our recent past, regarde d as pioneers, and Tangos a in Patagonia , regulation is no answer. much less other political realities, but challenge. The future of Argentine film \"Restrictions will mean that films like shorts and documentaries have been may hinge on the results of the next wave, Ghostbusters and Police Academy would dealing with them for ten yea rs.\" The after the fir st excitement of saying the be the ones to make it in, and less Association is calling for mandatory once-forbidden out loud has passed. One comf)1ercial, higher quality films exhibition of shorts in theaters and a thing is certain: for Arg~ntine film in this wouldn't. portion of INC funds . The filmmakers era, just being well-made wi ll neve r be fear that INC's current e mphasis on enough , because U.S. films already \"Our problem isn't with foreigners , but commercial features may be another way dominate Argentina with their aesthetic with an archaic union system that keeps of burying inconvenient realities, and and commercial proficiency. The strug- production costs high . Our task now is to they're all too familiar with that. Beni tez gle for an authentic, national cincma- consolidate the industry. A good film is recalls the censor's reac tion in 1982 to a one that evolves th e uncolonized lan- the product of a liv ing industry.\" Having film about a Buenos Aires slum: \"Why guage for which Fernando Solanas so just finished Cocaine Wars with Roger don't yo u film the beautiful parts of co ntentiously strives - may be for Argen- Corman, Olivera is tryi ng co-production Argentina? If yo u must wash yo ur dirty tine filmmakers a question of survival. ~ as a model. He is a pro at the action- linen , do it at home .\" adventure genre, extracting thrills from recent scandal. It's no secret that it's the Film scholarship demands the finest resources. We provide them. Tisch School of the Arts at New York University offers develop the depth of understanding that is the mark of graduate students the resources essential to the scholarly true scholarship. study of film. For information, return the coupon or telephone (212) . Our M.A. and Ph.D. programs in cinema studies 598-7777. provide: NBVYORK • A rigorous course of study covering history, criticism, and aesthetics RSI1Y • Exposure to new methodologies-semiotics , psychoanalysis, and structuralism • Personal viewing/ study facilities-flatbeds , analy- rT=~OO:;=A:-------- tic projector, and'video equipment • Access to materials-the department's own hold- II New York University 1 ings; rare material from the William Everson Collec- 721 Broadway, 7th Floor tion, the Museum of Modem Art, and New York City's New York. NY 10003 ·1 Attn.: Roberta Cooper many cinemas, libraries, and archives I Please send me information about the program in cinema studies: 1 Our faculty is outstanding by any criteria. And its I o graduate 0 undergraduate I members-William K. Everson, Jay Leyda, Annette o I would also like information about the summer sessions. I =aNme~---------------­ Michelson, William Simon, Robert Sklar, Janet Staiger, II Robert Starn, and Brian Winston-represent a diversity I Address of interests and backgrounds. I I Cily /Slale/Zip As a result of our comprehensive, eclectic approach, I extensive resources, and distinguished faculty, students New York University is an affi rmati ve ac tion / equal opponunil Y institut ion. Fe 3/86 - - - - - - - - - - - - - - - -_ _ _ _ _ _ _ _..1._ _ _ _ _ _ _ _ _ _ _ _ _ - - - ' 55

David Hare directs Mlnessa Redgrave in Wetherby. by David Thomson with an acquaintanceship as loose and continues over Blakean images of a steel easy and yet as close as a good glove's mill . Out of the noise of the mill emerges I n Britain, in 1985: the Domesday Book with your hand. My wife and I knew the only \"unnatural\" sound of the film - a (1086) was republished; it was British Captain and Mrs. Ashburnham as well as massed choir singing \"Rule Britannia\" is Film Year; Greenwich Mean Time faced it was possible to know anybody, and yet, the only sound whose source is not termination for lack of funds. in another sense, we knew nothing at all identified in the film. The inevitable about them. This is, I believe, a state of effect is that it seems to well out from all The reader may consider whether things only possible with English people the elements of the film. what is happening in Britain now is of whom, till today, when I sit down to - Jim Hillier, in Studies in Documentary natural or tragic decline, a black comedy puzzle out what I know of this sad affair, I whose laughs have gone astray in the knew nothing whatever. (1972) , talking about Humphrey filing, or a stubborn need for sadness, Jennings' Listen to Britain (1941) ready to draw failure down upon the - the American narrator of whole country as part of an eloquent, The Good Soldier, The time-scheme of the play is not as articulate way of saying, no, there is no intimidating to audiences as it first longer any contact or connecting. For if by Ford Madox Ford (1915) appears. Britain has lost the world, wasn't it a world that deserved losing? The justly famous final sequences of - David Hare, \"A Note on Listen to Britain .. .soar into an impres- Performance,\" published with Plenty BROCK: And yet. . .1 really shan't ever sion of the unity of Britain at war. give up, I won't surrender till you're well Flanagan and Allen at a factory canteen O n my annual visit to Britain, late in again. And that to me would mean your merge into the Myra Hess concert May, we were having dinner in a admitting one thing: that in the life you (Friday, 13 June) at the National Gallery. peaceful house in south London, looking have led you have utterly failed, failed in Then Mozart is carried over to accom- out on a small walled garden that had the very heart of your life. Admit it. Then pany a series of \"public\" images outside been given its touch of private genius by perhaps you might really move on. (trees, a barrage balloon, St Martin-in- an S shape put in the lawn. It was about -Plenty, the play, by David Hare (1978) the-Fields, people boarding buses, Nel- eight, and the light was lasting. We were a son, a sailor, the National Gallery across mixed group: our English hosts, my This is the saddest story I have ever Trafalgar Square) and, more audaciously, American wife, my English son in his first heard. We had known the Ashburnhams a tank factory, where the music is lost year at London University, and an for nine seasons of the town of Nauheim imperceptibly in the noise. The factory American friend in the country on movie with an extreme intimacy-or, rather, noises dissolve into brass band music, business. which introduces a street parade and As the meal ended, we put on the television to see what was happening in 56

the Europea n C up F inal at Brussels, JThe most in co mpete nt , uncarmg, o hn Mo rgan (Tim Mcl nne rn y) comes betwee n Li verpool andJu ventu s of Turin . to Weth e rby to ki ll hi mse lf. T he But there was no soccer in progress, as we bl oody shower we've ever had. had expecte d , only searching panning shots of the crowd and a mournful , - Pe te r, in 28 Up , yo unger, fe male stude nt , Kare n (Suza nna lowing sound co ming out of the mass, as if waiting for a state fune ral. talking about the T hatcher governme nt H ami lto n), thinks that he might ju st as \"Why don't they te ll us what's hap pe n- eas il y have shot , hi mse lf in fro nt of he r; ing?\" said my Ame rican fri e nd , acc us- to me d to a te levision syste m afraid of Reve nge ! and on repeated viewings of th e fi lm , I losing viewers. - Stanley Pilboro ugh (Ian H o lm) , believe th at he co nsiders presenting the We had to wa it several minutes, seeing occas io nal flickers of viole nce and resent- at the dinner table in Wetherby, ac ti o n to Marc ia Pil bo ro ug h Uu d i me nt in the crowd , with the co mme nta- tors admitting he lpless ness and bei ng trying to expl ain what Margaret Dench), th e libra rian. He is loo king for patie nt . An e norm ous atmosphere of disaster he ld sway. It was so me time T hatcher has do ne to Britain in the an aud ie nce. I suppose he wo uld wa nt a before we got the headlines: that there had been a riot, leaving many dead. name of rescue, and why she has do ne it co mmand perfor mance best of all , wi th The re has been violence at British soccer for at least te n years, uglie r year by year, C harles, Di , the Q uee n, and Mrs . and so me of it has beel) exported before . But this was the breakthrough that W etherby is abo ut England, of T hatcher the re, to see if they were viole nce had been wanting, and my so n course, just as m uch as Plenty. sentime ntalists. and I, who watched England win the W hatever Dav id H are m ight clai m to fee l Bu t he p icks o n Jea n T ravers (Va nessa World C up in 1966 (whe n he was not yet two), knew that it might be e nough to for solitariness and the individual's right Redgrave) and he r country cottage, w ith alte r the game in Britai n. to be free, he naturally and shameless ly roses by the doo r, stone fl ags in the Tommy Smith scoring the second goal in 1977 . creates hero ines who stand not just fo r a kitche n, and a roof th at may spring -Peter, in 28 Up (1 984), re me mbering mo me nt in England's life, but for its sudde n leaks in its o ld age . Liverpoo l's triumph in the European dism al mode rn history. T his includes the Several Ame rican reviews of Wetherby C up F inal, whe n he is as ke d what have been the outstanding mome nts in his life return of Empire to its old ow ne rs, the concluded that the p lace in the title was a I n the afte rm ath of the May evening e mptyi ng and destru ctio n of arc haic village . T hey ca lled it \"bu co lic.\" But th at disturbance - as British football tea ms were barred indefinite ly from European facto ries , the pruning of educatio n as if it is an e rro r. Jea n li ves on the edge of what competition - in an atte mpt to say if and why Liverpoo l supporters had behaved were a di seased e lm , the yo ung learning is actually a town, an o ld center of with such viole nce, a newspaper reported how far li ving standards in Turin now to do without hope, mu ch less ambitio n, bu siness, with a marke t , shops, and exceeded those in Liverpoo l, a c ity of yo ung une mployme nt. T his was a little the daily, dull experie nce of te rro rism and te ne me nt housing, as well as its estates of more than 20 years afte r the Beatles and the sentime ntal th ought that Liverpoo l in so luble problem in Northe rn Ire land , matchbox dwelli ngs , loo king as fresh and had bee n rescued by pop prosperity. Now the c ity had returfje d to raw poverty and and e nough black and co loured peop le las ting as lo ng as a railway statio n disco nte nt, its local council at war with the Co nservative governme nt. arri ving to expose the English need fo r sa ndwich . In living as she does - alone, D ARWIN : Before that , Djakarta. We supe riority. out of the general way, and in an old were hoping for something sunny but Brussels came along. Not that we're H are's work takes his duty to be nighted edifice in sight of mo ist green hills -Jean co mpl aining. They've certainly got some- thing go ing he re. England for grante d , just as much as the is o nly signali ng her stature and her SU SAN : Really? wryly trapped Pr ince C harles does . His pe rspectives. She is like a character in a D ARWIN : Oh -yes. New E urope. Yes, yes . Reco nstructi on. Mass ive. Massive characte rs are England; and however far novel by H ardy : Jea n the O bsc ure , work of reco nstru ctio n. Jobs. Ideals. Marvellous. Marvellous time to be alive England has fa llen , nothing yet interfe res affli cted by old losses and grapp ling with in Europe. No e nd of it. Roads to be built. People to be e du cated . Land to be with its characte rs' se nse of the ir own the ir meaning, choosing he r res ide nce as tilled . Lots to get on with. H ave anothe r gm. - D av id H are, Plenty significance. W hether clerks or novelists, o ne m ight select the backdrop for one's t~ e English are gloo my doctors of the ir moral portrai t. fe llows' moral health ; they read plague in He r cottage suggests the teache r she every sputum test. And so in Wetherby we is - so meo ne who loves her stude nts and know, with out having it explaine d , that tru sts the capac ity she is nurturing in the gestural suicide of its Jo hn Morgan is the m th at they may make up the ir ow n yo ung England's message to its e1 de rs- m inds about lite racy, beauty, and the as large and lost as the roya l-blue FUCK purpose of ed ucatio n-despite the creep YOU ALL graffito we see in a lift in a of newspeak and co mpute ri zed social uni versity bui lding. Or if it is not the cry security. She pu shes o n with Shakes- of all young England , it is ..vhat the part of peare and the quality in faces, whatever H are that longs for outbursts thinks the othe r hostile disc iplines the re may be up yo ung should say: stand up fo r buried on the bl ackboard be hind he r. For the fe elin g. ro mantic but nair-minded D av id H are, Jean has an ob durate grace unde r slack , \"The n he put two fingers into the dep le ting pressures such as another waistcoat pocke t of his grey, fri eze suit ; publi c schoo lboy auth o r, Ray m o nd they came out with a little neat pe n- C handler, once create d for an L. A. knife -quite a small pe nkn ife - private eye. Th ere is even a moment \"Whe n he saw that I did not inte nd to whe n Re dgrave is sitting in her bath , her interfere with him his eyes became soft hair soake d and swept back, a cigare tte in and almos t affectionate . H e re marked : he r m outh , in which her resp le nde ntly 'So lo ng, old man, I mu st have a bit of alo ne and paine d head begin s to look like rest, yo u know: the prime of Robe rt M itchum . \"I didn't know what to say. I wanted to She lives in a co untry cottage on the say : 'God bless yo u,' for I also am a edge of a tow n th at is ho me to the BLLO. sentime ntalist.\" T hi s is not an ord inary library, much less - Ford Madox Ford , The Good Soldier the meager book co llectio n th at rural 57

English communities now offer. It is a ORETO BARGAI department of the British version of the Library of Congress; it is a decentralized Plenty. Overcast days and thoughts left unuttered. part of the British Museum - the British Library Lending Division, a smug, cold banality. Marcia about going to Europe on a trip , to block of glass, steel, and concrete, as see the Reichenbach Falls, where blighted as Jean's cottage is blessed. And T he best bureaucrat in Wetherby, and Moriarty perished (when detectives it is the blunt instrument that sends John its only unforgivable character, is not knew no depression), and taking not his Morgan her way, for it is in the BLLD Marcia, but Roger Braithwaite (Tom wife but .a colleague in home economics. (waiting for graffito's BLOOD) that Mor- Wilkinson) , the bleary-eyed guest with We do not need to be told she is a woman, gan is turned away by Marcia. Whatever such furtive, lecherous wonderings that just as Hare does not have to draw our its name, the institution does not lend he notices Jean has come downstairs in attention to Jean cutting Roger at the end books; it lends them only to other slacks when she went up in a dress . He of the film, in the middle distance in a institutions. If a Ph.D. student comes speculates about what has happened crowded frame . Wetherby has taught us to seeking, he may look at a book, not because he itches to get up Jean's skirt, if see, and Roger's defeat is one crumb of borrow it. And he may only look if he is \"a that journey can be managed without comfort amid so much hunger for glory. registered user,\" and if he has authoriza- danger or the risk of being had back. tion. John Morgan says he will get that T he puzzle of how to examine a tangle thing and come back, and I suspect he is Roger is the voice of civilization and is very important to David Hare. He thinking of his revolver and a death scene chronic education. But it is a craven, does not reckon it can or should be easy, fit for BLLD, the bleak house of English dodgy voice in which disappointment and so he is inclined not to trust clarity or bureaucracy, a system in which, some- smothers malice. He has read some- naturalness . Ambiguity is as much in the how, even English courtesy and letters where of a statistical correlation between nature of things as overcast days and have withered and where decent servants murderers and those who handle used thoughts left unuttered. He becomes a of the system hiss and roar at unauthor- clothing; and another between killers and cunning plot-schemer, someone who ized users like the pitiless creatures at the the self-taught. \"Informal education,\" he might have been appreciated by Holmes end of Phil Kaufman's Invasion of the sneers, is a very dangerous thing, for it or Moriarty, and the kind of teacher who Body Snatchers. has escaped the system, MOl and BLDD, delights in setting us problems to solve. or what Graham Greene and Fritz Lang As if seeing were just a matter of being B razil is all about this bureaucratic knew as the Ministry of Fear. very clever. stupidity - all of it is all about that. And if Universal feebly suggested to its Still, Roger likes to think he's an The complexity of Plenty's structure is director, Terry Gilliam, that the film agreeable and discriminating fellow. He not much different in play and film. It could be cut, who can argue with them? takes care of Jean's class when she is late teases us , withholding and then reveal- Except that , once yo u start cutting, because she had all the blood to clean up ; ing, so that we admire the skill. But it is where would you stop? and he murmurs about the need to have full of slick shocks and belated wounded- her back to dinner. There's always ness. It is Hare himself who calls it Brazil is about Britain , too. Its song something decency can do, he thinks- \"intimidating,\" and the best one can say goes on and on in nearly as many versions like giving a Christmas present. That's for the aloof aggressiveness is that it is the as there are of the theme in The Long why he tells the police about how Jean sort of manipulation that its heroine, Goodbye. But the Brazil it refers to is a changed her clothes, and quietly brags to never-never Utopia, an ad campaign, which the Ministry of Information has asserted as the name of this begrimed country, just as it has installed permanent Christmas along with its elaborate scheme of ducts and torture-minded service men . So far, the real England has smeared Christmas across only one week of the year. But if shutdown and layoff goes further, Christmas will have more voids to fill with hollow cheer and poisoned holly. \"Have a Christmas present ,\" people say in Brazil, their smiles as menacing as Basil Fawlty's. It is a brilliant, perverse benediction, and the best thing in a picture that is all art direction and visual detail, but no script, no direction, and so little sense of when to stop that you realize it never quite knew why it was beginning. Even if Gilliam studiously refused to look at Michael Radford's 1984, he cannot escape comparison with it or his own failure to deliver terror in the 58

has Vanessa Redgrave , whose gaze can reconcile blind, broken parts just as Meryl Streep's furious , disdaining eyes cut Plenty into three parts: Susan , her dreams, and the stupid remainder of the world . CHARLESON: That is the nature of the service, Mrs. Brock. It is called diplo- macy. And in its practice the English lead the world. The irony is this: we had an empire to administer, there were six hundred of us in this place. Now it is to be dismantled and there are six thousand. As our power declines , the fight among us for access to that power becomes a little more urgent, a little uglier perhaps . As our influence wanes, as our empire collapses, there is little to believe in. Behaviour is all. - David Hare, Plenty I've a free hand now, but I've got nothing to do with myself. - Neil, in 28 Up journal, found with his body sBrazil Jonathan Pryce. In the bowels ofbureaucratic stupidity. H Ow can a movie show anyone putting a gun in his mouth, angled upward, Susan Traherne, would like-setting us leave him, and a disapproving, glowering and firing? Isn't there a slippage in all up for the knockout, as arrogant as it is policewoman whose love he cannot moments of such critical actuality, so that reticent. She insists on rules, then rips return (and which does not actually get we look at the artifice? In Wetherby, when them away with the wallpaper ; these rules mentioned in the script - but if you're John Morgan kills himself, I see the are the domineering gestures of her own looking, it is as evident as Jean's long efforts of the director and the crew to unstable feelings. legs). Langdon is also, in his solid , tactful achieve the moment without looking way, looking for someone with whom he inept or bloodthirsty. I see the great Her story must work better on stage can be obsessed; ·I'd guess that comes splash of blood on the wall behind him- than it does on film: it needs the air of from Hare's heart. like spray coming up from a sea below- demonstration , not the screen's illusion and I wonder where someone was of intimacy. Perhaps Kate Nelligan Wetherby earns its crooked shape and standing with a bucket to get that effect, grasped Hare's hoped-for ambivalence in its skepticism about high destinations and how many times they had to scrub the theater. As for the movie, nothing because it has past upon past to muffle or the wall down and do it again, and the dry dispells our instinct that Susan is a bad echo its present. What a mercy to Plenty English jokes on the set as they went at it person. She is so set on damage, so to lay it out end-to-end; its knots are as obediently. extortionate and untouchable , so eager to self-indulgent as its heroine. As Plenty fuck strangers and treasure her ignorance ends now, back in 1945, its irony is a glib Hare shows the shooting and the of them. And as if the screen's Great get-off, no richer than the tide. If it ended splash twice , as if he needed to contem- Actress could not bear to be hateful, in the dingy Blackpool hotel, we might plate the thing itself. But the thing is Meryl Streep has elected to play her as see the extent of Susan's chronic esca- beyond showing. Nearly every momen- mad but noble, attaching herself to that pism enough to realize she doesn't tous human event shames movie imita- Sixties fallacy that madness may be a fine deserve a film. But Wetherby is a fertile tion; movies are best at showing looking or poetic response to impossible pres- collage, so sympathetic to all vantages and thinking about things. And Hare sures and failures of character. that there is no one line waiting to be seems to learn, for the true shock comes twisted into a noose or a whip. The when the policeman says of the blood: of Whereas in Wetherby (composed some structure of events could be rearranged. course, they haven't cleaned it up, they've years after Plenty) the structure is both That is why its complexity is so tranquil. only removed the body, otherwise the more intricate and more uncertain. Just But that would only give its mystery a police would be on their knees all the because the film declines to accept the different timing. Wetherby never decides time. And Hare does not cut away to the thrust of impossible pressures, it leads us exacdy what has happened. It is limidess, red wall with a wave of music. It was read into a warren of half-registered glances and waits for many viewings. into the record earlier; and now it is and hushed ideas. Its subject is a muddle, something for the imagination to see. and its emerging sensibility is not just Collage is a form founded in doubt , The eventual greatness possible in film is that ofJean, but of Mike Langdon (Stuart requiring the spectator to participate. But in knowing that there are depths of Wilson), the policeman who has to it hopes that its own stress on selecting subject that cannot be put on the screen, investigate Morgan's death. He has his and arranging will be smoothed over by a but which are registered in the eyes of the own problems: a mistress getting ready to healing music of emotion. And Wetherby 59

liveliest work done in Britain over the last 30 years , authentic-looking but stylisti- cally adventurous, seldom melodramatic or predictable, full of local color, rubbing away at social problems, and with a depth of writing, acting, and directing such as have no entry in American television . Laundrette is a movie, of course, directed by the versatile Stephen Frears, and written by a Pakistani, Hanif Kureishi . You can call it unassuming and entertaining, but in its cheerful, offhand way it shows the British that the Indo- Paks aren't going home. They are home, with their business flair and their recipes for putting a blight on Shirley Anne Field's tummy, \"in this damned country which we hate and love... where you have to know how to squeeze the tits of the system.\" One of them is beaten up, and the laundrette-as romantic as the Taj Mahal-is trashed . But a new imagination has taken hold; it understands the money. It'll have Clive of India on a banknote. Ie's the street-kid bullies who are most lost, a deprived tribe waiting for new masters. My Beautiful Laundrette. M ichael Apted's 28 Up is a collage, too , miraculous to American eyes onlookers. earth. for coming out of a scheme of television - Jonathan Swift, Gulliver 's Travels with such slow rhythms and persistence, so much of what is most revealing so ready to listen to ordinary failures that about Britain comes to us in things We are so fond of one another, because they become interesting. Granada TV and made for televis ion. Brazil lacks the fury our ailments are the same. Apted have kept track of their dazzling that made Monty Python so compulsive . kids and revisited them every seven years Ie is not as funny because it has more - Jonathan Swift, Journal as the shine wears off. In America, the budget than outrage. Brazil is too much a to Stella, February 1, 1711 natural drama in this documentary might designer's satire, too devoid of the fierce have inspired more frequent visits, or indignation and unutterable chaos that I f you shut your eyes in My Beautiful even the constant, aggravating attention put the demon in John Cleese. Monty Laundrette (Brit talk for laundromat), that made soap out of the Loud family. Python was vultures feeding on the living the voices are the same, too. The Indo- statuary of British tradition ; the show was Paks no longer talk like Peter Sellers, or The fact of 28 Up says a great deal about brimming over with fear and loathing of the British-based actors still hired for women and bogus rationality ; it was Mont-battan. These voices have the sly, England - about the duties and targets exhilarated by its first, vengeful discovery bright edge of South London. Why not? recognized by its television , and the that so much of the acquired pomp and Their owners are taking over that dense medium's willingness to be boring. significance of Britain was nonsense . It patch, its small businesses, aging mis- was self-laceration, and it was so magnifi- tresses, the swank detached houses, and But the film says so much more that is cent and indifferent to being seen that it the pretty banknotes with Florence heartbreaking about the generation that altered the way we looked at the BBC and Nightingale, Wellington, and Shakes- was six or seven when the Beatles all the hedgerow Englishness around it. peare on them. They're hiring the became famous. Not that any of the Yet the BBC accepted the program , its unemployed white kids as workers, and twelve lives pursued has ended or hit mockery of the network's logo , and let having them as lovers. It's a way to soothe dramatic disaster. Most of the 28-year- Python snake through the prospect of all the fascist breast. olds seem content with what they are its other shows, letting us see the extent doing: the solicitor, Andrew, married, of the genteel jungle. My Beautiful Laundrette is small, with a flat in London and a Sussex barn cheap, quick, and a packet with 22 he is restoring; Tony, the failed jockey I cannot but conclude the bulk of your cigarettes. Ie was made for television who has found himself as a taxi driver; natives to be the most pernicious race of (Channel 4), and it comes out of a Suzi, so tense at 21, but married and little odious vermin that nature ever tradition of plays written for that motherly now; Nick, who is doing very suffered to crawl upon the surface of the medium, the essential workplace of John well teaching phys ics at the University of Hopkins, Alan Bleasdale, Dennis Potter, Wisconsin in Madison; Paul, who lacked and their like. This may have been the confidence and a settled family in England, but enjoys the space of Aus- tralia and a wife who spies on his \"cute little bum in shorts\"; and the three girls 60

who tease Apted for asking them solemn conceivable sleight of hand, it at least questions every seven years. shows that not everything is for the worst. Neil is the worry. He was very bright and promising, but he dropped out of We need this demonstration once in a university; he wandered until he was cut off; and now he lives in a small trailer in while, particularly supported-as it is the highlands of Scotland. It is beautiful there, but he is gaunt, hunched, and here- by the sight of faces maturing so forever bobbing when he talks. He mentions a nervous illness and the attractively. Without exception, all of nearness of hunger and loneliness. He looks like an escaped prisoner, but, with these young men and women are better- the Welfare State to guard against everything except suicide, England does looking now than when they were On May 12-August21, 1986, eight students not come looking for him. He is gentler will join director/producer Rick Schmidt to and kinder, but he might have met John children, and a few of them were beautiful collaborate on a low-budget 16 mm feature Morgan. film at THE CALIFORNIA COLLEGE OF children. -Stanley Kauffmann, ARTS AND CRAFTS in Oakland . Each Neil seems to me the most poignant student will have an opportunity to direct, character in a bunch of people who have The New Republic script, edit, shoot the camera , and own an become resigned or settled before their equal portion of the feature by contract, time, who seem pacified by the limits of SUSAN reappears with her revolver. earning 9 units college credit. their society and the decline in their She fires it just over MICK's head. It is nation. Their extensive but calm deafeningly loud. He falls to the ground. Rick Schmidt has created three award resources of valor and cheerfulness must She fires three more times. winning feature films. A MAN, A WOMAN, eventually try to mend the holes growing AND A KILLER, (co-directed by Wayne in the country from small, unreportable - David Hare, Plenty Wang), was called \"... one of the most instances of shabbiness, dishonesty, and absorbing films of the independent film spite. Or are they making up their minds Don't brood. Scott killed himself. movement,\" by Jerry Oster of the New York' whether that attempt is worthwhile, and That's what the British do best. Daily News. 1988-THE REMAKE won 1st possible? Place at the Ann Arbor Film Festival, and - Dr. Frederick Cook, the American was sold to Channel Four in England after Is that only what I see growing in explorer, to Roald Amundsen in episode presentation at the London Film Festival. England, like weeds in the pavement, 6 of The Last Place on Earth, just before EMERALD CITIES was called \". .. one of whenever I return? If I stayed longer, the best independent films we've seen all would I lose sight of the new imperfec- Amundsen learns that his one-time year,\" by Craig Lee (LA Weekly), and was tions? Are they even the projections I put friend and rival, Johannsen, has killed shown at: Film International (Rotterdam), there by leaving? Something in the nature the Florence Film Festival, the Australian of collage reminds us of that need for himself, by gunfire, in a hotel room Film Institute Tour of American Independent questioning. When Suzi is seen talking in features. her country garden, there is a savage For Gods sake look after our people. epiphany in the background as her dog -the last words in Captain Scott's For information please contact : THE pounces on a rabbit. The movie eye journal, found with his body CALIFORNIA COLLEGE OF ARTS AND cannot help but notice and assess the CRAFTS , 5212 Broadway, Oakland, background donne. Does it show Suzi as T he Last Place on Earth tells us more California 94618, (415) 653-8118. Students a sleepy queen presiding over natural about Britain now than about the cruelty? Is it a metaphor? Behind Neil, nation Scott addressed. It is a portrait of must respond with a letter of interest in the wouldn't this stray, casual slaughter have debunking, driven to exaggeration by the been unbearable so that we hoped Neil thought that, because the once-legend- project no later than April 1, 1986. would not look up and notice it? Yet 28 ary hero Scott was foolish , mistaken, shy, Up is a placid, leisurely film that prefers and not very dramatic (until he died) , 61 not to take alarm. Like any conscientious then he must also have been as villainous documentary, it knows that anything can as Captain Queeg and as subject to happen without contributing to any paranoia. Trevor Griffiths' script sees significance. In life, nothing has to fit, but only the failures in the expedition, and only coincide; and collage is a form that invents scenes of crushed common sense yields to that open-mindedness. to make us hate Scott. It never realizes that the whole band of explorers were Poor Britain! The film should be called caught in another mood: unintelligent yet 28 Down, 28 Middle Age. inspired. (Wetherby does not say Jean is a great teacher, only that she believes in the - Richard Corliss, on seeing work.) The slow polar serial needed 28 Up for the first time almost six hours-with wretched music (at least the true blue 1948 movie, Scott 28 Up could hardly be a Panglossian o/the Antarctic, had Vaughan Williams), proof that all is for the best in this best of with Alistair Cooke as its cocoa in the all possible worlds, but without any tent-to tell us what Python might have done in five minutes with Scott, Wilson , and Bowers in the last camp eating Oates. Did I dream that sketch? [Elverything they did has to be seen in this other light: they were engaged ... in an attempt to transcend themselves. - Doris Lessing, AfterwOFd, The Mak- ing o/the Representative/or Planet Eight (1982), talking about the Scott expedition

natural and commonplace, and Bacon has been intent on nothing but the attempt to see. He does not understand what it is to shock. And that poor devil beside me was in an agony. Absolute, hopeless, dumb agony such as passes the mind of man to imagine. -The Good Soldier SUSAN: But then ... even for myself I do like to make a point of sleeping with men I don't know. I do find once you get to know them you usually don't want to sleep with them anymore.... -Plenty MicfuJel Apted takes five with two from 28UP. T he first time I saw Wetherby, I was struck by its intimations of disinte- Because American public television of them so naked and crouched they do gration and of feeling withering in the reruns the classics of Masterpiece not seem to appreciate how close they are English. It seemed that Jean's loss of her Theatre in an area where I can see three to open razors or hideous ends, are also young man to Malaya and Oriental PBS stations, I happened to watch the steady creatures in the zoo the Tate has treachery was allied to her crucial production of The Good Soldier three composed. They sit there with honor, repelling of John Morgan when she was times in a week of October 1985, as if it more than the agony or humiliation you the only person at the dinner who were a very good movie. And so it is, felt in single pictures. They are a understood the uninvited guest. I saw the written by Julian Mitchell, and very close collection as vital and overwhelmed as character of Karen as emblematic of a to Ford, directed by Kevin Billington, the crowd at the exhibition. ' As you younger generation in Britain that has lost with Jeremy Brett patiently desperate as wander round the rooms, you discover faith, purpose, or dynamic anger. It Edward Ashburnham. It is better than 90 that you can study the squashed, seemed to be a movie in which the percent of the movies made anywhere- smudged faces, because they exist in a \"central, disfiguring blankness\" it refers to as subtle and ambiguous as the book, wounded, brooding compassion as con- was spreading, in the way John Morgan's formal but sensual, leaving you uncertain sistent as the night or the abrasive electric death wound covers the wall. I thought it as to whether it is murmuring or light that is their illumination. You begin a pessimistic work in which the present screamIng. to realize how much you resemble these dismay of Britain was diagnosed as a people; you draw closer to a row of small, consequence of emotion's repression in Which reminds me of something else malformed heads as if the subject were the national spirit. The film was extraor- seen in Britain in 1985: the retrospective your lover and you were short-sighted. dinary, beyond anything else at Cannes in exhibition of the paintings of Francis The faces are broken, but not rotting. 1985. But I was only halfway there yet. Bacon at the Tate Gallery. You can hardly Indeed, they have all the unassuming We have gotten out of the habit of dealing approach such an encounter without confidence of monsters who do not know with films that need to be seen more than trepidation. Seen one at a time, when the class systems in which they fail. once. they are alone, Bacon's pictures seem so alarming, so twisted in distress or pain, As if in an asylum or a prison, you John Morgan strikes me now as Hare's you doubt your ability to confront all of discover that it is not just nightmare or developing response to Susan Traherne. them in one place. It would be like being horror unlimited, but another way of life, They are both people intensely uneasy dropped down in the long-term ward of another version of the institution. Your that the world is getting feeling wrong. an asylum, so consistently demented that nerves settle, and you see that boredom They are caught between the socially one fears for one's fragile well-being. is in the air as well as dread. Naturally, approved denial of emotion, whether in great violence has been done to and by terms of individual shyness or \"good As it happens, something else impress- these fleshy hulks; but the doing was form; and the yearning to let it out at all es. Bacon's half-flayed animals, so many costs that leads to \"scenes,\" and which makes them both outcast tyrants. Susan, especially, regards this as an English malady; and it is likely that anyone halfway alert in the modern England- slipping, reaching out in panic for old assurances and having them come away from the face of the nation like false noses or old scars - will regard it as an English issue. I doubt that it really is, in the sense that it is England's alone. But it is true to English possessiveness that we believe we have invented the dilemma. And so any Englishman is proud to be teased about his inhibition. Just you wait, he says 62

to himself, I'll show you what a load of coming back, like daylight. Jean does try feeling I have. Susan Traherne feels a with the thankless Karen ; and Karen wretched superiority to everyone around smiles for the television comic. Jean stays her out of this snobbery. It is what hides friends with Marcia. And her none-too- her lies from her, as well as her fatuous hopeful students keep a quiet , rather One of the best jndependent films we've seen contempt for others. To the extent that grudging adoration for her because they all year. L.A. Weekly Hare loves Susan, this blindness helps know she respects them. No one thinks A FILM BY RICK SCHMIDT account for Plenty's boisterous scorn for this love is an answer. Jean is far less the French, the Germans, the Iranians, . discerning a person than Susan. She is EMERALD the Burmese, the Australians, and any not brilliant, clever, or in control. And other unlucky, un-English race. what makes Redgrave so exemplary as an The English are no more cold or actress is that she does not need to play CITIESco~~: constrained than other peoples can be. masterful people who are in charge of But they do hover self-consciously be- their films. She is as slow as a big woman tween elegant restraint and overdoing it; becomes in middle age. And in Jean's For lovers of weird movies, independent direc- tor Rick Schmidt is the king . and they do believe this plight makes voice there is already the whine of fear Robert W. Butler them privileged. Plenty is content to be and dullness, rendered without pathos or KANSAS CITY STAR an invalid masquerading as Joan of the wish for comfort. She is a teacher who Poitiers and Pimlico. But Wetherby is a is out-argued by one pupil very early in step away from gilded self-pity, an the film. But she goes on being a teacher, attempt to see through the clever subter- just as the policeman will persist with his fuges of feeling victimized. difficult job and his unrewarded wish to John Morgan needs to impose his understand . isolation on everyone. He wants to look Like someone in 28 Up who had a flash at a Bacon figure and see alienation, in a of bliss and then began to get on with 50 rueful but exultant mood , without realiz- more uneventful years, Jean recalls her ing that once you imagine alienation, or great passion of youth and gets on with use the word, neither yo u nor the figure in life without grinding the ax of self-drama the picture is quite as damned or remote that makes Susan Traherne so sharp, as you hoped. And when John Morgan exhausting, and arrested. And Jean insists that Jean shares his pit , that her believes in education as quietly as the cheerfulness is a mask, a front, a lie, she slog of teaching requires. She is no Jean EMERALD CITIES features Ed Nylund as an tells him no, not so, and pulls back from Brodie, kept young by transfiguring lives. alcoholic, part-time Santa who runs a cafe in the embrace that waits to drag her down. She will deal with John Morgan's ghastly Death Valley with his actress daughter (Caro- The battered voice that Vanessa Red- action; she cleans up the blood. As the lyn Zaremba). When the daughter runs off to grave has found for the part (and which film ends, we see her in the pub again San Francisco with a punk (Ted Falconi of she shares with Joely Richardson, her with Stanley (England's ubiquitous Ian FLIPPER), Ed follows. He encounters a politi- daughter, who plays Jean as a teenager) is Holm), a small man with a big woman. cian who wants the country to be one big never more touching than in her plaintive Wetherby is serene enough to leave the National Park with himself as head park ranger (Lowell Darling), an ex-con in a Martian mask repudiation of complicity in what John question of their relationship to one side. (Dick Richardson), punk rock bands FLiPPEI1 Morgan intends as a pact of amour lou It does not matter as much as the gentle and THE MUTANTS, politicians and priests leading to mutual suicide. curiosity with which they begin to look at justifying limited nuclear war as manifested on I am blaming John Morgan much more other people-strangers, but compan- TV, including street interviews (by Wille Boy than Hare does; but I am late in ions-as the camera withdraws. Walker) about the death of Santa Claus. recognizing what he is. Hare has lived Although the more bizarre components make much longer with his dark appeal, and I just wanted to write something very this film excellent late night fare, with its allusions to mass media and the health of the lived it out to a point at which he can much from my subconscious; a lot of nation , it's much more than just a freak show. appreciate the more modest virtues of work I'd been doing had been willed. The Or is it? Jo Comino Jean Travers . And while there is some- first draft of the film was almost com- CITY LIMITS (LONDON) thing obscure and dangerous in both John pletely incomprehensible. It free-associ- EMERALD CITIES is now available for rental and/or sale at the following video stores : and Karen, something that could as easily ated between dream, reality, past, pre- lead to unblinking terrorism as theatrical sent, future. Spun everywhere. Simon suicide and a life of causing scenes, still Relph, our producer, said there was no •••• PALMER'S VIDEO (Berkeley) •••• •••• FRONT ROW VIDEO (Berkeley) •••• Hare does not rebuke them. He lets the chance of anyone understanding this at ••••••• CAPTAIN VIDEO (S.F.) ••••••• • • • • • •• VIDEOPHILE (Seattle) ••••••• film see them through Jean's weary, sad, all! So I wrote a second draft which was •••••••• VIDEOACTIVE (L.A.) •••••••• sensible eyes. John Morgan wants to be a much more a psychological thriller- a character out of Dostoevsky, but Jean police investigation , rather conventional sees that he is not grown up. and lame. Then I wrote a third draft that Or purchase your VHS/BETA (please specify) cassette for $49.95, plus $2.00 per copy for And as you look at Wetherby a few more tried to combine the freewheelingness of shippingl handling . times , you see how much it is a film about the first with the narrative structure of the love's hope that the beloved will grow up. second. Please send j{ :;:r o'. .,' 1; ;1: : money order The love is not always happy, not even - David Hare, on Wetherby, payable to stated or identified. It does not save interviewed by Steve Lawson, people or redeem them. But it keeps FILM COMMENT, October 1985 ~ I '. , ~. '. .! 63

its parent distributor. The other·troubled mini-major, Embassy, found its library and production distribution apparatus in the hands of Dino DeLaurentis, who has erected a mini-Hollywood in North Carolina. Tenth Annual Grosses Gloss T he year did mark a tentative return for the adult movie. Universal's by Anne Thompson production, no problem. But Murphy Marvin Antonowsky thinks that, with the figures that 20 or so extra films go into baby boomers now in the 25-40 year A nd la , a recession shall fall over the production from the mainstream studios range , studios can find a mass audience alone-especially those (like Paramount, for mOff mature fare. \"Of the pictures ~film industry, and ticket sales will Disney, Fox, and MGM-UA) with new doing business at Christmas,\" diminish throughout the land. Thus bosses eager to prove their worth and Antonowsky says, \"three hit movies- spake A. D. Murphy of Variety. And so it feed the pipeline. The boom attracts Out of Africa, The Color Purple and came to pass that 1985 was a dismal year newcomers, too , who increase the overall White Nights-appealed to people 18-20 at the box office. The studios' rag-tag product output beyond the viable limit. plus.\" (Only one adult-oriented movie recruits walked into the line of fire and \"Add Tri-Star, which was conceived in failed: A Chorus Line .) \"Movies not were shor down, one by one. The November 1982 when E. T. was roaring,\" geared to the 12-17 market are doing marketplace was dominated until late says Murphy, \"and the new Orion, which more than respectable business ,\" spri ng by Paramount's Beverly Hills Cop was cranking up in '82 and '83.\" Here and Antonowsky says. The strong-story pic- and Witness, and during the summer by there , a'1other 30 pictures . \"A lot of the ture also made a welcome comeback Universal's Back to the Future and Tri- summer movies wouldn't have been (Out of Africa, Jagged Edge , Prizzi's Star's Rambo. By September, ticket sales made if the companies weren't flush,\" Honor , Mask), holding its own against had reached their lowest epb in 17 years; Murphy continues. \"And the newcomers the favor~d high-concept movies of only a handful of hardy specimens had inherit everyone else's turnarollnd deals.\" recent years (Ba4 to the Future, Beverly survived. Two pictures alone accounted The resulting flood of prodllct dilutes the Hills Cop , Rambo). for twenty percent of the fall box office: marketplace, and many of the new films Columbia's glossy courtroom thriller don't rate. Then the studios start cutting Several independent movies behaved Jagged Edge and 20th Century-Fox's back. They don't approve the marginal as robustly as big-studio releases. Island action ballet Commando . Of the 91 pictures, start paying more attention to Alive's Kiss of the Spider Woman racked pictures released between Labor Day screenplays, and produce better films. up impressive reviews and numbers , and and Christmas, only six grossed over $15 \"Eighteen to 24 months later, the good received four Academy Award nomina- million. pictures come out and you start the next tions , including best picture. The Gods cycle.\" Must Be Crazy, from the Fox art-film But just as everyone was beginning to subsidiary TLC, surpassed La Cage aux think that the media doomsayers were The current recession began last Folles as the all-time foreign rental right-that the VCR was keeping movie- Christmas, Murphy suggests, with MGM- champ, while Atlantic Releasing's Teen goers locked in their home entertainment uA's disappointing 2010. He predicts the matrix, far from the local multiplex- recession will be over by next June, and Wolf took full advantage of Michael J. Santa came to town, bearing Christmas business should be up again by fall or hits. Rocky IV led the pack, followed by Christmas. (Meanwhile, 1986 has to Fox's post Back to the Future popularity. Out of Africa , The Color Purple, Spies accommodate more than a dozen dubi- But preeminently, 1985 was the year of Like Us, The Jewel of the Nile, White ous pictures originally set for 1985 Nights , and 101 Dalmatians. The studios release ; Universal's The Money Pit, the tough action hero: Stallore, Schwar- (except for beleaguered Paramount, Paramount's Lady Jane , MGM-UA's 9112 zenegger, Norris, and Bronson slugged which released the dismal failures Clue J#>eks, and Warner Bros : Clan of the their way to bulging grosses. Per usual, and Young Sherlock Holmes) heaved Cave Bear.) Newer, smqller companies sequels led the list of hits (five out of the sighs of relief. It must have been \"bad are often too vulnerable to sit out the top ten). Pre-marketed sequels will movies\" after all. But industry-analyst slumps. The ABC and CBS theatrical probably be an ever-present annoyance, Murphy has another theory: \"The prod- divisions, started up during the boom due to the nuts-and-bolts hardships of uct that hit the screens in 1985 was phase of 1979, have both been shuttered. marketing something unknown. Follow- authorized by executives in 1983 when Orion Pictures, with a dreadful '85, has ups rarely match the creative standards times were great.\" You can count on a been under siege from unhappy finan- set by their predecessors, but often recession, says Murphy, every three to ciers; the company is holding on (with (National Lampoon's European Vaca- four years. There was one from late 1979 the help of Viacom, which purchased 20 tion , Police Academy 2, Rambo, Rocky to June 1981 and, before that , from late percent of Orion's stock) in the hope that IV) exceed their financial standards. In 1975 (after Jaws) to early 1977 (before 1986 would bring some hits (Woody the case of Rambo and Rocky IV, the Star Wars) . \"Every two to three years Allen's Hannah and her Sisters and the triple whammy of sequel, action star, and there's a boom.\" And industry people are thriller FIX delivered in the nick of time). xenophobic high-concept milde a win- like anyone else who comes into money: Columbia Pictures has bought a control- they splurge. ling interest in Tri-Star, which may be ning combination. reduced in status to Bi-Star, a mere The other two current genre favorites If, during a boom period, each studio production company f~eding pictures to puts one or two extra pictures into at the box office are movies produced and/or directed by Steven Spielberg (Back to the Future and The Goonies in the top ten, and The Color Purple heading for $30 million in rentals) and projects starring Saturday Night Live 64 •

alumni. Bill Murray (flip), Eddie Murphy place for over seven years; its production The Complete Films Of (hip), and Chevy Chase (wise-ass) are staff is credited with a string of youth- now among the most potent stars in oriented hits of the sort that no one could MAYA Dt:Rt:N Hollywood, and Dan Aykroyd is an have predicted in advance (Purple Rain, on home video effective co-star foil. Murphy's Beverly National Lampoon's Vacation and the Hills Cop entered Variety's all-time top 1985 sleeper Pee-Wee's Big Adventure); J:;I/LM PIONEER {I( theorist, dancer {I( ten rentals chart at number nine, just rather than relying on big-budget loco- ahead of Grease. Chase clocked three '85 motives, it chugs along with moderately .I .choreographer. l'Iaya Deren gave birth to hits: a genuine star vehicle (Fletch), a budgeted pictures that don't necessarily sequel (the execrable National Lam- earn blockbuster grosses but when added the American avant-garde cinema . poon's European l1lcation) , and a Two up, yield an impressive winner's total. A Stooges espionage fatce (Spies Like Us). marketing department's finesse can I FOL. I: EXPERIMENTAL FlLMS- always be seen when films drubbed by V l'Iaya Deren introduces this authorized The big stars earned their salaries this the critics do well anyway (National year. Sylvester Stallone in his two Lampoon's European l1lcation, Pee- edition of her six \"chamber films\" produced sequels. Harrison Ford confirmed his star Wee's Big Adventure, Spies Like Us), or status with Witness. Richard Pryor when a movie opens well but doesn't have from 194.3-1959. 76 min. , b/ w. earned strong opening weekend numbers a broad audience (Krush Groove). If The .1 for the ultimate disappointment, Brew- New York Times refuses to publish I FOL. II: ster's Millions. Clint Eastwood drew features on Pee-Wee Herman (Paul DIVINE 1I0RSEMEN- large audiences for the austere western Rubens), Warners courts the fringe press , V The Living Gods of Haiti: Ajourney into the Pale Rider. Robert Redford was very David Letterman, and the Harvard much responsible for Out of Africa's Hasty Pudding Club. The studio opened mystical worl'd of Voudoun, posthumously success. And the winning combination of Pee-Wee in four hip, MTV-orientedcities, Jack Nicholson and Kathleen Turner then spread the good word on its box- edited by Teiji {I( Cherellto. 52 min. , b/ w . substantially boosted the Prizzi 's Honor office success. A national sneak preview box office. followed. By the time Pee-Wee opened Each volume is $75·including program notes. All wide, it had the smell of a winner. orders prepaid (NYS residents add 8' /.% sales tax). In 1985 star combos fared better than Please add $2 per tape for shipping and handling. solo stars. Sissy Spacek, Jessica Lange, Orion was less fortunate with its new and specify VHS or Beta format Exclusively from: and (in Maxie) Glenn Close wimped out star-hopeful, Fred Ward, who was posi- financially, leaving only the star-combo of tioned to be the next James Bond with mystic ~IR€ \\,I~€O Jane Fonda and Anne Bancroft (Agnes of Remo Williams: The Adventure Begins. God) in the semi-successful category. With a different title, proper positioning, 24 HORATIO 8T. #3F, NY NY 10014 Among adults, women lead the way to and a better ad campaign, Remo Williams (212) 645-2733 the movie theater ; among teenagers, it's might have stood a chance. But with its the boys who have to be there first. So a miserable $3 million opening weekend at WRITE FOR OUR CATALOG OF AVANT GAROE CINEMA. LIVING star iike Redford or Eastwood makes a 1170 theaters, the audience base was THEATRE. ART, BIOGRAPHY ANO SPIRITUAL VIDEOS considerable impact on . the over-20 simply too small for the film to survive. audience. \"Very few women can pull in The ads were \"pathetic; according to one For those who prefer the adults,\" says Antonowsky. \"Barbra analyst, and made the movie look like a Streisand and Goldie Hawn can, but B-picture. Orion didn't spend enough \"I Remember Mama\" most actresses can't without a leading money in advertising support before and man .\" Maybe women stars with the clout after the opening to make the movie look 1948 B&W Directed by George S1evens to generate their own projects should \"big.\" And the publicity effort wasn't wise up and cast themselves opposite substantial enough to position Fred Ward to powerful leading men: compare Streep in as a new hero. If the movie had simply Plenty with Streep in Out ofAfrica. opened to big enough numbers, the \"I Dismember Mama\" word-of-mouth would have made Remo A mong the studios, Warner Bros. had Williams a hit. 1974 Color Directed by Paul Leder ~the best year, leading the majors in Disgorging the product of the pre- there is cash flow with an 18-percent share of the Michael Eisner administration, Disney 1985 box office, followed by Universal, had a Mickey Mouse year. Baby, The the with 16 percent, and Fox with eleven Black Cauldron, My Science Project, and percent. Paramount lost more than half of The Return to Oz were all open-and-close Evergreen Video Society its '84 share, plummeting to a three-way cases. Out of seven films, only the 213 West 35th Street tie with Columbia and Tri-Star at ten rerelease of 101 Dalmations did torrid New York, NY 10001 percent. business. Return to Oz was certainly marketable; this sequel to a well-known or(1-212) 714-9860 Warner Bros. has held one of the top classic had instant product identity, plus outside New York State use three positions for eight out of the last ten gadgets and merchandise galore. But years, and has been number one three Disney seemed reluctant to capitalize on 1-800-225-7783 times in the last five years. Warner Bros: management has been quite stable; the name value of the Judy Garland Oz, as Write for free membership information and get Robert Daly has had the longest tenure of a COP)! of our newsletter as well as a any chief executive in the business. though afraid to disturb its old fans with $5.00 credit on your first order. Warner Bros. boasts a solid marketing the new movie. Nor did the studio and distribution team that has been in successfully rekindle interest in the 14 Name Street Address City/State/Zip Code

Frank L. Baum books. It probably didn't mas pictures . To sell Clue, Paramount the western. Alas, he didn't bring it back help that the film itself was all technical relied on audience familiarity with the alive. Instead of focusing on one leading wizardry and no emotional wonder. Oz Parker Brothers game and its characters, man, he soft-focused on four non-stars was one of 1985's most expensIve but it didn't do enough to promote the (Kevin Kline, Scott Glenn, Danny disasters ($28 million) . game in connection with the picture. As Glover, and Kevin Costner). Then he for Young Sherlock Holmes , it was two , paced the film languorously and held to a P aramount was another studio in two, two films in one! The mystery- tone of genial facetiousness. Finally. executive transition , and in agony. Of adventure about teenage Holmes and Columbia miscalculated by releasing this its 13 releases, only the 1984 Christmas Watson provided the frame for a hollow \"yuppie western,\" with its potential appeal pic Beverly Hills Cop and Witness did midsection: Holmes and Watson as the to the Big Chill crowd and even older substantial 1985 business. Though the youthful heros of an Indiana Jones rip- moviegoers , in the yo uth-dominated new management often lacked precision off. Paramount was counting on the summer season. Finally, the ads failed to in its marketing effort, it did cleverly Spielberg adventure selling the less suggest the film's wide-screen scope, and position Witness to appeal to two basic commercial British-sounding premise, rather than promising fun-filled action, constituencies: fans of Harrison Ford each potential audience was repelled by looked like \"a Bonanza rerun,\" according (whose star status outside the Spielberg/ the other. Action-hungry kids avoided the to Kilday. Lucas zone has now been confirmed) and British mystery, while mystery-lovers the yo ung males who comprise the stayed away from Indiana Holmes. And , Columbia's fall picture was Jagged opening-weekend crowd. Following up like Disney with Return to Oz, Para- Edge , the sleeper hit of the season. The with good reviews and excellent word-of- mount did not sufficiently promote and advertising was excellent; Columbia fol- mouth , Witness was a solid hit. It mined tie-in the great detective's comeback. lowed Witness' lead and sold the action- the popular culture-clash, fish-out-of- Released in the Christmas rush, this frail thriller elements, which attracted a water genre: Blue-collar cop or derelict charmer didn't have a hope. younger male audience, while the glossy on Rodeo Drive (Beverly Hills Cop, courtroom romance grabbed women and Down and Out in Beverly Hills); mer- Some movies , like Paramount's expen- older viewers. The picture reminded maid in Manhattan (Splash); city kid in sive biblical epic King David, are dead moviegoers how gratifyingly effective the farm belt (Footloose); suburban before the marketing savants can work courtroom films can be if the moviemak- housewife or computer programmer in their magic. \"People might want a biblical ers play their cards right. But Columbia Soho (Desperately Seeking Susan , After epic,\" says the L.A. Herald-Examiner's overestimated the competitiveness of the Hours); alien in America (Starman); Gregg Kilday, \"but not with an urban- October line-up and tossed Jagged Edge , teenager or cyborg in a time warp (Back neurotic star like Richard Gere.\" A guest a picture without big stars or high to the Future , The Terminator). Witness' star or two might have made a difference. concept, into a whopping 1125 theaters. story of a tough city cop adapting to the The film's handsome rentals are still quiet ways of an Amish community I n 1985 another dormant genre, the smaller than they would have been if offered visceral action as well as charac- western, made a brief return, then rode Columbia had realized earlier that it had a ter-building romance, and Peter Weir's thataway. Pale Rider can't really be used true crowd-pleaser, and sneak-previewed deft direction gave the film an appeal that as a test case because Clint Eastwood was the picture to build word-of-mouth, or was both wide and deep. responsible for attracting moviegoers. released it in fewer situations and built up With Silverado, though , Columbia gave good word for a subsequent wide play- The studio goofed with its two Christ- Lawrence Kasdan free rein to bring back off- a technique that works best for adult 1985 Winners & Sinners (domestic rentals in millions ofdollars; source Variety) BLOCKBUSTERS: Back to the Future, 96; Rambo: First Blood FLops: The Last Dragon, 11.5; The Emerald rorest, 10; Weird ltzrt II, 80; Rocky Iv, 65; Beverly Hills Cop, 50 (1985 rentals Sdence, 9.5; The Black Cauldron, 9; J6lunteers, 8.9; UuJyhawke, only); Cocoon, 40. 7.9; The Falcon and the Snowman, 7.7; Year ofthe Dragon. 7.6; &by: Secret ojthe Lost Legend, 6.8; Perfect, 5.9; Real Genius. HITs: The Goonies, 29.9; Wttness, 28; Police Academy 2, 27.2; National Lampoon s European Vacation, 25.6; A View to a 5.8; Remo Wtlliams; The Adventure Begins. 5.6; Explorers. 5.5; Kill, 25.2; Fletch, 23.9; Pale Rider, 20.8; Mask, 19.8; Pee-~es Sesame Street Presents: rollow That Bird, 7.7; Silver Bullet. 5.4; Big Adventure, 18.1; E; T.: The frtru- Terrestrial (1985 reissue), VISion Quest. 5.2; Krush Groove, 5.1; The Purple Rose ojCairo. 17.9; Mad Max Beyond 1hunderdome, 17.9; Jagged Edge, 17.5; The Breakfast Club, 17.3; C011'U'YUJJ'ldo, 16.6; St; Elmo s Fire, 5.1;lifeforce. 5; Return to Oz. 4.5; Lost in America. 4.3; TheMan 16.3; Fright Night, 10.4; Porkys Revenge, 10.2; Friday the 13th with One Red Shoe. 4.3; Gotcha. 4.3; Sweet Dreams. 4.2; Mis- Part V, 10. chief, 4; Better OffDead. 3.8; 1iJrget, 3.8; Secret Admirer, 3.5; BoRDERLINE G\\sES: Prizzi s Honor, 13; Agnes ojGod, 11.8; Cats Eye. 3.5; D.A. R. Y.L., 3.5; That Hils Then. .. This Is Now, Desperately Seeking Susan, 10.9; Summer Rental, 10; Return oj 3.5; Stick. 3.4; Into the Night. 3.3; Ghostbusters (1985 reissue), the living Dead, 6. 3.2; Plenty. 3; Red Sonya, 2.9; Rustler's Rhapsody, 2.9; Heaven ART HOUSE HITs: The Gods Must Be Cnzzy, 11.4 (1985 Help Us!, 2.7; King David. 2.5; Creator, 2.3; The Mean Season, 2. rentals only); After Hours, 4.4; Kiss ofthe Spider Ubman, 4.2. DISASTERS: Turk 182!, 1.9; The Bride. 1.9; The Heavenly Kid, INDEPENDENfHITs: Teen Ublf, 12.9; The Care Bears, 9.2; 1.8; Gremlins (1985 reissue), 1.5; Thats Dancing!, 1.5; Code ofSilence, 8.3; Tomboy, 7; Invasion USA, 6.9; Death WISh TheLegendojBillieJean, 1.3; Gymkata. 1.3; Rlstrorward, 1.3; 3,6.4; King Solomon s Mines, 6; 9 Deaths ojthe Ninja, 5.5. The Slugger's Wife. 1.2; My Science Project. 1.1; Marie. 1.1; DISAPPOINTMENfS: Brewsters Millions, 19.4; Silverodo, &dMedidne.1. 16.5. BELOW THE 11 MnLION MARK: Haming Sign; Marie; The Doctorand the Devils; American Flyers; Macaroni; Fever Pitch. 66

audiences. The studio went for quick Officer and a Gentleman's \"Up Where The Complete Films of money instead of quality money. You Belong\" went on to win an Academy ,,:KENNETH ANGER Columbia also goofed at Christmas Award, Hackford has given music high ,· ...comes from that beautiful night from which emerge all the true works. It touches the quick of when it booked A Chorus Line into too priority (in Against All Odds , White the soul and this is very rare .\" - Jean Cocteau many theaters. This strictly-adult movie Nights). VOLUME 1: Fireworks, Rabbit's Moon, Eaux d'Artifice (34 min.. b/w) required a slower build-up and a spicier Although The Breakfast Club was VOLUME 2: The Inauguration of the Pleasure Dome (38 min .. color) ad campaign - one that didn't look like a helped by the smash Simple Minds single VOLUME 3: Kustom Kar Kommandos, Puce Moment, Scorpio Rising (37 min., color) Vegas-revue version of the play and would \"Don't You (Forget About Me),\" it was VOLUME 4: Invocation of My Demon Brother, Lucifer Rising (39 min., color) promise fans something fresh. Didn't Marvin Antonowsky's \"Little Chill\" ad Each volume is $50, and the boxed set of four is available for matter, really. Whatever Columbia might concept and positioning of the brat-pack $200. The first 200 sets will be signed and numbered by the filmmaker and include a24 pp. monograph on Anger'sfilms. All have promised, A Chorus Line didn't extravaganza as a serious drama about orders are prepaid (NYS residents add 8'14%sales taxi. Please add $2 per tape for shipping and handling, and specify VHS or deliver. teenagers that put the movie over. With sFox did better with Prizzi's Honor, an St. Elmo Fire, Columbia mimicked Beta format. Exclusively from: impeccably crafted black comedy for Universal's ensemble ad campaign and mystic ~IRE \\'ICEO depraved adults only. The studio cleverly continued a rash of \"brat-pack\" publicity. 24 HORATIO ST. #3F, NY NY 10014 packaged the picture to display St. Elmo 's Fire was also helped by two hit (212) 645-2733 Nicholson and Turner cavorting in a singles which prolonged its life in the madcap gangster comedy. It worked: the summer marketplace. John Parr's \"St. WRITE fOR OUR CATALOG Of AVANT GARDE CINEMA, LIVING movie opened well, got great reviews, Elmo's Fire (Man in Motion)\" didn't THEATR£. ART, BIOGRAPHY AND SPIRITUAL VIDEOS and, after a substantial dip in grosses, ascend to the top of the Billboard chartS found its real, sophisticated audience until six weeks into the picture's run, but THE DEFINITIVE through word-of-mouth. Counterpro- it served to boost the movie's grosses just POSTER CATALOG gramming the picture in the summer as it was running out of steam. made no noticeable difference. Just The country's paramount col- because kids are out of school and on the I f Murphy's right, 1986 should bring lection of original movie pos- ters - rare, classic, contem- box-office prowl doesn't mean mature better movies. But we'll be sure to see porary - such as \" Maltese Fal- con,\" \"Snow White,\" \"Jezebel.\" adults don't go to pictures then too. more of the same: sequels, brat-packers, Comprehensive catalogue with over 350 prime lithos. Your Before E. T., the conventional wisdom Spielberg/Lucas offerings, Saturday chance now to acquire previously inaccessible graphics. $6.00 was that you can't star a child in a movie. Night Live grads, and music movies (credited toward first purchase). After E. T., the studios erred in the galore. We can also hope to see a CINEMONDE opposite direction , and a host of all-too- continuing renaissance of the adult similar youth-starring movies opened and narrative drama, as evidenced by Jagged died last summer: Explorers, D.A.R. Y.L , Edge, Prizzi's Honor, Out of Africa, Real Genius, Weird Science, My Science Witness, and The Color Purple. They not Project. The Goonies was the only hit of only were deemed worthy by critics and the group, mainly due to Spielberg's Academy members, but were widely marquee value, but it wasn't the crossover successful. The challenge to movie blockbuster Warner Bros. had hoped for: executives is to keep making these films Back to the Future was. Star Michael J. with campaigns urgent enough to lure Fox, though, didn't register as a nerdy adults off their butts and away from their pre-adolescent. He was an all-American, VCRs. ~ hip, cocky high school kid, with a hit TV -TE-N-B-EST--MARKEf----E-O-----. show to boot. Besides, he was 24. Back to the Future The Goonies and Back to the Future The Breakfast Club were boosted along by hit singles by Cocoon Cyndi Lauper and Huey Lewis. Music The Color Purple helped a lot of 1985 movies (The Jewel of Mask the Nile, Desperately Seeking Susan, Out ofAfrica White Nights, Rocky IV, A View to a Kill, Pee-Wees Big Adventure Beverly Hills Cop), as the studios Prizzi s Honor mastered the huge marketing apparatus White Nights of hit singles, music videos and Witness soundtrack albums. Columbia (White Nights, with the canny copyline \"Two hit TENWORSTMARKEfEO songs, one hit movie\") and Paramount A Chorus Line (Beverly Hills Cop, 1985's bestselling movie and soundtrack album) are the Baby: Secret ofthe Lost Legend best at manipulating music and movies, Clue but everyone is getting into the game Gotcha these days, clogging the airwaves with Enemy Mine movie title singles and tie-in videos. Jagged Edge Director Taylor Hackford is the most Remo Williams: The Adventure Begins adept at weaving marketable music into RetumtoOz the fabric of his movies: ever since An Silverado }bung Sherlock Holmes

to volume 21, 1985 Coza~nsky , Edgardo See : New York Film Feltlnl (JEAN COCTEAU : SELF - by Linda Batty Berlin Film Festival Kennedy , Harla n. Journals: our man in Berlin. 21 :3 May- PORTRAIT OF A MAN UNKNOWN) This index is based on indexing rules Crichton, Michael June '85, 2, 4-5. See: RUNAWAY and subject headings for film periodicals Bernhard, Sandra Cuba Thomson, Davi d. 21 :2 t;1arch-April '85, 36 . ill. Aufderheide, Pat. On Castro 's convertible. 21 :3 May-June '85, developed by the Federation of Inter- Best Films national Film Archives (FIAF) . It is di- Ha rvey, Stephen. The 1984 movie revue : 1984 and all that. 21 :1 49-52 . ill. Cuban cinema from within the Revolution, Ref HABANERA (Pastor Vega), HASTA UN CIER TO PUNTO vided into four parts: a subject index, an Jan-Feb '85, 64-65. ill. Harvey 's annual bouquet of \" rasp- (Tomas Gut ierrez Alea ) PATAKIN' (Manuel Octavia Gomez), author index, a film title index and a berries ,\" AMADA (Humberto Salas) , SE PERM UTA (Juan Carlos The Ten Best of 1984. 21 :1 Jan-Feb '85, 63. Richard Corliss, Tabio). book review index. The names of in- Harlan Jacobson, Marcia Pally, Dav id Chute, Elliott Stein, Fernandez , Enrique. Miam i's autores , 21 :3 Ma y- June '85 , Stephen HaNey, Richard T. Jameson, David Thomson and 46-48. ill. Potpourri of Cuban and hispanic works at the terviewers are included in the author Stephen Schiff list their to Best . Miami Film Festival. index. Ten worst best bet s. 21 :2 March-April '85 , 28-30, ill. Fanzine Infante, G. Cabrera . Cuba's shadow. 21 :3 May-June '85 , editors Bill Land is, Jimmy McDonough , Rick Sullivan and 43-45.. ill. Cuban film Industry. Ref. ICAIC (Cuban Instituto © copyright 1986 by Linda Batty. All rights reserved Michael Weldon piCk their fa vo rite \" worst \" (exploitation) del Cine), PM (Jimenez Leal and Saba Cabrera) , and Cuban movies. films made in ex ile. Leiters from Dan Georgakas and Subjects See also: Academy o' Motion Picture Arts and Sciences. Manuel Arce regarding this article appear in 21 .5 Sept- Awards; Box-Office; Festlvafs; Guilty Pleasures Oct '85, 79. Academy o. Motion Picture Arts and Sciences . Awards Blacks and the Cinema Curtis, Jamie Lee Four sure losers and a maybe. 21:2 March-April '85,2. ill. David See: A'ro-Amerlcans and the Cinema Kehr, Dave. 21 :2 March-April '85, 37 -38. ill. Blackwood, Christian Dayan, Nlsslm Ansen, Stuart Byron, Harlan Jacobson , Gregg Kilday , Dale See: New York Film Festival (PRIVATE CONVERSATIONS) See: ON A NARROW BRIDGE (GESHER TSAR ME'OD) Pollock , Peter Rainer, Richa rd Schickel. Stephen Schifl. ~ogdanovlch , Peter DeMott, Joel Anne Thompson and Kenneth Turan predict Oscar winners Farber, Stephen. Five horsemen afler the apocalypse. 21:4 White, Armond. Kidpix. 21 :4 July-Aug '85, 9-15 . ill. Current from the nominees. July-Aug '85, 32-25. ill. Studio system directors opting to run of teenage films. Includes SEVENTEEN . Thompson, Anne (reporter) and Richard Cortiss (w r~er ) . The pursue independent work. Incl udes Bogdanovic h. de Oliveira, Manoel 1984 movie revue: a place in their hea ns? 21 :1 Jan-Feb '85, Books See: New York Film Festival (SATI N SLIPPER, THE) 66-68. ill. Probable nom inees according to Aljean Harmetz, See : Book Review section of this Index; Hollywood In Directors and Directing Gregg Kild ay and Dale Pollock. Fiction Farber, Stephen. Five horsemen after the apocalypse. 21:4 Actors and Actresses July-Aug '85 , 32-35. ill. Studio system directors opting out Midsection: class of 1985 . 21 :2 March -Aprit '85, 31 -49. itl. Box O'fice to pursue independent work. Ref. Robert Altman, Alan Karen Atlen , Rosanna Arquene, Ellen Barkin, Sandra Bern- Kilday, Gregg. Tenlh an nual grosses gloss. 21:2 March-April Rud olph, Bud Yorkin, Martin Scorsese, Peter Bogdanovich. hard , Rae Dawn Chong, Ja mie Lee Curtis , Daryt Hannah, Documentary Cinema Amy Madigan, Lonette McKee, Michelle Pfeiffer, Amanda '85, 62 -65. ill. 1984's hits and flops . Kennedy , Harlan. Journals: our man in Berlin . 21 :3 May-June Plummer, Martha Ouin n, Th eresa Ru ssell , Susan Sarandon, Brando, Ma~on '85, 2, 4-5. ill. Documentaries at the Berl in Film Festival. Ally Sheedy, Kathleen Turner, Sigourney Weaver, Dia nne Schickel. Richard. Celebrity. 21 :1 Jan-Feb '85, 11 - 19. ilt. Holly- Eastwood, Clint Wiest, JoBeth Williams and Debra Winger. HaNey, Stephen. Hi-Yo SILVERADO , away, 2t :4 July -Aug '85, See also: Stars and the Star System wood 's celebrity system: from Griffith 's close-up to Branda. 20, 25-27. ill. Neo-Con(servative) weste rns. PALE RIDER, Adton, Percy . British Cinema RUSTLER'S RHAP SO DY and SI LVERADO. See: New York Film Festival (SUGARBAB Y) See: United Kingdom Afro-Americans and the Cinema Budapest Film Week Edinburgh Film Festival Midsection : a separate cinem a, 21 :5 Sept-Oct '85, 29- 46. il l. Hoberman, J. Mad Budapest. 21 :3 May-June '85, 22-24. ill Kennedy , Harlan. Nonhern lights. 21 :6 Nov-Dec '85 , 72 , Includes : 'B' ... is for B lack (history of \" ra ce films \" ), by Donald Bogle; Telling it on the mount ain (black art ists in an Burns, Ken 75-76. ill. \" integrated \" Industr y), by Armond White ; plus 10 inter- See: New York Film Festival (HUEY LONG ) spersed color pages 01 posters and comment on ea rl y Afro- Busch, Niven England American films . Thomson, Davi d. Niven Busch: sportsman : 21:4 July-Aug '85, See: United Kingdom Allen, Karen Exploitation Films Turan , Kenneth. 21:2 March-April '85, 34 . il l. 40-49. ill. Interview. Career. Ten worst best bets. 21 :2 March-April '85 , 28-30, ill , Fanz ine Altman, Robert Butler, George Farber, Stephen. Five horsemen afler the Apoca lypse. 21:4 See: PUMPING IRON II: THE WOMEN editors Bill Land is, Jimmy McDonough , Rick Sullivan and July-Aug '85, 32-35. ill. Studio system direcl ors opting out to Cabrera, Saba Michael Weldon pick their favorite \"worst\" movies. pursue independent work. Includes Altman. Infante, G. Cabrera . Cuba 's Shadow. 21 :3 May-June '85 , See also: Fanzlnes; Hillbilly Films Animation Chute, David, Keeping up with the Jones. 21 :6 Nov-Dec '85, 43-45. ill. Includes PM . Fanzlnes 14- 15. ill. Chute prele rs Warner 's ca rtoons 01 the pre- Cameron, James Barth , Jack . Fanzines. 21 :2 March-April '85 , 24-28, 30. ill. 1948 era. Chule , David James Cameron interviewed. 21 :1 Jan-Feb '85, Corliss , Richard _ Warnervana. 21 :6 Nov-Dec '85, 11 -13, Fanzines: the alternative press of film criticism: Sleazoid 16- 19. ill. Warner Bros. car toons, 1939- 1969, at MaMA. 54-55,57-60. ilt. Career . Ref. THE TERMINATOR, Express , Gore Gazelle, Splaller Tim es , Z on tar, Chicago Apted, Michael Cannes Film Festival Shivers, Children of the Ni ght , Cinemacabre, Draculina , See: New York Film Festival (7 UP and 28 UP ) Corliss, Mary. Journals : showers and sardines. 21 :5 Sept-Oct Dungeon 13, Little Shoppe of Horrors, Lowbrow Cinema, ArqueHe, Rosanna M idn ight Marquee, etc. Cocks, Jay and Martin Scorsese. 21 :2 March-April '85, 34-35. ill. '85, 6, 8. ill. Favorite FUms Audience See : American Academy of Motion Pictures Arts and Crinkley, Richmond. The ark of the cinem ate. 21 :4 July-Aug Carsx, Leos Sciences. Awards; Best Films; Guilty Pleasures See: New York Film Festival (BOY MEETS GIRL) Felllnl, Federico '85, 76-77. ill. Cinemat es = visually literate lilmgoers. Kids Bachmann , Gideon. And his ship sails on . 21 :3 May-J une '85, Cartoons 25-30. ill. Includes interview. Style , theme , c haracteriza- don 't read, but they sure know movies. See: Animation tion , his relationship to his films ! characters, etc. See also: Fanzlnes Censorship and the Cinema Awards Sheinfeld, LOIS P. Video: turn on the dark. 21 :5 Sept -Oct '85, Fernandez, Emilio See: Academy o. Motion Picture Arts and Sclences _ Hoberman, J. Journals: 'Ellndio' rides again, 21 :6 Nov-Dec '85, 72-74. The couns are putting a damper on sexy movies on Awards; Festivals TV : ref . Roth v. U.S.. Brocke tt v. Spokane Arc ades, Stanley 2, 4, 6, ill. Mexican filmmaker Fernandez at Telluride. Babenco, Hector v. Georg ia, F.C.C. v. Pacifica, Cruz v. Ferre. Festival of Festivals (Toronto) See: KISS OF THE SPIDER WOMAN See also: Sex and the Cinema Corli ss, Mary. Journals : Toronto star, 21 :1 Jan-Feb '85, 8, Bannert, Walter Central America Kehr, Da ve. Northern lights. 21:6 Nov-Dec '85, 73-75. ill. See: THE INHERITORS Cooper, Carol. Central Amer ica : the domino next door. 21:3 Barish , Leora May-June '85, 39-42 . ill. Films about Central America . Festivals Yaki r, Dan . Ce llne and Julie Golighlly : si de- by - side-by- See aIso: Lati n America See : Berlin; Budapest Film Week; Cannes; Edinburgh; Seidelman. 21:3 May-June '85, 16-2 1. ill. Includes interview China Festival o' Festivals (Toronto); Miami; New York; Rio de with Bar ish (sc reenwril er for DESPERATELY SEEKING Yakir, Dan. Industry: the woman Irom Peking. 21 :2 March-April Janelro; Taormina; Tsukuba World's Fair; Venice SUSAN ) Bark in, Ellen '85, 68-69. III. InteNlew with Chen Xiaolin, director of sales Fleisher, Richard Gleiberman, Owen. 21:2 March-April '85, 35, ill . and acquisilions at the China Film Export and Impon Corp,in See: VIOLENT SATURDAY Beauchot, Pierre Peking , American Section. See: New York Film Festival (LE TEMPS DETRUIT) Fonda, Jane Bell , Martin Chong, Rae Dawn Films with female protagon ists. Ref. films st arring Fonda See: STREETWISE Ri ckey, Carrie. 21:2 March-April '85 , 36-37 . ill. (K LUTE , JULIA, COMING HOME, AGNES OF GOD) and Close-Up Meryl Streep. Schickel. Ric hard. Celebrity, 21 :1 Jan-Feb '85 , 11-19. ill. The Forman, Milos See: AMADEUS Hollywood celebrity system: Irom Griffith 's Glose -up to 42nd Street Branda. Gill, Brendan , Pos tc ards from 42nd Street. 2t :3 May-June Coen , Joel See: BLOOD SIMPLE '85, 62 , 66. ill. Proposed redevelopment of 42nd SI.. biggest Coppola, Francis Ford real-estate rip-off of all time. Ref. the grind houses. White, Armond, Kidpix. 21:4 July-Aug '85, 9- 15. ill. Current Landis, Bill and Jimmy McDonough, Postcards from 42nd SI. 2t :3 May-June '85, 62-66. ill. People on 42nd St. run of teenage films. Re f. Coppola 's 'Boy Mov ies' (T HE Thomson, David. Postcards from 42nd St. 21 :3 May-J une '85, OUTSIDERS and RUMBLE FI SH). 63-64 . ill. excerpt from Suspects, Kno pf , 1985. See also: COTTON CLUB, THE Frampton, Hollis Tu c hman , Mitch . Frampton . 21 :4 July-Aug '85, 36-39. ill. In memoriam. Includes interview material. Future (Theme In Films) See : Science Fiction Films Gary, Jerome See: STRIPPER Gazdag, Gyula Hoberman, J. Mad Budapest. 21:3 May-June '85, 22-24. ill. State of Hungarian film induslry, Ref. Gazdag's films . 68

Glealon, Jackie Rosen, Frederic , Bull's-eye. 21 :4 July-Aug '85, 4, 6. TARGET. Mlcheaux, Oscar Hoberman, J. Ralph & Alice & Ed & Trixie. 21 :5 Sept-Oct '85, Schaefer, Stephen . Cape ca per er. 2 1:6 Nov-Dec '85, 2. Bogle, Donald. 'B' . .. for black. 2 1:5 Sept-Oci '85, 31-34 III. 62, 66-68. ill. Gleason's genius: gestall of THE HONEY- MY SUMMER VACATION. \"Ra ce films :\" independently produced films with all-black M o o N E Rs Sragow, Michael. Bear WITNESS. 21:3 May-June '85, 5-6, 8. ill. casts, made outside Hollywood from the early 1900s 10 th e Godard, Jean-Luc Verniere, James. A day with the dead. 21 :3 May-June '85, 8. ill. late 1940s, Includes Micheaux . See: New York Flm Featlval (HAIL MARY) Mldsecllon Greal Brllaln DAY OF THE DEAD. See: Unlled Kingdom Walsh, Michael, PRIZZI 'S opera, 21:5 Sept-Oct '85, 4, 6. Cl ass of 1985. 21 :2 March-April '85, 31 -49. ill. RiSing female Grlllllh, D ,W, Yakir, Dan. Meyer's mire, 21:4 July-Aug '85, 6, ill. VOLUN- stars, Chambers, Robert W., intro. by Richard Schickel. The Sacrifice, 21 :4 July-Aug '85, 7 t -73, 1923 satire slarring TE ERS. The Latin revolut ion, ,21 :3 May-June '85, 31 -52 . ill. Latin OW. Griffith, Yakir, Dan. Report from Brazil. 21 :2 March-April '85, 4. Film American cinema . Guilly Plealurel Wakefield, Dan. 21 :4 Jufy-Aug '85, 28-30 ill. Festival of Rio de Janeiro. Maverrcks. 2t:4 July-Aug '85 , 31-49, III , Hannah, Daryl Yaki r, Dan. Romeo, oy Romeo . 21 :6 Nov- De c '85, 6, 8. ON A The 1985 book revue. 21 :6 Nov-Dec '85, 31-50, ill. Jacobson, Harlan. 21 :2 March-April '85, 38-39. ill. A sepa ral e Cinema . 21 : 5 Sept-Oct '85 , 29-46 . ill . Afro- Hare, David NARROW BRIDGE. Lawson, Steve . Hare ap parent: David Hare Interviewed. K8ldan, Lawrence Americans and the cinema. 21 :5 Sept-Oct '85, 18-22, ill. PLENTY and WETHERBY See: SILVERADO Truffaut. 21:1 Jan-Feb '85, 33-53. ill. HUlbllly Fllml Kennedy, William Mlnorllfes and Ihe Cfnema McDonough, Jimmy and Bill Landis. Hillbilly heaven. 21 :6 Nov- See: COTTON CLUB, THE See: Alro-Amerlcans and Ihe Cinema; Mexico Dec '85, 55-59. H istory, characteristics, themes, hi-points / Kline, Kevin New York lo-points, practitioners, etc , Harvey, Stephen. Hi-Yo SILVERADO, awa y, 21 :4 July-Aug '85, See: 42n d Sireel Hitchcock, Alfred New York Film Festival See: PSYCHO 21-22, ill. Interview. Career, working on stage / screen , etc. Holland, Agnlelka Ref. SILVERADO . Harvey, Stephen. The 23rd New York Film Festival. 21 :6 Nov- See: New York FUm Feallval (BITTER HARVEST ) Ko bayashl, Masaki Dec '85, 60-61 , 64-67 . ill. O RIAN A (Fina Torres), BOY Holland, Sieve See: TOKYO TRIAL, THE MEETS GI RL (Leos Carax), BLI SS (Ray Lawr ence) , NO See: MY SUMMER VACATION Krelnes, Jell MAN 'S LAND (Alain Tanner), STE AMING (Joseph Losey), Hollywood In Fiction White, Armond. Kidpix. 21:4 July -Aug '85, 9-15. ill. Current BLACK NARCISSUS (Michael Powell and Emeric Press- Fox, Terry Curt iS. The Hollywood novel. 21 :2 March-April '85, run of teenage films. Includes SEVENTEEN . burger), COLONEL REDL (lstvan Szabo) ,BITTER HARVEST 7-13 . ill. Chronological history of fiction about Hollywood, Kurolawa, Akfra (Agnieska Holland) , A YEA R OF THE OUIE T SUN the industry everybody calls a town , See: RAN (K rzysztof Zanussi) , WHEN FATHER WAS AWAY ON BUSI- Hollywood (Indullry) See also: New York Film Festival NESS (Emir Kusturica) , SUGARBABY (Percy Adlon). See: Indullry (Hollywood) Kusturlca, Emir HorrorFllml See: New York Film Festival (WHEN FATHER WAS AWAY ON Jacobson, Harlan. The 23rd New York Film Festival.21 :6 Nov- Barth, Jack . Fanzines. 21 :2 March-Apr il '85 , 24-28, 30. ill. BUSINESS) Dec '85 , 61 -64 . ill. HAIL MARY (Jean- Lu c Godard) , Ten worst best bets, 21 :2 March-April '85, 28-30. ill. Fanzine Labarlhe, Andre S, PRIVATE CONVERSATIONS (Ch ristian Blackwood), HUEY editors Bill Landis, Jimmy McDonough , Rick Sullivan and See: New York Film Festival (RENOIR, THE BOSS ) LONG (Ken Burns), 7 UP (Michael Apted ), 28 UP (Michael Michael Weldon pick Iheir favorite worst movies. Lachman, Edward Apted) . Hungary See: DESPERATELY SEEKING SUSAN Hoberman, J. Mad Budapest. 21 :3 May-June '85 , 22-24. ill. Lalhan, Sian Stein , Elliott. The 23rd New York Film Festival. 21 :6 Nov-Dec State of the industry. Ref. Budapest Film Week , COLONEL See: GO TELL IT ON THE MOUNTAIN '85, 60, 68-71 . ill. RAN (Akira Kurosawa), HIMATSURI (FIR E REDL, Jews in Hungarian films (panicularly Gyula Gazdag's Latin America FESTIVAL) (Mitsuo Yanagimachi), CITY OF PIRATES (Raul films) . Midsection: The Latin revolution. 21 :3 May-June '85 , 31 -52 . ill. Ruiz) , JEAN COCTEAU : SELF-PORTRAIT OF A MAN Hunl, Linda Includes: The Texas that got away (Mexico/ Mexicans UNKNOWN ( Edgardo Cozarrnsky) , REN OI R, THE BOSS Pally, Ma rcia, Hi-Yo SILVERADO, away. 21:4 July-Aug '85, Hollywood-style), by Da vid Thomson : Mexico the tinderbox (Jacques Rivette and Andre Labarthe),LETEMPS DETRUIT 20-2 1, 23-24 . ilt. Includes interview. Career. world view. (Mexican cinem a), by Leonardo Garcia Tsao: Central ( Pierre Beuchot), HARVEST OF DESPAIR (Slavko NOwyt- Ref. playing Stella in SI LVER ADO. America, the domino next door, by Carol Cooper: Cuba's sky), THE SATIN SLIPPER (Manoel de Oliveira) COLONEL Hurl, William shadow, by G. Cabrera Infante: Miami's autores, by Enrique REDL (Is tvan Szabo), KAOS (Paolo and Vittorio Ta vlani ), Yakir, Dan. Hard time Hurt: William Hun interviewed. 21 :4July- Fernandez: On Castro's convenibles, by Pat Aufderheide. NOTHING SACRED (Wi ll iam Wellman) , ORIANA (Flna Aug '85, 56-59. ill. Career. Ref. KISS OF THE SPIDER Lawrence, Ray Torres), HAIL MARY (Jean- Luc Godard). WOMAN . See: New York Film Festival (BLI SS) Huslon, John Lean, David Nicholson, Jack See: PRIZZI'S HONOR Kennedy, Harlan . I'm a picture chap . 21 :1 Jan-Feb '85, Walker, Beverly , The bird is on his own : Jack Ni c holson Independenl Cinema 28-32. ill. Includes inter view. Career. Ref. PASSAGE TO Pally, MarCia . Independents: THE INHERITO RS: new face of INDIA. interv iewed . 21 :3 May-June '85, 53-61 . ill. Filmography . Nazism: Waller Bannert interviewed, 21 :2 March-April '85, Sragow, Michael. Da vid Lean 'S right of PASSAGE. 21 :1 Jan- Career. 76-79. ill. Feb '85, 20-27. ill. Career. Re f. PASSAGE TO INDIA. Nowylskl, Slavko Indullry (Hollywood) Locallon Shooting See: New York Film Festival (HAR VEST OF DESPAIR) Farber, Stephen. Five horsemen aller the apocalypse. 21:4 Mancini, Marc. Hot to globetrot. 21:2 March-April '85, 20-23. Obscenlly and Ihe Cinema July-Aug '85, 32-35. ill. Studio system direcl ors opting out ilt. On location: Los Angeles and elsewhere. See: Censorship and Ihe Cinema; Sex and Ihe Cinema of Hollywood to pursue independent work: Ref. Robert Loos, Anita Orbits Altman, Alan Rudolph, Bud Yorkin, Manin Scorsese, Peter Corliss, Richard . Wr iting in silence. 21:4 July-Aug '85, 70, 74- Bogdanovich. 75. ill. The scenarist in silent movies. Includes Loos. Murphy, Kathleen. Sam Peckin pah. 21 :2 March-April '85, 74- Kilday, Gregg. Tenth annual grosses gloss . 21 :2 March -April Los Angeles 75. ill. '85, 62-65. ill. '84's box office hits and flops . Stempel. Tom , In dustry: somebody's gotta read this stuff. Mancini , Marc. Hot to globetrot. 21:2 March-April '85, 20-23. Vogel, Amos, Stan Vanderbee k. 21 :1 Jan-Feb '85, 69. 21 :4 July-Aug '85, 78-79. The story editor. ill. Location shooting: Los Angeles and elsewhere, Oscars Yakir, Dan. Industry: the woman from Peking: interview with Chen Xiaolin, director of sales and acquisitions at the China Los Angeles In Fiction See: Academy 01 Mollon ·Plclure A r ls and Sciences , Film Export and Import Corp. in Peking, American section. See: Hollywood In Fiction Awards 21:2 March-April '85, 68-69. ill. Losey, Joseph See: New York FUm Festival (STEAMING ) Pecklnpah, Sam See also: Academy 01 Motion Plclure Artl and Sciences, Awards ; Aclors and Aclre..el; Slars and Ihe Slar Lynch, David Murphy, Kathleen. Orbits : Sam Peckinpah: no bleeding heart. SYIlem Griswold, Jeff . David Lynch interviewed. 21 :1 Jan-Feb '85, 21 :2 March-April '85, 74-75. ill. In memoriam. Jarmulch, Jim Jacobson, Harlan . Jim Jarmusch interviewed. 21:1 Jan-Feb 55-56. ill. Career. Ref. ERASER HEAD , THE ELEPHANT Penn, Arthur '85,54, 60-62. ill. Ca reer.Ref.STRANGERTHAN PARADISE. MAN , DUNE See: TARGET Jewllon, Norman Madigan, Amy Pensees See: AGNES OF GOD Sragow, Michael. 21 :2 March-April '85, 39-40. ill. Jimenez Leal, Orlando Magazines Crinkley, Richmond. The ark of the clnema te. 21 :4 July-Aug Infante, G, Cabrera. Cuba's shadow. 21 :3 May-June'85, 43-45. See: Fanzlnes '85, 76-77. ill. Visu al literacy in pop culture, III. Cuban film industry. Ref.ICAIC (Cuban Instituto del Cine) Mark, Mary Ellen PM (Jimenez Leal and Saba Cabrera), and Cuban films White, Armond. Kidpix. 21:4 July -Aug '85, 9-15. ill . Current Jameson, Richard T. The sound of one man cl app ing. made in exile. run of teenage films. Includes STREETWISE. 21 :5 Sept-Oct '85 , 76-78. ill. Western as art form . Ref. SIL- Journell Mayer, Carl VERADO . Cor liss, Richard . Writing in silence. 21 :4 July-Aug '85, 70, Coburn, Marcia Froelke. Nice guys. 21 :1 Jan-Feb '85 , 2, 4. 74-75. ill. The scenarist in silent movies. Includes Mayer, Periodicals ill. RUNAWAY. McCall, Cheryl See: Fanzlnes White, Armond. Kidpix. 21 :4 July-Aug '85, 9-15. ill. Current Plelfler, Michelle Cor liss, Mary . Showers and sardines, 21 :5 Sept-Oct '85 , run of teenage films. Includes STREETWISE. Corliss, Richard . 21 :2 March-April '85, 41 . ill. 6, 8. ill. Cannes McCardell , Roy Plummer, Amanda Corliss, Richard . Writing in silence. 21 :4 July-Aug '85, 70, Chute, David. 21 :2 March-April '85, 42 -43. ill. Cor liss, Mary , Toronto star. 21 :1 Jan - Feb '85 , 8. Festival 74-75 , ill. The scenarist in silent movies. In cludes McCardell. Pornography and Ihe Cinema of Festivals. McKee, lonette See: Censorship and Ihe Cinema; Sex and Ihe Cinema Mitchell, Elvis. 21 :2 March-April '85, 40-4 1. ill. Powell, Michael Hoberman, J. 'Ellndio' rides again, 21 :6 Nov-Dec '85, 2, 4,6. ill, Mexico See: New York Film Fesllval (BLACK NARCISSUS) Emi lio Fernandez. Garcia Tsao, Leonardo. Mexico the tinderbox . 21 :3 May-June Pressburger, Emerlc '85, 36-38. ill. State of the industry, 1940s 10 the present: See: New York Film Fesllval (BLACK NARCISSUS) Kennedy, Harlan. Desperately seeking Es ther. 21 :5 Sept-Oct private production com panies, state companies, indepen- Quinn, Marlha '85, 8-10. ill. Taormina . dents. Banh, Ja Ck. 2t:2 March-Aprrl '85, 42 -43. ill. Thomas, David . The Texas that got away. 21 :3 May-June '85, Reitz, Edgar Kennedy, Harlan. Italian double take. 21 :1 Jan-Feb '85, 4, 6, 8. 32-35, ill. Mexico and Mexicans Hollywood-style. See: HEIMAT Taormina and Venice. See also: Lalln America Rio de Janei ro, Film Fesllval 01 Meyer, Nlchofas Yakir, Dan. Journals: report from Brazil. 21 :2 MarCh-April '85, Kennedy, Harlan. Our man in Berlin. 21:3 May-June '85, 4-5, ill. See: VOLUNTEERS Manci ni, Marc . Shades of '39. 21 :5 Sept -Oc t '85 , 2, 4. ilt. Mfaml Film Festival 4. ill. Fernandez, Enrique. Miami's autores. 21 :3 May-June '85, 46- Rlvelle, Jacques Tsukuba. 48, ill. Potpourri of Cuban and his pan ic works at the festival. See: New York Film Fesllval (RENOIR, THE BOSS) Romero, George See: DAY OF THE DEAD Rullolph, Alan Farber , Stephen . Five horsemen after the apocalypse. . 21:4 July-Aug '85, 32-35 . ill. Studio syslem directors opting out to pursue independent work. Includes Rudolph. Rulz, Raul See: New York Film Fesllval (CITY OF PIRATES) Russell , Theresa Mathews, Jack . 21 :2 March-April '85, 43. ill. 69

Sara ndon, Su. an United Kingdom Bogle, Donal d Kessler, Slephen , 21 :2 March-April '85, 43-44 , ill. Kennedy. Harlan. The Brits have gone nuts. 21:4 July-Aug '85. 'B'. , . for Black. 21 :5 Sept-Oct '85, 31-34 . All- black \" race Schepl. l, Fred See: PLENTY 51-55. ill . British cinema in the last 10 years: blockbusters fi lms .\" Schrader, Paul (CHARIOTS OF FI RE, PASSAGE TO INDIA. etc.) and small Budra, Paul See: MISHIMA pictures (e.g. ASCENDANCY, WETH ER BY. etc,) Hol~wood 2000. 21 :3 May-June '85, 74-75. Science Flcllon FNms Kennedy . Harlan. Video : invasion of the movie snatchers . Byron, Stuart Mancini , Marc. The future isn't what n used to be. 21 :3 May- 2t :6 Nov-Dec '85, 78-79 . Includes comments by David Four sure losers and a maybe. 21 :2 March-April '85, 2. Oscar Docherty of the Broadcasting Research Unn . VCR fever in June '85, 11-15, ill. Cinematic visions of the future: early Britain. picks . years to the present. Vanderbeek, Stan Chambers , Robert W. Scorsese , M artin Vogel, Amos. Orbits: eternal experimenter.21 :1 Jan-Feb '85. The Sacrifice. 21 :4 July-Aug '85, 71- 73, 1923 salire: introd. Farber, Stephen. Five horsemen after the apocalypse. 69. In memoriam. 21:4 July-Aug '85 , 32-35 . ill. Studio system directors opting VCR by Richard Schickel. out to pursue independent works. Includes Scorsese. Kennedy, Harlan. Video : invasion of the movie snalchers . Chute, David Scriptwr iters an d Scriptwriling 21 :6 Nov- Dec '85 . 78-79 . Includes comments by David Amanda Plummer. 21 :2 March-April '85, 42-43. Corliss , Richard . Writ ing in silence. 21 :4 July-Aug '85, 70, Docherty of the Broadcasling Research Unit. VCR feve r Keeping up with the Jones. 21 :6 Nov-Dec '85 , 14-15. 74-75. ill . The scenarist in silent movies. Ref. Roy McCar- in Britain. dell, Anita Leos, Carl Mayer, women scenarists generally. See also: Television Warner's cartoons. See also: Story Editors and Ediling Venice FIlm Fesllval The 1984 movie revue :James Cameron interviewed.21 :1 Jan- Seidelman, Susan Kennedy. Harlan . Journals: Italian double take. 21 :1 Jan-Feb See: DESPERATELY SEEKING SUSAN '85. 4, 6, 8. Feb '85, 54 -55, 57-60. ill. THE TERMINA TOR Sex and the CI nema Video The ten best of 1984. 21 :1 Jan- Feb '85, 63, Pally, Marcia. I witness, eye confess. 21 :2 March-April '85, 60- See: Television; VCR Coburn, Marcia Froelke 61 ,ill. From BLOWUP to T HE PURPLE ROSE OF CAIRO, Vonnegu~ Kurt Jo urnals : nice group. 21 :1 Jan-Feb '85 , 2, 4. RUNAWAY movies have implicated audience in the voye ur's art. Bianculli, David. A Kurt post-mortem on the Generally Eclectic Sheedy, Ally Theater. 21 :6 Nov-Dec '85. 41-44. ill. Interview. Adapting (Crichton), Gehr, Richard. 21 :2 March-April '85, 44-45. ill. fiction to the screen. Cocks, Jay Silent Cinema Wang, Wayne bk. rev . John Boorman, Money Into Ligh!: THE EMERALD Corliss , Richard . Writing in silence, 21 :4 Ju ly-Aug '85, 70 , Thomson, David. Chinese lakeout: 21 :5 Sept-Oct '85, 23-28. 74-75. ill. The scenarist in silent movies. Ref. Roy McCardell, ill. Interview . Growing-up. career. Ref. DIM SUM. FOREST, a Diary. 21:6 Nov-Dec '85, 47-48. ill. Anita Laos , Carl Mayer, women scenarists generally. Warner Broo. Studio Rosanna Arquette. 21 :2 March-April '85, 34-35. Spielberg, Steven Chute, David. Keeping up the the Jones . 21 :6 Nov-Dec '85, Cooper, Carol See: CLOSE ENCOUNTERS OF THE THIRD KIND 14- 15. ill. Chute prefers Warner 's cartoons of the pre- Central America: the domino nexl door . 21 :3 May-June '85, Sta,. and the Star System 1948 era. Schickel , Richard. Ce lebrity . 21 :1 Jan-Feb '85 , 11-19. ill. Corliss , Richard. Warnervana, 21 :6 Nov-Dec '85 , 11-13, 39-42 . The Hollywood celebrity system-from Griffith's close-up 16-19. ill . Warner Bros. cartoons 1939-1969 at MaMA. Cor ll.., Mary to Branda. Weaver, Sigoumey ' Journals: showers and sardi nes. 21:5 Sept -Oct '85 , 6, 8, See also: ACTORS AND ACTRESSES Rainer, Peter . 21 :2 March-April '85, 46. ill. Steven.. George Jr. Weir, Peter Cannes . See: GEORGE STEVENS: A FILMMAKER'S JOURNEY See: WITNESS Journa l S: Toro nto s tar. 2 1:1 Jan- Feb '85 , 8 . Festival of Story E cIItors and Ediling Wellman, William Stempel. Tom. Industry: somebody's galt a read this stull . See : New York FUm Festival (NO TH ING SACRED) Festivals . 21:4 July-Aug '85 , 78-79 . Westerns Corll.., Richard Streep, Meryl Harvey , Stephen. Hi-Yo SILVERADO , away. 21:4 July-Aug '85, Michelle Pfeiller. 21 :2 March-April '85, 41. Pally , Marcia . Choice parts. 21:5 Sepl-0ct '85,13-17 . ill. 20, 25-27 . ill. Neo-Con(servative) westerns: what links The 1984 movie revue: a 'place' in their hearts? 21 :1 Jan- Feb Films with fema l e protagonists. Includes fi lms starring RUSTLER'S RHAPSODY, PALE RIDER AND SILVERADO? Streep (KRAMER VS. KRAM ER. SOPHIE'S CHOICE, THE J ameson, Richard T. T he sound of one man clapping. '85, 66-68. Probable Oscar nominees according to Aljean FRENC H LIEU T ENANT'S WOMAN . PLENTY) and Jane 21 :5 Sept-Oct '85. 76-78. ill. Westerns as art lorm: where Hqrmetz, Gregg Ki lday, Dale Pollack . does SILVERADO lit? The ten best of 1984. 21:1 Jan-Feb '85, 63. Fonda, Wiest, Dianne Warnervana. 21:6 Nov-Dec '85, 11-13, 16-19. Warner Bros , Szabo, Istvan Durang, Christopher. 21 :2 March-April '85 , 46-47. ill. cartoons . See: COLONEL REDL Williams, JoBelh Writing in silence . 21 :4 July-Aug '85, 70, 74-75. The scenarist See also: New York Film Fesllval Sragow, Michael. 21:2 March-April '85, 47-48. ill. Tanner, Alain Wilson, Hugh L. in silent movies. See: New York FUm Festival (NO MAN'S LAND) See: RUSTLER 'S RHAPSODY Crlnkley, Richmond Taormina FIlm Fesllval Winger, Debra The ark of the cinemale. 21:4 July-Aug '85, 76-77 , Kennedy. Harlan . Journals : desperately seeking Esther. Benair, Jonathan . 21:2 March-April '85. 49. ill. Durang, Christopher Women Dianne Wiest. 21:2 March-April '85, 46-47. 21 :5 Sept-Oct '85, 8-10 ,ill. Corliss, Richard . Writing in silence. 21 :4 Ju ly-Aug '85, 70. Farber, Stephen Kennedy, Harlan. Journals: Italian double lake. 21 :1 Jan-Feb 74-75. ill. The scenarist in silent movies. Ref. women Five horsemen after the apocalypse. 21 :4 July-Aug '85, scenarists, including Anita Loos. '85. 4. 6, 8. Glicksman , Marlaine . Ms. Treatment. 21 :6 Nov- Dec '85 , 32-35. Studio system directors opting out 10pursue ind epen- Tavlanl, Paolo and Vittorio 20-24. ill. Interviews wnh women working in the film industry: dent work. See: New York FUm Fe.tlval (KAOS) are women accepted as Hollywood equals? Teague, Lewis Pally , Marcia . Choice parts . 21 :5 Sept-Oct '85 , 13-17 . ill. Fernandaz, Enrique Yakir. Dan. Big league Teague, 21:6 Nov-Oec '85. 26-28. ill. Films with female Protagonists. Ref . films starring Jane Miami's 'autores'. 21 :3 May-June '85 , 46-48. Fonda (K LUTE , JULIA, COMING HOM E, AGNES OF GOD ) Career. Ref. JEWEL OF THE NI LE and Meryl Streep (KRAMER VS . KRAMER, SOP HIE'S Fox, Terry Curtis Teenagers and the Cinema CHOICE, TH E FRENCH LI EUTENANT'S WOMAN, PLENTY). The Hollywood novel. 21 :2 March-April '85, 7- 13. While, Armond. Kidpix. 21 :4 July-Aug '85, 9-15 . ill. Current Pally, Marcia, Object of lhe game. 21:3 May-June '85, 68-73 . ill. Object.ication of women in film . Garcia Tsao, Leonardo run of teenage films, Ref. Coppola's \" boy movies\" (T HE See also: Actors and Actresses; Censorship and the Mexico the tinderbox. 21 :3 May-June '85, 36-38. OU TSIDE RS, RUM BLE FISH) SEVENTEEN. AND STR EET- Cinema; Stars and the Star System Yanaglmachl, Mltsuo Gehr, Richard WISE. See: New York Film Festival (H IMATSURI / FIRE FESTIVAL) Ally Sheedy. 21 :2 March-April '85, 44-45. Television Yorkln, Bud Hoberman. J. Ralph & Alice & Ed & T rix.ie. 21 :5 Sept-Oct '85, Farber , Stephe n. Five horsemen after the apocalypse . Gill Brendan 21 :4 July-Aug '85, 32-35 . ill. Studio system directors Postcards from 42nd Street. 21 :3 May-June '85, 62, 66. 62 . 66-68. ill. THE HON EYMOON ERS: Gleason 's genius. opling out to pursue independent work. Includes Yorkin . Jameson , Richard. Television: men over Miami. 21:2 March- youth and the Cinema Glelberman, Owen See: Teenagers and the Cinema Ellen Barkin . 21 :2 March-April '85, 35. April '85, 66-67 . ill. MIAM I VICE. Zanus.I, Krzysztof Gllcklman, Martalne Mitchell , Elvis. AMAZING anthologies . 21 :5 Sept-Oct '85 , See : New York Film Festival (A YEAR OF TH E QUI ET SUN) Ms . Treatmenl , 21 :6 Nov-Dec '85 , 20 -24 . In te rviews wit h 63-65. ill. Recent TV anthology series: ALFRED HITCH - Authors women working in the film industry. COCK PRE SENTS. TWI LI GHT ZON E, G EORG E BU RNS Grilli, Peter COM EDY WE EK, THE HI TCHIK ER, TALE S FROM T HE Ansen, David The old man and the scene: notes on the making of RAN. DARKSID E. FA ER IE TAL E THE ATER . Ref , AMAZ ING Four sure losers and a maybe . 21 :2 March-A pril '85, 2. STO RIES. 21 :5 Sept-Oct '85, 48 , 57-60, White, Armond. Television: how green were our Acres. Oscar picks. 21 :3 May-June '85. 76-77. ill. GREEN ACRES. Aufderheide, Pat Grl.wold, Jeff See also: VCR On Castro's conve rt ible, 21:3 May-June '85, 49-52. Cuban The 1984 movie revue : David Lync h interviewed. 21:1 Jan- Feb Toronto. Fe.llval of Festivals See: Fesllval of Festlvats (Toronto) cinema. '85, 55-56. Torrea, Fin. Bachmann, Gideon Harvey, Stephen See: New York FNm Festival (O RIANA) And his ship sails on. 21:3 May-June '85 , 25-30. Interview Hi-Yo SILVER ADO , away. 21:4 July-Au g '85, 25-27 . SI L- Travolta, John Yakir, Dan. Journals : Vinnie & Wenner. 21:4 July-Aug '85, wnh Fellini. VERADO, PALE RIDER, and RUSTLER'S RH APSODY . 2, 4. ill. Interview. Career, PERFECT . future plans (LAKE The Reitz stull: Edgar Reitz interviewed. 21 :4 July-Aug '85, Hi-Yo, SILVERADO, away: Kevi n Klein interviewed. 21:4 July- FOREST). elc . 16-19, Aug '85, 21-22 . Trullaut, Francol. Barth, Jack The 1984 movie revue: 1984 and all that. 21:1 Jan-Feb '85, Midsection: Trullaul. 21:1 Jan-Feb '85, 33-53. ill. Includes: Fanzines. 21:2 March-April '85, 24-28, 30. Martha Quinn. 21 :2 March-April '85, 42-43. 64 - 65. Wild child. movie master (Trull auf's oe uvre. Ref. his use of REEL HELP. 21 :6 Nov- Dec '85, 52-53, The ten best of 1984. 21:1 Jan-Feb '85, 63. screen space). by Richard 1. Jameson; He was lhe movies Benalr, Jonathan The 23rd New York Film Festival. 21:6 Nov- Dec '85, 60-6 1, (working wnh Trullaut on CLOSE ENCOUN TERS). by Steven Debra Winger. 21:2 March-April '85, 49. Spielberg; the 401 st blow (Nathalie Baye, Jacq ueline Bisset, 64-67 . Cathe rine Deneuve, Gerard Depardieu. D avid Newman, Bianculli, David Haver, Ronald Marie- France Pisie r and Nicolas Roeg on Trullaut). by A Kurt post -mortem on the Generally Eclectic Th eater: George II on George I: George Stevens, Jr. interviewed. Dan Yakir; The man who loved (T rullaut the friend), by Todd McCarlhy; and Looking back (Tru ff aut interviewed. 1981), Kurt Vonnequl interviewed. 21:6 Nov-Dec '85, 41 -44. 21:4 July-Aug '85 , 66 - 69 . G EO RG E STEVENS : A FIL M- by Dan Yakir. MAKER'S JOURNEY. Hinson, Hal Taukuba Worid'. Fair Bloodline. 21:2 March-April '85, 14- 19. BLOOD SI MPLE . Mancini. Marc. Jou rnals: shades of '39, 21 :5 Se pt-Oct '85. Hoberman, J. 2,4. ill. Journ als: 'EI Indio' rides again. 21 :6 Nov- Dec '85, 2, 4, 6. Turner, Kathleen Schickel. Ric hard. 21 :2 March-A pril '85. 45. ill. Emi lio Fernandez. Mad Budapesl. 21:3 May-J une '85, 22-24. Ralph & Alice & Ed & Trixie. 21 :5 Sept-Oct '85, 62, 66-68. THE HONEYMOON ERS, Inlante, G. Cabrera Cuba's shadow. 21 :3 May-J une '85, 43-55. Jacobson, Harian Daryl Hannah . 21 :2 March -April '85, 38-39. Four sure losers and a may be, 21 :2 March-A pril '85, 2. Oscar picks. The 1984 movie revue : Jim Ja rmusch interviewe d, 21:1 Jan- Feb '85, 54, 60-62. STRANGER THAN PARADISE. The ten best of 1984. 21 :1 Jan-Feb '85, 63. The 23rd New York Film Festival. 21 :6 Nov- Dec '85, 61-64 Jamelon, Richard T. It is too good. 21:2 March-April '85, 51-52. THE COTTON CLUB,

The sound of one man clapping. 21 :5 Sepl-Ocl '85, 76-78. , Sragow, Michael See: New York Film Festival Amy Madigan 2 t :2 March-April '85, 39-40 SILVERADO , David Lean's right 01 PASSAGE. 21.1 Jan-Feb '85, 20-27 CLOSE ENCOUNTERS OF THE THIRD KI ND (Ste ven TelevIsion' men over Miami. 21 2 March-April '85 , 66-67 . JoBeth Williams 21:2 March-April '85 , 47 -48. Journals: bearing WITNESS. 21:3 May-June '85, 5-6, 8. Spielberg) MIAMI VICE. Stein, Elliott The len beSI 01 1984. 21:1 Jan-Feb '85, 63. The ten best of 1984. 21 '1 Jan-Feb '85, 63. Spielberg , Steven. He was the mOVies. 21 :1 Jan-Feb 'S5 , Wild child , movie masler. 21:1 Jan-Feb '85, 34-39 Trullau1. Tile 23rd New York Film Festival. 2t .6 Nov-Dec '85 , 60, 68 -7 1 Stempel, Tom 40- 41. ill , Working with Truifaul on CLOSE ENCOUNTERS. Kehr, Dave Industry: somebody's galla read this stull. 21 :4 July-Aug '85, Jamie Lee CurtiS, 21 2 March-April '85, 37 -38. 78-79, The slory edilor, COLONEL REDL (Is tvan Szabo) Northern lighls. 21:6 Nov-Dec '85, 73-75. Fe slival 01 Fesllvals, Sullivan, Rick Ten wo rst best bets 21:2 MarCh-April '85, 28-30. Hoberman, J. Mad Budapest 2t :3 May-Jun e 'S5, 22-2 4, ill. Kennedy, Harlan Thompson, Anne The Brlls have gone nu lS. 21.4 July-Aug '85, 51-55. bk. rev . Steven Ba ch, Fina l Cui : Dreams and D,saslers In State of Ihe Hungar ian film Industry ( Budapesl Film I'm a piclure chap, 21 ' 1 Jan-Feb '85 , 28-32. A PASSAGE the Making of 'Heaven 's Gal e.' 21 :6 Nov-Dec '85, 48-50. Fou r sure losers and a ma ybe. 2 1:2 March-April '85, 2. Week). Ref, REDL TO INDIA. Oscar picks. Journals: desperalely seeking ESlher 21 :5 Sepl-Ocl '85 , The 1984 movie revue: a place in their hearts? 21 :1 Jan- Feb See also: New York Film Fesllval '85, 66-68. Pr obable Osca r nom inees according to Aljean 8-10 Taormina Film Fesllval. Harmetz, Gregg Kilday, and Dale Pollock, COTTON CLUB , THE (Francis Coppola) Journals: lIalian double lake , 21 ,1 Jan-Feb '85, 4, 6, 8. Venice Thomson, David bk. rev. Cahlers du Cinema, the 1950s: Neo-Reallsm, Holly- Jameson, Richard T It IS, too, good. 21 '2 Marc h-April 'S5, and Taormina. wood, New Wave. 21 :6 Nov-Dec '85, 35-37 . Journals: our man In Berl in. 21 :3 May-June '85 , 2, 4-5. Chinese takeout: Wayne Wang inlerviewed. 21 .5 Sept-O ct '85, 51-52. III ' 23-28. Berlin Film Feslival. The man has legs: William Kennedy in te rviewed , 21.2 March- Thomson, David. The man has legs. Wilham Kennedy inter- Norlhern Ilghls. 21 :6 Nov-Dec '85, 72, 75-76 . Edinburgh April '85, 54-59. Niven Busch. sportsman: Niven Busch Interviewed. 21:4 July- Viewed 21:2 Mar c h-Apr il '85, 54-59 . III Working With Film Feslival. Aug '85 , 40-49. Video: Invasion of Ihe movie sn al c hers. 21 :6 Nov-Dec '85, Postcards Irom 42nd Slree!. 21 :3 May-June '85, 63-64. Coppola on th e SCript Salierl, PSYCHO. 21'1 Jan-Feb '85, 70-75 . 78-79. Sandra Bernhard, 21 :2 March-April '85. 36. DAY OF THE DEAD (George Romero) Kessler, Stephen The ten best 01 1984. 21 '1 Jan-Feb '85, 63. Susan Sarandon. 21 '2 March-April '85, 43-44. The Texas Ihat got away , 2 1:3 May-June '85, 32-35. Vernlere, James . Journals: a day wllh the dead. 21 :3 May-June Kilday, Gregg Mexicans Hollywood-style. Four sure losers and a maybe . 21 :2 March-April '85, 2. Oscar Toback, James 'S5, S On Ihe set of DAY. bk, rev Kenneth Anger, Hollywood Babylon II: and Michael pi cks, Cimenl, Kubrick. 21 :1 Jan-Feb '85, 76-77 . DESPERATELY SEEKING SUSAN (Susan Seidelman) Tenlh annual grosses gloss, 21 :2 March-April '85, 62-65 Tuchman, Mitch Landis, Bill Frampton. 21:4 July-Aug '85, 36-39. Yaklf, Dan . Celine and Julie Goligh lly' slde-by-slde-by- Hillbilly heaven 21 :6 Nov-Dec '85, 55-59. Turan, Kennelh Poslcards from 42nd Sireel. 21 :3 May-June '85, 62-66. Four sure losers and a maybe, 21:2 MarCh-April '85, 2, Seidelman, 21 :3 May-June 'S5 , 16-21 . ill. Includes inter- Ten worsl besl bels . 21:2 March-April '85 . 28-30, Lawson, Steve Oscar picks. views with Seidelman (director), Leora Barish (screenwriter), Hare apparent David Hare inlervlewed, 21 :5 Sepl -Oci '85, Karen Allen . 21 :2 MarCh-April '85, 34, Vemlere , Jim and Edward Lachman (cinem atographer ) 18-22 Bad glfls 01 the Sahara. 21:5 Sept-Oct '85, 69-71. STRIPPER. Mancini, Marc Journals: a day With the dead. 21 .3 May-June '85, 8. DA Y OF DIM SUM (Wayne Wang) The fulure isn'l whal II use 10 be. 21:3 May-June '85, 11-15. THE DEAD. Thomson, David, Chinese lakeourt : Wayne Wang interViewed. SCI-Ii. Vogel, Amos Halla globelro1. 21 :2 March - April '85,20-23 . Localion Orbit s: exlernal experimenter . 21 :1 Jan- Feb '85, 69 . SIan 21 :5 Sept-Oct 'S5 , 23-28, III. shOaling. Vanderbeek . GEORGE STEVENS: A FILMMAKER 'S JOURNEY (Georg e Journals: sha des of '39 . 21 .5 Sepl-Oci '85 , 2,4 , Tsukuba Wakefield, Dan GUIlly pleasures. 21 :4 July-Aug '85, 28-30. Stevens, Jr,) World 'S Fair. Walker, Beverly Mathews, Jack The bird is on hiS own : Jack Nicholson intervi ewed. 2 1.3 Haver, Ronald. George II on George I: George Slevens, Jr. Theresa Russel l. 21 :2 March-April '85, 43. McCarthy, Todd May-June '85 , 53-61 . Interviewed. 21:4 July-Aug '85, 66-69. III. Th e man who loved 21:1 Jan-Feb '85, 44-47. Truflau!. Walsh, Michael McDonough, Jimmy Journals: PRIZZI 'S opera . 21 :5 Sept-Oct '85 , 4, 6. GO TELL IT ON THE MOUNTAIN (S tan Lathan) Hillbilly heaven, 21 :6 Nov-Dec '85, 55-59 Weldon, Michael Postcards from 42nd Street. 21 :3 May-June '85, 62-66. Ten worst best bets . 21 :2 March-April '85, 28-30. White, Armond . Telling It on Ihe moun ta in. 2t :5 Sept-Oct 'S5, Ten worst best bets . 21:2 March-April '85, 28-30. White, Armond Merkln, Daphne Kidplx. 21 :4 July-Aug '85 , 9-15 . 39-41 , III Black Cinema of Ihe '70s and 'SOs . Ref. MOUN - bk. rev B D. Hyman , My Morher 's Keeper 2t :6 Nov-Dec '85, Television: how green were our acres\", . 21.3 May-June 'S5, TAIN , 38-40 76-77. GREEN ACRES. Mitchell, Elvis Telling il on the mountain. 21:5 Sept-Oct 'S5, 39-4 1 Black GREEN ACRES (TV series) AmaZing antholog ies. 21:5 Sept-Oct ' 85, 63-65. TV anthology cinema of the '70s and '80s. White. Armond. TeleVISion : how green were our acres. series. Wilkins, Mike Lonelle McKee. 21 :2 March-April '85, 40-41 . REEL HELP . 21 :6 Nov- Dec 'S5, 52-53. 21 :3 May-June '85 , 76-77. Murphy, Kathfeen Orbits' Sam Pecklnpah. 21:2 March-April '85, 74-75 . Yaklr, Dan HAIL MARY (JE VOUS SALUE MARIE) (Jean-Lu c Godard) Pally, Marcia Big league Teague 21 6 Nov-Dec '85 , 26-38 ChOice parts . 21 :5 Sept-Oct '85, t 3- 17. Films with female Celine and JUlie Gollghlly slde-by-slde-wlth-Seldelman See: New York Film Festival protag onists. 21 3 May-June 'S5 , t6 -21 HARVEST OF DESPAIR (Slavko Nowytski ) H,-Yo SILVERADO, away, 21.4 July-Aug '85, 20-21 , 23-24. The 401 st bl ow' seven on Trulfaut. 21:1 Jan-Feb '85, 42 -43 Hard time Hurt William Hurt InterViewed 2t 4 July-Aug '85, See: New York Film Festival Includes interview With Linda Hunt. I Witness, eye co nless. 21 :2 March-April '85, 60-61 . 56·59 HEIMAT (Edgar Reitz) Independents: THE INHERITORS: Waller Bannert interViewed. Industry: the woman from Peking: interview wrth Chen Xiaolin. Bachmann , Gideon. The Reitz stuff: Edgar Reitz interviewed. 21:2 March-April '85, 76 -79 . 21 :2 March-April 'S5, 68 -69. Objecl of I.he game. 21:3 May-June '85 , 68-73. Women on J ournals: Meyer's mire. 21 :4 July-Aug 'S5, 6. VOLUNTEERS. 21:4 July-Aug 'S5, 16 - 19. ill. the screen. Film Titles HIMATSURI (FIRE FESTIVAL) (Mitsuo Ya nagimachi) The ten best 01 1984 21:1 Jan-Feb '85, 63. Women of IRON. 21 '4 July-Aug '85, 60-64 . AGNES OF GOD (Norman Jewlson) See: New York FUm Festival Pollock, Dafe Pally , Marcia . Choice parts. 21:5 Sept-Oct 'S5 , 13-17 . ill. Four sure losers and a maybe. 21 :2 Marc h -April '85, 2. HONEYMOONERS, THE (TV series) Films wrth lema Ie protagonists. Includes AGNES , Oscar picks. AMADEUS (Milos Forman) Hoberman, J . Ralph & Alice & Ed & TriXie. 2 1:5 Sepl-Ocl '85, Powers, John Th omson, David. Salieri. PSYCHO. 21 :1 Jan-Feb 'S5, 70-7,1. bk. rev Bret Easton ElliS , Less Ihan Zero: and Jay Mcinerney, 62 , 66-6S . ill. III. AMADEUS and PSYCHO com pared. Bnghl Llghrs, BIg Cay . 21 :6 Nov-Dec '85, 44-46 AMAZING STORIES (N BC-TV series) HUEY LONG (Ken Burns) Rainer, Peter Mitchell , El vis . Amazing anlholog ies. 2 1:5 Sept-Oct 'S5 , Four sure losers and a maybe. 21 :2 March-April '85, 2, See. New York Film Festival 63-65. ill Re cen l TV anth ology series. Ref. AMAZING Oscar picks. STORIES. INHERITORS, THE (Walter Bannert) Sigourney Weavel 21 2 Malch-Aprll '85, 46 BITTER HARVEST (Agnieska Holland) ROlen, Frederic See: New York F\"m Festival Pally, MarCia , Independents: THE INHERITORS, new face of Joulnals bull's-eye 21 4 July-Aug '85 , 4. 6. TARGET BLACK NARCISSUS (Michael Powell and Emerlc Press- Schaeler, Stephen burger) NaZism: Walter Bannert interviewe d. 21.2 March-April 'S5, JOUlnais Cape capeler 21 '6 Nov-Dec '85, 2 MY SUMMER See: New York FNm Festival BLISS (Ra y Lawren ce) . 76-79 III VACATION See: New York FNm Festival Schlckel, Richard BLOOD SIMPLE (Joel Coen) JEAN COCTEAU: SELF-PORTRAIT OF A MAN UN- bk rev Preston Sturges, F,ve Screenplays , 21 :6 Nov- Dec '85, Hinso n, Hal. Bloodl ines. 2 t :2 March-Apfll 'S5, 14 - 19 . ill. Includes interVIews With Joel eoen (wrlter·d irector). KNOWN (Edg ardo Cozaflnsky) 32-35 Ethan Coen (w riter -p roducer) , and Barry Sonnenfeld Cetebrity. 21 .1 Jan-Feb '85, 11-19. (cinematographer), See: New York Film Festival Four s ure losers and a maybe. 21 .2 March-Apfll '85, 2. BOY MEETS GIRL (Le os Carax) See : New York Film Festival JEWEL OF THE NILE (Lewis Teague) Oscar picks. CITY OF PIRATES (Raul RUIl) Kathleen Turner 21 2 MarCh-April '85 , 45 Yaklf, Dan Big league Teague . 21 :6 Nov-Dec 'S5 , 26-2S. ill. Schiff, Stephen Four sure losers and a maybe. 21 :2 March-April '85, 2. KAOS (Paolo and VillOriO T9viani) Oscar picks. See' New York Film Festfval The ten best 01 1984 21 t Jan-Feb '85, 63. Scorsese, Martfn KISS OF THE SPIDER WOMAN (Hector Babenco) Rosanna ArQuell e. 21.2 March-April '85 , 34-35 Yakll, Dan. Hard time Hurt: Will iam Hu~ interViewed. 21:4 July- Segers, Frank Aug 'S5 , 56-59 . ill. Mad MISHIMA. 21 :5 Sept-Oct '85, 49-56 . Shefnleld, Lois p, MIAMI VICE (TV series) Video: lurn on the dark . 21 '5 Sepl-Oct '85 , 72-74 Courts Jameson, RiChard. Television: men over Miam i. 2 1:2 March- v sexy mOVies Spielberg, Steven Ap ril 'S5, 66-67 ill. He was the movies 21 ' 1 Jan -Feb '85 , 40 -41 , Truflaut in MISHIMA (Paul Schrader) CLOSE ENCOUNTERS. Segers , Frank Mad 'Mishlma:' Paul Schrader's ci nema \" Seppuku\"-style 21 :5 Sept-Oct 'S5, 49-56. ill. MY SUMMER VACATION (Ste ve Hollan d) Schaele:, Stephen Journals: Cape caperer. 21 :6 Nov-Dec 'S5, 2. III NO MAN'S LAND (Alain Tanner) See. New York Film Festival NOTHING SACRED (William Wellman ) See' New York Film Festival ON A NARROW BRIDGE (GESHER TSAR ME' OD) (Nlsslm D 'wan) Yaklf , Dan JO'J rnals Romeo, oy Romeo. 21 :6 Nov-Dec '85, 6, 8 ORfANA (Fina Torres) See New York Film Festival OUTSIDERS , THE (FranciS Ford Coppola) Whil e, Armond Kldpix 21:4 July-Aug '85 , 9-15. ill. PALE RIDER (Clint Eastwood) Harvey, Stephen Hi-Yo SILVERADO , away. 21:4 July-Aug 'S5, 20, 25 -27 . ill. Neo-Con(servative) westerns. PASSAGE TO INDIA, A (Da vid Lean ) Kenned y, Harlan I'm a picture c hap. 2 1:1 Jan-Feb '85 , 28-32 III Includes Interview with Lean. Sragow, Mic hael DaVid Lean's righl of PASSAGE . 21 :1 Jan- Feb 'S5, 20-27 III. PERFECT (James Bfldges) Yakir, Dan, Journals. Vinnie and Wenner. 21:4 July-Aug 'S5, 2, 4. III Includes Interview with Travolla. PLENTY (Fred Scheplsl) Lawson, Steve. H are Apparent: DaVid Hare (scriptwriter) inler- viewed. 21.5 Sept-Oc t 'S5, lS -22. ill. Pally , Mar Ci a ChOice parts. 21 :5 Sept-Oct 'S5, 13- 17. III. Films With female pr otagonists. Ref. PLENTY. PM (Orl ando Jimenez Leal and Saba Cabrera) Infante, G Cabrera Cuba's shadow 21 :3 May-June '85, 43 -45. ill PRIVATE CONVERSATIONS (Christian Blackwood) See: New York Film Festival

PRIZZI'S HONOR (John Huston) RUNAWAY (Michael Crlchlon) JOURNAL Walsh , Michael. Journals: PRIZZI'S opera. 21 :5 Sept·Ocl '85, Coburn, Marcia Froelke. Journals: nice guys. 21 :1 Jan-Feb '85, (Continuedjrompage 4) 4, 6. Opera (Puccini's Gianni Schic chi) in PRIZZI. 2, 4. ill. On Ihe set PSYCHO (Alfred Hitc hcock) RUSTLER 'S RHAPSODY (Hugh L. Wilson) New York, I'd still go to Italy for the Thomson, David. Salieri. PSYCHO. 21 :1 Jan-Feb '85, 70· 75 . ill. Harvey, Stephen. Hi-Yo SILVERADO , away. 21:4 July-Aug '85, fabric , because that's where the silk is .\" PSYCHO and AMADEUS compared. 20, 25-27 . ill. Neo-Con(servative) weslerns. P roduction design is, of course, more PUMPING IRON II: THE WOMEN (George Buller) SATIN SLIPPER , THE (Manoel de Oliveira) than a grand European shopping tour. Pally, Marcia . Women of IRON. 21 :4 July-Aug '85, 60-64 . ill. See: New York Film Festival It involves, von Brandenstein said , RAN (Akira Kurosawa) 7 UP (Michael Apted) \"Gleaning. The brain's like a bank. I store Grilli, Peter. The old man and the scene: notes on the making of See: New York Film Festival this and that , and when I need it I draw SEVENTEEN (Joel DeMott and Jeff Kreines) from that account. Better have something RAN . 21 :5 Sept-Oct '85 , 48, 57-60 . ill. White, Armond. Kidpix. 21 :4 July-Aug '85 , 9-15. ill. in there!\" The craft also demands strong, See also: New York Film Festival SILVERADO (Lawrence Kasdan) selfless collaboration with the director REEL HELP Harvey, Stephen. Hi-Yo SILVERADO, away. 21:4 July-Aug '85, and the cinematographer. \"It's not that Barth, Jack and Mike Wilk ins. REEL HELP 21 :6 Nov-Dec '85. you have a conversation with them and 20 , 25-27 . ill. Neo-Con(servative) westerns. then you go design it,\" she told us . \"The 52-53. ill. Harvey. Stephen. Hi- Yo SILVE RADO, away. 21:4 July-Aug '85. process is checking back and forth . Your RENOIR, THE BOSS (J acques Rivette and Andre S. conception has to include what they're 21-22. Interview with Kevin Klein. talking about, or it's not going to work. I Labarthe ) Jameson , Richard T. The sound alone man c lapping. wouldn't think of using a color on a set See: New York Film Festival that Gordon Willis [The Money Pit] or RUMBLE FISH (FranciS Ford Coppola) 21 :5 Sept-Oci '85, 76-78. ill. The weste r n as art form : Miroslav Ondricek [Amadeus] had not White, Armond. Kidpix. 21 :4 July-Aug ' 85, 9-15. ill. where does SI LVERADO fit? seen. And I don't fret when a set I've Pally, Marcia. Hi-Yo SILVERADO , away. 21:4 July · Aug '85, designed is seen only briefly or partialiy 20-21 , 23-24. ill . Interview with Linda Hunt in the finished film . Designers who do STEAMING (Joseph Losey) worry are more interested in stroking See: New York Film Festival their egos than in serving the film .\" STRANGER THAN PARADISE (Jim Jarmusch) Jacobson , Harlan. The 1984 movie revue: Jim Jarmusch On The Money Pit, von Brandenstein interviewed. 21 :1 Jan-Feb '85, 54, 60-62. ill. can do both. \"The house disintegrates STREETWISE (Martin Bell , Mary Ellen Mark and Cheryl over a period of time,\" she said , \"and then McCall) it's rehabilitated and changed . It's a White Armond. Kidpix. 21 :4 July-Aug '85, 9- 15. ill. metaphor for Tom and Shelley's changing STRIPPER (Jerome Gary) relationship. So it's important to shoot Verniere, Jim . Bad girls of Ihe Sahara. 21 :5 Se pl-Oct '85, sequentially. Because there are ail kinds 69-71. ill. of physical jokes and visual tricks, we SUGARBABY (Percy Adlon) constructed a set like a series of interlock- See: New York Film Festival ing boxes. I learned to work in bits and TARGET (Arthur Penn) pieces-one gag has 12 solutions. We Rosen, Frederic . Journals: bull's eye. 21:4 July-Aug '85, 4, 6. hung a steel frame from the grid, and then TEMPS DETIIUiT, LE (Pierre Beuchot) hung our set on the frame . The set is See: New York Film Festival immense; you can't believe the siie of the TERMINATOR , THE (James Cameron) thing. It needed to be big to give the story Chute. David . The 1984 movie revue : James Cameron inter- weight and credence. Then when the viewed. 21:1 Jan-Feb '85, 54-55. 57-60. ill. thing was destroyed, we had to rebu ild it TOKYO TRIAL, THE (Masaki Kobayashi) for the climax. It was the devil's own work Ken nedy , Harlan. Journals: our man in Berlin . 21 :3 May-J<Jne to get it back together.\" '85, 2, 4-5. ill. Documentaries at Ihe Berlin Film Festival. ref. TOKYO TRIAL . In the decade since Hester Street, von 28 UP (Michael Apted) Brandenstein has consciously developed See: New York Film Festival a wide palette of styles and tones. \"It's just VIOLENT SATURDAY (Richard Fleischer) as easy for an art directOr to get typed as it Sragow. Michael. Journals: bearing WITNESS. 21:3 May-June is for an actor. You get into things , and '85,5-6 , 8. VIOLEN T SATURDAY and WITNESS compared. then you realize you're working in a VOLUNTEERS (Nicholas Meyer) certain color range. For years I was in love Yaki r, Dan . Journals : Meyer'S mi re. 21:4 Ju ly-Aug '85 , with pink and burgundy. Recently I've 6. ill. Interview wnh Meyer. noticed a tendency toward green that I must check. That's one reason I've gone WETHERBY (David Hare) to heroic lengths to make movies as different as Silkwood and Amadeus. You Lawson, Steve. Hare apparent: David Hare interviewed. 21 :5 see, the design process is always the same; it's the solutions that are different. ___;.---=....::::..--:-___~==::... Sept-Oct '85 , 18-22 . ill. I'll go anywhere . Do anything.\" The spirit =====~ WHEN FATHER WAS AWAY ON BUSINESS (Emir Kus- of the quest still soars in this adventuress of film design. -CARLOS CLARENS turica) AND MARY CORLISS See: New York Fim Festival WITNESS (Peler Wei r) Summer '86: June 30 - August 22 Sragow, Michael. Journals: bea ri ng WI TNESS. 21 :3 May-J une '85, 5-6 , 8. Do you want to make films YEAR OF THE QUIET SUN, A (Krzysztof Zanussi) or sit in a classroom? See: New York Film Festival If you wa nt to ma ke film s, o ur intensive, Book Reviews interdi sciplin ary 8-week summer progra m is for you. Anger, Kenneth Refin e yo ur cra ft while earnin g a n M. F. A. Hollywood Babylon II . New York : E.P. Dutton, 1984. 21:1 Jan- in Filmma king. A workin g filmm a ker Feb '85 , 76-77. rev. James Toback. will be your ad visor, while a ll the o ther Bach, Steven arti sts- p ho tographers, sculp tors, Final Cut: Dreams and Disasters in the Making of 'Heaven's com posers, writers, a nd pa inters will Gate : New Yo rk: Wm . Morrow , 1985. 21:6 Nov·Dec '85, be your responsive a udience. 48·50. ill. rev. Anne Th ompson. Boorman, John J!~ Money into Llghf: THE EMERA LD FOREST, a Diary. London: Faber and Faber, 1985 . 21:6 Nov·D ec '85, 47 · 48 . ill. Graduate School of the Arts rev. Jay Cocks. atPARD Cahler. du Cinema Cahiers du Cinema, the 1950s: Neo-Rea/ism, Hollywood, 1860-1985 : 125th Anniversa ry Yea r New Wave. Cambrid ge, Mass.: Ha rva rd University Press, For a descriptive brochure a nd a pplica ti on 1985. 21 :6 Nov-Dec '85, 35-37. ill. rev. Da vid Thomson. write: Milton Avery G raduate Schoo l o f th e Arts, Bard College, Box FC Clment, Michael Anna ndale-o n-Hudson, NY 12504 Kubrick . New York : Holt. Rineha rt. Winston, t 983. 2 t :l Jan- Or ca ll: (9 14) 758-4105 or 758-6822, x-1 33 Feb '85, 76-77 . rev . James Toback. EIII., Bret Easton Less Than Zero. New York : Simon and Schuster, 1985. 21:6 Nov-Dec '85 , 44-46. ill. rev. John Powers. Hyman, B.D. My Mother's Keeper. New Yo rk: Wm . Morr ow, 1985. 21:6 Nov- Dec '85 , 38-40. ill. rev . Daphne Merkin. Mcinerney, Jay Bright Lighfs, Big City . New Yo rk: Vi nlage. 1984. 21:6 Nov-Dec '85, 44'-46. ill. rev. John Powers. Sturge., Preston Five Screenptays [ THE GREAT MC G IN TY, C HRI ST MAS IN JULY. THE LADY EVE, SULLI VAN'S TR AV ELS, HAIL THE CONQU ER ING HERO] , ed. Br ia n Henderson . Berkeley: Univ . of Calif., 1985 . 21 :6 Nov-Dec '85, 32-25 . il l. rev . Richard Schickel. 72

by bemoaning the very shows that overcame the sitcom heritage and tweaked the formulaic conventions: The Beverly Hillbillies and Green Acres. Despite the indignant squawks , audi- ences voted by remote control and creator Paul Henning made a lot of In Praise ofCanned Laughter money, but to this day the smug snooty- snoots are unaware of just how off-base they were. [t's as if the class nerd has been this end would be labeled as anti-realism. walking around for 20 years with a big by Jack Barth Realism? Realism? Is it realism when KICK ME sign on his butt. Happy Days' Henry \"The Fonz\" Winkler ost-cause hatchetheads may forever pauses for applause before delivering a ne country comedy from the Sixties was unassailed , however, and occa- L Odismiss sitcoms for not being G.B. line? How about when the flat, overlit set Shaw, but during the past IS years they of Three's Company glows like it's sionally even praised (until it was can- have missed both the rise of the New radioactive? Speaking of free-floating celed for lack of sophistication while still Wave sitcoms - marked by the return of hormones, how come the suggestively in the top 15). The Andy Griffith Show, live audiences and videotape's approxi- titled The Facts ofLife is about a bunch of later Mayberry R.FD. , plays as well mation of \"being there\" - and its subse- goody-goodies? today as it did 25 years ago. Mayberry quent exhaustion. The Big Lie Conspir- Paradoxically, \"realism\" has come to was too good to be true back in the acy had it that canned laughter was an insulting sham, and that only the laughter of a live studio audience validated the realism and excitement of a comedy. But it wasn't so much in the interests of immediacy that producers did away with The Andy Griffith Show and shows like it; it was to reduce costs. The \"theatricality\" of the New Wave, however, promised to give audiences the human contact that the filmed shows lacked-contact that. was first made in Norman Lear's All in the Family, which revolutionized the sitcom in 1971. It introduced topical themes. It utilized a three-camera stage set and was shot in sequence - in video - before a live audi- ence. It dispensed with incidental music. It all took place indoors , basically in one living room. The bright set, high-treble sound, and subversive repartee gave it a Griffith's Barney Fife and Thelma Lou. zippy presence. The whole thing con- gealed on the strength of four well- mean \"theatricality.\" The modern video Sixties, but still you could believe that it defined, three-dimensional main charac- sitcom has replaced the theatrical experi- might have existed somewhere, if you ters and the permutations of conflict ence. It combines actors pandering to an looked hard enough. Now Mayberry' among them. audience and TV's need for punchlines seems as remote as Shangri-La. If the The success of the show certified with the technological enhancements of past two decades of mutation altered this Lear's vision in the creative arena, as well editing and camera movement. The only North Carolina town like it did every- as demonstrating public acceptance of a thing \"real\" about the whole process is the where else, Emmet's Fix-It Shop would theatrical, joke-oriented vidcom with live laughter, and even that is coached sell satellite dishes, all the girls in town zero production value. Other producers and cajoled out of the studio audience, would dress like Madonna , the Darling saw dollar signs; in this popular new who fulfill their tacit contract to laugh at Family would be doing videos, and format, production costs could be tightly what the \"Laugh\" sign indicates are the Gomer Pyle would have AIDS. TV as controlled, even trimmed. Lear himself jokes. much as anything would be the likely sanctioned wretched spinoffs that con- catalyst of change in Mayberry, as images tinue to spawn. For the moment, video The pretentious devotion to realism of urbanity flow into their cozy parlors. sitcoms had an aura of class, even if they has its roots in the critical disenchant- couldn't duplicate the scripts or ment , of the Sixties. Ivory-tower But Mayberry would not be affected by characterizations that made All in the tubeaphobes like Newton Minnow progress like the rest of the country. New Family such a worthy trailblazer. Today, labeled TV a vast wasteland and called for ideas would be mulled like country cider, videotaping is so widely accepted that it a new sense of social responsibility in the and only if they seemed sensible, not seems suicidally unprofitable to shoot in medium that by then occupied an average fashionable, would they be adopted. film and cover exteriors . Any attempt to of almost half our waking hours. The Mayberry had an unmatched facility for effete defeatists paraded their ignorance assimilating new characters: lovable 73

addle-brain Goober replaced lovable frailty without gross exaggeration. The so claustrophobic that cars would idle in addle-brain Gomer, who joined the and gingerly back out. The show might participants often gushed that the show still be running today if star Freddie USMC; Emmet carried on when Floyd the was greater than the sum of its parts. Prinze hadn't let success and hot lead go Barber (Howard McNear, sitcomdom's They later proved it with an excruciating to his head. ABC was soon to hit the greatest character actor) got too sick; barrage of spinoffs and followups: Rhoda, steaming along, with its biting topicality Howard Sprague helped pick up the slack Phyllis, The Betty White Show, Too Close and its live studio audience. Prime-time when Deputy Barney Fife (five-time For Comfort, Lou Grant, and The Love sits couldn't adapt a trenchant approach, Emmy winner Don Knotts) left for a Boat. Even crusty Lou, whose \"dramedy\" or beam out live, but they could tape detective's job in Raleigh but really had a following, has to admit that the became the Incredible Mr. Limpet. Even Andy's string of girlfriends formed a The Cosby Show. natural and graceful succession - no bro- ken hearts, no bad vibes whatsoever. If synergy of M. T. M. imbued his character jackpot behind Fred Silverman, and Mayberry could accommodate this with a resonance and identity he could began to get in on the vidaction with bunch without changing its character, never duplicate. Welcome Back Kotter, Happy Days, and surely the assault of progress could be Barney Miller. Kotter was a Chico clone, handled with equal aplomb. A great virtue of M. T. M. was that with a stand-up star and long pauses for when it began in 1970, only Mary, laughter and applause. Happy Days A Return to Mayberry telefilm will be the moral center, was played by an actress began in film but converted to video. The shot this year. The script comes from strongly associated with another role, difference in pacing and believability Everett Greenbaum and Harvey Bullock, that of Laura Petrie in The Dick Jizn Dyke between those early shows and the vanity two of the Griffith Show's chief writers. Show. The others were blank canvases production it later became is striking. While other updates , like the poignant, who developed with a splash of character- depressing Still the Beaver or the ization here and a streak of background Meanwhile, Saturday Night Live was ludicrously \"feminist\" I Dream ofJeannie there. But watching the show now in before an audience and presents the actors reprise, are mere curiosities - \"How did rerun, it's impossible not to see warm- that cute kid get so chubby and uglyr and hearted wiseguy Murray as the simpering as stars, not characters. That's almost \"How did Major Tony Nelson turn into captain of the Love Boat. As soon as cool, isn't it? Trapper John, who also turned into nebbish Rhoda succumbed to Hawkeye's somebody elser-Mayberry will be an Disease - sitcom character improves self By the late Seventies, ABC's Laverne unintentional but unavoidable barometer to eventual perfection-and became trim and Shirley and Three's Company ruled, of modern society. and beautiful, it was all over for her. and only M*A*S*H and the M.T.M. productions (Newhart, Mary offshoots) The Griffith Show was too well- The absolute quality of the show is were still shot in film. Mind-boggling conceived and limned for this to be a undeniable, but thanks to some ill- spinoffs like Fish and The Ropers were throwaway. Andy and the others will chosen career moves, the WJM-TV gang commonplace. Marginal entertainment know when they have gone too far and will never again seem the family they like One Day at A Time, Benson, Mork violated the fragile interpersonal once were. The new Mary tries to and Mindy , and Alice were scoring big. dynamics that made Mayberry America's duplicate and update the newsroom Diffrent Strokes would begin its roll hometown. If the same values can be format and looks just swell so far. Mary is toward a nine-figure syndication deal. found after 20 years of growth and decay, more cocksure, but still our Mary. Only Taxi and WKRP in Cincinnati (both then there is hope for us all. Generations from M. T. M. writers) would offer of Mayberryites have lived, worked, and M. T. M. became the cornerstone of the M. T. M. -quality characters and laffs. died there; 20 years shouldn't change most powerful Saturday night ever Whatever was making people watch the 200-plus years of behavior, just as humor assembled : All in the Family, M*A*S*H, shows, it certainly wasn't production of character shouldn't give way to yuk- M. T. M., The Bob Newhart Show and values. Video made a lot of sense. yuk humor. At least it better not, you Carol Burnett. CBS was hot and the guys. spinoffs would make them hotter. Of the The early Eighties saw a reduction in sits, only All in the Family was shot on half-hour humor. Adult soaps - offering The Andy Griffith Show was tremen- video, but this was the show that looked opulent costumes and sets along with dously successful and influential, but no like the future. their cutthroat hijinks-were on top. other show was able to exploit the same They sure looked better than a garage approach and still mine humor from it. At NBC and ABC, the vidsit explosion where the cars have to back out. Many of Get Smart entered our doors of percep- began. NBC scored with Sanford and Son the surviving vidsits were so awful that tion in 1965. Like the Hillbillies, Don (Lear) and Chico and The Man Games their continued existence could only be Adams' ineffable stupidity allowed for the Komack) . Chico's set, a gas station, was to sweeten the pot for syndication, which sort of zany plot improbability that would be anathema to dronish, non-sit/non- com Griffith pretenders such as My Three Sons or Family Affair. The accent in this Mel Brooks/Buck Henry creation was on humor, not realism; but the jokes relied on imaginative gags and the placing of Smart in appropriate situations, not verbalone-upsmanship . Mary Tyler Moore, on the other hand, relied less on situation than on the consistent behavior of its talented ensem- ble, who managed to portray human 74

now paid more than ever with the needs Get The perstar of cable stations. As sitcoms achieved of Vid------- C talogs. homogeneity, they fell out of favor. Now they still all look the same, but they're popular again. Go figure, huh. The cheap look of live video itself is not responsible for the decline in sitcom quality. Nor is the level of writing. The problem is the tendency to play to the live audience to get \"real\" laughs. Dialogues are reduced to thrust and parry in order to amuse a howling claque at the expense of millions of dial spinners. The modern sitcom owes more to Neil Simon than to the Andy Griffith Show. T he Cosby Show, which sadly lacks What a hunk! Big. . . . .• smart, the snazzy theme from the old Cosby show (\"Hoo-Lord!. ..\"); and too! No wonder the Movies Unlimited Video Cheers are the pick of the current crop. Cosby may not be a laff riot, but any show Catalog always plays the leading role in access as moralistic as this and one that kids still like, is unassailable. to great video entertainment. Order today. And Cheers is shot on film, and its classy, discover how exciting it is to live with a legend! wood-paneled set is meticulously lit. The show plays off an inherent sexual tension 1000's & 1000's of titles on VHS. Beta between its leads and strives for a combination of realistic, flawed human & Laserdisc-Nobody has More! (Catalog fees 1It order) behavior and Don Rickles-style wit. But, to make things easier for the studio The Classics (and Not-So-Classics) • Incredible like adult movW Endose an additional audience, the characters fall into predict- Rarities • Current Releases • Foreign Films. $3.50 for our spicy Adult Video Catalog! able grooves. Family Fare • How-To's • Documentaries. Norm, the fat drunk, expects a big Nostalgic TV Shows • Concerts • etc. We're The Moviest!® greeting from cast and audience alike 1o --,----------- - - - - - - - - - - - - - - - - - when he enters, and never fails to deliver Enclosed is S5.95 cash, check or money a clever way of saying \"Gimme a beer.\" Carla is nasty to customers and provides order (S10. outside USA). Send me your MOVIES UNLIMITED snappy chatter to keep the audience newest video catalog, plus periodic updates awake. When Coach, the lovable old retard, died, he was replaced with a o of new releases and sales items. 6736 Castor Avenue young retard, as if the audience Enclosed Is S3.50 additional (S9.45 total, demanded the sort of gags mental illness 113.50 outside USA). Please include your Philadelphia, PA 19149 can generate. adult video catalog. I am over 18 years old. 2151722·8298 The strength of Cheers might not be its oh-so-ballyhooed sophistication as Name ___________________________________________________ much as its attention to production values. Cheers would play far better if a Address _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ joke wasn't required every 20 seconds. If the show were produced for its own sake, City _ _ _ _ _ _ _ _ _ _ _ _ State ______ Zip ____________ and not for the amusement of a handful of yammering chowderheads, Cheers, the Phone ( IFe I © 1985 Movies Unlimited Inc _ bar, could be the Mayberry of today. Secondary characters could be developed simply by showing them outside the bar once in a while. Carla could become a person instead of a punchline conduit. It's going to take a lot of guts to abandon live audiences. Knee-jerk indig- nation will greet a return to canned laughter, and the absence of any laughter, as on M*A *S*H, is too bizarre to contemplate. If live-audience sitcoms continue much longer, a whole genera- tion of comic actors, writers, and direc- tors are going to hopelessly screw up their senses of humor and timing-and ours. ~

Cooder Been A Contender by Elvis Mitchell Walter Hill and Ry Cooder. W alter Hill's Streets ofFire made a lot a fanciful curiosity and a fascination with thick and haunted ; the full , yet spare of mistakes, but perhaps bigger virtually every indigenous American finger picking and the muted pounding of than any of them was Universal's failure to musical genre. If Stewart Copeland can the gourds suggest a bastard, mutant release the movie's incidental score by Ry call himself \"The Rhymatist,\" as he did on version of music from the American Cooder. In a time when soundtrack his most recent album, then Cooder Southeast fully in keeping with the albums to such fine Universal films as should release a collection titled \"The bastard, National Guard troop which Airport '75 are still readily available, Musicologist.\" But that would make upsets the balance of life in the Louisiana Cooder's tough , lean compositions still Cooder's compositions and performance swamps and brings the sleepy fury of the sit moldering in a vault somewhere. But sound more removed and less passionate film's residents out in force. there are a number of bless ings that than they are. resulted from this: (A) the Streets However, Cooder pitched a spectacu- soundtrack that was released , featuring Cooder's soundtrack work with Hill lar curve on the Southern Comfort score. pop detritus by Jim Steinman (that's has let him extend his reach into the Included with the appropriate ethnic right, Jim \"Two Out Of Three Ain't Bad\" American backwaters of sound. After The instruments and Cooder's thoughtful Steinman, the man who made Meat Loaf Long Riders, Cooder worked on Hill's bottleneck guitar is a shakuhachi, a what he is today) stiffed as badly as if Southern Comfort, and the eerie, lan- Japanese flute , that adds an important economic sanctions had been enacted guorous chords he played were both and unexpected element of spiritual against the album; (B) Cooder and Hill exquisite and powerful. (Shamefully, the grimness to the score. This is not unusual are working together again, this time on a Southern Comfort soundtrack is also for Cooder- it's this resourcefulness that soundtrack to Hill's cinematic tribute to unavailable.) Cooder's compositions are makes his soundtracks rich and unique. the blues, Crossroads. The relationship between Hill and Cooder has been an extraordinary one, beginning with the spare, elegaic score that Cooder provided for Hill's peres wes tern , The Long Riders. Hill's tightlipped lack of pretension combines startlingly well with Cooder's own willful down-to-earth quality. And The Long Riders score was almost an outlaw among formula scores, possessed of an outlaw's rambunctious pride. It was complete in a way the film was n't, with a sharply controlled sense of irony. Its slightly mournful tone conveyed and commented on the end of an era, while simultane- ously celebrating the raw nobility of the James and Younger families. Yet Cooder may well be one of the few contemporary musicians to score movies traditionally, using music to fill a space and comment implicitly on the happen- ings onscreen. Randy Newman is proba- bly the only other, though his score for The Natural fairl y oozes a wantonly insincere respectability. So much so, in fact, that you almost wonder if he's playing a big joke on the film 's machine- tooled cornball sensibility. Cooder's approach may come from his charming eccentricity, which has mani- fested itself during his recording career in 76

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And the respect that Cooder has for the Cooder's first album, \"Ry Cooder\") in push through a remake of his blues based music he plays often supplies an extra Goin ' South, his second directorial effort. \"Hard Working Man\" makes Blue Collar layer of conviction for the movies that he The song stood out like a natural gem worth having, if you can find it.) After The scores , elbowing the film away from any amidst all of the forced musical and Border, Cooder met up with Wim possible condescension. theatrical capering. Wenders for Paris, Texas. Cooder almost gave a base to the desolate and vague One major beneficiary was Tony Cooder's The Border soundtrack ennui of Paris, Texas, using the aching Richardson's, The Border, which tee- included a heartbreakingly apt theme blues of Blind Willie Johnson as his tered dangerously between being a film song by Freddie Fender, a Tex-Mex starting point. Whereas the film mean- about racism and being a racist film. singer whose overly evocative approach ders and stumbles, Cooder's lushly Cooder's dry, plaintive Tex-Mex score-a had both catapulted him to fame, and, evocative score only seems to wander. sound for which Cooder has a particular because he chose to perform material not Supplying the only remote resemblance affection-captured the hollow reality of suited to his gifts , pushed him into the to narrative push in Paris, Texas, life at the Texas border and served as a area of pop-culture one-shot, and joke. Cooder's soft, romantic and Main, dis- considerable foundation for the film. But Cooder knew of the respect and tinctively small and rural music succeeds Border star Jack Nicholson had previ- affection which was-and still is- on a level that the glum and tentative ously used Available Space (a song from accorded Fender by real fans of Tex-Mex movie doesn't. music, a form obviously not very widely Norrotion heard. Cooder's trim subtlety and His musical style hasn't always been Fender's bright, bitter vocals echoed exactly appropriate. Because his score for in Light heavily over the film's final credits, a Hill's Brewster's Millions was contempla- subdued blanket of gloom tinged with tive and cool, it set the wrong mood Studies in hope. (Fortunately, The Border is availa- entirely for a diversionary, wish-fulfill- Cinematic Point ble on record.) ment comedy that starred Richard Pryor ofYiew and John Candy. However honorable C ooder began his film scoring career Hill's and Cooder's intentions, they were by GEOr\\GE M. WILSON working with Jack Nitzsche on the totally misdirected . The result was not soundtracks for Performance and Blue dissimilar to .. .well, to using Robert F ocusing on the ways a film controls Collar, the latter allowing Cooder an Johnson songs to score Laurel and the access of its viewers to its narra- opportunity to work again with Captain Hardy's antics in The Music Box. Two tive, George M. Wi lson lays out a Beefheart, with whom he'd toiled briefly wholly different dynamics were at work, new account of cinematic point of in the late Sixties. (Beefheart's growly each only serving to derail the other and vi ew and de velops h is theory ending with a score at odds with the through analyses of Long's You Only • THE ROYAL ARTS • purpose of the movie. Nonetheless, it Live Once. Hitchcocl<s North b y was an honestly handsome score. Norrhwest, Ophuls' Letter from 011 EXPERIENCE Un/~nown Womon, von Sternberg 'S Cooder came off better with his The Oevil Is a Woman, and f1.oy 's ~,'iff original score for Louis Malle's Alamo Bay, clearly a case in which his tone was Rebel without a Couse. STUDY THE HISTORY OF suited for Malle's pastoral treatise on the BRITISH FILM AT ignorance and bigotry that continues to Wilson 's interpretations reveal sur- fester in the Land of the Free. While prising comple xity In popular, major- LONDON'S ROYAL COLLEGE Malle plunked away at one note for the studio fi lm s. While NAf1.f1.ATIO N IN OF ART THIS SUMMER. entire movie, Cooder created an expan- LIGHT will con tribute significantly to sive, if weird, soundtrack to embrace the discourse on film , its engaging discus- Explore the British film rift between cultures caused by ambition. sions of individual films will delight industry, from its inception to The result is something that sounds like a scholars and nonacademic film buffs new brand of music: Asian cowboy blues. the present, in this special oIi1~e . course offered jointly with The composer hasn't released an album of new studio music since 1980's ,$22.50 UCLA Extension. \"Borderline\" (not to be confused with The Border). That makes those of us who call THE TWO THREE-WEEK SESSIONS: ourselves fans quite anxious over his JOHNS HOPKINS July 13-August 2 imminent blues-based compositions for UNIVERSITY PRESS August 3-23 Crossroads. Hill's summoning Cooder to fashion a synthesis of new music and gut- 701 West 40th Street, Suite 275 For complete information on bucket Robert Johnson blues is an ideal Baltimore, Maryland 21211 this and 1 7 other courses scheduled, write to: situation, and it makes Cooder unique in UCLA/ROYAL COLLEGE yet another respect. He is easily the only OF ART PROGRAM-FC, popular artist who has used soundtrack 10995 Le Conte Avenue, work to further his interest in music. No Los Angeles, CA 90024 or small feat, and one that more than makes phone (213) 825-9496. up for the perpetual slight given by the Academy, which proffers Oscar nomina- ~UClrl tions to pop-aberrations such as \"Say You, Say Me~ ~ • •~--==---- EXTENSION 78

Feature Films From Direct Cinema Limited Broken Rainbow ACADEMY AWARD Navajo who have already Produced by Maria Florio NOMINATION been relocated into tract and Victoria Mudd Contrary BEST DOCUMENTARY houses off the reservation , 69.minutes Warriors: A Film. FEATURE 1986 we explore the tragic and far- of the Crow Tribe reaching effects of this ill- BROKEN RAINBOW is about conceived program . the Navajo Indians of Arizona, 10,000 of whom are being \"BROKEN RAINBOW speaks relocated by the Federal eloquently for a silent minority Government. Through inter- and ... could lead to reason .\" views with traditional Hopi and Variety Navajo leaders, and with \"The no-nonsense, informative Cowgirls: Portraits CONTRARY WARRIORS narration by actor Peter of American Ranch chronicles the Crow Indian 's Coyote tells all one needs to Women century-long struggle for know about the attempted U.S. survival through a moving government subjugation of the The cowgirls in this new examination of the life of 97 Crow.\" Variety documentary are modern-day year old tribal leader, Robert women aged six to sixty, who Yellowtail. Produced by Connie Poten ride , rope, and tough out the and Pamela Roberts elements just as we ll as their In Her Own Time 60 minutes more famous cowboy counterparts. IN HER OWN TIME is a Produced by Vikram Jayanti A Film by Nancy Kelly personal as well as social and Lynne Littman 29 minutes exploration of Orthodox Directed by Lynne Littman Judaism in modern Los 58 minutes 1Number Our Days Angeles . This compelling Academy Award Winner document records the final Best Documentary Short 1977 spiritual search of anthropolo- gist Barbara Myerhoff in a way ..... . The film recounts the earlier that speaks to people every- collaboration between Littman where . and Myerhoff and their work with elderly Jews . Produced by Lynne Littman and Barbara Myerhoff Directed by Lynne Littman 28 minutes The Statue of ACADEMY AWARD compelling work deals wi th The Brooklyn Bridge Liberty NOMINATION two concepts The Idea and BEST DOCUMENTARY The Promise. THE BROOKLYN BRIDGE is The World FEATURE 1986 \"THE STATUE OF LIBERTY is a lionized in this visually brilliant, terrific piece of work. It mixes critically acclaimed, Academy of Tomorrow THE STATUE OF LlBERTYisa history and ideas. \" John Cory , Award-nominated lyrical , compelling and The New York Times documentary. provocative film that explores the history of the statue and Florentine Films the meaning of liberty itself on the occasion of the statue 's A Film by Ken Burns Florentine Films renovation . This definitive and 60 minutes 58 minutes THE WORLD OF TOMORROW \"An exceptionally perceptive Media Study New York looks back at the great New film essay .\" Vincent Canby, Produced and directed by York World's Fair of 1939 and New York Times Tom Johnson and Lance Bird the more than 40 million people Narration spoken by who glimpsed the future there. \"Intelligently encourages Jason Robards It uses home movies, news- speculation about the past that 83 minutes reels, cartoons, photographs transcends mere nostalgia.\" and vintage graphics to evoke Richard Schickel , Time that fragile moment when the world stood poised between the Depression and World War II For information contact : ~, ~ Direct Cinema Limited CInema @ PO Box 69589 limited Los Angeles , CA 90069 (213) 656-4700