VOLUME 24 - NUMBER 02 MARCH-APRIL 1988

imize black experience like Cry Free- dom? This is about overcoming oppression and fighting for optimism. It's about the oppression that was and still is. South Africa is not a democracy. For over 300 years the white minority have ruled over the black majority, and they haven't done it through democratic means: Black people can't vote, they wouldn't have the right. The story could apply anywhere-to Britain, America-anywhere there's racism, which is an international problem. Why isn't there a black African pro- tagonist? Well, we're all waiting for that. I think it's important, but this is actually a beautiful story that happens to be by a white person. The crucial thing to re- member is that in 1963 the South Af- rican government took very strong measures against treating black people equally, and that's the way the film shows it. There should be a film about South Africa with a black protagonist. We're just dying for a great script. If I could help I would. W hat difference do you find be- tween directing documentary and fiction? Documentaries in Britain are made because under legislation we have to make so many documentary films a year on Channel 4, sse, etc. But there's always a sense that you're ex- ploiting the people you're filming. It's a bit like your distinguished photogra- pher Bruce Davidson says, \"It's like stealing souls.\" And yet the way one wants to work is the way that Cartier- Bresson called it: being ready for \"the decisive moment.\" So it's not easy. Also in documentary you're never quite sure where your story's going to lead you. The wonderful thing about working on a feature that is well written is that there are surprises, but there' s a great sense of working out what you're trying to say first and not just winging it. How do directors and cinematogra- phers divide duties on a documentary ? The director has an idea, he makes the context, and sets it all up. But if you are trying to capture the real feeling of where you are, then both the sound person and camera person should be very involved, and prepared to hang in there and catch those moments. It's a different involvement for each, but equally intimate because ifit's not, you can't film your subject. You' re trying to

.£ Loach now, after your first films to- gether? Jodhi May and Barbara Hershey in AWorld Apart. Ken's still the same. If you're shoot- catch something real and not be seen as bombarded with mortars, recoilless ri- ing in 16mm, he will not want the cam- ml a threat to the people you're filming. fles, and God knows what. But I didn't era on a tripod. He wants you to have On Adrian Cowell's films, sometimes I have an assistant, so I had to do my own it by you at all times. If you go to tea or Imon would co-produce, sometimes I was loading and pull my own focus, which anything, you carry the camera with ,lovel just cameraman, but all those films meant that when I shot the film, most you and you must be ready to shoot cas were made with the sound as a very im- of it was with long lenses. If you hav- sound immediately. Whether we were portant ingredient in the shooting. en't got anyone to pull focus, it's easier doingBlackJack, Poor Cow, Kes, Looks I They are actually about people talking to shoot this way. It also allows you to and Smiles, or whatever, he always about and experiencing things. It's let the microphone get nearer, but then wanted the camera way, way back and ,~ what I call \"wobblyscope\" because you can't really see everything going on he wanted it ready. eVI everything is shot hand-held to catch around you, because by necessity the information. camera is quite tight. So then you start What's Loach' s position in British cin- filr looking about from person to person for ema? abl Whose vision is finally realized in a mannerisms to shoot. You try to en- documentary ? compass the whole scene by panning Just like Raoul Coutard and Godard '~ and tracking the camera-and I think and Truffaut had a big influence on an At the moment of shooting, it's the that's what Roland liked. And also I'd cinema in Europe and America, I think sound person and the camera person. been involved in Vietnam and Laos Ken Loach has had an enormous influ- ,~ They either catch the scene or don't. I during the fighting, and he liked that. ence in Britain. Ken's work is much remember working with Allan King, like Ermanno Olmi's in style and with ro the Canadian documentary director, How did you two arrive at the great that sort of commitment to filmmak- ' Cc who said, \"It doesn't matter if the per- power of the DeNiro-Quinnfight in The Ing. son you're filming is not talking. Some- Mission? cti times the person listening is more Have any other photographers orfilm- interesting than the person talking.\" I didn't choose it. Roland did. makers influenced you? WI He said to take your time and not rush There's no doubt about it, I would to find the speaker. At the shoot the have done it the same way, because I think we're constantly influenced 'Q sound and camera person can be incre- we're both great admirers of Ken by cinematography, still photography. dibly perceptive, but in the end, of L(')ach. He's taught filmmakers in Brit- It's a fertile flow of ideas. I also spent ra course, the film goes back to the direc- ain an awful lot. We also both respect four and a half months doing second tor, who edits it, joins things together, the way Loach would have gone about unit on The Empire Strikes Back under 'T, selects, and changes everything. At the the scene. The way to handle it is to Peter Suschitsky. I've been quite time of actual work it's like great par- give the actors freedom. And DeNiro lucky. to be taught well by a lot of peo- s ticipation. was great. I saw him walking down the ple. i) street toward the set-up, and he was How did your association with Roland really wound up! That's what Roland Singing the Blues in Red and High I I~ wants, not just to let the camera push Season remind me ofsome of Coutard' s ir Joffe begin? its nose in the way and cause compli- color Godardfilms. Is Coutard a favor- e I got the job on The Killing Fields be- cations for the actors. Our job is to catch ite? the reality that is created. Get on with I~ cause of Opium Warlords. Cowell and I it. And the tension among the crew is I think what everyone likes about went off into the jungle supposedly for as much as among the actors, believe the early Coutard work is that he let the ij six months , north of Thailand, to find me! That's the way Roland works, and camera be free and he found decisive A out how the opium was being run down Ken works, and some of it has rubbed moments, catching words. That means to the heroin factories. We got stuck up off on me. sometimes you have to say, \"Bugger A there for a year and a half among skir- the lighting-I'm just going to put mishes between remnants of the Was there a difference in working with something up on the ceiling, and I, Kuomintang and runners of the opium bounce it off, and catch what the actors business. They were being heavily are doing without actually stopping, ( and just let the camera follow.\" I did Bloody Kids with Stephen Frears where t the camera just roared around, and I'm sure Coutard had a big influence on that. Then I went on to do documen- taries in the style of the Maysles Broth- ers and D.A. Pennebaker and people like that. To me what's important about light is: Can you believe what we're doing, and where we are, so that everything the actors say is taken for granted? And the way one tries to do it is create light that glows-soft, hard, or whatever, but something that's believ- able, that perhaps has mystery in it. I assume you're a great student ofdoc- umentary. Do you see a lot? Yes. I see everything. ~ 50

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by Robert Sklar a little interest. casional drama have previously been How times have changed. For much adapted from movies, two recent, in- T he sultry, dark-eyed housemaid novative theatrical productions, Ta- headed for the door. \"Follow of the rapidly diminishing 20th cen- mara and an experimental work based that bitch!\" a young woman be- tury, most self-respecting aesthetes on The Cabinet of Dr. Caligari, are ex- side me hissed to her companion. I had considered film as mere entertainment amples of a trend in theater to utilize the same thought, though not exactly alongside the high art oflive, stage per- film more directly, both in name and in the same words. We scurried after formances. Now the tide has swung. form . her. Heavy thinkers from Sergei Eisenstein to Susan Sontag once pondered the dif- I t may take a lot of chutzpah to call This happened at Tamara, the pro- ferences between stage and celluloid, that paltry thing, a mere theater duction billing itself a \"Living but it's hard these days even to stir the work, a Living Movie, but Tamara is Movie. \" Living Movie? Come on, interest of the Sunday arts section on not exactly your typical stage play. It what won't these hype artists think up the issues. Upscale critics take to the opened in Toronto a few years ago in a next? Anybody can see it's a play, you highbrow journals to tell us that theater historic bishop's residence, with actors know, theater-the medium the mov- is boring, stale, elitist, expensive, and dashing from room to room and the au- ies superseded. They're just trying to it's hard to find a taxi after the show, dience panting along behind them. borrow the aura of film art to pump up while film is the brave, new, lively, ex- The Los Angeles production plays in citing art. an American Legion Hall, and in New York the \"stage\" spreads over three While Broadway musicals and an oc- floors of the Seventh Regimental Ar- mory on Park Avenue. Two, three, four scenes occur simultaneously, and audience members can choose which actors to follow, under prescribed ground rules. \"Follow that bitch!\" indeed. Have you ever sat in a movie theater when characters left the screen and you wanted to follow them? It wasn't only the spilled Coke on the floor that kept you stuck to your seat. Ever since the movies began there's been a war in our heads between the illusion of life they create and our knowledge that what we're watching is a past performance recorded on two-dimensional strips of film. People may have laughed when the rube Uncle Josh in Edwin S. Por- ter's 1902 film tears down the movie screen trying to get at the woman proj- ected on it, but most of us have to rec- ognize at least a twinge of the same feeling. Then what about this \"Living Movie?\" Maybe it's not hype at all, but the height of philosophical profundity. All the movies we've been watching for the past 90 years or so have been, in this sense, \"Dead Movies,\" recordings of things that happened in a bar':l-like Hollywood building months or years ago. No matter how much you might wish to \"follow that bitch\" out the door and off the screen, you'll never, never, never be able to do it. A few filmmakers have chafed at this fundamental flaw in film art, or at least had the temerity to fantasize what if it

were different. Buster Keaton's char- delivered some funny lines, the friend taurant Le Cirque. During the second acter in Sherlock Jr. walks into the was the only one who laughed. The screen and gets tumbled about as shot rest of us were solemnly trying to stay act the wall-flies began to settle on changes shift him from ocean surf to invisible. chairs and benches right alongside the mountain top. In Woody Allen's The performers. Purple Rose o/Cairo, a character climbs As the evening went on, however, out of a film within the film and into the this became more difficult to do. No The melodramatic happenings, life of a woman in its audience. As sci- matter how seriously you had trained moreover, grow ever more exciting. ence fiction stories have already fore- for the event-and training was nec- The play, written by John Krizanc and shadowed, we're merely waiting for essary, for example, if you expected to directed by Richard Rose, concerns technology to catch up with our de- follow the chauffeur, who at one point two days in 1927 at II Vittoriale degli It- sires-someday there'll be interactive bounds up the stairs from the basement aliani, the villa of the Italian poet and movies where we'll be able to put our- to the second floor-you probably patriot Gabriele d'Annunzio , who is selves into the action and change the didn't take into account how they being held in a sybaritic form of house narrative as things go along. would ply you with a cocktail punch arrest by Mussolini's Fascist regime. and champagne before the show and To the villa comes the beautiful Ta- Meanwhile, there's Tamara, which during intermission, along with a mara de Lempicka, the expatriate Pol- if it doesn't satisfy our individual fan- sumptuous meal presented by the res- ish artist, to paint d'Annunzio's tasies quite yet, at least provides a for- portrait. Already there are a variety of etaste, and for whole crowds at a time. would-be and has-been artists and lov- It's interesting to think about it as a fac- ers, as well as clandestine Fascist and simile of things to come. It is, however, anti-Fascist agents. A further plot is decidedly a public performance- there are only rare moments, and prob- ably not very important ones, when a spectator is likely to be alone with a performer, as one might be with film. As a \"Living Movie,\" then, Tamara had some of the feeling of a motion pic- ture shoot-not so much the Holly- wood fictional kind, but more like a Sixties-style cinema verite documen- tary. What the experience reminded me of most, in fact, was Real Life, Albert Brooks' 1979 film spoofing \"direct cin- ema\" documentaries. This was a send- up of a controversial public TV docu- mentary about an American family. Brooks and his crew arrive at the sub- ject family's home with special \"non- obtrusive\" equipment-space adven- ture-style cameras that fit like helmets on the camera persons' heads. Various tragicomical consequences follow. W e, in the Tamara audience, didn't wear space-age cameras on our heads, and in general we be- haved better than Brooks and his film crew. We were in fact like the prover- bial cinema verite \"flies on the wall,\" ever-present at momentous happen- ings, but as if invisible to the partici- pants. Being such wall-fly observers, indeed, made most of us inhibited about responding to the action, other than, of course, dashing about. One fellow-fly I happened to know was ac- quainted with an actor. When the actor 53

gradually unveiled to persuade the and director-\"to invent a new me- movies are being turned into stage pro- poet to flee to England and take a pub- diu~.\" Even if he succeeds, Living ductions (of the traditional not Living lic stand against the Fascists. There are Movies probably won't put Dead Mov- Movie kind, the latest being The Pawn- indeed more sexual, aesthetic, and ide- ies out of business; what they'll do is broker) as there are plays being made ological intrigues and debates going on pump some new vitality into heavy into movies, it's fitting that Caligari has than could comfortably be fitted onto thinking. The etiquette of voyeurism finally come down from the screen and the old-fashioned proscenium stage. hasn't posed such challenging philo- made it onto the boards. sophical problems since the invention It comes to a head when all ten per- of nude beaches. The production was mounted at La Mama E.T.C. in Lower Manhattan by formers and however many dozen au- Back in the days when the question Creation, an experimental theater dience members crowd together in the of what was cinematic and what company, and adapted and directed by entrance way and a fatal shot is fired. was theatrical still could cause barroom Susan Mosakowski. Though Crea- One young woman-maybe the same brawls, some debater was always likely tion's aim is also to develop \"new per- one who whispered \"Follow that to bring up the 1919 German silent formance concepts,\" it made no claims bitch!\"-became so agitated that her film, The Cabinet of Dr. Caligari. for Caligari as a \"Living Movie\"- sotto voce comments escalated into vo- \"Expressionist classic,\" half the room there was no champagne, for one thing, cal exclamations: a breach of cinema would shout, \"too theatrical,\" would and the audience sat in bleachers; we verite decorum, as a few of her fellow cry the other, and they would have at could have benefitted from running wall-flies were forced to remind her. each other once again. In this era of me- around, because the night I attended dia mixup, when probably as many there wasn't even heat (granted the According to the program, it's the work was supposed to be chilling, but still... ). ambition of executive producer Moses Znaimer-a Canadian, as are the writer In decor and costuming, Caligari the play made an effort faithfully to repro- duce Caligari the movie-many of the famous scenes of the film's fictional town, Holstenwall, with their skewed, off-angle Expressionist architecture, were refashioned on the big open stage of the La Mama Annex, along with the triple arches and the black-and-white floor of its insane asylum courtyard. (The film's design was by Hermann Warm, Walter Rohrig, and Walter Rei- mann; the play's sets by Tom Dale Keever). The actors who played the Doctor and his somnambulist foil Ces- are could have won look-alike contests for Werner Krauss and Conrad Veidt (costumes by Richard Curtis). In what sense, however, can a 1980s stage performance be \"faithful\" to a 1919 silent film? In spirit, is the best an- swer, rather than in an effort to make a Realist copy. The play attempted to suggest the film's spatial and temporal movement through lighting effects: Portions of the stage were spotlighted to represent individual shots and scenes, while in other areas performers remained motionless, \"invisible\" in the dark. Music (by Wayne Horvitz and Robin Holcomb) and spoken lan- guage were utilized in the theater work as they were not, of course, in the orig- inal, but in an Expressionist style and mood. The film's theatrical aspect laid the ground for the stage production's filmic qualities. The storyline exhibited a similar combination of faithfulness and inno- vation. Among the additions were sev- eral elements that seem to have found their way into the play from later films S4

NOSTALGIC SCI-FI & dealing with German history, particu- HORROR ON VIDEO! larly Cabaret and Syberberg's Our Hit- ler. A nightclub performer brings ONE OF THE Twenties Berlin-style decadence to GREAT. the proceedings (in the cast list she's called Lola Lola, so add a little Blue An- HORROR CLASSICS OF OUR TIME! gel to the mix). She carries around a HoRRoR. Hitler doll , which ends up, along with several of the performers, in Cesare's CHAMBER coffin/bed/carrying case. The film's OFDR:FAV.s-TIfj''' ambiguous linking of madness and Our most current poster catalog , iiniste.- £inema ~® power is given a specific historical con- 44 pages (8 '12\" x 11 \") with over 300 notation, perhaps even into our own photos & accompanying text With over 500 shock filled titles available, time. This is the Caligari of Dr. Kra- (about 85 in full color, including Sinister Cinema is truly the leading source for cauer: From Caligari to Hitler to.. . front & back covers!). Mailed your favorite sci fi and horror oldies on video, with outside wrapper on receipt Just send $2,00 for our eye popping catalogue, What role does the film medium it- of $7.00 U.S. funds by first class or receive it free when you order any of the self play in this linkage? Visual and ver- following films at the reduced price of , . bal references to film were scattered mail. throughout the production. A magic Our new location, a gallery on $12.95 ~~~E lantern projects images, and, at a scene 1932-F Polk SI. (near corner of change, a character intones, \"This is a Pacific Ave.), San Francisco, CA 1, FLESH AND THE FIENDS (1959) flashback, flashback, flashback... \" 94109 . Open Mondays Peter Cushing Most significant, however, is film's through Saturdays, 11 AM to 6 PM Pacific time. 2. HORROR CHAMBER OF DR FAUSTUS connection to Francis, the asylum in- CINEMONDE (1959) Original subtitled edition mate who narrates the film-within-a- 3. THE MAN WHO LI VED AGAIN (1936) film of the original Caligari, who ac- 1932·F POLK STREET cuses the asylum director of being the Boris Karloff evil Caligari, who may be insane but SAN FRANCISCO, 4. FOUR SIDED TRIANGLE (1953) who may be incarcerated among the 94109 mad because he has perceived hidden Please add $2,05 per title fo r packag ing . handl ing . and postage. Specify VHS or Beta. California residents please add 6 1h% sales ta x. Sorry, not available in PAL. Make checks or money orders payable to: Sinister Cinema P,O. Bo x 777, depl . FC Pacifica , CA. 94044 truths. Questions ? ?? Call us at 415-359-3292 fuwFaradndciicsiiosnasstsoociilaiteeddewciotrh,oanreewo~fdtmh-e ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~; SUMMER WORKSHOPSble surrounded by jumbled piles of 35mm film. At various times he looks at The Leading Summer School for Film and Video Professionals film on the rewinds or holds a roll up to the light and scans through it. That's One-Week Workshops his diary, a character remarks. In the Producers Master Class Corporate Scriptwriting end, another added character-per- FilmlTV Producers Forum Introduction to Video Production haps a Fascist agent, like the one in Ta- mara-picks up some of the celluloid Complete Producer (lTVA) Acting for Directors and wraps it like tape around Francis' Directors Master Class Scene Directing Workshop mouth and then his eyes. Comedy Directors Workshop Scriptwriting Workshops Film, the self-expression of a mad- man? Film, which sees beyond ap- Screenwriters Master Class Editing the Feature Film pearances, and records forbidden Film Adaptation Workshop Casting for Actors & Directors secrets? Film, in the hands of totalitar- ian power-or perhaps merely the Comedy Writers Workshop Asst. Dir.!Prod. Mgr. Workshop modern state-a medium that silences and blinds? The theatergoer is left to The Workshop offers 50 one- and two-week professional classes each Summer ponder the questions whether films taught by the industry's leading directors, producers, cinematographers, camera like Caligari prophesy the future , or whether they are themselves symp- operators, actors, and technicians - many who have won Oscars. Courses run June 1 through August 15, 1988 toms of it. Or some other question en- Write or call for your free copy of our 40-page catalogue tirely. \"Caligari lives!\" proclaimed the press release for the play, as prophesy The International or symptom for our own time, or maybe Film & Television just a live performance on a stage. In those jumbled rolls ofcelluloid, as WORKSHOPS we race after the housemaid, in the Rockport, Maine 04856 (207) 236-8581 stage adaptation and the Living These programs supported by ARRIFLEX , KODAK & Panavision - Additional support from Cin ema Products , RaSCO , Tiffen , OSRAM , Lowel , Matthews, Sachtler, O'Connor , and Pant her Movie-long live the movie. Say, any- *one here remember the motion picture screen? 55

The 13th Annual Grosses Gloss by Anne Thompson The trick for the studios, which most of bellyftop (either ill-conceived or ineptly them pulled off, was to churn out modest marketed) after another. Tri-Star batted Big boys don't cry. That was 1987's hits that earned more than $15 million in two for 16 on the year; the De Laurentiis Christmas message from Holly- domestic rentals. \"With each passing sea- Entertainment Group went O-for-nine; wood. The major studios beat the son,\" notes analyst Michael Mahern, \"the and Cannon sustained a remarkable minis and indies at their own game of up- pattern of grosses rnore closely resembles slump, with 25 flops, no hits. The inde- scale adult films, proving they could both the way Hollywood used to look under the pendent distributors were not much more flex muscle in a time of glutted product old studio system: a few blockbusters and successful, with only two breakout hits: and keep the customers satisfied. The a lot of pictures performing in the middle Dirty Dancing, from video giant Vestron, year ended with a record-breaking $4.2 range,\" Each of the seven major studios and A Nightmare on Elm Street Part 3, billion in theatrical earnings. And this delivered at least one hit to counter its from 20-year-old New Line Cinema. without the quintet of blockbuster hits misses. Paramount, Disney, and Warner Only a handful of independent releases that had made 1984 the previous record Bros, (distinguished by stable rnanage- earned even respectable numbers. holder. Last year could boast only one ments) fared the best. Fox and Univer- megahit sequel (Beverly Hills Cop I l) and sal bided time, while Columbia and Home-video proved to be a powerful one late-breaking bloomer (Three Men MGM/UA (still recovering from corporate force in the marketplace. With video rev- arui a Baby). Still, as Variety's A. D. Mur- turmoil) brought up the rear. enues (both direct sales and rental royal- phy says, \"It's much better for the indus- ties) now outpacing theatrical earnings, try to have breadth and depth than a few Among the so-called \"mini-majors,\" Hollywood is gearing its product to a wider 'giant vacuulJl cleaners.\" veteran Orion came in fourth. But the oth- audience embracing people over 25. The ers flubbed theiropporrunity to grab more Spielberg-Lucas fantasy era is over; today, of the studios' market share, releasing one the kids who grew up on those films are in Fatal Attraction, Moonstruck, 56

their 20s and 30s, and hungry for more ma- Canby complained of overwork. The that needed time to build momentum. tu re stories. Last year showed that the stu- threatened director's strike caused a rise in Many movies lost their legs sooner than dios know how to woo Yuppies and Gray studio production early in the year; some they otherwise would have. And this in- Panthers alike. Further, video is not root- distributors held back pictures until the cludes \"in-between\" movies from major ing couch potatoes to their TV seats; it is usually less competitive fall season. Not studios-films like Cry Freedom, and The propelling newly enthusiastic grown-up this time: From late August through Princess Bride. \"They need to be posi- movie fans back out to the cinemas. Even Christmas, the floodgates were opened. tioned in a big way in order to break factoring in 5 percent inflation, unit admis- Most of these pictures were financed by through,\" says Cinecom's Ira Deutch- sions grew 6 percent from 1986. home-video and pay-TV companies, man, \"and they need time to gather which demand a guaranteed 4O-city re- steam. If Chariots of Fire had opened in \"VCRs and pay cable have whetted lease, plus print and advertising mini- 1987 it would have flopped.\" Right: be- people's appetite for movies,\" says Mar- mums (to create \"awareness\"), thus forc- cause exhibitors were bumping pictures vin Antonowski, former Universal distri- ing distributors from New World to from bigger to smaller screens as wave bution and marketing president. \"Indica- Transworld to waste valuable theater after wave of promising new pictures ar- tions are that people are starting to rent space, even for only one week. It made for rived . \"There's always the temptation,\" less; there's dissatisfaction with VCRs and chaos. How do you choose from among says Murphy, \"to put another film on.\" pay TV.\" As movie fans tire of fuzzy, Dogs in Space, My Life as a Dog, and worn-out cassettes, the exhibitors, led by Love is a Dog from Hell? The independents and mini-majors Cineplex-Odeon's chief Garth \"Vader\" have the advantage of being able to pro- Drabinsky (originatorofthe $7 movie tick- In this crunch, the majors did the duce movies for less cost. But being an in- et), have been improving cinema facilities crunching. They can afford the top mar- dependent doesn't bring discounts on nationwide. Movie theaters are more fun quee stars, the bumished high-concept print and advertising costs. And under in- to visit-and there are more of them than scripts, the good production values and tense market competition, without strong ever: more than 22,000 screens, up 23 per- expansive ad budgets, and they have critical backing (as Wish You Were Here cent from 1982. looming Christmas and summer pictures and Jean de Florette had), sellable brand to use as bargaining chips. \"If you don't names (Michael Caine for The Fourth B~t home-v~deo demand caused a man- open well,\" says Fox distribution presi- Protocol, a best-selling cult novel for IC production boom among indepen- dent Thomas Sherak, \"forget it.\" That Flowers in the Attic), or a high-concept dents that resulted in a 17 percent increase was fine for big sequels and strong stars hook (The Gate), the independents in 1987 releases-a huge product glut of (Beverly Hills Cop II, Predator, and The lacked the clout to pull screens-or view- more than 500 pictures. Even The New Living Daylights were the highest opening ers. Art films like Cannon's Barfly and Is- York Times' unflappable critic Vincent weekend grossers), but not for pictures land's The Lonely Passion of Judith Simpson, Murphy and Brockheimeron the set of Beverly Hills Cop II. 57

Hearne had problems landing the best show what the indies can do when they represented serious financial setbacks for screens, especially in New York, which have the right stuff. But most of the spe- their small companies. Meanwhile, the still has a shortage. Even Columbia's criti- cialty independents became victims of majors spent more and earned more from cally praised Hope and GLory had to open their own successes in 1985 and 1986. independent acquisitions like Raising Ari- in Greenwich Village. All summer long, When Island and Cinecom first harvested zona (Fox) and Can't Buy Me Love (Dis- New CenturyNista struggled to book the sizable market for adult quality Eng- ney) than most of the indies could have. space for Maid to Order, which might lish-language films, imitators grew like have been a hit of the magnitude of The kudzu and pushed up the asking prices. The majors reentered the adult arena Big Easy if the distributor had sold its The competition for product became so too: the increased numbers of adult pic- rights to Columbia as well. intense that many companies had to move tures from both majors and minors meant into the risky business of financing their head-to-head competition for what is still a Vestron's Dirty Dancing, New Cemu- own films . Thus weak performers like Is- limited audience. Slam Dance couldn't ryNista's The Gate, New World's land's Slam Dance, Goldwyn's A Prayer compete with Fatal Attraction any more Hellraiser, and New Line's Nightmare 3 for the Dying, and Cinecom's Matewan than Someone to Watch Over Me or Sus- pectcould. At Christmas, Fox's Broadcast EVE News and Wall Street divvied up the adults, leaving only slim pickings for Bar- POPPING bra Streisand's Nuts and Spielberg's Em- pire ofthe Sun. All the adult pictures suf- fered. In another year, the hits would have been bigger and the flops fewer. The production boom continues; the glut is far from over. It's nice that lots of people are going to the movies, but many \"soft\" movies (from Orphans and In the Mood to Near Dark) are being lost in the crowd. Or, rather, without one. 1:at's The Perfect Vision @ -the High End video journal for discrimi- Despite the odds against it, foreign nating viewers. We understand what video is about-creating the theatrical films staged a comeback in 1987. film experience in your home. Our goal is to drive forward the state of the LasseHallstrom'sMyLifeasaDog, a sen- video art. timental comedy about a young boy trying to deal with his mother's imminent death, We'll tell you why James Dean doesn't translate well to video. It's pan-and- hardly possessed the outward appearance scan, the process used to cut his Cinemascope films to fit the TV screen. In of a surefire hit. \"It had everything going Issue 3, John Belton's Pan-and-Scan Scandals explains how this process can against it,\" says Los Angeles exhibitor destroy the director's intentions and the actors' performance. Why have so Robert Laemmle. \"The title didn't sound many wide-screen epics of the fifties made it to tape or disc without their like much and subtitled films haven' t original stereo soundtracks? Ron Haver tells you, in his Saga of Stereo, how done that well. Although it's like a combi- Warner Brothers' destroyed many of its original stereo tracks. And Fox Film nation of The 400 BLows and Small fanatic Joe Caporiccio describes how he lobbied CBS / Fox for stereo on the Change, it couldn't billboard a brand South Pacific laser disc-and won. name like Fran<¥ois Truffaut.\" Its distribu- tors, Skouras, handled the film effective- In our section called Pure Television, Part Two of Dan Sweeney's surround- ly, but marketing cannot explain Dog's sound roundup examines the Aphex and Shure decoders; and Proton's 625 long life. Nor does the bundle of critics High End monitor is in review. High Definition television is defined for you prizes the film won. As with the phenom- at last, but when will it become a marketplace reality? Software reviews enon The Gods Must be Crazy, movie- include laser discs of Ruthless People, Room With A View, et.al.; and Alice goers simply told their friends they had to Artzt tells videotape prospectors which version of Chaplin's Gold Rush is see it. Skouras president Jeff Lipsky esti- worth digging for. mates the film will do $4 million in rentals, All this and more in Issue 3 of The Perfect Vision @ _ Just $22 for four quarterly issues ($35 US outside NA). Order by credit card at 1·800·222· depending on Oscar nominations. 3201 or 516·671·6342. Or send check or money order to: Four other subtitled imports performed V 1.:l11\\!)'4\\n~.=r @ strongly: Tampopo , the Japanese comedy Box 357, Dept. F, Sea Cliff, NY 11579 about noodles and sex; Claude Berri's epic drama Jean de Florette and its sequel, MQ/wn ofthe Spring, starring Gerard De- pardieu and Yves Montand; and the Ital- ian-Russian co-production Dark Eyes, starring Marcello Mastroianni. But many of the old foreign-film reliables have either retired , like Akira Kurosawa and Ingmar Bergman, or died, like Truffaut and R. W. Fassbinder. Federico Fellini's most re- cent film, Intervista, goes begging for a distributor almost a year after its comple- 58

tion . \"And no one has come in to take the Baby was Disney's first home run: it is dom of who's hot and who's not; they will Old Masters' place,\" says Orion C lassics' earning Tootsie-Ievel grosses. And in Jan- also rewrite the he ll out of their scripts. Tom Bemard. As it happens, Bernard's uary, Good Morning, Vietnam, starring When the French comedy Trois Hommes outfit and New Yorker Films are among Robin Williams, shocked the industry et un Couffin flopped at the U.S: box- the few distributors still loyal to foreign ac- when it roared into national re lease over office, Disney went ahead with the re- quisitions. The major independents have the Martin Luther King Jr. holiday week- make anyway-they knew it would work. largely abandoned foreign pic k-ups e nd with $11. 7 million. Disney led the Katzen berg also recognized that the com- (which don' t sell well to homevideo or ca- studios' market share in January with a edy's appeal was primarily to women. So whopping 30 percent. instead of packaging, say, three pricey ble) in favor ofsuch imported English-lan- Saturday Night Live alumni (well-liked by guage films as Mona Lisa and A Room with What gives? It's not just clever market- men ), they assembled an inexpensive en- a View. ing. It's casting. And confidence. In semble of two handsome TV stars (Tom choosing stars and directors, Jeff Katzen- Selleck and Ted Danson) and a likable Still, it is in the nature of these small dis- berg and studio chairman Michael Eisner comic actor (Steve Guttenberg). None of tributors to take a shred of hope and wave are willing to fly against the popular wis- it as a banner of economic independence. Plenty of foreign-language films are Samuel French's scheduled for release this year, and-who knows?-maybe a few will duplicate T HEATRE & FILM Dog's success. \"Quality foreign films had BOOKSHOPS subsided dramatically,\" says Island presi- PLAYS and BOOKS on the dent Russell Schwartz. \"Now there's a MOTION PICTURE INDUSTRY whole new crop of directors with some- thing to say.\" And , perhaps, film lovers sendfor a copy ofour hungry for something new to see. FILM BOOK CATALOGUE containing Business ofFilm • Directories • Screenwriting I t's possible to look at the 1987 boxoffice Screenplays • Directing • Cinematography in terms ofold and new. The old, repre- Biographies & Studies ofDirectors • Editing sented by studios like Warner Bros. and Lighting • Animation • SpecialEffects Universal, have the resources to depend on big-star relationships and big-budget Makeup • Acting • more packages. \"The traditional industry atti- tude,\" Mahern observes, \"is that one- Order by third of your movies will pay for the rest, PHONE: hence the reliance on megahits. You ac- cept that some pictures will be hits, some (800) 8-ACT NOW (US) will be flops.\" (800) 7-ACT NOW (Calif) Disney provides another model for the MAIL: new Hollywood. \" Disney's attitude,\" says Mahern, \"is that every one of their 7623 Sunset Blvd. movies should be commercially success- Hollywood, California fuL\" That is a revolutionary approach. Ini- tially lacking the resources of the more es- 90046 tablished studios, Disney embarked on a VISA • Me • AMEX series of low-risk ventures with polished, commercial, easy-to-market stories as- When in Los Angeles visit our signed to solid industry reliables like John 2 locations Badham (Stakeout) and Arthur Hiller (Outrageous Fortune). These movies 7623 Sunset Blvd. were well-crafted, produced significantly Hollywood,California 90046 below the 1987 industry average cost ($19 million), and then promoted by Disney's (213) 876-0570 top-flight marketing team. Mon.- Fri. l 0:00-6:00 Sat. 11 :00-5:00 Items: The studio nervily opened Er- nest Goes to Camp, starring TV's product- 11963 Ventura Blvd pitcher Jim Varney, against Beverly Hills Studio City, California 91604 Cop II. Ernest grossed $6 million its open- ing weekend by appealing to a young au- (818) 762-0535 dience who didn't want-or couldn' t get in-to see the R-rated Eddie Murphy pic- Mon. - Fri. 11:00-l0:00 ture. In July, Disney released Adventures Sat. 11 :00-5:00 Sun.l2:00-5:00 in Babysitting, directed by Chris Colum- bus (Gremlins' screenwriter) opposite Spielberg's lnnerspace; Columbus' film outgrossed his former boss's production. The Christmas smash Three Men and a 59

1987 Winners and Sinners Stone, 1. 9; Hot Pursuit, 1. 7; Three O'Clock High , 1.6; North (1987 domestic rentals in millions of dollars; source Varie ty; some Shore, 1.6; Death Before DishOlwr, 1.5; Bestseller, 1.5; Allan late December releases estimated by author) Quartermain and the Lost City of Gold, 1.4; American Ninja 2 : BLOC KBUST ERS: Beverly Hills Cop II, 80.8; Three Men The Confrontation, 1.4; The Allnighter, 1.3; Big Shots, 1.3; Ma- and a Baby, 80. lone, 1. 2; Armed Response, 1.1 ; Deadtime Stories, 1.1 ; Hello SMASH ES: Platoon , 69; Fatal Attraction, 60. MQ/y Lou: Prom Night II, 1. 1; The Kindred, 1.1 ; No Man' s Land, HITS: The Untouchables, 36. 8; The Witches ofEastwick, 31. 8; 1; Dead of Winter, 1; The Care Bears Adventure in Wonderland, Predator, 31 ; Dragnet, 30; The Secret of My Success, 29.5 ; Lethal 1; Sign '0 the Times , 1. Weapon , 29. 5; Stakeout, 28.4; Raw, 27; Broadcast News, 27; The BIG BUDGET DISASTERS: Jaws N-The Revenge (est. Living Daylights, 26.6; Throw Mommafrom the Train , 25; Robo- cost: $30 million), 10.8; Empire ofthe Sun (est. cost: $30 million), Cop , 23.5; Planes, Trains and Automobiles, 23; Full Metal Jack- 10; Over the Top (est. cost: $25 million), 8.3; Superman N : The et, 22.7; La Bamba, 22.7; Outrageous Fortune, 22.6; Snow White Quest f or Peace (est. cost: $35 million) , 8. 1; Masters of the Uni- (re issue), 21.3; Wall Street, 18; Mannequin, 18; Roxanne, 17.6; verse (est. cost: $20 million), 7.5; Ishtar (est. cost: $45 million), Summer School, 15. 7; No Way Our, 15.5; Blind Date, 15; Like 7.4; Angel Heart (est. cost: $1 8 million), 6.5; Extreme Prejudice Father, Like Son , 15; Adventures in Babysitting, 14.4; Revenge of (est. cost: $25 million), 4.3; The Sicilian (est. cost: $1 8 million), the Nerds, II : Nerds in Paradise, 14.2; Police Academy 4; Citizens 2.5; LeOlwrd Part 6 (est. cost: $27 million), 2; The Monster Squad on Patrol, 14; Can't Buy Me Love, 13.7; Cinderella (re issue), 13; (est. cost: $14 million), 1. 7; The Squeeze (est. cost: $19 million), I ; Hoosiers, 11.6; Black Widow, 11.5; Tin Men, 11.5; Raising Ari- Orphans (est. cost: $15 million), sub-I; Million Dollar MystelY zona, 10; Ernest Goes to Camp , 9.9; Benji the Hunted , 9.4; The (est. cost: $15 million), sub-I. Aristocats (re issue ), 7.7; The Big Easy 7.2; Born in East L.A. , 6.7; BELOW THE $1 MILLION MARK: September; Amazing Prince ofDarkness, S. 9. Grace and Chuck; 84 Charing Cross Road; Making Mr. Right; INDI E SMASHES: Dirty Dancing, 25; Nightnwre on Elm Campus Man; Walk Like a Man; The Fringe Dwellers; The Good Street, Part 3: The Dream Warriors, 21. 3. Father; The Princess Academy; Comic Magazine; Happy Hour; INDI E HITS: Flowers in the Attic, 6.6; Hellraiser, 5. 7; The Sweet Country; Meatballs 3; Defense of the Realm; Native Son; Fourth Protocol, 5.5; The Gate, 5. 1; Creepshow 2 , 4. 9; The Hid- Square Dance; Silent Night, Deadly Night, Part 2; The Gospel den , 4.5; House II : the Second Story, 3.3; Witchboard, 3.2; My According to Vic; Number One with a Bullet; Beyond Therapy; Life as a Dog, 3; Hollywood Shuffle, 2.4; Wish You Were Here, Hunk; Duet for One; The Assault; Rumpelstiltskin; Street Smart; 1. 8; River's Edge, 1.7; Jean de Florette, 1.4; Tampopo , 1. The Hanoi Hilton; Down Twisted; Three for the Road; Morgan DISAPPOINTMENTS (in relation to cost): Spaceballs, 18.8; Stewart's Coming Home; The Stepfather; Heat; Wild Thing ; The Harry and the Hendersons, 17. 1; The Running Man , 17; Batteries Barbarians; Steele Justice; Summer Night;Body Slam; Kangaroo; Notlncluded , 16; Nuts, 15; The Lost Boys, 14. 1;lnnerspace, 13.7; Waiting for the Moon ; Straight to Hell; Heaven; Man Facing The Princess Bride, 13; Overboard, 11 ; Baby Boom , 10; The Prin- Southeast; The Good Wife; The Garbage Pail Kids Movie;A Man cipal, 9; Critical Condition, 8.9; Hello Again, 8.4; Suspect, 8; in Love; End ofthe Line; Rita, Sue and Bob Too; Eat the Peach; Maid to Order, 3. 7; Teen Wolf Too, 3.2; The Chipmunk Adven- Cross My Heart; Date with an Angel; In the Moot!; Chuck Berry: ture, 2 .8; Evil Dead2 , 1.7; My Demon Lover, 1.6; NearDark, 1.3; Hail, Hail Rock 'n Roll; The Big Town; Amazon Women on the Maurice, 1. Moon; Castaway; Dancers; Wolf at the Door; Living on Tokyo FLOPS: Burglar, 8.1 ; The Believers, 7. 8; Project X , 7.7; Some Time; The Whistle Blower; I've Heard the Mermaids Singing; Kind of Wonderful, 7.3; Radio Days, 6.4; The Pick-Up Artist, 6; Slam Dance; Matewan; Man on Fire; A Prayer for the Dying; Hamburger Hill, S. 7; Back to the Beach, 5.6; The Bedroom Win- Positive J.D.; Steel Dawn; The Curse; Russkies; Deadline; The dow, 4.7; Less Than Zero , 4.5; Disorderlies, 4.4; Fatal Beauty, 4; Rosary Murders; The Offspring; The Outing; China Girl; Siesta; Light of Day, 4; From the Hip , 3.4; Someone to Watch Over Me, Scavengers; Pilwcchio and the Emperor of the Night; Walker; 3.4; Who's That Girl, 3.2; Death Wish 4: The Crackdown, 3. 1; Real Men; Hey Babu Riba; The Trouble with Spies; Deathrow Nadine, 2. 5; Wanted :Dead or Alive, 2.5; Hiding Out, 2.4; Surren- Gameshow; Home is Where the Hart is; The Virgin Queen ofSt. der, 2.4; Assassination, 2.2; Made in Heaven, 2.2; Gardens of Francis High. 1987 NORTH AMERICAN THE- ATRICAL RENTAL MARKET SHARES (based on Variety figures). Pa ram o unt: 20% Disney: 14% Warne r Bros.: 13% Orion: 10% Three Men and a Baby: boxoffice boom. 20th Century Fox: 9% Ten Best Marketed Movies of 1987 Ten Worst Marketed Movies of 1987 Fatal Attraction O y Freedom U niversa l: 8% The Untouchables Innerspace Full Metal Jacket Harry and the Hendersons Tri-Star: 8% Roxanne Baby Boom La Bamba Hoosiers C o lumbi a: 5% Tin Men The Stepfather Three Men and a Baby Born in East L.A . MGM/UA: 4% River's Edge Nadine Outrageous Fortune Orphans New World: 1. 9 % Stakeout Street Smart New Line 1.8% Vestron : 1. 8% DEG: 1.6% Cannon: 1.3% New Century Vista 1.0%

SURPRISE HITS-SLEEPERS these actors could have carried the picture THE LIBRARY SERIES on his own, but they made beautiful Pam- Fatal Attraction pers together. Dancing on the Edge of Success with My Life as a Dog dancer/choreographer Margaret Jenkins Dirty Dancing Casting was also crucial in Good Morn- • Women by Women at San Francisco 's famed La Bamba ing, Vietnam. Having rehabilitated Bette Galeria de la Raza, Latino women speak No Way Out Midler's career, Disney figured it could in- about their art The Big Easy tegrate another brilliant standup come- The Gate dian-Robin Williams-into a war com- • How to Market a Body of Art-guidelines Adventures in Babysitting edy-drama simply by letting him be his Ernest Goes to Camp unfettered self It didn't matter how weak from the studio to the market place Can't Buy Me Love the supporting vessel was. All the audi- • Interviews with Artist Program I-Survival Mannequin ence needed to know was that Williams was playing a wise-ass disc-jockey flouting Research Laboratories mechanical per- MADE BY CRITICS authority, and they were hooked-and ul- formances, Lucy Lippard discussing cultural timately gratified. Through other smart responsibility plus 5 more Broadcast News strategies, Disney went nine-for-lO last Interviews with Artists Program /I-three The Big Easy year; only Shelley Long's Hello Again was minority artists reveal their genesis and The Princess Bride a disappointment. Just on percentages, no motivations Jean de Florette movie company has come that close to Interviews with Artists Program /II-from Wish You Were Here batting 1,000 since the old studio system performance art to doll making to the Church Tampopo broke down. of the Subgenius No Way Out Roxanne Paramount didn' t have to be as brilliant Enlightening· Entertaining· Economical Last Emperor as Disney. The 1987 boxoffice champ Hope and Glory could keep generating fancy·sequels (Cop VHS • Beta· Video 8 The Dead If) , updates (Fatal Attraction), and TV re- I.V. Studios 985 Regal Rd. Berkeley, CA 94708 makes (The Untouchables) , while relying HURT BY CRITICS on producers Don Simpson (Cop If) and Call or write for catalog (415) 841-4466 John Hughes (a defector to Universal after Wall Street Some Kind of Wondeiful and Planes, From Painting by John King The Sicilian Trains and Automobiles flattened out at Nuts the boxoffice) and star Eddie Murphy Angel Heart (Cop II, Raw). The studio also managed Cry Freedom to convince director Adrian Lyne and his Empire ofthe Sun cast to shoot a more audience-pandering Walker finale to Fatal Attraction. VoiLQ! Boffo! Making Mr. Right The upscale horror movie cadged $130 Harry and the Hendersons million, second only to Cop Irs $150 mil- lion. Not every studio could have exerted CRITIC-PROOF that clout on its creative folk . Well, maybe Disney. And we know where Eisner and Raw ,Katzenberg came from. Throw Mommafrom the Train Dragnet The cleverest hits appealed to more Can't Buy Me Love than one constituency. Most of Variety's Ernest Goes to Camp top 20 releases were action films with adult Adventures in Babysitting and teen appeal (Cop II, Predator, Full Like Father, Like Son Metal lacket) that could pull in women as Summer School well (No Way Out, The Untouchables , Le- Predator thal Weapon). Warner Bros. and Para- Secret ofMy Success mount wisely utilized the pedigrees of Beverly Hills Cop II Stanley Kubrick and David Mamet, Brian Mannequin DePalma, Robert DeNiro and Sean Con- nery to dress up their action pictures Full BIG-STAR FLOPS Metal lacket and The Untouchables for a wider adult appeal. But a quick look at the Surrender Variety list suggests that a teenage com- Ishtar edy or adults-only film can expect to earn Leonard Part 6 no more than $14 million in rentals. And Over the Top this applies even if the picture has break- Critical Condition out possibilities. Because of Orion's vio- Burglar lent comic book sell, Robocop did not Fatal Beauty cross over the way the Kubrick and De- Light ofDay Palma films did . HIT SOUNDTRACKS The studios kept leaning on movie stars (Murphy, Arnold Schwarzenegger, Mi- Dirty Dancing LaBamba Beverly Hills Cop II Less Than Zero The Lost Boys 61

chael J. Fox, Andrew McCarthy), and TV won't go near it. signed up with Warner Bros. stars (Mark Hannon, Bmce Willis, Tom So why has the Spielberg name lost so This did not help Puttnam, who had Selleck, Ted Danson, Shelley Long and Kirk Cameron), to sell their attractions last much luster? The answer may lie on TV, declared war on the industry's inflated sal- year, but binary teams and ensembles car- ried the day. Some, like Platoon, Full where Spielberg received so much of his aries and deflated ideals. Columbia's own- Metal Jacket , Robocop, and La Bamba , had no stars all. Jack Nicholson leaned on early inspiration. His 1985-87 series er, Coca-Cola, merged Columbia with its three terrific actresses in The Witches of Eastlllick; Cher shared Moonstruck not Amazing Stories was one of three prime- little sister Tri-Star pictures, naming Tri- only with Nicholas Cage but an inspired New York ensemble. Other winning time fantasy anthologies, and the weekly Star's Victor Kaufman as head of the new- teams surface in Outrageous Fortune, shows wore out the genre. \"It was over- ly formed Columbia Pictures Entertain- Black Widow , Wall Street, Dragnet, Blind Date, Lethal Weapon, Throw Momma milked ,\" says one producer. \"The anthol- ment. Kaufman's best friend, Coke board from the Train, Tin Men , Stakeout, and Planes, Trains and Automobiles. Among ogy shows raped the genre. Audiences member Herbert Allen, former Columbia the solo disappointments: Barbra Strei- sand (Nuts), Richard Pryor (Critical Con- were digesting a tremendous amount of chief Frank Price, and vet mogul Ray dition) , Goldie Hawn (Overboard), Burt Reynolds (Heat, Malone) , and Whoopi imagery.\" Besides, nobody lives on the Stark joined the Hollywood Millionaire Goldberg (Burglar, Fatal Beauty). same diet all the time. The cuddly or mys- Boys Club allied against the intmder. Baby Boom started out well in limited engagements but lost momentum due to tical sci-fi adventures have lately been Puttnam was iced and within weeks Price MGM/UA's faulty distribution: \"They had Mr. Mom and they let it get away,\" said boxoffice duds; those that have scored and Stark announced their lucrative pro- one studio president. MGM/UA treated the movie like a specialty item rather than duction deals at Tri-Star-Columbia. The a big-audience commercial hit with a strong concept. Diane Keaton grabbed Hollywood old guard-which includes great press but by the time Baby Boom went wide on Halloween (a bad moviego- new Columbia president Dawn Steel and ing weekend when the holiday falls on a Saturday), valuable momentum had been stands for everything Puttnam opposed- lost. The studio also targeted the very au- dience-yuppies with babies-that will has reclaimed one of its oldest studios. stay home to watch it on video. Perhaps Puttnam should have been Steven Spielberg's audience, to every- one's surprise, seems to have disappeared. mnning an independent company. But To judge from the precedents and formu- las, Harry and the Hendersol1s (E.T as one can't really judge his grand experi- Bigfoot), *batteries not included (a Lower East Side Cocoon), and Innerspace (a ment, because it was not allowed to con- Fantastic Voyage-style comedy romance) should have been in clover. But all three tinue. His ideas had merit; with Puttnam opened soft and stayed that way. Add to this the 1941-sized flop of Empire of the aboard , many non-mainstream produc- Sun, and you get an odd stat: For the first time in this decade Spielberg has released tions and acquisitions might have been a slate of films none of which will so much as break even in U.S. theatrical release. coaxed into making small profits-which Spielberg's track record as a producer- could eventually have accumulated into presenter has been spotty. (Well, bright- spotty.) Poltergeist, Gremlins, Back to the large profits for Columbia. Future, and the animated An American Tail were successes; The Goonies was a hit Things are returning to business as usu- but a disappointment; Young Sherlock Holmes and The Money Pit were flops; al: Put big bucks behind big movies (if it and Spielberg took his name off the iII-fat- ed Fandango. Until recently, though, the The Last Emperor. doesn't work, well, you tried) and over- studios believed that the Spielberg name had a star's marketing impact. Now it ap- (The Terminator, Aliens, Predator, Robo- spend on little ones (if they don't perform pears that when attached to a sci-fi fantasy, cop) function more as action-adventures in a few weeks, stop supporting them). it's closer to Walt Disney-teenagers than Spielbergian fantasies. Last summer, The majors aren't geared to fine-tuning when audiences lapped up Spaceballs, \"special\" pictures. Take The Last Emper- Mel Brooks' parody of the Star Wars saga, or, Columbia's leading Oscar contender. the message was clear; parodies often If the studio was trying to save money on come at the end of a genre cycle. As critic the film by pulling it from 131 theaters ten David Ehrenstein has suggested, the days before it was scheduled to go wide, Spielberg and Reagan eras, which fed off that logic bears some scmtiny. It cost near- each other so profitably, may have come to Iyas much advertising money to maintain a simultaneous, exhausted end. Prospects a movie in one theater as in 20. There was look iffy this summer for George Lucas- enough late-year hype, and The Last Em- Ron Howard's Willow, and Amblin'/Dis- peror's per-screen average was so high ney's Who Killed Roger Rabbit? , directed that it could have performed on more by Robert Zemeckis. For Hollywood, it screens before the height of the Oscar sea- may take years-and new filmmakers- son. \" I think we missed an opportunity,\" to bring whimsical fantasy back to life. says Hemdale president John Daly, who still remains optimistic that Columbia will Columbia Pictures can't wait that long. keep the film's best future at heart. The studio, under David Puttnam's Hope and Glory still bears the Puttnam brief regime, did ably market its two big- imprimatur. With the help of Columbia's gest hits: La Bamba, which lacked stars or distributing and marketing experts (who special effects but boasted the year's No.2 have since been fired), Columbia handled sound track, and the adult romance Rox- the critics' favorite well in most markets, anne, starring Steve Martin. But it also re- but its future is also in doubt. Without leased two of the year's biggest losers: Ish- help from Oscar, the studio will probably tar, starring Dustin Hoffman and Warren drop it like a stone. The only way Puttnam Beatty, and Leonard Part 6, which was so could have succeeded, as Disney is now bad that the movie's producer-star Bill doing, was by example. Then, and only Cosby (also a Coca-Cola spokesman and then , would the Hollywood animal bottling plant owner) disowned it and change its stripes. ~ 62

Charlie Dearest by Brian Taves functioned, it emerges, not so much as di- And [camera operator Wallace1Chewing Charlie Dearest. The lovable, sweet rectorial assistants, or even collaborators, would furnish his objective with a lens of guy with the bowler and cane? but as cinematic crutches to enable Cha- three inches. We repeat: Charlie notices Nah. A great dictator lurked inside pUn the peiformer to go through his paces. that the camera is now very close to him, the tramp and like many a dictator he attempted a systematic disinformation he continues to say his lines, but he campaign to deny full credit to those who \"He knows what he's trying to obtain doesn't seem at ease; suddenly he stops without however knowing how to express and asks: 'How can you see my feet, if you it; he doesn't see with a photographic are so close?' 1 explain to him that 1 had eye.... 'I wou ld like now to have a fore- asked Chewing to photograph with a ground close-up of my head, very close.' 35mm lens, but that he himself counter- 63

manded my order. He explodes, he oped an intense and early admiration for By this time, with the enormous popu- knows he is wrong, but that makes no dif- Chaplin, drawing posters of him for the- lar success of The Desert Song and God Is ference, he bounds in the other direction , aters and eventually working on imitations My Co-Pilot to his recent credit, Florey he also wants to show the little cat on the of his films in post-World War I Switzer- was in the forefront of commercial direc- ground and the female actress in the back, land. The two men first met not long after- tors, but he had just left Warner Bros. be- and the table at the left. His close-up be- wards in 1921 , when Florey came to cause of dissatisfaction over his latest comes an angle of 25mm. He is not America as a writer for French film maga- production, The Beast with Five Fingers. pleased. We film , we begin again, and be- zines. \"Charlot\" soon came to admire His experience in comedy was extensive; tween two takes, approaching the opera- Florey's talent as a filmmaker, sponsoring besides The Cocoanuts and half a dozen tor, he asks him: 'You have my head in the a Hollywood party in 1927 to exhibit Flor- lesser efforts, Florey directed the film of foreground in the whole scene, don' t ey's avant-garde short, The Life and Death Sacha Guitry's bleak racial satire, Le Blanc you?' Chewing tears his hair and consults of 9413-A Hollywood Extra, which et Ie Noir (France, 1931), along with such me; he is afraid of the 'bawling out' tomor- helped it gain commercial release. Florey boxoffice hits as Smarty (1934) and row, after the rushes. Knowing that we are subsequently became a contract director Mountain Music (1937). The latter going to reshoot this scene many times, I for most of the major studios. By the early starred Martha Raye, already selected give him the best advice under the cir- Thirties, after directing the Marx Broth- to play Chaplin's central foil in Mon- cumstances: 'Film twice more with the ers' debut in The Cocoanuts and adapting sieur Verdoux. 25 mm , the n the next time with the Frankenstein, Florey dissuaded Chaplin 35mm, then with the 4Omm, and finally, from attempting potentially embarrassing \"I had thought at first of letting you follow him everywhere he goes with the screen portrayals of Jesus and Napoleon. take full control,\" Chaplin told Florey, two inch. That way, he'll have his Florey labeled the test for the latter part but instead offered the position of asso- choice!' \" \" pathetic.\" ciate director, which, as the contract was to make clear, entailed the full re- Few Hollywood figures knew Charlie The two filmmakers remained in con- sponsibilities of serving as co-director. Chaplin better than writer-director Robert tact socially over the years. In the spring of This allowed Chaplin ultimate creative Florey. For a quarter of a century he was 1946, Florey and his wife were invited to control should their conceptions differ, counted among the comedian's intimates, the Chaplins' home for dinner. While yet permitted wholesale delegation of a friendship that culminated in Chaplin's Florey expected the same little tricks that authority while maintaining unshared choice of Florey to co-direct Monsieur had amused friend s for over a quarter of a writer-producer-director credit, keep- Verdoux in 1946. Florey's journalistic in- century, Chaplin instead outlined the sce- ing the public pretense of the single- stincts impelled him to leave a detailed ac- nario of his new film , Monsieur Verdoux, handed filmmaker. Florey, with his cou nt of the resulting tumululOus collabo- performing selected scenes and playing sense of hi story and remembering the ration in his 1948 history, Hollywood some of the music he had composed to ac- comic he had adored as a child, knew at d' Hier et d' Aujour' hui, and other docu- company them. Overflowing with ideas, once that to film beside \"Charlot\" was ments. He also wrote two other books spe- Florey borrowed the script, returning a a unique opportunity he could not re- few days later with 20 pages of notes. After cifically on C haplin, the first in 1927, and listening to some of his suggestions, Chap- fuse. in 1952 he co-authored (with Maurice lin responded, \"You should be the direc- But Chaplin had not worked before Bessy) a considerably harsher study; por- tor of my film. \" tions of these memoirs now appear for the with an established filmmaker who en- first time in English translation. joyed reputation and independence. All of Chaplin's prior assistants had Growing up in France, Florey devel- been individuals whose fame would come after their association with him. These included Monta Bell, Harry d'Abbadied'Arrast, A. Edward Suther- land , and Jean de Limur on such films asA Woman ofParis (1923) and The Gold Rush (1925), and Robert Aldrich on Limelight (1952). However, while Florey would never actually regret having accepted Cha- plin's offer, forebodings of difficulties soon arose. While collaborating on script preparations, Florey noticed that \"during brief instants [Chaplin] gives me the impression sometimes that ' his heart is no longer in it,' and that he forces himself to make people laugh. All this is felt in the cynical and disillu- sioned character of M. Verdoux.\" The comedian's nature changed complete- ly once shooting actually began, and Florey discovered to his dismay that his old friend was \"impossible to work with.\" \"Charlie ... has two distinct personalities. There is first Char- 64

J He often left the set after his scenes were finished, leaving Florey and the VerdoUX camerama . _• . other players to film the responst:s and reaction shots alone. '11 Totheroh (I.) . andFlorey. \"I pointed out to him that, later, he would only have, for his editing, ali es- lie ... that the whole world adores, the Roreyand Chap/in on Verdo tablishing shot and a close-up of him- Charlie who wants to please, to amuse, UXset. self and nothing of the actress to cut in to seduce. And the tyrannical, wound- with his close-up. He gets excited and ing, authoritarian, mean, despotic angry. What is the use of this cutting in, man, imbued with himself. One could etc., etc. We pass on then to the next attribute to him, by masculinizing it, scene. Around five o'clock, he has the verse ofCorneille, in the tragedy of finished and is getting ready to go Medea, 'Me, me alone, and that's home but, as if he wanted to do me a enough.' \" favor or do something gracious for me, he says: 'Robert, since that seems to The greatest problems arose upon mean so much to you, take, if you wish , realizing that, in spite of his long career this close-up of my partner after 1 in filmmaking, Chaplin was still woe- leave.' And then he gave me his fawn- fully ignorant of the technical side of like and malicious smile.\" motion pictures-a fault he would nev- er admit. Tension was probably in- Despite Florey's charm and the re- creased by his recognition of Florey's laxed atmosphere he encouraged on stylistic skills and talent for innovative the set, even his subtlest and most gen- camera work. Chaplin \"is the irrecon- tle attempts at correcting Chaplin's cilable enemy of all that is photograph- deficiencies were repulsed. The come- ic composition, daring camera shots. dian resented his technicians and assis- All that is not immobile in long shot, tants, treating them in a condescend- showing him from head to feet, is for Ing manner. him 'Hollywood chi-chi,' \" wrote Florey. Chaplin still believed in a fixed 65 camera position: \"My feet speak as loudly as my face,\" he would say, even as he made a film loaded with dialogue. Close-ups were invariably trouble- some: Chaplin would order ones of himself but deny them to other per- formers. \"People come to see me,\" Chaplin said; the remainder of the cast was of negligible importance to him.

\"When we were filming a scene dur- head of our enfant terrible and of letting and he threw it violently. The compa- ing which he was supposed to be play- ing the piano while exchanging dia- it germinate in him, until he could at ny was dismissed, and on reassembling logue with a partner, he insisted that the real pianist ... play during the en- last adapt it and bring it aut as his after the weekend everyone was tire scene, not only during the long- shots, but also during the close-ups of awn.\" shacked and disgusted to see that the the two actors. The sound man and the editor scratched their heads and looked Chaplin grew moady and dictatorial, cat, rather than being replaced , had at me, their eyebrows raised. I ex- plained to Charlie that we couldn't cut giving everyane around him constant been killed and stuffed-the easier to the scene, the sound man and the edi- tor gently did the same; Charlie, who instructians that .Often canflicted and/ rest in the comedian's arm. had his idea, didn't want to hear any- thing. But, since he is extremely intel- .Or made little sense. Detesting the \"Often, Charlie gets inta great rages ligent, later, after lunch, we filmed the same scenes, with the piano offstage, filmmaking apparatus, his methods which last .Only a few maments.... His which was , normally, the .Only way to go; but Charlie , 'master .Of the hause,' were erratic, jumping from one set to film is ruined, destrayed, it's a real can- had first done what he wanted and the way he wanted.\" another, ignaring the schedule to shaat spiracy. He has to do it all aver, that's Chaplin , as Flarey put it, was \"angry scenes .Of most interest to him. Wrote gaing to cast him an arm and a leg-all that we could even have a daubt about his infallibility .Of judgment\"; nanethe- Flarey: \"We film the scene .Once, ten because a carner of the set seemed a lit- less, on such occasions, he wauld order a retake, utilizing the suggestions he times, 30 times.... After the 35th take tle dark. And then the storm passes, he had .Originally rejected without ever ad- mitting he had been wrong. \"Thus, Charlie says to me: 'Rabert, just .Once films a scene that pleases him, every- 'honar' was satisfied, and after all ... 'The King can da no wrong.' It was more, to be sure.' We are sure around thing is better, he smiles, he is cantent, a matter of 'planting' the idea in .the the 50th take. 'Sure' at least far that he is gracious, charming, enchanting, day, but tomorraw after the shaating, if and what an enchanter.... Probably to Charlie isn't campletely satisfied, we .Obtain camplete fargiveness, he begins will start aver again.\" Sametimes Cha- to play far us .One .Of his pantomimes, plin would disappear for days, .Often to and everybady splits their sides laugh- Catalina, without advance natice to ing.... Everyone is pleased, at least cast or crew. He wauld simply dispase until the next thunderbalt, which will .Of mast .Of the foatage the company had strike in five minutes.Or three days, de- tried to shaat around him during his ab- pending an the will .Of the master.\" sence. It was nat surprising that by this time Chaplin's methads were ruthless to- Chaplin had few friends in the indus- ward thase working with him, even the try. He ultimately spurned even thase most helpless. One afternaan, while most devoted to him. Edna Purviance shaating the film's .Opening scene, a was rejected far the role in Monsieur prop cat he was halding scratched him, Verdoux that was eventually taken by 66

•• ~notJom co -cha irm en Jay Ch iat., ad man Henry Wolf., designer, photographer & Tony Brignull. advertising creative director Fred Carr, in vestment strategist Dick CavetL entertainer Kin shala Conwill. mu seum director Jim Croak, artist Franc;ois Dallegret, desip;ner Lou Danziger. designer Liz Diller. architect Jason Epstein . editorial director Lauren Ewing..scul ptor Dennis Farrier, scientific developer Mildred Fried man. design curator ROI?: Goldfarb., career counselor Howard Hiatt. M. D. Gerald Hirshberg, automobile designer Carl Hodges. resea rch scientist -------------------------------1 Ta kenobu Igarashi , designer $425 for regular registration. 1 Eiko Ishioka, designer $200 for one add itional household member. : Frank Israel, architect $125 for full time students (photocopy of current II) 1 Steven Jobs, entrep reneur req uired with registration). : Fred Josep h, in vestment banker Na me______________________________________ 1 Tibor Kalman., designer 1 Richard Koshalek., museum director Jerry Lettvin. research scientist Add ress_________________________________ 1 Richard Meier. architect Max Neuhaus. aural artist City_________ State Z ipl_ _ _ __ 1 Woody Pirtle. designer David Puttnam , film prod ucer I Paul Rand, designer Ricardo Scofldi o. architect Phone Number Bu sin ess ___________ _ 1 Marcia Tu cker, museum director I Ma ke check payable to IDCA and mail 10: 1 1 IDCA- Attention Registrar PO Box 664. Aspen. CO 81612 1 1 Forf'urther information, write or call (303 ) 925-2257 1 IDeA June 12-17, 1988 1 1 1 1 In ternational Design Co nference in Aspen _ _ _ _ _ _ _ _ _ _ I1 L _______ _____ _________ to explore \"The cutting edge: An exa mination of the state of things'\" at the Aspen Design Conference onJune 12-1 7. 1988 forawonderful week.

Chaplin with Verdoux crew (I. to r.): Florey, Curtis Courant and Totheroh. Isobel Elsom. Just as sadly, Florey re- counts the fate of Henry Bergman, who, since 1915, had played in all of Chaplin's films, often taking five or six roles. \"Henry called himself Charlie's good luck charm and asserted that his presence in each of his films was a guar- antee of success. I had insisted to [Cha- plin] that Henry have at least one close- up, even a silent one, in his film, and for this purpose , I wanted to dress him as ajudge and take the close-up of him, but Charlie answered that that was not indispensable and that it was prefer- able to send Bergman to rest, and that's the reason one will not see a judge in the cou rt scene. Poor Henry! He had become a sort of trademark of Chaplin productions, but he didn't have the sat- isfaction of appearing one last time be- side the man he loved so much.\" Bergman died shortly after the close of production. F ollowing the completion of Mon- sieur Verdoux, Chaplin betrayed Florey as well, violating their contrac- tual agreement. Wheeler Dryden, Chaplin's disdained and probably ille- gitimate half-brother, who was allowed to eke out a living as a menial at the stu- dio, was granted equal credit as associ- ate director. Dryden was named on his own separate card (after the Screen Di- rector's Guild vetoed Chaplin's at- tempt to add the name of Dryden alongside Florey's) and placed before Florey's card to minimize his contribu- tions . Urged to sue, Florey preferred to write books detai ling Chaplin's nature. From the last day of shooting, the two were never in contact again. The title \" Scorches with a blast of humor, irony, VIDEO FINDERS shock.\" -Samuel Fuller We locate and obtain any obscure or \"Does movie fans and movie wrilers alike a greal service.\" hard-to-find films on video tape. ·California Magazine We're expensive, but we're very good. \"server is a good. respeCiful inquisilor...and 11e wriles very 5 Searches $5 & SASE well\".Movie mavens will fully enjoy Server's recondile noslalgia VIDEO FINDERS P.O. Box4351 , Dept. FC Irove.\" ·Booklisl Los Angeles, CA 90078 \"II 's pure gold...The book is filled wilh wonderful inside slufLI can'l recomrnend il11ighly enough.\" ·Audience Magazine Interviews with the screenwriters of Duck Soup, Public Enemy, Top Hat, Th e Wolf Man, the 39 Steps, Kiss Me Deadly, How Green Was My Valley, She Done Him Wrong, and many more, SCREENWRITER $22.50 cloth $14.95 paper ~-::\"-!;..........\"'--''''''''''=-~£=,..::.:>o.J Words Become Pictures by Lee Server Main Street Press. Pittstown, New Jersey 08867 68

of Florey's 1952 book, Monsieur Cha- Hong Kong (1967). \"I have never gloat- AVAILABLE plin, ou Ie rire dnns Le nuit, was a play on ed over the defeat of an enemy,\" wrote ON VIDEO Monsieur Verdoux , the film in which d'Arrast, \"but in this case he has been Chaplin clearly displayed his darker so miserable with all of us that it is 'shit' Selected as an outstanding film of the year. side. The subtitle (\"the laugh in the cast upon the waters which is returning London Film Festival night\") revealed Florey's ambivalence a hundredfold .... To add to my de- about Chaplin. light he has threatened to make an- 93 minutes, color I B&W. other picture but I can't believe God When Chaplin elevated Dryden to can be that kind to me!\" A FILM BY RICK SCHMIDT A. D., Florey was insulted. While shooting the greenhouse scene, tak- 0'Arrast added that he had advised 1988 has been presented at the following en down and later transcribed by one film historian waiting for permis- festivals/theatres/showcases: Florey, Dryden fared worse at Cha- sion to visit Chaplin on the set of his plin's mercy: movie: \"'Don't wait,' I wrote him, * *** ** * ** Film International * ** ** * ** * 'you will never be invited . Get in as a ******** Pacific Film Archive ******** \" 'No, no, no, shut up, you silly bas- prop man, electrician, anything, put on ** *** * * Ann Arbor Film Festival * *** ** * tard , for Christ's sake, we cut to Anna- Chinese make-up and go as an emis- ******** Cinematheque (S.F.) ******** bella, you don't understand anything sary of the Grand Lama, carry a gold ** * * *** *Pacific Cinematheque ** * *** * * about motion pictures, I know what cushion, tell him the G .L. wants Char- ******* Northwest Film Center ******* I am doing, yeah, that's what I cut lie to si ton it just once for one second as to, I have been in this business for he is collecting the imprints of the ********* Whitney Museum ********* 20-for 30 years , you don't think greatest arses in history!' \" * ** * *** University of Wisconsin * ** ** * * I am gaga? Oh, shut up .... Syphilitic ******** Chicago Art Institute ******** Christ.... We cut to Annabella, I There were a few compensations for ********* Walker Art Center ********* know goddamn well what I am doing. the many aggravating months of labor- ******** Roxie Theatre (S.F.) ******** .. . For Christ's sake, I have been cut- ing on Monsieur Verdoux. Florey was ** ** * Center Screen (Cambridge) ** * ** ting this scene in my mind for the past able to explore the forgotten storage three years.... 1 know exactly .. . then rooms of the studio, and he was de- *********Hirshhorn Museum********* the music starts .... Don't talk to lighted to unearth among assorted bric- ********* U.S. Film Festival ********* me.' \" a-brac the discarded canes and mus- *** ** * * Florence Film Festival ** ** * ** taches of the \"Charlot\" of old . Nearly *******Annenburg Media Confr.******* Chaplin's treatment of others was every prop used in Chaplin'S movie ca- *** * ** * Adelaide International ** ** ** * almost as vituperative, expressing reer had been saved, but the comedian *** * ** ** Pasadena Filmforum ** ** * ** * similar impatience even for those who cared little for such souvenirs. \"Cha- * *** ** Unicorn Cinema (La Jolla) * * ** ** were professionals in their fields , such plin has had enough of Charlie, whom ***** The Museum of Modern Art ***** as Curt Courant, credited on the pic- he doesn't resemble anymore,\" he ********Media Study (Buffalo)******** ture with \"artistic supervision.\" Re- wrote. When the studio was sold after ****** Neighborhood Film Proj. ****** called Florey: Chaplin settled in Europe, nearly all of * ** ** *** Pittsburg Filmmakers * **** ** * this memorabilia was thrown away. \"[There was] some light to adjust, * *** * *** * ** Real Art Ways * *** ** * ** ** but Charlie doesn't allow him any more The only mementos Florey had of ********Sheldon Film Theatre******** time; 'You will have a shadow on your the months of preparation and the ago- * ** * * New Cinema Co-op (Omaha) * *** * face when you step near the door,' nizing shooting were a few snapshots murmurs Curt Courant. 'I laugh at your taken on the set. Chaplin prevented * ** * *** * London Film Festival * ** * ** ** shadow,' answers Charlie. 'It's natural Florey from taking any souvenirs, even * ** ** ** Tyneside Film Festival **** * * * to have some shadow, after all. Let's so much as a poster from the film. ** *** ** ** Arnolfini (England) * * ** * ** ** go, let's start. Hurry! Hurry! ' But he Florey received only the minimal do- ******** Chapter Arts (Wales) ******** has changed his movement and now mestic credit his contract had required, ****** New Community Cinema ****** the silhouette of the microphone and his participation was virtually ig- * ** ** * Robert Flaherty Seminar ** ** ** stands out clearly for several seconds nored in the film's publicity. ******** Nuart Theatre (L.A.) ******** on the wall of the background . It is ** ** ** ** Electric Theatre (S.F.) * *** ** * * pointed out to him. 'It doesn't matter Ironically, however, this may have ** ** ** ** * City Movie Center ** *** *** * to me,' he says. 'They will think that been to Florey's actual advantage in ** ** * Everyman Theatre (London) * ** ** it's a bird; let's go, hurry up, film!' And the years that followed. In view of the ******* Channel Four (England) ******* confusion reigns because Courant is considerable legal and political trou- changing one of the 'spots' to avoid the bles that forced Chaplin to seek refuge LIGHT is now accepting bookings for 1988 in shadow of the microphone. 'Why are in Europe, he may have even done 1988. For rates and information please you changing again?' he asks, more Florey an unintentional favor by sup- contact: nervous. 'You annoy me with all your pressing widespread awareness, out- technical tricks. Come on, hurry up!' \" side the industry, of Florey's colla- LIGHT VIDEO P.O. Box 342 boration on the film . Despite the tre- F lorey was hardly alone in the shab- mendous unpopularity of Monsieur (415) 235-7466 Pt. Richmond, Ca. 94801 by treatment he received from Cha- Verdoux, there was no adverse impact plin, or in the subsequent bitterness he upon Florey's subsequent career; he harbored toward him. Found in Flor- remained active in features over the ey's papers was a 1967 letter from Har- next four years before becoming one of ry d'Arrast describing the critical and the first directors to do filmed televi- boxoffice failure of The Countess from sion. ~ 69

Network Novelties by Tom Carson Dabney Coleman in The \"Slap\" Maxwell Story. spersed comedy bits and character byplay that made otherwise standard serial dra- A t a gathering of TV critics in Janu- balls-tells you all you need to know mas like Hill Street and St. Elsewhere ary in L.A., NBC's Brandon Tarti- about the timidity of network TV, and seem fresh. Those series in turn took their koff attacked the networks' sud- how little that's likely to change. cue from Seventies sitcoms like MASH den rash of laugh-trackless situation and Mary Tyler Moore-not to mention comedies, or \"dramadies\" in current tube What's going on is a jockeying for posi- Wilson's own WKRP and Tarses' alma parlance. (Whoever the people are that tion so familiar as to be ritual: the under- mater, Newhart. The one advantage of come up with these gems-former AI dog network is casting itself as forward- this kind of low-risk, incremental \"prog- Haigghostwriters?-they've had a bump- looking, while the king of the hill, which ress\" is that the audience is usually too er year; they also invented \"warmedy\" to got there via the same route, is suddenly groggy to notice how little that's genuinely describe The Cosby Show.) What was fun- the voice of tradition. CBS, the one in the new they're being asked to feel grateful niest about Tartikoff's broadside was his mi.ddle, is mainly looking not to get for. assumption that these shows' creators mugged-and trying to keep up with its couldn't hack it in that demanding con- own new-look half-hour, Frank's Place. Tarses' Molly Dodd was the first dra- ventional-sitcom world: \"We aren't really mady to air-in a trial run last sum- good comedy writers, and we aren't good It's not as if the shows are frauds. The mer-and it had a lot of engaging quali- drama writers,\" was how he saw their atti- talents behind them are among the most ties. Going to film made possible a tude. interesting on the tube. Bochco is basically subdued tone, in the acting as much as the slick and facile, but in a more fecund, production, that was a relief to senses However intemperate, his speech was glancing style than we're used to; both Jay drubbed by sitcoms shot as stage plays for hardly a gaffe. Tartikoff was serving notice Tarses (Molly Dodd and The \"Slap\" the studio audience, and looking and that NBC is getting ready to abandon its Maxwell Story) and Hugh Wilson sounding it. One didn't know, until image as the classy network. The NBC (Frank's Place) have previously managed \"Slap\" Maxwell premiered, how fast the schedule is already top-heavy with pres- to tease idiosyncratic, individual comic new style could narrow into mannerism- tige, \"adult\" shows, not to mention its riffs from what were essentially stock sit- underplaying and chiaroscuro as tokens of spring addition of two of the type Tarti- com structures-Tarses as a writer for the sensibility. Blair Brown's Molly turned koff was denouncing, The Days and old Bob Newhart Show, Wilson with into Annie Hall as the Little Match Girl; Nights ofMolly Dodd and the Hill Street WKRP in Cincinnati. But the joke about but instead of dying in the snow, she just Blues spin-off, Beverly Hills Buntz. So TV innovation is that it really is done with walked around in it wistfully. anti-elitism seems to be the ticket to pre- mirrors. The new comedies' mix oflaughs vent the network's Eighties Olympian and sentiment-drama it ain't, not Since the demise ofBuffalo Bill, Tarses track record from turning into a rut. quite-just inverts the formula of inter- has kept his eye for extraordinary peIform- ers. But he seems to have lost his nerve Most likely, Tartikoff also meant to off- when it comes to using the qualities that set the news that Steven Bochco, whose made him appreciate them to begin with. Hill Street had started the prestige ball roil- Blair Brown's attractive because she's ing for the network to begin with, had brainy-she acts as if she sees through signed an exclusive deal with ABC. Boch- people too quickly to be quite patient with co's dramady Hooperman was already the them. Casting her as a victim isn't neces- closest thing to a solid hit among ABC's fall sarily implausible, but asking her to act so '87 shows. Predictably, ABC's Brandon damned puzzled about it fences in all her Stoddard was the first to champion the strengths. Even so, that looks like a minor new breed against Tartikoff's putdowns. miscalculation next to having Tarses' Buf- falo Bill star, Dabney Coleman, cater to Those of us who just watch the stuff, the audience by playing Slap Maxwell as a meantime, might be forgiven for wonder- winsome sad sack-Scott Fitzgerald's Pat ing that we were expected to take the fuss Hobby as a sportswriter, but seen in much seriously. Even by TV standards, the new softer focus. wrinkles on the dramadies are on the mod- est side. The fact that using film, and not It's almost an insult to everything you having laugh tracks, is considered the sig- love about Dabney Coleman to ask you to nature for how adventurous they're be- feel sorry for him, because the great thing ing-and that even that's enough to get about him is that he never admits to him- someone like Tartikoff throwing spit- self he's a loser. Those squinty-shrewd eyes go on calculating ploys even when 70

That using film without a laugh track is considered the signature for how adventurous they're being tells you all you need to know about the timidity. of network TV. Blair Brown (I.) in The Days and Nights of Molly Dodd. Dennis Franz in Beverly Hills Buntz. he's most down and out. Here, Slap's de- business, like abruptly pulling a gun on assembly ofone-note oddball isms genially feated-from-the-word-go air also leaves Slap, more silly-absurd than he risks with masquerading as characters, and personal- unexplained his apparent appeal to wom- the other players, because she' ll give them ity conflicts so pat you suspend belief in- en-which the vigor of Buffalo Bill's very her own cockamamie reality. Her bits are stead of disbelief to enjoy them. smarminess left in no doubt. You under- \"Slap\" Maxwelfs only unpremeditated stand why Slap's relationships don't pan moments; otherwise, the conception is so Casting John Ritter in the lead is the out; you just don't have a clue how he got programatically elliptical that after only a key to both the show's charm and its light- them to bed in the first place. few weeks you feel , as you may have with ness. He's a gifted, personable actor, and Molly Dodd, that you've seen the same salvaged what unlikely dignity was to be When \"Slap\" Maxwell isn' t playing episode, with tiny variations, redone again had on that haven of coarse mugging, (invariably diminuendo) on your heart- and again. Three's Company, by mugging with tact. strings-in scenes like Slap's patio solilo- But he's physically and, more than that, quies to his youthful idol Ted Williams- Tarses is a sophisticate with a heart fed vocally limited: he couldn't play anger, for the series is something Molly Dodd man- on Chaplin movies. Steven Bochco's most instance, without reducing it to petulance. aged to avoid: arch. That's most enervat- entertaining quality is that he's too glib to Ritter's appeal is that around him you ing in the dialogues between Slap and his pay more than lip service to the emotional- know nothing earthshaking's going to intermittent love interest, Judy (Megan ly loaded material he's careful to build into happen. Bochco can even get away with Gallagher), Tarses borrows a Letterman- his shows. Hooperman is easygoing and having Hooperman's landlady brutally style gimmick, trying to get away with skillful, and no strain to watch. Even so, dispatched in the premiere (to set up the comy, old-movie banter, by having his Bochco's recycling the same approach and jokey premise of Hooperman being left characters be self-conscious about en- techniques that made Hill Street Blues a the building in her will, no less) because gaging in it. But while in another context hit, and the more lightweight comedy set- even when John Ritter's dissolved in that might seem well-observed, here it's ting makes it apparent how innocuous and tears, it seems sweetly reassuring, not mostly leadenly cutesy. basically complacent they are, despite the painful. To leave the hurt jagged, unre- earlier series' naturalistic pretensions. solved, and still be funn y-that'd be real Although Susan Anspach, as Slap's ex- Hooperman gets points for including ma- television maturity, and it's what none of wife, has to play similar scenes, her inflec- terial-real-life mayhem and brutality- the dramadies even try for. tions are so deliriously elastic that she finds that sitcom cops don' t ordinarily deal with. wit where the lines only recall it. The char- What's making the show successful is that Bochco and his crew calculate their acter is spooked and serene at once. for all that, it's a trifle, with the usual acrid touches as shrewdly as they finesse Tarses also .gives Anspach some comic sentimentality. Beverly Hills Buntz dallies 71

--------------------------------------------------------------------------~4 .~ Tim Reid in Frank's Place. dramady mostly by association. Outside of might have been designed to deny that with raffishness, and stays as benign as the usual technical accoutrements--film, such a thing exists, and though 227 has its Hooperman. Though you suspect you no laugh track, etc.--nothing about moments, black D.C. is more a culture could easily get too much of them , Dennis Frank's Place even purports to be espe- defined by its own marginality than one Franz and Peter Jurasik are an enjoyable cially experimental. It's just good--build- that's ever flourished in its own right. duo, doing verbal slapstick with the same ing off the sort of cultural cross-circuit 227's makers also don't have Wilson's rapport that Mark Linn-Baker and Bron- that's been a sitcom staple since before generous curiosity. WKRP's radio station son Pinchot bring to the physical kind on Green Acres (dapper college prof Tim wasn't just a backdrop, but organic to Perfect Strangers. But they're up against Reid inherits a funky New Orleans restau- those characters' lives; you actually one of the hoariest TV rules: you can create rant, and boy is he baffled) with intelli- leamed something about how radio works disreputable characters, but you can't gence and care. The emotional values in U.S. culture. This time out, Wilson show them actually doing disreputable aren't carefully cordoned off and posi- thrives on the lore. things, not without presumably alienating tioned to catch your attention, but grow viewers' sympathies. The bitchy male unassumingly out of the material and at- Tim Reid's Frank might have been marriage is fun, but is that all there is? The mosphere. planned as an answer to Cosby-he's a creamy, fluid look of a Hooperman may middle-class black who's succeeded on make it seem like it's got a richer texture Maybe because to him being innova- WASP terms, not unlike Cliff Huxtable, than regular sitcoms, but what keeps it tive isn't the point, Hugh Wilson has and he's confident in his assimilated iden- moving are those sturdy old A and B story- found the one kind of novelty the other tity. But where Cosby treats that as a giv- lines. When the texture--the little diver- dramady-makers apparently never looked en, Reid acts it as a role; he has to, because sions and touches--is the only thing hap- for: a fresh subject. Tarses may use New Frank gets immersed in the milieu the pening, it can tum attenuated awfully York well, but Molly Dodd still boils down Huxtables shy from. It's a more difficult quickly. to That Girl with tears. Black New Or- performance than it may appear, because leans culture, on the other hand, is an Reid has to play the straight man without I t's ironic that the best of the dramadies enormously new and fertile source of ma- tuming him into a stooge. The best thing is the least ostentatious about its depar- terial. Black culture in general, of course, about his cultural revelation is the way the tures from an old-fashioned sitcom; it's a remains largely untapped by TV-Cosby joke keeps doubling back on itself; in one episode, terrified by a surreal encounter John Ritter in Hooperman. with a sinister tenant, Frank tums to what seems like the appropriate local authority. \"Frank, I'm a voodoo doctor,\" this highly cultivated, contemporary woman says briskly, \"and I'm telling you such things don' t happen.\" \"Well, I'm a college pro- fessor,\" Reid blurts back, \"and I'm telling you they do.\" But the rarity is in how everybody's dig- nity is taken for granted. On most TV shows, the only issue is whether the char- acters or the audience are being conde- scended to more. Wilson's uncloying, good-natured decency is a pleasure. The problem with the standard TV for- mats isn't that they're inevitably coercive and mechanical. Frank's Place shows what people can do when they basically abide by the old formats, while seeing what kind offeeling and perception can be generated from inside them. But the mechanisms are so ingrained into network TV that any stated attempt to get around them completely ends up looking spur- ious, its compromises more evident than they are on the more forthrightly hack- neyed sitcoms. (Unless, like Bochco, you're too cheerfully corrupt to use cos- metic ilmovation as anything but one more come-on; his corruption does have zest.) It's hard to blame TV's creative peo- ple for chafing at the restrictions on them. But maybe the idea that you're going to do something consciously artistic isn't the best approach to making a network sit- com; it's never worked very well in any other kind of mass-culture art, either. ~ 72

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to volume 23, 1987 Coen, Joel and Ethan See: RAIStNG ARIZONA by Linda Batty Berri, Claude Colorization 01 Films Jacobson, Harlan. Montand . 23:5 Sept-Oct '87, 28-32. ill. In- Pensees: on the Colorization of Classics. 23:1 Jan-Feb '87, This index is based on indexing rules and subject headings for film periodicals de- terview. Yves Montand's politics.Ref. JEAN DE FLORETTE 76-77. ill. One picture is worth a thousand words: Picasso veloped by the Federation ofIntemation- and MANON DES SOURCES. colorized . al Film Archives (FIAF). It is divided into Bertolucci, Bemardo Commercials, Television four parts: a subject index, an author in- See: LAST EMPEROR, THE dex, a film index and a book review index. Best Films Rodchenko, H.A. Journals: Bluejean-Luc Godard. 23:6 Nov- The names of interviewers are included in Harvey, Stephen and Richard Corliss. The 1986 movie revue: Dec '87, 2, 4. ill. Godard's TV commercials for jeans. the author index. 1986 and All That. 23:1 Jan-Feb '87,58-59. Annual bouquet of \"raspberries.\" White, Armond. Television: Running on Recall. 23:4 July-Aug copyright © 1988 by Linda Batty. All rights reserved. Ten -Best 1986. 23:1 Jan-Feb '87, 58-59. Richard Corliss, '87, 72-75. ill. Thecommercial-as-artform: Greif and Kagan's Stephen Harvey, Harlan Jacobson, Laurence O'Toole. REVOLUTION, a Nike commercial. Subjects Elliott Stein, Anne Thompson list their 10 Best. See also: Academy of Motion Picture Arts and Sciences. Cox, Alex Academy 01 Motion Picture Arts and Sciences. Awards Awards; Box Office; Festivals; Guilty Pleasures Biblical Films Fuller, Graham . Combat Rocker, Joe Strummer interviewed. Looney Platoons and Marlee Maladies. 23:2 March-April '87, 23:4 July-Aug '87, 45-52. ill. Joe Strummer's career. Ref. his Briggs, Joe Bob. The Gospel according to Joe Bob. 23:2 roles in STRAIGHT TO HELL and WALKER. 2. ill. Stuart Byron , David Ansen, Richard Corliss, Donna March-April '87, 51-56. ill. \"The 10 most popular and successful religious films of all time.\" Crime and the Cinema Gigliotti, Aljean Harmetz, Dave Kehr. Gregg Kilday, Jack See also: Religion; Television, Religious DeStafano, George. Family Lies. 23:4 July-Aug '87, 22-26. ill. Mathews, Andrew Sarris, Richard Schickel , Stephen Schiff, Blacklist, Hollywood How did the Mafia gangster come to represent italian eth- Bright, John. Naming names: Sam Ornitz, James Cagney, the nicity in movies? Ref. THE UNTOUCHABLES (DePalma). Anne Thompson predict Oscar winners from the nominees. Hollywood Reds, and Me. 23:6 Nov-Dec '87, 48-51 . ill. Demme, Jonathan Thompson , Anne. The 1986 Movie Revue: Oscar 'Tout Sheet.' Memories of Sam Ornitz. Excerpt from Bright's auto- biography, Worms in A Cup of Wine. See: TRYING TIMES (PBS-TV series) for the Demme- 23:1 Jan-Feb '87, 52-55. ill. Probable nominees. McGilligan, Pat. Tender Comrades. 23:6 Nov-Dec '87, 38-48. directed A FAMILY TREE ill. Interviews with Blacklist survivors transcribed from Actors and Actresses unfinished documentary entitled TENDER COMRADES: Directors and Directing Ben Barzman and Norma Barzman ; Alvah Bessie; Allen Almendros, Nestor. Photogenics: I Am A Camera. 23:4 July- Boretz; John Bright; Jean Butler and Joan Scott; Edward Gibney, Alex and Anne Thompson. Make Money, Not War. Chodorov; Lester Cole; Jules Dassin; Edward Eliscu and 23:6 Nov-Dec '87,17-22. ill. The value of commerce over Aug '87, 18-21 . ill. Almendros's techniques/ experiences Jay Gorney; Sam Jaffe; Paul Jarrico; Sol Kaplan and Lee art: The Directors Guild of America's \"strike\" over res iduals. Grant; Howard Koch; Karen Morley; Albert Maltz; Lionel Includes historical overview of labor costs/ relations in the photographing famous actresses. Stander; John Wexley. movie industry, 1920s to the present. Scott, Joan . Ordeal by Disney. 23:6 Nov-Dec '87, 52-59. ill. O'Toole, Lawrence. The 1986 Movie Revue: New Faces of Working in the shadow of the Blacklist. White, Armond . On Valentine's Day: Amour Fools. 23:1 Jan- Blacks and the Cinema Feb '87, 26-31 . ill. Husband/ directors directing actress/ 1986. 23:1 Jan-Feb '98, 56-57. ill. See: Apartheid wives. Bogayevicz, Yurek White, Armond. On Valentine's Day: Amour Fools. 23:1 Jan- See: New Yorl< Film Festival (ANNA) Disney, Walt Feb '87, 26-31 . ill. Director/ husbandsdirecting actress/wives. Boorman, John Scott, Joan. Ordeal by Disney. 23:6 Nov-Dec '87, 52-59. ill. See: New Yorl< Film Festival (HOPE AND GLORY) Working in the shadow of the Blacklist. Adlon, Percy Borden, Lizzie See: WORKING GIRLS Dyomin, Victor See: BRENDA'S PLACE, A COMEDY FABLE Box Office Thompson , Anne. Industry: The 12th Annual Grosses Gloss. Batchan, Alexander. Mad Russian: Victor Dyomin Interviewed. Advertising on Television 23:3 May-June '87, 48-51 . ill. Dyomin , Soviet film critic on 23:2 March-April '87, 62-69. ill. 1986's hits and flops , the state of film criticism in the Soviet Union since Klimov and See: Commercials, Television including 10 best-marketed and 10 worst-marketed films, Glasnost. domestic rentals, etc. Allen, Woody British Cinema Edinburgh Film Festival See: United Kingdom Kennedy, Harlan. It's the Dinosaur Show. 23:6 Nov-Dec '87, Mancin i, Marc. Television : M.o.B. Rule. 23:4 July-Aug '87, Bukowski, Charfes Hodenfield , Chris. Gin-Soaked Boy: 23:4July-Aug '87, 53-59. 77, 30. 76-77. ill. The Los Angeles Television Festival. Ref. Allen 's ill. Interview. Career. Writing/ living BARFLY. Business Films Kennedy Harlan. Journals: Edinburgh at 40. 23:1 Jan-Feb '87, 1960s TV work. See: Training Films 7-8. Cannes Film Festival See also: RADIO DAYS Corliss, Mary. Cannes Tankerous. 23:4 July-Aug '87, 50, 64- England 65. ill. See: United Kingdom Almendros, Nestor Jac6bson , Harlan. Cannes Tankerous. 23:4 July-Aug '87, 61- Ethnicity in Films 63. ill. Almendros, Nestor. Photogenics: I Am A Camera. 23:4 July- Carax, Leos White, Armond. Class Clowns. 23:2 March-April '87, 11-14. ill. See: New York Film Festival (BAD BLOOD) Movies about one's own ethnic type. Ref. HOLLYWOOD Aug '87, 18-21 . ill. Almendros's techniques/ experiences Cartagena Film Festival SHUFFLE and RADIO DAYS. Stein , EllioH. Journals: Nieto's Shadow. 23:1 Jan-Feb '87, 4-7. photographing famous actresses. See also: Apartheid; Italian-Americans in Films Censorship Exploitation Films Anderson, Lindsay Kennedy, Harlan. Soviet Spring. 23:3 May-June '87, 34-36. ill. McDonough, Jimmy. Great Balls of Fire. 23:2 March-April '87, See: WHALES OF AUGUST, THE Glasnost: its effect on Soviet censorship of the cinema. 36-50. ill. The Ormonds: from exploitation to religion. Censorship, Television Fairness Doctrine Apartheid Sheinfeld, Lois P. Television: FCC Doublespeak. 23:5 Sept- See: Censorship, Television Family in Films White, Armond. Apartheid Chic. 23:6 Nov-Dec '87, 11-16. ill. Oct '87, 87-90. ill. Why does the FCC scrap the Fairness White, Armond. Class Clowns.23:2 March-April '87, 11-14. ill. Doctrine but regulate broadcasters for \"decency?\" White domination/ orientation of films about Blacks. Ref. Movies about one's own ethnic background/ family. Ref. Chan, Jackie HOLLYWOOD SHUFFLE and RADIO DAYS. CRY FREEDOM, MANDELA, THE COLOR PURPLE. See: New York Film Festival (JACKIE CHAN'S POLICE Favorite Films See: Academy 01 Motion Pic1ure Arts and Sciences. Awards; Includes interview with Donald Woods. STORY) Best Films; Box Office; Festivals; Guilty Pleasures Cinematographers and Cinematography Festival 01 Festivals. Toronto Asian Cinema Almendros, Nestor. Photogenics: I Am A Camera. 23:4 July- See: Toronto Film Festival Festivals Aufderheide, Pat. Oriental Insurgents. 23:6 Nov-Dec '87, 73- Aug '87, 18-21 . ill. Almendros's techniques/ experiences See: Berfln; Cannes; Cartagena; Edinburgh; Lesbian and photographing famous actresses. Gay; Los Angeles Television; Miami; Moscow; New 76. ill. Festival of Festivals (Toronto) : retrospective of Cisse, Souleymane Directors/New Films; New York; Telluride; Toronto; U.S.; See: New York Film Festival (YEELEN/ BRIGHTNESS) Venice. recent Asian Pacific cinema. Ref. Hong Kong, Philippines, Frank, Melvin Clarens, Carfos Benair, Jonathan. Funny Man Frank . 23:2 March-April '87, South Korea, Taiwan. . Corliss, Mary. Orbits: CarlosClarens, 1930-1987. 23:2 March- 53-61 . ill. Career, particularly his work with Norman Panama. Ref. WALK LIKE A MAN. Astaire, Fred April '87, 75. ill. In memoriam. Frank, Robert Glicksman, Marlaine. Highway 61 Revisited: Robert Frank Meyerson , Harold . Orbits: Astaire Way to Heaven. 23:5 Sept- Cleese, John Interviewed. 23:4 July-Aug '87, 32-39. ill. Career. Ref. Kimmel, Daniel. The Minors: The Bingo Long Traveling AII- CANDY MOUNTAIN. Oct '87, 91-95. ill. In memoriam. Golden, Mike. Frontiersman : RudyWurlitzer Interviewed. 23:4 Star Industrialists. 23:1 Jan-Feb '87, 41-43. ill. Business July-Aug '87, 40-44. ill. Career. Ref. co-directing CANDY Attenborough, Richard training films: John Cleese and Video Arts. MOUNTAIN and writing WALKER. Frankenheimer, John See: CRY FREEDOM See: New York Film Festival (MANCHURIAN CANDIDATE, THE) Awards Frears, Stephen Kennedy, Harlan. Gritty Brit. 23:2 March-April '87, 15-17. ill. See: Academy of Motion Picture Arts and Sciences. Awards; Career. ReI. PRICK UP YOUR EARS. Includes interview. See also: SAMMY AND ROSIE GET LAtD Best Films; Festivals Gangster Movies See: Crime and the Cinema Axel, Gabriel Glasnost See: Soviet Union See: New Yorl< Film Festival (BABETTE'S FEAST) Godard, Jean-Luc Rodchenko, H.A. Journals: Bluejean-Luc Godard. 23:6 Nov- Baryshnlkov, Mikhail Dec '87, 2, 4. ill. Godard's TV commercials for jeans. Gordon, Stuart Pally, Marcia. Baryshnikov: No Time for Conflicts. 23:5 Sept- Brody, Meredith . We Killed 'Em in Chicago. 23:1 Jan-Feb '87, 68-75. ill. Career. ReI. RE-ANIMATOR. Oct '87, 81 . ill. Includes interview. Baryshnikov's role in DANCERS. Beinlx, Jean-Jacques Pally, Marcia. On Valentine's Day: Beinix Blue. 23:1 Jan-Feb '87, 21-24. ill. Includes interview. Career. Ref. BETIY BLUE. White, Armond. On Valentine's Day: Amour Fools. 23:1 Jan- Feb '87 , 26-31 . ill. The tangle of love and fiction : director/ husbands directing actress/ wives. Ref. BETIY BLUE. Berfln Film Festival Kennedy, Harlan. Journals: Berlin Chat: Wall-Eyed . 23:3 May- June '87, 2, 4, 6. ill. 74



Grant, Cary Lesbian and Gay Experimental Film Festival (1 st) Stein, Elliott. 25th New York Film Festival. 23:6 Nov-Dec '87, Stuart, Jan. Journals: A QueerKind of Film. 23:6 Nov-Dec '87, 60-£1 , 67-£9. ill. THE MANCHURIAN CANDIDATE (John Corliss, Richard. Orbits: Cary Grant: 1904-1986. 23:1 Jan-Feb Frankenheimer) : THE HUMAN VOICE (Roberto Rossel- 4, 6. lini) : JOAN OF ARC AT THE STAKE (Rossellini): '87, 78. ill. In memoriam. Llsberger, Steve YEELEN/ BRIGHTNESS (Souleymane Cisse) : JACKIE See: HOT PURSUIT CHAN'S POLICE STORY (Jackie Chan) : HOPE AND Great Britain Los Angeles Television Fesllval GLORY (John Boorman): ANITA-DANCES OF VICE ManCini , Marc. Television: M.o.B. Rule. 23:4 July-Aug '87, (Rosa von Praunheim) : TEMA (Gleb Panfilov): THE BELLY See: United Kingdom OF AN ARCHITECT (Peter Greenaway): A MONTH IN 76-77. Ref. retrospective of Woody Allen's 1960s TV work. THE COUNTRY (Pat O'Connor). Greenaway, Peter Lubvllchers See: Television, Religious North, Oliver See: New York Film Festival (BELLY OF AN ARCHITECT, Lucas, George Corliss, Richard. Full Medal Jackoff. 23:5 Sept-Oct '87, 16. Lt. See: STAR WARS THE) Malia In Films Col. North-the televised Iran-Contra hearings. See: Italian-Americans In Films O'Connor, Pat Guilty Pleasures Maller, Nonnan See: New York Film Fesllval (MONTH IN THE COUNTRY, A) See: TOUGH GUYS DON'T DANCE Orbits DePalma, Brian. Guilty Pleasures. 23:3 May-June '87, 52-53. Mamet, David Corliss, Mary. Carlos Clarens, 1930-1987. 23:2 March-April See: New York Film Festival (HOUSE OF GAMES) ill. Management Films '87, 75. ill. . See: Training Films Corliss, Richard. Cary Grant: 1904-1986. 23:1 Jan-Feb '87, 78. Gulnness, Alec Medavoy, Mike Thompson. Anne. Rise and Shine. 23:3 May-June '87, 54-£2. ill. Thomson, David. Gray Ghost. 23:2 March-April '87, 26-29. ill. Meyerson, Harold. Fred Astaire. 23:5 Sept-Oct '87, 91-95. ill. ill. Interview. Career, personality. Orion Pictures Appreciation. Meszaros, Marta Thompson, Anne. Rise and Shine: Mike Medavoy. 23:3 May- See: New York Film Festival (DIARY FOR MY LOVED ONES) Hall, Conrad Mexico June '87, 54-£2. ill. Interview. Career, personality of Mike Coe, Andrew. Slugfests del Sur. 23:4 July-Aug '87, 27-30. ill. Medavoy. Klady, Leonard. Journals: Connie's Comeback. 23:2 March- Onnond, June, Ron and Tim Mexican wrestling films: history of the genre. McDonough ,Jimmy. Great Balls of Fire. 23:2 March-April '87, April '87, 6-8. Career. Ref. his return to the industry with Miami Film Fesllval 36-50. ill. The Ormonds: from exploitation to rel igion. Stein, Elliott. Journals: Miami Nice. 23:4 July-Aug '87, 6, 8. Omllz,Sam BLACK WIDOW. Midsection Bright, John. Naming Names: Sam Ornitz, James Cagney, In Development. 23:1 Jan-Feb '87, 33-51. Limbo Land (Beverly The Hollywood Reds, and Me. 23:6 Nov-Dec '87, 48-51 . ill. Heaven (Theme In Fltms) Memories of Ornitz. Excerpt from Bright's autobiography, Walker): Bingo Long TravelingAII-5tar Industrialists (Daniel Worms in A Cup of Wine. Midsection: Heaven. 23:2 March-April '87, 31-56. ill. Kimmel) : Video S.I.P. (Marc Mancini) : Whither Britain? Oscars (Harlan Kennedy) . See: Academy 01 Motion Picture Arts and Sciences. Awards Heratd, Peter Heaven . 23:2 March-April '87, 31-56. Hotel HEAVEN/ Diane Panfllov, Gleb Keaton (Marlaine Glicksman): Great Balls of FirelThe See: New York Film Festival (lEMA) See: MAGNtFtCENT REBEL, THE Ormonds (Jimmy McDonough): The Gospel according to Philippines Joe Bob (Joe Bob Briggs) . See: AsIan Cinema Hollywood Blacklist Glasnost. 23:3 May-June '87, 33-51 . Soviet Spring (Harlan Plalal, Maurice Kennedy) : Cinema Summit (Bob Strauss): Klimov & Co. See: New York Film Festival (UNDER SATAN'S SUN) See: Blacklist, Hollywood (Brenda Bollag) : Tarkovsky (Harlan Kenn edy) : Mad Praunhelm, Rosa von RussianNictor Dyomin (Alexander Batchan). See: New York Film Festival (ANITA-DANCES OF VICE) Hollywood (Industry) Exile on Main Street. 23:4 July-Aug '87, 31 -59. Highway 61 Prison Revisited/ Robert Frank (Marlaine Glicksman): Frontiers- Kimmel, Daniel. Journals: Laurel and Hardy in the Big House. See: Industry (Hollywood) man/Rudy Wurlitzer (Mike Golden): Combat Rocker/ Joe 23:4 July-Aug '87, 2, 4. ill. Connecticut's maximum security Strummer (Graham Fuller): Gin-Soaked Boy/ Charles prison in Somers shows Laurel and Hardy series. Home Video Industry Bukowski Chris Hodenfield). Prostitution (Theme In Films) Silver Streak: The N.Y. Film Festival at 25. 23:5 Sept-Oct '87, Jaehne, Karen. Hooker: Two or Three Things We Know See: Television 35-57. 70-Millimeter Nerves/Richard Roud interviewed About Her. 23:3 May-June '87, 25-32. ill. Hooker heroines: (Richard Corliss): Fesival Guide (Matt Groening) . recent hooker films have redefined not only the genre but Hong Kong Notes on the Blacklist. 23:6 Nov-Dec '87, 37-59. ill. Tender the image of women lor hire. Ref. HALF MOON STREET, Comrades (Pat McGilligan) :Naming Names (John Bright): MONA LISA, PERSONAL SERVICES, and WORKING See: Asian Cinema Ordeal by Disney (Joan Scott). Mlkhalkov, Nlklta GIRLS. Hunter, Tim Jaehne, Karen. The Brothers M - K. 23:5 Sept-Oct '87, 6fHl8. Quay Brothers ill. Includes interview. Career, politiCS of Mikhalkov and See: STREET OF CROCODILES, THE Smith, Gavin. Pensees: Pretty Vacant in Pink. 23:4 July-Aug Andrei Konchalovsky. Reagan, Ronald See also: New York Film Festival (DARK EYES) Schickel, Richard. No Method to His Madness. 23:3 May-June '87, 70-71 , Overview of the teen-pi c genre. Ref. RIVER 'S Minorities '87, 11 -19. ill. The actor-president's roles: the line between EDGE. See: Apartheid; Ethniclty In Films; Italian-Americans In Films provable and improvable. Based on Garry Wills' Reagan's HusbandIWlle Collaborations Montand, Yves America. Jacobson, Harlan. Montand. 23:5 Sept-Oct '87, 28-32. ill. Reiner, Rob See: Directors and Directing Jacobson, Harlan . Prince Rob: 23:5 Sept-Oct '87, 58-£5. ill. Interview. Montand's politics. Ref. JEAN DE FLORETTE Huston, Anlellca and MANON DES SOURCES. Interview. Career. Ref. THE PRINCESS BRIDE. Moscow Film Festival Religion Walker, Beverly. Anjelica. 23:5 Sept-Oct '87, 24-26. ill. Career. Aufderheide, Pat. Journals:Overheard in Moscow. 23:5 Sept- McDonough, Jimmy. Great Balls of Fire. 23:2 March-April '87, Includes interview material. Oct '87, 6. 38-50. ill. June, Ron, and Tim Ormond: from exploitation to Music religion . Huston, John Walsh, Michael. Sounds of Silents. 23:4 July-Aug '87, 66-69. See also: HEAVEN (Diane Keaton): Biblical Films; Television, Religious Schulz-Keil, Weiland . Huston. 23:5 Sept-Oct '87, 18-23. ill. ill. Which came first, the movies? or movie music? Resnall, AlaIn N41w Directors/New Films Series (16th) See: New York Film Festival (MELO) Remembering Huston. Ref. THE DEAD. Pally, Marcia. The 16th New Directors/New FilmsSeries. 23:3 Rohmer, Eric See: New York Film Festival (AMI DE MON AMIE, L') India May-June '87, 65-69 ill. Ross, Herbert White, Armond. The 16th New Directors/New Films Series. See: DANCERS Das Gupta, Chidananda and J. Hoberman . Pols in India. 23:3 Rossellini, Roberto 23:3 May-June '87, 64, 69-71. ill. See: New York Film Festival (HUMAN VOICE, THE: JOAN OF May-June '87, 20-24. ill. Indian movies are culture, religion, New York Film Festival ARC AT THE STAKE) Corliss, Richard. 70-Millimeter Nerves: Richard Roud. 23:5 Roud, Richard and polit ics rolled into one: movie stars who have parlayed Corliss, Richard. 70-Millimeter Nerves. 23:5 Sept-Oct '87, 36- Sept-Oct '87, 36-54. ill. Interview. 25 years with the New 54. ill. Interview. 25 years with the New York Film Festival. their careers into political power (e.g. governorships, seats York Film Festival. Russia in Parliament, etc.) Groening, Matt. 25th New York, New York, Film Festival. 23:5 See: Soviet Union SavIlle, Philip Industrial Films Sept-Oct '87, 56-57. ill. ''This is your Guide.\" See: MANDELA Harvey, Stephen. 25th New York Film Festival. 23:6 Nov-Dec Schlondorff, Volker See: Training Films See: GATHERING OF OLD MEN, A '87,60,64-67. ill. BAD BLOOD (Leos Carax) : AMI DE MON Schroeder, Barbet Industry (Hollywood) AMIE, L' (Eric Rohmer): UNDER SATAN'S SUN (Maurice See: BukOWSki, Charies; New York Film Festival (BARFLY) Pialat) : BARFLY (Barbet Schroeder) : ANNA (Yurek Gibney, Alex and Anne Thompson . Make Money, Not War. Bogayevicz) : DIARY FOR MY LOVED ONES (Marta Scorseae, Martin Meszaros) : TAXING WOMAN (Juzo Itami): BABETTE'S See: COLOR OF MONEY, THE 23:6 Nov-Dec '87, 17-22. ill. The value of commerce over FEAST (Gabriel Axel): HOUSE OF GAMES (David Mamet): Scoll, Adrian and Joan Scott, Joan. Ordeal by Disney. 23:6 Nov-Dec '87, 52-59. ill. art: the Directors Guild of America's \"strike\" over residuals. MELO (Alain Resnais). Jacobson, Harlan. 25th New York Film Festival. 23:6 Nov-Dec Working in the shadow of the Blacklist. Includes historical overview of labor costs/relations in the Scriptwriters and Scriplwriting '87, 61-£4. ill. AMI DE MON AMIE, L' (Eric Rohmer): Walker, Beverly. The Majors: Limbo Land. 23:1 Jan-Feb '87, movie industry, 1920s to the present. BABETTE'S FEAST (Gabriel Axel): DARK EYES (Nikita Mikhalkov): A MONTH IN THE COUNTRY (Pat O'Connor): 34-41 . ill. Studio script \"development\" in the 1980s. Histori- O'Too le, Laurence. The 1986 Movie Revue: New Faces of ANITA-DANCES OF VICE (Rosa von Praunheim) : cal overview of the acrimony between writers and manage- JACKIE CHAN'S POLICE STORY (Jackie Chan): HOPE 1986. 23: 1 Jan-Feb '87, 56-57. ill. New actors and actresses. AND GLORY (John Boorman): RADIUM CITY (Carole ment 1920s to the present. Langer) : BARFLY (Barbet Schroeder) : HOUSE OF GAMES See also: Academy 01 MoHon Picture Arts and Sciences. (David Mamet) . Awards; Blacklist, Hollywood; Box Olflce Italian-Americans In Films DeStefano, George. Family Lies. 23:4 July-Aug '87, 22-26. ill. How did the Mafia gangster come to represent Italian ethnicity in movies? Ref. THE UNTOUCHABLES. ltaml, Juzo See: New York Film Festival (TAXING WOMAN, A) Jones, Terry See: PERSONAL SERVICES Jordan, Nell See: MONA LISA Keaton, Diane See: HEAVEN Klaslk Klaulx Wilkins, Mike and Jack Barth. Klassik Klassix. 23:1 Jan-Feb '87,64-67. ill. . Konchalovsl<y, Andrei Jaehne, Karen. The Brothers M - K. 23:5 Sept-Oct '87, 6fHl8. ill. Includes interview. Career, politics of Konchalovsky and Nikita Mikhalkov. Korea, South See: AsIan Cinema Kubrick, Stanley Lacayo, Richard. Semper Fi. 23:5 Sept-Oct '87, 11-14. ill. Career, themes. Ref. FULL METAL JACKET. KUrellhl, Hanl! See: SAMMY AND ROSIE GET LAID Kuryl, Diane See: MAN IN LOVE, A Lambert, Mary See: SIESTA Langer, Carole See: New York Film Festival (RADIUM CITY) Larry, Sheldon See: TRYING TIMES (PBS-TV series) for the Larry-directed DRIVING SCHOOL Laurel and Hardy Kimmel, Daniel. Journals: Laurel and Hardy in the Big House. 23:4 July-Aug '87, 2, 4. ill. Connecticufs maximum security prison in Somers shows Laurel and Hardy series. 76 •



Sex and the Cinema Wurtitzer, Rudy Horton, Andrew See: Prostitution (Theme in Films) Golden , Mike. Frontiersman: Rudy Wurlitzer interviewed . 23:4 Journals: Black like Mich. 23:2 March-April '87, 8-9. A Silent Cinema Walsh , Michael. Sounds of Silents. 23:4 July-Aug '87, 66-69. July-Aug '87, 40-44. ill. Career. Ref. directing CANDY GATHERING OF OLD MEN. MOUNTAIN and writing WALKER. Jacobson, Hartan ill. Which came first , the movies? or movie music? See also: Frank, Robert Cannes Tankerous. 23:4 July-Aug '87, 61-63. South Korea Yamamoto, Masahi Looney PLATOONS and Marlee Maladies. 23:2 March-April See: Asian Cinema See: ROBINSON'S GARDEN Soviet Union '87, 2. Oscars. Batchan, Alexander. Mad Russian: Victor Dyomin , 23:3 May- Authors Montand. 23:5 Sept-Oct '87, 28-32. Prince Rob: Rob Reiner. 23:5 Sept-Oct '87, 58-65. June '87, 48-51 . ill. Interview. Dyomin comments on the Almendros, Nestor Ten-Best 1986. 23:1 Jan-Feb '87, 58-59. state of film criticism in the Soviet Union since Klimov and Photogenics: I Am A Camera. 23:4 July-Aug '87, 18-21 . 25th New York Film Festival. 23:6 Nov-Dec '87, 61-64. Glasnost. Ansen, David Jaehne, Karen Bollag , Brenda. Klimov & Co. 23:3 May-June '87, 40-43. ill. Looney PLATOONS and Marlee Maladies. 23:2 March-April The Brothers M-K. 23:5 Sept-Oct '87, 66-68. Konchalovsky & Results of the 5th Congress (1986) of Union of Soviet Filmmakers, Klimov, and Glasnost. '87, 2. Oscars. Mikhalkov. Kenned y, Harlan. Soviet Spring. 23:3 May-June '87, 34-36. ill. Aufderheide, Pat Hooker: Two or Three Things We Know About Her. 23:3 Glasnost-its effect on the Soviet cinema. Ref. censorship. Journals: Overheard in Moscow. 23:5 Sept-Oct '87, 6. Kenned y, Harlan. Tarkovsky. 23:3 May-June '87 , 44-46. ill. Oriental insurgents. 23:6 Nov-Dec '87, 73-76. May-June '87, 25-32. Career, films. Barth, Jack Mailer'S Minuet. 23:4 July-Aug '87, 11-17, TOUGH GUYS Strauss, Bob. Soviet Summit. 23:3 May-June '87, 37-38. ill. Klassik Klassix. 23:1 Jan-Feb '87, 64-67. The Entertainment Summit: Soviet filmmakers journey to Praising ARIZONA. 23:2 March-April '87, 18-24. DON'T DANCE. U.S. to meet Ameri can counterparts. Possible co-produc- Batchan, Alexander Kehr, Dave tions? Mad Russian : Victor Dyomin. 23:3 May-June '87, 48-51 . Looney PLATOONS and Marlee Maladies. 23:2 March-April Spielberg, Steven Benair, Jonathan See: COLOR PURPLE, THE Funny Man Frank. 23:2 March-April '87, 58-61. '87, 2. Oscars. Sports Films Bertolucci, Bemardo Kennedy, Hartan See: Wrestling Films Billions of Emperors. 23:6 Nov-Dec '87 , 34-36. Gritty Brit. 23:2 March-April '87, 15-17. Stephen Frears. Stars and the Star System Bollag, Brenda It's the Dinosaur Show. 23:6 Nov-Dec '87, 77, 30. Edinburgh See: Actors and Actresses Klimov & Co. 23:3 May-June '87, 40-43. Stone, Oliver Briggs, Joe Bob Film Festival. Mc Gilligan , Pat. Point Man. 23:1 Jan-Feb '87 , 11-20, 60. ill. The Gospel According to Joe Bob. 23:2 March-April '87, Journals: Berlin Chat. 23:3 May-June '87, 2, 4, 6. Interview. Career. Ref. SALVADOR and PLATOON. Soviet Spring . 23:3 May-June '87, 34-36. Strummer, Joe 51-56. Tarkovsky. 23:3 May-June '87, 44-46. Fuller, Graham . Combat Rocker, Joe Strummer. 23:4 July- Bright, John A Tent in Venice. 23:6 Nov-Dec '87, 50-51 . Aug '87, 45-52. ill. Interview. Career: The Clash to Nicara- Naming Names: Sam Ornitz, James Cagney, The Hollywood Kilday, Gregg gua. Ref. STRAIGHT TO HELL and WALKER. Looney PLATOONS and Marlee Maladies. 23:2 March-April Swaim, Bob Reds, and Me. 23:6 Nov-Dec '87, 48-51 . See: HALF MOON STREET Brody, Meredith '87, 2. Oscars. Taiwan We Killed 'Em in Chicago . 23 :1 Jan-Feb '87 , 68-75 . Kimmel, Daniel See: Asian Cinema Journals: Laurel and Hardy in the Big House. 23:4 July-Aug Tarkovsky, Andrei RE-ANIMATOR. Kennedy, Harlan . Tarkovsky. 23:3 May-June '87 , 44-46. ill. Byron, Stuart '87, 2,4. Looney PLATOONS and Marlee Maladies. 23:2 March-April The Minors: The Bingo Long Traveling All-Star Industrialists. Career, films. Teen-Agers and the Cinema '87, 2. Oscars. 23:1 Jan-Feb '87, 41-43. John Cleese. Smith , Gavin. Pensees: Pretty Vacant in Pink. 23:4 July-Aug Carson, Tom Klady, Leonard Television: TIMES Don't Change. 23:6 Nov-Dec '87, 78-79. Journals: Connie's Comeback. 23:2 March-April '87, 6-8. '87 , 70-71 . ill. Overview olthe teen-pic genre. Ref. RIVER 'S EDGE. TRYING TIMES. Conrad Hall. Television Chute, David Ready, Get Set, Go. 23:1 Jan-Feb '87, 40. HOT PURSUIT. Corliss, Richard . Full Medal Jackoff. 23:5 Sept-Oct '87, 16. Lt. A Zoo for Films. 23:6 Nov-Dec '87 , 71-73. Toronto Film Kureishi, Hanil Col. Oliver North : the televised Iran-Contra hearings. SAMMY AND ROSIE GET LAID. 23:5 Sept-Oct '87, 70. Mancini , Marc. The Home Team: Video S.I.P. 23:1 Jan-Feb Festival Lacayo, Richard '87, 44-49. ill. Special Interest Programming (e. g. JANE Coe, Andrew Semper Fi. 23:5 Sept-Oct '87, 11-14. FULL METAL JACKET. FONDA'SWORKOUTTAPE).lncludesa Home Video Lexicon. Slugfests del Sur. 23:4 July-Aug '87, 27-30. Mexican wrestling Mancini, Marc See also: Censorship, Television; Commercials, Television; The Home Team : Video S.I.P. 23:1 Jan-Feb '87, 44-49. Los Angeles Television Festival; Television, Religious; films . Journals : AS Time Warps By. 23:5 Sept-Oct '87, 2, 4, 6. STAR HOME SHOPPING CLUB, THE; TRYING TIMES Cortiss, Mary Television, Religious Cannes Tankerous. 23:4 July-Aug '87, 60, 64-65. WARS memorabilia. Pally, Marc ia. Television: 'Farbrengen' My Baby Back Home. Orbits: Carlos Clarens. 23:2 March-April '87, 75. Television : M.o.B. Rule. 23:4 July-Aug '87, 76-77. L.A. TV 23:3 May-June '87 , 75-77. ill. Lubavitchers videotape and Cortiss, Richard broadcast their farbrengen with Rabbi Schneerson. Full Medal Jackoff. 23:5 Sept-Oct '87, 16. Oliver North. Festival. Telluride Film Festival (14th) Looney PLATOONS and Marlee Maladies. 23:3 March-April Mathews, Jack Sragow, Mic hael. Journals: Rocky Mountain 'Hi.' 23:6 Nov- Looney PLATOONS and Marlee Maladies. 23:2 March-April Dec '87, 6, 8. '87, 2. Oscars. Toronto Film Festival (Festival of Festivals) The 1986 Movie Revue: 1986 and All That. 23:1 Jan-Feb '87, '87, 2. Oscars. Aufderheide, Pat. Oriental Insurgents. 23:6 Nov-Dec '87, 73- McDonough, Jimmy 76. ill. \"Eastern Horizons,\" a retrospective of recent Asian 58-59, Great Balls of Fire. 23:2 March-April '87, 38-50. The Ormonds. Pac ific cinema: Hong Kong , Taiwan , Philippines, South Orbits: Cary Grant. 23:1 Jan-Feb '87, 78. Pensees. 23:3 May-June '87, 72-74. THE COLOR OF MONEY. Korea . 70-Millimeter Nerves: Richard Roud . 23:5 Sept-Oct '87, 36-59. McGilligan, Pat Chute, David. A Zoo for Films. 23:6 Nov-Dec '87, 71-73. ill. Point Man: Oliver Stone. 23:1 Jan-Feb '87, 11-20, 60. New York Film Festival TENQER COMRADES. 23:6 Nov-Dec '87, 38-48. Hollywood Townsend, Robert Ten-Best 1986. 23:1 Jan-Feb '87, 58-59. See: HOLLYWOOD SHUFFLE Das Gupta, Chidananda Blacklist. Training Films Pols of India. 23:3 May-June '87, 20-24. Meyerson, Harold Kimmel , Daniel. The Minors: The Bingo Long Traveling AII- DePalma, Brian Orbits: Astaire Way to Heaven. 23:5 Sept-Oct '87, 91-95. Guilty Pleasures. 23:3 May-June '87, 52-53. Star Industrialists. 23:1 Jan-Feb '87, 41-43. ill. Business DeStalano, George Natale, Richard training films : John Cleese and Video Arts. Ref. SECOND Family Lies. 23:4 July-Aug '87, 22-26. Italian-Americans. bk. rev. John Taylor, Storming the Magic Kingdom. 23:4 July- EFFORT; THE TIME OF YOUR LIFE; MORE THAN Fuller, Graham Combat Rocker: Joe Strummer. 23:4 July-Aug '87, 45-52. Aug '87, 78-79. MONEY. Gibney, Alex Ney, Joanna United Kingdom Make Money, Not War. 23:6 Nov-Dec '87 , 17-22. Directors Journals: Cane and Able. 23:1 Jan-Feb '87, 2, 4. THE Kennedy, Harlan. Whither Britain? 23:1 Jan-Feb '87, 50-51 . ill. Guild . WHALES OF AUGUST. State of the industry. Gigliotti, Donna O'Toole, Lawrence United States Film Festival (Park City) Looney PLATOONS and Marlee Maladies. 23:2 March-April bk. rev. Robert Coover, A Night at the Movies Or, You Must Powers, John, Journals: Downhill at Park City. 23:2 March- '87, 2. Oscars. Remember This . 23:3 May-June '87, 78. April '87, 4, 6. ill. Glicksman, Martalne The 1986 Movie Revue: New Faces. 23:1 Jan-Feb '87, 56-57. Highway 61 Revisited : Robert Frank . 23:4 July-Aug '87, 32-39. Ten-Best 1986. 23:1 Jan-Feb '87, 58-59. VCR Hotel HEAVEN : Diane Keaton. 23:2 March-April '87, 32-37. Pally, Marcia See: Television Golden, Mike Baryshinikov , 23 :5 Sept-Oct '87 , 81 . DANCERS . Venice Film Festival Frontiersman : Rudy Wurlitzer. 23:4 July-Aug '87, 40-44. Giselle Goes to Hollywood, 23:5 Sept-Oct '87, 80-82. Kennedy, Harlan . A Tent in Venice. 23:6 Nov-Dec '87, 70, Groening, Matt 25th New York, New York, Film Festival. 25:5 Sept-Oct '87, DANCERS. 76-77 . Kurys Makes Her Bed . 23:5 Sept-Oct '87, 64-86. Video 56-57. Guide. On Valentine's Day: Beineix BLUE. 23:1 Jan-Feb '87, 21-24. See: Television Harmetz, Aljean The 16th New Directors/ New Films Series. 23:3 May-June '87, Women Looney PLATOONS and Marlee Maladies. 23:2 March-April See: Actors and Actresses; Prostitution (Theme in Films) 65-69. '87, 2. Oscars. Television: Farbrengen My Baby Back Home. 23:3 May-June Woods, Donald Harvey, Stephen See: CRY FREEDOM The 1986 Movie Revue: 1986 and All That. 23:1 Jan-Feb '87, '87,75-77. Wrestling Films Powers, John Cae, Andrew. Slugfests del Sur. 23:4 July-Aug '87, 27-30. ill. 58-59. Journals: Downhill at Park City. 23:2 March-April '87, 4, 6. U.S. Ten-Best 1986. 23:1 Jan-Feb '87, 58-59. Mexican wrestling films : history of the genre. 25th New York Film Festival. 23:6 Nov-Dec '87, 60, 64-67. Film Festival. Hoberman, J. Rayns, Tony Pols 01 India. 23:3 May-June '87, 20-24. Model Citizen : Bernardo Bertolucci on Location in China. Hodenlleld, Chris Gin-Soaked Boy: Charles Bukowski. 23:4July-Aug '87,53-59. 23:6 Nov-Dec '87, 31-33. Rodchenko, H.A. Bluejean-Luc Godard . 23:6 Nov-Dec '87, 2. 4. Godard's TV commercials . Sarris, Andrew Looney PLATOONS and Marlee Maladies. 23:2 March-April '87, 2. Oscars. Schickel, Richard Looney PLATOONS and Marlee Maladies. 23:2 March-April '87, 2. 0scars. 78

No Method to His Madness. 23:3 May-June '87,11 -19. Ronald DANCERS (Herbert Ross) SALVADOR (Oliver Stone) Pally, Marcia. Baryshnikov: No Time for Conflicts. 23:5 Sept- See: Stone, Oliver Reagan . SAMMY AND ROSIE GET LAID (Stephen Frears) Ocl '87, 81 . ill. Includes inlerview. Baryshnikov's role in the Kureishi , Hanif. SAMM Y AND ROSIE. 23:5 Sept-Oct '87, 70. Schiff. Stephen film . Script extract. Looney PLATOONS and Marlee Maladies. 23:2 March-April Pally, Marcia. Giselle Goes to Hollywood . 23:5 Sept-Oci '87 , SIESTA (Mary Lambert) Smith , Gavin . Post-Mod Squad . 23:6 Nov-Dec '87, 24-29. ill. '87, 2. Oscars. 80-82. ill. STAR WARS (George Lucas) DARK EYES (Nikita Makhalkov) Mancini , Marc. Journals: As Time Warps By. 23:5 Sept-Oct Schulz-Keil. Weiland See: New York Film Festival DEAD, THE (John Huston) '87, 2, 4, 6. ill. 10th ann iversary celebration of STAR WARS. Huston. 23:5 Sept-Oct '87, 18-23. THE DEAD. See: Huston, John STRAIGHT TO HELL (Alex Cox) DIARY FOR MY LOVED ONES (Marta Meszaros) See: Strummer. Joe Scoll. Joan See: New York Film Festival STREET OF CROCODILES. THE (Quay Brothers) Ordeal by Disney. 23:6 Nov-Dec '87, 52-59. THE MAGNIFI- DRIVING SCHOOL (Larry Sheldon) Vogel , Amos. Journals: Berlin Chat. 23:3 May-June '87, 6, 8. ill. See: TRYING TIMES (PBS-TV series) TAXING WOMAN. A (Juzo Itami) CENT REBEl. FAMILY TREE, A (Jonathan Demme) See: New York Film Festival See: TRYING TIMES (PBS-TV series) TEMA (Gleb Panfilov) Shelnleld. Lois P. FULL METAL JACKET (Stanley Kubrick) See: New York Film Festival See: Kubrick. Stanley TENDER COMRADES Television: FCC Doublespeak. 23:5 Sept-Oct '87 , 87-90. GATHERING OF OLD MEN, A (Volker Schlondorff) McGilligan , Pat. TENDER COMRADES. 23:6 Nov-Dec '87, Horton, Andrew. Journals: Black like Mich. 23:2 March-April Smith. Gavin 38-48. ill. Interviews with Blackl ist survi vors transcribed '87, 8-9. from the unfinished documentary. Pensees: Pretty Vacanl in Pink. 23:4 July-Aug '87, 70-71 . HALF MOON STREET (Bob Swaim) TOUGH GUYS DON'T DANCE (Norman Mailer) Jaehne, Karen . Hooker: Two orThree Things We Know aboul Jaehne, Karen. Mailer's Minuet. 23:4 July-Aug '87, 11-17. ill. Teen-pics. Includes interview material. Her. 23:3 May-June '87, 25-32. ill. Hooker heroines. Includes TRYING TIMES (PBS-TV series) Posi-Mod Squad. 23:6 Nov-Dec '87, 24-29. SIESTA. HALF MOON STREET. Carson, Tom. Television: Times Don't Change. 23:6 Nov-Dec HEAVEN (Diane Keaton) '87, 78-79. ill. DRIVING SCHOOL and A FAMILY TREE, Sragow. Michael Glicksman , Marlaine. Hotel HEAVEN: Diane Keaton Inter- two episodes of TRYING TIMES. viewed 23:2 March-April '87, 32-37. ill. UNDER SATAN'S SUN (Maurice Pialat) Journals: Rocky Mounlain 'Hi.' 23:6 Nov-Dec '87, 6, 8. HOLLYWOOD SHUFFLE (Robert Townsend) See: New York Film Festival White, Armond . Class Clowns. 23:2 March-April '87,11-14. ill. UNTOUCHABLES. THE (Brian DePalma) Telluride Film Festival. Movies about one's own ethnic type. Includes HOLLY' DeStafano, George. Family Lies. 23:4 July-Aug '87, 22-26. ill. WOOD SHUFFLE. How did the Mafia gangster come to represent Ital ian Stein. Ellloll HOME SHOPPING CLUB, THE (TV program) ethnicity in movies? Ref. THE UNTOUCHABLES. Wilkins, Mike. Television : A Visil to THE HOME SHOPPING WALK LIKE A MAN (Melvin Frank) Journals: Miami Nice. 23:4 July-Aug '87, 6, 8. Miami Film CLUB. 23:2 March-April '87, 70-74. ill. See: Frank, Melvin HOPE AND GLORY (John Boorman) WALKER (Alex Cox) Feslival. See: New York Film Festival See: Strummer! Joe HOT PURSUIT (Steve Lisberger) WHALES OF AUGUST, THE (Lindsay Anderson) Journals: Nieto's Shadow. 23:1 Jan-Feb '87, 4-7. Cartagena Klady, Leonard . Ready, Gel Set, Go. 23:1 Jan-Feb '87, 40. Ney, Joanna. Journals: Cane and Able. 23:1 Jan-Feb '87, 2, 4. HOUSE OF GAMES (David Mamet) ill. Film Feslival. See: New York Film Festival WORKING GIRLS (Lizzie Borden) HUMAN VOICE. THE (Roberto Rossellini) Jaehne, Karen . Hooker: Two or Three Things We Know Ten-BesI1986. 23:1 Jan-Feb '87,58-59. See: New York Film Festival About Her. 23:3 May-June '87, 25-32. ill. Hooker heroines. JACKIE CHAN'S POLICE STORY (Jackie Chan) Includes WORKING GIRLS. 25th New York Film Feslival. 23:6 Nov-Dec '87, 60-£1 . 67-£9. See: New York Film Festival YEELEN/ BRIGHTNESS (Souleymane Cisse) JEAN DE FLORETTE (Claude Berri) See: New York Film Festival Strauss. Bob See: Montand. Yves JOAN OF ARC AT THE STAKE (Roberto Rossellini) Book Reviews Soviel Summit. 23:3 May-~une '87, 37-38. See: New York Film Festival LAST EMPEROR. THE (Bernardo Bertolucci) Coover, Robert Stuart, Jan . Bertolucci, Bernardo. Billions of Emperors. 23:6 Nov-Dec '87, A Night at The Movies Or, You Must Remember This. New 34-36. ill. Journals: A Queer Kind 01 Film. 23:6 Nov-Dec '87, 4, 6. Rayns, Tony. Model Cilizen : Bernardo Bertolucci on Location York : Simon and Schuster, 1987. 23:3 May-June '87, 78. in China. 23:6 Nov-Dec '87, 31-33. ill. rev. Lawrence O'Toole. Lesbian and Gay Experimental Film Festival. MAGNIFICENT REBEL, THE (Peter Herald) Taylor. John Scott, Joan. Ordeal by Disney. 23:6 Nov-Dec '87, 52-59. ill. Storming the Magic Kingdom. New York: Knopf, 1987. 23:4 Thompson. Anne MAN IN LOVE, A (Diane Kurys) July-Aug '87, 78-79. ill. rev. Richard Natale. Pally, Marcia. Kurys Makes Her Bed. 23:5 Sept-Oct '87 , 84-86. Induslry: The 12th Annual Grosses Gloss. 23:2 March-April ill. DO YOU WANT TO MAKE FILMS MANCHURIAN CANDIDATE, THE (John Frankenheimer) OR SIT IN A CLASSROOM? '87,62-£9. See: New York Film Festival MANDELA (Philip Saville) Summer 1988 Looney PLATOONS and Marlee Maladies. 23:2 March-April Wh ite, Armond . Apartheid Chic. 23:6 Nov-Dec '87, 11-16. ill. June 27 - August 19 White domination/ orientation of films about Blacks. '87, 2. Oscars. Includes MANDELA. If you wont to make films. our intensive. MANON DES SOURCES (Claude Berri) interdisciplinary 8-week summer program Make Money, Not War. 23:6 Nov-Dec '87, 17-22. Directors See: Montand. Yves MELO (Alain Resnais) is for you . A special program in the Guild. See: New York Film Festival radical art of filmmaking considered and MONA LISA (Neil Jordan) The 1986 Movie Revue: Oscar 'Toul Sheet.' 23:1 Jan-Feb '87, Jaehne, Karen . Hooker: TwoorThree Things We Know about practiced as an avant-garde experi- Her. 23:3 May-June '87 , 25-32. ill. Hooker heroines. mental enterprise. The poetics of film. the 52-55 . Includes MONA LISA. MONTH IN THE COUNTRY, A (Pat O'Connor) energy of narrative. the \" art of vision\" - Rise and Shine: Mike Medavoy. 23:3 May-June '87 , 54-£2. See: New York Film Festival these are the aesthetic considerations of PERSONAL SERVICES (Terry Jones) Thomson, David Jaehne, Karen . Hooker: Two or Three Things We Know this great modern art form. About Her.23:3May.June'87,25-32. ill.Hookerheroines.lncludes Gray Ghost. 23:2 March-April '87, 26-29. Alec Guinness. PERSONAL SERVICES. BE AN INDEPENDENT FILMMAKER PLATOON (Oliver Stone) Vogel. Amos See: Stone, Oliver Milton Avery PRICK UP YOUR,EARS (Stephen Frears) Graduate School of the Arts Journals: Berlin Chat. 23:3 May-June '87, 6, 8. ROBINSON'S See: Frears, Stpehen PRINCESS BRIDE. THE (Rob Reiner) at GARDEN and THE STREET OF CROCODILES. See: Reiner, Rob RADIO DAYS (Woody Allen) BARD Walker. Beverly White, Armond. Class Clowns. 23:2 March-April '87, 11-14. ill. Movies about one's ethnic type. Includes RADIO DAYS. Annandale-an-Hudson. NY 12504 Anjelica. 23:5 Sept-Oci '87 , 24-26. RADIUM CITY (Carole Langer) (914) 758-6822, x-183 See: New York Film Festival Journals: Midnacht at the Oasis. 23:4 July-Aug '87, 4, 6. RAISING ARIZONA (Joel and Ethan Coen) Barth, Jack. Praising ARIZONA. 23:2 March-April '87, 18-24. BRENDA'S PLACE, A COMEDY FABLE. ill. Shot-by-shot analysis. RE-ANIMATOR (Stuart Gordon) The Majors: Limbo Land. 23:1 Jan-Feb '87, 34-41 . Scripts. See: Gordon, Stuart RIVER'S EDGE (Tim Hunter) Walsh. Michael Smith, Gavin. Pensees: Pretty Vacant in Pink . 23:4 July-Aug '87,70-71. ill. Overview of teen-pic genre. Includes RIVER'S Sounds 01 Silents. 23:4 July-Aug '87, 66-£9. Music lor silenl EDGE. lilms. ROBINSON'S GARDEN (Masahi Yamamoto) Vogel , Amos. Journals: Berlin Chat. 23:3 May-June '87, 6, 8. ill. White, Annond Apartheid Chic. 23:6 Nov-Dec '87, 11-16. Class Clowns. 23:2 March-April '87, 11-14. RADIO DAYS and HOLLYWOOD SHUFFLE. On Valenline's Day: Amour Fools. 23:1 Jan-Feb '87, 26-31. Director/ Husbands directing ActresslWives. The 16th New Directors/ New Films Series. 23:3 May-June '87, 64, 69-71 . Television: Running on Recall. 23:4 July-Aug '87, 72-75. REVOLUTION, a Nike TV commercial. Wilkins, Mike Klassik Klassix. 23:1 Jan-Feb '87, 64-£7. Television : A Visil 10 THE HOME SHOPPING CLUB. 23:2 March-April '87, 70-74. Film Titles AMI DE MON AMIE. L' (Eric Rohmer) See: New York Film Festival ANITA: DANCES OF VICE (Rosa von Praunheim) See: New York Film Festival ANNA (Yurek Bogayevicz) See: New York Film Festival BABETTE'S FEAST (Gabriel Axel) See: New York Film Festival BAD BLOOD (Leos Carax) See: New York Film Festival BARFLY (Barbel Schroeder) See: New York Film Festival; Bukowski, Charles BETTY BLUE (Jean-Jacques Beineix) See: Beineix, Jean-Jacques BRENDA'S PLACE, A COMEDY FABLE (Percy Adlon) Walker, Beverly. Journals: Midnacht at the Oasis. 23:4 July- Aug '87, 4, 6. ill. CANDY MOUNTAIN (Robert Frank) See: Frank, Robert COLOR OF MONEY, THE (Martin Scorsese) McDonough, Jimmy. Pensees. 23:3 May-June '87, 72-74. ill. COLOR PURPLE. THE (Sleven Spielberg) White, Armond. Apartheid Chic. 23:6 Nov-Dec '87 , 11-16. ill. While dominalion/ orientalion 01 films about Blacks. CRY FREEDOM (Richard Attenborough) White, Armond. Apartheid Chic. 23:6 Nov-Dec '87, 11-16. ill. While domination/ orientation of films about Blacks. Ref. CRY FREEDOM. Includes an inteview with Donald Woods. 79

MOVIE STAR PHOTOS One of the world's largest collections of film Contributors TOTHE EDITOR: personality phocographs, with emphasis on rare candids and European material. Send a Pat Aufderheide is a Washington-based S.A.S.E. with wane-list co: senior editor and film critic for In These In the February 1988 issue of FILM COM- Milton T. Moore, Jr. Time,s. Tom Carson is TV critic for the MENT in which Gavin Smith profiles Ed L.A. Weekly. Karen Jaehne is a New Pressman, you refer to my partner and Dept. Fe York-based freelance writer. Austin La- myself in capitals, (thank you), aspackag- P.O. Box 140280 Dallas, Texas 75214-0280 mont teaches the history of documentary ers. More critically, you imply we're rep- film in Santa Fe, New Mexico. Marc resentative of this entire group for some Mancini teaches at Loyola Marymount reason. My question to you is what in the Marilyn, \"Bogey\", Gable and University. Robert Sklar teaches cine- hell is your rationale/thesis for this ill-con- liz are just a small sample of ceived notion? Jerry Bruckheimer and I names from the infinite ma studies at New York University and is are many things, but, packagers we've supply of photographs never been and never will be. In point of available to collect. We also the author of Movie-Made America. Bri- fact, it's a matter of public record that we an Taves is the author of Robert Florey, the French Expressionist (Scarecrow have a wide variety of Press) and has completed a Ph. D. in cine- represent the very antithesis of packaging. posters. Now you can own ma at the University of Southern Califor- -DON SIMPSON your own piece of nia. Armond White writes for New Hollywood. Send $2.00 for _Yor_k's _City_Su_n a_nd _Pap_er._ _ _ _ _ TOTHE EDITOR: our illustrated catalogue with free poster insert to: Hollywood Collectibles, P.O. Box 749', Dept. Photo Credits KII, Rego 'ark, NY 11374. ABC: p. 70, 72 (2). Alive: p. 24, 26, 27, 29. I've known Don Simpson for a long time Angelika Films: p. 39,43(2),46. Atlantic: and consider him a friend. I am sorry he p. 36 (2), 49, 50. CBS: p. 72. Filmhaus: read my words as being presumptuous. In p.33. Columbia: p. 16 (1 ,2), 62. Courtesy response to a pointed question, I ex- Film Society of Lincoln Center: p. 19, 36 plained our different approaches to pro- (1), 43 (1), 43 (1), 45. ICAIC: p. 2. Lion- ducing. I was complimentary towards a heart TV: p. 17. MGM: p. 16 (3,4),56 (2). style which might' 'seem\" callous but is, Martha Swope Associates: p. 54. NBC: in essence, a traditional and respected p. 71. Orion: p. 34. Paramount: p. 56 (1), methodology. I have a great deal of admi- 57. By Marshall Rheiner: p. 8. Courtesy ration for Mr. Simpson's work. ;::=======================~ Brian Taves: p. 63, 64, 65 (1 ,2), 66, 68. -EDWARD R. PRESSMAN ORIGINAL AUTOGRAPHED Touchstone Pictures: p. 60. 20th Century CELEBRITY PHOTOS Fox: p. 11, 12, 13, 14, 16 (1). Ute Audio- ADDENDA Visual: p. 6. By Luciano Valletta: p. 4. Last issue we left a few things out. In the Hollywood legends, superstars. Vestron: 18, 21. By Isaiah Wyner: p. 53. 25th or 26th anniversary celebration of Quality collection, authenticity guaranteed. Brochure : L&M Gross To THE EDITOR: FILM COMMENT writing, three valued 2675 Hewlett Ave Dept F contributors got lost in the galleys. David Merrick, New York 11566 In the February FILM COMMENT, I hurt Thomson should have been represented STAR PHOTOS· MOVIE POSTERS· MAGAZINES one of the few real friends I have in this by the appraisal of directorial voyeurs in FREE CATALOG his Raging Bull piece Oan.-Feb. 1981), business. A woman who believed in and David Chute by excerpts from his paean ' 0.,,.; 811 (~HI.INfi\";II·.\". to John Waters (May-June 1982), and encouraged me long before it was fashion- Marcia Pally by her comments on Rocky .'If\"· I\"; .\"AT\";III ,U. STOIIt;. Ine. and Reaganism Oan.-Feb. 1986). 242 W. 14th Street able. She is a woman I respect as well as In the \"1987 and All That\" roundup, New York, N.Y. 10011 feel an affinity for. And yet, somehow in (212) 989-0869 Elliott Stein's ten-best list, which his afi- your article, none of these feelings man- cionados eagerly await each year, was in- OPEN UUlT OAlI :DO-UJOpm BETWEEN 8th AND 7th AVENUE aged to come through at all. As a matter of advertently axed. Here it is: In the first IND. SUIWAY W. 14th STRHT STOP two places, Agustin Villa-Ionga's Tras en fact, quite the contrary could be assumed. cristal and Elem Klimov's Come and See. Pin· Ups • Portraits • Posters • Physique Then (in alphabetical order) China Girl, Poses • Pressbooks • Western • Horror • And so to my dear, dear friend Dawn Near Dark, Le Rendezvous (Andre Te- Science Fiction • Musicals • Color Photos • chine), Sammy & Rosie Get Laid, The Si- 80 Years of Scenes From Motion Pictures Steele, I apologize from my heart to hers, cilian, The Stepfather, Tampoppo, and Ru sh $1.00 FOR OUR ILLUSTRATED BROCHURE Yeelen. and she knows me well enough to know 134 WEST 18th STREET, DEPT. Fe NEW YORK, N.Y. 100'11 that nothing or no one could make me say (212) 620-8160-61 anything I didn' t believe. And so to her, through this letter, I send my love, my re- spect and an apology from the bottom of my heart. -CHER 80



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