VOLUME 18 - NUMBER 05 SEPTEMBER-OCTOBER 1982

out that Sedgwick was \"unique among It seems likely that Warhol had more became a character in Blonde on Blonde.) the women superstars because she never played the female clown, [she] always invested in Sedgwick than in any super- Warhol \"was furious,\" Viva told Stein. kept her cool.\" Less sympathetically, but more to the point, The Philosophy of star since. Certainly theirs was the most \"A lover betrayed by his mistress. \" Andy Warhol cites the \"poignantly va- cant, vulnerable quality that made her a complex symbiotic relationship in the Sedgwick's last film for Warhol was a reflection of everybody's private fanta- sies. Taxi [the Factory nickname ap- Factory. He gave her clout and she gave prescient disaster: she played Lupe plied to Edie here as well as in Warhol's novel a, a reference perhaps to her re- him class-even, if one looks at those Velez, the \"Mexican Spitfire\" who fusal to substitute cabs for limousines] could be anything you wanted her to be 1965 photographs, a kind of virile assur- planned the most elaborate Seconal sui- -a little girl, a woman, intelligent, dumb, rich, poor-anything. She was a ance. \"He was madly flattered,\" one of cide in Hollywood and wound up wonderful, beautiful blank. The mys- tique to end all mystiques.\" the socialites in Edie reports. \"Although drowning in the toilet bowl. After Octo- Not surprisingly, Edie inspired Fac- his words communicated so little, one ber 1966, when Earl Wilson was already ,~~ants make the head ' could tell how excited he was. There referring to Edie as \"last year's under- I was this rich, beautiful girl, who seemed ground film star,\" Warhol removed Af- I ato be dressing and looking just like him, ternoon from The Chelsea Girls and sub- I and he didn't know what to make of it: stituted sequence with Nico instead . I what did it all mean?\" The artist segues The deletion is Chelsea Girls' loss. Al- I into the Sedgwick chapter of The Philos- though it's been almost half my life since ! ophy ofAndy Warhol by remarking, \"One I saw Afternoon, I still retain a visceral I person in the Sixties fascinated me more impression of Edie's capacity to animate comparisons. \"It was the best of times; it was the worst of times,\" wrote Ed nybody I had ever known. a space-one of the deepest and most Hood, himself one of the stars of Warhol's My Hustler, in Film Culture. evenly lit in Chelsea Girls-with grace- \"There was Marilyn and there was Edie. Monroe and Sedgwick. Both ful nothingness, nervous energy, and came, in a way, from the wrong side of the tracks ... Edie's recital of money, random bits of business. Even as the parents, governesses, and chic boarding schools is quite as moving as Marilyn's of brain-damaged hippie girl of Ciao! Man- poverty, orphanages, foster-parents, husbands, and other indignities to flesh hattan, she retains a haunting semblance and spirit. Sisters in essence, they might gladly have exchanged upbringings.\" of poise, lurching as it may be. Robert Rauschenberg told Stein that he was \"always intimidated and self-con- Edie made one other movie before scious\" in Sedgwick's presence \"be- cause she was like art ... an object that returning to California to meet her fate. had been strongly, effectively created.\" In the summer of 1967 (\"the summer of love\"), Ricky Leacock featured her in the film interludes he directed for Sarah Caldwell's production of the opera Lulu. Indeed, the iconic Edie sprawled across her biography's dust jacket-prone and defenseless, a mass of blonde hair held in check by a red headband-comes from this project. Given the paraIlels between the Twenties and the Sixties, it's a surprisingly more passive concep- tion of female carnality than that found on the cover of Louise Brooks' Lulu in Hollywood, coincidentally brought out - ~, dumb, rich, poor... by the same publisher one month ear- lier. Unlike Louise, Edie can no longer stare us in the face. Had she shown some of Brooks' resiliency, we might the fascination I experienced was proba- have been reading her recollections of bly very close to a certain kind of love.\" Warhol, Dylan, and George Plimpton in But at the height of this romance, the year 2001. But then had Edie been a Edie wanted something more. Real \"survivor,\" she wouldn't have been movies? Real love? She and Warhol Mailer's \"spirit of the Sixties.\" quarreled over the idea of an Edie In any Case, she wasn't made for so Sedgwick Retrospective; she thought it civilized an apotheosis. Her final ap- would humiliate her (see POPism for pearance was as an extra in the public details). Taking a cue from Louis B. television embourgeoisement of the Mayer, the Factory promptly turned an Warhol aesthetic. On the very last night uninhibited New Jersey secretary into of her life, some unerring radar led her to Ingrid Superstar-the Edie of the Bi- find the only cinema verite crew in Santa zarro World-and floated Nico as the Barbara and work herself into a crowd new girl in town. For her part, Edie took scene in An American Family. Warhol up with Bob Dylan, the one guy in New remarks somewhere that, in the future, York who was possibly hipper than everyone will be famous for fifteen min- Warhol. Dylan and his manager, Albert utes. He forgot to add: eight minutes Grossman, were going to elevate Edie while they're alive and seven after out of the underground. (Instead, she they're dead. ~ 49

N astassia Kinski interviewed \"This . .. thing . . .you portray by Jodie Foster onscreen. \" Abollt stars: it is useful to remember that stars generate light and heat, that ings from second to second, if they love develop in their heads that I can't con- their light reaches us some time long her. For most parents, love means let- trol. It's hard.... after their passion has burned itself out ting their child do what's good for them. and they have gone dark, and that it is For me, love means letting her do what- That must scare you because you can't our distance from them that permits us ever is within her. Maybe it's dangerous afford to become friends with someone to wish upon them.-H.J. to let her act out her happiness, her without risking their obsession with you. fullness, her anger, but when I look at • her face and know that she's happy be- Yes, I suppose. But then, a much cause of the way she is, I cannot say no. I worse problem is the kind of person who What is it that you don't like about your- might be at home dying from worry: is so full of him/herself that he/she feels self? \"Has she had an accident? Is she o.k.?\" worthy ofsuch an obsession. After all, it's No, if she's happy, she'll do what she not really you they're in love with. That I'm unable ... to ... commit my- wants. Sometimes it's hard for parents, Sometimes, I see people who think self to anyone. I always have to escape, speaking from our own experience.... they're so interesting, so funny, so won- get away. Then that makes me unhappy derful. If they only knew that they're because it's something I need and yet Do you tend to project personalities not! That's the only way to become in- continue to reject. onto people so that you' lllike them better? teresting: to realize just how uninterest- ing you really are ... we all are! There's You mean relationships , friends, par- (Nastassia): You bet. It's not fair to more-to learn, more to do. None of us ents? them, and it's not good for me. The has even begun to know anything. worst thing is that I become like the man All relationships. Whenever there's I'm involved with. I talk like him and My mother always told me that when emotion involved. everything. It's very strange; I just let things go wrong-for instance, if I've him invade me, in a way. I need to been a coward about a relationship-the They say that is a phenomenon of the idealize my director. only thing to do is admit it. Admit that actress. you're wrong! Otherwise you're just Aren't you scared by the way people wasting your time and everyone else's. Oh, yeah? Who says that? tend to fall in love with you-the way they People in general. They say actresses become obsessed by you? Sometimes I In order to have something, to be have difficulty committing themselves to wonder how much of it is really you and successful at something, you must riskfai/- one person, because they have so many how much is this . .. this . . . thing you por- ure. If someone idealizes you, you tend to different personalities. Then it becomes tray onscreen. lose respectfor that person and shy away. hard for them to accept the idea of having to consistently act one way or another to- (Brigitte): The thing that is most at- Yes. Because you can't understand wards one person. It's also the crazy life- tractive about her is that no one can why they would think that way of you. style. How much does that affect things really \"get\" her. There's always a little You think, \"God, if that person thinks with you? barrier. This makes men crazy. I'm so great, imagine what he must be.\" I say things to people that I mean when I say them, then I forget that I (Nastassia): Don't forget that there Well, its not because you're pretty or ever said anything at all. That doesn't were two or three cases where I was even because you're a good actress. mean that I was dishonest at the mo- totally involved-when the man could ment. But you can't be so irresponsible. \"'get\" me-and they dumped me. But I I know. There are so many people It's terrible; it just makes me feel hol- don't play some game to \"get\" or not who are prettier than me, better ac- low, thin and shitty, like I never should \"get.\" It's just the way I am. I like men tresses than me. I guess it's just because have said anything in the first place. Yet to just go out, to have fun. Then things ... it's me. But frankly, I just don't I can' t stop myself from saying it be- understand it at all. I guess that's what's cause, well, I guess that's the egotistical nice about love. It's unexplainable. ~ thing-needing to say something nice to feel nice, needing to suggest some- thing nice to feel full. Does it come from a need tofee/loved? To love? I always think that I want to really love. But then I find I can only feel love for my mother. Anyone else just seems to get in my way. That's probably not very healthy. Do you think you have that actors' dis- ease, that tremendous need to charm, to make everyonefeel comfortable, to be con- sistently loved? (Brigitte, her mother): The danger is that she can change from second to second. People think that when she's sweet and going about like a cat that that is for always. Then they're disap- pointed. They should accept her feel- so



MORE BANNED FILMS BOWKER Movies, Censors. and the First Amendment BOOKS FOR THE FILM By EDWARD DE GRAZIA and ROGER K. NEWMAN. Written by one UBRARY of the nation's leading censorship lawyers and a historian of civil Libertarians, this account of movie censorship in America pro- R.R. Bowker Company vides both an historical and a social context for understanding the \" why\" of American film censorship . It reveals shifting life styles Order Dept., PO. Box 1807, Ann Arbor, MI 48106 and moral patterns, the struggle to come to grips with the First Amendment and freedom of expression , and the role of the Supreme Court. It also presents individual accounts of 122 repre- sentative American and foreign films banned in the United States. Illustrated. \"A remarkably lucid, and certainly essential book for anyone concerned with the living First Amendment. \"-Nat Hentoff, Staff Writer, Village Voice . ISBN 0~8352-1509-1 . 455 pp . October 1982 . $24 .95 tent. / hardcover ISBN 0-8352-1511 -3. $16.95 ten t.l paper EXPLORING THE ARTS Film and Video Programs for Young Viewers By PAULA ROHRLlCK, Action for Children's Television . For the first time in a single source, here is a core collection of film and video productions for preschoolers, elementary school aged chil- dren, and young teenagers, with evaluative descriptions and filmographic data on over 500 entries in the visual , performing and literary arts. Other sections offer annotated lists of instructional programs and educational TV series, organizations concerned with children 's media and the arts, and reviewing sources for film !video materials in the arts. ISBN 0-8352-1515-6. 182 pp. October 1982. $24 .95 / paper AMERICAN FOLKLORE FILMS AND VIDEOTAPES Acatalog. Volume II Compiled by the Center for Southern Folklore. The only compre- hensive, up-to-date guide available on a wide range of materials on American traditional culture , this volume contains information on more than 2,000 titles produced since 1976 and available for sale or rental ; a subject index covering such varied ' areas as kinds of music, ceremonies, arts and crafts, occupations, states and sec- tions of the country, and regional and minority cultures ; film and videotape annotations; and an appendix with distributor title list- ings, names and addresses. Illustrated with 120 photos. ISBN 0-8352-1536-9. 355 pp. November 1982. $39.95 / paper FEATURE FILMS ON aMM. 16MM. AND VIDEOTAPE ADirectory of Feature Films Available for Rental. Sale. and Lease in the United States and canada: 7th Edition Compiled and edited by JAMES L. LlMBACHER . As the estab- lished and authoritative source of feature films, this book is indispensable for a comprehensive list of feature films that can be rented , purchased , or leased . It also contains the purchasing / rental information on documentaries, educational features, ani- mated and experimental films . It has been expanded to include approximately 23,000 films, including foreign language films . ISBN 0-8352-1486-9. 481 pp. April 1982. $65.00 AUDIOVISUAL MARKET PLACE 1982 AMultimedia Guide. With Names &Numbers This is the most comprehensive and authoritative directory to the AV industry in one convenient volume. Lists contact information and activities of more than 16,000 firms and individuals active in 25 AV areas. It provides information on AV software producers and distrib- utors, hardware producers and distributors, AV services and suppli- ers, reference sources, funding sources, and a calendar of events. ISBN 0-8352-1361-7 . 471 pp. April 1982. $39.95 / paper EDUCATIONAL FILM LOCATOR Of the Comortium of University Film Centers and R.R. Bowker: 2nd Edbioo This 2nd Edition catalogs some 40,000 films available for sale or rental from the 50-member Consortium of University Film Centers. It includes 4,300 films not listed in the first edition and information on video availability. Film titles are listed alphabetically and are fully annotated based on reviews of CUFC librarians. ISBN 0-8352-1295-5. 2,611 pp. 1980. $50.00

Leave ItToBegebnan grossed $40 million-and there still was by Harlan Jacobson no profit!?! shmoos a little. It isn' t simpl y that McC lintick ca p- Yo u 've go t to ha nd it to D av id T hi s only re inforced th e executi ve Bege lm an. W he n th e e ntire co untry rank's view th at th ey we re dealin g with tured th e essence of characte rs caught wa nted to impeach Ri chard ixo n, it an unparalle led clu ste r of im beciles and up in Begelgate (as well as the co lo r of too k Wi lli am F riedkin to make The Ex- idiots w ith six-vea r-old mind s in out-of- every carpe t any of the m ever walked orcist be fo re Congress fin all y un de r- co ntro l b o di e~ , w ho co uldn ' t think upon); it's th at publication of th e book stood what the rabbl e we re thinking. much less count , an d who in th e ir ph ar- was akin to rece iving a d etailed account- But with th e re lease of 1GI\\lI/UA's Pol- mace utical haze had fo rgotten that the ing of th e las t d ays of Caligul a scrawled tergeist, about a ghos t haunting a house godd amn bud get incl uded th e ir be ing on pape r, shoved into a bottl e and built over a ceme tery, Dav id Begelman paid $ 1-3 milli on for six wee ks wo rk was hed as hore years afte r it should have not o nl y too k matte rs in to hi s own (Ha! ) on a set in St. Tro pez, whe re they ceased to matter. McC lintick, implicitly hand s, but showed eve n Hollywood has we re shacked up in hotel suites with aware he was n' t se lling news , trooped a subco nscious. e rmine-lined wa ll s to cushion th e m fro m through the network and loca l boob- injuries to the ir heads and ge nitals. news shows (Pat Collin s on CBS Morn- Once aga in , the movie bu siness expe- ing News , WNBC's Live at Five) to say rie nced the orga nic thrill of danger loose T he damage ca used by Bege lm an th e boo k was about \" th e lesso ns of in the house du e to th e simultaneous was more than simply th e bl ack eye ad- powe r and arroga nce,\" which it sure ly is. publica tion of Indecent Exposure and the mini ste re d to Columbi a and th e indus- de parture of Begelm an, its large ly off- try. It was that he' d loosed every short Was the bi z nervous? Galleys we re in scree n star, from his present e m ploy as investi ga ti ve re porte r, D. A., commis- industry hand s by the spring. Variety did head of produ cti on at MGM /UA. It sione r, and sunglass-eyed lawye r on the a wrap-up by Jun e 16. Th e N.Y. Times he lped th at he res urfaced in an eye- very executives who we re takin g ca re of hinted the book could cost Bege lman his blink at the lesse r kn ow n offi ces ofS he r- bu sin ess. Who in th e absence of th e tax jo b at M G1\\lI /UA, Jul y 3. H e was wood P rodu cti o ns , w hi c h had co n- she lte r sca m (used to fl eece outsiders till cann ed , .J uly 12. Th e Tim es as ked ifh e' d clud ed deals with Bege lm an on fo ur Co ngress e nded it in ' 76), had been d e- bee n dismi ssed \" for cause\" July 15, and pictures while he \"vas still at IIGM/UA . vising every hondle and qu as i-extortion qui e tly announced hi s S herwood ap- known to man to pay for the banana pointme nt in the executi ve news col- D av id Begelm an was bac k in th e bud gets, and who und e rstand how and umn of th e Busin ess section, Aug. 5. summe r of '82 , for be tte r or wo rse, as a why yo u could gross $40 million and still That's afte r New York's Jack Ega n had hot topic, and , like N ixon, proved he not show a p rofit. Th e n ka- boom! The still had the powe r of th e moon to make idiot-children in front of th e ca me ra waves. Indecent Exposure's ri ve tin g, were blowing th e whi stle on the adults, blow-by-thud account by th e original who we re laying off ri sk-for Them . sto ry-breakin g Wall St . Journal reporter, We ll , McC lintic k is ri g ht-n o t fo r Dav id McC lintick, of Begelman's $60- The m. For Wall St. and a healthy return $85,000 wo rth offorge ri es and the ensu- on the ir own stock options. ing corporate self-d estruction of Colum- bia Pictures in the spring of '78 shatte red And in readin g McC linti c k~eve n af- the one and only myth th at H ollw,food te r Heaven's Gate d e monstrate d th at trul y li ves by. Na me lv, that tale nt- adult s up e rv is io n was d es p e rat e ly stars and directors-a re all children , and needed- it was not altogethe r clear th at that if you want to hold an adult conver- the people running the studios were ca- sa tion you have to find somebody run- pabl e of adult co nve rsa ti ons, e ith e r. ning the studio. Imagine a dinn e r tabl e peopled with th e characters McClintick drew in Indecent McC lintick didn ' t q uite link stro ngly Exposure . It would have to be a Brande is enough Begelgate to the subseq ue nt sur- awa rd dinne r. You'd have nice guy Alan facin g of every pl asmatic who eve r lived Hirschfie ld unable to decide w hat to or- dem anding an \" hones t accountin g\" of de r, Ray Stark offe ring to sit in Hirsch- production e xpe nses. It was n' t as if p ro- fi e ld 's chair, Ma tty Rosenh aus swigging duction executi ves hadn 't bee n charging Ge ritol and nea r tears, Irwin Krame r t ry- off platinum ankle bracele ts and pate de ing to p rove your dead grandm oth e r f oie feedbags for the owners of those worked for the restaurant , H e rbie Alle n ankles to a picture's bud get. That had checking out his date's gums, D av id bee n going on since The Te n Com- Begelm an fi ghtin g for th e check and mandm e nts- not the movie , the ev~ nt signing it \" Lass ie,\" and Sy We intraub -but it wasn' t till Begelgate that profit le nding him the money. And eve rybody participants we re e mbolde ned to go to wo uld d ec id e eve ry thin g wes t of the courts and the press to gri eve that Suez was your fault, all beca use you the spirit of comradeshi p pre-production wanted to give some body a medal and seemed to evaporate afte r a picture had 53

Cinema declared Hollywood in hysteria, July 26, \"blocking\" about two more (one to a Studies for the but before the Times canvassed each of maitre de . yet), standing idly by while Serious Student the principals on the book's accuracy, Columbia Pictures tore itself apart, six The serious study of film involves the Aug. 9, and New York had Mordecai months after the Journal exposed a fel- study of its history, theory, aesthetics , and criticism. Richler review the book Aug. 16- ony coverup for the public, the SEC and It requires access to ample film which wasn 't published till Aug. 23, and every third-rate, boob-Wall. St. analyst archives, special screening equipment , and a range of courses that enable that a month ahead of schedule. Ner- who could be had for the price of a you to explore in depth the national cinemas, genres , documentaries, avant- vous? Hollywood wasn ' t nervous. It was ; lunch, to see-here was Begelman in- garde , comedy, film noir, and the work of important directors . ga-ga. It smelled smoke from the vol- sisting that his contract be paid in full, It requires a faculty with a genuine cano and felt the San Andreas fault I that Columbia hand him a rich three commitment to the study of film as begin to jiggle. reflected in their scholarly and pro- picture deal, that he be made whole. fessional achievements. People such For months before any of this , the while Columbia lay shattered and the as Robert Sklar, Jay Leyda , William internal wranglings in the executive industry bedevikd and disgraced. Was Everson, and Annette Michelson. And because film is a major art form suites at MGM/UA had preoccupied the this a man who wouldn't exercise his that is constantly renewing itself and trade. The corporate debt was two- contract for an indie deal at MGMnow? shattering its own conventions , the thirds of a billion dollars. The head of MGM/UAchairman Frank Rothman, study of film is undertaken best near the major film exhibitions for new, UA Classics, Nathaniel Kwit, was once Begelman's lawyer during the experimental , and established filmmakers. praised and promoted to head of feature scandal, allowed only that the language All of this and more describes the film sales, then demoted and deveined in the release had been \"thought cinema studies program at New York University's Tisch School of the Arts in for the failure of pictures he apparently through and chosen with great care.\" New York City. It is, we think, a singular commitment to providing the had little to do with . (\"How come when Harmetz concluded Begelman was an finest education available for the serious student offilm. Warners has a dog that dies, it does $5 embarrassment at a time when MGMI Comprehensive degree programs lead million, and when we have a dog that UA needed kindness from its banks, his to the B.F.A . , M.A., and Ph .D. For further information about the cinema dies, it does $2 million, \" was the es- lineup had flopped, and he'd made all studies program, call (212) 598-7777, or return the coupon. sence of Begelman's complaint about sorts of sweet deals with his friends that Kwit, sources say.) MGM/UA was only produced no pictures worth having. And waiting to sign Frank Yablans, the ex- no one at MGM/UA was willing to wait Paramount sales chief, before booting around for the first weekend grosses Begelman, was a standard lunchtime re- from Jimmy Toback's Exposed. Nick frain. What was taking them so long? Roeg's Eureka. or particularly Yes. Gior- Prior to Begelman's surfacing at Sher- gio. starring Luciano Pavarotti and wood, there existed two industry ver- reportedly inspired by Gladyce sions of why he had at last been dis- Begelman's love for opera and the tenor. missed. Of the 11 pictures in his lineup \"Okay, so you make a picture with -including the somewhat brave All the Pavarotti and ten people and their aunts Marbles , Cannery Row, Diner. Victor/Vic- go see it, and it dies. But for$15 million? toria. Whose Life Is It Anyway?, and the Don't think there aren't a lot of unhappy astounding Pennies From Heaven-all faces at MGM/UA about that one,\" but Poltergeist, which did okay, and commented one industryite. Rocky 1Il. which he had zip to do with, Unhappy, maybe. But livid over the did impressions of the Titanic. The ar- Sherwood deal. The company had been gument went not that Begelman had on the MGM lot in Culver City since at lost his touch-no one speaks in direct least early spring, having made a deal to sentences, anymore-but that if any produce War Games. about computers. three of them had been hits, as Pennies But a week after he emerged at Sher- deserved, Begelman would still be call- wood, Variety turned up a memo estab- ing the shots. The other version had lishing \"bloodlines\" between Begelman Begelman dismissed \"for cause,\" first at MGM/UA and Sherwood on three raised by Aljean Harmetz in the Times . other unnamed films , including Laugh July 15, who analyzed the language of Riot and Saving Grace. The word within the press release, and like any good the company \"is that the deals with Tisch School of the Arts Admissions Kremlinologist, found it saying more by Sherwood are so bad that nobody could New York University its omissions than by its inclusions. believe them. There is no way UA can P.O. Box 909, Cooper Station What did it leave Out? Why the \" indie come out unless the upside is enor- New York, N.Y. 10276 Fe 9/82 production deal\" with MGM/UA, of mous,\" said one source. That's not to Please send information on the cinema course, plus the usual glop about \"David mention acquisition of Brimstone and studies program. is second onl y to Moses in developing a Treacle . a Sherwood picture originally o Undergraduate 0 Graduate hot property, but wants to pursue out- passed on by Kwit, but suddenly picked side interests.\" up (on good terms) later by Begelman N;J IIl c.! It did seem odd , that. Here was for UA Classics. \"There's one honcho David Begelman-who at the height of executive who's mad just because he is the worst scandal in Hollywood since at Sherwood on the lot,\" said the source. Fatty Arbuckle, after he'd been caught The money behind Sherwood-the forging two checks, lying or rather Hunts-had to be irresistible to Be- 54

gelman. Plenty of sil ve r in those bea rs. COLLECTOR'S CATALOG FRESH HOT SEND $3 Being on the ropes and making sweet NO.2 NOW AVAILABLE VIDEO TO GO! deals with a company that hires you as ONLY $3.00 president three weeks after you've been rJ.r fired may not be illegal, but it can cause Original (MUm INLOOm) the occasional ash to fall from a ciga r, or EVER! two. Was the MGM/UA board surprised Posters Gets \"em l\" s l - by Begelman's hastier than usual resur- \".u \"emit'\" rection ? \"Rothman is strai ght as an ar- rare row ,\" said one observer, \" no bullshit. \" lobby cards Movies Unlimited has 'em all: If they didn't know , that's one thing; if they did , that's another. On the face of CoUections Bought. Sold, Traded • Hot new titles. Movie classics· ScI·FI it, neither looks very appealing. 12 - 6 p.m. Tuesdays' Saturdays •TV shows· Cartoons. Cult classics That's on the face of it. \" Look, that's (415) 776-9988 •Specialty & collector's items the way it's done. How else do you move except using people you've done bus- 1488 Vallejo St., San FranciSco, CA.,94109 ....N tgq, iness with?\" asked one executive· \" Be- gelman may have wanted to settle his Add an extra $1 for our contract. A production executive has a sizzling Adult Video catalog or short attention span. The only picture send $1 for our super Super 8 catalog he ever produced , Wholly Moses , was a disaster. He was an agent; agents are (catalog tees refundable with first onte\" only happy if it's 'Bam, Bam, Bam- This Deal, That DeaL ' They're not MOVIES UNLIMITED about to sit in some obscure office on the back lot and do one picture.\" 6736 Castor Ave.· Phila., Pa.19149 \" Look ,\" says another. \"Everybody 215·722·8298 wants any stories having to do with Begelman to go away. Nobody wants ORIGINAL POSTERS any bottles uncorked. The people my age, who thought the movie business U. S. ANd FOREIGN was about Judy Garland in The Wizard of Oz getting up and-despite or because AMERICAN and EUROPEAN DIRECTORS ·H~rUKt..tJl.If-M~-+-+-+-+-+--+--+......j of the studio system-singing 'So me- where Over the Rainbow,' we're the f7()()AI2() / I?U~U~L / WALJIi ones who get hurt. You take a kid and give 'em a movie, and they don' t give a AL()I2ICIl / VAJ()LI~I / LA~f7 shit where it came from. Out of a can of V8, for all they know. We know where ... MANy MORE they came from. We make 'e m and send 'em out, and we didn't need McClintick or anything else. (The book) is every- thing you never wanted to believe about the movie business. It makes us look like third-rate versions of the Robber Barons,\" he said. \" I don' t even believe in Lucas or Spielberg, anymore, ya know? What's their angle?\" No one asks anymore why did Be- gel man steal the money, or what was he thinking about when he forged this or that name. It was Andy Tobias, perhaps the best business essayist we have, who in Esquire in March 1978 reduced it to: \"My guess is he was thinking he needed the money.\" David Begelman only barely ante- dated the emergence of the true 1980's hero: pursued by the four furies, con- suming anything in his path to the ne~t power station, hoping for revenge just around the corner, and knowing that de- struction is at hand with just one false move. Call him Pac-Man. ~ 55

The Floating Opera Klaus Kinski in Werner Herzog's Fitzcarraldo. by George Dolis raldo, begins here, on the waterfront of Kinski begins to lose patience-not his and Ingrid Weigand Manaus. We'd been waiting on the strong suit to begin with-stops rowing, wharf since sundown for the opening and lets the boat drift where it will. Be- Fishing boats had been coming in off scene to be shot: the arrival of the title atus, an assistant cameraman and the the river all evening. One by one Indian character, Fitzcarraldo (Klaus Kinski) still photographer on the set, strips down dugouts glided in with their catches and his mistress , Molly (Claudia Car- to his shorts and, swimming behind in from the lagoons and backwaters of the dinale). Kinski will have to row their the muddy water, guides the boat back jungle. Toward midnight, traffic began peke-peke-the native skiffwith thatch to the landing. \"True dedication,\" Her- to pick up noticeably as the deep-water roof and lawn mower-sized outboard, zog says approvingly. fish were brought in. Three long skiffs, standard river transportation for the past riding low under their cargos, pulled up 100 years-in off the river to the landing Six months later, no less dedicated to the fishing wharf at the same time , below the Mercado, the municipal mar- but in a very disturbed period , Beatus their Suzuki ou tboards grunting in trio as ket. Fishermen look up from cleaning d ye d his hair ye llow-orange like they muscled their way in between the their catches to watch the huge, expres- Kinski's, painted his face like a head- small canoes. They had been out on the sionistic shadows moving across the shrinker and burned down Herzog's main channel of the Amazon, near the stone foundation of the landing. Above, palm-thatched hut in Iquitos. \"To get Encontra das Aguas: the \"Meeting of the bright lights outline the ornate cast- the fucking snakes out of the rafters,\" he the Waters,\" where the Amazon, 3,000 iron framework of the Mercado, a relic of told us. miles from its source in the Peruvian the prosperous days of the turn-of-the- Andes, is joined by its largest deep-jun- century rubber boom. The lights also Herzog was satisfied with this last gle tributary, the Rio Negro. The cur- attract a good-sized crowd-including a take and ordered it printed. Kinski rent is so strong where the two rivers couple of noisome drunks and a pack of hadn't waited for his decision. He had meet that they do not mix but run side \"piranhas,\" local Amazon hookers-as already stormed off, leaving behind a by side for miles, the deep blue of the well as hoards of bloodthirsty insects off weary, patiently smiling Claudia and a Rio Negro and the muddy brown of the the river. \"Ay, los gringitos!\" Fresh frustrated and tired Herzog. Fitzcar- Amazon. Just above the \"Meeting of the meat! raldo's and Molly's departure scene, Waters\"-where the ri ver is a movi ng which was to have been shot at the same lake, four miles wide and 200 feet deep It took forever to get a final take. location, never got done. But Herzog -lies Manaus, the capital of the Brazil- Kinski struggled through four or five took the loss in stride. Compared to the ian state of Amazonas. tries to land the peke-peke, but the mountain of troubles that had all but strong current took it out of camera brought the film to a standstill and the Werner Herzog's new film , Fitzcar- range each time. When, after a couple of formidable problems that still had to be takes, Herzog still is not satisfied, solved before the film could be com- pleted, the loss of a single scene was a 56

bagatelle. With nearly half the film still Fitzcarraldo is based on a legendary Teatro Amazonas at the turn of the cen- to be shot, including two of the three most important scenes, and time and exploit of one Carlos Fermin Fitzcar- tury. No longer in her prime, she had a money running out fast, it was by no means certain that the film would ever raId, a Peruvian rubber baron of Irish wooden leg and limped badly. Never be finished. descent. In 1894, to reach a remote area able to sing, her arias were performed by From the beginning, it was as though a malefic cloud hung threateningly over on an Amazon tributary, rich in rubber the soprano who stood in the orchestra the whole project. And Herzog, like the hero in one of the Grimms' fairy tales, trees but inaccessible because of rapids pit. On stage, Mme. Bernhardt would had to undergo three perilous trials be- fore he would get his reward: a finished at the mouth of the river, he had an mouth the words and make the appro- film. This was the third and final start of the project. By the time we met the entire riverboat dismantled and carried priate gestures. crew in Manaus, it seemed that the cloud had begun to dispense. Few of the overland through the jungle. Rich to be- For the film, the arias were taped in crew dared to believe this, however, and after hearing some of the details of the gin with, Fitzcarrald became richer still; Italy by German film and opera director disasters that had happened earlier on the jungle location, we became more when he died three years later, he had Werner Schroeter. In July he came to cautious in our optimism. holdings the size of Belgium. Manaus to stage the last act of Ernani The filming in Manaus lasted a week. Except for the arrival scene, all the inte- The portage of a riverboat-Herzog (parts of which he had already used in riors and exteriors were shot at the Tea- tro Amazonas, the opera house, which has a 320 ton boat dragged overland in- his 1968 film Callas Portrait), in the very epitomizes the ciry's former glory durihg the rubber boom. Marble was brought tact-across an isthmus by 500 \"savage\" srylized fashion that is a trademark of his from Italy, glass from Bohemia and fur- niture from France. Tiles in green and Indians is a key motif of the film. But work. For the part of Sarah, he engaged yellow (the colors of the Amazon) were specially made in Alsace for the dome. here any similariry between the historic Jean-Claude Dreyfuss, a French actor Rewards were generous for artists brave enough to make the long trip inland Fitzcarrald and the film's Fitzcarraldo who had impersonated her in a show for from the sea. Jenny Lind, the Swedish nightingale, sang here, and Anna ends. Herzog'S Fitzcarra-Ido is a roman- several years. For a couple of days, Pavlova and the Ballet Russe danced on its stage. Schroeter could be seen on stage, twist- Fitzcarraldo is set in the heyday of the ing back his long flowing hair, rehears- rubber boom , the entrepreneurial era at the turn of the century when adven- ing the singers and giving directions in turers of all nationalities penetrated deep into the Amazon basin in a relent- three different languages. On the night less search for \"caoutchouc\"-the \"tree that weeps,\" as the Indians called it. of the actual filming, the high sociery of Rich investors, for the most part foreign, bought huge tracts of the Brazilian and Manaus turned out as extras to be the Peruvian jungle and exploited the na- tives, the only source of cheap labor, opera audience; some of the women mercilessly. Though the boom lasted only two decades , it changed the face of wore dresses and jewelry their grand- the Amazon more drastically than any- thing that had happened in the 200 years mothers had worn to the Teatro eighry since the one-eyed Conquistador Fran- cisco de Orellana first sailed down the years ago. great river to the Atlantic. The boom shook the sleepy little garrison town of The whole opera sequence was a Manaus out of its tropical trance and transformed it into a ciry with all the scene straight out of a fairy tale: the amenities of a European capital: it had electricity, a trolley and more tele- baroque setting, lit in red, blue and pur- phones than Paris. The better-off citi- zenry had their laundry done in Lisbon; ple; the acting full of pathos; the music, their favorite horses supped on cham~ pagne. lofry and crystal clear. His sense of mission heightened by Caruso's great performance, Fitzcar- raldo returns with Molly to Iquitos Claudia Cardinale as Molly. through the \"Dreamland,\" the Amazo- nian rain forest. Borrowing money from tic, a dreamer motivated by love of Molly, who runs Iquitos' only brothel, beaury. He becomes an entrepreneur of Fitzcarraldo buys a boat, the Molly Aida. necessiry, to realize his great dream of With the help of an Indian tribe he man- bringing opera to the jungle; the Ama- ages to drag it overland, up an impossi- zon , the last bastion of wilderness, will bly steep rise, and launch it in the river be \"the last bastion of art\" (as an earlier which will give him access to the fabled version of the script has it). With the rubber trees. But from then on the ob- riches he expects from his venture, Fitz- scure designs of fate take over: the In- carraldo will build an opera house in dians allow the boat to drift downriver as Iquitos, the heart of the jungle, that will a gift to the \"Chirimuya,\" the angry surpass the splendor of the Manaus op- spirits of the rapids. The Molly survives era-and he will have none other than the deadly rapids, but as she limps back the Great Caruso inaugurate it. to Iquitos, Fitzcarraldo knows that his Fitzcarraldo and Molly have made the plan to become a rubber baron has 900 mile pilgrimage down from Iquitos failed; he is back where he began, a to hear Caruso sing in Verdi's Ernani. penniless dreamer, a conquistador of the The trip has taken them ten days be- useless. But his Sisyphean labor is not in cause the motor of their peke-peke had vain: in the end opera does come to the broken down. They miss most of the jungle, though not in the way he had opera, but manage to get there in time envisioned it. • for the finale. Caruso and Sarah Bernhardt play the doomed lovers in Werner Herzog is 40 this September Ernani. Caruso never got closer than Rio 5th; he has spent half his life making de Janeiro on his world tour, but Sarah movies. But any kind of descriptive cat- Bernhardt did actually appear at the egorizing is all but useless in characteriz- 57

ing his films. A firm believer in the im- Peru ended in catastrophe. \"It was a bit as Fitzcarraldo, Mick Jagger as Wilbur, possibility of conveying any truth naive, the way we did it,\" said Walter his sidekick, a sort of \"holy fool ,\" and through cinema-verite methods , he is Saxer, Herzog's production manager, Claudia Cardinale as Molly, Fitzcar- equally convinced of the possibility of who handled the negotiations . \"Our last raldo 's mistress. Originally, Jack Ni- carrying on the most profound dialogue experience, ten years ago with Aguirre, cholson had been slated for the lead. But with his audience, primarily through im- had been so much easier. We went and when no Hollywood studio would back ages and music , in all of his films . His talked to the people [the Lauramarca the film because of the high risk loca- visions have drawn him to extreme envi- Indian Cooperative] and they said tion , the budget had to be reduced and ronments, to places where the pitch of okay.\" But in the last decade the situa- Nicholson's $2 million salary range was human longing and limitations are am- tion has changed considerably. Ameri- out of the question. It seemed to be a plified by nature. His first feature, Signs can oil companies have moved into the stroke of good luck when Herzog signed ofLife, was filmed on remote location on Aguaruna territory, follo wed by lumber a contract with Robards just two months Crete; Fata Morgana took him to the companies and finall y settlers. Initial before shooting began. It was short- Sahara and the Gobi desert; Even Dwarfs contacts, in 1977, had been promising. lived , however. After a few weeks in the Started Small was filmed on the bleak Then, suddenly, Herzog found himself jungle, Robards come down with amoe- volca nic hills of the Canary Islands; for in the middle of an internal power strug- bic dysentery and had to return to the La Soufriere he flew to Guadalupe Island gle between members of the commu- States. With more than thirty percent of in the Caribbean to film a volcano that nity in favor of working for the film and the film completed, Herzog had to re- was about to explode. But the most in- an inter-tribal group fighting for control cast the role of Fitzcarraldo . Klaus credible landscape he ever braved was in over Indian affairs in that area. When Kinski was signed in less than a month . the Peruvian jungle, hundreds of miles Herzog refused to negotiate solely with from the nearest outpost of civilization. this latter group, rumors of persecution Here he shot Aguirre, the Wrath ofGod, a of the Indians began to spread. The sto- fictionalized account of the journey of a ries got sensational press , in Peru as well rebellious Spanish soldier who, leaving as in Europe. Finally, Amnesty Interna- Pizarro's expedition, sets off with his tional was asked to intervene-both by own crew down the Amazon in search of human rights groups, who painted hor- El Dorado. ror pictures of Herzog imprisoning and Because of the remote locations and murdering innocent natives, and by Herzog's insistence on authenticity, all Herzog himself, who wanted his name these films were incredibly difficult to cleared. Amnesty International did re- make. Money was a constant problem. habilitate him , but by that time the Aguirre was shot on a minuscule budget problem had already been resolved: one of $350,000. When, trying to raise night the jungle camp went up in money for his next project, he told a flames . Shooting had to be delayed a full Hollywood studio what the film had year; $70,000 worth of equipment had cost, they didn't believe it; for that little, been lost. But the wo rst loss was to the they couldn't have moved even their crew's morale. Rather than risk further technical crew to the Amazon. It wasn't confrontation, Herzog decided to leave until Nosferatu that he managed to get the area entirely. what he considered sufficient money to After an intense search, a new loca- make a film: $1.5 million , perhaps half tion was found on the Rio Camisea, 300 Eyeing the Molly Aida. that of a 1979 B movie. miles north of the \"Istmo de Fitzcar- With the experience of working on raId ,\" where the historical portage had The choice came as no great surprise. minimum budgets, it would seem that taken place. Negotiations began with He and Herzog had collaborated before, Fitzcarraldo , initially budgeted at $6 the tribe of the Machiguengas in whose most recently on Woyzeck and Nosferatu. million , would have been considerably territory they would be shooting, and It was Aguirre, though, in which Kinski easier to make, even with all the techni- the neighboring tribes of the Campas created the role of the power-drunk con- cal difficulties involved. But nothing who would work as extras. Here too , quistador, that brought both of them in- could have prepared Herzog for the though , oil companies and settlers had ternational recognition. It also laid the problems he had with Fitzcarraldo . moved in and they were afraid of losing foundation to their working relation- From the very start, the film attracted their cheap labor market. \"Stories were ship. Sometimes there were endless ar- disaster as though a spell had been cast going around,\" Saxer told us, \" that we guments and discussions before a scene. on it. It was four years in preparation, a were going to kill the Indians and eat Kinski would scream and throw tan- year in making and nothing but trouble them, that we were going to extract their trums , while Herzog, equally deter- all the way. But he persisted. The story fat for plane fuel. \" Finally an agreement mined and outwardly calmer, would of Fitzcarraldo became inexorably en- was reached , and a new camp was built. .stubbornly stand his ground. But once twined with the saga of Herzog making It was January 1981 when the project some kind of secret mutual compromise Fitzcarraldo. finally went before the cameras. Herzog was reached , the scene would invariably had gotten a crew together, led by be more exciting and Kinski's perform- • Thomas Mauch, who did the exquisite ance excellent. After a while, the argu- It started with the search for a jungle location and Indians who would work as . photography on Aguirre, and Walter ments see med a natural part of their extras. The first attempt with the Agua- Saxer, both seasoned Amazon veterans. collaboration. runa community in the northwest of The cast was headed by Jason Robards Before shooting on Fitzcarraldo could 58

be resumed , several other casting parallel river. Herzog had his Molly (this For general entertainment, and to give changes had to be made. The really big one wi th a reinforced hull to keep her the Indians an idea of what the filming loss was Mick Jagger, who would not be was about, Herzog screened some Super returning to his role. The revised shoot- from breaking apart) hauled across in 8 film s, among them The African Queen ing schedule conflicted with recording one piece, again rejecting advice that he and Aguirre. dates and the Stones' forthcoming U.S use a model for the scene . It could only tour. After first trying a rewrite to ex- be done during the rainy season, when There were casualties: a chartered plain his character's absence, the part both rive rs had a sufficiently high water plane, sent to pick up some Indians in was written out of the story altogether. leve l. On ca mera , 500 Indian extras their village, crashed, leavi ng the pilot worked the wenches and heaved on and five Indians severely injured. Four In April 1981 , the cameras finall y ropes in the rain and mud and humidity; Indians who had been sick when they started rolling again. a giant bulldozer pulled from behind a came to the camp died there. One man hill. While the film crew was in Manaus, drowned when his boat capsized. An • shooting the opening scenes of the film , Indian couple out on a fi shing expedi- Walter Saxer's production crew got the tion was attacked by members from an- For the central metaphor of the film , Molly all the way to the top of the rise. other tribe ; they were wounded, but re- the portage of the boat from one river to There she stayed for the next three covered. another, Herzog had two identical boats months, awaiting the beginning of the built, exact replicas of last-century next rainy season when shooting could The Campas played the parts of sav- steamboats. While one of them was be- age Jivaro headhunters who inhabit the ing pulled up the hill on the isthmus, the upper Amazon. As the Molly makes her way up the river, hundreds of Indians A spirited moment in Fitzcarraldo. slip out of the jungle in their canoes, following silently. Against such over- other one'went through the rapids. Her- be resumed. In November, the crew whelming odds, their few guns are use- zog insisted on using a real boat with a returned to film her launching into the less. Instead , Fitzcarraldo relies on his reinforced bow for this latter scene, re- other ri ve r. It had to be perfect the first ever present gramophone for their de- jecting any arguments that it would look time: once the boat started moving there fense. The Indians draw up alongside more realistic-and be easier and safer was no way of stopping her. And then the Molly Aida, preparing to attack, -if done in a studio. She went through another two weeks of waiting, until the when the magical voice of Caruso soars the rapids three times, twice without rushes came back from the laboratory in out over the vast jungle. It is a mating of incident. On the third run, however, she Miami, and everybody could breath a sublimes-of music and color, of the smashed hard against the rocks , hurling sigh of relief. dreamer and the dreamland. everyone on board to the deck and leav- ing Thomas Mauch, who was handhold- The jungle camp had been con- • ing the camera, with gashes in his hand. structed close by the shooting site. Na- tive-style huts could accommodate up to On the last day of principal photogra- The Molly Aida that was hauled across 700 people. All food and supplies had to phy, we were waiting on board the Molly to the other river weighed 320 tons ;·the be brought in by boat or single-engine to go out on the river. She was still tied to stretch of land she had to cover was plane from Pucallpa, an oil and lumber her sister ship and the crew was transfer- nearly a mile long, with a rise of 600 feet. boom town seve ral hundred mile s ring equipment from one to the other. The historic Fitzcarrald had had his bo~t downriver. The camp also had a resident Finally the Molly began to move, slowly dismantled , then reassembled at the doctor, on call twenty-four hours a day. backing out of the berth-when there was a sudden crash and excited shout- ing. Everyone ran to the port side where all the commotion was. There was Her- zog, floating in the muddy water with a dazed look on his face. He had been on the upper deck of the other boat and had tried to jump aboard at the last minute. The rail he grabbed for support gave way and down he tumbled some twenty- five feet between the hulls of the two boats. The captain cut the engine im- mediately; everybody frantically pushed the boats apart so he wouldn't be sand- wiched between them. Herzog was lucky, for once. As he somersaulted down, he had hit only his foot , not his head , against the steel hull. Within half an hour the Molly was under- way again. Soon Herzog could hobble around sufficiently to work, and he took his fall in stride-a las t turn of the wheel, a final twist of fate. It was with obvious delight that he said to us: \"Now you can write that the director fell on his ~ss .\"® 59

by Paul Bartel This airplane is launched down the hall The Secret Cinema. This short from her office and sails all ove.r the (1967, B&W, 30 minutes) is my most I don't really have any guilty pleasures school, out doors , in windows, finally personal film and was produced, much where movies are concerned. Sex, food, coming to rest right in my ear-prompt- like my new feature, Eating Raoul, on a even book collecting-all these plea- ing the dumbest one-liner I have ever shoestring budget, on weekends or sures gleam with a fine patina of guilt. been asked to deliver: \"Ear Mail!\" I get whenever the equipment, actors, and a But movies? There's nothing I like on a kick every time I see this scene, and it location could be scraped together. Be- the screen that I'm ashamed of. There isn ' t the clever cutting or the special cause it deals with madness from a sub- are no films that, if my friends found out effects. It's the memory of the excruciat- jective point of view, the film itself is a I had seen them, would make them not ing pain the scene caused me, take after bit mad . It slips blithely in and out of like me anymore. take. sync (the result of a defective projector used in looping). Like Raoul, it is scored Arcane pleasures would be a lot eas- This paper airplane was really a fairly largely with library music (the same li- ier. Who else has seen Director Allan heavy cardboard airplane. And it wasn't brary, as a matter of fact), which anchors Arkush's cut of Heartbeeps-twenty sailing through the air, but sliding along the somewhat nutty story in a bedrock of minutes longer than the mangled re- a piece of invisible monofilament, one movie convention. There are many mo- lease version and scored , so help me , end of which was anchored to a plug ments in it that now cause me horrible with Mozart! Or the Complete History which had been glued into my right ear. embarrassment. But there is one scene of New World Pictures, compiled from This caused a painful and potentially that never fails to provoke a smile. trailers and TV spots by Yours Truly? Or dangerous vacuum/co ncussion effect, Sperduto Nel Buio? But there's nothing like having your ears boxed over and Toward the end of the film, the hero- here to feel guilty about. And more than over. In take after take that rotten plane ine, Jane, has finally discovered the pri- enough has already been written about would be launched by the prop man vate theater where her life, filmed with the hollow joys of the trash film . What from a platform outside the classroom hidden cameras by a conspiracy of her else can you say about Plan Nine from window, only to stop short a few inches friends, is being presented as a comic Outer Space? from my ear or, worse, to hit my ear with serial. She tries to gain admission, but is a painful blumph and bounce away told to wait in the lobby until the next So I will now risk schmuckdom by again, ruining the shot. show. Unfortunately, as so often in life, admitting that I actually get pleasure there is no \"next show.\" The lobby is from (gulp) some of the things I've done What could be dumber than risking divided down the middle and as the myse lf-scenes in movies I've directed an ear for New World Pictures?The take theater empties on the other side, Jane or even just acted in. If this pleasure in which it finally hit my ear and stuck can see her mother and friends all laugh- isn't precisely guilty, it's at least dis- was, I had promised myself, absolutely ing about the film they have just seen, creetlyembarrassed. the last take I was going to permit. oblivious to her presence. When she no- tices someone putting up the poster for • What gives me pleasure when I look the last episode in her serial, THE END at the scene now is the fact that the gag OF JANE, she faints. There's a scene in Arkush's film plays so nicely. The monofilament Rock 'n RoU High School in which I, doesn' t show and that music teacher be- She comes to the next morning under in the role of a stuffy music teacher, trays no anticipation of the pain he the marquee of the theater, which has receive a note from principal Mary knows so well is coming. Woronov in the form of a paper airplane. 60

been changed overnight into a super- - to interrupt the horror right at the peak market. She stares for a moment at the of conflict and interpose about ten min- marquee, now advertising chicken at Jane outside The Secret Cinema. utes of low comedy before returning to twenty-six cents per pound , then turns Sis and Carradine in Death Race 2000 the dark mood at the very end when I let to the camera and says, \" I must be losing Ventantonio and prop in Private Parts. the audience know what had finall y hap- my mind!\" pened to the girl. Bodies are discovered in ridiculous situations, smart-ass police- Someone had forgotten to re-charge men come in and make jokes, etc. the battery of our Arriflex the night be- fore and as we took this last shot our A disastrous mistake! I realize now camera was running considerably under that this \"sophisticated\" (in the worst speed. This resulted in all the action be- sense of the word) experiment appealed ing slightly speeded up. A woman walk- to me because I had long since lost emo- ing by in the background and staring at tional contact with the terror that the Jane has a peculiar staccato rhythm to climactic scene was destined to gener- her step which seems wholly unnatural ate. It was no longer real to me. So I was and adds greatly to the sense of madness all too eager to jump into the comedy and irrationality. It was an accident but, section. But that transition was impossi- every time I see the scene, I am grateful ble for most of the audience. They felt for it. betrayed. I had betrayed them! They were confused and upset and who can • blame them? Anyway, here's the guilty part. Wrong-headed as this interpolation Private Parts was my first feature. of comedy was, I still like it a lot. And so Looking back on it now, it seems inter- do most of my sick friends. It may have esting mostly for the atmosphere it cre- been a kick in the teeth to hoi polloi , but ates. There are, howeve r, a couple of I say: If they can' t take a joke, fuck 'em. things about the film that I quite enjoy. One is the main set piece: a sequence in • which the ps yc ho-killer, sensi ti ve ly played by John Ventantonio, is making Death Race 2000. Most of my guilty love to a life-sized, water-filled, trans- pleasures in this film were ripped out by parent plastic doll to which he has af- the roots by Roger Corman before the fixed a photograph of the heroine's face . film ever saw the light of day and substi- (One of the film's sub-themes was the tuted with crushed heads and blood objectification of women in our society. squibs. Nevertheless, there is a joke Remember, this was 1972!) The killer is about the French wrecking our econ- incapable of penetrating the doll in the omy and telephone system that I still conventional way-he is really a woman find amusing. And I am pleased by the who has been brought up to think of scene introducing the Girl Fan (played herself as a man-so he takes a hypoder- very effectively by my sister Wendy) mic and draws blood from his arm. who is to sacrifice herself beneath the Then, using the syringe as a surrogate wheels of David Carradine's race car and penis, he thrusts it into the crotch of the wants to meet him so that the gesture doll and spasmatically releases the will have \" meaning.\" blood. (Are you with me?) The audience gasps; a few get up and leave. • All this is kinky and amusing but Hollywood Boulevard. This was re- here's the part I'm proud of: As the ally the beginning of my \"acting career. \" blood spreads up toward the head , It was the first feature for co-directors mingling with the clear water, we cut to Joe Dante and Alan Arkush. It was also, the psycho-killer's point of view. For they claim, the cheapest film ever pro- this shot we substituted on the head of duced by New World Pictures. It was the doll a photograph in which the hero- about New World, in a way. At any rate, ine's expression is one of fear and pain. it was about a small independent film But because of the low angle at which company making cheap exploitation we shot it , the photograph was pictures. foreshortened and distorted and the au- dience couldn't tell if the change of ex- Toward the end of the ten day shoot pression was real or an illusion. It's great! we began to be afraid that we hadn't shot (But maybe you had to be there.) enough film, and that the finished pic- ture wouldn't be long enough (even Private Parts builds to its climax about with the addition of God knows how ten minutes before the actual end of the many action sequences from other New film. Here the heroine was locked in a World Pictures). So we improvised a death-struggle with the psycho-killer series of \"TV interviews\" in which each (not the same psycho-killer-this time ilt of the major characters sketches in is the girl's mad aunt). It was my conceit something of his background . In the movie I played a pompous director. The 61

character was not at all like Corman, but Bartel and Woronov have a guest for dinner in Eating Raoul. in my \"interview\" I tried to mimic the kind of spiel Roger used to feed the minutes. them that if they would print our ad in press, speaking of the exploitation films I was in the midst of editing the sam- their paper for free, we would mention which he often loaded with doses of er- the Hollywood Press by name and fea- satz social consciousness: \"In this film ple reel , when I learned that the build- ture shots of it in the film. They kindly we've taken the myth of Romeo and ing in which we had shot these first agreed and for a week our prop ad (\"WE Juliet, combined it with high speed car scenes (and in which we had many more Do ANYTHING!\") complete with pic- action and a sincere plea for nuclear con- to shoot) was about to be torn down! tures of Mary as \"Cruel Carla\" and trols in our lifetime.\" This left me with the uncomfortable \"Na ughty Nancy\" appeared in a large choice of quickly coming up with the box in the Hollywood Press. For fun I • money to shoot the rest of the apartment rented a post office box and included the scenes in the condemned building, or number in the ad. Cannonball. I worked a year for Cor- finding a new location and eventually man on Death Race 2000 for a big five re-shooting what had already been shot. We got two responses. One was from thousand bucks, so when it was finished Quite unexpectedly, my parents came members of the crew, accompanied by a I desperately needed money. The only to my rescue. They had just sold the provocative if ambiguous photograph. family home in New Jersey and offered The other was from a Viennese gentle- thing anybody wanted from me was an- to give me the cash to finance the shoot- man who claimed to have worked with other car picture, hence Cannonball. ing of the rest of the apartment scenes. Max Reinhardt; he also said he sus- Corman had drummed into me the idea Once I had embarked on the shooting, pected Mary might be a man but was that if Death Race had been \"harder\" there was no turning back. Mom and willing to engage her services anyway. I and \"more real\" it would have been Dad ended up footing the bill for the still feel a bit guilty that we never an- more popular. Like a fool , I believed whole shebang. swered his letter or made good on our him. advertised promise. It wasn't only my parents, though. I am not, and never have been, very Most of my friends contributed to the Then, when Eating Raoul was shown much interested in cars and racing. So I production in one way or another-from last April at FILM EX in Los Angeles, the decided to load Cannonball up with critic-attorney Myron Meisel, who ap- film was reviewed-in the Hollywood cameos and character gimmicks that did peared in the film as an extra, wrote the Press: \"This by-the-numbers, R-worthy interest me. Corman and co-author Don pressbook, and helped negotiate the (much nudity) midnight movie might be Simpson did cameos. Marty Scorsese distribution contract with 20th Century- entirely dismissible ... but the paper the and Sly Stallone did an odd little scene Fox, to Buck Henry, who graciously ac- couple use to lure the victims is one with me. There is a cute sequence in cepted a small comic role (which permit- Hollywood Press, mentioned again and which Arkush and Dante play young ted him to play several very phys ical again and displayed prominently. Lines garage mechanics who sell Carradine scenes with Mary Woronov). like, 'Can't you find a classier paper?' their souped-up hot rod . And my favor- and, 'Ifyou want to find perverts, use ... ' ite scene-my guilty pleasure-is one As you might imagine, the film was are sprinkled around. I don't know if in which I , in the role of a gangster night made for amazingly little cash-so little Bartel is aware of our movie page and is club owner, play the piano and sing a that, for instance, we couldn't afford to getting his jabs in, but I was unamused foolish song of my own device called print up a sex newspaper, one of the vital . . . Bartel , Henry & Co. make a comedy \"I'm Sorry\" while, in the shadows, two props in the film. (The protagonists, on murder for (the auteur's?) profit (ex- goons are beating up poor Dick Miller. \"Paul\" and \"Mary,\" use an ad in this tra and film critic Myron Meisel, appar- paper to lure swingers to their apartment ently ex the Reader, produced Final In his generally dismissive review of whom they then murder for moral as Exam, a slash film). Some people do this generally dismiss ible picture, the well as financial reasons.) have different standards, it appears.\" august Jerry Oster said that the only things it proved were that I knew Marty My producer, the resourceful Anne Heaven! This was, so far, our only Scorsese and that I couldn't sing. Mr. Kimmel, was the one who thought of bad review. But it gave me more plea- Oster's judgment notwithstanding, I approaching the Hollywood Press, an sure than many of the good ones. Does still get a big charge out of my piano amiably smutty rag full ofjuicy personals scene. When I screen the film for friends and ads for massage parlors. We told that qualify as a guilty pleasure? '& I usually hide in the other room, until I hear it come up. Dante once told me it was not only the best scene in the film but possibly the only good scene I ever directed. Perhaps he said it in jest. In any case, he said it before the advent of • Eating Raoul. My new film has been largely a labor of love. It had to be, because I couldn't find anybody willing to put up a single cent to produce it. After a year of hunting for financing, in desperation I finally rounded up a crew of friends , begged some short ends of film, borrowed some equipment, and commandeered the apartment of a friend to shoot a sample reel of ten 62 t

Phantom by Todd McCarthy 1969 The FBI and the Barker-Karpis (Not under co eration here are Viva Gang. 1970 Monte Walsh. 1972 Villa!, Come and Get It, The Outlaw, and 1927 The Green Hat. 1931 Chances. Hemingway & Capa. 1974 Russian Pro- The Thing , where Hawks' partial contri- 1932 Alias the Doctor. 1933 Shanghai ject. 1977 When It's Hot Play It Cool. butions are better known. ) Orchids, The Prizefighter and the Lady. 1934 Moll, Honor. 1936 The Food of Would Howard Hawks occupy the Quite a few of the projects produced Love, Sutter's Gold. 1937 A Ghost same position in film history if his filmo- scripts indicating the general direction Story (War Birds), The Hurricane, Mur- graphy consisted of the fifty-four titles the films might have taken . Others were der in Massachusetts. 1938 Lawrence of listed above rather than the forty-three pictures Hawks prepared only briefly, or Arabia, Gunga Din. 1939 Murder in the pictures he actually directed ? Most were simply pipe dreams on the part of Air. 1940 Seventh Cavalry. 1941 The probably. Nevertheless, behind the visi- the director or of studios hoping to inter- Maltese Falcon , For Whom the Bell ble evidence of the films he did make est this unusually independent director Tolls. 1942 Casablanca, The Adven- lies a parallel history-every bit as real in one of their properties. But all the tures of Mark Twain. 1943 Cheyenne, save for the lack of a final product-of titles listed are films Hawks was in- Bundles for Freedom, Saratoga Trunk, projects planned, written, budgeted, volved with, and might well have been The Life of Eddie Rickenbacker. 1944 and often cast which, for one reason made-if the cards of studio politics , Battle Cry, Dark Eyes, Pillar to Post, or another, never made it before the cast availability, budget, and screenplay Chicken Every Sunday. 1945 Moss cameras. had turned up differently. Rose. 1946 The Tuming Door. 1947 The Dark Page. 1950 The Sun Also As even a fast glance at this phantom • Rises. 1951 Morning Star, Fourteen filmography reveals, Hawks was at one Hours, Mabel and Me, Angel Face. time involved with many projects which HaWKS produced a few pictures in the 1952 Dreadful Hollow. 1953 The Left were ultimatel y realized by others, and early Twenties and, from 1923 to 1925, Hand of God. 1954 Song of Ruth , Life one can only speculate as to how differ- su pervised the selection of literary prop- of Farouk. 1956 I'm Going to Have a ent they would have been under Hawks' erties at Famous Players-Lasky (Para- Baby. 1957 The Bridge on the R~ver direction. In isolated cases (The Prize- mount). Not able to secure a directing Kwai. 1960 The Gold of the Seven fighter and the Lady, Gunga Din) , Hawks job, he left for MGM but quit when no Saints. 1961 Casino Royale. 1964 The was engaged for so long in preproduc- opportunities were forthcoming there Bengal Tiger, The Yukon Trail, Cinder- tion and, on the former, into actual either. Sol Wurtzel at Fox gave H awks ella, Don Quixote. 1968 Vietnam Story. shooting, that his influence on the fin- the chance to direct his first film, the lost ished product was probably inevitable. The Road To Glory (originally titled The Chariots of the Gods) in 1926. Hawks wrote the story for another Fox release of that year, Honesty-The Best Policy; 63

and in September he was announced as cided to cast Max Baer and Myrna Loy \"So are you.\" After being cleaned out by director of a possible screen version of Michael Arlen's Broadway hit The Green instead . Hawks later claimed that he di- Jack in a card game, Pusher suffers a Hat, which was to have starred Virginia Valli in Katherine Cornell's role. (The rected the first few scenes in order to set fatal crash, which forces Jack to take Green Hat finally came to the screen as A Woman of Affairs, directed by Clarence Baer on the right course, then handed over as Mildred's lover and pilot. Lucky, Brown and starring Greta Garbo.) This aside, there is no record of his having over the reins to W.S. Van Dyke. One of a former movie stunt pilot, then joins prepared any silent films other than the ones he did direct: Fig Leaves, The Cra- the film's writers , John Lee Mahin, said the act, proving his mettle when he is dle Snatchers, Paid To Love, A Girl in Every Port, Fazil, the lost The Air Circus that Hawks was replaced because of his catapulted from a climbing plane by a (to which sound sequences were al1ded by Lewis Seiler), and Trent's Last Case. slowness: he was a week behind sched- huge elastic rubber band. Ultimately, Once he had successfully broken the ule after one week of shooting. Van Jack suspects Mildred and Lucky of sound barrier with The Dawn Patrol in 1930, Hawks signed a three-picture deal Dyke received sole credit for direction. having an affair and embarks upon a with First National. Highly selective even then, he balked at preparing a story • quasi-suicidal stunt in which he flies called Chances and was taken off salary in late 1930, upon which he departed Moll. Late in 1932, Ben Hech t and straight up to 18,000 feet, only to change to make The Criminal Code and Scarface. Gene Fowler sent a twenty-five-page his mind and race back to earth; the Back at Warner Bros. in 1932, Hawks reworked Kenyon Nicholson's 1917 play treatment of this goofy gangster comedy result is a crack-up, which he barely sur- and 1928 film The Barker into The Crowd Roars, and borrowed the basic situation to Hawks at MGM . Fritzie, the \"moll\" vives. After another extraordinary trick, of Sidney Howard's play They Knew What They Wanted for Tiger Shark. He of the title, flees her bootlegger pals in in which Lucky jumps out during a loop bowed out of the Richard Barthelmess soap opera, Alias The Doctor, which Mi- the States and retreats under an alias to without a parachute only to land atop the chael Curtiz directed in 1931-32. In- stalled at MGM the following year, the Normandy coast, where she shacks plane's wing as it swoops back around, Hawks was assigned by Warners to fulfill his contract with another Barthelmess up with expatriate Howdy Lundeen. Jack flies off, probably to a mail job, vehicle, Shanghai Orchids, Warners ad- vancing MGM $5000 for the director's Knowing that Howdy's dad is running leaving Mildred and Lucky together. • services. Hawks refused to take on the for governor on a reform ticket, she mar- story, which he considered \"no good,\" and by July 1933, his Warners contract ries the phlegmatic lad anyway, on the The Food of Love. Zoe Akins wrote was terminated. promise that he will never take her back this frantic romantic comedy about a • to the U.S. One of her old associates group of classical musicians, some of The Prizefighter and the Lady. While briefly at MGM in 1925, Hawks tracks her down , however, and insists whom are Europeans , on an American had written a story (adaptation and con- tinuity by Harold Shumate) called The that she return to testify on his behalf in tour that includes stops in Kansas City, Roughneck and the Lady. Although the intended Norma Shearer vehicle was a murder case. She refuses , whereupon Oklahoma, and , finally, New York. It never made, Hawks remembered it when he returned to the studio eight he makes love to her and shoots her. possesses some of the crazy elements of years later and used it as the basis for his first project there. Although the credits Howdy finds her and exclaims: \"You Twentieth Century, and parodies the pre- attribute Frances Marion with \"original story,\" the film bears a strong resem- shouldn't have worried about my being tenses of people in the artS. Hawks de- blance to Hawks' earlier story, which concerned a low-life woman who trans- upset about a gun-moll. I don ' t want to veloped this project wi th Akins and tried forms herself into a \"lady, \" only to take up with a boxer while hiding from the brag but I killed about a hundred people ' to interest RKO in it in 1936. police after her gambling establishment • has been raided. Hawks asserted that he in the war! \" Not surprisingly, this casu- developed the story with Josef von Sternberg. It was written with Clark Ga- ally amoral script (complete with nude Sutter's Gold. Faulkner wrote an bIe and Jean Harlow in mind, so Hawks was disappointed when the studio de- scenes) was never filmed. enormously detailed, impossible-to-film • lOS-page treatment of this epic tale. Honor. Faulkner scholars have never Earlier, it was to have served as Sergei pointed out that Howard Hawks was in- Eisenstein 's American film debut. Uni- directly responsible for the creation of versal finally produced Sutter's Gold in Faulkner's novel Pylon (1935) and the 1936, with James Cruze directing. • Douglas Sirk film The Tarnished Angels (1957). Unable to fathom Faulkner's A Ghost Story. Even more than Southern stories, Hawks suggested that Honor, A Ghost Staty is intimately re- his new friend write about something he lated to Faulkner's fiction, possessing knew about, like fliers. The result was some of the same concerns, themes, and Honor, a screenplay Faulkner wrote in complex narrative devices of his major early 1933, with some dialogue contri- novels. Known in an earlier version as butions by Harry Behn and, later, Jules War Birds, the story deals with the cor- Furthman. It's a superb script, perme- rupted nobility of several European ated by the Hawksian code applied to World War I veterans now living in the professionals in a dangerous job. American South and, during its war The tale begins with Mildred Chur- flash backs, focuses upon the fatal is tic chill, a lady wing-walker, arguing with. recklessness of the youth in the war as her current boyfriend and pilot, Pusher well as the erosion of the Old World Graham, at a fairgrounds air show. aristocracy. By all accounts, Hawks per- Mildred falls during a stunt and is sonally commissioned the story and al- knocked out as she parachutes down. ways owned it. While strong echoes of Jack Rogers, a former stunt pilot who The Dawn Patrol reverberate through now flies a mail route, swoops down to , the screenplay, it nevertheless reads as save her-and as Mildred revives, she the most thoroughly Faulknerian script pays Jack the ultimate Hawksian com- the writer ever prepared . 'pliment: \"You're pretty good.\" She then This Faulkner household consists of takes the stick and executes a fancy 14-year-old Johnny, his mother Caro- loop, whereupon Jack responds with, line, \"Aunt\" Toinette, Uncle Bayard, 64 n

and his German \"Uncle\" Dorn , who in The Hurricane. In June 1936, Sam- contemplated such a picture since 1933, fact killed the boy's father, Lt. John Sar- uel Goldwyn named Hawks to direct his when Ernest B. Schoedsack went to toris , in 191 8. The exposition revea ls spectacular The Hurricane, although he Arabia and Damascus to shoot docu- that Sartoris left his pregnant wife a realized it would be imposs ible to get mentary footage to be used on a John month after their marriage to join the the production off the gro und that yea r. Barrymore vehicle, va riously called Fu- English Roya l Flying Corps and took a To keep the director from \" interfering,\" gitivefrom Glory, Arabian Story, and Un- mistress, Antoinette, overseas. John 's Goldwyn kept Hawks in the dark re- crowned King . The following yea r, Mer- twin , Bayard, survived and brought garding his assignment of a writer to the ian C. Cooper tried to revive the project back both Antoinette and Lothar Dorn , project, and pri vately stated that he had with either Hawks or Gregory La Cava resulting in an incestuous atmosphere at no intention of sending Hawks to the directing, and Hawks's agent brother the old Sartoris mansion. Flashbacks re- South Seas to make the film. By August, William suggested his client Ronald veal John and Baya rd in war action: a Goldwyn had fired Hawks off of Come Colman for the lead. Ultimately, a great dogfight with six German planes over And Get It and in October offered The deal of Schoedsack's footage was used in France ; and John 's death sce ne , in Hurricane to John Ford. Dudley Nichols a 1944 RKO B-picture, Action in Arabia, which he stands in the cockpit of his wrote the screenplay. starring George Sanders under Leonide burning plane , making a flippant salute Moguy's direction. to Baya rd before jumping out. An hour • before the armistice, an obsessed Bay- • ard takes off to revenge hi s brother's Murder in Massachusetts. Hawks death . vVhen he discovers that his en- was to have directed this true story, Gunga Din. Having turned down emy, Dorn , is due to become a father by based on Joseph Danine's magazine arti- Lawrence ofArabia, Hawks was looking a wife whose peasant rank has prevented cle \"Shake Hands With Murder,\" for for a major adventure picture to do for him from becoming a baron , he throws Samuel Goldwyn. John O'Hara pre- RKO when he initiated some research the gun away-upon which we cut to pared a twenty-nine-page treatment late into the life of explorer-writer Sir Rich- Caroline's hysteria when Bayard brings in 1936, and Robert Andrews joined him ard Bunon . In April 1936, he had Wil- Dorn and Antoinette back home. Even- for a rewrite some time later. The prop- liam Faulkner begin preparing a story tually, the gro up adapts to life together. erty was later sold to Columbia. called Pukka Sahib, set at an outpost in Johnn y breaks down when he realizes the Kh yber Hills during World War I. that his \" uncle\" killed hi s father, but, at • Almost immediat;t:l y, howe ve r, the climax, maturely accepts what his Faulkner changed the setting to an ear- mother has already forgiven. Lawrence of Arabia. In 1937, Sam lier time and lifted the name \" Din\" as Briskin ofRKO proposed several project well as the final three lines of Rudyard • ideas to Hawks, who had a two-year, Kipling's poem for a new story, which multi-picture deal with the studio. One gradually came to be called Gunga Din . was the story of T. E. Lawrence's ex- ploits during World War I. RKO had - - - - - -- - - - - - -THE SEVENTH HONG KONG INTERNATIONAL FILM FESTIVAL - - - - - -- - - - - - - Accredited by the International Federation of Film Producers Associations March 24 - April 8, 1983 Information: Hong Kong International Film Festival Room 807, New World Office Building 18-24 Salisbury Rood Tsim Sha Tsui, Kowloon Hong Kong Cable: HKIFF Cityhall Hongkong Telex: 38484 USD HK HX Presented by the Hong Kong Urban Council 6S

Faulkner worked o n sto ry o utline s (more than $ 1 million) on Bringing Up mitted to Hawks in 1936, this story was through May, whe n H aw ks ca lled in Baby and showed signs of spending even finally filmed in 1940 by Lewis Seiler John Colton , and the n Lester Co he n. In more on this ambitious spectacle. In (who had shot the talkie footage Hawks September, H aw k s rec ruit e d Be n March 1938, at the urging of producer hated in The Air Circus) from a screen- Hecht and Charles MacArthur for the Pandro Berman, RKO di smi ssed him as play by Raymond L. Schrock. Similari- job, and the three holed up in a Waldorf- directo r. Hawks' pleas to be reinstated ties to A Ghost Story abound. Jim is an Astoria suite to write the sc ript . Still not were ignored ; indeed , his entire RKO in structor at an aviation school. His satisfied with the project , H aw k s contract was dropped. Berman substi- younger sister is made pregnant by one worked close ly with Dudley N ichols on tuted George Stevens, who until then of hi s students, William Burton, and revision s throu gh June 1937, and later had demonstrated fiscal responsib ility when she dies in childbirth, Jim is called on both Anthony Veiller and Joel on his pictures for the studio but, as forced to keep the baby. In revenge, Jim Sayre. Berman noted to his chagrin , first dis- rigs Burton's plane and the latter is killed By early 1938, RKO had grown wary played his tendency toward slowness on a practice flight. Burton's wife and of Hawks, with whom the studi o had a and big-spending on Gunga Din. Jim eventually fall in love , but this •three-pi c ture de a l, large ly because doesn ' t prevent Jim from attempting a • Hawks had go ne seriou sly over budget Murder in the Air. Originally sub- suicidal last flight, from which she saves - - - - - - - - - - - - - - - - - - - - - - - - - - - - -.... him at the last minute. • \"Blueprint on Bob'ylon Seventh Cavalry. Dudley Nichols wrote this 197-page screenplay which \"Would you Itke to hear about HOW GREEN WAS MY VALLEY, TEN NORTH FREDERICK, was clearly intended as an epic of White- AGONY AND THE ECSTASY, RED DUST, SHOWBOAT, HEAVEN KNOWS MR. Indian relations in the West. Gary Cooper was to have played Tom ALLISON, NORTH TO ALASKA, A NIGHT AT THE OPERA, SONG OF BERNADETTE, Crocker, 2nd lieutenant in the Second MIRACLE ON 34TH STREET, AIRPORT, LONELY ARE THE BRAVE, SPARTACUS, Cavalry; Walter Brennan was set for the CROSSFIRE, DEADLINE U.S.A., CAT ON A HOT TIN ROOF, ELMER GANTRY, IN COLD BLOOD, BLUE HAWAII, PRINCESS AND THE PIRATE, YOURS MINE role of General Custer; Sitting Bull was a AND OURS, THE WAR BETWEEN MEN AND WOMEN, BACHELOR AND THE major character. Nichols' liberal screen- BOBBYSOXER, THE BUSTER KEATON STORY, BIG STREET, I WAS A MALE play is fronted by this quotation: \" 'Red WAR BRIDE, DEEP IN MY HEART, RANCHO NOTORIOUS, FROM HERE TO devils, you call 'em ? What about white devils ? It's a few greedy white men , who ETERNITY, TRAPEZE, THE BIG COUNTRY, PORK CHOP HILL, CAPE FEAR, will do anything for money, that are rais- HOW THE WEST WAS WON, REAR WINDOW, TO CATCH A THIEF, NEVADA SMITH, ing cain on this frontier! If I were an BOOMERANG!, YOU'RE IN THE NAVY NOW, BROKEN LANCE, THE WILD ONE, ON THE BEACH, THE SHEEPMAN, RIDE THE HIGH COUNTRY, MAGNIFICENT SEVEN, DESTINATION TOKYO, MILDRED PIERCE, THE MOUNTAIN, CLEOPATRA, Indian I'd fight, too. I'd fight for my ANGELS IN THE OUTFIELD, PARTY GIRL from the actual writers who wrote land. Even if I knew I was going to lose these and countless other great movies,\" all interviewed by JD. Marshall in I'd fight for what's mine-same as you would!'-Tom Crocker, 1876.\" BLUEPRINT ON BABYLON Send '8.50 (plus '1.00 postage & handling) to PHD E N I X H 0 USE BOX 1125 • T em p e, A r i Ion a 8528 1 336 pages r x lOW Order Direct Now The Maltese Falcon. Although John Huston denies knowledge of the story, J. D. morshall Hawks claimed that he gave an idea he always fancied doing himself-The Mal- Was there ever a tfSouthern\" genre? tese Falcon as written by Dashiell Ham- mett, not as adapted and changed twice by Warner Bros. in the Thirties-to Huston, with whom he had enjoyed The South and Filll1 working on Sergeant York , and had rec- ommended to Jack Warner that he allow Huston to debut as a director with the Edited by Warren French property. Hawks could have gone to Warner with the idea without Huston's A refreshing and informative analysis of a vast subject- knowledge , but there is no record of with special focus on classics, auteurs, women, Faulkner Hawks ever having pursued making the film himself beyond the idea stage. and film, and regionalism. 22 essays. 258 pages, illustrated • For Whom the Bell Tolls. While $12.50 working for Samuel Goldwyn in New .\"..=I~::~.. York in the mid-1930s, story editor Sam- uel Marx, who had brought Hawks and ~~\\r Faulkner together several years earlier at IVIGM, read Hemingway's latest book in University Press of Mississippi 3825 Ridgeu,ood Road, Jackson , MS 39211 (601) 9()2-6205 galleys and recommended that VISA/MASTERCARD ACCEPTED Goldwyn buy it as a vehicle for Gary Pholo courtesy of MOMA, Film SIi/I, Arohive Cooper. Goldwyn was outraged by the $50,000 asking price, however, suspect- 66 R

!_N-_E_W___Y_O__R_K ZOETROPE !TYLEEouSLrEABV-RIZSOgIWOuNiNd.'eSNtoeEwNthCEexYspChaoLnwOdsPe,dEthDEeIdAhitiiOsotnFo.ry, FALL 1982 _ _ _ _ _ _- _ _ _ _ the politics , and the business of _ television- and the best book on tv there is . A standard reference . 492 pp. 270 illustrations . cloth $29 .95/paper SCREEN READER 2: Cinema & $16 .95 . Semiotics . Mick Eaton and Stephen HQLLYWOOD: THE FIRST HUNDRED Neale , eds . Readings from Screen YEARS. Bruce T Torrence . The story of magazine, called by Film Comment \"the America's own Shangri-la by one of most influential film journal \" of the Hollywood's native sons . Illustrated with 1970s. Essays on the work of Christian more than 300 stunning duotone Metz by Kristeva , Heath , and Willemen photog raphs from the author's personal are included as well as Metz's own archives . 288 pp. cloth $24 .95/paper seminal \"Methodological Propositions $15 .95 . for the Analysis of Film .\" Must reading for students of film and film culture . 197 THE SCREENWRITERS GUIDE. Keith pp. paper $17 .95 . Burr and Joseph Gi llis . A succinct , practical guide to film and tv script AMERICAN SONG , Volume I: The sales with the names and addresses of Compleat Musical. Ken Bloom . Preface more than 2100 film industry contacts by Ethel Merman . The only book of its worldwide . 160 pp. paper $7 .95. kind-historically complete information about every musical written by an MONTY PYTHON: Complete and Utter THE HISTORY OF MOVIE American composer from before 1900 PHOTOGRAPHY. Brian Coe . A through todayl Includes full musical , a.Theory of the Grotesque. John faSCinating study of the art of technical , and cast credits , song lists, discography and bibliography. Thompson , ed . By Pythons, about Illustrated . c .500 pp. cloth $24 .95t. Pythons , and for Pythons . 48 bits and November. pieces of grotesquerie from \"An Astonishi ngly Dirty Period\" to \"Cleese's Body Visual Gestalt of.\" Includes the cinematography from its beg innings world 's most complete and utter through sound and color to widescreen THE RUNNING GAME: The Campaign Pythonography. $7.95 . and 3-D. Lavishly illustrated with full- Journals of John O'Leary-America's color photos and diagrams. Oversize. First Announced Candidate for 176 pp. cloth $19.95 . President : 1984. What's it like for a WHO'S WHO ON BRITISH MOVIES FROM THE MANSION : A Yankee songwriter to run for President TELEVISION . The guide to 1,000 of the History of Pinewood Studios. George against an old actor? Funny and best known faces on British tv . Perry. The story of England 's most trenchant. 128 pp. cloth $9 .95 . Foreward including hundreds of Americans . With famous and colorful movie studio . by Jeff Greenfield. full credits , heavily illustrated . 255 pp. Oversize and heavily illustrated . 192 pp. cloth $10.95/paper $4 .95 . cloth $19 .95 . November. THE FRENCH REVOLUTIONARY WHO'S WHO IN AMERICAN FILM Paul Mazursky's TEMPEST. Geoffrey CALENDAR With an essay by James NOW. James Monaco . Credits for more Taylor. A stunning \"making of\" book Monaco . In 1792, the French had a 4700 filmmakers- writers , producers , about Paul Mazursky's most recent hit. better idea: a new calendar free of directors, cinematographers , stuntmen l Heavily illustrated with full-color unreason , superstition , and tyranny! We More than 2500 films . The most up-to- reproductions of story boards , location think it's time to revive the calendar date guide of its kind . 224 pp. cloth shots, and stills from the film. Inc ludes (even if the revolution must wait). Twelve $19 .95/paper $7 .95. interviews with the cast and crew months of thirty days (plus five holidays Oversize . 96 pp. paper $10.95 . at the end of the year). And best of all- ten-day weeks . Think of the weekends I INTERNATIONAL FILM - -paper $5.95. -- ----- - - - - - - - -- - -- - - - - - - - - - - -- - - ---- Hello Zoetrope: BIBLIOGRAPHY. The most o Send me the following books . I've o Also send me your free catalogue . comprehens ive listing of film scholarship and criticism in English , enclosed the proper amount plus NAME __________________ French, German , and most other $1 .50 for postage and handling (2 .00 ADDRESS ________________ European languages . Organized in 11 for 5 or more books) Thanks! categories, including a periodicals guide . Indexed . Volume II : 1979-80, Please aI/ow 6-8 weeks for delivery. _ -_ _ _ _ _ _LZ IP_____ Volume II : 1981 . 155-200 pp. each . cloth $29 .95 each . $55 .00 for both . NYS residents add 8%% sales tax . NEW YORK ZOETROPE COMING THIS DECEMBER : Suite 516 Dept M9 International Film, Music, and TV/ 80 East 11th Street Video Guides. New York 10003

ing that Marx was in cahoots with Barbara Stanwyck western was just one Millard Lampell; \"The Diary Of a Red Hemingway to inflate the price, and ul- instance in which Hawks tried but failed Army Woman,\" an unpublished story timately lost out to Paramount. As di- to launch his brother on a producing and radio drama by Violet Atkins and rected by Sam Wood from a Dudley career, a ploy which could also have set William A. Backer, from a story sugges- Nichols script, Hemingway's story of up a buffer between Howard and the tion by Isabel Donald; \"Ma-Ma Mos- Loyalist guerrillas during the Spanish studio. At an early stage of the project he quito ,\" by Dean F. Jennings, from a Civil War was severely depoliticized; had even got RKO to pay his future 1940 Collier's story, with a forty-three- given hi s disdain for topical world wife, socialite Nancy Gross (who never page dialogue treatment by Atkins and events , it is likely Hawks would have had and neve r would write for the Backer; and \"American Sequence,\" by drained it of political relevance even fur- screen) , $7500 for a treatment. Discus- Hawks , for which Faulkner was writing ther, perhaps concentrating on the Loy- sions persisted well into 1942, at which dialogue. These were later joined by an alists' plan to blow up a bridge. time the studio proposed that Hawks \"English Episode,\" a twenty-six-page direct a story called Bundlesfor Freedom , original by John Rhodes Sturdy; • with Cary Grant and Rosalind Russell. \" French Sequence,\" by Faulkner; and Raoul Walsh's 1947 Cheyenne bore no \"Greek Sequence,\" by Hawks and Casablanca. The story goes that one relation to the RKO project. Faulkner, based on a Saturday Evening day Howard Hawks and Michael Curtiz Post short story, \"The Weapon,\" by were commiserating with each other • Georges Carousso. There was also an about projects Warners wanted each of idea of a Norwegian story for Ingrid them to direct, Hawks complaining Saratoga Trunk. For his next pic- Bergman. While keeping the basics of about a silly story about intrigue in Casa- ture after Air Force , Hawks told H al the original sources, Faulkner wrote at blanca and Curtiz telling of hi s lack of Wallis that he would adapt Edna Fer- least three drafts of the entire screen- affinity for the Americana of Sergeant ber's novel Saratoga Trunk. Wallis tried play, and can be considered the author York. They privately agreed to swap for some time to get me director to com- of the work. projects, and the rest is history. Or fan- mit to it, but when Hawks balked unless tasy. It's highly unlikely that things tran- he could receive some assurance that The first temporary screenplay, 227 spired this way, since Sergeant York, on Gary Cooper would be in the film , the pages long and dated June 21, 1943, which Hawks started work early in 1941 , studio put it on the back burner, finally opens in early 1942 at the Springfield, began shooting well over a year before to make it in 1946 with Sam Wood di- Ill. , railway station. Young \" Fonda, \" ·Casablanca. Nevertheless, an early recting and Cooper starring. Also in whom the script describes as bearing a script of Casablanca was circulating to 1943 , H awks announced that he in- certain resemblance to Abe Lincoln as a directors in January 1941 , so it's possible tended to film The Life of Eddie Ricken- young man, is waiting to be transported Hawks might have been approached at backer, with Cooper as the air pioneer. off to a war he doesn't understand , and one point, although the only three direc- his \"Grandpaw\" explains that the na- tors know n to have been sent the screen- • tion's now got the same fight on its play for their consideration were Vincent hands that Abe had: the fight for free- Sherman , Curtiz, and William Keighley. Battle Cry. Even more than the De dom, and against slavery. As the lyrical Sherman shot some tests, but Cu rtiz was Lincoln cantata comes up on the on board by March 1941 , over a year Gaulle: Free France script he wrote in soundtrack, we flash back seventy- before filmin g fin ally began, at which 1942, Battle Cry is the most fascinating seven years to Grandpaw as a little boy, time Hawks was we ll into Sergeant York . screenplay William Faulkner prepared standing at the same station watching Although Hal Wallis used H awks on during his tenure at Warner Bros. If Lincoln's funeral train arrive. both York and Air Force , he was always filmed as planned , as a six-episode epic wary of the director's slowness and pro- directed by Hawks, it surely would have We then flash ahead, with Fonda (as pensity for going over budge t. On Ceil- represented one of the most ambitious his character is called) now stuck in the ing Zero, for instance, Wallis tried hard propaganda film s made during the war. African desert with a group of Ameri- to hire Tay Garnett, William Wellman, (It shares only the title with Leon Uris' cans, an English officer, and two pris- and Victor Fleming before settling for novel, published in 1950 and filmed by oners, German and Italian officers. Hawks. On Sergeant York, the first Raoul Walsh in 1955.) Among the Americans: a 19-year-old choice was William Wyler, followed by _ The project originated in the spring of Southerner named Akers; a paralyzed , Fleming, Norman Taurog, three 1943 with Hawks and his agent, Charles stoical Negro soldier called Pvt. Amer- Henrys: King, Hathaway, and Koster. Feldman, who sold an initial collection ica; and a by-the-books army regular of four diverse story treatments to named Sgt. Reagan . Throughout the • Warner Bros. for $79,500. By the time it philosophical discussions generated by called off the production after just one the men in the desert concerning their The Adventures of Mark Twain. day of shooting, the studio had spent reasons for fighting and the importance In February 1942, the trade papers an- $232,348 on its preparation, including of freedom , images of the Freedom nounced that Hawks had signed a multi- $100,000 to Hawks; almost $20,000 for Train and a Negro church reappear. picture pact with Warner Bros., with the trick, miniature , and glass shots; and first film under the agreement to be The $ 17 ,340 to Faulkner for the script. A found notebook leads into the Rus- Adventures of Mark Twain for Sergeant Among those mentioned for the cast sian story. Tania Doronin catches pigs York producer Jesse L asky. were Gary Cooper, Bette Davis, Hum- on her family's farm when the dashing phrey Bogart, Ingrid Bergman, Ida Lu- Semyon parachutes into her field. Soon • pino, Lauren Bacall, John Garfield, Ann they are married, her parents are killed Sheridan, and George Raft. in the war, and Tania is making the 600- Cheyenne. One thing about Hawks mile trek to Moscow, where she learns that had rubbed RKO the wrong way The four stories originally grouped by to fly a dive bomber. During the bomb- was the director's constant attempts to Hawks and Feldman were \"Abraham cut his agent brother William in on his Lincoln Comes Home, \" a cantata with projects. This proposed Gary Cooper- music by Earl Robinson and libretto by 68 t

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Tisch School ofthe Arts ing of Leningrad, Tania and Semyon are he is England ... as much as the Crown Announces the reunited briefly at a Shostokovich con- and the Sceptre.\" cert. She tells him that the fu ture of their Willard country is up to the women to renew The Freedom Train. Then back to T.C. Johnson and, almost as an afterthought, informs the desert, where Fonda speculates to him that she is pregnant. Comes the Loughton that whereas England \"ain't Fellowshjp Battle of Stalingrad, and the heavily much bigger than a shirt-tail,\" the Program for pregnant Tania takes off on a bombing United States \"is big. Maybe too big.\" Filmmakers. mission , only to go into labor in the air. He cites boxer Joe Louis as the current The birth of her son back on land is \"man of America's people.\" In 1982 the Institute of Film and quickly followed by word that Semyon Television of New York University's has been killed. Pride and optimism The captured Italian officer, who has Tisch School of the Arts was select- swelling behind her tears, Tania prom- been at odds with his Nazi counterpart, ed by the Willard T. C. Johnson ises her son a world of peace and free- soon joins in the storytelling, relating, in Foundation for a unique fellowship dom. Dissolve into the Freedom Train. the \"Greek Sequence,\" how poor Athe- program for filmmakers . The pur- nian citizens resisted Axis pressure with pose of the fellowship program is to After a brief interlude in the desert, their only weapon: laughter. They had recognize and support emerging we turn to the true story of \"Ma-Ma sent their occupiers black balls, written filmmakers of exceptional promise. Mosquito,\" 65-year-old Chinese grand- \"No\" across public walls, and displayed mother Madame Chao Yu-tang who has Greek flags. Each year two fellowships are been fighting Japanese occupation to be awarded, one on the under- forces since 1931. Operating out of the Back at their shelter, the mixed group graduate level and one on the grad- hills north and west of Peking with the votes on whether to stay put or forge into uate level. Each award is in the the desert; much is made of the demo- amount of $10,000, covering the assistance of her sons and 75-year-old cratic voting process. At this point the full cost of tuition and including a husband , she specializes in nighttime crippled Negro speaks out, saying that stipend for living expenses. raids on Japanese installations and comes to be called \"Mother of the Guer- Abraham Lincoln gave him the vote and The fellows will be reviewed rillas. \" Using the slogan \"Opportunity is much more, but questions whether kill- annually, and fellowships are a fruit which ripens slowly,\" she gradu- ing under any circumstances doesn't vi- renewable for the full period of ally convinces her people to stay on and olate decrees of the Bible. study at the school. resist; in one indelible image created by Hawks, the crusty Ma-Ma sits with her The Freedom Train speeds by once Tisch School of the Arts is proud feet soaking in a steel bucket and hold- again, and during a recitation of the can- to be honored in this fashion and is ing a submachine gun in her lap. tata we see Lincoln sitting by the beds of conducting a national search for the Foreshadowing The Bridge on the River wounded soldiers followed by a brief most highly qualified candidates for Kwai, the climax has Ma-Ma's crew reenactment of the shooting at Ford's the fellowship awards. blowing up a trestle bridge, causing a Theatre, then the funeral train turning trainload of Japanese troops to crash into a roaring express with the cheering For more information and an down. Chiang Kai-shek congratulates faces of American troops hanging out of application, contact Dean Elena her for killing 865 Japanese , and she the windows. Pinto Simon , Tisch School of the returns to her people with his gift: an Arts, New York University, 725 ancient bowl in which to soothe her feet. The group votes to stay at their Broadway, Washington Square , desert compound, upon which Corp. New York, N .Y. 10003 ; (212) After another roll-by of the Freedom Loughton tells the story of his affair with 598-2826. Train and a quick look at a 19th-century gathering in which Fonda as Lincoln is a French girl named Clemente. In the Tisch School of the Arts. seen at a dance, we move to an edgy Our name is new. night watch being shared by Fonda and summer of 1938, Albert and Clemente the English Corp. Albert Loughton, fall in love and marry, but when hostili- Our reputation is established. who relates the \"English Episode.\" ties break out, Albert must return to England. Clemente, a former hooker, is NBVYORK An aloof Royal Air Force pilot is on a raped by a Nazi officer and soon be- RSI1Y convoy in the Atlantic. Through a flash- comes a prostitute for German troops in back we learn that the three brothers of Holland. Clemente is an obvious sym- New York University is an affirmative this young man from Dover have all died bol for Europe-raped, impoverished , action/equal opportunity in sti tution. in aerial combat. Back at sea, the convoy desperate, and starving-and the Nazis is attacked (at tea time!) and the lad is have their way with her until she is as- catapulted skyward in his Hurricane signed to find and expose a French un- fighter just before his ship is blown up. He manages to down three German derground leader, Henri. In a hearten- light bombers and races for England, his petrol tank going dry just as the cliffs ing act of rebellion, Clemente and other come into view. The sequence ends \"Nazi spies\" manage to direct Allied fire 'without the reader knowing whether or at German troop boats. Before we learn not the pilot makes it back safely, and a whether she and the others perish in reprise of a section of the opening their bravery, we dissolve to the Free- speech comes over the soundtrack: \"For dom Train and the picture's c1imax- which had not been written in this draft. In his rewrite, Faulkner fleshed out the Freedom Train material, beginning with a prologue defining a Battle Cry as something which \"rises out of man's spirit when those things are threatened 70

which he has lived by and held above escalating budget, and on August 4 or- A sharp and funn y film. ANGEL CITY's Goya is a notable additio n price and which have made his life worth dered all work on the picture stopped , to the canon of screen detec tives. the having and the holding ... ,\" some- and any further expenditures canceled. thing worth fightin g for so that he and Allan Sutherland his famil y will \" be not cast into slavery • SllIht' Sound which to a man who has once know free- dom is worse than death. \" A train whis- Dark E yes. \\Varn e r Bros. go t taken A really joyous endeavor - it' s w eird, smart-ass. and totall y tle resembling the word \" Free-dom! on its $250,000 purchase of thi s stage irreverent Proof positive that so me of our most e xci ting cinema is Free-dom! \" turn s into \" ROBESON'S comedy by E le na M iramova and E uge- be ing put together by the people on the streets. not in the Bel Air VOICE\" chanting the same thing. Black nie Leo ntovich, who also played the mansions wh e re the Hollywood honchos live. Thank God for Jost children scream , \" Again , Uncle Paul! principal characte rs during its 28-week and his ilk. they' re keeping the art of c inema alive and well. Go like a train again! ,\" and he does. At Broadway run in the first half of 1943. the end of the prologue , Paul Robeson's M ixe d rev iews gree te d thi s sto ry of Philadelphia Drummer face is superimposed over a head-on three Ru ss ian re fu gee actresses who shot of the locomotive as he sings the co nvince a well-hee led capitalist to fi- Kabu ki Raymond Chandler. Jost' s best scenes are strong enou gh Freedom cantata. nance the ir play, and there was much to stand as film essays in themselves. mumblin g at Wa rners late r on about the The now-written climax begins at the outrageo us amount paid for the prop- Hoberman desert outpost just before sunrise. As a e rty. In late 1943, H awks was scheduled Vlllelle Voice Nazi tank approaches, the German offi- to direct it afte r To Have and Have Not as cer trains a commandeered machine gun the second picture und e r hi s new co n- Brigh tly funn y and extreme ly inventive. Rarely has Los Ang e les on his captors, only to be shot by the tract, and Ma rk H e llin ge r was to been used to suc h effec t as in ANGEL CITY. civilized Italian officer. The tank con- p rodu ce . Warn e rs had origin ally indi- tinues to approach and its fire is returned cated that th e three actresses wo uld be Martha DuBose by the men in the Alamo-like garrison , pl ayed by Ga rbo, Ma rl e ne Die trich, and Sydney Mornlnll He,ald Fa nny Brice, with H ed y Lamarr another the noise finall y blending into the sound poss ibili ty. So H awks and produ ce r Ro- ANGEL CITY gambles, succ essfully, on striking a bargain with the of the Freedom Train , which is superim- be rt Buckn e r were fl abbe rgasted when aud ien c e: th ings you nev er though t you'd see in a private eye posed over tanks and finall y overcomes the studio late r sugges ted substituting movie in exc hange for a series of politic al lessons that wo uld them as Robeson sings his cry for free- so me co mbin ati on of Alexis Smith , Faye oth erwise find no audien c e. Genuinel y spe ctacular filmic effects. dom . The trainful ofG.I. s finally passes E me rson, Ann She ridan, and Jane Wy- by, and we see a slogan written on the man, all-Ame rica n girls totally unsuited Ian Christie last car: \" Berlin Tokyo Or Bust.\" Fade to pl ay Co n ti ne n tal artistes. H aw ks NFT, London out, The End. turned hi s atte ntion to two oth e r proj - ects, Pillar to Post, which was to star ft.ii! In early July 1943, Joris Ivens-most Jean Arthur, and Chicken Every Sunday, recently involved in special work for the on w hich the Epstein s had been wo rk- CHAMELEON Canadian government guiding convoys ing, before The Big Sleep inte rve ned . to England and hardly the most likely Bob Glaudini's performance as Terry is absolutely riveting. Jost Hawks collaborator-was hired as tech- • seems to have captured, more or less exactl y, the kind of nical advisor and secured four cans of Californ ia life-style that makes c onvention of the unconventional. Japanese newsreels showing their suc- Moss Rose. In 1944, Jules Furthman Jost's inventiveness has an irreppressible edge to it that stops cesses in China. Jean Negulesco was pre pared a script for H awks based on the pretension in its trac ks. assigned to direct the funeral train foot- Joseph Shearin g nove l about a choru s age, with the remainder of principal girl who worm s he r way into high soci- Derek Melcolm photography to be done by Hawks . e ty, with nea r-ca lamitou s res uli:s. O rigi- Manche.ter Guardian Hawks didn' t much care for the English nally thinking of making it in England , episode as written and ordered a revi- H awks th e n atte mpted to set it up as an A triumph of art istry over budget. Jost's day in the life of a lean, sion, and Warners argued for cu tting the ind e pe nd e nt produ cti on, even de ter- mean Los Angeles hustler is a cautionary tale about the self- French sequence, allegedly not for its mining a budget ($734,975) and fi xing a destru ctiveness of Amer ican opportunism. Packed with bold sexual content but for budgetary rea- 10-week shoot. Hi s responsibilities to visual metaphors, CHAMELEON is a nervy, intelligent, exciting sons. Hawks liked it, however, and eas- Warne r Bros. inte rvened , however, and advanc e. ily prevailed to retain it. Steve Fisher Gregory Ratoff directe d it in 1947 . rewrote dialogue for the Russian se- Furthman received co-sc ript credit. Nigel Andrew. quence, which Hawks wanted to film in American Film a violent, documentary-like style, and • Carl Sandberg issued an endorsement of Combining a freaky, trippy {i n fac t almost Corman-esque) saga of the Lincoln material. The Turning Door. H aw ks had a dope-dealer and all-round hustler with an abstract distillation of Leig h Brac ke tt ad apt C leve Ad ams' patterns of c ol our and light, Jost's narrative not only holds On July 28, second unit director Roy mystery novel The Black Door in 1945 , together but unfolds through a fascinating succession of moods Davidson went out along Moorpark and asked for anoth e r draft in 1951 , as Terry moves from appointment to appointment, role to role. Road in the San Fernando Valley and whe n the project was refe rred to as Sti- shot 130 seconds of footage of burning letto. Combining the de tecti ve trappings Rlchlrd Comb. wheatfields for the Russian and Chinese of The Big Sleep with the seedy desert SllIht Ind Sound episodes. Four actors and thirty-six ex- locale of Touch of Evil, the sto ry sets tras took part. That was to be the only forme r narcotics agent James j. Flagg A film in many ways new and curious, made with a beautiful sense shooting ever done on Battle Cry. The (a n idea l role for Boga rt) in a drugs-and- of the cinema Warners front office was alarmed at the ga mbling mili e u on th e pre te nse of helping a se nator keep track of his wild- G l o v l n n I O . . . .l n l cat daughter. Landing in N evada, he Co\"le,. 0.11. S.,. For booking s and information please telephone : (201) 891 ·8240 Or write : 71

Tbe16tb meets a fat underworld ope ratOr with a striking resemblance to Sydney Green- International stree t; has some hot encounte rs with a Tournee of cou pl e of lu scious dames in the tradi tion of Bacall and Marth a Vicke rs; mee ts a Animation man from his past who's a dead ringe r fo r the was hed-up Richard Barthe lmess of \" It's the most effervescent, Only Angels Have Wings; and uncovers imaginative selection in all sorts of hidd e n re lationships and cor- years, with something to rupt business dealings. Bracke tt's dia- intrigue all age groups in the family.\" logue, particularly in th e sex scenes, is Judy Stone breezy and sophisticated. While de riva- San Francisco Chronicle tive and ple nty confusing, The Turning Door could have made a dandy compan- A festival of 20 award-winning animated films of fiction and fantasy from ion piece to The Big Sleep. around the world, highlighted by Academy Award Winner, THE FLY; Acad- emy Nominee, HISTORY OF THE WORLD IN 3 MINUTES FLAT; Ottawa • Festival Grand Prix Winner, the outrageous UBU; and winners from major festivals at Zagreb, Ottawa, and Berlin. The Dark Page. T he WW II publi- cation of G. I. Sammy F ulle r's newspa- A feature-length program available fo r rental from : pe r mys tery novel was immortalized by 4530 18th Street F ulle r himself in The Big Red One, whe n San Franc isco , Calif. 94114 the F ulle r character has trouble conv inc- ing his fe llow dogfaces that he was re- (415 ) 863-6100 sponsible for the book they' re reading on the front lines. But the true stOry was ~5Dl1IJn annual eve n more incredible. As Fulle r's unit AInerican was pushing tOward Germany late in 1944, Haw ks bought fi lm rights to th e Fibn book fo r $ 15,000, a deal which had to be e nd orsed by F ulle r's commanding offi- Festival cer. Returning to Holl ywood , Fulle f\\.vas paid $5000 for a scree n treatme nt, which May 30-June 4, 1983 New Yark City Haw ks, in a le tter to Darryl F. Za nuck, Entry Deadline: January 15 praised as \"a fo rm of love stOry between Six days of screenings and special two men , whe re the love of the edi tOr for programs, featuring over 400 16mm the re porte r and the e di tOr's pride in the films and videotapes for use in wo rk of the reporte r allows him to egg libraries, colleges, schools, museums, the reporte r on to uncovering the crime and other community film programs. com mitted by the edi tOr. \" Hawks and Sponsored by EFLA. For information, F ulle r agreed that E dward G . Robinson contact: and Hum phrey Bogart wo uld co nstitute Educational Film Library Association an ideal cast. Hawks also talked to F red 43 West 61 Street ' MacM urray about th e reporte r role; and New York, New York 10023 Jul es F urthman, who w rote a draft afte r 212-246-4533 F ull e r, toyed with a His Girl Friday twist of making the re porte r a woman, to be 72 played by Bacall opposite Bogart. In August 1946, H awks sold the prop- e rty to produ ce r Ed wa rd S mall fo r $ 100,000, and it changed hands many times before fin ally be ing produced in disappointing fas hion in 1952 as Scandal Sheet with Brode rick C rawford and John De re k und e r Phil Ka rl son's direction. In 1948, F ull e rthreatened to sue hi s agent, C harles Feldman-who was in partne r- ship with H aw ks- w hen he lea rned that Feld man had bee n in on the profit res ulting fro m the $ 100,000 sa le. F eld- man counte red th at his only pay me nt ca me via hi s te n pe rce nt of the original $ 15,000 sale, and th at H awks had in- curred substanti al expe nses in develop- ing the unused Furthman script. Today, Fulle r faults 'ne ithe r Feldman nor

H awks. H e only regre ts that H awks contact. What's more, he r kind has been \" Selected as an outstanding film of the year:' didn' t make the film he e nvisioned . he re before, but th ey were take n to be London Film Festival ange ls or sa ints. T h ro ugh the love of • th ese rare fi e d mind s, pe rh aps, ali e n A FILM BY RICK SCHMIDT wo rld s can co me toge th e r. She takes off The Sun Also Rises. H ollywood on he r ow n, and he vo luntee rs for th e 1988 in its cumulative preposterous lIummery is a spirited oUlcry people had tried since the ea rly T hirties first fli ght to Venu s, from which he re- for people to throw oil the covert and overt forms of oppression and to fi g ure o ut how to ad apt E rn es t turns in triumph . be themselves. Beneath the films Ouixotlc humor and surpriSingly H e min gway's first novel for the scree n. louching pathos stands the surrealist belief that art is never more Both RKO and actress Ann H arding had As co rn y as th e story is, and with all its impor lant than life. An outrageous tour.<Je·force.\" held rights but had been stumped by Avn Rand ove rto nes, th e story still has Production Code p roscriptions against g~ea t convicti on and wa rm appea l; it New Community Cinema the kind of adulterous be hav ior di s- wo uld have p rovided H awks with the played by the novel's L ady Bre tt As hl ey. chall e nge of creatin g hi s most since re \" In whose i'mage are stars made? What is the ellect of enforcing a Late in 1945, H awks bought the ri ghts. love story. H e had wa nted to pair e ithe r rigid distance between ordinary life and the glamor it feeds upon? Gary Coope r an d IVlarga re t She rid an or What is the relationship be tween Ihe persons inner fantasy life and Whil e wo rking on The Dark Page. Cary G rant and H edy L amarr. While stark exte rior reality? To deal with such questions 1988 poses its Hawks offe red Sa m F ulle r a chance to admitting th at the idea was \" uni q ue,\" own. Wha l can happen if Ihat distance is conllated. the imagemak· adapt The Sun Also Rises. Fulle r's ope n- Zanuck insisted that the treatm e nt was ing reversed . and the ordinary held up as its own model? ing scene : In a te nt during Wo rld Wa r I, not sufficie ntly developed , and th at the an injured Jake Barn es is on the ope rat- res ulting film might be exceedin gly ex- B. Ruby Rfch ing table; th e nurse is Bre tt , and she is pe nsi\\·e . As late as 1952, age nt Ray The Chicago Reader prese nt as Ja ke's ba ll s dro p in to a Stark , wo rking for H awks, trie d to inte r- bucke t, thu s clue ing th e audi e nce in on est produce rs D ore Schary, Jack Wa rne r, \" By saying \"write your fantasies in celluloid.\" the film examines the nature of Jake's malady and Bre tt's and Stanley Krame r, to no avail. our voyeuristic national tendency, which is evidenced by all those know ledge of it! Fulle r was soo n out , who want to appea r on Ielevision game shows, of needing the and H orace Jackso n wro te a fairly fa ith- • va lidation of an au dience in order to perform ou r lives. Unlike the ful adaptati on, full of fi esta mood and male rial from which it borrows, 1988 st rips away the structure of its spare di alogue . In 1948, H awks sug- Drea dful Hollow. Of all Willi am fantasies. leaving the audience as well as the performers naked ges ted hi s protegee. 'Iargare t She ridan F aulkn e r's unprodu ce d sc ree npl ays, and vulnerable.\" to star as Bre tt, and th e fo llowin g year thi s mi ght well have proved th e mos t announced th at his Red River d iscoverv com me rcially viable, for it is, before all Linda Gross Mo ntgo me ry C li ft wo uld pl ay Jake e lse, a surprisingly co nvincing vampire Los Angeles Times Barnes . In 1952, whe n H awks was still story. H awks bo ug ht Irin a Karl ova's trying to mount th e prod uction, he con- novel in ovembe r 1944, and immedi- \" Rather than fighl a lengthy and costly court baltle after an en· sid e re d Ge ne T ie rn ey as Bre tt and ate lv set Faulkne r to work on th e script, counter with MGM 's battery of lawyers, Richard Schmidt decided D ewev Ma rtin as the matador. Shortly which came in at a somewhat ove rlong to take the battle intoa new front by adding a prologue 10 the film ex· the reafte r, Fox bought the p ro perty and 159 pages. In 195 1 he was still pu shing plaining why sections of the sound track are miSSing and the ended up with its 1957 picture . th e project-to D arryl Zanu ck , who presence of an \" X\" over certain shots. The 111m loses nothing as a protested th at it foll owed \"fa miliar pat- result of his self·censorship, in fact gains by the addition of a • te rns like Dragonwyck and Hound of the pOlitical dimension thErfeby dramatising the predicament of Ihe in· Baskervilles:' In fact, Dreadful H ollow re- dependent filmmaker in Ihe industry dominaled 111m world. ThiS Morning Star. Following th e box-of- ca ll s Faulkne r's own tales of twisted , black satire has all of a sudden acquired a biting edge .\" fice success of H awks' I Was a Male War inbred famili es; the diffe rence is that Bride. Darryl F. Zanuck tri ed to se ll the these characte rs have roots in Transylva- Carmen Vigil director o n severa l projects: Fourteen nia. A quatrain from Te nnyson's poem S.F. Cinematheque Hours. a drama about a man threatening \"Ma ud \" expresses th e scenario's mood: to jump off a building (w hi ch H awks \" The film has carved a unique niche for itself somewhere between was onl y willing to do if he co uld turn it \" I hate the dreadful hollow be hind \" FREAKS \" and Fellini 's \"8 '/ ,.. . It 's as though someone forgot to in to a Cary G rant comedy); a Philip and the little wood , lock the studio door and Luis Bunuel and Willia m Burroughs sneak· Juliu s E pste in script call ed Mable and ed in and began a hatchet job on Hollywood.\" Me; and a C harl es Schnee political melo- Its lips in the field above are d abbled drama chock full of murde r, intrigue, with blood-red heath , David Harris rom ance , and in-j oke characte r names The B!,ston Phoenix like Governor Full e r and candid ate Joe The red-ribb'd ledges drip with a Hu ston. H awks' ideas for p rojects we re sile nt horror of blood , \" Rick Schmidt 's 1988 is an independent feature film which con· more offbea t. One was Morning Star. a tains a com plex interaction between several narrative threads, a sweetlv bi za rre sci-fi love story by Rob- And Echo there , whatever is ask'd variety of image lextures and multiple moments of self·rellexivity.\" ert Spe nce r Carr. Scie ntist Brian D ale is he r, answers ' D ea th '.\" working at the Los Alamos A-bomb lab Jon Gartenberg on a new rocket which will make the first The plot is a famili ar jumble of The Museum 01 fli ght to Ve nus. Among the impos ing ge nres : youn g Jillian Dare arrives at geniu ses present is E va Mo rge nste rn Rothe rham H all in rural England and Modern Art. (Mornin g Star), a supposed Ru ssian ref- fa ll s in with an old countess, a blood- ugee who see ms both overpoweringly drinking maid , a deranged ga rdene r, a New York bright and oddly disturbing to Dale. Af- loves ick phys ician, bat shapes mutte ring ter a me teor showe r, Brian gets Eva to fore ign curses, dread manu scripts from ....~-~ ,,....,,. ~ admit to her true ide ntity: an e missary, Transylva ni a, d ecapitatio ns and mad from Venus, sent to Earth to facilitate magicians, and a stuffed wo lf whose RICK SCHMIDT be lly contains the bloody shoe of a mi ss- ing child . Faulkne r's script artfully side- AND steps the cliches and absurdities by re- WAYNE WANG \" A MAN, A WOMAN, AN D A KI LLER is a remarkable movie.\" V.V.D. Westelaken Film International Film Festival Rotterdam .. one of the most absorbing films I've seen of what is generally called the independent fi lmmaking movement. .. Jeny Oster N. Y. Dally News For bookings and information please telephone: (201) 891·8240 () 13c)X~} °:t::.·1t::: Or write: ...../ 1 ....1 FOr'cJnklin L(]k(~St !\\J.J. ()7417 73

MEXICAN CINEMA sponding to the material just enough to make it work. The atmosphe re is effec- Reflections of a Society, tively drawn, and the dialogue is full of 1896-1980 The Business of funny E nglish dialect that echoes the Motion Pictures rh ythms of Yo knapataw pha Coun ty. In CARLJ. MORA the past decade, several producers have Editied by Gorham Kindem tried to track down the script (which ~e~ican .films offer a diversity of exists only in H awks' collection) with an inSights Into a changing society: Because film-making entails a inte rest in filmin g it. Today, thi s violent, they reflect \" official \" values as special blend of economic and perve rse script see ms relatively mild , well as deal with deeply rooted artistic endeavor, th is history but the q uali ty is still there- and so is cultural attitudes. This first Eng- of the American film industry the rea l potential for F aulkne r's script to lish-language survey will be useful offers essays from experts in be realized on film . to the specialist while serving as a a variety of fields-business , general introduction to Mexico's • exciting cinema. The L eft Hand of God. As the fin al $29.50, illustrated film in his three-picture dea l with RKO (afte r The Thing and The Big Sky), H awks At bookstores planned to direct an adaptation of Wil- liam E. Barre tt's 1950 novel. A fl yer is UNIVERSITY OF making hi s way th ro ugh postwar C hina disgui sed as a pri es t; he becomes in- CALIFORNIA PRESS volved with a bea uti ful nurse and comes to be worshipped by the local people, BERKELEY 94720 law, mass communications , w ho m he pro tec ts fro m a viciou s and cinema studies. wa rl ord. In Fe bru ary 195 1, Willi am $16 .95 paper; $30 .00 cloth Fa ulkn e r d e li ve re d a talky if we ll- !At bookstores or from crafted screenplay runnin g 198 pages SOUTHERN ILLINOIS and , over the next 14 months, revised . ,UNIVERSITV PRESS and reduced it several times. Although Bogart e nded up starring as Ca rmody in PO Bo x 3697 , Carbondale , IL 629.01 E dwa rd Dmytryk's eventu al 1955 Fox I~~~~~~~~~~~~~~~~~~~~~~~~~~~~~HfilGmreg, oHryaPwe~c'kporrekJroehnncrWwaaysnfeu, raenidthfei-r nally settl ed on hi s Big Sky star Kirk D ouglas. H awks neve r did deli ver the last film on his contract. • Song of Ruth. In th e wa ke of boffo B. O. for The Robe, H awks decided to direct two hi storica l e pics. H e e nded up making just one, Land of the Pharaohs, but he originally hope d to precede it w ith Song ofRuth , based on a screenplay by Maxwe ll Ande rson and Noe l Lang- ley th a t C ha rl es Fe ldm a n ow ne d. H aw ks im agine d th at the sa me se ts coul d be used for both film s and told Jack Wa rne r, \"To the world it is the grea test sex story of all time.\" He had Audrev H e pburn in mind fo r the title role. O nce H aw ks arri ved in the M iddle Eas t, it was announced th at afte r Phar- aohs he would direct Life of Farouk (a .k.a. Saudi Arabia), but thi s idea never go t past the talking stages. • I'm Going to Have a Baby. T his is o ne of th e m os t a ty pi ca l projec ts plann e d by H awks. Ma rth a Ma rtin 's Ladies Home Journal story deals with a girl strand ed in the wilde rness shortly be fore she is to give birth . Wa rne r Bros. advanced the directo r $35, 000 for thi s mos t unu sual idea- an individual cut 74

off from the H awksian group-but it view with Movie. H aw ks mentioned THE MAN WHO never got to the treatment stage. several other projects: The Yukon Trail. about the first ca ttle drive from San COULD NOT SEE • Francisco to starving men in Alaska dur- ing the gold rush , a story for John Wayne FAR ENOUGH The Bridge on the River Kwai. Re- and Dean Martin with obvious parallels maining in Europe for two years after to Red River; Ciruierella. an all-star farce 33 min. 1981 Land of the Pharaohs. Hawks worked in in which men would play the women's a film by Peter Rose London for two or three months with roles and vice versa; and Don Quixote. writer Carl Foreman on plans for this designed for Cary Grant and Cantinflas, Edinborough Film Festival 1981 World War II prisoner-of-war thriller, in which Hawks would aspire to the Montreal Film Festival 1981,2 later made to great acclaim by David tragi-comic muse of Chaplin. One other Lean. Although he had despised High film Hawks thought of making with Festival International de la Jeune Cinema, 1981 Noon , Hawks got on quite well with Grant was a western in which the star Hyeres, France , Special Jury Prize Foreman personally. He had some new would appear as a consumptive dentist characters to add to Pierre Boulle's similar to Doc Holliday. Baltimore Film Festival, Director's Prize 1982 novel : \"I wanted Noel Coward to playa Athens Film Festival: Special Merit Award 1982 fairy that thought of marvelous ways of • killing the enemy.\" The reason he aban- American Film Festival 1982 doned the project was simple: \"I Vietnam Story. Early in 1967, Major prizes at Ann Arbor, Marin and Sinking Creek couldn't stand Sam Spiegel.\" Hawks prepared a screenplay for a com- bat story set in Vietnam. That he would Film Festivals • choose to film such a controversial sub- ject was a surprising move for a director \"A major work\" Film Festival Reviews The Gold of the Seven Saints. De- who had assiduously avoided \" releva nt\" spite the tremendous success of Rio or \"social problem\" films. Explaining to \" .. miraculous .. charged wilh expeclancy .. his lastidious Bravo for the co mpany, Hawks and Cahiers du cinema in 1967 that thi s film gaze lens his subjects Ihe color of mylh . and they spread in Warner Bros. could never agree on the would be \" true, realistic, \" Hawks said the viewer's mind like a fabulous dream.\" subject for this second in hi s new two- that, as in Red Line 7000. three separate picture deal. Long in the works, how- stories would be intertwined into one, Mark Stivers ever, was this western by Leigh Brack- that it would involve the accom plish- ett, based on the Steve Franzee stories ment of a specific army mission , and that \" .. mixes words and images with strong grace, exploring the \"Dese rt Guns,\" \"Singing Sands,\" and it would once again delineate the rela- ways in which vision can overpower us .. stunning.\" \"The Devil's Grubstake.\" Hawks re- tionship between two men. Since ceived $250,000 for the project's prepa- Hawks objected to what he saw as U.S. P. Anderson ration, and Jack Warner thought the Army interference in the film 's making, strong comic and suspense elements of he considered sending Pierre Schoen- \" Space, sound , and kinaeslhetic experience are here explored the script made it even better than Rio doerffer (whose film The Aruierson Pla- as a means of going beyond Ihe limits of Ihe self and of Bravo. but Hawks was never satisfied toon Hawks admired) to Vietnam with a perceptible phenomena. Rose integrates theoretical and per- with the scenario. Warner tried to get French second-unit crew to cover the sonal refl ections wi th direct physical involvement in the Hawks to do either The Dark at the Top of actual combat scenes, then filming the spaces of the film . His \" will to know\" draws him into th e world the Stairs or something called The Saga rest of the story himself in Madrid. and through it , to a dimension of experience which reaches a Of Pappy Gunn . The director countered higher ord er.\" with a scenario that eventually became • Hatari! . a project to which Warner was T. Schenkel vehemently opposed. Hawks never The FBI and the Barker-Karpis made another film for the studio. Gang. In the wake of the success of ANALOGIES: Bonnie arui Clyde. Hawks briefly be- studies in the • came involved with a story about the movement of time Kate (Ma) Barker-Alvin Karpis gang Casino Royale. For some years, which was written by William 14 min. 1977 Hawks was interested in making the Faulkner's brother Murry. Set in 1934, first James Bond film , possibly with the tale involved the kidnapping of one American Film Festival, Film as Art Cary Grant in the leading role. That he Edward Bremer for ransom , and the Flaherty Film Seminar did not is doubly ironic: his assistant eventual rounding up of gang members Film Forum director on the initial shoot of The Out- by the law. In a note to Hawks , Murry law. Albert \"Cubby\" Broccoli , would go Faulkner stated that the director was Chicago Film Festival, Bronze Hugo on to produce twelve Bond films (so far) ; \"one of the two men in Hollywood of Los Angeles Film Exposition and Hawks' longtime agent and partner, whom I heard 1'11y brother speak in frank Charles Feldman, produced the only and voluntary admiration.\" Major prizes at Ann Arbor, Athens, Baltimore, non-Broccoli Bond , Casino Royale . Sinking Creek, Marin , Atlanta, and Portland • • Film Festivals Hemingway and Capa. Hawks of- The Bengal Tiger. To follow up Ha- ten spoke of basing a film on the World .. sensuous .. staggered imagery in ever-flowing Godard- tari! at Paramount, Hawks proposed this War II friendship of Hemingway and the ian movements , enhanced by sumptuous color and by similar film, about a group tracking photographer Robert Capa. Hawks was delayed actions of concentrated rh ythmi c power.\" down an Indian cat. Leigh Brackett fascinated by Heming\"vay, and consid- again worked on the script, but the ered Capa \"crazy as a bedbug.\" Hawks, Amos Vogel promise of another expensive shoot on a who never developed a screenplay for distant location was enough to give ev- \"When Rose fills the screen wi th twenty-five images. the eryone second thoughts. In a 1963 inter- experience is akin to music. An image rippl es across the screen as a theme echoes across th e different instruments of an orchestra, giving way to complicated designs, each image an arabesque in a Persian rug .\" Noel Carroll For bookings and information please telephone : L.i( :; i-'I 'r (201) 891-8240 P () box 315 c\" \"(Jnk lin okpc1 I ..I1_ . . .. _....; ~ Or write: [\\J. J 0 7A17 75

the the project, wanted to focus on the hu- had convinced Hawks to invest a small morous side of the relationship. To play fortune in a wild investment scheme- ameri•can Hemingway, Hawks wanted George C. and disappeared when it all came to Scott, who later incarnated the novelist naught. Ironically, Hawks had changed federation in Islands in the Stream. the sailors-adventurers of the original films into international oil men roaming of arts • the globe for untapped deposits. film Monte Walsh. Actor Lee Marvin One's reaction upon reading the script wanted Hawks to direct this revisionist is a sigh of relief that Hawks never made program western, but Hawks and the material the picture. Not only are many of the were incompatible. Hawks later said characters and conventions archaic and art documentaries and that William Fraker's film was \"the slow- tired purely in film terms, but the atti- avant·garde \"inema for est picture I've ever seen in all my life.\" tudes expressed are by turns infantile, presentation and acquisition racist, and politically naive: the Arab • sheiks are evil , lecherous buffoons with film series nothing but white slavery and throat- now available Russian Project. While at the San slitting on their minds, and the Ameri- Sebastian Film Festival in 1972, Hawks cans ride roughshod over them. The two 1981 Whitney Biennial Film Exhibition was approached to direct a picture in the leads, called Bill and Spike (as in A Girl The Ruckus Films of Red Grooms Soviet Union. He came up with a story in Every Port), are \"tough, resourceful, The Originals: Women in Art of two Americans trying to escape the cheerfully ruthless but always within By Brakhage: Three Decades of Russian police. \"They go in the back limits, deeply loyal to a friend but never door ofthe Ballet Russe, \" he told Joseph sentimental, equally needing women, Personal Cinema McBride, \"and when the cops come in, adventure, and a spice of danger to A History of the American Avant-Garde they're dancing in the chorus.\" Hawks make life worth living.\" Hawks reprises claimed that the representatives he the gag from the original film, which had Cinema spoke with were amused by the prem- Spike dislocate his finger and prompted Japanese Experimental Film 1960-1980 ise, but it's understandable that the ma- the immortal line \"Pull my joint, Kenneth Anger's Magick Lantern Cycle terial might not be appropriate for the Spike,\" and there is an in-joke about Superfilmshow! Film as Art for Kids first ,U .S. - U.S.S. R. co-production. John Wayne: when challenged that he Synthetic Movements: New Directions doesn't look like he should be named • Spike, latter replies, \"If you were a red- for Contemporary American Animation blooded American boy with a name like , Unreal Time: Animation and Film When It's Hot Play It Cool. For the Marion, what would you do?\" last twelve years of his life, Hawks spent Graphics more time on this project-an informal The film's final sequence deserves to updating of his 1928 A Girl in Every Port be recounted in full-not only because forthcoming -than he did on any other film he it could well have been the last scene in film series didn't make. In 1965, he optioned the the Hawksian oeuvre, but because it rights to both Girl, which centered on undoubtedly represents the most outra- 1983 Whitney Biennial Film Exhibition two vagabond sailors mutually intent on geous and explicit manifestation of the Elective Affinities Four Films by disrupting the other's sex life, and Lewis homoerotic undercurrent that many Milestone's 1927 Two Arabian Knights, critics have detected running through Larry Gotlheim which concerned two devil-may-care ad- the director's career: Recent European Avant-Garde Cinema venturers who escape from a World War The Films of John Lennon and Yoko Ono I German prison camp disguised as They start for bed; unwittingly, both Eccentrics and Visionaries in British Art Arabs and make off to the U .S. with a head for the same one and get into it on The Handmade Object: Crafts in beautiful Arab girl. In collaboration with opposite sides. various writers, he finished the first Great Britain treatment in 1971 , and revised it steadily BILLandSPIKE. lnthesame bed. Fora through July 1976. Unpromisingly, moment there are contented gruntings as For sales and rental Hawks planned to remain at studios in they settle themselves for sleep. Then we information , please contact Madrid and send Pierre Schoendoerffer see theirfaces as each one becomes aware the american federation around the world to cover the substantial ofsomething wrong; they're back to back. of arts film program \"second unit\" location work. 41 East 65 Street SPIKE (in a stage whisper): Bill ... New York, NY. 10021 Over the years, Hawks offered var- there's somebody in my bed. ious excuses why the film hadn't yet (212) 988-7700 been made: political inhospitality in the BILL: There'~ somebody in mine, oil nations where he wished to shoot; too. What will we do? exorbitant salaries (as well as essential lack of humor) of the stars he desired, SPIKE: You throw yours out, and I'll Clint Eastwood and Steve McQueen, throw mine. which drove him to consider Paul Mi- chael Glaser and David Soul of Starsky BILL: Right. and Hutch; and inability to find a suffi- ciently pliable Lauren Bacall type for SPIKE: I'll count to five. One ... 2... the female lead. One reason he never 3 ... 4 ... 5. mentioned: a Texas oilman he was courting as a prime backer for the project Bill and Spike grapple with each other. They tumble out ofbed. They fight and Bill ends up in a corner on the floor. ~ THE END 76

Feature Programs From Direct Cinema Limited Eight Minutes To Midnight This 1981 Academy Award \"... remarkable ... devastating . .. NO PLACE TO HIDE is a fast nominated film is a portrait of activist, Dr. Helen Caldicott, sure-footed ... Benjamin moving 29-minute compilation the pediatrician and author engaged in the struggle to captures her antimegaton wrath of archival footage that point- inform and arouse the public to the medical hazards of the full-blast:' Michael Sragow, edly documents how the nuclear age. Rolling Stone American public was sold on fallout shelters and Civil A film by Mary Benjamin Defense procedures as the 60 minutes Color 16mm means to survive nuclear attack. Srooklvn Sridge The beloved landmark and \". .. a beautifully realized labor THE FLIGHT OF THE technical feat of unparalleled GOSSAMER CONDOR, scope, the Brooklyn Bridge, is of love ... an unusually moving directed by Ben Shedd is the lionized in this visually brilliant, appreciation of the bridge as a perfect complement to critically acclaimed Academy functional component of our BROOKLYN BRIDGE. This Award-nominated documentary. daily lives as well as a focal Academy Award-winning point of our imaginations ~' A film by Ken Burns Vincent Canby, New York Times 27-minute film documents the 58 minutes Color 16mm creation of the first truly suc- cessfu
human-powered plane. David Holzman's Diary ~ One of the neglected mile- \"Rambunctiously funny and MY GIRLFRIEND'S WEDDING stones in contemporary film wise ...\" Vincent Canby, is Jim McBride's companion New York Times film to DAVID HOLZMAN'S history, this legendary indepen- A film by Jim McBride DIARY It is a 60-minute explo- dent classic captures the state 71 minutes 16mm B&W ration of the boundaries of of mind and the state of the art documentary/fictional filmmaking . in late 1960s America. The Trials Of The last of Alger Hiss the Blue Devils \"A brilliant evocation of a most Featuring Count Basie, Jay anxious age. Fascinating, rue- McShann and Big Joe Turner, ful , epic, ambitious, complex ~' this documentary contains per- Vincent Canby, N.Y Times formances by the great jazz musicians who emerged in A History on Film Co. Prod . Kansas City. Produced and directed by John Lowenthal A film by Bruce Ricker 165 minutes Color 16mm 92 minutes Color 16mm or 35mm Sweet Sweetback's legacy Saadassss Song n . . personal cinema at its best \" ... steers a course from Paul Zimmerman , Newsweek comedy through desperation to hysteria ~' Sight and Sound Written , produced, directed and starring Melvin Van Peebles Produced and directed by Music performed by Earth, Karen Arthur Wind and Fire Written and starring <\\ 97 minutes Color 16mm Joan Hotchkis 94 minutes Color 16 / 35mm Ren t these outstanding feature For information contact: Direct Cinema Limited ~,~ programs for your theatre, film P.O . Box 69589 Los Angeles, CA 90069 society or class . (213) 656-4700 cmema @ limited

Credits ,Where Credits Are Due by Leonard Maltin Today's trend toward graphic gore may ning times. This may not seem very alter our reaction to older horror movies. important in the grand scheme of things, No, I haven't seen 15,000 movies. but if a TV station cuts three minutes That's the first question I'm usually Time also sheds new light on cast out of a classic film , or if a cable televi- asked when someone finds out I'm the listings. Yesterday's unknown can be to- sion system shows a subtly edited print perpetrator of a paperback book called day's star. Since our lists are selective, of a recent movie, people ought to IV Movies, a guide to films on televi- we try to stay alert about who's buried know. The problem is that no two sion . (The new edition is being down in the credits, be it James Caan in sources seem to agree on the accurate published in November by Signet.) Irma la Douce or Jacqueline Bisset in timings for many films, old and new. I wish I had seen all 15,000-not be- Two for the Road. We already had seven cause it's my life's goal, or because any- players in our entry for Cool Hand Luke, One example that caused us many one's offering me Raleigh Coupons in but a recent check revealed seven more hours of frustration was A Night at the exchange, but because it would permit who had achieved prominence since Opera . This should have been easy; it's me to verify every opinion and piece of 1967: Wayne Rogers , Anthony Zerbe, a film that's nearly 40 years old, and is information in the book. As this isn't Ralph Waite, Harry Dean Stanton, Clif- seen about as often as any picture ever possible, I've relied instead on a stalwart ton James, Dennis Hopper, and (un- made. But it soon became one of our group of collaborators, as well as a some- billed) Joe Don Baker. Hopeless Cases. what larger network of informants who help track down some of the more ar- The greatest challenge in doing IV MGM Television states that the film cane arrivals on the TV scene. (Between Movies is being accurate-and it's not is 96 minutes long-a figure determined Home Box Office and satellite-beamed easy. The very name of a film can be the upon its 1935 release. But one film buff, WOR-TV, the elephant's burial ground subject of dispute. A film may be known who times movies with a stopwatch, told for obscure movies, almost anything is officially as Neil Simon's I Ought to Be me that it ran no more than 90 minutes. likely to turn up these days, whether it in Pictures or Irving Berlin's Blue Skies , Then I heard from a film editor at a TV received theatrical release or not.) but no one actually refers to it that way station , who had just clocked a brand- What surprises me is how much our except lawyers for the lucky parties in- new print from MGM at 91 minutes on opinions mean to some people. I've met volved. (We do acknowledge Heming- the nose. I decided to check with Films people who tell me they cut my ratings way's Adventures of a Young Man and Incorporated, knowing that this 16mm in half before deciding to watch a movie, National Lampoon's Animal House.) rental company was in the habit of tim- and I've had others say they double Some titles that involve punctuation ing its prints before publishing a run- them for the same purpose. I knew we'd (Blowup, no hyphen , E .T. The Extra-Ter- ning time. Result: 93 minutes. Next, I get some drop-dead letters from restrial, no comma) or numbers (The 39 turned to MGM's home-video division, Trekkies when we rated Star Trek: The Steps, Star Trek [Ill: The Wrath of Khan) only to find that their version ran 87 Motion Picture a paltry *l/z , but I never may be rendered differently in the on- minutes-because it had been \"time- could have anticipated that a reader in screen credits and in official advertising. compressed\" for videocassette release. Ireland would take me to task for being The on-screen spelling may be as close Finally, I prevailed upon Dennis Mur- so hard on Margaret O'Brien! to definitive as you can get: hence The phy at MGM/UA to commission some- It's impossible to please everyone, or Thing (from Another World) for the 1951 one at his studio library to run a to conform to one absolute standard for Howard Hawks thriller, and The File on complete 35mm fine-grain negative 15,000 different movies. I respect and Thelma Jordon. Such minutiae can wear through a timer, which yielded a re- trust my colleagues on the book-Mike a person down. sponse of92 minutes-the first and only Clark, Alvin Marill, Rob Edelman, and time that particular number came up! my wife Alice Tlusty Maltin-but I Country of origin has become a virtual don't even agree with them all the time, impossibility to determine. Spellings of This sounds like so much trivia, and nor they with me. actors' names are subject to a typist's in a sense it is. But in a reference book, One thing we have tried to do is to whimsy: two stars listed in the on-screen every piece of information is equally im- reconsider reviews that are already in the credits for State of the Union are portant, whether it's the running time of book. Time has been kind to some films Katherine Hepburn and Adolph (no e) a Hollywood masterpiece or the spelling and cruel to others. Personal perspec- Menjou. Year of release is often cause for of a lead actor's name in I Eat Your Car- tives and critical priorities can change. debate: do you go by the copyright date pet. (One of the more discouraging as- Political events can turn a movie's inno- or the first known showing, in a festival pects of working on the book is that so cent references (or key plot elements) or a commercial movie house? Even much time is spent checking details on into moments of unintended hilarity. alphabetizing can be a hassle. (Are utterly worthless movies. But that's the Macs and Mcs listed together? Is show business.) M*A*S*H one word or four?) But the The biggest problem is confirming the answers to various questions that do biggest single headache in compiling come up. I have been surprised to learn this book is the determination of run- 78

how few thorough, reliable reference ••••••••••••••• CINEMA CITY is a complele service for ••••••••••••••• ?-...~-~ sources there are. Sometimes it will take Cinema collectors. dealing With original hours, or days, to track down a simple movie posters. photos and related collect- EE RTS detail (a plot point, the name of a charac- ables . Original motion picture graphics are Film Music Is ter, the location of a story, the year of a sought b~ collectors througMut the world. film's production), because it doesn't Onglnal film posters are a unique remem - Our Forte appear in the appropriate books and brance of a memorable film . and because magazines, or because different sources of the ir limited number, may become fine Exclusive Soundtrack Selections give different names or numbers. In the Investment pieces . Many Items . with their And Limited Editions! course of this experience I have become distinctive artwork . make attractive wall almost paranoiacally reluctant to trust decorations that are sure to be the topic of Over 1,000,000 LP'S available: any single source. And no matter how diSCUSSion among mOVie lovers In-Print and Out-of-Print, an array of hard I try, mistakes still occur. imports, highly-desired reissues, and All matenal is original - we deal With no original casts (on and off Broadway). One positive result of all this work is copies. reprints. or anything of a bogus that I learn an awful lot about films- nature. Our latest catalogue lists thousands We offer the finest service background info, details of changes and of items that include posters. photos (over available - monthly auctions by mail credits, and so forth. I knew that some 30 .000 in stock). lobby cards. pressbooks. (rare, unique titles), the only monthly films of the Thirties and Forties were and other authentic film memorabilia. If Fllmusic Newsletter \"Music Gazette\" being shown in edited reissue prints, you 're looking for a particular item that IS but I didn't realize just how many until I not in our catalogue . we will try to locate It For YOUR copy of our extensive started tracking them down for the for you . To receive our latest catalogue. catalog, a sample of \"Music Gazette\" book: Love Me Tonight , The Sea Wolf, send $1 .00 (refundable with first order) to : ($2 value), and monthly auction, Captain Blood, For Whom the Bell Tolls, Please Remit $1.00 TODAY TO: Things to Come , Dr. Jekyll and Mr. Hyde, ICII~ I[~\\A\\ 'Cl lr.,,- Mr. Skeffington , The Lost Patrol, Public RTS, Dept. 19E Enemy, and Wells Fargo are among the P.O.Box tOt2. Dept. FC films cut by as much as 40 minutes. Muskegon. Michigan 49441 P.O. Box 687 Costa Mesa, California 92627 It had apparently not come to any- one's attention that all prints of Wells (714) 544-0740 Tu-Th 12-4 pm Fargo were missing 20 minutes of foot- age. MCA TV lists it at 115 minutes, as \"This book is a tribute both to [David Meeker's) enthusiasm and his did Universal's 16mm division when it index cards and is quite simply the most thorough reference work on rented the picture. But a program man- any subject to do with film that I have ever seen.\" ager at a Cleveland TV station told me that he clocked his print at 94 minutes , -Continental Film Review and couldn't get a satisfactory answer from MCA about the discrepancy in tim- JAZZ IN THE MOVIES: New Edition ing. Finally, I found a record of the film being reissued and cut by Paramount in by David Meeker 1958. When Paramount sold its library to Introduction by Shorty Rogers MCA a few years later, no one bothered to restore the missing footage. This ' - - - - - - 335 pp., 80 photos / $13.50 paperback _ _ _ _---J knowledge may not rank alongside the discovery of penicillin, but ferreting it Capsule reviews of3,800 foreign and American films-any film on which out gives me great satisfaction. Such de- tective work only becomes frustrating a jazz or blues musician either appears or plays on the soundtrack- when-as so often happens-I'm un- with an index ofl,477 performers from Billie Holiday and Lena Horne to able to arrive at a definitive conclusion. Thelonious Monk and Ornette Coleman, from Breathless to Last Tango in Paris to New York, New York. Sometimes, when my deadline is ap- proaching, and I spend weeks immersed Da Capo Pre88 233 Spring St. New York, NY 10013 in the pursuit of ridiculous details, I get weary of the book and want to drop the whole thing. But when TV Movies is fin- ished, the satisfaction it brings me-and the rewarding response I get from readers-makes it all seem worthwhile. Until I have to start on the next edi- tion. Now, let's see ... they're adding foot- age to-Ragtime for the network show- ing ... they've changed the name of- Honeysuckle Rose . .. HBO's got another Australian film this month with David Hemmings .... t};' 79

Film and video e ntry forms are now o available for the 15th annual FilmFest Department of TV/F ilm , Unive rsity of tures, US independent documentaries Midwest which will be held March Texas, Austin TX 78216. and fe atures, short subjects, anima- 11-13 , 1983 at the Chicago Marriott tion , TV co mmerci als, Hollywood stu- O'Hare Hotel. The Festival shows ap- The Japan Film Center of the Japan dio films , and network TV produc- proximately 170 new short films and at society in New York C ity will present tions . Entry fees range from $50 for least 10 feature length films. FilmFest the larges t re trospecti ve of films of di- film s under 12 minutes to $ 100 for fea- Midwest also feature s filmmakers and rector Yasujiro Ozu ever mounted in tures. Deadline for submi ss ion is Octo- critics who discu ss their work. Selec- thi s country. A total of 34 film s will be ber 6. For more information contact tion committees begin screenings Oc- accompany a series oHectures on Ozu's Michael J. Kutza, Director, Chicago tober 15 . For entry form s and other cinema. The se ries opens on October 1 International Film Festi va l, 415 North information write The Midwest Film and continues Wednesday and Friday Dearborn, Chicago IL 60610. conference, PO box 1665 , Evanston evenings through December. For fur- IL 60204. 312/869-0600. ther information contact the Japan So- The editors of Persistence of Vi- ciety, 333 East 47th Street, New York sion, The Film Journal of the City The Foundation for Community 10017. 212/832-1155 . University of New York, request the Service Cable Television is so liciting su bmiss ion of articles for the journal's proposals from local non-profit pro- The Sixth Annual Margaret inaugural iss ue , themed \"America n gramming organizations and commu- Mead Film Festival will be held at Film of the '70s\". A limited number of nity groups in California for video proj- the American Museum of Natural His- articles on mi scellaneous subjects will ects. They should demonstrate tory in New York October 4-7. The be considered. Write (or se nd 'two innovative uses of public access, com- festival focuses on cross-cultural prob- copies of your manu sc ript) to: Profes- munity service, and other local pro- lems, ceremonies, attitudes, tradi- so r Elisabeth Weis, Film Department, gramming being offered via cable tele- tion s, and reactions to change. For the Brooklyn College (CUNY), 0312 Plaza vision. Grant application deadline is first time , the festi va l will look at the Building, Bedford Avenue and Avenue October 15. Contact Kathleen Schuler United States with a special film selec- H , Brooklyn NY 11 210. or Evelyn Pine, Foundation for Com- tion , \"Lookin g at America\". Program munity Service Cable Television, 5616 information may be obtained by calling AUTHORS WANTED BY Geary Boulevard, suite 212, San Fran- 212/873-1070 or writing the Education NEW YORK PUBLISHER cisco CA 94121.415/837-0200. Department, American Museum of Natural History, Central Park West at Leading subsidy book publisher seeks manuscripts The University Film Association 79th Street, New York NY 10024. of all types: fiction, non-fiction, poetry, scholarly offers annual grants for video students. and juvenile works, etc. New authors welcomed. For information write Robert Davis, The Chicago International Film Send for free, illustrated 40-page brochure H- 83 Festival will be held Nove mber 5-18. Vantage Press, 516 W . 34 St., New York, N .Y. 10001 The fe stival showcases European fea- CONTRIBUTORS finished her second sc ript . David WRITERS! SELL YOUR SCRIPT! After finishing Eating Raoul, film- Stenn is director of th e Yale L aw maker Paul Bartel is considering School Film Society. San Francisco- FREE DETAILS! opening a restaurant, a pet project. based David Thomson is author ofA David Chute is a critic for The L.A . Biographical Dictionary of Film and How to type and how to sell your film or TV script1 Author Herald-Examiner. Mary Corliss is a Overexposures: The Crisis in American wo rks as P.A. for major Hollywood film studio and reveal s film critic and archivist in New York. Film, both via William Morrow. Dan latest info on se lli ng and typing scripts. George Dolis and Ingrid Wiegand Yakir lives in New York and writes are Austin-based authors writing a on film . Write: JOSHUA PUBLISHING COMPANY book on Werner Herzog. Jodie Foster 8033 Sunset Blvd .. Ste . 306A. Hollywood, Ca. 90046 is currently a student at Yale. Mike PHOTO CREDITS Greco is a free-l ancer writing on film 10 YEARS OF LIVING from L.A. Jim Hoberman writes on ABC: p. 44. Paul Bartel: p. 60-62. Photo by Co ri CINEMA film for the Village Voice. Harlan Wells Braun: p. 19. Canada-Wid e: p. 45 (2) . Kennedy is a London-based freelan- Columbi a Pictures: p. 44 (I). Embassy Pictures: Catalogue, with essays, stills, and cer on film. Wendy Keys is associate p. 14 (2) (3). Deborah Freedman: Midsection program notes of the Collective director of the Film Society of Lincoln collage, p. 33. Courtesy E rni e Garcia: p. 34. For Living Cinema's 10th-year Center. Leonard Maltin is author of Goldcrest Films: p. 9. Cou rtesy Wendy Keys: retrospective of avant-garde film, TV Movies , a reference work via Signet p. 8. Photo by Katharine Kolbert: p. 14 (I) . 10/1 to 11/21/82, celebrating the in its fifth printing. Todd McCarthy Movie Star News: p. 36, 37 . Museum of Modern work of 93 film artists. writes for Daily Variety and is at work Art Film Stills Archi ve: p. 38, 41. New World Published by the COLLECTIVE FOR on a book about Howard Hawks. Pictures: p. 56-59. New York Film Festival: p. LIVING CINEMA, 52 White 51. NYC, N.Y. 10012 Brooks Riley, former senior editor at 48. Ph o to by Douglas S irkl a nd~ p . 44 (3) . Distributed by NEW YORK STATE SMALL Film Comment, lives in L.A. and has Sotheby Parke Bernet: p. 46. Photo by Terry PUBLICATIONS, P.o. Box 1264, Radio City Stevenson: p. 47, 49. 20th Ce ntury Fox: p. 42. Station, NYC, N.Y. 10019 • paper, $6.50 VA Classics: p. 20-23 . United Artists: p. 53. Warners Home Video: p. 39. Co urtesy Dan Yakir: p. 26, 28, 29, 31. 80

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