VOLUME 19 - NUMBER 01 JANUARY-FEBRUARY 1983

Disney optimism with shots of the Dust recent similarly targeted features have more people will have seen the films of Bowl, oil spills and belching smoke- Epcot than have sat through Star Wars. stacks-a miniature Koyaanisqatsi. failed. For filmgoers, the archaisms \"going to the pictures\" and \"going to the show\" The 3-D process, arrived at through • nerve-fraying trial and error, has ulti- will take on a new , alternate meaning to mately created a marvel. And Disney There are more important dividends. two hours at the Bijou. And for film- has taken the vast gamble of Epcot it- Epcot will outmode the premature makers, pictures at an exposition will self, a billion-dollar piece of science-fic- death of world's fairs , will further diver- become increasingly distinct, daring and tion which may succeed where Disney's sify the options for visual entertainment, will augur the maturity of the exhibition portentous ways of conjuring dreams. ® film itself. By the end of the decade, Come one, come all, to the EPCOT picture .j Show! Film Director Pavilion Presentation Symbiosis Paul Gerber The Land (1) 70mm projector Journey Into Imagination 60' x 23' screen Magic Journeys Murray Lerner Universe of Energy (2) 70mm projectors Energy-You Emil Radok 54' x 24' screen Universe of Energy Polarized 3-D system Make the World Go Round Universe of Energy (5) 35mm projectors Energy Creation Jack Boyd Universe of Energy Screen composed of 100 3- Story sided rotating segments Norman Gerard World of Motion Universe of Energy Jerry Sims The American Adventure (3) 70mm projectors 155' x 22' screen Universe of Energy Finale David Moore Canada (Animation) China (3) 70mm projectors France 210' x 30' semicircular Speed Rooms screen The American Adventure Many (3) 70mm, (1) 35mm projec- tors in triangular theater O! Canada Bill Bosche with mirror and scrims Randy ~right Wonders of China Jeff Blyth Tunnel-screens through which viewer is transported Impressions Ri·ck Harper de France Large rear projection screen combined with Audio-Ani- matronics figures Circle Vision 3600 (9) 35mm projectors Circle Vision 3600 (9) 35mm projectors (5) 35mm projectors 150' x 51 ' 2000 arc screen 49

NEW RELEASES FROM NEW YORKER FILMS \"STUNNING! ~JUdllh Crist ''HILARIOUS j\\ largarethe von TROTTA'S AND ROMANTIC.~~ MARIANNE t(QJULIANE -Carlos ((arens, Soho New s ~~~~ A film by fernando Trueba A l'1ew Yorker films Release c 1981 Coming Soon: Wayne Wang's Chan Is Missing, Carlos Saura's Sweet Hours, Alain Tanner's Light Years Away, Andrzej Wajda's The Orchestra Conductor, Krzysztof Zanussi's The Constant Factor, Reinhard Hauffs Slow Attack. CALL OR WRITE FOR OUR 1982 SPECIAL ATTRACTIONS CATALOGUE. ~~!f~~a 16 West 61st Street, New York, NY 10023 (212) 247-6110

The LivelyAdventures of by Richard Corliss actors and technicians , but with first for- mal principles: How to make a play Examine some prejudices: work in a different medium ; how to turn This Thing into This Other Thing. §Theater is for smart people. Televi- Be grateful and hopeful when it sion is for the intellectually inert. comes to Play-TV The more variety the better. Who would wish for television to §Theater is for the few. TV is for the offer only the junk-food banquet of prime-time predictability and the pay- many. cable networks' insistence on showing every movie ever produced in Canada? §Theater appeals to the middle-aged Be grateful that Sweeney Todd and Early Days made it intact to TV; that Robert in the upper-middle-class. TV washes Altman directed three plays for Show- time and ABC-ARTS; and that the Mo- over all ages, most classes . bil Network is bringing NichoLas Nick- leby to every home set. We need more §Most plays are politically liberal. new and old drama on TV-not because it allows the educated rich t9 see things Television-the living room guest, the for free, but because there's a world of artistic provocation out there that TV cathode sibling-is by nature conserva- has too long ignored. E(xhilarating) T(heater), phone home; and come into tive, and most TV shows are too. ours. True or false , these assumptions help What's New on Play TV: A Cursory Checklist explain why TV, which in its infancy Playing the cable-button console like devoted a majority of its prime time to a virtuoso keypunch operator, yo u may suddenly find yourself in the middle of original or classical drama, soon con- Shaw's Candida or Shange's Colored Girls. Such are the cornucopious bless- signed the theater beat to poor stepchild ings of Play TV But within the varieties ofexperience offered by canned theater, PBS. By 1958, most of the hour-long one can still distinguish between Brie and Velveeta. Here are notes on 16 of dramatic anthologies (Kraft Theater, the more prominent productions. Philco Playhouse, Studio One, etc.) were Bus Stop by William Inge. Dir: Peter H. Hunt. Prod : 20th Century-Fox for on the way out, as the networks shifted HBO. Taped at the Claremont (Cal.) College auditorium, this hoary genre their production centers to Los Angeles play is pitched at a level that might di- vert spectators at basketball halftime but and their priorities to same-star series. comes far too raucously into the living room. Hit your mark (BANG!), project PBS took this ball (chain attached) and your lines to the top balcony (Hello out there!), semaphore the smallest gesture ran with it to the Emmy bank, but there (whooosh!) , wait for that laugh ( ... I). Margot Kidder, Claude Akins, Pat Hin- were still upscale viewers to snag and Roger Rees as Nicholas Nickleby. hundreds of plays yet to be broadcast. Enter cable. Narrowcasting-pro- (Faye Dunaway, Dick Van Dyke) or gramming for a smallish audience with prestige Broadwa y talent (Hume enough of the right demographics to lure Cronyn and Jessica Tandy) to grace their sponsors-inspired big dreams on me- satellite; but yo u just won't watch. dium-sized budgets. CBS Cable would Maybe the people who want to see the- give folks with a taste for culture a reason ater are going to the theater, and the rest to stay home at night. ABC/Hearst of you are vegging out on Magnum and ARTS would offer a slate of foreign Dynasty. Or maybe-more likely-the movies, tony chat shows, and new pro- theatrical repertory isn't easily transfer- ductions of plays. Home Box Office and rable to the home screen. Showtime would spice their hamburger The terminal difficulties faced by movies with the A-I sauce of Broadway. CBS Cable, which lost $30 million in its This way to the millennium, folks; just 14 months on the satellite, suggest dis- flick your dial above Channel 13. quieting portents for theater on TV Not Sorry, folks, we're having some tech- only is the audience for demanding the- nical difficulties. Not enough of you ' ater smaller than William Paley might want to vault into the high-culture eyrie have cared to admit, but there are mam- to make it profitable. CBS Cable can moth aesthetic challenges involved in rerun every British classic; HBO can put the \"simple\" act of putting a play on on overproduced versions of hit plays of television. Every theater-on-TV direc- the 1950s; Showtime can get big stars tor must wrestle, not only with balky 51

gle, and Marilyn Jones do their best, but sound effects and changes of scene, cos- ciliation scene. The play cadges far too in this huge space they're cheerleaders, tume , and perspective, but the play is many laughs from dirty words expleted not actors. Hope everyone at Claremont still direct, delphic, most engaging. John by dignified stars. But it does provide had a good time. Lone (who was also the choreographer the delicious danger ofwatching Cronyn and composer) mesmerizes on the small go purple-faced and flirt with a coronary Camelot by Alan Jay Lerner and screen as he seized the stage. Whatever occlusion through the last two acts. At Frederick Loewe. Dir: Marty Callner, \"beauty\" means-power, grace, intelli- the curtain call, the audience applauds from Frank Dunlop's staging. Prod: gence, majesty-Lone has it. Cronyn pretty much for having survived Dome Productions for HBO. More the play-as good a reason as any to HBO bloat. Much post-synching of Early Days by David Storey. Dir: cheer and, at home, to watch. songs and dialogue, many (super) spe- Anthony Page, from Lindsay Ander- cial effects that the audience applauds. son's staging. Prod: West End Premiere Kennedy's Children by Robert Pa- There's nothing wrong with this tele- on CBS Cable. If Ralph Richardson had trick. Dir: Merrill Brockway, from Mar- daptation, or with Richard Harris' King had anything to do with it, the sun shall W. Mason's staging. Prod: CBS Ca- Arthur, which he plays in a melancholy, would never have set on the British Em- ble. BiBi's Bar, Valentine's Day 1974- dictatorial whisper. There's just no rea- pire; now at 80, this fussy old lion rages the time of your life when the iceman son to have done it. So many HBO The- at the dying light, playing everybody's cometh. Five cartoon ghosts of the Six- atre specials were hit plays, then big ornery grandad and effortlessly exposing ties assemble to monologue their memo- movies. These productions are some- his genius. Storey's play, his best, is one ries: the sweet idealist (Jane Alexander), thing in between-a new hybrid that more meditation on Britain's postwar the burning activist (Lindsay Crouse), serves no Darwinian purpose. impotence: An old politician has turned the Viet-vet hippie (Brad Dourif), the The Country Girl by Clifford Stephen Sondheim's Guignol opera has been Odets. Dir: Gary Halvorson, from Mi- stropped to steely peifection, and directed to chael Montel's staging. Prod: Show- time. Odets wasn't only the guy who did balance Broadway epic with TV nuance. Frances Farmer dirt, but there is a ca- reer-long streak of misogyny that de- balky, malicious, paranOId; he is sus- worldly-wise queen (Charles Harper), values his work even as it energizes the tained only by memories of the career he and the blond tramp (Shirley Knight). stage moment. Georgiana Elgin (Faye left in disgrace and the dead wife he Having fought, and lost to, the omnipo- Dunaway) is Lady Macbeth in reverse: mistreated. For TV the original setting tent \"they,\" these five survivors fetish- she primes her actor husband (Dick Van has been fleshed out; the astringent ize nostalgia until it becomes a genera- Dyke) for failure , demolishes him mood and feelings remain. Don't miss tion's narcissism. The monologues through her measured praise and small Early Days, wherever it shows up. groan under the weight of unnecessary silences. It's his last chance for Broad- adjectives, and the terrible ironies seem way, so he's working with an ambitious Ghosts by Henrik Ibsen. Dir: David too easy. The exposition comes in great young director (Ken Howard) who says Cunliffe. Prod: Yorkshire TV (CBS Ca- hilarious clumps, a combustion of social things like \"Pride's a big color to work ble). John Gassner described the Ibsen cliches. But some of the speeches for. \" Given the gruff theatricali ty of this dilemma: too modern for the 19th cen- (Harper's, Knight's) are entertaining, 1950 play, the Showtime version is a tury and too old-fashioned for the 20th. and just about all the performances are revival as impressive as Lazarus'. Natu- This 1976 production shuffles the order tippy-top. Brockway's direction mixes ralism is the key: anguish expressed in of a few early scenes and trims much of flashbacks and documentary footage the sounds of coffee spoons and rum- the verbiage; in doing so it helps restore with the speakers' I-been-there weari- pled newspapers, arguments over Ibsen's power. Even in the amateurish ness, until the mood turns scathingly money (and why not?) , the offhand re- 1982 Ghosts with Liv Ullmann on self-mocking-just the tone for the crimination that hurts. The three actors Broadway, the final scene packed a wal- Eighties. are sharp and giving, and Dunaway is more-an incandescent face, actress, lop. Here, with the caustic, sensible, Look Back in Anger by John Os- and multimedia star. ever-glorious Dorothy Tutin as Mrs. Al- borne. Dir: Ted Craig, from Lindsay ving, the play seems as modern as this Anderson's staging. Prod : Chuck The Dance and the Railroad by week's herpes headline, and the charac- Braverman and Don Boyd for Show- David Henry Hwang. Dir: Emile Ardo- ters struggle in the grip of tragic fate time. From Anger on, serious theater is lino, from Hwang's staging. Prod: ABC rather than surrendering to the dictates the art of the monologist, the storyteller ARTS. Two Chinese immigrants of social melodrama. with an axe to grind in the pungent past. working in 1867 on the transcontinental Everyone else onstage is little more than railroad swap barbs and profundities. The Gin Game by D.L. Coburn. an ear or an ashtray. When Jimmy Porter One (John Lone) is the artist as aristo- Dir: Terry Hughes, from Mike Nichols' crat, losing himself in the rigorous disci- staging. Prod: RKO Nederlander for (Malcolm McDowell) isn't exercising pline of the Chinese Opera; the other Showtime. There's that \"live\" audience his spleen over smug little Britain c. (Tzi Ma) is a streetwise commoner, am- again-the one that forces the actors to 1956, he's babytalking whichever bitious, wanting it all-higher wages, heighten , and thus falsify, every gesture woman has found romance and passion assimiliation, and mastery of his native and emotion. Coburn's elegy to senility in his blistering sermons. At least he art form-right now. The alliance can- won a Pulitzer Prize, perhaps because it cares! Anger is still a wonderfully funny not last: the novice must move on, the denied its rest-home antagonists (Hume play, even in this not-quite-first-rate master will stay on hi s mountaintop. Cronyn and Jessica Tandy) a final recon- The ARTS production augments the original Public Theater staging with 52

production from Manhattan's Round- and camera, and a penchant for cutting second-act climax, in which the would- about Theater. Jimmy's living room is important verses from songs-and you be rainmaker convinces the cranky spin- properly cramped and tatty-not one of get an idea of the TV staging here. Wil- ster that she's beautiful, strikes old-fash- those HBO sets that looks like an As- liam Katt is a decent Pippin, Chita ioned sparks-at least as played by taire-Rogers ballroom. McDowell has Rivera is one dogged pro, Martha Raye Tommy Lee Jones, with the born sales- the intelligence and humor for Jimmy, takes a shot at the role written for Irene man's honest stare and silky patter, and but not 'the poetic rage. He should be a Ryan, the songs are still hummable ... Tuesday Weld, her voice as harsh and Shavian hero with the intensity of a Sha- nothing . cracked as Kansas dirt, her eyes wary of vian heroine; instead he seems lost in a Present Laughter by Noel Coward. any man who might light them up. witty funk. Dir: Rick Gardner, from Alan Strachan's Sizwe Banzi Is Dead by Athol Fu- Morning's at Seven by Paul Osborn. staging. Prod: BBC (ABC/Hearst gard, John Kani , and Winston Ntshoma. Dir: Vivian Matalon. Prod: CBS Video ARTS). George C. Scott recently con- Dir: Merrill Brockway, from Fugard's for Showtime. This 1939 comedy, about cluded a Broadway run in this 1939 farce staging. Prod: CBS Cable. \"It's impossi- four aging sisters in rural Indiana, held a about life just off the wicked stage. As ble for a black man to stay out of trou- back porch full of wee secrets, a hearth the Coward surrogate Gary Essendine, ble,\" says this member of South Africa's of compromises. Revived in 1980 with Scott floated giddily on wings of ego, poet poor. \"Our skin is trouble.\" This Nancy Marchand, Maureen O'Sullivan, and the rest of the cast mopped up. 70-minute sketch, improvised by the Elizabeth Wilson, and Teresa Wright as Donald Sinden, the BBC Essendine, white playwright Fugard and two splen- , the sisters, Morning's was a Broadway has been doing this for years in the West did black actors, dramatizes the \" trou- hit. The TV version substitutes Kate End: primping like the Mikado, mim- ble\" first with smiling irony, then with .. bitter force . Ably restaged for TV, Sizwe Banzi finally attains the whispered ur- gency of folk tales told around the fire and under the gun. Sweeney Todd: the Demon Bar- ber of Fleet Street by Hugh Wheeler and Stephen Sondheim. Dir: Terry Hughes, from Hal Prince's staging. Prod: RKO Nederlander for The Enter- tainment Channel. This is it, folks: Sondheim's Grand Guignol grand opera, stropped to steely perfection and di- rected so as to balance Broadway epic with the tiniest TV nuance. George · Hearn is a magnificent Sweeney: he has a swaggering power, a ghoul's depth, and he sings like a basso angel-Luci- fer. Angela Lansbury, as Sweeney's Angela Lansbury in Stephen Sondheim's Sweeney Todd. blithely deranged partner in the pie business, grins and twitters and does her Reid for Marchand , and a colorless cast ing attitudes of high romantic melo- expert turn like Irene Handl after a lo- of supporting players for the 1980 stun- drama with a familiar wink that carries to botomy. This is still strong, succulent ners David Rounds and Lois de Banzie. the gods. Dinah Sheridan is his long-suf- meat; it deserves a place in somebody's On Broadway the play was staged at a fering wife, Gwen Watford his dry, droll permanent repertory. pace to allow an audience's easy laugh- secretary, Julian Fellowes deftly hysteri- Treats by Christopher Hampton. ter. Here, at the same pace but with no cal as a twit of an avant-garde play- Dir: John Frankau. Prod: London studio audience, there are awkward si- wright. Too often, we are shown a the- Weekend (CBS Cable). A blustery cynic lences. Still, newcomers to the work will ater audience having just a high old time breaks in on the tidy home his ex-wife be charmed by Osborn's patience w.ith -but in a show where everyone's has set up with her new lover. Sounds his sweet biddies-especially Ari (Wilson), the coloratura scold of a playing a part, maybe no one should be like an imaginary Act IV of Look Back in maiden aunt, whose spitfire paranoia seemed excessive on-stage but looks left out. Anger. The English simply will not give here as ifshe could carry her own sitcom. The Rainmaker by N .Richard Nash. up flogging what's left of the Empire Pippin by Roger O. Hirson and Stephen Schwartz. Dir: David Sheehan, Dir: John Frankenheimer. Prod: Para- and each other. With John Hurt (cynic), from Bob Fosse's staging. Prod: Sheehan for The Entertainment Chan- mount Video for HBO. Frankenheimer Kate Nelligan (ex-wife), and Tom Conti nel. The pits. Imagine that Bob Fosse, with all his excesses and Penguin Freud made his name in Golden Age TV, and (complaisant lover), it almost seems profundities, was an incompetent direc- tor-shock cuts at the wrong time, flat- in the mid-Seventies directed a fine Ice- worth doing ·again. Hampton lets the footed gimmickry, with no understand- ing of the proper distance between actor man Cometh for The American Film vitriol run like lava, scoring equal per- Theatre, so it's not surprising that he's . sonal fouls against all concerned. Is any- <done the best of HBO's refurbished tbing to be learned about these three plays. This one, about a sweet-talking lost souls in a No-Exit suburban flat- con man who makes a family of suspi- or, through them , about us? No. But cious Midwesterners feel lots better, is mean spirits are spirits all the same. Ev- still The Music Man without music, and ery TV home could use a decanter of still has a shaggy-dog charm. The the stuff. 53

Come Back to ing sad stories of the death of dreams. The play is a catalogue of rural hum- Hollywood & Vine, Robert To connect these plays with certain drum and Gothic horror. The man's mom is in an asylum, his dad blew his Altman, Robert Altman Altman films, you'd blend the mood of stomach out with a skeetshooter, his Thieves Like Us with the formal dexterity brother was kicked dead by a bull, When Robert Altman abruptly sold ofImages, and add a waft of that hookah- and ,in a blip of insanity after his niece his Lion's Gate movie complex and left pipe dream of a Western, McCabe & died, he raped the nurse: \"It's like we all Hollywood in 1981 , itwas with a sheafof Mrs . Miller. But the new stuff really has lined up and walked into a combine.\" don' t-call-us-we-won't-call-you mes- more in common with the director's sages left by important answering ma- early work on hour-long TV anthology The director's task here is to keep the chines all over town. You'd have thought shows in the early Sixties. Instead of dual monologues both simple enough to his last movie, Popeye, had been a flop. tracking shots and shifting depths of be comprehended and reverberant (It wasn' t.) Altman might have reacted focus, he depends on a visual vocabulary enough to suggest the intertwining to the studios' cold shoulders in the fash- of c10seups and frequent cuts. It's possi- roads to pastoral tragedy taken by the ion of so many other former pheenoms ble that Altman was too aware of the two characters. On stage and on TV, of the early Seventies: go into a sulky need to fit his images inside the small Altman has met these challenges nicely: hibernation with booze, coke, and screen-so aware that he reduced the catching double images in a mirror, hav- memories of happier days. Instead, Alt- vagrant power of these dramas to 19- ing one character unconsciously mimic man went into the play business. the other's gestures, finding areas of the Leo Burmester in Rattlesnake. stage that the man and woman can stake For the Los Angeles Actors' Theatre inch size, and in the process almost de- like possessive prospectors. It all works he staged a couple of one acters, Pre- prived them of substance and spirit. just fine. The most troubling of the cious BLood and RattLesnake in a CooLer, three plays provided Altman with his by a local playwright named Frank On the evidence of his New York pro- strongest, most discreet video achieve- South; then Altman directed them again ductions, Altman is a marvelously re- ment. at Saint Clements Church in Manhat- sourceful stage director, a meticulous tan. In early '82 he brought Ed Grac- and inventive interpreter of the texts. RattLesnake is the sidewinding autobi- zyk's Come Back to the 5 & Dime Jimmy Transferring a play to TV, he has to take Dean, Jimmy Dean to Broadway. When care not to be too resourceful. For the ography of a down-and-out Kentucky the plays closed, he reshot them for ca- TV version of Precious BLood (the more physician (Leo Burmester) whose itch to ble. The one-acters, 2 by South, were ambitious, less successful of South's two hit the road west mixed him up with taped for ABC Video and shown on its plays), Altman did little, and that was some bad company. Now he is.about to ARTS network. Jimmy Dean opened in enough. In parallel monologues, two be hanged for a murder he may not have movie theaters in November, prior to its residents of Sedalia, Mo.-a middle- committed, and he spends his last hour airing on Showtime. aged white man (Guy Boyd, a soft-spo- telling the pathetic, juicy, ironic story of ken slab of meat filled with the maggots his life. Like a lot of contemporary Those who look for the more obvious of memory) and a black nurse (Alfre writers (at least those living outside Altman trademarks in either the stage or Woodard: child's voice, a body that sum- Manhattan or the universities), South the cable versions of these plays will be marizes her race's strengths and humilia- has a fondness for Bunyan-sized eccen- disappointed. Essence, not abundance, tions)-recall events leading up to the trics and a feeling for the rancid poetry of is the key word here. In the plays, over- murder of the man's Is-year-old niece. regional speech. Burmester-a chunky, lapping dialogue has been replaced by runty guys wi th the ricochet moves ofan intersecting time frames. The mode of aging wide receiver and more \"character surrealist journalism, which made so voices\" than Mel Blanc's put together- many of his films look and sound like makes South's menagerie of red necks bulletins on the American Fringe from come alive. Pacing up and down his the cinema equivalent of Hunter ramshackle cell, whispering, whooping, Thompson, is jettisoned for analysand and carrying on, Burmester weaves past reminiscence-these people are an- and present, drama and narrative, event chored to the past and may sink with it. and analysis into a crazyquilt of emo- The crackling banter of Altman movies, tions. from characters on the margin or way over the edge, gives way in the plays to On stage, Altman energized this long dark ruminations of mortality and loss. monologue by giving Burmester plenty of stage business to keep the character Altman's characteristic films were big and the piece moving within the garri- parties; everyone was promised a fair son of a small playing space. In the video hearing, though not all could be clearly version, though, Altman shows signs of heard. RattLesnake is a monologue; Pre- mistrusting either the power of the work cious BLood has only two characters (who or the attention span of the audience. never talk to each other); Jimmy Dean Jarring c10seups and shock cuts prod the has lots of chatter, but most of it points viewer; a police-car light skits its red 20 years back to an informing communal warning across the cell walls; there are trauma. Every important action has sound effects of screeching tires, break- been concluded by the time these plays ing glass, the wind, a car engine, the begin. They take their shape from the ominous maraca of a rattlesnake. All this gallows pathos of the characters, tell- destroys the integrity, in time and space, of Burmester's mesmerizing star turn. 54

On stage, he was the single spell- film version? From the first seq uence- Plugged 'Nickleby' weaver; on screen, Altman substitutes in which the five-and-dime 's proprie- technical tricks for dramatic magic, and tress (Sudi Bond) sets up shop for the The Royal Shakespeare Company's day-Altman makes it evident that he production of The Life and Adventures of •the spell is broken. wants everything spelled out. Instead of Nicholas Nickleby was the theater's prof- It was a short spell for Jimmy Dean on a fluid tracking shot that would establish ligate, definitive celebration of itself. Broadway; the play got derisive reviews the rhythm of small-town life (Nothing On a bare stage flanked with rafters and and, even with Cher luring every hair- Much Happens Here, 'Cept Every- catwalks, 39 RSC actors put on a show. dresser in the five boroughs to the Mar- thing), he cuts this workaday ritual into Except for Roger Rees-innocent, ur- tin Beck Theatre, it closed after seven tiny shots that announce each nuance as gent, headstrong, and utterly winning as weeks. In lots of ways, Ed Graczyk's a sight gag. Nicholas-everyone in the cast played sorority gabfest is pretty dopey. It says multiple roles. To help tell Charles that the only cure for a broken heart is The playscript has already done the Dickens' 900-page story of Victorian physical mutilation -you must cut out work of shifting from present to past, England, some of them took 14, 15, 16, the cancer of your illusions. One charac- from bogus reveries to cold-morning 17 parts. Male actors played women, ter, proud of her big tits , must undergo a truths, and the theater audience was al- women played boys, all played horses , a radical mastectomy; another, disturbed lowed to discover these shifts for them- wall, a cloud, a carriage, the poor. They selves. (The front of the stage carried changed the scenery, props, and cos- tumes; often they were the scenery and Karen Black, Sandy Dennis, and Cher in Jimmy Dean, Jimmy Dean. props. When not in a scene they stood off, just in sight, monitoring the action. by his effeminacy, goes transsexual. the present action; the rear carried the The play was the apotheosis of dress In structure and message, Jimmy past.) By moving in on the play and its rehearsals. Like a magician so confident characters, vulnerable in spite of them- he works with transparent sleeves, Nick- Dean is like an old William Inge play selves, Altman coarsened them. Cher's leby laid bare all the contrivances and that's come screaming out of its Fifties swagger, Black's cirywise mince, and- mechanics of the theater; it revealed and closet. But, on Broadway, there was how shall we say this?-all of Sandy reveled in them. All the world was this much to like: a provocative use of flash- Dennis should be seen in long shot. stage and-brought to convulsively back showing the girls simultaneously in Maybe on TV they' ll all look fine close- teeming nonstop life for eight-and-a- 1955 and 1975; David Gropman's daz- up , but on a movie screen they come half hours-the RSC stage was all the zler of a Texas five-and-dime, with a across too hard and too much. They are world. huge Woolworth's sign adorning the pro- cowgirl gargoyles, fondling their man- scenium arch; the rowdy, you-think- nerisms , and the play becomes a bit of Now all the world can see it, more or you-got-troubles dialogue and bitchy ca- gauche grotesquerie, deprived of all less. In its four seasonal runs that began maraderie; the performances of Karen metaphorical distance and resonance. June 6, 1980 in London and ended Janu- Black (sleek), Kathy Bates (blustery), I If, with Jimmy Dean, Altman unfairly ary 3, 1982 in New York, perhaps and especially Cher, giving every indica- compressed Graczyk's work, he has 100,000 people were able to attend Ni- tion she was having a damned good surely stretched his own. This multi- cholas Nickleby. An evening at the the- time. media tinker deserves a quick trip back ater cannot duplicate itself; in compari- to Hollywood-and a commuter ticket son with movies, TV, and music, Jimmy Dean is as close to an Altman to Broadway, good any time. Nickleby was a cult phenomenon. And movie as one of the three Altman plays elitist to boot: in its second and third comes. So why does he botch the 16mm London seasons, one had to be practi- cally an Oman emir to secure seats; in New York, though good seats were avail- able early in the run , the $100 ticket price was beyond the reach of most peo- ple. \"It is very odd that something sup- posed to be enriching is only for the rich,\" Roger Rees told Time. (In Lon- don, a seat for the two-part show went for $32.) But when Colin Callender, head of Britain's Primetime Television , offered to tape the play in full as it had been staged, Nicholas Nickleby found a potential home both among verifiable theatrical legends and in the imagina- tion of anyone who could commandeer a telly. Trevor Nunn, co-director of Nickleby, was no stranger to adapting RSC produc- tions to other media. In his one theatri- cal film, Hedda (1975), he directed Glenda Jackson to play Ibsen's heroine 55

as a woman whose intelligence was too new version to be aired in Britain in background and you confuse the Nick- restless, too awesome and acutely November 1982 and in the U.S. January leby novice: Who are those folks watch- tuned, to allow her or anyone around her 10-13. Nunn and Nickleby's original co- ing from the rafters? Cut them out and to survive. Instead of cutting from one director John Caird kept four eyes on the you not only disappoint the Nickleby vet- speaker to another, Nunn often placed production as \"creative consultants.\" erans (Where's the silent Greek the actors at staggered, isolating dis- But, said Nunn, \"In this instance it will chorus?), you distort the entire work's tances within the deep frame; and be Jim's version of what we did in the scope and meaning. The \"stage world\" through these chessmen Jackson strode, theater. I don't want anyone to feel we of the original production is reduced to a hugely enjoying Hedda's daredevil are doing it. \" few familiar Main Streets. So Goddard tempting of fate, and whipping every mixed the two modes-theatrical and sentence with a flicking ironic tongue, as • televisual-often leaving the viewer if she were the wicked Frog Queen. stranded in no-media land. How did Jim do it? And how did he Nunn's TV rendering of The Three do? He taped it, using film techniques The theater has its own special time, Sisters evoked, only too successfully, the (each shot set up individually rather than too: the few hours during which the ac- elegiac aspect of Chekhov's play. His covered, as a TV, by several cameras), at tors and the audience coexist and inter- actors (many of whom would appear London's Old Vic Theatre. And under act. The stage Nickleby used time to later in Nickleby) emphasized the lugu- his direction the actors reprised their make the audience its happy prisoners. briousness and spasms of giddiness of roles with a knowingness that, even in One could spend the day with it, from mourners at a premature wake for White the midst of a long run, never became Part I's 2 P.M. curtain to the delirious Russia. The dominant color was a suf- hyped or blase. He captured the spirit of curtain calls near midnight. One needed the performances. But not the spirit of to pay strict attention simply to sort out Dickens' 65-chapter plot; it took all one's energy and paid it back with inter- est. By the end of this marathon, the feeling was thrillingly communal: High Mass, summer camp, and est, all for $100. You don't feel that kind ofvoltage in a cool medium; this isn't live theater, it's canned television. You don't have to sit in front of your set for nine consecutive hours. You can't: the TV Nickleby is aired in two- or three-hour swatches over four nights. You're not in on the action; you're outside, controlling it with a flick of the switch. All this can be said about any play on TV, but with Nickleby the loss is greater. Goddard's videotrix- multiple exposures, rapid cutting, echo effects, lip-synched songs-only call at- tention to what's missing. David Edgar's Nicholas departs for Dotheboys Hall in the first part of Nicholas Nickleby. play is still there, and still a superb adap- tation (though some scenes have been fused, frosty white-the play looked to the performance. Goddard-any direc- shuffled, and a comic subplot involving be set in a large, airy refrigerator on the tor-may have been doomed before he Mrs. Nickleby and a dotty old gent from outskirts of Limbo-and, in moments started. The insurmountable challenge across the wall has been cut). You can of dudgeon, everyone's nose would was formal and basic: how to reconcile still see the shape of the Nunn-Caird start to run. Nunn's TV Macbeth relied the glorious Brechtian sprawl of epic production, if only through Goddard's on his favorite theatrical props, candles theater with the enforced naturalistic in- tunnelvision.· But the experience is no and mist, to create an incantatory dialec- timacy ofTY's tiny screen. longer indelible or transcendent. Now tic of power-play and predestination. From a seat in the Aldwych Theatre it's high-very high-ordinary. • His Macbeth was Ian McKellen, his in London, or the Plymouth in Manhat- Macduff Roger Rees. tan, the playgoer's eye could zoom in for What's left? Nine hours (minus com- If Nunn shrank from the job of adapt- a closeup of an intense dialogue be- mercials) of pleasure, provided by 150 or ing Nickleby to television in the summer tween two main actors while remaining so of the most eccentric folks in London of 1981, it wasn't from underconfi- fixed, in long-shot as it were, on the full 1838, all revolving around the sweet, dence. He knew that the shooting alone stage with all its subsidiary bustle. But righteous Nicklebys: mother (Jane would take four months and, having su- the camera eye is necessarily selective, Downs), daughter Kate (Emily Ri- pervised Nickleby's exhausting seven- discriminating, limiting, relatively chard), son Nicholas. month gestation, Nunn might find it dumb. Unless it cuts away from the The first TV evening is dominated by less a challenge than a piece of technical main scene, shattering the mood, it Wackford Squeers (Alun Armstrong)- rote. So Jim Goddard, an English TV must either keep the nonperforming ac- the sadistic headmaster of Dotheboys director (A Tale of Two Cities and much tors in the blurry background or exclude Hall, where Nicholas signs on as a series work), was put in charge of the them altogether. Keep them in the teacher for a few horrid weeks-and his 56

wonderfully diseased family. \"How's Phenomenon (who \"must be seen,\" as a iations on middle-class marrieds: first as my Squeerie dearie?\" coo-brays his ter- member of the troupe drily notes, \"to be the Mantalinis (he a dandy living be- magant wife (Lila Kaye) as she pinches ever so faintly appreciated\")-are yond his means, she the family's tight- his mottled cheek. The Squeers' son, shameless and utterly ingratiating over- fisted superego), thyn as the Snevellic- Young Wackford (Ian McNiece), mewls acters. They snack on scenery; they cis (he a wizened flirt, she the protective and toadies and does belly flops into his dine on Shakespeare, ground round. helpmeet). Bob Peck plays perhaps the momma's lap; their daughter Fanny (Su- Their hilarious production ofRomeo and most impressive Janus faces: he is the zanne Bertish) has Gorgon's hair, airs JuLiet, in which all but one of the play's bluff, rough, generous John Browdie, above her mean station, and an unreci- characters comes back to life at the end, who time and again helps Nicholas and procated \\etch for Nicholas. The sad- climaxes the evening and can infect saves Smikei and he is Sir Mulberry dest detritus at Dotheboys is a club- even TV audiences with the contagious Hawk, an epicure of degeneracy whose footed, stuttering waif called Smike romance of the theater. As an encore, evil designs on Kate amount practically (David Threlfall). It is he whom Nicho- the Crumm\\es Troupe-and, little by to an overall tattoo. Other actors can be las befriends, and who carries much of little, all the other members of the Nick- spotted fighting to break in through the plot's burden of Dickensian senti- Leby cast-sing composer Stephen Oli- edges of the screen frame , and viewers ment. Threlfall bears this weight with ver's lovely, scathingly ironic tribute to can take the same pleasure in spotting dignity; as Nicholas rescues poor the might and rectitude of Britain at the them that they do looking for Hitch- Smike, so Threlfall saves his charac- high noon of its international influence. cock's cameo appearances, or the elu- ter from drowning in bathos. Anyone who's not an anarchist or tone- sive \"Nina\"s in an AI Hirschfeld draw- deaf will sing along. ing. Here they simply enrich the already The second NickLeby night (Act II of rococo pattern in the carpet. the original Part I) belongs to the Crum- As the home viewer gets to know the m\\es Acting Troupe, which Nicholas play and (can we hope?) understand the So what? So watch it. (You already joins after fleeing both Dotheboys Hall production's point of view, he will note have; you are now.) Even in its cramped and his scheming uncle Ralph (John and appreciate the work of individual form, even with a less than inspired mise Woodvine, in a quietly scowling per- actors in opposite or rhyming roles. Janet formance perfectly pitched to TV) a Dale plays two ambitious women (the en scene, even with the ellipses and the usurer who resents Nicholas' easy nobil- milliner Miss Nagg and the dilettante exaggerations, NichoLas Nickleby is the ity. The Crummleses-stentorian Mr. Mrs. Wititterley) who are jealous of Kate best thing on TV right now, and a high and his capacious wife, plus their insuf- Nickleby's righteous beauty. John point in televised theater. The original ferable lO-year-old daughter, the Infant McEnery and Thelma Whiteley run var- production is dead; long live the clone! It is, after all, all we've got. ® Film scholarship demands the finest resources. We provide them. Tisch School of the Arts at New York University offers develop the depth of understanding that is the mark of graduate students the resources essential to the scholarly true scholarship. study offilm . For information, return the coupon or telephone (212) Our M .A. and Ph.D. programs in cinema studies 598-7777. provide: NtWYORK Tisch School of the Arts. • A rigorous course of study covering history, Our name is new. criticism, and aesthetics RSI1Y Our reputation is established. • Exposure to new methodologies - semiotics, psychoanalysis, and structuralism 1----------------------- • Personal viewing/study facilities - flatbeds, analy- I Tisch School of the Arts tic projector, and video equipment I New York University II 400 South Building • Access to materials - the department 's own hold- Washington Square ings; rare material from the William Everson Collec- tion, the Museum of Modem Art, and New York City 'S I New York , NY. 10003 many cinemas, libraries, and archives. Please send me information about the program in cinema studies: Our faculty is outstanding by any criteria. And, its members -Jay Leyda, Annette Michelson , William E. I o Graduate 0 Undergraduate Everson, Brian Winston, and Robert Sklar-represent a I oI I would also like information about the summer sessions. diversity of interests and backgrounds. I Name As a result of our comprehensive, eclectic approach , extensive resources, and distinguished faculty, students l Address I Cily / Slale/ Zip 57

EdwardG. Robinson, W.R. Burnett, and Mervyn LeRoy during Little Caesar. by Ken Mate and Pat some (such as The Iron Man, Law and lumbus; his father was Governor James Order, High Sierra, and The Asphalt Jun- Cox's right-hand man. Burnett himself worked on Cox's 1920 presidential McGilligan gle) were remade not once but several campaign. times. Burnett may well be the Ameri- That year saw Burnett married, pen- niless, supporting his young wife on his More good movies have been made can author most often adapted to the earnings as a statistician for the state of Ohio while embarking on his literary ca- from W. R . Burnett's novels than from screen within his lifetime. reer. He read indiscriminately, though with a predilection for the French, espe- Fyodor Dostoyevsky's. Fully half his books, and the movies cially Balzac and Prosper Merimee. He. went to the public library on his lunch -Andrew Sarris, 1970 that were made from them, dealt with hour, and wrote after work into the wee hours of the morning, a discipline he When William Riley Burnett died last gangsters or criminals. Burnett was nei- maintained until his dying day. Bored and isolated in Ohio, he \"escaped to April at the age of 82, he left behind a ther. He was a gentle man , whimsical, Chicago\" in 1927, settling into the Northmere Hotel as a desk clerk to soak career that spanned a prolific half-cen- big and shambling (he had been a foot- up the atmosphere of the big city and to experience life. Two yea rs later, he tury: 60 screenwriting credits, at least 36 ball player briefly at Ohio State in his wrote Little Caesar, and his writing ca- reer was launched. published novels , fifteen serialized sto- youth); though he was among the first at Little Caesar was a literary sensation ries in magazines such as Redbook and the scene of the St. Valentine's Day and a runaway best-seller, and Warner Bros. quickly snapped it up for motion Collier's, over a hundred songs, some Massacre, he refused to view the bloody pictures. (Burnett always held that Jack twenty plays, and (crafted in the last aftermath. Burnett had the Irishman's year of his life as a \"literary exercise\") gift of gab and a' natural wit that was to more than twenty short stories. If his stand him well in Hollywood, as well as a name is unfamiliar, the titles of his pic- certain way oflooking at the world: real- tures may ring familiar bells: Little Cae- istic, pragmatic, hard-bitten. sar, High Sierra, Yellow Sky, The Asphalt w.R. Burnett was born on Thanks- Jungle (all based on his novels), or his giving Day, 1899, in Springfield, Ohio, last major effort, The Great Escape , of mixed Welsh-Irish ancestry (he pre- Twenty-nine movies are based on either ferred to emphasize the Irish), the scion his novels or magazine stories; many of of a family of Ohio political bosses. His them he also adapted for Hollywood; , grandfather had been mayor of Co- 58

Warner told him he bought the book not with our deepening understanding of his John Huston co-wrote his third script on its merits as literature but because its characters and the forces that motivate from a Burnett novel , Marilyn Monroe main character hailed from Youngstown, them , and only the husk of the story had her first featured role and Sam Jaffe Ohio-the brothers Warner were the remains.\" Though the screenwriters won the Best Actor prize at Cannes for sons of a Youngstown butcher.) The film were forced to compromise somewhat, his portrayal of a master criminal. In his version was a hit; a New York stage actor the film version of High Sierra still car- literary and screenwork in the Fifties, named Eddie Robinson became a movie ried a wallop-one that reverberated Burnett continued to explore the dark star. Burnett followed his novel to Hol- through the decades, up to Bonnie and side of the American Dream. His last lywood and never left. Clyde and the outlaw pictures of the major screenwriting stint was on The Seventies. Great Escape. Steve McQueen incar- Ironically, Burnett's inexhaustible vir- nated a last variation on the classic tuosity may have reduced his critical With High Sierra, Burnett vaulted Burnett anti-hero: imprisoned , a man stature. Had he stuck to writing crime into the ranks of Hollywood's most pro- for whom there was no escape , either to novels, he might now have a reputation ficient and highly-paid screenwriters. freedom or to the vainglorious death of similar to those of James M. Cain , Ray- He turned out original screen stories Little Caesar's Rico or High Sierra's Roy mond Chandler, and Dashiell Ham- (Wake Island, Crash Dive, San Antonio) Earle. Only a rubber ball bounced end- mett. Writes Dennis L. White, who re- and continued to see his novels remain lessly against the wall of a cell. searched Burnett extensively for the popular as source material for successful American Film Institute: \"As Burnett's films. In 1946, Warner Bros. paid him When we met Burnett last January, he gangster novels and films are not re- twelve weeks' salary to write a novel, was a near-Joycean figure: wielding his stricted to any narrow or conventional putter against would-be muggers as he definition of the genre, his career as a Burnett in 1981. walked his dog near his \"crackerbox\" in whole ranges beyond one genre. He is Marina del Rey, where he moved after the preeminent Underworld writer, but Nobody Lives Forever, and then kept him fire gutted his Bel Air home a number of he is also more. His second novel is on salary to write the screenplay. years ago. His eyes were hooded by about boxing, his third a political West- Burnett was equally adept at salvage and thick-lensed spectacles that he traded ern, his fourth about dog racing. Several polish work (on such films as The West- for a magnifying glass as he worked far of his novels are set in Ireland; several erner and Background to Danger), and into the night on his continuing literary more are about politics; two are about a was a frequent collaborator with other endeavors. At the time of his death, he composer and the agony of artistic crea- top Hollywood screenwriters of the day. had five full-length books in various tion; one is a first-person narrative from Occasionally, this fierce anti-communist stages of completion. the point of view of a woman. In addi- shared writing chores with such Party tion to the realistic crime story, Burnett members as Albert Maltz (on This Gun To the end, he was like one of the is, for example, also master of the for Hire) and John Howard Lawson (on central figures in a Burnett novel: still an equally authentic story of the Old Action in the North Atlantic)-Holly- outsider. Though his novels are widely West.\" His 1930 \"political Western,\" wood's strategy for balancing the politi- available in England, France, Germany Saint Johnson, is the first telling of the 'cal scales. and Italy, they are out-of-print in the legend ofWyatt Earp, Doc Holliday and United States. No Oscar adorned his the shootout at the O.K. Corral. In 1950, Burnett's The Asphalt Jungle mantelpiece, no special Writers Guild was picked up by MGM's Dore Schary Laurel Award for Achievement, no Throughout the Thirties Burnett who, after a period of failure and frustra- American Film Institute Lifetime wrote novels and serialized stories, for tion, wanted to do a movie with \"shoot- Achievement honor. He was reconciled the most part shunning screenwriting. ing and fucking,\" according to Burnett. to his obscurity-indeed, he was proud He preferred to sell Hollywood his sto- of it-and when he died his obit was ries to subsidize his literary efforts. A buried on page twelve of Daily Variety. plunge into bankruptcy, brought on by one day too many at the track, forced W.R. Burnett interviewed Burnett into a more active screenwriting by Ken Mate and Pat career. His first major assignment: to McGilligan adapt his own novel, High Sierra, to the screen. His collaborator was John Hus- When did you decide to become a writer? ton, who has called Burnett \"one of the After I got married. Before that I was most neglected American writers. There are moments of reality in his interested in athletics. I played fresh- books that are quite overpowering. man football at Ohio State until I real- More than once they've had me break- ized I was out of my class. I quit school ing into a sweat.\" and got married at 21. My wife stayed home, you know, and I couldn't run High Sierra broke so many conven- around. So I got interested in reading tions of the gangster genre that the Pro- and writing. I read everything I could duction Code office sent Jack Warner a get my hands on. Absolutely indiscrimi- memo with 43 annotated objections to nately. I'd read Joseph Conrad on the the script. In a memo of his own, Hus- one hand and The Amateur Gentleman on ton cautioned producer Hal Wallis the other. I didn't know good from bad. against sanitizing Burnett's novel: Little by little I made up my taste. \"Take the spirit out of Burnett, the strange sense of inevitability that comes I started out to write plays. If I had done what I wanted, I would have even- 59

'Howard Hughes wore tennis shoes, no coat, a dirty-looking shirt, kind of crummy-looking pants. There was dirt on the inside ofhis collar. And his office suite looked like the anteroom ofa doctor's office. ' tually gotten into the theatrical side of sacre with John Kelley of The Trib, but I ness, the plot's all there is, and the char- music, musicals-or jazz, writing songs. couldn't go inside. I saw it, I just saw it. acters are names. Anything that doesn't But by the time I went to Chicago in It was a slaughterhouse-blood all over advance the plot is cut out. 1928, I had written five novels. I didn't the wall and guys lying around on the have an agent, I didn't know from noth- floor. I got one look at it and I said, \"Uh, Were you on the set of Little Caesar? ing. I'd just write 'em and send 'em uh.\" I didn't want any of that. I was on the set and talked to [director away. The fifth novel I sent to Scrib- Mervyn] LeRoy, but I didn't know what ner's. Some reader at Scribner's recom- What were you striving for in the char- he was doing. LeRoy threw out mended it to Maxwell Perkins, who was acter ofRico? Rowland Lee's script because it wasn't the editor in those days. He wrote me any good. It didn't follow the book. Le- about it. He wanted me to rewrite it. But I was reaching for a gutter Macbeth. A Roy was 28 at the time, Darryl Zanuck by that time I was thinking about some- composite figure that would indicate was 27, I was 28, and Eddie Robinson thing else. I don't rewrite on order any- how men could rise to prominence or was 30. LeRoy stood up to the rest of way [laughs], so I put it aside. money, under the most hazardous con- them and threw the script out. Francis ditions, but not much more hazardous Faragoh rewrote it. It was not a good 'Little Caesar' (1930) than the men of the Renaissance. No- script, although he did get the important body understood what I meant by the thing in, which is the character of Rico. The city of Chicago appalled me. quotation from Machiavelli at the front Otherwise the script is taken straight out The contrast between Columbus, Ohio, of Little Caesar: \"The first law of every of the book, except for the ending. for God's sake, and Chicago-why, you being is to preserve itself and life. You I was disappointed in the film be- could be run over by a bus in Chicago sow hemlock and expect to see ears of cause they conventionalized it. In my and nobody would even look at you. It corn ripen.\" It meant, if you have this book, the guy who starts after Rico, the was a great thing for a writer, because it type of society, it will produce such Irish detective, he never gets him. He hit me with such impact. There was so men. That's what I was looking for, a just fades out of the picture like he natu- much about it that I couldn't figure out type. He was doomed from the first. If rally would. Then that stuff about Rico -and, little by little, I figured it out. he had a tragic flaw, it was overim- in a flophouse-try to imagine Rico in a pulsive action. But he is the picture of flophouse! It's the last place he'd ever I didn't know anything about gang- overriding ambition. be. And in the movie version, the fence, sters, but I read the newspapers. Then I the old woman, she turns against Rico met an Italian guy who went by the Where did you pick up your style of and tells him off. Hell, he would have name of Barber. He found out I was dialogue? killed her. Amazing! What made the writing books about, as he put it, things movie is Robinson, and the fact that that never happened; he thought that I had a literary theory about dialogue. Rico came out as he did in the book. was ridiculous. He couldn't understand This was in the Twenties. Novels were When they opened Little Caesar at why anybody would want to write or all written in a certain way, with literary the Strand theater in New York, they read a novel. So he began to talk to me. language and so much description. Well, had to get out the mounted police and I dumped all that out. I wanted to de- run it twenty-four hours a day. Then, I'll What I got from him was a viewpoint. velop a style of writing based on the way never forget the premiere out here [in I'm not a gangster; he was. I had the the American people spoke. Of course, Los Angeles]. They had every goddamn old-fashioned Ohio ideas about right the fact that the Chicago slang was all person on stage-the actors, the direc- and wrong, remorse and all that stuff, around me made it easy to pick up. tor, the cameraman-and when they which to him was nonsense. I'd ask him, were finished introducing all of them, after he'd kill guys, leave 'em on the Ultimately, what made Little Caesar Ben Lyon, the emcee, finally says, \"Oh, street, how did he feel? And he said, the enormous success it was, the smack yes, the writer. There always has to be a \"How do soldiers feel?\" To him it was a in the face it was, was the fact that it was writer.\" Can you imagine that? He intro- war. the world seen completely through the duced me and I said, \"Screw you.\" I eyes of a gangster. It's a commonplace wouldn't stand up for him. That was He was the pay-off man for Terry now, but it had never been done before typical of Hollywood. Druggan on the North Side. Druggan then. You had crime stories but always How was Robinson cast? was Bugs Moran's second in command. seen through the eyes of society. The He had made two pictures that One Fourth ofjuly I went up on the roof criminal was just some son of a bitch bombed. He was ready to go back to of the hotel to look at fireworks. He who'd killed somebody and then you go New York when they called him in to came up with his girl. He was drunk and get 'em. I treated 'em as human beings. test for the George Stone part [of Otero, he had a gun-boom, boom, shooting Well, what else are they? Rico's sidekick]. He said, \"What are you all over the place. That bothered me, testing me for this part for, what's the but I didn't want to run or anything. Where did the plot comefrom? matter with Rico?\" He had confidence There isn't any plot. I don't have in himself. They began to think it over What was his girl like? plots in my books. Just life. And the and said, \"Why not? The guy is little, he A prostitute. Quiet. She better be relationship of characters, and what hap- quiet. pens to them. I went to the St. Valentine's Day Mas- Why do you take such exception to the word \"plot\" ? Because, in the motion picture busi- 60

looks right .... \" wanted to be. And he managed to tell picked up the phone and said, \"M y the story, such as it was. Ben is a lot God, it 's How a rd Hughes on the 'Scarface' (1932) better writer than he gets credit for. phone. \" I said , \"Okay, I'll talk to him .\" and Howard Hughes Yes, he's a wonderful screenwriter. An hour and a half. Did you ever talk on No, not screenwriter. Writer. the phone for an hour and a half? I never You worked for Howard Hughes on So then you didn't hearfrom Hughes for talk on the phone for too long if I can Scarface. How did that come about? twenty years? Was that on Vendetta? help it. I practically fell asleep. My wife His agent called me up and told me Yes, I got a call from Stuart Heisler, was bringing me coffee. Hughes went he wanted me to work on Scaljace. He who was scared stiff of Hughes. \"I got a over the whole Vendetta script. But then paid me $2000 a week. Hughes was very strange request from Howard Hughes,\" he said , \"In this speech of so-and-so's, standoffish: he always had six or seven he told me. \"Will you look at a film don't you think this should be a colon men between him and you. I did Scar- called Vendetta with me and see what instead of a semicolon?\" That threw me. face and he liked what I did and then I you could do with it?\" There was a mil- One time Heisler and I met him to didn't hear from him for twenty years. lion dollars worth of film shot, which was talk abou t Vendetta at the Sunset Towers How many writers were on the project a lot then, and it was terrible. I don't at two o'clock in the morning. Pretry before you came along? know what had happened to [director1 soon a beat-up, junky Chevrolet pulls About twelve. Preston Sturges, who was a brilliant guy up and Hughes gets out. He had on Who worked on it after you-just Ben -whether he was sore at Hughes and it tennis shoes, no coat, a dirty-looking Hecht? was an act of sabotage, or whether he shirt, kind of crummy-looking pants. That's right. had gone nuts. It was a story of Corsican When we went up in the elevator, I What was your principal contribution? incest and revenge that never should could see dirt on the inside of his collar. I wrote a whole script. have been made in the first place. Dur- His suite looked like the anteroom of a You rewrote the whole script? ing one scene I literally fell on the floor doctor's office. And that's where we had I wrote a whole script. I don't say my laughing. There are Corsicans hiding our meeting. I don 't know why we had script was very good. I don't say any- behind some bushes with big hats on. to meet that way, but that was Hughes. body could write a good script under Bang! they shoot at each other. Bang! Conspiracy, you know. those circumstances. It was a mess. No- their hats fly off. It was like a comedy in The damnedest thing that happened body really knew what the hell they which the broad walks by the comic and to me regarding Hughes was on a Sun- were doing-except for Howard Hawks wiggles, and his hat goes up in the air. day in 1953 when I got a call from RKO apparently. But I never got along with Hawks, and I didn't work for Hawks when I was working for Hughes. I went in and talked to Hughes, and he gave me an office down the hall, and they started bringing in scripts. Pretty soon I had twelve scripts piled on my desk un- til I said, \"What the hell's all this?\" The basis for the story was a book written by this guy named Armitage Trail. He was lucky to have four dollars in his pocket at any given time. He got $25,000 for the book because Hughes wanted to use the title and some of the material. The book was an awful piece of crap-pulp. Armitage Trail never drew another sober breath, and in about two years he died of a heart attack in Grauman's Chinese Theater. Karen Morley, Vince Barnett, Paul Muni, and George Raft in Scarface. Hughes had the book as a sort of skel- eton-with an incest theme. I don't I said, \"This is impossible. You don' t Studios. It was about a picture called know what it was with Hughes and in- expect me to work on a bunch of shit Dangerous Mission. The script was al- cest. So I wrote a whole script, and after like this, do you?\" Heisler said, \"Well, ready written. Irwin Allen was produc- I finished it Hughes set a starting date. there go our jobs.\" So we called Hughes ing it-one of his first credits. Horace But Hawks didn't like my script. So they and Heisler told him, in the opinion of McCoy wrote the script. And they were brought Ben Hecht in ten days before both of us , that we could not salvage on location in Montana with seven ex- shooting. And Ben said, \"I'll give you a anything. He said, okay, start over. So I pensive actors when they called me. shootable script in ten days for a thou- wrote a new script, and Heisler shot the Howard wouldn't read the script, he sand dollars a day.\" He was really a bril- movie. But we were stuck with the wouldn't pay attention to anyone, so the liant guy. He was his own worst enemy. I story. He had promised Faith Domer- head of the studio just went ahead with All that money he made went right gue a picture and Vendetta was it. it. Then Hughes got hold of the script through his fingers. Did Hughes have any idea of how a and stopped it while they had these peo- I think Hecht was responsible fo( get- story should be told? ple sitting on their asses at high salaries ting that picture made. He tightened it Oh, yeah! One day Hughes called me in Montana. So I went over to Irwin all up. He was an absolute pro, when he up from Washington, D.C. My wife Allen and said, \"For chrissakes, what 61

'People confuse a rebel with a revolutionary. A revolutionary is a politician who's out ofoffice. And a rebel is a guy who is suspicious ofall authority, right or left. John Huston and me, we were rebels.' the hell do you want me to do?\" It was a train down there, and just like Chicago it Yeah, but he didn't say anything. terrible script. I couldn't believe Horace hit me. Usually he rules them, you don't say a wrote it-he must have been drunk- thing. Because he does the talking. I and Irwin didn't know what was wrong What hit you? don't even know why he took the pic·· with it. So in four weeks I got him a Everything. Tombstone. The Mogel- ture. I never could figure out John. shooting script, but what it cost for those Ion Mountains in the distance where the four weeks! And funny enough, it's not a Apaches used to hide. The whole thing. One day, I had a big beef with [pro- bad picture. So I started to write in the hotel. An old ducer] Sam Briskin. Briskin said, \"Why rickety hotel-I was the only one in it. don't you write a story that's got a good The book Empire gives the impres- At night the coyotes would come into finish on it?\" I said, \"Why did you buy sion that Hughes mismanaged RKO. town and knock the garbage cans over in it? I didn't make you buy it.\" And we got Hughes didn't mismanage RKO. He the back of the place. into it. I never did take any of that crap didn't manage it at all. He didn't care. It I got the complete feel of the town from Hollywood. was a write-off. because it was practically preserved. I got a great feel for the 'country. That You know, John was a big spender, he He was always cordial to me. I re- really makes the book. This was in the could have been broke, he might have member one time when he really sur- 1930s but I talked to three different needed it. It's not really a Ford picture, prised me. He had a funny look on his ranchers, in their sixties or seventies, although it's beautifully directed. face and his hands behind him. Then he who were still hashing over the feud, came out with a book, a novel of mine which was very interesting. It was not an So you only came infor a couple ofdays called Goodbye to the Past. And he said, historical thing for them, it was some- and helpedfigure out the endingfor them? \"Would you mind autographing this for thing that had happened yesterday, and me?\" Kind of shy, you know. Like a kid they were still on different sides. One Yeah, I helped them. But they had it iJoming up to you. night, we got drunk, and we went up at so screwed up it was a little hard to midnight and recreated the OK Corral straighten out. We did the best we 'Beast of the City' (1932) shootout. Bang. could . And it turned out to be a hell of a I got the idea it was a political thing: good picture. There was never any good Capone Republicans vs. Democrats. The Earps pictures, as far as I know, but I think my were Republicans, and the Sheriff and John Huston Beast of the City, with Walter Huston, the other gang were all Democrats. Jean Harlow, and Jean Hersholt as Ca- Mrs. Earp was much younger than John Huston wrote the scriptfor thefirst pone, is one of the best crime pictures of Wyatt, you know, and she was greatly in version ofLaw and Order. Later, you and all. Hersholt was a greasy, offensive love with him. When he died, she ob- he collaborated on otherfilms. Capone. Really good. jected very strenuously to the publica- tion of my book. She came out to Uni- We got along fine. But we didn't work Who directed that? versal Studios to try to stop them from well together, because I work fast on the Charles Brabin, an Englishman. Ev- filming it. So I talked to her for an after- typewriter and he dictates. He likes to erything about it was wrong. Making an noon and she turned out to be a very sit down and talk out a scene, which American hoodlum picture, giving it to nice woman. She realized I felt very would take a day and wear me out. I an Englishman. We'd have a story con- strongly that Earp was a hero, a Western can't work that way. Then he'd go into ference and he'd go to sleep right in your hero, and we became friends. his office and dictate it, which took an- face. Some of my best books, in my opin- other day, just for a lousy little scene. But Brabin did a good job ofdirecting? ion, are Westerns. I got interested in the John isn't really a writer. John is a direc- Strangely enough, he did. Southwest because of the multiple cul- tor. And he writes that way. ture: the Indian, the Latin, and Anglo. I 'Law and Order' (1932) tend to think in trilogies, and the West- You know what happened on High ern trilogy is Adobe Walls, Pale Moon, Sierra, don't you? John, who belted the Your book Saint Johnson was the basis and Mi Amigo. That takes the South- grape a little now and then, was at one of for Law and Order, the first telling of the west from the last Apache uprising to the those big Hollywood cocktail parties shootout at the OK Corral. coming in of all the carpetbaggers and with Paul Muni, and he didn't like the railroad in the third volume. I think Muni. Warners had bought the book for I had read a very fine biography about Adobe Walls would probably be among Muni. John got a little loaded and told Wyatt Earp, and saw the possibilities of a my four or five top books. Muni what he thought of him as an ac- fine Western novel. I had never written a tor. So Muni waited until the script came Western novel. So everybody said to 'The Whole Town's Talking' to him and he turned it down because me, \"Burnett, are you out of your mind? (1935) Huston was the writer. So Jack Warner Let Zane Grey write the Westerns, for said to Huston, \"Get Burnett. Let him chrissakes!\" Well, you know me. I read Was John Ford in on the story session? work on the script with you. And ifMuni about this \"Hell Dorado\" celebration in comes up with any objection, we'll say, Tombstone, Arizona, when they recre- for chrissakes, what do you want? We got ate the fight at the OK Corral. So I took a the author on it.\" Well, I never had so much fun in my life. We laughed most of the time, we could hardly get any work 62

done. Anyway, we got a fine script and down and talk to Charley Blake, who Now you're talking. The plot of The gave it to Muni, and Muni turned it down again. You know what happened? went to the morgue in the wagon with Asphalt Jungle is that a bunch of guys Warner fired him. Dillinger. get together and rob a place. Then George Raft refused it. Bogie talked him out of it. So you had the setting, the dot, your What are the parts of High Sierra , the I thought it was because Raft didn't want to die at the end ofanother picture. research on Dillinger. .. then what? film, that you don't like ? Nah, that's bullshit. Bogie talked Raft out of it and got the part himself. The rest wrote itself, practically. Mark Hellinger, the producer, was a What was Bogan's logic? That the part didn't suit Raft at all. Was there a replay offrontier themes swell guy, don't misunderstand me , I Which it didn't. Did you ever have any working dis- in Roy Earle's heading West ? liked him . But he was a sentimentalist. agreements with Huston ? I had a bad argument with him over a Maybe, maybe. I had the same idea We got into an awful struggle about the project that I had with Sid Luft called Man 0' War. One of the leading charac- in Dark Hazard, you know. A gambler character of the lame girl with Roy. ters was a Negro-someone who grew up with the Man 0' War and never left who winds up in California. You see, Hellinger just couldn't take it, after it. And John said, \"I don't want to do a picture in which we've got a fucking Dillinger and Roy Earle, such men are Roy had her foot fixed , that she turned Uncle Tom.\" I treated this man as a man , not as a racial symbol. A man, just not gangsters, organized crime, Maf- against Roy. That was too much for like any other man. Why should 1 want to falsify him into something fashion- ioso. They were a reversion to the Hellinger. So we had to give a little on able? We had quite an argument. Then we would end up laughing Western bandit. They had nothing in a couple of scenes like that. 1 corrected Was Huston more liberal than you? 1don't 'think so. Huston was like me, a common with the hoodlums in Chi- that in the remake, I Died a Thousand rebel. Do you know what a rebel is? People confuse a revolutionary with a cago. An entirely different breed. Times. The remake is a better picture. rebel. A revolutionary is a politician who is out of office. And a rebel is a guy who Earle 's a man who is out of his Except we had two repulsive people in is suspicious of all authority, left or right. So Huston's like me. I know he was element. it: Jack Palance and Shelley Winters. criticized for his casting in The Asphalt Jungle . Sterling Hayden was a Commu- You've got it. There are plenty of Why do you say it's a better picture ? nist. Marc Lawrence was a Communist. Sam Jaffe. That's three. But so what? those symbolic characters in my books. I think the script's much better. 1 The object is to get a movie made. And he certainly did, beautifully cast. He Arky in Little Man , Big World is one of cleaned up the script. I had a free didn't destroy the novel, he stuck to it. Character by character, step by step. them. Dix in The Asphalt Jungle. And hand. Willis Goldbeck [the producer] That made for a good picture. there's also a country boy, in one of my and 1 made the picture for Warners. 1 'High Sierra' (1941) best books which is not published ye t, cut it down. 1 shortened it. I understand that the character Roy Earle was drawn panly from Dillinger. called Babylon. Did you clean up the sentimentality? Charley Blake, who was the ace Dil- Jean Harlow, Wallace Ford, and Jean Hersholt in The Beast of the City. linger reporter, had done a lot of work with me on a Dillinger movie for What are they symbolic of? Oh, believe me! It's a much better Warners. Charley and I worked for six Old America, rural America, and a picture, script-wise, although not pic- weeks researching Dillinger, and then simpler time. torially, because Raoul Walsh did a hell Warners began to get worried about the In High Sierra, what do Babe and Red of a job. Stuart Heisler is also a fine project. When they put out the publicity and Marie represent-counterpoint? director; he never gets the credit he that we were going to make Dillinger- She's there to show what amateurs they deserves. But those people! Who gives the author of Little Caesar and the ace really are, and as someone for them to a damn what happens to Shelley Win- Dillinger reporter-boy, did that get a fight over? ters? Or Jack Palance, for that matter? reaction! Telephone calls and letters of No, no, no. That's plot again. She's protest. So Warners said, forget it. He there because they picked her up in a 'The Westerner' (1940) just called it off. But 1 still had the re- dance hall. That's just the kind of search and I had also had the luck to sit broad they would pick up. You have an uncredited contribution on That's plot. The Westerner. I don't call it plot. \"B\" movies are all plot. That's plot at its worst. What's Well, all 1 did was sit and talk. the plot of Macbeth? To whom? There's no plot. It's jealousy and ri- Sam Goldwyn and William Wyler. valryand .. .. Sam called me in on this because they had a lot of trouble with the script. I 63

'Dore Schary, the boss at MGM, had made two or three pictures that died. Then he got mad and said, \"I'm gonna make a picture where there's lots ofshooting andfucking.\" So he bought The Asphalt Jungle. ' suggested one thing that helped writing. Warner or somebody had the Did you know William Faulkner? straighten them out. They had two bright idea to do a big Errol Flynn pic- I knew Bill well. Absolute southern cities, they only needed one. I said, gentleman, precisely dressed, when he \"Why do you need two cities?\" and ev- ture and to hire Heinie Faust to write it. was sober. Faulkner really looked like erybody just sat there and looked at each They gave him carte blanche, which Poe. I would cast Faulkner as Poe. I other blankly. Nobody had ever thought they never did, because of his enormous liked him. I never could finish one of his of that. That can happen. You can get reputation. He used to come in every books, except Sanctuary. He never had messed up in a script. day with a briefcase and go out every much to say about anything. He was night with a briefcase. We found out very quiet. One time we had one of George Raft later he brought in two quarts of gin those overnight geniuses-a woman every day and drank them up-took the who had published a book about her You know that coin thing in Scaiface? empties out. family or some goddamn silly thing and It's one of the things that made that is suddenly a national celebrity and then damn picture. That was Raft's idea. He A few months later I get a quick- you never hear of them again. They realized he wasn't a good actor, which he hurry-up call from Jim Geller, who was were making her movie at the time, and wasn't. But he knew if he reacted to boss of the story department. He said, she was throwing her weight around the what other people said, he was effec- \"Boy, have we got trouble. We have a studio. She began to raise hell with tive. So I went over his scripts with him color commitment, we have a shooting sometimes, him saying, \"I don't need date, we have Flynn. And Heinie Faust Faulkner because of his terrible influ- this line, I don't need this line .... \" has come up with a very original idea for ence on American writing. Faulkner Sometimes I wouldn' t take the lines out us. A Western in which there's no ac- smoked his pipe and looked at her. Peo- because they were absolutely necessary tion. \" He said, \"Go over and talk to Bob ple who were passing by looked embar- to what came later. Which never occurs Buckner\"-the guy who was supposed rassed. I just stood there, what else to an actor, you know. to produce it and was about to hang could I do? He never said a word, never himself-\"and see what you guys can said a word, not to me, not to her. Just Would Raft sit in on story sessions? come up with.\" smoked his pipe. You had ro get rid of Raft. Look at Background to Danger! I was always So I wrote a screenplay in three Did you know Raymond Chandler, afraid that I'd have to face Eric Ambler weeks. Then I rewrote it. First, I came James M . Cain, or Dashiell Hammett well after what we did to that. The point of up with the idea that really floored ev- when they were in Hollywood? Background to Danger was that this man erybody. Do a picture with Flynn and was a salesman and suddenly things be- Marlene Dietrich. How about that? Jack I never knew Chandler at all. I was gin to happen to him that he can't under- Warner called me and said, \"That's the never friendly with Cain, but I used to stand. And he gets involved in all this best idea we've had in a long time.\" run into him quite often. He wouldn't espionage. But Raft wouldn't do it un- Then he wouldn't pay Dietrich the look at you. Sort of a sidelong glance. less he was an FBI man. The whole money. He pulled a desk drawer out and Big guy. Kind of a messed-up face. story went out the window. said, \"Look at all these contracts in Hammett I only met once-he looked Why didn't the original story make here. All these no good sons of bitches like a university professor. Tall and slen- sense to Raft? sitting around on their asses, earning der, beautifully dressed, elegantly He said he didn't want to be any rib- $1500, $2000 a week. Why should I go dressed, quite a gentleman, you know. bon salesman. I think he wanted to be out and get Dietrich?\" So he gave it to on the side of the law for a change. Alexis Smith. She was all right. What about Horace McCoy? He wrote a few good novels and then his career Writers seemed to dissipate. What happened? 'San Antonio' (1945) You said Ben Hecht was one of the best He was a very unhappy guy in many screenwriters in Hollywood? Who else ways, and I never could quite figure him Raoul Walsh was going to direct San would you consider to be among the top out. I liked him personally. He told me Antonio. Then David Butler was as- four orfive ? that he was working as a newspaperman signed to direct it. That scared the hell in the South, and he read Little Caesar out of us because he had never made Dudley Nichols was the best. No ar- and said, \"That's it.\" That's what anything but musicals. But he gG::l good gument. started him writing. picture out of it. Ever see San Antonio? You'd be surprised. How about Billy Wilder? He wrote Scalpel, which I made the Pretty good. Eccentric, but clever. mistake of reviewing for the Saturday How I wrote it is a funny story. Max How about Preston Sturges? Review ofLiterature. I didn't like it and I Brand-his real name was Frederick Preston Sturges was one of the best, said so. Then I ran into McCoy in 3 Faust-had so much money he didn't but crazy, a little nutty. He had a big bookstore. If I hadn't been a friend of know what to do with it, but he kept on desk and a horn on it that honked. his, he'd have flattened me. He was a Honk, honk. He thought it was god- great big guy, you know, about six-four. dammed funny. He would have been a championship tennis player if he hadn't damaged his knee. 64

The Guild all right, just like everybody. Gordon stand that if! were a writer in Russia I'd Kahn was a kick. What a funny guy! He have enormous status. What a lot of bull- Were you involved in the formation of was a very good investigative reporter. A shit! I just let him talk. He was a pretty long time ago, before other people were good guy. the Screen Writers Guild? into it, he experimented with every kind Hell no, I didn't even want to join. of drug. He wrote articles about drug Why was Jack Warner so tolerant of taking which were definitive for the Communists on his payroll? Agent said you better join , so I joined. I time. I used to sit and look at him and didn't want to bother with any union. I wonder, what the hell does he want to He didn' t even know what was going was doing all right. The studio wanted be a Communist for? Some of the others on. I'd say Jack was non-political. you to join. were dumb clods, you could understand it. Did you remain friendly with any of Because it made it easier to deal with yourformer colleagues who were Commu- You worked with Lester Cole , too-or nists during the McCarthy Era? the entity? at least he wrote the screenplay for the I think so. Closed shop, which is second version ofThe Iron Man, called A friend of mine, Frank Capra, tried Some Blondes Are Dangerous. to get me to sign petitions in their favor. wrong, but. .. I'm absolutely for unions . I chased him out of the house. Why I'm just not for the way they've become I liked Lester. I didn' t really work should I sign? If they want to be Com- -a nUIsance. with him, but I liked him. He was a nice munists and overthrow the government, guy. A lot of those Commies were let them take what they've got coming. I Were you working at Warners in the friends of mine. I liked them. never did anything actively either way. Forties when the writers were asked to We had some right-wing organizations respect the picket lines set up by the Con- Did you feel sorry for them during the too but they were a little hard to stom- ference ofStudio Unions ? period ofblacklisting? ach. At Metro they tried to get me to join, but I wouldn't. I can't remember. I know I crossed a Why should I feel sorry for them? picket line. I think I was at Metro when They were all card-holding Commu- Warner Brothers that happened. nists. What's the big deal? Didyou have a sense ofhow the writers' Yet you collaborated on scripts with sev- Didn't you think they should be allowed group at Warners compared with the other eral Guild activists, writers who were also to work? studios in town ? Did Warners value members of the Communist Party. John writers more or less? Howard Lawson on Action in the North I am not exactly in favor of people Atlantic. Albert Maltz on This Gun for who advocate the overthrow of the gov- I don't think any of the studios valued Hire. ernment by violence. That's right. They were Commies. George Raft in Scarface. Were you aware of their political views when you were working with them? But because you collaborated with them writers very much. If the writer could fit Oh, are you kidding? We were loaded you knew what little subversive effect they with card-holders in Hollywood. I'm had had in Hollywood. the Warners system, it was far and away very anti-Communist, due to the fact the best place to be. And I wrote every- that I'm a rebel. I couldn't possibly live Yes, but that's what they were for. place. Metro, you might as well be out in under such a Communist government. What is the difference between the mes- the middle of the desert. You could sit I'd get killed; I'd be shot. The least sage ofThe Public Enemy-co-scripted there for four weeks and draw your pay government suits me, and that's what by John Bright, who was blacklisted-and and not say anything and you never we've got. We've got democracy in this Little Caesar? heard from anybody. Paramount was al- country which verges on anarchy. And I'm not talking about messages. I'm ways hit-or-miss; they had people com- that's the ideal government for me. So ,talking about what those guys stood for. ing in and out. It wasn't a well-run place I'm satisfied. We had an underground of anti-Com- at all, ever. Columbia was a tight ship. So how did you collaborate with them? munists in the writers' building-me, Harry Cohn was tough, real tough. Re- Well, I like Albert Maltz. He was a Jack Moffit, Tom Reed, Graham Baker. public was a joke. And Fox, I would say, really nice fellow. Lawson I didn't like Alvah Bessie was always trying to recruit was very well run under Zanuck. Very at all; he was a bigjerk. He was commis- me. He was trying to make me under- well run. sar, boss of the Commie writers. At that time the Communists controlled the Screen Writers Guild and one day he came to me and said, \"Bill, I need a credit, you don't need credits. Let me have all the credit on Action in the North Atlantic.\" Can you imagine such crust as that? So for the first time I arbitrated. And lost. Because the boys were in and I was trouble. He got the top credit for Action in the North Atlantic, which he didn't deserve at all. I wrote every action scene in that picture; the director didn't have to do anything except read his script. That's what Jerry Wald, the pro- ducer, said. Some of the Communists were no- good bastards, and some of them were 6S

'[ pretty much know the possibilities in life, which aren't very greatfor anybody. You're born, you're gonna have trouble, and you're gonna die. That you know. There's not much else you know.' Zanuck appreciated writers? Mildred Pierce, for example. But he city over the wire service. You control Yes, he did. He was a writer himself. couldn't make up his mind for five the wire service, you control the gam- Or at least he claimed he was. To me, minutes. He'd drive yo u crazy. If he'd bling, and this pillar of the republic is a there was no comparison: Warners was seen a movie he liked the night before, front man with the administration for far and away the best studio in town. he'd want to steal it. I'd say, \"Jerry, it dealing with the Chicago hoodlums. Jack Warner could be a bastard to any- doesn't have anything to do with what body-directors, actors, or writers. we're doing. \" The character is Pek Hodges, a per- What about Jack's brother Harry ? Did fect Bogart part, a hatchet man for the he exercise any creative leadership ? You haven ' t been through this-you administration. His job is to find a patsy. I don't think \"creative\" is a word you don't realize the things I've been So he finds this guy's girlfriend, and he could apply to Harry! The biggest bore through with the producer sitting there begins to build a case against this girl. who's ever lived in the history of the and having no idea what the fuck he is The hatchet man becomes fascinated by world! He used to sit next to me when doing. He doesn ' t know whether to go this broad. She is absolutely a no-good I'd visit the executive dining room. I this way, that way, down the middle or bum, but a beauty. And the gimmick is: guess nobody else would listen to him. what. And he's the one who has to say She killed him. Now that he's got her All he talked about was his charities and it. The writer can't say it. I mean, I can hooked, he's got to get her off. his horses. say it, but I don't have the authority. In What was your experience-compara- those days, most directors didn't have It was a very unusual book, and no- tiveLy-at MGM? the authority either. body was more surprised than I was I'm trying to think. Louis B. Mayer when Republic bought it. You know Re- ran the studio, and later Dore Schary. Is that why someone Like Michael Cur- public? Formerly Repulsive. Herbert Schary has a good rep as a producer. tiz did his best work at Warner Bros.- Yates ran a cheap operation, and they He wasn't good for anything, as far as because ofthe supervising producers? paid me a lot of money for it. The direc- I'm concerned. He almost wrecked tor, Joe Kane, was a very nice fellow, we RKO , so they put him in charge at Curtiz needed somebody to sit on got along fine, and all he said to me was, Metro. him. He didn't have any judgment \"Write it.\" So I wrote the script just like What was his probLem ? about what to make. the book. I got my money and left. His problem was he didn't know what to make. He came into Metro and made How did he compare to RaouL WaLsh in Well, Yates was married to Vera Hruba PLymouth Rock. It went out and died. that regard? Ralston. She was a Czechoslovakian Then he made two or three more and champion ice skater. And he decided to every one of them died. He had done Technically Mike may have been as put her in the picture in the girl's part. the same thing at RKO. But they still good, but Walsh was much smarter, Well, the wife of the head of the studio thought he was a genius. Then Schary much cleverer. Walsh didn't need any- couldn't be guilty, so he made her inno- got mad, and said, \"Okay, I'm going to body. Ifhe'd have wanted to, which he cent. The whole goddamn show went make a picture in which there is some didn' t, he could have produced and out the window. shooting and fucking,\" so he bought The directed . He's not much interested in AsphaLt Jungle. It's true. They paid complexities. He's interested in mak- Did you know about it? $100,000 for it. ing a certain kind of picture, mostly Not until it came out. Was Zanuck a creative producer? action. Which is the motion picture. They didn't consuLt you? Zanuck's fault was, he wasn't inter- Of course not. Look, that's pictures. ested in women. He was interested in The Fifties women personally, God knows, but not 'Captain Lightfoot' (1954) artistically, let's put it that way. He did When I have something to say and I much better with men's pictures. He can't say it in one book, I do a trilogy. I Did you work with Douglas Sirk on the was very autocratic, even more so than don't know why. The first one was The originaL Captain Lightfoot? Wallis. Wallis was quiet, he wouldn't AsphaLt JungLe; LittLe Man, Big World; yell. Zanuck would yell. Vanity Row . That was a study of corrup- Douglas Sirk was a German, a very One of the best producers was Hal tion of a whole city in three stages: status bright man who had done a lot of very Wallis. I wouldn't call him a particu- quo, imbalance, and anarchy. good intellectual stuff in Europe. When larly creative man, but he knew what he wanted to see up on the screen. The The last time I read Vanity Row, I he found out r knew about Alban Berg, producer's really in charge, you know. could hardly believe it. I had completely And if he doesn't know what the hell forgotten about it, it was so many books the composer, he could hardly ever get he's doing he screws everything up. and years ago. It sounded just like things on the subject of Lightfoot. All he Like my pal Jerry Wald. Now Jerry are right now: wiretaping, Watergate, wanted to talk about was when he made some pretty good pictures- you name it. Anyway, Vanity Row has staged Frank Wedekind's Earth Spirit, what in Hollywood is called a good gim- which was the basis for LuLu. But Sirk mick. One of the pillars of the city is was a very bad job of miscasting. He had murdered on the streets, it looks like no sense of humor. Captain Lightfoot is a he's been killed by hoodlums or some- light piece, full of humor. thing like that. What people don't know is there's a big struggle going on in the The picture was more or Less remade as Thunderbolt and Lightfoot by MichaeL Cimino. 66

He stole it. Son of a bitch. I called the It camefrom a book? Writing for Film studio and said, \"What the fuck is going It was a factual account by a British on here?\" They didn't do a thing. officer [Paul Brickhill) who had been in Was there a point in your career at a prisoner-of-war camp. Good material. which you were writing novels with the He even kept the same names . The problem was, you had so much to notion of turning them into movies? I know it. That son of a bitch. I'm tell , so many characters. If you r continu- glad Heaven's Gate flopped. ity wasn't perfect, you were going to Never. Some of them just fell into wind up with a mess. I did the continu- movies, and some of them didn't. I sold 'Sergeants Three' (1962) ity before I wrote the script. seventeen of them. Novel writing was Most screenwriting, especially nowa- what I was interested in-not pictures, You spent a lot of time in your career days, doesn ' t ha ve continuity. The for chrissakes. What happened to so working on the set, rewritingfibns as they script is never quite sure where it's going many good American nove lists w hen were being shot. or why. So when I write a continuity for they came out here didn't happen to myself, I start out with scene one and me. They got into the big money and I got to doing that so much for Jack explain who's in it and what happens to quit writing nove ls. I published thirty- Warner, I got out of Warners. I got to be him . I do that with evety scene in the fi ve novels. I was actually subsid izing Warner's trouble-shooter and that was whole picture. So all you have to do is myself so I could write nove ls. bad. Because people star thinking read my continuity and you know the you're a company man. You also wind up whole damn thing from start to finish. I Films I neve r took seriously as an ar- without any credits. have neve r written a novel yet without tistic endeavor, but I always did the best knowing the finish first. That's continu- possible work I could do . Under the Were any of your scripts filmed just as ity. circumstances, which are never any you wrote them ? When I went on The Great Escape, good; the circumstances are mostly there were no Americans in it. I told poor, because writers have no control In all my time in Hollywood , I only John , \"We're making this for the Ameri- whatsoever. Screenwriting consists of got one sc ript through untouched. can public, so there have to be Ameri- rewriting and I don't rewrite. I don't Needless to say, it's one of my pet pic- have to rewrite. Because I know what tures. Sergeants Three. Two-thirds a/the Rat Pack in Sergeants 3. Frank Sinatra said he had an idea to take Gunga Din and kid it. Good idea. cans.\" The Jim Garner character and the I'm writing when I write. Steve McQueen character are mine. All When I first came out to Hollywood, I But Frank didn't know what to do that baseball stuff, the guy sitting in jail , with it. So I put it out West with this that's all mine. It never would have been couldn't even read a script. Johnny fanatical tribe of Indians , and that's Ser- the same if it were all British without Monk Saunders helped me the most, I geants Three. those two characters. think, and then a cutter, Jim Newcom. Jim and I would go down to the projec- I wrote a treatment and gave it to McQueen was an impossible bastard, tion room and he'd tell me about every Howard W. Koch, the producer. How- you know. A third of the way through shot, every cut, why it was cut that way, ard read it and said, \"This is swell , but the picture, McQueen took charge. I why it was done this way. Little by little I've got to give it to Frank. \" Frank was had to rewrite his scenes, and rearrange I got a good grasp of film writing. in Las Vegas. So Howard Koch went them . Ohhh , he drove yo u crazy. So there and stayed for three days and \\they got Clavell, and Clavell worked The trouble with most film writing is never got him to read it. Finally he got through the whole picture in Germany, that too many writers have no feel for him on the phone and said, \"Frank, making little changes here and there, film. They're writing stories, they' re what do you want us to do ?\" Frank said , trying to pacify McQueen. I' ve done writing plays, they' re not writing for \"Write the script. \" I said, \"I wrote it.\" that, and that's no bed of roses. I think film. There's far too much dialogue writ- Frank said, \"Howard, what do yo u he deserved the credit. ten-you don' t need it. You can tell so think?\" Howard said, \" I think it's much with the camera, with a cut, or swell.\" I don't think Koch ever read it. I don't think Frank ever read it. So they shot my first draft. Scared the hell out of me, yo u know. John Sturges directed it. Back to back he directed two of the best pictures I ever did , Sergeants Three and The Great Escape . That was the best picture I ever worked on. James Clavel! has a co-screenwriting credit on that one. Clavell came on the set when we were shooting. I don' t want to minimize what he did because he went through hell , so he deserves the credit. I worked on the script for a year. I was still working on it while John was shoot- ing another picture in Japan. Then he came back and we went to work. I had 225 pages, which was way too long. So we spent one whole day cutting it ,and wound up with 250 pages! Finally he went with that script. 67

The death ofScarface. Oh yes, you couldn't do just any- thing. But sometimes limitations on a with a reaction. I had one thing to my who could originate. The people who writer are better than total freedom. It advantage, which was I had a very good could originate were few and far be- gives you a framework, what you can sense of structure, as my novels Prove9. tween in Hollywood. You give 'em a and what you can't do. Once you have a structure, you've got blank piece of paper, they go nowhere. the whole picture. They've got to have something to write Can you give an example of how you a script about, they can't make it up. resolved the problem of suggesting a ro- What is the relationship between struc- mance or sex in one ofyour scripts? ture and plot? Did your novels become more cinematic as time went on? In High Sierra, we had a girl living Structure is not plot. You can have a with two guys and we got away with it- lousy plot and a good structure in the No. I think they were always dra- in 1940! We had twenty-seven pages of same picture. The structure or continu- matic. More dramatic than most novels. objection from the Johnson office. We ity is how you tell the story, in what form Because I started out as a playwright, had to rewrite the script and send it to that was my first impulse. So many· and in what order. You can tell it back- novels are narrative-they don't show, them. We had a guy from the Johnson wards. I have. I wrote a novel backwards they tell. So it's harder for the screen- office on the set with us practically every that drove my publisher crazy. Goodbye writer because he has to do all the work. day, trying to change things. But we got to the Past-some people think it is my With my novels, you don't have to work 'em through. best book. It goes from 1929 to 1865- as hard; just chop them up and use the backwards. I am very good at structure. dialogue. Did you win on every point? No, we had to give on some. They'd call you in sometimes when they I never think about pictures when I'm Suppose a producer had said to you, had a plot butproblems with the structure? writing a novel. Anybody can write a \"We need a happy ending here. \" script, anybody who is literate. A lot of Nobody ever said anything like that They called me in when they didn't them aren't even literate. There ain't to me. I'm the only writer who's ever got have anything. When I did Wake Island, nothing to writing a script. away with one downbeat picture after all we had was a title-Wake Island. another. Wake Island hadn't even fallen yet Did you draw your characters mostly Does that express your point of view when I started to write the story. from real life ? about life? It certainly does. So in that case they wanted plot and There is practically no way you can Which is ... structurefrom you? put a real person down [on paper] be- It stinks. (Laughs.) But it's fun. cause the simplest person is too complex You seem to have had that point of view Yes, I did that quite a lot. What hap- for books. Has to be simplified. So I take from your earliest upbringing. pens is, say, there's two months in which traits from people I've met and develop Well, we were a political family. My they don't shoot, then they've got an old a character from them. You can only ap- grandfather was a political boss in Clark script. Then they need what is called \"a proximate a human being. County, Ohio, for about 35 years. My fresh mind.\" Well, there's no such thing father dabbled in politics all his life. as a fresh mind in Hollywood! So then Writers were restricted in the early days From the age of six years up I heard there's a rewrite of some kind, and ironi- of Hollywood in what they could do with what they thought of the people who cally, that's the reason why I have so few ,sex and romance. were running our destinies. And they solo credits-because I was one person were right. Did that turn you into a Democrat? I voted for Roosevelt three times, and then I didn't like the socialistic direction of the country. But I'm not a Republi- can. Those stuffed shirts-how can you be a Republican? I guess I don't know what you'd call me. An independent, a rebel or something. So even though you'd never attempt to inject your philosophical point ofview into a story, it's there, regardless. It's implied in every book I wrote. But it is not explicit. Did you read any ofthe existentialists? No, I couldn't stand Sartre. Camus? I liked The Plague, but I didn't like Camus. Cain? He had aspects of being an exis- tentialist. Yes, Cain did. Cain was a weirdo. Did these writers seem consonant with your own thinking when you read them? No. I'm too Irish. I have always had to 68

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struggle to keep from being a comic an imagination-that's what makes a into disguise in Captain Lightfoot. He's writer. writer. He has to be able to put himself Captain Thunderbolt. imaginatively in the position of what- If someone asked you about the themes ever character he selects. And I have a We have talked about why gangsters in your work, what would you say? very good grip on reality, which I inher- attracted you. Why did Westerns ? ited from my father, so I pretty much I'd say, let them analyze my themes. know the limitation of humanity, and Well, I think I'm attracted by outlaws, You have to understand , I've gotten the possibilities in life, which aren't very for one thing. That is, outsiders. some very good reviews. But in the great for anybody. You' re born, you're U nited States, you have literary snob- gonna have trouble, and you' re gonna Do you see yourselfas an outsider? bery. If it's a gangster novel, it can't be die. That you know . There's not much Definitely. literary. Hit's a Western, it can't be liter- else you know. Outside the literary establishment? ary. That's partly why my work has not Outside everything. been regarded seriously here. Also, my So why were you drawn to gangster and Were you always outside the critical work does not exude liberalism. It's not outlaw characters? community? anti-liberal, it's not anything-it's the I got very fine reviews. I've been very way I see the world. But it's not liberal. One reason is because I found I could lucky actually. Until the Sixties. Then And almost all novels are written from give a picture of the world as I saw it and the world changed. Obviously, there the liberal viewpoint. That's why not shock the hell out of everybody. was a revolution-in manners , morals, they' re so boring. That's the way criminals and gangsters you name it. were expected to act, you know . It's hard to be an outsider now. But are there consistent themes in your Everybody's an outsider now. It's a work? So you saw the world similarly to the different world, believe me. way your characters saw it. Do you think a novel like High Sierra or Don' t make life hard on me! You see, The Asphalt Jungle, about people living Very little difference. outside the mainstream, could be written I write instinctively-that's the reason I . That seems to be the way you felt to- today? write so fast. My primary purpose was wards the Communist writers in Holly- No, because there isn't as much to always the same as Balzac's: to give the wood, too. They carried the card, they play against. When everybody is screw- most realistic picture of the world should be prepared to pay the price. ing everybody, what do you got? You around me that I could possibly do. don't have any morality. You certainly That's right . You have to pay for don' t have love, So you consider yourselfa realist? things in life. It's no bed of roses. It's Is that why the narrative structure in Yes. like my father said: \"The Irish cry at films has degenerated too , because there is Yet you really didn't have a lot ofcontact what others laugh at, laugh at what no longer any socialframework? with gangsters. others cry at. \" There's no doubt about it in my esti- I had enough. Enough for my pur- mation. Everything is falling apart. ~ poses. I didn't have to go out and shoot Did you ever write your father into a at people. That's the Hemingway idea. story as a character? That's non-literary. A writer has to have I never could. But I finall y got him W.R. BURNETT FILMOGRAPHY compiled by Dennis L. White 1931 UTILE CAESAR (Mervyn LeRoy) from his novel THE GET.AWAY (Edward novel. 1954 DANGEROUS MISSION (Louis from Burnett's novel THE FINGER Buzzell, J. Walter Rubin) scr DANCE King) co-scr NIGHT PEOPLE (Nunnally POI NTS (John Francis Dillon) co-story HALL (Irving Pichel) from his novel The Johnson) co-scr\". 1955 CAPTAIN LIGHT- IRO N MAN (Tod Browning) from his Giant Swing . 1942 THIS GUN FOR HIRE FOOT (Douglas Sirk) co-scr, from his novel (Frank Tuttle) co-scr BULLET SCARS (D. ILLEGAL (Lewis Allen) eo-scr. 1956 I novel. 1932 LAW AND ORDER (Edward L. Ross Lederman) remake of Dr. Socrates\" DIED A THO USAND TIMES (Stuart WAKE ISLAND (John Farrow) co-ser. 1943 Heisler) scr, from his novel High Sierra. Cahn) co-screenplay\", from his novel CRASH DIVE (Archie Mayo) story ACTION 1957 ACCUSED OF MURDER (Joe Kane) Saint Johnson BE AST OF THE CITY IN THE NORTH ATLANTIC (Lloyd Bacon, co-scr, from his novel Vanity Row SHORT (Charles Brabin) story SCARFACE: SHAME Byron Haskin) co-scr BACKG ROUND TO CUTTO HELL (James Cagney) remake of OF A NATION (Howard Hawks) co-scr. DANGER (Raoul Walsh) eo-scr. 1945 SAN This Gun for Hire , 1958 THE BADLAND· 1934 DARK HAZARD (Alfred E. Green) ANTONIO (David Butler, Raoul Walsh) co- ERS (Delmer Daves) from his novel The from his novel. 1935 THE WHOLE scr, from his Story. 1946 NOBODY LIVES Asphalt Jungle . 1959 THE HANGMA TOWN'S TALKING (John Ford) co-scr\", FOREVER (Jean Neguleseo) scr, from his (Delmer Daves) co-scr\". 1960 SEPTEl\\I. from his short story \"Jail Break\" DR. SO· novel THE MAN I LOVE (Raoul Walsh) BER STORM (Byron Haskin) scrTHE LAW- CRATES (William Dieterle) from his short co-scr\". 1948 THE WALLS OF JERICHO BREAKERS (Joseph M. Newman) ser. 1962 story. 1936 36 HO URS TO KILL (Eugene (John M. Stahl) co-scr\" BELLE STARR'S SERGEANTS 3 (John Sturges) scr. 1963 Forde) from his short story \"Across the DA UG HTER (Lesley Selander) story, scr CAIRO (Wolf Rilla) from his novel The As- Aisle.\" 1937WINE, WOMEN AND HORSES YELLOW SKY (William A. Wellman) from phalt Jungle THE GREAT ESCAPE (John (Louis King) from his novel Dark Hazard his novel. 1949 COLORADO TERRITORY Sturges) co-scr FO UR FOR TEXAS (Robert WILD WEST DAYS (Ford Beebe , Cliff (Raoul Walsh) remake of High Sierra\". Aldrich) co-scr\". 1967 THE JACKALS (Ro- Smith) 13-part serial from his novel Saint 1950 THE AsPHALT J UNG LE (John Hus- bert D. Webb) remake of YeLLow Sky. 1968 Johnson Sm.'IE BLONDE S ARE D AN· ton) co-scr\" from his novel. 1951 IRON ICE STATION ZEBRA (John Sturges) co- GEROUs/BLONDE DYNAMITE (Milton MAN (Joseph Pevney) from his novel THE scr\". 1969 STILETIO (Bernard Kowalski) Carruth) from his novel Iron Man. 1939 RACKET (John Cromwell) co-scr YEN. co-scr\". 1972 COOL BREEZE (Barry Pol- KI NG OF THE UNDERWORLD (Lewis DETIA (Mel Ferrer, Preston Sturges, Max lack) from his novel The Asphalt Jungle. Seiler) from his short story \"Dr. Socrates.\" Ophuls , Stuart Heisler) co-scr. 1953 LAW 1974 TH UNDE RBOLT AND LIGHTFOOT 1940 THE WESTERNER (William Wyler) AND ORDER (Nathan Juran) from his (Michael Cimino) remake of Captain co-scr\" THE DARK COMMAND (Raoul novel Saint Johnson ARROWHEAD/ADOBE Lightfoot\" . Walsh) from his novel LAW AND ORDER WALLS (Charles Marquis Warren) from his (Ray Taylor) from his novel Saint Johnson. \"= Uncredited work or remake. 1941 HIGH SIERRA (Raoul Walsh) co-scr, 70

to volume 18, 1982 Solomon , Charles. Will the real Walt Disney please stand up ? 18:4 July- Aug '82, 49-54 . ill. Brie f history o f Disney by Linda Batty Beatty. Warren and Disney Studios. THE SECRET OF NIMH (Bluth) See: REDS and TRON (Lisberger) as heritors of the tradition of This index is based on indexing rules Begelman, David frame - by - frame filmmak ing established by D isney. and subject headin~ for ftlm periodicals Jacobson , Harlan . Leave it to Begelman . 18:5 Sept-Oct\"82, developed by the Federation of Interna- Distribution tional Film Archives (FIAF). It is di- 53-55 . ill. \"Begelgate.\" See: Industry vided into four parts: a subject index, an Bertin Film Festival Divorce in the Cinema author index, a film title (English lan- Kennedy, Harlan . Assignment in Berlin . 18:3 May-June Thomson , David. Fall ing in love again : divo rce and re- guage) index and a book review index. The names of directors of reviewed fums '82, 20-23. ill. marriage in the mov ies. 18:2 M arch - April , 9- 17. ill. are included in the subject index. The Best Films Classi c comedies of remarriage. from ADAM 'S RIB to names of interviewers are included in 1981 and all that. 18:1 Jan-Feb'82, 54-55. Ten Best films THE LADY EVE. the author index. of 1981 selected by David Chute, Richard Corliss , Corliss , Richard. Too high the moon : a modern romance. copyright © 1983 Linda Batty. All rights reserved Richard T. Jameson, Jonathan Rosenbaum , Elliott Stein, 18:2 March - April '82, 16. SHOOT THE MOON . and Anne Thompson. Subjects See also: Academy of Motion Picture Arts and Sciences. Edwards, Blake Awards; Guilty Pleasures See: VICTOR/VICTORIA Academy of Motion Picture Arts and Sciences. Awards Binder, Maurice Eustache, Jean 18:2 March-April ·82. 55. Predictions by David Ansen. Lee Billanti , Dean. The names behind the titles. 18:3 May - Yakir, Dan . Jean Eustache 1939- 1981. 18:1 Jan- Feb '82, June'82, 60- 71. ill. filmogr .. Movie-title art. Includes Beaupre. Stuart Byron. Roger Ebert. Aljean Harmetz. Binder. 27-30. ill. In memo riam. Todd McCarthy. Myron Meisel and Andrew Sarris. Bluth, Don Fassbinder, Rainer Werner Meisel . Myron . Who picks the Oscars? 18:2 March- April Solomon , Charles. Will the real Walt Disney please stand Kennedy, Harlan . Fassbinder's four daughters. 18:5 Sept- '82. 53-56. ill. up? 18:4 July- Aug '82, 49- 54. ill. THE SECRET OF NIMH and TRON (Lisberger) as heritors of the frame-by- Oct '82, 20- 24 . ill. Four Fassbinder wom en: a dark vision Actors and Actresses frame filmmaking tradition establ ished by Walt Disney. of modern G ermany : lIli MARLEEN, LOLA , THE Midsection: Celebrity. 18:5 Sept-Oct\" 82. 33-50. ill. Con- Includes interview with Bluth about animation. MARRIAGE OF MARIA BRAUN and VERONIKA VOSS . Books Riley, Brooks. Rainer Werner Fassbinder 1946- 1982. 18:5 tents : Baby go boom (Marilyn Monroe) . by David See: Comic Books and the Cinema Sept-Oct '82,19- 20. ill. In memoriam. Thomson ; Marilyn Inc. (Marilyn Monroe). by David Books Into Films See also : New York Film Fesllval Stenn; Edie (Sedgwick). by J. Hoberman; Nastassia See: Adaptations Favortte Films Kinski interviewed by Jodie Foster. Box Office See: Guilty Pleasures Thomson . David . Acting English. 18:3 May-June '82, 7- 14. See: Industry Festivals ill. Appreciation of English actors. Brach, Gerard See: Berlin; Cannes; Filmotsav; New Directors/New Films; Adam, Ken Yakir, Dan . Writers with Gaul. 18:5 Sept- Oct '82 , 26- 31 . New York; Ottawa 82; Toronto's Fesllval of Festival.; Oelsan, James. Art directors: Ken Adam interviewed. French screenwriters. Includes commentary about and U.S. Film and Video Festival; Venice 18:1 Jan- Feb '82,36-42. ill. Includes filmography, p. 50. interview with Brach. Fllmotsav Adaptations Brackett, Charles Stein , Elliott. Calcutta: India, Inc. 18:4 July- Aug '82, 69- 74. Midsection: Novels into film . 18:6 Nov- Dec'82, 33-47. ill. Allen, Tom. Bracketting Wilder. 18:3 May- June '82, 29-31 . ill. The Indian film industry. Ref. Filmotsav. Contents : Now read the movie, by Lawrence O'Toole; ill. BrackettlWilder screenwriting collaborations. Fisk, Jack Shooting Haiku in a barrel (Ray Bradbury interviewed . Bradbury, Ray Corliss, Mary, Richard Corliss and Carlos Clarens. Art Ref. fiction writing and scriptwriting), by Mitch Tuch- Tuchman , Mitch. Bradbury: shooting Haiku in a barrel : directors: Jack Fisk interviewed . 18:1 Jan- Feb '82 , man; Making book on TV (mini- series) , by Stephen Ray Bradbury interviewed . 18:6 Nov- Dec '82, 39-41 . 46- 49. ill. Filmogr. p. 50. Career. Includes comments Farber. ill. Bradbury's fiction writing and scriptwriting . by his wife, Sissy Spacek. Agents Budget Fitzgerald, Wayne Ross. Chuck. The great script tease. 18:6 Nov-Dec'82, See: Industry Tuchman , Mitch. The names beh ind the titles. 18:3 May- 15-19. ill. The CASABLANCA experiment: CASA- Cable Television June '82, 68-71 . ill. filmogr. Movie-title art. Includes BLANCA script sent to 200 modern agents. How many See : Televl.ion Fitzgerald. recognized it? Cannes Film Fe.tlval Forman, Milos Animation Corliss, Mary. Journals: Cannes. 18:5 Sept- Oct '82, 2, 6. See : RAGTIME Solomon . Charles. Will the real Walt Disney please stand Chrtstmas Movie. France up? 18:4 July-Aug'82, 49- 54. ill. Brief history of Disney Adair, Gilbert. Journals: from a country manor. 18:2 Yakir, Dan. Writers with Gaul. 18:5 Sept- Oct '82 , 26-31 . and Disney Studios. THE SECRET OF NIMH (Bluth) and March-April '82, 4, 6. Christmas movies and movies at ill. French screenwriters. Commentary about and inter- TRON (Lisberger) as heritors of the tradition of frame- Christmas. views with Gerard Brach, Christopher Frank, Jose by-frame filmmaking established by Disney. Clarke, Wendy G iovanni and Francis Veber. Art Directors and Direction See: LOVE TAPES Frank, Christopher Midsection: Art directors. 18:1 Jan-Feb'82 , 30-50. ill. Comedy Yakir, Dan. Writers with Gaul. 18:5 Sept-Oct '82,26- 31 . ill. Contents: Ken Adam interviewed byJames Delson ; Jack Kehr, Dave. Funny peculiar. 18:4 July- Aug '82, 9-16. ill. French screenwriters. Includes commentary about and Fisk interviewed by Mary Corliss, Richard Corliss \"Coarse\" comedy of the last decade. interview with Frank. and Carlos Clarens; Richard Sylbert interviewed by Meisel, Myron. Welcome to .. .the last chance Lampoon . Gance, Abel Joseph McBride; Theatrical realism (overview of the 18:6 Nov- Dec '82, 56-59. The comedy revolution . Ref. Riley, Brooks . Orbits: Abel Gance 1889-1981 . 18:1 Jan- craft of art direction), by Carrie Rickey; Alexandre Malty Simmons and the Lampoon Org. Feb '82, 79. ill. In memoriam. Trauner interviewed by Carole Weisweiller and Annette Comic Books and the Cinema Genre Films tnsdort . Chute, David. Films go EC/ DC : the great frame robbery. Midsection : Dueling genres. 18:2 March-April '82, 33- 47. Awards 18:5 Sept-Oct '82, 13-17. ill . \"Comic book movies\": ill. Contents: The repeatable experience (genre films- See: Academy of Mollon Picture Arts and Sctences. Award. influence of comic book art on pop movie art, from Russ how long do they last?), by Stephen Schiff; Things that B8IS, Saul Meyer's erotica through CONAN and up to CREEP- go howl in the id (horror films), by Harlan Kennedy; Billanti, Dean . The names behind the titles. 18:3 May- SHOW. Death of the gunfighters, by Andrew Sarris; Let your- June'82, 60-71 . ill. filmogr. Movie- titleart. Includes Bass. Coppola, Francis Ford self go (Musicals-ONE FROM THE HEART, PENNiES Riley, Brooks. Film into video. 18:3 May-June '82 , 45- 48. FROM HEAVEN and VICTORNICTORIA) , by Carrie AUTHORS WANTED BY ill. Coppola's \"electronic cinema\": video and computer Rickey. NEW YORK PUBLISHER technology in filmmaking . Gilbert and Sullivan and the Cinema See also: ONE FROM THE HEART Kennedy, Harlan. Journals: London. 18:2 March-April '82, Leading subsidy book publisher seeks manuscripts Corman, Roger 2, 4. Pirates of Penzance on the screen . of all types: fiction, non-fiction, poetry, scholarly Chute, David. The new world of Roger Corman. 18:2 Giovanni, Jose and juvenile works. etc. New authors welcomed. March-April '82, 26- 32. ill. Yakir, Dan. Writers with Gaul. 18:5 Sept-Oct '82, 26- 31 . Send for free. illustrated 40-page brochure H-83 Co.ta-Gavras ill. French screenwriters. Includes commentary about Vantage Press, 516 W . 34 St., New York. N.Y. i0001 See: MISSING and interview with Giovanni. Credits Greenaway, Peter Maltin, Leonard. Books: credits where credits are due. Kennedy, Harlan. Peter Greenaway: his rise and FALLS. 18:5 Sept-Oct '82, 78- 79. Ref. his book. TV movies. 18:1 Jan- Feb '82, 18-22. ill. Greenaway's films and Cronenberg, David structuralism. Ref. THE FALLS. See: VIDEODROME See also: New York Film Fesllval ,Curtlz, Michael Guilty Pleasures See: CASABLANCA Bartel, Paul. 18:5 Sept-Oct '82 , 60-62. ill. Directors Durang, Christopher. 18:1 Jan-Feb '82, 62-65. ill. Milius , John . 18:3 May-June '82, 24- 25. ill. Photos by James Hamilton. 18:2 March-April '82. ill. Schickel , Richard . 18:4 July-Aug '82 , 21 - 23. ill. Hamilton's gallery of directors' photos: Hitchcock, Hawk., Howard Woody Allen, Marcel Ophuls, Chabrol, Resnais, Wim Wenders, John Carpenter, George Romero . Godard, McCarthy, Todd . Phantom Hawks. 18:5 Sept-Oct '82, Truffaut, Fellini. 63- 76. ill. Films Hawks was once/ partially involved with. Hawks's phantom filmography. Disney Studios Hawn, Goldie Thomson , David. Goldie gets serious. 18:6 Nov-Dec '82, 49-55. ill. Includes interview. Career. Herzog, Werner See: FITZCARRALDO Homosexuality and the Cinema Richards, Mary. The gay deception. 18:3 May-J une '82, 15- 18. ill . Hooper, Tobe See: pOLTERGEIST Horror Films Chute, David. Films go EC/ DC: the great frame robbery. 18:5 Sept-Oct '82, 13-17. ill. \"Comic book movies\": 71

influence of comic book art on pop movie art , from Russ A WOMAN (Antonioni) , MADAM SATAN (Cecil B. De- hands and knees: the great SNEAK PREVIEWS hunt. Meyer's erotica through CONAN , up to George Ro- Mille), THE LIGHT AHEAD (Edgar G. Ulmer) , THE 18:6 Nov - Dec '82, 74-75. ill. mero's tribute to E.C., CREEPS HOW. BURNING BRAZIER (Ivan Mozhukh in) , Corliss, Richard. Television . 18:1 Jan-Feb '82, 73-74. ill. Kennedy, Harlan . Things that go howl in the id . 18:2 Marc h- Novels Into Films DONAHUE and FAMILY FEUD. April '82, 37-39. ill . Horror films of the 70s and 80s. See: Adaptations Farber, Stephen . Making book on TV. 18:6 Nov-Dec '82, Hunter, Tim Oscars 42-47. ill . Th e TV mini-series scene. See: TEX Greenfield, Pierre. Television: outbreak of Waugh. 18:2 Huston, John See: Academy 01 Motion Picture Arts and Sciences, March-April '82, 76-77. BRIDESHEAD REVISITED . See: ANNIE Awards Midsection: Video. 18:3 May-June '82 , 33-48. ill . Contents: Independent Cinema Veni, vidi, video . . . (What is video? Overvi ew) , by J. Keys , Wendy. Journals: Sundance. 18:5Sept-Oct '82, 7-8. Ottawa 82 Hoberman; The cable boom , by Richard Zacks; Rock Sundance Institute. Maltin , Leonard. Journals: Ottawa. 18:6 Nov-Dec '82 , 'n video (rock music on TV) , by Arlene Zeichner; Video Vogel, Amos. Independents : missionary positions. 18:3 art (important vi deo artists) , by Amy Taubin; Cable May - June'82, 73-75 . Independent artists who are saving 2,6,10-11 . Freex (L.A . cable scene) , by Andy Klein ; Film into video sex from the pornographers. Ref. National Sex Forum Parker, Alan (ref. Coppola's \"electronic cinema\": video and computer catalog. See: SHOOT THE MOON technology in filmmaking), by Brooks Riley, India Perri, Dan O'Toole, Lawrence. Television: outbreak of Waugh, 18:2 Stein , Elliott. Calcutta: India, In c. 18:4 July Aug '82, Billanti, Dean. The names behind the titles, 18:3 May- March-April '82, 77-78. BRIDESHEAD REVISITED 69-75 . ill. State of the Indian film industry. Ref. Filmotsav. Tuchman, Mitch. Video: All America's in LOVE. 18:2 Inwstry June '82, 60-71 . ill . filmogr. Movie-title art . Includes March-April '82 , 68-71. ill , LOVE TAPES (Wendy, Beaupre, Lee. Distributors' derby : hare beats tortois e. 18:2 Perri . Clarke) . March- April '82, 62. New releases of 1981 : ranking by Pornography and the Cinema Titles rentals, domestic rentals ($) , first week 's box office Vogel, Amos. Independents : miss ionary positions. 18:3 Billanti, Dean, The names behind the titles. 18:3 May- gross , number of theaters, etc. May-June '82, 73-75 . Independent film artists who are June '82, 60-67. ill. Movie-title art : Saul Bass , Maurice Jacobson, Harlan , Hollywood lays an egg . 18:3 May-June saving sex from the porn og raphers . Ref. National Sex Binder, Way ne Fitzgerald, Dan Perri. Includes film- '82, 49- 52 . ill . Runaway Hollywood budgets. Role of Forum catalog , ographies. director turned producer in braking . Producers Tuchman , Mitch . Wa y ne Fitzgerald interviewed , 18:3 Meisel, Myron . Industry : 7th annual grosses gloss. 18:2 Midsection: The produ ce rs , 18:4 July-Aug '82 , 33-48. ill . May-June '82 , 68-71 . March-April '82, 60-66. ill. Contents: The missi ng auteur (i mportance of the pro- Toronto's Festival of Festivals Yakir, Dan . Industry: off with their heads! 18:3 May- ducer in Holl ywoo d's history) , by Davi d Thomson; Corliss, Mary. Journals : Toronto . 18:6 Nov-Dec '82, 13. June '82, 78-79. ill. Projecting films in the wrong ratio. Terms in turnaround (a Hollywood lexicon), by Allen Trauner, Alexandre Irons, Jeremy Smithee and Anne Thompso n; Appraise the lords Weisweiller, Carole and Annette Insdor!. Art directors: Yakir, Dan . Polestar. 18:6 Nov-Dec '82, 28- 32 . ill. Overview (pantheon of producers) , by David Thomson; Stark Ale xa ndre Trauner interviewed . 18 :1 Jan - Feb '82 , of Jerzy Skolimowski's films. Includes interview with reality (Ray Stark, producer of ANN IE), by Harlan 34-36. ill . Filmogr.. p. 50. Iro ns, star of MOONLIGHTING. Jacobson. U,S, Film and Video Festival (Park Clly, Utah) Jast, Jon Projection Lamont, Austin. Journals: Park City, Utah. 18:3 May- Ro se nbau m , Jon at han , Just Jost. 18: 1 Jan-Feb '82, Yakir, Dan . Industry : off with their heads! 18:3 May-June June '82, 2, 4. 56-61 . ill . In cludes interview. Career, films . '82, 78-79. ill . Projecting film s in the wrong ratio. Veber, Francis Kelly, Grace Pryor, Richard Yakir, Dan. Writers with Gaul. 18:5 Sept-Oct '82 , 26- 31 . Corliss , Rich ard. Orbits : Green f ire: Grace Kelly 1929-1982. Rosenbaum, Jonathan. The man in the great flammable ill . French screenwriters. In cludes commentary about 18:6 Nov-Dec '82, 78. ill . In memoriam . suit. 18:4 July -Au g '82, 17-20. ill . Tribute to Pryor's and interview with Veber. King, Stephen talent, film s. Venice Film Festival See: CREEPSHOW Richert, William Kennedy, Harlan . Journals : Venice . 18:1 Jan-Feb '82, Kinskl, Nastassla Jameson , Ri chard T. Wild Bill. 18:6 Nov-Dec '82, 20-27. 4, 6, 8. Foster, Jodie. Nastassia Kinski interviewed . 18:5 Sept- ill . Includes interview. Career. Ref. production and Kennedy, Harlan. Journals : Venice. 18:6 Nov- Dec '82 ,2. Oct '82 , 50. ill . Perils of being famous . revival of SUCCESS and WINTER KILLS. Video Lampoon Organization Rock Music See : Television Mei sel, Myron . Welcome to ... the last chance Lampoon . See: Music .Wajda, Andrzej 18:6 Nov-Dec '82, 56-59. ill . The comedy revolution. Romero, George Greco, Mike. Journals: Paris. 18:5 Sept-Oct '82 , 8, 10. Ref. Matty Simmons and the Lampoon Organization . See: CREEPSHOW Career. Ref. DANTON . Includes interview material. Lindsay-Hogg, Michael Ross, Herbert See: BRIDESHEAD REVISITED See: PENNIES FROM HEAVEN Westerns Lisberger, Steven Schrader, Paul Sarris, Andrew. Death of the gunfighters. 18:2 March- See: TRON See: CAT PEOPLE Marriage In the Cinema Scott, Ridley April '82, 40-42. ill . Death of t he western genre. Thomson , David . Falling in love again: divo rce and re- See: BLADE RUNNER marriage in the movies. 18:2 March-April '82, 9- 17. ill . Scriptwriters and Scrlptwrltlng Wilder, Billy Class ic comedies of remarriage, from ADAM 'S RIB to Ross, Chuck. The great script tease. 18:6 Nov-Dec '82 , Allen , Tom. Bracketting Wilder. 18:3 May-June '82, 29- 31 . THE LADY EVE. 15-19. ill. The CASABLANCA experiment : CASA- Milius, John BLANCA script sent to 200 modern agents. How many ill . Charles BrackettIWilder screenwriting collabor- See: CONAN THE BARBARIAN recognized it? ations. Miller, George Tuchman , Mitch . Bradbury : shooting haiku in a barrel: Women Chute, David . The Ayatollah of the moviola. 18:4 July- Ray Bradbury interv iewed . 18:6 Nov-Dec '82 , 39-41 . ill . Schiff, Stephen . Gun-totin' women . 18:1 Jan-Feb '82, Aug '82 , 26- 31 . ill . Includes interview . Miller's film style Fiction writing and scriptwriting . 23-26. ill. The New Woman in films: tough but weak. ref. MAD MAX and THE ROAD WARRIOR . Yakir, Dan. Writers with Gaul. 18:5 Sept-Oct '82 , 26-31 . ill. Monroe, Marilyn French screenwriters . Commentary about and inter- Authors Stenn, David . Marilyn Inc. 18:5 Sept-Oct '82 , 42 - 46. ill. views with Gerard Brach, Christopher Frank, Jose The post-modern Marilyn industry. Giovanni and Francis Veber. Adair, Gilbert Thomson , David . Baby go boom . 18:5 Sept-Oct '82 , Sedgwick, Edle Journals: Gilbert Adair from a country manor. 18:2 March- 34-41 . ill . MM as a pin-up photo supreme. Hoberman, J. Edie: shooting star. 18:5 Sept-Oct '82, Music 47-49. ill. Edie Sedgwick's celebrity status. April '82 , 4, 6. Zei chner, Arlene. Rock 'n video. 18:3 May- J une '82, 29-41 . Sex and the Cinema Allen, Tom ill . Vogel, Amos. Independents: missionary positions . 18:3 bk . rev . Marill , Alvin. Movies made lor television: the Musicals May-June '82, 73- 75 . Independent film artists who are teleleatures and the mini-series . 18:1 Jan-Feb '82, 66- 67. Rickey, Carrie. Let yourself go! 18:2 March-April '82 , saving sex from the pornographers. Ref. National Sex bk . rev . Wicking , Christopher and Tise Vahimagi, The 43- 47. ill . Musi cals of the 1980s: ONE FROM THE Forum catalog. HEART (Coppola) , PENNIES FROM HEAVEN (Ross) Simmons, Matty American vein. 18:1 Jan-Feb '82 , 66-67. and VICTORNICTORIA (Edwards) , Meisel , Myron. Welcome to , . , the last chance Lampoon. Bracketting Wilder. 18:3 May-J une '82, 29-31 . New Directors/New Films 18:6 Nov-Dec '82, 56-59. ill . The comedy revolution. Journals: New York . 18:4 July-Aug '82, 2, 4, 6. Allen, Tom . Journals: New York : 18:4 July-Aug '82, 2, 4, 6. Ref. Simmons and the Lampoon Organization. Ansen, David ill. 11th annual New Directors/ New Films series. Skollmowskl, Jerzy 18:2 March- April '82, 55. Academy Award predictions. New York Film Festival Yak ir, Dan . Polestar. 18:6 Nov-Dec '82, 28-32. ill. Includes Jacobson , Harlan. The 20th New York Film Festival. 18:6 interviews with Skolimowski and Jeremy Irons. Over- Bartel, Paul Nov- Dec '82 , 61-63. ill. KOYAANISQATSI (Godfrey view of Skolimowski's films, career. Ref. MOONLIGHT- Guilty pleasures. 18:5 Sept-Oct '82, 60-62 . Reggio) , DARK CIRCLE (Judy Irving, Chris Beaver and Beaupre, Lee Ruth Landy) , LITTLE PEOPLE (Jan Krawitz and Thomas ING. 18:2 March-April '82, 55. Academy Award predictions. Ott), SAY AMEN , SOMEBODY (George Nierenberg) , Spielberg, Steven Distributors' derby.18:2 March-April '82 , 62. COMING OF AGE (Josh Hanig) . McCarthy, Todd . Sand castles: Steven Spielberg inter- Billanll, Dean McCourt, James. The 20th New York Film Festival. 18:6 The names behind the titles. 18:3 May-June '82, 60-67. Nov-Dec '82, 60-61 , 64-66. ill. THE DRAUGHTSMAN 'S viewed . 18:3 May-June '82, 53-59. ill . Includes interview. CONTRACT (Peter Greenaway), THE NIGHT OF THE Ref. E.T. and POLTERGEIST (Tobe Hooper) . Byron, Stuart SHOOTING STARS (Paolo and Vittorio Tav iani) , IDEN- Stallone, Sylvester 18:2 March-April '82, 55. Academy Award predictions. TIFICATION OF A WOMAN (Antonioni) , TIME STANDS See: ROCKY III bk . rev. Carey, Gary. All the stars in heaven: the story 01 STILL (Peter Gothar) , VERONIKA VOSS (Fassbinder) , Stark, Ray THE STATIONMASTER'S WIFE (BOLWIESER) (Fass- Jacobson , Harlan . Stark reality, 18:4 July-Aug ' 82, 47-48. Louis B. Mayer's M-G-M. 18:1 Jan-Feb '82, 69-70. binder) , ANOTHER WAY (Karoly Makk) , FITZCAR- Ray Stark's ANNIE, the ultimate producer's movie. bk. rev. Pirie, David. Anatomy 01 the movies . 18:1 Jan- RALDO (Herzog), MOONLIGHTING (Jerzy Skolimow- ski), TEX (Tim Hunter) , VORTEX (Scott B and Beth B) Stars_ Feb '82, 68-69. Stein , Elliott, The 20th New York Film Festival. 18:6 Nov- See: Actors and Actresses Chute, David Dec '82, 60, 67-72. ill . THE TROUT (Joseph Losey), Sturrldge, Charles bk . rev, Brooks, Louise. Lulu in Hollywood. 18:6 Nov- ONE MAN'S WAR (Edgardo Cozarinsky) , THE TY- See: BRIDESHEAD REVISITED RANT'S HEART (Miklos Jancso) , IDENTIFICATION OF Sundance Institute Dec '82, 73. Keys, Wendy . Journals: Sundance. 18:5 Sept-Oct '82 ,7-8. The Ayatollah of the moviola. 18:4 July-Aug '82 , 26-31. Films go EC/ DC: the great frame robbery. 18:5 Sept-Oct Sylbert, Richard McBride, Joseph. Art directors: Richard Sylbert inter- '82, 13-17. Journals: Los Angeles. 18:1 Jan-Feb '82, 2-4 . viewed. 18:1 Jan-Feb '82, 43-46. ill. filmogr. p. 50. New! faces of 1981 . Jan-Feb '82, 52-53. The new world of Roger Corman . 18:2 March - April '82, Career. Television 26- 32 . yoburn , Marcia Froelke and Richard Corliss, Television : 1981 and all that . 18:1 Jan-Feb '82, 54-55 , 10 best of 81 . Clarens, Carlos Art directors: Jack Fisk. 18:1 Jan-Feb '82, 46-49. 72

Barbarians now . 18:3 May-J une '82, 26-28. ORIGINAL AMERICAN & EUROPEAN / Masculine/ Feminine. 18:3 May-June '82, 18-19. Coburn, Marcia Froelke L Television : the great SNEAK PREVIEWS hunt. 18:6 Nov- MOVIE POSTERS I Dec '82 74-75 . LOBBY CARDS AND PRESSBOOKS;i1 COrllll, Mary Art directors: Jack Fisk. 18:1 Jan-Feb '82, 46-49. 'r~ fll~ ~()II2/()I(I\\I~()\"11 -- Journals: Cannes. 18:5 Sept-Oct '82, 2, 6, -- Journals: Toronlo. 18:6 Nov-Dec '82, 13, 1, See also: Richards, Mary -- COrllll, Richard , Art directors: Jack Fisk. 18:1 Jan-Feb '82, 46-49. -- 1981 and all that. 18:1 Jan-Feb '82 , 54-55. 10 best of 81 . ;,\"i ()I2~\"~/()()[)\"I2[)/l,,~(J Orbits: Grace Kelly , 1929- 82. 18:6 Nov-Dec '82, 78. ,, -- Television : FAMILY FEUD, 18:1 Jan-Feb '82 , 73- 74 . Television : the great SNEAK PREVIEWS hunt. 18:6 Nov- J,1- 1111(11()(l\\/f\"SSI3I~[)112 -- -- Dec '82. 74-75. ~'-1 fIJ llll2/rol2[)11I2IJff\" IJI -- Too high the moon : a modern romance. 18:2 March - April -4.,' -- '82, 16, Who'd look at you now, kid? 18:6 Nov-Dec '82, 19, ~!~ £:\"\"\"~'\"'\" MAN~ MORE -- See also: Richards, Mary Delaon, James --- -. .. , . -- Art directors: Ken Adam . 18:1 Jan-Feb '82 , 36- 42 , -- Dolls, George 1- - The floating opera . 18:5 Sept-Oct '82, 56-59. Durang, Chrlltopher 1- - Guilty pleasures. 18:1 Jan-Feb '82, 62-65. Ebert, Roger -'-- --\"''' -r' ;. 18:2 March-April '82, 55, Academy Award predictions. Farber. Stephen I Making book on TV. 18:6 Nov-Dec '82 , 42-47 . Flaherty, Joe L- HEAVILY ILLUSTRATED CATALOG FILLED WITH INFO - - ROCKY 'S road . 18:4 July-Aug '82, 58-63. For the Advanced Collector & Novice , $5. Walter Reuben/Box Foster. Jodie / y ee?t.26 6, ~ /Aystir , ~X ~87?8 I I I I I I I I I - r- Nastassia Kinski interviewed . 18:5 Sept-Oct '82, 50. Geng. Veronica I III II bk . rev. Weis, El isabeth , The movie star . 18:1 Jan-Feb '82, /I 72. Greco, Mike Journals: Paris. 18:5 Sept- O ct '82. 8,10, Greenfield. Pierre Television : outbreak of Waugh. 18:2 March-April '82, 76-77. Hamltton. James Photos by James Ham ilton . 18:2 March-April '82, 18-23, Harmelz, Allean 18:2 March-April '82, 55. Academ y Award predictions. Hoberman. J, bk, rev. Hirsch, Foster. The dark side 01 the screen: lilm noir. 18:1 Jan- Feb '82, 68. bk . rev . Thomas , Frank and Ollie Johnson . D isney animation: the illusion olli/e. 18:1 Jan-Feb '82 , 68-69. Edie: shooting star. 18:5 Sept-Oct '82 . 47-49. Veni, vidi , vi deo ... 18:3 May-June '82, 34- 36. Inldor!, Annette Art directors: Alexandre Trauner interviewed. 18:1 Jan- Feb '82, 34-36. JacobIan. Harlan Hollywood lays an egg . 18:3 May-June '82 , 49-52 . Leave it to Begelman. 18:5 Sept-Oct '82, 53-55. Stark reality. 18:4 July-Aug '82, 47-48. The 20th New York Film Festival. 18:6 Nov-Dec '82, 61-63. Jameson, Richard T, 1981 and all that. 18:1 Jan-Feb '82, 54-55 . 10 best of 81 . Wild Bill. 18:6 Nov-Dec '82, 20-27 . Kehr, Dave Funny peculiar. 18:4 July-Aug '82, 9-16 Kennedy. Harlan Assignment in Berlin, 18:3 May-June '82 , 20-23. Fassbinder's four daughters. 18:5 Sept-Oct '82 , 20-24 . Journals: London . 18:2 March-April '82 , 2, 4. Journals: Venice. 18:1 Jan- Feb '82, 4, 6, 8. Journals: Venice. 18:6 Nov-Dec '82, 2. Peter Greenaway: his rise and FALLS . 18:1 Jan-Feb '82, 18-22. Things that go howl in the id . 18:2 March-April '82, 37-29. 21st century: nervous breakdown . 18:4 July-Aug '82, 64-68. Keys. Wendy Journals: Sundance. 18:5 Sept-Oct '82, 7-8. Klein Andy Cable freex . 18:3 May-June '82, 44-45 . Lamoni. Austin Journals: Park City , Utah . 18:3 May-June '82 , 2, 4. McBride, Joseph Art directors: Richard Sylbert . 18:1 Jan-Feb '82 , 43-46. McCarthy. Todd 18:2 March-April '82, 55. Academy Award predictions. Phantom Hawks. 18:5 Sept-Oct '82 , 63- 76 . Sand castles: Steven Spielberg interviewed . 18:3 May- June '82 53-59. McCourt James The 20th New York Film Festival. t8:6 Nov-Dec '82, 60-61 , 64-68. Mallin. Leonard Books: credits where credits are due. 18:5 Sept-Oct '82 , 78-79 . Journals: Ottawa. 18:6 Nov-Dec '82, 2, 6, 10-1 1. Meisel. Myron 18:2 March-April '82, 55. Academy Award pred ictions, Industry: 7th annual grosses gloss . 18:2 March-Apri l '82, 73

.. .--_-.. ...._..- 60-66. bk . rev. Henderson , Brian. A critique of film theory, 18:1 Welcome to . . .the last chance Lampoon . 18:6 Nov-Dec Jan- Feb '82, 72 . ~ '82, 56-59. bk . rev. Jameson, Fredric. The political unconscious . EBRTS Who picks the Oscars? 18:2 March-April '82, 53-56. 18:1 Jan- Feb '82, 70-71 , Film Music Is Milius, John Guilty pleasures. 18:3 May-June '82, 24-25 . bk . rev. lovell, Terry, Pictures of reality . 18:1 Jan- Feb '82 , Our Forte O'Toole, Lawrence 71 . bk . rev. Mordden, Ethan. The Hollywood musical. 18:3 Exclusive Soundtrack Selections bk . rev. Nichols, Bill. Ideology and the image. 18:1 Jan- And Limited Editions! May-June '82 , 76-77. Feb. '82, 70. Now read the movie. 18:6 Nov- Dec '82 , 34-38. Over 1.000.000 LP'S available: Television : outbreak of Waugh. 18:2 March-April '82, 77-78. bk . rev. Williamson, Judith . Decoding advertisements. In-Print and Out-of-Print. an array of Richards, Mary 18:1 Jan- Feb '82, 70. imports. highly-desired reissues. and The gay deception . 18:3 May-June '82,15-18. original casts (on and off Broadway). Rickey, Carrie Independents : missionary positions. 18:3 May-June '82, Art directors: theatrical realism. 18:1 Jan-Feb '82 , 32-33. 73- 75 . We offer the finest service let yourself go! 18:2 March-April '82, 43-47. available - monthly auctions by mail Riley, Brooks Independents: Smashing myths about the intormation (rare. unique titles). the only monthly Film into video. 18:3 May- June '82 , 45-48. industry. 18:6 Nov- Dec '82, 76-77, FlImusic Newsletter \"Music Gazette\" Orbits : Abel Gance. 1889-1981 . 18:1 Jan-Feb '82 , 79. Rainer Werner Fassbinder 1946-1982. 18:5 Sept-Oct '82, Weigand, Ingrid For YOUR copy of our extensive The floating opera. 18:5 Sept-Oct '82, 56 - 59. catalog. a sample of \"Music Gazette\" 19-20. Welswelller, Carole ($2 value). and monthly auction. Rosenbaum, Jonathan Art directors : Alexandre Trauner. 18:1 Jan-Feb '82, 34-36. Please Remit $1.00 TODAY TO: bk . rev. Pechter, William S. Movies plus one. 18:4 July- Yakir, Dan Industry: off with their heads! 18:3 May - June '82,78-79. RTS, Dept. 20A Aug '82, 78- 79. Just Jost. 18:1 Jan- Feb '82, 56-61 . Jean Eustache 1939-1981 . 18:1 Jan-Feb '82, 27- 20. P_O. Box 687 The man in the great flammable suit. 18:4 July-Aug '82, MISSING in action : Costa-Gavras interviewed , 18: 2 Costa Mesa, California 92627 17-20. March-April '82, 57-59. (714) 544-0740 Tu-Th 12-4 pm 1981 and all that. 18:1 Jan-Feb '82 , 54-55. 10 best of 81. Polestar. 18:6 Nov- Dec '82, 28-32 . Ross, Chuck Writers with Gaul. 18:5 Sept-Oct '82 , 26- 31 . CINEMA CITY is a complele service lor ••••••••••••••• The great script tease. 18:6 Nov-bec '82,15-19. Zacks, Richard cinema collectors. dealing with anginal Sarris, Andrew The cable boom. 18:3 May-June '82 , 36- 38. movie poslers. photos and related collect- 18:2 March - April '82, 55. Academy Award predictions. Death of the gunfighters . 18:2 March - April '82, 40-42. Film Titles • ables. Onginal motion picture graphics are Schickel, Richard sought by collectors throughout the world. Guilty pleasures. 18:4 July-Aug '82, 21-23. AMERICAN SUCCESS (West Germany, William Richert) Sch III, Stephen See: SUCCESS • Original film posters are a unique remem- Gun-totin ' women . 18:1 Jan- Feb '82 , 23-26. ANNIE (U .S.. John Huston) brance of a memorable film . and because The repeatable experience. 18:2 March-April '82 , 34-36 . Jacobson , Harlan . Stark reality . 18:4 July-Aug ' 82, Seale, Jim • of their limited number. may become fine Marshalling Dillon . 18:4 July-Aug '82, 55-57 . 47-48 . investment pieces. Many items, with their Smithee, Allen ANOTHER WAY (Hungary, Karoly Makk) distinctive artwork, make attractive wall Terms in turnaround. 18:4 July- Aug '82, 40-41 . See: New York Film Festival Solomon, Charles AT THE MOVIES (TV) • decorations that are sure 10 be the topic of Will the real Walt Disney please stand up? 18:4 July- Aug Coburn, Marcia Froelke and Richard Corliss. Television. diSCUSSion among movie lovers, '82, 49- 54. 18:6 Nov-Dec '82, 74-75. ill. AT THE MOVIES and ••• All matenal is anginal - we deal with no Sragow, Michael SNEAK PREVIEWS. copies. reprints. or anything 01 a bogus bk . rev. MacDonald , Dwight. On movies . 18:4July-Aug '82, BLADE RUNNER (U .S., Ridley Scott) Kennedy, Harlan. 21st century: nervous breakdown . 18:4 • nature. Our latest catalogue lists thousands 76-77. July-Aug '82, 64- 68. ill. Includes interview with Scott. of items Ihat Include posters. photos (over Stein, Elliott BOLWIESER (West Germany, Rainer Werner Fassbinder) bk. rev. Atwell, David. Cathedrals of the movies: a history See: New York Film Festival • 30.000 in stock). lobby cards. pressbooks. BRIDESHEAD REVISITED (Granada TV, Michael Lind- and other authentic film memorabilia. If of British c inemas and their audiences. 18:2 March- say-Hogg and Charles Sturridge) you 're looking for a particular Item that is April '82, 72- 73. Greenfield, Pierre. Television: outbreak of Waugh . 18:2 bk. rev . Bishop, Mary, Bill Knight and Jim Marsico. The March- April '82, 76-77. • not In our catalogue, we will try to locate It Ohio Theatre. 18:2 March- April '82, 72-73. O'Toole, lawrence, Television: outbreak of Waugh . 18:2 for you , To receive our latest catalogue, bk, rev . Lacloche, Francis. Architectures de cinema. March-April '82, 77 - 78. 18:2 March-April '82 , 72- 73. BURNING BRAZIER, THE (France, Ivan Mozhukhin) • send $1 .00 (refundable with first order) to: bk . rev. McBride, Joseph. Hawks on Hawks . 18:2 March - See: New York Film Festival April '82, 74- 75. CASABLANCA (U .S., Michael Curtiz) • 'Clllr.,.-'(::II~ I[~\\A bk. rev. Naylor, David . American picture palaces: the Corliss, Richard . 18:6 Nov-Dec 82 , 19. How would CASA- P.O.Box 1012. Dept. FC architecture of fantasy. 18:2 March- April '82, 73- 74. BLANCA fare in today's movie market? bk . rev. Peart , Stephen . The picture house in East Anglia . Ross, Chuck. The great script tease. 18:6 Nov-Dec '82, ••• Muskegon, Michigan 49441 18:2 March- April '82, 72. 15- 19, ill. The CASABLANCA experiment: script sent bk . rev. Pildas, Ave. Movie palaces . 18:2 March-April '82, to modern movie agents. 72-73 . CAT PEOPLE (U .S.. Paul Schrader) Calcutta: India, Inc. 18:4 July- Aug '82, 69-75. Thomson, David . Cats: Paul Schrader interviewed. 18:2, 1981 and all that. 18:1 Jan- Feb '82, 54-55. 10 best of 81 . March- April '82, 49- 52. ill. The 20th New York Film Festival. 18:6 Nov-Dec '82, COMING OF AGE (U .S., Josh Hanig) 60,67-72. See: New York Film Festival Slenn, David CONAN THE BARBARIAN (U.S., John Milius) Marilyn Inc. 18:5 Sept- Oct '82, 42-46. Clarens, Carlos. Barbarians now. 18:3 May- June '82 , Taubin, Amy 26- 28. Video art. 18:3 May- June '82,42- 43. CREEPSHOW (U .S.. George Romero) Thompson, Anne Chute, David . Films go EC / DC : 18:5 Sept - Oct '82,13-17. 1981 and all that. 18:1 Jan-Feb '82, 54-55 . 10 best of 81 . ill. Influence of comic book art on pop movie art. Terms in turnaround. 18:4 July- Aug '82, 40-41. DANTON (France, Andrzej Wajda) Thomson, David Greco, Mike. Journals: Paris. 18:5 Sept-Oct '82 , 8, 10. Acting English. 18:3, May-June '82, 7-14. Includes Wajda interview material. Appraise the lords. 18:4 July-Aug '82, 42-46. DARK CIRCLE (U .S., Judy Irving, Chris Beaver and Ruth Baby go boom. 18:5 Sept- Oct '82, 34-41 . Landy) Cats: Paul Schrader interviewed. 18:2 March-April '82, See : New York Film Festival 49-52. DONAHUE (TV) Failing in love again: divorce and remarriage in the movies. Corliss, Richard. Television. 18:1 Jan-Feb '82,73-74. ill. 18:2 March-April '82, 9-17. DRAUGHTSMAN'S CONTRACT, THE (United Kingdom, Goldie gets serious. 18:6 Nov- Dec '82, 49-55. Peter Greenaway) The missing auteur. 18:4 July- Aug '82, 34-39. See: New York Film Feltlval Redtime. 18:1 Jan-Feb '82, 11-16. E.T. THE EXTRA-TERRESTIAL (U .S., Steven Spielberg) Tuchman, Mitch McCarthy, Todd . Steven Spielberg interviewed. 18:3 May- Bradbury: Ray Bradbury interviewed. 18:6 Nov-Dec '82 June '82, 53 - 59. ill. FALLS, THE (United Kingdom, Peter Greenaway) 39-41. Kennedy, Harlan. 18:1 Jan-Feb '82, 18- 22. ill. Greenaway's Video: all America's in lOVE. 18:2 March-April '82, 68-71 . films and structuralism. Wayne Fitzgerald interviewed. 18:3 May-June '82, 68- 71 . FAMILY FEUD (TV) Corliss, Richard. Television. 18:1 Jan-Feb '82, 73 - 74. ill. Vogel. Amos FITZCARRAlDO (West Germany, Werner Herzog) bk. rev. Bordwell, David and Kristin Thompson . Film art. Dolis, George and Ingrid Weigand. The floating opera. 18:5 Sept-Oct '82, 56-59. ill. 18:1 Jan- Feb '82, 72. Kennedy, Harlan. Assignment in Berlin . 18:3May- June '82, bk. rev. Caughie, John. Television: ideology and ex- 20-23. ill. See also: New York Film Feltlval change . 18:1 Jan-Feb '82 , 71-72 . IDENTIFICATION OF A WOMAN (Italy, Michelangelo bk. rev. Coward , Rosalind and John Ellis. Language and Antonioni) See: New York Film Feltlval materialism . 18:1 Jan- Feb '82, 71 . KOYAANISQATSI (U ,S., Godfrey Reggio) bk . rev. Delaurentis, Teresa and Stephen Heath. The See: New York Film Feltlval cinematic apparatus, 18:1 Jan- Feb '82, 70 bk . rev. Guuetti, Alfred. Two or three things I know about her. 18:1 Jan-Feb '82, 71 74

LIGHT AHEAD, THE (U .S., Edgar G . Ulmer) VIDEODROME (Canada, David Cronenberg) A FILM BY RICK SCHMIDT See: New York Film Fellivll Chute, David. Journals : Los Angeles. 18:1 Jan-Feb '82 , LILI MARLEEN (West Germany, Rainer Werner Fass- EMERALD 2-4 . ill . binder) VORTEX (U .S.. Scott B and Beth B) CITIES Kennedy, Harlan . Fassbinder's four daughters. 18:5 Sept - See: New York Film Feilival WINTER KILLS (U .S. William Richert) While most the world happily sits and Oct '82 , 20-24 . ill. Jameson , Richard T . Wild Bill. 18:6 Nov- Dec '82 , 20- 27. ill. watches shadows dance on the walls of LITTLE PEOPLE (U .S.. Jan Krawitz and Thomas Ott) Plato's cave, Rick Schmidt has again ven- See: New York Film Fellival Book Reviews tured fearlessly out into the Valley of Death LOLA (West Germany, Rainer Werner Fassbinder) and the Alleys of the City . The story he has Kennedy , Harlan . Fassbinder's four daughters. 18:5 Sept- Atwell, David returned with is as likely to confound and Cathedrals of the Movies : a History of British Cinemas and astound his listeners as did the original Oct '82 , 20-24 . ill. announcement that the shadows ain't the LOVE TAPES (U .S., video program , Wendy Clarke) Their Audiences. London : Architectural Press, 1981 . whole show. In Schmidt's update the flicker- Tuchman , Mitch. Video: all America 's in LOVE. 18:2 18:2 March-April '82 , 72-73. rev. Elliott Stein . ing shadows have been transformed to the Bllhop, Mary, Bill Knight and Jim Marsico (jt. eds.) gentle green glow of TV phosphors, and the March-April '82, 68- 71 . ill. Includes interview . The Ohio Theatre. Available from The Ohio Theatre, confusions of realer than real, coaxed from MAD MAX (Australia, George Miller) 28 E. State St. , Columbus, Ohio . 18:2 March-April '82 , the mouths of our \"citizens on the street,\" Chute, David . 18:4 July-Aug '82 , 26- 31 . ill. Includes in- 72 - 73 . rev. Ell iott Stein . shrieked through the howling feedback of 2 Bordwell, David and Krlslln Thompson emminent post-punkoid Bay Area Bands , terview material. Film Art. Reading , Mass: Addison-Wesley , 1979. 18:1 Jan- Flipper and The Mutants. (Conveniently MAD MAX 2 (Australia, George Miller) Feb '82, 72. rev. Amos Vogel. Schmidt has de-coded their songs in elegant See: ROAD WARRIOR, THE Brooks, Louise subtitles, allowing the viewer to savor the MADAM SATAN (U .S.. Cecil B. DeMille) Lulu in Hollywood. New York: Knopf, 1982. 18:6 Nov-Dec meaning of such songs as NEW DARK See: New York Film Fellival '82, 73. rev. David Chute. AGES, WE NEED A NEW DRUG, ONE BY MARRIAGE OF MARIA BRAUN, THE (West Germany, Carey, Gary ONE, and other signs of the times.) All the Stars in Heaven: The Story of Louis B. Mayer's Rainer Werner Fassbinder) M - G-M . New York: E.P. Dutton , 1981 . 18:1 Jan-Feb '82, As with Schmidt's earlier 1988-THE Kennedy Harlan. Fassbinder's four daughters . 18:5 Sept- 69-70. rev. Stuart Byron . REMAKE, EMERALD CITIES displays Caughle, John (ed .) editorial wizardry which mixes moods and Oct '82, 20-24. ill. Television: Ideology and Exchange . London : BFI . 1978. media in a dizzying pace which at first may MISSING (U .S., Costa-Gavras) 18:1 Jan-Feb '82 , 71-72. rev. Amos Vogel. seem haphazard, but which at a second Yak ir, Dan . MISSING in aclion: Costa- Gavras interviewed. Coward, Rosalind and John Ellis glance takes on an order which its material Language and Materialism . Boston: Routledge and Kegan would seem incapable of producing . Schmidt 18:2 March-April '82 , 57-59. ill . Paul , 1977 . 18:1 Jan- Feb '82 , 71 . rev. Amos Vogel. is a first-rate iconoclast, playing on the MOONLIGHTING (United Kingdom , Jerzy Skolimowsk i) DeLaurentis, Teresa and Stephen Heath (it. eds.) popular mythologies which fixate our stare Yakir, Dan. 18:6 Nov - Dec '82 , 28-32. ill . Includes interviews The Cinematic Apparatus . New York : SI. Martin's, 1980. and blind us to deeper realities. Like most 18:1 Jan-Feb '82 , 70. rev. Amos Vogel. iconoclasts (like the messenger who re- with Skolimowski and Jeremy Irons. Gunettl, Allred turned to the cave bearing the 'bad' news) his See also: New York Film Feilival Two or Three Things I Know About Her. Cambridge, Mass.: may seem a threatening vision, but beneath NEWSPAPER TIGER TELEVISION PRODUCTION: Harvard Univ. Press , 1981 . 18:1 Jan-Feb '82 , 71 . rev . the shattered images lies a compassion Amos Vogel. which one might wish would animate us all. SMASHING MYTHS ABOUT THE INFORMATION IN- Henderson, Brian DUSTRY (U .S., series of video tapes, DeeDee Halleck et A Critique of Film Theory . New York : E.P. Dutton , 1980. - Jon Jost al.) 18:1 Jan-Feb '82, 72. rev. Amos Vogel. Vogel, Amos. Independents. 18:6 Nov-Dec '82 , 76-77. ill . Hirsch, Foster FOR THEATRICAL BOOKiNGS AND / OR IN NIGHT OF THE SHOOTING STARS, THE (Italy, Paolo The Dark Side of the Sc reen : Film Nair. New York : A .S. PERSON SHOWS PLEASE TELEPHONE: and Vittorio Taviani) Barnes, 1981 . 18:1 Jan-Feb '82, 68. rev . J. Hoberman . See: New York Film Fellival Jameson, Fredric (201) 891-8240 l·-j ~ ONE FROM THE HEART (U .S., Francis Ford Coppola) The Political Unconscious. Ithaca: Cornell Univ. Press, Or write: Rickey, Carrie. 18:2 March-April '82, 43-47. Musicals of the 1981 . 18:1 Jan-Feb '82, 70-71 . rev. Amos Vogel. 13(»< :3·15 1980s . Lacloche, Francl. ONE MAN'S WAR (France, Edgardo Cozarinsky) Architectures de Cinema . Paris: Ed it ions du Moniteur. Fru nkli n I_Clkes, See: New York Film Fesllval 18:2 March-April '82, 72- 73 . rev. Elliott Stein . PENNIES FROM HEAVEN (U .S.. Herbert Ross) Lovell, Terry r···.j . J. (:)7417 Rickey, Carrie. 18:2 March-April '82, 43-47. ill. Musicals of Pictures of Reality . London : BFI , 1980. 18:1 Jan-Feb '82 , the 80s. 71 . rev. Amos Vogel. POLTERGEIST (U .S.. Tobe Hooper) McBride, Joseph McCarthy, Todd . Steven Spielberg interviewed . 18:3 May- Hawks on Hawks . Berkeley : Univ. of Calif. Press, 1982. June '82, 53-59. ill. 18:2 March-April '82, 74- 75 . rev. Elliott Stein . RAGTIME (U .S.. Milos Forman) MacDonald, Dwight Thomson , David . Redtime. 18:1 Jan- Feb '82, 11-16, ill. On Movies. New York: DaCapo. 1981 . 18:4 July - Aug ' 82 , RAGTIME and REDS . 76-77 . rev. Michael Sragow. REDS (U .S., Warren Beatty) Marlll, Alvin H. Thomson, David. Redtime. 18:1 Jan-Feb '82, 11-16, ill. Movies Made for Television : The Te/efeatures and the REDS and RAGTIME. Mini-series 1964-1979. New York : Arlington House, ROAD WARRIOR, THE (Australia, George Miller) 1979. 18:1 Jan-Feb '82, 66-67 . rev . Tom Allen . Chute, David. 18:4 July- Aug '82. 26-31 . ill. Includes in- Mordden, Ethan terview material. The Hollywood Mus ical. New York : St. Martin 's, 1981 . ROCKY III (U .S., Sylvester Stallone) 18:3 May-June '82, 76- 77 . rev. Lawren ce O'Toole. Flaherty, Joe. Rocky 's road. 18:4 July-Aug '82, 58-63. ill. Naylor, David SAY AMEN, SOMEBODY (U .S., George Nierenberg) American Picture Palaces: The Architecture of Fantasy . See: New York Film Fesllval New York: Van Nostrand Reinhold, 1981 . 18:2 March- SECRET OF NIMH, THE (U .S., Don Bluth) April '82, 73- 74 . rev. Elliott Stein . Solomon , Charles. Will the real Walt Disney please stand Nichols, Bill up? 18:4 July-Aug '82 , 49-54 . ill. Ideology and the Image . Bloomington : Indiana Univ. SHOOT THE MOON (U .S.. Alan Parker) Press, 1981 . 18:1 Jan-Feb '82, 70. rev. Amos Vogel. Corliss, Richard. Too high the moon: a modern romance. Peart, Stephen 18:2 March-April '82 , 16. ill. The Picture House in East Anglia . Lavenham , Suffolk, SNEAK PREVIEWS (PBS-TV) England : Terence Dalton , 1982. 18:2 March-April '82, 72. rev . Elliott Stein. Coburn , Marcia Froelke and Richard Corliss. Television : Pechter, William S. AT THE MOVIES and SNEAK PREVIEWS . 18:6 Nov-Dec Movies Plus One . New York: Horizon , 1981 . 18:4 July- '82, 74-75. ill. Aug '82, 78-79. rev. Jonathan !'losenbaum . Plldas, Ave STATIONMASTER'S WIFE, THE (West Germany, Rainer Movie Palaces . New York : Clarkson N. Potter, 1980. 18:2 Werner Fassbinder) March-April '82, 73. rev. Elliott Stein . PIrie, David (ed .) See: New York Film Festival SUCCESS (West Germany, Will iam Richert) Anatomy of the Movies . New York : MacMillan , 1981 . Jameson , Richard T . Wild Bill. 18:6 Nov- Dec '82 , 20-27 ill. 18:1 Jan-Feb '82, 68- 69. rev. Stuart Byron . TEX (U .S., Tim Hunter) Thomas, Frank and Ollie Johnson Seale, Jim . Marshalling Dillon : TEX. 18:4 July-Aug '82, Disney Animation : The Illusion of Life. New York : Abbeville 55-57 . ill . Press , 1981 . 18:1 Jan-Feb '82 . 68-69. rev. J . Hoberman . See also: New York Film Festival We Is, Elisabeth (ed .) TtME STANDS STILL (Hungary, Peter Gothar) \\ The Movie Star. New York: Viking, 1981 . 18:1 Jan-Feb '82, See: New York Film Feltlval TRON (U .S., Steven Lisberger) 72 . rev. Veronica Geng . Solomon , Charles. Will the real Walt Disney please stand Wlcklng, Christopher and Tlse Vahlmagl The American Vein . New York : E.P . Dutton , 1979. 18:1 Jan- up? 18:4 July-Aug '82 , 49-54 . ill. TROUT, THE (France, Joseph Losey) Feb '82, 66-67 . rev. Tom Allen . See: New York Film Fesllval WIlliamson, Judith TYRANT'S HEART, THE (Hungary, Miklos Jancso) Dec oding Advertisements . Lawrence, Mass: Marion See : New York Film Feilival Boyars, 1978. 18:1 Jan-Feb '82 , 70. rev. Amos Vogel. VERONIKA VOSS (West Germany, Rainer Werner Fass- binder) Kennedy, Harlan . Fassbinder's four daughters. 18:5Sept- Oct '82 , 20-24 . ill . See also: New York Film Festival VICTORNICTORIA (U .S., Blake Edwards) Clarens, Carlos. Masculine/ Feminine. 18:3 May-June '82, 18-19. ill. Rickey. Carrie. 18:2 March-April '82 , 43-47. ill. Musicals of the 80s. 7S

.. The Atom and Eve ofDestruction by Amos Vogel misdeeds of his enemy; in Hiroshima (a further tribute to the sagacity of com- and Nagasaki, however, we recorded in merce). Two of these films (one by Su- The photographic record is clear: The godlike \"objectivity\" our own crimes sumu Hani, director of Children Who crew smiled as it autographed its bomb. and then, blinded by their unexpected Draw, and She and He) were among A few hours later, their tiny device had glare, consecrated them to airtight those shown at the Japan Society. destroyed Hiroshima, killing 140,000 vaults. people in a fraction of a second. How can one convey the reality, tex- In 1951, a film society, Cinema 16, ture, tragedy of these images in words? Efficiently, an American Strategic obtained from the government the horri- In the uncertain dusk of underdevel- Bomb Survey Group arrived immedi- fying The Atom Strikes: Part I, Damage to oped indoor shots, we see beings whose ately to film what was left-producing Structures. Significantly, it was unable to skin is coming off in strips. They are the equivalent of twenty feature-length get the second part, Damage to People. alive. Others lie insensate, their entire films. It was immediately declared clas- backs or front torsos burned off. Piti- sified and has remained forbidden and In 1959, Cinema 16 imported from Ja- fully, a few doctors scurry about, poign- unseen for the last thirty-five years. pan Fumio Kamei's It Is Good to Live, ant to the point of disbelief. Confronted with footage of the event and its after- with festering, garish wounds, they care- One could surmise a deep, almost math. In 1970, Columbia University's fully dab them here and there with the mystical feeling of awe, of a guilt too Paul Ronder and Eric Barnouw pro- tiniest of cotton wads. profound to be confrontable, hence re- duced the moving fifteen minute short pressed. There is, after all, the unspeak- of Hiroshima-Nagasaki, from a three There is a hand whose fingers have able commission of an obscene crime hour Japanese documentary. And in \"fused\" into a mass. A face, close-up, that, besides those flash-fired instantly, 1982, the Japan Society in New York without a mouth or lips. Dazed people, killed untold tens of thousands of vic- presented three evenings of \"Films on returning to the city, ignorant of radio- tims slowly and passed on genetic dam- Japan's Atomic Bomb Experience\": activity. Thousands of charred corpses age to an unknown number of genera- nine films, mostly premieres, featuring floating in the river to which they had the previously banned material. The au- run-hair, clothes, and bodies ablaze- tions. Besides the bodies and the bricks dience was literally speechless, seeing to escape the infernal heat. Shadows of there was the damaged psyche to which what had never been seen before. people and plants were burned into survivors, all Japan, and the rest of the stone-the original having vanished for- world remain enchained. First, however, they learned about ever. In the wreckage of a huge school, irony and imperial arrogance. Several teachers and students together learned Afterwards, the perpetrator's assis- years ago aJ apanesecitizen accidentally the final lesson. tants entered the prostrate city as cine- discovered the classified material in our matic conquerors, appropriating it a National Archives. He began a \"Ten There are the tears thirty-five years second time, now as filmic scavengers, FOQt Campaign,\" with individual Japa- after, when an otherwise composed sur- for military, medical, psychological, geo- nese purchasing ten feet of footage to vivor suddenly recalls the one traumatic logical, or sociological research. Such make a film. So far, 500,000 people have memory, and without warning breaks unexpectedly rich research data-with contributed 140 million yen to buy down on camera, demolishing racist humanity as guinea pigs-yielded a 100,000 feet of film. Thus the victim- stereotypes of the inscrutable Oriental. windfall of knowledge, of course, for eager to learn about the moments of his future wars. Nothing else. On the other deepest degradation-is \"permitted\" to We see maggots being removed from hand, one can be grateful to the scaven- purchase a souvenir from the perpetrator burnt skin and organs. Stills taken two gers for bringing back a record of sub- hours after impact show hundreds of lime human suffering and infamy that dazed, maimed, bleeding beings sitting, will live in history forever. In accord with lying, standing, screaming, or wander- great Greek myths, the scavengers ing-visions of living hell. Earnest sci- could not remain untouched by what entists, weeks after, painstakingly at- they encountered and absorbed radioac- tempt to reconstruct city maps, unable tive poisons themselves. to find streets or determine who lived where. They ask passers-by to help re- Their camera work was unprece- construct just one corner of one van- dented in its moral dimensions. It was as ished street, trying by mapmaking to if the Nazis, for posterity and research, find their moorings amidst the incom- had filmed the results of their extermi- prehensible. We see mountains of nations. Significantly, no such Nazi rec- bones, uncollected after three months. ord exists; those events were recorded only by the Allies at war's end. It is We see the half-eaten bowl of rice, usually the winner who photographs the bodies of children with intestines pro- truding, peQple with heads split open. 76

Painkillers arrived only many days later. cry of the vIctims of our crimes, acti- 2 FILMS BY JON JOST We watch the smiling girl in her hospital vated every time a projector is turned bed, many years after, charting the in- on. She has long since died , but every crease in her body's leukemia cells. An time any of these films are shown, any- old man remembers how a baby sucked where in the world, she returns. Will she her dead mother's nipples. Then he stir us to action-or shall we remain fro- breaks down. Another refers to \"the zen in impotent gestures of pity and morning the city turned black as night remorse, of watching and writing about with hurricane winds.\" The camera films? slowly pans across an endless number of For 16mm rentals/sales: identical jars containing grotesquely The Lost Generation and Prophecy: for malformed fetuses, in utero when the forthcoming American distributor, con- blast struck. tact: Hiroshima-Nagasaki Publishing LAST CHANTS FOR A After impact, there were no screams, Committee, Heiwa-kaikan 1-4-9 Shiba, only silence. Each person , momentarily, Minato-ku, Tokyo 105, Japan. SLOW DANCE had his own private sun, his entire uni- verse and being filled with it. We see Hiroshirrul: Document of the Atom Bomb: (DEAD END) victims who shiver endlessly, uncontrol- Audio-Visual Center, University of lably. We hearofthe endless nightmares Michigan, Ann Arbor, Mich. The easiest and most disturbing of Jost's features , and to my and guilt of the survivors. They are mind the best, LAST CHANTS conceivably gets closer to the shunned. They receive hate mail. In the U.S., the survivors-most of them Survivors: Survivors Film Project, 1765 mentality of the alienated and seemingly motiveless killer than American citizens-cannot obtain either Mailer or Capote. health coverage, physicians refuse them , the government denies legal re- Sutter Street, San Francisco, Calif. Jonathan Rosenbaum sponsibility but wants them to partici- 94115. Film Commenl pate in medical research on radiation ill- Pikadon: Film Wright, 4530 18 Street, ness. On one day a year, August 6th, LAST CHANTS is remarkable enough in its own terms but, they become news and are pounced remarkable though it certainly is, that would seriously upon by eager young journalists. San Francisco, Calif. 94114; or: Union underestimate the film 's importance. For LAST CHANTS does At Japan House, appearances by film- what virtually no other film made in the USA in the seventies makers and victims add to the surreal- ist atmosphere. One deathly pale of American and Japanese Professionals does - it exemplifies the possibility of a radical alternative Cinema, in economic, aesthetic and political terms - which does Against Nuclear Omnicide, PO Box not inevitably condemn itself in advance to an avant-garde, 156, Grantham, Pa. 17027. elitist or otherwise narrow and sectarian audience. Jim Hillier Hiroshirrul-Nagasaki: Museum of Mod- Movie ern Art, 11 West 53rd Street, New York, Beautifully filmed and edited, LAST CHANTS has the impact of a powerful short story. Trul y remarkable. N.Y. 10019 Vic Skolnick Cinema Film Folio Hiroshirrul: Then, Now and Never: Hiro- In its reconciliation of sophisti cated filmic self-consciousness shirrul: the People's Legacy: Hiroshirrul with clear moral/political didactic intent, LAST CHANTS is as close as we have come to a Brechtian Cinema, a cinema for Maidens: NHK, Bureauchief, 1 Rocke- - learning. David James feller Plaza, Room 1430, New York, S. Calif. Art Journal survivor flown in from Tokyo chills the N.Y. 10020. audience by his unaccountable dozing SurvivorsofHiroshirrul: Films Inc., 1144 on stage. An American cameraman who Wilmette Avenue, Wilmette, III. 60091. recorded the footage suffers from can- David Owens at Japan Society, 333 cer. (Another cameraman died.) He re- East47th Street, New York, N.Y. 10017, members that upon entering Nagasaki will be happy to provide further infor- the day after, he saw a \"cinema\"- mation. A listing ofover 100 titles on this thrown together from loose boards-in subject may be obtained for $2 prepaid which tattered, dazed survivors watched from John Dowling, Chairperson, an American Western. On Hazel Physics Dept., Mansfield State College, Bishop's This Is Your Life TV show, Mansfield, Pa. 16933. (Excerpts ap- seven \"Hiroshima Maidens,\" brought peared in Sightlines, Vol. 15, No.3 (c/o STAGEFRIGHT here for medical treatment, shake hands EFLA, 43 West 61st St., New York, with the copilot of the plane that carried N.Y. 10023). Another compilation is The key questions (of alternative cinema) were posed by Jon the bomb. In another film , we see available from Media Network, 208 Jost 's superb STAGEFRIGHT - a dramatic meditation on present-day Hiroshima: Colonel West 13th St., New York, N.Y. 10011. Cinema, theater, performance and politics which was too com- Sanders, Playboy Club, and tourists plex and too rich for one screening to be satisfactory. The gawking at A-bomb exhibits. Celine! Attention must also be drawn to three ending gave the most devastating example I have ever seen of Kafka! Lautreamont! Pynchon! outstanding books based entirely on vis- cinema's power to jolt an audience out of its complacency. ual materials: Briggs, When the Wind Extraordinary! Meaghan Morris Sydney Financial Review But the image that stays lasts about a Blows (by one of England's foremost car- ... One of the most powerful and shocking eruptions of vio lence minute. It appears in every single film; toonists; a harrowing masterpiece; I've ever seen in a film . Like the killed rabbit in LAST CHANTS, it no filmmaker can resist it. A baby lies on Schocken Books, 200 Madison Avenue, both gratifies our desires for meaning and action and shows the what we do not know, her serious face New York, N.Y. 10016); Sacred Fire (un- resultant blood on one's hands in the process. As long as Jost toward us, utterly alone. Periodically forgettable compilation of heart-wren- goes on making more films just as truthful , l don 't expect him to win any popularity contests. Jonathan Rosenbaum Film Commenl and passively, she opens her tiny mouth ching drawings done by survivors 35 For bookings and information please to slowly let out a scream-a long- ypars later; Pantheon Books, 201 East telephone : drawn, totally silent scream. No sound 50th Street, New York, N.Y. 10022); and camera was present. When it comes to Days to Remember (extremely shocking (201) 891·8240 an end, as all screams must, she stops, compilation of stills, prepared by the and the process repeats , slowly, inexora- Hiroshima-Nagasaki Publishing Com- Or write : bly, and repeats again. It is the endless mittee, see address above). 77

Wagner on the Tube: 'Ring' Around the Color by John Engstrom ing of sitting in a modern cinema, look- most esteemed in Europe. The contro- ing at a screen filled with larger-than-life versy that raged around his Ring in 1976 The first film of Richard Wagner's performers, listening to 70-mm Dolby arose from his treatment of the music mighty operatic tetralogy The Ring oJthe Stereo sound. It's often said that if dramas as realistic theater, of Wagner's Nibelung, telecast on PBS beginning Wagner lived today he would be making gods and goddesses as human beings, January 24, is a landmark in video and movies, not operas. and from his radically anti-romantic in- music history. It represents television terpretation of the story. opera at its highest point of technical and Bayreuth 's centennial Ring was artistic development. And it documents adapted for television by Brian Large, a Wagner took most of his libretto from a stage production, directed by Patrice young Englishman who had done much the Norse Eddas and the Nibelunglied, Chereau and conducted by Pierre innovative operatic work for the BBC and Chereau has retained and respected Boulez for the Bayreuth Wagner Festi- val centennial in 1976, that generated Scene from Brian Large's staging oJSiegfried in Bayreuth. heated controversy because of its unor- thodox approach , but in subsequent re- and Live from the Met for PBS, and had this mythological dimension. But to this vivals emerged as one of the most impor- filmed Tannhiiuser at Bayreuth in 1978. Chereau has added layers of political tant theatrical projects of the past three Taping took place in the Festival The- and social history. The production un- decades. ater during the summers of 1979 and furls in double exposure: we get the 1980; Gotterdammerung, the last opera myth and its deconstruction. Rheingold, The Ring was recorded live in the in the cycle, was the first in the can. To the prologue of the Ring, is set in the Wagner Festival Theater, which the increase the mobility of the six video mid-nineteenth century, when Wagner composer designed and built specifically cameras, the 100-member crew of tech- was preparing the text of the Ring and for the cycle in Bayreuth, a small indus- nicians from Bavarian Radio and Unitel becoming embroiled in the revolution- trial city in Upper Franconia where op- (a Munich-based musical film company) ary politics of Dresden. The following era lovers have congregated almost ev- removed many of the theater's 1,925 operas-Die Walkure, Siegfried, and ery summer since 1876. Wagner made seats, laid down tracks , wires and cables, Gotterdammerung-move forward in Bayreuth his home in 1872, and his de- and erected metal lighting towers. Each time and space through the Europe of scendants have continued to live there, of the Ring's 13 acts was allotted two the Bismarck era, and end in the last run the Festival , and direct many of the days to rehearse and record, and was days of Hitler's Third Reich. This quin- productions; the current artistic director recorded twice in a single take. AI- tessentially romantic nineteenth-cen- is his grandson Wolfgang. The town is though the film was edited like any turyoperaispresented in thelightofthe haunted by the specters of Wagner, his other, viewers will see a direct, live per- twentieth-century catastrophes to which wife Cosima, his father-in-law Franz formance-not a collage pieced to- the romantic movement partly gave rise. Liszt, and his son Siegfried (all are bur- gether from the best material. ied in Bayreuth), as well as generations Designed by painter Richard Pe- of renowned opera singers and conduc- One of the cameramen was Patrice duzzi, the visual world of this Ring is a tors, and Adolf Hitler, who turned the Chereau, the stage director of the Ring . nightmare landscape combining the Festival into a Nazi puppet show abet- Now in his mid-thirties, Chereau has vast, lonely industrial settings of de ted by Siegfried's widow Winifred. But had the most accomplished , turbulent Chirico with Magritte's realistic objects there are more than historical reasons for career in the theater for a director of his in surreal juxtapositions. Peduzzi's sets, setting the first Ring film in Bayreuth. age since Peter Brook. Like Brook, he so meticulously detailed and textured has made films (his first was an incoher- that they transfer to the small screen For one thing, Festival Theater ent adaptation of James Hadley Chase's with no loss of beauty, include a giant acoustics are miraculous. The 100- The Flesh oj the Orchid) but is preemi- wheel, a hydroelectric dam, a fake forest member orchestra is placed on tiers of nently a theater director-one of the wheeled around by stagehands, a row of steps beneath the stage, and the pit is partly covered by a curved wooden half- roofthat deflects the instrumental sound away from the audience so that it mixes evenly with the singers' voices. The warm, balanced sound seems to ema- nate directly from the stage. This, com- bined with the total displacement of vis- ual scale resulting from the suppression of the orchestra, gives the distinct feel- 78

deserted tenements, a bombed-out Siegmund, to the other. il f.IFILM/ VIDEO ELIZABETH mausoleum . And Jacques Schmidt's You don't have to be a professional SlIER © 1982 subtle, sometimes witty costumes range SELECTIONS from Victorian frock coats and crinolines musician to see how this image crystal- ~ ~ to Depression work clothes. lizes everything that is going on-musi- cally and dramatically-in the Ring at STUDIOS • that moment. And what's true of that image is true of the whole film: virtually SHORTS/ INTERVIEWS/ FEATURETrES Brian Large's video Ring is a bright, every shot serves Wagner, Chereau , clear mirror of the Chereau production. Boulez and Large. Now that this Some embellishments, like the brilliant successful production is on videotape, use of an iris-out in Gotterdammerung , can we hope that someone will use the make the piece look better than it did technological apparatus of twentieth- onstage, while others (a strange preoccu- century cinema to make an originaL film pation with smoke on the camera's part) of the Ring? ~ make it look worse. In general, though, Large finds a different editing rhythm (Continuedfrom page 8) I()() ~()lJ~() for each opera, and the design of the film ment to bring QuerelLe here was a very always reflects the design of the Ring, informal, private agreement between . your recent film TOO YOUNG is really good . . . all con· which changed considerably as Wagner Dieter Schidor, the producer, and Mi- cerned should be proud of the work .. . concentrated and worked on it for 25 years. In Rheingold, vivid form . for instance, the Leitmotifs function for chael.\" So who nixed the idea? \"Look, I the most part as name tags affixed to don't know what to tell you-it's all very Tom Luddy, Director Special Projects characters and situations, and Large'S complicated and I don't even know any- Zoetrope Studios brisk, even alternation of medium and thing-except that my role as the heavy long shots reflects this detachment. has been greatly exaggerated.\" . the musicians I know would be delighted to have a film Only once does the camera move in on like yours represent them . someone's face: a hair-raising, screen- • filling closeup, of Alberich cursing the Bruce Conner, Filmmaker ring, shows his features twisted with ha- Another blow to festival prestige was tred and pain. the article in that morning's Sun-Times . .. probably the most popular film on the program ... the by Ebert. It was one more blast about visual images lent themselves perfectly to the sound track ... In Walkure, Wagner's musical vocabu- the lack of press screenings, but its im- perfectly timed, upbeat ... lary changes drastically as he dives into pact was in the subtext: Up until last his characters' psychology. Little by lit- year, Ebert had been a prime festival Fraude Bartlett, Distributor tle his orchestra becomes the voice of booster. There is talk of Ebert's growing Serious Business Company the unconscious, and the Leitmotifs be- displeasure and of Siskel's frequent come not so much a form of musical I. D. gripes. Several people wonder aloud EDINBURGH FILM as carriers of thoughts and feelings of about what \"the Siskbert\" have up their FESTIVAL SELECTION 1982 which the characters themselves are sleeves. hardly conscious. Large'S camerawork in JJ(QJ@@[LTI~@ Walkure and the later operas reflects this I called Siskel and asked him if it's shift in emphasis. Static, Bergmanesque true that he wants to depose Kutza. He ELIZABETH SHEA's JUGGLING pokes a rye finger in the eye c10seups and two-shots predominate laughed: \"I wouldn't mind if it hap- of the women's movement. New Wave singer SUSIE (there's comparatively little tracking and pened. 'Depose' is your word, but it's a MUTANT stars as the film zips along at rapid-fire pace panning) so that we're always mindful of good choice for my feelings. The festi- through every-mother's day. the murky area between what people val lacks quality control. To put it more are saying and doing and what they re- crudely, Michael Kutza doesn't have a BEAT IT ally feel-an area that, for Wagner, is shit detector. And he has enormous always defined by music. lapses of taste-I can't stress that What, rubber moles? Painter Elizabeth Sher's exercise in enough. As far as I'm concerned, he no fixation upon physical frustration introduces us to the car- In Act One of WaLkure, Siegmund longer deserves the exclusive franchise nival game of \"Whackamole.\" Players are granted the tells Sieglinde and Hunding of the mo- on running the festival.\" privilege of bashing the bejeesus out of randomly controtted ment in his unhappy childhood when he rubber moles' heads as they dart out of their holes. and you realized that his father had deserted Granted, the mixture of the Chicago witt too just watching this weird action . But, witt it ever him. At this point Wagner brings back festival is eclectic and uneven (thanks to replace Space Invaders? the Valhalla theme from RheingoLd, its policy of presenting a smorgasbord of making clear-though not to Siegmund films from \"strange and exotic places,\" Anthony Reveaux or Sieglinde, who do not know yet that which usually turn out to be Australia they are brother and sister-that their and West Germany). And granted that For bookings and information please father is Wotan. In the film , Siegmund the official parties could be toned down telephone: stands in the right foreground, reminis- a little. But the spirited attacks this sea- cing, Sieglinde in the left background, son seem to imply the festival should (201) 891·8240 ~315 lost in thought. He sings \"Den Vater fand take a spin in the Paradise for ALL flash- ich nicht.\" As the Valhalla theme softly ing machine. That might smooth out Or write: sounds and the camera moves in on the festival's rough edges. But without Siegmund, Sieglinde slowly walks from those edges-the laughs and the gaffes one side of the frame, behind and the T-shirts and the tsufis-it doesn't sound like a lot of fun. It cer- tainly doesn't sound like Chicago. 4iB 79

February 15 is the entry deadline for o the 13th annual National Educa- IMAGE FilmlVideo Center will tional Film, Video and Filmstrip present the 7th Atlanta Independent PHOTO CREDITS: ABC Arts: p. Festival. Contact: Sue Davies, Na- Film and Video Festival, April 12- 54. Chicago Film Festival: P. 6. Co- tional Educational Film Festival, 17. Deadline for applications is Febru- lumbia Pictures: p. 15 (2), 16 (1,2),27, Learning Resource Center, Oakland ary 25. Write clo 972 Peachtree Street, 28 , 30, 31. By Perry Greenberg: p. 33. School District, 1025 Second Avenue, suite 213, Atlanta GA 30309 for infor- Goodman Associates: p. 51,56. By Ja- Oakland CA 94606.415/465-6885 . mation and application forms . 404/874- cob Holdt: p. 22, 23 (1, 2), 24. 4756. Houghton Mifflin: p. 26. By Harlan CONTRIBUTORS Jacobson: p. 34 (1,2),35 (1, 2), 36 (1, Sue Adamo is managing editor of Times . Richard T. Jameson writes for 2,3,4,5). Kodak: p. 49. MGM/UA: p. Video Games magazine in New York. The Reader in Seattle. Marc Mancini 16 (5, 8), 19 (3, 5). New York Film David Chute writes on film and rock teaches film at University of Southern Festival: p. 19(6). Museum of Modern music for The L.A. Herald Examiner. California and West Los Angeles Col- Art/Film Stills Archive: p. 58, 61 , 63, Marcia Froelke Coburn writes for lege. Ken Mate is S. California editor 65,67,68. Orion: p. 2. Paramount: p. The Chicago Reader. John Engstrom of CitySports magazine. Playgirl senior 16 (9), 19 (1). PBS: p. 78. By Bill appears in The Boston Globe . John editor Pat McGilligan's Cagney: The Pierce, Time Inc.: p. 21 (Annie Kenneth Galbraith is the ·Paul M. Actor As Auteur (Oak Tree) is in its wreath). By Martha Swope: p. 53. 20th Warburg Professor of Economics, third edition. Mike Moore, former Century Fox: p. 16 (4). Showtime: p. Emeritus, at Harvard University and writer on The CBS Morning News with 55. Universal Pictures: p. 11, 13, 15 former U.S. ambassador to India. CharLes KuraLt, currently heads Great (1), 16 (3 , 6, 7, 10), 19 (4). Video Richard Gehr is assistant editor at The Bay Productions, a broadcast syndica- Games Magazine: p. 33, 37, 39 (1, 2, L.A . Reader. Joan Goodman is a Lon- tor. Mitch Tuchman is senior editor 3),40, 41 , 42 (1 , 2, 3). Amos Vogel: p. don-based freelancer who appears in of the Oral History program at UCLA. 76. Warner Brothers: p. 19 (2). By The London Observer and The London Amos Vogel covers independent film Dennis White: p. 59. and video in New York. The16th FRESH HOT SENDS3 VIDEO International TO GO! CATALOG Tournee of EVER! rJit Animation ~) \"It's the most effervescent, Ge t s 'em ''' 51- imaginative selection in \"as 'e m \" I/' years, with something to intrigue all age groups in Movies Unlimited has 'em all: the family.\" Judy Stone • Hot new titles. Movie classics. ScI·FI San Francisco Chronicle • TV shows. Cartoons. Cult classics A festival of 20 award-winning animated films of fiction and fantasy from • Specialty & collector's items around the world, highlighted by Academy Award Winner, THE FLY; Acad- emy Nominee, HISTORY OF THE WORLO IN 3 MINUTES FLAT; Ottawa ....N ~c1, Festival Grand Prix Winner, the outrageous UBU; and winners from major festivals at Zagreb, Ottawa, and Berlin. Add .n extra $1 for our sizzling Adult Video cetelog or A feature-length program available for rental from : .end $1 for our super Super 8 cetelog 4530 18th Street (c...log .... refundable wHh tlrst order) San Francisco , Calif. 94114 •••••••••••••••••• (415) 863-6100 MOVIES UNLIMITED 6736 Castor Ave. • Phlla., Pa. 19149 215·722·8298 80

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