KEVIEW5 way it is. It's because the right touches structure, while the left touches indivi­ duals. It's always people from the right Gilles Carle's who break down forms, people who are related to existing structures. And I think that for Hemon, it's a bit the same Maria Chapdelaine thing; be broke the ancient pattern of the love story to construct a new one, based on the waiting of the woman, and Gilles Carle's new movie, Maria Chapde­ the desperate effort of the man to reach laine, pushes all the right buttons to her. And this pattern is also expressed in assure its success in Quebec, if nowhere the landscape, the land, the country, else (in its first week alone, after opening with all those rivers and those water­ Apr. 29, it brought in over $190,000). falls, symbols of ejaculation, of masculi­ Based on the 1913 novel of the same title nity ; and the lake, level and calm, not by French expatriate Louis Hemon, the too deep, a lake that warms up easily movie deals with the travails of a beauti­ (laughs), symbol of feminity. Harlequin ful, taciturn, young woman trying to books have cornered 12% of the inter­ survive against all odds in the wilds of national market, using the same story Lac Sl-Jean. over and over again. Harlequin books, romance, they all copy Maria Chapde- Quebec novelist Roch Carrier claims /aine. But getting back to Hemon, he was the, novel has captured the Quebec also revolutionary in his own way: he imagination because it's not a work of was the first sports columnist ever, he precise ideas but rather what he calls "a fought against pollution, he did his jog­ vast emptiness" upon which readers ging- can impose their own ideas or fantasies. Carle, working with a $4.S-million bud­ Cinema Canada : Do you still believe get, impose ideas all right - the virtues in what you called "production fami­ of obduracy {"j'y suis, fy reste"), roman- lies"; do you still believe, as you once ticization of alienation, mon pays c'est said, that that's the only solution to I'hiver and all that - and achieves a vast • Quebec's answer to Dr. Zhivago : Nick Mancuso and Carole Laure in Maria Chapdelaine Qijebec cinema ? emptiness of his own : a hollow epic. Gilles Carle : I personally believe, as I An overheated back at the Montreal stand this wait: who wouldn't wait for magazine covers. In Carle's scheme of always did, in small production teams, Gazette once called Carle's next-to-last him ? He has such dash and sense of his things, Laure is indomitable all right - in production families. I always try to film, Les Plouffe, Quebec's Gone With own presence - he even stands out in indomitably chic. When she goes out to have my own. Apart from my personal the Wind. This may mean that Maria long shots of crowd scenes- it's a shame slop the hogs, that trademark blue-black talent, this is what helps me continue Chapdelaine is our Dr. Zhivago, for all all that's left for him to do is get lost in hair sleeking down her slender back, ;- shooting. But the big mistake with begin­ that that entails. There certainly is a lot the snow. He's too u'ell-coiffed for a her pancake applied to perfection, ning filmmakers is that they associate of snow, and when there isn't, woods\' bCicheron, but we can.see the energy in delectably soigne in that layered look so with people like themselves. You need a types pick blueberries and do countless him, the eagerness to do something, to popular in the bush, it's the giddiest truck driver who prefers to carry sets other photogenic things, like walking by make his part real, and that's so much piece of miscasting since Marie-Antoi­ than to carry coal, or an accountant who waterfalls or playing with the famille more than can be said for most of the nette played shepherdess at Versailles. would like working with a theater group Chapdelaine's lovable mongrel. cast. There are at least a dozen acting better than at Household Finance, you The publicity material accompanying .styles going on here, running from pure Will Aititen • know. You need people like that. I have the movie makes a great deal of its maple-cured ham to fe/eroman-gothic, my own family, and they have been authenticity and the difficulties the but then this is in keeping with the slap­ IVIARIA CHAPDELAINE d. Gilles Carle constantly working with me for ten director faced in shooting four seasons dash style of the whole project. There's exec. p. Harold Greenberg p. Murray Shostak, ^ years now. We need these small teams, in two months. It feels like Carle shot a no subtlety, no thought-out perspective. Robert Baylis sc. Guy Fournier, Carle, based on the novel by Louis Hemon d.o.p. Pierre Mignot ar( d. ;' The other day, I saw a group from the lot more seasons than that, but then you Nothing's left in the background for us Jocelyn Joly Znd unit photography Richard Lei- south-shore (of Montreal! getting lost in tend to lose track after a \\hile, as the to discover for ourselves, everything's terman ed. ,\\'de C^hiriaeff sd. eng. Patrick Rous­ the corridors of the NFB, and I was authenticit\' marches steadily sidewise dragged center-screen and klieg-lit, seau p. man. Lorraine Richard head unit man, toward nostalgia, iVX'lu', by the way, did with Lewis Fure/s incessant music Mario Nadeau 1st a.d, Jacques Wilbrod Benoit • disappointed. Why go to the Board ? We prop, master Ronald P'auteux cost. des. Michele must organize ourselves, find money, no one think to age the costumes ? Were pro\ iding the wholly unnecessary italics. Hamel head cost, dresser Blancbe-Danielle Boi- do new things, but many people are hmiberjacks reall\ this stylish?) The darkly elegant Carole Laure pla\'s leau head make-up Michf line Foisv hair. .Andre afraid of accountants. But accountants Carle came late to the project, the Hemon's intlomitable, homespun hero­ Lafresniere conl. Ginelte Seneca! head elect. ine, Laure and Carle have been work­ Daniel Chretien head machinist KianpoisDupere are your friends, you know ; you must third in a series of directors hired to sp. efx. John Thomas unit man. Ginette Guillard deal with them. The more you have make both a theatrical feature and a ing together for a long time now IFan- public relations David No\'ek Associalos Inc. unit production teams, the more cinematic four-hour mini-series for Radio-Canada tastica, L'Ange et la femme. La tete de pub. MarkLalonde stills Pierre Dury com pt. Pied freedom ; it's simple. Because if 1 shoot (think of the seasons in store for us Normande St-Onge, La mort d'un bu- Shacter p. acct, Carole Lagace p. sec. Micheline cheron), and it's time someone told Cadieux p. coord, in Montreal Marie-Helene Ri»\ alone, there isn't much cinema freedom. there). He and his co-scenarist, Guy 2nd a.d. Monique Maranda 3rd a.d. Jacques La- Everybody has to make a film. Fournier, have been publicly squabbling them to cut it out: they're absolute berge assL unit man. Louis-Philippe Rochon Isl But cinema is disappearing anyway. about which man's interpretation of the poison for each other. Laure has revealed asst. cam. Jean Lepine 2nd asst. cam. Chcisliane GuernonSrd asst. cam. NathalieMoliavko-Visotskv It's finished; now it's television, and I novel is the more correct, but in all their a flair for comedy with other directors lin Bliei^s Get Our Your Handkerchiefs 2nd unit asst. cam. Larry Lynn elect. Claude don't know what's going to happen. ideological wrangling, they didn't get Fortier, Robert Lapierre Jr, machinist Michel These electronic instruments are very around to solving the central dramatic and Joyce Bunuel's Dirty Dishes), but Periard boom V'eronique Gabillaud assl. art d. costly, you know. Bill 109 on the cinema flaw : Maria and her dashing suitor, the Carle doesn't seem to want her to act - Raymond Dupuis props. Alain Singher asst props Philippe Chevalier, Henri Gagnon, Jean in Quebec, like every law, comes too aptly named Francjois Paradis, are al­ he poses her. (Their previous collabora­ tions have been notable for her nudity, Labrecque. Josiane Noreau set dresser Patrice late. Everything is changing now; we most never on screen together. When Bengle 2nd set dresser Simon La Have const. have pay-TV, and all that, and it's all they are, they mainly moon about: he so much so that local wags who saw the Andre Bochu, Michel Bochu, Jean-Marie \ allerand, under federal regulations. I don't know asks her to wail for him, she says OK, he 1975 La tete de Normande St-Onge Gaston Brassard head painters Robert Breton, departs, and the rest of the movie she promptly renamed it Les fesses de...) Rejean Paquin painters Guy Lalande. Gilles Des- what's going to happen, really. jarddins. Jean-Paul Montreuil sp. efx. asst. Bill Orr. Cinema Canada: And what do you waits. And worse, we wait with her. For all the dramatic intensitv he gels out Ken Johnson sp. efx. Roby Baylis asst. cost, des, of Laure's sophisticated, slightly ironic think about closing down the NFB, as The casting of Nick Mancuso as Para­ Christiane Tessier, John Stowe assi. to cost. des. recommended by the Applebaum- beauty, he might as well be shooting Pierre Perrault cost, dresser Renee April make­ dis goes a long wa\' to making us under- up Joan Isaacson p. assl. Michel \ eillette. Andre Hebert report ? Ouellet, Angeli? Bourgault messengers Ellen Maria Chapdelaine gets strong acting assists from France's Claude Rich and Quebec's Berube, Alain Belhumeur drivers Pierre Guillard, Gilles Carle: Damn it! Let's open the Marie Tifo Svlvain Falardeau chief cook Kilt\' Baylis cook NFB, not close it. Closing it is not the Leo Evans asst. in kitchen Richai-d Carrol! l.p. solution, we must open it to young film­ Carole Laure, Nick Mancuso, Pierre Curzi. Donald makers, to new artists, give them a Lautrec, Voland Guerard, \niulette Ciarneau. Ste­ phana QU(M\, Guy Thauvetle, Gilbert Sicolle. Josee- chance to work. If we close the NFB, Anne Fortin, Louis-Philippe Milol. Gilbert Comlois. where will the beginning filmmakers Paul Berval, Claude Rich, Claude Evrard, Domini­ do their first film ? You know I started que Briand, Marie Tifo. Jean Pierre Mas.son.Angele there. Some changes, many changes, \i-seneault, JacquesThisdale, Rod Treinblav, Claude Prpficnt, Patrick Nk-sse (,uy Godin, Denis Biais, have to be made in the structure of the \lit hcl Lantic\in Cedric Noel Jose Ledoux, Renee N'I'B, of course. But the solution is to Girard, Roch Demers, Gilborl Moore. Gilles Vali- open the NFB, not to close it. All that quflU- Vvon Sarrazin, Rolland Bedard NUrhcl Ri- ivould do is put more people on the \ard, Georj;! ^ Levtchouk Raufil Dugua\ p.c. Astral Film Pruducliuns Limited, in collaboration with La unemplovmeni rolls. And who needs Socieif Radio-Canada and TFl, the first television thai •> niMwork of France culour ;i5nim running time lOSniln.

Richard Martineau •

Cinema Canada - June 1983/19 REVIEWS

emotionally stressful situation. Ralph Thomas' Alward is an interesting character in the film, because he seems to have no family, no friends save Terry, and no­ The Teriv thing important to do with his life but drive the van for his friend. With his hair Fox Story cut jock-short, his glasses and hooded sweatshirts, Zelnicker projects an al­ I didn't spend a lot of time following most monkish asceticism into the cha­ Terry Fox's run when it happened. The racter, simultaneously conveying the massive emotional manipulation of the sense that he knows he is helping his event bothered me, and there had been best friend commit suicide, and being a rather frightening series of articles perfectly willing to help him, because published in Penthouse attacking the he knows that he can do nothing to research practices of the American Can­ dissuade him. cer Society, so the idea of giving money It is also very pleasant to see Make­ to one of their branch plants was not peace, a moist-eyed, worshipful wimp particularly appealing. Almost more in­ in films like Meatballs and The Last teresting than Terry himself seemed the Chase, finally playing a character with a remarkable emotional response that was few smarts of his own. It may be the first being wrenched from the hearts of lime that he has actually been likeable stolid, emotionally blocked Ontarians, on screen. who took to Terry as if he were a cross between John-Boy Walton and Lassie, The rest of the cast is uniformly good come home at last. - special mention should be made of Elva Mai Hoover, who plays Terry's This by way of introduction, to show mother, and is thus saddled with one just how prepared I was for a very bad almost unplayable scene - and fends a movie, to cynically park myself in the sort of authenticity to the proceedings. screening room and snarl viciously if The insistence on the Canadianness of anyone tried force-feeding me the milk the project comes through in large part of human kindness. Admittedly, there because all the actors appear with their were good signs. Ralph Thomas, the accents, like, intact, eh ? While it may be director, is not a man easily suckered. rare to see a Canadian flag on-screen in One need only look at the lough docu- a Canadian film, or to hear Toronto dramas he produced at the CBC (espe­ referred to as Toronto, it is even rarer to cially Drying Up the Streets) and Ticket bear that constricted Ontario voice to Heaven to see someone with an squeezing out through the emotionally immense distrust of pieties, conventiooT clenched vocal cords of real Canadian al and otherwise. Michael Zelnicker, actors. who plays Fox's best friend, Doug Al- ward, was insistent in conversation that The Terry Fo;c Story captures the they had made an effort to show Terry, heroism of its subject by refusing to shy warts and all. away from his often unpleasant humani­ ty, and that may be its remarkable Well, it works, because there are three achievement. It shows some aspect of stories that come together in the film. the reality behind the myth (the most The first story, where the automatic noble suicide of our time! without be­ emotional response comes in, is during traying the innately heroic aspect of the the recreation of the public events that -myth. we all know so well - and, if we are Torontonians, lived through. The second John Harkness # story is the private Terry Fox, who seems to have been a major pain in the neck: an obsessive, physically-oriented, as history and myth means that Thomas, was feeling - a great deal of the appeal THE TERRY FOX STORY d. Ralph L petulant monomaniac. When everyone not by nature a manipulative director, was that this kid from B.C. obviously Thomas p. Robert Cooper sc. Edward Hume story is telling him that he's crazy to want to can let the story's force rise naturally was sitting on top of an emotional John Kastner & Rose Kastner exec. p. Gursten I. run across Canada, they not only seem from the characters and the images. volcano and struggling to articulate Rosenfeld &. Michael A. Levine assoc. p. John eminently more rational, but they seem One quivers in terror at the thought of what he felt about his leg, his disease, Eckerl d.o.p. Richard Ciuplia arl d. Gavin Mitchell to be giving him good advice. One gets ed. Ron Wisman casting Canadian Casting ,\.sso- what an emotional mugger like Mark and the tremendous waves of mass ciates music Rill Conti p. man. Jovce Kozy King the feeling that being Doug Alward for Rydell {On Golden Pond) might have emotion that flowed toward him from unit loc. man. Otta Hanus Ist a. d. Bill Corcoran the months on the road (Alward drove done, had he got his hands on this film. the day he crossed the Ontario border to asst. d. Bruce Moriart\', Kim V\'inther, Jacques the van) must have been rather like The Terry Fo;c Story follows its hero his near canonization at Toronto's City Hubert, Hagan Beggs asst. art d. Rolf Harve\ cam. being locked in a closet with an unstable op. Andy Chmura 1st asst. cam. Neil Scale and from the day he discovers his cancer to Hall. While it's bard to say if Fryer has badger. Of course, if it were the private asst cam. Kerry Smart Sledicam op. Ted Chui^ the end of the run, where he learns of a the talent to go on and continue acting chill sd. rec. Bruce Carwardine boom Glen Gau- life alone, one might react to Terry the (he has apparently landed a role in thier sd. ed. Jom Hopkins pe-rec. Joe Grimaldi set same way we did to another recent new tumor in his lung and is sent home. It covers the relationship with his family, Home Fires\, he is certainly a major dec. Mark Fi^eborn asst. set dec. Paul Harding handicapped hero in Canadian movies, discovery in terms of this film. props master Dan Wladyka asst. prop, master best friend, girlfriend, and Bill Vigars, George Farrell ward. Lynda Kemp assl. ward. Eria Tom Sullivan, in the execrable // You Thomas and producer Robert Cooper Could See What I Hear. the Cancer society representative. Lank make-up Michele Burke Iiair Malcolm Given that Terry Fox is in virtually have been smart enough to surround Tannergafter Steve Ferrier best boy John Fei pison The third story, and the most impor­ every frame of the film, an enormous Fryer with some of the best acting talent key grip Michael Kohne grip James Kohne driver available. It is not necessary to speak of captain Brian OHara craft service Debbie Beers tant, is the real reason that Terry Fox weight falls on Eric Fryer, the young gen. op. Mike Beer extras Karen Pike Si Linda Egan worked as a national symbol. The story Scarberian who, like Fox, lost a leg to the awesome talent of Robert Duvall - unit publicist Marlee Novak p. assts. t arole is not about this adolescent who died so cancer and makes his acting debut here. anyone who has been to the movies in Riback, Kelly Makin sc. sup. Sarah Grahame p. that others might be cured, but of a the past 20 years or so knows how good acc't. Ann Fitzgerald p. co-ord. Deboiah Zwickci It is, for someone who must have en­ asst. to the p. Marlee Nov ak assl. ed. Bryon While single figure out on the highways. It is dured a similar experience to Fox be is. But a few words are in order on Michael Zelnicker and Chris Makepeace foley ed. Terr> Burke music ed. Ste\'en A Hope an elemental story of a human and an (chemotherapy and learning to walk asst. sd. ed. Richard Kelly stills Laurie Raskin p.c. (who plays Terry's brother. Darrein. In a environment, and the desolate, mind- again), no doubt an emotionally trauma­ Robert Cooper Production in assoc u ilh HBO and way, the most sympathetic character is CT\ uiih the participation of Supcrchannel. dist. numbing loneliness of that image. It tic role as well as one that was physical­ may be the best use of the Canadian Doug ,Alward. It is not easy for the Astral Films'Twentieth Centurv-Fo.\, 35mm coloui ly killing. The first time I saiv the film, it average person to imagine achie\ ing an running time : 98 mins. Up. Robert Duvall, Eric landscape as a character that we have seemed that Fryer had an obvious emo­ Fner Chris Makepeace, Rosalind Chao, Michael ever seen in a Canadian movie {Silence impossible task against a crippling han­ Zelniker, Elva Mai Hoover, Frank Adam.son. Marie tional connection with the character be dicap. Most people avoid thinking about of the North and Who Has Seen the was playing, but that be lacked the McCann. R H Thomson, Saul Rubinek, Chuck Sha- Wind don't quite make it, and The Gre\' handicaps, for the simple reason that it mata, Clxde Rose, Patrick Watson, Austin Davis, acting tools to really give it full expres­ Fo/c is only a corner of the country). is too strong a reminder of the terrible Malt Craven, Doroth> \\ \alt, Steven Hunter, Robert sion. The second time through. Fryer fragility of the human body. Vet it is Des Roches. Jayne Foster, Karen Racicol, Howie That story, of landscape and figure, is seemed more appropriate, as the reali­ Siegel, Laura \ickers, Gan, Dar>-cott, Garv Baker, rather easy to connect with someone Wayne Brace. Barry Greene, Al Coombs, Lori the most emotionally overpowering ima­ zation came that Fox himself lacked the who is shunted to the sidelines in an Chodos, Laurie Oberdin, Jaclyn Stevens, Ian Heath, ge in the entire film, and its sheer force expressive tools to bring out what he Brian Kaulback, Murray l^wry. Susan Payne.

Cinema Canada - June 1983/29 REVIEWS We get a shot of horses running, a in his ways and lo\'ing them. But as soon second. That was the scene with the Kevin Sullivan's reaction shot, more running and another as he's wed, he turns into the loving young hero telling his no-good, rich reaction shot. With nothing in the shoot­ husband and father. No transition, no daddy that he was off to rescue runaway ing or cutting to give us a feel for the conflict. A set-up that never pays off. troubled sis. Not only did it set the tone The Wild Pony power and the beauty of the animals, That's followed immediately by a con­ for the acting - badly stilted - and the we're thrown back to the boy's reactions. flict with no set-up and no sense to it. lighting - cheap porn - hut it signalled ,And with no knowledge of either his Given the sort of man Chris' natural clearly that sis was the slashed hooker character or emotional stale, we're father was, he should have leapt into and daddy and his smarmy henchman thrown back to reading actor Josh Byrne's Frank's arms with joy. Instead, he chooses were the perpetrators. There was a lot of pride going around at face. And it's blank. to resent him. His reasons are never For those among you who may think the press screening of The Wild Pony. Much later, when the horse runs made clear and his surface dislike is that slash-and-burn reviews are neces­ After years of stage, radio and TV work away and the boy follows on foot through never convincing, but the conflict at sarily done to provide a sick little ego- in Alberta and B.C., producer Eda Lish- a violent snowstorm, we're given only a least gets paid off in the punch-up with boost for the writer, let me tell you; man was proud of having made her first very few shots before the horse is found ; the town bullies. they're not. The ego-boosts come from feature and of having pulled off an we've no idea how hard Chris had to Ifs a good sequence and there are being stimulated at the movies and industry breakthrough of sorts : she'd work to get to the horse and, more others, mostly involving Lightslone's feeling that you've passed it on in print. become the first western producer to significantly, no idea of how far he's skill with comedy, but they're never Nor are they done for the fun of silting come to Toronto and get backing after come. So, when the horse walks back enough to overcome the sense that The around and thinking up vivid ways of being turned down by the standard net­ into the barn with Chris clinging to it, Wild Pony was a terrific story that describing awfulness, not when descri­ works. Pay-TV company First Choice, apparently more dead than alive, we're happened when the filmmakers weren't bing means first recalling those murky which provided that backing, was proud left to infer their heroic trudge through looking. flat, uncomposed images that look like of their hard-cash commitment to inde­ night and slinging wind. Personally, I'd It's hard to know if any of this matters. they were processed in the urinals al pendent, all-Canadian production and like to have seen it, partly for the drama The family entertainment genre has the Morrissey, a sleazy Toronto bar. of the fact that they'd already gotten - it's the first lime horse and boy are developed a recent and strong tradition I'm stressing this also because, if you their European distribution in place. united and they're facing death - and of success with schlock worse than this have grasped the concept of not fun", Scripture buffs will have guessed partly because it was the last chance and kids are capable of strong responses then you have the essence of American what's coming next, and you're right. either had to develop a character. It to the blandest-seeming, most unlikely Nightmare. For the rest of you, "Pride goeth before a didn't happen, so both reinained cyphers material. But it does seem a shame to It is not fun to report that Lawrence S. fall," and The Wild Pony is a dud. to the end. feed them the gristle, even inadvertently, Day, the hero, is marginally belter with Some of the awfulness is technical - Marilyn Lightslone, as Sarah, the boy's when they could have had the meat. his body than his voice, which is awful, slightly uneven location sound, a hen­ mother, doesn't get to develop a character or that his resemblance to Donald Su­ house that falls over for no apparent either, but for much different reasons : Andrew Dowler • therland is so strong that, as soon as his reason. More of it is on the craft level - she isn't given anything consistent to face matures, his film career will very Hagood Hardy's terminally wispy score, work with. What are we to make of a THE WILD PONY p. Eda Lishman assoc. likely drop dead. Michael Lonzo's merely pretty photo­ character who shows herself as an astute, p. Kevin Sullivan d. Kevin Sullivan p. man. Eda It is not fun to report that Michael graphy, the sets dressecl and lit to look good-humoured businesswoman strik­ Lishman screen adapt, Eda Lishman &. Kevin Ironside and Lenore Zann, the two solid like s^ts, and the occasional spurt of Sullivan 1st asst. d. Randy Cheveldave 2nd. asst. ing a very good deal, then in the same d. Nives Lever 3rd. assl. d./Ioc. man. Earl Peturson professionals in the cast, are able to bouncy-bouncy pointless cutting. But day refuses supper to her son, saiying, d.o.p. Michael Lonzo 1st asst. cam. Peter Woeste achieve nothing more than paying the none of that would even be worth men­ "We can use the money we save on his 2nd. asst cam. Sean Gorman sd. rec. Lars Ekstrom rent, thanks to a script filled with irrele- tioning if there were anything at the food to feed that horse," only to then boom Don Brown gaffer Malcolm Kibblewhite costume des. Martha Mann props/set dressing vancies, banalities and emotion telegra­ heart of the film. But there isn't. show up in the barn with a handful of Martin Weinryb wardrobe mistress Lori Ashton phed in words so flavourless and cliched Which is truly amazing. A story about costly food for the boy to give the horse ? asst. ward, mistress Karen Murray p. co-ord. they might have been laid in with the a young farmboy in turn-of-lhe-century Is she neurotic ? Does she love her kids, Nancy McMurchy Peturson asst p. man. Margaret infamous Republic Pictures rubbe^ or hate them ? Or is she just playing the Haraba cont Candice Field key grip Bill Mills grip Alberta who unites his mother and his asst Anna Marie Plosz make-up Pearl Louie transp. stamp dialogue kit (reportedly used on new step-father and reintegrates him­ scene the way she's told and hoping it'll captain Tom Charlton craft services Wendy Fitl every Republic serial between 1946 and self into family through his obsession come together in the cutting ? construction man. Eric James set des. Dick Bylin 1952). with a wild horse sounds like the basis carpenters Bruce Robinson, Tom Scheitel set Art Hindle, as Frank Chase, the man painters A. Gazetas, Maiy Gazetas animal handler It is not fun to report that American for a surefire family entertainment-type Sarah talks into a marriage of conve­ Gigi Van Ostrand p. asst's. Mike Baker, Wendy Cesar Nightmare is so ill-directed that the drama and it probably would have been nience, does have a character, and he d. of 2nd unit Randy Cheveldave 1st asst d. of camera set-ups make it clear there is no if anybody had bothered to film the plays it as well, on a scene-by-scene 2nd unit Diane Edmondson cameraman, 2nd place for the slasher to hide when he is drama, but mostly they didn't - they unit Rick Garbutt sd. rec, 2nd unit Tom Archer ed. basis, as Lightslone does hers, but the Stan Cole asst ed. Rick Benwick music Hagood supposed to be lurking in the girl's tiny telegraphed it. Like this ; Chris, the boy, character he plays has no relation to the Hardy publicist Kathryn Fedori p.c. Pony Film apartment, or that, moments later, ha­ gets his first look at the horse one character the script sets us up for. He's I*roductions Inc. Licensed to First Choice Pay T.V. ving slit the wrists of another naked, morning when he's out doing chores. introduced as a hard-core bachelor, set running time: 90 min. colour, 16 mm Lp. Marilyn Lightslone, Art Hindle, Josh Byrne, Kelsey McLeod, stoned blonde, this one in a bathtub, he Murray Ord, Paul Jolicoeur, Jack Ackroyd, Bob Collins, is allowed to destroy the fake suicide Tommy Banks, Mark Kay, Philip Clark, Ron Tucker, he's just created by, first, drowning her, Jack Goth, J.R. Beauregard, Brian Weighlman, Danny Masnyk, Margaret Haraba, Eric Cortez. then taking the razor away with him. It is not fun to report how, in some­ thing supposed to be a mystery, every attempt to draw attention to a fresh Don McBreartys suspect is cancelled by positively loca­ ting that suspect elsewhere at the time of the next attack. American American Nightmare is blatantly made and set in Toronto. In choosing the title they did, the producers, Paul Nightmare Lynch among them, seem to have sought to clear us all of the taint of guilt by Here is a movie that should be treated as association. were those pharoahs whose names were I applaud what seems to me a gesture stricken from every record so that even of the deepest patriotism. the fact of their once having lived would be forgotten for all time. American Andrew Dowler • Nightmare should never have been made and, except for a single line reading, "Avoid at all costs," it should probably AlVIERICAN NIGHTMARE formerly Community Slandardsl exec. p. Paul Lynch, Tony not be reviewed. Kramreither p. Ray Sager d. Don McBrearly ac. The foulness set in from the moment John Sheppard p. man. Robert Wertheimer asst the naked, stoned hooker began WTithing p. man. Fran Solomon asst d. David Pamplin and on the bed while the faceless man asst d. Lindsae Paterson, Derrell Lee d.o.p- Dan Hainey cont Tannis Baker art d. Andy Deskin washed his hands in the bathroom. It asst art d. Ken Clark asst cam. Scoll Bame wasn't only that it was clear from the ward. Ariadna Ochrymovych, Martha Snetsingei start that she was due to get straight- hair/make-up Miriam Freifeld grip Bill Heinlz razored, but she writhed so woodenly 2nd grip Craig Heinlz gaffer John Herzog miier Dan Latour boom Reynald Trudel labour Ian that even the group across the aisle, Bresolin driver/p.a. Richard Quinlan, John GiU.m who seemed to feel that good cinema Robin Rosenberg ed. Ian McBride asst ed. Karen was intimately entwined with the slau­ Hall prod, asst Paul Fox p.c Mano Films Ltd dint ghter of young women, began to groan Pan Canadian running time: 90 min 351"" colour tp. Uwrence S. Day, Lora Staley, Lenor« in disgust. That was the first scene. Zann, Claudia Udy, Page Fletcher, Mike Ironside, I was ready to walk by the end of the Larry Aubrey, Neil Daynard, Tom Harvey.

30/Cinema Canada - June 1983 REVIEWS by well-wishers - the extended family, beautiful!" .Anil exclaims. groups than from either of the found­ Douglas Williams' the tribe. In the flower-strewn hotel suite A vital key to the politics of cultural ing" nations, \\ hat else is Canada about when Sharmila (the womai) he met only a imperialism is that the colonized develop if not the dialectic between Old and few hours before) unabashedh- summons a taste for the boss's treacle, and soon Ne\\ World \ alues ? Best of Both him to his marital duties, our hero, this prefer it to domestic brands. .And so the Recently a group of CBC producers child of the new America, destroyer of implicit theme of cultural dilution oi published a proposal recommending Worlds tradition's stifling bonds, can only flee. Best of Both Worlds becomes a critical that the public network commit itself to In this sea of moral bankruptcy - like comment on Canadian production a policy of 100% Canadian content. the swimming-pool in Tammy's bouse awash in the gooey treacle from the Unfortunatel) we still li\e in a time CBC's feature-length romantic comedy which her mother keeps well-stocked airwaves south of the border. Because when such a proposal can scarcely hope Best Of Both Worlds, which aired April with bored young lawyers - Sharmila Canadian productions are themselves a to be taken seriously .And yet, in the end, 21, leaves one with the uncomfortable stands out like a beacon of hope for minority in the continental broadcasting a film like Best of Both Worlds is an suspicion that the more "Canadian" peo­ humanity. She's a sort of Superwoman - environment, they're judged by a sepa­ eloquent argument for bow much we ple become, the less value they retain as beautiful, charming, patient, courageous, rate standard - and TV in North America would stand to gain from such a polic\. human beings. and a scrappy fighter. Billed as the un­ prefers not to be judged at all, it just IS. Shamiila (Malika Mendez), a charming fortunate dupe in Anil's dowry-heist, she True, there's often something that Alan Herscovici • young Indian beauty, is flown direct from quickly makes mincemeat of Tammy and chaffs about a Canadian production like Asia for a family-arranged marriage with when the melodrama ends we are con­ Best of Both Worlds. At first I thought it fident that she may even manage to make, BEST OF BOTH WORLDS p. Lawrence Anil (Sugith Varughese), the Canadianized was Sugith Varughese's acting that S, Mirkin d. Douglas Williams sc. Sugith Varughese son of (presumably) first-generation if not a man of Anil, at least a satisfactorily wasn't up to pip - there vvas something asst d. Rob Malenfant unit man. Alan MacPherson immigrants, whom she's never met. But domesticated stud. Tradition will be uncomfortably wrong about Anil. But designer David Moe cont Kathr>'n Buck d.o.p. Anil already has a girlfriend. Tammy maintained for perhaps another genera­ that wasn't it either. American TV has Nick Evdemon casting Dorothy Gardner, Claire Hewitt, Michelle Metivier p. sec-. Susan Howard (Gaye Burgess), the pampered daughter tion, thanks to this fresh infusion of values habituated us to expect strong male p.c. CBC running time 8G min., 6 sec. Lp.Sugith of wealthy Toronto WASPS, and agrees to from the old country. heroes, surrounded by a court of suppor­ Varughese, Malika Mendez, Gaye Burgess, Maida the marriage only when he learns about Sharmila's secret, of course, is that /ler; tive females. Egos somewhat frazzled at Rogerson, Joe Ziegler, Layne Coleman, Angelo the $50,000 dowry that comes with his the edges after a day at work, Americans Rizacos, Jack Jessop, Desh Bandu, Sanyogta Singh, life is still meshed with her traditional Swarran Singh, Eiena Kudaba. Alf Humphries. mail-order bride. Its "the big chance" values - she knows what she believes, settle down each evening in front of Charlotte Freedlander, Al Bernado, Amrita Sethi, they've been waiting for - Anil plans to and therefore she believes in herself The their multi-channel dream machines Samanlha Singh. use the SO grand to set up in business, so only thing Canadian about her is that, like for a fresh dose of mythology - from the he'll be able to keep Tammy "in the style the RCMP, she gets her man - and there's mainline. That's why American TV must to which she's accustomed" (though he'll something quaintly nostalgic about that be written to a formula, like Harlequin keep a few thou aside for an RRSP - Anil's too, in this age of cynicism about mono­ romances. Michael Rubbo's already a very Canadian sort of entre­ gamy. (When Anil claims his parents But while Canadians have proven preneur). know nothing of love if they believe in quite capable of reproducing the formula In short. Anil is a creep on the make, arranged marriages, his father retorts: flawlessly in some of the simpler genres Daisy: The Story and one of the lesser mysteries of the plot "In our culture, you don't fall in love, you (e.g.. Harlequin romances or Porkys), is why two lovely women should bother grow into it!) on (some) film and TV lingers a revi­ of a Facelift fighting over him. But director Douglas And yet Best of Both worlds is no sionist tendancy to portray reality. This Williams never lets the pace slacken blind eulogy to a Golden Age of the past may be in part a residuum of Canada's enough for us to worry much about it. either. Sharmila admits to Anil that the strong documentary tradition, but, More worrisome is the moral vacuity of reason she was ready to marrj' him, was more important, it reflects the un­ characters like Anil and Tammy. Anil, a to get out of India. When Tammy, in a acknowledged preoccupation with our In documentary, character is every­ first-generation-born Canadian, works last-ditch attempt to hang onto Anil, economic and political - and therefore thing. In fact I'd say that documen­ hard to deny his cultural roots : when his praises the richness and romance of cultural - dependence. Canadians tary is the unconscious search for mother serves an Indian dinner, be goes India, Sharmila shoots her down : "If know only loo well that t/iey're not the character. I say unconscious be­ to the fridge looking for left-over pizza. Or you haven't been there, hov\- do you heroes, and therefore an impotent, equi- cause we documentary filmmakers he amuses his WASP girlfriend with his know ?" \'Ocating, worm like Anil can slip in as a have often not realized the impor­ 'Peter Sellers' take-off on an East Indian Tradition may carry important human pseudo-hero, i Unfortunately, such a tance to our films of character accept, though the humor falls flat with values, but the old worlds that produced radical departure from the prescribed delineation. We have often been Sharmila there as a mirror for Anil's them are no longer- and here we come litany generates sufficient discomfort in too concerned with issues to notice cultural suicide. against the major stumbling-block of the regular TV aficionado that he often that it is only when these issues are Having defined his identity in negatives Best of Both Worlds. True, for the mo­ switches channels. lived bv a real person that they - the great Canadian compromise - in the ment Sharmila's determination and Still, the fact that Best of Both Worlds become interesting. end Anil is loyal only to money. His new strong roots have saved the day, but was made and aired at all is proof that Michael Rubbo wife shows him the antique jewelry she's what about tomorrow ? In an age when Canada has grown a lot. Not so long ago, brought as her dowry; the reflection of one in three marriages end in divorce, a CBC producer would have steered This is not the story of Dais\ s face, light from the gold ripples across her can "girl gets man" really do as a satis­ clear of a social comedy that made light before and after. Ironically, in this film head like the aura of a madonna, and the factory denouement ? Already by the of the customs of one of our minority about a facelift, the face is relalivelv materialist Anil is impressed. The fact end. Sharmila has changed her clothes groups - and yet, in a country where unimportant. It is Daisy De Bellefeuille's that the dowry takes the form of a family and hairdo for western styles - "You're more people now stem from "minority" sense of humour and i ncisive character heirloom, instead of ready cash as Anil that carr\ the film beyond the le\'el of had expected ("I thought it would be a investigative cinematic journalism. Ul­ cheque," he says desperately] is a vivid timately the film becomes one of char­ capsule summary of the contradiction acter portrayal, a study of the private between Old World values and New. person behind the mask. And this is Specifically, the rejection of the Old probably e\acll\ v\ hat Rubbo intended. World implies the disintegration of the From the moment Dais\,a5S-yeai-old power of the family - i.e., arranged mar­ \ational Film Board executive, makes riages - but once 'liberated' from family, her decision to luue a facelift, Rubbo the isolated individual finds that his only and his camera follow her through the link with society is through the mega- various emerging stages of her expe­ corporation. Thus Anil's cluttered bache­ rience : rational, psychological, emo­ lor apartment is crowded with huge tional and medical. In Rubbo's charac­ cartons of the soapflake product he pro­ teristic documentary style, he forges a motes in supermarkets. (One of the few relationship with Daisy which allows limes we see any spunk in Anil - or any her to unfold naturally and easih' before flint of life in his relationship with Tammy the camera. Once he has gained her - is when they perform a little guerilla trust and acceptance, he can begin to theatre to dupe a supermarket manager assert bis own opinions as an agent into granting Anil's soapflakes better shelf provocateur ; he ran asktoucln, leading space.) questions which provoke Daisy to un­ Anil's scam (ripping off the dowry) ravel motives behind her elective sur­ expresses his profound disdain for his gery : V anilv. insecurity and a need to be cultural roots, a common enough New loved. Rubbo's discreel yet persistent World disorder among first-generation on-screen presence is the calaUst behind immigrants or independentistes. Daisys unfolding. But Anil begins to sense that he has Daisy is compelled - in response to underestimated the strength of the old the .sometimes unsv mpathetic, uncom­ culture as he stands under the wedding I East-West duologue: Sugith Varughese flanked by Gaye Burgess (ielt) and Malika Mendez prehending judgements of friends and canopy with his radiant bride, sunxJMnded acquaintances, sometimes by Rubbo's

Cipema Canada - June 1983/31 SHORTS willingly testify to their happiness with their new appearance. They candidly Donald Winkler's admit to a previous dissatisfaction with their looks and all confess that they underwent surgery so that they could F.R. Scott :Rliyme have an appearance that they could live with. Vanity is taken for granted ; no and Reason moral or social guilt trips here. Daisy perceives herself as fortunate for never having learned the meaning of "Anglo-Saxon guiU." She philosophizes that everything comes and goes : mar­ Director Donald Winkler has a number riages, children, money... In the end, of fine films to his credit, including Jn says this veteran of three failed marriages Praise of Hands (1974), Trave/Log(l978) and mother of two children : "All you're and Earle Birney: Portrait of a Poet stuck with is yourself" And as it helps to (1981). Director-editor Albert Kish has be stuck with a self you can accept, if also gained distinction by his work on that means tampering with the wrap­ films like Best Damn Fiddler From ping, so be it. Calabodie to Kaladar (1968, editor). During the facelift sequence, Rubbo's Time Piece (1971), Los Canadienses mellow narration and soothing instru- (1975), and Paper Wheat (19781. F.R, mentals coax the squeamish viewer Scott: Rhyme and Reason is the fourth gently through the gruesome procedure. film on which Winkler and Kish have "Now comes the nasty part, close your collaborated. Perhaps that is why I was eyes," he warns as a rubbery flap of so surprised to find the film tediously cheek skin is pincer-stretched to one boring and without a heart. side, and the surgeon extracts spirals of There is no doubt that F.R. Scott is fat from underneath the patient's chin. himself an amazing human being; poet, At this moment of truth - when an politician, lawyer, constitutional expert, anaesthetized face is being cut, trimmed defender of civil liberties. Organizer of and re-fitted -weseethe face for what it the League for Social Reconstruction in is : a mask. 1932 and its president from 1935-36, Six weeks after Daisy's facelift, she is national chairman of the CCF (Co­ packing for a European tour. She still operative Commonwealth Federation) looks like Daisy. The difference is per­ from 1942-1950, member of the Royal ceptible, but barely. Like the difference Commission on Bilingualism and Bicul- between a tired face and a rested one, turalism, dean of law al McGill University she now seems a shade smoother, more from 1961 to 1964, F.R. Scott has through­ relaxed. But she knows her face best out his life been engaged with the major after living with it for 55 years, and to social questions of our times. He seems, her the difference is obvious and strik­ in essence, a man of concepts and ing. She feels more secure about her words. Clearly, a man of reason. But the appearance and projects a more attrac­ title of the film promises rhyme as well. tive persona. And... yes, Daisy gets her And this, in its lieepesl sense, we do not find here. The film does quote from Scotf s poetry. Lyn IVlartin But something more is needed, some­ thing to humanize for us this man of concepts and abstractions and legalistic Michael Rubbo's latest is indeed a slice of life DAISY : THE STORY OF A FACE- brilliance. Instead, the film is strictly probing questions, and more often by attract men to women on her doctor- LIFT d./ed. Michael Rubbo d.o.p. Susan Trow academic in the worst sense of that add. photog. Ned Johnston mus. ed. Julian Olson word. It is like a lengthy lecture and its her own propensity for self-analysis - to friend's husband. He readily admits loc. sd. Claude Hazanavicius add. loc. sd. Alex face the truth within herself. She admits that before you open the package, you Griswold, Yves Gendron sd. ed. Andre Galbrand overwhelming verbosity makes us yeam that she is terrified of growing old, look at the wrapping. And in an age sd. eSx. & mus. ed. Julian Olson re-rec. Hans Peter formomentsofsilence, lightness, laugh­ afraid that "the past may become more when quick first impressions are usually StrobI orig. treatment Michael Rubbo, Kate Jansen ter. There is althost an endless stream of from an idea by Harry Gulkin research Kate "talking heads." The interviews with interesting than the future." In a rather the only bases we have for either pur­ Jansen p. Michael Rubbo assoc. p. Giles Walker cruel, unsubtle juxtaposition, Rubbo suing or avoiding further contact, older exec. p. Adam Symansky, produced and distributed David Lewis, Leon Edel, A.M. Smith, gives us Daisy's greatest fear - that of women stand less chance of nabbing by The National Film Board of Canada running time Louis Dudek, Graham Fraser, and Mar­ becoming "a,little old lady who simply the man than their youthful, more attrac­ 57 : 40 colour 16mni. cel Rioux all seem coldly analytical in behaves herself - as the camera focuses tive counterparts. (Daisy claims that a on a grey-haired old woman attempting man's attractiveness is less important.) against all odds to look dainty whilst Rubbo does some investigating of bis eating a sandwich under a hairdryer. own. At the New York Public Library, he Rubbo proceeds to audaciously rub the researches the work of early physio­ point in further as be has the old lady gnomists who claimed that there was pose demurely, newly coiffed and tot­ some relationship between facial fea­ tering, before the mocking camera eye. tures and character or disposition. To Unfortunately, this little old lady who lest whether we still look at faces this incarnates Daisy's greatest fear, has way, he asks a psychologist from the behaved for Rubbo's camera, and has University of Massachussetls (who un­ unwittinglv derided herself in the con­ equivocally claims that people's faces text of the act. influence the way vve think about them), The point is driven in, again and an emplovment counsellor (who says again, that Ihere are cogent arguments that 85 percent of the information we in support of cosmetic surgery. First and receive about another person is visual) foremost: human beings are inclined to and a waitress (who admits that the discriminate on the basis of appearance. prettier waitresses get the best tips). As an attractive woman whose signs ol Obviously Daisy has a point. age are beginning to show, Daisy knows Once the value system out of which this only too well. A self-proclaimed Daisy made her decision has been fully romantic, she once saw work as "some­ scrutinized, Rubbo moves in on the thing a woman did in between being in medical practitioners who capitalize on love." But now she, who lived her life for it: the cosmetic surgeons. They see a man, ends up with a terrific career and themselves as fulfilling a societal need. no man. The men who used to come and In restructuring noses, breasts, buttocks, go, now mostly go. So it is time to thighs and faces, these sculptors of upgrade the product, because Daisy is human flesh bestow their clients with readv to fall in love again. the bodily features they feel themselves She tests her hvpothesis that looks entitled to, the features they feel really Brilliance without heart: poet F.R. Scott as a talking head and vouth are critical factors which belong to them. Post-operative clients

32/C -•l'inBl983 SHORTS content and visually repetitious; a medium-shot of a man discussing an abstract idea. Talking heads are not in SEASONS OF THE MIND THE VEGETARIAN WORLD themselves anathema, nor is the discus­ Mini-reviews ,A look at two senior citizens, Doug "Animals are my friends, and I don't Robinson and Bill MacQuillan, who filled eat my friends." sion of abstract ideas, but the combina­ With this issue Cinema Canada increa­ the gaps in their li\es by going to univer­ George Bernard Shaiv tion on such a scale seems to move us ses its coverage of Canadian short films further and further into impersonal, sity. .A whirlwind tour of vegetarianism, by publishing a "Mini-review" section Both in their earh' '70s, they had tried academic abstraction. Certainly we each month. Over WOO Canadian shorts hosted by VVilUam Shatner, himself a move further away from the man, F.R. volunteer work, but the need to more devotee of meatless meals. are produced every year By concentrat- fully exercise the mind led them to seek Scott, and any sense of him as a whole ingon one distributor each month and An entire approach to life is reinforced person. There is so little emotion ex­ the higher learning that bad been denied by people recounting their reasons for reviewing a series of shorts, we hope to them in the '20s depression. pressed in the film that even the inter­ be able to cover more films than in the the choice and illustrations from around view with his son, Peter Scott, concen­ past and to give that distributor more But it's not all a bed of roses. There's the world - Britain, France, Germans', trates on the father's ideas. As words ejcposure. This month features shorts the problem of coping with new equip­ Italy, and various eastern countries. pile upon more words, they begin to from Kinetic Film Enterprises Ltd., ment, organizing study-time, and the Many names are dropped of famous seem like a protective device to keep us Toronto. mind loo - the old memory bank isn't vegetarians- Socrates, Shelley, Schweit­ from seeing who F.R. Scott really is. what it was, says one ruefully. zer, DaVinci, Tolstoy, Gandhi, and, of Unfortunately, the chronological ACID REIGN A stimulating look at the retirement course, Shaw. Discussions of recipes structure of the film does not serve to its life of two determined people fitting in and the array of dishes are enough to A short sharp overview of an "invisible, well with the younger academic ele­ make the mouth water. advantage either. The archival stills and silent, form of violence." Lyrical views of footage are simply not visually interest­ ment, and all reaping benefits. Com­ There's a section of nasty bits relating the beauties of nature, including lovely petently shot, but with uninspiring ing enough to contribute anything on lakes, lead to melting snow which har­ to chickens being killed and cattle their own. They are used like visual aids wallpaper' music which, luckily, doesn't slaughter in abattoirs, plus the horrors bour the acid rain released in the spring detract from the gutsy subject matter. to a lecture, literally translating facts in melt. of raising milk-fed veal. the commentary. At times this visual Children's perception of animals as Foliage and berries die ; lead pipes SEASONS OF THE IMIND d./cam. paucity becomes embarrassing, as carrying drinking water are eaten away; friends, and then their eventual realiza­ when the filmmakers utilize courtroom Anthony Hall add. cam. Terence Macartney-Filgate tion they are eating them, seems a mile building stonework decays inexorably ; p.c. Film Arts Ltd. 21 min. 16mm. sketches to illustrate a legal case under­ and a public statuary displays mule forced. taken by Scott, or when a montage of evidence of erosion with the loss of A summary of facts and statistics newspaper clippings is supposed to extremeties and faces smoothed to indicates that if more pasture land was illuminate a point. I saw this film with a blankness. JOHN DOE utilized to produce vegetables and friend. At its end, she turned to me and Smoke stacks, factories and car A rueful look at losing one's job and why fruit, more of the world population said, "This should have been a book." In exhausts all lead to the low-key message - though the 'why' remains elusive. could be fed. this monology, the filmmakers have in­ - a need for laws to contain acid rain A scripted piece of gentle humour According to publicity, this film was cluded some of F.R. Scott's poetry ; they and for a combined US/Canada effort. introducing John Doe discovering the three years in the making and filmed in should have put in little of their own. Good photogspphy and underwhelm­ name plate being removed from his nine countries. It seems such a big effort ing music reinforce this introduction to office door. for such a tiny nibble at what appears to Joyce IVelson • one of today's relentless problems. Back in his apartment he telephones be a fascinating mode of life. Too many without success : "I'd like to talk to snippets of information are crammed ACID REIGIV A film by Helen Henshaw. 10 someone about my job." But the word is into too little time and the film exudes a F.R SCOTT: RHYME AIVD REASON min. 16mm. out, and the repossession of his posses­ faintly self-righteous air. However, as an exec. p. Barrie Howells p. Tom Daly d./sc. Donald Winkler ed. Alberl Kish d.o.p. Barry Perles, Andy sions starts. In the end, John Doe is left introduction, a starting point for further Kilzanuk research Sheila Fischman loc. sd. Bev HIGHWINDING with the one thing they cannot take exploration, it certainly has its uses. Davidson, Jean-Guy Normandin, Hans Gomes mus, Mike Gadd, Harry Hall and Derek Wulff, away... Alain Clavier mus. rec. Louis Hone re-rec. Hans A slight, rather soft little exercise, Peter Slrobl colour 16mm running time 57 min. wizards of board sailing, or wind sorting THE VEGETARIAN WORLD p./d./ p.c. Nalional Film Board, 1983. as it is popularly known, display their with good production values - well shot cam. Jonathon Kay sc. VViliiani whitehead &, John by Mark Irwin and with David Grimes' Bemrose orig. mus. Beinie Senenslty, performed fabulous footwork and expertise. b\' Moe Koffman Quintet liost/narralor William A lesson for beginners shows that pleasant original music. But what does Shatner. 2S min. 50 sec. 16nmi. everyone keeps falling into the water al it say ? Not much, really. first, but it takes only a few hours to learn the basics. JOHN DOE d./sc. Larr\' Moore cam. Mark Pat Thompson Irwin muec. (composed/performedl David Grimes The experts give a nifty display of the p. Paul CauifieJd l.p. Larry Moore, Ray Landry p.c. tricky stuff - sailing the board on its Film Arts Ltd. 8 min. IGmm. edge, turning completely around while bowling along (and still staying upright), and a series of backwards and forwards bends with head touching the rushing water. A lively, interesting look at the popular sport, with not too much talk, pleasant music, and lovely photography from Barry Stone.

HIGHWINDIlVGd. Eric Goddard cam. Barty stone p. Paul Caulfield p.c. Film Arts Ltd. 15 min. 16mm.

• The lyricism ol pollution : Helen Henshaw's Acid Reign Introduces one of today's relentless problems

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