child. She has a properly exotic body, of which much is seen, but only the more innocent of audiences (like the Ontario Censors, who ruled that "some scenes may be offensive"), would call her trysts with man and near-man daringly erotic. Richard Sargent has studied (and not very well) in the Jan-Michel Vincent/ Perry King school of acting, and Don McCloud, the figure in the monkey suit, doesn't speak, se his reputation is safe. But in two areas, Tanya's Island doesn't need to apologize. 's cinematography is effective and lush; Though he couldn't have realized it at the time, his work calls to mind and bears favorable comparison to Nestor Almendros' work in The Blue Lagoon and Caleb Descbanel's in The Black Stallion. The ape make-up was created by , who rather specializes in simians {King Kong, The Incredible Shrinking Woman) and Bob Bottin {, The Howling). They have their own humorous touch, in giving Blue a face that bears a disconcerting resemblance to Steriing Hayden. One's sympathy, however, goes out to Alfred Sole whose bad luck seems to be holding. His previous film. Commu­ nion, was well received at festivals in 1977, but only got scattered release under the title Alice, Sweet Alice before the distributor. Allied Artists, collapsed. A carefully plotted horror film, set in bis hometown of Paterson, New Jersey, it stands miles above the current stab- and-chase fare, but it could only be released (now called Holy Terror) by playing up the small role played by the then very, innocent-looking (only 10 years old at the time), in what was her first film part. Its tight control is in sharp contrast to the mean­ dering and heavily edited Tanya's Island, but Alfred Sole's name is still in the credits. J. Paul Costabile •

TANYA'S ISLAND d. Alfred Sole a.d. David Shepherd, Steve Wright p. Pierre Brousseau co-p. Rainier Energy Resources Inc. exec. p. Pierre Brousseau, Jean-Claude Leves- que assoc. p. Daniel Kingstone p. man. Frank Rosetti sc. Pierre Brousseau d.o.p^ Mark Irwin, esc cam. op. Robin Miller gaf. Jock Brandts, Carlo SHORTS Campana grip Maris Jansons, Scotty Allen sd. engineer Brian Day boom Tom Mather superv. ed. Andrew Henderson, cfe ed. Michael MacLaver- handbook approach, considering the fies him; he returns to the school group, ty, cfe sd. ed. Peter Burgess m us. Jean Musy art d. now in white-face himself, with good Angelo Stea ward. Julie Canton make-up/hair Paul Shapiro's film's central character, Jason, a very Shonah labour spec, efx malte-up Richard A. bright but frustrated and uncommu­ cheer and a spirit of reconciliation. Baker, Rob Bottin p. accl. Wayne Aaron set dresser nicative boy about ten years old. Jason's What Clown White has done be8t|ito Enrico Campana l.p. D.D. Winters, Richard Sargent, Don McCloud, Mariette Levesque, Mark Irwin stills Clown White isolation goes beyond the fact of his depict sympathetically fte world ar06nd Denis Fugere p.c. Pierre Brousseau Productions deafness. He appears singular in his Jason. With one or two hard-hearted (1979) col. Film House, 35min running time 91 alienation, even in his school class of exceptions, everyone tries in his own min. (original version),82 min. (N. Am. version) dist. fashion to be helpful even the other- New World-Mutual (English Can.), Les Films Mutuels fellow hearing-impaired children; we Ltee (Quebec) often see him through glass partitions wise anti-social bus driver whom-We or even as a background silhouette. children love; this last is ?''>»'' Clown White's Lorene Yarnell and Ivlark Producer Martin Harbury picked up on The best efforts of his teacher - an Michael Ironside, widely seenthBpar Dillon photo: Ron Watts. an idea that had been circulating among earnest concerned man played with in David Cronenber^s Scanners. JasoHS a few Toronto filmmakers for some four evident enthusiasm by Saul Rubinek - classmates are all tenderly crealeo years, to make a film on deafness and fail to reach him. When the boy defaces composites of children that Harbury mime. That was over three years ago, a school wall with chalk drawings of and director Paul Shapiro met whue and the result is Clown White, a fifty- clown faces (an image which repeatedly researching the film in various institu­ minute television film. In telling the intrigues' him), his teacher feels com­ tions for the deaf around Toronto. Eacn story of a rebellious deaf child who goes pelled to respond punitively by barring of them is portrayed distinctly, rather on a class outing to the city, where he Jason from a class trip to the Planeta­ than as part of an amorphous group "• runs away, Harbury got himself in for rium. Not easily deterred, Jason stows secondary characters, reflecting tne more than he bargained for. "The whole away on the expedition. Found out, and care with which the film wasmaoe . field of deafness is a vast and complicat­ about to receive more punishment, he The fUm is Harbuiys second dramatic ed one," says Harbury. "Everyone has breaks loose and runs off into the midst project but it is no accident mat «• very strong viewpoints, so we had to of the city, pausing first to complete his backgipund is primarily *atof a^ocu^ tread a very delicate path." freedom by discarding the Phonic Ear mentary filmmaker. Clown White « « This delicate path concerns the ways amplifier that remains his only hnk with extensively reseaixjhed film whosesW in which deaf children are taught to the world of hearing. He returns to a evolved ftx>m Harbury-s and Shapuv communicate. Clown White doesn't store window where a mime in white- encounters with the deaf comni^ comment on these ways - indeed, its face (played by Lorene Yarnell of the The children in the film were selerte strength lies in its open-mindedness famous American mime duo, Shields from among the 45 hearinfrmpa^^ towards the various approaches used and Yarnell), has been performing. youngsters that were a"'J""'"^°:?7(he by the concerned adults in the film. It Through her and the gestures of mime the largely positive response ina does, however, throw a curve into any he finds a mode of expression that satis­ project received in that communio::^ big find was Mark Christopher Dillon Jason's expressiveness, but it is also who plays Jason. "A natural," Harbury significant that he comes to it by means enthuses, and indeed, Dillon projects an of the inner resources of pride and instinctual sense for performing. After determination. all, the boy had a lot on his shoulders; a Salem Alaton • leading role which is not a speaking part. CLOWN WHITE, d. Paul Shapiro sc Jeffrey Director Shapiro finds poignant fram­ Cohen & Paul Shapiro p. Martin Harbury or mua composed by Bruce Cockbum d.o.p. ReneOhashi ing for Dillon but balances these with ed. James Lahti &. Mairin Wilkinson p. man. Sally the young actor's own intense assertive- Dundas loc sd. Bryan Day St. Tom Mather art d. ness. This assertiveness was one of Roy F. Smith a-d. Steven Wright list), Martha Hen- Harbury's central discoveries in re­ driks (2nd), Don Baldassara (3rd) props Peter Lau- terman (master), Paul Dreskin (asst.), Greg Pelchat searching the film ; that on the one hand (asst.) iBl asst cam. Bill Brown gaf. Jock Brandis deafness is "the invisible handicap" best boy Scotty Allan grip Maris Jansons loci (probably few people are aware that man. Suzanna Plowright p. co- ord. Susan Mander Canada has some 1.7 million hearing- warfL Mary-Jane McCarty, Karin Ariss (asst.) art trainee BirgitSibermalce-up SuzanneBenoitcont impaired citizens), while on the other, Susan David casting d. Jeffrey Cohen extras casting "in their own parlance and in their own Peter Lavender leclt advisors Victor Solitario, Patri­ understanding of things, they are not cia Vaughan catering Jesse Frayne stills Ron Watts handicapped people." While the Jason L p. Saul Rubinek, Lorene Yarnell, Michael Ironside, Heniy Ramer, Patricia Collins, George Touliatos, Mi­ character represents, in part, the dif­ chael Wincott, Ralph Small, Stephen Witldn, Shelley ficult "individual case which the text­ Goldstein, Tani Brown, Jeffrey Cohen,Bill Sheldon, book couldn't adequately prepare for, Bernie Finkelstein, Bruce Cockbum, (kids) Mark he also embodies the drive through Christopher Dillon, John Humphreys, Kelly Halli- gan, Arleigh Graham, Vanessa Vaughan, Danielle which people find their own solutions. Turton p.c Martin-Paul Productions Ltd. coL Mime is the discovery that unlocks 16mm running lime 52 min. Un ires grand succes international A Great International IIDIM LE6ENDES 13 demi-heures- 16mm 13 half-hour episodes - 16mm LEGENDSk Une sdrie realisee et produite The series directed and produced par DANIEL BERTOLINO by DANIEL BERTOLINO OFGANADAV DU CANADA des productions Via Le Monde Inc. of Productions Via Le Monde Inc. Deja distribuee a la television : Distributed for television In : en France, en Suisse, en Belgique, France, Switzerland, Belgium, en Alg^rie, en Suede et en Angleterre. Algeria, Sweden and England.

Disponible aussi pour les Also available for non-commercial circuits non commerciaux: circuits: • Centres culturels • Cultural centres • Ecoles • Schools • Blblloth^ques • Libraries

Ligendes indiennes du Canada, Indian Legends of Canada, une serie historique, une s^rie de an historical series, a must for films qu'il faut avoir dans votre your cinematheque. cinematheque.

Cette serie d'emissions a pour but de faire decouvrir au public la profonde personnalite, rimmense culture et la pensee des differentes nations indiennes qui peuplent le Canada, a travers la mythologie extra­ ordinaire qui se degage des legendes. cs^ Tournee en langue indienne originale, dans un decor qui nous pionge dans le passe indien, ou les acteurs sont les Indiens eux-memes, cette serie d'emissions contribue a la preservation d'un extraor­ dinaire patrimoine historique.

The objective is to lead the viewers towards discover­ ing the profound individuality, the immense culture and philosophy of the differing Indian nations across Canada, through the extraordinary mythology which ..A;«g^P^/ emerges from the legends still told today. Filmed in original Indian language and performed Contactez/Contact: by real-life Indiana, in a setting which thrusts us bac/c MICHELLE RAYMOND into the past, this series of programs contributes to LES PRODUCTIONS VIA LE MONDE the preservation of an extraordinary historical 326 ouest, St-Paul Montreal, Qu6. H2Y 2A3 legacy. T6l«phone (514) 285-1658 Telex 0525534

5ient(»mhAr iQAi ^m. Where Canadian film comes together.

BELLEVUE

MONTREAL TORONTO PATHE SOUNDS & Sound Studios Andre Collette, President J^Tijf"^^"° Joe Grimald"i, vice-president 2000 Northcliff Ave. IVI5V 2T3 121 St Patrick St Montreal, Quebec Tel: (416) 364-3894 Tpronto, Ontario M5T 1V3 H4A 3K5 Tel: (416) 598-2521 Tel: (514)484-1186

ASTRAL BELLEVUE Cpather

jiji/r»inAmo nanarin ~^f>n)Ambnr 1 8R1 IN RELEASE by J. Paul Costabile

the rugged style of his idol Howard appears as an irrepressible American Hawks and the spare, no nonsense ap­ who gets himself on the team in spite of BLOW OUT proach of Don Siegal, Carpenter has THE FOX AND his disdain for the game. He plays with created a fine, crisply told tale which, his usual cocky style. Michael Caine'S because it shows the decline of America THE HOUND Colby is a typically reUable Michael in such an offhand way, is that much Caine performance, and the great Brazi­ while i^cording sounds for a low-budget more effective. The casting is letter lian soccer star Pele leads a contigent of horror movie on which he is working in perfect, and includes Ernest Borgnine professional athletes who acquit them­ Philadelphia, sound man Jack T^rry as the last cabbie in JVIanhattan and selves reasonably well as the team. Only witnesses what he first thinks is a car Harry Dean Stanton as a genius appro­ is the twentieth a rather jaundiced looking Carole Laure, accident. He is able to rescue one of the priately named Brain. Adrienne Barbeau feature animated film to be made by in what is being billed as her first passengers, a girl named Sally Bedena also appears, as Brain's girlfriend, and is Productions. This tale of a English-language role as a Resistance from the sunken car, but not the male no slouch either. Another small master­ fox named Tod and a hound named\ member, seems out of place. Victory is driver, who turns out have been a prom­ piece from . With Tom Copper, who become friends as pups hardly Huston at his best, but that is a lot inent contender for the American Pre­ Atkins, Charles Cyphers, Joe Unger, but are forced to be enemies as adults, better than most. With Bobby Moore, sidency. Later, when Jack replays the Frank Doubleday, John Diehl, Ox Baker, supposedly introduces a new, younger Osvaldo Ardiles, Paul Van Himst, Co tape he was using at the time, he realizes Season Hubley, Nancy Loomis. team of animators and writers to rejuve­ Prins, Tim Pigott-Smith, Julian Curry, that he actually witnessed an assasina- nate the Disney studio. But, in fact, the Amidou, Jean-Francois Stevenin. tion, but he can get no one to believe film, which owes a lot of its style to Producers : Debra Hill, Larry Franco. Director, , turns out to be the swan song for him. Sally, for her part, is reluctant to script, music: John Carpenter. Script: Nick Castle, A Lorimar production. Producer : Freddie Ami­ help, since she was in on a scheme to Photograpliy: . Editor: Todd ' such veterans as animators Frank Tho­ dou, Executive pi*oducer: Gordon McLendon. blackmail the late governor, but even­ Ramsay. Production design ; Joseph Alves. Mu­ mas and OUie Johnston, the last surviors Director : John Huston. Script: Evan Jones, Yabo sic ; Alan Howarth. Running time : 99 minutes. of the team that made Snow White. Don Yablonsky, from a story by Yablonsky, Djordjie tually agrees when it becomes clear that Distributor: New World-Mutual. Milicevic and Jeff McGuire. Photography : Geny the killer will want to tie up any loose Ratings : Restricted-B.C. (warning)./Adult, not suit­ Bluth, who was to have been the overall Fisher. Editor: Roberto Silvi. Production de­ ends-like Jack and Sally. Brian De able for children-Alberta./Adult accompaniment- director, left the company in 1979, and sign : J. Dennis Washington. Music: Bill Conti. Falma's Blow Out offers John Travolta, Ontarioyi4 years-Quebec. the result is that The Fox and The Running time : 117 minutes. Distributor ; Para­ as Jack, his first really solid adult role, Hound is rather tepidly directed by mount. three hands in the traditional conserva­ Ratings: Parental Guidance-Ontario7Mature- which he brings off quite well. Nancy Maniloba./General-B.cyFamily-AlbertayAll-Quebec. Allen is the bimbo who finds herself ENDLESS LOVE tive Disney style. On the other hand, for over her head, and a slimmed-down technical quality, the Disney studio re­ John Lithgow turns in a menacing per­ mains the leader in animation, Mickey formance as the psychotic killer who Rooney, appropriately enough, is the WOLFEN voice of the optimistic Tod, while Kurt talks like a Watergate conspirator. In With its similarities in plot to Romeo and addition to his familiar Hitchcock hom­ Russell does Copper. Their younger Juliet, it would at first seem logical that selves are done by Keith Mitchell and age-this time to The Man Who Knew Franco Zeffirelli would be the proper Too Much - De Palma also alludes to Corey Feldman, while Pearl Bailey does Michael Wadleigh, best known as the choice to direct the film of Scott Spen­ the voice of a maternal owl called Big director of the film of Woodstock, mftkes Blow Up and The Conversation, and cer's novel Endless Love. But this story suffuses the film with technical bravura Mama, and also sings the rather dull his first fictibnal feature with this horror of seventeen-year-old David Axelrod's songs. With the voices of , offering. Wolfen is a dark and pessimistic and a dark and cynical humor. With obsessive passion for fifteen-year-old Dennis Franz, Peter Boyden, Curt May, J. Jeanette Nolan, Jack Albertson, Pat But- picture of urban decay and collapse, in Jade Butterfield required quite a dif­ tram, John Fiedler, John Mclntire, Dick which Dewey Wilson, a wom-dow« Patrick McNamara, Ernest McClure, ferent technique from ZetfirelU's lush Maurice Copeland. Bakalyan, Paul Winchell. New York detective (played with a tough- romanticism and preference for style guy American accent by Albert Finney), over substance. Judith Rascoe's script, Producers: , Art Stevens. tries to solve some brutal murders. Among Producer: George Litto. Executive producer : for its part, has removed the booit's Executive producer: Ron Miller. Director: Art the victims is the head one of one of the Fred Caruso. Director, script: Brian De Palma. subjective approach, straightened out Stevens, Ted Berman, Richard Rich. Script: Larry Piiotograpliy: Vilmos Zsigmond. Editor: Paul city's oldest families, who. is found in its narrative, and most unfortunately Clemmons, Ted Berman and others, from the book Battery Park, along vWth his wife and Hirsch. Sound : Jim Tannenbaum. Production taken the story out of its late sixties by Daniel P. Mannix. Senior animators : Frank desi^: Paul Sylbert. Music: Pino Donaggio. Thomas, OUie Johnston and others. Editors : James bodyguard, all in various states of dis­ Running time : 107 minutes. Distributor: Am­ milieu and placed it rather uncomfort­ Melton, Jim Koford. Production design : Don memberment. The search leads Dewey bassador. ably in the late seventies. The resulting Griffith. Music : , Jim Stafford, Richard to suspect some immense power and Ratings: Restricted-Alljerta./Adult accompani- film Endless Love has little of the book's Johnston, Richard Rich. Running time: 83 minutes. mem-Ontario./18 years-Quebec. Distributor: Paramount. cunning, but just who or what it is is a power. IVIartin Hewitt gives the role of mystery. To its credit, Wolfen offers David a good try for a first-timer, and he Ratings: General-B.C, Sask., Manitoba, Maritimes./ Family-Alberta, Ontario./All-Quebec. something different from the standard is at least marginally taller than Brooke features of the genre, though with one of Shields, who plays Jade. She, for her Dewey's assistants being a hip coroner part, appears less uncomfortable than (Gregory Hines), there is enough gore to ESCAPE FROM she did in The Blue Lagoon, but at this satisiy the fans. What may hold the film stage in her career she should be trying back is the considerable intellectual NEW YORK to get away from roles that merely play VICTORY baggage which Wadliegh loads into it. on her beauty. She gets no instruction In addition to the decline of the American here, and neither do the experienced city, the threats of terrorism and coun­ older hands who play the young lovers' terintelligence security, and the plight An airplane, bearing the President of parents - Shirley Knight and Don Murray of the Indians are also involved in the as the Butterfields, Beatrice Straight and In 1943, German propaganda officer the United States (Donald Pleasence), is Karl Von Steiner (Max Von Sydow), on a story. Along with over-use of the infra­ crashed in New York by a terrorist Richard Kiley as the Axerods. Thus, red, point-of-view camera, it makes the Endless Love winds up as a fine story in visit to the Gensdorf prisoner-of-war group. But this is 1997, and New York film rather too clever. Given the satura­ the wrong hands. With Penelope JVIil- camp, is intrigued by the impromptu City is no longer the American metro­ soccer games which Captain John Colby tion of horror flicks at the moment, this ford, Jimmy Spader, Ian Zierling, Robert may limit Wolfen's appeal. With Diane polis, but a vast walled prison, where Moore, Jan Miner, Salem Ludwig, Leon (Michael Caine) has organized for the once you go in, you don't come out. But men, and he comes up with an idea. A Venora, Edward James Olmos, Dick B. Stevens, Teri Shields, Christine Jacob- O'Neill, Tom Noonan, Dehl Berti, Peter since the President, who has been held sen as Brooke Shields' standin. team of allied prisoners will play a by the ruthless Duke of New York (Isaac Michael Goetz, Max M. Brown, Anne match against a German team. Colonel Marie Photamo. Hayes), must be rescued, police chief Waldron (Daniel Massey), the leader of Bob Hauk (Lee Van Cleefl convinces A Polygram production. Producer : Dyson Lovell. the camp inmates, is reluctant to agree Snake Plissken (), a master Executive producer: Keith Barish. Director: Franco Zeffirelli. Script: Judith Rascoe, from the to the plan, but when it appears that the An Orion release Producer : Rupert Hitzing Ex­ criminal and one-time war hero, to go in novel by Scott Spencer. Photography: David game can offer perfect cover for an ecutive producer : Alan King Director : Michael and bring the man out. Before he struck Watldn. Editor: Michael J. Sheridan. Production escape, he accepts the match. The sim­ Wadleigh. Script: Wadleigh. Daiid Eyre, from the it rich with Halloween, John Carpenter design : Ed Wittstein Music : Jonathan Tunick, plistic notions of war and heroism which novel by Whitley Strieber Photography: Gerrv attracted attention as a master of the Lionel Richie. Running time : 115 minutes. Dis­ Fisher, Garrett Brown. Editors: Chris Lebenzon tributor : Univel^al. prevade Victory are not exactly those of Jordan Leondopoulos. Production design : Paul action genre with Assault on Precinct Ratings: Restricted-B.C. IwarningI, Alta., Sask./ director John Huston, who has a more Sylberi. Music : James Homer Running time : 13, and it is in this context that Escape Adult Parental Guldance-Manitoba./Adult accom- cynical turn of mind, but his skill brings 114 minutes. Distributor: Warner Bros f^m New York is best seen. Drawing on paniment-Ontarip.'W years-Quebec. it off in fine style. Sylvester Stallone Ratings : Restricted-B.C. (warning), Alberta, Onta- noyi4 years-Quebec.

September 1981 -Cineina Canada/45