CAN N E 1^

It still IS a circus. It certainly is a market­ Images to an end One of the festival's most dis­ European Critics felt the Polish cinema place. For brief, fleeting moments it tinguished figures, Nagamasa Kawakita, was the most important in the world, even recaptures the elegance of its early a giant in the Japanese film industry, because - given its power, brilliance, years, or perhaps more accurately, the had died at home in Tokyo. A suite had commitment, and status- is was actua^ glamour bordering on sleaziness. But been set aside in the Martinez Hotel to ly leading in the re-shaping of its own first and foremost, it remains the un­ of accomodate hundreds of film people country. Well, Gdansk and the ensuing rivaled showcase for world cinema. Is, from all over the world, come to pay strikes and Lech Walesa and Solidarity anything significant happening in world their final tribute - while outside, mobs stunned the world in the months that cinema? The old masters? The new­ of pathetic, vulgar photographers con­ followed. Even now we wait and watch, comers? How is, say, neophyte New tinued chasing the... uhh... starlets on hope and fear. Zealand doing? Is Britain still (cinema- the beach, the panderers to the con­ Man of Iron ? Here is Wajda, at fifty- tographically) dead ? And what is Cannes temporary voyeuristic trade. five, the major film director east of Canada up to ? And so on and so forth... There was, however, one event this Ingmar Bergman, with over twenty-five Go to Cannes. by Marc Gervais year that was inescapable, and only a features to his credit - and still, to all Because Cannes is just about every person politically/culturally/humanly intents and purposes, unknown in film person's first choice, the odds are Elvis telling his story from heaven (?) - dead could have failed to notice it I North America. There are reasons for all that something memorable will trans­ the gradual disintegration of a country refer of course, to the Cannes '81 grand of this; one being the difficult political pire. This year was no different: it had boy who could not cope with it all, saved prize winner, Andrzej Wajda's Man of situation in Poland, another (an even its moments, many of them. Two Amer­ only by the musical excerpts. Iron. more overwhelming one) the appalling ican documentaries for example. One Cannes, indeed, is a mosaic of con­ Here is a magical film that explodes in cultural chauvinism and narrow- {From Mao to Mozart) a lovely, humor­ trasts. There was Clay Bonis - with his sheer human significance, well beyond mindedness of North Americans. Men­ ous tribute to Isaac Stem, which fol­ family and his film team, all of them the limits of film. Man of Iron is an tion Wajda and knowledgeable film lowed the matchless violinist on his new to this - scoring a surprise success amazing phenomenon; and everything people (in Americeil, say, "Oh yes. Ashes tour of post-Maoist China, was nothing for Canada (in the Directors' Fortnight) surrounding it took Cannes by storm. and Diamond^' - which dates back to less than a Joyous humanistic statement withyl/Kgator Shoes, and enjoying it im­ Suddenly the festival, which had started 1958, Wajda's third feature, seen here in that managed at the same time to mensely. Will this prove to be one of pleasantly - good weather, good films - film clubs or universities. Be that as it deliver some hefty ideological digs those show biz break-through stories ? but rather slovifly, had found its heart. may, Wajda's work is relatively un­ against Mao's cultural revolution. At the And New Zealand - a tiny country (less There was excitement in the air, repeated known outside of Europe. opposite end of the scale a huge mid- than three millioii), doing surprising standing ovations at film showings and A man of the theatre, president of ni^t audience was treated to a sort of business with surprisingly good films - press conferences. Many felt they were Poland's filmmakers' union, director of K-Tel "tribute" to Elvis Presley {This is fairly bouncing with enthusiasm. If Aus­ witnessing a turning point in world one of the major state film production Elvis) put together by David Wolper. It tralia and Canada can do it, why not the history, let alone filmmaking. companies, Wajda is a towering figure was a sad enterprise tracing, via visual Kiwis? Last year, in these very pages, I in Polish cultural life. He is indeed one snippets and simpering "commentary" - Meanwhile, another era was coming remember writing that a number of of the reasons why cinema is one of the

20/Cinema Canada - July 1981 CANNES

"Man of Iron" is an amazing phenomenon; and everything most powerful unofficial voices in that the success of their revolution, made films, that make it all worthwhile. And it country. surrounding it tool( their political films. And history has fui^ is to Cannes' glory that this particular WithJMan of Iron the wrapping is off: Cannes by storm. Suddenly nished us with examples of more or less festival seems fated to be their show­ Polish cinema's semirveiled criticism of underground films - generally mor^ case, their public consecration, proving the regime is a thing of the past. Never the festival, which had like video-pamphlets- representing the each year that cinema can indeed be has a Communist government been so propagandistic work of not terribly more than just a cynical exploitative severely criticized by its own cinema, started pleasantly - good skilled film teams. Man of Iron on the money-maker. It can reach the heights and so immediately. While the very other hand, issues from Poland's great­ of universal art, it can indeed continue strikes at Gdansk were going on, Wajda weather, good films - had est director. It is a work of enormous to be the major cultural statement of our created his most recent film. No glowing­ risk for all involved, made before the era. ly beautiful aesthetic masterpiece, this. found its heart. issues are finally settled. It fairly sings Of course, Cannes was much more It is dynamic reportorial recreation, or out in its love for human freedom and than one movie - closer, as a matter of actual news footage, analysis and actual dignity. As such it is already ensured its fact, to five-hundred. And, of course, happening - and all of it, magically other Polish film figures. It is no accident unique place in film history. there were many things worth noting. interwoven in a fictional story, a love that Lech Walesa actually participated And it was made precisely for Cannes Britain made a dazzling return to story that takes up where Wajda's 1976 in the film, as an actor in the story! - literally completed a few days before cinematographic grace with Ken masterpiece, Man of Marble left off. Everyone is aware that a return to the the festival began, its eventual fate Loach's Looks and Smiles, with John (Man of Marble by the way, finally found old totalitarian ways in Poland will decided on only the eve of the festival Boorman's E/ccalibur (officially an Irish its way onto Polish TV screens the day signify a death for the Polish cinema far opening. entry), and above all with the finest film Wajda left for Cannes. A French sub­ more cruel than even the death of Three years ago, Olmi stunned Cannes of the festival (outside of Wajda's movie), titled print has been shown in Montreal). Czechoslovak cinema in 1968. with his statement to the human spirit, the glorious, moving, immensely enter­ So, Man of Iron follows Man of Mar­ I have rhapsodized excessively over, The Tree of the Wooden Clogs. Two taining Chariots of Fire by featm-e new­ ble; but now, Wajda's new film fairly and given a disproportionate amount of years ago, Cannes gave us the gigantic comer Hugh Hudson. The money may sings with a sense of hope and joy, space to Man of Iron, not only because Apocalypse Now, Coppola's grand, be American or Arabic, but the talent, qualities that have been singularly ab­ of the political importance of the film, operatic, agonized exploration of the spirit and sensibility are quintessentially sent from this great director's previous but also because it is an example of American psyche that produced U.S. British, making one hope that at long viTork. The man himself seems trans­ what the Cannes film festival keeps on involvement in Vietnam - a sort of last the English cinema will once again formed - and Cannes reacted to his furnishinff the film world: marvelous contemporary Dante's Inferno. Last become a world factor. presence. The jury's attributing of the examples of films that go all the way, year, it was the grand return of Kurosawa Hungary excelled with Istvan Szabo's Palme d'Or was an act of solidarity of beyond the limits of one's own film with Kagemusha, a monument to the Mephisto and Istvan Gaal's In the For­ sorts, on a wider, international scale. viewing pattern, pushing cinema yet great Japanese cinema of the past, and ties. Sweden backed an obsessed Dusan One thing for sure: lesjeu/c sontfaits. further in some direction or other. Man Alain Resnais' Mon oncle d'Amerique, a Makaveyev's Montenegro, while Italy's There is no turning back for Polish of Iron is a staggering achievement. The brilliant essay in modernity. Bernardo Bertolucci continued to be cinema, for Wajda and for so many Soviets of the twenties, only long after These are the moments, these are the talented, pretentious, confused, and

July 1981 -Cinema Canada/21 CANNES

Cruelty, harshness, torture- Cannes' screens had plenty boring with The Tragedy of a Ridiculous short features category. course, is no neophyte. He was executive Man. Liliana Cavani, another Italian, to show us this year. There were other Canadian films at producer of CBC's For the Record continued to use history and politics to Cannes as well, some sadly disappoint­ series, sometimes scripting what were communicate the horrors of her own But even more strikingly, the ing (eg. Claude Jutra's By Design), others probably the best films being made in dark imagination, with The Skin; and already sold to American distributors, Canada. Courage, commitment, intel­ another terribly cruel, ugly nightmare antithesis to all of this some of whom preferred, in silly fashion, ligence, heart - these are the Ralph {Possession) by the Polish expatriate appeared with greater not to let the official Canadian co­ Thomas hallmarks. Ticket to Heaven - Andrjez Zulawski, was sponsored by ordinating body (the Film Festival Bureau which shall be given a thorough aes­ West Germany. insistence than ever: a kind a.k.a Cinema Canada) know they were thetic/plus review at the proper time - Cruelty, harshness, torture - Cannes:' on display. Presumably, the acceptable reveals a new talent in commercial fea­ screens had plenty to show us this year. of searching for common retrospective buyers alone had the ture filmmaking. He may well prove a But even more strikingly, the antithesis privilege of attending these showings. leader in the positive evolution of oiu- to all of this appeared with greater roots. Thus, the Canadian presence at feature film industry. Perhaps this is a insistence than ever: a kind of searching Cannes, in this year of many good Cana­ sign that Canada can start taking its fea­ for common roots: certain basic human dian films, proved enigmatic, to say the ture filmmaking seriously. decencies recapturing the spiritual and otherwise, chose the low profile, in least As one watches the evolution over Meanwhile, the festival goes on. This meaning of life. And this not only in contrast to the hard sell of previous the years, one gets the feeling of a year's sm2iller crowds proved a welcome Wajda's film, but even in Francesco years. There were Canadian films in growing maturity, with various distribu­ relief, not a threat for the future. The Rosi's Three Brothers, a radical depar­ evidence, to be sure. Les Plouffe caused tors using Cannes each in their own way. Cannes marketplace, seriously chal­ ture for this strong, committed Italian much favorable comment: everyone Dusty Cohl and George Anthony, for lenged, it was claimed, by Los Angeles' director, shifting away from his sim­ felt it should have been an official entry, example, quietly prepare for the launch­ similar effort, probably remains as solid plified, contestatory aggressivity into a and it sold well Alligator Shoes was ing of their production company (Reel as ever. more meditative study of life, and an ac­ received very sympathetically for what Canadian). They know the game. Many A huge new festival centre will open ceptance of democratic institutions, it was, a low-budget first film filled with check out remaining territories for films its doors, if not for next year's film however tainted, with a denunciation of personal insight, depth of feeling, and already sold to the U.S. and a few other festival, then for the 1983 edition. The terrorism. And one could find this spirit great promise - a culturally admirable major territories. Many come for the buyers and sellers will return. Hopeful­ in so many other films : Chariots of Fire, product Love, a Canadian compilation first time to learn the game. ly, Canadian films will continue their Looks and Smiles, Lee Grant's TellMeA film by women, shown to a few people One such was Ralph Thomas, director growth in quality, witnessed by this Riddle (U.S.A.), Canada's Les Plouffe in a private screening, revealed a beauti­ of Ticket to Heaven -• which turned out huge international gathering. And, of (Gilles C£u-le), Heartaches (Don Shebib), ful segment in Liv UUman's debut as to be one of the most favorably received course, one always hopes that Cannes and Ticket to Heaven (Ralph Thomas). writer/director. Don Shebib's Heart­ films at Cannes, given many more-oi^ will go on revealing new, splendid crea: Interestingly enough, both the Aus­ aches proved a warm and funny film of less private showings in the market tions- worthy successors to the achieve­ tralians and Canadians, who have so quality. And the Leduc brothers' Zea Ticket presented a sample of Canadian ments of artists like Coppola, Olmi, much in common cinematographicaliy won honorable mention in the festival filmmeiking at its best. Thomas, of Kurosawa, Resnais, and Andrzej Wajda.

Brothers Andre and Jean-Jacques Leduc collect their prize for Zea. Clockwise: Excailbur, The Tragedy ol a Ridiculous Man, The Skin, Possession, The Three Brothers and Tell Me A Riddle.

22/Cinema Canada - July 1981 National Office Film Board national du film of Canada du Canada NFB NEWS CLIPS NFB Films Gala very Film Has Performance at a Silver Lining With a daily average output National from the NFB labs of 420,000 feet per week, the NFB is now Arts Centre recovering the silver stripped On Saturday, May 30th, NFB from film stock during the cameras filmed the gala per­ developing process. Silver is a formance of the Canaidian main ingredient of motion pic­ Dance Spectacular, originally ture film. A targe proportion of it scheduled for live telecast on is removed and remains in the CBC and cancelled due to the fixing solution until recovered strike. The film crews had less by electrolysis and sold by the than seventy-two hours to ounce. The proceeds have prepare for the shoot. With the amounted to over $200,000 I cooperation of Secretary of since April 1, 1980 to March State Francis Fox, Pierre Ju­ 31, 1981. neau of the Department of Comm.unications, the Canada Council, the dance companies and the technicians unions, a record of this unique celebra­ to the Board in Montreal. Full tion of dance has been kept. "Zea" Wins details can be obtained from Directed by Mike McKennirey, the French Animation Studio, Cynthia Scott and John N. at Cannes Box 6100, Montreal H3C3H5. Smith, the footage will be edited The NFB's innovative five- into a one-hour documentary. minute film Zea has won the Special Jury Prize at the 1981 NFB Cannes Film Festival. Directed by Andre Leduc and Jean- International New Jacques Leduc, Zea required Appointments the skills of scientists, lab tech­ Sales nicians and the inspired cariiera National Film Board represen­ John Kramer, director and work of Eric Chamberlain. The writer of the Inheritance (1980) tatives sold 184 titles to tele­ result is a film that transforms vision networks in 24 countries and presently series producer the commonplace into magic. of the NFB's six-part series on during the last quarter of the Zea was produced by the 1980-81 fiscal year. The new Canadian actors Lome Greene war, will take up his new post as NFB's French Animation Stu­ producer in the Ontario Produc­ figures announced by Lyie and Lloyd Bochner join NFB dio, Robert Forget, producer, Cruickshank, Director of NFB's Chairman Jim Domville in a tion office in August. Andre La- Werner Nold, editor. fond, formerly head of the NFB's International Marketing Divi­ toast at the reception opening Paris office, has been appoint­ sion, included two major sales: the Retrospective of the Na­ ed director of the Film Board's Qatar purchased rights to tional Film Board at the Los Quebec Regional Office in New Animators broadcast 52 titles, and the Angeles County Museum of Montreal. In Ottawa, Martha United States 37. Six NFB Art. They were joined by 300 Langford is the new head of the Sought films, all produced by the NFB's other celebrants at the party Still Photography Division. The NFB's French animation Vancouver Studio, were pur­ held following a special screen­ studio has opened its annual chased for broadcast over the ing of NFB shorts. The Los An­ competition for francophone American Public Broadcast geles Retrospective scheduled filmmakers.. Artists who have System. Cable and pay-cable animated films during May, and completed an animated film rights were also acquired by a documentary films for the are eligible to submit their work USA distributor for six films. month of June.

NFB Offices in Canada:

Headquarters Regional Offices: Public Relations Division Pacific Region Ontario Region Quebec Region P.O. Box 6100 1161 West Georgia St. 1 Lombard Street 550 Sherbrool

July 1981 - Cinema Canada/23