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TTN107 FOREWORD SYDNEY I welcome this opportunity to express my best wishes for the success of the 1960 Sydney Film Festival. This is now the seventh year in which the Festival has been held and it is a source of profound satisfaction to us all that this has become a permanent event in the cultural life of Sydney. The present and former FILM organising committees are to be congratulated on their achievement in realising the aim of the authors who seven years ago hoped that the Festival would take its place as one of the regular annual events in our calendar. FESTIVAL, 1960 In past years the Sydney University Union Hall has been used for the Festivals; but this year, as is spectacularly clear to all who pass the UNDER DISTINGUISHED PATRONAGE OF HIS Union, where the Hall used to stand there is at present a vast gaping EXCELLENCY THE GOVERNOR OF N.S.W., hole from which will arise a new Union Theatre together with other LIEUT.-GEN. SIR ERIC WOODWARD, K.C.M.G., improved facilities. C.B., C.B.E., D.S.O. The collection of films at the 1960 Festival promises to be more varied and better than ever before, and I am sure that everyone will find the programme both interesting and enjoyable. PRESIDENT: Dr. F. A. Bellingham. S. H. ROBERTS, Vice-Chancellor and Principal of VICE-PRESIDENTS: Kevin Barr, ]. P. Lonsdale, The University of Sydney. J. Kingsford-Smith.

SECRETARY: Beverley O'Donnell. F.I.A.P.r. ENDORSEMENT

TREASURER: John Seaton. This programme brings us to our Seventh Film Festival. The format is established with opening days at the University and an extension to Anzac House. COMMITTEE: Frank Bagnall, Hans Bandler, David Donaldson, Elaine Fallon, P. Farrow, B. W. Gandy, This year an exhibition of Czeckoslovakia's Trnka Puppets has been John Griffen-Foley, Stanley Hawes, Mrs. Edgar Holt, added. Ian Klava, Sylvia Lawson, Ian McPherson, Dugmore The films in 1960 cover an even wider field—thanks to International Merry, Patricia Moore, R. W. O'Brien, Malcolm Otton, recognition being granted to us, with an official retrospective endorsement H. M. Scales, Alan Seymour, W. Shearman, Professor from F.I.A.P.F. (International Federation of Film Producers' Associa• A. K. Stout. tions). Throughout the year, members of the Committee work in an entirely FESTIVAL DIRECTOR: L. Hunter. honorary capacity, and no one is in a better position than myself, as Chairman, to know the hours they spend. I feci that both myself and all Festival members should acknowledge our appreciation of them. OFFICE MANAGER: Joan Hagarty. Criticism, if just and constructive, is always welcomed. TECHNICAL ADVISER: F. Rich. We trust that you will enjoy the fare provided. F. A. BELLINGHAM, Festival Postal Address: Box 4934, G.P.O., Sydney. President.

One Californian beach resort has been gracefully effected. Although the 1 makers' lack of experience is occasionally evident, the outdoor photography, many of the duologues, and the final sequence in particular, are the result TUMANU'S PEOPLE of young and original talent. Source: Australian Commonwealth Film Unit. Production: Australian Commonwealth Film Unit, for the Department of Territories. Producer: Frank Bagnall. Direction: John Morris. Photography: Leo Elia. Editing: William Shepherd. Commentary: Shan Benson. Music: Werner Baer. Sound: Alan Anderson, Narration: Ron Haddrick, Guy Doleman. Assis• tants: Gordon Wraxall, Laraine Woodley-Page, Donald Murray. Eastman- colour; 35mm. 35 minutes, (Australia, I960.)

"Tumanii's People" is undoubtedly among the best of recent Austra• lian documentaries. Photographed with distinction, it deals with the difficulty of assimilating Australian Aborigines into the community, of reconciling the old habits with the ways of the white man. The film's argument is that, despite the magnitude of the problem, a new generation is moving out into the light of a new day.

TRIBUTE TO FANCAO

Source: BP Australia Ltd. Production Company: R.H.R. Production. Direction: Ronald H. Riley. Script: Nevil Lloyd. Photography: Noel Cunningham-Reid and Maurizio Scanzani. Black and white; 35mm. 21 minutes. (Great Britain, 1959.)

This film is a tribute to the greatest of all the Grand Prix winners. CRIME AND PUNISHMENT, U.S.A. It traces his career with ncwsrcel shots over different tracks through Europe and the Americas and includes close up sequences of him at the wheel of a Maserati at speed. Unique shots demonstrate his technique as the 2 master of his sport. NOT BY CHOICE CRIME AND PUNISHMENT, U.S.A. Production Company: Double Crown Pictures. Direction: Douglas White. Script: Douglas White and Alan Seymour. Photography: David Muir. Source: Paramount Pictures. Production Company: Allied Artists. Pro• Editing: Max Lemon. Sound: Peter Fenton and Sidney McDonald. Pro• duction: Terry Sanders. Direction: Denis Sanders. Photography: Terry duction Assistant: Derek Brook. Produced at Supreme Sound Studio. Cast: Sanders. Editing: Terry and Denis Sanders, Script: Walter Newman. Rachel Taylor and some men of Sydney. Black and white; 35mm. 8 Cast: George Hamilton (the Student), Frank Silvera (the Inspector), minutes. (Australia, i960.) Mary Murphy (the Prostitute), John Harding (Swanson the Immoralist). Black and white; 35mm. 90 minutes. (U.S.A., 1959.) The soup-kitchens of Sydney provide meals for the down-and-outs of the city. This documentary film gives a glimpse of the institutions and The brothers Terry and Denis Sanders produced three shorts while of the lives of the men they assist. Its frankly emotional approach avoids students at thu motion picture department of the University of California, any attempt to explain causes or offer solutions. In fact, it suggests that one of which, "A Time Out of War", won an Academy Award and prizes strong personal pride is characteristic of these men, and would prohibit at Venice, Edinburgh and London. This is their first feature, a modern• any easy solution. There is a slight story thread concerning a voluntary ized version of Dostoievsky's classic, which they made on a low budget for woman helper. The film was mad'' without sponsorship, financed by a specialised audience. The change of locale from St. Petersburg to a subscriptions from film society members in Ss'dney and .

Two LIVING Cloerec. Sound: Antoine Petitjean. Production Manager: Louis Wipf. Cast: Gerard Philipe, Danielle Darrieux, Antonella Lualdi, Jean Martinelli, Anna Source: Curzon Theatre, London. Production Company: Toho. Produc• Maria Sandri, Antoine Balpetre, Andre Brunot, Jean Mercure, Mirko tion: Shojiro Motoki. Direction, editing: Akira Kurosawa. Script: Ellis, Suzette Nivette, Pierre Jourdan, Eastmancolour, Technicolor print; Shinohu Hashimoto, Hideo Oguni, Akira Kurosawa. Photography: Assai- 35mm. 146 minutes. (France/Italy, 1954.) chi Nakai. Art direction: So Matsuyama. Music: Fumio Hayasaka. Cast: Takashi Shimura (Kanji Watanuhe), Nohuo Kaneko (Mitsuo), Kyoko Julien Sorel, a French carpenter's son, strives to improve his position Seki QKazue), Miki Odagiri (Toyo Odagiri), Makoto Kohori QKanji's in life, first becoming entangled with the Mayor's wife whose children elder brother), Kumeko Urabe (his wife), Nohuo Nakamura (Deputy he tutors, and later with the daughter of a Marquis. While it is perhaps Mayor), Kamatari Fujiwara, Minosuke Yamada, Haruo Tanaka, Bokuzen impossible to fully realise the complexities of one of the world's literary Hidari, Minoru Chiaki, Shinichi Himori, Yunosuke Ito. Black and white; classics, an excellent cast and technical crew ensure a high level of achieve• 35mm. 130 minutes. (Japan, 1952.) ment. Exacting care has been taken to reproduce the manners and set• tings of the period: photography, art direction and acting are all excellent, When he discovers he has only a few months to live civil servant and the expert wit and observation give the film elegance and sopliisti- Kanji Watanube decides he must do something worthwhile and forces cation. legislation which enables a sewage dump to be turned into a children's playground. With mastery of feeling and style Kurosawa ("Rash- omon", "Seven Samurai", "Throne of Blood") makes his comment on human frailty through a warm understanding of persona) relationships in what is said to be his greatest film to date. 4 Japanese Critics' Award for Best Film of the Year, 1952. A SOHO STORY

Source: BBC. Production Company: BBC. Production, direction, script: Dennis Mitchell. Photography: A. A. Englander. Black and white; 3 35mm. 29 minutes. (Great Britain, 1959.) This excellent film tells the story of Mac the Busker, who for twenty THE CULTURED APE years entertained London theatre queues. It deals with his life in Soho, his opinions, and his bohcmian friends. Source: United Kingdom Information Office. Production: Halas and Batchelor Cartoon Films Limited. Direction: John Halas. Script: Mike First prize for best documentary fdm, Vancouver Film Festival, 1960. Cole, Allan Smith. Photography: S. Griffiths. Music: Jack King. Black and white; 35mm. 8 minutes. (Great Britain, 1959.)

This cartoon tells the story of a flute-playing ape, who dreams of HERE ARE NO BUTTERFLIES leading a civilised life in a society where music is appreciated. He ventures into "civilisation" and, finding it does not reach his expectations, Source: Czechoslovak Film, Production: Czechoslovak Film. Direction, returns to his jungle existence. script: Mize Bernat. Photography: Pavel Hrdlicka. Music: Reiner. Agfacolour; 35mm. 12 minutes. (Czechoslovakia, 1959.)

This film has no people in it, just children's drawings: life in LE ROUGE ET LE NOIR Teresian concentration camp is revealed through them. This intensely moving film is illustrated with drawings of both the fairytale world Source: Unifranee. Production Company: Franco London Film-Docu- into which the children escaped, and the horror which surrounded mento Film. Direction: Claude Autant-Lara. Adaptation: Jean Aurenche, them. Pierre Bost, Claude Autant-Lara, from the novel by Stendhal. Dialogue: Jean Aurenche, Pierre Bost. Photography: Michel Kelber. Editing: Madeleine Palme d'Or, Short Films Section, Cannes Festival, 1959; Diploma of Gug. Art direction: Max Douy. Costumes: Rosine Delamare. Music: Rene Merit, Edinburgh Film Festival, 1959.

Three MORE THAN ONE MILLION AUSTRALIANS

SAW SHELL FILMS IN 1959

And the SHELL FILM UNIT AUSTRALIA, under Producer Bern Gandy, is making documentary films annually to keep AustraUans up-to-date with their own country.

If you wish to borrow a SHELL film (or see a Shell film programme) contact SHELL'S Film Officer in , Denis Gavaghan (B0225, Ext. 472), for the latest information.

Shell Serves the Community

Four PHILIPS

Presents...

c A complete programme of educational and enter• Window on Europe 3 taining films. Holland Festival E E Films which deal with a vast variety of subjects, Sleeping Beauty including Technicolor puppetoons, travelogues, Los Paraguayos musical films and technical and manufacturing The Conquered Planet

documentaries. The titles listed opposite are just a The History of the Cinema 3 few of the many contained in Philips Film Catalogue, Variations Electroniques which is available to clubs and organisations on I request. Story with a Beard e E Essential Rays The Silent War

The Beating Heart

Pan-Tele-Tron I Rays of Health e Look at Philips o

For further information and copies of Philips Film Catalogue please write to;

1 The Film Librarian, Philips Electrical Industries Pty. e Limited, Box 2703, G.P.O., e SYDNEY.

Six RADHA AND KRISHNA Source: Films Division, Ministry of Information and Broadcasting, Gov• ernment of India. Production, direction: Shri. ]. S. Bhownagary. Pho• tography: K. R. Godbole, H. R. Doraswamy, V. Murthy, N. P. Bharadwaj. Technicolor; 35mm. 22 minutes. (India, 1959.) This film surveys a series of miniature paintings, dating through the centuries and depicting the timeless Indian legend of Radha, the beautiful milk-maid, and Krishna, the cowherd-god and divine lover. This allegory symbolises the heart of Man yearning for the Infinite.

Silver Medal Golden Gate Award, San Francisco Film Festival, 1959.

THE DRAGON OF KOMODO Source: Unifrance. (France, 1958.) Colour. 35mm. 17 minutes. A Chinese Legend from a story (A.D. 300) about a curious dragon. STARS

STARS PROGRAMMES 1 TO 6 ARE SERIES PROGRAMMES. ALL OTHERS ARE OPEN PROGRAMMES. Source: VEB/DEFA Aussenhandel and Bulgarian State Enterprise Distri• bution of Films. Production: W. Draganow, Siegfried Nuernhergcr for VEB/DEFA-Bulgarian Feature Film Studio. Direction: Konrad Wolf. Script: Angel Wagenstein, Christa Wernicke. Photography: Werner Berg- 7 mann. Music: Simon Pironkow. Cast: Sascha Kruscharska (Ruth), BLACK ORPHEUS furgen Frohriep (Walter), Erik S. Klein (Kurt), Stefan Pejtschew (Bai Petky), Georgi Naumow (Blashe), Black and white; 35mm. 95 minutes. Source: Robert Kapferer Productions Pty. Ltd. Production Company: Dis- (East Germany/Bulgaria, 1959.) patfilm-Gemma Cinematografica. Production: Sacha Gordine. Direc• "Stars" is the story of a love affair between a Greek Jewess on her tion: Marcel Camus. Script: Jacques Viot and Marcel Camus, based on way to a concentration camp and a German soldier. It has a complete the play by Vinitius de Moraes. Photography: Jean Bourgoin. Music: sincerity and its controversial elements are handled on an emotional Antonio Carlos Jobin and Luis Bonfa. Cast: Bruno Mello (Orpheus), and lyrical level. In this first major film to come out of Bulgaria the Marpessa Dawn (Eurydicc), Lourdes de Uliveria, Lea Garcia. Colour: exterior photography and the depiction of the Jewish community are 35mm. 103 minutes. (France, 1959.) excellent. In this, the most highly-acclaimed film of the "New Wave" school Special Jury Prize, , 1959. of French directors, the Greek legend has been transferred to Brazil. With remarkable authenticity of setting and soundtrack it is carried along on the rhythm of the music, dancing, colour and landscapes. The central characters live with their friends on the steep hillsides above the city A]\fZAC HOUSE in shacks knocked together from petrol cans and bits of wood, a contrast SIJIVDAY SCREEIVINGS to the rich modern districts. Only one of the players, Marpessa Dawn, had previous acting experience. Under Camus' confident handling all SPECIAL TICKETS ISSUED the performances are exciting and vital. Members should apply for Special Tickets, presenting their Festival tickets, to the Office in University Union, from 3 p.m. on Saturday, Grand Prix, Cannes Film Festival, 1959. 11th June. (No extra cost.) Kindly made available by Mr. Robert Kapferer, Film Distributor, Sydney. Shortly to be released at the Savoy Theatre, Sydney.

Seven GIUSEPPINA Source: BP Australia Ltd. Production Company: James Hill, commis• sioned by BP. Production, direction, script; James Hill. Photography: Vaclar Vich. Technicolor; 35mm. 32 minutes. (Italy, J959.) Giuseppina lives with her family on a lonely streteh of highway in picturesque Italy. Life seems dull and monotonous, until she realises that die ^danon l^edtai^rant the many travellers, native and tourist, wlio stop at her father's service station provide abundant entertainment and amusement.

THE BLACK MAN AND HIS BRIDE

Source: Patrick Ryan Productions, Melbourne. Direction, script: Tim •k * -k Burstall. Editing: Alan Harkness. Photography: Gerard Vandcnberg. Music: Carl Qgdon. Sung by Donald Ayrton. Black and white; 35mm. 8 minutes. (Australia, I960.) This short art film is about "The Black Man and His Bride" series of paintings by Victorian painter, Arthur Boyd. The paintings tell the Open nightly Monday to Saturday story of an aborigine and his white bride. Camera movement and editing techniques are used to animate the paintings. The commentary is sung.

from 6 p.m. until 11 p.m. IHrst prize. Experimental Film Section, Melbourne Film Festival, 1960.

8 29 Challis Avenue, Potts Point, Sydney THE HUNTER Production, direction, script, photography, editing: Bruce Beresford. Music Reservations, phone FL 1353 arranged and played: Felicity Foster. Sound: Peter Fenton. Cast: John Shellabear, Bruce Beresford. Black and white; 16mm. 7 minutes. (Australia, J959.)

The theme of the film is the indifferent killing of kangaroos; it is a moving statement about man's inhumanity. • • • GLENN GOULD ON THE RECORD

Source: Canadian Film Office. Production: Canadian National Film Board. Black and white; 16mm. 30 minutes. (Canada, 1959.)

c>Ca ciuiine ^mncaiie auec iei ipeciaiiteS The famous young Canadian pianist records Bach's "Italian Con• certo" at Columbia Studios, New York. Glenn Gould is a virtuoso pianist and a very individual personality, and this film is a remarkable record of putting a performance on disc. It is notable for its technical excellence, and the relationships of the technicians, the mu.sic director and Gould are handled with a brilliant informality. GLENN GOULD OFF THE RECORD BLOOD AND FIRE Source: Canadian Film Office. Production: Canadian National Film Source: Canadian Film Office. Production Company: National Film. Board Board. Black and white; 16mm. 30 minutes. (Canada, 2959.) of Canada. Production: Roman Kroitor, Wolf Koenig. Direction: Terence Macartney-Filgatc. Photography: Wolf Koenig. Executive Producer: Tom Between concert tours and recording sessions Glenn Gould spends Daly. Black and white; 16mm. 30 minutes. (Canada, 1958.) his time at his provincial Canadian home, where his fame as a pianist is unknown. Here, in this quiet, unsophisticated retreat he practises This film, dealing with the Salvation Army in Canada, was made and relaxes. Further facets of Gould's extraordinarily individual per• for the "Candid Eye" television series. It is a revealing, dramatically sonality are revealed in this entertaining film. moving film, a study of men and women dedicated to a life of service to mankind. Its human approach and technical excellence make "Blood ON THE BOWERY and Fire" an exciting social document. Source: State Film Centre. Production Company: Mark Sufrin and Prizewinner, Television Section, 11th Annual Canadian Film Awards, Lionel Rogosin. Production, direction: Lionel Rogosin. Script and 1959. directorial assistance: Mark Sufrin and Richard Bagley. Photography: Richard Bagley. Editing: Carl Lerner. Music: Charles Mills. Cast: Piay Salyer, Gorman Hendricks, Frank Matthews. Black and white; 16mm. 65 minutes. (U.S.A., 1955.) REKAVA

Lionel Rogosin (the man who made "Come Back Africa"), Mark Source: Contemporary Films, London. Production Company: Chitra- Sufrin and Richard Bagley lived for months on New York's "skid row"— Lanka. Production, direction, script: Lester Peries. Photography: William the Bowery. Using both the "candid camera" technique and staged, Blake. Editing: Titus de Silva. Music: Sunil Santha Dayara'tne. Cast: though authentic, shots, they recorded the hand-to-mouth existence of its Non-professional. Black and white; 16mm. 95 minutes. (Ceylon, 1956-7.) shattered and broken inhabitants. No attempt is made to sensationalise: it is simply an objective, but at the same time starkly moving, account of Sena, a village boy, is told by a travelling minstrel and palmist that men who have passed the point of no return and live in a half-world of he has the hand of a healer. Some time later, Anula, Sena's playmate, cheap drink, argument, theft, card playing and bread-and-soup from the loses her sight. The village doctor can do nothing and Anula, remember• local mission. ing the minstrel's words, insists that Sena touch her eyes. The subsequent events contrast the cupidity and superstition of adults with the innocence 9 of childhood. "Rckava" is Peries' first film and the first of the 10 years old THE IMMORTAL LAND Sinhalese film industry's productions to be actually made in Ceylon. It has received universal praise for its simplicity and purity of feeling. As Source: Greek Consulate-General, Canberra. Production Company: in "Patlier Panchali", people, characters and customs have been carefully Marsden. Production: Gladys and Basil Wright. Direction: Basil Wright. and honestly observed. Though leisurely, even casual, in construction, Associate director: John Alderson. Commentary: Rex Warner. Photog• it is well-acted by a cast of amateurs, and attractively photographed. raphy: Adrian Jeakins. Editing: Adrian de Poitier. Music: James Bernard. Musical direction: Muir Mathieson. Sound: Ken Cameron. Narration: Leo Genn. Other speakers: Michael Redgrave, John Gielgud, Katina Paxinou, Alexis Minotis. Eastmancolour; 16mm. 40 minutes. (Great Britain, J958.) FROM 12 TILL 8 With beautifully composed images Basil Wright presents Greece as a land of the old and the new; art treasures, echoing the past, contrast EACH DAY with the arid landscapes and bustling life of the present. Although the determinedly "aesthetic" narration tends to lessen the feeling of reality, TEACHERS' COLLEGE in many sequences the combination of music, sculpture and the spoken FOOD word achieve an intensity of poetic expression.

Nine Taubmans

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• 'World of Spectrocolor' is available to schools, film societies and other organisations. Telephone Taubmans Public Relations Division at 41-2151, Sydney.

Ten 10 CHARLES CHAUVEL MEMORIAL PROGRAMME This tribute to the fllm-maklng achievement of Charles Chauvel has been organised with the assistance of Universal Pictures, distributors of Ave of the seven Chauvel sound features, and the Commonwealth National Library, who have made new preservation negatives of all available Chauvel material. Brigadier F. B. Hinton will introduce Mrs. to the audience. •1v "* • IN THE WAKE OF THE BOUNTY (2 933) Production: Expeditionary Films. Direction, script: Charles Chauvel. Photo• graphy: Tasman Higgins. Monologue: Arthur Greenaway. Music: Lionel Hart. Editing: William Shepherd. Sound: Arthur Smith and Clive Cross. CHARLES CHAUVEL, born 1897 at Warwick, Recording: Cinesound. Cast: Mayne Lynton QliUgh'), CChris- tian^y Victor Courier iblind fiddler^, John Warwick CYoMwg). . Left the land to study art in Expeditionary Films was organised to make a series of travel films. The Sydney; as a horseman and boxer met Snowy Chauvels and Higgins travelled 15,000 miles following the route of the Raker and began his film work. In Hollywood ^. Bounty, and landed the first movie camera on Pitcaim Island. Apart from the unique documentary record of primitive Pitcaim life, the film's main 1923-4. Produced "Moth of Moonbi" (1926) in Queensland, and "Green- interest today is in the first screen appearance of Errol Flynn. Our extracts hide" (1927) marrying its star Elsa Sylvaney and inaugurating a unique will concentrate on the historical sections dramatising the mutiny. film production partnership. Studied sound technique in Hollywood 1928-9. Known as a "Starmaker" from discoveries of Errol Flynn, John Warwick, HERITAGE (2935) Mary Maguire, Chips Rafi'erty, , , , Production: Expeditionary IHlms. Direction: Charles Chauvel. Script: Ken Wayne. Ann Wynn, from the novel by Charles Chauvel. Photography: Tasman Riggins and Arthur Higgins. Assistant to director: Chick Arnold. Editing: In documentary war-effort production 1941-4 with "Soldiers Without Uni• Lola Lindsay. Sound recording: Alan Mill. Settings: fames Coleman. Re• search: Ray Lindsay. Music: Harry Jacob, Recording: R.C.A. Cast: Frank form," "Power to Win," "Mountain Goes to Sea," "While There is Still Harvey, Franklin Bennett, Margot Rhys, Peggy Maguire, Harold B. Meade, Time," "Russia Aflame." Subsequent films were "Rats of Tobruk" (1944), Joe Valli, supported by Norman French, Ann Wynn, Leonard Stevens, Austin "" (1949), "" (1955), and the "Walkabout" series Milroy, Victor Fitzherbert, Gertrude Boswell, Dona Mostyn, Godfrey Cass, Florence Esmond, Victor Courier, Field Fisher, Rita Pauncefort, David Ware, for television. Charles Chauvel died in Sydney, 1959. Kendrick Hudson.

A romantic saga of three generations o£ Australian history based on authentic figures, beginning with the arrival of the First Fleet. The film introduced Feggy (later Mary) Maguire, and won the Commonwealth film prize in 1935, a year when fourteen feature films were produced. Our extract shows the famous "Arrival of the Bride-ship." (1940) UNCIVILISED (2936) Production: Expeditionary Films. Direction: Charles Chauvel, from a story hy Presented by Famous Feature Films. Production, direction: Charles Chauvel. Charles Chauvel in collaboration with E. V. Timms. Photography: Tasman Story: Charles Chauvel, in collaboration with E. V. Timms. Continuity: Higgins. Assistant Directors: Frank Coffey, Ann Wynn. Editing: Frank Coffey. Elsa Chauvel, Photography: George Heath. Editing: William Shepherd. Sound: Sound P'^cording: Denis Box. Mus'c: Lindlev Evans. Dance Dir"c*io-T. Pichard Arthur Smith and Clive Cross. Art Direction: Eric Thompson. Exterior Art White. Settings: James Coleman. Special Effects: George D. Malcolm. British Direction and Special Effects: J. Alan Kenyan. Music: hindley Evans, in Acoustic Sound Peco-ding. Cast: Dennis '^o'y. Margot lihvSy Ashton Jnrry, collaboration with Willy Redstone and Alfred Hill. Cast: Grant Taylor, Betty Kenneth Brampton, Marcelle Marney, E. Gilbert Howell, Victor Fitzherbert, Bryant, . Pat Twohill, Harvey Adams, Albert Winn, Eric Rei- John Fernside, Edward Sylveni, Norman Rutledge, aborigines from Cape York man, Joe Valli, Harry Abdy, Norman Maxwell, John Fleeting, Kenneth Bramp• Peninsula led by Harri Weipa and "Booya." ton, Charles Zoli, Pat Penny, Claude Turtin, Theo Lianos. A purely fictional story of smuggling in the remote north-west. English Easily the most successful of all Australian films, and in itself almost actor Dennis Hocy was imported to star in this first production at the a part of Australian folk-lore, this rousing cavalry story has a physical and new Pagewood Studios. Our extract shows dramatic high-spots: beautiful emotional range belying its 82 minutes. It made stars of Chips Rafferty and authoress kidnapped, strange wild white ruler, sinister Afghan smuggler, Grant Taylor, and is still in regular commercial distribution. The entire film magnificent rugged scenery. will be shown. 11 SUPREME SOUND STUDIOS THE LIVING WILD Source: Information Department, Government of Ceylon. Production: Ceylon Government Film Unit. Direction, script: 1. L. Dassenaike. Sound Recordings- Photography: L. Wickremaratne, S. Liyanage. Music: Hussain Mohamed. Eastmancolour; 35mm. 34 minutes. (Ceylon, !959.)

• 16min. and 35nim. recordings. A film, divided into three sections, on the wild life of Ceylon. The first sequence deals with primitive harmony with nature and wild • Transfers to optical sound from life, the second, man's destruction of nature and the third, man's attempt producer's own tape. to preserve remaining wild life.

Laboratory- JlRl TRNKA'S PUPPETS • 16mm. and 35mm. Black and Source: New Dawn Films, Sydney. Production: Czechoslovakia State Fhii. Direction and Script: B. Sefranka. Photography: Kolin. Music: Sluka. White negative developing. Commentary: Derek Birch. Colour Process: Agfacolour. 23 minutes. (Czechoslovakia, 1956.) • 16mm. and 35mm. rush prints. The art of Czech puppeteer Jiri Trnka is internationally known. This • 35mm. release prints. film shows how he makes and animates his puppets. • 16mm. release prints by contact or reduction. • 16mm. Kodachrome prints. OLD MAN MOTOR CAR

Source: Czechoslovak Filmexport. Production: Czech State Film. Direction: Alfred Radok. Script: Alfred Radok and Adolf Branald. Photography: Jaromir Holpuch. Music: J. F. Fischer. Cast: Raymond Bussieres (Frontenac), Ginette Pigeon (Nanette), Annette Poivre For all enquiries phone or write (Madame), Ludek Munzar (Frantik), Radovan Lukavsky (Klement), Josef Hlinonaz (Count Koloivrat). Black and white; 35mm. 90 minutes. 11-15 YOUNG ST., PADDINGTON, N.S.W. (Czechoslovakia, 1957.) A fine period sense is aided by a quantity of excellent newsreel Phone: 31-0531 (6 lines) material which introduces the early development of motor car invention. The love story centres around a Czech motor car mechanic and a French girl, and their wedding at the Gaillon Motor Car Races of 1909.

Twelve 12 MOUNT ZAO Made hy Tsuluimoto. Black and white; 16mm. 11 minutes. (Japan, INTERNATIONAL AMATEUR FILMS PROGRAMME i937.) A complete programme of prizewinners

Soufce of all films: Australian Amateur Cine Society. PLASTmANIA

RAAK Made by F. O'Neill. Colour; 16mm. 8 minutes. (New Zealand, 1958.) Made by Peter Bruce and David Corke. Colour; 16mm. 17 minutes. Prizewinner, Unclassified Section, international Gold Cup, Australia, 1959. (Australia, i95«.) One of the A.C.W. Ten Best, London, 1956. THE TELLTALE HEART

TAMDODO Made hy A. Bahcall. Colour; 16mm. 7 minutes. (U.S.A., 1956.) Made by D. Featherstonc. Colour; 16mm. 21 minutes. (Australia, J 959.) Prizewinner, International Gold Cup, Australia, 1957; Institute of Ama• Prizewinner, International Gold Cup, Australia, J958; Federation of teur Cinematographers' Competition, jMndon, J 958. Australian Amateur Cine Societies' Competition, 1960.

RITMO EN TRANSITO Made by Antonio Cernuda. Colour; 16mm. 11 minutes. (Cuba, 1957.) Prizewinner, International Gold Cup, Australia, 1958; International Com• 13 petition, Japan, 1958; Instittite of Amateur Cinematographers' Competition, London, 1959. PRESSURE GOLF Source: Gollin &• Co., Sydney. Production Company: Crawley Films, TEN CENTS Canada. Commentary: Tom Foley. Interviewer: Hilles Pickens. Colour; 16mm. 32 minutes. (Canada, 1959.) Made hy Antonio Cernuda. Colour; 16mm. 10 minutes. (Cuba, J 958.) Prizewinner, International Gold Cup, Australia, 1959; Top of the Ten This straightforward record of the 1959 Canadian Open Golf Tourna• Best, U.S.A., 1959. ment was made for Seiigranis Whisky. It is an ingenuous advertising film made under difficult conditions. It features Bruce Crampton, an Australian who won the Cup. SHORT SPELL Made by S. Wynn-Jones. Black and white; 16mm. 3 minutes. (Great Britain, 1955.) A WORLD OF SPECTROCOLOR One of the A.C.W. Ten Best, London, 1956. Source: Taubmans Industries Ltd. Production Company: Ajax Films Pty. Ltd., Sydney. Production: Brian Chirlian. Direction script: Ralph SOLITAIRE Petersen. Photography: Keith Loone. Fastmancolour; 35mm. 6 minutes. (Australia, 1959.) Made hy Quorum Films. Black and white; 16mm. 10 minutes. (Great Britain, 1956.) The first section of an advertising film made for Taubman's Paints, One of the A.C.W. Ten Best, London, 1957; Prizewinner, Fiction Section, Sydney, this local product is intelligent and plea.sing. It has imaginative International Gold Cup, Australia, 1958. and stylish photography and a good script.

Thirteen 'WHAT A BACH P LAYER!' said the critics

fa} • ^GOULD

Genius Is not a word that should be handed round as Ask your retailer casually as biscuits. Glenn Gould (the young Canadian pianist for Glenn Gould's Australian releases.. who is heard In the Film Festival) has genius. with a singularly intelligent analysis And the music of Johann Sebastian Bach Is Gould's by the pianist of the music he native climate; he has the technique for Bach and the plays with such ardent finesse. intelligence—both of heart and head. "Words can indicate only vaguely his great qualities," said one overseas critic and the overall impression his playing creates is of a steel-strong, exquisitely articulate and deeply thrilling Integrity.

BACH: Concerto No. 1 in D Minor; BEETHOVEN: Concerto No. 2 in B Flat Major. With Leonard Bernstein conducting the Columbia Symphony Orchestra. KLC.660.

BACH: Concerto No. 5 in F Minor; BEETHOVEN: Concerto No. 1 in C Major. With Vladimir Golschmann and the Columbia Symphony Orchestra. KLC.26B2.

Glenn Gould records exclusively for aDROxNiEir RECORDS

Fourteen FIVE BRANDED WOMEN

(Jovanka and The Others) Source: Paramount. Production: Dino De Laurentiis. Direction: Martin Ritt. Cast: Van Heflin, Silvana Mangano, Barbara Bel Geddes, Jeanne ONIY FOR PEOPLE OF TASTE Moreau, Vera Miles, Carla Gravina, Steve Forrest. Black and white; 35mm. 100 minutes. (U.S.A./ltaly, 1960.) Five young women are aceuscd by Yugoslav partisans of fraternising If Classics in fine bindings bore you tiie FOLIO with German soldiers and are punished by having their hair cut off. SOCIETY will not interest you. But if you are Repudiated by both partisans and Germans, they find survival difficult. interested in getting clas >ics in fine binding and paper Martin Ritt has a special ability with actors and atmosphere. Com• paratively new to Hollywood, he is the director of some interestingly off• with illustrations matching the text, chosen carefully beat, if not always successful, films. Although "Five Branded Women" by skilled craftsmen who want to revive the ancient is .sometimes muddled and inconclusive, it has a good pictorial quality and is con.sistently interesting. A tendency towards melodrama and con• art of bookbinding, book illustration and the use of fusion of attitudes is often overcome by Mangano's performance. This fine paper with good quality ink then you WILL film will be screened commercially later in the year. Join the Folio Society.

Send for a free full-coloiired prospectus. You will be SURPRISED to find that these books cost little more than ordinary novels in ordinary bindings. The average price is 28/-.

THE FOLIO SOCIETY ,1 8 Castlercagh S reet, SYDNEY. BW 8607 and Shop 6, M.L.C. Building, North Sydney. XB 9292

FIVE BRANDED WOMEN Agents: World Book Club. Folio Society, Readers' Book Club. 14 London Book Club HORYUJI TEMPLE Enquire also about: Source: Consulate General of Japan, Sydney. Production Company: ART TREASURES BOOK CLUB Jwanami Productions, Inc., for Cultural Properties Protection Committee, Ministry of Education. Eastmancolour; 16mm. 23 minutes. (Japan, 16 Beautiful Full-coloured Prints of every famous 1958.) A most horrific and spine chilling opening sequence, brilliantly photo• artist of the world. graphed and executed, is succeeded by a comparatively placid examination of the temple interior, with its small scale replica of the mountain of For Only 21/-. Same address, not available elsewhere. Buddha and attendant gods. Gold Prize, Japan Education Film Concours, 1958.

Fifteen HORGO A MOZ7ANO Source: Shell Company of Australia. Production Company: Report Films for Shell Italiana. Production: Alfredo Bini. Direction: Michele Gandin. Photography: Giuseppe Rotunno. Editing: John Gibbon. Music: Mario Nascimhene. Technicolor; 16mm. 26 minutes. (Italy, 1958.) A pleasant young agronomist is sent to a village in Tuscany to introduce new methods of agriculture to the farmers. How he wins their confidence and shows them how to prosper through improved farming and co-operative effort has been movingly recorded.

Diploma of Merit, Cork Film Festival, 1959.

15 DjANGO REINHARDT Source: French Trade Commission. Production: Madeleine Casanove- Rodriguez. Direction, script: Paul Paviot. Photography: Jean Leherisscy and Marc Fossard. Editing: Francine Grubert. Documentary photo• graphy: Antonio Flarispe. Music: Django Reinhardt. Musical consultant: Charles Delaunay. Commentary: Chris Marker. Narration: Yves Montand. COME BACK AFRICA Black and white; 16mm. 26 minutes. (France, 1958.) Preceded by a passionate tribute from the pen of Jean Cocteau (com• plete with signature doodle), this biographical tribute to the great gypsy The world's finest films are shown by jazz guitarist was made "with the participation" of his former associates Grappelly, Combelle, Ekyan and Rostaing, and by the use of a great number of pictorial and sound records from the archives of many musical SYDNEY FILM SOCIETY organisations.

Piopeer in the film society movement since 1945 COME BACK AFRICA

Source: Contemporary Films, London. Production, direction: Lionel Rogo• Among films screened are Ingmar Bergman's FRENZY. BER• sin. Script: Lionel Rogosin, Lewis N'Kosi, Bloke Modisane. Singer: LIN OLYMPICS, KAMERADSCHAFT, INTOLERANCE. Miriam Makeba. Black and white; 16mm. 90 minutes. (U.S.A., 1959.) Future screenings include THE SEARCH, WHITE HELL OF PITZ PALU. Renoir's THE TOURNAMENT, and docu• This documentary-type film was made around Johannesburg last mentaries of WILLARD VAN DYKE. year. It is the story of a Zulu worker, Zachariah, who is forced by famine to leave his family and find work in Johannesburg. His family join him and his wife is murdered by another South African negro while he Membership enquiries to is in jail on a "trespassing" charge. During the making of "Come Back Africa" Rogosin concealed its true nature from the South African Govern• The Secretary, G.P.O. Box 1412, or JY9483 ment and also from his actors. Camerawork is both sensitive and skil• ful. This simple story reveals the private nightmare and social despera• tion of the jregro in South Africa today.

Sixteen \

BIG BILL BLUES The VICTOR Source: Action Cinematographiquc, Brussels. Production: Kaleidoscope. Direction, photography: Jean Delire. Associate producer: Yannick Bruynoghe. Script: Jacques Boigclot. Music: William Broonzy. Sound: CHORD ORGAN Paul Leponce. Black and white; 35mm. 18 minutes. (Belgium, 1957.) The Belgian television was persuaded to co-operate in making this fdm at the time the famous blues singer Big Bill Broonzy was in Brussels for a concert. It is set in an actual existentialist-type jazz cellar, and consists simply of Broonzy singing against this background. It has an imaginative photographic treatment.

COUPE DES ALPES

Source: Shell Company of Australia. Production Company: Shell Film Unit, with the co-operation of the Automobile Club of Marseille and Provence. Production: Raymond Spottiswoode. Direction: John Arm• strong. Assistant Director: Tjon Kong Hong. Director of Photography: Adrian Jeakins. Sound Editor: Peter Thornton. Assistant Editor: Roy Ayton. Music: Malcolm Arnold. Technical Adviser: John Gott. Anima• Even if you can't read a note, you tion: Francis Pvodker. Relief Maps: Geographical Projects Ltd. Black can play this organ, from music, and white; 16mm. 36 minutes. (Great Britain, 1959.) Beginning with an exciting pre-title sequence photographed from IN JUST THREE MINUTES! a car travelling at breakneck speed along a tortuous Alpine road, this The CHORD ORGAN Keyboard lilm shows one of the most hazardous and gruelling motor rallies in Europe—a 2,400 mile course across the Alps and the Dolomites. Honourable mention, Vancouver Film Festival, 1959; Honourable men• tion. Public Relations category, Harrogate Festival, 1959; Italian Auto• mobile Club Cup, Cortina International Festival of Sporting Films, 1959.

Auto Harmony Chords 2'/2 Octave Keyboard Even a child can master it! Reading from a tutor, chords are played simply by pressing the numbered 17 chord buttons as the melody is played from numbered UN AMERICAIN SE DETEND keys. Just plug in to 240 volts and play! Source: Unifrance. Production Company: Lcs Films De La Pleiade. Direction: Francois Reichenbach. Photography: P. Reichenhach, J. PRICE: £75. DEPOSIT £15 AND £3 A MONTH Ledoux. Script: Guillaume Hanoteau. Music: Michel Legrand. Narra• 338 George Street tion: Francois Perier. Eastmancolour; 35mm. 13 minutes. (France, 1958.) thru to Ash Street, Sydney This is one of the series of controversial films that the French Branches: Bankstown, director Francois Reichenbach has made in and about America. "Un Wollongong, Newcastle, American se Detend" is his highly personal viewpoint and interpretation Goulburn, Orange, of the American way of life. Palings Tamworth, Llsmore

Seventeen j SERIES PROGRAMME OPEN PROGRAMME

Session No. PLACE starts Run. time Session DATE No. Series DATE PLACE starts Run. time rr OFFICIAL OPENING June 10 Teachers 8.00 p.m. 2 hrs. i BLACK ORPHEUS 38 mins.

Tumanu's People A June 11 Teachers 10.00 a.m. Tribute to Fongio B 2.15 p.m. June 10 Chem. 3 8.00 p.m. 2 hrs. 1 CRIME AND PUNISH- C June 13 Anzac 5.15 p.m. 2 hrs. g ON THE BOWERY „ 11 1 MENT, U.S.A. E „ 13 8.15 p.m. 33 mins. 12 12 mins. D June 14 5.15 p.m. „ 13 F „ 14 8.15 p.m.

June 10 Chem. 1 8.00 p.m. 2 hrs. g REKAVA ' 11 Not By Choice A June 11 Teachers 5.15 p.m. „ 12 52 mins. LiVING B 8.15 p.m. „ 13 June 15 Anzac 5.15 p.m. 2 hrs. 2 „ 15 8.15 p.m. 32 mins. D „ 16 5.15 p.m. CHAUVEL PROGRAMME June 10 Wallace 8.00 p.m. 2 hrs. F „ 16 8.15 p.m. 25 mins.

June 10 Annexe 8.00 p.m. 11.00 a.m. 2 hrs. The Cultured Ape A June 12 Teachers 10.00 a.m. OLD MAN MOTOR CAR 11 LE ROUGE ET LE NOIR B „ 12 2.15 p.m. 11 2.00 p.m. 27 mins. 5.00 p.m. June 17 Anzac 5.15 p.m. 2 hrs. „ 11 3 i „ 17 8.15 p.m. 34 mins. „ 18 5.15 p.m. D 1 O AMATEUR FILM June 11 Chem. 1 10.30 a.m. 1 hr, F „ 18 8.15 p.m. i^i PROGRAMME 1 I 3.30 p.m. 30 mins.

A ^ A Soho Story A June 12 Teachers 5.15 p.m. 2 hrs. 'Id, Here Are No Butterflies B „ 12 8.15 p.m. 11.00 a.m. 39 mins. 2 hrs. THE IDIOT C June 20 Anzac 5.15 p.m. FIVE BRANDED WOMEN June 11 Wallace 2.00 p.m. „ 11 5.00 p.m. 16 mins. A'U A Soho story E „ 20 Anzac 8.15 p.m. 2 hrs. 'to Here Are No Butterflies D „ 21 5.15 p.m. 13 mins. June 11 Chem. 3 11.00 a.m. A MAN'S DESTINY F „ 21 8.15 p.m. -| 4 Horyuji Temple „ 1 1 12.00 a.m. Borgo A Mozzona „ 1 1 2.00 p.m. 49 mins. 3,00 p.m. A June 13 Teachers 10.00 a.m. „ 1 1 There Are No Blue Mice B „ 13 2.15 p.m. r The Last Day of Summer C June 22 Anzac 5.15 p.m. 2 hrs. 1.00 p.m. 0 THE SAVAGE EYE E „ 22 8.15 p.m. 20 mins. June 11 Chem. 1 D „ 23 5.15 p.m. „ 1 ' 5.30 p.m. F „ 23 8.15 p.m. „ 12 11.00 a.m. 1 hr. COME BACK AFRICA „ 12 2.00 p.m. 56 mins. „ 13 1 1.00 a.m. „ 13 2.00 p.m. The Christmas Visitor A June 13 Teachers 5.15 p.m. Radha And Khrishna B „ 13 8.15 p.m. n The Dragon of Komodo C June 24 Anzac 5.15 p.m. 2 hrs. June 11 Chem. 3 4.00 p.m. 0 STARS E „ 24 8.15 p.m. 22 mins. 1 n Big Bill Blues „ 1 1 5.00 p.m. 54 mins. D „ 25 5.15 p.m. ID Coupe Des Alpes „ 1 1 6.00 p.m. F „ 25 8.15 p.m. „ n 7.00 p.m.

Eighteen OPEN PROGRAMME

Session Session No. DATE PLACE starts Run. time No. DATE PLACE starts Run. time

June 11 Wallace 8.00 p.m. June 13 Annexe 11.00 a.m. 2 hrs. THE WITCHES OF SALEM 2 hrs. 8.00 p.m. 36 mins. 2y SVEN DUFVA „ 13 2.00 p.m. 30 mins. „ 13 8.00 p.m. „ 13 5.00 p.m.

June 13 Wallace 11.00 a.m. 1 hr. June 1 I Annexe 8.00 p.m. OC THE HOUSE UNDER THE 1 O CRITICS CHOICE:— 2 hrs. ROCKS „ 13 2.00 p.m. 56 mins. lO RASHOMON „ 12 11.00 a.m. „ 13 5.00 p.m.

Chem. 3 11.00 a.m. 1 Q LA 1 bib CONTRE LES June 11 Wallace 11.15 a.m. 98 mins. June 13 52 mins. XU MURS 20 PROGRAMME OF SHORTS „ 13 12.00 a.m. „ 13 2.00 p.m. „ 13 3.00 p.m.

OA NO ROOM FOR WILD June 12 Wallace 11.00 a.m. 2.00 p.m. 1 hr. ANIMALS „ 12 HAVE 1 TOLD YOU June 13 Chem. 3 4.00 p.m. 51 mins. „ 12 5.0 p.m. 36 mins. „ 13 5.00 p.m. 30 '^^''^ „ 13 6.00 p.m. CRY OF JAZZ „ 13 7.00 p.m. June 12 Chem. 3 11.00 a.m. 2 J Kryfto „ 12 12.00 a.m. 56 mins. „ 12 2.00 p.m. June 18 Anzac 10.00 a.m. 1 hr. A For Cry „ 12 3.00 p.m. THIS IS THE B.B.C. „ 18 11.45 a.m. 41 mins. „ 18 1.30 p.m. „ 18 3.15 p.m.

22 I'REE MARRIAGE June 12 Annexe 2.00 p.m. 2 hrs. 10 mins. June 19 Anzac 10.00 a.m. 1 hr. 19 12.00 a.m. 40 mins. „ 19 2.00 p.m. June 12 Annexe 5.00 p.m. 2 hrs. 22 THE WORLD OF APU „ 19 4.00 p.m. 22 FANFARE „ 12 8.00 p.m. 11 mins. „ 19 6.15 p.m. „ 13 8.00 p.m. „ 19 8.30 p.m.

June 12 Chem. 3 4.00 p.m. 52 mins. June 25 Anzac 10.00 a.m. 1 hr. 2^ EISENSTEIN „ 12 5.00 p.m. DO WE ARE THE LAMBETH „ 25 11.45 a.m. 34 mins. „ 12 6.00 p.m. OO BOYS „ 25 1.30 p.m. „ 12 7.00 p.m. „ 25 3.15 p.m.

2g PROGRAMME OF SHORTS June 12 Chem. 1 4.15 p.m. 1 hr. June 26 Anzac 10.00 a.m. 1 hr. „ 13 4.15 p.m. 32 mins. „ 26 12.00 a.m. 44 mins. „ 26 2.00 p.m. 2^ ASHES AND DIAMONDS „ 26 4.00 p.m. „ 26 6.15 p.m. 2g PROGRAMME OF SHORTS June 12 Chem. 1 6.00 p.m. 1 hr. „ 26 8.30 p.m. „ 13 6.00 p.m. 31 mins.

Nineteen THE WITCHES OF SALEM

Source: Unifrance. Production Company: Pathe Cinema-Films Borderie Co-Productinn. Direction: Raymond Rouleau. Script: Jean-Paul Sartre, based on the play "The Crucible." hy Arthur Miller. Photography: Claude Renoir. Music: Georges Auric. Editing: Marguerite Renoir. Art direc• tion: Rene Moulaert. Sound: Antoine Petitjean. Cast: Simone Signoret CElizabeth Proctor}, Yves Montand QJohn Proctor), Mylene Demongeot {Abigail Williams), Raymond Rouleau ^Danforth), Francoise Lugagne Qane Putnam), Jean Debucourt (^Parris), Yves Brainville (Flale), Jeanne Fusier-Gir (Martha Corey), Alfred Adam (Thomas Putnam), Miss Darl• ing (Tituba), Pierre Larquey (Francis Nurse), Chantal Gozzi (Fancy Proctor), Alexandre Rignault (Willard), Jean Gaven (Peter Corey), Pas• cal Petit (Mary Warren). Black and white; 3Smm. 140 minutes. (France, 1957.) Eminent playwright Sartre has brought his own philosophy to bear on many of the characters and situations in this allegorical treatment of the witch-hunt hysteria in Salem in 1692. This film script is based on Arthur Miller's play, "The Crucible," an account of the workings of ven• geance, suspicion and injustice in his expose of the unwholesome displace• ment of puritan zeal and the consequent moral corruption of a restricted social group. First-class acting and photography make this an artistic and controversial film. Raymond Rouleau, the director of the film, produced the original French (and what playwright Miller thought the WITCHUS OF best) version of the play.

To the Savoy exclusively, for discriminating audiences, come the best and most successful of "Continental" productions especially presented, 18 as always, with original dialogue and English subtitles . . . CRITICS' CHOICE PROGRAMME * BACKSTAGE TO VAUDEVHXE Source: Robert Kapferer Productions Pty. Ltd. Music: France Olivier. Presenting . . . Presenting . . . Presenting . . . Black and white; 35mm. 17 minutes. (France, 1952.) "FRAULEIN "BLACK "HIROSHIMA The training of French music hall artists before they step on to the ROSEMARIE" ORPHEUS" MON professional stage is shown in a series of stylised, imaginative sequences. AMOUR" The Film Ger• Marcel Camus' Different in feeling from any Anglo-Saxon documentary, this far from many Tried ToI Prize Production! Directed by Alain perfect film always maintains strong visual excitement. Individual flavour and a genuine "seediness" recall French turn-of-thc-century painting. Ban ! ! Resnais. Diploma of Merit, Edinburgh Film Festival, 1952; Madrid Film Festival, 1952; Berlin Film Festival, J952; Cannes Film Festival, 1952.

Kindly made available by Mr. Robert Kapferer, Film Distributor, SAVOY Sydney. A film discussion will precede the screening of "Rashomon."

Twenty RASHOMON Production Company. Daici. Prodnclion: Jingo Minoura. Direction: 20 Akira Kurosawa. Script: Shinohu Hashimoto and Akira Kurosawa, from VARIATIONS EI^ECTRONIQUE the novel "In the Wood," by Ryunosuke Akutagawa. Photography: Source: Philips Electrical Industries. Production Company: Carillon Kazuo Miyagawa. Music: Fumio Hayasaka (or Takashi Matsiiyama). Films. Production, direction: Gerard J. Raiicamp. Eastmancolour; 16mm. Cast: Toshiro Mifune (the bandit), Masayuki Mori (the nobleman), 10 minutes. (, 1959.) Machiko Kyo (his wife), Takashi Shimura (the wood-cutter), Minoru Chiaki (the priest), Kichijiro Ueda, Fumiko Homma, Daisuke Kato. This "pixillated" lilm is a serious attempt to combine animation, Black and white; 35mm. 86 minutes. (Japan, 1950.) human forms, and concrete music.

The Sydney film critics were asked to name the film they thought should be revived for the Festival. The overwhelming majority chose GLASS "Rashomon"—the first Japanese film to win international and critical Source: Netherlands Considatc, Sydney. Production Company: Ministry attention. The story is told by four different people—each presents his of Education, Arts and Sciences, The Hague. Production, direction, version of the truth, but, in fact "truth" is relative. The film is notable script: Bert Haanstra. Photography: Eduard van der Enden. Music: for its unusual psychological approach, Kurosawa's brilliant direction and Pim Jacobs. Technicolor; 16mm. 12 minutes. (Holland, 1959.) its austere and original visual beauty. The poetry and precision of the glassmaker's art are captured by and Grand Prix, Venice Film Festival, 1951. reflected in Haanstra's light yet deeply involved film. Humorously de• Kindly made available by Mr. Natan Seheinwald, Film Distributor, signed angles, sharp, rhythmic editing, and a sequence which contrasts the production line in a bottle factory with the work of skilled craftsmen, Sydney. express without need of commentary the theme of the artist's creativeness in a world of mass production. British Film Academy Award for Best Documentary, 1958; Honourable mention. Documentary class, Vancouver Film Festival, 1959; Academy 19 Aivard (U.S.A.) for best short subject, 1959. THE BLACK MAN AND HIS BRIDE (See notes for this film under programme 7). WALTZING MATILDA Source: A.B.C. Production: Mill Productions. Direction, photography: LA TETE CONTRE LES MURS Gunnar Isakson. Singer: Beth Schurr. Cast: Geoffrey Mill. Black and Source: Unifrance. Production Company: Sirius-Atica-Elpenor. Direction: white; 16mm. 4 minutes. (Australia, 1958.) Georges Franju. Script: Jean-Charles Mocky, based on the novel hy Herve Evocative exposition of the swagman's suicide story, very simply Bazin. Dialogue: Jean-Charles Pichon. Photography: Eugene Schufftan. played, atmospherically staged, spiritedly sung. Music: Maurice Jarre. Art direction: Louis le Barhenchon. Cast: Pierre Brasseur (Dr. Varmont), Anouk Aimee (Stephanie), Charles Aznavour NO ROOM FOR WILD ANIMALS (Charles), Jean-Pierre Mocky (Francois Geranne), Paid Meurissc (Dr. Emery), Jean Galland (M. Geranne), Edith Scob (a madwoman). Black Production Company: Okapia. Production, direction: Dr. Bernhard and white; 35mm.; unsubtitled. 90 minutes. (France, 1958.) Grzimek and Michael Grzimek. Photography: Michael Grzimek and Franju's first feature film is a criticism of the mediaeval and bar• Herbert Lander. Editing: Klaus Dudenhofer. Music: Wolfgang Zeller. baric methods still in use in some French mental hospitals, where the Eastmancolour; 35mm. 70 minutes. (West Germany, 1956.) mentally sick are treated more as prisoners than patients. It is hard and Dr. Bernhard Grzimek, Director of the Frankfurt Zoo, with his son violent, but full of tenderness and motivated by anger rather than despair. Michael, made this humane and moving film as a protest against the white Franju's own contribution as director is of the highest order: he has chosen man's invasion of the African wilds. Containing a great many beautifully his actors carefully and discovers the poetic and strange in the most photographed sequences of animals, birds and insects, it is an admirable commonplace of settings. portrayal of primitive African life.

Tiventy-one WHY SYDNEY UNIVERSITY FILM GROUP ^J^

IS AUSTRALIA'S FOREMOST FILM SOCIETY

• It produces an informative film society journal # COMING PROGRAMMES each term.

• It regularly screens both 16mm. and 35mm. Olympia, Parts I and II films. The More The Merrier • It imports selected films of special interest. The Navigator

• It gives members the chance to engage in Bachelor Party actual film production. Fear Strikes Out • It holds members' previews of films not gen• A Man Is Ten Feet Tall erally available. Patterns • It is exceedingly cheap—annual membership £2.0.0 (University students £1.0.0). Twelve Angry Men

Box 28, The Union, University of Sydney. 39-4889. The Strange One

Twjenty-two FREE MAimiAGE

21 Source: Korean Consulate-General, Sydney, Production Company: Dong- KRYFTO Ah Motion Picture Company, Production: Lee Byung II. Script: Kim Source: United Nations Information Centre. Production, script, com• Ji lleun, from the story hy Ha Yu Sang. Photography: Lee Yong Min. mentary: Stanley Wright. Direction: Michael Palmer. Photography: Art direction: Limb Myung Sun. Music: -Kim Sung Tai. Sound: Son In Adrian Porchet. Black and white; ]6mm. 16 minutes. (United Nations, Ho. Black and xvhite; 35mm. 95 minutes. (Korea, 1959.) I960.') Interesting as an example of the comparatively unfamiliar Korean This fihn is about the people who live in a Greek refugee camp film industry and for its discussion of what is apparently a contemporary near Athens. They are seen through the eyes of the children who play social problem in Korea, "Free Marriage" has a certain charm, despite kryfto (hide-and-seek) in the corridors and cubicles of the camp. The a recurrent naivety, lack of depth and conventional presentation. It incidents were observed by the scriptwriter on visits to the camp and later deals with the family of a well-to-do doctor whose wife is intent on re-enacted by the refugees themselves. The completely appropriate theme arranging her three daughters' marriages to socially approved suitors. music is played on a home-made three-stringed fiddle. Made for World The early failure of the love-marriage of the elder daughter is held up Refugee Year, this is an authentic and heartbreaking record of the plight as a frightening example to the others. of refugees all over the world.

A FAR CRY

Source: U.K. Information Office. Production Company: The Save the 23 Children Fund and the Oxford Committee for Famine llelief. Direction, script, photography, editing: Stephen Peet. Music: Max Saunders. Com• HAZARD mentary: Alan Burgess, Narration: Peter Finch. Black and white; 16mm. 40 minutes. (Great Britain, 1958.) Source: U.K. Information Office. Production Company: Interfilm, in A compassionate and fearlessly direct survey of life among the million association with the Film Producers Guild Ltd. Production: G. Sumner, refugees living in and around the city of Pusan, Southern Korea. The Direction, script: Tom Stobart. Photography: Josef Ambor, Arthur Lavis, fight of U.N.O. and the "Save the Children Fund" is recorded in a series Jonah Jones. Editing: Sagovsky. Sound: Ron Abbot. Technicolor; 35mm. of moving individual stories. Peter Finch's commentary has a sincerity 36 minutes. (Great Britain, 1959.) seldom equalled. This film is a contribution to the cause of accident prevention. The underlying story stresses an adventurous attitude to life which, by ob• 22 serving the rules for safety, can be secure and accident free. THE AUSTRALIAN NATIONAL UNIVERSITY

Source: Australian Commonwealth Film Unit. Production: Australian FANFARE Commonwealth Film Unit, for the Australian National University. Pro• duction: Shan Benson. Direction: Ian Dunlop. Script: George Farwell. Source: Netherlands Consulate, Sydney. Production Company: Sapphire Photography: Keith Loone. Music: John Antill. Sound: Alan Anderson. Film. Production: L. W, R, Meyer. Direction: Bert Haanstra. Cast: Narration: Donald Crosby. Black and white; 35mm. 35 minutes. Bernhard Droog, Hans Kaart, Ineke Brinkman, Ton Lutz, Wim van den (Australia, 1959,) Heuvel, Herbert Jocks. Black and white; 35mm. 95 minutes. (Nether• lands, 1959.) The Australian National University was established in 1946. Its main purpose is to allow concentration on research: the finding of facts This is Bert Haanstra's (Glass, The Rival World, Mirror of Holland) and the development of theories. The deans of the faculties. Professors first feature film. It is a simple story of a village feud which centres Sir Keith Hancock, Hugh Ennor, James Davidson, Sir Mark Oliphant, around the brass band and its players, and is very charmingly photo• and Bart J. Bok discuss the scope and variety of original research. graphed.

Twenty-three presents the story of an Italian village''s Sunday BP as seen through the eyes of a little girl. ..

G \ U S E

Giuseppina (Antonia P Scalari) hands back the priest's hat. P I N A

BP AUSTRALIA LTD. marketers of BP super and CO.R. motor spirit and Energol oil.

Twenty-four THE STAINED GIASS AT FAIRFORD 24 Source: British Council. Production Company: Realist. Production, SERGEI EISENSTEIN direction: Basil Wright. Photography: Adrian Jeakins. Editing: Kitty Wood. Music: Julian Leigh. Commentary: John Betjeman. Narration: Source: Quality Fiiius. Production Company: Central Documentary John Betjeman and Robert Donat. Kodachrome; 16mm. 26 minutes. Film Studio, MoscoU'-. Direction: V. Katanyan, Script: R. Yureneva. (Great Britain, 1956.) Photography: M. Glider. Black and white; 16mm. 52 minutes. CU.S.S.R., J958.) The windows of the mediaeval English church of Fairford, in the Cotswold hills, illustrate the Bible story from the Garden of Eden to A concise study of the life and work of the great lUissian director. Judgement Day. With fluid yet controlled camera movement, and a Eisenstein's early years are shown with stills and photographs and his sharp eye for detail, Basil Wright reveals in the panels a wide range development as a director is fully illustrated with excerpts from his of characterisation. films, including "Strike," which has never been shown in Australia.

OUR ISLANDS OF HAWAH

Source: Hawaiian Airlines. Production: Cate and McGlone Co. Produc• 25 tion: Hawaiian Airlines. Direciion, photography: Ed. McGlone. Script: THE BATTLE OF WANGAPORE Walter Wise. Eastmancolour. 16mm. 28 minutes. (Hawaii, 1958.) Source: State Film Centre. Production: Grasshopper Group. Colour; Understatement and an eve for the unusual have transformed what 16mm. 8 minutes. (Great Britain, 1955.) could have been a run-of-the-mill travel film into a colourful and fascina• ting glimpse of the Hawaiian Islands. This animated film is set in a particularly far-flung corner of the Empire and the characters look very like thosL' in Roy Davis' "Punch" cartoons. 26 HOUSE .SHORT AND SUITE

Source: United States Information Service. Made by Charles and Ray Source: Canadian Film Office, Sydney. Production Company: National Fames. Music: Elmer Bernstein. Technicolor; 16mm. 11 minutes. Film Board of Canada. Executive Producer: Tom Daly. Direction, ani• (U.S.A., 1955.) mation: Norman McLaren. Assistant: Evelyn Lambart. Colour; 16mm. 5 minutes. (Canada, 1959.) Composed of quickly-cut static shots, accompanied by a diverting chamber music score, "House" is a photographic study of the Eames' Reflections of a suite of tunes written for a jazz ensemble by Eldon contemporary home, notable for the Japanese simplicity of its build• Rathburn, engraved and coloured on film. McLaren enthusiasts will catch ing and the profusion and elegance of its furnishings. in this film glimpses of familiar McLaren images, restless shapes from other films.

ONE POTATO, TWO POTATO SAUSALITO

Source: State Film Centre. Production: British Film Institute Experi• Source: State Film Centre. Made by Frank Stauffacher. Black and white; mental Production Fund. Direction: L. Daiken. Photography: P. Kennedy. 16mm. 9 minutes. (U.S.A., 1955.) Editing: M. Maclennan. Black and white; 16mm. 20 minutes. (Great Britain, 1957.) Stauftaeher's love for a place in which he lived (Sausalito) and his poetic sensitiveness, to interpret here and there the ordinary in ex• The title is a children's counting-out rhyme. The film records traordinary scenes, changes the "quasi-documentary" character of this London children at play, singing, skipping, dancing. film and makes it a poetic essay.

Twenty-five Look to GALA cinema for outstanding films from world festivals

SYDNEY'S newest, smartest ARTFILM theatre, in a few short months, has won the approval of the discriminating with its policy of "Films-of- international-merit". Festival film "Greats" for

Above: Ingmar Bergman's GALA this year will include "A MAN'S DES• "WILD STRAWBERRIES" TINY" (Moscow winner); "WILD STRAWBER• "Sweden's Bergman," says TIME "Is one of the peculiarly gifted and RIES" (Ingmar Bergman's Berlin Festival winner); demoniacally creative movie mak• ers of modern times. Tliis is his "NO ROOM FOR WILD ANIMALS" (Berlin masterpiece . . . smashingly beautiful to see." Festival winner); "THE IDIOT"; "MONPTI, the lovers of Paris", and "CORTE TETE". "A MAN'S DESTINY" The British Film Institute says: "Of all postwar Soviet films, this is the GALA is city-ccntrcd at 236 Pitt St. MA5995. one that will be looked back upon a': the greate-Jt an^ mo=t original." Special party rates for Film Society and other groups. Moscow Festival first prize! GALA is Heated.

Twenty-six TOCCATA FOR TOY TRAINS

Source: N.S.W. Film Council Made by Charles and Ray Eames. 27 Commentary: Charles and Ray Eames. Music: Elmer Bernstein. THE CHARM OF CHILDREN'S DRAWINGS Technicolor; 16mm. 10 minutes. (U.S.A., 1957.) Source: Czechoslovak Filmexport. Direction: Jiri Jerabek. Script: Kunc An attractive film which achieves brilliant and life-like effects by its Photography: Pavel Hrdlicka. Music: Milivoj Uzelac. Commentary: B. attentive camera work and its visual movement. An engaging period Bilek. Agfacolour; 35mm. 13 minutes. (Czechoslovakia, J958.) collection of American model trains is set rolling through a happy and colourful romp, neatly accompanied by Bernstein's sprightly tunes. A child's observation of the world, and his first attempts at graphic expression in the kindergarten. MR. PROKOUK, ACROBAT

Source: Czechoslovak Consulate-General. Colour; 16mm. 15 minutes. TAJ MAHAL (Czechoslovakia, 1958.) Made by Karel Zeman. Source: Films Division, Ministry of Information and Broadcasting, Gov• A clever and amusing film about the well-known puppet character. ernment of India. Production: Ezra Mir. Direction: Mushir Ahmed. He performs breathtaking feats in the circus, but out of the spotlight Photography: Dara Mistry. Eastmancolour; 35mm. 14 minutes. (India, he is always in trouble. 1959.) "Taj Mahal" shows the austere beauty of this magnificent mausoleum, LA PREMIERE NUIT the tangible expression of the Mogul Emperor Shah Jehan's love and devotion for his consort Mumtaz Mahal. Source: French Consulate, Sydney. Production Company: Argos. Direc• tion: Georges Franju. Script: Marianne Osxvald and Remo Forlani. Adaption: Georges Franju, from an idea of Marianne Oswald. Photog• raphy: Eugene Schufftan. Music: Georges Delerue. Black and white; 16mm. 21 minutes. (France, 1957.)

A small Parisian schoolboy loses his way in the labyrinths of the Metro when following his girl friend. Franju's originality of style and feeling achieves an unexpected sophistication in this light and nostalgic story. Grand Prix, Mannheim Film Festival, 1958.

THERE WAS A DOOR

Source: U.K. Information Office. Production Company: Green Park for Manchester Regional Hospital Board. Production, script: G. Buckland- Smith. Direction: Derek Williams. Photography: Fred Gamage. Edit• ing: Jack Elliot. Sound: Ron Abbott. Black and white; 16mm. 30 min• utes. (Great Britain, 1957.)

This unusually distinguished documentary is about mental illness. Its argument is that mental patients who are fit to live in the general community should not be kept for long periods in large or remote institutions. It is a sad but constructive film which adopts a wholly adult and uncompromising approach to the distress and achievement of defect• ives. SVSN DUFVA

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Twenty-eight A SCARY TIME Source: United Niitiona Chihlren's Fimd. Production: tJ.N.I.C.E.F. Direction, editing: Shirley Clarke, Pohert Hughes. Music: Peggy Glanville- Hicks. Narration: children, black and white; 35mm. 19 minutes. (U.S.A., I960.) This film depicts the activities of American children on Hallowe'en and relates these activities to the plight of children in the under• developed countries of the world.

SVEN DUFVA

Source: Oy Suomen Filmiteollisuus (SF). Production Company: Oy Suomen Filmiteollisuus (SF). Production: T. J. Sarkka. Direction: Edvin Laine. Script: Vaino Linna. Photography: Osmo Harkimo, Olavi Tuomi. Art Direction: Aarre Koivisto. Sound: Kurt Vilja. Editing: Armas Vallasvus. Music: Heikki Aaltoila. Cast: Veikko Sinislo (^Sven Dufva), Edvin Laine (The Father), Fanni Halonen (The Mother), Salme Karppinen (Karin), Aarne Laine (Corporal Orn), Kanko Helovirta HOUSE UNDER THE ROCKS (Duncker), Mirjam Novero (Duncker's Wife), Leif Wager (General Sandels), Leevi Kuuranne (King Gustav IV Adolf). Black and white; 35mm. 106 minutes. (Finland, 1955.) Three people live in a house under an extinct volcano—a returned prisoner of war, his second wife and the possessive hunchback sister of "Sven Dufva", the first Finnish film to be shown in this country, is his first wife. All three strive for personal happiness, yet are suffocated an historical epic of the Finno-Russian War, 1808-9. The hero is a by their dependence on each other. Despite its melodrama, and a too simple, warm-hearted farmer boy who seeks a soldier's fortune but finds literary use of dialogue, "The House Under The Rocks" is notable for a instead the blood and tears of war. A warmly human film, rich in down-to-earth humour and full of action, it convincingly brings its period harsh lyricism and a true feeling for landscape and people. Artistic to life. consideration, together with a finesse and assured technical command, give the film an individual and worthwhile quality. 28 VACANCE AU PARADIS 29 Source: Unifrance. Direction: Jean L'Hots. 35mm. 20 minutes (France. 1959.) CITY OUT OF TIME

Source: Canadian Film Office, Sydney. Production Company: National An amusing new French film satirising tourists at Capri. Film Board of Canada. Executive Producer: Tom Daly. Production, direc• tion, art direction: Colin Low. Photography: George Dufaux. Music: Robert Fleming. Sound: Don Wellington. Commentary: James Beveridge. THE HOUSE UNDER THE ROCKS Eastmancolour; 16mm. 16 minutes. (Canada, 1959.) Source: Hungarofilm. Production Company: Hunnia Studios, Budapest. A charming and sometimes humorous discovery of Venice which, Direction: Karoly Makk. Script: Sandor Tatay. Photography: Gyorgy like the arts the city fostered and still cherishes, has transcended time, nies. Music: Istvan Sarkozi. Cast: Margit Bara (Zsuzca), Janos Gorbe inspiring mankind to pause and reflect on the meaning of life and (Ferenc), Iren Psota (Tera), Adam Szirtes (Ferenc's friend). Black and art. white; 35mm. 96 minutes. (Hungary, 1958.) Twenty-nine VALUABLE CONTRIBUTION TO

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lUrty BRITISH ART AND ARTISTS: I..S. LOWRY CRY OF JAZZ Source: Production: KHTB Inc., Chicago. Direction: Edward O. Bland. Source: British Council. Production Company: B.B.C. Television Film Script: Edward O. Bland, Nelam Hill, Mark Kennedy. Photography: Unit. Production, direction: John Read. Photography: Robin Still. Hank Starr, John Chernoble. Music: Paul Severson, Le Sun Ra. Com• Editing: Valerie Best. Music: Joseph Haydn. Commentary: L.S. Lowry. mentary: George Waller. Black and white; 16mm. 34 minutes. (U.S.A., Black and white; 16mm. 15 minutes. (Great Britain, 2957.) 1959.) L.S. Lowry is an English painter who is well-known for his This is a subjective essay film produced by a group of young Negro strong, austere paintings of industrial scenes. John Read, son of Sir Her• intellectuals and artists. It describes the conditions of American Negroes bert Read, has produced a sincere and sympathetic record of this painter's through the medium of jazz. This angry, controversial film explodes in a work. series of passionate outbursts.

PRAISE THE SEA

Source: Netherlands Consulate, Sydney. Direction, script, photography: 31 Herman van der Horst. Music: Leen't Hart. Black and white; 16mm. THE LITTLE ISLAND 21 minutes. (Netherlands, 1959.) Source: State Film Centre. Production Company: Richard Williams Ani• This film is about the dependence of the Netherlands on the sea. mated Films. Production, direction, script: Richard Williams. Music, There is no spoken commentary in this poetic film, but natural sound sound effects: Tristram Gary. Eastmancolour; 16mm. 33 minutes. provides an eloquent and fitting commentary. (Great Britain, 1958.) Golden Bear Award, Berlin Film Festival, 1959; Special Awards, Edin• The theme of this imaginative and amusing animated film is the burgh Film Festival, 1959, for the most outstanding short film. impossibility of communication between people of fixed ideas, and the possible results. Its maker calls the film "a satire on everything." It illustrates its arguements through the horseplay on a desert island of three grotesque little figures, believing respectively in Truth, Beauty and Goodness. The music and effects are admirably blended with the images.

30 British Film Academy Award for Best Animated Film, 1958.

HAVE I TOLD YOU LATELY THAT I LOVE YOU THIS IS THE BBC Source: BBC. Production Company: BBC. Production, direction, script: Source: University of Southern California. Production: Cinema De• Richard Cawston. Editing: Harry Hastings. Sound: Robert Saunders, partment, University of Southern California. Direction, script: Stuart Michael Colomb. Photography: Kenneth Westbury. Black and white; Hanish. Photography: Stuart Hanish, Barbara Squire. Black and white; 35mm. 68 minutes. (Great Britain, 1959.) 16mm. 16 minutes. (U.S.A., 1958.) Shot entirely on location, this is a factual account of a typical 24 The "pallid" documentary myth is exploded in this tight, highly- hours activity of the BBC. "The difficulty of showing, in just over an condensed film which tells us of a day in the life of an American hour, even a part of this complex organization, called for an unusual family, surrounded by machines, gadgets and "improvements." The approach. The problem was solved by allowing the camera and sound• film is scathing in its condemnation of the banalities of mechanisation. track to tell the story — there is no narration. The result is a fast-moving Poetical accumulation of actual detail creates a genuine feeling of and exciting report on the largest organization of its kind in the world. claustrophobic horror. British Film Academy Award for best specialist fdm of 1959.

Thirty-one 32 THE WORLD OF APU Source: Chhayahanl Private Limited, Production Company: Satyajit Ray Productions (P) Ltd. Production, direction, script: Satyajit Ray. Photog• elizabet-han f-heatre raphy: Suhrata Mitra. Black and white; 35mm. 100 minutes. CIndia, 1959.)

This completes the trilogy ("Pather Panchali," "Aparajito") by brilliant Indian director Satyajit Ray. The plot is simple: Apu marries, his wife dies in childbirth, he disowns his son and finally, after several years, reclaims him. With his usual strong pictorial sense and insight into character, Ray uses these situations to show the complexity of life in modern India, where traditional beliefs and Western behaviour pat• from June 29 terns struggle for supremacy. Sutherland Trophy, London Film Festival, 1959; President's Gold Medal 0']\eill's for Best Indian Film, 1959. AH, WILDERNESS!

from July 27

Behan's THE HOSTAGE THE WORLD OP APU

Appreciative thanks to . . .

newtown RCA Australia SUPPLYING THE NEW MODEL HOLLYWOOD 16mm. PROJECTORS 33 THE SIXTY YEARS OF FASFIION Source: United Kingdom Information Office. Production Unit: Basic Films, for the Board of Trade. Direction, script: S. Napier Bell. Photog• raphy: Larry Pizer. Music: Wilfred Josephs. Commentary: Ivan Samson. Eastmancolour; 16mm. 18 minutes. (Great Britain, I960.) This review of women's fashions in Great Britain during the past sixty years shows the influence of historical events and social changes upon dress design.

THE CRITIC AND THE FILM, No. 4: TWELVE ANGRY MEN

Source: State Film Centre. Production: British Film Institute. Direction: for many fine Continental foods Hazel Wilkinson. Script: E. Arnot Robertson. Photography: E. Lestocq Wooldridge. Black and white; 16mm. 24 minutes. (Great Britain, 1959.) well served.

E, Arnot Robertson discusses the film "Twelve Angry Men" from the writer's viewpoint.

LICENSED AND AIR-CONDITIONED. ANZAC HOUSE PRIVATE ROOM AVAILABLE. SUNDAY SCREENINGS

SPECIAL TICKETS ISSUED HENRIETTA LANE, piiiAAn Members should opply for Special Tickets, presenting CIRCULAR QUAY. DUIUOU their Festival tickets, to the Office in the University Union, (Behind Plasto's Ship Inn) from 3 p.m. on Saturday, 11th June. (No extra cost.)

Thirty-three WE ARE THE LAMBETH BOYS Source: Ford Motor Company, Geelong. Production Company: A Graphic Film, for the Ford Motor Company. Executive Producer: Robert Adams. Production: Leon Clare. Direction: Karel Reisz. Assistants: Louis For Languages Walfers, Raoul Sobel. Photography: Walter Lassally. Editing: John Fletcher. Music: Johnny Dankworth. Commentator: Jon Rollason. Black and white; 35mm. 52 minutes. (Great Britain, 1959.) Karel Reisz has made an absorbing, vivid and commanding docu• LINGUACLUB LANGUAGE mentary about the members of a London youth club—the way they live, work, think and talk. It is a completely authentic view of young working people today, an answer to those who talk about youth's problems, but have little experience or sympathy. It is one of the last "free cinema" films CENTRE to be made before the group disbanded and one of the best.

CLASSES: In French, German, Italian, Spanish, Dutch, Russian, 34 Japanese, Chinese. Snnall classes (overage 6) permit ASHES AND DIAMONDS individual attention. Source: Natan Seheinwald. Production Company: Kadr Unit, Film Polski. Director of Production: Stanislaw Adler. Direction: Andrzej LESSONS: Private or shared in the above languages and Wajda. Script: Andrzej Wajda and Jerzy Andrzejewski, based on the others. Anytime, anywhere. latter's novel. Photography: Jerzy Wojcik. Editing: Halina Navrocka. Art direction: Roman Mann. Sound: Bogdan Bienkowski. Cast: Zbigniew BOOKS: Dictionaries and books on many languages. Cybulski (Maciek); Ewa Krzyzanowska (Christina), Adam Pawlikowski (Andrzej), Bogumil Kobiela (Drewnowski), Waclaw Zastrzezynski (Szczuka), Jan Ciecierski (Porter), Stanislaw Milski (Pieniazek), Artur RECORDS: The wonderful international "ASSIMIL" method is Mlodnicki (liotowicz), Halina Kwiatkowska (Mme. Staniewicz), Ignacy available in French, German, Spanish, Italian and Rus• Machowski (Waga). Black and white; 35mm. 104 minutes. (Poland, 1958.) sian. So easy, so interesting, so cheap. Maciek, under orders to kill the newly arrived Communist District Secretary, is the youngest member of a small resistance group loyal to the TRANSLATIONS: Letters, documents, technical, literary, emigre nationalist government in London. Although the first attempted handled expertly and quickly. assassination has resulted in the deaths of two innocent workers, the group's leader, Andrzej, impresses upon Maciek the tremendous importance of his task. Embittered by what he now regards as senseless killing and fratricide, and in love for the first time, Maciek nevertheless carries out his orders, only to be killed himself while escaping from a patrol.

"Ashes and Diamonds" is the third of a trilogy dedicated to his own Ring or come to LINGUACLUB MA3808, 46 Campbell St. generation of Polish youth by the talented young director, Andrzej Wajda. The poetry, human affirmation and self-confidence of "A Generation" (opp. Tivoli), Monday to Friday 10 a.m. to 8 p.m., Saturday and the spiritual exaltation of "Kanal" give place to intellectual realism, 9 a.m. to 72.30 p.m. bitterness and disillusion: this is the story of a betrayed generation. Prix de la FIPRESCI, Venice, 1959. Kindly made available by Mr. Natan Seheinwald, Film Distributor, Sydney.

Thirty-four INDEX TO FILMS SHOWN

PROGRAMME No. PROGRAMME No. Americain se Detend, Un 17 Man's Destiny, A Ashes and Diamonds 34 Mr. Prokouk, Acrobat Australian National University, The 22 Mount Zao No Room for Wild Animals Backstage to Vaudeville 18 Not By Choice Battle of Wangapore, The 25 16 Old Man Motorcar Big Bill Blues On the Bowery Black Man and His Bride, The .... 7. 19 7 One Potato, Two Potato Black Orpheus Our Islands of Hawaii Blood and Fire 9 14 Plastimania Borgo a Mozzano Praise the Sea British Art and Artists: L. S. Lowry 29 27 Premiere Nuit, La Charm of Children's Drawings, The Pressure Golf Christmas Visitor, A 6 Raak City Out of Time 29 Radha and Krishna ... Come Back Africa 15 Rashomon Coupe des Alpes 16 Rekava Crime and Punishment, U.S.A. 1 Ritmo en Transito Critic and the Film, No. 4: Twelve Angry Men 34 Rouge et le Noir, Le ... Cry of Jazz 30 Sausalito Cultured Ape, The 3 Savage Eye, The Django Reinhardt 15 Scary Time, A Dragon de Komodo, Le 6 Sergei Eisenstein Fanfare 23 Short and Suite Far Cry, A 21 Short Spell Five Branded Women 13 Sixty Years of Fashion Forty Thousand Horsemen 10 Soho Story, A Free Marriage 22 Solitaire Giuseppina 7 Stained Glass at Fairford, The Stars Glass 20 Glenn Gould Off the Record Sven Dufva Glenn Gould On the Record Taj Mahal Have I Told You Lately That I Love You 30 Tamdodo Hazard 23 Telltale Heart, The ... Here arc No Butterflies .. 4 Ten Cents Heritage 10 Tete contre les Murs, La Horyuji Temple 14 There are No Blue Mice House 25 There was a Door House Under the Rocks, The 28 This is the BBC Toccata for Toy Trains Hunter, The 8 Tribute to Fangio Idiot, The 4a Tumanu's People Immortal Land, The 9 In the Wake of the Bounty .... 10 Uncivilised Jiri Trnka's Puppets 11 Vacance au Paradis ... Kryfto 21 Variations Electroniques Last Day of Summer, The 5 Waltzing Matilda Little Island, The 31 We Are the Lambeth Boys World of Apu, The . . Living 2 World of Spectrocolor Living Wild, The 11

Thirty-six Sydney Ukjwersitv OFFICE: The Festival Office will be situated in the MacLaurin Room at the Union from Friday, June 10, to Monday, June 13 and in the foyer of Anzac House during the following fortnight.

PARKING: Many parking areas are available at the University, where subscribers are asked not to park in narrow streets. Near Anzac House parking space is available in several side-streets off College Street. The Domain Parking Station will be open at least up till 7.00 p.m.

FOOD: Scotts will provide a coffee and hot meal ser• vice in the Women's Common Room of the Teachers' College from 12.00 p.m. to 8 p.m. from Saturday, June 10, to Monday, June 13. Coffee and light re• freshments will be served in the lower foyer at Anzac House between screenings. There are several good restaurants with reasonable price lists, in the neigh• bourhood.

PUBLIC TRANSPORT: To the University, Parra- matta Road entrances by bus via George Street and Railway Square. Route numbers and destinations: 435 (Leichhardt Town Hall), 436 (Haberfield), 437 (Five Dock), 438 (Abbotsford), 439 (Leichhardt Depot), and 440 (Leichhardt). Enquiries, ring Trans• port Department, 2 0543 or 2 0961.

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