70S Feature Films

CINEMA CAN A D A • 1972 ~ 1988 Production, distribution, information and promotion, supported by government policy would surely develop into a viable community. It was a time when Kirwan Cox and Sandra A glance at Gathercole could write position papers to be signed by John F. Basset and submitted to the government ofOntario, proposing a strategy for Cinema Canada's '70s feature films . "We accept without question that feature film is an integral part of Canada 's cultural identity, " they wrote boldly, outlining Arigged system needs of the Canadian producer than any of the the quotas and levies necessary to create a viable Foreign films long ago assumed squatter's rights others. industry. to the captive Canadian audience. It is a control The editors, July-Aug. 1972 There was, to be sure, another film which they took by default and have come to community, centered around the Association of take for granted. As long as Canada had no film Private help Motion Picture Producers and Laboratories of industry of her own, the situation was tenable. Harold Greenberg, president of Bellevue-Pathe, Canada (AMPPLC). Here, the bread and butter But as more Canadian films are produced and recently released the list of Canadian features producers of commercials, sponsored and arrive to be marketed, the problems of this modus which received financing through the educational films gathered with service operandi become more evident and more multi-million dollar fund he set up earlier this companies - the labs, the rental and optical serious .. This places an impossible handicap year. " The Neptune Factor, The Merry Wives of companies - to chart their own course in the on the economic and artistic growth of the Tobias Rouke, Quelques arpents de neige, Mother's business of filmmaking . industry. It also reduces the Canadian Day, Simard, Slipstream, Eliza's Horoscope ... No one much argued about Canadian culture filmmaker to the soul-destroying status of Oct. -Nov. 1972 then; it was a simple given of the situation. beggar in his own home, and prevents him from The Canadian Film Development Corpora earning a living in a popular cinema which is Foreign experience tion, founded a fe w years before the magazine, generating over 100 million dollars a year. Don't forget 10 years ago in this country ... was structured with a consultative committee on Sandra Gathercole, May-June 1972 nobody knew what making feature films was all which sat representatives of the associations - about .... I was able, fortunately, to be with producers, distributors, unions, the CCFM - At last Genevieve (Bujold) and watch her make films and together, they hammered out an approach At the start Today it is my pleasure to meet with you and with Resnais and with Louis Malle and with de to allow Canadians to express themselves Agroup of films produced in Quebec has drawn outline the general terms of our film policy - a Broca. Before I made Isabel at least I had an through film. The goal of it all was to create a praise from the Nw York Times, which says the policy which has taken over two years to inkling of what filmmaking was ... Canadian film industry. filmmakers deserve wider recognition. develop. I hope that we have not laboured and Paul Almond, Oct. -Nov. 1972 Reviewer Roger Greenspun uses such phrases brought forth a mouse, and that the long period Meanwhile, 150 issues later as "fresh and unusual" and "evocative and ofreflection and consultation has not been spent skiillully beautiful" in describing the films in vain. The task at hand is now to come to terms with shown in New York at the Museum of Modem Gerard Pelletier, Secretary of State, July-Aug. cinema what has become of those initial efforts to build Art ... "Several of the films, expressing the 1972 an industry. concerns of French-Canadian nationalism, offer canada From the outset, the filmmakers knew they a revolutionary message," he adds. But the The trigger needed the government's help to create a space message is "generally a pragmatic plea for ... I was thinking of quitting writing and I wasn't in North America for a Canadian vision to freedom or for a chance at a better life. " able to do films. But I saw one day Le Chat dans Ie flourish. There was never any doubt that the March 1972 sac by Gilles Groulx and it was wonderful. All talent, energy and will to produce was there. my complexes disappeared. There was a film There was also a feeling of connectedness. Behind the camera that caught me from beginnning to the end and The early issues of Cinema Canada are filled with 1'd like to work with bigger dollies, 1'd like to I had no more problems. There are very few news from Quebec and the west coast, and work with cranes. You know, stuff where you films like that in your life, that give you energy features ranged over all aspects of filmmaking. can get some of the shots that you now can't to go on five or six years more, working. Debates were popular, and presidents of theatre because the budget won't allow them. 1'd love to Jean Pierre Lefebvre, July-Aug. 1972 chains met with members of production co-ops have helicopter shots. to debate Great Issues. Richard Leiterman, March 1972 Aclosed door IA TSE Local644-C raised some eyebrows in the Some simple verities The aspirants film community last month when they rejected The Canadian Film Development Corp. has cameraman Richard Leiterman's application for The great debate It has always been true that a healthy, handed out the first $10,000 of the proposed membership. My personal opinion, in case somebody is scared independent Canadian industry must have $50,000 in grants to assist aspiring feature July-Aug. 1972 to ask the question, and not representing the production, distribution and exhibition filmmakers in English-speaking Canada. Judith opinion of the industry or my corporation, in components. There are different levels of Steed, Gordon Nault and Peter Duffy each The publishing scene that I favour quotas! production, and they require different levels of received $2,000, David Troster $1,750, Erwin On the question of Cinema CmUlda being only one George Destounis, Famous Players, Feb. -March distribution and exhibition, but all must be Wiens $1,250 and Michael Asti-Rose $1,000. Sid of the trade magazines available to AMPPLC 1973 present if any are to flourish . Adilman, Morey Hamet, Don Shebib, Bob members; sure, if you count the U. S., but if you Huber and Lee Gordon formed the jury. It has also always been true that people in look at the other Canadian film publications _ Aprovince-by-province breakdown May-June 1972 business have to make money if their businesses Take One, That's Show Business, Marketing, B. C. saw 105 Chinese films last year, but only 12 are to sustain themselves. If there is no Canadian Film Digest and Impact - you must Canadian films; Albertans, 57 from Italy, seven anticipation of profit-making, then enterprises realize that Cinema Canada is better suited to the made in Canada; in Saskatchewan 59 British can opt for nonprofit status, a legal definition PAGE 6 CINEMA CANADA MARCH 19•• CINEMA CAN • A D A 1972 - 1988 pictures were shown, against 6from horne ; New had been arranged . So, except for the reviews The subject of the film is simply one of those spelling out the limits of a given undertaking. Brunswick saw 202 American movies, 6 and a few other brief mentions, the film was antiseptically repulsive, commonplace water Athird truth is that the political entity called Canadian ones ; Manitobans, 19 from Germany, received in silence. ( Robert Fulford, Aug. -Sept. fountains, stuck on an equally antiseptic, "Canada" is a vulnerable one. The part of the 9 from here ; Nova Scotians, 12 from Sweden, 8 1973 concrete-block wall, in the sterile hallway of one country which stretches three thousand miles from Canada ; Ontario 16 from France, and a of those architectural disasters we call schools . from east to west and stands two hundred miles pitiful 11 from this country ; while Quebec had That's the subject. But the content of the film is high from the U, S. border north is particularly the opportunity to see 69 from Greece but only so much more! troubled by incursions from the south . 26 from its own soil. Rick Hancox, June-July 1974 The federal government has long known that April-May 1973. the articulation of Canadian culture and its reinforcement among its citizens is the only sure The lobby defense against American aggressions, both At the past two meetings of the Council of cinema political and cultural. It has known that once Canadian Filmmakers, there was quite a bit of Canadians feel like Americans and can see no excitement, and many in the industry feel that canada difference in the two countries, then union must this newly formed group may be English-Cana follow for the economic promise inherent in the da's last hope in unifying filmworkers on all size of the United States would be the levels of cinema into a cohesive and powerful determinant. This union may not be a formal, voice. (The meetings were chaired by Peter total integration, but as the free trade Pearson and Richard Leiterman. ) discussions amply show, many Canadians are June-July 1973 already seduced by the promise of the "free" market and don't consider important the From one who knew cultural price we will surely pay. With a film quota, the exhibitor would have to The Canadian Broadcasting Corporation and show the films.

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