Cahiers Du Cinema in English 2 1966

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FILM CULTURE Ilo. 36

SPECIAL GRIFFITH ISSUE
TII
anniversary oi
commemorating the
DAVID WARII GRIFFITII'S
Revolutionary Masterpiece of the American Civil War

and the Reconstruction Period in the Old South
THE BIRTH
OF A NATION
('l9I5-I965)
The Violently Controversial Story of
Violently Controversial Film
By SEYMOUR STERN
A Treasury of History, Information, and Photographs
The Story of a Film that Began as the Cinemas First Super-Spectacle, and Became an Explosive Political
and Social Event in Modern American History
Why It Could Not Have Succeeded as It Did Without the Powerful Ideological Musical Score that JOSEPH
CARL BREIL and GRIFFITH Compiled and Edited for It
The Film that Gave Birth to the Screen as an Art in Its Own Right,
with Its Own Techniques of Acting
and Production
ac
The Film that Shattered Forever the Erroneous Dogma that the Stage Is the
the Screen
Mother" (or the "Father) of
The Screen vs. Stage Conflict from l9I5 to I965 -The Creative Film vs. Reactionary Stage Snobbism
The Global Impact of Griffith's
The Ku Klux Klan as a Form of Psychological Terror and Warfare
Spectacular Masterpiece on Motion Picture Production from that Day to This and Other Aspects of
the Story of the World's First Great Film, Featured in this Rich Commemorative 50th Anniversary Issue
272 pages
56 pages of photographs
$200
ON SALE: Leading Newsstands and Bookstores
II
WIIII I0:
FILM CULTURE, Dept. C, 414 Park Avenue, South, New York, N.Y. IOOI6
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LUCHINO VISCONTI (CdC =174 Jan 1966)

Drama Of Non-Existence by Luchino Visconti
The Absences Ol Sandra by Jean Callet
BUSBY BERKELEY (CdC
26
33
43
49
COMDEN AND GREEN (CdC= 174 Jan 1966)

Interview by Jean-Francois Hauduray
Filmography by Patrick Brion
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ALFRED HITCHCOCK
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cmnsas cnmouss
60
67
:l74
(CdC :'l74 Jan 1966)

Donner: What's New Pussycat? by Michel Mardore (CdC ::174 Jan 1966)
Fellini: Juliet Of The Spirits by Jean-Andre Fieschi (CdC :17-1 Jan I966)
Antanioni: L'Avventura by Jacques Doniul<Vu|croze (CdC: 113 Nav I960)
onus AND ENDS

Council ol Ten (CdC
:174
Jun 1966)
:l74 Jon
Ten Best Lists (CclC
"5
of
Editor's Eyrie by Andrew Sarris

=174 Jan 1966)
umsns nu CINEMA IN zuousu
ass Madison Av,
Administrative (ma Sub\(ri|;Iian Oke
Ecliturml om. :0: WEQI 12nd st, N v_, N v
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74
75
76
77
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IO
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80
Paris Openings (CdC
51
Godard: Pierrot Le Fou by Michel Caen (CdC

Jan 1966)
Donner; Nothing But The Best by Jean-Andre Fieschi and Michel Mardore
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22
(Cdc :39 Oct 1954)

Hitchcock Versus Hitchcock by Andre Bazin
Skeleton Keys by Francois Truaut
Hitchcock Confronts Evil by Claude Chabrol
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1966)
Dancing Images by Jean-Louis Comolli
Interview by Patrick Brion and Rene Gilson
Filmogrophy by Ralph Crundall
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lll tt>lllllllllliCI|l\' in
his ititor|>rt-tor, Tho tlosli

is prosoiit. a thuiisaiiil tiiiios Illltft prt-soiit \\'hoii tho
spirit is ahsoiit_ whon tho o_\'oliils \\'t-igh on a lust gaizo.
\\lioii tho \'<iit"os ilio lltll all ari|iiiiil_ lii>ll<i\\'iiig tho
l)('Lll alilo
i-iii|itiiios~ hi-si<los this skiii sn living. so sriisitivo. iii

its iiiiiiiuhilit_\'.
.\t tho tl](l iii tho rst sooiio. Saiiilra is aluiio iii hor
r<miii_ nit hor l>o<l. Tho t'atii\'ra :i|i]r<i:iolios hi-r izior.
Tho \\':i\'os iii Fraiiok liroak, ltissulvo. \iil;_':ir iiiiisic
iriiiii a traiisistur railiii. 'l'lir<iii;1li tho \'it-wtiii<lor iii
.\|iilro\\"s oaiiiora. it is aiiuthor $aiiili'acivqiiotto.
llootiiig. lziiigliiiig ~that wo aro luukiiig zit. Tho szitiiv
laugh as attor tlto ilopartiiro uf ilio giiosts zit tho start.
Tho laiigli of siiiiiooiio who oniiios uiit <it' :i hail tll't.'\lH.
Hi
nd
"'
nii
.\ll
tho
liliii
is tlioso |i:issa_4os. thc-so rt-\'orsals.
.'\lI.\'('lILt', l'rt'soiico. Tho $I|lllt'1|llXi\'l\'CTlZ\lill;{ altor-
'
11"
lI;\[i||]] ;|_< _<h;||',- mt ]i._ih!_ ~-] mink |'\-0 __-W" ,-,,""._

-'>' :
.\t that iiiu'
.\ll(ll'\'\\ iisitiiig
tho oliati-.iii.
sa\s
.'
tho (lZ\I'l\'
tn
go
iiitu
iiioiit .\aiiilra li-:i\'os hor hiishaiiil
hoats
at
tho
\\ilIll
park. Tho voilotl statiic of tho fathor
lll\t' xi ghost. .\:iii4lra stups. Giaiiiii s face oniiios uiit nt
Q. ,|m(|,,-_ |m.(.l_\- _<;m,im' f_-|c(._ _.\mh-0. m.:".__. "m_
r tho
lll\t(l at tlii- liiiokgriititiil of tho gariloii walk. Fiill shut.

tiiaiiiii _4nos ti shako .\ii<lri-\\"s ltillltl, .\'amlr;i jniii;
Fr
IIIK
ml
:t-no
"g'
l
'
~liml)'
tht-iii. \\ht-rt is tho triio .\'aii<lrai' \'isouiiti takos caro

llo liliiis .\'aii4lra \\hu stziggors at tho
-ill"l tilttv its tho \\'|Il'ltl in \\'hioli sho liolniigs. Tho
hill sliilos liko tho hill iii tlliirir/. l.ots li\'o hero al\\'i\_\'>"' $:iii<lr:i was sa_\'iiig a tow I'll0l11(lI1> earlier. Rut
ill \l\i.~
l"'' "3"
iti has
|'I\'ot'_\'
it st"
:tiliii
not tn ro|>l_\'.
\\'t
,\.i_-.|_\'
l" llli \1\ClllF\1l"2 \l"i\TT~*?

\'isouiiti liliii is tho histi>i\' tit an illitsiuii_
juiiriio_\' tu tho
Tho passago thriiiigh ziiipoaraiicos.
oiiil nf night. .-\ \'isouiiti horn is suiiit-iiiio \\hu lit-ars
rnioos aiiil oiiiharks iii soarcli tit tlti-iii o\'on lib sliiii\\'rocl<. llo |>liiii_4os iiitn his ilroain l'\'ttl to iailiiro.
Uiiiiitoss $a|iiori tloos lior luror tn tho oiiil nf l>:isoiii-ss. lll\'ll at last onnios nut tho uthor siilo tn llllillil\'.
l Tli(Tl'\ll tn .\'t'i|.m a littlo :it raii<lii|ii, l.i-t's tako a<il~
\'aiita_4o iii it. l<-rltaps starting iruiii that llllll niio will
iig.
oi
.;s
ho
Q ;
ahlo tn soo tho ra<lical iiowiioss cit I'u_i/Iii .\'/rllo
'l".""""
~4
.\'"" l-1k "ml
\'ll2\lilk'lt'|.\.
'
I" ~\_""~_" "' HY" ll" ill"-l"" llll ll"

.\ll llio tiliii is lt'tl tuwartl tho high scoiio
-
li"il]biUl hm!
at H.
Franz
T ill-"Wr
mi.tho
ll.with
oliarartors
\\'i~ aro
Ciiiiiitoss.
illltl lllIl\' as tho
" ll"' *"l" "1 ltssiiiii iiiitil tho liriital tall.
"1.
37
;
F,
:"
-1
-Y
_;
l" _/'".'II .\Ii'l/i" 1Ii'lI'Ur.\ii . . . wo aro cniiipli-tol_\' alioii

lit (iiaiiiii'_s ]ti\.\>i(lll for his sistor. Hottor _\'ot; ll()[ a
.slllhl(' oliaraotor is this passii>n's iniil, (iiaiiiii trios iloslit-i'a'i-l_\' tn t('\;\]Illll't' $:iiiilr:i, .\'ho slips, thinks sho is
siiikiiig iii tho ah_\'ss. l-itt slio is alri-a<l_\' far I\\\i\\' irniii
it. .\tl(lrow trios In tiii<lorst:iiirl_ thoii >ll'llfJgl(s :ig;|iiit
tho :ul\'orsar_\'. llo liliiis. .'\ll(l liiaiiiii liiinsolf ziokiiiiii-I
otlgos that ho has frootl hiiiisoli imiii his passiuii h_\'
\\'HlItl_{ his iiu\'ol. lliiis ('\'tl_\lbHL l\lt>\($ a\\'a\ frrini
tho ah_\'ss wlioii it has sc:irool\' nponoil. Fastiiiatiuiirt-piilsiuii tnlluw oaoh ntlior in :icoulor:iti'<l iiiutioii.
'lrat'l<iiigs' iii Zllltl iiiit currospniiil tn s':i_\' that horo.

thoro is nu liiiigor oithor oiiiiiplaisaiioo ur itItlllitlk'l1k('.
hiit :i |i:issiiiii:ito striigglo at a iiill_\' iiiastoroal (liSl(\l1Ct'.
That is \\'h_\'_ lllll1\'l|I'_\' tn _\rn.m_ tho hig sooiio iii
|'ii_i/Iii .\'Ii'Ili' . . . ttho l>tl(' iii which lirutlior Ztllll sistor
haro it uiit with oaoh nthor) iiu luiigor has tlraiiiatic

\'aliio. lt gin-s tn .\'aiiilr:i aiiil (iiaiiiii a last uicozisiuii
iis
lib pit tlioiiisolws against each othor. It toaolios
Tho
siirpriso.
startliiig
N0
iiutliiiig. rosolvos iintliiiig.
stzirtliiig siirpriso w:is at tho hogitiiiiiig. .'\|Itl tho tilni
liko tho raiiiora iii tho rriioial shuts ~ |>ri|ii-oils
wo aro
lixickwzirils. .\liuiit tho iiiystory uf tho up:-iiiiig_
lIlll_\'
can
Ono
t<iI<l 4illl\ that it is a poriiiam-iit (l.'lll_{('l'.
. .
.\'li'lli'
oo it_ (tr fall iiitn its iiiforiial trap. l'u_i/lit
Tho
is tho tlight aiiil this tall hmh at tho saiiio \llI\('_
"WI "-*\'lll?\li"'\-*' hm ""l|""l1 \-"l"'\"'1\i-" l-!l1"*"- -""'
thoiii at :i tlistaiioo niio t'runi aiiiithor \\'llLll ll1('_\' uiiglit
l'Z\t'll uiio takos his <listn iiii\ tlioiii l.ittlo ll_\'t littlo
.
.
.
.
'" lmll
"""'*' ?\!4=""- \ "l""' 1- l'l\"' """l\.
"""l- lhlllk ll".\' "Y" f""li"~' |l"l|' >""ll!-il"~ ii l")' "I"
l""1\\'ll l"" \'l"~l. ll' *\l"' |"-- ll >""ll$-Zl '-
ilriiwiioil. tho niirrur is liri>koii_ lu aiiil lI('l14llIl tho_\' ari-
-ll
l" l"'-lll f "ill|' ll!ll*'('lltlI( lm is liko tlto sci-no iii tho cistorn.
tho
Tliiis
(hio iiiiist I't'2\l'lI this iii-r\'o ooittor. pliiiigo ititn this
gulf, tn ilraw fruiii it tho stroii;.{th tn osoapo it. l:.at"li
will attoiiipt this tlight: t\1I<ll'l\\' gut-s xiway. (iiaiiiii
liiirtls tho iiiaiiiisrript. aiiilra loavos Ciaiiiii. liit Gianiii will nut ho ahlo to liro Hll\Slll(' his ca\'o.
'l'lio |llI\'ll that ht-ars tho titlo iii tho tiliii is i-\'i\\'liioli irriiii tho start \\'ill.~
iloiitl_\' tho tilni itsolf
itsolt sn ilistaiit t'ri|iii tho s]iootatnr_ Tho olt:ir:iotoi's
lri4(' fr
-i
(hitahsoiit tlioiiist-l\'os. tho lilin iiii|\'os tarthor a\\'a_\',

st-arch
that
,lIIII'it'I.
giiiilos
that
lIl<l\'('|Il('Hl
tho
tliiiiksui
fur a coinor \\'ll\l't' uiio iisoillatos \\'lll1<tl1\ l\'iin\\'iiig it.
that srattoriiig uf oliaractors. that shattoring [U ]Il('Cl'.~
that sooiiis to :ilTi~tt tho work itst-lt'_ llvt-r_\'uiio loa\'os.
liiit that is porliaps liottor tu roach tho lt'2|ll_\' alisoiii
]I\'l_s1Ill. tho t'athoi'. Siiiiil:ii'l_\'_ tho tiliii \\'itliilra\\'s fmiii
its iHIIt'|H' tn giro tho iiinst osaot iiiizigo vi hiiii.
li tho |lll1\l(('T\'l\1ltll_\' ut' tlii- iiiivoiliiig nf thi- statiio is
\ll iiinviiig it is nut t|lll_\' liocaiiso tho hiiiiiaii \'niot- has
ilIlllI\\'l'tl tho iiiiisir, tho vuiro iii tho rahlii, tho vuioo
,,f Q. pm. in, tum. um n.j,;" u. mq -mwul
ili'u\\-nitig iii it. This scoito o\'<ikos tho i2\lIlil_\' ])l!liln
;_'r:i|ih zii tho oiiil of I1i'riiiiI'i'.i" |'i|i'iiiii"i'.\'. Tho oziiiiora
is J\ll'l'Iltl_\' rt-r_\' far iruiii tho hiiiiiaii hoiiigs. lt is a
iiiuiiiont int lifo that is ruckiiig iii tho iiii-iiinr_\'. \\'o fool
hi-rt-. as iii l.i-oiiliar<lt's filiii. that uiio fiiiils iiiil_\' what
iiiir tI\tl li'a\'o. Tho grout i>ara<lt|x iii ahsi-iico is ro~
sulvi-<1. .\iiilro\\- has iiovor hoon iioaror his wifo. Fho
has iii-\'or l)t'('ll iioaror hor fathor_ Tho liii oaii with|lt'a\\' iii its tiirii. lt is in this \'(\'_\' IltI>ltl('|'Ii that it tiiitls
its nrilor Zttltl its sploiiilnr.
_l(l1
COl.l.l7.'l
(lm uecms on Page 78)

21
bu|\eI numbers.
Lloyd Bacon: 42nd Street, one of Busby Berkeley's
1
1}
'
,_4__*
Imleetl. it is like
.1
kaleidnscnpic iniage
re\'ersaI.~' ut .~_\'|n|netr_\', its
regular
4 with its
its rh_\'thntieal :tlternatiun.~", with, tun, the tletianee of tlte urtler

ui tin|e and of that 17fS])1\L'(. of its repetitintts, its mn|ti|>lie:ttimi_~' anti tli\'isiuns, its tele.~'en]tie lap lll.\'.~'lIi\'($
aml the retIueti<m.< or enl:trge|nent_~" it ltriitgs iurth
that e\'er_\' one, ur alntnst e\'er_\' une_ t>t' tlte t':t|titm.~' .~equenees enneeivetl. set antl uiten lihneil h_\~ l,u.~'h_\' |erl\'ele_\' itt ]'Iull_\'\\'t>utl_ a|i|>ears :lt mice and remains in
the ntintl.
_\-H-n|-la,-_<_ |,,-,0 ;"mK_, _'|],,\.,-__- Hf L,;r|_ ;,r_
euntr:|.~'t.~_
nf wmnen in ntareh with a .~in,.,.1] e n|n\"e|nent. tli\'i<Iing .~u<l<lenl_\- intn equal |ii:\.~'.~'t-.~, t>he_\'in;{ in a meehanieal en.~enth|e the same :tl>ru|it .~'tart.~' and .~"tu;i.~", l>re:tking one atttvther h_\' the tttost ahrttpt angles or the enntrar_\' lluwingalong Stllllttllt t"ttr\'e.~
these intages tliit'er frnm tltt|.~e oi the k:ilt-i<ltst'i>pt- in that they tlu nut
,n.,.m .m;n.t}- H. __-mm. |,])- U; |;g|_ H. um. iri,
e.~ts
and ridges. nur the elmuletl z<ine.~ and inter

|m>per tu the prujeetintt that a retleetetl
light. hrnken and repeatetl h_\- the [1lZl_\' 1-t' n|irr||r> itt :t
tlu nut tli$(\|i])t>ltll e.\|ieet:tti<m and (in nut re.~'train the

ll|].{ill nt the e_\e.~" and nt the ntintl_ hut .~nlijttg:tte them
and enn.~'train them tn p:t.<s through the euurse the
itnztges tt>ll<v\\'. tlteir arhitrarine.~'s ehanging the trttth.
th:|t is heean.~'e the cinema of Ht-rkele_\'. if it _~'unieti|ne.~'
<lr:tw.~ tlu.~e tt| the cinema of uptical aitintatimi aml tn
"pure eine|na." (Ines nut ha\'e. as they ttmst uften (ht,
as its only ulvjeet that of |irn|m.~'ing tu the sight antl to
the mind an uninl<lin;_{ t|ecessaril_\' l]]t>l1tIl1)ll4ltlS aml
|tnin.~']iire(| at length t>f /*/tt.\Iir <lispla_\'s tii eatletteetl
inia;.{e_~'. of luminous litanies or formal re.-pu|t.~'e.~. hut
aims. rather th:m at this result, at shnwin;_{ the m:uI.~
that lead there. at ft>Ilu\\'ing the pltaiittistttagoric hirth
till u ll"<"ll lrl" '"""' lm*"

-""l~'lh ml ll |"'il." "X'l'l l-r"" lll l'li\~"ll\'ll_"
l"""'l-'l.\'3 it L i" ll" mil il~""" ""1." i "i"-"ill"" l"
ll-i ""llr"l."~ 1' l'llll\lll'e antl a t'(tllfll ll '~"l"lm"'i""~
nothing hut mu\'t-ment. linked rli.<.<ul\'t-> uf times and
-'t~'\ l'.\' ~"l"l3
ll
""'li""rl'h"*"5-
tle.~'eenee.~'
>l'"'-*3
ierenee
nnii|ue itt ha\'in;.{ seizetl this

ilream and having iIItt.~'tratet| it dirt-cII_\'.
i\lt>n-n\'er. it thereh_\' enineitle.~ Ilt4|t'(' naturally atul
IIIlIT(' ex:|etl_\ than the uther :|tten||it.~ at eine|natn;_{raphie |mrit_\*" with that which can take the place ut'
.~|>eeilieit_\' in rim-Ina: ]>ll'\l_~'t'l_\'. nm\'e|nent alnne. .\larr_\'ing the |neehanie_~ :>t eittenia ur. rather, ut' .~]ee~
taele i to the nieehanie.~ ut' a ilreatn. he tinil.~ again
antl re\'eals 4lireetl_\ the tlrealn nature t|t' the ei|te|natt>-
frin;_'e_~
triangle.
t"att.~e.~
tn alipear. That is In
i|nage.~. nmre learne<| than tlte
sa_\'
that the.~e
l\ttl\|ll(l retleetiun uf the
euneeal the threatI.~ that animate them

and sn.~pe|i<l them un the .~ereen; their ht-:tnt_\' in tn|interrn|>tetl gt-tit-sis. the .~nltle |ila_\' uf their \'a|ne.~' antl
of their .~trnetnre_ nia.~'k \\'illtt|tt! apparent e'<irt tlte
teeltnieal arsenal that is their t'nnn4latiun antl the |le\'iee.~ nr tleeeptimis that ennier mt them their |>:>wer.~
|<=\|t'ill<I.~'1'II|>e.
ll
lull-"l"ll
Yet thi.~ einenta that re.~ul\'e.<
Herkele_\".< einenta is
truth ni
;4ra|ihie .~||eetaele,
Rather than
into
a >t|n'e.~.~int|
uf in|age> like
thu.~e ut'
tlte
.~pee-
ltaleitlt-.~'eupe. the LiIl(lIIZl ut' Herkeh-_\' ilIl\\'_~ lime these
taele. the.~e i|na;.{e.~. II('4\- .~l|nt_~', these seette>' that have

nu nther t'tnt\'ti|||t. nu uther meaning ztntl nu nther exi.~tenee hut \'i.~nal he:tut_\'_ tines nut eun.~'titnte an attempt taml it \\'t|tll<l he the unl_\ attempt hrunght 1-if
~neee.~.~fnIl_\t at pnre einenia. ui |metr_\' antl ninsie lIIZttll'
\i>na| art. \\'ilt>.\\' pt-rt'rt't j{t'2tltlil_\'
and eun.~e|nentl_\
\\'i\tt.~e |mret't_\'
in a eertain periutl wa.~ likenetl I-_\'
the eritie> tn the \'er_\' nature antl |nn.~t .~]>eeitie eharae-
antl take iurm. t'<i|luwi||g their ennstitnh_\' element. tn the ent|i||u.~'<-ll antl eont||lex intage: then. .~tarting again frmn this itnage \\ht-re
mie \\'tnl|| he lt'lII|)lt'|l tn _<tu|, either he tleeutn|m.~e.~ it
element h_\' element ti the nriginal t'ur|n>'. nr he eun~itlet'> it itself as a .~in1ple element aml intt-_4|'ates it in~
tn the e|uitpn_~iti<i|t uf a new whnle which, in its tnrn.
will he .~een either hn-ttglit hack antl tletailetl tn its
original hutl\'. or taken it.~eIt' a.~ <let:til tit a new whnle.
whieh. in it.~ tnrn ~ ete. Sn there i.~ :1 .\'_\'.\/elltt" HerkeIt-_\'_ a> there i.~ a .\'_\-.\"I"nn' Ri|_\'ll\tlH(i |{uti.~'.~'el_* with
which the .\nteriean eint-a.~te, <'\t|lut't't' mt tlI't'l|tIL\' antl
ui eineinattigraphie la|tf4ttaj4e ~ ur. rather of the lan_L,lmg. Hf -;m.,,,;\u|;_;rapIIic Iheani~ __ t;,|,,;, in hm my
it.~'eIt' tnta|l_\'
"
ltllllltlrll tthat
There
is to
.~a_\'
a.~
httlet
'
'
as the ('h<t.\lH nne.
in e\'el_\' extIre.~'.~i|m nf a visual ilelirinnl 1l\'en a.~ .~ueh a t|et'e.~'.~:tr_\' .~hare of ar|>itrarines.~" whieh.
far frutn ripening tl<mr.~ tu the itnagination, im|>ri.~nn>
it anil niake.~ it a.~|>ire tn an exprt-.~>iut| at unee inure
i.~
i""5"k"'li'| ml
l"*~"
i\\*"ll""|-
Xmr, the ntatl chains

Z4
i>t'
in|a;.{e.~ ari.~e
tiun element
ll llll lllll'lll1lThere are a tliu\t.~'antl ueea.~iuti.~ tu u||.~er\'e that e\'et'_\'

t|t'illil1|II, tntee lilnn~|l_ unee tixetl in in|a_ue.~. znnl the
inure if it i> a t|ne.~tiun vi :t \i\t|al tleliritnn. h|.~e> in
"""l|""'- l" ~ll"l'!~'lll illlll lll Fi\|llIl'\~. ill ]>ru|>t>rti<m tn
the lit'lIl <|t' thing.~ |m.~'.~il||t' fur it: ini|m\1-ri.~I1e.~ it.~eIf
the inure, the inure that it u|lt't> tn the nnagjtnatinn.
.
.
.
.
.
ant] th.~a ItItlll> tatallr nt the tnea.~'nre to which ll an
H
i
|>re.~ent unl_\' une nna;.{e trntn the ernwtl ut thu.~e that
thnm in it ml whirh mm lw
_(_h_mm_
TH
ll'l'l>ll\"-*
itnage.~ of ]'>erkele_\' not t>nl_\'
l
1
I
d
Tl
st
m
Se
gt
pi
__mmw. |,(,m|$_
|.|ke that
4
the
the .~\'.~ten| nt Herkelev |nu'.

-_
.
t'ee|l> h_\ ttut e.~~entt.|I .t||prn.ttlie.~. either anal_\'.~'|.~' antl
.~\'nthe.~i.~_ n||i|m.~itiutt and tleentii|>u.~itiu|i_ the :>ne re|>t
|\'|tn.~~t~l.
_'
'
mhmg mm W M
if
m dminmnun
Piaii U" 'nm4i\ mm L 1" -i
ht
ig.
{m1
"I W Pun uni
Hhml
Hh""i5h
|r"'
sic
Hut
thei
in l
(].\'7T-lll$3|_ poet antl exlit-1-i.

mental writer (I/ltfI't.\3\'iun (I'. Ifriqm'. l.un1_\' .\in1m")
It ei
_I.l.
\\'ar
[{;|_\-mum]
|{t,_~q-1
i~ ttt ~.t\
Q
'
tart-tl jttttttt t'tt>nt um ttrtlt-r tn zttt tttlttt ' llt.tt
that. agaitt likv tltt- art t-t' Rttt~.~\-L that ttt l'-t-t'l\t~lt-_\
tl:t\~ at tht~ ~atttt- tttttv <-tt tht- tzthlt-att ttt ltrgtt atttl tut
tltat ttt tttttt~t-tt~t-. l -la4\.~ I-tt :t cut-.\ t~ttt|tt ttt nrllvtttltt"'
'
all tl ~ut' l tt'i~t~, \\'ith tht- t>ttt~ :t.~ ttttlt tht- utht-t". It-;_-iv t~
tlt-lit"ittttt_ tar tllv l>l|||t|\ll\' tht~ rt|tt~lt'tt\lh>t\ wt lht- tli-t
rt t lll~l' INN l th t l'\\ .~tvttittj_' ht a||alt>j_'_\ tttt-ttt-tntli/.v all
tht- ztllvtttintt. ltttiltl. hit ht hit. an t>tlit'trt- that <>ttt~ at
rt pattit ~ tn tht- tut: ttithuttt ttttticittg that. \\hilt~ it
\\':t.~ ri~itt_4. it .~ltit'tt-tl t|tt- t>l:tt't- ttt tt~ tut|tt<l:ttt--tt~ and
lllll ttt' phttttlt,' \\t.t\t
" '~~ :t \\<-It that,
|ttt\\ t~
\\tth
tt\
ttt ~tattttt"lt
th<~
]tlt-tl;4t~.~
trttttt tltrt-atl ttt tItt't':ttl g_-i\'t'~ all
I
"
"
'
t't~\'<-:tlttt_;
atttl ~t-rttritt, atttl tlttt~ ct-ttu-;tl~_ Itt-tutw
rttrttt-t
tl_\ttt};
thtt|I't>Qt't~~l\'t'l\ ttt :tl|ttt|ttl\. tltal. ltlw
trt-ttt
tht
ttt th<- t':tl\ir~ it h:t~ ltnt; ~ittn- tlt-t:t<'ltt-<1 tt~t~lt
latttl~ ttt tht' t't-al_
ttt-~~
tl
tt~
t\
tttl
I"
M_
,_
aitt
\._|
ltt~lt_\
|>:t~ <lt~
|lt~rl\t-]t>_\
tlt-tt\ Itttt [hr
.\tttl
<>ttt~
tt.t~ th-
czttt ~tt~|tt-vt
ttt h:t\'itt_; gin-tt hittt~t-It thv 1-all:-t
:t~
:tl:t~. tttt|~|tttttt tltt~ ht

ttt-~~tl|lv |:t~|ttt>tt~. ttt
~h~|\\
ttt
all
tn
t--t_\ t-t' vtttvttta
"ht -~ t | |t|~~iItlt
t-:tt't~_
tltt~ l: tt"
I
all
:tll ~i1 t tati ttt~ zttttl ]l:t_\tttq
att ahl-t tut" ht~ tttatl trt-um
tttttttht-t' ttt ttltitttt'tttl_\ 'lt't~~~t~tl ltlutttlv
_tIil'/,\",
in
tht tr
1:-;\~.
tlt<- ~t|lt-tt~
tttaltttta
ztltgttttttttt --t
ratttt-t':t
ttt.-\
ttith
.~lt:ttttt-lr~~
:t
l--\t' itt all tht' tan 4!
tha: tttt't*t<~ thv itn:t_4itt:tti-ttt ttt thtt |-ttittt --t |t:t~~itt;, tI~-I
hit:-t_, itt. tttttlt-t" lllt' arrlt wt tht-it thi_<h~ ~trt'tt'lt~-<1 tttt
itttlttitt-l_\ t1tttttitt_-4 a tttttttvl ttt 4lt't~:ttt|~ \\ltt't't- it \\:t~ -lv
-' ~ I, that tl tr rtttt-ttta hv 1-ttgttltt-tl.
~tt.tl-It '. tttttt'- at ha
~lt-t ttt an |ttttt<-c\':tl>l<-
lt-attl.t|tli~ ('1 >.\l(
~_\.~tt'ttt
H_
tttillt-. thr
tht'
t|:tttt'<- ut :t th-ttt~atttl,
ttt Ht-tl\t'lt-_\ (:ttl\:tttt:t;v ttt -lt-t'tt't :|

tn-ittt
at lt-:t~t t'r~-ttt that ttt l\t-tt~~<-l: ttith
tltl't't~r~ in t-ttt~
xlt-ta-tt |t--ittt --ftlt-1-:tt'tttt't-t-f thtt
lhv
tht- tn:tni:tt' \\t'itt't'
1-It-t i~ a lahlv. rt-t'taittl_\ httt _;i\itt;4 |\~t-lt' tht- It-t-It ttt an
a=l\'rtttttt<- ttt" ttt att ":|rt|utt_ \\htlt-_ ttt thr ht-~t ~t~
tltt- ttr~t th<~ ~|trrt:tt"lt'| ttt-|tn>~ u" lit-tlwlt'_\. tt |.~ ft":-ttt
tht':ttt-t atttl hall:-t. \\htt'h t~ thv |>t|tttt ~thv .\/m.'t'
-t"ttt--,
'
'_
tttttl ti tlthtt;
'_' \\.ttttl<
ltltttq
I
-at tht tt tttlit
'
<|t-].tttttttall
u\'t
t
truttt thrtl mt :tt|ttvttg :tll. _4|tl<l_\ att<| ht-atttttttl
nl ~ttt-t't:ttlt- ttttutt ~|-rt't:tt"lt'. It t~ a \t'rit:thlt- :tl<'ltt-ttt_\ ~-Itht~ .</|tt.'.'tt; alt|It~ttt\ thv \\rtttt; \\':t_\, h:ttl\\\:t|'tl~. ~ttt'lt.
:ttttl ltattal
t t ttll th t- truth. a\ i.~ tltt~ initial ~|tt-t~tat'lt:t~ .~ttt'h; ltifi l|<tll_\\\'tttttltn:ttltit\t~:ttt1ltl:ttt\"t'~ that <|\\r
all thvir t't'|icit\ tn tht- :ttttttt~|tlt<-t't- tti tltv titttv. ttt lt-_;~
atttl r-t~ttttttt'.~ ttt trtghltttllt ~tt-t'<-ttttttt-tl tl:tttt-t<t~
llttt tllr
t.
l|:tll<~t ttt tttt:t;<t~~ t~ ttt!
||.l.|.
/O
I.
.
\l\t'
t:tl\t-~_ ttt tltt~ <-t>ttt.~t- ttt tt~ tt-l.t_\ tau. tht ttt.t-l
\\'lt|\~h_ ttttcv <>ttt- \uHIt\ lt:tt"|\ ttt tt~ tt:tttt<l<tttl\~;
<lt-~t
ltttrtlt-tt~ i\~t-lt' \\ith all thv t't~t'ttil~ I-t
it~
t'lt~tttt-ttt~_
aml
at ttt'~t tar frttttt atttt--ttttrtttgq lltt
it
\\:t.~
tlt-Iirittttt that
llIl'l't'lnI\HIll, itttltt-cttttt".~t-->1 tllvllrllg \\:ttt<lt<t'tttj_- ttt tht~
tht-ant. tt lta]t|n~t|.~ that I-ttr tall~ tut at ~ttt't'r~~ttttt ttt
\\
ttttt
'--ttt
ht't'ttt
..-~
t
t-ttt
It ttt
atttt.
tt~
ll
.
ttitlt
ml
"'
l'
\".
tn
-t
|.
:ttt~l
ttttv
t'~~
-tut. tht '

Q-h
tttttrv "t't-:tlt~ttr tat It-:t~t. l>_\ t"-ttttt':t~tt tttt;tg4t~~ ttt

~t'<-ttt'~; \\'htrh tttaltt-~ ttttv <lt-ttht tht-tt tthvtht-t' ttttv t~
.. .
.
~ttll tttt thv I-tht-t .~ttlt~ ttt tltt~ t|tttt'ttt', |lt|tt_<~ ltrn-tttr
.
tnt>t't- rt-ttt]-ltt*:tt-tl an-l tttt>t't- ht~atttttttl ~t||l tt --ttt- ml~t~r\'t-~ that tht .~_\ ~tt4ttt ttt l.<-t~l<t~lt>_\ ]tttt~ ttt tlttttlrt :t~ tt
mm
'
lttrh
ttt:
t'\l\ll'
.\'ttl|t.~|
along tht- ttttt~t tzttttthat ~]t:tttI>tt-ttttn-t'a| t-t'tttt't'

|tlt-~. t't~:t.~<-lt~~~I_\ tt\'vtl:tt-1-ttt; tht- ttttltttitt-l_\ grt-at zttttl
thr itttlttitt-l\ ~t|tall. thi~ j_'t'\>tt|| wt |t:tt't=~it'ltut'tli~t~ ht~
rt-tttitt_ lit-t~~tl<-tt cltttta. that l)rt-~tlt-tt rhttta ttt\':t~ltttg4
tltv ~t't't~t-tt atttl :ttttttt:ttttt_-4 tt~<-It ttt :t gar-lt-tt ttltt-rt~ ~ttt>\\
i~ fallittjgi t|ttt~ |t]a_\itt;4 --tt th<- tl:t~lth:trl\ atttl th<- tl:t~h'
it-t'\\:tt'-l in a ~ttat't< :t~ t-la~tir :t~ t|t<-tttal titttt-.
-t-~
tht- ~tat't ttt hi.~ t':tl-ttl-ttt~ ~ttt'\'<'_~it>tt ttt att'ial. ttttt

~tt":tl -tr tt:ttttir:tl tht'atH~. tltt~ 4l:tttt't- tltt>tt_ th<- l-allt-t.
ltt~ ~a\~ ~t| ltttttwlt .t httlt t.tt
|'ttt |ltt~lt\ l'tt~tl\t-lt-\
,-..-,-t. .t.. ,...t
ttt..
.~ t.--t _. .t,t-V.-=...,t,.,
ttt ht~ tthn~. tht~\ multt-, thrt ttttttt ztltt-ttt. tht-_\ t|t.'t|tt-
.\t
\'it't"lt'_ th<- t"it't'lt' tiqlttt~tt~ ttt" i~ t't'l<-:t~t'tl. l>ttt'~t~ tttt=
ttartl atttl tt-rtn~
agqaitt. '|'lt<-
~)ttt:tt'tit~:tl tttttt
<tt'
thi~
Busby
and some of his girls.

Z5
1?--|
Busby Berkeley: Gold Diggers of I935
26
\I
IIII- II|lI\' \|>ll \\--rI- 4I|>|lIQ III! I~IIII

|IIII-I'IIII'~, I~I ~ ~'.|\ IIII' l'\I\III[II"
IIIIII1
I-I>QI:IIIII\ IuI'
I'I'I-:III~ IIII- llIII\|\.\I lIlIIlIIIl'l~ I-II
\lIlI
|.I|l\II II:IuIII, IIIII
III'l'I\ III--IIr --I IIIII \lIlI I---II:II-<-I:III- \\IIII III! -III-I-I-I--I'~
IIl\'I'\' \\;I~ III: \I|II~|II||IIlIlI|l|_
I1I'.~II\ III-.Nl\l-.l.l \
IIIII I-II-I'_\lIIIII_4 III_\~I'II, I'l'lII|| II|l' II>I|n-|>III>II II III:
l'\l\'HIIlIII, ('\l'I'\ ~II-II IVI III! \\:I\, IIII III:IIII-I' \\I\Iv III'IlI'(\'IlII' --I III! IIIIII, IIII- IIIII~Ir:II IIIIIIIIII-I~ \\I-II- I'II
III'\'I\' III\ nun. I \\i|~ZlI\Il\1'|IlI III! ~I:I;4I-_\\IIII I||\ --\\:
(_\I||I'R\
In
lIII\IlI lI'i\l' Ir.
\\I|:II IIl~II!l\'II|IIl <'i\l| _\~-II l||III\l III-I\\I-I "I

lIlllllII\'l'~ \llll IIHI IHI .\II-III| l.IIIII\\_\II .\I:I\I-I :IIIII
\I|II
IIII-
I:.~
IIIl|\l' \l|\[ IIiII
I'Ir
\\':\I'III-I III-IlIII~I'~;
IIlll'\'\\i\~IlI|~l1\'IIII|IllQI\~iI4IIII1'I'1'II\I
II!-|{|\I'.l.l \
III ~Il|4IlI| ~I\Il', II III:II ~ \\II:II \--II IIII~;III. II|<- lIlI\I.|I

-IiIII~IrII\'<'~ \\I-I"I- III-II~III|IIII--I I>\ ll: I ' ~II=I'\ IHI\' III!
:II'IIvI"~ InII~ir:II~ \\('Il ;_-I<IIvI':III_\ IIIIIII ill'II\lH\I :I IIi\\'I\

|>|uI. IIvIIu- :I rI~Il;III| l_\]n~ |>l IIIII~Ir:II IIIIHIIHI
III:II \\:I~ In-I'IIII"IIII~II I>II ~I:I_4I- :I~ :I IIIHIIJI ~|II-I'I:IrIr. \I
.\I<-'rI-, III] III! IIIIII-I II:mII. lIl\' IIIIIIII>vI-~ \\l *I'I~ _I >Il I-I
~li]-|w=l Illlu III! 1-IIII. II IIlll'<' \\:I~ .I Il|\\' ~\llIl' III 4|
II\'Ill"> l'IrIIlII. Ill! III III! :I\"I|>I'~ Iu~_;:II| In :I|I<II'r~~ III!
I-IIII-I \\IIII 1| \~III);_ IHIII I I'\'ll|I|lllI4I III III<- II\'III;4 |'|r|VIII
IIII' III! I-II~IIIIII_- III;IIn4III- III III<- ~I--| ll(ll\"\' \l|\I l'\'l|l
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lloyd Bacon: Fooighl Parade, James Cagney in one of Busby Berkeley's production
10
that \\a.~n't
Imt which I Iikcrl :m|I wltirh I tilmt-II. I
~t|II ha\'|- tnml nu-mnrn-_~ nt IL
_
.
(.\nn~.|<>'
inIIn<-nn~|I tItn.~1- nf />tnnI:.'n3/nu nr nt' .\ir|_1/in' in I/n"
I\uiu .'
It|-:u|;|~'.t.|-.\'~.\'n_ I Hirt~Inng~ tn <-\'<-r_\nn|~.
I clnnt th|nI\ tht-rr \\'a.~ :nt_\' .\|><-c1.tI |nlIn<-mu-.
cnttn-<Iit-.~. Sn tht-\ IIZNI tnv n~atI a ~tnr_\'

a (<IIlll'<I_\',
('.\|tn-'.te.~'
It'
_\"nnr |1r~t cltnn-n;_'ra|I1ir ~<>ttiu;;~ WIIIIII
hr I('I|II\'II |'.~>t'tllIi|II_\ "iI<'cnrati\'\-." i~n't that
|:n'tI_\
Im":|t|.~t- )\-nn .~tiII 1IitIn't h:t\'t~ at _\'nnr 1II~]tn~i\I \--r_\

gri-at IIa|m-r.~, Irut rathvr actnr~", Iikr .\II(I(t'} Rnnm->\.
\\hn lIS|II\('lI nn
r>cr:\>"|n|1.
Hick|u<;t.r:\'-Utttttrtnnatt-Iy at that tnnr III IInII_\

\\'nntl \\'I!|| II1|Il\t'lI :t\ I
\\'i.~It\-II. that \\'a.< Fl'l'tI .\.~'tairt-. \\'Itu fnr tttr i~ III!
gr:-att-.~t ilzntcvr \\'1~ h:t\'- t'\'('l' knnwn. Tn .~\-t- him
tlanrv with (liitgvr
Rn;_'\-r.~' \va.~ trnI_\' .\'tIlIl\'IIlIlIf_[ <~x

tr:|nr<Iinar_\' and nm-1|uaIIr-<I. Ihtt tItt~it' ~t_\I<-. \\'hich
cnmI>i|n~<I cn|m~|I_\' .~t('lN'.~ and cI:tttct~.~. \\':t~ 1~ntir|~I\' 1Iit'It-rvnt frnm lItIm'_ Fur ntv it \\'a.~ a <|n\-~tinn nnI_\ nt'
\\'It:tt we have talked zthnnt and that I ha\'<- rt|IIn~:I
d/:/'
/
-.~
45.
{iv
'\\ -\
r I
"1
'
I
*<\
".~|u-rt:trIt-." Tho mn_~t .~nrpri_~in;_; nu"ttr|t-tin-~ t'nIIn\\'t-:\II(t.< in a \\'a_\' that \\'a.~ m_\ n\\'n.
anal that was what the pnhlic Iikt-II. I<-nplv ha\'t~ nftvn
I\.\I\'('lI m0 hm\' I wt-nt ahnnt crt~atin;_- lIlt'$r :|It1-rt.~'_
hn\\' lIl\- iclc-:1 for thvtn rantr tn mr. :tn|I I h:|\'\- n<-\1-r
I(|lu\\'|t hnw tn an.~'\\'rr. Xnt that I tInn't want tn, hnt
I
n>t ran t. Im tl>IlI|lIlll'I_\' at a In.~~ tn t'_\]|II\|Il m_\
tm-ttn|I_ Thv nnI_\' r<~|\I_\' I rnnI1I ;_{i\'\~ ~nvh ~|nt-.~t1nn.~ \\'a.~ (nnn- >11 mv \\'nrI\'. |ti:nIn- _\'nn \\'III nn|I\-r~
~t:m1I hn\\' I gn ahnnt it. Itnt m\'~\-It' I r:m'| I-r an)
In-I]: tn tnn. I (Inn t I<nn\\' an_\tInnj4 ahnnt n. .\mI nnv
rIa\'_ .~nnu- :uI|nir<-r.~ tnnk III! up nn m_\ ~n;4_4t-~tinn.
ra|n<~ In ~11 nu- ;n||I t\|bIJ\IlItlI tn mv Itu\\' I \\'t'HI :\Itnnt
n. It \\a.< :|~tnni>Inn_'I .\II that I \\'.|.~" ('4bIl~\|lIII~ nt \\a~
"
l'\'IIl| \\'Itat IIIIII :|It'<-a|I4\ In-rt! <Inn:-. |tt_\'
rl't'nrt tn tnakr .~ntnt-tInng nt-\\'_ ~4mt<'lIIIItf_{ ~nr]>ri~iitj4.
Int-thing tn-\'\-r ~<-1-n In-t'nr<-. .\'n||u~tinn-~ ]|t\||>I\ a~I<
ntv "If ynn Il:||I tn <In it 1|\'(I' again. \\'h:n \\nnI~I _\nn
rIn:"' I am tht-n nhligwl tn :tn.~\\'1-r that it'~ r':|~_\ inr
ntr tn .~:t\' \\'h:n I \\nttI|I |In I-nl that t||_\ -|m-~ttnm~r~
\\nnI4| In cnm|>I:-tn-I_\' nnaIIt- tn \i~n:|Iiz:~ it ;m|I tn
|'i-rn;.gniz:- thr i|n:|;_'v~ that I ha\'t- in m\ miml. Pitt-n.
|n~>nIt~.~_ |>rn:Inc:~|.~ \t\\'lI tn :t.~I< mr \\'h:n I \\:t~ gttlllg
tn |In and I \\':t.~ III(Il('lI nhligt-II tu tn-II th<-m. Itnt tIu~_\
vIi|In't mtth-r.~ta|nI a \vnr:I nI \\'I1:|t I ~:ti:I_ :m~I \\'In~n
tI1v_\' .~:|\\' thr rt-~nIt nn thr wt:-vii th:-_\' 1a\t-Iainn-<I aml
~:|itI tn mv that thc-_\ \\'nnItI lI\'\'(I' I1:t\r thnn_-_'ht that
It \\-nnhl Iw that \\':|_\'. Ihr nnI_\ nnr \\hn can I\Itu\\
\\'It:|t thv _~]n't'|:nI1' \\iII I|1- i~ tIt\- nnr \\'Itn ct'v:tt<-~ it.
I-nt It t~ nn|\n~.~|II<- t'nr hint tn II\~C!"IIlt' n --tIt<-r\\'|~t~
tI\:n\ in mnunting it.
L'.\i|11~:t<s I)icI tnn |naI\'<~ n~<- nf ~t-\\-r;tI rznm-r:\.~:'
Ii|-.t<tt|'t,|-.\'
Nn. .\t thr timr.
m:m_\' 1Iirt~vtnr~ n|cr-
31
\\:I\ :II|<I lIIl'Il cIIII~I- II\I\\'.~ III I|II- \'l|IlIlIf_'

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III~I-III IIIIIIIIIj_' III ~I-I~ I|l>\\ II-II|III- \\III'lII-II :n|II II':nII
:I IIIIII~ ~IIIIII-IIIIII;;, III:II \\:I~ \\II:II I III-I. \I IIII- \'IIII
I! .I I-\~. IX\IIllI\'llI~ I IIII~II'I'~III~III III:II III<- \'ilIII\I'Il \.|ll
II:I\I .InI\ IIIII \'\(' :IIIII I ~:IiII III III\~IIII "IIIIu, \lIlI
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IIIII I.InII-I:II
III~ _|II~i ~I:II'I-II III lIl\'_ IIII' I\'<'I'\I>IIII\
I\IIl\. :II:II
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l'\1'I ~II-II :I \'l|lll\'l'Il I>I~IIIII. I III~I~IIIII ".\II, I IIII IIIII-IIII:I:: III IIIIIII III IIl\' I":IIIIII:I. I |II'II\I'II II II? IIIllI|
I
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IYIIIIII II III_\ ~IIl In Ill :IIIII III IIII:|_;IIII :II| llllII'(' IIIII~|I':II
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I=..'IrII\ :I~ II \\IIIIII [lJI|!\'l' nI\I-I'<-II \\IIII
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I3
nu!
-}
Ii\
of Broadway" number.
Busby Berkeley: Gold Diggers Of I935, "The Lullaby
/I M
\
r
7
M
witlt sixty girls, each witlt an illttntinated violin.
Li.\t[tF.RS7H0\\ long did the "lcrkele_\' tiirls" work

and how mtteh were they paid?
l-t-".tu<t:t.t~:\'l had sixteen magnieent girls" under
enntraet and l engaged others for each tilnt. .\l_\ heanr
ties eaeh earned sixt\'-tour dollars a week. which
wasn't had if yon consider that we were then in the
middle of tlte depression. lhtt they worked long honrs.
There \\'as Ito ttttion tltett to tell us to stop at six
o'clock. l rememher the sltntttittg nt' "l5_\' a \\'atert'all."
in
I took close-ups oi girls in the water at tltree-tltirty
the morning. .\ttd that didn't keep me from calling
tltettt haek at eleven tlte same tnorning to go nnl l
think the people with whom l worked all liked me in
spite of this hea\'y work. attd they were all \'er_\' niee
to me.
(",\1||r,|t,s"i(';|n
_\1|\|
talk
to
H,
al>m|t
]{,m.m
_\'rumhtl.\.'
iantons ztetresses ntade their

uf ML p:mk_(_ (;mMm.|_ I mm hm.
l$t-;kt<|~.t.F.\'~T\\'o
Smn__
i" ii Fir
in the elevator of a Hollywood apartment hnilding and

in nm\,i_S |K_fm,(_v _\~|_
| __.k.'t hm. if Sh, hm] .rk|
answered no. \\'hett l sttggestetl a screen-test. she was
\'er_\' interested. attd we tnade an appoittttnettt for the
In, '1). m 1|", _\.mdiU_ She .a_~_"-l H (|um.._ hm 5|,
|m-mm. Hm. "f the (;"M.\." Girl Rmmm _e-m"d"I_\_
-3, H15 ]_uCme 153] rst mm; SI, um .35 me Hf
the lol<l\\'_\'tt (iirls. Une da_\'. (ioIdw_\-n asked me to
look at some tests he ltad asked some girls to
make. He liked some of them. otlters ttot at
all. l.tttille Hall was one of the latter. Me. I
liked her \'er_\' mttelt. $atn respected n_)_\' opinion
and that's how l.neille made her start. That was the
nto\-ie in which Rttth lilting sang :t nntnlter ealled
"No .\lore l.o\'e." lt took plaee i|t a slave market
wltere all the pretty girls were to he sold. 'llte_\- were
shown on .~e\'eral le\'els ot' a huge pedestal. l thought
it would he tttztreelotts if they were all ttaked witlt long
hair to their knees. l asked them it the_\' were willing.
taking into aceonnt that it would he tihned in an
Ztfllsllt manner and takittg eare to arr:tn;.{e their hair
well o\'er their hreasts. and so on. Tlte_\' attswered that
the_\ agreetl, on condition of doing it at night, with
the stage iorhidden to all visitors. ()nl_\' nt_\' t'anteraman attd nt_\'selt' were present at tlte tinte of the .~ltol>l
ing. Few people realize today. seeing tlte senptettee.
that l tnade it with girls eon\pletel_\- naked. That was
the onl_\ time that an_\'thing of the sort ltappetted in
it I1tll~t\Itl \HI1t<Il_\'.
e_\||||.-_k,i\m1 .;_I,,,]
5'/,-,~,~;_'
Ht~:tu<|-1t.t:\'4.\ftt-r havint: signetl tn_\' eontraet with

Zannek. l ltegan rehearsals for that tilm. .\ttd intntediatel_\' they made me sign a se\'en~_\'e:|t' eotttraet
not lveeanse they had seen the rnshes" lntt lteeattse
Zannek was \'er_\- in1pres'sed. He thott;.{ht my i|naginatiott was e\trar>rrlinar_\' heeanse l did things tt<tltu<l_\'
"4
had ever done. $o after -/.'ml .\'trn-I l enjo_\ed total

freedom. Zattttck said: "(iiire hitn e\'er_\'thing lte wants
itt e\'er_\' department: that tellnw knows the camera
and he can tnake innovations-." I was 7.anuek's fairhaired buy. Mind _\'ott. V/lml St:-er! cost \'er_\' little:
379,000 dollars. which is tttthelievahle in relatiott to

today's budgets. My musical numbers at \\'arners
eame to 10.000 dollars a tnittttte itt the lihn and sottte
of them lasted 7 to l0 tnintttes. 5o my ntnnlters eost
hetween 75.000 and l15,000 dollars.
(".\ntmts4\\'asn't "P-_\' a \\atertall" one oi your
longest se1|nettt'esi'
l had the idea. I let

he tohl ttte l would
it
attd
\\'arner know ahottt
lil-IRKELl~IV~Yk'_s'_
_Iaek
rnin even tlte l-ank
The
da_\'
ot' .-\nteriea. Xe\-ertlteless; some
\\'eeks later, he asked me if l still wanted to ntake it.

From then on he let nte work with the teclttticiatts.
design the enortnous aqttaritnn witlt glass sides to let
the light pass through, There was extraordinary
e<|tnpntent to tnake the watertall. lt ltad never heen
|_.
llmc l"'l"r"' Tllcni ll-0"" ll llunllrml girls wh Mk

part in the nntnher. \\'e rehearsed titteen days and
shot itt six. 'l'oda_\'. l wottld do it in tltree. llttt "l_\' a
\\'atert'al|" would eost a t|ttarter oi a tttillion dollars
a da_\'. That was the most difcnlt tttttnher of my career
to tiltn heeattse oi the shots ttnder water and heeause of
the ph_\'sieal etTorts' that the girls ltad tn tnake in the
water, _-\nd then there was the et|tti|ttttettt1 it was
i"'lll'r"l'l" l" lb"
l-lllwll '\lr-4i''
|nan_\' takes did _\'on need?
never in my entire eareer called
have
lh~:kt<t:t.|-:\'|
only thing live happened to do
The
fora second take,
was to rewrite a scene aml then, of eonrse. retiltn.
lint second take: never! The secret of ttt_\' work is
preparation, It _\'on don't kttow what _\on're going
to do, hetter not hegin. .\'e\"t-rtlteless l'nt going to eontradiet ttt)'>tll lt_\' talking to _\-on ahottt ll'umIer I>m'.
For that tiltn l asked the studio to eonstrttet t'ot't_\'
or eig_'ltt)' mnhile eolttntns hetore l knew wltat l was
going to do \\'itlt thent. .\ll that l knew was that the_\
would tnake an etieet. l tttade use of them during the
ntnnher "l)nn't Say tinodttigln ntaking use, too_ of
mirrors that gave the impression that lntndreds of
people were dancing the minttet. 'l'he |nit't'ors were
11 h_\- lit feet. (tn the stage, people tltonght that l
was er:tz_\' and that the eamera would he retleeted
in thent attd would he seen. .\le_ l knew that l ennld
lihn Aon degrees with the eatnera. l had experimettted
in m_\ otitiee with a little tnittiatnre stage. mirror and
:t pencil. Yon ntnst alwa_\'s invent l'nt'ortnnatel_\'_ it'~
hard to explain in an altstraet ntanner how l pro-
(i\llll'iR$llo\\
eeetled.
(i.\|||t<:t<s('ottld _\on talk to tts ahont sottttd rt-r

\'IIl'tlitIg teeltttiqttt-sf
Ih:Rt<t:|.|~:\'-I made sotne lilttts in which the ot'ehestra was on the stage, the singers ott attotlter side
1,
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I \\-antul In tlirvct
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\\'<>t'
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I'\\-rt men \\'ct't: t'I\t>\tL'l\ 1" \\'*Tl\
ax tor an nr<Itnar_\' track.
(Hw'c>_v Ui
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\\'vll
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tu nt:\l\\- n~~ .-I
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till 'l'I"I
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tho
all
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.
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tltrtn \\'tth Iltv n-~|-ttt'u~~

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Fur \'\(|IIlIlt, Ilirlt I'u\\'\~II \\a>nIt
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.
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tn lam" thv
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nantwl
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that \\Itat n|nnt~ tut"
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t~
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lint
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.
Iltr
huh! I'll/4/rrx 1
Ilnrtng thv nntnlwr
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..
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runtt-tIi<-~ :nt<I tlratnatic pl:\y.~
In <Iin-rt t-\'t-n ntn.~i\'aI
In-tI|-rv that. In any ca_~\'.
.
exclusively, yotnntttst he rt tiI|tunaI\<-11
1|tt<-||t't'$
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H) .c|_,_ D,',-..,,,_.
Ray Enrighr. Prm1uq,;- \\g/am" mm
\,-..,,_,,,-,,_.
ht mt.
Du.
|)u|mar (D,|m.
{mm
by Dulma, Dues and Rob"!

|_.m]_
]__,\,,'.-,_[H-5,, Ka|,,a|v 5.,,,",.
Fain_ ,\1 [)ubin_ ||;-Q \K/3|-|-n_ Mm;
l)ixon_ ,\||;,_.
\i(/ml-,,_-|_
myggy [;||{|;|;L|;\'_
(_/,,,,,_.,,g,-,P/,.,._.
Dick pm
Ruby |(,_,_.|,,,_ Juan B|undL.||
|t)55 (;()|_[) [MGGER5 0|: |9Y;5_
)3 min, [),',-,,,-,,,,-_- Buggy BERK|;|_E\'_
Pr,,,/,-; grin; N,|im,|_ 5-.,,,,,-,-,,_. M.
um-| 5,_.ff_ pu" Mum. {mm 1|. um.
h) |{(,l-K." Lord and pm M;|",_._ p/,,,_
(_",,,,_.
._-||_
/,,l_-,-,,p/,y_-
(ggmgk.
Barnes
]'_.,.,".L.
Duhjm Haff)- \V;,-L.n_ (A'_,_q_- Dkk P0,

,_-||_
,\d0|ph,_. Mcniom G|m.;a swam
,\|i- Brad)-_ Gk-nda pa,n.||_ Frank M,
Hugh. llugh ll|:rl'|erl. Joseph <3.-ism-.
Ill. com rind-1|. Winifred sh.

Dmmh). Dan._ -rhums Jm_.kmn_ Ramon
and |(,5;m_
u.
||)_;=,
GO |NTQ yQUR DANCE
10
Arch, Ma) p,.,Im..r_.
LB
n_,e|s_
.er.
First Nlillal.
.\'cumrio: Earle Baldwin
lrom the novel by Bradford Ropes.
(.'lmr4-rigrdp/,4-r; BUB\' |4|;RK|[_5\'_
Curl: Al Jolson. Ruby Keeler.
I955 A TRIP THROUGII A H()l.LYWOOD srumo. 10 min. l)ir4'tInr:
Ralph Sraub. (Innnm-uI.1r_y. iliulngm-: Joe
Trauh. IrmI1mr.- Vitaphnne. Inc. (.'.uI:
lln .
qe
mp
the
g||\Lyle
I),-H,l.mr_.
llugh lle|'l'u:rl. Winn.-..|
Ruby
I95? BRIGHT LIGIITS. X5 min. Dirermr; lll?|;\' B]-R|(E[_|\_ p,,,1m-..,_.

Warner llrns. Si-r-n.1riu; Ben K||f_
llargy Ruby [mm ht. M0,) by L05,
Leeson. .11/.1/Ilulinu: Ben Marksnn. Ben"Y Rubin. I/mlngrup/;_v: Sid Hickox.
,\'Innr.~ Leo Forbstein (DJ L_\'rics: Bert
l\almar. Mort Dixon. Grant Clarke. Allie Wrubel. (.1411: Joe E. Brown. Ann
Dvorak. Patricia Ellis. William Gar~
gun. Joseph Cawthorne. llenry O'Neill.
Arthur Treacher. Gordon Wesrcolt.
reels.
53,.
iuriu;
he
ll
mi
E.
;,_.m-gu
Na;
_B[-1|}.
Gm,-1;
3|; Di.
First
fwm
"k,,_
Lyrics:
wink
Dick
Ru,_|,-
l(El.E\'.
sell.
lhal.
rren.
LEY.
sh,
Van-_ pm ()'|3|-i,_.,,_ Am, [)\,,,ak_ _|,,,,,,

Cagney. Dolores <1.-1 Rio. utvsnv BER-
1M
yrer:
Joseph (Ihehan. William Demarest. Jack

\ise. Phil Ryley. Tom Kennedy. Hovv
ard Hickman. Gene Morgan. William
Jeffery.
Eddie Larkin. Irving Bacon.

llayle. Sam Ash. Charles Kalcy.
Mill Kibbee. The Maxelles. \Y'i'liatn
Grace
Davidson. August Tulare.

I955 IN (IALIENTE. 84 min. Dir'rI0r: Lloyd Bacon. Prmlurer: \Varner
Bros. .\i'elI-iri/1: Jerry Wald. Julius Ep-
\Ikln lrom the story by Ralph Block

Dull. .-lrluplalinn: Ralph
li.0ck. \\"a|'ren Dull. ,\lmir: Leo Fnrbstein (D). I._\rir.\: Mort Dixon. Allie
\\'rui1.l. Al Dubin. llarry \'arren.
(./Jll!('!Igl'J/)('I'.'
BlSll\' BERKELEY.
(.-Isl: Dolores del Rio. Pat ()'Brien Leo
and \\"arren
(.arrillo.
I955 l LIVE FOR LOVE. Pl reels.

l)i:-erlnr: BUSBY llERKELE\'. lr/uIn-
rir:
Bryan Foy (V(atner Bro). Scz-u.:-
rin: Jerry \'aId. Julius J. Epstein. RobLfl AnClru\\~ lrom the story by Julia
J. Epstein. Jerry \\aId and Robert
1\r.dnws. P/)lIIIIgI'il[lb_\.' George llarnes.
.\lmir and Lyrics: Allie \rubel. Mort
Dixon. (ail: Dolores del Rio. Everett
Marshall. Guy Kibbee. Allen Jenkins.
Berton Churchill. llobart (lavanaugh.
Don Alvarado. Mary 'l'reen. Eddie Conrad. Shaw and Leon. Robert Craig. Mike
Morita.
I93? STARS OVER llR()Al.)\X/AY.
h) min. Din-liar: William Kr.i;.-_hley.
Prmlurer: Wurmr Bros. Snlnuriu: Jerry
Wald. Julius Epstein from the story by
Mildt-.d Cram. .~liIrlilirnuI iliulr/gnu:
Patsy Flick. l._\rir\: Al Dubin. Harry
Varren. (Iarson J. Robinson. (.'/mreng
up/zer: BUSBY BERKELEY. Robby
(Ionnolly. (.-11!: James Melton. Jane
Froman. Pat O'Brien.
I956 STAGE STRUCK. ll) reels. l)irm-tar: BUSBY RERKI-ILE\'. PI'lI(IlI&'l'I-'
Warner llros. .\u-uurio: Tum Bu.'king~
hm- PM C- Flivk fwm the awry by
Robe" I-wd- P/1'/1'4-r1>/av: Byron Ha
kin. Music and l__\~ricr: E. \'. Harburg.
Harold Arlen. (.'.nI: Dick Powell. Joan
Blondell. Warren William. Frank Mellugh. Jeanne Madden. (arol Hugh.-5.
Daves. I__irir.r.' Al Dubin. llarry \'arren. Johnny Mercer: (./mrel/;.'rup/u'r:

BITSBY BERKELEY. (.u1I: Dick l'ow~
ell. Doris \X'estun. Lee Dixon.
I95 \'/\P.$l'l'\' 5ll()\\". IZI min.
Direalhr: Y\illia|n Keighley. l'rIn/m'-r:
\\"atn|.r Ilros. Sir-n-.u'in: Jvrry \\"ald
Richard Macaulay. Eid llcrzig. \arren
Dull lrom the story by Warren Dull
and Sid llerzig. l._|-rir.\': Johnny Mercer.
Richard \~"hiting. (./mreugnijr/.rer: l!l'SBY BERKELEY. (I-III: Dick Powell.
Fred \aring. Ted llealy.
I93" H()l.LY\V()OD lll)'l'EL. Ill)

I)irerInr: l<llI5l\' llERRl-ILEY.
min.
IrmIucer: Varner Bros. .Sre/uriu: Jerry \'ald. Maurice Leo. Richard Macau
lay from the story by Jerry Wald and
Maurice Leo. P/mlug.-up/1_\': Charles
Rosher. George Barnes. l"II.lil'.' Leo F.
Forbstein. Ray Heindori. I._\-ricr: John
ny Mercer. Richard Whiting. t..m.~ Dick
Powell. Rosemary Lane. Lola Lane.
Hugh llerbert. Ted llealy. Glenda Ear
rell. Johnnie Davis. Alan Mowbray.
Mabel Todd. Frances Langlord. Allyn
Joslyn.Gtant Mitchell. Edgar Kennedy.
Raymond Paige and his orchesira. Benny Goodman and his band. Louella
Parsons. Jerry Cooper. Ken Miles. Duane Thompson. Perc Westmore. Frill
Feld. (Iurt Bois. Eddie Aculi. Clinton
Rosetnond. William Davidson. Wally
Maher. Georgia Cooper. Libby Taylor.
Joe Romantini. Paul Irving.
195x MEN ARE sucn roots. 10
min. lam-mm nusuv BERKELEY.
Prmluu-r: Warner Bros. Srelurili: Norman Reilly Raine. Helen Jackson from
ow my by paid, |1,|,_|win. p!,,,;,,l_-.
mpby: Sid llickox. C-Isl: Wayne MorCm! R~'>'"<>l*|-"vl'=1r=C\'=m=-\1|=h~Th~
ris. Priwilla Lam-. Humt>hr->- BowmYacl" clul B)'>- J"l\""l*' '\"l""'- Pl-'"")' Slnlillln. lllllill Hvflwrl. MarSpring Byingrnn. Thomas Pogue. An- cia Ralston. Gene Lockhari. Kathleen
-l"W T""lK'>. 1-lllll MI-cmll.
Vl
Lockhart. Johnnie Davis. Donald Briggs.
Smnlonr Edward 63783". Ed (Ihandler.
Mona Barrie. Reine Rialln. Claude Al
I-ibhv Taylor. Mary Gard-an
lister.
I956 GOLD DIGGERS OF I)-l_~
I953 GUI-D DIGGER5 IN P1\Rl$II "\5"- Di""'"-' I-I0!-I =Il""- l"'- )5 min. Direrlnr: Ray Enrigbt. Pru=/Iwr: Warm-r Bms- M-Mr-'~: Warren r/ucer: Warner Bros. Sceiuriu: Earl
Dull. Tom Reed from ihe play "Sweet Baldwin. Warren Dull from lhe story
M>"~==o' "i L"~"' by Riflmd 1\h"'""'by J-try Wald. Richard 1\1awuh-v and
Mlfhmfl \Vll"'h- G\'0lSl' ll-llbillh Mlliif Maurice Leo. Lyrics: Al Dubin. Harry
4'11] L.\'"'iI Al D\ll"l"- Hilff) Warreii.
Wi|frU". Johnny Mercer. (.'/mreogr.1E. Y. llarburg. Harold Arlen. (.lmn-upbrr: HUSBY IlERKEl.EY. (.1111: Rudy
l~":~lP/14"-'
BUBBY BERKI-Ll\'. L-MI!
Vallee. Rmemary Lane. Carole Landis.
Dick lowell,Gl;nda Farrell. Lee Dixon.
)5 GARDEN 0|; -I-HE MOQN_
I95 THE GO-GETTER. )1 min. 94 min. Direclor: llllSll\' l!ERKEl.E\'.
I)irt~rIur: llUSll\' BERKELEY. Prmllr Prmlm-er.- \'arner Bros. .\'l'eu-lrin: Jerry
cer: Hal B. Wiillis (Warner Bros).
Wald. Richard Macaulay lronl the story
Sci-u.u-in: Delmar (Delmer) Dl|\kh lrom
by
H.
Eedlord-Jones and Barton
the story by Perer B. Kyne. I/mlog
Browne. published in the "baturday
rap/13-: Arthur Edeson. 1III.lil'|' Leo E.
Evening Post." l'I.mIn1.'r.1/2/v_\: Tony
Forbstein. ([411: George Brent. Anita
Gaudio. .\I/nic: Leo Forbstein: I._i-rirs:
Louise. Charles \Vinninger. John EldJohnny Mercer. llarry \llarren. V. Rose.
redge. Henry O'Neill. Joseph Crehan.
Larry Stock. J. (Iavanaugh. (I411: Pat
Gordon Oliver. Eddie Aeufi. \Xillard
O'Brien. Margaret Lindsay. John Payne.
Robertson. Pierre Warkin. Helen \X'alJohnny Davis. Melville Cooper. Isabel
kis. Herbert Rawlinson. llelen Lowell.
Jeatn. Mabel Todd. Penny Singleton.
llarry lieresfortl. Minerva l'recal. Mary l)ick Purcell. Jerry (Iolonoa. Jimmy l-idTreen. Edward Price. Edward Gargan.
ler. Curt lioi. Granville l$ate\. Edward
George llumber.
M4.-\llade. Larry \(illiams. Joe Venuti.
I95 SINGING i\lARlI\'E. Ill: min. Ray Mayer.
!)irerIur: Ray Enrighr. Prurlm-er: \VarI938 (I()ME'l' OVER BR()AD\V/\Y.
ner Bros. .l-euiiriu: Delmar (Delmerl
(I9 min. Direclur: lll7Sli\' lll~lRKl-ILEY.
39
Prru/mer: \Yarner Brt. \reuurin.- Mark

llellingtr. Robert Buckner from the
~tory by Faith Baldwin. Pbulugrup/ay:
Jme\ Wting llowe. L'.t.rl: Kay Francis.
lan llunter. John Litel. Donald (jriap.
Minna Gnmbtll. Sybil Jason. Melville
Cooper. Ian Keith. Vera Lewia. Edward
hlewade. Clem Eeyans. Linda Winter>.
Jack Mower. Jack Wise. Leona Marieltl.
Ray Mayer. Nat Carr. (Ihentr (llute.
I95) THEY MADE ME A (jR|M.
|NA|__ 91 mgn Din.-1,, Blysgy BER,
K|-j|_[5y_
||a|
pr,,,],-(.,-_,_-
J3.-k
|__
\yrm.m.,_
ykniumin G131" (._,,_,Ly

(Warner Bros.). .\tt'IIJriI;: Sid llerzig
rmm the my by B,_-|-"am 1\|i||h;,,,,
B_
W/a||i_
and "L-u|,,h 1\|5,_. [);x_
p/,,,;,,g,-_,p/,,-_Jan];-g \!/mg ||(,-L-_ ,y|,,,,',-_- Max 5mg.

.-rl (,'.,_q_- john (;a,|.|_ (;|.,,,,4,_- Rag,-,_._
Anti Sheridan. May Robaon. Gloria

Dirkaon. Billy ||3l0|i_ Bobby Jordan.
Leo (ioreey. Gabriel Dell. Huntz llall.
Bernard Punaly. Robert Gleckler. John
Ridgely. Barbara Pepper. Louis Jean
lleydt. Cliff Clark. Raymond Brown.
\_Villianl l)a\*id~nn, \ard Bond. Robert
strange. Frank Riggi. Dick Weasel. Sam
""><
I95) IIROADW/\\' Sl~1Rl~INAl)l-I. ll

ntin. I)iret"mr: Rohert 7.. Leonard. I'rn~
tlut-er; Merro-Gnldw)'n-Mayer. .\len.1rin.'
Charles Lederer from the story by l.ew
Lipton. Hans Kruly and John Taintor
Foote. .\lusit-: Herbert Stothart. (.brn'ehgru/Jeri BUSBY BERKEl.l-I\'. (ml:
Jeanette l\laeDonaltl_ Le\\' Ayre. Ian
"\"""1959
|;Am.; |N A|(M_ 9
min
lliret-lur: BUSBY l$l~IRKFl.l-IY. l~..I.-
Anhu,
iMcm,_G"|d.).n_Ma),
er). .\t't'IIJr/0. Jaek Madiowan. Kay van
Rip.-r {mm [hr mu_.im| by Ri|,m-d
ltmjg.-r, and |_.,n.m "ML p/,,,,,,_l_.,-,,.
/./_r.- Ray Julie.
.\Iu\it-: (jetirge Stoll
(D). Roger Eden. Leo Arnaud. George
,.,_.
|:|.,_.'_.d
I.yrit'.\: Riehartl Rodger. Lorelll llart. (..n!.- Jud) Garland, Nliekey

Rooney. June Preiswr. Guy Kibbee.
Betty Ji|)'t|t:\'. Douglax Mat'Phail. Charles
\\"inninger. (iraee llayea. Margaret
Hamilton. Rand llrookx. l.e|\i Lynn.
John Sheffield. llenry llull. lfarnett
Parker. Ann Shoemaker. _]t).\e|!h (Irehan. George McKay. llenry Roquentore.
I-vl=-II 'I>"l-rlSa.~atnan.
|t)_;t) |.-A5-|~
AND |.-UR|()|~5_
-_; m;,,_
I)ir4-|-]1>_~|{[lB\'||{RK|{L|\'v [r,~,,,],_
t'r.' Fredric], _\';._-p||;mi (1\|un,.(;,,1d!--n,
Mayer). \t'eu.n-in; llarry Kurnitt. I'/mlu_er.1/1/iy: Ray Julie. :|II\iL'.' Daniele
Aiiiriili.-.-tr-i_ (it-iimiiitiii llakeleiniktiff.
(..nI: liranebot Tone. Ann Sothern. Ruth
llussey. John Milian. Allyn JtI.\|)'n_ Ber.
nard Nadell. Mary Beth |ll.||:he.\. (jlifl
(Ilark. Jame\ Burke. Frattk Urth. Mar
gitret Roach. Glady Blake. Granville
Kurniu.
l)~80
M min.
l"()R'|'Y Lll"||.l{ t\l()'llllRS,
|)irl't'Iur; llllSll\' BERKIELEY,
lrurIut't-r: Harry Rapl (Metro-GoldwynMayer). .\L't'IIJl'ilI.' Dorothy You. Erneat Pugano lrutn the \tory by Jean
(iuitton. Plllllllgrilfl/)_\'.' (Iharlea Lawtnrt.
(d.II. Eddie Cantor. Judith And;-f()r|_
Ralph Morgan. Rita Johmon. Bonita

l.r:wi.s. Nydia \Ve>tman. Margaret Early. Martha ()Dri>coll. (Iharlotte Munier. Louiw Seidel.
Gramille. Diana
Baby Quintanilla.
I940 STRIKE UP THE BAND. lZl

min. Dirt-r/ur: IIUSBY BERKELEY.
I'rmll1tt'r: Arthur Freed (Metrt>Gold~
wyn-l\lrtyer). .\t'l~u.:rin.- John Monks.
Fred Finkleholle. P/lnlugrup/1_\': Ray
Mlnrir: George Stoll. Roger
June.
Eden. Arthur Freed. lra (ienhwin.
(Jul: Judy Garland. Mickey Rooney.
Paul \/hittman and his oreheatra. Wil-
Tn?-.l\1"'~' |Y~'i>>\*I- I-11") Nunm

Margaret Early. Ann Shoemaker. Frant'i\' Pierlot. Virginia llrisxae. (ietirge
Lune), Enid Benltett. Howard llickman. Sarah Edwards. Milton Kihhee.
lh-I-n Jerri-iw Eddy.
"=1"!
I)-ll l!L()Nl)l{ lN$llRA'llON. "1

tnin.
Ilirerlur;
IQUSBY
BERKI-1l_l\_
Prmlurer: ll. P. Finentan tMetro-Goldwyn-Mayer). \'n-uarin: Marian Parsonnet front the play by John (Ieeil Holm.
.\lu.ril.': lironislau Kaper. (.usI: John
Shelton. Virginia Grey.
l)4l 7.lF.(il-'ll.D GIRL. ul tnin.
')irttIlIr: Norman Z. McLeod. PrInIut'rr: Pandro S. Berman (Metro-Goldwym
Mayer). \'rt=n.trin.- Marguerite Roberth.
Soyna Leeien from the story by W.
Anthony
McGuire.
(Imr-eugraplier;
BUSBY BIERKELEY. (.u.\I.' Judy Garland. lledy Lanlarr. l.ana Turner. James
Stewart.
"HI l-/\l)\' "Ii
GOOD.
IN) --tin.
Ilirerlnr: Norman Z. McLeod. Prmlur

1"-'
Arthur Fwd (M=rw<G~ldw>"n-
Mayer). \ten.1riu: Jack McGowan. Kay

"3" RlP'~'- J"h" M*'c|i'l" lm hi 5""!
by Jack l\lt(iowan. .\lmit": George Stoll
(D). Leo Arnautl, George llaawnan.
(Ir-nrad 5"|i"l=" <0 (-/1"r"Igr-IP/Mr-'
"USHY BERKEI-E: (-'4"-' El""l
|"'1'"- Ann olhern. Robert Young.
I)-H BAIH-IS
rm llltoAl)WA\'. mi
min. l)i.~.-./i.r.- l$lSliY BERKELEY.

I;-mlmt-r: Arthur lireed (Metro-Goldwyn-Mayer). Srelmrin: Fred Finkleholie. Elaine Ryan from the story by Fred
Einklehofle. IImIngr.l]lll_\-: Lester \Vhite.
llmit itutl I._\v-lei; Ralph lined. E. Y.
llarburg. Roger Eden. llarold Rome.
Al stillmaii. Burton Lane. Vll"lCLnlL'
Paiya. (.'.1rl: Judy Garland. Mickey
Rooney. Fay liainrer, Ray Mt'Donald.
Virginia \Veidler. Alexander \olleott.
Rivhilrd Quine. r\"" R"""l)'- Donald
Meek. Lula Alberni.

1)-il HORN To SING. R1 min. D11
rellur: Edward Ludwig. Irutlm'er:
Frederick Stephani (l\let1Gt)ld\\)'nMayer). .\teu.1rio.- llarry Clark. Pram.
(i. Spencer from the atory by Franz (i.
Spent-er. Marie; Dave Snell. Lennie
llaytori ID). \Xal|y lleglin, Leonid
Raztb (U).
(./.mrt'01.'r.l[I/)er: HUSBY
BERKELEY.
(.411:
Virginia \eidler.
Ray McDonald. Lu) Goreey.
I942 CALLING ALL GIRLS. 20

lnin. Pr!/tlnrer: \;trner Bros. "Broadway Bfe\itie. (./mrm/_gr.1/1/Jer: BUSBY
BERKl~Il.E\'.
I942 FOR Ml-I AND MY GAL. NH

min. Direrlr/r: BUSBY BERKELEY.
Prutlllrer: Arthur Freed (Metro-Gold~
wyn-Mayer). .\t'euurin: Richard Sherwood. Frtd Finkleholle. Sid Sil\'er.~
lront the atnry by Howard Emmett
Roger. P/in/ogr.1/1/)_y: William Daniela.
,.\!itI. Seymour Brown. Milton Ager.
llenry Creamer. Turner Layton. Gus
Kahn. Joe Young. Egbert van Alstyne.
Chris Smith. Sam Lewis. Walter Donaldson. lloward John>on_ Percy \\Uenrich. l\|u.rit-.' Roger Edena. Conrad Salinger. George Baaiman. Leo Arnaud.
Gwriw 5w"C0n"")'-
f-'/>"~"I.l:r-IP51"-'
B1155)"
Jud) (3"1"d- Gm
Kelly. George Murphy. Martha Eggerth.
Ben Blue. Richard Quine. Lucille Norman. lllvraw Mr:Null)'. Keenan Wyn"l)i3 THREE (Illl-II-IRS FOR THE
GIRLS. 10 min- Prwluw-' Warner
Brm. "Broadway l-lru-ities." (.'/mrt-ngNP/11"-' BUSBY BERKELEY|t)4_4 (;|R[_ (j|(AZ\'_ 99 min, |),,,-,.
;,,,-_- Nm-man T,|umg_ Pml,,;-,,- Arthur
1-"11-
F-,_-d (M_(;_M_)_ _;a,Mr,',,; Fl-rd

k|,_.|m;.. [mm [hr ,,,,5,_,,| "G5,-|
n.
(j,-y"
F_
Guy Bnlwn and John McGowan1.;-riri; Georl and In Gershwin 5/1"by
rengmplat-rs: (Iharle\ \Xalters (for Judy

Gl|"d'>
~'~"~|\"~'"\"~')- EUSBY BE-RKF-'
LE\' (for the aequence "I Got Rhythnt"). Casi: Mickey Rooney. Judy
(3ill'l<|- ,l""'~' 1\|l!'5""-
|\).y_; THE (}AN(j' ,\1_|_ HER]; 105

,,,;n_
Di,-a.-;,,,, grlggy B|=_R|(|51_|-j\'_
PI!/lIIlt'I.!. Willianr LeBar0n (Zlllh (Ienml-y.F0x), 3'-,;,,i-ir,_~ Walter Bullock
from the atory by Nn()' Winter. George

Root and Toni Bridges. Plmlngrapby:
Edwfd Cl""iilH'~l lT'-d\"i"|\'"i- ~.\'T'
it-1: Leo Robin, llarry Warren. .\lu.u'r.~
Allred Newman (D). (Iusl: Alice Faye.
Carmen Miranda. Phil Baker. Benny
Goodman and his ()rt:he.~tra. E\lll'~"'~'
Pallette. Charlotte Greenwood. Edward
lrlwn-tr Horn-n. '|'1my dv Marw. J=-me
Elli-n. Sheila R!"~ D1-\'~ Willi"-"RMifiilm |-i\\\'|le. Charle~ SaHl~5~ G"""b-'\
|)"H- I-'~'"" L'll'"l)-$6 (YINDERELLA JONES. )2 min.
l)ir't'Iur: lllSB\' BERKELEY. |rmlnt'er: Alex Gottlieb (\arner Bros). Steuurilr: Charles Hoffman from the story
by Philip Wylie. P/Jllfllgfd/I): Sol Polilo. L_yrit.r: Jule Styne. Sammy (Iahn.
.\|u.\it-: Ray lleindorl. Frank Perkins
(()). Leo F. Ftirbalein (D). (.151: Joan
Lealie. Robert Alda. S. 7.. Sakall. Edward Everett llorton. Julie Bis-hop. VilIiam Prince. Chi-rl-~ l>im:l~- Ruth Dennelly. Eliaha (look Jr.. llobart (lavanaugh. Charle~ Arnt. (Iheuer (Ilute. Ed
Gargan. Margaret Early. Johnny Mitchell. Mary Dean. Monte Blue. Matianne O'Brien. Marion Martin.
I94) TAKE ME OUT TU THE
BALL GAME. (til. etlmplete note in
Betty Comden Adolph Green lil|nography).
l)5(l TWO \VEEKS--\V|Tll LOVE.
)1 min. Dirt-rlur: Roy Rowland. Pr0tint:-r: Jack Cummings (M.(3.M.) Sl't~narin: John Larkin, Dorothy Kingsley
Kt
dit
vet
sit
Cot
mp
nict
Lei
ll
40
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l~
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IF.
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lg-
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Fin
us"
l"l\'\.
Umjudy
+025-
,Ilhs']\.\\l}
\ll \
l.F.\
(Zen l
llock
xi;
Keeler.
Lloyd Bacon; 42nd Slreel, Ruby
l.\r
john l.;|rkin. I.\/in:

lrnm lhc smry
'l'l\u|uSidney llaynca. Allrcd (E. Rnlwyn,
Rugcr
-l\ (L Rnilvy. Lucien Dunn).
(icurgc
(U).
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ttttas
/'_I'4't'.
I:"'',\'
I'll-ill hr mu
l'."
l Uin"
"W min-U
"f Univ ll. ":'""'.'
l"'l"i"ll' ml '\'l"Il'h quill mm

In thtt |ttu\'it- lttlt-.~ .\|nn.~hin tlitl (tzzic
antl .\|tn
.\lil-
tht~ \\'t>rl<l ut
lllltts sun"" znul

lt\'ltt('\ ut ntustcnl
llmmill ml-I ml hr slnglij "_m'd ml ll? wnlmli-\

W "h~ Hm m me c"'g M vwr-WI-i mp
C""':"~*' '|)"".\ }" 'hl"l\'- l" hi- """"\li"~ mi
'l""' 3" l" -\'"\"'i" "l"""< l" "\"'."l".\' lift "I"
lh "ml
l""'l"l"' l ""~"l*l """"l." ''hi\'l i l"custtttttvs.
its
its
>('\lilt}{s.
its
colors.
itt
inure realistic
aml so on. tltan peuplc ]_'t~nerall_\ ltelie\'t*?
Ctt.\tt>|-1.\'4\'t's. that is nu tlttttlrt tht- t'a.~t*, lntt \\'ttttzttlc no cmtscitttts e'ttt't tu ntakc ttsv of the elvlttt-tits
,\tm'r<- talking nlmttt. lte-cztttsv wt tlilllfl \\'=\"t In full
L
"Hm. {Ur I-l.|.;\r,-mg ;_

(1-\|m;.\ *\\'0 hatl rst thttugltt uf ]>rt~st~nti|tg it
ttnl_\ t\\'u tttt<l:t_\' 4-vcnings itt a small thratt-r in thv
\'ill;t;;t-. hut tlw tlirvctttr <-t tht- 'l'ltt-atcr Httiltl .~;t\\- it
atul vlrritlctl tn rtastztgr it on l{ro:t<l\\':t_\'.
t\tttt-1R.s'lt> t'L'lll!|t In (ht Ilrr 'I'm'tt_ tlitl _\'t|tt
l\nt-\\ tit-ttr l\'t~ll_\' antl .\'tanlt:_\' l)unt-tt at that tintt?
lituit-:x\'t~.~. \\'t- had kttmvtt tht-tn ft-r .~utn<- _\'t-:trs.
lt~t tht~|n mako a lihn tugt-tht~r. That was

tihn that .\'tanlt-_\' tlirvctt-1|. ttr ratht-r t~u-
tlirwtt-tl.
tit<|.|-'..\* \\'t- gut on tttgt-tln-r \\'t>ntlt-rt-ttll_\' \\'t-ll.
'|'hr_\ ha\'t* a grvat tlt-al uf talent. antl as l was tolling
_\t-tt a little \\'hil<- ago. tht-_\' arr \'t~r_\' ttltl frit~n<ls. Tltt-_\"
l;|tt>\\' t-nr .~t_\'lt~ as wt-ll as \\'t' kttuw tht-irs. $4 \\'t~ ttn-
('\ttt|-Lks
rt-tnt>:l_\ \\'a.~
That was tht~

lilntt-ll ]tat'tl_\' out
t*tT<>rt.
, t
tt'
.
tintt- that a nntsical

tluur;
.
nttl tht-n,
lII|"
'l'lt_\ :trt-\*<-r_\t>l<l t'rit~ntls.

U-\||I1-LN ~'lltt-y \\'t-re alrcatly nntlcr t"t|ntr:tct tn
.\|(i.\| ltt-fttrr \\'t- uttr.st~l\'t's \\t-tn tu Hull_\'\\'tt|tl. (it-no
l(t~ll_\ hatl :t grvat sttctcs.s as an actnr. .\'t:tttlt'y, \\'ltu
hatl ht-t-n a tlanct-r. was his assistant. .\rthttr l"rt-1-tl
rst
sltntv ltttstttt-ss.
U I Ml M vm'' I W "_lh: lv"_';'l

Ilmhill "lm ll H nnfl H1 U H h' l
d':\r_:K'r'\ an l*m'"l*' m *"?~'_" lulu. '_" "W \ ruin
tlt-rsttmtl tttlr antttltcr \\'ithunt
u"'\
uttr \illagt~ \ an
extracts lrum
1"('CLl\l .sltt|\\'s_
tnttrc
unr
frunt
4\t:tr<l ~ltt\\'s. the utht-rs
as nntth
sttcct-.~.~_
tit<|-l~;.\
\\'t- hatl an astttttislting
tn tht~
t\.~t<tnislting
with tht- tl'lli\.~ as with tho ttnhlit".
ltintl.
thv
uf
t~\tt~nt that \\'t~ hatln't t'urt~st-t-tt an_\'tltit|;_'
.sl|tt\\':
this
\\v hatl s|>t~nt \'t-|'_\' little titttv |>rt-paring;
Um. m'.rm,,, mt an H-"i"g_ u." mu. -|,,,|. (|)-
tu
t-~>llrctt~tl, .\'u|nt' \\'t~rt-
tht- tirst
;_{i\'t~
'
.
alstt nnt- ut tht- ttrst tttut-s \\'ht~tt
L\||||=.t<s'lt was
.
.
\t>
tht- cltaractt~rs ttt at nttt.stt'al cuntt-<l_\' thtlnt ltt-lung
|tt- .
lt-r -litl Cla
.
,
t
<mt:t..\' 'lttt tht~tr nntttltt-rs tut tht- .~t"rt-t~tt \\"t-rtttttt
tht- ~:ttnt' as tltnsr wt~ tlitl on tho stagt-.
t
. .
.
t tntltt-1.\' I ltat \\'as tltv last t|ntt- \\'t- pla_\'t~<l a .~ltu\\'.
t-.\rt]-t int .\ l':u't_\"' \\'hit"h was ]II('>t'tllt'll in .\'t-\\'
Y-trk a it-\\' _\'t-nrs agt. lt was a unv man, ttnt- wuntatt
Jtnn itt \\'hich .~l<l'lt"l!(_\' \\'rittt~|\ uwr the \'t-ars \\t-rt-
tlt~t'i<lt<t|
tl:t_\ s.
ltnt tht-_\ hatl hzttl ttntch tlil't'ttlt_\' |tt-rsttatling the stntlitt

c||i.f_\ U, Huh. H. U-iv U, Xv. \-Mk ||,||_\ .m,(| |,._.,,,
,|. hm] _,-nit] U, ||-m_ -~\\'t1)- mu __|,,,,,| 1,,-.}" Am]
ltw). hm] n.,1iH1 ,.ig|]). hm it ._\_ \.,ml,|k..|.\. i"(|i__
["1 *3 l\"l'li"*. l"ll"\:'

liRl.li.\' ( )nl_\' tn tht- t-xtt-nt that it \\'a.~ ahuttt tltrt-c
~:til~r~. antl i|l.~<I ht-c:ttt.~t~ lllt-t1\lt'tI1.~ul' H<~t't\.~tt-itt zttttl
l{--ltltins hatl lIt'll\ tliscn\t-t't-cl \\'ht~n thc ltnllt-t \\a_~ ctt'="'l- ' m" cl" W hm ll hi- '=l" H "' I-"7"" 'i-
l"l""l l"-ll""'l
fttnr
tht~
'
'
l11ll<l"l'-
titttat-.x4\\'l1at we watttetl was tn tttakv <lt~liltt-r:tttnsc 01' the resnttrccs ttt' nnt.sit"al ctnttctl_\' atttl of cntnt-tl_\
ttt c.\'|trt-ss tvhnt \\'t- had tn .sa_\'.
C.\|t|t~:t<s~\'t>ttr tznllztltttrzttiott with |)<tttt~tt ztntl
|\'t-ll) cutttittttctl thrt-c _\'t'ars latt-r \\'ith Silt;/irt' in t/It
/\t|in .
L't>.\tm;.\ ~\'t-s. .\n<l ztgaitt it \\';ts a grt-ztt |>lt~a.stn't~
ttt work with them. This script \\'a.s itt fart lttll 01'
sliglttly tnatl things \'t-r_\' tlithrttlt tn stttgt-. Nun". t~\'t-r_\thing \\'t- hatl itttagittwl was kt~|>;t~tnttpIt~tt-1}-_ X0 tlttttltt
that was one of tht- rarc uccztsitttts \\'ht|t a sct-n:tt'it
was tihnt-tl t-xat"tl'\' as it \\'as tvrittvn.
tit<t~1t-2.\'~\\\- alntust crit~tl fur jtt_\' tht- rst time \\-tis al.~a\\ the tihn. ;\ tlrt-am hall c<tntt- trttt- . t . t\s
'l'ht-1|.
alttnt-,
\\-ttrkvtl
hatl
ntust al\\'a_\'.~ tht- cast-. \\'t~
\\'lILl\ the .sript was tinisht-tl_ \\'t~ rt-zul it tn tit-nt~ antl
tn .\'t;tttlt~y whu as _\'t~t knt-\\' ]tractit":tll_\' nntlting almttt
it. (It-nr likctl it wry tnttrh atul it \\';t> tht~n that tt-
_ .ttt..t.........t .-...-t-.;.t t~ttrn-rlitttls
_
p-1
our t'urttttte wuttltl have been tnatlet nr
tli.~'appearetl witltuut leaving a trace.
have
we wt-ttltl
ttttl
gruttp hnike ttp. 'ltttl_\' Hulli<la_\' mutt he|7t|tall_\'
t'atttt- :t t:ttttt>tt_~' :tt"tres.~' antl at last we wrute nttr tir.~t
.~ht\\ tur the theater. lt wa.~ (In the 'Iiu:t'n, itt which
we aetetl att<l which was .~ta;.{e|l itt ettllalmratiutt with
e\'etlitt;_{ atttl
|.t-ttnartl lit-rn.~teit| antl _Iert>nte l{t>ltlitt.~.
(_\"'|"-R-"*0"
Ti\"' 'i- i-ll""l
//1"
1'."
I:"'_\'
I~r. .1 l\<hhin~' ballet?
it
tn the extent that it \\'a.~ ahuttt three

~:til~r~. antl al.~<| heeatt.~e tlte talent ut llet't\.~teitt antl
\'tt'
R--l>lin.~ hatl heett tli_~en\et'etl wltett tlte hallet \\a_~
tint-;.\'
)nI_\'
i"'l- ' l"" "3" -i\}' hill i" hi- 'i H" "' I-"7"" 'i-
l"l"l l"-l'l""'l 1'." Ii"'',\' /'*I'|'t'.
l"'"'ix '7' l'k-id hr Wm "l U""" "1"lltr'I"_"'
.~:|tlIt"-
_\|lultth aeteel that <n (')z7_te,

thtl (lime .nttl .\|ttt . ltlltt the ttttttte
let" -htl L latre.
.
t
t.t<t.t.x Itttt their ntttnht-r> mt the .~ct'een were ttnt
,
the ~ante a.~ thn_~e we thtl on the .~tage.
t
. .
.
t tt\t|>t-1.\ I ltat wa_~ tlte lltsl tnne we |tla_\'e<l a .~ltuw.
t-.\n]-t int .\ l'at't_\"' which was t|te.~t-tttetl itt .\'ew
Y-trk a few _\'e:tr.~" agt. It was a utte man, nne wutttan
~ht>\\ itt which .~ketelte_< writtett uver tlte _\'ear> \\et'tettlleetetl, .\'unte were extraet.~ lrutn uttr Village \'att
gum. _h".A\ IR, m|_l____ '-mm mu, "MW n__m __hU_\_
ttttlt-g4t~t, atttl
lttlt-.~ .\|tnt.~htn
heeattse of tug t . . Hnw\'url\

e\t-t" tltat tna_\' he. it expre.~".~'etl tlte lIl\'l|'_\ of .\'ew
t:t.~eitt:ttit
\'er_\'
i.
wa.~
atttl
nturnittg tttar\el|>tt.~'l_\' well,
if the
a.~
U-\||I1-LN ~The_\' were alreatly nntler rntttraet tn

ltettvre we uttrsel\'e.~' wt-ttt tu Hnll_\'\\'t|||tl. (it-tte
whu
hatl
zt great .~'tteee.~'.~' a.~ an aetur. .\'tanle_\',
l(t~ll_\
.\|(i.\|
hatl ltet-tt a tlaneer_ wa.~ his a.~".~i.~'t:tttt. .\rthnr Freetl

tleritletl tn let tltettt make a liltn together, That wa>
the tit'.~t tilttt that $tattle_\' tlireetetl_ ur rather en
1lttett\-vl.
on tnggetlter \\'t>n<lert-ttll_\' well.

'|'ht-_\ have a ;_'teat tleal uf talent. atttl :t> l wa.~ telling
_\t-tt a little while ago. the_\' are \'er_\' ultl t'riett<l.~. Tltt-_\"
lcttttw t-ttr .~t_\'le as well as we know theirs. Ft: we tttt|lt'f~\4n|tl lI|I\' attnther witltuttt ettort.
('\ttt|-".k>' That was the rst titnr that a nnt>ieal
rt-tttrtl_\ wa.~ lihnetl ]tat'tl_\' out tit tluur; , t .
('t>\tlIliX7l helie\'e itt tact that that hatl never heett
tit<|.|-'.\*\\'e gut
trit--l lteture, The .~'et|ttettee at the hegittnittg, that .~'ttnt~

tttt the >|titit of the tilttt. that \'t-r_\' einentatttgratthie
44
ltt >ltut-t itt .\'ew Yurk. Tltu.~e tir.~t tett ntin

ttte.~ give tlte lilttt a tune tltat retn:tin.~' tn the entl.
('t.\tnt<:x <\ntl, at the etul. the .~ltt>t.~' that were
tihnetl mt tlte >|mt leave _\-on with :t \i.~iun ul .\'e\\
\-TL M mp \_H__\_ vwlic ml n_"]i>i\,_
|>ett_~:tl|Ye
wa> al_~t- nne ut the t|r.~t tmte.~ \\'ltett

t
.
.
the cltaraeter_~' nt at ttttt.~tt'al eutne<l\'' tlttlnt lit-lung tn
.
.
the wurltl ut >ltn\\' htt.~tttt->.~.
.
K \||||=.t<>" lt
Ml M _"v' I W \\_lh: lv_';'l'i

h' i
l"mI ""im. ll H nnfl "ml 1" H
eltaraeter> are gntttg tn stttg ant] tl:tttt"e ttt the .~ t'et*t.~.'
Lnttl lhetl, the In-rm-.~ lhl ntttstextl t|Itn~ .~ang; atttl
tlatteetl nnl_\' nn tlte .~'ta;.{e: \\'e-watttetl on the eutttt':tr_\
(ll"m\
0'
ii
cm"l'i M (wr-WI-i mp
lhl"l\'- l" hi- *""""'\ili"~ mi
C~"""ik~*'
l" ""r."l.\' lift "I"
"l"""<
-\""'i"i\
l"
'|""' 3"
i i" lb ml
'\"hi\'l
*"'""l."
""'~"l*l
1
l""'l"ii\l"
more rettlistie in its enlttr.~_ it.~ .~etting.~. its eu.~'tttttte.~.
"h"i Hm
and
.~tteee.~.~_
grey that was
nttl\ three tn lull! tla_\ ~.

|ter.~tt:ttlit|g the .~ttt<littliltiettlt_\'
ntttelt
hall
lllll tlte_\ hatl
ctm.f_\ U, mk(. H. H-iv U, Xv. \-Mk ||,||_\ .m,(| |,._.,,,
,|- hm] _,-ill U, 1|-m_ ~\\'tt)- um __h,,,, tn.-.1- Amt
ux. hm] n_1i,(l l.ig|]). hm it ._\_ \.,ml,|k..|.\. im|i__
"Hm. {Ur n.|.;",-tug ;_

(1-\|t1t;.\ *\\e hatl tirst tltuttgltt ut' ]>re.~entitt-g it
nn]_\ twu tttt<Ia_\' 4-\'cttittg.~' itt a stttall theater in the
\'illa;;e. httt the tlireetnr of the 'l'heater (ittihl .~aw it
atul vleeitletl tn restat_'e it on liro:ul\\'a_\'.
t\ttt|-1tt.~'lt> return tn Un the 'I'men_ tlitl _\'lI\l
ltnt-\\ tiene l\'ell_\' antl $t:tttle_\' l)unen at that titne?
lituit-lx\'e.~. \\'e haul ktt<|\\'n tltent fur mnte _\'e:tt'.~.
an a.~tntti.~ltittg
wa>
.~k_\'
t}ttt~1t~;.\'~'l'lte_\' >ta_\'e<l here
\\'e hatl
'I'he_\ :ttt*\'et_\ul4l t'rientl.~'.
5-
.~hut
nttteh
with the eritie.~ :t_~ with tlte ptthlie. t\>t<ttti.~ltittg tn the
e\tettt tltat we hatht't t'4|rt~.~t-t-tt an_\'thit|;_' uf the ltintl.
\\'e hatl .<|>ent \'et'_\' little tittte |>ret|:tritt;1 thi.~ .~huw:
W. m'u.rm,,, mt an H-c"i"g_ u." mu. -hut. (tn)
tittl-t;,\
uf Xew Ynrk seett lay the tltree .~:tilur.~. wa.~

here. itt New York. l retnetnlter ltavittg gone tn
we tltettt wnrk at tlte lrnul<l_\'tt .\'a\'_\' Yartl. itt the
grey of tlztwn. lie.~itle.~' |t\'rlt:t|t.~ it w:t.~n't tl:twn_ :ttttl
eutt.~t|eettt.~
in Hm
'|l"".l }"
mt. than tteuple t_'enerall_\ ltelievei

('n.\tt>t-1.\'4\'e.~. that is no tlnttlrt tlte t'a.~e. ltttt we
tttatle nu t"t>tt.~\'it>tts ettnrt tu tttake tt_~e of the elt~tt\ettts
_\"lt'f\' llllkiltg nhuttt. ltefiltlik \\\' tlillllil \\'Il"1 1" lit"
st
iII|" l"ll<l"fl'-
tn make <leliltet':tt\'
tt.~e nt' tlte re.~'nttrces of ttttt.~'ieal enntetl_\' atttl t>t' enntt-tl_\'
tn e.\'tire_~'.~" what we hatl tn .~'a_\'.
C.\tttt~:tts~\'t>ttr t't>llalt<tt'atit>tt witlt l)<ttIe|t aml
|\'ell_\ euntittttetl three _\'eat's later with .\'i|t;/in in t/ti
titttzt-.x4\\'lt:tt we wantetl
wa.~
,
/\t|in .
('t>.\tttt;.\ *\'t->. .\n<l agaitt it wa.~ a great |>lea.~ttt'e
tn wurk with them. This .~t"ri]>t was in fart tttll 01'
.~liglttl_\' tttatl thitt;_'.~ \'er_\' tlitttettlt tn stttge. Nun", e\'er_\_
intagittetl wa.~ l<e|>i eutn|1Ietel_\-_ Xi tlttttltt

that wa.~ one tit the rare uee:tsiutt.~ wltett :t .~eenat'it
w:t.~ tilntetl t-xat"tl'\' as it was written.
tit<t~it~2.\~\\\- alntust erietl fur jt|_\' the lint titne we
i.~ al.~aw the tihn. .-\ tlreant hall entne trtte . t . t\.~'
tttu>t alwa_\'.~ the t"a_~'e. we hail wnrketl alunt-. Then.
wltett the seript wa.~ lini.~'hetl_ we rezul it tn tiene antl
tn .\'tanley whn as _\'et knew ]traetit":tlI_\' nntltittg almttt
it. (iene liketl it very tnttrh atttl it w:t.~ tltett that tt-
getlter we plattttetl eertaitt eurreetiutt.~',
C.\tIH-IRS ~Thett _\'nttr exelt:tttge_~ of itleas with the
tliteetnr.~' take tilaee itt general after the .~eri|it ha~ lI\'ttt
thing \\'e
hzttl
Vi
,_
.
.,'
|.~
Hm-
\lIA\'\
v.
11
:\\
"rm.
>
:\\\
:\\-w\\-,
:\\ \<1
\v
'\\'
\\vr'u
'
zxij
Vincente Min
II
.
=
The B"dW<1qon,
Fred Astaire
v11w_-:;==%:z=I*i
;=A
_,
,,;
45
1'111i.~l11-1lI'
111-
ll.
.\'.
i11~11iro1l
tho
|1_\-
lto
.~1111g.~"
1-\t
l1:11l :1.~l\1-1l
111'~1
f111'
11.~
\\'ri1t1'11 11'itl1
l1:11l
\\o
tho
that
tl11:1ll\' 1looi1lo1l
\\':1>
1li1l11~11lt_\-
tl11- 1111l1'
11:11
11134111
11111
in tho
11o1'i111l 11'h1~11 tho.~'1- .~1111;_'.~ t11ll 11f1'l1:1r111 l1:11l I11-on
111
'l'l1o11. 11'o 1':1ll1-1l
1"1'1~:111-1l_
:1l11':1_1~ l11-1'11
thou
~:1\\
l
.\'i11_1/ir|'.
ll1'1111'11 t'111'1h1- t1r.~t 11111.~io:1l 11l111~ _~111h :1.~ /1r11111l-
,l/-'I111l1'.
:1'11\'
tl1o o:1.~'1- fur

fur .\rthu1 l"t'oo1l
\\':1.~
11~r1'it1o1l.
11'1-1'1~
~t111*1
:1
1l1:1t
111
~1111111l.
hettor
_411i11;_( 11.~ 1111c
tho
tho 11ro\'io11'
tho
1111
tho
1111r
111
.~li1;htl_1'
r:11hor
\\'1-
111:ul111-.~~
\\':1.~
11111
1111i1111-1l
h:11l
tl11-111
111
tho
t11
fr11111 \111r1l.~ i11
.\ft1'r
i|11r11ti1111:1l.
l1a\'i11f;
that .~o11111-11o1- .~'o\'or:1l 11'1-1-k.~. tl11~_\' r1~:1li7.1-1l

1l111'i11g tltat ti111o. 1l11- 1-1lit11r.~ l1:11l l11-on tr_1i11_g 111
f11r
11-;1i11~1l
1l1:1t.
tho
tho i111:1g1- 1~11i111'i1lo!

('11_\||11-1.\'
I 11'11ul1l lil\'o 111 .~:1_1' :1 1'1-11' 11'11r1l.~ :1l111111
,\rtl111r l~'roe1I . . llo'.< :1 man 111111 1~1111111l1-11-l_1' l1:1ok>
1111 1l11- 111~1111I1- h1- hir1-.~. 'll111.~_ in tl11- 1':1>1- 111 1\'i111/i11
\\'l1iol1 i111l111lo.~ :1 lung; 1l:1.~l1l1aok :11 tho l1ogi1111i11;_g 1\'itl1111:1k1-
_~1111111l :1111l
illm in which W
um cnmmng H he "hl':ml1\l "Hz-I

l1:1\'o :1ll111l1-1|
1'or1-l_1'.
lmw
1l1111'1
Huh
.\111l ho :11111r111o1l
l1o
11111 111
|".1l1-11.~
an
h1~
all
rigltt
hm_n._ig'
thoir
at tho ti111o.
:1r111
inmm I ,m1,1l. Hm
1:1l1-11t.~, R11g1~1'
'
,|.1,m__ 1" 11u11\..m1 "1
tl1:1t
:1.~
111111-
111
tho
1'1-111:1111> al11111.~t
1ho:111-r.
\\'1~
lt
1111111111-.
1'1111l1l
H.(,,._1I1g W1 In ,\..~,m_)
gi\'1-
l1:111111-111~1l al11111.~t
11111
1'r11111
h:1111l
111
:111tl111r.~ l1:11'1~ 11-11rk1~1l1111
ht ll11ll\'\1-11111].
tl11-
l1:1111l :1111l i11
tho
mm
1\.",__.
1_:_r_\.1"1_\.
~or1~1~1111~rito1.~ :11'1- g1-111-r:1ll_\' 1111.~tr1~:1t1-1l
.\'1"ri111~ 11:1.
:1|11111t
111111111111
~a|11o >t111'\'
1'111'1\'
1~111l
l"11r
1111.1
H. m,\.,l. 1\.m_. 111%., Pm1|1,m__'

1;R|__|,vx
,\\~il1| '\H1m|. M, m.um11\. m11\m1 Hm ,_r\,_
1m.1_
\\1~
I-..h,|.\
1-\HH_R,
~
1h111g_-.
.1
tl1o
1l11l11't l1:1\'1-
'1
1lo11:11't11r1~
11'1~1-1-111
11o 111~ro
l11-1-11
45
1l11
1'1~1'_\'
lm
l1:11111_1'
with
__n":\,__
ll1111:11'1l
lhotz
t'11r
11>
.\ll
(111
1111:
.\~1:1i1'1-,
that.
.\li|1111-lli
giwn
1l1:1t
111r l~r1-1|
:1l111t1t
\1:1.~
l'1o1l t11l1l
111111-.
.~111111-tl1i111_-
11ri11~ 1l1i>
I11
.~1111_4_~
\rtl1111 .<1"|111':11'lz 1hi.~

1l1il1l1'1-11,
\\'1'ilto11
11'l111
:1111l
:11
.\l~11
it.
111-
;1111l 11:1t111':1ll1
th11.~o .~1111g~ h:11!
111'i1to11 111r >111-1"t:1o11l:11' ~l111\1>~ :1111l
1'1~1'1111.~.
.\11
it
it
.~111l1l1~11l_\
1l11-
111
_
1111'g'111t1~|1
1'11r4111t1~11
:1
lt'.~
ll11ll_1'\1'11n1l :1111l
1r11|11
that it
11s
111
:1 \'1~r_1' 111111--
11or1'o1-tlv\'; .\.~t:1i1'o
.~il11:1ti1111
haul
.~h11\1 th1-_\
1l11111~ i11 :1
>111-1111-1l
$1'l111':11tx
I)
.~1111f4
I,',~(;,1,~(-11 111,- /1.17-il,
W311;
\1111f_( a111l
111;;
\\':1.~
I1 l1;11l I11-on 1'1r.~1
111
1111111lo1l
o11r1'1-~'
1'1~t111'11i111;
111111111i11-1l :11
11-1.~.~i111_'
.
l1r:1|11l L1~11tr:1l.
tho 111-riml \1ho11 thonin tho 1l11-:1tn~li|\'1-_|11~1- F1-rror, \1'h11 st:1;.{o1l
("11\t|1|<"_x
~'|'l1:1t
1\'oro111-1111l1f1111r 111
1":11111-
tho
l1\'o
111
:1l.~11
1l11-
:11
;11~1111-
;111
tho
lll('i\
tl1111-. Th1-11 1l1o
.~:11111-
111'
11l1l .~ol11111l
1':1ll1-11
who
:1\':tt1t;_{:l11lo 1liro1"t11r
h:1111l_< 111 ;1|1
11or:1tol_\
\\':1.~
_~l11111'_~'
111
11~
111
\\'itl1
111-1-rl11:11l :1 .~i11111lo 11111.~11":1l
111111
\\'a11t1-1l 1l1-1
l1igl1-l111111'
i11to11ti1111_<,
l|1 tl1o t\\'11 1'o:1r.~ that 111ll111vo1l T/11' l1'11|11/

thoro \\'1-ro sovott 11l:1_\'.~ tl1:1t 111:11l1- ttso 11f tho
l~';111_<1 1111-111v in 1111o \\':1_1- 11r a1111thor.
f_\_;k_\.__111(1 Wu 1. H ;u.m,ri,, 1, _\1;"m.111,m.
(]111|.\'
ll'111/1111.
],11.u.1.\- 1'm;__1m1j
GREEN
i-0 aw
thoro \\'oro
C
M him mn_m1 pun
111:1j11r o.\ol1:1|1;.{1-.~
Tm n1_:1 in
_7|
.\11|1.u.~A
111t1r_\11\1
tho
1_1:1I1r11-1
pan and
\\'itl1 \'i11o1-|1to
i1l1-:1.~
_m_k
.111
11
111
1,\_
H._]
111111>.1u
111
0|.11t11:..
._
I\\"r1tolr.~ Zlt[1.1l l1_:.>()T1.1r
A"-din ml -1: |'._| ,r_|'\ Fl, .M: l>"ig(i\u;. I

'\"u M "W Ml K (mrhml mm ml tn lur(I"_' ' '
('kH'1\ "\I "ml" mu Kl mm Rm fnul I
:1r1-11t
it's
111:1rri1-1l_
\\ .
("'rI" I"
:1l11111t.
1-
\\'o \\'oro th111k1ng
1111r.~'t~l\o.~ tl1;11
111-\'or 1>:1t1or11o1l :111_1'1l1111g
MU
i'!'~"\ "um"
ll111.~'._\\'l1o11-
n"
'm""n
lh
.. .u11l
l""'l"m-f \
l\:11111t
1111
ll MI "|c'_""'_"f Hr _lwr"-Mal
l'ro~1l .\.~'t:11ro_ :1t1orl1:1\'1t1gT'
$11111;
1"-W
':ll_\'
'\|-"""h'" rr''S '" lhli ]_"M'-Y f f'r"'l (f'mmI hm

"| l<l'\'ll"l art" \\'a1t111;_{ 111r h1111_ 1*:1rr_\111g 11l:11ar1l.~
hm Wm T""-\' Hum" PH" (_l"l"
m."
ll11ll_\'\\'11111l. l111|;.{ ag11, llot1_1
I11
:1111l
l \\'1~ro \\'a.~l11-1l-1111
:1ot11r_~, U111" gr111111 l1:11l l11'11ko11 1111. :1111|

111" \':1i11l_\ 1111' \\'111'k
>
hor
1':11111~
111-r1~11t.~,
l1:11-l1 111
I11-tt_\
'll1o11
11111,
tho
>'t:1t11111
1-;11'1--\-111!-I :1
(""
hm
l .~:1\\'
11la1:1r1l
canto hark
11111th1~1
1111'
.\o\\' \11rl\'.
l"'|"']"]-l lln'"|'
l11|1l1_1' 111
L.l'\||'|_:x 7\.\>' Agni"

111
111
1111rl\111;4
-11",, Uh H" i|"rn.1 1 Mu". (.111M._
it
l)i1-tr._
:1111l
>1-o
111111 11itl1 l)11111-11 :1111l l\1-ll\'. ~i111'o

'1in___'1 -H, I-um, 11-Wm,
11111111
111
111111r1~.~>11111
~'lhat
(111121-',.\'
|.\l111111-ll1-.~':1|1l 1h:1t
'|'11;_-1-tl11-1' tl11-1
ll1or1~|'11ro.
.~t11r_\'.
\\'h11_~1' 11l11t \\'111t|1l
l'111i.~l11-ll.
h:11'o
l:t't'r1l 11':1>*:1111l l1o

Ho l11\'o1l tho 111~1111lo
tl1:1t \\'o 1li1l.
11111-
.<i11-
11'1111l1l
work _hhm"
U,\|m___\_1 l1]1"1\."m. 1
1
1h:1t. :111tl_
11r111l11o1~r.~"
111:111_1-
11'11rk :1111l l11- :111111o1"i:1to1l
11'a.~
all
a1"1"o11tt'1l
~:111o\o1-111i1111:1l 11r111l11oor,
i.~
11,1111,
ho
l1oli1~\o
7? M
(;k|_:|_:N
\llll
\\oll,
111
lit tho111 i11t11 :1

write :1 .~\'o11ari11
tho 11'11rl1l 111' .~h11\\' l111.~i11o.~.~. l11 1hi.~ 111-r.~11o1'111' tlto .~1111;_;.~, l-_\'
t\l_\.~olt'." 1-x11ro.~.~o1l 1111111\\'1'll tho 11111111l 111 tho :11*t<1r \\'h11 tl1i11l<.~ ho'.~
111
1lo1'1'11ll1'
o\'1'1|
\\'o
tl1i11g.~
l1:111111-111-1l
ilttago
111'
.\'t:1|1lo1'
:1|11l
.~1'1~11:1ri11_
111:11l
1~11111i1'
1li.~11|:11"o1111-111
>1-11111-111"1~
(Q1-11o
_11111_
'lho_1' h:11l11't
1-1111111~1~ti1111.
o1li!11r.~ tl1:1t
111l1l
t':1i1l1f11l
i111:11_'i111-11. $111111-tl1i111;
l1:11'1-
tl11- 1r:111.~iti1111 tr11111 .~ilo11t 11l111
111'
H1-tt_1' j11.~t
:1|1.~11lt1tol_\'
r1-111:1i111-1l
\\'1-
ti1-1-
111
1lo1'i1l1-1l
11'1- l'111:1ll_\'
l11- .~ot
.~1~1
11111\'l1- 1111t~,
.<l11111'
111
.~t11r_1'
:1
111o111111'i1-\_
11111"
1111
:1ro .~till~;41o:1t
:1111l 111-
.\>
1*1111~1r11o1
111
t111i111|o 11111111rtt111it1'
:1
poriml: that
111'
in thi~
1'1-r_\ 1li111111lt
11':1.~
~'l'hat
1}11|.1~..\
l ar1'|\'1-1l
111
that
.\'o\\' Yurk
toll tll
:1111l
at (1r:1111l
Ill" "'"'m
llt-tt_\',
11'oro l1111l<-
\1o
111
11111
( o11t1.1l.
"""-I ll.
\1'l111 \1':1.~ 11111111111 1111'
111'1111I;111111-1|
-.11, \'1U|Ph
I'll"
hm '5'- ll"' ""3~'|" "1 IL" -H-\'".\'- /'"'
'*"'//""3 ."""' 'l'll"l "l I-l ml" 'l l)""' "ml
K
I "1
\''*R-"
l\'1-lI4\'?
('11\1|1|<:.\'
11'1-ro
t1'_\'i11_-_-
\\'o
\\'o1o
t11tl1i11k
111
_'11i11;_'
:1|1
111
ll11ll_1'11-111111
i1l1-:1 111r
:1
|1o\1'
:1111l
>'l11111.
\\'1'
Tho
:-
Stanley Donen and Gene Kelly; Singin In The Rail 1, D e bb'ne
R eynolds,
Gene Kelly, Jean Hagen.
Vincenle Minnelli; The Bandwagon, Fred Asluire, Nclnee
I
ll
l
UL
lull
an
l-'.\
ill
l\"l
Ayn-
...-L
w\
\""
u\\'nlH,
lL'
'_h~
l"l
.\_..1\h
\llll
ll
u.\-l
ma
\~
'l lu
Fclbru
r_-
imaginetl tltat a service of thi.~ .~urt nn|.~t he .~et up

in plush inmlern stirrntttt(li|t;.(s_ anil that the u|verat<|r
nnr
must he the etlieient secretary type. Sn <lri\'en h_\'
an.~wt-reuriu.~'it_\'. we went tn have a look at .\tlnl]1h'.~
that
we
<li.~eu\'er\-tl
snr]>ri.~'e_
great
unr
ing .aer\'iee. Tn
tlirt_\'
tlark.
.1
in
l1r>\tsetl
was
the .~'er\'|te in qnestiun
wearl)1\.\'lllILl]l, The uperator was in a lt<u|.~eeu:|t antl
tinnher
.~pent
.~he
setting.
ing enrh-r.~'l ln this .~'ini.~ter
pentheznt-r
for
lll('.~$I\{\'.\
reeei\*in;,{ antl tran.~|nitting
eun~
The
.~n1>n_
aml
ple_ like Noel Cnwzml. uur.~el\'e>,
a~tuni.~l1rather
w:|.~
tra>t hetween these twn wnrl<l.~
uping antl we were intt*re.~'tecl itt the character uf an
well
uf
eratur living that wa_\' throttglt the 1-xi>tt-tiee
three
idea then came tn ns of writing suntetlting almnt
_\'ear.~'
same
shu\\'n
hail
we
those
ser\'iLe hn(ltlieslike
hefnre in On Ihr Tmen. \\'e hail tleeirletl tn write this
ht-ginning vi
.~'hnw fur the theater, we alre:\tl_\' l1\(l the
when, lt_\'
heatls.
nnr
in
a plot and smne el1araeters
tilt-I
ut
annther
tlnnk
tn
ehanee. while we ere trying
in
and.
it
liketl
lle
for (lent-_ we tultl hitn this _~'tnr_\'.
longer
nu
was
it
his tttrn. he tnltl it to Freetl. Then
I|ll\'llUl\ of the theater aml we stayeil there tn write

rethe tihn. lt was nut shut in New York. which is
n]\t-ning
grettahle. For exatnple, it's uh\~i<m.~' that the
tlanre
.~e1|nencetlte .~'t*ette.~' in frunt uf the har atttl the
with the garbage c:tns~w:t.~' slmt in a stntliu. 'l'he_\'
wunltl have liketl \'er_\' tnneh tn entne here, hnt in the
"ml hm 'i\5"ll
knnwn people.
L'.\lI|t-1ks\'ut|r
PO55ll1k~
'l'_'"ll l "S llmcrmissf
('mE\*_\\_lml Pm "H lh lmmlfi ii llml M hm

tnnehnt tsnt it al\\'a)'.~' the ease .'the rtnt-|n;| w:t.~
t. Kl re \'er. II:
erintl f tr:n.iti<
"1 in' thrnnvh :
\
0
U
H
l \
0
li
l"
L
wa.~
.lI:t'a_\~.r Fair ll iulltrl \\'.t.~" relea.~e(l \|nietl)' and
.
.
renut .~'tntahl\' exploit:-tl. lt l\J|(l, hnwe\'er_ excellent
.
.
'
.
llists.
\|ew_~' antl we appeared on all the Ill-hest
.
.
.
.
ah'ea<l\'
hatl
nnagtnetl the\'
tnnatelv. l think people
'
.
. '
.
.
X ..
l\ell\'_ llan
.~t-en ll. lhere were (wl ('lt:tr|.~".~'e. ht-tie
,
'.
'
.
.
Uh rt-.~'. l \'e al~
llailev antl tht-\' .~:ntl tn tl1e|n.<el\'es
' . .
.
.
' ,..
'
that
reatlv seen that. lt wzts. like the .~er|e.~' ot t|ln|.~
'
were matle in the -10>" with (|ett_\' tlrahle and that are
.
.
Hnt there are penple \\ltu
ltl1\(l(' tmlav \\'lll'l Doris Dav.
'
'
antl whu want to. see it
failure,
til|n'.~"
still ntnnrn the
.
.
.
(nruttclto .\larx tnr exfr|en(l.~,
some
again. \\e have
__
atnple. whu have it pI'f\](Cl(ll fnr them frt-:|ttentl_\'

the
l think that it was the rst tilm in which telt-\*i.~'imt_
\iulentl\'
nn.
\\'ere
antl
Sn
tnethurls of Ma<li.~tm .-\\'enne.
.
ln that emttteetimt there wa.~ Dan l):\ile\':.~
munhcr ,,Simmim_i$(_ and S;m"_mhm__i_~..

prugrznn. inCIIMDI-IN-\\'\' .~ht>wetl zt tele\'i_~'iun
whkh P(_Upk_.s
_\_Pin_d h-\_ "This ls Ymlr I.-(2.. in
.~atiri7.erl.
.~1>t|al
tragetlies were inure nr less exploit;-tl fur
m(_n_i,\|
eu|n-
did mnwlhing ml hm
(;m_:H.\.*l |Mi,\,(_ mm
has um hem n_p(,:m_| mu mm _\_im__: inwriur mmm_
lngne to tnttsie. The frientlsl at the re.~'tanrant. ill at
*, .
ease. singing tn the tnne nf the llllle lilanuht
(',\||||-;R,<__|l|p|| yml \\'|()[(- _|,,;|/i,- 4tI4|,,|,
(u.\t|n-:xTliat w:t.~n't nne of t>tll' i2t\nrit\' tiltns. hnt
it wa.~ a great emnlnereial .~'t|ree.~.~'_ \\'e had cnme tn
know l{n.~'alin<l l{n.~.~ell in ll'umIrr]nI 'I1m'n. a llru:ultn innsie
wa_\' shnw fnr which we llll written the l_\rit'.~"
in it antl
big
hit
a
tnatle
lttl
h_\ l.ennar<l lern.~teitt. She
"
later she askezl its to write the .~'eenariu for .lHHll"

.lIntm' whieh_ like lhumlerjnl Tnren. haul given her
:1higlr<a4lwa)'smash.
fur Ilrllx
C.-\ttt|~2k.\''lltt~n _\'un rejoined .\linnelli
>een:\t'in:
that
.'lrr I\'ii|_|;in[/. \\'hat \\'I\.\' the origin of
Cmtm:.\'~\\"e had wnnrlcretl what tt-lephune answering services conlrl really he like . . . .\t rst we
43
tihn was
ll'/ml
ll'u_\- In
(,,,
\\'a.<
C.4\Illl~ZR4-ll1(' |nn\'ie.~' relative laek uf .~t|e\'\-ss
la.~t
Cn.\tt:r1X'll1:\t wa.~ a .~tnr_\' that tiene l\'ell_\' ha<l

In
given tn a |>rutlneer_ whn then eunnni.~.~in>n<~|l n.~
_m_in_
,riu_ "W
.
(.\ttn-:k.~';\nn
tnnst nut he \'er_\' .~at|.~|n~il wnh the
nlnt?
.
.
_
(0_\i|>t-IN-()\|r |eel|ng.~ are \'et'\''. inn:-tl. l lat-ltere
.
ha<l
that the atl't|)t wa_~ gu<ul_ l>nt the <ltrt-etnr .~ltnwetl
,
wa.~ terrthlv <~xay_'get'~
ta>te tn his wnrk. l'.\'er\'tlnn)_{
'
'
>1 uneune \'er\' .~"nn]>le
l't'lllZllll
to
was
girl
ateel. l hns. the
'
.
men who .~nrwlm.~'e character was itn enntrast tn the
hlnt. she eltan;.{r.~ at the
runnlletl her, \uw. tn the
, .
.
.
in the "l .n.~h Hntl vet"
|hn.~'.
ea )l'lt(' of ett'e\t|n.~'tat\ce.~".
L
.
I
her Ill .~ht>rt .~eem-.~.
see
tn
<eqt|et|t"e the itlea was ,
,_
.
,
'
'
<lre.~".~. lhe laughter
tlre.~.~"e<l each tttne in a |hlTt-rent
.
-:.t.
wring
mm
\""l"_IL' -'tl('lteIIet'.~:
tt-f:~1tl:\
W" U I P i
R H Um tr:~ttl-r-
_.~ln-
\\||rt- ||n|>r1|l:\l|le
<lre>.~e~
In the
mnnml Uhnmxi Hui call W inn mmlll M "him"

"Wk. hm four
was lm-l' hmiir' litmus? W (hnicmr
that. came l>etin'e:
eeeentrle
civ.~tt|tne.~'
tn the $('t|\I(-ll-t'l'S
ll-r'\
Sllrlirm-' '\lm-uuiri
mung hi.hea\tl_\'
"NW"! ll <lre._~'>
Ttre.~p~"et'l and the name
was
eliatttge nt
\\'as reps-ateil Intlt>ertnnnat|-l).

(nu-:|=..\'\\ e wrute a letter tn the ll||ll)'\\'mul tratle
our
papers tn ]>l||lt'.\l agatttst the altt-r:n|un_~' ntzule lll
l4l|\ll Hntlget
.~eenar|:> :nt:l~al.~n
gilm-i
l"
tn repntltate the
ilmih llm mmiui hm
(..\lHl-ZR$'l'lt>\\ Ill!
_\-nu
l>a<l t:\.~te
znnl
\ttl-
'l""ll
t"1>llalt|n'att'.
nt-\'er wnrk alone, withunt mte antu;_{ethet'ntht-t. llut.~ and tlialugnes are wurkt-<l nnt in
('nxt|n~'.X
~\\'e
t|es.~'.
_\1>n
(.\t|t|-ins ~\\'hu are the 1lireetur> with wlmm
wnnltl lil\'t' tn wurk?
('n.\|t\l-ix ~\\'e wunltl enjn_\ eull1tlu|t':\titt;{ with
he an exeitin;_'
.\'t:tnle_\' l\'nhriek, Tltat wunltl eertainl_\'
ex|u-t'it-tier. \\'e wunl<l he ltapi-_\' al_~u tn eullzthurate

with l{iel\at<l <__)t|ine antl with 'l'un_\' l{iehar<l.~un *4
Trntnan Ca|>:>tt~ tultl n.~ there were tIH\tt_\ gnnrl things
prein The 1.0:-ml Om. l7inall_\'. it the opportunity
with
in
l'Inrr>pe
work
sentetl itself. we wuulrl like tn
Fr:n1qui.~" Trnllaut anrl .-\lain Rcsnztis .
Jen
Va
LII
GI
ll
tn,
Tm
Ff/mogra/)/)_y
/fy /1Ir1'r/ Brion
,_
;.,
Stanley Donen and Gene Kelly: H's A/ways Fair Wealher, Cyd Charisse.
Hiz;|lwll\
(lurlldun was lmrn
llcny
(luunlwu in lirunklyn May N. l)l(: and

uudiud an ll: Brooklyn Ethical (Iulturc
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rum \\ It .s 1. .|.1 xgfam. _rum I). )
u>_ I944, \lm ;|;'>'!w.-uru.l
m nqfht clubs
vulh (ha: gruup lhv: I(c\'ucr>.'
Adolph (in-cu wan horn l)|.-crnubw 2.
l)l$, in New York, 'l'ugc:h::r lhc?'Yl\u\-.,wl'|Iun for Brmu.lwu')-5 On I/Ju lI1_u-u.
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pm" Lawfmd (-nmun). Mun
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pang-5;,
Mm-.|,,,|| (pm Mt-(;||_

l\lc(jrnckcu llfulv: Ihulinluy,
Ray Mcl):muld (liuhb) '|'u|-m.-r), Ml-I
'lnrmu ll);|nII Y l. Rolwrr Slrickluml (Pun
Lm), _|0;l
cr um Uym: lll), Dnnmld Mcllri|.lc

((I0.n'h ]0h|\.\0n)_ 'lum Du l~um (l'uu|.'h),
Clinton Sundhcrg (Prul. liurnm). Lnnn
'|'lnd;|ll (:30.-of lunyur )_ (Innnic GilC|?rl\l
(Cum). lilIffl An rum (Dean (;l'|.~~
wold). (.|u)l'g|;|.l.cc (I-lu]._]unu (m.-mu

(Mrs. Drcxcl]. llw wng 'lrcm'h L4.
son." sung by June Allyson and ln_~r
l-flu-ford i, by licuy (Ionuh-n. Adulph
(fru-n (lyncs) and Rugur lzdcm (|nu\n_I.
TAKE ME uu"|"1u'r|u-: n,u.|.

<;,\m:= 95 min. Di:-1'1 1,-; Hu.\hy BL~|-l;L--
|,_y_ IF,-,,,lm-11,;
,\f|hu|> |i|-cu] (}\1-U.
Gul\l\\')'n-l\Ia|yur)_ .\AlI|llI'l-0, llurry 'l'u|:'
und. Georg: \Vcllx_ lnml lhu >101-y by
(Q;-|\c Knlly ;m<.l Snlnlcy l)nncn. l'Im/ug(;_0mL_ Fl!
-|u-h"im|,;;A
r.1p,'|\~_~
D_.,., Ccdr. (hhnlm l)ank,| v (:mh_
,_~un_ Ed-gn |;_ \yr;||i,_ ||L.m-Y \y/_ (_;n-L.
,\|-,1.- Adolph l)uu(>ch. |.wm.- mm
nundu
Add 9|, (u-"_ Rug;-r
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lmlumox; Ha.-lcn Rm: l\'4'L
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p,.,,,/,4-,,',,,, ,,,,,,,,L-Z-,;
gr; |)L.chnih,fL M.,.I-N J",,,4|.,~m,.;
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M9 THE BARKLEYS 0|, BKUAI)

\vAy_ H19 min_ D,-,.,.,,.__ (:hm,|m. wa|_
mm ',_mIm,m,L_ Arthur |_-_L_d_ Rug
Ed'__"_
(Mrwcoldw)_n_MuycrL
I)
Y,'il| .
H-'"f
Funk
|_'lh'
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Lf
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L,
'lh ""('_
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"~"*Du-lwyn)_ Edward
I PI".
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Fddfl (;fl';"f.
4* >
Betty (mrrun (Shu-luy
5".
Anmld (jun.-l.urg;||ll.]ulc~ Mu~hi|\ (NM

Goldberg), Richard Lun lMih-.n.| Gilhcmlry). Inn: l)u|;un lSl;|p|-:3 liurkv.-1.
l.\'!'i:\: l(Iumd-:n/Grccn/lidcmI: \'~
ln
_\,,N,._
lsrcixfl
|lZZ;,g::I:;,)._.
-n_L.hni.|m,)_ Du.m._. Cedric Gihhonx
Wmim Ab
um Kmnus. .\Iu1i1: Ilurry Warren. Lrrin: Ira Glcrahwin. :s.1m.- Allxrl Aka.
(flnllllllvs: lrcnl: (for Gingcr Rogcrsl.
vu|1.~> (M). .s/ml 1-Ilerlx: Warren NewUnmhc. Irr{xlm'Iir/u n{u:mgu_r: llugh limwell. Sir!/)1 ;11p':-ruin: lzyllzl jucul1u.\4
Edward Camgn0_ Edwin
no-w
1..-,
clued) UlSriun in Ryan I0 Guldlwrg
FZIIU. llzlhy. lt'.~ Fulc I ho Righl

Girl For Mu.
B_
AnI.: \Vullam.- \Y/oral;-y. (.1/lur mum!!-
Nmalic Klmus ||cmi Jul (_/),.._

ngr./]|ln'r\: Rohun Alum, licrnmx Pun
Ifur 1h- >-qu-n- "Shin- Wilh \'4im:~
-1 IIuIw
.
.f ur "gh
.
\V|
_
|_w.\
On ). U/1/14.:
>111
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(Dinah liurklcy), (ml: Lculm 11;".1~1iH~=>- mm In-rk~ <M=~. u\i--~~w-l"hln|.)l. gal; l{ul\r||\>
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Sumlhcrg (llcrn. Incl (jump-.r (l'u|n-.~l.|
l)ri~cnll): (Inrnl lln-w\_u-r (Gloria /\m~
hnyh W/Hm \\/mu] (('m..)_
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1lm"cr\: Arrhur hucd. Rugcr lzdcm (Mul3
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*>
'~
In-Goldwyn-Mayer). \rvII-Iri": _B--ll!

(Innulcn. Adulph (in-cn_ from then mu~
sicul zuul _Icrn|m- Ruhhimi hullu "l-lune)
Fn.-c." I/InIv_a'r.llI/1,\': llnmld Rmmn
49
(Technicolor). Ilevnr: (jedric Gihhons.

Jack l\lartin Smith. lidwin H. \Xillis.
Jack l). Moore. .\In.n'.-: Leonard Bernl.vrit'.\.' Betty (fomden. Adolph
stein.
Green. Iftlilur: Ralph F. \ll'inters_ .~luI.:
I'rmlncIinu nmu.1_et-r:
Jack Gtrt.-man.
llu;:h lloswell. (_'.um-r.m1.m.- Robert l\larli"- -\I'"'l'! 1llI!t'ItiiIlf.' Jack Aldworth.

(.m/nnn't: llelen Rose. (.uIm- 4'n|I.\II/Itn/It: llenri Jaffa. James Gooch. _\lu'ci.:I
ef]z'rI_\: Vl'arren Newcomhe. (fail: Gene
K'~'ll)' lG"l"')'l- Fmnk Sl''" l(IhlPlBetty Garrett (Brunhild F..\terh-azy). Ann
Milhr (Claire
Huddt-sen), Jule-_\ ]\|unsllin (Ozzie). Vera Ellen (Ivy Smith).

Florence Bates (Mme. Dilyouska). Alice
Pearce (Lucy Shmesler). George Mtader
(lrofes_~or). (Iarol Haney (Dancer in
green). llans Conried (lleadwaiter).
Robert I. Williams. TU"! Dllll". Plrlt-I
(Ih-mi: (Asia-lit l~urm'=mI- I->ri~= ((Ivml"/Gl\'\'"lI N'' \il'k- l\'L' Yfk
'l'\"">lll'~'-* pl'l"l\5-\l"Yil Mil"
(1\"I\'- ll! I" M) ll=@ M115" 5!-"I-'1
l'
0" ilk T\'"\'" (:00!!!
Y"\l'f' I\Wl\Il
"'1
mz SlNGlN'
IN TIIF. RAIN.
nu?
min. I)ire:Inr.t: Gene Kelly. Stanley Do-
IrInlIner: Arthur Freed (Metrtr

nen.
Goldwyn-Mayer). Sn-iluria: Betty (Iomden. Adolph Green. Pbrllagrapby; Hgp
old Rossen (Technicolor). I):-cur: Cedric
Gihhons. Randall Duell. Edwin B. \X/illis'. Jacques Mapes. .\lmit'. Nacio llerh
I._vriu: Arthur
mnn-n. Roger Edens.
Freed. Al Hoffman. Al Goodhart. lietty
Comdtn. Adolph Green. Iirlilur: Adrienne
Fazan.
Gene
C/Y0l'l.I|[:I'ilP/)(.'!'S.
Kelly. Stanley Donen. tfntlun/e.t: \'alter

Plunkett. (.a.tl: Gene Kelly (Don Lockwood). Dehhie Reynolds (Kathy Selden). Jean Hagen (Lina Lamont). Donald
O'Connor (Cosmo Brown). Millard
Mitchell (Simpson). (iyd Charisse (Dancer).Rita Moreno (Zelda Zanders). Douglas Fowley (Roscoe Dexter). Madge
Blake (Dora Hailey). Kathleen Freeman
(Phoebe Dinsmore). Dawn Addams (Teresa). Rohert B. V('illianis (Cop). King
Donovan (Rod). Paul Moxie lBusincssman). Stuart llnlmes (llusine.-sman).
Ra) Twl (E"Pl")"~'"l- Jl""") Tl\"mP'
*9" "ll" \'l"'|' "l "W"-I\lli7\ll Glfl"l-
Del Moore (the speech teacher). Charles

Evans (the irascihle spectator who doesll. apl"' ll he wad M lh" dmlwzuc
writers). The lm includes stockshuts in
black and white lrom T/re 'II1ree Mm!
0"" l*'l'"I-!G""Yll'~ 5"-l"')'<

nizes in them. besides. in addition to
""4"! l!
K'~lll'- L:' T"_"'l" Th" ml: "llf"""

mll_h)' (-"~"*-' l\\'_ll!' "ml l)""l\l U_(-9""
""'_l l)' ll"")' (-""\_d'"- Al-l"ll:l ('"~'"
ll)"l'"l "ll
l-ll'">l"\\1-\Il')~
lil-l
I955 THE BAND W/$;()N. ||z min.
l)irt-l0r.- Vincente Minnelli. Irmlurer\.'
(l\letro~(ioldArthur Freed. Roger Edens
.
\$n]\l;|)e|). .\tlIIiII'III. lietty (.omden.
Adolph Green and \incente Minnelli lor
the on ol the hallet "tn.-| llunt." I/We
Iu_e|-.1/Ihy: llarry Jackson (Technicolor).
l)t'rm'.' Cedric (iihhons. Preston Antes.
Edwin ll. \illis. Keogh Gleason. .\lu\ic
am! lyrirt: lloward l)iet1. Alhert
Schwartz. Roger Edens (lor "'Girl
_
llunt"). lialilur: Alhert Akst. .-|:>!.: Jerry

Thorps. (Ir/lnr musull-mls: llenri jalla.
Robert Browcr. l.0sIIIIIlt'.t: i\lary Ann
Nyherg. (.'/mrengr.1/1/u-r: Michael Kidd.
(..1\.': Fred Astaire (Tony llunter). (Iyd
Charisse (Gobi (iirard). Oscar Levant
(Lester Marlon). Nanttte l~'uhw)' (Lil!
Marton), Jack liuchanan (Jeffrey (Iordo\a).James Mitchell (Paul |(lyrdl.Rol1<
ert Gist (llal lienton). Roy Engel (Rcporter). Steve Forrest (Man in the
"l")~ D-'ll" l:"'l"l lA'~"l'~""'l'
Jimmy Thompson (jimmy). Stuart
llolntes (Old husinessman). l)el Moore
(Tony llunters servant). llerhert Vigran
llnterlocutor in the train). .|"l" l-"l""
and Ava Gardner playing tl\t'tnsel\'t.s.

(1)11 (ll11\I'i\L' l
""\'*\ll)' ll"l"l"~l l)' l"-ll
Adams.
l)5i IT'S AL\YAYS FAIR WEA'l'll-
mz min. Direrll/r.\: Gtne Kelly.

Stanley Donen. I'rm///cur: Arthur Freed
lMetro-Goldwyn-l\layer). .\reu.1riu: Betty
(Iomden. Adolph Green. I/Jnlogrup/J):
Robert lironntr (Eastmancolor-(Iinv. maSwn-1. Decor: Cedric Gibbons. Arthur
I-lit.
L<m-n:=-n- Edwin It Willi H-uh ll-mt

Illllilf-' Allnlfe lll'\'il\- l<.\'"\>' mil) (:"Iden. Adolph Green. Iitlilnr: Adrienne
.-l.\sI.: Al Jennings.
(III-\lIII!Il"-'
Fazan.
llelen
(.Imrt-ngnl/J/u~rs: Gene
Ct"/-' G'-'"(-' Kc"!
Riley). C-d Charisse (Javkiv L~ii:hRose.
Kell)~ 5l"l)
(Tu!
l)"""-
ton). l)an Dailey ll)""bli" ll1'll'~'"""l~

lhlures Gray <l\l=d-Iim- Br:-d\"illeL
l\ll*'l"l Kidd (Anllie Valenlint). Jay (L
l:|iPl"-" lChi1"l" 7'- (:"""*"l- D1"'ll
ll"\"> (Tim). l'l'l l-'~\'(-l>- I\l'~K G'-")'Millllic B|k'~'- H='l Mi""~'l- 5"-"' Milclh
ell. Paul Moxie. Frank Richards. Lou
l.uhin. I.1rir1: (Previn/(iomdltll/Gl'I='!"l=
March. March (G. Kelli. D- l)ll()- l\lKidd) Once llon a Time (G.K..
Ms
l).D.. M.K.) lfahy You Kfli
0"! 5llll"\'='"'> G)'"\ ll~- l-"hi" and
chorus) - The Time lor Parting lG'K-l)-D M-K<>lll\1l Dill"-\l(-' (G-Kn D~D-M.K.) Situation \\lise (l).l)) l l-ilsl
Myself (G.K.) - Thanks a Lot. hut No
Tllanks.
19514 AllNT||-j MAME, 143 min. I)irermr: Morton Da Costa. PI"I(lIItt'I'1~'
Rohert Fryer. Laurence (Iarr (Warner
Bm_._)_ _Y.-p;,.|ri1,,- B1,-1;; (jmm_len_ Adolph
(3;-.1-n {mm [hg tim-y by Patrick Dgnnig
"ml ll-' Pl")' ll? .l'~'"': I-"'""' and
Robert Ii. Lee. llmmgr.1pb_i'.- Harry
5"-idling
('|1.hn;.-o|,|- . T-ymi,-am)_
I).-enr: Malcolm litrt. George James
Hopkins. .)lmit': Bronislau Kaper. lirIiI-
"'5 WlllliI"\
7-illll'~F-
-41"-~'
D9" Pll"-
(,u.\IIIn|e.t: ()rry Kelly. (.-It/: Rosalind

Russell (Auntie Manic). Forrest Tucker
(Beauregard liurnsldt-)._ (.oral Browne

l\'t'l".l (.harles). bred (.l;\|l< (Mr. nnhcock). Roger Smith (Patrick Dennis).
Patric .'Knowles (Lindsay \Voolsey).
,
Peggy (ass (Agnes Gooth). Jan H.\ndzlik (liarticlt liennis as a
Joaiin
llarnes (Gloria llpstm). mppn Scott (Pe<
gten Ryan). l.ee Patrick (Mrs. llpsnn).
\'illard Waterman (Mr. lipson). Robin
llughes (Brian ()liannionJ. Connie Gilchrist (Norah Muldoon). Yulsi Shimoda
(ltn). Brook Byron (Sally Cato). Carol
\'eazit' (.\lr~. |iu!'t_\it.lL'). lltnry l-Zrandon lAcacius |:\g(.). Margaret Dztmont.

|1|t)(,(y BELLS AR]; R|N(_;|NG_
m;n_ |),',-1.-;,,,_. \v;n,_-..m._. M;nm.||;_ [1,--,.
Arthur
,1,-L,,_.
|;ru_,d
(ML.u."G|d.\._
Mi.L.n_ \.l.,h.,~_. Hun. (:mdL,_ Aduiph

(;m-n {mm mt ||\u\iy_';|] "|;._-||. an Ring.
inn" .llu.tir hi Jule Sty-ne. Bonk am!
In.-H by Hm (:mdcn and I\d"|P|
Grutn |:l,,,,,,L;,._,/,/,._. Mum Krmncr

(;;nL.|m|.0p,,4 .m._.
(murmnlm
George \V. l)a\is. Preston Antes. llenry
Kcngh (;|L.;m,n_ E,1,',,,,_. ,\dm.nm.

|:uzL. _.|,__. \yi||ium M'_.Gm.n._ (U/0,.
~,,,,J,,[,_. (:hm.|,_., |:_ ||.m,_.d(,rn_
ciul e!]et'!.t: A. Arnold (iillt:.\piu_ Le, L...
mum; (_',,.,,,.,_. \y/inc, |.y|"|._
t.'/uwmgrup/n-r: Charles O'Curran. Casi:
_Iudy Holliday (lilla Peterson). Dean
Martin (Jcllrey Moss). Frtd (Ilark (Larry
(;m,_-._
ti.
Hastings). Eddie |=n,~ Jr. lJ.()tto Prnntl).

Stapleton (Sue). Ruth Storey
(Git-\'nne)_ l)nrr (jlurk (]n\|\c(tOf
|;;,m.-,)_ prank (;,,,_.|,;n (|<||,k,_- 14.
mn)_ Ralph Rnhent (Fmm-i5), \'a|i-i;|
Alltn (Olga). Steven Peck (ram gangster). Bernie \w.n-1 (Doctor Joe Kitchell).
Nancy Walters (Actress). Gerry Mulligan (Ella's escort). Oliver lllake (l.udwig Smiling). Richard Collier (Man in
the street). Frank Richards (Man in the
street). Joe McTurk (Man in the street).
Lenny Bremnten (Man in the Slttletl.
Stuart ()lrl\I.'\ (Old man in the park).
Hal Linden ("Midas"), Jacqueline Green.
Harhara Hines. June Kirby. Suzanne
Antes. Sandy \Varner. Karen Scott. Susan
Avery (Seven girls at the party at Hastings'). l._\'rirt: I.\I_vut-/(.'0uulen/Green):
()\-erture (chorus) It's a Perfect Rein
tionship (J. Holliday) Do It Yoursell (D. Martin) lt's a Simple Little
Systtni (Ii. Foy. chorus) Better than
a Dream (J.H.. D.M.) l Met a Girl
(D.M.. chorus) Just in Time (D.M..
J.ll.. chorus) The Party's Over (J.l'l..
chorus) The Midas Touch (H. Linden. chorus) Finale (chorus).
1964 WHAT A WAY To Go In
m;n_ D;,..,,,,,._. J Lu. 1-|mmPwn_ pm.
,],,,(.r_. Anhm. p_ Jacob. 410, c,_.mun._
Fox). Srnurin: Betty Comden. Adolph
G,-n [mm mu 519;) by Gwcn 1).-i_
p/,,,,,,g,,,p],)._- La," ghammy [)e|_u,_-.
Jean
Com, (:;m_.maM_.0P.)_ l)",,,; lad M".

tin Smith. Ted Haworlh. Walter M.
5.-,"_ gman A4 R.-5 .\|u;i;_- N|;l()n
Riddm Jr,-U_. Be"). cnmdL.n_ Adolph
Green, Jule Styne. liililnr; Mariorie
_
Gum.
(_"],,,,-,.,,l_,,,,p/,,-,_.
|:"w|,_.|._
|(L.||y_
(.'usI1m/es: Edith Head. .-lnI.: Fred R.

S;mI0n_ (JUL. Shirley Ma-Lain. {Lmr
MIL Paul Ncwman (Larry Him)_ Rm."
tn Mkdmm (Rod And_rwn)_ Dm
Mum Leonard Cm_h_),,_ Gum Mm.
ROM" Cunuuin (Dr

L(hdgar
.
'
'
um ',
Stellainsnn). Dick
ljlgrrl
U.
llvpuh
van
,_
Dyke
Kk"Rll'l"5l (','Mllm_'7r
'='"=*"" """"" l_M'~- """~ 1""

N"" lT"'~"l""l- Hr l-0'-'5' ml
""l-
Mi'l'~"~
M"*' lR""~)-
W31"
Vernon (Policeman). Jane Wald (P0l

lv). Lenny Kent (Hollywood lawyer).
Shooting title: II.r/rt-|.om'14.
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munndulph
D.n\~.
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hull}
ind
lu
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nluu
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The D|f9C|Or and His
Sn"
11}
triist tltat tht- ittllnwing accutiiit of ltl_\' ('ll\'<)ltlllt'l
witlt :\IIrt-(I Hitcltcitck will not iliszipitttiiit his wilili-st
I
partisaiis. 'lIii~_\ ina_\' acciisc IIIL cit hi-ing \ltl\\'tllIl1_\' of

the pri\~ilt-go til cuiiliritiing all their insiglits. Ct-rtainl_\'. \\'ltll'(' I ain in ilititht. I \\'tIlll(l itrct'<'r tit ;;i\"illt('Ill lllt In-iii-lit of tltat ilunht. I lZtltlNI\ sa_\' that tht~
\'i>tIlllIlIL'll i-iirtsitf Sclircr. .~\strtii:. l{i\"t-ttc aitil 'lriilIain ha\'t~ (llll\l'l_\' lIlll\IllCL'll llll HI .-\lfrt~iI Hitt'lit'uck's
tla\\'lt*ss grunts. |>articiilarl_t' iti his .\ini-rirati \\lll'l(_
Illll tht-_\ have at least pvrsiiziilcil inc ti iitii-stiitii
lIl_\ |>I('\lt>tl>' skqiticisiti. Citiist-i|iii-iitl_\'. I can rt-piirt
that I Il[7]lT<l2|tlllL(l tll_\' assigiiiiiciit in guuil iaith aiiil zi
tHIl.\ll"IlClI\t' spirit l_\' \l>ttS&ILl\lIUll.\l_\ assiiiiiiitg the
puint (II \'I\'\\' inust I;i\'<irahlt- tit the <lll'(\iUl' anil l>_\'
insisting; Ull his iwciigiiiziiig fur liinisoli aitil h_\ liiiiist-ll ('\'('l')' last int>rst~l iii int*aniit;.{ l:l'\'tIt'I1 critics hail
assigiti-il to his tilins. .\l(>l'l'tl\'\'t', I \\'ll\Il(l ha\'i- ltt~t~n
ilt-Iiglttt-il ii ltis atiswi~r;~ hail viiiiliczitril ltis cltaniitiitits
antl il tho rt-st-r\':iti<iiis I hail fitriitulalcil aliunt such
works as Rn/it, Tlir Iiii'uiliiii' (iisr aiiil I ('iHi_[i.\'.t hail
lI(l'l1 rcthtci-(I to i'nhltlt'.
H,
.
guing .-\ll_\ fiirthcr, lItI\\'t'\'\t_ I llIl>]I4t$l' Ml
Hi-titre
.
,
.
..
\Tlllt1tl axiniits. \\'l'lILlI the Ilitclictwkiziits itt:i_\' .\t'4Itlt as
tl('IL_\'.\' antl tiitilignilit-il aliliis-A
A
I will ltcgin with an cinltarr:tssiit;1l_\- |>t~r.~i>ii:il ;tm-cin

mo I mmklul Twin
INN Um?
T, LI-"ll, 1:,--A-_ ;h(,m- in ~hi]\ 31;",-]m|| i5 Sm,"
almiit tit tli(' on the stairway, iii the lt:it:k;.{rittiitiI_ whilr

Betti Davis sits iiiiniohilc iii the I1II(gI'lt\lllll 'I'ht'
lixril gaze nf the ('ZlllIkI'Z\ st-i-ttti-il tu IIN to ltc Iltl(lII
thr rcinark
~llll'(l
(iiturt-n\'t-r. II l I'('lll('l|Il)tI cnrrt-ctl\'.
'
.
.
ranic trnni l)-nis .\Iariun) In" the fact that iit the
'
-_
uttirsc (ll his iiiu\cittt'iit the actur iiiu\'t~il ntit of tht*
.
L. '.
I.
:i lll\l(' Iurtlit-r
llll of tisiitii anil thcii t2\l'Il(' in agaiit
..
.
a\\a_\. \\l'lll(' thc lcns \(l('lllllll'(l suiiii-linw with
llt-tic l)a\'is' Il'll[ll2\l.(\llllII_\ (llll nut ilcign ti lulhm him
.
_|
"il m 1 4* I
he rm
A emu
wn
hm MIMIUII In Inc imiam \\--"lir' h"_"
laii;_'ti:it.{t~ is l7rt~itclt_ anil I lX])l;\Illt(l lll_\' llll('l']>l'(lZltimi tn hint. \\'yIt~r sot-itii-il :isti>iiislit-il. Ilv iitsistcil
"li'
ll" ll l"" "\'l'."lhl"l l"ll*' -l"l'l." with "" l"ll'

l"'l\l l""'"ll"'ll""< -'\<" I-"r "IY *'r"ll l"'l"1 =\l'""l
-\l""-"l"ll'<" l*'l'""l""" I""" Ill ll"ll "I "I"I""~ ')'l""
"xllll""l Ill" ~"I*'lll '3'-""7 -\ll'-illilll ll I """l"
kg ml ll lll"ll' ll"ll"!~3 ~"llr-ii Ill- ""llI'*"'~' l""
"'ml 1' l""ll" I" l"' -""l'~"ll""'~(l ft" Ill l=\>'l Il\\'
scrititils iii Iltt scuiit-.
Tltc ziiii-rilittr was tun t'iinin' tit igiiui't- t-\<-n tliniigli
I
rt-purtt-il it itt l.<- Filin
tlt<- jukc was mi Hit.
<l'.\riatit-" tRmiiiiii Iluliiliiyt iii /fvriiii Friiiig-iii'.\ unilcr
tht- ciillt-ctirr sigiiiittiro til tho .\Iinutaitr anil ll('lll nt_\'
gritiiitil as iar as nt_\' initial aiiaI_\'sis was cutit"i~riic<I.
.\|_\' caiiilitr was rt-wztrilcil with an Ifltlllk lrttcr almiit
critics iii .\'|iaiiisIi iiitis front suiiic sl_\' t_t'pc rvtttiiitlittg
IIK of the .\liititt:iiir'.~: note which I was iitrceil to ig
52
iiitrc in t>t'(l('l' lll cttittiiiiic to ziscrilio \t> \\yI('r acstltciic

riilciilatiitiis. a l1_\]1tIll\(i that ht- Iiiinst-ll lt2\(l il0
ll]l>llSl1('(l.
ltavc \l'I'Ill('tl the irtttlt of this i~<lif_\-ing ~llIl_\' mi

.~c\'t'r:iI ntht-r itcciisiitiis. 'l'Iit~rt- :n'i-_ 4ICk'Z|.\'I1ll1l\ll_\, gum]
tlirvvlurs. likv Rt-ii Cli-iiti-iit or l.att\iail:i_ whit proIvss a |>i't-t'isi- Z\('.\'lll('lIt' citiisciittisiit-ss aitil 1\t'Lt.']I\ a
ilisrtissiuii on this It-\'tl, ltiit ittust of llltII' t'lIll(i|_{\t(.\'
rt-act lll at-stlit-tic aiial_\'sis with an zitiitnllv raiigiiig
iruiti l\>'lt>lll.\llltt(|ll IIIIITIIZIIIIIIL _\liti't~it\'i~r_thi-asiunI>l'llII('lI\ is ]ti-it't-ctI_\ .~iiici-i'i- aiiil vitiit|tii-lti-iisiltlt-. .\s
for tltc irrit:iiiuii_ this Ill-It'll s]ti'iii;;.~ front an iii~tiiwtin rt~sist:iiict~ to tht- ilisinantliitg iii a itii-cltaiiisitt
\\'Il<|st |inrititsi- is tn rrt-att~ ait illnsiutt. anil <inl_\
iiit-iliucritii-s gain. in <~lTi'ct_ t'i'<tin itt:ilt'iiitctii>itiii;_' int-~
rliztiiisiits. 'I'hi- ilirtctitr's irritaiiiiit sitriitgs also fritin
his i'i-st~iitiiii~itt at hi~in;_' |tlai'i~ll\_\' ll"!
\'ill;i;_'t- ltlllll aiiil salintagc tIl_\ ili~ltat<- itii I.iiiliil"I''
.~\n
ls
nut
trroiiiq.
is
say
ltiI
huw ran
,. I
'>
-'
L
v~.
.
IN"
ll . ,"l I "1 \ "ll I- ~
r""'-"l
\\'l'lLl'l' (iiistavr Lulivn ltail prt-st-titt-il his li\Ill1\Il\ cunttiiuiitary (Ill (iiiiiIi1'ri .lIiiri|i with a \\'UI"(l iii irititit"
I
ziiliiitratiuit for the
]tl'Uf('S$(I1' s
utiitliiilt thin
that I.\llll
Him i)_m'\Nl
.h'\
.d
ll"
l"'g
iinagiiiati<iti.' .\liist wi-
\<\lPr_\
is Ulll_\I an
inttiniu
{ml uh
In M 5 mI.M
(IUHIIHIW "Inf," IS nuinily mnunmtw n""l"'

A-\> :i ntattcr itf fact, this :ipp:it'i~ii\ miitrzitlictiitii
.
ll('l\\'l('tI tltc critii: i|l\4l thr aiithitr sltniilil not ll(lIllIl('
.
,
ns. It is in the natiiral l>l'(llI' itf tlinigs, lmth stilt.
](Cll\'(l\ anil Ull|('Ll1\'ll\'.

.
.
' . .
'
.' .
.
('\'(I\ with
.\ltlI_]('Cll\\'I\_ ltvcaiisc artistic izrczitimi
.
.
.
'
is (-sst-ntialI\'
the most iiitt-lli-cttial l('lII]7(t|llILl\l$
'
f
_,
.
__
_
.,
._ Iv
In ,m mi lm,uh\ ' It L A m'n_ur_" (nub O

attain and iiiatt-rials to miiiittt-r. ()l>_tccti\'1-Iy, Itccatisc
a work til art i-scatti-s its crvatur anil ltyiizissi-s his cun>tIIl\l.\' iiitctttinns, in iliruzt iirupurtiuii to its i|n:ilit_\'.
Thv Iitiinilatiitii itl this ithjt-t'ti\'it\' alsu I'(.\'l4l('~ in the
U, nu. (.x."| __ ;,m],pr(-_
1,___\.|,],g.\. Hf ii. ..m;(,"
dm___. "M n.|1}. (nut
nrq
-i;||,|k. 4 U, which U,
hut st'ts liintscll tit crystallize, to I>I'll(l' tho sociological fnrt'i~s aiiil Iltr It-cliiiical citiiilitiitiis into which
he is thrttst. This is itzirticiilztrly ll'Ill itt tltv .\ini~rican
t'llttlllI\ in which _\'itn ultt-it liiiil iiiiasi-aiiitiiyiiiitits SUCcusses \\'lii>s\- tttl'l'Il l('Il\'(l>'. nut nit tho ilircctnr, htit
llll tht- iiruiliictiuii s_\'stt-iii. lhit ait ultji-cti\'0 criticism.
iiii-tlt<ulii~all_\' igituriiig "iitti~iitiuits" is as ziititlirziltlc ti
tht- niitst pt-rsitiial wurk iiiizigiiiitltlv. likc :t in-i-in ur a
|>I\"ltlI'l', fur (X2|llt|ll(,
|lI'>tilIThis (Inns nut int-an that kiiitwin;_' illt/llI!'.\
all_\'. or what tht-_\' .~:i_\' almnt tltt-itist*I\'t's aiiil lIll'Il'
\\'4tll{. l\\2|_\ tint i'Iaril_\' tht- critic's cuitci-iitiuti. antl this
is pritvi-ii hy recently tapul intt-r\'ic\\'s tliai wi~ l1{\\C
ptiltlisltvil. 'IIit~st- ci>iitiilt~iict-s, llll thc cuiitrai'_\'. artlllltIlLl_\' prociuiis.
lllll
tltt-_\'
are not on the same plane
;-o
?"?*\*
@,,~w,/
The Secret
H
Agent (I936): John Gielgud, Peter Lorre. Maugham, not Conrad.

The Lady Vanishes (1938): Basil Redford, Michael
Redgrave,
Margarel Lockwood, Dame

May Whiliy. Why didn! the lady send a Oelegram?
h
I-A
[K
1
\.|
HF!
|||\
ix).
lhv
PH"
mu
miMich
r\\":u\
\\-'
I-\\\
|\-i\\\1.
Hr
Ur
\"
;\
|'\'~"\"
\hvi\
A \\n~
-1
-\_
|,-
\\.|\
zm
\l:u\<
S3
y
:tm <I1.~ctt.~>ttt;;; nr, n \utt \\tII. tht-\
n-tt~tittttt :1 ]|t't~-\"|'itit":tl, ttttrt-Itut-tI tI4r\lllllt'ltli\II1|lI_ ztn-I
thv rritir ~tiII t"t~t:tin~ tItc' III|rt't\ nf itttt-t-|>r<-tzttinn.
'|'htt~. \\ht-n \\'_\It~t' tnIIt~.
I
tItntt_4ht tn m_\ ~<~II that tht~ lI:t\\'~ in thttt|:trItIt~ \\'tt't- tt~t'fttI uttI_\ tn _-_-nntI ~t'ttI|tn|'~ ;ttt1I th:tt
:|~ th<- t~t'tt|t't.~tn
\\':t~1-t'Iitt|\- i|nt|u|'t:t|tt't~ th:tt thr czttm-t':|'~ lt\it_\ \\;t~

i|n:\_'im-II tn cntttv nttl nf zt trt'Ittttt:tI t"ntttitt,;<-ttt'_\. Iitn
th<- t'nIIn\\ing <I;t_\ \\h(-u I ~:t\\ \\'_\It-t' :tj4:tin. it \\;t~ h<\\'I1nt't~tttt'ttt-nt't
<|tt:tIit_\ |rI lItt' I1:tt'I\j;tntt|ttI 1tI1t-~t;tit'\\':t_\ \\It\-fr .\I;tt"
~h:|II i\ tI\'iu;_'> h:uI In-('tt :t~I\t*tI nt 4}t'<~j4;; 'I'nI:ttttI in
nrtlt-r tn t'r<-:tt<- zm um-:t~_\ It-t-Iittjq in thv ~]-tt';:ttnr I>_\
tht- int|>n-ri.~inn nt' thr :tt'tintt'.~ t-.~.~t-nti:tI ||||IIlI. Itt thi~
it
t'nn'.t-.\t. \it'ttt:tII_\ tht- <-|ttirt- hhtt \\':t~ ~hnt in tlt-t-It

t'nttt~. l__luitt- ]>|>,~~tIII_\. tht- ~01-I|ll'~\ nut] tht- <Ii~:t]>|w:tr
:ttt\"t~ h:ttI tho ~;ttm~ fttuctintt: tn \':t|ttnt|II:|gt' th<- .~ttI>
~tittttinn nf tho <InnI|I<~ Int" tIu- :tctnr. $im|>I_\ in thv
t":t~t- nt tItt~ \t|IItIl.~~_ tI1t-tlirt-rtnr \\':t~ rntt_~rintt~ nt' thv
t-I'll-\'t ztml tItt- mt-:ttt.~. \\'hi\'h ~ttl'l'|rt*~ tn t~I<~\':ttt' tnzm-ri:tI
\t-r\'ittttI<- tn thr tIig4t\it_\' Hf :tt'li~tic \\'itttI|':tII. L'ttIt-.~.~_
||f|>IlI\ltllII_\ Jt.~InllI\I]t'II that ~11 ttt:ut_\ tltiug-~ t'nuItI hr
_~t-t-tt in thi~ ttttl'nttuu:ttt> ~<-t|tu-ttn-_ Itt- 1It't'1|tttt'tI it up
tlttring thv mg-Itt :uuI_ \\'ht-tt Itt- \\nI\r lt]> tIlr In-\t ntnrn
iug. \\:t.~ tt'Il'1I~|I\'l'|I\t'I\' ]Ill'\l]I|(Il'4I thzu h<- Itzul tInm~
tt nu l|t1t~]>n~\~_ 11 |\ t|I ltn t"t~:tI tt|IlIl||'[;|||\"~ H, [1-|'y]|~ nt

\\'\It~r'~ _4Int'\ :ttuI th<- t\t'<-IIt*ttn- nf /'/In /_tl//I I 7| nu".
Ivttt
ztttt
tttnrv |v:trti:tI tn thi~ t-\t-I;tn;ttinn !h:tn tn tn}
--t"i;4in:tI itttt-rtm-t:ttintt.
tttztlw tht- |nn~_;--1:1; nI>~t-t'\:t1tntt~ nt nrtlt-r tn rt
I
:t~~ttr- ;tn|I <-ttrnt\r:tg;<- tItu~t' \\hn, in thi~ ~;tntv I~~u<- n|'
tlu ('iu.'lIm t;:."_ I Irtt-In-t I"54 I. \\iII rt:--Iit

\IIr\'tI IIItrItt'nrI\ \\itIt |tt<>t't~ t:tIt-ttt IIIZHI i~ i|tt|\IiwI in
um :tI~n ]-wft-\'tI_\ rnn~t'intt~ nf nnt
thi_~ itttt-nit-\\.
('11/I|t'I'.\'
nf '/ 11,- /.tn/_\' I"'"I.~'/It'.\' tn

rt-ttI1I gt-t I-:t~t hi~ tI<-fmt~t~~. .\I\n th<rt-I:tti\t-I_\ ~t-t'in|t.~ |t:ttttn~ wt t|1_\ tltu-~tit|n~ tttttlv-l|I\twII_\
h:uI IIttIt' itt cnntmnn \\ith \\'h:tt h<- \\:t~ :tt't"tt~tntttt-tI tn
in .\|t1t~rit';tn int\'l'\'it-\\~_ zttttl tht- ~tt|IrI<-It t'It:utgt- in
t't'itit':\I cIim;tt<- n|:t_\ h:t\'t- u]-wt hint. I-I-~itIt~~ I('|lllIl'
~:|_\' th:tt hi~ :m~\\'t-t'\ ;tn_\\\'I1~-t't- to-tttI |tt||t't' tn |n:|~I\
th:nt tn rt-\t-:tI. ;ttt~I hi~ ]tt'H\I\IHII f--t' ~it':ti;Ittt':\rt~~I
jt-~ti||_4 i~ f:t||tiIi:|r t'ttntt_4-It tn It>|ttI t'rt'<I<-ttt~t- tn thi~
I1Zl\IIIf ]>tt~Itr|I tItt- [ml-~m'
:11-int \\Itt-rt-
itttt~rtnt~t:t:int1.
I-ttl nn\\' tIt:tt
It:t\'t-|:ti~t-tI1-wrt
t--t.~~ihI<~
nl-jwtit-tt
\\ith IIitcIt\"nrI\_ I might \\'tII

ttttt 1-t-t'~ntt:tII_\ \'\lII\'ill\'l'lI nf t|t_\ intt~t=
In\'utnr'~ ~itm-rit_\_ nut] I <In nnt ~tt~]>t-rt int" :t tttntnrttt
thztt ht itttt-tttttt<>4I:ttt-1I ttt_\' |ttt'~tintt~ in nrtI<-r that I
ittt<t'\'it-\\~
:tg4:\in.~t m_\
;uItI that
ttti_4ht jtuIg4t- Iti~ \\'nrI<
I<~.~.~
.~t'\'t-n-I_\.
thr tI<>\\'<-r |tt:trI<<*t in \'it'<-I

'I'Iu-_\' \\'t-t't- ~Itnnting :t ~t-tttIIt~. (':\ry Hramt \\';t.~ tI;_-Ittin_-4
with t\\'n nr tI|rm- |"ttt'lt:\tt~ :tutI rnIIi||j4 mt thr grnttutl
\\'t~ tut-t tht- IIr~t tItttt'i\1
I
tm
Hill,
um
$_\'It
Illur
"Till:
lr:uIiI
inn:
('ritiv.~
Ilvlmirt
lI(~:(.l.l
\\'h:tz
t\ust
stories
_
-1":
The Thirty-Sleps (1935): Robert Donal, Peggy Ashcroft, John Laurie. More vinioge British period.
54
I'0II0\\-(1
of the
"'Iginal|
1
\\IIIIII II|III- IIII\'IIl'll\'I\ IIIII IIIII II;I\IIllII|I1'|'\'('|IlIIIIII-1'IIIHII I\\II'I~. ~I'iIII-II III III~ _-II-IIII*II:I|I'.
III QJl\'(' III! IIIIIII'I-~~II-II III IIIIIII_-4 |IrIIIIIj4II II~|_\ IIIIIIIIII
:IIIII III IIIII~III_; ;IIIIIIII \I||IIl'IIIII|Q \IIIII]IIl'IlI\ IIIIII-I:-III
II]l' |~\I\IilIII\. IlI\\l\I'I'_ \\I-I'I- II;IIIIIIIII_-4 III\' ~\'\Il\'. :III-I
"
IIIIII~III \\ 'll~ l\|IIi\IIIIIIQ \II-I- IIIIIII~I- IIIIIII
(.II\ <II.III1
II-rIII|II|III-~ Ill III~ II:IIII|I'I'~ \\lIII :IIIIIIII':II>II- |lI'\'\'I\IlI||.
III! ~I-I|III~III'I- \\:I~ I"I-|II~:III-II IIII'I-I- III" IIIIII IIIIIr~ III III\
|II'I~~I'III'I- In-IIIl'I~ III-IIIj4 _iI1IIf4I~II .~IIII~f:II'1III_\. :IflI-r \\IIiI'II
QIIIIII III>III'. IIllI'IIIf_{
.'
'
IIll'\ \\'r|I- III
'I
IIII- fIIIIII\\III_-4 ~I~I|III-II\"I'
.~III>I>I
IIHII
'I"II"I I'I"I- \I"I
IIII"I"""'I I"'I"I
\'I""'I"II.\~
I|IllrIIll|' IIIIIII' III IIII- ~I-\'I-I':II II:I_\~ I:IlI-|' III :I I|lIIl'I I"III'III-I"
"I III I"|'II" "I I5""""- \\ II? I"II" "'"'I" "III
--I ||Il'~l I\\4> lI|Il'l'\'ll'\\~ IIIIIIIIIII. III _<I"I*"'1II- 1"'.\ '1'
IIIIrIIIIII Ill'1\\\'('ll \\lI:II \\:I~ III III! III'~I III" I|II~ ~I-nIII-I.
"'"I ""\I\" II "I"" "I III" ""I'I I'M I l"'I
I
-'|IllI IIIIIII-r.~I:IIIII I.Ilf{Il~I1 IIIII |IIIIII'I\ III III:III:I_-4v \\llIIIIIII :III IllI(|'Ill'lIY'l'. I |I:III IIII- _;-IIIII IIIrIIIIII- III IIIIII III
.*)I\I'III Ii:II|IIrIII_ l"|'I-III'II ~I'I'I|II;_'I'II I\iIII IIII- In-II,
IlI|>|'\' III:III :I I:IIIII|II| III'I|_\\'(lI|lI|IL II lI\I'.~l.~I1IlI \'|l|II|II'
'
_.
'
'
IJ|I\\' II1l~ IIII]-I Mum-\
In Ih'mI\ hw U'l'h'|I|\
'\\'IIIII'
III
IIII~~IlI~I'III~:
I
Z|III|lI\llI ill IIIIIYK
I\'~\
'
"' ' : -~ _\IIII IIII I IIIII
\lIIl\I'~ III ~l|IIllI IIIIIIIIIIII
:
II ': IIIIIIIIIIII
-II-:IIIII'.
"
__
.\II~\\I-I":
\IlII'Il~ I Il|I
.
..
h H] II.
:IIII IIII(I'('~l\'1I IIIII .~II IlIIII'
I. ..
.
IIIlI"
:I~ III IIII- IIII-:III~ III IlIIIH IIII-III,
I
III I\'I'IIr II'mIlII."I- in IlI'|]]~

I-I III\' II-rIIIIIr:II iIII|II'II\'i.~:IIiIIII~ lII:II _'_';I\I* IIII' IIIIII II~
I-I'i_-iII:IIiI_\', TIN IIIIII I2|I\\~ II~, lIII\\' IIIIIrI-. IIIIII IIII' II\\'I-II II
IHII
]IIII_;
:II~I~IIIIIII
IIIIII~ \\lII\lll1I I;II~II_\IIIg IhI~ {|I'\"IllI(\'llIl'l III :III \IIII-I

I\'Z\Il I"II\'. IIIII-IIrIII"I\ IIIIII~I~|I III~I.~II~II III:II IIIIII IIII
IIIIII'~ :II"lIIIII ~IIIIIIIII III- ~III~III IIl\'Z\II~l' IIII~ _\III1!'IIJ|II~I
I-:IIIIIIII III I~\III-I'1I'II III III~:II' lIi~ III-i;_-IIIIIII\ :II IIII- III~
IZ|Il\'\' III- ~I-I~~ IIIPIH. IIIII~ IIII- IIII'I'I'IIIr II;III Ill I'II~III'I
III
''
III llII- ;[lHI<' III |IlII'I I~nII'III:I" \\'IIl\ II III .IIIIIIIII
IIII
III-I-:III~IIII
him
;_-I-III-r:II_ III:IIII;4III~ i.~ :I IIIIi~:IIII'I~
~II'iI"I~ I~iIII-III:II-I;;I':IIIIIiI~ I-\I>I'I-~~iIIII. :IIIII Ill II-|II-I:IIIII ~l\'l'I'I\I III III~ IIIIII~ IIII' IIII~ rI~~IrII'IIIIII.
\I ||Ii~ IIIIIIII I IIiII IIIII :III:IIIIIIIII I|,. mm Hi ,,,._
_,,-;I\.i,,;,I ;,,I|";,-\ I, I;,I\i,,_.\. H, ,1. |;,I|;-i.,,,_ ,,|,|,.,_,
.
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The Puradine Case (1947): Ann Todd, Charles Luughlcr

56
Mn:-llulv
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ln r|'::|I|\v ~I||v|||>|mQ I-I--(L, iln
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4'
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pllt_\'ittlt|L's'5 assur~
t-urrt-spniitls tn a east of mintl lutt ttntlnnhtetll_\' it

is also a eertain fnrtn of intelleetttal eantnttllage. Fur
all tltat. l Ili<l nut have the iittprt-ssimi that this p|'eneeupatiutt all'eett-tl nttt tlialugue mnre than marginall_\.
In general. the answers were elear. lirtu antl t"ate_4ntieal. The eireutnstanres were rare when, whethtr tu
eurrett the extessi\'eness of an .ill|r|natintt that was a
little tun seaiulalnus or paratlnxit':tl. or the t|uestiun
was ttartieularly entltarrassing. he ust-<l tltis sort til
eritieal lnnnnr tn rectify something ur to piruuette his
wa_\' uut ni a statement. The general sincerity uf his
answers antl. l even rlare tn say. up tu a certain point.
their niiivet (ii I am not ntisjntlging how much is
lra\'arln an<l huw mtteh paratlux ) was indirectly pru\ell to me hy his reaetiutt tn nue uf my arguments. ;\lwa_\'s pttrsning m_\' initial purpose ui having ltim reengiiize the existenee and the seriousness of a mural
tlieme in his work, I tleeitletl. itt default ui uhtaining
an aekuuwleilgnteut lrum him. to suggest one myself.
l>urrn\\'ing for this tlte perspieacity ul the fanatic
lliteltet>ekians'. Thus. l hatl him notice that one theme
at least reappeared in his major lms that, l1tlt>'r
|>t' its mural and intellectual level. surely went he_\'uutl
the seupe ni simple "sttspen.se" that of tlte itlentitieatiun uf the weak with tlte strung. whether it he in the
guise uf delilterate mural seduction as in Sluulure of t!
/tun/vl where the pltenotnetiun is uuderlinetl h_\* the fact
that the niece antl the uncle have the same name.
whether. as in .S'Irm|5/t'r.\~ on 1| Trtliit. an in<li\itlt|al
suinehuw steals the prntagnuist's mental crime, apprnpriates it lur ltiittself. cnmtnits it antl then emne.s to
ilemantl that the saute he (lune fur him. whether, as in
I ('n|tft'.\x\'. this trztttslt-r ui personality tuls a snrt all
tlieulugical eunlirmatiun in the sacrament of penitence.
the murderer cmtsitleriiu; inure or less ct>nsciuttsl_\' that
tlte euitl'essimi nut nnl_\' hiutls the priest as witness hut
\U|Il('llU\\ justities his acceptance of the guilty rule.
'l'he translatiun ut' such a snhtle argument was not
\'er_\' eas_\'_ Hiteltcuek listenecl tu it with attentiun antl
intensity. \\heu he tinall_\- nutlerstnutl it l saw hint
ti-ueltewl. fur the tirst antl nnl_\' time in the interview.
l_\' alt unhtreseen antl ttttfurt~st-e:tltlt- itlea. l llilll t'uttn<l
the eraek in that llunioruus armnr. lle hruke into a
-leliglttetl smile antl l euultl l'<tllu\\' his traitt of thnttgltt
l>_\' the expressions on his lave as he relleeteil and tlismveretl fur ltimst-lt' with s:\tisl:tetit>it the \t|ltlll'lIIZ|lltIlI
in the ste|t:ttll>.~ ui /\'t'ur ll'imImt' anal Tu (iulrll 1!
Tlticf. lt was the only incmttruvertihle point matle h_\~
llitelteuek's enthusiasts. hut if this theme reall_\' exists
in hi~ wurk he <I\\'t.~' it to them fur ha\'in_-4 lli.~tn\'('l'\tl
it.
lluwever. l tlitl nut l(t(']l the lltlllitll\'r \'e|'_\' lung att<l
the ~tli~t'tlll&l.~|It that he pursnetl was rather severe. /
(it-r|_lt'.\".\". for example. was rejeetetl lot its lack ui l|ttntnr
the e<mietl_\' was not in step with the tlratna.
lle is ltu longer eneltantetl with the players. .\tme
etll_\'
laxter is an excellent actress hut her persnttality is

nut st>eiall_\' trtte tn lit'e itt relatinn tn Cattada. He
wuultl have liketl ;\nita lljurk wlttun he greatly atlmir~
evl in .lli.\1\" .IlIl', httt lllIll_\'\\'Utl(l llllll heen searetl u h_\
lter extra-marital entangletnents. tlngritl llt-rgniati's
llllt|l>lt.~ still lingeretl in the stuthu s |netn<tr_\.|
ln uppusitiutt tn this l retnarl\'etl that lte hatl. however. heltl un tn tlns suhjett. taken lrmn .1 little ktmwtt
lireneh lvuttlevartl pla_\". given tn him iuttr years earlier
If he llltll
l|_\' l.t>uis \'er||euil t"s'ul<l," he eurreetetl).
nut shut it ltefnre. he explained. it was <inl_\' heeanse
\\iarners was airaitl uf tt'lts't>l'sltlttZ there was thus
nothing tttysterintls almut the tlela_\'. (inntl: httt ntust
we nut assume tltat tlte lihns he prntlucetl wtmltl have
a lmhl on his heart? -- Nut at all. nut:tl>l_\' l'mIrr (uprit'urn which. in spite of its failure. hatl heen pritlti]t:tll_\' a ennunereial enterprise. .-\ll of his ellnrts tn s;t\'e
.\l>tItk'lltllI].{ irtun tltis lilm were in vain.
Hitelttt>el\
eumplainetl th:|t heeause ui her fame lngritl Bergman
was no longer Ililllll.
".~\ll the same." l saitl, the
hrilliant set|ttentes', cnntinttnus in time, that enlletl fur
the utmost itt tetltnital experience. in Ru/tr . . . l.et
us talk almut that!" he interruptetl. These continunus scenes were horiug t-iiuuglt later (luring the
ittntttage: there was nothing tn cut l"
However, cnuting hack to I ('on]t'_i.\". l nhtainetl an
important eniteessiutt. \\hen I praised the extreme
teelmieal suhriet_\'. the intettsit_\ in atlsterity, it was not
in unler In tlisplease him. It is true that he applied
himseh here antl that the lm linlls lavur in his ('_\'k'.\
lur these lurmal reasotis. ltt urtler to eltarztelerize this
rigor oi mise en scene it would he ttecessary to etttploy
an epithet t'rum the "elerieal \'ncalutlar_\'." . . . l suggt-stt-(l "_]anset|ist." "\\'hat is _lansenistP" $_\l\'ette
llautlrut explained tn him that the _|attsettists \\'ere the
etteltties ui the Jesuits. He fnutul the eniueirlenee \'er_\"
tlrnll fur he hail stutlietl with Fatlters atul, lur I (mift-.t-.\-. h:|(l been uhligerl to free himself frum his educatiunl l (llll nut tell him l wuultl have thnuglit him.
ne\'ertheless. a ht-.ter stutlettt. .'\t least in tlteulu;.{_\'.
\\'hit"h. then. at least among his .-\meric:tn lilms_ tlitl
he eunsitler tu he the ntost exelttsivt-l_\' entnmereial antl
_/v-II]|ulH|l/ antl .\'uInrthe It-Q, .Unh_\, 0; (_>.R_":,
iu||.\. 'l"lms'e that iuuntl grace in his eyes? .\'/nulme of u
lhmltl aiul Rear ll'im!'u:t'.
\\ie have alrea<l_\' spukett uf the last tine. \\ihat. in
partiettlar. tlnes he like in the lirst? -- the truth. the
sueial antl tls_\tlttbltI(lt1|l realism. in the lranu-\\'url<.
mm"-;||]_\~_ of that tlramatic humur we ha\'e :tlreatl_\' <lened. He was ahle to Z\\'(ll(l the enneessions atul emitlll('l'ClZll "t'aittztsies" that mure ur less Il\'l>\.\'('ll his other
.\tnt-riean iilms.
'l'he interview e:une tn an eml. nut ltt'Litltst' m_\ interluetttur llllll the air nf hee<iu|in;.{ impatient, hut lteeanse
l euultl see nu wa_\' tn luring: the tlehate hack lo the essential. l eunte now tn the iorntal and see|>tular_\ questiutis: is it lrtte that he never lunketl tltrtvugh the eatnTo Cal;-I
58
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II: in his zoniroct.

59
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l
3 pl:\_\'
l>_\
1ikI7urriyn
t (l8ltCli\('
l.:m\-.
3' wzntl tn
$||.t['irimt.
isonf ~:\il
'SCill:t
M which is
rtnnt tilm.
t tho tilm
gm _<;\_\'_ hnt
to r4'1ll:n-\- it,
S(l.>|l'\'ltl!
h Cum-n.
right ni tlw
(g-(1if_',ll
following in tln- linst, nnul/|t'r

rntnittgs :nnl guings in thv tnwns \\ln~nllw nntr<lt~rs wt-rc cntnntittrtl LlI!'ft'>]>lIlIll tn tltv tlillls
nn which tht-_\' wvrc LOIl\llllll('ll.
ll. 'lht-n i<>llnw ITUU attempts tn Hl\lT(l(\ Charlie,
llmlvr thr gnisc of :wci<lt-nts. I \\'0 art: shuwn (nttt-n
s:n\'ing .1 stt-|1 in thr st:|irw:|_\-. n|n-ning the t-\h:\nst of
thv cur untl lnclting thv g:|r:|gt-I. llnt nnv on-tling
L'nclt~ (ihatrlir :nntnnnct~s his tlt-|:|rtmt~. The nmn thtI-<||iu~ wt'n- t'n||n\\ing in tln- li:|sl. thv .~t'tnH<l sits]-t-rt,
Iln-ll as tln-_\ wvrr nlmttt tn ztrrcst him at zm Zlll'lll'lll znnl
<lit-tl, t|'It.\'/It'll /'_\.' I/I1 ['ro[n'II<'r.\" of u /]tHlt.
ll. ('nn\'inct-ll tum nt l'nclt~ Ch:trlit~'s guilt. his
liiwo still l1($ll2|lt'.s tn <lt||ottm't- him. "Ynnr ll1llllllI
wnnltl <lit- if _\-tin tlitl." he s:t_\'s: lllll shv vntrt-:tts hint
(lZ|_\'.sZ
thr
])nlit"L- are
t\n.\'/tn"! wltnsv
lli, etL'.|
.~lll\'
mnws nnl
6510 fnul thr
e_(]\\-.(1|-|-_~st~|l.
e.u,,_, ('|\-n~~;t
at-,.m,n Of hi_
tn tlt-0; he r<-l'nst~s.
I3. The <It>s-sivr for thv in\~t-stigzttimi is clnsml. lmt
\\'ill (lmrlic s|>t:|l\'i' .\'tt'u|nl srt~nt- :n tht' stntinn: thv

i\'\-\\'tni| t':\mil_\' :tu~ut|||\:t|ti<-s tln-ir lll'i\l l'ncl\- (hnrliv
l" 'h\' "ill": ll" \'lllllr"'l \\'1\"| 1" K" ill Z\l.s1|4 (liztrlir
fs""'-* ill \\'illI thrill. Tllr train starts. thr rhiltlrt-n
l\"""l-
l" C"""" l""""-" Cllllrll f"'""
fs"'lliHf_' ntl
with tllvln. :nul as snun as thv trnin |llll\'.~ up
s|>t~t'|l
l"l" l" l'"l' l"' "mi hm ~"l' l"lIs'.4l1'-* 1\"'l il

'l"' ""ll- "Ht. inul is rI'|I_\'/mi l'_\' lli \'IIIHi"L'
H
lw
l- l1\'
Tl'<>lII
thv H]I|I<|.sll\ <llI't'tllllH.

-\\ Cm." -3.
H. l.:\st st-<|t|t~m't-. $t't"1|ittl scrtir in t'rnnt nt' tho
yang]: 1},-.,;\ Church: nnl_\- ('h:n'lit- :nnl _|:n'l< whn :tn- tn lw ntztrrit-tl.
ck an, H" H. knu\\' the truth. lrflblll the (iltnrrlt nnt- ln-:trs the
t'nnt~r:\l t-nlng_\' fur l'nclt- Clinrlir. thv lIl!ll'lil\llII'. lint
sw$$iU|- u. this s:nn0 Church hm-r nn \\'ill rt~\'<-rlrt-t':|t|~ tn thv
inmiug \-m.|.
$1l_'\lIlS of n wc-(l<lin;.{ |n:n'rlt: Clinrliv will l>t~nmn- _|:n"l<'s

sh h_m._, wttv. she will lI(CUllR' :t wntnztn.
am u.
'ln tho tht-inc nf i(l0ntit_\. which l h:|\'t- tlit'ti\"nlt_\ in
Charm, H. l\t~ln~\'|t|g is uncnnscinns hvrc. ntnst currt-s]>ntnl an
nltsrssiutt with [hr nnmher Two. lt is in incl in this
Nl,.m" |';"i|y lnznnn-r that the 'xtr:1urtlin:tr_\' rh_\'th|n nt' tho tihn
i,,"_
l-* \"ll-lll1\lllohm, \~.-H,
ltlt-ntivztl prt-s<~|lt:\tin|t of thc twu Chnrlit-s. twn
be Ding \.|| ; .~t:\'ll's :|t tho Church. twn sccm-s in llll' g:\r:tgt-. two
hm t',-\ \'ts|ts h_\' tllv pnlict-, twn sccttvs ui the Xt'\\'t<nis'
tht~1linin;_' t:|l>lt-. twn nnn<lrr :|ttt-tn|its_ twu .\t'\'H('s
ws whnm tlnnt
zn the stutinn, frnlning thu ntlinn znul. :|l|n\t- ztll this
is lttlllllfllltll. Irm .r|r.\'/*t'rIt\"_ uttt in the \\\-st, th<~
lll'l'l1\li$l.~_ ltn'\\'hirl1
O |". |,,,|i,n-.<itl|t-r in thv |{:|st. who l<'
hnth crnsltt-nl In nlt-ztth,
with
thcnt.
.~t\I't*t
:||n\i|Tr."i"3s'
llK'il'
f:nnil_\'
Fur tho rt-st. nothing pr:-\'t~t1ts ns irntn thinl\ing tltztt
nlhvr sttstu-rt. nn his sitlt-_ hznl innnlt-rt-tl sunw nt'
t:\l\'t'lh<'
Gr:\lt:nn_
thcy sit tlnwlh~st~ witlnws,
\X.]il~\~t~ in hr
ln .\'nlm'inn.\- as in l"uI't'i;/it (]t:':'t'.\*[\t|ii4It'||! thtnnnrnnn
'
s]_'. N 1- npt-ttittg mt
to sn_\ nut
'nIm'imt.v shuws ns i\lici:|. :1 ltigli-sncit-t\' \\'revl\'. with
I1 lit} tlisruptt-<l li_\' nlcnhul, who ltL'tlllllt.< :| sp_\' ln'
Cl\i\l'lll"I|\l.~L of hcr ntnleclnrz-tl love fur llcvlin. llt-r ntis=inn lt-auls her tn tn:\rr_\' the Nazi sp_\' .\'t~li:tsti:n|.
thc |>nliu\'ltt~n. withnnt her realizing it she hns l)('('I1 t'nnnrl unt.
'\ it'tn<l .>\liri:\s hnsl|:n|tl starts tn pnisnn her sln\\l_\'. C:|r_\'
4
tin:tll_\' :|<l|nits his rt-:tl tl-clings for .\lici:\ :m<l

:|rri\'t-s jnst in time tn s:\\'t' hm-r.
ln I'|nlt'r(11/vrirurrt. wlmsv sct-||:\ri<>_|r:t|| llnntzxrclti
tlt-scrilws in tlctnil els<-\\'lt<'rt-. l.:nl_\' Ht~nrit~t\:\ will inlluw the sznnc rnznl as .'\lit'i:\.tl1<- rn:nl which lrznls fmnt
ztlcnhnl tn |mis<m. .-\t't"ttst<mn~tl tn thr t-lift-(ts 1|i:\l\":|ltnl
.-\lit'i:i. ns wt-ll as llt-nrit-tt:|_ tlu nut stlspvct thzn tln-_\
arc living pnisum-tl. :\n<l it is nnl_\' tltr ft-ztr nt' this
pnisniting that is :|l|lt- tn rt-\'t-:tl tn thvnt thr ltnrrnr
ni tht-ir [inst lift-_ llllll t'li':tct- it fnrt~\'t-r, l)tn~ tlnt-s nut
p;\_\ rnnngh :mrntinn_ wht-n spt-nking of l'mIt'r (ti['rit'm'|1_ tn |ht- t';n"t than .\':nn l"lnsk_\' ]>:t_n-<l t'nr tho
mnnlcr that his wife cunmtittml. Ht-nrit-ttn. h:\\in;_'
kill:-tl ht-r l|t1|tlltT to rlt-ft-inl .\i:nnt :n't"n|n|>lisltt-<l in t':wt
,\':nn's tnnrnlt-r. i.t-. the nmrilt-r that Sznn cnnlrl h:|\'<cmtnnittml.
'Ir-tiiu.
It is tho sznnr sitttzttimt in .\'lnu1_:/rt-_s mt
Rnhcrt \\':tll\'<_-r ntt'\-rs tn gut rirl ut' lhv tt-imis ch:nn
|inn's wit'<- fur him in rotnrn for which hv. l:Zll'll_\
tirznifgvr. has ulIl_\' tn l'lll him nt' his t':|lh\-r. :1 stnpill
ultl |n:m. lt is thr sznno i|lt~:\ of |tnlrih-r-t-xt"l1:\t1;1r utillint-tl in !'mIrr ('u['rirui'|1, lint tht-rc ztrv nn Hitclr
cnck mttplt-s withnnt tln- ielvzt ni iluininztti->n. znnl if
_|tt<lith .\|nl<-rsnn. (':\r_\' (innit. Cnttvn. .\l:nl:mn- Kunstunin xnul .\l:n'g:m-| l.ciglnnn tt~rrnrizt- lt'.s|)('Cli\'t'l_\
(irnnt
<1
_|n:m
l~1>|it:ii|tt-
(.\lrs.
<lt-
\\'intt-rt.
_|n:|n
l7nnt:tin~~
1l.inwl:||. T1-rt-sn \\'right 1Clt:|rlit~). lngritl lh-t_'nt:nt

(_\]it~i;|)_ ;m<l ln;_vriiI l(~r:_:||1;\[1 ( ]]m-it-|\;t y Rt-ht-rt
\\:tll\<'r :nnl Fnrlt-_\' lirzntgt-r in .\i/nm_|/'r.\" nu ll '/ruin
zts _lnhn l):\ll znnl l":|rh-_\' lirztngt-r in I\n/H. ut't'\-r ns zt
_slIIl.\l('!' \':\rinnt nn thv :\hju"t nninn uf zt nt:nhn:n| nntl
.\l:\l\'L' nn mist:\l\'t- zthnnt it : llll\'lttutl\' \1tIl
4l('llllIs [hr h(*l'lI\'.~' nf _\'lm||t/t'r.\ on ll 'I'I'<iin as t|tn'4|tti\'1
c:|ll_\ :|s lllI>.~(' nt' l\n/w.
;| (0\\'Z\I'll.
I ('~|1_t't".\'_\~,;tti<lthusc \\ll1)l"Z\lll'\Zllllill\\'l'('lllll4'll\l('s
will tnnl<~rsl:|n<l ,l:tc<|tn~s l{i\'t-ltt-'s 1-.\ct-llt-nt rrilicisln
ni this tihn in (in/iit'r.\". t:tl\'t~s up ;|;4:\in this hzisit" tln-nnn|' (x\ll\Il('Z tln- privst lt-ts hintst-ll hr jmlgt-cl int :i
crint<- hv has nut vnnnnittt-ll. lhtt thv criminxtl .sIl\l'lslIHI
is Htuft ill|lnC(*llt thnn tho ]bll\'.sl lIll'l|ll.~L. tztlwn l_\
snr|>tis\~ whilv .\ll'(\llll;{, he kills in st-lt'~1l\-t't~|ts<-. Thicrinir. then. \\':t,< nut Iiix l>nt tln~ /-rit'.\"I'.~", since tln-
lit-c:|t|st~ nf tln~
shc h:t<l lvwn lung ngn.
\'ictiin was l|l:n'l\'tn:|iling .\nm- l'>:\xtt-r

I-rit<t. whnsv
jl
ti;nn"1'-<~
/i,',;/
fur _lIr,I.-r_ like ,$'Ii'ui|yt-r,\* on u Tmin. tlt-:|l\
with :\ |it-rfcct critnc tltrnnglt mt intt-rtn<~|li:|r_\. l knnn
\'t-r_\' littlr nlmnt I\t'ur ll'imImt', lmt thc .s\ll>j('('l nt' T.
(lilrli tl 'Il|i.'t' tlt-st-r\'t-s tn lw <lt~<t'ril|<-:l in tlvtznl in thztt
it run-\\'s with grt-in ingi-nnit_\' thu tl1rnn- nt i<lt~ntilirzttinn: Cary lirzml is tltocltit-ti nf :1 gznig nt' tl\it~\-t-\
whns<~ ZlCll\'lllt'.s tztkc on an intt-rn:\tinn:tl :n\<l <|n:|sintliriztl stzmtling. wltirlt s:|\'t-s hiln tin-nt living lI||lll\'l't'll
l>_\- thr |)uli\l'.
Then t'nllnw_ nn tho futv tl'.\zm. zi
scrit-s nf rnhht-rit-s which ht-:|r the mark nt' C:n"_\' (Zrnnt.
ni his pride znnl his gl<n'_\'. Tln-_\' itnitznv. in n >ul'l nf
w:|_\'. his h<il<l-u|i tt~cln\iqtn~. X:\tnr:\ll_\' tln- pulirr urt|m\\'tll\'.~.~' :nnl In-c:\n.~o nt' the harm cnust-<l. C:\r_\ (irznit
\I\
-\ . :\u-I 2\\'\'I\r~
'
\I\r \\\\\\;\\<
'
~\~
hr \'.'\\\I\
n~\ \\\:\-;\:u'\
~ r \I\I\\\~\'II
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Iurder (I954): Ray Milland, Grace Kelly. Conscience through collage.

55
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rortain nlt_it~ot~ nr 1-~_\\'ltnln;;it'al olt:\t':wtori.~ti\"~. antl
thtt ~or\'o. at tho <li~t't'otinn nt' tho tmIt't1I', ~ntnotinto~
trntoottvo ~lnoltl and ~nntottnto.~ a~ :nt tn~trntnont
o. Tho rrnno it~olt' |ta.~ ttn .~igttitir:ttwt- nf it~
\\n |'ltn.~ tn tlowrilto llitrltonok a~ "~":i<li.~tit'." |>lt
nt .t~ .t 1lan;4ornn~ ntattiat" \\'<tttltl ho nntltingltttt
~. ~tn|>i<lit\, hlitttltn-~~ nr tli.~:t~\'t'1-o:|ltlo ttatnoI-'.\'on a ra|ti:l antl \ll]t\Ill\'iItl o\:nninatinn nf
wnrlt oa.~il\ prn\'o~ tlti~; oithor tho orinto i~ onn~
"it I tnlor (]t,'*rirnt'||, /\'t'!urt'-1, T/I." /'.n'.nIi|n~
ttxo. I ('nttt]'.'.r> nr ttan~oon<lotl lw tlto tnn<lo n|' nar' '
my tttt ll Trttittt nr ntrolt antl ~itn \l\'
4
lht trtnto ropro~ottt~
|'nr tho llitohonoltian tharrhn~on hooatt~o it i~ tho
nttl_\ a to~t_ Ilt'lil><'t':ttol_\
It
tlifliottlt antl tlto n|n~t \t'l'llj4ittutt~ ~itnatinn in

.1 hoitt; tna_\' ho |>l:tco<l.
i~ ~tril\in-- that llitrltonol\'~ ll'~~t|ll l>olnn_4~ tn tho
'~: l tttoan that lti~ tnnral \\ttt<'t*]>ti1t|t~

ltl n|> hoin;_- int:-_;ratotl intna tnotaplt_\~io. It i~ qnito
that. nn tho hntnan .~t'alr. ninralit) onn.~titttto~
cnn.~trtwti\'o ntotaplt_\'.~io antl that tnan'~hn1o
t~ tho tnntif it.~oIt' nf tho llitoltoucl<i:\t| t:tpo.~tr\'
i~,
in tho tinal :\tt:\l\'~i.~. .~triotl_\ ounfnttntlul thoro
\\'Illt lIl\1ll:llIl_\. lint holnntl that thoro t"o|n:nn~ a tnnro

trttth tlt:nt that nt' ntnral law~. a trnth wltioh
tho arti~t oan attain nnly In rircttntvontinn; thi~ truth
tltat hattnt~ him cattnnt l>t' hantlotl tt_~ nn a ~tl\'<'t' plat
tot": it i~ tttl tn n.~. .t.~ wo tli.~tn\'<r it~ inntal ~ig_'ttitw:|noo.
tn Innk hohintl tho act nr gt-.~tttro antl gra.~p it~ elolini
tivo nit-aninj4_ tnr which it wa< In-nngltt intn In-inf; tnr
|>t'1-tntttttl
all vtot'ttit_\'. antl \\hit*h can tt<-\'t't' ho \'\|tt't'~~t-tl in

\\'nrtl.~. \\ o sltnttltl tn-\'or tnrgot tltat thi~ l'ittg_'li~Ittttan
~ltt1lit-tl with tlto _l1'~nit Fatltor.~. a tart wltirh t-\]tl:tin~
antl ntnral fnrtnatinn: nnr
vlialtctical
hi~ intttnrtant
'
'
~hnnltl nno ho I\~lt|lIl\lI\'Il that hi.~ wnrlt ha~ a~ it\ ntain
a\i~ .\latt atttl tlto ltattlo ho nttt~t _~'tt.~tain, lln\\ laolo
in_-4 in \'i~intt arr tltn.~<- wltn roprnaolt ltitn tnr lti~
-~,_;m.1},., ml,
'
' 't " '
'
'\"
'
\ttI\ItlIl|ll\'l a onn
cntn >ro It'll! tn;
tittttity ~ttt-h that Htt wnrk i~ intlopontlotn nt tho ntltor~
lllll it porpotttal tlooponittg. It ttorpt-ttt:tl onriolttnont_
ntttil tho ltij4lto_~t jn.~tico i.~ ltltittt:\lt'l_\' rotttlorotl.
lt wntthl nn tnnro ontor llitcltonol\'.~ tnintl tn illn~
trato, ntnro nr lt'.~~ tl:ttl_\'. a tl:t_\' in tho lifo nti \'inoont
tlo l'anl_ than tn ho tontptotl tn a~l< vlttlo.~ |5ort'_\' nr
|.\il,
l':tlan tn rt-pt'o~o|tt' with nt withnnt hnrn~
nt' \\'ltit'h ho ha~. thattl\ lintl. a tnnro cnrroot t"nttu'l"
tinn_ atul wltich hi~ ttt:|~\or~ a~ tnnch a.~ hi~ n\\|t
tltnng_'ltt_~ ha\t- tattgltt him nnt tn tr_\' tn onncrotizo. llv
l\nn\\'~ that .\lt'[tlti~tn]tltt'lo~ i~ tho intago nf nnI_\ nno
\'nttt]|lt'\ nntinn atnnttg all tlto nno~ ho lta~ ,~nnj_'ht.
tltrnttgltnnt lti.~ \\'nt'l\'. tn o\]>ro~~ a_~ rig4nrnn~l_\' a~ Illl\'
~il1lo. .\~ it tnn~t. $atan'~ whi.~por t\':t\t'lt'~.~l\ trt-t\':|th'~
hi~ lllttt~, lllll \\o will nnlv <li\cn\'t-r it lw ~i;gn.~, In tnnro
'
tl tnnro :ortoctl\ oxact .~\'lIIlt||l~j ho t~ tho tn'.~t. \\lllt'
nut a tlnttl-t. tn ha\'o ~t|_-_'_-_-o.~tt-ll tho tntornal |-ro~o|wo tn
n~ uithnttt lroittg tt>ttt|tt-llotl tn pnittt it nttt o\]n"o~~l_\.
~norot-tlittj; thoro \\'hot'o Halzac, l)l|.\lno\'~l\'_\ atnl l1orn~
an--~ ltalt'-t'ailotl ttnt ltt't'I|tl~t ho ha.~ ntnro gonin~ than
tlto_\. tn ho ~ttro_ httt ht-catt~o ho ha~ in hi~ han|l~ a
inotlintn nt o\pro_~~inn with tho _-_'roato.~t ro~nttroo~. a
tttrtlittttt wl1n_~o ntiracnlnn~ pnwor ho i> ntto nl tho
t'o\\ tn ha\'o tltHlt'l_~ttt1ul atttl knnwtt ltnw tn tttilizta
'l'htt~ ratltor than roongttizo in a oltaractor a .~atanio
|>ro.~t-nt"o that can nnl_\' ho a nntltin;_'no.~.~ nr a lack antl.
itt thi~ wa_\'. rt-.~'i;.{tt um-.~'olt' tn in-\'or tt|nlor~'tatttling.;
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Rebecca (1940): Joun Fonioine, Judith Anderson.
11111.1
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I~III'
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\_ .III Iht
rellbound (I945): Ingrid Bergman News Gregory Pecl<'s amnesia.

69
.\Iiun uf .<:\1:|n The-\ :\ri~ <|nI\ Ihv WI"

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lIiu'I1\'uvI\ rn|\~<-r\<-~ in all hi~ cI\:n":|rh-r~ ih<-n' 1I<-11-
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nut in-I ~|n|1\-:|lh-\'lu-n. II1- h:|~ nu much tznlh Ill inzin.
lllll nnirh low fur him. nut In ~11-I\ ~<>nu~ 1-\rn\r fur
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i~ 1nm"I1i||g_- in lhv |\:\|'\'ru'- 1-1' hi~ I->\'<~ fur (':ul<-II. Thv
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1'1-:\~<|n \\h\ ~In~ l\'\'('[I.~ In-r ~iIrnu~ fur \l| lung. II1~
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llllll ;_'~|i\iIIm-\"lin|\_ 1ir.~I Iillwl with <I<-li:nn-i- hnl 1'nIIinj4
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Iu- Iin|I> hi|n~1-If |':\cv tn I':|u- with unl} 1| 1-n>r, :I:-~|-rr.'|u~. :Ii.~li':u-iul innn. whn >1-<-ks In kill the prI\'.~t nu!
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In \hi.~ ligI1\_ Ihc chil4I can

70
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Siege Fright (I950): The child is innocent, but Marlene Dielrich is guilty.
71
'
.\
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;~\~
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Ca/Jmzv Crzlzqmu"
A. JEAN-LUC GODARD: Pierrot Le Fou, Anna Karina, JeunPuul
Belmondo.
B. CLIVE DONNER: WhU?'s New PussycaI?,
Romy Schneider.
C. FEDERICO FELLINI;
D.
72
Julie! Of The Spirils, Alba C0nce||ieri, Lou Gilbert.
MICHHANGELO ANTONIONI; L'Avven1uro, Dominique Blcmchcr,

Renzo Ricci.
ci
Ml
I
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E
9
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Clan,
deliberate desire to experiment presiding over the elaboration of each lm has

succeeded in masking this essential
q"1|!)' "mll
"'-
Tl1l
llm Glxll
PIERROT LE FOU. French llm in

T'~'\l\"i<P' ld Eastman ml"! l>)'.l|5AN-
refutes stylistic experimentation to make

Pierml le Iuu a continual questioning
of the lm itself. Without even the
tlimsicst general line in advance, Godard
tlw"~l~
-terms sublet!
Ll( GODARD. Srermriu: jean-Luc Goffvm I "Owl ll) Uvnvl whim P/"P
Ingmpby: RaoulCoutard. Music: Antoine
Duhamel. Etlilor: Francoise Colin. Curl:
jean-Paul Belmondo (Ferdinand). Anna
Karina (Marianne). Dirk Sanders (the
"brother"). Raymond Devos (the man
of the port). Graziella Galvani (Maria).
Roger Dutoit and Hans Meyer (the
gangsters). jimmy Karouhi. Christa Nell.
Pascal Aubier, Pierre Hanin. Lazlo
Szabo. Jean-Pierre Leaud. Samuel Fuller.
Prlulurer: Georges de Beauregard-Rome
Paris Films (Paris)Dino De Laurentiis
(Rome). l96S. Distributor: S.N.C.lmperial. Length: I hour 52 minutes. lf the
l P"""! If /"I4 "\=l"=>

bl'llll'"
an impression at first viewing, it remains
no less true that this latest (soon next to
the last) Godard discourages analysis on
accnunt of a dangerous obviotlsness that
has been begged too often. The im""~dl "":P""l"
D am?" :lla"l'l)'
the astonis ing ric ness o t e
m.
strike up a few aphorisms. and close
l"\")'
fl"
3 l)'l'lCl "m" hill

Pmiibl
'~'"'"dl'-1"
ahead of time. So it is with a deplorable
unconcern that the commentator would
set out on at course of praise if only one
question did not persist in disturbing
his moral comfort: why does this new
Glllfd =PP'=" W be situated in it new
ll": Pl"illllPl\
l"*"l*-l
mw"
l"~'"P'l'll"'~
l" Wlilll"
"l ll":
'~lll*'
works of this auteur? A second t|uestion aimed at the difficulty of approach to the work by the roads of
cririt'ismbrings a rudimentary answer.
lf it is more difficult to write about
Pit-rral Ir /nu than about Lcr (.'ar.1/liuiert
('I'/;e Rillemeui or Una Ienmle er! une
It-mule (.-I ll"anmu Ir .1 ll"!/man). this
is not because we are confronting at
resume-film or an anthology-as people
have been only too willing to say. It
is not a new facet that is offered us.
Not even the synthesis of the earlier
works. but more probably a new disclosure that compels us to reconsider
the reference points we had ht-an nhle
to believe were denitely Set.
ln the multiple \\'0l'k of J-L Godard.
be, on L.xp|m.;ng new dngmmngmphic
regions. Iierrul occupies a place apart
and mark perhaps the Sm" of
p"iOd_ M A 1",, J, 1,,/I1, (B",/,Ie_,
opened the chapter that would close on
/llplulille. \orlt indeed multiple. still
.
?.liI;?.~
llng In II iln
IHCOIIIPYU el'll
,.
uniformity. but whose most immediate

left in the shadow too
often. Contrary to the opinion generally
held even by those who praise his work.
l have always thought that Godard addressed the sensibility of the viewer before addressing his intelligence. Only a
aspect has been
74
v'~'='it)'
llm bsllh
more to the lm than to the auteur

confronting this worlt as it elaborates
itself day by day with a kind of passionate spontaneity that leads straight to the
essential. As Sam Fuller dened it to
Ferdinand-Belmondo. the cinema is :
battle, and it is no longera question o
coniuring away its ups and downs from
the public. but on the contrary of showing its slightest encounters and reworkings to the point of making them the
very essence of the work.
I don-t man hm lb, mchniqu. 55
obvious he_n$ was he my for 11,,
Callerlar for examplebul. on the contrary, that the lm never preexists its
hom5ng_ and hm L.\,_-ry imagi, it-t-n|_
as ii, wan-mni-k_ he ;|u[guf' will tn
Say \'t;|'ythi|| and the rhythm of his
Own mm Whn; in-n ninm nan"-n|_ if
ha wmpn 0| [M5 (inn lming 54;-in;
to be the heartbeat of a being bent on
discovering, after il procetding that hesinn |-MW-n (j,;|in nnd lint-|-|_ (ht:
tangible proofs of his existence? Before
the lm tilts toward this "controlled
hnnp;-ning" that is the expression of life
ni.|f_ nu 5;-,1 seq;-nqt-, make up an
ni(nn(,|ngiL~n| dggcriptinn of a nng-an-d unit-,_-i-,1-_ ii kind of ni|--nndiiinnud nightmn; inn; ihu nun-nit (()|1templates not without fear. witness the
color lters that establish a necessary
distant-1,-_ To this spirit of St-it-ntic nnal.
is (spt-qi-3| dQ(on]p|_)i[i()[\) t'()ffupnnds a new vision, polychromatic even
in ;1(ig[)" cgincidgntgl with I-i_-i-dinnnd\
escape. But from the rst chapter of this
adt-l,-ntnrt-, before the (nlumn of hlngk
smoke rises. or before he discovers the
fatal signs in people's looks, Ferdinand
knows that he is only a dead man on
leave. lle does not satisfy himself with
learning this truth. he actually assimilares it to the point of making it his
reason for living. That is why one nlust
not smile (in spite of the ceaseless passages from the grotesque to the tragic)
if he declares be wants to stop time because one morning. on the harbor. a
']l=""_Y
"""l ,1"- "' ""l'Kl"- *""
vibration of light and the presence of

Mf"'""' f"l ga' 'ak"'_ ll"? Pu"
,_-nitrn mqfg-a(ufg|)' than Qfd||'|af||)' (ht;
flow 0f'|lfE in his body. :l'h|snew aware"" "" h ''_"p"m"'d !'"'lil)'
Y
'*""~"*"'" *"P~"'"P'*l "
t'-:f..;.: ;z::::;;:::..:...
""""" -.'b'l'>f
',h-'
rions remain exterior to him. How to

seize the central phenomenon? How can
one film the eye of a cyclone.
Before this near-impossibility he as
signed himself. Godard chooses to say
gv;-ryihing ng ,_.a|| imam-; nnxi;-y_ yinlenct-. the wavelength of solar radiation.
death and th look of Marianne Renoir.
The Godardian art of digression here
reaches its culminating point. deliber
ar|y rgduqing the story tn an "incohL.n.m-- Tb (im.hu,m in ht cusmm.
-dry in;-ning of (hi; wt-m|) by 3 sing.
mind;-d win to qnptni-e the event under
n |-nnhitndn of ,-intnltant-nus lightings.
an
L-nnn-pi-int;
scarcely easier than
phnmgi-nphing the other side of the
n|_-|-in]; of Andi-nnn-dn, Nothing nsinn.
i;||ing_ in-n_ if this iti|-n_-i-ary in the form
of [mu tn otters us on. episodic pn|5a_
tinn5 an-responding tn the instants of
L-nlm_ Clearly it is to paint life that
Godard chooses to filmhthe dead times.
deliberately chopping t e rare moments
of action. coniufill 'l"'"' BWHY. ll-<llIting them to the rhythm of the thought
which does away with itself suddenly
to concentrate itself into gesture. like
an unforeseeable airpocker. to press a
trigger. to plunge a blade into an absurd
ip?
a
rance
avlng crosst
A ter
changed for them to a tropical forest.
Fefdind
ll
Mllfl"
("T "15" '1 "
Franz and Odile) recapture their own
distances from which an articial traiectory had removed them. the interval
of one revolution. Marianne killied bi
his hand. all that remains for Fer man
is to pursue this fall. suspended a moment. and now deliberate like that of
Ni!-lllii ll Slvl from Ill" li*"\P""5 9'
Antibes. With a frenzy that we carefully civilized Occidentals will have difliculty understanding. mad l-erdln_and
Ferdinand le Fou-dynamites himself.
masked in blue. like the sea or that
nloon whose last inhabitant had_ run
Hill-l Wiflll
WHY I0 |0\' Mflv.
W
deat-b
'3
um
in a day.
Michel CAEN
R1171 I
ll! "'1'
-
s,,,,,-.-
'
ing that Ferdinand gives himself. hoping

by analysis to identify a phenomenon
that escapes him since he himself is its
center. Life is in him but its manifesta-
"f
V.
ma
n .a lgm"n'
the horrible mask of a
"-
lf Godard has willed to rt-compose

an impression starting from its various
elements. it is to the opposite proceed
lll""I"'~ l'l""-l
TNT|sflWl"> 3 Kl"! mm l_\""*l"*d_l" 0""

lll >'$"~0l\ll \\'l\\"_ F"f<ll"=!"d ll'~"i"l" W"
llllt I0 ifllllllllll
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Pivfx l5 "155 lflilinll of "l"l!)' l'"ffl"
Ills Pl-\"""~ ll\l'>'\' lil "l>"">_'hl m~'
Pl". the) Y. at l8(u.(l()li Il\I|t'~\ P"
'~l0"4|- P'~|l'\P5 ll"! l"~"il"" 5"")! "P
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ing Iv the sea. to this l"\l"\l(~"-l 531'
"':."
" ,:" ":|'""|.ll'h."h".""Iv!"Q"Ilte. lin tde in .tn it-on
ll'llll|)'
NOTHING BUT THE BEST. English

lln
in Technicolor by Clive Donner.

Scenario: Frederic Raphael. from a story
by Stanley Ellin. Plmlagmpby: Nick
Roeg. Mutir: Ron Grainer. Decors:
Reece Pemberton. Editor: Fergus Mc-
Editor} Eyrie
'2
A m/rt'n' Surrii
I'he first issue of (..1I;ieri ilu (.iut'nm
in Englis/; was intended primarily as an
introduction to cinephilia on the Seine.
Now the hard work begins. It is still
too early to assess the reactions to this
enterprise. but I will seek to answer two
of the more interesting queries received
in the mail. First, Mr. Edgar F. Daniels
of the English Department of Bowling
Green State University. Bowling Green.
Ohio: "Some reactions to Cd(IiE No. I:
l. I wish the ashback articles had
been dated. I gather that Truffaut's article precedes his lm-making. but surely
it would be relevant to have that fact
indicated boldly at the outset.
Z. From the ads for CdCiE. I ttssumed
it would be an English-language edition
of (IdC. and from your opening editorial
I'm still not sure whether subsequent
issues will contain la) the precise con
ms of he currgnl French (;dc_ (M
articles Written expressly for (IdCiE. or
only scan the cinentatic horizon tach

month to ste what articles seem most
timely.
5. I beg to differ with your appraisal
of Astruc's article on mise en scene as
"gobbItdegook." It is about the best
piece of cinematic criticism I know. It
renders the intangible tangible and the
invisible visible. \'et it is as coittpact
on
as it is complex. and hence diicult
m mm, hm du,_)
P'~;-l*\:\l"';u:|
(C)
both mu (ht Ml
5' Havmg
,4
b""" Puzzlcd I). Ih '"

I I"" Tn Im-"d
I "aF""IY I"Pd
II: en want" which

'"''d '/I" '~I""iI""0
myself to Astruc's article. I ant still no

wiser about mise en seine. but I now
know that gobbledegook is not excIusively an American vice.
III 5h""' I"
4' I " 3':'~'II
"'*"~I hcsc 'I"35' ""II"I migl "'h'~"'
of
of
'I" I"a' """'-" I'"""' "lIhI'~' I"'

i" E1i}_- B! "f I5k 'm )'""
1'
"'5''"
'
'
I7
I. Henceforth. Mr. Daniels. all

(Ia/Jieri articles will he dated. For the
record. Francois Truffaut's "A Certain
Tendency of the French Cinema" appeared in January I954. The other dates
for the flashback articles are as follows:
"Fire and Ice" by Alexandre Astruc:
l)eci.mber I952. "On the Politique des
Auteurs" by Andre Bazin: April I95".
"My Experience" by Max ()phuls: March
l*)5B. "Bergntaoorama" by jean-Luc
Godard: july I958. "Ambiguity of the
Cinema" by Roger Leenhardt and "What
is Mise en Scene" by Alexandre Astruc:
October I95). "Night. Eclipse. Dawn
An interview with Michelangelo
.
.
Antonioni by jean-Luc Godard: Noveitther I964.
2. I hope our second issue will answer
sonte of the questions raised by the rst.
(It:/sieri has a rich tradition which we
do not wish to abandon entirely. On the
other hand. (.'tlI1it'r.i is on the ring line
each month. and we will try to keep
up with currtnt events as closely as possible. (.11/)ierr il/1 t.'iuem.1 will therefore
represent a fusion of the classical and
dynamic elements of (Ia/zit>r.\. the past
and the future. How much past and how
ntuch future? Who can tell? \e can
.
_-
first reading.
4- \If'" 11" all l=l1"""I I"~l' ff" 3'0"

kI"d"55 mi f""~h* d"i"F |'*"
r""I_ m""II~" "f I"f"")'- W" "ll!" 3'0"!
"'d"' and f"I~''"*- "I_"~' Imp"
II"I I'm" i"~"'~'*' "I F-"" 7" '1"
__0 L
7_
_k
"pi"? ph.l.
R
NI 'p|x:I' ,':,';""Ri I; "H _. h"?
B"
O:'.'0' . ""1 r " v";.n "P L
U qu "m" m
(fl
..|
'
ikh
mkz"hk
ha;
"_
pest i
"umir
'_:"IP_~
'
mn1ag.:int
1'
hf _j f_ hfd h>_
ate ytt -I I
transliterations of tlie I.oIIowing French

terms of which I have only a vague
literary concept since some of the cel>
lulnid .im.,|ma. dim, {mm the
din. d,_,nmm.
A_
Gm-..NL.'
|;_ |\i|Lm_.u|. L. c5m._
(I. Politique des auteurs.

I). Mise en sci-ne.
I ant grateful for your time and efforts and tvill be looking forward tn
perusing through the forthcoming ediv

tions of your magazine."
I would like to discuss this "celluloid
terminology" less as a polenticist than
a_sa lexicographer. What do these words
convey in current usage? In English. particttlarly. they have a certain ring. a
certain charge. that is far front being
transliteral. Volumes and volumes could
be written on the implications and connotations. the shadings and the nuances.
the ambiguities and the ironies lurking
in this terminology. Obviously my deft
nitions ntust be shorter and more tentative than those of the Messrs. Astruc
and Bazin. At rst glance. "cineaste"
seem; the least antbiguous of the terms
under discussion. Stuart Byron. the lucid
American Cahierist of Pathe-(Iontenr
porary. insists that "cineaste" should be
(.ILIIl'1LtI plainly and simply as "ftln1maker" and withdrawn froitt the F.ngIish language. I am not so sure.
"(Iint'-aste" does not happen to be one
of my favorite svords. and I have never
bten quite sure what it meant. It seems
to connote a fancy filnrmaker. or perhaps. it film-maker the writer happens
to admire. Also. a secondary definition
has emerged front English-language film
periodicals. that of the cultivated film
enthusiast. lltimately. cinaste seems

to suggest some coittplicity between the
critic and the creator as if they were on
the same level or. perhaps. even the
~ante person. (.'ubieii (III (.'im"m.1in litigIisl) will continue to translate "cineaste"
as "cinaste" and let the context take
care of itself.
~ML.cu|. cu .;.m.-- Um he U-;m,|.m.d
Quin, mph. as ~-,_|i|._mr_-i |n ruin
_.nnu.x'_ hn.,_.\-H-_ ht. rm M.-,_., M J
critical diminutive. A mere "metteur en
scene" limits himself to the technical
meg; ;;signgd m him by |-,m4_lu4;|_-n_
writers. players and technicians. He is
nontinally in command. but he fails to
i"P">* hi P"$"3I_iU "9 hi lm_- I'll

fftl-l"ilts'I)'. even Truffaut and (iodartl
!_ d''~"'~'" '~""K'1'P"""\ "I 'Iil_ '5
implied by the term. In our very first
""5""!
Pi""f'~'d i1_l"l'"" Oi lh"

'~~
mere metteur en scene with the featurts
All-i=_r-t- For
of Jean n1'"=""Y and
Godard. the mere ntetteur en scene was
no less a personage than Luchino Vis-
es
cnmli
..
"uII".nuc Ii. IL-In: "w"cu.r

"1"" l"
""
Kim" ."'~ dmium. "".]"'N
a peiorative connotation involved. In
the latter instance. "ntetteur en scene
will be rendered simply and sneeringly
as "ntetteur en scene."
"Politique des auteurs" refers to the
policy at (.4/;it'r.i to be for some directors and against others. That takes care
of "politique." "Auteur" is more perplexing, as I should be the rst to rixogv
nize after all the cnntttl\'ersit.~\ the term
Strictly speaking.
me.
caused
has
"auteur" means "author." and we so define it whenever the critic is speaking
of literary gures. \hen Truffaut talks
of Gide or Giraudoux. and refers to
them incidentally as "auteurs." there is
no special point being made. and "author" is both an adequate and accurate
translation. It is another matter. eittirely, when Truffaut describes IIitchcock and Ilawks as "auteure.." "Author"
is neither adequate nor accurate as a
translation into English mainly because
of the inherent literary bias of the
AngloAnttrican cultural establishment.
In terms of this bias. Ingmar Ilergntatt
did not become an author until his
screenplays were published in cold print.
The notion that a non-literary director
can be the "author" of his films is difficult to grasp in America. Since ntost
Anterican film critics are either literary
or iournalistic types with no aspirations
or even fantasies of becoming film directors. the stvculled "auteur" theory
has had rough sledding indeed. Truffaut's greatest heresy. however. was not
in his ennobling direction as at form
of creation. but in ascribing authorship
Wu. WI."
79
improve Astruc's essay. and l won't try.

There is no point. "Mise en scene" is
what (..i/ners IS all about. what the
cinema is all about, and it will take
.
more than one life-time
to tag this
transcendental term with a nite denition. lf I sound mystical. it is probably
because I am intoxicated by the impreciseness surrounding the term. but if l
were compelled to take a stab at a denition. it would go something like this:
"Mise en scene" is what an inspired
"metteur en scene" (or "auteur") places
before us on the screen. lt is that which
eludes most lm critics as they listen to
to Hollywood directors hitherto tagged

with the deadly epithets of conimercialism. Whenever. we translate auteur as
auteur. the reader may besure that we
. .
..
.
.
..
are describing a metteur en scene with
an expressive style and an emotionally
meaningful personality. When we translate "auteur" as "author." we are mt rely
describing a scribe like Scribe. or for
that matter. the Shakespeare that is inscribed in cold print.
As for "mise en scene." it will be
translated as is. and the reader must
simply work along with it as we have
been doing ourselves. l certainly can't
the script being read aloud. Hence. the

specialization of Cubierr.
Erna: The mu
71 should
.
have been captioned Tuba rather than

.
'\w_/""'"_Th"' error
obvlously '":d"'"''
lug O om T'"
._
'5 so _obu_
'5
bu '5
5" '_'
ll
9' F"'' 9' 'hj'

Fl" ll"! ""l"'- 55 ll Cimmi Hm"-
Flillk OISOII \VllI-S ilwlllil lII\' M9"
described by Roger Leenhardt on page

50 as "a man of the word" and not as
"a man of the world." though. of course.
Welles is eminently qualied in both
spheres.
Pam} Opening;
From Nov. 24 to Dec. 21, I965
II I|~|l||q~|| hng
]., B,/5,-,,,,_
uuiI.M.M.
mm 0| t-mud,
mmd Vim Funds Blanche Dan) cowl

Jean Poirct. Michel Serrault. Pascale
}(,,|,,_.n,_ ||;.|&m. [)u_ Bngdicle Laos-_
Th" Inn" nuuum
is
La F5"; guldnn; |'I;"rc"',l*;'*;f
Roger Pigaut. Jean Lefebvre. Guy Dikolo. Sophie M'Bali. Paul Kantole. I962.
Rene
Clair with Jean-Pierre Cassel

Jcan Richard Gum:
Philippe A;_m
view cum Maric Dubai
I! A
Mor.k Khan dour Pica old. his mu"

ldv
ll! lh (-9'15" "1 ill '_'"d'-H _h"
disturbances of decolonizatton. describes
even a satire of the "folly of men " Face

a fortrtss and its besiegers: From
one cmp m W mm, hop a am,
mg nlhal rugglcs hmweim Lulu and

Baluiyi>' ll Hm (0 ow M -Inn-c "-
R5.
bufulli
l'': S"mkp"ir' wl"d| in hr

s|;k'lmL.l hand trade. try to extort a XVlth
to face
ceiitury rt-table from Francis Blanche.

worldly lishnionger and vague heir of
the HI/llrgvuise Gel!/il/Jmlnne. About it.
alas. not the least llesh, Someone should
Priiiw fur ll: udcnh 0 l'D'H'E'C'
this anthology of failures. or the art of
not coming "rt successfully: 1) the acairs o':i_nihers ll)arry tfiits-l.T;i_t;lablru.
||ierc'~'"i"Y
,.._..;
4;
llncompmhtnding
ii" mcdimc
ml(ouplc
humpkin The
push u "'m"igk_ hm Wm nd he wan
wkhm" \,i_u_ or nqukhvd Nm only
dues Rene (Ilair not concern himself
WM bk pind
hm um! mm 0
up,|.,g.,,'_. and giiing hintstlfall
the tn
um. nu all (he ..dq"L___\.. inmgimlhlc.
=0
I)i\-mm 1,; Iner. lm
_.""'|'_"' """:'] '.r'5""
cm. ht. w.,u. gm. d,_.,_.iv,_. ganm._;._._ Eng,

|;.h ,;,-|.- and |,,-.,.,,1_,-5 dg"ag(]g)*_ A
treasure to recover. it German and a
band of young people seeking it out.
serse as nrelext for one of those "witty
comedies" in which every gag falls at.
Michi-le Morgan plays the madcap. in
pants rlt-ruier tri no doubt because she
linds that really funny. She is the only
one.
M.i\l.
l".nilnm.4i H ilirbiiinu. lm in scope

and in color by Andre Hunebelle. with
Jean t\larais. Louis de Funes. Mylene
Deniongeot. Jacques Dynam, Robert
Dalban. Olivier de Funi-s.No elfort at
the scenario. but the proud announcenicnt of "entirely original new adventures." Fantonias needles a savunt. Fandor and Juve run alter him. mocking
Jaines Bond, and find the means to descend still luwer. Only one gag is anius
ing--since in our days, so it scents. one
must laugh at Fuiilmlius, Max Douy has
composed for it his most consequential
and ugliest decor since Murgllrile de la
80
f"'~
"1
ll
" ""5" ""
'~l'~'r"F"~ f_
l"l'L!*'_li"" '_"P""5'~d dP'~'"d
mam v'm.' Hi: mum 0 dntuillcnh

fl?) ="'dll"~'""" I> ""1 i1l'il\' _l"1l1fP)'"
'*"h~"
'f'"'"
"heroic
bareness.
C/""*
ma, that shows]. aiid which poses as
in color of Etienwith Mat~h:~|t- hltirgun. Paul

lliibschniidt. Dario Moreno, Germaine
t\lt>|\tL'HY. in-tit: Eniilfork. Jean-Roget
('aus~in\on. Pitiful attempt to rccon-
l{"l"):- "imn
=->""\p=\th=~m"
in
-I-
coniedy; 5) the chasevpursuits of the

*l=ll"*ll\'l\ )'|"~ -Mtie Prier.
P"h||':l"d "11-l I-|vlY'~"-l~ "1 l'"- """'" "

it f'~|"""~lY l\""\ ":"a"m"I 9 ht P"'
|l"3_l l'"'"hl"> '-'":|"ll'~'d him l"
if lFd7;|'
"_' h"_". _'_'."_

'"_|'":"
;;:"J,IwI;;;:;:l)l"f' IFhl_
21'5"" d_"*..Ff
.
_.'._
::f':n _W;|;m_hcd:;mu|:)u:"::"::I
Al hlm_lm_kin'.\
my mgc
~
'
P l-
'
Nick Cur/i-r el le Trt-/I0 rrmge. lm

of Jean-Paul Savignac. with Eddie Constantine. Nicole Courcel. Jo Dassin.
Jeanne Valerie. Jean Ozenne. Badly
recovered from his visit to Alphaville.
Constantine has kept his terrifying and
i\pil5i.\'i\L' mask of Martian Keaton. ln
this adventure that takes up again the
.,
_,
dhcrvl-Il;0ftd::af,ulZ:_ 53::
K0 ':_Im_ them iniifour 33$,
mi.
"vh, Sm, rig chi"; and i";wm_d
gh. um: "0 hm fl; Ar; incohcmn;
und'Pnu_miuu naadm; Wm --m,__;-in mu y|t,M'Rt.,mui dz, not pn':w;

ho di;'__0'\__n_ 0f' a ;k_"m.i0u dinmw
made of "_,|'um_ho|), and of 'PM"), if;
which hr pa,i0n kn, he non_cm'k_a|
i wuh Ins Hun a ("min cndncs, w
the
m_0_F,__ui"dL_
'__api.ang
if il
is
'
'
sinctrc _M M
__ __' _ _' _'_,,_,______
Terri-ur tur I4 Iilfilllt. lm in color
of Yves Alli-gret. with Nicole Courcel.
r'_l
l" "1" "l
M"" 'i"'
Pl'PP'~' d
" """'l"" """'
tlid_~eh|t~ti. botched ht the lack of u

l'~"~'l"\l-l "1 l'h"\1"-:"-"- /"/"'"'3 and
ll"
@_m'-J_"-
/1'/"law:
ll'_lll'""P vntr-med
ll: Tl"! df'lf1\"\'|\ of
Ir)
"15 Illllfilllil
color and of complaisant exoticisni furnMu}! lo" the lvwlv- of the nhvvllnll
|""l "0"? Kmg' Nupal) an mu
'*'""Fh '0 3': 3 '"'mm Pl lh" "l"""'
"l"'" ""' ll V"""

"Pr m
"'
li'l__"lli ml
_h
'"""''
d'""" H"":'
arm "'m m
m:
"""l'
ll
" M
"'l':l'_'"""nl_l
M
me "" ml dc
gfcaf 'l"a| of "uh_l
l::Krhil\l:l;\i(.l;;l;b:7::;05:llIi?'.5:1
re. .0
tsee
.
perior toPI.'HImmle Ill Rio !'I'/ml Mun

from Rial and more diverting. on the
whole. But how many bits of short
winded bravura (scents in fast motion).
how many futile lickings of the lips
(idyllic episode at the water's edge)!
The photography of Schan. in his opinionaved sub~l)ecae. is even-where aggressively ugly. lf Belniondo is a respectable Arthur Lentpereur. Ursula
Andress once more proves her marble
ineptitude for comedy. and the suppoi-ting players are too often used for
their quirks. As often in this genre of
lnt. the inevitable acceleration of the
"2
lers Andre Bullet and R0 er Deltiporte.

French western supeliior to .4!
Grinnli Cbemiui and Gueulet. No douht
you will object that that is not it recommendation. but. with Andre Bollet and
Roger Delaporte as the starring pair.
it was necessary all the same to make
rhythm dis erses and wearies the interest instea: of reviving it: it is a work
that will go very well. in a few years.
in ten minute slices on a third chain
(that in color) of French television. between a remake of Tintin and the
i\I.4g.1:ine elei 4-\lII!ilI1Il|'J.
at;
.,.
.1... ,.......4 ti... ..
Malle, with Brigitte Bardot_ Jeanne
Muteau. George Hamilton. Gregor von
Retzori. Paulette Dubost. Claudio
Brook. Carlos Lopez Moctezuma. Jose
3 ]|a||an |n|
ll
ctnnpugno Dan (.il!!Iill(I (Dun

eu Ruisie), (iliii of Luigi Conr
encitii. with Fernandel. Gino (Iervi, -
New and painful episode of a guerilla
warfare that is zzling out. and that
this time again concludes on the lt:(ip~
rocal recognition of the numerous merits
of the peaceful coexistence of Marx and
it are
Saint Thomas. The low blows in
.
more numerous and more senile than
usual. The noble duel of the crucix
and the sickle concerns Gino Cervi and
Fernandel as little as it does the speetator. A misplaced allusion to the adniirahle .\'irmIe'/:l=.4 does not mend niattu-,_ ttlrvtttly badly nu; (if v,'|1;|(k_ ._
tjtuuillo
l"A'F'
ll
its
que..
vihose
de
Q?
-
F";
ll
led
l
ing
l''*'""-
no
|m'
ah
ls:
. in
ipinI8"
re-
hull
irhle
si;p-
or
of
l the
ye
"'l"l'" Rh
i linnmi rli
Ifrrale ionlrn
ill
\ln'1
the
gel!
'"
1'
P5171"
doxical anemia. laid low no douht hy

casting as unconi-ineing as uninspired.
The few attempts at denionological
eroticism are doomed at once by the
bovine l;;'l;iI\]IfLh8I1>ll)I\ of the particmum:-
"3
iorton).
lips
h,-.
bring out the stylistic inadequacies that

lit-e-side-tl from all sides at its elaboration.
(:l1lis(<I|1l\e| Lee. ill 2| role deinid of all
m'
film of (,amillii Mastrocinque

ilhonias Miller). with Christopher Lee.
Audry Anib:r.dUrsul Davis,dVera Val;
-ruin er t lpaeu paint ll).
oiiias t i i.r is eonceae .viit amp)
tustilied prudence. il (.amillo Miistrocin.itt t iery bottom oi his-. form .and
total indifference succeeds in
ruining a rather good suhiect inspired
liy the (..n-milltl of Sheridan LeFanu. ln
spite of the eliorts of a conimendahly
the ultri.- reduced
eclectic
M my mm . Mn "whim: hm
hudgu coproduction
LII
.Il'1').
<
if
Bu/lilrnliu
I_Hi'rt_'uIi' tuulre lei I_vriu:i zle BilI:_yIrn:_eIliliii in scope and in color of Domenico
Lin
llatilt-ll;t_ with Rog}; 5",-n,-_ lldgu
Livio Lorcnzo.Although one of the

tyrant.s is revealed tyranress, l<l|_-t-cult-5
adversaries are scarcely more attractive
than he. and this Bahylon makes one
regret the island where not long ago
the same Paolella stressed the much
more convincing arguments of some lost
girls.j.B.
r
r/uur_!i_ere
mljmua and _Ih'"y:o.m'. '*ca:nl_l hymn.

the nal hold up \\hlCh otherwise flops
lam;-mgbly__A,_]_
~
i
I sellu rnulrn Sperm "A Riirulle rlc
Spurle). film in color of Alberto De

Martino. with Tony Russell. Massimo
Se-rato. Helga Lin.Milon tyrannizes
Sparta. alias Lacedomia. Kyros. a de
prived person. _is going to set matters
in order; he stirs up the school .of the
.
gladiators and removes from office the
dictator. who is killed hy the iavelin of
his friend Basso. And then. there are
many dc-tours. a temple. a vestal and
the god Ares: nothing laconic.-_I.<l-.8.
I ipie urculmm
it Benn/t1Le.i !E.i/nuns
" B"'"'mI/H mm in Pl and

'/
in color by Georges Conihret. Nino Loy.
I him./:0 nr. T :I'}'i""

f4! (,r_ipIe' u .tlI'I'
itI?ll)Nil?mrnslll
Li.
0|-est rH'aId-up .1
Ian/Ir! film of Filippo Rati. with Liiwrence Montaigne, Mara Fie. Jacqueline
Rogers. l)(i$.Nothing to point out except ii respeuiihly lighted shot thirteen
Baviera, Alberto Pedre-t.
"* "til""-1-~
Rapiuu
J0/may ll 'eiI iI /mulrilm (Lei new

"Dy!/uIniIr"!. lm in scope and in color
of Gianfranco Parolini_ with the wrest
Richmfd H..ris"n
semi? .m-linu with Wandisa
buida.
Dominique Boschero.
Douhtless we go to Lehanon for some
reason of coproduction. Then it happens that the place glues itself to the
\\.|h]L'Ll, Beirut being the-_door l'?L(\\-'L'L"Il
the Orient and the Occident. So it is
here that the spies of the world meet
..
.
and struggle as formerly at |ill'l[_|LIThe Oteident (Americans .\lLlll'\|_ with
Russians) will ward olf again this time
the yellow Orient and its l'\lO|"l(.lLv\Q'l)Il1l|\
spy. It took three e|ilI:tl0l's to liliii this
,,,.
..
P .B.
sla dash to
' h ..-l
.
l'-lg/Ie Ilelle rIe!l'l)r.w Ituu/re). si:|:.

in Cu/iierx no, l(il-Z Lellre do Rome
(Miitandinil~ l~ l4l= in -w. Il. Vi
'P (Fl*hl'
'"l lm'~'l"'l' P- Ltexts
in this issue.
'l1'1'hin(-I. p. 50; and
ll-
":l_';:I"':""'lIf?:":I"p::7?:'g{r
\n.rhq'n nhns
"
William Vitne'y. with Audie MurPh)'-'
Mlchi"-l Di"""- "'4" (:""Pl'|- B"*|'

cr.ahhc'_Ah"-r lh" >9"! E"/>4"/I I/ll
D'*'/'I"- P-'llIl'" I" "Ill"-I L504"! Om! 9
William \Vitney veteran of the serial.
"l
il\'3)'> hi"-l I" 51- Tl"-' "flllllllf
the script which makes Murphy. hy
turns. one of the looters of Quantrill.
_
w""5'~~
Mn
4"
Aflmn Ri*""l lb"
l""d"li" 0 \l""""l
Yvllnli ldl
""")i
fllifil-Iv-'f> (Ills
Hill Wlw \\i"\l> I0
he
11
"ml-'i\Cll)' Of ll": Illlit- kI\

scene. violent and rapid. connect this
little Western with the niinor successes
of the genre. On the other hand . lndians resort to an unaccustomed weapon. cactus.P.M.
and
ih"
II
'
..
Blg '\'5b' ('1 chunk Nun."

lm, Jowph loscy USL ._ SW In
(dbwrs M, ml B/I "'.lm"e Mun;
Ml) P ,4 "' H1, S"" I'M!-ll an
3'?
idle no
rivlcw
Blam] 0,, ,1, ,1"-0. (Him) ,],,[[,,,-,
-"
*;;
'11,"
ilnstga s:||)li,:"W:_::t_|| ac:,_yl_,
Curran Paul Mame Robe carriwm
If he Poim 0 db
Ted dc Cord
mm ia n'h' amusing he bandit
Zeal weapons mm he smdicrs w gin,
Ifor a
them to the lndians in exchange"SI:
w
bow It ls ah O gwc
_mm
' .
0 I) (h_
g
3h. h i
n "
Q mu?fmm'
W '1
ppcf"an"' 0 hf nmmphum: mu!flnuw
"ml_ 0 ht pfnh and offhc
f"ch"l "''~ "'"l'il ill-l sanieranieii
m ht lead ha'p"n (he "'"'mmn' m'w'
hm wmnmcm O he pcamr'__pB'
Cd, 54",, ,5 Baum, mm in (mm.
if
2!
of Emm i|,n!L.;n_ Wm, June |:0m|,,_

Lu, Ma.in_ Michael Culhm N. King
Calm Dwayne Hi,_.kman__5u. (I-I/,;,,,,
H
rm I-|_ m,rI;,, (Dc|uha).._,)_ pi H
k Tn, nwcxsar). gum m dcmonn.im_.
mm u, mg or the Wc, Wppos pa,
mi). with diyficukn Cw Baum, is ex,
cnPh"y Pm. Where he n: and
boundless verve of a comic strip signed
Jam Duvi. Ur Wm Haw was m,cd,d_
Silverstein systematically suittles all the
Pmsihilics nmnud him and sh. birth
m
ayrupy and anunlic _mH'___ -I-he
rmurruaion of he Kid___lhc mus an
Ixpmhlc momum U me mm__shm
dw)_ mung Wm" My W mm M
L_minuum_ mu_ulm_ hurlcsqum Lee
in pm,
H filly" Kungm"
Mani"
M shmmllcn him,mni(_ docs "M _\m._
twain making m mm my aw! kllkh
M Gm i I/H A_",,,,m_ hm, lmndm
wh lm dmlhl wum hm, Prcfcrrcd
pwkinpah m Sil_hn_,in Stun m div
,
,
totally
herself
st>ei.ite,
P-
..
I L nm wudxh" will
wmng'M'(
from
Sui
.'
_._.ia}ir.
th_e
bu I m i
1/ Re-lm'IimI .\'.:lure' Girl or

R4'Im'I.mI Nmlisl (Le Cri rles mul,',.,;_ mm 5" mlm of smnlt-y Gel;-_
with Annette hriand, Jeremy Howes.
6
thJ
ld
,\ ; l&(
,\,mtl_i'
'I'/14'
|,n,,.Z,,..-.li,...l:i,. itiuljl, (j;;,.nun1:

tle Rulinul in the twelfth century. lt
-
-i
ndm';
I
h La
rl)r"l'I0(e 1.-li>tt|liIe1lI.ii'i,,_.:,)..,,i,,;
hm on. und"-ands hm phmn.

nf Fndon. --Ha: H honor "I nudidc,
of he mm ml an my-r ;m,m,d4_-,;i_\_"
so ugh.
_J__p_B'
.\'/iell .\Imi'k IGruupeiIee~lme'I. film of

Beach Dickerson. Carl Crow. The 0&l)'~>\')- hs''~f"l'\l\
classic. of some G.l.'s in Italy during
the Second World War, The wealth ol
precise notations; a more than usually
hon;-st utly Uf L-lml-am,-r (the 1|-;|um;l|.
ized s-oldier. the sergeant with niurde-rnus intentions towards his own men!
and nally a violence at lulmostl every
"ttmietit make tine overlook the dead<
john Patrick llayes. with
Bl
broke side of an enterprise that does

not have the strength of ll".ir Ih-rn or
of Purulrnn (Imu!n.nul.P.B.
-
Iillllnll llll
The ,\'./km! Brigat/1' (L1 Bri_e.ule nun

oi Maury Dexter. with
lm
Shirley Eaton. Ken St-ott.Nth grinding
nul m thy g|m-y of [hg Gfygk r,_-,iq;|y|;~;~
in [M-L. f (in. Na-,1, 5)-gm; 3-M ha-.
K-,,,,,Q, 3 duty ht.-.__.p_1;_
4IH'|.
\'o Rmul "mt (Let K-rllnmv/< Jr

mm 0 ""ll-i"\L'l)' pull)?
"""I"5'-
Wllh Skll """~'l'~'Y- M=|l'lK"'| Ri|'ll"l~!5'-Rm C"""'~f)'- l9?l-P\" '1" "'1"! 5"
the soliciting drawings or photographs"
of James Bond which scarcely invite
one to enter the theater. ln fact one
can go there. It ls a iiiattet of a touch
ing English hotch. a mu-el (turnip). in
which 00 is very convincing as a stub
ing burgh" cighwk and hum. qunp
ters years old who quickly Pafli|_ip;|(t~
5" I shaggy duuh|.m\_ -H, N 0; H.
dmm some un_m,m,). gmnniL,_\_ mu, M
whoni is deaf. duiiih and blind. comniuni,_-;",_- by upping [pm }m|]0-5 qf on
u|iother's hands. See it to helie\e it.
JB_
\uI/uug_BnI Illl'Bl'IIi'IJI1(lI{l mw),

lilni of (.l|\'e Donner. bee _(..l/Jlert Ito.
I-''"":' ll ill
_l59i
issue page
and
(flllquc
In Hm
2.
'l'/lumler/ull lOI!l'r.1Iion Inililerrrl.

.
lilni in scope and in color of Terence
\oung. with Sean (.onery. (.laudine
,
Auger. Luciana Paltizzt. Martine Besf h,

I
W--k Mm. P1. _
__l
" "*p" " l

"~'"-In vl lvrvncv \'mmi:- who lurnwrls
showed a certain stnse of the haroque.
in spite of the 5.i0ll.l)(ll) dollars and the
use ol Panavisinii. this fourth panel will
appear more than ever false Ilond. and
.
_
00 . taking on age. nds hinisell reduced
to the dimension of one of the iiiost
""
mediocre gadgets. Bond is iiist barely

still capable oi throwing a punch. For
the rest. a lethargy verging on helplessI|I:\'> destines the film to the agonies of
the diverse mechanisms that. after a
Fashion. Supply its inadequacies: lantaftll\(Ll DB5
- .-submarine-scooter.
etc. If they were not so rigorously hen!
"
f 0 P ti: l')'-
tin working for grown-up good ll(l|L'

hoys and girls. perhaps the gadget-men
of Eon I-ilnis would disclose to us the
erotic zicccssories of Bond. whose personzil merits lessen ii-uni lm to tilm.-
l\l.(I.
"'7
lms
,?""'""'
"////"'{"v'.4' 4'" MP
"l\
l'\'l'-'\'_ "1l[\_E)'l_<-
NL' K'~'!-l"\l'l\|\' \'="I='fl"" "1
l"""
l"~""*'~
seduced by
Th -h|
;.
"7 '
'
I;
\l
~
'
\-
P-ii
iIif|l('! iilil Fun] Tot/vlr'rn Il't'uf

.1-"II
lly,
mm U; Erich |.jngl.|_
with gumnnu (jnm.r_ Eu. ,\|,c,.k._

A dd!
Chrmint, Ku;mn_ 19;-_
Wm. 0" .m.lh). _\,_.mimcnh and ht. hiv
Ehrhafd. pm. (hm 5,
[hum Km
W4 0; in dun Gum
M llcinl
mulli
"'l'
hm
kl .m|
im_'.d)- ,\|hi.m
mu
|,dmu,- hm my Th.
my ughm, M' [hr R,
'
been seeing only the
Pmdm-mm._p
'
of (iL'l'l1\l|lI
.1: /zrinle Knrnur 1lu inur nu c/ml).

scope and in color of Voitech
jasny. with Emilia Vasaryova. Vlastimil
.
.
Hrod.sk)'. Jirt hovak. Jan \X'erich. ,laroslav Mares. l)(i_l.See (.1:/tit-rt no. I-H.
lilni iii
--
;'",\' Pvlr ll.'.-lt
1/1
/"'lI""L 5""
I4): '.!HiI!!l!! lliontempil.
(.'.1Iiier.t no.
58; no. l(I()'_Z

p. (it); no.
critique. p. (tl.
P-
nllnllen,
(imllillgeirl
l4.
Iii
.-I
French edition.
| IRIISSIQII |III
Don Quit/)nIIt'. lilni in scope and in
color hy (irigori Kozinisev. with NichoY" T"l"lf'~)''\'- |)(i,s.
no. _l(i0 Mm \.iImrInul
ll'lW-P. D. (\5.'l he_ print shown last
year on Fremh television lizid allowed
us to see that IhlS ver\_. \L'|)' ili|I~I"\lN-
lf Tcl''i(""'"
(.4/ucrt
"M5,,"
in Wm. 1,; '|,_-|.rk;|,M,"-\ ._

tiiarkiilvle looks. \\-.is far from heing the
hest lilni ol Rozintsey. At leilst it spared
us thje color. ii youdcan |{l\'c iat name
."M
xluil LL 'Ihe
" Mtrt.itiiiuit
.. m0.p.mof
dares
to exhibit.
,
front
.i hlurrtd
suflcrs
thtrthy
the theme
-. ,.
..
aspect
that hariiionizts
.ind iinnretise
..
~.
.._
H.
r.iiii.i
""'l
rh'
h"'ll) Ml ll llnmn ml
ol Cervantes. iiionstrously totiiured
,_. by ,h,..,_. |,||,,. and ,|g;,, 5,.
1 ,L.,'_J_,\ F
.
These notes were drawn up hy jeanPierre Biesse. acques llnntem P .s. Patrick
Brion. Michel (laen. jean-Andre l7ie.sehlAlhert Jurnss and Michel Mardore.
THEY'RE ALL HERE!

The world's largest collection of books
d related mater'als on mot'on
gincturesl
for our 25(_) page catalog listmg thousands of items.

The most complete list of film publications in existence. Books, magazines, annuals, directories, pressbooks, posters and stills. History,
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'
h y, criticism, tec h nique
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\\
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wlio-riplitiii:
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ness
'
2 |'7.ll'|l |IIl
$1i.'..i or
I2.t.
lb BUCIUNGHAM PALACE ROAD LQNDQN SWI, ENGLAND

B2
3
tlrc-gs
'
ix-/,/\_.
tlr .\'I'!Il[ In! n lrinl IL moiiIh.\
ii
pct..
.|dd;n
' " .0
'
l
,5,
"
l ' h..,
3
"R
)."ur_l;__rh.
n. H," .t.."\
wt.
_
to us in Lontlon for .i free

'
of FILMS AND FlLMlNGthe
illustrzitetl iiiternational monthly which is aI>.s-o.,
Iuhly tlmohtl to the lms _\ou lll\(.
t~op_\'
See
M.
>
szunple
l R"h"""
"' ("~"'"" "'""'~ l'''""'""''
_ t-7:-f*,,.
_"~'
llreedy. who is caught in her own game)

lacks anihition. and the niise en scene
suers from the most widespread malady
-_--=-'*"'
_.-
1|
little stutlent. amoral and
x.
-.
-\"l""\1'Y-
Vl"-ll<'~'
"lillenka luitalinic. 'l0r| .l""l"*
b6 an 3I1g
V.
"" O-""f"
"1"" 'I 'Ii"H' mm ll Jlnian zlimnC'
(..nnie.r (Douchetl. p. _$'l.ike three

out of four lilnis of the East In inmnu r/ul is a satire. would you believe it.
on bureaucracy. But. also a lahle danced.
sung. and tiiiiiied. on the lreshness of
simple feelings. the horror of hyprocrisy.
etc ln short - prouiieiiil
of wieltedness.
'
and _|-iasttmil hast hide Story. jasny has
conviction and grziemusness. but all that
somewhat lacks a real freedom. at real
aptitude for dreaming aloud. Nevertheless one vvill appreciate the cleverness of
the title (One dn ) a cat). some very suecesslul passages. and espteially the wonderlul setting of the little towii with
pointed roofs. a true invitation to travel.
LARRY EDMUNDS BOOKSHOP

6658 Hollywood Blvd.
Honywoodl California 90028
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An arresting and disconcerting
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following very much in the spirit of such memorable films about

decadent youth as I Vitelloni', Les Cousins, and Le Beau Serge.
Bos/ey Crowther, /V. Times
taut! $t|'i|le|'|t!...intriguing
topical lm. One of
the outstanding movies of the 1963 New York Film Festival!"
-1./U0/f/7 Cr/st, Hera/d Tribune
LEOPOLDO
tonne
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These Outstan d/ng F//m Presentat/ons
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Cahiers Du Cinema in English 2 1966

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.

FILM CULTURE Ilo. 36

DAVID WARII GRIFFITII'S

Revolutionary Masterpiece of the American Civil War

The Violently Controversial Story of

Violently Controversial Film

with Its Own Techniques of Acting

Mother" (or the "Father) of

ON SALE: Leading Newsstands and Bookstores

LUCHINO VISCONTI (CdC =174 Jan 1966)

COMDEN AND GREEN (CdC= 174 Jan 1966)

(CdC :'l74 Jan 1966)

onus AND ENDS

Ten Best Lists (CclC

Editor's Eyrie by Andrew Sarris

Paris Openings (CdC

Godard: Pierrot Le Fou by Michel Caen (CdC

(Cdc :39 Oct 1954)

""" -"1"" """ -"'

FEASE, ROSE KAPIIN

\i<'I|l \cr~iiI|nl. I'rinn-

I'n|n~ IInmI~-. I.~- (Illa! 1Iun~ I<- ~u~~. II I'IIl|l|N|I('(I

Inn IiII|~ ~-I 1|:-~ In~iI~.

In u|||I|uln~liraI nr1I|~r: |.' \;::-

'IIn- I.n|n-Iin|~~~ nI lIn~

I.'.'\~ ale |uiq|n~. Frnln-1-:

nnn- li~l~ |I|z|l |'n-urlml u~ lnll Ilv

will Ll|I|N'il|' in lIn- m-xl

Howard HuwI<s=EIdor0do,RoberI Mifchum. Reiurnlo the

genre oI Rio Bravo.

Alphabet Murders, Tony Randall,

I/.'Il'I '1 '.vI1

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