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THE MAKING OF KING KONG
SUI FiKEll5IoIb1x.1k5. n\.l}!Ill|nP§, I ‘S3 95
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 PUBLISHER & EDITOR
Eli}
POLANSKI: Tl-IE TENANT
lllllliih
interview by David Bartholomew 4
Frederick S. Clarke The director of REPULSION and ROSEMARTS BABY talks about his new
horror film, an imaginatively crafted genre piece that far outshines the
P spate of horror films currently cleaning-up at the boxoffice. and reveals his
Dav1dCBo:3‘Efon?g’Dg§e'£sYork) personal identification with Trelkovsky, the film's victim personified.

Mile‘; Cami; “l“’t“d§“) VLADIMDR TY'l‘LA' ANlMA'I‘lON'S MICHELANGELO by John'Canema.ker 9

Jegge gibem (:23 (0:58) A career article on the late Disney cartoon animator who had a gift for in-
Dan Sea mm (NZ: York) fusing life and personality in the characters he animated. The fortunes of
D ghpe (H ll d) his career are traced in the gradual decline of animation as an art form.
on ay 0 ywoo They don t draw ‘em like Tytla anymore.

CONTRIBUTORS FILMING Tl-IE OMEN interviews by Don Siay 40

John Canemaker Gregory Peck and director Richard Donner discuss this year's winner in the
Ross Care horror film sweepstakes, a dark horse winner, based on no presold proper
Kyle B. Counts ty, with no bankable superstars, no "name" director, and a modest budget,
Jeffrey Frentzen yet the film is expected to gross $80,000,000 in the United States alone!
Frank Jackson
Robert L. Jerome '
Bill Kelley [|
Chris Kinslnger
Michael A. Leavy
Charles D. Leayman l
Tim Lucas -

Bill Nelson BURNT OFFERINGS by Bill Kelley 24

S. W. Schumack
Robert M. Stewart CARRIE by Bill Kelley 20
Roger Stine
Bill Warren EMBRYO by Michael A. Leavy 21

FUTUREWORLD by Ross Care 25

ACl\\lJWLl'2lX3E1MENTS’ stint» ,\|-um. ct~|um- THEY CAME FROM WITHIN by Charles D. Leayman Z2
no l'l\_\Lll'l'S. sac-1'v. l'.\f£l|\i-\ur\l Pmumi,
IOU! ti--mury-Fox. \'Il|l|'d I\l'\lS\-H. l.4lili‘t’:I'Sll
Pl\hll'|‘>. R0b(‘l'lVll|2\fll. w;m Disney Produc-
|i,.i,_., V\.|rnr-r Brill.

(‘l3l"F.-\t\‘TAST|QUE ll! |-atom: quarterly -t e.

O4 Hm 210, Oilk Plrk IL 50303. Slljlt copies.
uh:-n |Ml'&‘;l3€d in.-it mt publisher, are sq,
sum-i-unions: one your :4 issues) S10. [WU
yam-< Iii lssurll $18, three years H2 Issues!
$25. Fr-r~~u=n subsernnim arr .\\':iiiuI>h- it tn» BOOKS reviews of cinema books devoted to genre films 36
saint ml:-.\, but please my by ll'lltl‘>lll\)Yl.ll Pos-
lal Mun‘-\‘ Urdvr or with a check, dull or iniinry ~

"rm '\-'--~'- 1'" W Amvm ham ¢u"1r-I~- CARTOON Chris Kinsinger pokes fun at LOGAN'S RUN 39
lions .-2 .in. inh-lea, [lintos uni rv.-nu-us are
heartily .-m-t-mm-<1 but please tncludr return
post.1i:-- .mrl t‘|\\'t-lope villi ywr ~=hmiwvI-- 0"
ll1!|.t|\\i;|l |lI'1\|t'I-its. I Illllslllltll ll! :l4t\';u\\‘8
COMING ‘ some interesting films we find on the horizon 32
will “ti.-n ~,|\‘l' wasted time and t-Hort. Display
$1 ff;11:“:::f;;**:§:f:£§=;m1;§::_!=;-2:; FILM RATINGS the staff gets together to disagree about the films they like 26
my [l.||1v N" co:-reninudvnco can he an.s1Icr—
51!__f:Qff;jn_j:§;1Qf"s:;§YC1af;';3>:"i;eIQ:;é\'; LETTERS the readers tell us where we went wrong 38
0.0. l'.\rk _lllim-is. Printed in USA. Contents Lire
.

¥'A‘§'¥i75"éé°..“§§i§2’§.?f§i‘¢§§‘;‘;:;..$f§’,?;f'““s sense or womasn editorial remarks by Frederick s. Clarke 3'1‘

"ETML ms.mmu."0N: M um L."m__, mm SHORT NOTICES short reviews of horror, fantasy and science fiction films 29

%i
Canmlaby B . DeBoer . I86 I-Ihh .r All" t . .\l -
... id \‘t
1' NJ U7ll°. Gil! l I l I I
5,? |,u,,“m, M m_1ff‘§"P{,“‘;§[_,'f,$}f‘;nf,"{’c{n_: Front Cover., Texas artist
- -
Roger Stine captures the portent of THE OMEN
~l --~1-- The vital, vibrant cartoon characterizations of Vladimir Tytla :Back Cover

I
 may be, are not only all native Frenchmen,
but French institutions.
Trelkovsky's apartment and building. a
masterful 5-story set designed by Pierre
Guffroy, becomes a major active character
in THE TENANT, and parallels the boat in
KNIFE IN THE WATER (i962), the castle in
THE FEARLESS VAMPIRE KfLLERS(l96'l),
the Dakota in ROSEMA.RY'S BABY (1968),
the chateaus in CUL DE SAC (1966) and
WHAT?(l9'I3), MacBeth‘s home fortress in
MACBEITH (l9'll), and most similarly, Ca-
therine Deneuve's apartment in REPULSION
(1965). Sven Nykvist's camera carefully de-
fines for us the space of the two rooms in
the scenes where Winters shows the apart-
ment to Trelkovsky. Once he is living there,
the apartment remains almost completely
dark, even during the day, and Polanski
takes us for contrast into the apartments of
other characters, including Isabelle Adjani
and Bernard Fresson, all of which are airy.
open and light, even at night. in all of these
films. Polanski reverses the notion of the
apartment (or house) as ii haven, as inviul-
able territory where one is in control, a
shelter from the jungle outside, and con-
"I don't like
sunlight very
much. In
subjects I ‘ than once. I
like to deal
with, light
is. . . alien. I
also like the
feeling of an
interior, the
sensation of
being there
. . . the
enclosure."
verts it into its opposite, a threatening. \'i-
eiously closed-in space.
in THE TENANT, Trelkovsky muses, "At
what point do we stop being ourselves?"
Nearly all of Pofa.nski's chzuacters are f:ic-
ed with, and usually defeated by. an identity
crisis, if not always of the horror film-ish
overtness of THE TENANT. in REPULSION.
ROSEMA.RY'S BABY, CUL DE SAC, and
THE FEARLESS VAMPlRE KILLERS, which
translates it into vampire terms. When Po-
lanski shows us the opera glasses in Trel-
kovsky's hands. we know he is hooked into
the plot, although he alternately gives into
it (transvestism) and fights it (his last cafe
visit). although the latter try for assertion
rapidly seques into a paranoid screech.
Perhaps the most memorable illustration of
this theme occurs in the nightmare setpiece
of the film. after Trelkovsky iii the bath-
room sees himself by his own window lld
races back to see Simone's niumified forni
in the bathroom, unwrapping herself, which
suggests her own encroaching freedom (iin—
plying dominance) and his own subjugation.
At about the n\id—point of a Polanski film
one is usually hardput to distinguish fantasy
from fact: in most of his films we share the
fevered viewpoint, edging along to panic, of
the threatened "hero." Despite most of the
film's overtness, THE TENANT features
the il'|ip€l"CE|1ablE shift in the funeral scene
from eulogy to a mocking condemnation of
Trelkovsky, and later, when he awakens in
a delerium and reaches for the bottle and
glass on the chair at bedside, we note un-
easily that Polanski uses a flat painting of
the objects that Trelkovsky gropes for,
heightening the effect of his terror.
Polanski also threads an abundant ab-
surdist humor through even the most "hor-
rible" of his films. The humor is jolting.
surprising. adding to the filnis' overall tone
of menace and almost never functioning as
the release from tension of classic "comedy
relief." in THE TENANT this is evident in
most of the transvestite scenes (somewhat
similar to Donald Pleasence's in CUL DE
SAC), including the one end—scene line, "l'ni
pregnant!" which somehow reminds us of
ROSEMARY'S BABY, or in the fast garbage
clean-up on the stairs, or in Adjani's head-
shaking line in greeting Trelkovsky, after
his harrowing night, "You're strange!" Po-
.. "._ ;~‘$".';ia ~->1...
lanski thus risks the preposterous and usu-
ally winds up alienating his critics. Despite
the fantasy and the humor, Polanski‘s films
retain and operate on a coldly simple intcr—
ior logic. almost to the extent of Bresson's.
Polanski tells his whole story in a lxtrt of
his very first complex shot under the titles
with the quick dissolve from a picture of
Trelkovsky to one of the girl at the window,
and back again. And basically, this eX-
change is all that happens in the film.
CI-‘Q: How many cuts are there in that
opening shot, under the titles?
POLANSKII Actually there are none, the
way it was shot, all in one continuous take.
1 put two dissolves in it, when the charac-
ters change male to female in the window,
twice. These cuts were made only for the
purposes of the dissolves. l used a crane
with a very light magnesium arm with a re-
mote-control camera mounted on the end.
No operator was on it: we controlled it from
the ground with various motors.
THE TENANT is an adaptation of abonk
written by Roland Topor. It was published
ten years ago, and translations have been
done for England and America. You may
know his work as an artist—he does a lot of
drawings, paintings and illustrations. And,
of course, FANTASTIC PLANET. Those
posters in the filni—"Le Peinture L-ure"——
were done for us by him. The book was of-
fered to me long ago, but l had just made
REPULSION and wasn't ready for this very
similar atmosphere and subject. But l was
very struck with the part of Trelkovsky, and
i immediately wanted to play it. Later,
when Paramount acquired the rights, they
suggested that I direct. I told Bob Evans
that l didn't want to, because it was too
close to films l have done, like ROSE-
MARY'S BABY. it was right after that mo-
vie that the book was again offered to me. i
said l would play the part if someone else
directed it. Bob Evans thought that was a
good idea. They had someone in mind, but
he finally declined. So we were stuck again.
Finally, last year l found myself with a 10-
month delay on PIRATES, and l said it looks
like a good time to do both, play and direct.
Otherwise, it just would never happen.
Cl-‘Q: How did you cast the picture’?
POLANSKI: The book was so French, and
"I design my
movies to be
seen more
like it when
people try to
get into it to
that extent."
Cll\t‘l\lilttpgl‘il|lh£‘l"
Sven Nykvist (left),
production designer
Pierre C-uffroy and
art directors
Claude Muesching
and Albert Rt-jau in
an "o\'ersized" set
of Trelkovsky's
apartment. used in
one brief nightmare
sequence.
1 decided right from the start that it must
be kept Paresian and not adapted for the
States. And l went to Paris to shoot. Barry
Diller, of Paramount, said that ifl did the
film completely in Paris. he was afraid that
it will seem to American audiences like one
of those. . . "little foreign art movies" [Po-
lanski laughs] with which the general audi-
ence does not readily identify with. Why not
at least use American actors? l agreed to
that; also, actors like Melvyn Douglas,
Shelley Winters and Jo Van Fleet i could not
find in France. They are a superb trio—Van
Fleet, a marvelous actress, i don't remem-
ber doing anything since COOL HAND LUKE
—they give a weird atmosphere to the film.
Cl-‘Q: How do you and screenwriter Ge-
rard Brach work together?
POLANSKI: We have worked so much to-
gether that we have developed an excellent
form of collaboration where we'll discuss
some things, then he goes home and writes.
Then we read it together, discuss and,cor-
rect. and then move on.
CFQ: The dubbing in the film is quite
distracting, particularly Bernard Fresson.
POLANSKI: Actually his voice was al-
 most the .-.ir.ir, excl-pl ht no longer had a
French ac wnt. Yes. a lot ol it was dubbed.
and not hi the original at-tors.
CFQI Was ;ui)‘ oi the lilin shot in st-—
quenci-'!
POLANSK1: Nothing. Not one shot.
Cl-‘Q: The musir.il tlii-me was very siiii—
ple and haunting.
POLANSI-(l: Yes. This was intentional.
Philippe Sarde ll‘lt'(l to concentrate on the
element ol solitude .uid to give the liliii that
leeling.
Cl-‘Q: Some ol your ellects are so subtle
that people must strain to detect theni. Like
the use ol the ll.it painting ol the bottle tllltl
glasses lor the nightmare sequence, or the
change in texture ol the wall when Trelko\'-
sky dist'o\‘1'rs the hole.
POLANSKI: Well, l design my movies to
be seen more than once. l like it when peo-
ple try to get into it to that extent. ln those
instances l wiuitedtoget that leeliiig ol lei'-
er. when things set-iii entirely dillerent.
Trelkovsky has these laiitasies and visions.
Although l try to keep the sanie style for all
ol them, l don't like to tap the viewers‘
shoulders and say. “Carelul now. he‘s go»
"I (lOn'lI like ‘
to tap the
viewers’
shoulders
and say,
‘Careful
now, he's
going. to
imagine
something!"
.lo Van Flt-rt as
Mme. Dioz sports
.t loltkl‘-(l "Exorcist"
st) le tongue and
5|“-oi t-....oo
lviisi-s at the lilni‘s
t'llll\tlX. as seen
li-om the leverish
point-ol~\*iew ol
Trelkovsky.
ing to imagine soiiiething." Still. l try to
make these scenes dillerent. lor the sake ol
ellect. but ]\lSl slightly. The person who
halluciiiates doesn't see things in dissolves
or dillerent colors; they‘re as real as ev~
erythiiig else. just slightly dillerent. 0th»
erwise there would he no prohleni. We olten
did it. in THE TENANT. with lighting. like
lrom the iiioiiient when Trelkovsky sees the
person standing and staring in the toilet ev-
erything changes: when he comes back to
his room, the lighting is dillerent, things
leel dillerent. This subtlety is very dillicult
to do in lilnis. It requires tremendous el-
fort in production. lt would be easier to do
it otherwise. But it niostly goes unappreci-
cause they don't analyze it. just g
aled. Audiences get it. subconsciously, be-
but critics dun‘t. ll you spend hours re-
it...
hearsing caniera movement. to avoid ob-
viousness, to make it really imperceptible,
then they don't notice. When you niove your
camera to the point of giving the audience
nausea. they'll acclaim your "relentless"
camera movement.
Cl-‘Q: They did this with THE PASSEN-
GER, in the last shot-sequence.
l 7
POLANSK]: Well. l think Antonioiii's
caiiiera iiiovenieiit is pretty discri-i-t, but,
lor exaiiiple. Bertolucci's isn't. ln LAST
TANGO his camera (ll“t|\'t' l\\l' nuts! Thert-‘s
iiothiiig easier th.in to keep the camera
moving. wittiout specilic reason. although
that‘s usually widely acclaimed by critics. l
guess they "see" it and like to say they've
noticed.
Cl-‘Q: Not to keep on specilics. hut l also
liked the shot while Winters is showing the
apartnient lo Ti-elkovsky, the slight mo\'e-
ment lorward when her hand is on his hack.
POLAl\iSKl: l like specilics the most.
Ttiat‘s my ]t>|) and people usually like to talk
about what they do. lt's iiiuch more inter-
esting to talk about the liliii than...like,
"What‘s the dillereiice ll('lVt'['l'l\ liliiiiiig iii
Poland and the United States?" [laughter]
Ol course that sliut was deliberate. Ev-
erything in my lilnis is delihi-rate. When
people ask about things like that it shows
that l have succeeded. When something
looks very well done on liliii, it looks iiii-
possible lor it to have been done intt-ntioii-
ally. lt seems to be like a lucky accident.
ln other arts too. painting, music. you til»
ten wonder il the artist is aware oi what
he‘s done. lt's an indication ol his success.
CFQ: Were you jabbing a bit at THE EX-
ORCIST with Van Fleet and her snake-like
toiiguei’
POLANSKI: No. it was just. at that stage.
Tl'(‘lkUVSl(y'S l;U\l;i5i(‘5 have reached a point
where they've become completely. . . absurd.
The lilni increases them gradually, from
elements that are totally realistic to those
that are completely lantastic.
CFQ: You've been pigeonholed, at least
alter ROSEMARY‘S BABY, as a maker ol
occult thrillers. Yet your sense ot humor
alienates a lot ol people. Obviously you
must be prepared to. . .
POLANSKI: . ..suller the consequences‘?
Cl-‘Q: Does this bother you?
POLANSKI: To tell you the truth, I don't
read my reviews anymore. l stopped with
MACBETH.
CFQ: Well, here there are some pur—
ists. . .
POLANSKI: Purists? You must be ]ok-
ing! The "purists" here know nothing ul
Shakespeare. There are purists in England.
and l had great reviews there. Unl'ortun:ite-
ly, the lilm opened hi-re in New York be—
lore London. ll you can talk about -.uiy
characteristic ol lilni critics here. as tar
as t‘t!li(‘('l‘ll$ Shakespeare. it is a lack ol se-
curity. They know nothing about it. 1U\d
when there are no identiliably repsectable
names behind the pron-ct. they leel it safer
to put it down. ll you have Olivier, or who-
ever. In-hind it. then it's salcr togive it a
good review. The adaptation was made with
tremendous rare. There was nothing gratu»
itous about it at all. Every single change in
text or action was always supported by
whatever has been written about the play by
Sh;|](t'5p¢-;||'|-_ui _~a-1\.,|;Lr5 .,“-,- ||“- 13,1 lm-M.
centuries.
CFQ: The worldview expressed in THE
TENANT is iiiliospitable. Do you share this
pessiniistic view‘?
POLANSKI; l'm alraid l do, yes. Even on
a small scale, those Paresian circles ol
bourgeois apartnients. There are )ust such
places. And yes. the world is quite hostile,
particularly to strangers, to people who are
in any way dillerent than the rest, The
Fl'l'|)t'h do not like being the t!l1]t‘t‘l ol sa-
tire. t'5))t'l‘|lllly lrom an outsider.
"There's
nothing
easier than
to keep the
camera
moving,
without
specific
reason
although
ls
usually
acclaimed
- - iv
cr1t1cS°
C!-‘Q: Do you try to avoid sunlight and
hriglit lights in your lilnis?
POLANSK1: Yes. that's true. l don't like
sunlight very much. ln the SLll1]t't‘l5 l like to
deal with. sunlight is...alien. l also like
the leeling ol an interior. the sensation ol
being there. in the middle ol things, the
perspective ol it. the enclosure. Like the
Jan Van Eyck portrait ol the couple ["The
Marriage ol Giovanni Arnollini and Giovan-
ni Cenami"] holding hands, with the round
mirror on the wall between them. Arid over
the mirror. in Flemish. it says. “l was
there," and it you look in the mirror, you
can see the other side ol the room.
CFQ: How do you handle acting and di-
renting in the same lilni?
POLANSKI: First I rehearse the scene
with the actors and go through it without a
camera. We lind the right places to sit, to
move. Then l have a stand-in, an under-
study, who goes through it in place ol me
while l watch it and see What is wroY\l-!~ Th?"
l place my camera and set up the position.
Sven lights it, then l line up the operator
and the grips. Then I leave it to Sven and
continued page 30
,

190 4968)
i7imati0i)’s Micbelange 0
There is a scene in Walt Disney's SNOW
WHITE AND THE SEVEN DWARFS U937).
nmslvrfully uiiiiiwlvd by Bill Tyllu. that r(--
mains a tgurclelurce of aiiiiiiatiun technique
in exploring l'I‘tl|lll\ personalities: Sl\U\'t'
White inluriiis the dwarls that they iiiust
wash belore supper or they'll "nut get a hite
to eat. " Reluctiuitly they niiike their way to
an nutdolort watez-J punip iiiicltuh»-all l‘X;.‘t'])t
0 reca ci rant ‘ruiiipy, \\' in ]('(‘I‘5 at l\(‘ll‘
atteiiipts at t'l(';UIll|l(‘SS lruni the sidelines.
Alter singing it muraizeiius \\'ash_iiii: SIIHK
t"Bluddle-Uddle-Uiii-Duiii")_ the six dwarfs
attack Grlllpy and thruw hini iiitn the tuh
fur :1 rnusiiiiz reprise.
lii "full aiiiiiiiitiuii" technique. as opposed
tn "limited." Saturday l\ltll'lllll|L-l_V|X' ;U\ll\lll-
tioii. lt is quite a it-at to not uiily lll\l\‘t' Ll
cartoon "actor" cuiiviiiciiigly through his
paces, but to iiiake hiiii iiiuve and react ac-
cording tn the dictates of his unique cartunii
persnnzility. ln Tytl;i's sequence, we have ll
veritable mob scene with gegg \'h;ll"llL‘lt‘X'S,
who are of a siiiiilar shape hut have seven
completely different persriiuilities, and thus
seven different iiiutivatinns and reactioiis.
Tytl:i's successful sulutiuii uf this pruhleni
oi cartuun identity can be regarded as a
siiiall miracle arid is a tribute to his power-
lul izilts ul cunceiitratinii and his ability tu
"lit-cniiie" the characters he drew.
Aiiiniatur George Bakes, 'I‘ytla's lriend
and assistant in New York lroni the late
19505 until Tytla‘s death in 1968, cmiinient»
ed recently on "Bill‘s cuniieetinii with the
thing he was able to do. that it wasn't really
a dra\\'iii|:—it was Bill that was coining nut!
He was such an intense and sensitive soul
that once he had that (‘0l\|'\(‘lIlll'lIl with paper.
with Ll little perspiration he was huiiie free.
John Caneniaker is a leading authority uii
the field ol cartuun aniniatiuii. He lives in
New York and is currently preparing a book
on the production nl the feature-length c;u'-
tmin RAGGEDY ANN AND ANDY to he pub-
lished by Hobbs-Merrill.
101717
Vladimir
illiam
gtla
"_ _3_t [hues ou will want Plus he was very bright, could analyze and
' y think, which ynu have tti he able tn du tn axi-
t0 Ztllllnte Stu“ Where You lllinll‘. at least the way 14- dirt tn coordinate
- t 6,1 I 1 311 ii‘;-5;» qhj|;|;5_
Jus ‘ n t be Cue al d c0y' Duiiald Grahiini. the pitted instructor in
the t1lI'l€S when
ThOS(:‘ HIE charge of the Disney Studio art classes that
began in 1932. frequently used tilni exam-
you wlu have to know
-
ples of 'l‘ytla's aniniatinii in his action-:in:il—
sgnjethlng 3_bQu[ d1‘;1W]_I]g_ ysis t‘lllG:‘5l‘}1i. "[Tytla] (‘lliL‘Sl9;tit animate
- furins, ra am observed iii ‘I tu a group
Whether It ls called forrn or
V
of I1\|\'lL'(' aniiiiators, "hut synihols til lurces
force or vitality’ you gnust ...this is a revolutionary conceptinii...in—
. 4 stead of set-int: a character as ll round hudy,
get It Into Your works for beautifully niudelled in drawiiiiz. he secs the
that will be what you feel animating liirces lI‘||1t'l‘t'l\l in l\. lt is Ll cun-
_ _ ’ lii-niatiun iii all the instructors have been
and Cl.I'Z1Wll'tg 1S yOl.ll' 11188115 trying tn do here iii the drawing classes.
Tytla‘s work has l)l'l'II a rt-vi-latiiin!"
of expressing It.
iv - -
Vladiniir Williuni Tytla is aliiiust totally
unknown outside wt the animation industry,
hut audiences all nVt'l' the wnrld have ex-
perienced his artistry thrnugh unforgettable
cartoon |X'l'lt)Tll\illl(‘(‘S in thousands nl ani-
niated lilnis, most notably in scenes from
the Disney features. SNOW WHITE AND
THE SEVEN DWARFS (1937). PlNOCCHlO
(1940), FANTASlA (1940), DUMBO (l94U,
and SALUDOS AMIGOS (1943). lli the pro~
iessinii, he legend, "the Michelangelo
is a
ul aliiiiiaturs," claiiiis Chuck Jones.
ln many ways. T_vtla‘s career parallels
the hriel history of liliii aniniatitin itst-ll: he
lieizan when hnth he and the art were in their
teens in New York. and went on to flourish
during :ininiati<>n‘s "Golden Era“ at Dis-
ney's. there lhi- vital Tytla was at the height
til his creiitivity and in total cuiiiniund iii his
dyiianiic powers. which were challenged by
each new assigiiiiient at that studio. The
dark side nl the Tytla legend concerns his
slow, tragic derline as iui artist alter leav-
ing Disney's; changes in econuniics and
public tastes in the late l940s and '50s were
reflected in '.u\iiiiatt-d productions and Tyt—
la's frustration with television animation
that never challenged his niaiznilicent talent,
Vladimir Williaiii Tytla. circa 1963. plus his depression over the realization that
(Photo hy G. Knniar) he would never again attain the peaks he
Canemaker Q
 Y
reached at Disney, eventually took their wanted to work with him," Tytla recalled
toll. Tytla did not live to participate in the years later. "l heard he was a really tough
current resurgence of animation as an in- guy, he never treated anyone with kid
dustry and as an art form. gloves . . .l had the repitation of being very
William Tytla, christened Vladimir, was
born in Yonkers, New York, on October 25,
1904, the eldest of four children. His fath
slick with a crayon and pencil...l took a
great liking to him as a man because he
looked like a man and talked like one and he
/@\
er, Peter, was a Greek Uniate Catholic and had a very line subtle sense oi humor. Fi-
an Uhlan in Emperor Franz Josef's Austri- nally he came over to my easel and he got a
an Army who emigrated from the Ukraine whole stack of drawings l had done for a , . -
-
to America in 1890, and established himself week. He glanced through them and said,
l \.
q’ -
as a cooper in Yonkers and Jersey City, ‘They're kinda clever, aren't they?‘ Then
\
_
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making barrels and crates. His success in he got to work on me. He told me to get a
J/
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a new land opened the way tor marriage to brand new pencil with a new slick point on ‘X
his intended, aRoman Catholic woman from it, so I would have to draw—and no tech-
his homeland whose father, a well-estab- nique' Then he criticized the drawing He \ ' _

\
lished architect of the lower Polish nobility, asked where the neck line was (I just had a P‘?
had earlier disapproved her marriage to couple of lines and a smudge). lhad no leg . . I '
this man of the Cossacks. to stand on. . .l picked up a lot from Board- \ J .\ .

Anne TY! la Gibb recentl Y described her man Robinson - " ,‘ 1 ‘

brother William's earliest years: "As a By age I7, Tytla was Working at Para
child," writes Mrs. Gibb, "Bill loved to mount Pictures in New York lettering main
draw, copying pictures in magazines, es- titles and balloon captions for that studio's {
pecially the comic strips, such as Buster films, which earned him the nickname "Tyt-

\\-\\
\
Brown, Katzenjammer Kids, and the like, '
Any loose paper around the house was seiz-
\ Z‘ _
ed for his drawings. Occasionally my father
brought home drawing paper and other sup-
plies.
"Bill was the only one of us who showed
any talent for art...he attended Catholic
’ \ \
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\ ,

" ; ‘

I
parochial schools in Yonkers and public
schools in Jersey City His teachers recog ' S This Page: Bashful plays the concertina, 3
nized his drawing talent and encouraged him .

to develop it. ' I oi Tytla's original animation drawings for

"He did not complete high school but SNOW WHITE AND THE SEVEN DWARFS
went to art school in New York City [at the
.

A -\ ,-> (1937). Right: Tytla animating Stromboli

/ /J \ ’
New York Evening School oi industrial Art , for Walt Disney's PlNOCCHl0 (1940).
and the Art Student's League] ' My father ‘\
was summoned to court because of Bill's ‘

absence from school. He explained to the much later. The fact of this moustache non-
judge that Bill was attending art school and ' , sense was that at 22, Bill was a top animat-
showed samples oi Bill's work. The judge ,5 , or receiving a top salary as proof of his an-
was especially impressed by a sketch of imation capability
Admiral Sims which Bill autographed and ~ Tytla roomed with two commercial ar-
presented to the judge. The charges were tists. Maurice Rawson and Henry Berger,
dismissed." at the Kit Kat Club at '1th Avenue and l4th
The teenaged Tytla was greatly influenc- ‘ Street, an association that rented studios to
ed by Boardman Robinson, one of his in- ‘“ artists. Klein lived in a studio below Tytla's
structors at the Art Student's League. "l
\" and notes that Tytla and his friends "attend-

i /\
“gl ’ ed some evening life-sketch classes, did
some painting, and lead a lively after-work

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young artists‘ life "
ln 1929, Tytla, Rawson and Berger took
their savings and sailed for Europe to tra-
vel and study painting. ln Paris, Tytla stud-
ied sculpture briey with Charles Despiau
3 ' and it has often been noted that Tytla's ani-

' —'L - .

’
'

_ la the Titler " Soon he was animating"Judge

Rummy" and‘ "Happy Hooligan" at John Ter-
mation has the solidity, weight and dyna-
mism of sculiture.
lt was in Paris that Tytla first heard of
' \
'

A l ) ry';lGi;reenwi:h Village studio;_ acrordingl to Walt Dihsneyé "l want to a mo(vi‘e we're," he
/J ve eran isney amma or an a remem ere "an saw one 0 is s or s.
’--* / _,- ‘
. e
contemporary of Tytla's in those early ani-
mation days in New York, "Bill T la re-
wondered who he was. . . Later l had the op-
portunity to watch some stolid Germans as
,

' _/
of \ .
/
‘
garded John Terry as a worldly and wise
man to whom he could always turn to for
they sat through aDisney short. They didn't
laugh at all. Throughout the film they turn-

i \
‘ ‘
‘Z , - / / advice. Long after Bill went to work for
other studios, he always went to John for
his opinion before coming to a decision."
ed to each other and made a motion oi a
wheel turning by their ear. They thought he
was screwy . . .they didn't understand him at
all. ..
_

. 1 By 1923, Tytla was animating AESOP . S -

K
\
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3

\ l-‘ABLES for John Terry's brother, Paul. l.

Klein met Tytla on the street a few years
later and noticed that he was now a "dapper
dude" and was "sporting a fancy hirsute a-
dornment above his upper lip. He seemed to
Henry Berger recently recalled their vi-
sit to London: "The usual sight-seeing, mu-
seums, cathedrals, historical sites, etc.
While there Bill tried to interest the Rus-
sian Embassy in his animation abilities.
think an explanation was in order. To wit: Bill had thoughts of heading a Disney-like
'
’
\Q I
he was now earning a very fine salary as an
animator and wanted to look mature, to
match his salary-earning capacity. lt was a
studio in Moscow. They didn't go for it.
"We headed [back] for Paris by plane,
stuffing our ears with cotton to cut out the
suave type of moustache, sort of a Dali- noise. A rough-go over the Channel. it was
I

QWDP thing in its early stages—the change for the a first for both of us. All this before the
Stalin-type of heavy moustache developed trip down to Nice. Down there Rawson and

10
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 Bill met up with a couple of dames and left
me behind for a tour of Italy."
During his l8 months in Europe, Tytla
painted some Cezanne-ish landscapes and
still lifes, and went to Vienna specifically
to gaze upon the work of his idol, Bruegel.
There Tytla assessed his own artistic po-
tential and decided to concentrate on the
commercial, rather than the fine, arts.
When Paul Terry contacted him in Paris
asking him to work on the new Terrytoon
sound cartoons, Tytla accepted immediately
and returned to New York.
'l'he New York animation industry in I930
was made up of a majority of men who were
mainly cartoonists with no background or
training as fine arts draftsmen. Tytla once
spoke to a Disney animation class about his
problems returning to this rather rough and
tumble atmosphere: "l worked for a com-
pany that was considered tops and aces in
the east and they were making a tremendous
amount of money. When I suggesteda mo-
del, we had to hire him ourselves and of
course they wouldn't consider engaging an
instructor for us. We thought the lead ani-
mators could help us, but they couldn't do
much if you took them off cats and mice. If
there was a scene of an old man hit by a
club and beautiful girls oated around him
in his daze, the lead animators couldn't an-
imate the girls—we would have to. . .lt was
{\5(SldP::E|Y accidazntal that one or :1wolof us
e awing an went to art sc oo be-
cause it was a lot of fun besides.
"Finally, we had to give it up—the fel-
lows would make wisecracks about the girls
who posed for us. So after two or three ses-
sions even these classed stopped. . . the time
I speak of, they said anyone who goes to art
school is a ‘homo Bolshevik.' They'd say,
‘What the hell do v ou want to go to art
school for—you're animating, aren't you?’
Then when you countered with, 'Why do you
give me this stuff [dancing girls, etc.] to do
—why don't you do it yourself?'—That was
different."
Then there was the matter of salary.
Tytla found out that some older Terrytoon
animators, turning out as much footage as
he and of a lesser quality, were being paid
considerably more per week. He went to
John Terry who advised him to go to his
brother, Paul Terry, and threaten toéuit if
he were not given an immediate I0 in-
. Food); MICKEY'S FIRE BRIGADE (Clara-
crease in salary. It worked and Tytla got
the raise.
lt was at Terrytoons that Tytla first met
Art Babbitt, who today is recognized by his
peers as one of the world's finest anima-
tors. He and Tytla were to become life-long
friends, and Babbitt recalls, "Bill taught
me a great deal [about animation]. Bill
taught me to have the courage to invent. He
was sort of a reticent personality, he was
shy, and yet there was an exuberance about
him. You felt little sparks of electricity
coming off of him all the time. We seemed
to hit it off right from the start and within
a week after we met, we were sharing an
apartment up in the Bronx not far from the
studio.
"He burned many of the mintings that he
had brought back from Paris. Bill just
didn't think they were good enough and that
was his attitude towards all the work he
ever did. He was never satisfied with what
he had done. Although he sat across the
aisle from me [at Terry's] I never observed
too closely at the time just how he did work.
1 had the impression he wasn't struggling
too hard. He seemed to have confidence in
what he was doing, as opposed to his inse-
.
I2
curity at Disney's later on. Bill was very
highly regarded in the animation industry
even at that time.
"When I first came out to California [in
1932]," continues Babbitt, "and had my first
interview with Walt Disney, I immediately
started talking about the marvelous talents
of Bill Tytla. He had heard about Bill from
other guys like Ted Sears and Norm I-‘ergu-
son New York animators who joined Dis—
ney's , and Disney asked me, "Now how
soon can we get this guy Tytla out here?‘ So
I wrote to Bill and when Terry heard of it,
Terry gave him a $25 raise. A month or
two later, Disney asked me again, ‘Let's
get this guy Tytla out here!‘ So again l
wrote to Bill and again Terry gave him a
$25 raise. Now this happened about three
times, sol finally gave up trying to get Bill
out here. So I figured, just for the hell of
it, I'll send him a telegram which said no-
thing specific. lt was stated something like
this: ‘There are many opportunities in the
west‘-—and Bill got another $25 raise!"
"In 1934," Tytla recalled in 1968, "I
flew from New York to the Disney studio.
The flight took 18 hours. Jesus, but I was
impressed at the Disney studio. It was such
( Q‘ __(
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N tures of the greatest challenge of his ca-
-
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( all his assignments during his brief nine
/
, year tenure at the studio would provide Walt
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a beautiful plant. . .Walt and Roy knew of me
because of what I did for Terry. They would
look at Terry's productions and could re-
cognize my animation. Roy would call me
up whenever he was in New York...l re-
turned to New York to tie up my affairs and
in November of I934 started to work lull-
time at the [Disney] studio."
The High Renaissance of animation was
in full flower at the Disney studio: during
the period between 1928 to about 1938, Walt
Disney developed his cartoon factory into a
20th century version of a Middle Ages I-‘lor-
entine workshop. Sound and Technicolor
added tremendous emotional impact to the
Disney cartoons and advanced animation's
potential as a storytelling medium, but Dis—
ney's greatest triumph was in creating a
new look for animation, a look unique in the
history of art containing a new flexibility
and life quality based on caricatured reality
and fine draftsmanship.
Leonardo da Vlnci would have felt quite
at home at Disney's, for as in any proper
"workshop" all the master artists had as-
sistants and apprentices learning their in-
dividual crafts on-the-job. In addition, Dis—
ney maintained a formal art school on the
Left: Dopey washing up, blowing water out of
both ears, one of Tytla's original animation
drawings for Walt Disney's SNOW WHITE
AND THE SEVEN DWARFS. Right! Tytla's
model sheets for DUMBO (I94!) and an ear-
ly version of Stromboli for PINOCCHIO.
studio grounds where all his artists could
sharpen their drawing skills by sketching
live models, animals and nude and draped
humans. The Disney artists could extend
their knowledge of the world of art by at-
tending lectures featuring guests, such as
Frank Lloyd Wright, Rico I.eBrun, and Al-
exander Woollcott, and'they could partici-
pate in seminars on perspective, color, mu-
sic, and action-analysis of live-action films
from Chaplin comedies to NOSFERATU and
SAN FRANCISCO.
Discoveries improving the quality of the
films were made almost daily in every de-
partmeni and the knowledge was shared by
every artist in the studio. This grounding in
the disciplines of graphic art and unceasing
explorations of the possibilities in the new
art of film, plus the sharing of all informa-
tion, is what enabled the Disney animated
films to advance their quality to such a high
degree in an extraordinarily short time and
N
subsequently to profoundly influence the en-
tire animation industry.
In the fall of l‘93i1. Walt Disney was al-
ready deepy invo ve in the asic struc-
reer, the feature-length cartoon, SNOW
WHITE AND THE SEVEN DWARI-‘S, which
would be completed three years later. lnto
this highly - charged creative atmosphere,
\'
)1 ) after two years of coaxing, stepped Bill
Tytla, one of the best paid and most highly
respected young animators in New York.
The brilliance with which he would handle
Disney with some of his finest cinematic
. moments and would build Tyt!a's reputation
/ to legendary status.
I David R. Smith of the Walt Disney Ar
\/__ ;
/\
chives provided a summary of Tytla's con-
tributions to the Disney shorts: 1935: COCK
OI-‘ THE WALK (most of rooster and girl);
COOKIE CARNIVAL (boy cookie sings to
QWDF girl and leads her away: Angel Food: Devil's
belle): BROKEN TOYS (Step'n'Fetchit; Je-
mima); 1938: BRAVE LITTLE TAILOR (Gi-
ant); 1941: GOLDEN EGGS (rooster); I943:
THE GRAIN THAT BUILT A HEMISPHERE
(Indains); EDUCATION FOR DEATH (Sleep-
ing Beauty sequence; teachor):REASON AND
EMOTION (Hitler). Tytla also worked on the
feature VICTORY THROUGH AIR POWER.
After beginning on the Mickey Mouse and
Silly Symphony shorts, Tytla was soon as-
signed as Sipervising Animator, with the
late I-‘red Moore, on SNOW WHITE AND THE
SEVEN DWARI-‘S, and it was these two who
were responsible for defining the distinctive
personalities of the Seven Dwarfs.
Concerning ’I‘ytla's work on the Dwarfs.
Don Graham noted that, "lndividually [the
drawings] are full of movement which re-
suits in a feeling of real vitality and per-
sonality in the character. There is a feeling
of movement of line developed through ne-
cessity . . . This stuff has vitality," repeated
Graham, and concluded that "any animator
could profit a lot by studying thcsc as draw-
ings. . .there is a strong feeling of linear
design throughout, but always in three di-
mensions."
Bill Shull, Tytla's assistant on SNOW
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Right: Tytla animating the devil irom "The

Night On Bald Mountain" sequence oi FAN-
TAS1A(l9-10). Fellow Disney animator Art
~ w
,
Li '
Babbitt, commenting on this breathtaking
Tytla animation oi the gigantic devil noted I/b
"...the power oi the devil, the drawing
where he turns his hands around—this is
something that has been iorgotten. The so-
called animators oi today couldn't come
anywhere near the craitsmanship that Bill
was capable oi in those years. inset: 1‘ytla's
"method acting" approach to animation via
which he sought to become the characters
he drew.

WHITE AND THE SEVEN DWARI-‘S, once

remarked on ’l‘ytla's instinctive use oi dis-
tortion and exaggeration, the keys to dy-
namic animation: ‘1 gel a kick out oi the
Way Tytla will distort something," said Q-Q
Shull, "the ioreiinger oi a hand perhaps—
stretch it out so that it looks almost silly. \ I 1
When you see it on thc drawing you would
swear it meant nothing, but on the screen
. gm:
these things seem to hold the scene togeth-
er." I \
A prime example oi this magical distor-

‘
tion can be observed in Tytla's superb real-
ization oi the character, Stromboli, the evil I

puppeteer in PINOCCHIO. An overweight

monster oi mercurial moods, capable oi
wine - soaked, garlic -breathed Old World
charm one second and kniie-wielding, chop-
you-up-ior-iirewood threats the next, the
Stromboli character is larger than liie, and
this is how Tytla animated him. Frighten-
ing and comic by turns, Stromboli as Tytla
captured him, is one oi the most three-di-
‘I
"01 are;
hi , 4
mensional oi all the Walt Disney cartoon
villains.
"ln my estimation," states Art Babbitt,
"the greatest animator oi all time was Bill .¥‘“~!~

‘Z?’
'i‘ytla." Commenting the breathtaking
on
Tytla animation oi the gigantic devil in "The
Night On Bald Mountain" sequence oi FAN- . -
JP"
TASIA, Babbitt notes, "...m¢ power oi the .
devil, the drawing where he turns his hands '
.
T*
around—-this is something that has been
iorgotten. The so-called animators oi today
couldn't come anywhere near the craits-
manship that Bill was capable oi in those
years. "
Versatility, the rare ability oi a.n anima-
tor to assume completely diiierent roles.
was yet another natural attribute oi Tytla.
"Bill was a very sensitive and sentimental
man,“ explains Babbitt, "and he was per-
tectly capable oi being tender as he was
with the little character Dumbo [the ele-
phant with the long ears who learned to fly].
in iact, there's one memorable scene in
DUMBO where he comes to visit his mother
who is locked up in a cage, and i have seen
this picture in several places around the
world and each time a number oi people in
the audience weep. it could have been so
crude and maudlin but instead it was done
with great sensitivity and taste. lt's assum-
ed you can make somebody laugh with iunny
little drawings," concludes the veteran ani-
mator, "but to be able to use these iunny
little drawings and to make a person ieel so
deeply that he weeps-in my estimation,
that is true artistry."
When he iirst arrived in Hollywood, Tyt-
la moved in with old pal Babbitt in his beau-
tiiul home on Tuxedo Terrace. The two
well-paid bachelors led busy "playboy" ex-
istences after work and Tytla, who loved
horses, took up polo. only to temporarily
give that sport up when a horse [ell on him
and cracked his pelvis. He was in the hos-

14
\
pital on the critical list for months, then on
crutches, and finally he recovered without a
limp.
it was at a Disney drawing class one ev-
ening in 1936 that Tytla met his future wife,
Adrienne le Clerc, an actress from Seattle
who worked at the Hollywood Playhouse and
other Little Theatres. in addition, Miss le
Clerc was a fashion model and worked for
artists and illustrators including, on this
fateful occasion, the Walt Disney studio.
Today, Tytla's vibrant and elegant widow
maintains the acres of property Tytla pur—
chased in East Lyme, Connecticut in the
1930s on advice from his father. Mrs. Tytla
owns and operates, out of her barn, an An-
tiques and Garden Ornaments Shop, writes
a spirited weekly local newspaper column
called "The Joy of Eating" and is writing a
cookbook called '@ Mousse ‘mg Roargd.
A witty and candid woman, Mrs. Tytla is
still easily moved to tears when discussing
her late husband.
"I had a friend who was a model," she
recalled recently, "and she had been dating
Art Babbitt and 1 heard all about this char-
acter, Bill Tytla. She called him a mad
Russian. Well, he wasn't Russian and he
wasn't mad--he was just brooding and in-
tense. l was manic and he was depressive.
But dynamite with that great leonine head!
He was so broadshouldered he looked as
though he should come through a door side-
ways. God, he was a hunk!
"0u' son Peter is now 3'1 and is a gifted
and successful director of TV commercials
in Mexico City. Tamara. our 2'1 year-old
daughter is married to a superb chef and
lives in Ossining. She has just started in
the business and commutes to New YorkCity
where she free-lances for George Bakes. . .
learning to be a camera assistant and loves
it. When people in the business find out she
is Bill Tytla's daughter they invariably
speak of his genius with great reverence. it
completely blew her mind the first few
times because after all, he was just ‘Daddy’
to her for so long.
"Anyway, we were together for three
years and when we finally got married on
April 21,1938 we had dinner at Victor Hugo.
That was it——we never went on a honey-
moon. The next day he had to get right back
to work. He loved to hunt, he loved horses,
he loved the out-of-doors, but most of all
he loved his work. He was always under a
lot of pressure. l-le was like Vesuvius but
he worked best under pressure. l think he
needed it, it was always a challenge to him.
No matter what he worked on, everytime he
would come home with a different assign-
ment, he would say, ‘Oh God! l don't know.
l've never done an elephant before, l've ne-
ver done a whale before. Jesus! How aml
going to doagiant? And dwarfs? And seven
of them at the same time and all of ‘em dif-
ferent."
Babbitt concurs with this picture of the
insecure Tytla: "Everytime he was handed
an assignment he would come to me and
say, ‘Art, lcan't do it. l'm gonna quit. l'm
gonna go back to New York.‘ And of course,
whatever he tackled just turned out beauti-
fully. And he was very highly regarded at
Disney's."
Tytla once spoke about his problems in
dealing with Walt Disney's cryjtic way of
demanding the best from his men: "l had to
animate one sequence in PINOCCHIO andl
gave it everythinglhad. There were sever-
al scenes in the sequence and I showed my
animation to the other animators. They all
said ‘great’ or ‘nothing else needed’ or
I6
‘don't change a thing. ' I felt pretty good a-
bout it.
"Finally
the time came for Walt to see
it. He was subdued and even jolly in the
'sweatbox' [projection room]. He said ‘That
was a helluva scene, but'—there's always
that cruel ‘but’ in there—'if anybody else
had animated it iwould have passed it. But
l expected something different from Bill!’
"Well, he sunk a ship with that remark
. . . it took a couple of weeks before I could
work again. l was crushed. But one day I
took up my pencil and started to draw again,
differently. it was as if something hit me
andl started all over. This time I showed it
to Walt, he said, ‘Great! Just what I was
expecting!’ He never did explain what was
wrong. 'lt was as if by some magical _way
you would know. "
At some point, Tytla read Boleslavsky's
Aggy [I15 First S3 lieisons and used the
book's six premises of concentration. mem-
ory of emotion, dramatic action. cha.racter-
ization, observation. and rhythm in his ani-
mation. "On all my animation," he once
said, "1 tried to do some research and look
into the background of each character. So
»
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l to the highest degree. Although they never
'\/)
) to completely write off Bill Tytla. l know
l , I, _/
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: an autographed picture of Walt Disney and
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for the devil on Bald Mountain in FANTASlA
ldid some reading about Moussorgsky. Now
l'm Ukranian and Moussorgsky used terms l
could understand. He talked about 'Chorni-
bolt,‘ the Black Art. Ulffflfllilh folklore is
based on 'Chorni-bok'-—l related to this and
studied up. "
Tytla's baby son, Peter. provided the
characterization for the star of DUMBO.
Time magazine of December 20. 1941 glow-
ingly reviewed the film and quoted Tytla as
saying, "I saw a chance to do a character
without using any cheap theatrics. Most of
the expressions and mannerisms l got from
my own kid. There's nothing theatrical a-
bout a two-year old kid. They're real and
sincere...l tried to put all those things in
Dumbo."
Art Babbitt was a leader in the company
union and he had a serious personal con-
frontation with Disney over a wage differen-
tial between himself and his assistant. Fi-
nally. Babbitt switched his allegience to the
new Screen Cartoonists Guild, which was
affiliated with the AFL. Disney fired Bab-
bitt which was in direct violation of the
Wagner Labor Relations Act and the union
Left: Grumpy turns angrily, abruptly alter-
ing expression and body angle. one of Tyt-
la's original animation drawings for SNOW
WHITE AND THE SEVEN DWARFS. Right:
Two of Tytla's "clean-up" drawings of the
Devil from FANTASIA. "Clean-up" draw-
ings are made from the aniniator's rough
animation drawings. They contain fine de-
tails and are the final step for the art work
on paper. which is next traced onto clear
sheets of acetate and opaqued with color on
the reverse side. The inked and painted cels
are placed onto an opaque background and
photographed one at a time. Z4 eel drawings
for each second of action.
agreed unanimously to go out on strike on
May 29, 19-ll. To Walt Disney's amazement.
Bill Tytla joined the strikers.
"l was for the company union," Tytla ex-
plained later, "and l went on strike because
my friends were on strikc. l was sympa-
thetic with their views. but l never wanted
to do anything against Walt.
"The food supplied by the union wasn't
for me, so one lunch hour l went to a near-
by greasy spoon for lunch. There was Walt
in a booth. l went up to him and we shook
hands. I told him the strike was foolish and
unnecessary. He asked me to return to his
office with him to work out a solution. l was
dressed in old clothes. so l asked to go
home. shower and change. We made an ap-
pointment for later that afternoon.
"l drove to my home in La Canada and
my wife said that Walt had just called to
cancel our meeting. Somebody had gotten to
him and told him not to work with me. I
wasn't an officer of the union and l really
couldn't SI-teak for anybody really. ..
Babbitt states . "1 know that‘ Disne Y re-
spected Bill's integrity and craftsmanship
socialized very much, if at all, l could feel
that Bill was one of the few people that Walt
permitted himself to be fond of. Even after
the strike Walt couldn't quite bring himself
one of Bill’s most pl"l79d possessions was
mu posed together [in 1959]."
Tytla resigned from the Disney studios
on February 25, 1943 almost two years af-
tor the strike was settled. Adrienne Tytla
suggests several reasons for his decision:
"Will felt unhappy there after the strike. He
felt discriminated against for his 'disloyal
opinions’ against the studio. Will had creat-
ed a lot of heavies for Walt. Now he had
been cast as one. by him. And there was
too much tension and electricity in the air.
With Will everything was instinctive and in-
tuitive. and now the vibes were all wrong.
Also the war was on. We were actually
shelled by the Japanese in Santa Barbara
(sic). And Will felt Peter and I would be
safer in Connecticut on the farm—especially
if he had to go off to the service.
"Paul Terry made a special trip out to
California to try to get Will back. He wined
and dined us at posh restaurants with his
wife. lrma. and old friend Claire Trevor.
And he offered Will a job back at Terry-
toous."
Whatever the reasons for Tytla leaving
the Disney studio, Mrs. Tytla is sure "Will
regretted it to the end of his life. because
he realized he would never have the oppor-
tunity to work anywhere the way he did
there." '
The Tytla's moved to their 160 acre
farm in Connecticut on March l. I943.
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 Bill's father and one of his brothers were
living on the property at the time. They left
after a couple of years and Will, who loved
cattle and farming tried his hand at being an
absentee dairy farmer for seven years. "We
had Displaced Persons living here helping."
Mrs. Tytla says. "But Will worked in New
York City all week and I managed the run-
ning of the farm . . . he was no farmer and he
poured money into this place like water in
‘The Sorcerer's Apprentice. "'
Tytla returned to Terrytoons as adirec-
tor of animation; 1. Klein was working there
at the time and observed that "Bill was in a
new atmosphere where the Disney-type of
perfection at any cost did not exist. Anima-
tion was just a commercial commodity to be
produced in the most economical way...
Terrytoons work schedule was tight, effici-
ent and fast. Bill adjusted grudgingly. After
several years he moved on to Paramount
Cartoon udios where he directed Popeye
. . .here too the schedule was tight and effi-
cient."
George Bakes recalls that Tytla "was
very depressed, got discouraged from the
work and the lack of work and the lack of
something meaningful to do...He was of~
fered a whole bunch of Popeyes [to produce]
at one point. They were going to do a limit-
ed-animation version of it. He didn't do one
of them. He didn't like the budget. "
Tytla turned to directing commercials
for television and worked on close to 2000
cartoons for Tempo udio, Academy Pic-
hires, and finally, his own William Tytla
Productions, lnc. He maintained an apart-
ment/office in Manhatten and went home to
Connecticut on weekends.
"Bill was not a businessman, he was an
artist." says George Bakes. "His business
got pretty bad because he was a bad busi-
nessman. Eventually it died and he went
looking for work." Adrienne Tytla recalls,
"He would go out to the coast and everybody
knew how great he'd been and they were
sorry for him and they gave him stuff to do,
b\|t he couldn't keep up with the amount of
footage that was required. Within a five
year period he had three strokes, [and] he'd
periodically get a hemorrhage in the left
eye. He was blind in that eye for three
years and he never let anyone know that. "
Tytla's work for other smdios always
brought him a handsome salary. He created
the three Post Sigar Crisp Bears and did
many lucrative ads with them on 'l'V and in
Lie andL_q$ magazines. He directed odds
and ends for Hanna-Barbera and in 1962
was in charge of the animation sequences in
THE INCREDIBLE MISTER LIMPE1‘ which
combined live-action _wlth animation and
starred Don Knotts. He worked nine months
on that film in Hollywood and Art Babbitt
IIW him during this period: "it was a trag-
edy to see this man disintegrate. His mind
just gradually dissipated. He still made
sense but he was not the strong, vibrant
person l had known when he was yotuig. "
While in California, Tytla tried to sell a
cartoon film idea he ma been planning for
five years, "Mousthusula, the 2000 Year
Old Mouse," and for which he had made
many charming and vigorous sketches; but
there were no takers. "He got sick out
there with pneumonia," Bakes recalls. '1-le
came back in terrible shape, a beaten man.
l saw him in the street one day trying to go
around, like he was staring in the air. 1
saw this thing [drawings of Mousthusula] un-
der his arm. lsaid, ‘Bill, idon't want you
to go nowheres (sic). You stay home. l'll go
get some work.‘ lie had moved out of New
ll
York after his studio folded and went to live
in Connecticut on the farm. l started to get
some free-lance work and l gave Bill some
footage to do. Whenever the date for it came
due, he'd have half of it done. if l gave him
five feet, two and a half was done. lf I gave
him 25 feet, l2 and a half was done. And his
animation was rligh when he started to do
it again after the sickness, but it was get-
ting better and better. You just knew that
this guy had such a strong hold on this thing
that if he was just sittin' on the board that
he would be doing it.
No doubt in my mind."
While in the hospital for a "routine pros-
tate operation," Tytla had another stroke
and was unable to speak or write for weeks
after. He tried to print words during this
period and managed to cvcn draw some
additional Mousthusula sketches, but these
drawings are very sad to see—pathetic
scribhlings of a giant who had lost the pow-
er.
On December 29, 1968, William Tytla
died on his farm. George Bakes had just
negotiated to produce a series of TV rom-
mercials and was going to share his luck
with Tytla. "That was a big change from
just free-lancing for producers," Bakes
said. "l was waiting to tell Bill about this
thing because this is a character [the Trix
rabbit] that goes on and on. lf he got used
to the character and got to know him, he
could really get back into animation.
"But he died before l could tell him that.
Saddest thing l ever heard of. That the guy
was emotionally taking a pounding because
of his great love for animation that turned
into a great frustration. That's what killed
him. ‘Cause of this tremendous pride—-he
started out so young and was on top and then
to have this kind of animation that came a-
round that didn't have any craft in it. it was
discouraging that he had to compete with
that with what he could do. There was no
place he could do what he could do outside
of Disney's."
lt seems unlikely that the Trix rabbit, or
even the more recent characters and films
from the Disney studio, would have satis-
fied 'l‘ytla's demon talent and his aching de-
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Below: An owl does a double-take, an ori-
ginal Tytla animation drawing from his
post-Disney period at Terrytoons. Right:
The young "Bill" Tytla, circa 1930. (Photo
courtesy of Henry Berger). Inset: Walt Dis-
ney poses with Tytla during a meeting in
1959, holding the model of the Devil Tytla
animated in I-‘ANTASIA. Disney inscribed
the photo "To Bill, with all best wishes. “
sire to express the knowledge of craft and
the "Vesuvius" of emotions inside of him.
Once, he was fortunate enough to find the
perfect outlet for his gifts—at Disney's. as
a top cog in the best,‘ most lavish and ex-
pensive of the cartoon factories, where ev-
en a nine minute short went through over 24
different specialized departments. where
there was time and money for careful ex-
perimentation and, luxury of luxuries, per-
fection.
Tytla was an animation elitist who would
not, and in many ways could not, adapt him-
self to an evolving film world. To his mind
there was only one way of animating and
producing a film—the way it was done at
Disney's during the "Golden Era." This in-
tractable attitude finally destroyed him, and
the young art of animation lost an authentic
genius.
During the current explosion of interest
in animation, with not loss than six feature
films in production in this country alone and
a constant flood of personal animated shorts
from individual artists, designers, and stu-
dents finding international outlets and show-
cases, it would be wise to review and study
the legacy of magnificent cartoon perform-
ances animated by Vladimir William Tytla.
For he was the greatest sorcerer of them
all, and knew the spells for infusing life and
personality into anything he drew; by com-
bining Tytla's pioneering contributions to
.
the vocabulary of the craft. with today's
freedom of expression and choices of tech-
niques, perhaps only then will animation
realize its fabulous potential.
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 Scenes from CARRIE,
currently in release by
United Artists. Left:
Carrie (Sissy Spacek)
is the butt of a
monstrous practical
joke at the high school
prom. Right: While at
home, hcr mother
(Piper Laurie) tries to
murder her for going.
But Carrie has one
thing in her favor,
an awesome psychic
power which she
unleashes in revenge
and for her own
protection.
CARRIE A United Artis Release. ll/76.
ln Color by DeLuxe. 98 minutes. Produced
by Paul Monaeh. Directed by Brian De Pal-
ma. Screenplay by Lawrence D. Cohen bas-
ed on the novel by Qephen King. Edited by
Paul Hirsch. Director of photography, Mar-
io Tosi. Music by Pino Donaggio. Special
effects by Gregory M. Auer, Kenneth Pepiot.
Carrie White ... . . . . . . . . . Sissy Spacek
. . .
Margaret White . .. . Piper Laurie
Qle Snell . . . . . . . . . . . . . . . . . . . . Amy Irving
Tommy Ross . . . . . . . . . . . . . William Katt
Billy Nolan . . . . . . . . . . . . John Travolta
Chrls Hargenson
Miss Collins . . . . . . . . . . . .
Just when it seems that Bria.nDe Palma
is down for the count, when the promise of-
fered by his early films is almost negated
hy the imitative posturing of PHANTOM OF
THE PARADISE and OBSESSION, along
comes CARRIE, a film of such power, wit
and precision that it not only shows us De
Palma at his best, but gives the horror
genre a much-needed shot in the arm.
DePalma is one of the most audacious
directors in the fantasy field, and because
of his willingness to gamble, his early films
were often as interesting for their failed
experiments as for the many moments in
them which worked. SISTERS (De Palma's
best film until CARRIE), a bizarre tale of
schizophrenia and murder, had its share of
untied loose ends, but it packed such an e-
motional wallop (and indicated such poten-
tial for its director's future) that one was
willing to forgive De Pa.lma's liberal bor-
rowings from his stylistic mentor, Alfred
Hitchcock.
Bill Kelley lives in Convent, New Jersey.
His interview with Brian De Palma about the
filming of CARRIE will appear next issue.
by
20
...what great horror movies are all about.
Then came PHANTOM OF THE PARA~
DISE a pop spoof of PHANTOM Ol-‘ THE
1 tually intertwinc.
OPERA, and a movie so thoroughly bad that
only someone as close to it as its director
could have failed to see that the project was
doomed from the start. At least the refcr-
ences to Hitchcock were in the form of pa.r-
ody. Not so with OBSESSION, however,
where an intriguing premise became a rc-
lentless, unabashed caricature of VERTIGO,
capturing some of the look, but none of the
soul, of the original.
It was thus easy to expect the worst ironi
CARRIE, particularly in view of the fact
.. . .. Nancy Allen that its story falls into the shopworn cate-
. . . Betty Buckley gory of the occult. But this seems to have
been exactly the right challenge to bring the
best out of its director again. Dc Palma is
often indulgent, but he isn't stupid, and he
knows what films like ROSEMARY'S BABY
and THE EXORCIST have conditioned the
public to expect. CARRIE gave him an op-
portunity to exploit his oft—statcd love of
turning the tables on the audience, and he
has done so with overwhelming success.
Right front the start, one scarcely knows
what to expect. After a crisply economical
pre-credits scene illustrating Carrie's iso-
lation from her high school classmates, De
Palma segues into a dreamy, almost erotic
sequence in which the girls in Carrie's gym
class emerge from the showers and playful-
ly dart into the locker room to dress. De
Palma's camera then drifts through the
mist into the last occupied shower stall,
where Carrie, without any understanding of
what is happening to her. menstruates for
the first time. The intensity of her panic
and fear is matched by the shocking feroci-
ty with which the girls ridicule her, and the
course is laid for the conflict to come. The
next several minutes introduce most of the
film's major characters, offer a graphic
glimpse of Carrie's tortured home life with
her religious fanatic mother, and begin to
set the route by which the story's three ba-
sic situations—Carrio's relationships with
her classmates, with a compassionate in-
Q
ll
structor, zuid with her mother-—will even-
What makes these scenes noteworthy is
not simply the economy of their construc-
tion, but most importantly, De Palina'5
method of intelligently threading the horror
element through the film. Obviously, the di-
rector of SISTERS can hardly fail to provide
the requisite moments of triic horror. The
film's must admirable qualities, though,
wherein De Palnia's growth as an artist is
reected, are to be found in those scenes
which are not in themselves horrific, but
where the threat of menai't- is always pre-
sent. De Palma has directed CARRIE in zi
fashion completely opposed to the style of
most horror films. De Palina's audience is
not set up for the instant gratification of a
series of cheap shocks at regular intervals.
Instead. the story builds slowly, anti the ex-
plosion that eventually t-omt-s is a logical
outgrowth of nuances De Palma had drawn
out of Lawrence D. Cohen's screenplay
from the opening scene.
Apart from the tightness and assured-
ness of the direction, CARRII-J's must sali-
ent asset is its cast, who provide the best
ensemble work to grace this genre in years.
Sissy Spacck gives Carrie ]USl the right
balance of tunbivalence and tension, but ev-
on the supporting players, especially Nancy
Allen, as a troublesome classmate, and
William Katt, as Ll sympathetic boyfriend
(traditionally the weak link in films of this
sort), contribute sensitive, astute pei-forn\-
1|JlL‘L'S.
But the show is mainly D1-Palma's, and
while he hasn't entirely overt-onic his dcbt
to Hitchcock. he st-ems finally to be fash-
inning his nW|\_ l't'Cl'lllX‘ll' style. He knows
his audience pretty well by now, and I can‘!
believe he didn‘t have himself a great time,
piling situation upon situation, all leading
to the final jtlll. After he pulls the rug out
the last time, Ll soothing voice promises
that . . it's alright." But, of course, it
isn't alright—which is what great horror
movies are all about.

EMBRYQ
.. .a science ction oriented horror story.
EMBRYO ACine Artists Release. 5 ‘I6. in
Color by Di-Luxe. 105 minutes. Executive
producer. Sandy lloward. Produced by Ar-
nold H. Orgolini iuid Anita Doohan. Directed
by Ralph Nelson. Screenplay by Anita Doo-
hzui and Jack W. Thomas from it story by
Thomas. Music composed and conducted by
Gil Melle. Director of |)htit0gt‘a|)hy, Fred
Koenkanip. Edited by .Ioh|i hlartinelli. Art
director. -foe Alvr-s. Set decorator. Phil
Abramson. Makeup supervisors. Dan Srie-
peke and John Cliambers. Miikcup. Mark
Redali. Special effects, Roy Arhogast. As-
sistant. Bill Shourt. Costuiiies. Moss Mabry.
Dr. Paul llolliston . . . . . . . . . . .
Martha . . . . . . . . . . . . . . . . . . .
Victoria . . . . . . . . . . . . . . .
Riley . . . . . . . .. . . . . .. . .
Helen . . . . . . . . . . . . . .. Anne Schedeeii
. . . . .
Gordon . . . . . . . . . . . . . ... . . .. .Iohii Eli-rick
Dr. Winston . . . . . . . . . . . . . . . .. Jiick Colvin
lt remains uncertain whi-ther Mary Shel-
ley's original concepts in fLkyi\_stt~ii\ can
or will be fully exiiloreri on the screen. For
the most part, film \'i~i'sioiis h.it'e ignored
the hnok‘s central myth--life's basic c_\'cle.
father vs. Stlll—-l1ilil‘(lt'l‘\Ht'X|)liil‘t‘l\$l\l<|l"t'
!~i9IlSillliillL|l thciiit-s. The focus has usually
been on eithcr thi- danger of playing God be-
ing God oi" on socit-ty‘s disastrous iion-ac-
ccptance of the unusual and unknown. EM-
BRYO could have hi-i-ii the fullest explora-
tioii yer of Shelli-y‘s |i.ii~:idigni of creation
and familial iiiytliolmty. updated iii modern
teriiis fur modern tiincs. lt is nol. and this
is largely the ri-sult of director Ralph 2\'el-
son's failure to come to grips with the m.i—
terial. an lltl.li.Zil\llll\'t‘ reworking hy sereeii-
writers Anita Doolnui and Jack W. Thomas
~ ~~-- ----~
Michai-I A. Lcavy is a film student .it the
University of Michigan.
, bi-en true to its subject matter, an attic
by M|(‘hil€’| LQJVY
of the hoary staples of this genre. Nelson,
who turned CHARLY into :i lightweight film
version of Daniel Keyes touching science
fiction short story "Flowers For Algernon"
some eight years ago seems intent on infus—
ing EMBRYO with the same type of hiiious
sentimentality.
The script retains thc classical elements
of life brought out nf death and the eventual
agony it causes fnr the creator and his f:uii-
ily. hut with a crucial difference. The crea-
lion is no monster. hut ;i lovely and charm-
ing wom;ui. From the beginning the tradi-
tiniial concern with societary response is
discarded. opening the way for fresh theni-
Rock lludson atic exiiloriition. But EMBRYO never makes
. . .Diane Ladd up its mind what it is about. churning up
Barbara Carrera every possible alternative for ;i theme. and
Roddy Mcfiowall discarding them all. ln addition to opening
the possibilities for a thought-provoking
story. the script has all the potential of a
goose-piiiiply horror suspense yarn, but
thc film also discards any genre st-nsihility
ttlld with it go all the pleasures of the genre.
Director Ralph Nelson simply fails to de-
cide what lay at thi- root of his film. ilis
work is conipetent in nearly all respects.
but giiiijaiitastiqig demands focus as well
i
as form. Unless the filniiiiaker izeeps in
mind Pm-‘s dictum to order a horror tale
tow.ird a clearly ch-fim-d point. the effi-c-
tivi-ni-ss of his genre film diffuses intii a-
patliy. EMBRYO ignores this caveat and. in
reacliing for everything. ends with nothing.
The film begins uneniotioiially and clin-
wally. and the first two sccni-s—-one in a
rainslorin, the other in Rock Hudsun‘s lab
—-reveal a basic deficit-nc_v. EMBRYO nev-
er relates to its enviroiiiiient in a concrete
way. Even thc worst ciiiefaiitistiqug relies
on settings for effect. and lhc hest breathes
into them the same lifi- that is shared by the
characters. Nelson shows no concern for
i-iiviroiimcnt beyond the merely functional:
an attic is an attic. a lah is a lab, a rain-
storm is mi-ri-ly a raiiistiirm. llad EMBRYO
would have been where the familiar be-
Scenes from BMBRYO,
currently in release by G
Cine Artists. Left:
Victoria (Barbara
Carrera) sees Number
One in her first
moment of awakening,
both lives saved by
Rock Hudson's medical
research. Right: The
film's climax in which
Victoria plunders the
womb of Hudson's
daughter-in-law
(Anne Schedeen) in
order to survive.
. .
comes shadow-shrouded and deadly, where
a lab embodies revolutionary technolocy (or
alternately, unnatural experimentation), and
where a rainstorm is the elemental life/
death force of nature itself. Lack of them-
atic emphasis robs the decor of a referen-
tizil point. thus draining the crucial element
of environment of both meaning and impact.
There are perhaps three moments in the
film where the photographed image carries
with it more than expository information,
and one of these is likely to cause the sen-
sitive viewer to choke from its bilious sen-
tinientality: Victoria, the "creation," comes
to Hudson, wishing to learn about love. Em-
ploying dramatic lighting and lap dissolves,
Nelson seemingly attempts to shoot the epi-
tome of all romantic scenes. Even if he had
not failed in the attemit, the scene would
still be ludicrous; here, as elsewhere in the
film. Nelson niisplaces his emphasis. At its
roots. EMBRYO is a science ction orient-
ed horror story. Hudson develops a rapid-
growth hormone, uses it to speed the de-
velopment of a premature fetus. can‘! stop
the growth and cnds up with a 25-year-old
woman whose personality is his to create.
Certain miscalculations lead to horrifying
results. prompting him to seek her de-
structitin. Yet in filming this archetypal
horror tale, Nelson seems to put most of
his attention into scenes of peripheral value
to the plot: the above-mentioned love inter-
lude, Victoria's glimpse of her lost child-
hood, and a chess game at a party. The
scenes that should affect us with fright rc-
main pedestrian: staged and shot with nei-
ther eerie atmospherics nor a truly hard-
edged realism which might have been equal-
ly effective.
This returns us to Nelson‘s unfocused
approach——a groping for easy meanings that
drains the film. Nearly every scene seems
scripted to offer a new theme. The above
scenes ask us, respectively. to consider
EMBRYO as a Pue-ish talc of a man trying’
to recreate his dead wife. as a fable on the
continued page 23 column 3
21
 Scenes from THEY »
E98 CAME FROM WITHIN,
a nauseating little
shocker directed by
Canadian David
Cronenberg and
currently in release
from Trans-American. _-.
l) A tenant of the
Starliner Towers is
infested by a parasite
ed5
, V .,. l
in the antiseptic ~ ""

\\
laundry room. 2) Dr.
St. Luc (Paul Hamiton) v -
examines one of the
parasites up close. 3) . ~

Betts (Barbara Steele)

holds Dr. St. Luc as
‘ \ Q! V

’a_?'\€'/(._ \‘_
he attempts to escape
the parasite victims
who seek to infect him
Q/ --- .
, ,‘ ' L
1

4) Nicholas Tudor ' ‘ ,-in

(Alan Migicovsky)
watches in fascination ‘ ___
as the parasites crawl
around inside him. ” '

‘L

THEY CAME FROM WITHIN

THEY CAME FROM WITHIN A Trans-Am-
erican Release. 2/'16(c'f5). In Color By Mo-
vielab. 94 minutes. A DAL-Reitman Pro—
duction. Produced by Ivan Reitman. Written
and directed by David Cronenberg. Execu-
tive producers, John Dunning, Andre Link,
Aifred Pariser. Director of photography,
Robert Saad. Makeup and special effects by
Joe Blasco. Assistant, Suzanne Riou-Ga-
rand. Production manager, Don Carmody.
Edited by Patrick Dodd. Musical supervi—
sion, lvan Reitman. Sound, Don Goldberg.
Roger S. Luc . . . . . . . . . . . . . . Paul Hampon
Rollo Linsky . . . . . . . . . . . . . . . . Joe Silver
Forsythe . . . . . . . . . . . . . . . . . . . Lynn Lowry
Nicholas 'hidor Alan Migicovsky
Janine Tudor Sisan Petrie
Bette . . . . . . . . . . . . . . . . . . . Barbara Steele
Merrick . . . . . . . . . . . . . . . . . Ronald Mlodzik
"Left free to pirsue their natural 0bjec-
tives, the basic instincts of man Would be
incompatible with all lasting association and
preservationzthey would destroy even where
they unite. The uncontrolled Eros is just as
fatal as his deadly counterpart, the death
instinct."
Robert Marcuse, Eros agvilizgtign
British critic Robin Wood considered it
the "most striking" of the Edinburgh Festi-
val's "batch of exploitation movies, by vir-
tue of its detestability." The reviewer for
Continental Film Rgvigw deemed it "rep\il-
sive. " lan Cameron's evaluation in the Eng-
lish news magazine pectgor bore the title
"Sick Sex. " On this side of the Atlantic, the
Ev York Times oracle Vincent Canby dis-
rnissed the matter in two brief paragraphs.
The cause which allied such disparate
sensibilities was Canadian director David
Cronenberg's incredible THEY CAME FROM
WITHIN (known abroad as THE PARASITE
MURDERS and/or SHIVERS), an unabashed-
Charles D. Leayman is a regular contribu-
tor, living in Lancaster, Pennsylvania.
by Char|8S D Leayman
ly lurid and marvelously imaginative amal-
gam of science fiction, pornography, lg
ngusee, and obscene humor. Marcuse's
cautionary observation quoted above can
well serve as theme, explication, and so-
phisticated promo for the film. In the midst
of a cinefantgstiqig drought whereby the ar-
tistic energies of more than a few filmmak-
ers have evaporated in the cause of unend-
ing variations of ROSEMARY'S BABY and
THE EXORCIST, Cronenbei-g‘s iconoclastic
guignol tears through audience defenses.
The film's central horror is a plague of
disturbingly fecal parasites, sprung from
an ambitious "combination of aphrodesiac
and venereal disease" concocted by yet an-
other aberrant scientist. These crawling
creepies (whom one writer accurately re-
ferred to as "a cross between a slug, a
leech, and a particularly offensive penis")
are an undeniably revolting lot and must un—
doubtedly bear much of the blame for the
disgusted response of most reviewers. Yet,
loathesome as they are, the hybrid mutants
co-exist in the world of the film with other,
far more subtle, far less manageable, ter—
rors, including the sterile vacancies of mo-
dern apartment living with its cold pockets
of plastic and chrome, and box-like dwelling
spaces; a dangerously low-key sexuality
suffered by many of the characters, their
ebbing vitality threatened by the lonliness
and desperation built into their very sur-
roundings; unspoken paranoia is as much a
feature of the Starliner Towers as the mo-
dern conveniences and promised exclusivity.
From the opening credits, projected ov-
er a montage depicting the Towers‘ various
accomodations as the hushed voice of an ad-
vertising agent provides a suggestive verbal
catalog, THEY CAME l-‘ROM WITHIN reso-
nates with implied menace, so that the par-
asites themselves emerge as literal em—
bodiments of the general malaise attached
to the place. The great irony of the slither-
ing slugs is that, unlike their disruptive
counterparts in similar genre movies, they
are creatures of Eros rather than Thanatos:
their "purpose" is not to visit violent death
upon the human race, but to forcibly re-
deem it by means of the libido.
Once the parasites have taken up resi-
dence in the human organism, they begin to
transform their host—whether male or fe-
male, old or young, attractive or ugly—into
a ravening pleasure-machine, intent solely
on satisfying its re-ignited lusts. Cronon-
berg adriotly plays with both humorous and
horrific sides of his premise. Two children,
frolicking idly in the large. empty corridors
of the apartment building, amuse them-
selves by opening the mail slots on the
numbered doors and shouting to the occu-
pants within; their game is abruptly termi-
nated when one lifted flap uncovers a wrig-
gling parasite, sending the kids howling for
their parents. A young man, sick to the
point of vomiting from the unwanted guest
inside him, leans over the railing of his
balcony and retches the intruder out, watch-
ing as it plops bloodily onto the clear-plas-
tic umbrella of an elderly woman below.
Cronenberg has little truck with conven-
tional notions of "tustefulness. " Having se-
lectcd a Sllbjetil which attacks the viewer at
a fundamental level of consciousness—Cro-
nenberg believes that "the true subject of
horror films is death and anticipation of
death, and that leads to the question of man
as body as opposed to man as spirit"-he
has courageously (or outrageously, if you
prefer) fashioned a visual exposition com-
pletely unafraid of the physiological reali-
ties that such a subject necessarily entails.
Some of the most shocking, taboo-shaking
imagery has children or septuagenarians
caught up in sexual excitement.
Perhaps inevitably, THEY CAME I-‘ROM
WITHIN at times runs too far afield in pur-
suit of its nightmares. The sequence in
which a parasite springs from the body of
its young male host and into the face ofan
investigating doctor, who agonizingly strug-
gles both to extricate the mindless thing and
to ward off an attack by the suddenly ber-
serk youth, progresses from suspense to
shock to sadism to excess with a relentless
crudity that trivializes rather than extends
the film's method. By contrast, the jactful
finesse with which Crunenberg details the
haunting Barbara Steele's bathtub impreg
nation by a devious parasite that emerges

22

--.1
...Siegel’s “pods” have in fact
from the drain-hole renders the impact im-
measurably greater by virtue of the ex-
quisite tension generated between sensa~
tional incident and formal gracefulness.
Cronenberg's film clearly resemblesbon
Siegel'slNVASlON OF THE BODY SNATCH-
ERS (1956) in content and structure, and
thus provides an apposite contrast. The ter-
ror which Siegel's smashing exercise in
Expressionistic naturalism so vividly con-
veyed was that of assimilation: his charac-
ters fought desperately against being trans—
formed into affectless zombies, bereft of
emotions and ideals. With the shift from
America's bourgeoisie in the 1950s to Can-
ada's affluent young-marrieds and secure
pensioners of the '70s, the impression cre-
ated is that Siegel's "pods" have in fact won
out: the condition of behavioral degree-zero
which was offered so persuasively to Dr.
Miles Bennell and Becky Driscoll in the
former film has been successfully internal-
ized by ag the characters in the latter.
Interestingly, the central figure of THEY
CAME I-‘ROM WITHIN is likewise adoctor,
Roger St. Luc (Paul Hampton), but the dili-
gence of his professional practice seems as
much an evasion of emotional commitment
as it does of altruism. Thus, when his
smitten nurse Ms. Forsythe (Lynn Lowry)
executes an impromptu striptease for his
benefit, St. Luc's lack of interest intimates
the true (allegorical) cause of the parasite
invasion (as opposed to the stockly absurd
"scientific" explanation offered by St. Luc's
colleague). Both a lack of sexual response
and/or a lack of means for its expression
claim all of the major characters, and is
revealed either directly (as with Barbara
Steele's unslaked lesbian, Betts) or by im-
piication (the vision of a sterile marriage
inhabited by Alan Migicovsky and Sisan
Petrie's smart young 'i\idors).
Exceptions to this, such as the elderly
couple whose age has made firm the bonds
of affectionate companionship, evoke a Time
Past when emotions were still vital, or at
least thought to be (the era, in fact, of iN-
VASION OF THE BODY SNATCHERS). I-‘or
the rest—including, with an eye toward the
I-\|ture, the child:-en—life at the Starliner
"' . /-
9 -
won out...
Towers consists mostly of going through the
motions of work and play without the coher-
ing cement of point and pirpose. Whereas
society in Siegel's film was deemed an Ab-
solute whose preservation demanded the
most strenuous efforts, the members of
Cronenberg's microcosm have opted for si-
tuating themselves at some remove from
the outside world's concerns. Though only
"12 minutes from downtown Montreal," the
Starliner complex affords its occupants ef-
fective segregation from those less fortu-
nate, less deserving individuals who cannot
meet the costs of modern luxury.
Where Siegel's people fought to remain
emotionally and sexually intact, Cronen-
berg's must be jolted into awareness of
themselves as physical beings by a pesti-
lence rising up out of their own bodies. it is
within this notion of enforced "salvation"
that Cronenberg's screenplay arrives at a
measure of moral concern, however shot
through with ambivalence. Robinwood ques-
tioned Cronenberg's recognition of this di-
mension and surmised that, finally, the
movie "seems to represent, under cover of
its expression of horror, a sort of perverse
wish-fulfil1ment—the necessary product,
perhaps, of the painful tensions and disgust
that give the movie its crude energy."
To recognize the manner in which THEY
CAME FROM WITHIN incorporates influ-
ences as diverse as Chabrol's LE BOUCH-
ER, Polanski's REPULSION, and Romero's
NIGHT 01-‘ THE LIVING DEAD, is to trace
the historical evolution of the horror film
genre as an art form. To praise Lawrence
Welk's makeup man (true!) Joe Blasco for
his splendid special effects is to honor su~
perior craftsmanship. And to priase David
Cronenberg's direction is to deservedly
recognize perhaps the most impressive
genre innovator to appear since the late
Michael Reeves. All these various accom—
plishments are noteworthy for their renew-
ed efforts on behalf of a branch of filmmak—
ing that can so easily degenerate into the
multi-million dollar vapidity of LOGAN'S
RUN, the irredeemable cruelty of THE
TEXAS CHAINSAW MASSACRE, or the ri-
diculous failed-Camp of DOC SAVAGE.
D
>-
continued from page 21
need for child-like innocence, or a recita-
tion of the intricacies of role-playing in so-
ciety. Offered-up also are fetal themes a-
bout the ethical problems of science, the
need for psychic or personal identity and
also for social identity, the human urge to
survive, drug addiction, love and loyalty to
your own. Thematic statements flow like
one—liners in a Neil Simon comedy, and no
one of them can be stretched into a frame-
work for the movie. EMBRYO almost comes
off as a plea for firm moral values. l.n one
scene Victoria asks Hudson to explain the
Bible, but fails to grasp his reply that it is
a guide to moral, civilized behavior. Her
curiosity is too piqued by the rest of the
world to give the old book a chance. We can
infer that a more moral Victoria would have
led to a less tragic conclusion, but it is an
imposed inference for the film simply fails
to develop thematically in any one direc-
tion.
l think we are reaching a point in this
g,
age of intensive genre studies that we ex-
pect to find some conceptual basis to our
horror, but EMBRYO falters throughout in
this regard. Conscious exploration of theme
is not integral to success in
but without an understanding of the concems
guiding a story, and an adherence to these
concepts in both the structure and mise-en-
scene, it is impossible to create cinema
that is either evocative or resonant, as all
the masterworks and near misses of our
genre are.
There is one scene in EMBRYO which
stands out: Victoria's first attempts at
speech. Educational tape-recordings had
been played to her in her sleep, and the
first verbal communication between "crea-
tor" and "created" isagroping repitition of
a math lesson. in one touching and ecstatic
moment the film joins the basis of science
(mathematics) and the basis of human soci-
\gj
ety (communication), developing a new myth
of creation. Only here does the film begin
to reach the level of fable/myth which has
been the realm of finest
works; for all the rest, EMBRYO is a still-
birth.
23
 Scenes from BURNT
OFFERINGS, Dan
Curtis’ latest genre
offering in release by
United Artists. Left:
Karen Black at the
film's conclusion, now
completely under the
influence of the "old
house. " Right: Anthony
James as the creepy
chauffeur in Oliver
Reed's recurring
nightmare.
_/
I ,{‘_.‘_'_ 3:

BURNT OFFERINGS
an awkward pastiche of haunted house cliches.
BURNT OFFERINGS A United Artists Re- haunted house cliches. There is a fair a- place. and the rent is a bit too cheap to be
lease. 8'76. In Color. ll minutes. Pro- mount of talent both before and behind the believed. Then comes the catch: their inva-
duced and directed by Dan Curtis. Screen— camera. but it is frittered away by director lid mother. who never leaves her attic bed-
play by William F. Nolan and Curtis based Dan Curtis. who, after nearly 10 years at room, will be staying behind. Ben (Oliver
on the novel by Robert Marasco. Director of this sort of thing, still lacks the confidence Reed) and Marian (Karen Black) are none-
photography. Jacques Marquette. Additional to strive for any but the most obvious ef- theless convinced that the house will pro-
photography. Stevan Larner. Music direc- fects. vide a quiet summer in the country. and
tor. Robert Cobert. Production designer. Curtis‘ failure to mature as a filmmaker they agree to the terms. Fair enough. The
Eugene Lourie. Edited by Dennis Vrikler. is especially exasperating when one consid- house does look inviting enough at first. and
Makeup. Al Fleming. Effects. Cliff Wenger. ers that most of his projects are potentially our brief insight into Ben and Marian's
worthwhile. Obviously, DARK SHADOWS, bland lifestyle certainly makes it seem like
Marian . . . . . . . . . . . . .. . . . . . . . Karen Black in both its television and cinematic incarna- the sort of existence one might want a vaca-
Ben . . . . . . . . . . . . . . . Oliver Reed tions, is junk. But the same man, working tion from.
Brother . . . . Burgess Meredith within the restrictive format of the TV Mo- But Curtis pushes the issue too far, and
Roz . . . . . . . . . . Eileen Heckart vie. has offered a showcase for several in- stacks the deck too soon. He draws the most
David . . . . . .. . . . Lee Mnntgoniery triguing scripts by Richard Matheson (not- unctuous of performances from Heckart and
Walker . . . . . . . . . . . . . . . Dub Taylor ably THE NIGHT STALKER , although that Meredith, particularly the latter. who is
Aunt Elizabeth . . . . . . . . . . . . . . . Bette Davis was only produced by Curtis), and has evi- embarrassing as the leering, effeminite
dcnced a marked progression to more am— brother. The main point at this stage is that
Each successive horror cycle swings in hitious themes. Admittedly. if fantasy filni the house exerts its own will, and saps the
a different direction. Since the incredible buffs owe a dcht to Curtis. it is for his tal- strength of its inhabitants—which would ac-
boxoffice performance of THE EXORCIST. ents as a packager of intriguing properties: count for Meredith's frailty and his desper-

Hollywood's producers, in their infinite his best films are the ones in which he
wisdom, have decided that we have all plays the smallest artistic role. and leaves
grown too sophisticated for monsters tun- the directing to somebody else. Still. any
less it's KING KONG) and have focussed on consistent degree of taste or discernment,
the occult. Now that the cycle is in full however small. is so rare to modern hor-
swing and has settled into the int-vitable ror films that when a filmmaker displays a
commercial formula. it is probably safe to steady intercst in improving the status of
say that BURNT OFFERINGS. along with the genre. his lapses into mediocrity are
last summt-r's THE OMEN. arc repr\-sen- allthc more lamentable.
tative of what we can expect in the months The basic problem with BURNT OFFER-
to come. The prognosis could he worse, but INGS is that it lacks the security to depend
not much. on the strength of its few challenging idcas.
For BURNT OFFERINGS tells a story and repeatedly falls back on timt-worn shock
that is as creaky and decrepit as the iiian- techniques ;u\d grotesque characters. But
sion in which most of it is set. Despite the old shocks are no longer scary. and the
some token contemporary trappings (i.e.. piu'ade of personality aberrations is more
sex) and a central device of some interest. likely to prompt giggles than shivers (as
the film is merely an awkward pastiche of was the case with the audit-iicc with whom I
saw the film).
*l——-
Bill Kelley is a
W-~'?i—-'
regular contributor is
who
Things begiii to sour almost from the
outset. Our first clue that the Victorian
preparing career articles on directors Cur- mansion being offered for summer rental is
tis Harrington and the late Michael Reeves. not the bargain it seems to he comes when
we meet its owners. Roz (Eileen Heckart)
and her crippled brother (Burgess Mere-
by Bill Kelley dith) are a little too anxious to leave the
i
ate desire to leave. This nice. eerie under-
current is smothered by the overbearing
performances and a series of garish close-
ups of Heckart and Meredith. grinning like
a pair of cats at the prospect of fleeing the
mansion.
The rest of the film follows this pattern.
The business with the unseen mother begins
as a promising sidebar plot. but nothing
fresh comes of it. and it degencrates into
yet another neurotic showcase for Karen
Black. The house's decor is properly moody
(how could it be otherwise, with Eugene
Lourie. Jean Renoir's former set designer
and a fantasy director in his own right. at
the helm?)—hut to see it you have to peer
through the fuzzy. murky photography. that
has also become a cliche for this kind of
horror film.
Again, the problem is not with the sub-
yect. but the approach. What makes BURNT
OFFERINGS so disappointing is that this is
not another case of Hollywood riding rough-
shod over the horror genre. but the work of
a talented producer who apparently still has
a lot to learn about discipline.

24
 ls‘
FUTUREWORLD
satisfying special effects, gadgetry and settings...
. .
FUTUREWORLD An MP Release. '1/76. ln
Metrocolor. 104 minutes. Produced by Paul
N. Lazarus, ll] and James T. Aubrey. Di-
rected by Richard T.Heffron. Screenplay by
Mayo Simon and George Schenck. Music by
Fred Karlin. Director of photography, How-
ard Schwartz. Edited by James Mitchell.
Art director, Trevor Williams.
Chuck Browning.... Peter Fonda
Tracy Ballard.... Blythe Danner
Duffy.......... .. ....ArthurHill
Gunslinger..... . ...YulBrynner
Schneider... . ..........IohnRyan
Harry........ .. ...&uartMargolin
Ron .........................IimAntonio
FUTUREWORLD returns us to Delos, an
adult resort/amusement park introduced in
l9’!3's WESTWORLD, obviously patterned
atter Disneyland, where guests act out per-
sonal fantasies of sex and or violence with
programmed robots. WESTWORLD climax-
ed with a bad day at Delos when the park's
automatons ran amok, turning upon and ulti-
mately killing a number of the park's cus-
tomers. FUTUREWORLD picks up the story
alter the resort has undergone a complete
i renovation and seeks to reestablish its bus-
iness and reputation by assuring the public
that both the park and its regiment of robots
4 are absolutely failsafe. However, two re-
porters discover the resort‘s dark secret,
nearly losing their lives in the process. in
a taut, engrossing mystery-styled plot that
pulls a few twists on the original film's
premise.
The concern of Disneyland and its awe-
somely huge corporate big-brother Disney
World. and in particular both parks‘ creep-
Ross Care is a Disney huff and has compos-
ed the scores for several independent short
films.
by Ross Care
Nu
ily realistic collection of robots and presi-
dential automatons, spawned by the Disney
technicians‘ mastery of audio-animatronics,
has inspired a number of recent science
fiction and horror films. among them THE
STEP!-‘ORD WIVES (a feminist nightmare a-
bout the replacement of the women of an en-
tire New England town with automated fe-
males designed by an ex-Disneyland expert),
and. of course WESTWORLD.
FUTUREWORLD is, however, thc most
overt horrific variation as yet played on the
Disney theme park theme. Like the Disney
parks, the Delos of the film is split into
four "theme" areas, each firmly entrcnt‘h-
ed in nostalgia or futuristic escapism. Even
the fact that the new Delos of FUTURE-
WORLD is a bigger, more lavish version
of the park in WESTWORLD provides a spe—
cific Disneyland,'World reference, and when
Peter Fonda, as one of the reporters. com-
ments on the awesome size of the new De-
los in comparison to the old one, he is ech—
oing a remark made by thousands nf first-
time visitors to the Disney cor|i's second
park. ln fact, the film's sequence in which
the reporters enter the new resort is an ac-
curate evocation of the elaborate process
the public is put through upon entering Dis-
ney World, right down to the last excessive
smile on the faces nf the attractive but
blandly Waspish welcoming personnel.
There are certain radical differences.
however. Delos is emphatically adult and 0-
litist, and the spectrum of available plea-
sures is like-wise augmented, encompass-
ing both sex and violence. And though the
Disney personnel may look and act like au-
tomatons, they really aren't (yet) but in
Delos most of the work, both mental and
physical, is done by an army of robots pro-
grammed into rigidly strict. almost social
"classes," (specified by their model num-
hers!) with certain models designed as soft-
ly human and programmed for supersex.
others being only drone-like workers not
even capable of reacting to unauthorized in-
truders in their territory.
Scenes from
FUTUREWORLD. U
currently in rt-lease
by MP. Left: Pt-tor
Fonda (rt-ntt-r) has a
drink with Harry
(Stuart Margolin). the
last human terhnit-ian
left in Dt-los. mid his
robot sidekick. Ron
(Jim Antonio). Right:
A drugged Fonda is
prcpareci for android
dupliratloii.
The film's use of the robots effectively
plays upon the tensions created in the mind
of the viewer who is both attracted and re-
pelled by them, endowed as they are with
many handy superhuman capabilities but
none of the hang-ups the flesh is heir to.
The confusion that arises from the perfec-
lion oi duplicates oi the two protagonists is
resolved when they identify each other via a
simple but refreshingly humanistic method:
a kiss.
Peter Fonda and Blythe Danner are both
extremely attractive as the Journalists, and
Danner is particularly appealing in her role
which is one of the better recent female
parts in the usually malt--dominated science
fiction genre. Though production values in
the film arc admittedly modest, the location
settings of the Houston Manned Space Cen-
ter frequently achieve impressively epic ef-
fects, and the robot assemhly - line scenes
and 2001-like episodes devoted to trippy
optical and computer effects are also well-
realized (by special effects director Brian
Sellstrom and Gene Griggs).
Until we are presented with another epic
like 2001: A SPACE ODYSSEY in which cre-
ative mid technical impulses go hand-in-
hand with a budget generous enough to ac-
comodate them. FUTUREWORLD points a
direction which we might hope future en-
tries in the current science fiction boom
may take: like such recent films as SH.ENT
RUNNING, THE STEPFORD WIVES, and
PHASE lV. FUTUREWORLD presents a
simple. emotionally resonant narrative em-
bellished by (and not mt-rely an excuse for)
laid-back but satisfying special effects.
gadgetry. and settings. By providing tense,
visual science fiction with an emphasis on
strong plot and human values, these films
establish themselves in a much purer, more
respectable cinematic terrain than many
more ambitious efforts in the genre. and as
such present a definitely preferable alter-
native to the tacky window-dressing and.
hollow formula conceits of nvcr -blown coni-
mercial packages like DOGAN'S RUN.
25
 7*"—'""
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26
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28
-7

i
sauum An MP Releau. 9/10. In cul- dlsllkr Roger Maura’! portrayal ul nu-
or. as minutes. Produced by George \._ Munn-n-. Mas. I had nuunlu nu» "capllal
Manaamz. and dh’cCl8d by J9“
Wrlliell > mlsiakv ul lhennrlllng bl-Inrr all nnn- ‘

Lleben-nnunn. wmn: Doll Scardlllo, Pam-
ch Prarcy, R. A. Dow, Jean snlllvann.
Peter M:\cLez.Il. Fran Higgins. Wlllhm
Newman. Barbara Qnlnnnn.
lnlaglne lhv nnlgbn ul lens nl unbu-
lallds ol l2~l4 lnch Worms unduklllllg
amp Bath other Hke nn mass ul [eluc-
clnl While the suundlrick squeals like
alablr bl lrlghlelled nun-ubu, and you've
gm a lair idea ol lho lrllslry lnnvblved
hero. The Hlnl is an lupheavy wllh Ill-
lads arc‘ nu." I nnnnll nrnlnnln nvnnnn Mourr
is hr ln-nnnnn an nan-ul Hnnlmr-s. bnnn vnn~
dun-5 nnmnugu lu rnnnvry nnnnnnnn-nnnnnn; nnl D-
nnn- DelN‘H\'l"u (‘h;lI‘z|:l\'r, pluynnnnn nu-
nm-n wlnrn :1 svrlnnusm-as zuld unn lnll-nsl-
ny nnnnully lacklm: nnn mu "Jp|!P;\l'L|!\r1-s"
as 001. Unlnnrlunak-ly. Muun»n- ls simply
I nun prolly lnnr lho pun. tzlsllnll rnnnnn us
Sherlurk Hlnlnlvs ls |nkn- cnnnnnnnnu llubn-nn
Q
Rodlnrd as Abrahiuln Llumlu. A5 Ilard
‘/1 ann he nnnn-nn. |nluun-n- rnllnnl (‘n1nvlm‘r us

evahlllly ("There was sonlvlhlnqz gv_H nlnun hr n.= u 4n-duwr ununn-n-nnsnunnnn-n1 nu

about ll," sly! 1| Chll‘lClEl' ibul I fllnliulte Whvn hls l;ncn- nn-lls nn.= nlnun lu-
nnnnmnn pubn-nu that nn ls mrrely quea- nn
ls a nu-__n1_u;n-1 unutruslunld nu lllnnughl.
Hun pl going lhruugh the nnnulnunnnn lnr Mourv am; nlulnnnn-nn lalrly wn-ll. bun nn
wrllvr-dlrcrlur nlv Llebermun and ns nnn-var nnnnnn-n~ lll;.ul Llrllng.
4 And this nu nn nnrn-nnn 5h;un('. Innr lhls

§
hls oddball caul.
Slllpunedly busvd un all uclual oven! l(‘|Nllslun mlllm: pnnssl-ssvd an nnngn-|nn-
lunnl year lnn Gonrgla, nnunn, cxvllulnz, and lnnuvhlng svrlnl by

Z
than m:I;\ll’|:'
wlnn-n-n-nu puwerllnes u~n~n-n- uprooted by Alvln S:||llnb'ln*y lhul ls rrnnvlnllgly
a vlulenl wllld-slurnl and gave nlna lnral Hlrlnlsiun. nnnnnl has lnnnn- produrllnnn vul-
blond-and-sandwurm vnmnlunily an yuln uvszm d lllllllnsj Ih I-rn-. ll lulnu w nu nu nnnn.u
. ~

lhal sen! llmnl rrawllng n nu nlunrh on ul nu- nuyul S|l:lkn'sp1'.u'u Cnmp;uly's

n~v|\'.Al nnl "sun-rlun-nn Hnnllllus" and nnu~
llne bounnn-nn ul U11‘ (llcllunnal) lnllln nnl
rly Crook. l.nn-bn=n-nnnnnnn's halldlklg un PM llnrsl Hnlmus slnrr uusnl Rillhbmw)
had bn-n-u fits! ||l lhls unnnnnubnnunn. nn
lino croepy ngnnnngs-on ls nnpprn-sslvoly
clumsy. snnw lur unnn- n-xpurlly un-un-- Elke snunnnnnur and Rnnbcrl Aldzn nu Mun-lu B:lv:|'§ THE llorsl-I OF EXORCISM. Wuuld lnun-u ht-vn u unn-nnnnnnubln- lnlnu.
some nnrnnnn lhal §|nunn~.= ;| loam nnl worms wunnn: luulnu nnnn» ynnu-n nu nnnnpn-n-ln-n-n pu-
l\'l‘l|nn1l(.l Illrv n\;\dn' lliuldulllvby chur-
b\Irr=W-‘mn: mlu :1 man's fare. lhwr 1-- THE ROUSE or lhleusr r-
EXORCISM A Pu zuld 1 n-nl,
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"“°5“ "' 4h
‘ "“ Id ls always nlilrv lnlorvsllllpz nnnunn
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nl I .~ - _-
leclrllled nunlu sllll ulggllng n-unnvul-
.
wm_wm_msM_ 1 .lW7;')"°m M gr;f_§\:|’“ ' nu-nn-r

slvcly. Elsewherr he rn-ponnln-nlly nnlnun-n-

clnnnnngn-nn hls uunllvnnn~n- by rulllng away
"um nnlnlivllull-d_ vlulenrv and nnsvrtinn:
lhe kind ll! 1-‘unllr n-ll:-I [J5 lht‘ 5711'?!“
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uun» unu<ln- I\;uldsnnl\' by Nulun-I uuna lul-
ly n‘vn|l\’|~y$ l!nn~ vnnlnlplvx |ln~rs|m;Al|l)' ul
Mr. Slcrlnrk Hullllrs. lln~ Ls llulunn-s
(U1 usr lh.|l lllunll nv\'r\\vnfkn-d II\n\'Il‘
1\d\"'I‘"-'|'Im-ll! n»n-nu. nlnd wllh u n'h.|l'-
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prlvuciy; ul his nugmnll. nvn:|-*\§"""' MO nund l't'l\';l5l‘d ln nnnnly as usr‘ E IL 4 vs lu ru=nnu~nun-nnlun 9') unnnnunn-J
H1‘ ““"" *5 ""“‘
all nvur vnlnrld. uunnunn; |l‘§§ run
soxunl ‘,—vn'urnls 'nlul|(" 0! n-nn~u- . . .. - ' __ ' ‘
5'-fnnndl-nil"; M*;'_*|1ff'b*;- }>;r-n;-d
_ _

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man beneath llw nu...-un lhul ..nuy un- j§f|"f>F°- ‘_fs§;;"'3D';:;E-f;;1v==Z I\‘;1‘-5!‘!
dernllnvs the lm's ulrozldy lhr1-ad-
wu..ln,un.n..,...u..un
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l|Wnnnnd‘§ |lurlnnl'|ll.lI\l‘l'
vdhlnnn.
ls nnnl prvsl'r\>_
ban-ll-nslnm,
up.-nu-<1 lhuusmlds nu Wurnls lunlhlv 5‘
5,_Y_
i ‘"1 I‘: '; MT ',*,,";1 "'“ ‘Y ""j ,°‘“"_“ F“‘"""" ' ""“‘"‘ nuuur nnnunu-n- n> nnun lhn- nnnly dunn-
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unnnn
uun. nllr vznnul bn- ("urlain ll wv uru nu n_u_“:: |:“b‘;l_ {J55 ;i’:“:_:::|‘: ""'::“T "“"l‘[‘ MW A llwnl nu nu» nn-ln-lnlnnn. I was luulnnnnu (ur-
nalne nn asn n>unu;ln~nn shnrk L‘"l'l‘l nl’ uu ,4 ‘ ‘ '_ '_ ““ “" "“' F Wnlrd nu Pulrlrk M;|\'|wA-‘5 Wlllsnnn. us-
hunlnluga nu lhv l‘l.l.‘i:i|c slalnnrmnlll st" :‘?1f,v‘;l‘:::ui',’:e'?:“(€|I‘>,; ‘mu ‘f"I';h::“':."5“'Y. ‘:,',’l""ld "'3' nnunnnnnnn; nrnun lnn- wuuld pluy
Ills
nrnn- unnrn nn-nnnn

quvnvv \nA NIGHT AT Tm-: OPERA. . . ,. I "“’ ' _ ""3 ‘ "“T' ' un lhv n-nun-nu hn- znl ms dlspusul.
.,n nnlm-r n.l..,§ can nu sz-Ml 335;";-I‘;§"'§'{“{;‘"':f;*$“'"§,'5'*1 ;'Y ,=**","**" 3""? _'"f,"~"_"1* Unlurlunuln-ly. nu
hnnrrlhlr
hm-re. lrunl THE BIRDS (Jvan snunnnunn hm ml,“ :',:,¢::¢n-Z‘Jn;ln::'ny<nnllpn:::€
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yin: '
,-,1,”;, (_‘:_'_;“s lnl’. bus an-n»nun-u nu unnnu-n
uunnunnunnulunun-nmun-uuu us. Fnnllnm-
u

plays nrnn- Lydm Brcnnvr-lypv ununnu-n- '

_“§"‘f§ “‘ f‘;f'J“' ."“‘ é“"dd"",“'_"‘ '1‘ "‘““_t“5 “'“|’d‘ ‘“‘“'f"""“' '_'"“ “"""f inn: lhls mm. M;u'm~n- ls nlnn- Wursl Wal-
nnu lllslrlnnnlr ln-ln uunun-nnn-nllnu1'lll;
wllh
EXORCl5'l"(llnn- cork‘ ulnlllsphvrr mvA_
hm“) M THE (“ANT SHDER ui nnn~
;"‘,‘ys _‘ _‘":|""'",Q ‘,,, ".‘,'|"'I ','[" , l.n
yn.n;nnnnsd.:n lll\'.l|
? if 5“’“§|"
lru-ll "I"
my"Hhlrtd l u “.“
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h'Iln4llvl
sun n h;|\'n- l~\'\-r svull. Hr sh-nuld lw um-
hUr;L__m_d_

are lhc rst v|cl|ms);Wbun Ilmsl nnn- MM The ‘WNW drum ls "W Wm Cuujwh “Ir me sand‘ "W |;r idmw nu» nlnvl)u~r un Hnnlmrs' sun, Is pl’;u'l|-
ils
l’l'l‘;llls STRAW
nn

DOGS in _' ‘_ ' ' " '

nil:‘ n-ully nnnn-rn. ls ll hurdlnn lln.A;£lln~ slnn~n--
fl‘! vln-lennl dl'l‘:g‘l‘|l;(‘ ma
lereunlnngly .
!\u\(l|1ly .,,.-fur mu nnzn-uul.ny_‘lnu'n
31"‘: “"’::“4;l‘
>1
n..n~k nnbuuuunnnuu R1-usnn lur nu-n. muc-
exznlinlllmn M Ill;|.sn'ullnr ldvuls. cny
ullckvr Mlrk nnunn Sl';u'dinl|, lhr unnly us“ ‘\" "" I“ “‘°5""":";‘ _‘ " W“ ““=“'"‘,'" f‘ "“'_"f“";":‘ 5“"!""_"“* "f‘ lln-n-'5 run-uu-n n'nn~Avrn5:l*r Dl:ul;l mun; ls
nu-mbur nnl lho \';\5l \l'|1lr(|l£[l|L\y§l|I¥ L?“ TE‘b':'5s'°"' ") "!5d'_"‘; “’"_ I ‘L I“ 5"“§:_"" f“ "_ §_"“"v‘|;'“‘}f"§']' nnn- unnly ;A\‘lrl'a.~' l n-.nnn lhlllk ul whnn

exuberant !ll|>|»;m(*y vllal lnlhls klndul “TE °lklf:"“§: d nscnn "' I11" _""|:
‘“ “V n-rs b";“~‘h' ‘_ ““"'“?"‘ '* “f“_‘;; l>;‘_"‘_* '
muvwn Mr um vvmd “Wm M lsrnrs
rnnuld nu ]u§lll‘l- nu nnnn~ nnunnnunn nmzm‘

“"'"'k' '5 ""'"“y“"

,

led vn'v1|sPl—;| buukwnnrlll, lIynnuHkt~—

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mull
curlnn sllull.
s nln
slnn- ls nnn-unluully n-nn-
u bro (:.urprnsn- sun-prnbn

'“‘;":'f“'h":,'E"[_ ‘:""“';5
nx-
|l'L‘ll-(I m'|::|ll\‘(‘ ..1'“!-Cl ls ..nl‘;;.\ln-d by
d'f‘““ “}"""
n

unn-
L.|sll\'. Jnhn Huslnnn
ul Hnnlnn'5' sun, hunks
.15 mnnnnurny,
ls rn-qulrod nu pluy horn uunnn-n-ul :::_':d(_:’3s:_“°‘f'““‘;:y;f'"{“"v::;“h"";;‘: nnn- lnnnnuunnnnn-r
““__"‘ _""_“‘ "‘:;°';‘*"F““‘
yn-n
nub W d_ i, ‘ “"‘ mnsly llul yunn knuvn lhzll unnun-nu-.nnln ll
limes. glvlnglhv
““ “‘ ‘ "" '““"“"““ “ “ ‘* "“
n~nnun-n-pnulnlnn- runzgvd C

5*";
y

"f:1""[ _"‘_d‘:5 “_" “';“"‘;,"" ;\ll nu-'5 lusl .n nn~unny In-.|r lm tun-n. nl
male prnlzgnllllsl nn dvllghliul unulnnvnn- d
lcnrv. Unlike STRAW boos. nnnn- Hlnl “ 5“ -‘_“‘_'f‘“‘ “‘ -““ ‘{“ ““ “"
‘and "uyunpnnnnunuununulu-lln-.unnn-nn-upnnnlu. “““"“"
Tru(~. nnnn-y ll;|\'\- nuuan-nuu lnlllvusv
.
Gm“
nnnn~y A-vur nu u ll\'n~-nlrllnnn “Hnnw
SM“ chnsmm Mm lhc
_. mm
°°“ ““' "‘“"‘““' "““ Mm‘ "*5 """""‘“
a "man" as ;\ result ul "IE Wurnl nr-
:| blnnna Wunlm [how dmrs liul lnn An?) ul Jack Elam, as :| vrusly. nnnuunnn-nn
|1:|l|lI('d grn-1-n. wnvuld bn- ldvul (nnr unn-

deal. Ho Wlll mnnsl llkcly (‘ullllnlm ln Zn“: ::::f;::§"v':l;"‘;‘r:'\:‘:f ga“r":‘,":';u,':1“;’)‘_‘r“"“'|S"‘§’l‘n':m‘;‘ nnnln~ nuln-n. Pnulnnn Lnnrkv. Wnmnfi vu-
plily. ls surely llvlldl-d h('l'I'.
In [hr
lllc wllln a bnnysn-nut grin. slruylnnz svll _ _ _ , _ ' ' star
with dusos unnmu rn-pellenl f;;‘Ye"$§"'" §;'fu;*;"g{_f;i “=l,;;P'§j§ §f;‘;_“_';;_',§"j,{;*C§;';"§T,'--3-5;; nu .5 nu! ulruld n.. nun wnldly

‘*“'"‘“ “MY "“‘°“' “M “‘“’““"\‘ "“"’ gruupnflld bull!-nrckud lB:l|rThur< d'““‘““" "“"""“5 ‘""‘ "“' """' ‘“‘d "
"“' “‘“"‘ """"‘"“""‘ ""'“'“"Y ""' Y“
lun-nln b(\l\\'vc|r,l nrua nnnb 1105- nu-n-n-nn u -nlnn-nnll
““‘ b°"““" °' ""’ “““‘ "‘ '““ W5‘ ubuuva Lhlu vunllllng wads zuld damn: mun) and haury: hnnllrldzll uh|r\"-
nnu-nn
.=n-n-nn.
""“’“ "“‘ “"""‘ bi‘ "“"’"‘ "“’ "5" “"'* unusual zlcruballrs ln nrnn- prounrv ul nn llw. vn-n lh(\ lllnlnlalkn-rs’ hauldllllp nnl
KY“ B" c"""“‘ Karrus-llkv) Yzlhor
uunln-n-naan-nn nn-n-uu: nnu- lillv nnnunnnnnvn»-n shadowy [IN-— °“"“" "'“"‘""“
Mlchnvl. played yn-ny \l'l‘l| by u rnnbusl senrv Whn slrlkvs Wllhnnul nlurh l|l'.1rll-
I‘ a. A. Dow r.- 10.000 blundwurrns. Rob:-rl Alda. Tin‘ rvsull ls rln.-arly bu- l|\g—ls nnnn- >lu ul nlghlnlnrrs, unnu nuun-n Mnnurr.
va's nlusl nvvnnnlpllshod uurlil-ss slllvc rvllslnll vnnugil nu pun "H5 |nnnln- B-unnu
DANGERI DIABOLIK (1968) and Cn7l- vlu nnn lhn- hark.
lulnns several dlslurllulls ul ilL'L‘e|l(‘d Rubn-rn L.-ll-rnlrlw
v an nlasllsrpleccs which nub n~unbn-un-
dercd quite well nnnnnn (he haruquc sr.'c'|l-
cry (prlnnr lu Ul\(‘ rh:u'acler's dvmlh. he
*'
SHERLOCK HOLMES IN NEW YORK A
‘

vnncunnnnlnnn zn gmnyn ul dr-ad bodies ro- 5('|1l'l\|:nl ul NBC Mnnnndnny Nnnzlnl An Thv
ltreallllg D:nvnnnn~l'nn "Last snnnpen-"1. Mnvirs. lo 16. lnn Culun». I00 nnnnnnunn-.-n.
An lnlercsllng unnnn-: nnn lilo February Frudurod by Julln Culls lzonln cuunury»
zz, ms lssuc ul 11/ cum.-. Telly su- Fux). DlrI.‘k‘l0d by Bnrls Saga]. 1'n-ln--
Valas rulnlmncedllw nlaklnn: unlnn- lnlun. pluy by Alvln Suplnslvy basvd uu lhv
n-knnnnllrng il was |l’Ill‘l\ his uwn slirlpl. rharncnn-r n*rn~;nln-d by Slr Arlhur Cnmrun
and sald lhznl ll was gcarvd Inn expus Dnyle. Wllh: Rqzer Munro, Jnnhn Hu-
v~'|l;\l hr called "me grvllrsl vlllann nln.nn slun. Palrlck Mun-nnen-. Churlnllv Rum-
l-vvr Hved." Sigmund l-‘n-bud, Undvr B=n- pllnng. David Huddlcshnn. sngnnu Halssn,
\Ia's lop-Iln\Ch nlln-n-cnluu. hidden inn-n-u Glg Young, Lcnn Anws. Mnnrnu Grllllnln
unndn-r a sly p~u-unungnnn. .nnny lull-ndud .lan-lnnn- Cuugunn. Blll Bcllrdlrl. Duodls
2nll»l-‘roudlzul cumnlrlll has \'iI\lShl‘dn Wéuver. Slinvn Mallnry.
znlunng wllb Savalan' nannnu from nno l nlusl zldmll lhnl wlnn-u l clappn-nl on
screenplay credll. Savulan‘ uuly n»n~ul my decrslllkn-l' rap and lnn my unver-
tulllrlbullun nu lhv ucrnpn appears lo be sthaunlllllvrally; ll helps nu gun Ill? un-
vnlnn use ul an Knlak lulllpnp wlnnn-rn lnu nu mu ununnd) nnnnd sin nnuwnn nu \l~';|l(‘h unn-
sucks llnruugrnoun nno plclurn» on wn;-ll. lalcsl lnlnnnnc mcursnunn nnnnu Mn-lnnnos
l
Was exprrllllg nu nnurnnuplnly
n

1 ll's Ills prnm-nncv lhul go! nnn- mm rnzldr cnnunnln-y.

29
I continued from page 7
never gohehind the caiiiera agaiii. We r|--
<
hearse first. hi-cause the idt-as always have
to come from me. spontaneously.
CFQ: Can you hlot out acting while di-
rectingi’
POLANSKII That's the most difficult ;|s-
pect. You sec. it's easy to direct while act-
intz, but it's difficult to act while din-ctiiiiz.
Because it requires concentr;|tion .|nd re-
laxation at the same time.
CFQ: You once nu-nlioiii-d ht-coiiiiin: a—
lariiied while directing REPULSION l)t'C1.\USt'
Deiieuve seemed to he hi-eoiiiintz the mad
girl. Did you experieiice miytliiiig siinilari’
POLANSKI: Well. it always happens.
There is no way to avoid it, ht-c'.|use you do
so much of it every day for so long a period
of time. it does have a |)syt‘holoi1ic'.\l l'll\'t‘l
on you. lf you try to limp for a ft-w inonths.
for whatever reason. you then find it diffi-
cult to stop.
CFQ: Do you ser any point of escape for
Trelkovsky during the film‘?
POLANSK1. No. in liiy opinion, there is
none. There is no way out for him. His p:|r-
anoia is increasing. and in his circum-
"I have
never tried
to entice
people with ; ‘_
violence.
Accusations
come against
me because
I depict
violence as a
consequence
of something
rather than
as a pure
accident or '”\
a desire to
show it." Q M
. K
stances there is ]llSl no escape.
CFQ: How about a satisfying relationship
with awoman?
POLANSKL Yes. but he's so cut off. such
a solitary mdividual. so remote from ev-
eryone around him, including females, that
it is inconceivable of him developing a via-
ble relationship with a woman.
CFQ: Do you see this as a modern prob-
leni?
POLANSKI: lt's an urban problem. it's
urban solitude. ln the past. the solitary
people lived in the desert. or countryside.
Now they live surrounded by millions.
CFQ: Do you have any thoughts on R. G.
Laing's theory that when a society becomes
absurd or unsatisfactory. then it‘s a healthy
response for a person to become "insane."
or be considered insane by that society’?
POLANSIG: Well, it‘s possible. As you
see in THE TENANT. everyone around
Trelkovsky looks insane. ff you look at it
from a purely objective point of view. 'f‘rel-
kovsky is the only fl()I‘l'll2Ll person in the
film. Yet he is considered the insane one.
whereas the others are normal. Yet when
you take them on a one~by-one basis, they
30
all look cra1.y. don't they‘? There are two
ways of point,- through life, like Fresson
does. |7t.|Shlltt.! with his elbows. or t1t*lllfl|1
str|ip|-d on. like Tn-lkoi-sky. Now that's
really _~;oi|i|- choice. lst\'l it. It di-peiids on
what amount of altruism you h.|\'|- in _\'i|\.\.
CFQ: Have you seen TAXI DRIVER‘? lt
has such a |,:ood con|pai|ioi| figure.
POLANSKI: No. l have not.
CFQ: ls it sii.:i|ific;u|t tlial the |i|-o|ili- we
see in the toih-l we do not know as t|-n;|nts'.’
POLANSKJ: W:-ll. one of thi-in is. the one
who comes in at the party and It-lls l|i|ii ht-‘s
niakini: too much noise. I did not \\';u\t to
maki~ a point of that. hut yes. l wantedto
abstract lllt‘fl\1|l)ll.
Cf-‘Q: Do you still feel -.u| iiiipatit-iice with
actors while directinigi’
POLANSKI: Yes. l always fet-l that. They
are a \'\‘l')‘ six-t~i;|l breed. and for the most
part, they are ]\.ISl ;| great pain in the ass.
They are iiecessary. oliviousl)‘. but that
doesn't increase their merit in any w.|y.
There are sonic wonderful people north
working with, and you sonietiints havt .i
wonderful experience working with them.
people like Jack Nicholson. Mia Farrow.
L $“
but the general mass of actors. ..
CFQI ls CUL DE SAC still your favorite
film? Parts of THE TENANT reminded
me of it.
POLANSKII Yes. it is.
CI-‘Q: People have said you are obsessed
with violence. How do you answer that’?
POLANSKX: l don't. The human is a vio-
lent ani|i|al. The volume of violence in the
history of our species is astunishiniz. And
so alarmingly increasing that you just can—
not avoid having it reflected in art. cinema
included. Cinema is not the only one. Great
literature. great painting have often depit‘t-
ed scenes of violence in great detail. wheth-
er conteniporary, medieval. or prehistoric.
Now. if l do the same. the difference be-
tween what l do and the others maybe lies
in the precision of depiction of violence. but
out in the amount itself. When you look at
my films. and analyze them carefully.you'll
see there is not so much violence. ft is only
that it looks more real than that depicted by
others.
What Hollywood did was to put in our
heads that it is very easy to get rid of
someone. to kill him. in a clean way. You
just hump him off. there's no lilood. it‘s not
scairy. II ' s not revoltiiia. And the person
has l)l'l'l\ disposi~d of. This is not trui-. l
think it's an iiiiiooral thing. For two hours,
the fllt|\’l\' teases the audit-in-e \\ith Mr.llor~
rilile Badass until you i~:u\'t stand him ;uiy~
morn-. then the good puy conies alone and
humps him off in one ('lt'iUl 5\\'t‘l'|l.
I have l\\'\'t'l‘ tried to entice pt-i|])li~ with
\'lI|lt‘l\t't'. Act-usatioiis 1-oiiieagaiiist me he»
cause l tlrpii-t \‘illlt‘l\('\' as a eoiisequeiire of
soinrtliini: rathi-r than as a pure accident or
a desire to show it. When there is a motiv-a»
tion tiehind ll. it always liecoiiu-s more un-
b|-arahl<-
For i-xaiiiplt-. I have always ll\‘l'fl con-
th-i|\i|t-d for $hlI\\'ill|1 too much lilood at the
end of CHINATOWN. This happeiiecl first
aftt-i‘ a prt-vii-iv in the audieiire cards. l ]ust
could not understanri it. As a matter of
fact. the studio ext-cutives .uid Evans. the
pi~oduc|~i'. iii-re astoiiislied liy the ri-spoiise.
Tl\t'l‘t' nas one card that said l|tt'l‘t‘ \\'-.|sn‘t
t-nou|;l| blood. And tlu-rt-'_~; not. lf you look
.|t the stint. i<.|lly l_o| .tt it. tlit tanie a
]Ll5l sweeps through the car where Dun-away
was shot \hi~ou|:h the eye. There's no lint!-
"[Actors]
are just a
great pain
in the ass.
They are
necessary,
obviously,
but that
doesn't
increase
their merit
in any way."
‘ uv r
Polanski lines up a
shot of his stand-in
and lsahellc Adiani.
Ciiieinalographer
. ~~;.~
‘
u
Q Sren Nykvist stands
at Polanski's left.
ering. no stopping. You see her for a split
second. The reason they reacted so strong-
ly is because they like her so much, they
totally identify with her. That bullet hole
would not he so atrocious if it were in -lohn
Huston‘s head. for example.
CFQ: You generally, by mood and ten-
sion. It-ad audiences into "seeing" more
blood th;u| there really is. And all your
films are really very logically constructed.
start to finish.
POLANSKX: Yes. tmtl this is what l like
the most. l know it; Brach knows it; by
some strantze coiiicidence. you know it. l
don't know if anyone else does. lt reminds
me of the famous story of the madman who
upon release runs back into the office of the
asylum director and says. "l can't leave.
Doctor." And the doctor says. "What do you
mean, of course you can." And the man
says. "But there is a cat on the hospital
steps." "But you know," says the doctor.
"that you are not a sparrow." And the man
says. “Well. [know that. and yy know that.
Doctor. But tell me. does the cat know?"
Y?
Wm-lrume lu the nlnoloonlh Issue 1»!
CINEFANTASTIQUE [Bln—e|\-(;|un-la5§-
lEEk'), Ill!‘ mialllle Wllh :1 “iensr ul
wonder," devuled (0 lhr lanllnullun Ill
hnrrur, lillily and srlrnrn Hclmn in
the C\l1Bn\J and l'9lJl(‘d nlltdlu,
Our cm’:-r ;u'll(‘l(‘\!\l5l55L|1',"F|ln\~
mg THE OMEN" by Dun Shay, prubalr
ly \ll|m‘l shed much Ugh! un why [I115
pa.-mum hlm has mudc ;| bundlw, um
lli SIM’ GruryPrrk and H5 dirt-(‘Inf

i
Richard Dmnr d-- shod sume light un
hnw u Came 1" up nuldv and huw Hwy
Zwpruarhl-d lhc hnrrur LZl‘7\Yl\
l Illlmljln-d lu rulth THE OMEN m
5’ uni? .-I lhnsv prl*-r\-l\';\i(- snrak pH‘-
vn.-W5, was unlnlprrisvd, and --v--1| n-u
a mm surry lnr lhul‘ Fux (‘xi-\‘\ll|Vl‘5
who had (ll‘l‘l(lL'd In slnk all lhul prunm
.14 mum-y min muklnpz u :1 hu. But :|.= 1

dlsetled lhv lllm Wllh ll'Il'1Id§ :Lllt'l'—

ls? wards, n\'|-r snawm-rry shnrlrzlkr J!
l)u‘nny‘.~, 1 ln-dgvd my dmuppnlnlnwnl
. ;_ m lhr hlm by pmnlmg nu! lhal own

i
lllnllgh n vmin'l }1l'('1ll. ruuld sun
1

lUl'Sl'l' a sn-narw wm-n-by .1 wuuld m--

rum!‘ 1| hll. n Enough -,1 lhr n\n\'1(- ,1..-
mg: punm Wl‘l'l' nulan-d by mp hln\'5
bald dvplltllun H! ph)'l=n‘:|l n\uHlL\H|-n.
the rlusvsl Hullywuwd I145 yvl (‘unw d. £-
aplm: lhv gruvsunw bluud and ,;..rv z
pICllJl'l'F nl Hvrsrhrll Gurdun L('\l'lE.
they wuuld uxrllvdly (1-ll lhc-|r lr1rnd:-
{)-
hlllll n and lhv hay: rm-nv0rs;|l|nn nu“
glruund luwn would n-, "h;|v1- yuu an-a
Iht‘ lllrn \\'!\¢‘H* lhv mun pzvli his lwad

‘\ g
L
\~-\___ rhupprd nu hy :1 sudw .=n~---1 Ill plau-
‘ gl;|ss'."' Frnm just surh u-nvcrsallnns,
‘ mull!-n\lll|nn-dullar n1.-ands:-rs nu»

k rw
a
THE LZODFATHER, JAWS and yrs,
THE IIXORCIST are nudr. Bu! l dad-
\__\ n‘l export n m Ihggppl-n u- THE OMEN,
slmply hocausv us \'lI|l0n\'v, u-lulu \-:<-
‘
~ l .

'
lrenw an be surr, 12- su s\r.na|\\n~r-
ward and un|n\:|g|n;|llVa*. nu: lhr n~s|
ls msmry: $80,000,000 wurlh, .u1d I
\
\

. lhlnk ll budrs Ill lnr lllliliy hlmei In

gonl-ral, n-r nnllunp m t‘vt*I\ mp wnld»
rs! lghls --1 nuuasy r.u\ 4'un\p;|Il' m
ahnrlt vulur mm (ho s\;u'k n~al||u~s ul
lhe world. And shurk, |;(‘:ll shnck, |a
U
all lhv audwnw wants mday. Wm-n
Hollyvwud rvallu-,~ 11 dm-n‘! havv n.
lace mo gun‘ m lanlasy :u\yn\||n- In
pul n n\'|:-r, .md [hr u>1- ul lamasy m
THE omsu ls mm-1y p(~r(\|nrlury, [hr-y
]\|El Wun'l bother 1|I\)'nmrl~.
Duvld l]1A]'ll\lllUI‘l\l'\h' prm'|d('.= an m-
lervlew wllh Roman Pulunskl .'|.|Juu(
THE TENANT, ms now hnrrur mm
Whl(‘l1 died quuclly All lJuxn[hl‘s's (ins
Fall. In the shnrl, hum pumlrd d|scus-
mun. Pulanskl cuvcrs mwrylhln}: mm»
acwrs, lu cnucs, lu vmlvnrv wun ms
savage, cymral wll, and reveals has
rluse ldenhlwallun WI"! lhv rhararler
Ul Trnlkuvsky, ms TENANT‘a vitllm
persomhod.
John Cam-maker Is a new 1:unlnhu-
lur wnn pruvldcs a career arurle un
"Vladlm\.r Wllllam Tyllu. Amn\al|u|\'s
Michelangelo," devoted lu mm 4,! me
unsung heroes 0! the an wnd (luunsn-
ed al Dlsney durlng ammau-m‘s "gold-
en ago." Ty\la was responsible lur am-
mallrqg lhc Devil Irnm FANTASM and
the Seven Dwarls hum SNOW WHITE.
and had aglll lor infusing hlr and per-
sunallly m the characu-rs he drew.
Canemaker traces lhe lurlunes oi ms
cam-r m mm» gradual decline Ill amm-
udn as an arl lurrn, muslraung the ar-
llcle Wllh many ul 'l‘)'lla‘$ original am-
mauon skdxches. Unlurlunalely, they
1»; 0l'\'l draw am hke Tylla iymure.
Frederuzk s. Clarke

Sntenl [rum Roman P(llll‘l5l(l'S THE

TENANT. TOp: Trelkuvsky (Polanski)
imagines lllal In? I5 bélng ZUICXEG,
strangled by tenant! ln hl hulldlng, hul
ll ll
all ln hll Illld, Trelknvsky is
mranglug hlmnell. Middle. Trelkuv-
sky, bloody [rum hm llrsl leap, pre-
pares w jump a second lime (rum ms
aparlmenl wlnduw. B0ll0mI As he does
so, he sens mo Imrrlhed lenanlu gath-
. cred bl‘lGW, mu m ma paranuld delu-
slon [hay are muckll, applauding. and
eggwz him un.

3|
 1
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1111-1-1-1111. 11111 11.11111 1r11111 11.111';111 l-11-.1-

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1-111.11 1<11\'1; 1111111: 1-.111 11-1-1-11111~ .11 .1 11-»
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11-11.1111111111111: .1 >111-111111:. >\1111111.<1-1111 111.

11.11111'1 >1-1-11 11 111 1---.11-s. .11111 11.111-11 11.

5.11-1111: 1111- .1111- 11111111-11111111-.111>111-. 111.11
1111-1-1- 111-r1- 11-11 1111-111$. 11111111111111.1111;
.11111 11-1-1-11111- 1-11.11-.11-11-1-1/.1111.115. 01-11.
111111 11111.11» 111.11 1111- 1111111 11111- 11111 111~

111-111-r 111 .11! 11111_~1- 111-|1.1r11111-111s. 1-111111

.1111111" 1T1111= 111 111111 I11-.1rs.1y. 1-~r11.111.~1

v 11111111-1111.111 1111-1-.1 1111- 1.111 1111-111r1~, 11111

111.11‘.~ 1111111111111 1-111111111-1-1111; 1111.11 111- 1.1

11111111111111»
P.u‘.11111111111 111-1.111 1111-1~11-111111: 1-1.111111

1-111111111111-1111-11111»1111-11111111111-5 .1rr11§.~
1111- 1-11u111rv .111 $1-|111-111111-r 24. .1111111.111
1111-1r 111151 111111111» .~.111-.111 1111-1.-11-111 1111111-
|111»11111- 01111111-1 2'1 111 II1-11\'1-r. .11111 1.1

1-1111r¢11- .15 111 111-1-1-111111-r 11 11'.= 111.11 111

r»-I1-.1.~:1< 111 1-\'~r\' 11.111111-1 .111<11111~11 111

A1111-1-11-.1. s111111- 111 111111.11 1111.. 11.111» 1.1-1-11

11 111 1111.11111- .<1-11-1-111111;.1 11-11 1111- 11 1.1

.111111|-~.11111 ,1111111- 11¢1-1- 5.1111 11 1.1 1-1-1-v

11111111. ‘111.11 11111111 111- 1111- 11111111-s1 11111--
111-1111 111 .111 11111115 111111. 111.111 1-11111-1.

“Hey. Dino. . .
11111 W111-r1-11

we’re making T11|1.Th11l1us\

.|X111‘.1l 11111111‘!
11! (hr hupr -10 (1111! 1111-1'h—
usrd In KISS KONG. (11--
.~=111I\1~1I 111' ('.1rl11 R.1111\v.1ld1. .\111Ml1' Al
progress. . . 1111-

su-111-11
MUM ll.1rkl11l
dur1n1; 1>{11111;'.<
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11| 1'r11v11l
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this time his arms 11\I*1‘h1u1k‘.|| 11111111-1.

V1ll;\.rd]. l'!11l\11111 Hlrk !\.1k1-r 111111 W\lI—
{P11111115 |1y__R11h(‘r\

didn’t fall off!”

lam Shrpzlrd |1|.1\' Kung 111 111;du\\1)> In
_ 1111151 11! H11‘ 111111.
 1111115 1111- 1111111 11 1 11111111” 111111- 111111111511 1111- 11111111 1111 1111-11 11-11111-1-
11-111111 111111111-1111-111 15:11::-11... 1111- zsslgnnwnls. Alan 111111111111 1111

STAR WARS 111- 1111111 11-1111111 A1-

THE 0111511-11 111111 111- 1 1111111-111111 111111 111-1-1 w1111111<11 11111 P1-11-1 2111-1111111111,
ln [M5 year‘; IHGGI S\ll'I2l.‘ES[\1\| l\Gl'- and Dylislfi li I150 \l'\V(‘BUg;lHI\¢ [hr
1-111 111111, 1111 only 1111- 11151 1111y1-_1- 1111- 111 1 115111 11111-1--111111111 1111111»

111111111-11 111-11111-15 11-11111 111-111111151 1111- 11y1111-111 111-111-11111911 by 15111 1-"1-1111111-

vcy 1:1-1-111111-1111111 211111 c1-111111y-F1111. :11 1‘nn\pu\y 1111 1111-1111111 1-111-111 111

P1111111-11111-1 15 111111111111-11 1111- 1111- 1111- 111-11111111111111 DAMNATION A1.-

11111111111 51111 111 Fvbruary 1911, 1111- 1.211. 0111-11111 01-11111» 1.111111‘ 11111-11-
11111-1111; 1111- 1-1111111111 111 1111- A1111-c1111111 111111111 111 1111- 111111'5 1111-1-1111111 111

11 1111- 1111- 111 11 11-11111 1111111-1 1111- 1- 11111-111111 111 111111-111111111-11111 1111111111111-
111111111111 1111111 P1-1-51111-111 1111111- u11111-11 111111115 11111 1111- 111111'11 111111 1111111111111.
5111-5. 10111111-11'5 11111-11111, 11111-1-1111y c1111-11-11 L1111111111111 15 1111-111111111 1
Gn-gory v1-=11 11111 1.1-1- R1-1111111 11-1-11» 11111111 1111 1111 111111-.5 1111111111111111 111 111-

1111111 111111-11111111 11111;11111|111111. 511- 111111111111-11 111111111y 1111-1 1111 11-11-151-.

111111 51-11111-111111111-11111111111111-1-111111-a 0111-11111 1.111-111 111 1111111 1-111111111 1111-

A1111-c111-151 11111 1111- 1111111 11111 111111 11111111-1 1111- 1 sn\|;!|\l~1]l1\r 1110 111111-
11111111-1-1111 51111111 0111111-11, 1111-11 45,11 1111- 11111111111 111111- 11111 PG 1-111111, 11111

Ar111=111-11111111, 11111 11 1115 111-111111 1-11115 111111 5111-111 1111-1-11-1-1 11115 111 1-11-1y Ap-
p1111-1-1-5 11111111- 111-1111-111-11111 1111- 11111-111. 1-111111-111111 11-111111111111. 11111-115 11111111
171111151-111.1-1, 1111111-1 111 1111 <-111;1- 11111 1111111 1-5111111-11 1111-11|111'11 111111111-1,
11111111111111 111111-1-11115 111-1-11111-11 1.-1-11- 111-111 11 5:15 11111111111, 111 1111111- 111111

11111 1111- 51-11111-15. 11-11111 11111111-11 n1111- sa 11111111111 151215111...

111-1-_ 1111-11-1111 111 1111- 111-11111111. 15 51111
111-11111 1111111111. 1. SUPERMAN 15 111-111-11111@111111>1-11111111111-
1111 111 51.11-11111 1911, 1111-1 111-111,-11-11
STAR wAns 11 1111111 111-1 1111 1-1-11-1111-111 1-1-1111 1111 1111- 111-111-1111; 111111115. 1-111»

.11111v 11,- 20111 c1-111111y-F1111. s1>1-1-111 szu 11111111111 11111111111111» -11115 1111111111

1-111-1-1.5 111151-11111<111r111111 15 51111 1111- 131-1111111 1111 Jnr~El, s11111-1-111111'511111-

111-111-1y 11 .1111111 ny11511-115 11111111111-1111 1-1 1111 1111- 1111111-1 1111-1111111 11111 01-111-
L111111 11111 1111111 c1111111111y 111 s111 111111111111 151111-511111-1-11111111 1.1111111-.
F1-1111-1.51-11, 1551511-11 11y n111 o'a111- 1"1111- 1-1111» 1111 1111- 111111 15 11111111 1-1-1
111111, 1111- 1-11111111 111 1111 11111111-5111v1- 1-1111151213111...
11111 1111-111111.511-1 1-111-1-15 1111- n..111<
STAR, 111 11-1111-11 srAn WARS 1115 TIMI-ISCAPE 15 111 11111>.111111111111 11110111
51-1-1-1-.11 51111111111 5111111111111-51 1111- by 1111111111-1-1 s111| 0111111, 1111111-11-1-
511-1 111-1-1-11111511 11-111-111-11 1111 5111-1-111 1-1-1 111111y 111-1111» 111-111-111111-11 -11111 111-111-1

1-111-1-15 111- 0111111115 T1-11111111111, 11-1111 s1111111111 w11111-1111-1-11. 1:11-111 11111111111-11

15 11111-1 111111-1111111 1111 1111- 1-111-1-15 1111- 1.o0A1<‘s11c1~'11115 ye;r,\\'h1¢'l1 111111--

511-1-1-11 s|111-1111-1-11'.- cuosz ENCOUN- 111 1111111y 111-1111111111» 1111 1-110141. w111-
TERS or THE THIRD 111110, 11111 1 1-11111-11 15 1 1151-11111111y111 1111- 111111-1-

1-11111111-11111111 111-1-1-1-1-11 1111 111-11 111111115 s. 1:1.--11111-111, 11-111111111111-1111-"1>111;111~1

1115 111-1-1-111111-11 111 1111 11-1-1-11111111-111 111 1111111-1.111111" 1111511111 111 STAR TREK
1111- 1-111115 1111-51111111-1 111-11-5511y 111

Meanwhile
at Unlversal. ..
W1111111111-111-1.1111-1-111115‘ 111111-111-1- 11111 1111111-111 w111-111 Tr;1d1- 1-1-1111-1 1111111-

1111111111-y-51111 111111111111 111111 111-1111111-111111 111 111- 1.111111-111115‘ -1-1-_-111111 1511111111111111111 111

KING KONG 11111-111111 111 -111111 .5111-11111-15111 n1-1111111- 1'ru1"Hyn1;; c111-1111 1111 .1 s1.11- 111

and 11 15 11111-1-15111111 111

111.51|1p1111111111-111. 011111.
111111 5111111 15111-115 111 1111 11111-
111 1111- T111-11111y 511-111111111111-1111-11-11-1 11111-
111151-111'111v1-1-511 1-11~1111-1-51-1111111111115 1111111 111 0111111111115 51-11111 15 11111 111

LEGEND or
111110 110140. 1111 011111111111 111111111111-1 c111 0111111111. A 5y11111111111-111-

11111 1111 511-1-1-11111111 11.-1111-11 11111-111 1111- 11111111-11-1 11111111-11111111111111,011111111111

51111-1» 111 1111- 111-11111111 ‘:05 1111-11111, 1111- 1111111-5 111111 1 11-1-1-11y 551111-1.-111111 111-1111 1-1--
1111111111 1111 111111111111-11151-1y 111 11111111111» 1111-11 1111 1111 11111- 11111 1111115111, 11111-11111

11115. 011151-1-11:15-~1-11111111111-111111151111 A1111 111 1111- 1111-11-1111111- 1151111 1111 1111-

1111111- 5111111 11111111 5111111-111-1-5 11111 1111151 51111 111 1115 111111. A1111 11115 111111 1 "51111
111 111--1~ 11111-11 c111~ 1111-1111-1111 Kong. 111111111~11,-- 1111111 .511-111. 111- 1-1-11151-5111

0115111111 151111111,1<111111'511151 111-1-1111- 1111- 1111111 111111 111 s111111 15111111 1111-1
1111-11 ;1dv1~rs;uy 15 111-111-1-11111111 1111111 11-11111111-5 11-11111 A1111 11111 n1-151-1111 1111-

111111 1111- 1",-111111111111111111 11111111 1111-11111111 11111-1111; 1 111-11 1-11115111111111-11111111- 11111-11-

A1111 n11-1-1111 w11111- 111-11-111-1 111 1 11-1-1- 111 11111 11111111 1111115 511111 5111111-, A1'n‘urd\n;!~
1111- 111-11-11111 111111. A 111155111111-1-11151111-11 11-, 011111111111 111115 1111 n1-11111111 111 1111-

111111111115 11111 111111 1111111 1-1-1115 1111- 11111111 111111111511111. 11-111-11 111- 1111-1111115 111 111111

111111-1-11-11 1111- 111.-1;155'111111-111 1111111115. A1111 11111 111111; 111111 1111- 21111111» a111-
Ann‘: 1v11111111511111 11-1111 Knm: 1.5 1-11- 11111111111111-1111111111111-.
111111111-111111111- 11111111 11-111-1-1- 5111- 111-111115 111 1111- 111-1111111-11 111 1111- 011111111111 511-1111
1111.-1 5111111- 1111-1-111111 1111 1111- 1111111.-111-1, 11-1-1 111-1111 1111111-11 by 11111111-11111 15 11--
11-1111, 111 Goldman's srr11111 51111-1-11 1 11111111, hul 15 11111 11111l1y d151-11111111-d by
1111-11 1-11111 111-1 111 1115 1111- 111-11111» 111- 111 1111- 511111111. 1111- 11111111 111-111111 111-111111.

11111-11 1-1-1y 111 111-1v1- 1111, 11111 11111, 1111- .1111 1111- 1111 11111 11111111-1 111111111111 .11111

yhqz 111111-1111111 11-111111 1111-1-111-115 111-1. 01111111111 111-111 1111111, 11111 15 1111111 1-111-
1'111- 111.1111 1-1 1111- 1111111 11111111 15 11111111» 1-1-1111y 111111-11-11 by u111w1-511, 111 1111 1111-

111511, 1y111g 1111 Knng 111 111111111 11111 1-11- 11111115 5111-1111 1-111-1111, 1111111-51111- 11111-

11111111 n111111111 111 1-11111111- 1111- 1111-1. 1.-1-15111111111-11 111 111111-111111111111- 011111
Kung's c1p1111-1- 1111-
111 1111111-11-11111» 1111- 01- 1.1111-1-1111111 v1-1-511111 --111111 15 1111111 11
111g 111 1111111-011-11
1111- 111111111111111 111111-11 1111111-1-5 1111-11-11-111-11-. c111 you 111.51 1-
11/111 11111 111111115 1111- 111111111 Whlch 111- 1111111111 -11111 .11111 111111111-111 1-1111111 11-
1111111 111 1 11111111111511011111111 clvlllzr 1111111111511 11-1111 01- 1.11111-111115' $25 11111-
111111. 111111 111111111-1'2 'r111- 1111 11111 01- 1.1111111-
The 11-11111-1111-11 111 New 11111-11 111111 111.5 1111111 1111- 11-1;111111111~y11111 1111 1111- 11--
1155» 11111-11-111-11, 111-1111.1111y 111-11111» 111 1111111 1-11111111111 10140 11011-0 111 1 11-1-
1115 1111111111111 11111 expense 111 c1-1111111; 111-11y 11111 1 1111111 1111111-1111111-1-11111111111-1

1111 11111-11111 11511111. A111-1 1-1.-11111111-111; 11111111111111 111.11-11111-1111-15 11-11111 -11111111

A1111 11 1111 1111-1111 11111-111; 11111 e11c1p1-. 1111- 111-111 1111y 111-v1-1 11-1-1111-1, 11111-11111-
1(1111¢ 111111111 1 511-1111 51111-11-11111111-11111 11.r1y 11 1111- 111- 1.=1111~111115 1-11111111111111

1 11111111111 11-1111. 011111111111 1-11111111 1111- 111111 15 1111- 11111111111111111111-111511111-11511

1-:111p11-1- s1111- 1311111111111 111c5111111 111 1111- 111-11111111-1-1111 111-.

conclusion. Cn1111;111g 1111- 11111111111 111 1z111s1-1111111-11111

35
 11111-1111-11111; .1111-11 111 11111111.-=11-" I.11111- .1111111.~1 1111111 .1.-1.1.~1-1-111111 >1-.1§1111 s1.1rv, 111r1~1- 11r 111111 1~11.1.r.11-11-11> 11111 1111111 1.111 ('111111111-1'1-1.11 11111111111 11111111-1-_~ 111111--

s1‘1l1l's 1111 IP11‘ S\'H‘l‘l\ 15 11.u'1l. IP11-n 1111- "M1rr11r, M1rr11r, ‘ 11v .I1-1'111111- Blxhyl I11-1111-1-n [hr sl1111l.\. 1111-11’ llll-11> .1r1- .1111 111111 |1r111111r1l\‘ .1_\ .111 1-11l111'l.11111\11-11\ 1111 -

11111 11 1111 1111- |1111.111-r :=l.11:1- 1.~1 .1111111_-11 .1111! 1-111111»; 11111 s\11r\"§ 51-11111--11r 1-1111- 1-11-1111-111;1ry 111- 11111111-r11 _-1~11-111-1- 111-111111 111u111 .111111-1111>1-11111-1111v1111- 11111111>11 .11--
K1-1~11~1 K1111 .<1.111<|;1rd§ 11111; 11.-.111 111111111 111 111111.~ 11.1111- 11111-11 111-1-11
|n1p11_~'.~’1hl1', 1111 11 1.-11'1 .=ur11r1s1111: 111.11 1-111111.111-11 .1111-11111111 1111 1111- 111111 11111.~.1- 11111.1111111.11-

[hr lvral |l11‘<'l‘_~‘ In R1411-r I-jl\41111d's .u\- r11|11.u1<‘1-. Fl|\§1111's In-1111111111! 111 l|11' 1111111 llw 1:1'l1r1~ \A1H 1111111111-111 111|11r1-sl- 11i1111r111| 11r 111-1-1‘1i|1.11l11v11-1|. T111 .~’\'11—

111111111-11 sm s1-11-111-1- F1_.~1_1_.111111.11-_~ 1w.1- 111111..111-1- 11 111-111-1 1111111-11. 11111 111.- 1111-, 1-1-1 11111; .1 .~1~11111-1-111-111111.111 11111 111-111111- 11.1.~ 111-1-11 11.11111-111.1111 .11-1111 111

$111111-11.11 111.-5.1, 11.11-111-1 n11..11.~.

s1111.11-11 STAR TREK 111-11111111 1§ 111.111» 11.111$1_111111- 111- 111111111: 1.. $11 111111111111 1111-111. 111.- 111-111 111 111.- .1111111.11.11 1-.1111..11. .11111

N1-W \'11rk. .I.111u.1r\' l!l76_ J1!!! 11,1;;11.\. l11>1';1us\- U11‘ l11v1- $111111’ 15 1‘1'1\lrr11I lhr P.1ulZ1n1h'l':i1111|\Ak1sl1I1-I1-|1l.1\"'L1-I unlll r<-1'11111\. \l\1- .1r11_~1\ 1111111 111.1111-

‘L95. |1.1111-rh.11'k1.1r1-11A11T\' s1‘rl|1(.~. .1l\1'I1\11111. I11 Ell1s11|1'_\ \'1'rs111n H111 r11- M1‘ H1-.11 \'11u \\')\1>|11-r." \\?111'!1 111.1s .11r- 1l11-.\1- hl111.~ |1.1\'1- I11-1-11 11111211111-11. u!
T1115 111 1111-111-.-1 1111111111.1111111111 11.1r— 111.11u'1- 1-11111111-11-.~ 111111 1111- .~>1-.1r1-11 1.11 1-11 1111 P135. 11-11111111111-11111111111-1111-1-11.1 111111 1111 1-1 -.1111;1-111.- .11 111111-1~1 111.1111—

l;u1 l"l|l:;1111'.\' 1Ir|1!111.1| _~1\'r1|1t "T111-('1l,\' R1-1'kw1lh .|111l lhv 1~xlr.1m-11115 1| 1'11n1— 1'll'.1I\11\11: W-1111.111 .1111| .1 1l-1l|1§1111.1\.1r11- 111.111-ll l1l111.~. .1111l 1111- .~11111-.~_\11lI11111k>
..111111.111.-11.111. 111..|11. 1111-. 111.111.-

E
01111111 1-11111-111 F111.-1-1-1--' 111-1111-11 11.1.1 11-- 111-111111: 111.111-11.11 1111 S11--1-k 11111 1111.111 1-. $11.11-1111 1.11...1.111.11~, .11111111.11 >.11~.~ 11 .111. .111 111111

1111-1111-11 111- L;1~111- 111111111-11111-11-v 111111 11111~ 11111>1 1111//I111; 1.\- El111=1111'.~ 1-111111111. D1-§11111- 111. 1~111y1111:1.1111-.11111.11111 11111-1— 1111-_~1- 111111-1 1-..~~111|1- .111- .11 1.1.~11:1-111111;
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$011115. Ellis:-11 \\.1.\ 11\|u1'1.|11~1i \\1\I1 I111 111um1-r1-r. ll'11-.~' 111 s.1\'\- l'.'1i11|1 K111-11-r .11 .111 11111111-11.11111‘. 1-\'1-r\'111111 |1.1.\ .111.11'1|u.11111.1111'1- 1111111 l\u1:_~
11-1111111- .11111 111, 11111111111-11.111 1.. 111.- 11.1111 .1 1-1111.1111.1y 11111-11. s1111-1-111-11.1.<11'1 1111- 111111-1 1-1-111 111 1111- 1111111; 1.1 Fr11/ 111111111-. 11.1111 11111-1. .11111 1.111.111, 1.11 11111
.-1-11111 111111-1111.1 .~111.- ..1 1111- .-1..11- .11.1111- 5111111111 11111-111.111. 1.1 1111111111-$5 111111111-.111-1 1.1-1111-1'1 1111111111.-1111-11-111.11 "111.- 1111-1-11- 1.. ..1.11 1.. 1.11-1111111 1'1-1 1111111-. .-\1-.-111 1.1

111111 .1 11111- 1-.11.-11 .1111.-1.-111111111 111111111 1-1-.111 11111.11 1-:111111. 1111- .11-11.111 11 1.1111111 111111-.111111111-."1'1111.111111..11-11. 1'111.....1-.1 .11111.-.-1.11 ..1.1111111.111-111.1111.....1>. \\11111-
_.
11\'1-r1111: _~111111- 11I 1111- .~.||11l- u'1-.1.1> I11\' .111d111.|k11\l|11' 1'l1111.1x uns.111s|\'1111; Tl11- 111lr111'1u1‘111111 111111\_~ 1111- 111-l.11l.~ -11 I111111 U1.~111-\".~ 111H1111111 >11 1>\'1-rv1111l|11111l1l11
1 11111;. 11\1-1-111-111 .11111-11- 111 ‘[111-1'11111 111 sun T111-:1; 111-1.~1111111111>-1.11 1111111 1111- 1111, 111.-1-.- ..11111- 111 11.- 111111.111 .111111111»- .-.111....11 11.'1.1. 11111-1-1 .11111..111.-1.1111.11-11-11
51-_11~11_1l 1511-111111. 11-1-1. 11111 11.1115 111 11 11-1-1.1 111-111-1 111.111 11 111.1.~111'1 1.1-1111-11.-11.1.11! 111
111.1111-. 11111 .1 .~111;111111 1'--111‘.<1-
111111-11-111 \\_11111-r
1-‘.111.~1111'.1~ .11-11111 1511.11 ..1111- 1111.-1-1».-1- 5111.11.11‘.-1 111-1¢111.11..T111- 111-111-1-1 1-111.<11111- 111.1 11.111.-1-11.111 1111- s.-1--111.1 1111.111 111 1-1111 11111.1 .111.1 .1... .\.1.1111...11_ 11111-1
11111111.

L1-1111-1 .1l.~1- >1-11111, .-\11-1-1 K1111: --I ('.1r1111111~ 11*--11111.11 L1—

1111; 11111 .111 1-.11-1-111-111 1-111111.1.-1 11- 1111- 11111111111.11-1-1m-1111;1r1s 111 111-111 \'1-1-s11111.< 111111-11 11.1.~ 1111- 111~1—

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FAIL s1\rr. 11. 1'1-.1,-1.1111111. 11 11. 11.11.1111 11- 111.

1111,.-1-1 "1\1111.1, 11111111 1.11111 1.1
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1111.1 1.111 .1111-1111» 1111-.111 ,111111- .1111 11.111 ...111|1.11-1-

1-1 1111-1-1111' .11---111 1111
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11111_1111-

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1111-1.
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s1-11111-1~ .1.1111~

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on George Oukor lll Illa cape-llle com-
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TERRORS.

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TALES OF TERROR. n0( COMEDY OF

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l-vrrylrlllel lllere le (LI kllllw Zlhl-II III!‘ lllelllllg OI "rm: WAR or we wonws. lII\l§Il’;\l\‘d l lllu ll-llll I\l'\'l'l'-I-I(‘Il¥l'l"l'l'I\ PIIIIIIYS III .~l]l\‘\‘lllI I'IIl'\'l§ LIJKI llll~lr lll-lllllll-
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VOI 5 NU 4 all-eelly II)’ IIIEUI lll l‘Il‘Iy ulucll. lllll 0!! llle preell Zl ll.-eelle DPIUPE ll l’('{ll'I\l'§ d\';lI4'l'>’ lllll Ill‘IA‘5Ill1ldS. Allll ll-lllll~ y-lll'l-l~ lll ll, gr! lI\I¥$|' I.AIIU'd-LIIIHLIL l-ll|ll-r-
l0l"B lH!\ll‘l DI CINEFANTASTIQUE WMCI! lellllll-ell slelle nllllllrs R(‘Il'll5Pl‘¢‘I I('llILlI‘l‘§ l|I\ THEM! IVUI ;l lellal. FORBIDDEN PLANET lvlll 4 NI! ll LUKI THE DAY THE
EARTH sroon STILL lvlll 4 Nu 4). and you'll lll-e l-llllelly WIIZII llll»l-l- I5 lll lle emll-rl lllllllll:
...........................____.___...e............................................__....._..........................1

CINEFANTASTIQUE, PO. BOX 270. OAK PARK, ILLINOIS 60303

Enrtluird ls my l‘h(‘l'k lll’ nlunry llrdl-r Illr U14" CINEF:\NT:\STIQUE sullsrrlphull lllld Ilurk lssws I I\;|\'l- rhorkvd
b(‘IuW. I understand Ihal s'\|b5l‘r|plllln luld bark issue n'4l)lll*§ U0 m;llll-d lll slurdy (‘II\'l'I(I|I‘§ lll ;\l'I'I\'l' \|I1I;ll'k\'d
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 FILMIN
THE C) N
Gregory Peck and director Richard Donner discuss this
years winner in the horror film sweepstakes.
When the Jews return to Zinii. and
A runiet rips the sky,
And the Hiily Ruinan I-Iinpire rises
Theii yuu and I iiiust die.
Creating
tl--t
“ ""“
F""“ ariiiies‘ “
"‘“‘ "“‘
ttI\ either slnire.
u
.
T rm 'II‘t£lI\'
W"
"lI.lI
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JLJ N "5 ml ‘
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‘Til iuan exists lltl ni ire.
' all his dlSt‘l|)|t‘. Dnnner. \\‘Il|t tun th't'atlt‘s
The tiI'II.!II\Ill preniise Iur TIIE OMEN
was euneeived by Rnliert L. Munger. a
prtiminent Lus Angeles advertising e.\et'u-
live with a keen interest in biblical pi'u-
phecy. Munger presented his idea. based tin
the heIieInI niany Iundanieiitalist Christians
that the Aiitirlirist is alive auitl Walkiiig tl\t-
earth. tn Iilnt prndueer Ilarvey I3ern|i-ard
whu raised the initial de\'eln|iinent icapital.
David Seltzer wrute the 5t'I‘t'\'Ii|)l2.|y which
was then uptwiied Inr Iilniiiig hy Warner
Briis.
RICHARDDONNER1 THE OMEN was suh-
milled tn nie by one til the best y|iLII\|,1 pat‘k-
agers in the business. zt guy naiiied Eddie
Rusen. It was iii turii'.u'iiund Irnni Warner
l3rtis——iiieanin|.1 that their nptinn nt seven
niuiiths was lapsiiip and it didn't luuk like
they were gniiig tn |lit‘k it up. I was gniiig
nut tti dinner when Eddie dI'u|)|)t'(I it uII at
iiiy hnuse, Istartetltn thunih thruutzh it and
Iwas really turned nit. I Iiiially ]L\Sl ealletl
iiiy date Lllld said “Ynu tin. and I‘ll iiieet ynu
there iii aii hnur." It-nuIdii't put it dnwii. I
ttiiik it tti Fiix and asked Alaui Ladd, .li'_ tn
read it, and he said. "Hey. I gut seventy
things tu read this weekend." And I said:
"I've gut tu have it read by Mnnday. That's
wheii it's in turiiarnuiid and it's tuiiiit: tnhe
nut tu uthc-r sludiiis." He said lie‘d
|,ZttIIIt.{
try. MIdI\II!|IlSunday iiitzht he ealled and
said. "II yuu ean get everyhiidy ltiy.{('lht'I‘ iiii
it. ynu got adeal.“
Onee Warner Briis dropped their nptinii,
Dunner stepped iii and iiegntiatt-ti with Bern»
hard Iu prtiduee the Iilni. theii walled THE
ANTICHRIST. Seltzer mid tlflgittttll)‘ t-are
structed ll script replete with devil giids ;uid
clnven-hunted eiiiissztries ut Satan. Dunner,
however. preferred a lessnhvinus Ltlihrnaeli
and alter discussing his eniiet-pt with Selt—
zer. the ytiuiig writer enneurred and within
at week had revised the svript. 20th Century
Fox put up $2.8 inillinn Inr the iiruduetiiiii-—
40
a iiindest investment L‘iiII§It|t‘I‘II\)l the Iiliii'.~;
\‘|('\'t‘I\<Wt't'k slttmlilltl srhetlule, pret|niiii-
naiitly exterinrs. in and ahnut Lniithiii. Rnnie
and .Iei~usaleiii. Beeause nI a Eui-npean |iit'-
ture called ANTICHRISTO lsee -I:-I:30) the
IIIIII|lt'I!;|1\|)I‘ti(IUt‘|InI\ as TIIE mn , I‘llMAItI\.
.
'-It-rrinp tn the three sixes \\‘lIIt‘|\
H ‘
smiiewliere nn the |)t>(|_\' nI the ;\|\Ilt‘]II‘I$l
.
aiitl
. .
nI inipressive televisinii wnrk heliintl hitn
and three nnt-sn-iiiipi-essive Ieatures, was
t-ilgugt-d tn dirert. Fur the lead, he anti
Beriihard seleetetl Gi-e|.gnry Peek. whn had
all but vaiiished Iruni the .~a‘reeii Illllti\\IlII.1
a string iii laekluster iii*mlut~tiiiiis in the
early Seveiilit-s.
GREGORY I'I-ICK: AIlei- Iiiur ur II\‘t'
Iailures iii a ruw, it \\as i.:i~ttin_t: tn the pniiit
where I was l)l'II\|1 tiIIt'rt'(l \'ui.:-isla\'iai\-It.il-
tan en-Iirtidurtitiits, and I Iiguretl tt was
tiiiie Iiir iiie tn gel nut. At least Itir a \\'|tIlt'.
I really didn‘t Ii\II\(|. lit-t'au.~;e I had t\\'<-iity-
Ii\'e years ul reasniiahly gntitl .s'ut'eess and
|;tm(l Inrtune and all the I‘t'\\-LFKI5 that en
with it. whieh is already a Iiiiig career. One
dnt-sii't have tn gt» nii inakint: Iat-es iii Ii-nnt
nI a eainei-a uiitil niie tlrnps deatl. Sn I
thuught: "Okay. Well. I'll retire." But I
still lnved |)lt‘lLlI"t'-I\i1tkIt\],1 aiitl I \\asn‘t
ready tn aliaiitluii it altneetlier. sn I turtietl
tn |irn:|u<-iitp. That art-nuiiti-ti Inr three
_\'eai~s_
But tlieii. sutldi-iily. this thing i-ann- a-
-—~~e I - ~
Faeiiii; Page: Richard Dnnner llnwer leltl
———
tlirerts ehild .tt'ttit‘ Ilaiwey Stew-its ;uitl
Gregury Peek (luring Iiliiiiiie t-I the eliiiiat'—
tie ritual niurtler in THE OMI~Tl\'. IIll\\ niie nl
the innst prnlitahle luiri-nr Iiliiis t-I all»
tiiiie. [Plinth hy Rnbert Peniil
_ iiie nI thines tn rnnie. i»\i'tii.illy. \\e Iilnied
Fur vast tutti t'rt-dit ii\Itii'iiiatiuii and a I‘t'-
view t-I TIIEIOMEN, see Viil:'iNnL!_ p;u;i- 27.
. the [)ti§!<l|iI|II\' nl t'tlI\III}1 it l|tt' <iI|It'|‘ way
'1"ll-"‘f"{‘,'§_f"'{"'5!:‘f§“1"ff‘lP"? *"\“l‘L:;{:;;‘/'
¥‘Ln“*‘ ' -
',"*"“(J “N5 '" . ._‘
rm? FAHREgH\l;‘lT 451' H'B&';“du‘(‘““' 1“
W 0 "H A O AND ms npphlni‘ i"
vul 5 N“ 1'
by
lni\g~—'I‘llI~.‘ Ol\II-IN. I izuess there are nut
tnn inany artnrs .u-iiuitrl \\‘hi» ran lit-Iii-vahly
play .ui Ainerieaii aiiiha.s.sat|ni" ti, Great Bri-
'.
taiii. It Iiniitetl the Iieltl a little hit tn \ihi-re
I ltatl tn t‘titI\l‘ Iltlti ennsitlei-atinn Inr the
]LlI‘l. I l.{Ut'.<.~i ||.II‘\’t'_\’ nt‘l'I\l\1|l'(I and DIFR
‘t|)])1'.ll' Dnnner tlt-rich-tl I was inst the ehap Int" it
‘
and they sent ine the seripi thi-nuizh Ill)‘ a»‘
gt-tit.
The st~ri|>t held my intei-e.~.t like aitmitl
pulp thriller. Sure, it li.nl.~;nnie li»n|ilinle.<.
hut their aii.~a\\ei- tn that has that lIitt-li-
enek's Iilnis .ilwa\'s hat-e linles ynu enuld
tl|'i\‘t- a ti-urk llII‘lI\l;III. II yiiu try tn patrh up
t'\‘t'I‘_\' hnle \\tll\ i-nii\-eiilintial lnqir. vnu i.:i-t
intn i-x|>nsitnry st-eiies that iii>lintl_\' \\'aiits tu
hear. Sn iiisteatl , ynti try tn keep itiiiiig .tl
sueh a hi-eakiieek pave that iiiiist pt-nple
\\nn‘t apply any t'.II't'I\1] anal_\'.sis ti. the lIlL[I('
nI what‘s '.ZtiIlI',1 nii.
Pt'I‘SilIII\H_\" I tliniittht llial Tlllifll was tar
tnn |l\\t‘llIt1|'|\\ tn at-rept a siilistiltile rhiltl
\\itliniil t'\'t'II askiiig In see his nun zh-ad
rhiltl. and \\I\lltiL\l lnnkiiig intn the h.tek-
pr--untl III the atlnpii-e. aiitl t-ertainl_v he
nnultl have tnltl his wile ahnut it. Alsi-_ Sa~
taii t‘IIlIl(I easily have 5\l|J.\lIl\llt‘tl his ehilrt
Inr nurs \\ithntii tt'llII\l,1 'I‘hnrn ahnut the
switt-h. The TlItiI‘II.\ wniiltl have heen I|\IIti-
eent vietiins nl ilie enii.~:|iii'iie_\~_ nut I was
Illll the pi-ntlui-er nr the tlireetnr. They at"-
kiintiletleetl the Inuit-. hut thev Ii-It they
\\.tiiti-tl tn i-.~;t.t|ili.~'|i aii IIIIIIIIHIIS iiiii--tl Iriini
ilie I-t|lst't. l\I_\' tll'L!\|II\t‘I\l \\a.~.' "Well, let
'—~—————
tliese Ilt'lI]lll' |)|' ii<ii'ni_ill\' |\.||I|)_\' Ini" the first
Inur nr I|\'t- iniiiutes nl the 1lit‘lUt‘l‘. The .iu-
t||t'I\t'l' is nnt i,[|iI|lI1 tn t,1t‘I up aiitt \\alk nut
|it'4'.It.t.\‘t' IIIil|II|\LZ --ininntis lialipeiis iii the
Iii-st reel." llut Iltt-\' elaiiiietl tli.it it \\‘.i.~;
hlantl. 'I‘lit-v \\aiiti-ti tn ;,i"ah the autlieiiee
Ii-nni the Iii-st ItI|iIiIl'III \\tl]i .\'t1|IlI'lI\lII_L1tiH"
lit-at——t-iiiiiiniis. liii-e.iteiiiii~,;. aiitl Inre\\arii-
it sn it ('ti\1|tI|It' rut t'lllIt'I' \\a_\'. liiit the pit"-
ture \\.is surh .i l-tnnek-niit Ii-niii the very
Iirst tI'l'\‘|t'\\ that II'|iltl that pnint tilt. I think
\At‘I\l nut llir kniitii.“-. T|\t'_\' \\‘t‘I‘t'II'l alinul 1.,
. . L-n $t'I't‘\\IIILL arnuntl \\Il|l sueeess.
I)Ol\‘i\'I~jR: We enuld have unite a hunth-ed
t\';I_\‘Haith it. ldltl it that war sn that Tlinrii
y
wnultl have tn lI\’t' \\IIlI IIIS I-llllll. This was
Dai-'itl's itlea. niiiitl ynu. There was a Int nI
(lisrussi-iii nn this. hut David was very
1
 picture you must deaths are very likely to be violent zuid days, and we actually charted that iiln\—
. shocking——and so they are. ironi zero to l20 minutes. Where are the
lun the a-udlence and then 1 Now that l've dune it, l ieel quite good a~ ltighs'.’. . .Lel‘s pick it up here. . .We need
shock them. And sometimes’ bout it. because in spite oi the eontrivances something at the beginning. With this |)lt‘-
I oi the script and the ma.ni|1ulati\'e nature oi ture you must lull the iiudioiice. zuid then
1'9 sattated from
_

aiter the whole thing, it's sort oi a roller coaster shock them. And sonietinies. aiter they're
' thrill ride ior the audience. And it's done. l satiated irom shock Lllld they think that now
Shock and think, with a lot oi expertise, with some ex- —hevause that's the way it worked ht-iore—-
now--because that's th€ Way eellent acting: and the violent deaths-—well. that now it'll he slow-|iat-ed ior quite some

i
- they don't shock me that much. l've seen time. then all oi a sudden you hit them a-
lt worked before now horror iilnis since l was a kid, goitig back ga_in. And it worked.
it'll be slow-paged
.
f()1‘ quite to the origitial PHANTOM or THE OPERA
with Lon Chane . l've seen "MacBeth" and
or course. everyhotiy Ltik Zthtttll the de-
caiitation. Now. l‘ni not in any wa coni-
some tune! then of a "Coriolanus" ayhd "Richard ill" where the |)L\:‘li\|.Z niyseli with l>litcht"ock, hut _\'ti)i.l know

Sudden YOU them again, "
. _
Rlchard Donner
strong on it just ironi his beliei that the
man had to have another side oi his charac—
ter. And that was the guilt oi what he's done
and the burden oi living with it. We all make
many mistakes in liie. His he made out oi
love ior his wiie. And there was no chance
that at any point in that story, up to the
point oi her death, that he could have told
her without driving her around the bend. ii
he thought it were his nwn child. he wouldn't
even relate to all the insanity around him.
Hc wouldn't have reacted to the priest. And
he wouldn't have gone on his mission with
Jennings ii he hadn't known that he had as-
sunied this liability and he had to chase it
down.
PECK: 1 irankly don't take the Satanic
element very seriously—althuugh a lot oi
people do. l've talked to some very young
people who are iundamentalists and believe
in the Antichrist and that every day you
have to go out zuid do battle with Satan. Well
1 can't say that it's not true. dciinitcly; but
ii l had to bet. lwould say no. But never»
theless. the script held my interest as a
Gothic thriller, and l thought ii we could put
this on the screen it would be something ex-
citing—shucking to be sure. with some quite
ghastly killings in it. in general. I have a
dislike tor that sort oi thing. but then l ra—
tionalize-—aiter all, ii you are going to have
a premise that a supernatural conspiracy
exists to wipe out me and my ianiily and put
our child into a position oi power in Ameri-
can politics. then certainly Satan's going to
dispose oi anyone who gets in his way or
tries to thwart this conspiracy. And these
Stage is littered with corpses. atid l ieel
reasonably certain that ii Shakespeare had
had iilm, techniques at his disposal, he'd
have niadc those killings even iiioi'e shot-k~
ing. because the Elizabeth-.ui audienre loved
that.
So, l'm enjoying the po|nilarity oi the
iilni—thc iact that so lll1Ul_\' young people
now see me again as a current performer.
rather than someone they vaguely remeni-
ber from their childhood or someone they
see on the television. lt sort oi brings me
up to date.
Bizarre killings abound. each handled
with vconsumniate skill by director Donner,
and augmented hy Jerry Goldsmith's night-
marish score derived ironi a rhilling tenth-
Century black mass.
Donner and scriptwriter Seltzer continu-
ally play upon audience preconceptions that
normally preclude killing oii the main t‘har—
acters. Katherine Thorn survives the initial
enslaught oi the devil's emissaries when the
table oti which she is prerariuusly perched
to water some hanging plants is struck hy
Damien as he careens hy on his tricycle.
Katherine claws nioinentarily at the second—
ilour landing. and then plummets iiiteen iect
to the hardwood iloor below. She is hatter-
ed and broken. but alive. With ii sigh oi re-
liei. the audience sits hack. reassured—on-
ly to be all the more shocked when. a short
while later, the utterly helpless invalid
plunges to her death irom the hospital wi|i-
dow. Dnnner's ultimate niiuiipulation oi the
audience is his use oi the photographer
Keith Jennings. From the moment Jennings
reveals the blemished photograph oi hini-
sell. it is clear his days ;u'c nuinhered. Or
are they?
DONNER1 David and Harvey andl sat ior
the scene in PSYCHO -where Janet Leigh
gets killed in the shower‘! l kept looking a-
way. And every time l looked hark and o-
petied my eyes. it was still going on. in the
d('('i||lll1\llltl\ scene. l tried to do that—to
make the audience look at it. \\'hen the truck
eomes down, they really think he's going tn
he run over. zuid they turn away. But it ltits
the guard rail. and they lit-ar the crash.
They know he's dead. They look up again
and hi-‘s not crusl\cd~—tln- thing has taken
his ht-ad oil. And they look away again and
t‘n\'t'I‘ their eyes, ;ui(l they come hack up and
it‘s still going on. Sothey're iorced to re-
late to it.
l rt-ally don't get any coiniort out oi go-
ing tn a violent iilni. it's jlll something in
my nature. l'm ]USl not comiortahle watch-
ing it. l respect and love Sam Peckinpah. l
think he's one oi the great iilntntakers oi
our tiinc. l can sit through anything he
makes ilild love it. But then l go home. and
in retrospect l get $it'k~——l'm upset by it.
Oddly enough. l don't iind THE OMEN
violent. l call it thrilling. And there's a
diiierence. Viuleiict-. to me. is one-to-one.
Man's inhum;inity to man. Andhloodletting.
ii you take a kniie ;\.l\(i shove it into it guy's
eye and it goes through his In-ad and pins
him up against it wall—t_hat's violt-nrc. l
stayed away irom bltnvti. Blood is violent
and gory to me. in our picture. l think
tht-rt-‘s about iive drops ni hlood out oi
Lt-e's mouth when she hits the oor. Even
with the dl'Pill'il;l\ltil\ there is so little hlood
.. .l mean, we put in less than a capsule.
]USl so the sheet would have some red on it.
Same with the pru-st. l [ind the deaths in
this picture really iun. Oi course. when
you're making a iilm. the logictics oi set-
ting up moments like these are so in\'ul\'ed
—there's so niuch research and prepara-
lion, that by the time you execute it, you

1*!

42
__?

Facing Page. Lt-ll: Dircvtur Rl(.‘hLLl"d Donner

and Grqzory Peck during tho iilniing of
Damic-n‘s birthday party. Right: Dnnner
(loft) lines up Ll cluse-up til Grogury Pr-ck in
the scone where ho is rnnirimtcd by Piitrirk
Truughtun‘s hiniitir priest. This Pam-. TUP1
Pork visits the piiriilyzl-rl Lllld disliizurvd
Father S]lil(‘ttu (Martin Bnnsun) \0 1l"11!‘l\ the
lzivts l‘irl\(‘l'l“l\ll\.}! ihc hirth iii his sun. Lott:
Dunner (t-ruui-ht-cl ll\Sld(' uutui gvls sumo
hziiirl-linld t';in\t-rii Shiil5 fur (hr st-qut-nrt- iii
whirh lialimiiis S;l\‘Ll;I('l)‘ iittiivk D1ll\lll'I\ and
his ninthi-r. Right: Jennings lD;i\'irl Warner)
ShlI\\'S Thnrn lGr0_i:<ii-y Pi-ck) ii phnlli hr hiis
liikvn ul hinisvll l‘l'|f('\‘l[‘(‘l in his mirror.
bloinished with ii |)hliltigI';l|))\l(‘ iiiiuiiizily he
hclicvos lurti-lls H15 nwn di-ailh.

dun‘\ i'1-l;ilt- lu it iis ynu'i't- nizikiiig llir nudi-

onro rrkiir I1» it. Th0 iiit-rliiiiiivs ul it llkl‘
aiwziy iruin ihv i-iiiutii-iiiiliiy.
l’ll toll yini sunit-lliing ll\\('l'('S\i1\}1 almut
my hiitrt-d iii \‘ll>‘(‘('l'. thnugh. Thv iislilinwl
stunt-. When l was shuuliiiii lhzii shut, I
niziziu lhv prop iilllli ign di-wn lu tht- l\iLlIk(“\
mid buy siuizl fisli~nr \\'li;ll\'\’t'l‘ the ht-ll
tli0y‘r(- t';illi*d—rlv;id Hl\l'S‘ zind ])1llli( them
tiruiigc, Llllil put llit-iii in [ho lishbuivl. And I
said, "Just swirl it h\‘[4ll'l' \\'(' gm. and ll\1'_V'll
hL|\'l' iiiun-xiit-lit. " Wvll. llarvi-y k';\li\t' in and
Silldl "What ;iru yuu divlllil with thv rlt-ad
sh? Pui livv sh in \|\1ll." Andi siiitl. "Nu
\‘l\Lllll'\'." And he siiitl. "Wh;i\ ;u-i- yuu talking
al)<iut'."' And l sziid. "l‘ni nut LIlil|\l-I in drup
livr fish n hi-rv lllld h;i\'t~ l|\l'li\ hii lh|- “lIlll'
—il‘ll kill ‘viii. “ And \\(‘ ligid this Q\_('l'l'K|li'
;U’lI\llI\('I\l. And l siiid. "ll:u'\'t-y. iiiiylmdy
SLIYS thi-y'i-0 ih-iid iish and ynu l'lll\ |L\\'|' my
]li‘ufit1< un tho |7l(‘lLll'l'. " I ]L\Sl vuulilifl drup
li\'t~ [lSl\1Il\lhl' llmii‘.
Duiini~i"5 \\-nrk in THE OMEN I5 Iiiyglily
visuiil iiithuut hvinu l|Sll'l\l1ill\IUS. His kvy
\
~
y
Sl'K‘|Ul‘l\l‘\‘S lrziiznu-ni int-i indii-idu;il ini.ipi-.<
\A|\l\'|\ lll‘\' Sll\|IU|1\l'l)' l'"t'l'll\'l'. .iiid liriiri-—
(iirlli l\iH$l di.~"lu|"hiiig. His |ii‘i-lutlv ll) thi-
ynuni; |i;inn\".~' h.inuinu is .i K-li\'l(ltv$k'iv])(‘ nf
iiiiiigvs in \\'|ll(‘li lln- l|L\(“\'l\\‘i'. \';igu\‘ly li-
\\;iri- thiii _-t-int-tliiiiu ;i\\ful is .iht-ui tn |\il|l~
|X'll. .~'|i;i.i'i-s \'i<'.ii'iuu:;ly lliv Thui'ii.~;‘ .il;irni-
i-d l'\'.H'\lt|lL\" Villliliill ri-.illi' klltv\\'|l\l.Z \\'liy.
And l;i\<'r. ]Ll$l as hr ni;iki-s l]i\' .iudit-iiu-
l'X))(‘l'|l'lH'l' .Ii-nnin;;s' guri-suiiiv K|t'LlU\, Dun-
ner [lIl'k'l‘$ us tn sh.u‘i- Kiitlu-riii<~'s lruslr;i-
HUN :15 shr S\l"U$.[],Zll'5 pmidi-i'nusl_v tn slip .i
di‘.\]ihLUl1|U.\' l1li1|ll)Il|\\'I\ nvt-r hi-r hviid iinzl

'“"""'
,._,__¢-- 5
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‘
. .
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‘no,-9.-at-1-I 4

qr”
A A
/

- I

'

43
Leit: Father Brennan (Patrick Troughton]
is impaled by a tailing lightning-rod dis-
lodged irom the roof-top oi a church in
which he sought sanctuary from a ireak
thunderstorm. Below. Left: Thorn (Gregory
Peck) and Jennings (David Warner) search
for the remains of a child born at the same
time as Damien, buried in a deserted ceme-
tary outside Rome. Right: Father Brennan
is chased by lightning and a freak thunder-
storm in a sequence reminiscent oi Jacques
Tourneur's CURSE OF THE DEMON.

arm cast, and then her helpless terror as

she sees the murderous approach oi Mrs.
Baylock through the ensnaring iabric. With
the exceiiion oi the decapitation scene,
Donner uses slow motion to suspend time
and increase suspense rather than to accen-
tuate violence in the Sam Peckinpah or Ar-
thur Penn tradition. When Katherine falls
from the landing in her home, she grabs
onto the railing, momentarily delaying the
iall; but in slow motion we watch a dis-
lodged iishbowl plummet to the wooden floor
below. Moments later, Katherine loses her
grip and drops, but the violence of what is
about to happen to her is already implanted
in our minds with the image oi the shatter-
ingiishbowl. The use of slow motion has
prolonged the suspense and heightened the
impact. Likewise, at the climax, as Thorn
struggles to stab the demon child, a close-
up oi the policeman's revolver is shown and
the gunshot is photographed in such extreme
slow motion that the bullet can be seen
driiting across the screen. That scene also
serves as a transition, and several long
moments pass before we know the outcome.

DONNER: I wrote that gunshot idea into a

picture I tried to do about six or seven
years ago. it had to do with the kidnapping
oi the Firestone child here in Beverly Hills,
and I was going to do a two-hour television
special on it. 1 wanted to photograph the
bullet, and within the framework of the tra-
verse of that bullet, we would tell the story.
We never did the project, but in the back of
my head, 1 always wanted to use that. Well,
l needed a transition for THE OMEN. So we
found a missile tracking company that built
high-speed cameras-—I mean, devices that
were phenomenal—and asked them if they
could shoot a gun going off. And the guy
said: "Yeah, 1 guess so. We never have, but
 Right: The su:-znenselul 1-liinax ol THE O-
MEN--as Thorn ttiregorv Peek] is about to
sacrice his son Danut-n lllarvey Stevens).
whom he l)(-lIt'\'t‘s to be an incarnation ol
Satan. a poliet-|n;u\ enters the rear ol the
ehurch. gun drawn. and orders him to halt.
Below. Lelt: Jennings (David Warner) is de-
capitated by a [lying pane ol plate glass.
an event foretold hy the omen in his own
photograph. Right: Thorn is Iureed to mur-
der Mrs. Bayloek (Billie Whitelaw) who in-
tends to prevent Dan\ien's abduction.

l don‘t see why not. " So we went up and set

up the shot. But we tound that the amount of
light you need at six thousand live hundred
lrames per second is so immense that the
lights burnt the skin on the man's hand be-
\ fore he could pull the trigger. l had already
shot the master stene ut the eup coming in.
and he was barehanded. Sn. we had to re-
shoot that zmd develop a glove with asbestos
lining that would relleet the heat. We went
bark up to shoot it again. This time he could
hold it. The heat was exerueiating. but it
wasn't burning him. But by the ti|ne he went
to pull the trigger. the wax un the bullet
melted and started to smoke. So then we
had to devise a bullet with a minimal a-
mount of powder in it that didn't need wax.
Anyway. l don't understand muvh about wea-
ponry, but we did three takes on it. not
knowing what the hell we got. But when we
saw it. l was ]ll5l like a kid. l was su excit-
ed. l mean. you actually see the goddamn
bullet going across the screen.
lnevitably, THE OMEN invites compari-
sun to ROSEMARY'S BABY and THE EXCR-
ClST. Beyond the thematic thread of Satan-
nsm. all three are major studio productions
employing prestigious creative talents that
seldum grave mere "horror" films. Also.
each has proven to be a boxollice blockbust-
er. Recognizing this. buth Peck and Donner
are bristling with stories of mysterious e-
vents which betell the shooting ot‘ the tilm.
Flying to London by way of Paris with his
wile tor the start nl shouting on the Iilni,
Peck‘s plane was struck by lightning. "Su,
ut' course." laughed Peck. "the publicity
man seized on this. He was delighted! The
only thing that would have been better would
have been it the plane had actually crashed.
Think ul the publicity value at having to re-
place me. and then the tension surrounding

NL-
 "You know picture was cunipnsure gradually breaks dnwn. and his
. enintinns begin tn get the better ul hiiii. But
not grlm 3.S far as _Wj were even tnward the very end, when he kiinus
concerned. we were he niu_st kill this t-hild...e\'en alter his
wurld is falling in around him. he still says:
the d3.l'nl'l thing all the time "But this is a child! Ht-'5 nut rt-spuiisililef
- I wun't du it!" Despite all the evident-e, he
on the set‘ be scary t*a|i't ll'tl;A{.llI\t' hiiiisell t'n|iten\|ilati|ig the
t0 the audience , but at times iiiurder ut a child, Then, Ill euurse, the last
. terrible thing happens with the reporter,
Our Xnaln problem was to and after that, he I5 grinily dett-rniiiied that
keep a face he will du away with the little iiiniisler.
We were dolng all thOSe
.
DONNER: I treat:-ti that rhild, in niy
horrendous things. H niind, right up lu the very last frame Ill the
picture, as just a live year nld kid. lle
Gregory Peck knnws nut What he is yet. The Bible says
the child will he sired hy the rape at a [nur-
lettited lieast by Satan. I dun't knuw ii that's
another actor flying over tn take the part!" piissihlt-.. .y<>u knnw, the Bihle-—a lut ut
But THE OMEN really hears little re- peuiile ht-lieve it. But he's a ehild-—a little
senihlaiiee tn THE EXORCIST, and the news kid. When his lather is lighting \\'ll|\ the
media. rightfully. never paid niut-h attention nanny. Damien tznes and hides ht-hind a
tn all the ";imazing," and snnie nut Ell ;i- rhair. And when his lather pulls the i-hair
niazing. euintadenees that were being bruit- away, he tries lu t'tI\’t‘I‘ hiinsell and st;u'ts
ed almut. Aside lruiii the extent to whivh S(‘I‘t';lIl\lll|,!. He's still a t-hild. I believe wlien
THE OMEN iznes ln slmrk and terrily, it is he says: "Daddy. please! Please dnn‘t!" in
Certainly ll\Hl"l‘ rlnsely related tn ROSE- the t'hurt'h—that‘s really a kid saying: that.
MARY'S BABY. In Iuet. had Ituseniary been There niay he iireatt-r pnwers. hut I didn't
separated [rum her child as iikuiiied all a— treat tht-iii as sut-h.
lung by the enveii. THI-I OMEN cuuld alniust We treated the wlmle Kllltltl. as lit-st we
have heen a sequel. Bnth Rust-niary and enuld. as a reality. Ev:-i'ytliiiii: in it euiiltl
Kmhm-im. hum. iwen 1;‘-(payed by their hus- be t'uint'itlt-ntal. ‘fnu never saw .t|\_\'liut|y
bands, resultiniz in extreme niental Stress. rreate an inhuiiitui deed. Lilierties are tak-
The iiiutinitimis. hnwever. are entirely en. u|i\'iously~—tu the pt-inl \\‘|\t't‘e a llt1l\l-
dilterent. Rutiert 'I‘hurii's betrayal tit Kath— ning rud gut hit: In the puint where a nian is
erine is nintivatt-d by his lti\‘e;.i1it‘l euiieerii killed; lu the pnint where Lee lteniiek \\'a.~z
lur her. Only later dues the lull iinpat-t nt un the talile and the kid ranie art-untt the
his st-eiiiinizly harniless dt-t'e|itiuii niake it- ciirner . . .iI you nutit-e. he ne\-er lmtkt d up.
sell k.n<>wn. and by then. it is tint late. Sn. it was just .i ehild riding ii |Ill‘)'l‘lt'.
really. Was it t'tllllt'l(lt‘lll1ll. nr (||(| Mrs.
PECK: Rnliert Thorn is urbane. snphis» Baylut-k pru\'uke hini'.’ And she lllltllll Just
ticated. capable nl heiiig the Anihassadnr tu he suiiie kuuk . . .i\-In» kiu|\\‘s‘.' Or ivhen Peek
the Cuurt of St. James. lle isn‘t an espe» killed her, he may have killed a \\'ttl\lillI uh.‘
cially religious niaii whu wuuld believe in was duing nuthiiig inure than ]II'lll\‘t‘lltl1,1 a
Satan at all. let aluiie an AI\ll('hl"l$\. But child, thinking that the nia_~;tei' ill the In-use
gradually. as IIlll(‘h as he resists believing had gnne berserk. E\‘\'I‘_\'\lIl|l|1 has an .ini—
it. he cunies tn realize that ht-‘s niade ii liigutius relatiunshiii \\-ith i't-ality. l~I\'eii the
hurrililt‘ niistuke by taking inln his Ianiily three sixes rnultl have lit-en .i liirthiiiark. A
an adopted child he really dm-sn‘t knuw 0- terrible t-niiit'ident~e. II ynu gt. in zuiy ul the
nuugh ubnut—a niistake gruunded in leelings niedival lilirai-ies. it's lllk ' -ri-tlilile the lIil'IIl\'.
PECK: THE OMEN has a very wide eniu<
tinnal range. and Inr me. that's what niakes
the p;u't interesting. I think the larger enm-
tiuns are always the easier tn play. When
yuu have a t'harat'ter whn dues nulhiiip that
is nut predictable and \.lll(ll'l'|.lU('S nu |);tT\lt‘U-
lat‘ l'|lLll\i.!l'. then ynu have a dull part. Nu
niatter linw niurh nl ynur uwii l'tlIt|lIHll and
persniial iiwulveiiieiil yuu invest in the part,
it tint-sii'l gu ;Ul_\‘Wht'I‘t‘. Fur e.\ani|ile_ the
t'hai"at'ter l played in IHAROONED. the eun-
trill nlliri-r tlll the t1l'ULtIltl. Well, yuu l‘.lIl;1t'l
yuui‘ eyeballs nut in a part like lhal. hut the
\'liai"at'tet' l\l\1§l reniain a kind i-I liuni.in ru-
hut. I~j\'er\'thiiip else must he saerilit-ed tn
etlit-it-in'y. II he's nut eltit-it-iil. llivrt-'.\'l\t|
justilicatiun Int" his |It'IIlt1lllt'I‘l‘, su tlier|"s
“ll ftvtllll tn gt: l]ll'H\l;.!|\ any eiimtii-iis Hr
rliaiipes. Yuu try. here and there, Ill t‘t'\'t'.tl
.i hit ul eiiiutiuiizil in\'uli'enienl-ut t'.tt‘in'.!.
ll‘ real t'IlI\l't'I‘ll. But it‘.~; tlitlit-ult. We all
have .i wide siiertruiii ut ll‘t'llllt1.\', lI'Hl\l l--\'i'
and ll'lllll'I'llt'>i.\' In \'|lvl|‘l\l't' and Ll desire tn
kill. Given that ynu liave sniiie kind III na-
tural izitt hr talent tin" il('llIll[, ynu t'.tll II“
these 1-iiiutiuiis. And the parts that thin't al-
lnw liliu tn t-all ll“ theni, iii‘ nnly llll a ll1lI‘I'tv\\
range. are the ninre uiiiiiterestiiii; parts.
Thert-‘s llll ext-use. at this ])1llllI in my
t'.lI'\'l‘I‘. tm‘ hi-ini: aiiythinii less than i:=-nil-—-
aiiytliiiit; less lllttll Iii-st-rate. I |Iul all HI
iiiysell llitu J part. lllltl it the tlii-eeu-r igii-es
me the ti|)|)i|t‘lUltll_\' and has i1||Iitl]l|ll_L1l‘l\lt'Ilt
in euidinu nie, I tlnii‘l need a \\'hiile |tvl til
(ll'l.ll|t'(l direetinn. Rut llu .l('l1lI‘ r.in watt-h
lllltl§t'Il, .iiirl sh, (ll rnurse. it‘s .in t'IlIrI'-
nu-us help ‘II h.i\'e .i iiian with L1lIlvt| ]lI(l|,1t'-
ll\('ti\, -,;..nil taste. and \\'lin has .i ])\*l'§titI-ll
<'har;n-tei~ _\-nu e.ui trust. Ill-‘.~a vuur .iudi-
em-e; yuu 1l|;|\'Iu hini. Il’s .ill ii--iisense that
yuu plav tn the elet-ti*i<'i.uis iip in the t‘l'll-
intz. 'I‘he\"i-e husy with the liulits. They
:|~»n‘t |>.t\' I\lUl‘]l .\lll‘l\llHll tn \\'h.it‘.< heinp
s.iitl ti-rtv It-et hel--\\' them nn the set. Yuu
play in nae in.ui. and I-nee he s;iy.\. "Print
it," y-iii liave ti. ll.|\‘|' the [l'l'lIt[LL that it‘s
y--nr hi-st. I‘d uive a direetiir a Int <-I ti-nu»
hle \\lit| \\i\lll|'\l tn |lI‘IIll \\h.it 1l'i|I\SH|l'l‘|'{||li
he an lll;ltl4'(|U.llI' ]lt'I‘l\|I‘lIliUlt‘l' I-n .i set-iie.
liee.iusi- it \\-»ultl ht‘. iiith me. a m.|lier iil
..
|)l‘|t[l'~;\'||vllill prith ' ind pt ' l'\'|tl\.|l v.init\‘ .
A .

at prntertinvi and tenderness Iur his wile
who so niueh wanted a child. Sn. it lakes
some ennvineintz. hut he gradually ennies tn
realize that he has indeed ;ll‘k'['|X('d a child
whu is guided by a supernatural Ioree and
is nut tn destruy him Lllld his Ianiily. His
these liirlliiiiarks (In lake. Sn it i-uuld he
this |)tltiI' nian, Perk. is vaught up in sueh
ltI\'.\l insaiiity iU‘IIUl\(l hini lllat he llltl t1t|l'$
insane. As tar as I‘iii ('tlIll‘t'I‘l\\'K|, when he
raises that knife and says, “Gnd |,Zl\‘l' nie
stren|;th"—I nit-an. he's insane.
Diek Dl>lllI|'|' and I gilt all-nil 1iI‘~--\l- lit"
\l|l(|t'I‘.\llII|(l. .-\ntl he ant enlv \lIl(ll'l‘,\'llvIi(l, hut
he hel|n-it l\ll‘. ll<» \|l'|'\\ Illt‘ litll .l|l(|i1il\'t' me
every |i|)|)lII'lIJ|\ll\'. The l'lvlll||llll“.\\ltIll lie-
tween the l\\'~- Ill us——|\ was the hes! \\e
eiiiiltl d--. I dun‘t nit-.in tn say that there

46
 Facing Pam. L:-ll: Tlnlrn \Ul"l'i{u!‘y Pm-kl IS
1\\l;1('l'i('dl‘) .~:.|\':n4~ dlqw l.l .| d1-5:-rlvd re-nu»
|-\;u'\' HLll\|(ll' R1-nn' 1llll'l finding lln- r<~—
inains nl lll.\ r|.i£ .~--n. lhuhl: In --nv ::r.|\'|-
'I'ln»rn (llS\'K‘\‘l'l'2~ lln ski-l|\.il r~>|n.|n\_< Hr
llll' ].u‘k.ll Illa! ,~1r<~ll I).|lni|-ii. Tlns l‘.u.:|'.
Tupi Thv \ll.\'ll!\ll'l‘(l l.n‘<‘ IllF1lll\1'l'S|)ll(’lln
lM.ll‘lln ll<‘ll.~»|llll4 ni.ll-uup h\' Sluarl Fr\~\~~
hurn. Ln-It. Tlnlrn 1|-.u'n>’ <-I (hr l‘l\\l.ll In-
musl |)1'I'lHl'lll l-- kill l).\ll\l\'ll. lflvlll an Jr‘
l‘ll|‘HlIll1l.\l ll.--ll Mi-Kl-rnl in lsixn-l, \\l\ll
pr~\'nl|<_< hnn \\ill\ lliv \'\'l'\‘l!\l|lll.ll knivi-.~.
whn ll n\u.~'l hr us:-ll. Rluhl: l"l1ll'\'\‘)’ Sl|.'V('|\5.
“In, ||l.i_\'.- I)ann\~n Ill lln- lilin. ]\l.~;l plays
d\|rin_iI lhv Im-.ik.~' in slilluliiig. l')u|i|wi' cln|:~‘o
In |lll'll‘il)' l).nnn-n ]U.\'l llkv ll.\\)' l\lll'l\l1ll kid.
1-» l4'J\'l‘ lhv hlin‘s llll\'l‘|ll'l'l£\ll|)ll nprll.

" :u'1~n'l .i luv di-mils In-rc and llwrv that we

\lnn<~ In-(ll-1‘. hul ;il llw nin-
n'|>ullln'l l\.|\'<-
nu-nl, Wv ruuldn'l think nl lmw.
And il was lun. Ynu k|\n\\'_ llns |)|l'lUl"\‘
was nul grlni as lar as »\_1~ W1-rr t‘|lllk‘\'l‘l\t‘(l.
\\'|- um-rv kirldnnz lhr (|a|nl\ [hing all \|\\* lune
un llw >21-l. ll mav ho ll‘l}Ll\l\‘I\i|l;l in llw nu-
dirm-\-, hul .il lnni-_~; uul‘ main |)l'(ll)lL‘lI! was
(Ii k\'\']) a .\'ll‘;|l;Llll l;n-|- \\'lllll' \\'1- werv dning
all lhvsr linrri-nrlnus lliings. \\'i- jnkl mid
lauglu-d—.il1nu\ Uir 5l'l'l|!l, and ahuul \hus(-
l\l|l‘l‘llll\' ('lll'l‘lS. Bul lln-n the ran\\~r;| gm-5.
and ynur yuh IS lu niakr it In-lin-\';ihlu ln;|n
.iu1li<-iiw-~l|v 5_'|~l ll\l'll\ in _<us]w\\(| (|l$ll('llk'l
lul‘ an lmlll‘ .m(l filly-um> l\llllllll‘$. Sn,
ll\\*l‘\"S nu llmllllll ;n'<|un<| ;|hu\.ll that. Wu
zluln'l _\‘l'l\(l ll up nr inako a parmly ul it. “'1-
])l;|_H'4l ll lnr all ll was \\‘uI‘lll. as l)('llt'\‘L\l)ll‘
as We l‘uUl(l inakv it. And l lhink ll\al's wluil
l)rn\;;.~; il HH. This vnuld 5|? easily lni\'|- l)l'[‘ll
turn‘-(l inn» .i |l£ll‘u(l)'. Snnw pouplv ma)’
think il is, any\\'.iy--—;in¢l sllllh.‘ \'l'lllK'S unva-
uusly (lu. But nn lhv ulln-r |i;.uid. a lul uf
lln-in l'I'l1\.ll‘k .ibuul the |1l'I\L\lI\l' l(‘(‘lin|1S that
arr \‘X|)l‘l'5_\‘[‘(l_ almul [ho ll'lI(l(‘X‘lll‘§:i be-—
lWl't‘ll lhis Ill‘-lTl'll'(1 cuuplu, ;u\d lhvy say that
vlvnn-nl is whal givl-s the lilm quality u vul
abuvu lhv Ll5\.l;1l lmrrm‘ lilin. We did every-
thing that wv vnuld In m;Lk(' it hvlicvublc-,
Ll1\(| In In-lp llw audiom-0 identify, 0n\n\iun-
ally. Willi this liushund and wifn. ll wv wvrv
]USl 5lLlllt'(‘l shirts wilhuul any genuine tun-
ccrn lur 1-;n'l\ ulhc-r, llu-n nubudy wuuld care
whun all nl llu-5e hurriblv events begin In
take placv, -and wo‘d have ]U5l another run-

ICFQI
tino ]llL‘lUl'l‘ wilh smne gory special eecls.
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