SCHEPISI DIRECTORS, 4 EDItION TEEE Fred Schepisi production values, even in his choice of New York as an adoptive Schepisi's later A Cry in the Dark, mixes, sometimes uneasily, social ase, the values of his home city, Melbourne, traditionally Australias protest with wide screen melodrama, an inexperienced Tommy Lewis capital of political conservatism, old money, the church, and the law rampages bloodily but unconvincingly across rural Australia as the Schepisi's first two features assaulted Australias endemic provin- ill-used part-aboriginal driven to massacre by corruption in law, cialism. The Devil's Playground, a story of sexual repression and religion, and the state. dead belief set in a Catholic seminary, is based on Schepisi's 18 A highly successful producer of TV commercials and documenta- ries, the pragmatic Schepisi conformed more comfortably than most Priest, his episode of the sketch film Libido, written by Australian directors to Hollywood. Though his first American pre Catholic novelist Thomas Keneally. The films gloomy. duction. the western Barbarosa has all the earmarks of a test elegance is typical of Schepisi's later work, but his adolescent heros piece, he extracted good performances from an aging Gilbert roland moral and religious doubts are dealt with sketchily. Schepisi prefers and the projects co-producers, willie Nelson and a famously aggres- to emphasize the celibate staffs problems with sex and drink, sive Gary Busey. ("'I am the first director he hasn't destro especially in a memorable scene in which priest Arthur Dignam spies Schepisi said proudly )Schepisi proved equally decisive in Ice Man a piece of Green science-fiction in which John Lone's defrosted The Chant of immie blacksmith, again based on Thomas Keneally's Neanderthal beguiles technocrat Tim Hutton with earth magic and Ice work, is a period drama concerning the true story of nineteenth- Age mythology entury renegade aboriginal Jimmie Governor, who revolted against Schepisi's first hit was an e spla he dehumanization of his race at the hands of whites. Schepisi's use As the ex-Resistance heroine who finds only disillusionment in of landscape echoes the westerns of Anthony Mann, underlining the Britains post-war affluence, Meryl Streep replaced Kate Nelligan, similarities between his film and Hollywoods pro-Indian dramas like who created the role on stage. The casting turned Plenty into a star Broken Arrow and Tell Them willie boy Is Here. In a film that, like vehicle, winning international success at the cost of Hares more 4
SCHEPISI DIRECTORS, 4th EDITION 874 Fred Schepisi production values, even in his choice of New York as an adoptive base, the values of his home city, Melbourne, traditionally Australia’s capital of political conservatism, old money, the church, and the law. Schepisi’s first two features assaulted Australia’s endemic provincialism. The Devil’s Playground, a story of sexual repression and dead belief set in a Catholic seminary, is based on Schepisi’s 18 adolescent months in a monastery. (The theme was rehearsed in The Priest, his episode of the sketch film Libido, written by lapsed Catholic novelist Thomas Keneally.) The film’s gloomy, sensual elegance is typical of Schepisi’s later work, but his adolescent hero’s moral and religious doubts are dealt with sketchily. Schepisi prefers to emphasize the celibate staff’s problems with sex and drink, especially in a memorable scene in which priest Arthur Dignam spies on naked girls at a public swimming pool. The Chant of Jimmie Blacksmith, again based on Thomas Keneally’s work, is a period drama concerning the true story of nineteenthcentury renegade aboriginal Jimmie Governor, who revolted against the dehumanization of his race at the hands of whites. Schepisi’s use of landscape echoes the westerns of Anthony Mann, underlining the similarities between his film and Hollywood’s pro-Indian dramas like Broken Arrow and Tell Them Willie Boy Is Here. In a film that, like Schepisi’s later A Cry in the Dark, mixes, sometimes uneasily, social protest with wide screen melodrama, an inexperienced Tommy Lewis rampages bloodily but unconvincingly across rural Australia as the ill-used part-aboriginal driven to massacre by corruption in law, religion, and the state. A highly successful producer of TV commercials and documentaries, the pragmatic Schepisi conformed more comfortably than most Australian directors to Hollywood. Though his first American production, the revenge western Barbarosa, has all the earmarks of a test piece, he extracted good performances from an aging Gilbert Roland and the project’s co-producers, Willie Nelson and a famously aggressive Gary Busey. (‘‘I am the first director he hasn’t destroyed,’’ Schepisi said proudly.) Schepisi proved equally decisive in Ice Man, a piece of Green science-fiction in which John Lone’s defrosted Neanderthal beguiles technocrat Tim Hutton with earth magic and Ice Age mythology. Schepisi’s first hit was an adaptation of David Hare’s play Plenty. As the ex-Resistance heroine who finds only disillusionment in Britain’s post-war affluence, Meryl Streep replaced Kate Nelligan, who created the role on stage. The casting turned Plenty into a star vehicle, winning international success at the cost of Hare’s more
DIRECTORS, 4 EDITION SCHLESINGER precise political arguments, though Schepisi, as impatient as only an SChLESINGeR. John Australian can be with the British, manipulates Sir John Gielgud Charles Dance, and especially lan McKellen in waspish parodies of al Nationality: British. Born: John Richard Schlesinger in London, 16 Confirmed now as a technician able to tame any project or February 1926. Education: Uppingham School and Balliol College performer, Schepisi made Roxanne, a comedy version of Rostand's Oxford, 1945-50. Career: Maker of short films, from 1948; actor Cyrano de bergerac, reset in the Pacific Northwest as a vehicle for with Colchester Repertory Company then Ngaio Marshs Touring ic Steve martin. In the wake of its end s success, he returned Company, 1950-52 directed 24 short documentaries for BBC TV to Australia to film A Cry in the Dark(Evil Angels), the sensational series Tonight and Monitor, 1956-61; directed first feature, A Kind of rue story of a young mothers trial and imprisonment for infanticide. Loving, 1962; associate director, National Theatre, London, from Lindy Chamberlain insisted a wild dog had stolen her baby Azaria 1973: opera director, 1980s; also director for TV, work includes from Ayers Rock, one of Australias most famous desert tourist sites Separate Tables, 1982, and An Englishman Abroad, 1983. Awards But the lack of a body, combined with Lindy s own unusual religious Best Direction, New York Film Critics, for Darling, 1965: Oscar for affiliations-she was a Seventh Day Adventist-fueled Best Director, Best Direction Award, British Film Academy, and the child had been sacrificed in some arcane rite. She was freed only rectors Award, Directors Guild of America, for Midnight Cowboy after investigators decisively discredited the forensic evidence 1969: Best Direction Award, British Film Academy, for Sunday In a typical calculated risk, Schepisi cast Meryl Streep as Lindy Bloody Sunday, 1970: Commander of the British Empire, 1970 and used the film to reprise The Chant of Jimmie blacksmith British Film and TV Academy Award, for An Englis Australia itself becomes the villain, and Chamberlain was portrayed 1983. Agent: c/o Duncan Heath, 76 Oxford Street, London WiR as another victim--like Blacksmith and the boy of The Devil's IRB, England Playground-of national bigotry and ignorance. A Cry in the Dark depicts Australias press as vulgar and meretricious, and its police as malicious and bumbling. Far from resenting either the imported star Films as Director or the national slur, Australians greeted the film with enthusiasm, and the Streep name guaranteed a modest intermational success 1961 Terminus(doc)(+ sc) Schepisi debated further Australian-based projects, but with the 1962 A Kind of Loving local industrys financial base crumbling in the financial freeze of the 1963 Billy Liar late 1980s, he returned to New York (though much of the film was 1965 Darling(+ shot on location in Moscow) to direct another in his growing string of 1967 Far from the Madding Crowd high-budget international projects, John le Carre's The Russia House. 1969 Midnight Cowboy(+ co-pr) Schepisi has evolved into a proficient director whose recent films, Sunday, Bloody Sunde while made on big budgets with international stars, are for the most 1972Olympic Marathon"section of Visions of Eight part not nearly as interesting as his early-career work in Australia. The 1975 The Day of the Locust Russia House, which starred Sean Connery and Michele Pfeiffer, is an 976 Marathon Man uneven spy drama; conversely, I.Q., with Tim Robbins, Meg Ryan, 1979 Yanks and Walter Matthau, is a lightly likable fantasy-romance in which 1980 Honky Tonk Freeway a fictionalized Albert Einstein plays cupid for his brainy niece 1981 Privileged(consultant d only) Mr. Baseball features Tom Selleck as a spoiled, aging American 1985 The Falcon and the Snowman(+ pr) baseball star who goes to play in Japan. The films production wa 1987 The Believers(+ pr) controversial in that it originally was intended strictly as a comedy 1988 Madame Sousatzka But when the Matsushita Electric Industrial Company acquired 1990 Pacific Heights MCA, Inc, the owner of Universal Pictures (the films releasin company), Mr. Baseball became a more serious, complex film about 1991 A Question of Attribution 1993 The innocent an american hero who become humbled and learn to accept 1996 Eye for an Eye; Cold Comfort Farm Japanese customs before he is allowed success. Schepisi's involve- ment with Mr. Baseball seems incidental: it is a well-directed film. to 1998 The Tale of Sweeney Todd (for TV) be sure, but then again it would be no matter what its ultimate 2000 The Next Best Thing The theme of relations between peoples of different cultures is continued in Six Degrees of Separation, among Schepisi's better post- Other films Australian films. It is a provocative version of John Guare's play, in which a well-off Manhattan couple is taken in by a gracious young 1953 Single-handed sailor of the King)(Boulting )(role) con artist who eases himself into their household by pawning himself 955 The Divided Heart( Crichton)(role as ticket collector) off as the son of actor Sidney Poitier. Schepisi does an especially fine 1956 The Last Man to Hang?( Fisher)(role as Dr. Goldfinger) job of capturing the settings upper-class urban ambiance and various le Battle of the River Plate(Pursuit of the Graf Spee) New York City vistas (Powell and Pressburger)(role ); Brothers in Law -John Baxter, updated by rob edelman 1986 Fifry Years of Action! (appearance as himsel
DIRECTORS, 4 SCHLESINGER th EDITION 875 precise political arguments, though Schepisi, as impatient as only an Australian can be with the British, manipulates Sir John Gielgud, Charles Dance, and especially Ian McKellen in waspish parodies of imperial privilege. Confirmed now as a technician able to tame any project or performer, Schepisi made Roxanne, a comedy version of Rostand’s Cyrano de Bergerac, reset in the Pacific Northwest as a vehicle for comic Steve Martin. In the wake of its enormous success, he returned to Australia to film A Cry in the Dark (Evil Angels), the sensational true story of a young mother’s trial and imprisonment for infanticide. Lindy Chamberlain insisted a wild dog had stolen her baby Azaria from Ayers Rock, one of Australia’s most famous desert tourist sites. But the lack of a body, combined with Lindy’s own unusual religious affiliations—she was a Seventh Day Adventist—fueled rumors that the child had been sacrificed in some arcane rite. She was freed only after investigators decisively discredited the forensic evidence. In a typical calculated risk, Schepisi cast Meryl Streep as Lindy and used the film to reprise The Chant of Jimmie Blacksmith. Australia itself becomes the villain, and Chamberlain was portrayed as another victim—like Blacksmith and the boy of The Devil’s Playground—of national bigotry and ignorance. A Cry in the Dark depicts Australia’s press as vulgar and meretricious, and its police as malicious and bumbling. Far from resenting either the imported star or the national slur, Australians greeted the film with enthusiasm, and the Streep name guaranteed a modest international success. Schepisi debated further Australian-based projects, but with the local industry’s financial base crumbling in the financial freeze of the late 1980s, he returned to New York (though much of the film was shot on location in Moscow) to direct another in his growing string of high-budget international projects, John le Carré’s The Russia House. Schepisi has evolved into a proficient director whose recent films, while made on big budgets with international stars, are for the most part not nearly as interesting as his early-career work in Australia. The Russia House, which starred Sean Connery and Michele Pfeiffer, is an uneven spy drama; conversely, I.Q., with Tim Robbins, Meg Ryan, and Walter Matthau, is a lightly likable fantasy-romance in which a fictionalized Albert Einstein plays cupid for his brainy niece. Mr. Baseball features Tom Selleck as a spoiled, aging American baseball star who goes to play in Japan. The film’s production was controversial in that it originally was intended strictly as a comedy. But when the Matsushita Electric Industrial Company acquired MCA, Inc., the owner of Universal Pictures (the film’s releasing company), Mr. Baseball became a more serious, complex film about an American hero who must become humbled and learn to accept Japanese customs before he is allowed success. Schepisi’s involvement with Mr. Baseball seems incidental; it is a well-directed film, to be sure, but then again it would be no matter what its ultimate storyline or point of view. The theme of relations between peoples of different cultures is continued in Six Degrees of Separation, among Schepisi’s better postAustralian films. It is a provocative version of John Guare’s play, in which a well-off Manhattan couple is taken in by a gracious young con artist who eases himself into their household by pawning himself off as the son of actor Sidney Poitier. Schepisi does an especially fine job of capturing the setting’s upper-class urban ambiance and various New York City vistas. —John Baxter, updated by Rob Edelman SCHLESINGER, John Nationality: British. Born: John Richard Schlesinger in London, 16 February 1926. Education: Uppingham School and Balliol College, Oxford, 1945–50. Career: Maker of short films, from 1948; actor with Colchester Repertory Company then Ngaio Marsh’s Touring Company, 1950–52; directed 24 short documentaries for BBC TV series Tonight and Monitor, 1956–61; directed first feature, A Kind of Loving, 1962; associate director, National Theatre, London, from 1973; opera director, 1980s; also director for TV, work includes Separate Tables, 1982, and An Englishman Abroad, 1983. Awards: Best Direction, New York Film Critics, for Darling, 1965; Oscar for Best Director, Best Direction Award, British Film Academy, and Directors Award, Directors Guild of America, for Midnight Cowboy, 1969; Best Direction Award, British Film Academy, for Sunday, Bloody Sunday, 1970; Commander of the British Empire, 1970; British Film and TV Academy Award, for An Englishman Abroad, 1983. Agent: c/o Duncan Heath, 76 Oxford Street, London W1R 1RB, England. Films as Director: 1961 Terminus (doc) (+ sc) 1962 A Kind of Loving 1963 Billy Liar 1965 Darling (+ sc) 1967 Far from the Madding Crowd 1969 Midnight Cowboy (+ co-pr) 1971 Sunday, Bloody Sunday 1972 ‘‘Olympic Marathon’’ section of Visions of Eight 1975 The Day of the Locust 1976 Marathon Man 1979 Yanks 1980 Honky Tonk Freeway 1981 Privileged (consultant d only) 1985 The Falcon and the Snowman (+ pr) 1987 The Believers (+ pr) 1988 Madame Sousatzka 1990 Pacific Heights 1991 A Question of Attribution 1993 The Innocent 1996 Eye for an Eye; Cold Comfort Farm 1998 The Tale of Sweeney Todd (for TV) 2000 The Next Best Thing Other Films: 1953 Single-handed (Sailor of the King) (Boulting) (role) 1955 The Divided Heart (Crichton) (role as ticket collector) 1956 The Last Man to Hang? (Fisher) (role as Dr. Goldfinger) 1957 The Battle of the River Plate (Pursuit of the Graf Spee) (Powell and Pressburger) (role); Brothers in Law (Boulting) (role) 1986 Fifty Years of Action! (appearance as himself)
SCHLESINGEI DIRECTORS, 4 EDItION 47 John Schlesinger Publications "Dialogue on Film: John Schlesinger, in American Film(Washing C ) November 1987, January 1991 By SCHLESINGER: articles- Interview with L. Farrah in Films and Filming(London), May 1988. An Englishman Abroad, an interview with Colette Maude, in Time Out(London), 20 February 1991 How to Get into Films by the People Who Got in Themselves, in Interview with Tomas Liska, in Film a Doba(Prague), Autumn 1994 Films and Filming (London), July 1963 Interview with L. Verswijver, in Film en Televisie Video Brussels), John Schlesinger, in Directors in Action, edited by Bob Thomas, October 1994 Indianapolis, 196 Interview with David Spiers, in Screen(London), Summer 1970 an interview withT. Ric Allen, in Moviemaker Magazine(Los Angeles), September/C Interview with Valerie Wade, in Interview(New York ), July 1974 ber 1995 Interview with Gene D. Phillips, in Film Comment(New York ), May/ Look Who's Talking, an interview with M. Figgis and J. Singleton, June 1975 in Interview. June 1996 Dialogue on Film: John Schlesinger, with Powers. in merican Film(Washington, D.C. ), December John Schlesinger, interview with John Study, in Films in Review On SCHLESINGER: books- (New York), October 1981 Spies like Us, interview with Stephen Rebello, in Saturday Review Brooker, Nancy J, John Schlesinger: A Guide to References and (New York), January/February 1985 esources. Boston. 1978 "Treason to believe, interview with graham Fuller in Stills(Lon Phillips, Gene D, John Schlesinger, Boston, 1981 don), April 1985. Salizzato, Claver, John Schlesinger, Florence, 1986 6
SCHLESINGER DIRECTORS, 4th EDITION 876 John Schlesinger Publications By SCHLESINGER: articles— ‘‘How to Get into Films by the People Who Got in Themselves,’’ in Films and Filming (London), July 1963. ‘‘John Schlesinger,’’ in Directors in Action, edited by Bob Thomas, Indianapolis, 1968. Interview with David Spiers, in Screen (London), Summer 1970. Interview with Valerie Wade, in Interview (New York), July 1974. Interview with Gene D. Phillips, in Film Comment (New York), May/ June 1975. ‘‘Dialogue on Film: John Schlesinger,’’ with James Powers, in American Film (Washington, D.C.), December 1979. ‘‘John Schlesinger,’’ interview with John Study, in Films in Review (New York), October 1981. ‘‘Spies like Us,’’ interview with Stephen Rebello, in Saturday Review (New York), January/February 1985. ‘‘Treason to Believe,’’ interview with Graham Fuller in Stills (London), April 1985. ‘‘Dialogue on Film: John Schlesinger,’’ in American Film (Washington D.C.), November 1987, January 1991. Interview with L. Farrah in Films and Filming (London), May 1988. ‘‘An Englishman Abroad,’’ an interview with Colette Maude, in Time Out (London), 20 February 1991. Interview with Tomáš Liška, in Film a Doba (Prague), Autumn 1994. Interview with L. Verswijver, in Film en Televisie + Video (Brussels), October 1994. ‘‘John Schlesinger Speaks No Evil,’’ an interview with T. Rice and T. Allen, in Moviemaker Magazine (Los Angeles), September/October 1995. ‘‘Look Who’s Talking,’’ an interview with M. Figgis and J. Singleton, in Interview, June 1996. On SCHLESINGER: books— Brooker, Nancy J., John Schlesinger: A Guide to References and Resources, Boston, 1978. Phillips, Gene D., John Schlesinger, Boston, 1981. Salizzato, Claver, John Schlesinger, Florence, 1986
DIRECTORS, 4EDITION SCHLESINGER On SCHLESINGER: articles- Schlesinger b er be gan directing featu ature films in Britain at the poi ritain point when the cycle of low-budget, high-quality movies on social themes Phillips, Gene D. "John Schlesinger, Social Realist," in Film (called"Kitch (New York), Winter films were m ger got used Hall, William, "John Schlesinger, Award Winner," in Action (Los "John Schlesinger at the Olympic Games," in American Cinema-r tographer (Holly wood), November 1972. Perry, Geor British Picture Show, London, 1974. Walker, Alexar of Stoicism," in Hollywood UK: The I am English British Film Industry in the Sixties, London, 1974. regarding m Rand, Kenn, "Behind the Scenes of Day of the Locust," in American fact, June 1975. Sherman, Eric, "John Schle ing the Film: Filn Phillips, Gene D., "Exile in Hollywood: Job Literature/Film Quarterly (Salisbury, Maryland), Spring 1977 Phillips, Gene D (London), Fall 1978. Gross, Sher ture/Film Quarterly (Salisbury, M Welsh, James,"Hardy Crowd,"in Spring Is Fuller, Allmendinger, Blake, "From Silent Movies to the T of the Locust, in Literature/Film Quarterly (Salisbury a, Cranbury, New Jersey, 1989. Brode,Douglas, "Darling, Midnight Cowboy Sixties, New York, 1990. Bookbinder, Robert, "Day of the Locust, Marathon Man," in The Films of the Seventies, New York, 1990 Murphy, Robert, "Far from the Madding C rowd," in Sixties Britis) Hadleigh, Boze, "Midnight Cowboy, Sunday, Bloody RThe Lavender Screen: Homosexuality on Film, New York, 1993. day, Bloody Russell on Film, Winchester, Massachusetts, 1994. Kael, Pauline, "The Hollywood Novel: Day of the Locust and Other Films," in Literature/Film Quarterly (Salisbury, Maryland), Win- ter 1995 Segnocinema(Vicenza), January/February 1997. documentaries for the BBC. His first major in the cinema was a documentary for British Transport called four hours at Waterloo Station, which won Film Festival. Schlesinger's documentaries attracted the attenti nal audience. producer Joseph Janni; together they formed a creative assoc g, and directors with A Kind of Loving, which won the Grand Prize at the Berlin Film Festival. -Gene D. Phillips 877
DIRECTORS, 4 SCHLESINGER th EDITION 877 On SCHLESINGER: articles— Phillips, Gene D., ‘‘John Schlesinger, Social Realist,’’ in Film Comment (New York), Winter 1969. Hall, William, ‘‘John Schlesinger, Award Winner,’’ in Action (Los Angeles), July/August 1970. ‘‘John Schlesinger at the Olympic Games,’’ in American Cinematographer (Hollywood), November 1972. Perry, George, The Great British Picture Show, London, 1974. Walker, Alexander, ‘‘A Kind of Stoicism,’’ in Hollywood UK: The British Film Industry in the Sixties, London, 1974. Rand, Kenn, ‘‘Behind the Scenes of Day of the Locust,’’ in American Cinematographer (Hollywood), June 1975. Sherman, Eric, ‘‘John Schlesinger,’’ in Directing the Film: Film Directors on Their Art, Boston, 1976. Phillips, Gene D., ‘‘Exile in Hollywood: John Schlesinger,’’ in Literature/Film Quarterly (Salisbury, Maryland), Spring 1977. Phillips, Gene D., ‘‘On Yanks and Other Films,’’ in Focus on Film (London), Fall 1978. Gross, Sheryl, ‘‘Guilt and Innocence in Marathon Man,’’ in Literature/Film Quarterly (Salisbury, Maryland), January 1980. Welsh, James, ‘‘Hardy and Schlesinger: Far from the Madding Crowd,’’ in Literature/Film Quarterly (Salisbury, Maryland), Spring 1988. Fuller, Graham, ‘‘An Englishman Abroad,’’ in Cinema Papers (Melbourne), July 1985. Allmendinger, Blake, ‘‘From Silent Movies to the Talkies in The Day of the Locust,’’ in Literature/Film Quarterly (Salisbury, Maryland), Spring 1988. Phillips, Gene D., Major Film Directors of the American and British Cinema, Cranbury, New Jersey, 1989. Brode, Douglas, ‘‘Darling, Midnight Cowboy,’’ in The Films of the Sixties, New York, 1990. Bookbinder, Robert, ‘‘Day of the Locust, Marathon Man,’’ in The Films of the Seventies, New York, 1990. Murphy, Robert, ‘‘Far from the Madding Crowd,’’ in Sixties British Cinema, London, 1992. Hadleigh, Boze, ‘‘Midnight Cowboy, Sunday, Bloody Sunday,’’ in The Lavender Screen: Homosexuality on Film, New York, 1993. Russell, Ken, ‘‘Sunday, Bloody Sunday,’’ in The Lion Roars: Ken Russell on Film, Winchester, Massachusetts, 1994. Kael, Pauline, ‘‘The Hollywood Novel: Day of the Locust and Other Films,’’ in Literature/Film Quarterly (Salisbury, Maryland), Winter 1995. Segnocinema (Vicenza), January/February 1997. *** John Schlesinger began his professional career by making short documentaries for the BBC. His first major venture in the cinema was a documentary for British Transport called Terminus, about twentyfour hours at Waterloo Station, which won him an award at the Venice Film Festival. Schlesinger’s documentaries attracted the attention of producer Joseph Janni; together they formed a creative association which has included several of Schlesinger’s British films, beginning with A Kind of Loving, which won the Grand Prize at the Berlin Film Festival. Schlesinger began directing feature films in Britain at the point when the cycle of low-budget, high-quality movies on social themes (called ‘‘Kitchen Sink’’ dramas) was in full swing. Because these films were made outside the large studio system, Schlesinger got used to developing his own film projects. He has continued to do so while directing films in Hollywood, where he has worked with increasing regularity in recent years, starting with his first American film, Midnight Cowboy. ‘‘I like the cross-fertilization that comes from making films in both England and America,’’ he explains. ‘‘Although I am English and I do like to work in England, I have gotten used to regarding myself more and more as mid-Atlantic.’’ As a matter of fact, foreign directors like Lang and Hitchcock and Schlesinger, precisely because they are not native Americans, are sometimes able to view American life with a vigilant, perceptive eye for the kind of telling details which home-grown directors might easily overlook or simply take for granted. Indeed, reviews of Midnight Cowboy by and large noted how accurately the British-born Schlesinger had caught the authentic atmosphere not only of New York City, but also of Miami Beach and the Texas Panhandle, as surely as he had captured the atmosphere of a factory town in his native England in A Kind of Loving. ‘‘Any film that is seriously made will reflect the attitudes and problems of society at large,’’ he says, and consequently possess the potential to appeal to an international audience, as many of his films have. ‘‘But it is inevitable that a director’s own attitudes will creep into his films. For my part I try in my movies to communicate to the filmgoer a better understanding of other human beings by exploring the hazards of entering into a mutual relationship with another human being, which is the most difficult thing on earth to do, because it involves a voyage of discovery for both parties.’’ Hence his prime concern as a director with examining complex human relationships from a variety of angles—ranging from the social outcasts of Midnight Cowboy to members of the jet set in Darling. Among the standout films of his career are: Marathon Man, a thriller about a young American Jew who finds himself pitted against a Nazi war criminal in New York; The Falcon and the Snowman, the true story of two young Americans who betrayed their country to the Russians; and Madame Sousatzka, which concerns a dedicated, demanding London piano teacher whose exacting standards threaten to drive her most promising pupil away. Significantly, Schlesinger’s acutely observed depiction of the ramshackle old rooming house where Madame lives, with its colorful assortment of diverse tenants, lends to the film an authentic atmosphere that recalls Schlesinger’s social (‘‘Kitchen Sink’’) dramas. Given the great success of Marathon Man, Schlesinger went on to make a trio of superior thrillers: Pacific Heights, in which a hapless young landlord is victimized by a psychotic tenant; The Innocent, a story of international intrigue about a young English technician sent by British Intelligence to work on a secret operation in Berlin after World War II; and Eye for an Eye, a dark study wherein a vengeful mother vows to bring to justice the brute who raped and murdered her daughter. This trilogy of suspense films clearly established Schlesinger as a worthy successor to Hitchcock in the thriller genre. In sum, John Schlesinger is a member of the international community of filmmakers who speak to an equally international audience. That is the way the world cinema has been developing, and directors like Schlesinger have helped to lead it there. —Gene D. Phillips
SCHLONDORFF DIRECTORS, 4 EDItION SCHLONDORFF Volker Publications By SChloNdoRFF: book Nationality: German. Born: Wiesbaden. 31 March 1939. Educa- tion: Lycee Henri IV, Paris: studied political science and economics: Die Blechtrommel als Film, Frankfurt, 1979 studied film directing at IDHEC. Paris. Family: Married filmmaker Margarethe von Trotta, 1969(divorced ) Career: Assistant to various By SCHLONDORFF: articles- French directors, 1960-64; returned to Germany, 1965; formed Hallelujah- Film with Peter Fleischmann, went into partnership with Volker Schloendorff: The Rebel, interview with Rui Nogueira and German TV stations, 1969; formed Bioskop-Film with Reinhard Nicoletta Zalaffi, in Film(London), Summer 1969. Hauff, 1973: opera director, from 1974. Awards: FIPRESCT Prize Feu de paille, interview with M. Martin, in Ecran(Paris), Febru Cannes Festival, for Young Torless, 1966: Oscar for Best Foreign- ary 1973 Language Film, and Best Film, Cannes Festival (ex aequo), for The ""Melville und der Befreiungskampf in Baltikum, interview with H Tin Drum. 1979 Wiedemann, in Film und Ton(Munich), December 1976. Die Blechtrommel, in Film und Ton(Munich), June 1979. 'The Tin Drum: Volker Schlondorff's'Dream of Childhood, inter- Films as director s view with J. Hughes, in Film Quarterly(Berkeley), Spring 1981 *The Limits of Journalism an interview with A. Auster and L. Quart in Cineaste(New York), vol. 12, no 2, 1982 Interview with B. Steinborn in Filmfaust( Frankfurt), February/ 1960 Wen kiimmert's..(Who Cares ..)(short, unreleased) March 1983 1966 Der junge Torless(Young Torless)(+ sc) Directors Chair. an interview with D. DeNicolo in Interview 1967 Mord und Totschlag(A Degree of Murder)(+ co-sc) (New York), March 1990 1969 Michael Kohlhaas-Der Rebell (Michael Kohlhaas-The The Last Days of Max Frisch, in New York Times Book Review Rebel(+ co-sc) 1970 Baal(for TV)(+ sc); Ein unheimlicher Moment(An Uneasy "Travelling Man, an interview with Brian Case in Time Out Moment)(short; originally episode of uncompleted feature Paukenspieler, filmed 1967): Der plotzlicher Reichtum dei Schloendorff z Babelsberg, an interview with w. Wertenstein,in armen Leute von Kombach(The Sudden Fortune of the Kino(Warsaw), May 1993 1971 Die Moral der Ruth Halbfass(The Moral of Ruth Halbfass) On SCHLONDORFF books- ( cO-sc); Strohfeuer(A Free Woman; Strawfire; Summer Lightning(+ co-sc) Lewandowski, Rainer, Die Filme von Volker Schlondorff 1974 Ubernachtung in Tirol (Overnight Stay in the Tyro)(for TV) Hildesheim, 1981 Franklin James. New German Cinema: From Oberhausen to Ham ( cO-sc) burg, Boston, 1983 1975 Georginas Grunde (Georgina's Reasons)(for TV); Die Phillips, Klaus, editor, New German Filmmakers: From Oberhausen erlorene Ehre der Katharina blum (The Lost Honor of through the 1970s, New York, 1984 Katharina Blum)(co-d, co-S Elsaesser. Thomas. New German Cinema: A Histor. London. 1989 1976 Der Fangschuss(Coup de grace) 1977 Nur zum Spass-Nur zum Spiel(Only for Fun-Only for On SCHLONDORFF: articles- Play), Kaleidoskop valeska Gert(Kaleidoscope valeska Gert)(doc)(+sc) Le Coup de grace Issue"of Avant-Scene du Cinema(Paris), 1978 Deutschland im Herbst( Germany in Autumn)(co-d) I February 1977. 979 Die Blechtrommel (The Tin Drum)(+ co-sc) Eichenlaub HM."Den deutschen Film international machen: Volker 1980 Der Kandidat (The Candidate)(doc)(+cO-sc) Schlondorff und Die blechtrommel, in Cinema (Zurich) 1981 Die Falschung(The Forgery)(+ sc); Circle of Deceit no.2,1979 983 Krieg und Frieden(War and Peace)(doc) Holloway, Ronald," Volker Schlondorff, in International Film 1984 Swann in Love(Un Amour de swann) Guide 1982. London. 1981 1985 Death of a Salesman Rickey, C, The War Lovers, in American Film (Washington 987 Vermischte Nachrichten(Odds and Ends)(co-d); A Gathering D. C ) January/February 1982. Un Amour de swann Issue of Avant-Scene du Cinema(Paris ), no of Old Men(for TV) 321/322,1984 990 The Handmaid's Tale Horton, Andrew, " "Black like Mich, in Film Comment(New York) 1991 Last Call from Passenger Faber(voyager)(+co-s March/April 1987 1992 Billy Wilder, wie haben Sie's gemacht?(Billy How Did You Van Gelder. L. ""At the Movies "in New York Times, 16 March 1990 Do It?)(series for TV); The Michael Nyman Songbook Strauss, F, article in Cahiers du Cinema(Paris), September 1991 996 Der Unhold (The Ogre)(+ co-sc) Lally, K, article in Film Journal, December 1991 1998 Palmetto(Dumme sterben nicht aus) Tagliabue, J, "A Director Who Pursues His Inner Demons. in New gends)(+ co-sc) York Times, 26 January 1992
SCHLÖNDORFF DIRECTORS, 4th EDITION 878 SCHLÖNDORFF, Volker Nationality: German. Born: Wiesbaden, 31 March 1939. Education: Lycée Henri IV, Paris; studied political science and economics; studied film directing at IDHEC, Paris. Family: Married filmmaker Margarethe von Trotta, 1969 (divorced). Career: Assistant to various French directors, 1960–64; returned to Germany, 1965; formed Hallelujah-Film with Peter Fleischmann, went into partnership with German TV stations, 1969; formed Bioskop-Film with Reinhard Hauff, 1973; opera director, from 1974. Awards: FIPRESCT Prize, Cannes Festival, for Young Törless, 1966; Oscar for Best ForeignLanguage Film, and Best Film, Cannes Festival (ex aequo), for The Tin Drum, 1979. Films as Director: 1960 Wen kümmert’s . . . (Who Cares . . . ) (short, unreleased) 1966 Der junge Törless (Young Törless) (+ sc) 1967 Mord und Totschlag (A Degree of Murder) (+ co-sc) 1969 Michael Kohlhaas—Der Rebell (Michael Kohlhaas—The Rebel) (+ co-sc) 1970 Baal (for TV) (+ sc); Ein unheimlicher Moment (An Uneasy Moment) (short; originally episode of uncompleted feature Paukenspieler, filmed 1967); Der plötzlicher Reichtum der armen Leute von Kombach (The Sudden Fortune of the Poor People of Kombach) (+ co-sc) 1971 Die Moral der Ruth Halbfass (The Moral of Ruth Halbfass) (+ co-sc); Strohfeuer (A Free Woman; Strawfire; Summer Lightning (+ co-sc) 1974 Übernachtung in Tirol (Overnight Stay in the Tyrol) (for TV) (+ co-sc) 1975 Georginas Grunde (Georgina’s Reasons) (for TV); Die verlorene Ehre der Katharina Blum (The Lost Honor of Katharina Blum) (co-d, co-sc) 1976 Der Fangschuss (Coup de grâce) 1977 Nur zum Spass—Nur zum Spiel (Only for Fun—Only for Play), Kaleidoskop Valeska Gert (Kaleidoscope Valeska Gert) (doc) (+ sc) 1978 Deutschland im Herbst (Germany in Autumn) (co-d) 1979 Die Blechtrommel (The Tin Drum) (+ co-sc) 1980 Der Kandidat (The Candidate) (doc) (+ co-sc) 1981 Die Fälschung (The Forgery) (+ sc); Circle of Deceit 1983 Krieg und Frieden (War and Peace) (doc) 1984 Swann in Love (Un Amour de Swann) 1985 Death of a Salesman 1987 Vermischte Nachrichten (Odds and Ends) (co-d); A Gathering of Old Men (for TV) 1990 The Handmaid’s Tale 1991 Last Call from Passenger Faber (Voyager) (+ co-sc) 1992 Billy Wilder, wie haben Sie’s gemacht? (Billy How Did You Do It?) (series for TV); The Michael Nyman Songbook 1996 Der Unhold (The Ogre) (+ co-sc) 1998 Palmetto (Dumme sterben nicht aus) 1999 Die Stille nach dem Schuß (Rita’s Legends) (+ co-sc) Publications By SCHLÖNDORFF: book— Die Blechtrommel als Film, Frankfurt, 1979. By SCHLÖNDORFF: articles— ‘‘Volker Schloendorff: The Rebel,’’ interview with Rui Nogueira and Nicoletta Zalaffi, in Film (London), Summer 1969. ‘‘Feu de paille,’’ interview with M. Martin, in Ecran (Paris), February 1973. ‘‘Melville und der Befreiungskampf in Baltikum,’’ interview with H. Wiedemann, in Film und Ton (Munich), December 1976. ‘‘Die Blechtrommel,’’ in Film und Ton (Munich), June 1979. ‘‘The Tin Drum: Volker Schlöndorff’s ‘Dream of Childhood’, interview with J. Hughes, in Film Quarterly (Berkeley), Spring 1981. ‘‘The Limits of Journalism,’’ an interview with A. Auster and L. Quart in Cineaste (New York), vol. 12, no. 2, 1982. Interview with B. Steinborn in Filmfaust (Frankfurt), February/ March 1983. ‘‘Director’s Chair,’’ an interview with D. DeNicolo in Interview (New York), March 1990. ‘‘The Last Days of Max Frisch,’’ in New York Times Book Review, April 1992. ‘‘Travelling Man,’’ an interview with Brian Case, in Time Out (London), 15 April 1992. ‘‘Schloendorff z Babelsbergu,’’ an interview with W. Wertenstein, in Kino (Warsaw), May 1993. On SCHLÖNDORFF: books— Lewandowski, Rainer, Die Filme von Volker Schlöndorff, Hildesheim, 1981. Franklin, James, New German Cinema: From Oberhausen to Hamburg, Boston, 1983. Phillips, Klaus, editor, New German Filmmakers: From Oberhausen through the 1970s, New York, 1984. Elsaesser, Thomas, New German Cinema: A History, London, 1989. On SCHLÖNDORFF: articles— ‘‘Le Coup de grâce Issue’’ of Avant-Scène du Cinéma (Paris), 1 February 1977. Eichenlaub, H.M., ‘‘Den deutschen Film international machen: Volker Schlöndorff und Die Blechtrommel,’’ in Cinema (Zurich), no. 2, 1979. Holloway, Ronald, ‘‘Volker Schlöndorff,’’ in International Film Guide 1982, London, 1981. Rickey, C., ‘‘The War Lovers,’’ in American Film (Washington D.C.), January/February 1982. ‘‘Un Amour de Swann Issue’’ of Avant-Scène du Cinéma (Paris), no. 321/322, 1984. Horton, Andrew, ‘‘Black like Mich,’’ in Film Comment (New York), March/April 1987. Van Gelder, L., ‘‘At the Movies,’’ in New York Times, 16 March 1990. Strauss, F., article in Cahiers du Cinéma (Paris), September 1991. Lally, K., article in Film Journal, December 1991. Tagliabue, J., ‘‘A Director Who Pursues His Inner Demons,’’ in New York Times, 26 January 1992