DIRECTORS, 4 EDITION HAYNES characters. Hawks was a master of point-of-view, knowledgeable nomination and Best Screenplay nomination, Independent Spirit about which camera perspective would precisely convey the neces- Award, for Safe, 1995: Best Artistic Contribution, Cannes Film sary psychological and moral information. That point of view could Festival, Channel 4 Director's Award, Edinburgh International Film either confine us to the perceptions of a single character (Marlowe in Festival, and Best Director nomination, Independent Spirit Award The Big Sleep), ally us with the more vital of two competing life styles for Velvet Goldmine, 1998. Office: Bronze Eye Productions, 525 with the vitality of Oscar Jaffe in Twentieth Century, Susan VE Broadway, Room 701, New York, NY 10012-4015 inging up Baby, Walter Burns in His Girl Friday), or withdraw to a scientific detachment that allows the viewer to weigh the paradoxes and ironies of a love battle between two equals(between the two army Films as Director artners in I Was a Male War Bride, the husband and wife in Monkey Business, or the older and younger cowboy in Red River). Hawks 1978 The Suicide(short)(+ pr) films are also masterful in their atmospheric lighting: the hanging 1982 Letter from a Friend (short) electric or kerosene lamp that dangles into the top of a Hawks frame 983 Sex Shop(short) became almost as much his signature as the lighting of cigarettes. 1985 Assassins: A Film concerning Rimbaud (short)(+ pr Hawks view of character in film narrative was that actor and 1987 Superstar: The Karen Carpenter Story(short) haracter were inseparable. As a result, his films were very 991 Poison (+ sc) improvisatory. He allowed actors to add, interpret, or alter lines as 1993 Dottie Gets Spanked (short)(for TV) they wished, rather than force them to stick to the script. This trait not 1995 Safe(+ sc) only led to the energetic spontaneity of many Hawks films, but als 1998 Velvet Goldmine (+ Sc, co-stor contributed to the creation or shaping of the human archetypes that several stars came to represent in our culture. John Barrymore, John Wayne, Humphrey Bogart, and Cary grant all refined or established Other films: their essential personae under Hawks'direction, while many actors who would become stars were either discovered by hawks or given 1988 Muddy Hands(pr): Cause and Effect(pr) heir first chance to play a major role in one of his films. Among (pr); He Hawks' most important discoveries were Paul Muni, George Raft, 990 Anemone Me(pr): Oreos with Attitude(pr) Carole Lombard, Angie Dickinson, Montgomery Clift, and his Galatea, 1992 Swoon(Kalin)(role as Phrenology Head) Lauren bacall Ithough hawks continued to make films until he was almost seventy-five, there is disagreement about the artistic energy and publications cinematic value of the films he made after 1950. For some, Hawks artistic decline in the 1950s and 1960s was both a symptom and an effect of the overall decline of the movie industry and the studio By HAYNES: articles- system itself. For others, Hawks' later films-slower, longer, less energetically brilliant than his studio-era films-were more probing ' Doll Boy, interview with L. Kennedy in Village Voice(New and personal explorations of the themes and genres he had charted for York ) 24 November 1987. the three previous decades. Zalewska, K, Tyklo gra?, in Kino(Warsaw), July 1992. "Cinematic/Sexual Transgression, interview with J. Wyatt, in Film Gerald mast We Cant Get There from Here, in Nation(New York), 5 July 1993 "Dollie Gets Spanked, interview with J Painter, in Film Threar Beverly Hills), April 1994 HAYNES. Todd ntibodies, interview with Larry Gross in Filmmaker(New York ), Summer 1995 Kelly Reichardt, in BOMB(New York), Fall 1995. Nationality: American. Born: Los Angeles, California, 2 January 1961. Education: Received a Bachelor of Arts degree. with honors. On HAYNES articles-- from Brown University, where he majored in semiotics and art. Career: Founded Apparatus Productions, a non-profit organization Laskaway, M, ""Poison at the Box Office, "in Cineaste(New York) that funds and produces short films, 1987; directed first feature, 0.3,1991 Poison, 1991. Awards: Golden Gate Award, for Superstar: The Lanouette, J, ""Todd Haynes, in Premiere(New York), April 1991 Karen Carpenter Story, 1987; Special Jury Prize Sundance Festival, James, Caryn, ""Politics Nurtures Poison, ""in New York Times, 14 Teddy Award Best Feature, Berlin Festival, Critics Award, Locarno April 1991 Festival, Special Prize of the Jury, Catalonian International Film Als, H, ""Ruminations on Todd, 'in Village Voice(New York), 16 estival. and Best director nomination and Best First Feature nomi- April 1991 nation, Independent Spirit Award, for Poison, 1991; American Inde Rosenbaum. Jonathan. Todd hay Cahiers du cinema pendent Award, Seattle International Film Festival, and Best Director
DIRECTORS, 4 HAYNES th EDITION 425 characters. Hawks was a master of point-of-view, knowledgeable about which camera perspective would precisely convey the necessary psychological and moral information. That point of view could either confine us to the perceptions of a single character (Marlowe in The Big Sleep), ally us with the more vital of two competing life styles (with the vitality of Oscar Jaffe in Twentieth Century, Susan Vance in Bringing up Baby, Walter Burns in His Girl Friday), or withdraw to a scientific detachment that allows the viewer to weigh the paradoxes and ironies of a love battle between two equals (between the two army partners in I Was a Male War Bride, the husband and wife in Monkey Business, or the older and younger cowboy in Red River). Hawks’ films are also masterful in their atmospheric lighting; the hanging electric or kerosene lamp that dangles into the top of a Hawks frame became almost as much his signature as the lighting of cigarettes. Hawks’ view of character in film narrative was that actor and character were inseparable. As a result, his films were very improvisatory. He allowed actors to add, interpret, or alter lines as they wished, rather than force them to stick to the script. This trait not only led to the energetic spontaneity of many Hawks films, but also contributed to the creation or shaping of the human archetypes that several stars came to represent in our culture. John Barrymore, John Wayne, Humphrey Bogart, and Cary Grant all refined or established their essential personae under Hawks’ direction, while many actors who would become stars were either discovered by Hawks or given their first chance to play a major role in one of his films. Among Hawks’ most important discoveries were Paul Muni, George Raft, Carole Lombard, Angie Dickinson, Montgomery Clift, and his Galatea, Lauren Bacall. Although Hawks continued to make films until he was almost seventy-five, there is disagreement about the artistic energy and cinematic value of the films he made after 1950. For some, Hawks’ artistic decline in the 1950s and 1960s was both a symptom and an effect of the overall decline of the movie industry and the studio system itself. For others, Hawks’ later films—slower, longer, less energetically brilliant than his studio-era films—were more probing and personal explorations of the themes and genres he had charted for the three previous decades. —Gerald Mast HAYNES, Todd Nationality: American. Born: Los Angeles, California, 2 January 1961. Education: Received a Bachelor of Arts degree, with honors, from Brown University, where he majored in semiotics and art. Career: Founded Apparatus Productions, a non-profit organization that funds and produces short films, 1987; directed first feature, Poison, 1991. Awards: Golden Gate Award, for Superstar: The Karen Carpenter Story, 1987; Special Jury Prize Sundance Festival, Teddy Award Best Feature, Berlin Festival, Critics Award, Locarno Festival, Special Prize of the Jury, Catalonian International Film Festival, and Best Director nomination and Best First Feature nomination, Independent Spirit Award, for Poison, 1991; American Independent Award, Seattle International Film Festival, and Best Director nomination and Best Screenplay nomination, Independent Spirit Award, for Safe, 1995; Best Artistic Contribution, Cannes Film Festival, Channel 4 Director’s Award, Edinburgh International Film Festival, and Best Director nomination, Independent Spirit Award, for Velvet Goldmine, 1998. Office: Bronze Eye Productions, 525 Broadway, Room 701, New York, NY 10012–4015. Films as Director: 1978 The Suicide (short) (+ pr) 1982 Letter from a Friend (short) 1983 Sex Shop (short) 1985 Assassins: A Film concerning Rimbaud (short) (+ pr) 1987 Superstar: The Karen Carpenter Story (short) 1991 Poison (+ sc) 1993 Dottie Gets Spanked (short) (for TV) 1995 Safe (+ sc) 1998 Velvet Goldmine (+ sc, co-story) Other Films: 1988 Muddy Hands (pr); Cause and Effect (pr) 1989 La Divina (pr); He Was Once (pr, role) 1990 Anemone Me (pr); Oreos with Attitude (pr) 1992 Swoon (Kalin) (role as Phrenology Head) Publications By HAYNES: articles— ‘‘Doll Boy,’’ interview with L. Kennedy in Village Voice (New York), 24 November 1987. Zalewska, K., ‘‘Tyklo gra?,’’ in Kino (Warsaw), July 1992. ‘‘Cinematic/Sexual Transgression,’’ interview with J. Wyatt, in Film Quarterly (Berkeley), no. 3, 1993. ‘‘We Can’t Get There from Here,’’ in Nation (New York), 5 July 1993. ‘‘Dollie Gets Spanked,’’ interview with J. Painter, in Film Threat (Beverly Hills), April 1994. ‘‘Antibodies,’’ interview with Larry Gross in Filmmaker (New York), Summer 1995. ‘‘Kelly Reichardt,’’ in BOMB (New York), Fall 1995. On HAYNES: articles— Laskaway, M., ‘‘Poison at the Box Office,’’ in Cineaste (New York), no. 3, 1991. Lanouette, J., ‘‘Todd Haynes,’’ in Premiere (New York), April 1991. James, Caryn, ‘‘Politics Nurtures Poison,’’ in New York Times, 14 April 1991. Als, H., ‘‘Ruminations on Todd,’’ in Village Voice (New York), 16 April 1991. Rosenbaum, Jonathan, ‘‘Todd Haynes,’’ in Cahiers du Cinéma (Paris), December 1992
HAYNES DIRECTORS, 4 EDItION Todd Haynes directing Toni Colette Gross, L, " Antibodies, in Filmmaker (Los angeles), no 4, 1995 Todd Haynes is no stranger to controversy. He began his career Schorr, S, ""Diary of a Sad Housewife, in Artforum(New York), making outrageously personal short films that comment on the manner in which pop culture impacts on the individual. One of Maclean, Alison, Todd Haynes, in BOMB(New York), Sum- them-Superstar: The Karen Carpenter Story, featuring an all-doll cast-had to be yanked from distribution because of legal complica- Reynaud, B, Todd Haynes, in Cahiers du Cinema(Paris), June 1995. tions, and now is considered an underground classic. Poison, Haynes's Richardson, J.H.,"Toxic Avenger, in Premiere(New York), initial, equally incendiary feature, was financed in part by the New July 1995 York State Council on the arts and the national endowment for the Stephens, C, ""Gentlemen Prefer Haynes, in Film Comment(New Arts. Because of its subject matter, this support resulted in cries of York), July/August 1995 outrage from those who prefer that publicly funded art be as inoffen- Dargis, M, " "Endangered Zone, in Village Voice(New York), sive as a painting of a bowl of fruit. Whether Poison is or is not to 4 July 1995 ones individual taste, it is a film of high artistic aspiration. Poison is Taubin, Amy, Nowhere to Hide, in Sight and Sound (London) inspired by the writings of Jean Genet, and consists of a trio of lay 1996 skillfully interwoven stories. The first is a mockumentary about Mazierska, E, ""Przeczucie apokalipsy, in Kino(Warsaw), Septem seven-year-old boy who shot and killed his father and then summar- ily disappeared. How did this happen? Who was the boy, and why was Health and Risk, 'in Film Quarterly(Berkeley), Spring 19 of he driven to such an act? A number of clues are offered by his mother Reid, R, ""UnSafe at Any Distance: Todd Haynes Visual Culture of I mean, I punished him, she matter-of-factly tells the camera. His Udovitch, M,"Two Guys Named Todd, in Esquire(New York), father beat him, just like any kid. Later, she observes, He was a meek soul. People pick on meek souls Mueller, M, * Glam Bake, in Premiere(New York), December The second story is a 1950s science-fiction movie parody, in 1998 which a brilliant scientist ingests some serum and becomes disfig ured. People stare at him wherever he goes, and little girls spit at him Eventually, he becomes the infamous""leper sex killer. In the third 426
HAYNES DIRECTORS, 4th EDITION 426 Todd Haynes directing Toni Colette Gross, L., ‘‘Antibodies,’’ in Filmmaker (Los Angeles), no. 4, 1995. Schorr, S., ‘‘Diary of a Sad Housewife,’’ in Artforum (New York), Summer 1995. Maclean, Alison, ‘‘Todd Haynes,’’ in BOMB (New York), Summer 1995. Reynaud, B., ‘‘Todd Haynes,’’ in Cahiers du Cinéma (Paris), June 1995. Richardson, J.H., ‘‘Toxic Avenger,’’ in Premiere (New York), July 1995. Stephens, C., ‘‘Gentlemen Prefer Haynes,’’ in Film Comment (New York), July/August 1995. Dargis, M., ‘‘Endangered Zone,’’ in Village Voice (New York), 4 July 1995. Taubin, Amy, ‘‘Nowhere to Hide,’’ in Sight and Sound (London), May 1996. Mazierska, E., ‘‘Przeczucie apokalipsy,’’ in Kino (Warsaw), September 1996. Reid, R., ‘‘UnSafe at Any Distance: Todd Haynes’ Visual Culture of Health and Risk,’’ in Film Quarterly (Berkeley), Spring 1998. Udovitch, M., ‘‘Two Guys Named Todd,’’ in Esquire (New York), October 1998. Mueller, M., ‘‘Glam Bake,’’ in Premiere (New York), December 1998. *** Todd Haynes is no stranger to controversy. He began his career making outrageously personal short films that comment on the manner in which pop culture impacts on the individual. One of them—Superstar: The Karen Carpenter Story, featuring an all-doll cast—had to be yanked from distribution because of legal complications, and now is considered an underground classic. Poison, Haynes’s initial, equally incendiary feature, was financed in part by the New York State Council on the Arts and the National Endowment for the Arts. Because of its subject matter, this support resulted in cries of outrage from those who prefer that publicly funded art be as inoffensive as a painting of a bowl of fruit. Whether Poison is or is not to one’s individual taste, it is a film of high artistic aspiration. Poison is inspired by the writings of Jean Genet, and consists of a trio of skillfully interwoven stories. The first is a mockumentary about a seven-year-old boy who shot and killed his father and then summarily disappeared. How did this happen? Who was the boy, and why was he driven to such an act? A number of clues are offered by his mother. ‘‘I mean, I punished him,’’ she matter-of-factly tells the camera. ‘‘His father beat him, just like any kid.’’ Later, she observes, ‘‘He was a meek soul. People pick on meek souls.’’ The second story is a 1950s science-fiction movie parody, in which a brilliant scientist ingests some serum and becomes disfigured. People stare at him wherever he goes, and little girls spit at him. Eventually, he becomes the infamous ‘‘leper sex killer.’’ In the third
DIRECTORS, 4 EDITION HEIFITZ story, a man arrives at a prison. He is an orphan and a thief, and he is heifitz. iosif gay. In jail, which he describes as" the counterfeit world of men among men, "he has found his true identity--as well as what he calls Nationality: Russian. Born: losif Yefimovitch Heifitz(sometimes be different, what it is like to be so alienated from the mainstream that Education: Leningrad School of Screen Arts, a. you feel more at home in a prison than in the outside world. Haynes ilv: Married, two sons(filmmakers Vladimir and Dmitri Svetozarov) shows how you are different and victimized if you are gay, physically deformed, or a sensitive child in a dysfunctional family. Poison is Career: Formed partnership with fellow student Alexander Zarkhi they directed first film together, A Song of Steel, for Sovkino, 1928 a disturbing film. It will make you uncomfortable, but it also will joined Soyuzfilm, 1933, Lenfilm, 1935: ended partnership with make you think Zarkhi, 1950. Awards: Stalin Prize, for Razgrom Japonii, 1945 In Safe, Haynes's equally strong follow-up feature, he for the first Died: 24 April 1995,in St.Petersburg,Russia time tells one story through the course of an almost-two-hour film. His heroine is Carol White(Julianne Moore), an emotionally discon- ected, squeaky-clean San Fernando valley housewife. Lately, she Films as director: has been feeling run down, which she at first attributes to stress. But her body, and soon her mind, begin to deteriorate. Her doctor cannot 1928 Pesn o metallye(A Song of Steel)(co-d, +co-sC, co-ed) 930 Veter v litso(Facing the Wind)(co-d She eventually becomes convinced that the cause of her malady is environmental pollution, that she is" chemically sensitive'and 1931 Polden(Noon)(co-d, co-sc) allergic to the twentieth century. In a more conventional film. 1933 Moya rodina(My Fatherland; My Country)(co-d,+co-S Carol not only would find a cure for her illness but would enter into an 935 Goryachie dyenechki(Hectic Days)(co-d, + co-Sc) 1936 Deputat Baltiki (Baltic Deputy)(co-d, +co-sc) emotionally fulfilling romance with the agreeable guy (ames LeGros) 1940 Chen pravitelstva(The Great Beginning; Member of the she meets at a New Age retreat. But Haynes had no intention of making a conventional film. He offers no easy answers to his 1942 Yevo zovut Sukhe-Bator (His Name Is Sukhe-Bator)(co-d heroine's predicament, as she declines into a frail apparition of her co-sc) former self. Hovering unquestionably over her deterioration is the 1944 Malakhov Kurgan(co-d, co-sc) harsh reality of AIDS and the New Age psychobabble that the individual is responsible for his own plight, regardless of the outside 1946 Vo imya zhizni(In the Name of Life)(co-d,+co-c co-ed) 945 Razgrom Japonii(The Defeat of Japan)(co-d, + co-sc, co-ed) forces that one cannot control but that irrevocably impact on one's 1948 Dragotsennye zerna(The Precious Grain)(co-d) physical and mental well-being In Safe, Haynes has made a scary 1950 Ogni Baku(Flames over Baku; Fires of Baku)(co-d)(re- film without ghouls and gushing blood, a highly politicized story tha does not overtly refer to political concerns. He subtly but chillingly 953 Vesna v Moskve(Spring in Moscow)(co-d) captures Carol's isolation by constantly posing her alone, sitting on 1954 Bolshaya semya(The Big Family) a couch, or standing by her pool or looking in a mirror 1956 Dyelo Rumyantseva(The Rumyantsev Case)(+ co-sc) After Poison and Safe, two films of depth and texture, Haynes 1958 Dorogoi moi chelovek (My Dear Fellow, My Dear Man) faltered with the fascinating yet frustrating Velvet Goldmine, a portrait of the glam rock era in Great Britain. The film is set during 1960 Dama s sobachkoi(The Lady with the Little Dog)(+ sc) two time periods: the early 1970s, the heyday of a bisexual David 1962 Gorizont(Horizon) Bowie-like glam rocker who stages his own murder; and a decade 1964 Dyen schastya (A Day of Happiness)(+ co-sc) later, when a journalist sets out to write a piece commemorating the 1967 V gorodye S(In the Town of s)(+ sc) tenth anniversary of the rockers death. In depicting the writers 1970 Saliut Maria!(Salute, Maria)(+ co-sc) exploration of his subject, Haynes employs a Citizen Kane-like 973 Plokhoy khoroshyi chelovek (The Duel: The Bad Good Man) What Velvet Goldmine has in common with Haynes's earlier work 1976 Edinstvennaia(The Only One: The One and Only)(+ co-sc) is thematic, in that he offers a portrait of outcasts who are misunder 1977 Asya( Love Should Be Guarded)(+ sc) stood and shunned by society and who end up acting out their sexual 1979 Vpervye zamuzhem(married for the First Time)(+ co-sc) urges. Yet too much of the film is little more than an extended music 1982 Shurochka video, with sequences featuring the glam rocker and others in 1985 Podsudimy(The Accused)(+co-sc) rformance. Haynes has created intriguing characters, to be sure. 1987 Vspomnim, Tovarisc However, they are given short shrift. What is desperately missing 988 Vy chry, starichyo(Who Are You, Old People?)(+ co-sc) from Velvet Goldmine is more characterization and depth in storytelling. 1989 Brodyachij avtobus(Nomad Bus)(+ co-sc Meanwhile, Haynes has not abandoned the short-film form. Between Poison and Safe he made Dottie Gets Spanked, a twenty seven-minute examination of the carnal fantasies of a young, highly Other Films: imaginative boy who is obsessed with watching television sit-coms. 1928 Luna sheva(The Moon Is to the Lefi)(Ivanov)(co-sc, asst-d) -Rob Edelman 1930 Transport ogmya (transport of Fire)(Ivanov)(co-sc, asst-d)
DIRECTORS, 4 HEIFITZ th EDITION 427 story, a man arrives at a prison. He is an orphan and a thief, and he is gay. In jail, which he describes as ‘‘the counterfeit world of men among men,’’ he has found his true identity—as well as what he calls ‘‘the violence of love.’’ Poison is a jarring film about what it means to be different, what it is like to be so alienated from the mainstream that you feel more at home in a prison than in the outside world. Haynes shows how you are different and victimized if you are gay, physically deformed, or a sensitive child in a dysfunctional family. Poison is a disturbing film. It will make you uncomfortable, but it also will make you think. In Safe, Haynes’s equally strong follow-up feature, he for the first time tells one story through the course of an almost-two-hour film. His heroine is Carol White (Julianne Moore), an emotionally disconnected, squeaky-clean San Fernando Valley housewife. Lately, she has been feeling run down, which she at first attributes to stress. But her body, and soon her mind, begin to deteriorate. Her doctor cannot diagnose her infirmity, instead suggesting that she see a psychiatrist. She eventually becomes convinced that the cause of her malady is environmental pollution, that she is ‘‘chemically sensitive’’ and ‘‘allergic to the twentieth century.’’ In a more conventional film, Carol not only would find a cure for her illness but would enter into an emotionally fulfilling romance with the agreeable guy (James LeGros) she meets at a New Age retreat. But Haynes had no intention of making a conventional film. He offers no easy answers to his heroine’s predicament, as she declines into a frail apparition of her former self. Hovering unquestionably over her deterioration is the harsh reality of AIDS and the New Age psychobabble that the individual is responsible for his own plight, regardless of the outside forces that one cannot control but that irrevocably impact on one’s physical and mental well-being. In Safe, Haynes has made a scary film without ghouls and gushing blood, a highly politicized story that does not overtly refer to political concerns. He subtly but chillingly captures Carol’s isolation by constantly posing her alone, sitting on a couch, or standing by her pool or looking in a mirror. After Poison and Safe, two films of depth and texture, Haynes faltered with the fascinating yet frustrating Velvet Goldmine, a portrait of the glam rock era in Great Britain. The film is set during two time periods: the early 1970s, the heyday of a bisexual David Bowie-like glam rocker who stages his own murder; and a decade later, when a journalist sets out to write a piece commemorating the tenth anniversary of the rocker’s death. In depicting the writer’s exploration of his subject, Haynes employs a Citizen Kane-like framing contrivance. What Velvet Goldmine has in common with Haynes’s earlier work is thematic, in that he offers a portrait of outcasts who are misunderstood and shunned by society and who end up acting out their sexual urges. Yet too much of the film is little more than an extended music video, with sequences featuring the glam rocker and others in performance. Haynes has created intriguing characters, to be sure. However, they are given short shrift. What is desperately missing from Velvet Goldmine is more characterization and depth in storytelling. Meanwhile, Haynes has not abandoned the short-film form. Between Poison and Safe he made Dottie Gets Spanked, a twentyseven-minute examination of the carnal fantasies of a young, highly imaginative boy who is obsessed with watching television sit-coms. —Rob Edelman HEIFITZ, Iosif Nationality: Russian. Born: Iosif Yefimovitch Heifitz (sometimes transliterated as Josef Kheifits) in Minsk, Russia, 17 December 1905. Education: Leningrad School of Screen Arts, graduated 1927. Family: Married, two sons (filmmakers Vladimir and Dmitri Svetozarov). Career: Formed partnership with fellow student Alexander Zarkhi; they directed first film together, A Song of Steel, for Sovkino, 1928; joined Soyuzfilm, 1933, Lenfilm, 1935; ended partnership with Zarkhi, 1950. Awards: Stalin Prize, for Razgrom Japonii, 1945. Died: 24 April 1995, in St. Petersburg, Russia. Films as Director: 1928 Pesn o metallye (A Song of Steel) (co-d, + co-sc, co-ed) 1930 Veter v litso (Facing the Wind) (co-d) 1931 Polden (Noon) (co-d, + co-sc) 1933 Moya rodina (My Fatherland; My Country) (co-d, + co-sc) 1935 Goryachie dyenechki (Hectic Days) (co-d, + co-sc) 1936 Deputat Baltiki (Baltic Deputy) (co-d, + co-sc) 1940 Chlen pravitelstva (The Great Beginning; Member of the Government) (co-d, + co-sc) 1942 Yevo zovut Sukhe-Bator (His Name Is Sukhe-Bator) (co-d, + co-sc) 1944 Malakhov Kurgan (co-d, + co-sc) 1945 Razgrom Japonii (The Defeat of Japan) (co-d, + co-sc, co-ed) 1946 Vo imya zhizni (In the Name of Life) (co-d, + co-sc) 1948 Dragotsennye zerna (The Precious Grain) (co-d) 1950 Ogni Baku (Flames over Baku; Fires of Baku) (co-d) (released 1958) 1953 Vesna v Moskve (Spring in Moscow) (co-d) 1954 Bolshaya semya (The Big Family) 1956 Dyelo Rumyantseva (The Rumyantsev Case) (+ co-sc) 1958 Dorogoi moi chelovek (My Dear Fellow; My Dear Man) (+ co-sc) 1960 Dama s sobachkoi (The Lady with the Little Dog) (+ sc) 1962 Gorizont (Horizon) 1964 Dyen schastya (A Day of Happiness) (+ co-sc) 1967 V gorodye S (In the Town of S) (+ sc) 1970 Saliut Maria! (Salute, Maria) (+ co-sc) 1973 Plokhoy khoroshyi chelovek (The Duel; The Bad Good Man) (+ sc) 1976 Edinstvennaia (The Only One; The One and Only) (+ co-sc) 1977 Asya (Love Should Be Guarded) (+ sc) 1979 Vpervye zamuzhem (Married for the First Time) (+ co-sc) 1982 Shurochka 1985 Podsudimy (The Accused) (+ co-sc) 1987 Vspomnim, Tovarisc 1988 Vy chyo, starichyo (Who Are You, Old People?) (+ co-sc) 1989 Brodyachij avtobus (Nomad Bus) (+ co-sc) Other Films: 1928 Luna sleva (The Moon Is to the Left) (Ivanov) (co-sc, asst-d) 1930 Transport ognya (Transport of Fire) (Ivanov) (co-sc, asst-d)
HEIFITZ DIRECTORS, 4 EDItION Publications 1917. A similar concentration on the social position of women can be seen in his later film, Married for the First Time. Vera Maretskaya is By HEIFITZ. articles- superb throughout Member of the Government, the first of several memorable female leading roles in Heifitz's films "Directors Notes, 'in Iskusstvo Kino(Moscow ) no 1, 1966 Both Zarkhi and Heifitz benefited creatively from their split in Interview in Iskusstvo Kino(Moscow), no 2, 1971 1950, although Heifitz has undoubtedly become better known. His Interview in Soviet Film(Moscow), no 9, 1976 impressive second film on his own, The Big Family, is recognised one of the forerunners of the post-Stalin rejuvenation of the Soviet Hejfic, Iosif,""vzlet i padenie Moej Rodiny "in Iskusstvo Kino cinema. This film presents the lives of a family of shipbuilders with (Moscow ), December 1990. a feeling for everyday realities, a lively, detailed texture, a concern with the problems of the individual as opposed to the masses, and generally tries to avoid producing neat, formulaic, ideologically On HEIFitz: books- sound’ solutions In 1960 Heifitz made the film for which he is probably best Christie, lan, and Richard Taylor, editors, The Film Factory: Russian known, The Lady with the little Dog, the first of a Chekhov trilogy and Soviet Cinema in Documents 1896-1939. London. 1988. including In the Town of S and The Bad Good Man. It is hardly Leyda, Jay, Kino: A History of the Russian and Soviet Film, Prince- surprising that the director should have been drawn to Chekhov, nor that his Chekhov adaptations are among his finest works, for both share an understanding of the complexity of human beings, a feeling On HEIFitz. articles- for the minute, telling detail, and a remarkable ability to conjure an almost tangible sense of atmosphere. Indeed, in the trilogy some of Soviet Film(Moscow ) no 2, 1967, and no. 2, 1971 the most'Chekhovian"moments are not in the original stories at all! Panorama. no. 4. 1976 Thus, it is hardly surprising to find Heifitz admitting (in an interview pkov, "losif Heifits, in Soviet Film(Moscow), February 1983 in Soviet Film)that"much as I love Dostoevsky I regard Chekhov as losif Kheifits, in Film Dope(London), September 1984 my teacher. Stressing Chekhov's concern with the importance of Gillett. John and Claire Kitson. ""Chekhov and After: The Films of clear and legible writing(in both senses of the word), he adds: "I try losif Heifitz " in National Film Theatre Booklet (London), Decem- to apply the laws of Chekhovian prose, with due adjustments to suit ber 1986 our time, in my films about the present. I have always considered Dobrotvorsky, S, "Father and Sons, in Soviet Film (Moscow) Chekhov to be among the most modern of writers, and have never treated him as a venerable 'moth-eaten ' classic. To me Chekhov has Birchenough, Tom, *"losif Kheifits, in Variety(New York), 29 always been an example of a social-minded writer.. The hallmark May 1995. of Chekhov's approach is that, while describing these small, weak Brandlmeier, Thomas, ""Iosif Chejfic 4.12.1905-24.4. 1995, an people living in an atmosphere of triviality and inaction, he preserved obituary in, EPD Film(Frankfurt), August 1995 his faith in a better future and in the power of the human spirit. So he Goldovskaja, Marina, ""Stariki, in Iskusstvo Kino(Moscow), Novem- imparted to them an important quality-the capacity to make a critical ber 1995 judgment of the surrounding world and of oneself. This is the quality that I prize most highly Thus, in spite of his obvious relish for period feel in Chekhov(and Turgenev, in the beautiful Asya), Heifitz was obviously a great deal more than a""director. Claiming that modem Soviet filmmakers It is impossible to discuss the career of losif Heifitz without also are"heirs to the humanistic tradition of Russian literature,he once paying tribute to Alexander Zarkhi, with whom he worked for over said that his films are"a panorama of the better part of a century twenty years after they both left the Leningrad Technicum of Cinema Looking at the remarkable gallery of characters he presented with his Art in 1927. The first film they made together was A Head wind, but mix of everyday heroism and humanity, it is hard to disagree. Heifitz their first collaboration to gain prominence was Baltic Deputy, was not a stylistic innovator, but his films, whether set in the past or a landmark film of""or"historic"realism that tran- present, all exhibit an equally strong feeling for the minutiae of daily scends the genre's usual bombastic propaganda, moral and political life and the humanity of their characters. In this last respect it should schematism, and impossibly perfect and idealised heroes and hero- he largely*"Nikolai Cherkasov, Vera Maretskaya, lya proval of his stuffy academic colleagues, joins the forces of revolu- Savina and Alexei Batalov, all of whom gave some of their finest tion in 1917 and is eventually elected to the Petrograd Soviet by the performances in his films. As he himself stated, many directors sailors of the baltic feet. it contains both humour and humanistic day strive for documentary realism and naturalness of tone. But in values, and is particularly distinguished by an excellent central that case individuality disappears, and the human voice with its performance from Nikolai Cherkasov. Equally impressive. for the infinite inflections gives way to banality. Heifitz added: "Directing ame reasons, is Member of the Government. Set during the rural in the cinema means above all directing the actor. The actor is the collectivisation period and focusing on a young farm worker whe focal point of the director's efforts and experience ises to a government position despite the opposition of her husband, this film concerns the improved status of women in the USSR after -Julian Petley
HEIFITZ DIRECTORS, 4th EDITION 428 Publications By HEIFITZ: articles— ‘‘Director’s Notes,’’ in Iskusstvo Kino (Moscow), no. 1, 1966. Interview in Iskusstvo Kino (Moscow), no. 2, 1971. Interview in Soviet Film (Moscow), no. 9, 1976. Article in Soviet Film (Moscow), no. 11, 1978. Hejfic, Iosif, ‘‘Vzlet I padenie Moej Rodiny,’’ in Iskusstvo Kino (Moscow), December 1990. On HEIFITZ: books— Christie, Ian, and Richard Taylor, editors, The Film Factory: Russian and Soviet Cinema in Documents 1896–1939, London, 1988. Leyda, Jay, Kino: A History of the Russian and Soviet Film, Princeton, 1999. On HEIFITZ: articles— Soviet Film (Moscow), no. 2, 1967, and no. 2, 1971. Panoráma, no. 4, 1976. Lipkov, ‘‘Iosif Heifits,’’ in Soviet Film (Moscow), February 1983. ‘‘Iosif Kheifits,’’ in Film Dope (London), September 1984. Gillett, John, and Claire Kitson, ‘‘Chekhov and After: The Films of Iosif Heifitz,’’ in National Film Theatre Booklet (London), December 1986. Dobrotvorsky, S., ‘‘Father and Sons,’’ in Soviet Film (Moscow), April 1987. Birchenough, Tom, ‘‘Iosif Kheifits,’’ in Variety (New York), 29 May 1995. Brandlmeier, Thomas, ‘‘Iosif Chejfic 4.12.1905 - 24.4.1995,’’ an obituary in, EPD Film (Frankfurt), August 1995. Goldovskaja, Marina, ‘‘Stariki,’’ in Iskusstvo Kino (Moscow), November 1995. *** It is impossible to discuss the career of Iosif Heifitz without also paying tribute to Alexander Zarkhi, with whom he worked for over twenty years after they both left the Leningrad Technicum of Cinema Art in 1927. The first film they made together was A Head Wind, but their first collaboration to gain prominence was Baltic Deputy, a landmark film of ‘‘socialist’’ or ‘‘historic’’ realism that transcends the genre’s usual bombastic propaganda, moral and political schematism, and impossibly perfect and idealised heroes and heroines. This film concerns an elderly professor who, despite the disapproval of his stuffy academic colleagues, joins the forces of revolution in 1917 and is eventually elected to the Petrograd Soviet by the sailors of the Baltic fleet. It contains both humour and humanistic values, and is particularly distinguished by an excellent central performance from Nikolai Cherkasov. Equally impressive, for the same reasons, is Member of the Government. Set during the rural collectivisation period and focusing on a young farm worker who rises to a government position despite the opposition of her husband, this film concerns the improved status of women in the USSR after 1917. A similar concentration on the social position of women can be seen in his later film, Married for the First Time. Vera Maretskaya is superb throughout Member of the Government, the first of several memorable female leading roles in Heifitz’s films. Both Zarkhi and Heifitz benefited creatively from their split in 1950, although Heifitz has undoubtedly become better known. His impressive second film on his own, The Big Family, is recognised as one of the forerunners of the post-Stalin rejuvenation of the Soviet cinema. This film presents the lives of a family of shipbuilders with a feeling for everyday realities, a lively, detailed texture, a concern with the problems of the individual as opposed to the masses, and generally tries to avoid producing neat, formulaic, ideologically ‘‘sound’’ solutions. In 1960 Heifitz made the film for which he is probably best known, The Lady with the Little Dog, the first of a Chekhov trilogy including In the Town of S and The Bad Good Man. It is hardly surprising that the director should have been drawn to Chekhov, nor that his Chekhov adaptations are among his finest works, for both share an understanding of the complexity of human beings, a feeling for the minute, telling detail, and a remarkable ability to conjure an almost tangible sense of atmosphere. Indeed, in the trilogy some of the most ‘‘Chekhovian’’ moments are not in the original stories at all! Thus, it is hardly surprising to find Heifitz admitting (in an interview in Soviet Film) that ‘‘much as I love Dostoevsky I regard Chekhov as my teacher.’’ Stressing Chekhov’s concern with the importance of clear and legible writing (in both senses of the word), he adds: ‘‘I try to apply the laws of Chekhovian prose, with due adjustments to suit our time, in my films about the present. I have always considered Chekhov to be among the most modern of writers, and have never treated him as a venerable, ‘moth-eaten’ classic. To me Chekhov has always been an example of a social-minded writer. . . . The hallmark of Chekhov’s approach is that, while describing these small, weak people living in an atmosphere of triviality and inaction, he preserved his faith in a better future and in the power of the human spirit. So he imparted to them an important quality—the capacity to make a critical judgment of the surrounding world and of oneself. This is the quality that I prize most highly.’’ Thus, in spite of his obvious relish for period feel in Chekhov (and Turgenev, in the beautiful Asya), Heifitz was obviously a great deal more than a ‘‘period’’ director. Claiming that modern Soviet filmmakers are ‘‘heirs to the humanistic tradition of Russian literature,’’ he once said that his films are ‘‘a panorama of the better part of a century.’’ Looking at the remarkable gallery of characters he presented with his mix of everyday heroism and humanity, it is hard to disagree. Heifitz was not a stylistic innovator, but his films, whether set in the past or present, all exhibit an equally strong feeling for the minutiae of daily life and the humanity of their characters. In this last respect it should be pointed out that Heifitz was a masterly director of actors, and that he largely ‘‘discovered’’ Nikolai Cherkasov, Vera Maretskaya, Iya Savvina and Alexei Batalov, all of whom gave some of their finest performances in his films. As he himself stated, ‘‘many directors today strive for documentary realism and naturalness of tone. But in that case individuality disappears, and the human voice with its infinite inflections gives way to banality.’’ Heifitz added: ‘‘Directing in the cinema means above all directing the actor. The actor is the focal point of the director’s efforts and experience.’’ —Julian Petley
DIRECTORS, 4 EDITION HENNING-JENSEN HENNING-JENSEN. Astrid 1967 Min bedstefarer en stok(Astrid only) and Bjarne 1968 Nille(Astrid only) 1969 Mig og dig(Me and You)(Astrid only) 1974 Skipper Co (Bjarne only) Nationality: Danish. Born: Frederiksberg, Denmark: Astrid (nee 1978 Winterborn(Winter Children)(Astrid only, +sc, ed) Astrid Smahl): 10 December 1914; Bjarne: 6 October 1908. Family: 1980 Ojeblikket(The Moment)(Astrid only Married 6 October 1938. Career: Bjarme actor at various theatres 1986 Barndommens gade(Street of Childhood)(Astrid only) Astrid actress at""Riddersalen, Copenhagen, 1931-38 Bjarne 1991 In Spite Of director at Nordisk Films Kompagni, 1940-50: Astrid assistant 1995 Bella. My bella director, 1941. then director, 1943. at Nordisk: Astrid at Norsk Film A/S, Oslo, 1950-52: Bjarne and Astrid both worked as freelance writers and directors for film, theatre, radio, and television, from early Other films 1950s. Awards: Astrid: Director Prize. Venice for Denmark grows Up, 1947: Cannes Festival Prize for Palle Alone in the World, 1949; Catholic film office award. cannes Festival, and technik prize for 1937 Cocktail(Astrid: role) Paw. 1960: Best Director. Berlin Festival. for Winter Children 1979. 1938 Kongen bod(Bjarne: role) Bjarne: Director Prize, Venice, for Ditte: Child of Man, 1946 939 Genboerne(Bjarne: role) Address: Astrid: Frederiksberg Alle 76, DK-1820 Copenhagen V, 940 Jens Langkniv(Bjarne: role) Denmark. Died: Bjarne, 1995 1942 Damen med de lyse Handsker( Christensen)(Bjarne: role) Films as directors: Astrid and Bjarne Henning-Jensen started as stage actors, but 1940 Cykledrengene i Tonvegraven(Bjarne only) shortly after they married in 1938 they began working in films. Bjarne 1941 Hesten paa Kongens Nytorv( Bjarne only): Brunkul Bjarne Henning-Jensen directed several government documentaries begin only); Arbejdet kalder(Bjarne only ): Chr /V som bygherre ning in 1940 and he was joined by Astrid in 1943. At that time the (Christian /V: Master Builder)(Bjarne only) Danish documentary film, strongly influenced by the British docu- Sukker(Sugar)(Bjarne only) mentary of the 1930s, was blooming, and Bjarne Henning-Jensen 1943 Korn(Corn)(Bjarne only); Hesten(Horses)(Bjarne only): played an important part in this. In 1943 he made his first feature film Follet(Bjarne only ); Papir(Paper)(Bjarne only ) Naar with Astrid serving as assistant director. Naar man kun er ung was nan kun er ung(To Be Young)(Bjarne only): S.O.S. a light, everyday comedy, striving for a relaxed and charming style, Kindtand(SOS Molar but it was too cute, and it was politely received. Their next film, Ditte 1944 De danske Sydhavsper(Danish Island)(Bjarne only) Menneskebarn, was their breakthrough, and the two were instantly 945 Flyktingar finner en hamn(Fugitives Find Shelter): Dansk considered as the most promising directors in the postwar Danish politi i Sverige(Astrid only): Folketingsvalg 1945; Brigaden cinema. The film was an adaptation of a neoclassical novel by Martin Sverige(Danish Brigade in Sweden)(Bjarne only): Andersen-Nexp It was a realistic story of a young country girl and her Frihedsfonden(Freedom Committee)(Bjarne only) tragic destiny as a victim of social conditions. The novel, published 946 Ditte Menneskebarn(Ditte: Child of Man)(Bjame d, Astrid asst) between 1917 and 1921, was in five volumes, but the Henning- 1947 Stemming i April; De pokkers unger(Those Blasted Kids); Jensens used only parts of the novel. The sentimentality of the book Denmark Grows Up(Astrid co-d only) was, happily, subdued in the film, and it is a sensitive study of a young 1948 Kristinus Bergman girl in her milieu. The film was the first example of a more realistic 1949 Palle alene i Verden(Palle Alone in the World)(Astrid only) and serious Danish film and it paralleled similar trends in contempo- 950 Vesterhavsdrenge(Boys from the West Coast rary European cinema, even if one would refrain from calling the film 1951 Kranes Konditori(Krane's Bakery Shop)(Astrid only) neorealistic. It was a tremendous success in denmark and it also won 952 Ukjent mann(Unknown Man)(Astrid only) a certain international recognition 953 Solstik Astrid and Bjarne Henning-Jensen's film was a sincere attempt to 954 Tivoligarden spiller(Tivoli Garden Games) Ballettens born introduce reality and authentic people to the Danish film. They (Ballet Girl)(Astrid only) continued this effort in their subsequent films, but a certain facile 1955 Kaerlighed pa kredit( Love on Credit)(Astrid only, sc): En approach, a weakness for cute effects, and a sensibility on the verge of saelfangst i Nordgronland(Bjarne only ) Hvor bjergene sentimentality made their films less and less interesting. In the 1950s n)(Bjarne only) Bjarne Henning-Jensen returned to documentaries. In 1955 he made 1959 Hest pa sommerferie(Astrid only ) Paw(Boy of Two Worlds, the pictorially beautiful Hvor bjergene seiler, about Greenland. He The Lure of the Jungle)(Astrid only) attempted a comeback to features in 1962 with a rather pedestrian 961 Een blandt mange(Astrid only adaptation of Knut Hamsun's novel Pan called Kort air sommaren. 962 Kort air sommaren( Short Is the Summer)(Bjarne only) His last film, in 1974, was a failure. Astrid Henning-Jensen continued 1965 De bla undulate(Astrid only) making films on her own. She made two carefully directed and attractive films in Norway, and in the 1960s she tried to keep up with
DIRECTORS, 4 HENNING-JENSEN th EDITION 429 HENNING-JENSEN, Astrid and Bjarne Nationality: Danish. Born: Frederiksberg, Denmark; Astrid (née Astrid Smahl): 10 December 1914; Bjarne: 6 October 1908. Family: Married 6 October 1938. Career: Bjarne actor at various theatres, Astrid actress at ‘‘Riddersalen,’’ Copenhagen, 1931–38; Bjarne director at Nordisk Films Kompagni, 1940–50; Astrid assistant director, 1941, then director, 1943, at Nordisk; Astrid at Norsk Film A/S, Oslo, 1950–52; Bjarne and Astrid both worked as freelance writers and directors for film, theatre, radio, and television, from early 1950s. Awards: Astrid: Director Prize, Venice, for Denmark Grows Up, 1947; Cannes Festival Prize for Palle Alone in the World, 1949; Catholic Film Office Award, Cannes Festival, and Technik Prize, for Paw, 1960; Best Director, Berlin Festival, for Winter Children, 1979. Bjarne: Director Prize, Venice, for Ditte: Child of Man, 1946. Address: Astrid: Frederiksberg Allé 76, DK-1820 Copenhagen V, Denmark. Died: Bjarne, 1995. Films as Directors: 1940 Cykledrengene i Tørvegraven (Bjarne only) 1941 Hesten paa Kongens Nytorv (Bjarne only); Brunkul (Bjarne only); Arbejdet kalder (Bjarne only); Chr. IV som Bygherre (Christian IV: Master Builder) (Bjarne only) 1942 Sukker (Sugar) (Bjarne only) 1943 Korn (Corn) (Bjarne only); Hesten (Horses) (Bjarne only); Føllet (Bjarne only); Papir (Paper) (Bjarne only); Naar man kun er ung (To Be Young) (Bjarne only); S.O.S. Kindtand (S.O.S. Molars) 1944 De danske Sydhavsøer (Danish Island) (Bjarne only) 1945 Flyktingar finner en hamn (Fugitives Find Shelter); Dansk politi i Sverige (Astrid only); Folketingsvalg 1945; Brigaden i Sverige (Danish Brigade in Sweden) (Bjarne only); Frihedsfonden (Freedom Committee) (Bjarne only) 1946 Ditte Menneskebarn (Ditte: Child of Man) (Bjarne d, Astrid asst) 1947 Stemning i April; De pokkers unger (Those Blasted Kids); Denmark Grows Up (Astrid co-d only) 1948 Kristinus Bergman 1949 Palle alene i Verden (Palle Alone in the World) (Astrid only) 1950 Vesterhavsdrenge (Boys from the West Coast) 1951 Kranes Konditori (Krane’s Bakery Shop) (Astrid only) 1952 Ukjent mann (Unknown Man) (Astrid only) 1953 Solstik 1954 Tivoligarden spiller (Tivoli Garden Games); Ballettens børn (Ballet Girl) (Astrid only) 1955 Kaerlighed pa kredit (Love on Credit) (Astrid only, + sc); En saelfangst i Nordgrønland (Bjarne only); Hvor bjergene sejler (Where Mountains Float) (Bjarne only) 1959 Hest på sommerferie (Astrid only); Paw (Boy of Two Worlds, The Lure of the Jungle) (Astrid only) 1961 Een blandt mange (Astrid only) 1962 Kort är sommaren (Short Is the Summer) (Bjarne only) 1965 De blå undulater (Astrid only) 1966 Utro (Unfaithful) (Astrid only) 1967 Min bedstefar er en stok (Astrid only) 1968 Nille (Astrid only) 1969 Mig og dig (Me and You) (Astrid only) 1974 Skipper & Co. (Bjarne only) 1978 Vinterbørn (Winter Children) (Astrid only, + sc, ed) 1980 Øjeblikket (The Moment) (Astrid only) 1986 Barndommens gade (Street of Childhood) (Astrid only) 1991 In Spite Of 1995 Bella, My Bella Other Films: 1937 Cocktail (Astrid: role) 1938 Kongen bød (Bjarne: role) 1939 Genboerne (Bjarne: role) 1940 Jens Langkniv (Bjarne: role) 1942 Damen med de lyse Handsker (Christensen) (Bjarne: role) *** Astrid and Bjarne Henning-Jensen started as stage actors, but shortly after they married in 1938 they began working in films. Bjarne Henning-Jensen directed several government documentaries beginning in 1940 and he was joined by Astrid in 1943. At that time the Danish documentary film, strongly influenced by the British documentary of the 1930s, was blooming, and Bjarne Henning-Jensen played an important part in this. In 1943 he made his first feature film, with Astrid serving as assistant director. Naar man kun er ung was a light, everyday comedy, striving for a relaxed and charming style, but it was too cute, and it was politely received. Their next film, Ditte Menneskebarn, was their breakthrough, and the two were instantly considered as the most promising directors in the postwar Danish cinema. The film was an adaptation of a neoclassical novel by Martin Andersen-Nexø. It was a realistic story of a young country girl and her tragic destiny as a victim of social conditions. The novel, published between 1917 and 1921, was in five volumes, but the HenningJensens used only parts of the novel. The sentimentality of the book was, happily, subdued in the film, and it is a sensitive study of a young girl in her milieu. The film was the first example of a more realistic and serious Danish film and it paralleled similar trends in contemporary European cinema, even if one would refrain from calling the film neorealistic. It was a tremendous success in Denmark and it also won a certain international recognition. Astrid and Bjarne Henning-Jensen’s film was a sincere attempt to introduce reality and authentic people to the Danish film. They continued this effort in their subsequent films, but a certain facile approach, a weakness for cute effects, and a sensibility on the verge of sentimentality made their films less and less interesting. In the 1950s Bjarne Henning-Jensen returned to documentaries. In 1955 he made the pictorially beautiful Hvor bjergene sejler, about Greenland. He attempted a comeback to features in 1962 with a rather pedestrian adaptation of Knut Hamsun’s novel Pan called Kort är sommaren. His last film, in 1974, was a failure. Astrid Henning-Jensen continued making films on her own. She made two carefully directed and attractive films in Norway, and in the 1960s she tried to keep up with