《国际电影导演词典》电子版（英文版）International Dictionary of Films and Filmmakers Volume - 2（2-3 DIRECTORS）FOURTH EDITION

SANDERS-BRAHMS Helma Publications Nationality: German. Born: Helma Sanders in Emden, Germany, 20 By SANDERS-BRAHMS: articles- November 1940: added her mothers maiden name to her own to differentiate herself from another New german Cinema filmmaker Helke Sander. Education: Studied acting in Hanover, Germany: Misunderstood Mother and Forgotten Father. interview with g studied drama and literature at Cologne University Career: Worked Vincendeau in Monthly Film Bulletin(London), May 1985. as an announcer and interviewer for a Cologne television station. Interview with C Racine in Sequences(Montreal), February 1987 1960s: began directing shorts and documentaries for German televi- Interview with Peter Brunette in Film Quarterly(Berkeley, Califor sion. 1970: directed first feature. Gewelt. 1971: made Erdbeben in nia). Winter 1990 Chile, her first film for the Filmverlag der Autoren, set up by thirteen Sanders-Brahms, Helma, and S. Toubiana, ""Menace a I'est New German Cinema directors as a production and distribution Cahiers du Cinema(Paris), September 1990. erative. 1974 Interview with E. Richter and R. Richter in Film und fernsehen (Berlin), vol 19, no 8/9, 19 Interview with Janine Euvrard, in Cine-Bulles(Montreal), Spring 1994 Films as director and screenwriter: Interview with Erika Richter, in Film und Femsehen (Berlin), vol 25 1970 Angelika Urban, verkauferin, verlobt(Angelika Urban, Sales girl, Engaged)(short) 1971 Gewalt(violence): Die industrielle Reservarmee(The indus On SANDERS-BRAHMS: articles- rial Reserve Army)(doc) 1972 Der angestellte(The Employee) Silberman, M, "Women Filmmakers in West Germany: A Catalog. 1973 Die machine(The Machine)(doc) in Camera Obscura (Los Angeles), Autumn 1980 1974 Die letzten tage von Gomorrah(The Last Days of Gomorrah): Aude. E article in posi tif(Paris), November 1981 975 Unter dem pflaster ist der strand (The Sand under the pavement) Silberman, M ,"Women Working: Women Filmmakers in West 1976 Shirins hochzeit( Shirin's Wedding) Germany: A Catalog(Part 2), in Camera Obscura(Los Ange 1977 Heinrich es), Fall 1983 1980 Deutschland bleich mutter(Germany, Pale Mother)(+ pr) Article in Film a Doba(Prague), June 1985 Vringsveedeler iriptichon(The Vringsveedel Tryptych)(doc) Bammer, A, Through a Daughters Eyes: Helma Sanders-Brahms's 1981 Die beruhrte(No Mercy No Future: No Exit No Panic)(+ pr, Germany, Pale Mother, in New German Critique, Fall 198 costumes, makeup) Fjordholm, H, article in Z Filmtidsskrift(Oslo), vol. 4, no. 5, 1986 1984 Flugel und fesseln(L'Avenir d'Emilie; The Future of Emil Desjardins, M, Germany, Pale Mother and the Maternal: Toward 1986 Lapu a Feminist Spectatorship, " in Spectator, vol. 8, no. 1, 1987 1987 Felix(co-dir) Elsaesser. T."Public Bodies and Divided Selves: German Women 1988 Geteilte liebe(Divided Love; Manoever)(+ pr) Filmmakers in the 1980s, in Monthly Film Bulletin (London) 1992 Apfelbaume(Apple Trees) December 1987 1995 Lumiere et compagnie(Lumiere and Company)(short Hyams, B,""Is the Apolitical Woman at Peace? A Reading of the Lumiere film) Fairy Tale in Germany, Pale Mother, in Wide Angle(Baltimore 1995 Jetzt leben-Juden in berlin Maryland), vol. 10. no. 3, 1988 997 Mein Herz-Niemande!(My Heart Is Mine Alone)(+ pr) Kinder, M,""ldeological Parody in the New German Cinema: 2000 Clara(+ co-sc) Reading The State of Things, The Desire of veronika Voss, and Germany, Pale Mother as Postmodemist Rewritings of The Search- ers, Sunset boulevard, and Blonde venus, in Quarterly Review Other films: of Film and Video vol. 12. no. 1/2, 1990. Kindred, Jack, ""German Helmer Quits Fest over Y ank Invasion, in Der Subjektive Faktor(role) Variery(New York), 14 February 1990 The Night of the Filmmakers(appearance) Euvrard, J., in Cine-Bulles(Montreal), no 2, 1994 859

859 SANDERS-BRAHMS, Helma S Nationality: German. Born: Helma Sanders in Emden, Germany, 20 November 1940; added her mother’s maiden name to her own to differentiate herself from another New German Cinema filmmaker, Helke Sander. Education: Studied acting in Hanover, Germany; studied drama and literature at Cologne University. Career: Worked as an announcer and interviewer for a Cologne television station, 1960s; began directing shorts and documentaries for German televi￾sion, 1970; directed first feature, Gewelt, 1971; made Erdbeben in Chile, her first film for the Filmverlag der Autoren, set up by thirteen New German Cinema directors as a production and distribution cooperative, 1974. Films as Director and Screenwriter: 1970 Angelika Urban, verkauferin, verlobt (Angelika Urban, Sales￾girl, Engaged) (short) 1971 Gewalt (Violence); Die industrielle Reservarmee (The Indus￾trial Reserve Army) (doc) 1972 Der angestellte (The Employee) 1973 Die machine (The Machine) (doc) 1974 Die letzten tage von Gomorrah (The Last Days of Gomorrah); Erdbebenin Chile (Earthquake in Chile) 1975 Unter dem pflaster ist der strand (The Sand under the Pavement) 1976 Shirins hochzeit (Shirin’s Wedding) 1977 Heinrich 1980 Deutschland bleiche mutter (Germany, Pale Mother) (+ pr); Vringsveedeler triptichon (The Vringsveedel Tryptych) (doc) 1981 Die beruhrte (No Mercy No Future; No Exit No Panic) (+ pr, costumes, makeup) 1984 Flugel und fesseln (L’Avenir d’Emilie; The Future of Emily) 1986 Laputa 1987 Felix (co-dir) 1988 Geteilte liebe (Divided Love; Manoever) (+ pr) 1992 Apfelbaume (Apple Trees) 1995 Lumière et compagnie (Lumière and Company) (short Lumière film) 1995 Jetzt leben—Juden in Berlin 1997 Mein Herz—Niemandem! (My Heart Is Mine Alone) (+ pr) 2000 Clara (+ co-sc) Other Films: 1981 Der Subjektive Faktor (role) 1995 The Night of the Filmmakers (appearance) Publications By SANDERS-BRAHMS: articles— ‘‘Misunderstood Mother and Forgotten Father,’’ interview with G. Vincendeau in Monthly Film Bulletin (London), May 1985. Interview with C. Racine in Sequences (Montreal), February 1987. Interview with Peter Brunette in Film Quarterly (Berkeley, Califor￾nia), Winter 1990. Sanders-Brahms, Helma, and S. Toubiana, ‘‘Menace a l’est,’’ in Cahiers du Cinéma (Paris), September 1990. Interview with E. Richter and R. Richter in Film und Fernsehen (Berlin), vol. 19, no. 8/9, 1991. Interview with Janine Euvrard, in Ciné-Bulles (Montreal), Spring 1994. Interview with Erika Richter, in Film und Fernsehen (Berlin), vol. 25, no. 2, 1997. On SANDERS-BRAHMS: articles— Silberman, M., ‘‘Women Filmmakers in West Germany: A Catalog,’’ in Camera Obscura (Los Angeles), Autumn 1980. Aude, F., article in Positif (Paris), November 1981. Silberman, M., ‘‘Women Working: Women Filmmakers in West Germany: A Catalog (Part 2),’’ in Camera Obscura (Los Ange￾les), Fall 1983. Article in Film a Doba (Prague), June 1985. Bammer, A., ‘‘Through a Daughter’s Eyes: Helma Sanders-Brahms’s Germany, Pale Mother,’’ in New German Critique, Fall 1985. Fjordholm, H., article in Z Filmtidsskrift (Oslo), vol. 4, no. 5, 1986. Desjardins, M., ‘‘Germany, Pale Mother and the Maternal: Toward a Feminist Spectatorship,’’ in Spectator, vol. 8, no. 1, 1987. Elsaesser, T., ‘‘Public Bodies and Divided Selves: German Women Filmmakers in the 1980s,’’ in Monthly Film Bulletin (London), December 1987. Hyams, B., ‘‘Is the Apolitical Woman at Peace? A Reading of the Fairy Tale in Germany, Pale Mother,’’ in Wide Angle (Baltimore, Maryland), vol. 10, no. 3, 1988. Kinder, M., ‘‘Ideological Parody in the New German Cinema: Reading The State of Things, The Desire of Veronika Voss, and Germany, Pale Mother as Postmodernist Rewritings of The Search￾ers, Sunset Boulevard, and Blonde Venus,’’ in Quarterly Review of Film and Video vol. 12, no. 1/2, 1990. Kindred, Jack, ‘‘German Helmer Quits Fest over Yank Invasion,’’ in Variety (New York), 14 February 1990. Euvrard, J., in Ciné-Bulles (Montreal), no. 2, 1994

SANDRICH DIRECTORS, 4 EDItION Keene. J. Daughters: Subjectivity and History in the her daughter, only to be told by her own mother that she is a bad Work anders-Brahms's Germany, Pale Mother influence on the child. In a powerful scene the actress and her little (1979-1 n -Historia. no. 1. 1997. girl visit the beach, where they spin fantasy adventures with each Kino(Warsaw), no 2, 1997. other. The movie makes reference to the myth of an Amazon queen, a woman who has killed off the man she loves and is living quite nicely without the company of men. Sanders-Brahms's point is that, The films of Helma Sanders-Brahms have been programmed with in modern society, there are women who also are living well without some amount of relish at film festivals and in art houses and men, but they are brainwashed into thinking that they would be better cinematheques, but it is a safe bet that they never will be mainstream off with male partners. novie fare. They are not engrossing dramas in which the audience can Sanders-Brahms's us-against-them brand of feminism mirrors the become emotionally involved in the onscreen action. Instead, Sanders early 1970s, when the modern feminist movement was new and Brahms presents, from a distance, observable archetypes of life, often women who had grown up in a male-dominated society were feeling with a deliberate pacing. Rather than directing actors to express confrontational. Indeed, Felix, released in 1987, might have beer emotion,she prefers "pent-up"performers who hide their real made in the early 1970s. It is the politically loaded story of an feelings. In fact, actor Heinrich Giskes found himself so emotionally egocentric, hypocritical modern male whose lack of self-awareness pent-up"while shooting a scene for Heinrich that he broke a glass borders on the ridiculous. he has just been left by his lover,and he over his directors head as soon as she yelled cut. Sanders-Brahms is a rebel to Hollywood conventions. She avoids finds himself cast adrift in a world in which women no longer need casting glamorous leading ladies or hunky actors in order to sell men, or want men. Felix is filmed in four episodes, each shot by ickets, and her films are often very slowly paced. She does not make a different woman director--Christel Buschmann Helke Sander. and road movies, because she does not revel in what she calls"the Margarethe von Trotta, in addition to Sanders-Brahms. All are guilty poetry of the road, the journey. The autobahn and the factory of stereotyping men as jabbering idiots, and women as collectively assembly line are the same thing, the same prison sensitive,sensuous,and perceptive-practically perfect. a producer and writer in addition to director, Sanders-Brahms is Sanders-Brahms's films are united in that they are reflective of the a member of the New German Cinema movement, and as such she society in which she came of age. Along with her fellow members of builds her scripts around the concerns of the political left. Many of her the New German Cinema, she has a mission: to point out what is films present themes pertaining to the plight of the worker in wrong with the world as she sees it. Germany: the inequities of modern working conditions: how workers ave been pitted against one another in order to attain germanys capitalist"economic miracle"; and how the Gastarbeiter (guest Audrey E. Kupferber worker, or foreign migrant worker in Germany) is exploited Shirin's Wedding addresses the Gastarbeiter problem, focusing on he suffering of a Turkish woman. as a child. Shirin was betrothed to Mahmud, but he left for Germany to become a Gastarbeiter. To escape an arranged. marriage, Shirin traveis to, Germany to nn SANDRICH. Mark a cleaner, a job which disappears after she is raped by her boss. She winds up a prostitute, with Mahmud paying to have sex with her Eventually, she is killed by a pimp's bullet. In Die Beruhrte, the Nationality: American Born: Mark R Sandrich in New York City 26 August 1900. Family: Married to Freda(Wirtschater) Sandrich including black migrant workers, derelicts, and aged, crippled cast- father of television director Jay Sandrich and second unit/assistant offs of society. In these neglected people, she sees the essence of director Mark Sandrich Jr. Education: Graduated from Columbia Christ. Finally, Apfelbaume shows the destruction of a family whose University, where he studied science and mathematics. Career members are adversely affected by the politics of reunification. Entered the film industry as a propman, 1922: began directing Other motifs in Sanders-Brahms's work are the independent comedy shorts, 1926; made his feature film directorial debut with woman under fire and the mother-daughter relationship. She herself Runaway Girl, 1928; began producing his films, 1949. Died: Of was raised by her self-reliant mother while her father was away a heart attack in Los Angeles, 4 March 1945 fighting in Hitlers armies He did not return until she was five Much of her perception of her parents relationshi childhood is depicted in Germany, Pale Mother, one of her best known films. The mother is shown as a strong and independent I who gives birth to her daughter(played by Sanders-Brahms's Films as director: wn baby girl) during an air raid. When the war ends, this woman is pected to file wife. She does so. but her frustrations take hold in the form of 1926 Jerry the Giant(short)(co-d with Lesley Selander); Napoleon a disease which paralyzes her face and, in a gut-wrenching scene, Junior(short)(co-d with Lesley Selander) calls for the removal of all her teeth 1927 Brave Cowards(short); Careless Hubby(short); First Prize The Future of Emilie tells of an actress who lives a single, (short); Hello sailor(short): Hold Fast(short); Hold That conventional lifestyle. She returns to her parents' home to retrieve Bear(short); Hot Soup(short); A Midsummer Night's

SANDRICH DIRECTORS, 4th EDITION 860 Keene, J., ‘‘Mothering Daughters: Subjectivity and History in the Work of Helma Sanders-Brahms’s Germany, Pale Mother (1979–1980), in Film-Historia, no. 1, 1997. Kino (Warsaw), no. 2, 1997. *** The films of Helma Sanders-Brahms have been programmed with some amount of relish at film festivals and in art houses and cinematheques, but it is a safe bet that they never will be mainstream movie fare. They are not engrossing dramas in which the audience can become emotionally involved in the onscreen action. Instead, Sanders￾Brahms presents, from a distance, observable archetypes of life, often with a deliberate pacing. Rather than directing actors to express emotion, she prefers ‘‘pent-up’’ performers who hide their real feelings. In fact, actor Heinrich Giskes found himself so emotionally ‘‘pent-up’’ while shooting a scene for Heinrich that he broke a glass over his director’s head as soon as she yelled cut. Sanders-Brahms is a rebel to Hollywood conventions. She avoids casting glamorous leading ladies or hunky actors in order to sell tickets, and her films are often very slowly paced. She does not make ‘‘road movies,’’ because she does not revel in what she calls ‘‘the poetry of the road, the journey. The autobahn and the factory assembly line are the same thing, the same prison.’’ A producer and writer in addition to director, Sanders-Brahms is a member of the New German Cinema movement, and as such she builds her scripts around the concerns of the political left. Many of her films present themes pertaining to the plight of the worker in Germany: the inequities of modern working conditions; how workers have been pitted against one another in order to attain Germany’s capitalist ‘‘economic miracle’’; and how the Gastarbeiter (‘‘guest worker,’’ or foreign migrant worker in Germany) is exploited. Shirin’s Wedding addresses the Gastarbeiter problem, focusing on the suffering of a Turkish woman. As a child, Shirin was betrothed to Mahmud, but he left for Germany to become a Gastarbeiter. To escape an arranged marriage, Shirin travels to Germany to find Mahmud. She obtains work in a factory in Cologne and later as a cleaner, a job which disappears after she is raped by her boss. She winds up a prostitute, with Mahmud paying to have sex with her. Eventually, she is killed by a pimp’s bullet. In Die Beruhrte, the daughter of a bourgeois family seeks sexual partners in the streets, including black migrant workers, derelicts, and aged, crippled cast￾offs of society. In these neglected people, she sees the essence of Christ. Finally, Apfelbaume shows the destruction of a family whose members are adversely affected by the politics of reunification. Other motifs in Sanders-Brahms’s work are the independent woman under fire and the mother-daughter relationship. She herself was raised by her self-reliant mother while her father was away fighting in Hitler’s armies. He did not return until she was five years old. Much of her perception of her parents’ relationship and her own childhood is depicted in Germany, Pale Mother, one of her best￾known films. The mother is shown as a strong and independent woman who gives birth to her daughter (played by Sanders-Brahms’s own baby girl) during an air raid. When the war ends, this woman is expected to file away her independence in order to be an obedient wife. She does so, but her frustrations take hold in the form of a disease which paralyzes her face and, in a gut-wrenching scene, calls for the removal of all her teeth. The Future of Emilie tells of an actress who lives a single, unconventional lifestyle. She returns to her parents’ home to retrieve her daughter, only to be told by her own mother that she is a bad influence on the child. In a powerful scene the actress and her little girl visit the beach, where they spin fantasy adventures with each other. The movie makes reference to the myth of an Amazon queen, a woman who has killed off the man she loves and is living quite nicely without the company of men. Sanders-Brahms’s point is that, in modern society, there are women who also are living well without men, but they are brainwashed into thinking that they would be better off with male partners. Sanders-Brahms’s us-against-them brand of feminism mirrors the early 1970s, when the modern feminist movement was new and women who had grown up in a male-dominated society were feeling confrontational. Indeed, Felix, released in 1987, might have been made in the early 1970s. It is the politically loaded story of an egocentric, hypocritical modern male whose lack of self-awareness borders on the ridiculous. He has just been left by his lover, and he finds himself cast adrift in a world in which women no longer need men, or want men. Felix is filmed in four episodes, each shot by a different woman director—Christel Buschmann, Helke Sander, and Margarethe von Trotta, in addition to Sanders-Brahms. All are guilty of stereotyping men as jabbering idiots, and women as collectively sensitive, sensuous, and perceptive—practically perfect. Sanders-Brahms’s films are united in that they are reflective of the society in which she came of age. Along with her fellow members of the New German Cinema, she has a mission: to point out what is wrong with the world as she sees it. — Audrey E. Kupferberg SANDRICH, Mark Nationality: American. Born: Mark R. Sandrich in New York City, 26 August 1900. Family: Married to Freda (Wirtschater) Sandrich; father of television director Jay Sandrich and second unit/assistant director Mark Sandrich Jr. Education: Graduated from Columbia University, where he studied science and mathematics. Career: Entered the film industry as a propman, 1922; began directing comedy shorts, 1926; made his feature film directorial debut with Runaway Girl, 1928; began producing his films, 1949. Died: Of a heart attack in Los Angeles, 4 March 1945. Films as Director: 1926 Jerry the Giant (short) (co-d with Lesley Selander); Napoleon Junior (short) (co-d with Lesley Selander) 1927 Brave Cowards (short); Careless Hubby (short); First Prize (short); Hello Sailor (short); Hold Fast (short); Hold That Bear (short); Hot Soup (short); A Midsummer Night’s

DIRECTORS, 4 EDITION SANDRICH Mark Sandrich(sitting on ground by scaffolding), on the set of A woman Rebels Steam(short); The Movie Hound (short); Night Owls(short) Party(short)(+co-story, adaptation); The Way of All Fish hooting Wild (short); Some Scout(short) (short)(+ co-adaptation, dialogue); The Wife o'Riley 1928 Bear Knees(short); A Cow's Husband(short); High Strung (short)(+ co-story, dialogue) (short); A Lady Lion( short); Love Is Blonde(short)(co-d 1932 Ex-Rooster(short)(+ co-story); A Hurry Call(short)+co- with Zion Myers): Sword Points(short): Runaways Girls story): The Iceman's Ball(short)(+ co-adaptation, dia 1929 The Talk of Hollywood(+ co-story); Two Gun Ginsburg(short) logue): Jitters, the Butler(short)(+ co-adaptation, dia 1930 Aunts in the Pants(short); Barnum Was Wrong(short)(+co logue): The Millionaire Cat(short)(+ co-adaptation, dia- story, dialogue); General Ginsburg(short)(+ co-story dialogue); Gunboat Ginsburg(short)(+ co-story, dialogue) logue): A Slip at the Switch(short)(+ co-story ): Whe Summons Comes(short(+ story, continuity ) Hold 'Em Jail ot Bridge(short); Moonlight and Monkey Business(short ( co-continuity, dialogue): Off to Peoria ( co-story dialogue);Razord in Old Kentucky(shor): Society Goes 1933 Aggie Appleby, Maker of Men; The Druggist's Dilemma Spaghetti(short)(+ co-story, dialogue); Talking Turkey (short)(+ co-adaptation, dialogue): Hokus Focus(short) hort)(co-story, dialogue); Trader ginsburg (short)(+co ( co-adaptation, dialogue): Melody Cruise(+ co-sc; Pri story, dialogue vale Wives(short)(+ Co-story); So This Is Harris(short) 1931 The County Seat (short)(+ co-story, dialogue: Cowslips ( co-story ): Thru Thin and Thicket, or, Who's Zoo (short)(co-story, continuity); False Roomers(short)(+cO- Africa?(short) 1934 Hips, Hips, Hooray: Cockeyed Cavaliers: The Gay Divorcee dialogue);Many a Sip(short)(+ co-story, continuity); A 1935 Top Hat Melon-Drama(short)(+ co-adaptation, dialogue); Scratch- 1936 A Woman Rebels; Follow the Fleer As-Catch-Can(short)(+ co-adaptation); The Strife of the 861

DIRECTORS, 4 SANDRICH th EDITION 861 Mark Sandrich (sitting on ground by scaffolding), on the set of A Woman Rebels Steam (short); The Movie Hound (short); Night Owls (short); Shooting Wild (short); Some Scout (short) 1928 Bear Knees (short); A Cow’s Husband (short); High Strung (short); A Lady Lion (short); Love Is Blonde (short) (co-d with Zion Myers); Sword Points (short); Runaways Girls 1929 The Talk of Hollywood (+ co-story); Two Gun Ginsburg (short) 1930 Aunt’s in the Pants (short); Barnum Was Wrong (short) (+ co￾story, dialogue); General Ginsburg (short) (+ co-story, dialogue); Gunboat Ginsburg (short) (+ co-story, dialogue); Hot Bridge (short); Moonlight and Monkey Business (short (+ co-continuity, dialogue); Off to Peoria (+ co-story, dialogue); Razord in Old Kentucky (short); Society Goes Spaghetti (short) (+ co-story, dialogue); Talking Turkey (short) (co-story, dialogue); Trader Ginsburg (short) (+ co￾story, dialogue) 1931 The County Seat (short) (+ co-story, dialogue); Cowslips (short) (co-story, continuity); False Roomers (short) (+ co￾adaptation); The Gay Nineties (short) (+ co-adaptation, dialogue); Many a Sip (short) (+ co-story, continuity); A Melon-Drama (short) (+ co-adaptation, dialogue); Scratch￾As-Catch-Can (short) (+ co-adaptation); The Strife of the Party (short) (+ co-story, adaptation); The Way of All Fish (short) (+ co-adaptation, dialogue); The Wife o’ Riley (short) (+ co-story, dialogue) 1932 Ex-Rooster (short) (+ co-story); A Hurry Call (short) + co￾story); The Iceman’s Ball (short) (+ co-adaptation, dia￾logue); Jitters, the Butler (short) (+ co-adaptation, dia￾logue); The Millionaire Cat (short) (+ co-adaptation, dia￾logue); A Slip at the Switch (short) (+ co-story); When Summons Comes (short (+ story, continuity); Hold ‘Em Jail (co-sc only) 1933 Aggie Appleby, Maker of Men; The Druggist’s Dilemma (short) (+ co-adaptation, dialogue); Hokus Focus (short) (+ co-adaptation, dialogue); Melody Cruise (+ co-sc); Pri￾vate Wives (short) (+ co-story); So This Is Harris (short) (+ co-story); Thru Thin and Thicket; or, Who’s Zoo in Africa? (short) 1934 Hips, Hips, Hooray; Cockeyed Cavaliers; The Gay Divorcee 1935 Top Hat 1936 A Woman Rebels; Follow the Fleet 1937 Shall We Dance?

SANJINES DIRECTORS, 4 EDItION 1938 Carefree omfort zone of his stars, he brings out the most effective perform- 1939 Man about Town ance for each 1940 Love Thy Neighbor(+ pr); Buck Benny Rides Again (+ pr) Sandrich seems to savor the comedy scenes in his films. His 1941 Skylark (+ pr) attention to camera placement and fast-paced editing result in effi 1942 Holiday Inn(+ pr) cient comedy sequences that bring quick laughs and prevent overly 1943 So Proudly We Hail! (+ pr) long reaction shots. Hips, Hips, Hooray and Cockeyed Cavaliers, 1944 I Love A Soldier (+ pr): Here Come the Waves(+pr) both of which star the zany comedy duo of wheeler and Woolsey, offer examples of this technique. Buck Benny Rides Again and Love Thy Neighbor, offbeat comedies featuring Jack Benny and Eddie Publications Rochester"Anderson, work because Sandrich is sensitive to Bennys precise comic timing, as well as the humorous styles of other popular radio comedians who make appearances in the film. On Sandrich: articles- Sandrich produced as well as directed his films from 1940 until his death. Taking a break from comedy, he made an outstanding World McManus, John T,"A Sandrich and a Dance or So, in New York War II patriotic melodrama of brav imes, 16 May 1937. the Pacific. In So Proudly We Hail!, Sandrich emphasized accuracy Strauss, Theodore, That Sandrich Man, "in New York Times, 12 and brought in several experienced combat nurses to document details July 1942 of their experience. That authentication was particularly important to audiences since the film was in production when the war was in progress. This project, plus a follow-up called I Love a Soldier, a drama about wartime marriage which re-teams several of the so The signature of Mark Sandrich is blurred. With a string of Proudly We Hail! stars, demonstrates Sandrich's willingness to significant features to his credit, it would seem that a few books on expand his cinematic repertoire, and make films that are serious Sandrich should have been published. Yet there have been no career well as escapist. evaluations of this director/producer. The reason is two-fold. First of Because of Sandrich's sudden death, one only can speculate Secondly, Sandrich diedinespstaged by the star power in his films. whether he would have further developed his talents during the post- all. Sandrich,s efforts ar n early middle age in 1945, cutting short his war era, perhaps in a manner similar to director George Stevens, creen legacy at a time when the major studio factory system was whose early career parallels Sandrich's beginning to be derailed and director/producers of his caliber were just starting to assert their position as auteurs within an about-to-be With few exceptions, Sandrich's most important films are come- es featuring legendary performers n legendary pertormances Te SANJINES, Jorge he made at RKO. No matter how often these films are packaged, they never are tagged ""Mark Sandrich films. Instead, they are the Nationality: Bolivian. Born: La Paz, Bolivia, 31 July 1936. Educa Astaire-Rogers musicals. Even so, it is Sandrich's contribution that tion: Studied filmmaking and philosophy at Catholic University in allowed for the creation of Astaire-Rogers as one of the 1930s most Santiago, Chile, late 1950s. Career: Made first film, Suerios popular and exciting screen teams. Sandrich employed his extensive realidades, with Oscar Soria, in Bolivia, 1961; named head of experience in screen comedy to mold a bland-looking Fred Astaire Bolivian Film Institute, 1965; left Bolivia following coup led by from a stage dancer/singer into a lively and charming screen presence. Hugo Banzer, 1972; returned to Bolivia, 1979. Address: clo Consejo Directing dozens of silent and early sound comedy shorts gave Nacional del Cine Casilla 9933. La Paz. bolivia Sandrich an experts viewpoint on presenting screen comedy. With his sharpened eye, he determined how best to complement Astaires rather stagy manner and distant formality with the more free-flowing, Films as director: vivacious Rogers. The results were dynamic. When The Gay Divo cee was being made, Rogers had more screen ex e than astaire 1961 Suerios y realidades(co-d he acts more loosely for the camera than Astaire, whose theatrical 1963 Revolucion; Una dia Paulino(co-d) gestures and reactions are a bit heavy-handed for films. Realizing this, 1965 Aysa Sandrich adjusts the placement of the camera to accommodate each of 1966 Ukamau his actors. The film unfolds with a series of brief comedy sequences 1969 Yawar mallku( blood of the Condor) involving Astaire Rogers, and a number of character actors. When 1971 El coraje del puebi Sandrich films Astaire, he does so in a series of quick takes, and he 1974 El enemigo principal oes not bring the camera in for a close shot. When Astaire and 1976 Fuera de aqui Rogers"meet cute'over a large trunk in which Rogers'dress is 1983 Las banderas del amanecer(co-d) caught, Sandrich moves in for a couple close shots of Rogers reacting 1989 La nacion clandestina(+ sc) to the situation, but he keeps Astaire at a distance. By recognizing the 1995 Para recibir el canto de los pajaros(+ sc)

SANJINÉS DIRECTORS, 4th EDITION 862 1938 Carefree 1939 Man about Town 1940 Love Thy Neighbor (+ pr); Buck Benny Rides Again (+ pr) 1941 Skylark (+ pr) 1942 Holiday Inn (+ pr) 1943 So Proudly We Hail! (+ pr) 1944 I Love A Soldier (+ pr); Here Come the Waves (+ pr) Publications On SANDRICH: articles— McManus, John T., ‘‘A Sandrich and a Dance or So,’’ in New York Times, 16 May 1937. Strauss, Theodore, ‘‘That Sandrich Man,’’ in New York Times, 12 July 1942. *** The signature of Mark Sandrich is blurred. With a string of significant features to his credit, it would seem that a few books on Sandrich should have been published. Yet there have been no career evaluations of this director/producer. The reason is two-fold. First of all, Sandrich’s efforts are upstaged by the star power in his films. Secondly, Sandrich died in early middle age in 1945, cutting short his screen legacy at a time when the major studio factory system was beginning to be derailed and director/producers of his caliber were just starting to assert their position as auteurs within an about-to-be newly designed Hollywood. With few exceptions, Sandrich’s most important films are come￾dies featuring legendary performers in legendary performances. The best known are the several Fred Astaire-Ginger Rogers musicals that he made at RKO. No matter how often these films are packaged, they never are tagged ‘‘Mark Sandrich films.’’ Instead, they are the Astaire-Rogers musicals. Even so, it is Sandrich’s contribution that allowed for the creation of Astaire-Rogers as one of the 1930’s most popular and exciting screen teams. Sandrich employed his extensive experience in screen comedy to mold a bland-looking Fred Astaire from a stage dancer/singer into a lively and charming screen presence. Directing dozens of silent and early sound comedy shorts gave Sandrich an expert’s viewpoint on presenting screen comedy. With his sharpened eye, he determined how best to complement Astaire’s rather stagy manner and distant formality with the more free-flowing, vivacious Rogers. The results were dynamic. When The Gay Divor￾cee was being made, Rogers had more screen experience than Astaire. She acts more loosely for the camera than Astaire, whose theatrical gestures and reactions are a bit heavy-handed for films. Realizing this, Sandrich adjusts the placement of the camera to accommodate each of his actors. The film unfolds with a series of brief comedy sequences involving Astaire, Rogers, and a number of character actors. When Sandrich films Astaire, he does so in a series of quick takes, and he does not bring the camera in for a close shot. When Astaire and Rogers ‘‘meet cute’’ over a large trunk in which Rogers’ dress is caught, Sandrich moves in for a couple close shots of Rogers reacting to the situation, but he keeps Astaire at a distance. By recognizing the comfort zone of his stars, he brings out the most effective perform￾ance for each. Sandrich seems to savor the comedy scenes in his films. His attention to camera placement and fast-paced editing result in effi- cient comedy sequences that bring quick laughs and prevent overly long reaction shots. Hips, Hips, Hooray and Cockeyed Cavaliers, both of which star the zany comedy duo of Wheeler and Woolsey, offer examples of this technique. Buck Benny Rides Again and Love Thy Neighbor, offbeat comedies featuring Jack Benny and Eddie ‘‘Rochester’’ Anderson, work because Sandrich is sensitive to Benny’s precise comic timing, as well as the humorous styles of other popular radio comedians who make appearances in the film. Sandrich produced as well as directed his films from 1940 until his death. Taking a break from comedy, he made an outstanding World War II patriotic melodrama of brave nurses caring for fighting men in the Pacific. In So Proudly We Hail!, Sandrich emphasized accuracy and brought in several experienced combat nurses to document details of their experience. That authentication was particularly important to audiences since the film was in production when the war was in progress. This project, plus a follow-up called I Love a Soldier, a drama about wartime marriage which re-teams several of the So Proudly We Hail! stars, demonstrates Sandrich’s willingness to expand his cinematic repertoire, and make films that are serious as well as escapist. Because of Sandrich’s sudden death, one only can speculate whether he would have further developed his talents during the post￾war era, perhaps in a manner similar to director George Stevens, whose early career parallels Sandrich’s. —Audrey Kupferberg SANJINÉS, Jorge Nationality: Bolivian. Born: La Paz, Bolivia, 31 July 1936. Educa￾tion: Studied filmmaking and philosophy at Catholic University in Santiago, Chile, late 1950s. Career: Made first film, Sueños y realidades, with Oscar Soria, in Bolivia, 1961; named head of Bolivian Film Institute, 1965; left Bolivia following coup led by Hugo Banzer, 1972; returned to Bolivia, 1979. Address: c/o Consejo Nacional del Cine, Casilla 9933, La Paz, Bolivia. Films as Director: 1961 Sueños y realidades (co-d) 1963 Revolución; Una día Paulino (co-d) 1965 Aysa 1966 Ukamau 1969 Yawar mallku (Blood of the Condor) 1971 El coraje del pueblo 1974 El enemigo principal 1976 Fuera de aquí 1983 Las banderas del amanecer (co-d) 1989 La nacion clandestina (+ sc) 1995 Para recibir el canto de los pajaros (+ sc)

DIRECTORS, 4 EDITION SANJINES Publications Convents, G. in Film en Televisie+ video(brussels ), October 1995 Chaput, Luc, " Jorge Sanjines: Amerindien mon frere, in Sequences By SANJINES: book- ( Haute-Ville), September-October 1997 Theory and Practice of a Cinema with the People, with Ukamau Group and Richard Schaaf, willimantic, 1989 The bolivian Jorge Sanjines has become internationally rece By SANJINES: articles- nized as a leading filmmaker in spite of the fact that his country has few significant filmmaking traditions or production facilities. Work ng outside of a film-industry context, Sanjines has doggedly over- Cinema and Revolution, an interview in Cineaste(New York), come formidable obstacles, including economic ones. For instance, to Winter 1970/71 finance the fiction feature Yawar mallku Sanjines and other members Ukamau and Yawar Mallku: An Interview with Jorge Sanjines, in of his Ukamau production group sold personal belongings and Afterimage(London), Summer 1971 accepted contributions. After finishing Yawar mallku, members of the Sobre Fuera de aqui!, " and"Llamado del Grupo Ukamau, in Ukamau collective toured the Bolivian highlands with a 16mm print Cine Cubano(Havana), no. 93, 1980 and portable projection equipment in an effort to reach the film,'s El Cine revolucionario en Bolivia. 'in Cine Cubano(Havana). no. intended audience-the Indian peasantry Sanjines is a militant filmmaker whose primary goal is to bring Faire du cinema un instrument de liberation an interview with G. a revolutionary Marxist political agenda to peasant and working-class Gervais, in Jeune Cinema(Paris), March 1982. audiences. His principal films respond to a militant Marxist aesthetic Nuestro principal destinatario, in Cine Cubano(Cuba),no. by examining oppressed collective protagonists (for example 105,1983 Andean peasant community)in their historical situations, by educat- Revolutionary Cinema: The Bolivian Experience, "in Cinema and audiences to transform the political and socioeconomic status quo in edited by Julianne Burton, Austin, Texas, 1986 order to build a higher stage of society. The depiction of oppression in El plano secuencia integral, "in Cine Cubano( Cuba), no. 125, 1989. cal events these films has in some cases been based on documented histori- Voraussetzung fuer das verstaendnis sind Interesse an und achtung Sanjines's works offer a defense of the Andean Indian way of life gegenueber der anderen Kultur, an interview with R. Nierich and and expose and attack the Indians'enemies. Yawar mallku denounces P. B. Schumann. in Filmbulletin. vol. 33. no. 4. 1991 a Progress Corps(read Peace Corps)pediatrics clinic that sterilizes unsuspecting Andean women, while in the documentary reconstruc- On SANJINES: books- tion El coraje del pueblo, Bolivian government and military official responsible for the massacres of Indian miners are specifically Gisbert. Carlos D. Mesa, and others Cine Boliviano: Del realizador dentified. The fiction feature El enemigo principal illustrates al critico, La Paz, 1979 exploitation and brutality suffered by indigenous peasants at the Gisbert. Carlos d. mesa. La aventura del cine boliviano 1952-85. La hands of powerful landowners and links the power of the landowners Paz,1985 to U.S. imperialism. The mise-en-scene of these films reflects Sanjines's defense of the Indian way of life. For instance, in El enemigo Armes, Roy, Third-World Filmmaking and the West, Berkeley, 198 principal the Inca heritage of the modern Andean Indian pervades the mise-en-scene: the predominance of Quechua dialogue, the centuries- On SANJINES articles- old custom of chewing coca leaves, the trapezoidal niches and doors characterizing Inca masonry, the ancient agricultural ritual, the every Wilson, David,"Aspects of Latin American Political Cinema, "in day work of spinning and weaving Sight and Sound(London), Summer 1972 The structural, narrative, and stylistic approaches used by Sanjines Campbell, Leon G, and Carlos Cortes, ""Film as Revolutionary have evolved in accordance with his basic goal of optimum communi Weapon: A Jorge Sanjines Retrospective, in History Teacher, ing Yawar mallku to Indians in remote areas, Sanjines drew on an Inca Ledgard, M, Jorge Sanjines: El cine urgente, " in Hablemos de cine oral tradition: and before showing the film he first had a narrator Lima), June 1981 introduce the story and the characters to the cinematically unsophisti- West. Dennis. Film and revolution in the andes in New scholar cated audiences. Later, in El enemigo principal, Sanjines built a nar- San diego), vol. 8, no. 1/2, 1982. rator into the film itself: a well-known Indian peasant leader periodi West, Dennis, "Alternative Cinema in Latin America, ' in roads cally appears to speak, in Quechua, directly to viewers in order to introduce the characters and events which will follow From peasant World, edited by Edwin G. Clausen and Jack Bermingham reaction to his early films, Sanjines found that unsophisticated viewers were shocked when a close shot follows an establishing shot. Brookfield, Vermont, 1989 Therefore, in El enemigo principal outdoor group scenes appear Die eigene Identitaet zurueckerobern. initially in long shot; and then the camera slowly zooms in, much as vol.3,no.4,1991 a spectator would approach. Although Yawar mallku involved Malandrin, Stephane, Toulouse a Iheure latine, in Cahiers dr Indian community in the filming, Sanjines later sought from indige Cinema(Paris), June 1995 nous groups an even more active collective participation in an effort

DIRECTORS, 4 SANJINÉS th EDITION 863 Publications By SANJINÉS:book— Theory and Practice of a Cinema with the People, with Ukamau Group and Richard Schaaf, Willimantic, 1989. By SANJINÉS:articles— ‘‘Cinema and Revolution,’’ an interview in Cineaste (New York), Winter 1970/71. ‘‘Ukamau and Yawar Mallku: An Interview with Jorge Sanjinés,’’ in Afterimage (London), Summer 1971. ‘‘Sobre Fuera de Aquí!,’’ and ‘‘Llamado del Grupo Ukamau,’’ in Cine Cubano (Havana), no. 93, 1980. ‘‘El Cine revolucionario en Bolivia,’’ in Cine Cubano (Havana), no. 99, 1981. ‘‘Faire du cinéma un instrument de liberation,’’ an interview with G. Gervais, in Jeune Cinéma (Paris), March 1982. ‘‘Nuestro principal destinatario,’’ in Cine Cubano (Cuba), no. 105, 1983. ‘‘Revolutionary Cinema: The Bolivian Experience,’’ in Cinema and Social Change in Latin America: Conversations with Filmmakers, edited by Julianne Burton, Austin, Texas, 1986. ‘‘El plano secuencia integral,’’ in Cine Cubano (Cuba), no. 125, 1989. ‘‘Voraussetzung fuer das Verstaendnis sind Interesse an und Achtung gegenueber der anderen Kultur,’’ an interview with R. Nierich and P. B. Schumann, in Filmbulletin, vol. 33, no. 4, 1991. On SANJINÉS: books— Gisbert, Carlos D. Mesa, and others, Cine Boliviano: Del realizador al critico, La Paz, 1979. Gisbert, Carlos D. Mesa, La aventura del cine boliviano 1952–85, La Paz, 1985. Armes, Roy, Third-World Filmmaking and the West, Berkeley, 1987. On SANJINÉS: articles— Wilson, David, ‘‘Aspects of Latin American Political Cinema,’’ in Sight and Sound (London), Summer 1972. Campbell, Leon G., and Carlos Cortes, ‘‘Film as Revolutionary Weapon: A Jorge Sanjinés Retrospective,’’ in History Teacher, May 1979. Ledgard, M., ‘‘Jorge Sanjinés: El cine urgente,’’ in Hablemos de Cine (Lima), June 1981. West, Dennis, ‘‘Film and Revolution in the Andes,’’ in New Scholar (San Diego), vol. 8, no. 1/2, 1982. West, Dennis, ‘‘Alternative Cinema in Latin America,’’ in Roads to Freedom: The Struggle against Dependence in the Developing World, edited by Edwin G. Clausen and Jack Bermingham, Brookfield, Vermont, 1989. Ruggle, W., ‘‘Die eigene Identitaet zurueckerobern,’’ in Filmbulletin, vol. 33, no. 4, 1991. Malandrin, Stéphane, ‘‘Toulouse à l’heure latine,’’ in Cahiers du Cinéma (Paris), June 1995. Convents, G., in Film en Televisie + Video (Brussels), October 1995. Chaput, Luc, ‘‘Jorge Sanjines: Amérindien mon frére,’’ in Séquences (Haute-Ville), September-October 1997. *** The Bolivian Jorge Sanjinés has become internationally recog￾nized as a leading filmmaker in spite of the fact that his country has few significant filmmaking traditions or production facilities. Work￾ing outside of a film-industry context, Sanjinés has doggedly over￾come formidable obstacles, including economic ones. For instance, to finance the fiction feature Yawar mallku Sanjinés and other members of his Ukamau production group sold personal belongings and accepted contributions. After finishing Yawar mallku, members of the Ukamau collective toured the Bolivian highlands with a 16mm print and portable projection equipment in an effort to reach the film’s intended audience—the Indian peasantry. Sanjinés is a militant filmmaker whose primary goal is to bring a revolutionary Marxist political agenda to peasant and working-class audiences. His principal films respond to a militant Marxist aesthetic by examining oppressed collective protagonists (for example, an Andean peasant community) in their historical situations, by educat￾ing viewers to an understanding of those situations, and by inspiring audiences to transform the political and socioeconomic status quo in order to build a higher stage of society. The depiction of oppression in these films has in some cases been based on documented histori￾cal events. Sanjinés’s works offer a defense of the Andean Indian way of life and expose and attack the Indians’ enemies. Yawar mallku denounces a Progress Corps (read Peace Corps) pediatrics clinic that sterilizes unsuspecting Andean women, while in the documentary reconstruc￾tion El coraje del pueblo, Bolivian government and military officials responsible for the massacres of Indian miners are specifically identified. The fiction feature El enemigo principal illustrates the exploitation and brutality suffered by indigenous peasants at the hands of powerful landowners and links the power of the landowners to U.S. imperialism. The mise-en-scène of these films reflects Sanjinés’s defense of the Indian way of life. For instance, in El enemigo principal the Inca heritage of the modern Andean Indian pervades the mise-en-scène: the predominance of Quechua dialogue, the centuries￾old custom of chewing coca leaves, the trapezoidal niches and doors characterizing Inca masonry, the ancient agricultural ritual, the every￾day work of spinning and weaving. The structural, narrative, and stylistic approaches used by Sanjinés have evolved in accordance with his basic goal of optimum communi￾cation with his peasant and working-class audiences. When exhibit￾ing Yawar mallku to Indians in remote areas, Sanjinés drew on an Inca oral tradition; and before showing the film he first had a narrator introduce the story and the characters to the cinematically unsophisti￾cated audiences. Later, in El enemigo principal, Sanjinés built a nar￾rator into the film itself: a well-known Indian peasant leader periodi￾cally appears to speak, in Quechua, directly to viewers in order to introduce the characters and events which will follow. From peasant reaction to his early films, Sanjinés found that unsophisticated viewers were shocked when a close shot follows an establishing shot. Therefore, in El enemigo principal outdoor group scenes appear initially in long shot; and then the camera slowly zooms in, much as a spectator would approach. Although Yawar mallku involved an Indian community in the filming, Sanjinés later sought from indige￾nous groups an even more active collective participation in an effort

SAURA DIRECTORS, 4 EDItION to make films"from the people, to the people. In El coraje de 1998 Esa luz/ pueblo, survivors of the army's 1967 massacre of miners actively 1998 Pajarico; Tango participated in the filmmaking by re-creating their own activities 1999 Goya en Burdeos( Goya in bordeaux) before and during the bloodbath. Since the appearance of Yawar mallku, Sanjines has been a well known and controversial figure in Bolivia: but he has at times been Publications banished from his native country by right-wing regimes because of his highly political filmmaking activities. International critical opin- BY saura: articles- ion considers Sanjines one of the leading Latin American militant filmmakers because of his oft-demonstrated ability to make aestheti- Interviews with E. Braso, in Positif( Paris), May and October 1974 cally and politically significant feature films-both documentaries Interview with G. Raucourt, in Thousand Eyes(New York), Octo- and fiction features-in spite of extremely limited technical and ber1976. financial resources Interview with M. Capdenac and others, in Ecran(Paris), July 1977. El cumpleanos de Saura, interview with J. L Guerin, in Cinema 2002(Madrid), January 1980 SAURA. Carlos Carlos Saura: bodas de prisa, interview with M. Pereira, in Cine Cubano(Havana), no 99, 1981 Interview with Nick Roddick in Stills (London), September/Octo- Nationality: Spanish. Born: Huesca, 4 January 1932. Education ber1983. Studied filmmaking at Instituto de Investigaciones y Experiencas'Brief an ein kind auf der treppe, "in Film und Fernsehen(Berlin), Cinematograficos (IIEC), Madrid, 1952-57. Career: Professional vol.12.no1.1984 otographer, 1950-53: teacher at IIEC, from 1957, left for political "Die Rueckkehr nach Spanien, in Film und Fernsehen(Berlin), vol reasons, 1964; directed first feature, Los golfos, 1960. Awards: Silver 12,no.1,1984. Bear, Berlin Festival, for La caza, 1966, and Peppermint frapp Toda Espanola en Saura, an interview with M.E. Gilio, in Cine 1968: Special Jury Award, Cannes Festival, for La prima Angelica, Cubano(habana), no. 134, 1992. 1974, and Cria cuervos, 1976: Golden Bear, Berlin Festival, for "Carlos Saura w londynie, ""interview in Kino(Warsaw), July 1993. Hurry, Hurry, 1981. Address: Iberoamericana Films, Velazquez 12, Madrid 2800 On SAURA: books- Braso, Enrique, Carlos Saura, Madrid, 1974 Films as Director and Scriptwriter Gubern, Roman, Homenaje a Carlos Saura, Huelva, 1979. Armold, Frank, and others, Carlos Saura, Munich, 1981 1957 La tarde del domingo( Sunday Afternoon)(short) Oms. Marcel. Carlos Saura. Paris. 1981 1958 Cuenca(short) Eichenlaub, Hans M, Carlos Saura, Freiburg, 1984 1960 Los golfos(The Hooligans)(+role Hopewell, John, Out of the Past: Spanish Cinema after franco, 964 Planto por un bandido (Lament for a Bandin) London 1986 966 La caza(The Hunt; The Chas Higginbotham, Virginia, Spanish Film under franco, Austin, 1967 Peppermint frappe Texas. 1988 1968 Stress es tres, tres(Stress Is Three, Three) Vidal, agustin Sanchez, El cine de Carlos Saura, Zaragoza, 1988. 1969 La madriguera(The Honeycomb; The Ner) D'Lugo, Marvin, The Films of Carlos Saura: The Practice of Seeing 970 El jardin de las delicias(The Garden of Delights) Princeton, New Jersey, 1991 1973 Ana y los lobos(Ana and the Wolves) 1974 La prima Angelica( Cousin Angelica On saura articles- 1976 Cria cuervos(Raise Ravens) 1977 Elisa, vida mia(Elisa, My Love) Anne et des loups Issueof Avant-Scene du Cinema(Paris), 1978 Los ojos vendados( blindfold November 1974 979 Mamd cumple cien arios(Mama Turns One Hundred Cria cuervos Issue of Avant-Scene du Cinema(Paris), 15 Octo- 1980 Deprisa, deprisa(Hurry, Hurry) ber 1978 1981 Dulces horas(Sweet Hours): Bodas de sangre(Blood Wedding) Kinder, Marcia, "" Carlos Saura: The Political Development of Indi- 982 Antonieta vidual Consciousness, in Film Quarterly(Berkeley, California), no.3,1979 Kovacs, Katherine, "" Loss and Recuperation in The Garden of 1985 El amor brujo(Low Delights, 'in Cine-Tracts(Montreal), Summer/Fall 1981 1987 El dorado Tate, S, Carlos Saura, Spain, and Mama Turns One Hundred, in 1989 La noche oscura(The Dark Night) Cinema Papers(M ne), Ap pril 1982. 990 Ay Carmela Bartholomew, G, The Development of Carlos Saura, in Journal of Film and Video(Carbondale, Illinois), Summer 1983 993 Dispara! (Shoot!) D'Lugo, M., "Carlos Saura: Constructive Imagination in Post-Franco 1995 Flamenco Cinema, in Quarterly Review of Film Studies(New York), 996 Taxi(d only) Spring 1983

SAURA DIRECTORS, 4th EDITION 864 to make films ‘‘from the people, to the people.’’ In El coraje del pueblo, survivors of the army’s 1967 massacre of miners actively participated in the filmmaking by re-creating their own activities before and during the bloodbath. Since the appearance of Yawar mallku, Sanjinés has been a well￾known and controversial figure in Bolivia; but he has at times been banished from his native country by right-wing regimes because of his highly political filmmaking activities. International critical opin￾ion considers Sanjinés one of the leading Latin American militant filmmakers because of his oft-demonstrated ability to make aestheti￾cally and politically significant feature films—both documentaries and fiction features—in spite of extremely limited technical and financial resources. SAURA, Carlos Nationality: Spanish. Born: Huesca, 4 January 1932. Education: Studied filmmaking at Instituto de Investigaciones y Experiencas Cinematográficos (IIEC), Madrid, 1952–57. Career: Professional photographer, 1950–53; teacher at IIEC, from 1957, left for political reasons, 1964; directed first feature, Los golfos, 1960. Awards: Silver Bear, Berlin Festival, for La caza, 1966, and Peppermint frappé, 1968; Special Jury Award, Cannes Festival, for La prima Angelica, 1974, and Cria cuervos, 1976; Golden Bear, Berlin Festival, for Hurry, Hurry, 1981. Address: Iberoamericana Films, Velazquez 12, Madrid 28001. Films as Director and Scriptwriter: 1957 La tarde del domingo (Sunday Afternoon) (short) 1958 Cuenca (short) 1960 Los golfos (The Hooligans) (+ role) 1964 Llanto por un bandido (Lament for a Bandit) 1966 La caza (The Hunt; The Chase) 1967 Peppermint frappé 1968 Stress es tres, tres (Stress Is Three, Three) 1969 La madriguera (The Honeycomb; The Net) 1970 El jardín de las delicias (The Garden of Delights) 1973 Ana y los lobos (Ana and the Wolves) 1974 La prima Angélica (Cousin Angelica) 1976 Cria cuervos (Raise Ravens) 1977 Elisa, vida mía (Elisa, My Love) 1978 Los ojos vendados (Blindfold) 1979 Mamá cumple cien años (Mama Turns One Hundred) 1980 Deprisa, deprisa (Hurry, Hurry) 1981 Dulces horas (Sweet Hours); Bodas de sangre (Blood Wedding) 1982 Antonieta 1983 Carmen 1984 Los zancos (The Stilts) 1985 El amor brujo (Love the Magician) 1987 El dorado 1989 La noche oscura (The Dark Night) 1990 Ay! Carmela 1992 Sevillanas; Marathon 1993 Dispara! (Shoot!) 1995 Flamenco 1996 Taxi (d only) 1998 Esa luz! 1998 Pajarico; Tango 1999 Goya en Burdeos (Goya in Bordeaux) Publications By SAURA: articles— Interviews with E. Brasó, in Positif (Paris), May and October 1974. Interview with G. Braucourt, in Thousand Eyes (New York), Octo￾ber 1976. Interview with M. Capdenac and others, in Ecran (Paris), July 1977. ‘‘El cumpleaños de Saura,’’ interview with J.L. Guerin, in Cinema 2002 (Madrid), January 1980. ‘‘Carlos Saura: bodas de prisa,’’ interview with M. Pereira, in Cine Cubano (Havana), no. 99, 1981. Interview with Nick Roddick in Stills (London), September/Octo￾ber 1983. ‘‘Brief an ein kind auf der treppe,’’ in Film und Fernsehen (Berlin), vol. 12, no 1., 1984. ‘‘Die Rueckkehr nach Spanien,’’ in Film und Fernsehen (Berlin), vol. 12, no. 1, 1984. ‘‘Toda Espanola en Saura,’’ an interview with M.E. Gilio, in Cine Cubano (Habana), no. 134, 1992. ‘‘Carlos Saura w Londynie,’’ interview in Kino (Warsaw), July 1993. On SAURA: books— Brasó, Enrique, Carlos Saura, Madrid, 1974. Gubern, Roman, Homenaje a Carlos Saura, Huelva, 1979. Arnold, Frank, and others, Carlos Saura, Munich, 1981. Oms, Marcel, Carlos Saura, Paris, 1981. Eichenlaub, Hans M., Carlos Saura, Freiburg, 1984. Hopewell, John, Out of the Past: Spanish Cinema after Franco, London, 1986. Higginbotham, Virginia, Spanish Film under Franco, Austin, Texas, 1988. Vidal, Agustin Sanchez, El cine de Carlos Saura, Zaragoza, 1988. D’Lugo, Marvin, The Films of Carlos Saura: The Practice of Seeing, Princeton, New Jersey, 1991. On SAURA: articles— ‘‘Anne et des loups Issue’’ of Avant-Scène du Cinéma (Paris), November 1974. ‘‘Cria cuervos Issue’’ of Avant-Scène du Cinéma (Paris), 15 Octo￾ber 1978. Kinder, Marcia, ‘‘Carlos Saura: The Political Development of Indi￾vidual Consciousness,’’ in Film Quarterly (Berkeley, California), no. 3, 1979. Kovács, Katherine, ‘‘Loss and Recuperation in The Garden of Delights,’’ in Cine-Tracts (Montreal), Summer/Fall 1981. Tate, S., ‘‘Carlos Saura, Spain, and Mama Turns One Hundred,’’ in Cinema Papers (Melbourne), April 1982. Bartholomew, G., ‘‘The Development of Carlos Saura,’’ in Journal of Film and Video (Carbondale, Illinois), Summer 1983. D’Lugo, M., ‘‘Carlos Saura: Constructive Imagination in Post-Franco Cinema,’’ in Quarterly Review of Film Studies (New York), Spring 1983

DIRECTORS, 4 EDITION SAURA Carlos Saura(right) on the set of Ay! Carmela Kinder, Marcia, The Children of Franco in the New Spar D'Lugo, Marvin, Historical Reflexivity: Carlos Sauras Anti-Car Cinema, in Quarterly Review of Film Studies(New Yor men, in Wide Angle(Baltimore, Maryland ), vol 9, no 3, 1987 Spring 1983 Moore, L,"Can Saura Save Olympic Epic?, in Variety(New Insdorf, Annette, Soiar con tus ojos: Carlos Sauras Melodic York), 31 August 1992. Cinema, 'in Quarterly Review of Film Studies(New York), Helman, Alicja, ""Czar pewnego imienia, in Kino(Warsaw), July- oring 1983. August 1994. Clarens, Carlos,""Is There Film after Bunuel? " in Village Voice Landrot, Marine, "La griffe espagnole, in Telerama(Paris),8 Feb New York), 6 January 1984 ruary 1995 Hernandez, V,""Lectura e interpretacion, el contexto y la referencia Arumi, E,""Goya, artista revolucionario y su influencia en el cine, el cine de in Filnm-Historia(Barcelona). no. 3, 1996. ter 1984 Imihullu(Helsinki), no 6, 1996 Schumacher. E. "'Saura's New Film Returns to Flamenco ' in New York Times. 15 December 1985 Rabal, F, "Freund meiner Freund, in Film und Fernsehen(berlin) l.14,no.7,1986 Over the past three decades, Carlos Saura has attained interna- Hopewell, John, ""Mr. Carlosawa: Carlos Saura at the National Film tional stature while exploring quintessentially Spanish themes. Saura eatre, in Sight and Sound ( London), Autumn 1986 was one of the first Spanish filmmakers to deal with the Spanish Civil Hunter, A,"A Spanish Point of View, in Films and Filming War and its aftermath. In several films he explored the impact of the war years and of the postwar period on the men and women of his Carlos Saura Joins with Gomez on Ambitious $5.5-mil El Dorado generation, those who were born in the 1930s and who suffered in Variety(New York), 22 October 1986 emotional and psychological damage that affected them well into

DIRECTORS, 4 SAURA th EDITION 865 Carlos Saura (right) on the set of Ay! Carmela Kinder, Marcia, ‘‘The Children of Franco in the New Spanish Cinema,’’ in Quarterly Review of Film Studies (New York), Spring 1983. Insdorf, Annette, ‘‘Soñar con tus ojos: Carlos Saura’s Melodic Cinema,’’ in Quarterly Review of Film Studies (New York), Spring 1983. Clarens, Carlos, ‘‘Is There Film after Buñuel?’’ in Village Voice (New York), 6 January 1984. Hernandez, V., ‘‘Lectura e interpretacion, el contexto y la referencia en el cine de Carlos Saura,’’ in Contracampo (Madrid), Win￾ter 1984. Schumacher, E., ‘‘Saura’s New Film Returns to Flamenco,’’ in New York Times, 15 December 1985. Rabal, F., ‘‘Freund meiner Freund,’’ in Film und Fernsehen (Berlin), vol. 14, no. 7, 1986. Hopewell, John, ‘‘Mr. Carlosawa: Carlos Saura at the National Film Theatre,’’ in Sight and Sound (London), Autumn 1986. Hunter, A., ‘‘A Spanish Point of View,’’ in Films and Filming (London), September 1986. ‘‘Carlos Saura Joins with Gomez on Ambitious $5.5-mil El Dorado,’’ in Variety (New York), 22 October 1986. D’Lugo, Marvin, ‘‘Historical Reflexivity: Carlos Saura’s Anti-Car￾men,’’ in Wide Angle (Baltimore, Maryland), vol. 9, no. 3, 1987. Moore, L., ‘‘Can Saura Save Olympic Epic?,’’ in Variety (New York), 31 August 1992. Helman, Alicja, ‘‘Czar pewnego imienia,’’ in Kino (Warsaw), July￾August 1994. Landrot, Marine, ‘‘La griffe espagnole,’’ in Télérama (Paris), 8 Feb￾ruary 1995. Arumi, E., ‘‘Goya, artista revolucionario y su influencia en el cine,’’ in Film-Historia (Barcelona), no. 3, 1996. Filmihullu (Helsinki), no. 6, 1996. *** Over the past three decades, Carlos Saura has attained interna￾tional stature while exploring quintessentially Spanish themes. Saura was one of the first Spanish filmmakers to deal with the Spanish Civil War and its aftermath. In several films he explored the impact of the war years and of the postwar period on the men and women of his generation, those who were born in the 1930s and who suffered emotional and psychological damage that affected them well into

SAUTET DIRECTORS, 4 EDItION their adult years. In a number of movies, we witness the efforts of dance, and melodrama in telling the story of a pair of gypsies wh Saura's adult protagonists to resurrect their past memories in order to have been promised to each other by their respective families; as thei come to terms with them once and for all. In the course of their wedding approaches, each becomes involved in other romances recollections, we see the negative effects not only of the war, but also Despite an occasional foray into what for Saura is un of the repressive system of education and of the confining family territory-Dispara! is a cliched, unconvincing psychological drama structures that were consolidated by the triumph of franco in the about a rape victim who murders her attackers-the filmmaker has postwar period continued creating highly political films which explore facets of Until Francos death in 1975, it was not possible to express this recent Spanish history, and non-narrative cinematic essays which viewpoint openly Films were censored first at the script stage and celebrate Spanish culture. In the former category is Ay, Carmela!, again upon completion. Nothing controversial was allowed. Even in a pointed yet endearing, extremely entertaining farce in which Car- the 1960s, a period of liberalization when some experimentation was men Maura has one of her best roles in a film not directed by Pedro allowed and the New Spanish Cinema movement was born, Saura and Almodovar. She plays an entertainer who brings diversion to the the other young directors associated with this movement walked partisans during the Spanish Civil War, and who ends up caught a delicate and difficult line, trying to convey their ideas while behind enemy lines with her husband and their assistant. The film avoiding the hurdles imposed by the censor works best as a comic reminiscence of what it means to be politically It was in this atmosphere that Saura developed his cinematic style and morally correct, yet still be on the losing side of a conflict. and method of working. In order to deal with taboo subjects, he(and Flamenco is a loving, exquisitely detailed ode to flamenco music, the other young directors of that time)resorted to tactics of allusion, consisting of lively performances by an array of talented singers, association, and allegory. In one of Saura's first movies, The Hunt, dancers, and guitarists of all ages. Flamenco is a film that Gene kelly a hunting party arranged by four former comrades-in-arms under would love; it leaves audience members clapping after each number franco is used to represent the legacy of the Civil War and the moral entranced by the joy and energy put forth by the performers, the best ankruptcy it has engendered. In other movies, Saura destroys the of whom are nothing short of dazzling. There are no English subtitles chronological sequence of events in order to show the impact of the in Flamenco none are needed past and its continued importance in explaining the present. Actions and events taking place in the present often recall or evoke corre- sponding past moments, and Saura's protagonists come to exist in -Katherine Singer Kovacs, updated by rob edelman several temporal dimensions simultaneously. We participate in their memories, dreams and visions as saura creates a fluid movement from present to past and in and out of dreams. what is original about these shifts in time and perspective is that Saura dispenses with the SAUTET Claude dissolves and soft-focus shots usually used to effectuate a time change in films. In his movies, present and past, reality and fantasy are Nationality: French. Born: Montrouge, Paris, 23 February 1924 deliberately fused together. Dream figures seem to be as palpable and Education: Ecole des Arts Decoratif, entered IDHEC, 1948. Career: as concrete as any of the""actors on screen. The audience learns Music critic for newspaper Combat, late 1940s: assistant director to distinguish them through a series of narrative clues, changes in Pierre Montazel, Gut Lefranc, Georges Franju, and Jacques Becker, lothing, and the actors voices and facial expressions 1950s; also TV producer; directed first feature, Classe tous risques. This method places substantial demands upon the actors with 1960. Died: Of liver cancer in Paris, 22 July 2000 whom Saura works closely. He has often used the same actors in several movies. Saura has also worked with the same producer and for most of ps explain the significant Films as Director and Scriptwriter continuity of his films. Sometimes images or sequences from one movie recur in later ones. As Saura himself has said, ""Every film is of the film before .' 1951 Nous n'irons plus au bois(short) Every film is also a consequence of the particular political and 1956 Bonjour sourire(d only) social climate prevailing in Spain. With the death of franco and the 960 Classe tous risques(The Big Risk subsequent abolition of film censorship that resulted from restoration 1965 LArme a gauche( Guns for the Dictator) of democratic rule, Saura moved away from the complex, nonlinear 1970 Les Choses de la vie(The Things of Life) narrative forms he had cultivated under franco and began to make 1971 Mar et les ferrailleurs simpler, almost documentary-like movies. One of these, which dealt 1972 Cesar et Rosalie(Cesar and Rosalie with juvenile delinquents in Madrid, was shot with nonprofessional 1974 Vincent, Frangois, Paul.et les autres actors from the slums of the capital (De prisa, de prisa). Two others 1976 Mado are filmed versions of flamenco ballets that are based upon well 1978 Une Histoire simple known literary works(Bodas de sangre and Carmen). In these as in 1980 Un Mauvais Fils(A Bad Son) other movies which contain references to Spanish plays, poems, and 1983 Garcon aintings, Saura affirms his ties to Spanish cultural traditions and 1988 Quelques Jours avec moi shows their relevance to the Spain of today 1992 Un Coeur en Hiver(A Heart in Winter)(co-sc) brujo is the third of Sauras"Spanish folk films 1995 Nelly Monsieur Arnaud (Nelly Mr. Arnaud)(co-sc): Les following Bodas de sangre and Carmen. In it, he combines music, Enfants de lumiere

SAUTET DIRECTORS, 4th EDITION 866 their adult years. In a number of movies, we witness the efforts of Saura’s adult protagonists to resurrect their past memories in order to come to terms with them once and for all. In the course of their recollections, we see the negative effects not only of the war, but also of the repressive system of education and of the confining family structures that were consolidated by the triumph of Franco in the postwar period. Until Franco’s death in 1975, it was not possible to express this viewpoint openly. Films were censored first at the script stage and again upon completion. Nothing controversial was allowed. Even in the 1960s, a period of liberalization when some experimentation was allowed and the New Spanish Cinema movement was born, Saura and the other young directors associated with this movement walked a delicate and difficult line, trying to convey their ideas while avoiding the hurdles imposed by the censor. It was in this atmosphere that Saura developed his cinematic style and method of working. In order to deal with taboo subjects, he (and the other young directors of that time) resorted to tactics of allusion, association, and allegory. In one of Saura’s first movies, The Hunt, a hunting party arranged by four former comrades-in-arms under Franco is used to represent the legacy of the Civil War and the moral bankruptcy it has engendered. In other movies, Saura destroys the chronological sequence of events in order to show the impact of the past and its continued importance in explaining the present. Actions and events taking place in the present often recall or evoke corre￾sponding past moments, and Saura’s protagonists come to exist in several temporal dimensions simultaneously. We participate in their memories, dreams, and visions as Saura creates a fluid movement from present to past and in and out of dreams. What is original about these shifts in time and perspective is that Saura dispenses with the dissolves and soft-focus shots usually used to effectuate a time change in films. In his movies, present and past, reality and fantasy are deliberately fused together. Dream figures seem to be as palpable and as concrete as any of the ‘‘real’’ actors on screen. The audience learns to distinguish them through a series of narrative clues, changes in clothing, and the actors’ voices and facial expressions. This method places substantial demands upon the actors with whom Saura works closely. He has often used the same actors in several movies. Saura has also worked with the same producer and crew for most of his career, which helps explain the significant continuity of his films. Sometimes images or sequences from one movie recur in later ones. As Saura himself has said, ‘‘Every film is a consequence of the film before.’’ Every film is also a consequence of the particular political and social climate prevailing in Spain. With the death of Franco and the subsequent abolition of film censorship that resulted from restoration of democratic rule, Saura moved away from the complex, nonlinear narrative forms he had cultivated under Franco and began to make simpler, almost documentary-like movies. One of these, which dealt with juvenile delinquents in Madrid, was shot with nonprofessional actors from the slums of the capital (De prisa, de prisa). Two others are filmed versions of flamenco ballets that are based upon well￾known literary works (Bodas de sangre and Carmen). In these as in other movies which contain references to Spanish plays, poems, and paintings, Saura affirms his ties to Spanish cultural traditions and shows their relevance to the Spain of today. El amor brujo is the third of Saura’s ‘‘Spanish folk films,’’ following Bodas de sangre and Carmen. In it, he combines music, dance, and melodrama in telling the story of a pair of gypsies who have been promised to each other by their respective families; as their wedding approaches, each becomes involved in other romances. Despite an occasional foray into what for Saura is unusual territory—Dispara! is a clichéd, unconvincing psychological drama about a rape victim who murders her attackers—the filmmaker has continued creating highly political films which explore facets of recent Spanish history, and non-narrative cinematic essays which celebrate Spanish culture. In the former category is Ay, Carmela!, a pointed yet endearing, extremely entertaining farce in which Car￾men Maura has one of her best roles in a film not directed by Pedro Almodovar. She plays an entertainer who brings diversion to the partisans during the Spanish Civil War, and who ends up caught behind enemy lines with her husband and their assistant. The film works best as a comic reminiscence of what it means to be politically and morally correct, yet still be on the losing side of a conflict. Flamenco is a loving, exquisitely detailed ode to flamenco music, consisting of lively performances by an array of talented singers, dancers, and guitarists of all ages. Flamenco is a film that Gene Kelly would love; it leaves audience members clapping after each number, entranced by the joy and energy put forth by the performers, the best of whom are nothing short of dazzling. There are no English subtitles in Flamenco. None are needed. —Katherine Singer Kovács, updated by Rob Edelman SAUTET, Claude Nationality: French. Born: Montrouge, Paris, 23 February 1924. Education: Ecole des Arts Decoratif, entered IDHEC, 1948. Career: Music critic for newspaper Combat, late 1940s; assistant director to Pierre Montazel, Gut Lefranc, Georges Franju, and Jacques Becker, 1950s; also TV producer; directed first feature, Classe tous risques, 1960. Died: Of liver cancer in Paris, 22 July 2000. Films as Director and Scriptwriter: 1951 Nous n’irons plus au bois (short) 1956 Bonjour sourire (d only) 1960 Classe tous risques (The Big Risk) 1965 L’Arme à gauche (Guns for the Dictator) 1970 Les Choses de la vie (The Things of Life) 1971 Max et les ferrailleurs 1972 César et Rosalie (Cesar and Rosalie) 1974 Vincent, François, Paul . . . et les autres 1976 Mado 1978 Une Histoire simple 1980 Un Mauvais Fils (A Bad Son) 1983 Garçon 1988 Quelques Jours avec moi 1992 Un Coeur en Hiver (A Heart in Winter) (co-sc) 1995 Nelly & Monsieur Arnaud (Nelly & Mr. Arnaud) (co-sc); Les Enfants de Lumière

DIRECTORS, 4 EDITION SAUTET Other Films: The career of Claude Sautet was slow in getting underway, but by the 1970s he had virtually become the french cinemas official chronicler of bourgeois life. He had made his directing debut with a solidly constructed thriller, Classe tous risques, in 1960, but 1954 Touchez pas au Grisbi(Grisbi) a second film, L'Arme a gauche, did not follow until 1965 and was 1959 Les Yeux sans visages(Eyes without a Face)(Franju)(asst d) markedly less successful. Despite numerous scriptwriting assign- ments, his directing career did not really get underway until he completed Les Choses de la vie in 1969. This set the pattern for Publications a decade of filmmaking BY Sautet:book一 The core of any Sautet film is a fairly banal emotional problem-a man caught between two women in Les Choses de la vie or a married Conversations avec Claude sautet Institute Lumiere. 1994 woman confronted with a former lover in Cesar et rosalie. around this situation Sautet weaves a rich pattern of bourgeois life: concerns By SAUTET: articles- with home and family, with money and possessions, give these films their particular tone. This is a cinema of warm, convincingly depicted Interviews with Claude Beylie, in Ecran(Paris), December 1972 and characters for whom Sautet clearly has great affection and more than November 1974 a touch of complicity. Problems and motivations are always explicitly Claude Sautet, c'est la vitalite, with Francois Truffaut, in Avant- set out, for this is a style of psychological realism in which the Scene du Cinema(Paris), December 1974 individual, not the social, forms the focus of attention Interviews with Michel Ciment and others, in Positif Paris), Decem- The directors style is a sober, classical one, built on the model of ber 1976 and January 1979. Hollywood narrative traditions: action, movement, vitality. Though Romy Schneider: une actrice qui depasse le quotidien, in Avant- his style can encompass such set pieces as the boxing match in Scene du Cinema(Paris), 15 March 1979 Vincent, Francois, Paul... et les autres, Sautet is more concerned nterview with G. Legrand and I. Jordan in Positif(Paris), Decem- with the unfolding of a strong and involving narrative line. a key ber1983. feature of all his work are the confrontation scenes which offer such Je ne prevoyais pas ce debordement emotionnel, an interview with excellent opportunities for the talented stars and solid character M. Sineux and Y. Tobin, in Positif (Paris), September 1992. Interview in Jeune Cinema(Paris), October 1992. players who people his films Le jour se leve, in Positif(Paris), June 1994 autet's films from the mid-1970s to early 1980s-Mado, Une Douin, Jean-Luc, " Histoires pas si simples, in Telerama(Paris), 20 Histoire simple, and Une Mauvais Fils-are all characterized by July 1994 a total assurance and a mastery of the medium. This mastery, Interview in Filmihullu(Helsinki). no 4, 1996. however, is exercised within very precise limits-not in terms of the subject matter, which widens to take in the problems of affluence, On SAUTET: book- womens independence, and juvenile delinquency, but in the manner in which such issues of the moment are approached. Sautet's classi- Korkmaz, Joseph, Le Cinema de Claude Sautet, Paris, 1985 cism of form and ability to communicate directly with his audience is not accompanied by the resonances of social criticism which charac- On SAUTET: articles- terize the best north american cinema. Seeking to move his audience rather than enlighten it, Sautet uses powerful actors cast to type in Sineux, M," Entretien avec Philippe Sarde sur Claude Sautet et carefully constructed roles, but any probing of the essential contradic- quelques autres, in Positif(Paris), January 1979 tions is avoided by a style of direction that keeps rigidly to the surface Claude Sautet Issue"of Avant-Scene du Cinema(Paris), Janu- of life, the given patterns of bourgeois social behaviour. His approach 1984 is therefore condemned to a certain schematism, particularly in the Thomas, Kevin,"The Musical Style of Claude Sautet, "in Los handling of dialogue scenes, but his work gets its sense of vitality Times. 18 June 1993 from the vigor with which the group scenes-the meals and mold, Gary, ""Sex and Violins, in Washington Times, ll July 1993. excursions-and the typical locations of cafe or railway station are Armold, Gary, "Montand, Schneider and the Little White Lie, Washington Times, 1l July 1993 handled. sautet offers a facsimile of life. a reflection of current ley, derek, ""Film Reviews-Nelly Mr. Arnaud, in variery problems or issues, but contained within a form calculated not to (New York), 18 September 1995 trouble the spectator after he has left the cinema. This conformism Masson, Alain, Vincent Amiel and Michel Sineux, in Positif Paris), may seem limiting to the contemporary critic, but it will offer future October 1995 generations a rare insight into the manner in which the French middle Dumas, Danielle, L'intelligence du coeur, in Avant-Scene dt classes liked to see themselves in the 1970s In two of his most recent features, the popularly and critically Masson,A, "L,'insouciance et la fidelite, "and"Quelques images de well-received Un Coeur en Hiver(1992)and Nelly Monsieur films de Claude Sautet, "in Avant-Scene du Cinema(Paris), Arnaud(1995), Sautet continues to offer versions of French middle January 199 class bourgeois life in the 1990s. In keeping with Sautet's thematic and stylistic terrain, Un Coeur and Nelly both focus on a small group of individuals as they undergo

DIRECTORS, 4 SAUTET th EDITION 867 Other Films: (incomplete listing) 1954 Touchez pas au Grisbi (Grisbi) 1959 Les Yeux sans visages (Eyes without a Face) (Franju) (asst d) Publications By SAUTET: book— Conversations avec Claude Sautet, Institute Lumière, 1994. By SAUTET: articles— Interviews with Claude Beylie, in Ecran (Paris), December 1972 and November 1974. ‘‘Claude Sautet, c’est la vitalité,’’ with François Truffaut, in Avant￾Scène du Cinéma (Paris), December 1974. Interviews with Michel Ciment and others, in Positif (Paris), Decem￾ber 1976 and January 1979. ‘‘Romy Schneider: une actrice qui depasse le quotidien,’’ in Avant￾Scène du Cinéma (Paris), 15 March 1979. Interview with G. Legrand and I. Jordan in Positif (Paris), Decem￾ber 1983. ‘‘Je ne prevoyais pas ce debordement emotionnel,’’ an interview with M. Sineux and Y. Tobin, in Positif (Paris), September 1992. Interview in Jeune Cinéma (Paris), October 1992. ‘‘Le jour se lève,’’ in Positif (Paris), June 1994. Douin, Jean-Luc, ‘‘Histoires pas si simples,’’ in Télérama (Paris), 20 July 1994. Interview in Filmihullu (Helsinki), no. 4, 1996. On SAUTET: book— Korkmaz, Joseph, Le Cinéma de Claude Sautet, Paris, 1985. On SAUTET: articles— Sineux, M., ‘‘Entretien avec Philippe Sarde sur Claude Sautet et quelques autres,’’ in Positif (Paris), January 1979. ‘‘Claude Sautet Issue’’ of Avant-Scène du Cinéma (Paris), Janu￾ary 1984. Thomas, Kevin, ‘‘The Musical Style of Claude Sautet,’’ in Los Angeles Times, 18 June 1993. Arnold, Gary, ‘‘Sex and Violins,’’ in Washington Times, 11 July 1993. Arnold, Gary, ‘‘Montand, Schneider and the Little White Lie,’’ in Washington Times, 11 July 1993. Elley, Derek, ‘‘Film Reviews—Nelly & Mr. Arnaud,’’ in Variety (New York), 18 September 1995. Masson, Alain, Vincent Amiel and Michel Sineux, in Positif (Paris), October 1995. Dumas, Danielle, ‘‘L’intelligence du coeur,’’ in Avant-Scène du Cinéma (Paris), June 1996. Masson, A., ‘‘L’insouciance et la fidelite,’’ and ‘‘Quelques images de films de Claude Sautet,’’ in Avant-Scène du Cinéma (Paris), January 1997. *** The career of Claude Sautet was slow in getting underway, but by the 1970s he had virtually become the French cinema’s official chronicler of bourgeois life. He had made his directing debut with a solidly constructed thriller, Classe tous risques, in 1960, but a second film, L’Arme à gauche, did not follow until 1965 and was markedly less successful. Despite numerous scriptwriting assign￾ments, his directing career did not really get underway until he completed Les Choses de la vie in 1969. This set the pattern for a decade of filmmaking. The core of any Sautet film is a fairly banal emotional problem—a man caught between two women in Les Choses de la vie or a married woman confronted with a former lover in César et Rosalie. Around this situation Sautet weaves a rich pattern of bourgeois life: concerns with home and family, with money and possessions, give these films their particular tone. This is a cinema of warm, convincingly depicted characters for whom Sautet clearly has great affection and more than a touch of complicity. Problems and motivations are always explicitly set out, for this is a style of psychological realism in which the individual, not the social, forms the focus of attention. The director’s style is a sober, classical one, built on the model of Hollywood narrative traditions: action, movement, vitality. Though his style can encompass such set pieces as the boxing match in Vincent, Francois, Paul . . . et les autres, Sautet is more concerned with the unfolding of a strong and involving narrative line. A key feature of all his work are the confrontation scenes which offer such excellent opportunities for the talented stars and solid character players who people his films. Sautet’s films from the mid-1970s to early 1980s—Mado, Une Histoire simple, and Une Mauvais Fils—are all characterized by a total assurance and a mastery of the medium. This mastery, however, is exercised within very precise limits—not in terms of the subject matter, which widens to take in the problems of affluence, women’s independence, and juvenile delinquency, but in the manner in which such issues of the moment are approached. Sautet’s classi￾cism of form and ability to communicate directly with his audience is not accompanied by the resonances of social criticism which charac￾terize the best North American cinema. Seeking to move his audience rather than enlighten it, Sautet uses powerful actors cast to type in carefully constructed roles, but any probing of the essential contradic￾tions is avoided by a style of direction that keeps rigidly to the surface of life, the given patterns of bourgeois social behaviour. His approach is therefore condemned to a certain schematism, particularly in the handling of dialogue scenes, but his work gets its sense of vitality from the vigor with which the group scenes—the meals and excursions—and the typical locations of café or railway station are handled. Sautet offers a facsimile of life, a reflection of current problems or issues, but contained within a form calculated not to trouble the spectator after he has left the cinema. This conformism may seem limiting to the contemporary critic, but it will offer future generations a rare insight into the manner in which the French middle classes liked to see themselves in the 1970s. In two of his most recent features, the popularly and critically well-received Un Coeur en Hiver (1992) and Nelly & Monsieur Arnaud (1995), Sautet continues to offer versions of French middle￾class bourgeois life in the 1990s. In keeping with Sautet’s thematic and stylistic terrain, Un Coeur and Nelly both focus on a small group of individuals as they undergo a set of personal and emotional

SAYLES DIRECTORS, 4 EDItION situations. Again. while one senses a touch of Sautet's 1991 City of Hope(+ed, song, role as Carl) with the bourgeois world he represents, these films do ne 1992 Passion Fish(+ed) offer the conservative resolutions that characte 1994 The Secret of roan Inish(+ ed) bourgeois Hollywood productions of the 1980s and 1990s. As we 1995 Lone Star(+ pr)+ ed) watch Un Coeur and Nelly, we proceed along the interior, emotional 1997 Men with Guns(Hombres armadas)(+ed) topographies of characters like the remote and ostensibly affectless 999 Limbo (+ed) Stephan in Un Coeur. The tension which builds throughout Un Coeur as a result of Stephan,'s unwillingness and/or incapacity to love does not find its release, however, through the union of Stephan and Other films Camille by the films end: Camille continues her relationship with Maxim, Stephan remains alone. As a result, Sautet powerfully suc- 1978 Piranha(Dante)(sc) ceeds in having us experience the frustration these characters feel, 1979 The Lady in Red(Kiss Me and Die: Guns. Sin, and Bathtub because Un Coeur resists consummating a formulaic relationship Gin)(Teague)(sc) with its audience via a happy ending as Hollywood films are likely to do. 1980 Battle beyond the Stars(Murakami)(sc); The Howling (Dante) Nelly Monsieur Arnaud affects its audience in similar ways. omparable to Un Coeur, Nelly's presentation of the emotional 1982 The Challenge(Frankenheimer)(co-sc) irings and mis-firings between Nelly, Arnaud, Vincent, and Jerome 1984 Hard Choices(King)(role as Don) draw the viewer into a narrative that resists uncomplicated closure; 1985 The Clan of the Cave Bear(Chapman)(sc); Enormous Changes because of this, the world of Nelly Monsieur Arnaud is more likely at the Last Minute(Bank, Hovde)(sc) to resemble the reality its audience will encounter once the credits role 1987 Wild Thing(Reid)(sc); Something Wild(Demme)(role as and the lights go up. Derek Elley aptly comments in Variety that Sautet, in his films,"is more interested in the what-could-have- 1989 Breaking In( Forsyth)(sc) happened than the what-actually-has. Nelly, he concludes, will 1992 Straight Talk(Kellman)(role as Guy Girardi): Malcolm X delight those who don t like their t's crossed and rs dotted. while Lee)(role as FBI man); Matinee(Dante)(role as phoney neither a revolutionary cinema nor one which simply gives way to Hollywood narrative conventions, Claude Sautet's films endure as 1993 A Safe Place (Lang)(sc): My Life's in Turnaround(Schaeffer poignant and insightful tales depicting the often beguiling world of Ward ) (role as film producer) human affairs 1994 Men of War(sc); Bedlam(Maclean)(se 1995 Apollo 13(Howard)( -Roy Armes, updated by Kevin J C 1997 Gridlock 'd (role) SAYLES John Publications By SaYleS: books- Nationality: American Born: John Thomas Sayles in Schenectady New York, 28 September 1950. Education: Williams College The Pride of the Bimbos, New York, 1975. williamstown, Massachusetts, B.S. in psychology, 1972. Career Union Dues. New York. 1977. First novel published, 1975; writer for Roger Corman's New World The Anarchists Convention. New York. 1979 Pictures, from 1977; first film as director, The Return of the Secaucus Thinking in Pictures: The Making of the Movie""Matewan, " New Seven, 1980; directed own plays New Hope for the Dead and York. 1987. Turnbuckle, Off-Off-Broadway, 1981; writer and director for T Los gusanos. New York. 1991 rom 1980; director of videos for Bruce Springsteen, including"Born Savles on saves, with Gavin Smith. New in the U.S.A. and"I'm on Fire. " Agent: Robinson, Weintraub, Men with Guns and Lone Star, New York, Gross and Associates, Inc, 8428 Melrose Place, Suite C, Los John Sayles: Interviews(Conversations with Filmmakers Series), Angeles CA 90069. U.S.A Diane Carson, editor, Jackson, 1999 Films as Director and Scriptwriter Ways of Looking at the world, an interview with Hunter Corday, 980 The Return of the Secaucus Seven(+ed, role as Howie) in Metro(Melbourne), Summer 1978/79. 1981 Lianna (+ed, role as Jer Interview with t. Crawley Monthly Film Bulletin (London) 1983 Baby. It's You 984 The Brother from Another Planet(+ed, role as bounty hunter) Interview with D Popkin, in Cineaste(New York), vol 13, no 1, 1983 1987 Matewan(+ role as preacher) Interview with Paul Kerr, in Monthly Film Bulletin(London). Janu- 988 Eight Men Out(+ role as Ring Lardner)

SAYLES DIRECTORS, 4th EDITION 868 situations. Again, while one senses a touch of Sautet’s complicity with the bourgeois world he represents, these films do not simply offer the conservative resolutions that characterize so many of the bourgeois Hollywood productions of the 1980s and 1990s. As we watch Un Coeur and Nelly, we proceed along the interior, emotional topographies of characters like the remote and ostensibly affectless Stephan in Un Coeur. The tension which builds throughout Un Coeur as a result of Stephan’s unwillingness and/or incapacity to love does not find its release, however, through the union of Stephan and Camille by the film’s end: Camille continues her relationship with Maxim, Stephan remains alone. As a result, Sautet powerfully suc￾ceeds in having us experience the frustration these characters feel, because Un Coeur resists consummating a formulaic relationship with its audience via a happy ending as Hollywood films are likely to do. Nelly & Monsieur Arnaud affects its audience in similar ways. Comparable to Un Coeur, Nelly’s presentation of the emotional firings and mis-firings between Nelly, Arnaud, Vincent, and Jerome draw the viewer into a narrative that resists uncomplicated closure; because of this, the world of Nelly & Monsieur Arnaud is more likely to resemble the reality its audience will encounter once the credits role and the lights go up. Derek Elley aptly comments in Variety that Sautet, in his films, ‘‘is more interested in the what-could-have￾happened than the what-actually-has.’’ Nelly, he concludes, ‘‘will delight those who don’t like their T’s crossed and I’s dotted.’’ While neither a revolutionary cinema nor one which simply gives way to Hollywood narrative conventions, Claude Sautet’s films endure as poignant and insightful tales depicting the often beguiling world of human affairs. —Roy Armes, updated by Kevin J. Costa SAYLES, John Nationality: American. Born: John Thomas Sayles in Schenectady, New York, 28 September 1950. Education: Williams College, Williamstown, Massachusetts, B.S. in psychology, 1972. Career: First novel published, 1975; writer for Roger Corman’s New World Pictures, from 1977; first film as director, The Return of the Secaucus Seven, 1980; directed own plays New Hope for the Dead and Turnbuckle, Off-Off-Broadway, 1981; writer and director for TV, from 1980; director of videos for Bruce Springsteen, including ‘‘Born in the U.S.A.’’ and ‘‘I’m on Fire.’’ Agent: Robinson, Weintraub, Gross and Associates, Inc., 8428 Melrose Place, Suite C., Los Angeles, CA 90069, U.S.A. Films as Director and Scriptwriter: 1980 The Return of the Secaucus Seven (+ ed, role as Howie) 1981 Lianna (+ ed, role as Jerry) 1983 Baby, It’s You 1984 The Brother from Another Planet (+ ed, role as bounty hunter) 1987 Matewan (+ role as preacher) 1988 Eight Men Out (+ role as Ring Lardner) 1991 City of Hope (+ ed, song, role as Carl) 1992 Passion Fish (+ ed) 1994 The Secret of Roan Inish (+ ed) 1995 Lone Star (+ pr) (+ ed) 1997 Men with Guns (Hombres armadas) (+ ed) 1999 Limbo (+ ed) Other Films: 1978 Piranha (Dante) (sc) 1979 The Lady in Red (Kiss Me and Die; Guns, Sin, and Bathtub Gin) (Teague) (sc) 1980 Battle beyond the Stars (Murakami) (sc); The Howling (Dante) (co-sc); Alligator (Teague) (sc) 1982 The Challenge (Frankenheimer) (co-sc) 1984 Hard Choices (King) (role as Don) 1985 The Clan of the Cave Bear (Chapman) (sc); Enormous Changes at the Last Minute (Bank, Hovde) (sc) 1987 Wild Thing (Reid) (sc); Something Wild (Demme) (role as motorcycle cop) 1989 Breaking In (Forsyth) (sc) 1992 Straight Talk (Kellman) (role as Guy Girardi); Malcolm X (Lee) (role as FBI man); Matinee (Dante) (role as phoney moral crusader) 1993 A Safe Place (Lang) (sc); My Life’s in Turnaround (Schaeffer, Ward) (role as film producer) 1994 Men of War (sc); Bedlam (Maclean) (sc) 1995 Apollo 13 (Howard) (sc) 1997 Gridlock’d (role) Publications By SAYLES: books— The Pride of the Bimbos, New York, 1975. Union Dues, New York, 1977. The Anarchists’ Convention, New York, 1979. Thinking in Pictures: The Making of the Movie ‘‘Matewan,’’ New York, 1987. Los Gusanos, New York, 1991. Sayles on Sayles, with Gavin Smith, New York, 1998. Men with Guns and Lone Star, New York, 1998. John Sayles: Interviews (Conversations with Filmmakers Series), Diane Carson, editor, Jackson, 1999. By SAYLES: articles— ‘‘Ways of Looking at the World,’’ an interview with Hunter Cordaiy, in Metro (Melbourne), Summer 1978/79. Interview with T. Crawley, in Monthly Film Bulletin (London), December 1982. Interview with D. Popkin, in Cineaste (New York), vol. 13, no. 1, 1983. Interview with Paul Kerr, in Monthly Film Bulletin (London), Janu￾ary 1984